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COLD OPEN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. SIDLEY RESIDENCE (STOCK) - NIGHT]
[INT. SIDLEY RESIDENCE - LIVING ROOM - NIGHT]
(Angie walks around the living room with a glass of champagne in her hand as she admires the photo nudes on the walls.. She's dressed in her black lace underwear and an open shirt. )
(She looks over at Martin, who is starting a f*re in the large fireplace.)
Angie: You know, first time I had sex was in front of a f*re ... on a bear skin rug.
(She sits down on the bearskin rug.)
Angie: It was so romantic.
(Martin laughs wryly as he joins her. He picks up his glass.)
Martin Sidley: Gee, and all this time ... I thought you were still a virgin.
Angie: (snickers) Yeah, right. You only asked for my number 'cause you heard I was easy.
Martin Sidley: Oh, you found me out.
Angie: I did.
(As they laugh, something from inside the chimney falls into the f*re. The f*re crackles and grows larger.)
Angie: Cheers.
(They clink glasses and sip. Angie sees the smoking coming out of the fireplace. Something is blocking the chimney.)
Angie: Oh, my God!
(The smoke alarm beeps.)
CUT TO:
[EXT. SIDLEY RESIDENCE - FRONT -- NIGHT]
(The police and f*re department vehicles are parked outside the Sidley residence.)
(The firemen climb up the roof to check the chimney. They peer inside and find a d*ad body.)
Fireman: We've got a body! Alert homicide and CSI!
WHITE FLASH TO:
[INT. SIDLEY RESIDENCE - ATTIC -- NIGHT]
(The attic door opens. Sara and Nick climb inside to check the chimney.)
(Sara looks around and sees various items - bikes, roller skates, boots, crutches - around. She sees a d*ad, petrified rat in a trap.)
(Nick puts his kit down.)
Sara: Chimney extends about four feet from the roofline ... assuming the vic was average height ... and didn't curl up ... head should be right about here.
(Sara drills her way through the bricks in the chimney.)
Nick: Good!
(She clears off some bricks.)
Nick: Okay.
(She and Nick clear the bricks. Nick punches through the clay backing and they find the burnt remains.)
Sara: Whew! Smoldering flesh has the stench of burnt pork ... except much worse.
Nick: I smell a little decomp, but mostly the fireplace down below. The body's really positioned too far to be in that condition.
Sara: Which means ... the vic was charbroiled somewhere else, tossed in the chimney, and smoked.
(Nick nods.)
CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. SIDLEY RESIDENCE - ATTIC -- NIGHT]
(Nick and David Phillips stand in front of the open chimney looking at the b*rned body.)
Nick: Check out that mold. It's just eating away at the flesh.
David Phillips: That much mold would suggest he was b*rned at least a few days ago.
Nick: He?
David Phillips: I measured the pelvic bone -- sub-pubic angle's less than ninety degrees. He's male. Any suggestions on how to proceed?
Nick: Wrap and roll.
David Phillips: Great.
(David picks up a sheet and hands it to Nick. David spreads a second sheet out on the attic floor. Nick wraps his sheet around the body.)
Nick: Okay, you get the head.
David Phillips: Okay.
Nick: On three ...
David Phillips: Yeah.
Nick: One, two ... three.
(They remove the body from the chimney.)
David Phillips: Mm! He's lighter than I expected.
Nick: Most of the muscle and flesh have b*rned away. He's pretty well drained of fluids. He probably weighed twice as much when he was alive.
David Phillips: Well, that would explain how the k*ller was able to carry him up to the roof and then foist him down the chimney.
Nick: Yeah. Get him to the morgue.
CUT TO:
[EXT. SIDLEY RESIDENCE - FRONT - NIGHT]
(Sofia talks with Martin Sidley.)
Martin Sidley: I started the f*re and the smoke just started pouring out.
Sofia Curtis: And it was just the two of you in the house.
Martin Sidley: Yeah.
INTERCUT WITH:
(Meanwhile, Brass talks with Angie.)
Angie: I had just gotten off work; I came over for a nightcap.
Brass: So how long have you known each other?
Angie: Mm ... a few months.
Sofia Curtis: Do you live alone?
Martin Sidley: Yeah. Divorced. Have a son in college.
Sofia Curtis: Did you hear anything up on the roof in the past week or so?
Martin Sidley: Well, no, I was out of town on business till yesterday.
Sofia Curtis: And when was the last time you used the fireplace?
Martin Sidley: A few months ago ... around Christmas.
Brass: I mean, there was a d*ad man in your chimney. Didn't you notice anything when you lit the fireplace?
Angie: Martin's got a rat problem. Um ... the little suckers get caught in the traps, and just stink for a couple of days. We smelled something, but we figured it was ...
Martin Sidley: ... a rat.
Sara: (o.s.) Excuse me, Mr. Sidley?
(He turns around to find Sara standing behind him.)
Sara: There's a ladder leaning against the side of the house ... ?
Martin Sidley: Yeah, that's mine. It been there since ... about New Year's, when I took down the Christmas lights.
Sara: I'd like to get a set of your fingerprints. I'm going to be dusting the ladder for prints. I'd like to eliminate yours.
Martin Sidley: Yeah, sure.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(David goes over the body, taking various swab samples. He lifts a plastic credit card-shaped item out of the victim's shirt pocket. He looks at it and places it in a metal bin.)
(Nick walks in.)
Nick: Crispy on the outside, tender on the inside?
David Phillips: Crispy though and through. Based on the melted fibers, he was probably wearing a polyester shirt.
Nick: Well, synthetics are just plastic polymers. They melt instead of burn.
(Nick sees the b*rned plastic in the metal bin.) What's that?
David Phillips: Oh, some sort of plastic. I found it where his shirt pocket would've been. I'm thinking maybe a credit card.
Nick: Good, good. I'll work it up; try to get an ID.
CUT TO:
[INT. CSI - HALLWAY]
(Catherine walks through the hallway when Warrick finds her.)
Warrick: Catherine ...
Catherine: Yeah.
Warrick: Do you remember this Caroline Fitzgibbons case? About a year ago?
(She takes the file from him.)
Catherine: Of course I do, yeah. Missing person, we never found her.
Brown: Yeah, she was a minor, allegedly having an affair with a Mr. Martin ... Sidley?
Catherine: Ugh, yeah, what a creep.
(Quick flashback to: [EXT. SIDLEY RESIDENCE - FRONT PORCH - DAY] Catherine is at the front door talking with Martin Sidley.)
Martin Sidley: She's an aspiring photographer. I recently purchased several of her self-portraits.
Catherine: Mr. Sidley, her father says that she was headed over here the day before yesterday, and he hasn't heard from her since.
Warrick: Would you mind if we come in?
Martin Sidley: You know, now's not a good time. So, unless you have a warrant, the answer is no.
(He closes the door on them.)
END OF FLASHBACK CUT TO:
[EXT. LAS VEGAS SCENERY (STOCK) - DAY]
[EXT. SIDLEY RESIDENCE - FRONT -- DAY]
(Warrick and Catherine exit their SUV. Sara sees them.)
Sara: What are you guys doing here?
Warrick: We were hoping that you'd invite us to help out with your investigation.
Sara: Invite you?!
Catherine: Warrick and I were looking for a missing person about a year ago, and we tried to get a warrant to search this residence. The owner denied us access.
Sara: Now that it's a crime scene, it's fair game, if you're part of the investigation.
Warrick: You're picking up what we're putting down.
Sara: Well, I've processed room-to-room, photo-documented, sketched the layout ... feel free to dig a little deeper. I'm gonna dust the chimney for prints. I'll be on the roof for awhile.
CUT TO:
[INT. CSI - LAB -- DAY]
(Nick processes the b*rned ID card. Greg walks in and looks around at the monitor.)
Greg: I'll take "video spectral analysis" for two hundred, Nick.
Nick: Yeah, it's a charred piece of plastic found in chimney guy's pocket. It may be a credit card. I'm trying to get some ID off of it.
Greg: That's a gym membership card.
Nick: How do you know that?
Greg: The logo in the corner -- it's Burt's Gym -- I belong to the one on Flamingo.
Nick: Oh, yeah? You, uh ... been pumping iron there, Greg?
Greg: Yeah, a little, uh ... Muy Thai. It's competitive kickboxing. Gotta balance weights with cardio, you know what I mean?
Nick: Yeah, okay, thanks. Anyway, I'll, uh, check it. Maybe I can get a membership name.
Greg: Oh, you won't. Member names are printed in black ink. VSA only brings out the colors.
Nick: Oh. Maybe it'll help us clear up the photo.
(Nick works on the photo and comes up with a picture.)
Nick: Nice.
CUT TO:
[EXT. SIDLEY RESIDENCE - ROOFTOP -- DAY]
(Sara is on the roof. She dusts the chimney bricks and removes a set of prints.)
INTERCUT WITH:
[INT. SIDLEY RESIDENCE - LIVING ROM - DAY]
(Catherine looks around the living room. On the side are framed photos of a beautiful, blonde-haired woman, Caroline Fitzgibbons.)
(Quick flashback to: The photo of Caroline Fitzgibbons from the file folder. End of flashback.)
(Catherine turns around to look at the living room.)
(Sara carefully makes her way down the side of the roof to the vent.)
(She takes out a camera and snaps a photo of the vent. She dusts and finds a print.
(Catherine uses the ALS on the hardwood floors on the base of the stairs.)
(Various dissolves as Catherine works throughout the room.)
(Warrick snaps a photo in the bedroom. He looks around. He opens the chest at the base of the bed. He walks over to the desk and opens the drawer. He snaps a photo of the drawer.)
(Sara turns around and finds a white piece of thin plastic. She snaps a photo and picks it up.)
[INT. SIDLEY RESIDENCE - FOYER / LIVING ROOM -- DAY]
(Using the ALS, Catherine finds something on the stairs. She quickly swabs it and tests it for blood. It tests negative. Warrick walks down the stairs and notices the photos in the living room.)
Warrick: Well, hello, Caroline. She was, what, like 16? Isn't it a felony to purchase p*rn pictures of a minor?
(Warrick snaps a photo of the photo.)
Catherine: Well, believe it or not, exceptions are made for photographs with serious artistic or scientific merit.
(He walks over to the other photos hanging on the walls.)
Warrick: (scoffs) Oh, yeah. These look real scientific.
(He snaps photos of them as well.)
Catherine: I don't make the rules. So found a large, diffuse pool of fluorescence here on the wood floor. It's consistent with bleach or some other cleaning compound.
Warrick: Bleach on a wood floor, huh?
Catherine: Mm.
Warrick: I presume you pheno'ed it?
Catherine: Yeah. It was negative for blood.
(Warrick looks at the stairs.)
Catherine: What are you doing?
Warrick: I'm looking for the tiniest crack between the planks. You know, you can scrub blood off a surface, but you can't scrub beneath it.
(Warrick takes out a pocket Kn*fe and pries it in the crack in the stairs.)
Warrick: Yeah ...
(A piece of the board clatters to the floor. On the board is a spot of blood.)
Warrick: We got blood.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine talks with Martin Sidley and his lawyer Duane McWane.)
Martin Sidley: As I told you last year, I knew Caroline professionally. We had coffee a couple of times. She was a promising photographer; I'm a collector. We had a lot to talk about.
Catherine: How many times is "a couple of times"?
Martin Sidley: I don't know, five or six times over a month or two.
Catherine: Were they dates?
Martin Sidley: Well, we weren't having sexual relations, if that's what you're getting at.
Catherine: Was she ever in your house?
Martin Sidley: Yeah, I invited her over to see my collection. Look, I'll admit that I was attracted to her, but when she told me her real age, I told her, it was inappropriate for us to see each other.
Catherine: How very responsible of you. And you had that conversation how many days before she went missing?
Duane McWane: I'm sorry, but we're not here to talk about Caroline, all right? So unless you're on some kind of cold-case fishing expedition ...
Catherine: We found an old blood pool in your living room. You want to tell me about that?
Duane McWane: Don't answer that. Ms. Willows, let's get something straight. You found a body in the chimney, so you searched his house for clues, but you had no legal right to look for any evidence unrelated to this case.
Catherine: We were just working the scene.
(Catherine places an evidence bag with the piece of wood on the table. She clears her throat.)
Catherine: This piece of wood was pried from your living room. The surface was scrubbed with a cleaning agent, but we found a spot of blood ... right there.
(She points to the spot of blood on the wood.)
Martin Sidley: You mean, you ripped up my damn floor. What is going on here?
Duane McWane: As soon as this is over, I intend to file an emergency motion to limit the scope or your warrant. I also intend to file a motion in limine to exclude this evidence, which was illegally seized, in violation of my client's fourth amendment rights.
Catherine: This house was processed in accordance with CSI protocol, but do what you have to do.
Martin Sidley: You've been coming at me since day one, and I'm starting to resent it.
Duane McWane: Martin ...
Martin Sidley: You have a problem with me because I appreciate younger women? I had nothing to do with that girl's disappearance. You want to come after me? You're going to regret it.
Catherine: Your client has a bit of a temper.
Duane McWane: Well, if you don't have any questions pertaining to the d*ad body in his chimney, we're done here.
[OBSERVATION ROOM]
(Nick watches as Duane McWane gets to his feet. Catherine holds up a hand.)
Catherine: Sit down. Please.
(Catherine turns to the window and nods. Nick leaves the observation room.)
[INTERVIEW ROOM]
(Nick walks into the room.)
Catherine: Gentlemen, this is Nick Stokes. He's a colleague of mine. We found identification on the decedent in the chimney.
Nick: A gym card. Actually, it was found in his pocket. The Crime Lab restored the charred image, but we couldn't get a name. We we're hoping you could help make a positive ID.
(Nick puts the photo on the table. Martin looks at his lawyer. Duane McWane nods.)
(He looks at the photo.)
Martin Sidley: This belonged to the person in my chimney?
Nick: Yes, sir. You recognize him?
Martin Sidley: Well, this is-this is Tad. This is my son.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Dr. Robbins goes over the body with Nick.)
Nick: Let me guess: He b*rned to death.
Robbins: I can't confirm COD.
Nick: Come on, Doc, this isn't a hard one.
Robbins: His bones are fractured; check out the femur.
Nick: It's not uncommon to find bone fractures in f*re victims.
(Quick CGI EFX: The bones are on f*re, crackle and break.)
Nick: (V.O.) The body produces heat, causing the long bones to contract and fracture.
(End of CGI EFX.)
Robbins: Well, that's right, but check out the chips in the skull.
Nick: Bone chipping is also a symptom of extreme heat.
(Quick CGI EFX: The skull burns and the bones chip away.)
Robbins: (V.O.) Very good. So, if we didn't know better, f*re could be the cause of death.
(End of CGI EFX.)
Nick: What are you getting at?
Robbins: You see the blood spot on the interior of the forehead?
Nick: Yeah ...
Robbins: As far as I know, f*re can't explain a subdural hematoma.
Nick: No. No, it can't.
Robbins: Our victim suffered blunt force trauma, prior to going up in flames.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Mandy Webster is processing the prints found on the Sidley rooftop.)
(She compares the prints with Martin Sidley. There's NO MATCH.)
(She compares the prints with Tad Sidley. There's NO MATCH.)
(She runs the unidentified print through the database.)
(Sara walks into the lab.)
Sara: How are you doing on the prints?
Mandy Webster: Well, all three prints from the chimney are consistent with each other. I compared them to the homeowner's prints and his son's prints; the work card's in the system. There's no match. I'm running the print through I-AFIS.
Sara: What about the print from the chimney cap?
Mandy Webster: There's not a match to the chimney prints, not a match to either Sidley. There's no hits on I-AFIS. I'm sorry.
Sara: Not your fault.
(The computer beeps and finds a match to:
NAME: JONATHAN WAX
(CASE #LVPD 01 07 21-1645 SC)
DOB: 04-14-78
AGE: 27 HEIGHT: 5'10"
WEIGHT: 163 LBS EYES: BROWN
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
LAST KNOWN ADDRESS:
2128 DESERT WAY
HENDERSON, NV 89012
ALIAS: NONE
CRIMINAL HISTORY:
STATUE: NRS 200-366
ARREST: ATTEMPTED r*pe
CONVICTIONS: SENTENCED 4 YEARS
DISPOSITIONS: RELEASED OCTOBER 2005 )
Mandy Webster: At least you got yourself a match for the chimney prints -- a Jonathan Wax, from Henderson, served four years for attempted r*pe and he was released six months ago.
Sara: Thank you.
Mandy Webster: You're welcome.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sara interviews Jonathan Wax.)
Jonathan Wax: I served my time. What do you want with me now?
Sara: "Attempted r*pe." What exactly happened?
Jonathan Wax: Pepper spray. That stuff really stings.
Sara: Uh, what can you tell me about, um, Tad Sidley?
Jonathan Wax: (shakes his head) Who?
(Sara puts the DMV license photo on the table for TAD SIDLEY
247 DUNPHY RD.
LAS VEGAS, NV 89101
Jonathan Wax: Sorry.
(Sara pushes the photo of the b*rned corpse across the table toward him to look at.)
Sara: Maybe you remember him a little more like this?
(He looks at the photo.)
Jonathan Wax: (chuckles) Holy mother ...
Sara: He was m*rder, set on f*re, stuffed in a chimney, and the only prints on the chimney are yours.
Jonathan Wax: You said the last name was Sidley?
Sara: Uh-huh.
Jonathan Wax: Well, I worked a Sidley place out near Lake Mead, right?
Sara: What were you doing on the roof?
Jonathan Wax: That's what I do -- Chad's Chimney Sweeps. I clean fireplaces and chimneys. I was out at that Sidley place about a month ago. You can call Chad. I remember that place. Man, that guy had one big-ass chimney.
Sara: I don't suppose you saw a body while you were there?
Jonathan Wax: Look, I may be an ex-con, but even I would've dialed 9-1-1.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Conrad Ecklie is talking with someone in the hallway when Catherine turns the corner. He sees her and stops her.)
Conrad Ecklie: Catherine. (to the man he's talking with) Excuse me.
(They continue down the hall together.)
Conrad Ecklie: I just got a call from the DA about you. Martin Sidley's attorney filed a motion to suppress.
Catherine: Oh, it's just posturing. There's no way that our search violated his rights.
Conrad Ecklie: Fortunately, the judge agreed with you.
Catherine: Good.
Conrad Ecklie: But ... we have been warned: Future searches of the residence are limited to areas specifically pertaining to the case at hand. And I think it's best if neither you nor Warrick went back to the house.
Catherine: Well, hopefully, we have to.
(Warrick catches Catherine in the hallway with Ecklie.)
Warrick: Hey. I was able to get in touch with Caroline's father. He's on his way back to his house to pick up his daughter's toiletries, and he'll meet us back here.
Catherine: We're trying to get a DNA sample from Caroline's personal effects and compare it to a blood drop that was on the living room steps.
Warrick: Incidentally, I was able to speak with someone at WLVU. Tad Sidley was a student there, with the roommate. Now, Doc Robbins told me the kid had been d*ad for at least two weeks. I'd be interested in talking to the roommate to find out why no one reported him missing.
Catherine: Absolutely.
Warrick: Come with?
Catherine: Yeah.
(Warrick and Catherine leave.)
Conrad Ecklie: (calls out) Okay, guys, good luck.
Catherine: Thank you.
CUT TO:
[INT. WLVU CAMPUS - HALLWAY/DORM ROOM #62 -- DAY]
(Catherine and Warrick walk up to Tad Sidley's dorm room. They knock on the door and the roommate answers.)
Roommate: Can I help you?
Catherine: This is Tad Sidley's dorm room, right?
Roommate: Yeah ... look, whatever he did, I wasn't involved.
Warrick: When was the last time you saw him?
Roommate: I-I don't know. A couple weeks ago.
Catherine: And why didn't you report him missing?
Roommate: Look, Tad's a third-year freshman. Or as he likes to call it, "a three-peater." He disappears for weeks at a time. (rolls his eyes) What happened to him?
Catherine: He was m*rder. May we come in?
(He nods and they enter the room.)
Catherine: Were you and Tad good friends?
Roommate: No, not exactly.
Catherine: Why not?
Roommate: Look, I study my ass off. When Tad's here, he's baked for breakfast, lunch and dinner. He's distracting. He blares his music. He invites his friends over to party. He is ... or was ... inconsiderate. Fortunately, he wasn't around much.
Catherine: Any idea who k*lled him?
Roommate: Look, the guy was a pain in my ass, but everybody else seemed to love him. His dad's totally loaded, and tad was pretty generous.
Warrick: (interrupts) Catherine ...
(He finds a yellow post-it on the bulletin board for
DON FITZGIBBONS
555-0154
Warrick: Don Fitzgibbons and a phone number?
Catherine: Caroline's dad. (to the roommate) What do you know about this?
Roommate: I never noticed it.
Warrick: You mind if I take it with me?
Roommate: Go ahead; take whatever you want. Look, there's this rumor going around campus that if your roommate dies, you get an a*t*matic 4.0 for the semester. You know, because of all of the traumatic stress. Who ... who should I talk to about that?
CUT TO:
[INT. CSI - LAB -- DAY]
(Hodges processes the plastic found on the Sidley roof. He removes it from the evidence bag. The label reads:
CRIME SCENE SEARCH EVIDENCE REPORT
NAME OF SUBJECT: JOHN DOE
OFFENSE: LVPD 06 02 15 1713
DATE OF INCIDENT: 02-15-06
TIME: 21:14
Search Officer: S. SIDLE
EVIDENCE DESCRIPTION: TRACE
LOCATION: SIDLEY ROOF
(Hodges removes the piece of plastic, cuts a small piece off it and sticks it to a slide. He puts it under the scope and looks at it.)
(He gets an analysis of the material. He prints out the analysis.)
(Sara walks in.)
Hodges: Roof trace analysis. Afraid it's not going to be very helpful.
Sara: Why?
Hodges: Polyethylene plastic.
Sara: Compounds used in about a million different products.
Hodges: I hope that's not all you got.
CUT TO:
[INT. CSI - OFFICE -- DAY]
(Catherine talks with Don Fitzgibbons.)
Don Fitzgibbons: I don't understand. If you found blood in Sidley's house, why isn't he in jail? I mean, can't you at least hold him until you determine whether or not it's Caroline's?
Catherine: That's not my decision to be made. Unfortunately, the DA feels that we need more.
Don Fitzgibbons: (snorts) It's just like a year ago. It wasn't enough that I believed that Martin was sleeping with my daughter ... that she disappeared on the way to his house. Ms. Willows, the man paid her $800 for her photos and told her she had a great eye. (He gives the plastic bag to Catherine.) I brought her brushes and combs. Anything else I could find. Think you'll be able to get enough DNA off that stuff?
Catherine: Oh, yes, absolutely.
Don Fitzgibbons: I know the cops say that if you don't find them quickly, you don't usually find them alive. But every time the phone rings or there's a knock at the door, my first thought ... my first hope is that, uh ... it's Caroline.
Catherine: Mr. Fitzgibbons, we found your name and number written on a post-it in Tad Sidley's dorm room. Can you explain how it got there?
Don Fitzgibbons: When you guys were first investigating her disappearance, you couldn't get access to Sidley's place, so I appealed to his kid.
(Quick flashback to: [INT. DORM ROOM-DAY] Don Fitzgibbons talks with Tad Sidley.)
Tad Sidley: Okay, look, I may not like my old man, but he's not a k*ller. And if you think he is, go to the cops.
Don Fitzgibbons: The cops can't get a warrant. I'm not saying he hurt Caroline, but maybe there's something in your house that will help me find her.
Tad Sidley: I'm sorry, okay? I'm sorry. I can't just ...
Don Fitzgibbons: Look, maybe you could just talk to him. Convince him to let me take a look around the place.
Tad Sidley: Look, I see my dad once a month... when I pick up my check. He's not going to listen to me.
Don Fitzgibbons: All right, if you change your mind, give me a call. Anytime.
(Don Fitzgibbons writes down his name and number on a post-it, then places it on the bulletin board.
(End of flashback. Resume to present.)
Don Fitzgibbons: Unfortunately, I never heard from him. Ms. Willows ... if the blood you found matches my daughter's DNA, tell me that the bastard's going to jail ... for the rest of his life.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Wendy Simms talks with Catherine and Warrick as they walk through the hallway.)
Wendy Simms: So the DNA I extracted from the hair on Caroline's brush is consistent with the blood found on the wood floor.
Warrick: Thank you. Case closed.
Catherine: Now wait a minute. We only found a single drop of blood. No doubt Sidley's attorney will argue that Caroline may have cut herself. He already admitted that she was in his house.
Warrick: Oh, come on, you saw the amount of fluorescence on that floor. You don't use a bucket of bleach to clean up a paper cut.
Catherine: Yeah, and you don't get a m*rder conviction off of a single drop of a victim's blood.
Wendy Simms: So you need to find the body.
Catherine: That would certainly help.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom is in his office looking at Tad Sidley's DMV photo in one hand and a photo of the b*rned body in his other. Sofia Curtis walks in.)
Sofia Curtis: Sorry to interrupt. As per protocol, Metro flagged Tad Sidley's credit cards. A couple of hours ago someone used his AMEX to purchase gas in Seven Hills.
Grissom: Is that someone in custody?
Sofia Curtis: Unfortunately, the Gas and Go cashier ran the card manually. So by the time the credit card company flagged the purchase, the guy had taken off. But the station has video surveillance and the cashier claims he could ID him.
Grissom: Have you told Nick and Sara?
Sofia Curtis: Nick's in the AV Lab now with the videotape and the cashier.
Grissom: So the next time this someone uses the credit card ...
Sofia Curtis: We're all over it.
(Sofia leaves. Grissom gets up and leaves.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Nick is going through the security video from the Gas and Go, while Larry, the cashier, stands next to him ready to ID the suspect.)
Nick: You sure you remember this guy who stole Tad Sidley's credit card?
Larry Smite: For sure. It was a platinum and the guy was like young. I mean, I couldn't even qualify for a VISA.
(Grissom walks in.)
Nick: Grissom, meet Larry. Larry's from the Gas and Go.
Grissom: Thanks for coming in, Larry.
Larry Smite: Oh, for sure.
(They go back to watching the video on the monitors. He sees something.)
Larry Smite: Wait. Stop ... stop the video.
(Nick stops the video.)
Larry Smite: Yeah, I remember that jacket and the blond hair. That's his sweet car right behind him. Lucky son of a bitch. I drive an '82 Buick.
Grissom: Nick, try the unsharp mask.
(Nick focuses in on the suspect in the video and zooms in. He's momentarily distracted when Larry starts hitting his hands together. The computer program adjusts the pixelation.)
Larry Smite: Yeah, that's it. That's him. That's your dude.
Grissom: That's Tad Sidley.
Larry Smite: That was the name on the credit card.
Grissom: Is this video from today?
Nick: Yeah, I downloaded it myself.
Grissom: Well, if that's Tad Sidley, who's in the morgue?
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(Sara is in the layout room, the photos of both cases spread out on the table in front of her. Catherine walks in.)
Catherine: Hey. Thanks for your help.
Sara: No problem. I laid out the photos and sketches.
Catherine: Thank you.
Sara: What are you looking for exactly?
Catherine: When we showed up at the scene a year ago, Sidley wouldn't let us into his house. I'm guessing because the body was still inside.
Sara: He knew you'd detect the smell.
Catherine: Kind of like "Telltale Heart."
Sara: Edgar Allan Poe.
Catherine: Guy commits a m*rder and buries the body under the floorboards of his house.
Sara: Catherine, I got to tell you, I don't see anything probative.
Willows: Are both these sketches drawn to the same scale?
Sara: Yeah, half inch equals a foot.
(She puts the two sketches over each other.)
Catherine: All right ... the attic is above the living room. They both share the same chimney.
Sara: Yeah? What are you thinking?
Catherine: The east wall of the house is 17 feet from the chimney in the living room. But that same east wall is only 14 feet from the chimney in the attic. When you retrieved the body, did you excavate the entire chimney?
Sara: No. We just removed the bricks from the west-facing side.
CUT TO:
[INT. SIDLEY RESIDENCE - ATTIC -- DAY]
(Sara and Catherine are in the attic. Sara is drilling through the bricked-up chimney.)
Catherine: There's no question that somebody extended the brick exterior of this chimney. There's a slight color disparity between the old and the new bricks.
(Sara breaks through the bricks and pulls them out.)
Sara: It's hollow. There's no clay backing. This is just a facade.
(She clears a hole in the chimney and stops.)
Sara: Catherine ... we found her.
(Catherine looks at the petrified body inside.)
Sara: She was still bleeding when she was brought here.
Catherine: Which means that her heart was probably still beating.
Sara: This isn't the "Telltale Heart," it's the "Cask of Amontillado." She was sealed into a wall and left to die.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. STREET -- NIGHT]
(Officer Clark reports to Sofia and they both walk over to Tad Sidley. )
Sofia Curtis: I just got your page. Did he stick around?
Officer Clark: Yeah, we explained the situation, and he thinks it's hilarious.
Sofia Curtis: Tad, Detective Curtis. I'm glad to see you're okay.
Tad Sidley: (chuckles) Yeah, me, too. Uh, he said you wanted to talk to me?
Sofia Curtis: Yeah. Where have you been for the past few weeks?
Tad Sidley: Tijuana, L.A., quick stop in Santa Barbara. Just got back this morning.
Sofia Curtis: Any idea how your gym membership got into a d*ad man's pocket?
( Chuckles )
Tad Sidley: No. I'm sorry, I didn't even know it was missing. I'm-I'm not exactly big on the weights, you know? Look, uh ... I'm late for a movie. You mind if I get out of here?
Sofia Curtis: Sure. I'd just like to get your cell phone number.
Tad Sidley: Gonna ask me out?
Sofia Curtis: It's just in case I have any further questions.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Catherine.)
Robbins: Caroline did not go gently.
Catherine: Defensive marks?
(He shows her the marks on the arm.)
Robbins: Ten on her right forearm.
(Quick flash to: Caroline screams as she's being att*cked by someone with a Kn*fe. End of flash.)
Robbins: Another three on the left.
(Quick flash to: Caroline screams as she's being att*cked by someone with a Kn*fe. End of flash.)
Robbins: And several more on the palms.
(Quick flash to: Caroline screams as she's being att*cked by someone with a Kn*fe. End of flash.)
Robbins: Catherine, there are tears on her labia and hymen. Too much time's passed to check for semen, but she was r*ped.
Catherine: We found a potential blood pool in the living room and another much more substantial one in the attic -- is that consistent with your findings?
Robbins: Yeah. Caroline was s*ab four times: twice to the abdomen, one to the spleen, one to the intercostal artery. No vital organs were penetrated, which means she would have bled to death slowly.
Catherine: Probably s*ab in the living room and then moved to the attic where she continued to bleed until she died.
(Grissom walks in.)
Grissom: Is the chimney guy still in your drawer?
Robbins: Yeah, right over there.
(Grissom opens the drawer.)
Catherine: What's going on?
Grissom: Tad Sidley is alive. We assumed that this guy was Tad, based on a gym membership card we found on his body -- we were wrong. This guy is now a John Doe.
Catherine: Does his father know?
Grissom: Not yet.
Catherine: Well, I'm on my way to the PD to meet up with him and his lawyer --
I'll give him the good news.
(Catherine leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine interviews Martin Sidley in the presence of his lawyer, Duane McWane.)
Martin Sidley: Like I've already told you, Caroline and I were friends. Now, if you keep this up, I'm gonna file a harassment charge against you personally.
Duane McWane: Ms. Willows, on the phone you said that you had new information regarding my client's son?
Catherine: Yes, I will get to that. But first I wanted to let both of you know that Caroline's body was recovered in Mr. Sidley's attic.
Martin Sidley: What?
Catherine: The coroner confirmed that she was r*ped, s*ab and bled to death.
Duane McWane: Wait a minute. You searched the house again? Ms. Willows, I thought that the judge was perfectly clear.
Catherine: I searched the chimney, specifically, in accordance with the original warrant and subsequent limitation.
Martin Sidley: I didn't do it, I swear.
Catherine: You live alone, Mr. Sidley ... and you have no idea how her body got bricked into your attic? Oh, come on. What happened? Did she say no one too many times?
Duane McWane: Ms. Willows, you are way over the line.
Catherine: If you didn't k*ll her, Mr. Sidley, then tell me, is there anyone else who had access to your house? Who else could have r*ped Caroline under your roof?
Martin Sidley: I know what happened.
Duane McWane: Martin ...
Martin Sidley: No. I've been covering too long. I need to tell the truth. I was out of town, I came home early. I heard noise coming from the attic.
(Quick flashback to: [INT. SIDLEY RESIDENCE - ATTIC - DAY] Martin Sidley walks into the attic and finds Tad bricking up the chimney.)
Martin Sidley: (V.O.) He told me that they'd been seeing each other...
Martin Sidley: What's going on?
Tad Sidley: Dad ...
Martin Sidley: ... that they'd gotten into a fight, and he r*ped and k*lled her.
(End of flashback. Resume to present.)
Martin Sidley: I should have told the police, but ... she was already d*ad. He's my son. I wanted to protect him. I didn't know what else to do. He's been out of cont--
[OBSERVATION ROOM]
(Tad Sidley is in the observation watching the interview. He sniffles.)
Tad Sidley: (quietly) Son of a bitch.
(He turns to look at Sofia and Warrick.)
Tad Sidley: He's lying.
Sofia Curtis: Do you want to tell us what actually happened?
Tad Sidley: (shakes his head) I have no idea what really happened. I met her once ... at the house. A month or so later, I see her on the news -- she's missing. I can tell you that for two weeks after that, he wouldn't let me anywhere near the house. Claimed that he was painting, and he didn't want me breathing in the fumes.
(Quick flashback to: [INT. SIDLEY RESIDENCE - ATTIC - DAY] Martin Sidley is bricking up the chimney in the attic. End of flashback. Resume to present.)
Tad Sidley: He k*lled her. I'm sure of it.
Warrick: Well, if you'd like to have a word with your old man, I'd say now would be the time.
(Tad quickly exits the observation room.)
[INTERVIEW ROOM]
(Tad enters the interview.)
Tad Sidley: Hi, Dad. I heard everything.
(He stands up.)
Martin Sidley: Tad ... son, you're ...
Tad Sidley: Yeah. I'm not d*ad. You're d*ad to me.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Catherine is in the hallway when her phone rings.)
Catherine: (to phone) This is Catherine.
INTERCUT WITH:
[INT. CSI - PRINT LAB - DAY]
(Sara is on the phone.)
Sara: (to phone) Hey, Cat, when you're done at the PD, can you head over to the Print Lab? There's something you're gonna want to see.
Catherine: I'm on my way.
FLASH TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. CSI - LAB -- DAY]
(Sara is in the Print Lab.)
Sara: Hi.
Catherine: Hi.
(Catherine walks in.)
Sara: I know why a John Doe was stuffed down the Sidley's chimney. When you and Warrick were working that missing person's case, you couldn't get a warrant, and Martin wouldn't let you in, right?
Catherine: Right.
Sara: Don Fitzgibbons tried to gain access to the house through the son ...
Catherine: But the son wouldn't cooperate.
Sara: I think he knew that if the house became a crime scene, CSI could get in there.
Catherine: Well, it's a logical theory, but to k*ll someone and stuff him in a chimney in hopes of getting information on your missing daughter ...
(Sara pulls up the prints.)
Sara: Check out the screen. On the left is an unknown fingerprint I lifted off the chimney cap. On the right is a partial I lifted off of Don Fitzgibbons' post-it you took out of Tad's dorm room. Now, the print on the post-it is only a partial, but it's a match to the chimney cap.
(She compares the prints. They match.)
Sara: I also found trace evidence on the roof. Polyethylene plastic. Don Fitzgibbons works at Desert Palms Hospital. I just got off the phone with the administrator. The hospital's body bags are made out of ...
Catherine: Polyethylene plastic?
Sara: Don Fitzgibbons has access to those body bags.
(Quick flashback to: [EXT. SIDLEY RESIDENCE - ROOFTOP - NIGHT] Don Fitzgibbons is up on the roof and pulls the body in the body bag up to the chimney. He pulls the body bag and snags it on the roofing. A piece is left behind.)
(He climbs up the chimney and unscrews the chimney cap. He takes the body out of the bag and dumps it into the chimney.)
END OF FLASHBACK CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine talks with Don Fitzgibbons.)
Don Fitzgibbons: It's true. All of it. You gonna arrest me?
Catherine: You just admitted to m*rder; I think you know the answer.
Don Fitzgibbons: Hold on. I didn't k*ll anyone.
Catherine: And the body in the chimney?
Don Fitzgibbons: (sighs) I took the body from Desert Palms Hospital, from the morgue. He was already d*ad, a John Doe. Auto accident in a stolen vehicle. Car exploded, he was b*rned beyond recognition. Ms. Willows, I stole a d*ad body and I trespassed, but that's it.
Catherine: And Tad Sidley's ID? Did you place the gym card on the body?
Don Fitzgibbons: You're a mother, right?
Catherine: Yes.
Don Fitzgibbons: Why do you think I did it?
Catherine: You wanted Martin Sidley to know what it's like to lose a child.
Don Fitzgibbons: (nods) When I was in Tad's dorm room, I snagged it. I scorched the surface of the card to make it look like it belonged to the John Doe ... to make Martin believe that it was his son. I'd hoped that you'd be able to restore the image. (crying) Look ... I wish I could say that I was sorry for the trouble I've put you through, or the-the petty crimes that I've committed, but I didn't hurt anyone ... and Martin Sidley is behind bars, and my daughter's getting her funeral. And that's all I wanted.
Catherine: I'm sorry. I'm sorry that we couldn't find your daughter without your help.
(He nods.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x16 - Up in Smoke"} | foreverdreaming |
COLD OPEN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. OMNI BUILDING LOBBY - NIGHT]
(Through the glass, we see a yellow taxicab pull up to the curb. Chloe Davis gets out of the cab and walks up to the locked glass doors to the front of the building.)
(Cameras pan down and we see that there's a security station just inside the lobby equipped with security cameras on the front doors, elevators and other entrance and exit points in the building. On the security station console, there's an open burger and fries - and no sign of the guard.)
(Chloe Davis uses a key to get through the glass doors. She opens the doors and walks in. She walks past the security station without turning or acknowledging anyone, which leads us to believe that there's no one at the station. The glass doors close behind her.)
(Through the monitors for CAMERA 3 and for CAMERA 4, we see Chloe Davis arrive at the elevators. She presses the button and leans heavily against the wall waiting for the elevators to arrive.)
(Camera pans over to the monitor for CAMERA 2, inside the elevator. We hear the elevator bell ding and see the doors open on the monitor. Clearly, with a little too much to drink, Chloe Davis staggers into the elevator and presses the button for her floor. The elevator doors close.)
(She turns and looks up directly into the security camera and fixes her hair. She rubs her fingertip against her lips and turns around to face the elevator door. The elevator doors open.)
[INT. OMNI BUILDING - HALLWAY - NIGHT - CONTINUOUS]
(Chloe Davis walks crookedly on her high-heeled shoes as she makes her way down the hallway to her apartment. She staggers through the hallway and reaches her apartment door. She tries unsuccessfully to get her key into the keyhole, but it's not working.)
(Suddenly, the door to the apartment behind her opens. A naked woman runs out, bleeding and delirious. She collapses into Chloe Davis's arms.)
CUT TO:
[INT. OMNI BUILDING LOBBY - NIGHT -- LATER]
[ON CHRISTINA HOLLIS]
(The naked woman is on a gurney, fitted with a nasal cannula. Her hearing is unclear, her eyes dart from side to side and her tongue constantly licks her dry lips.)
[EXT. OMNI BUILDING LOBBY - NIGHT -- CONTINUOUS]
(The paramedics wheel out the victim on the gurney to an ambulance waiting outside. Near the doorway, the woman in blue talks with an officer.)
(The paramedics put the gurney in the back of the ambulance. Sofia Curtis walks up to Grissom and Catherine.)
Sofia Curtis: Vic's name's Christina Hollis. She's a sales agent for the building. Neighbor said she just came running out of her unit, delirious and hysterical.
Catherine: Sexual as*ault?
Sofia Curtis: Definitely. I'm gonna go with her to the hospital, see if I can get a statement.
Catherine: Thank you.
(Sofia leaves them. Grissom and Catherine walk toward the building. As they head inside, Grissom notices the security cameras.)
Grissom: Video cameras. That's good for us.
Catherine: Vic probably thought it was good for her, too.
(They walk into the building.)
[INT. OMNI BUILDING LOBBY - NIGHT -- CONTINUOUS]
(As soon as they step inside, two men, one carrying a microphone and the other a camera, both step in their path.)
Producer: Excuse me, hi, can you identify yourself for the camera, please? Just look right in the lens.
['LIVE' CAMERA POV]
(Grissom isn't happy about his. Catherine looks as if she's recalling or thinking about what this means.)
Grissom: What is this?
(Grissom and Catherine walk across the lobby and head for the elevators.)
Producer: (o.s.) It's a reality crime show. We're following you for this investigation. Sheriff promised full cooperation.
Catherine: We got that memo. They're 'Hard Crime.'
Producer: (o.s.) That's us-- we're the guys who put the folks who look in the microscopes under the microscopes.
Catherine: Right.
(They reach the elevators. The door opens. The officer standing next to the door holds it open for them.)
Catherine: You see, it's good PR for the department. Try not to bust their chops, okay?
Producer: (o.s.) You ever see the show? It's got a lot of forensics.
Grissom: There's too many forensics shows on TV.
(The elevator doors close.)
CUT TO:
[INT. OMNI BUILDING - HALLWAY OUTSIDE HOLLIS' APARTMENT -- NIGHT -- CONTINUOUS]
(Grissom and Catherine walk through the hallway toward the room. Brass is waiting for them outside.)
Brass: The doorknob, the frame, the strike plate are all clean. No sign of a forced entry.
Grissom: So she might have known her assailant.
Catherine: Either that or he talked his way in.
(In the background behind them, we see the 'Hard Crime' camera crew turn the corner and head for the scene. Grissom and Catherine duck under the crime scene tape and enter the room. The camera crew tries to follow, but Brass stops them.)
Brass: Hey, hey, hey. Stay behind the crime tape.
(They stop, but the camera continues to be on Grissom and Catherine inside the apartment.)
Producer: (o.s.) Don't cut. Did you get all that?
(Grissom turns and comes into view of the bed. Catherine comes up right behind him. They both have their flashlights on.)
[INT. HOLLIS' APARTMENT -- NIGHT -- CONTINUOUS]
[OFF GRISSOM AND CATHERINE]
(Their eyes widen at the sight.)
[ON BED]
(The bed is rumpled and unmade. Restraints from the bedposts at the head of the bed are bloodied near the ends and on the sheets and pillows. More blood is on the center of the bed. Something horribly bad happened here.)
Producer: (o.s.) (calls out) Mr. Grissom, can you please describe what you're seeing?
(He doesn't look at them.)
Grissom: A long night.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL ROOM -- NIGHT]
(Christina Hollis is on the stirrup table, propped up. Sofia Curtis stands next to her. Christina is still disoriented.)
Christina Hollis: I don't understand. Why am I here?
Sofia Curtis: Miss Hollis, you've been as*ault.
Christina Hollis: Who ... ? I ...
Sofia Curtis: You don't know who did this? (She shakes her head.) What was the last thing you remember?
(She stops and tries to remember. She shakes her head.)
Christina Hollis: I don't know.
(She looks down at her wrists and sees that they're red, raw and partially bleeding from the restraints.
Christina Hollis: Oh, my God.
(She looks down at her legs, lifts up her hospital gown a little to expose her thighs and sees them red and bruised.)
Christina Hollis: Oh, my God!
(She looks down at her feet and sees them pedicured perfectly with her toenails painted red.)
Christina Hollis: (panicking) Okay, this isn't right. Why isn't this right? Why don't I look right? Right ... This isn't --
Sofia Curtis: Christina, it's okay.
Christina Hollis: No, it's not okay. It's not okay. Why don't I look right? I don't underst- ...
(She looks up and beyond Sofia, she sees the cameras on her.)
Christina Hollis: Why are they st- ... why are they staring at me?
(hysterical) Stop looking at me!
(Sofia quickly shuts the curtains closed.)
Sofia Curtis: Nurse, get in here!
(Christina dissolves into hysterical sobbing. Sofia grabs her and holds her tightly.)
Sofia Curtis: (softly) It's okay. It's okay.
CUT TO:
[INT. HOSPITAL - HALLWAY - NIGHT -- LATER]
(The cameraman turns the corner. The producer calls his attention and points down the hallway.)
Producer: (o.s.) Hey.
(At the end of the hallway, Sofia Curtis is talking with the nurse.)
Nurse: I did a wet mount from a vaginal swab and got four-plus motile sperm present.
Sofia Curtis: So she was r*ped within the last few hours. No condom means he's not in the system or he doesn't care if he gets caught.
Nurse: Guys like this, they keep doing it.
(Finished, Sofia turns to leave. The producer tries to catch her attention.)
Producer: (o.s.) Excuse me, detective. Can I ask you a question?
(She ignores him and continues walking down the hallway.)
Producer: (o.s.) Detective.
(Sofia looks back as she continues down the hallway.)
Sofia Curtis: You try something like that again and you're gone. I don't a give a damn what the sheriff says.
Producer: (o.s.) Look, we never put anyone on screen without a signed release.
Sofia Curtis: You inv*de her privacy at her most vulnerable moment.
Producer: (o.s.) I am trying to give the crime a face.
Sofia Curtis: Yeah, well, we're going to lose an hour waiting for her to calm down. That's on you.
Producer: (o.s.) I apologize. It won't happen again. Look, can I just ask you what you've got there?
(She stops and shows it to him.)
Sofia Curtis: It's a sexual as*ault evidence kit and blood sample. I've seen date r*pe victims in similar dissociative states. We're going to run a tox screen, see if she was drugged.
Producer: (o.s.) You were a CSI, right?
Sofia Curtis: Yeah.
Producer: And now you're a detective. So which side of the fence do you prefer?
Sofia Curtis: It's the same side.
CUT TO:
[INT. HOLLIS APARTMENT -- NIGHT]
(Grissom snaps photos of the bloodied restraints and the sheets.)
(Quick flash to: Christina Hollis struggles on the bed, her wrists tied to the bedposts. She struggles against the restraints. End of flash.)
(Grissom puts the camera down and looks at the bed. He slowly walks around the bed and takes a picture of the framed photo on the bedside table of the victim with blood spattered on the glass frame. He takes additional photos of the pictures on the table of the victim with an older woman.)
(Catherine opens the closet and we see that Christina has a lot of high-heeled shoes. Catherine snaps a photo of the yoga mats on the closet floor. Catherine closes the closet door.)
(Catherine walks up to the kitchen counter where there are candles burning. She snaps photos of the candles, the wax spilled out and melted on the counter top.)
Catherine: Candles b*rned down. A bouquet in the trash.
(She takes a photo of the bouquet in the trash bin next to the kitchen counter.)
Catherine: Flowers and candles -- sure seems like a date.
(She looks around and snaps more photos.)
Grissom: Some date.
(Grissom snaps a photo of a glittery substance in the blood on the bedsheet.)
(Catherine walks over to another side table with a candle burning on it. She notices something.)
Catherine: Got a void in the wax.
(Sure enough, in the melted wax on the counter, there's a large block as if something were taken that used to be on the table when the wax melted.)
(She snaps a photo of it and notices something else on the wooden floor. It's a yellow piece of material. She snaps photos of it and puts her camera aside to get the material.)
(Meanwhile, Grissom notices something on the bed frame.)
Grissom: Some kind of white flaky substance.
(He takes a tape lift of it. Catherine joins him.)
(He also sees a drop of something red and shiny on the bed frame.)
Grissom: This looks like blood, but ...
(He tries to take a swab sample of it and finds that it's dried and doesn't come off.)
Catherine: I think it's nail polish.
(She snaps a photo of it.)
CUT TO:
[INT. OMNI BUILDING LOBBY - SECURITY STATION -- NIGHT]
(The security station monitor for CAMERA 8 shows a maintenance man working in the dark corridor in the basement. Brass walks up to him.)
[INT. OMNI BUILDING - BASEMENT - NIGHT]
(Brass walks up to the maintenance man as he works on the pipes.)
Brass: Hey, how's it going?
(The maintenance man turns and looks at Brass.)
Brass: According to your supervisor, you were doing maintenance work on the
11th floor at 5:00 A.M.
(The maintenance man notices the security camera in the corridor.)
Brass: What were you fixing at 5:00 in the morning?
Maintenance Man: I was just clocking a little overtime.
Brass: Uh-huh.
Maintenance Man: Management said they wanted a few extra coats of paint on three, seven and eleven. Got to keep everything nice and pretty for the tenants.
Brass: You know, the security guy didn't see you on his camera. Why is that?
Maintenance Man: Yeah, well, that guy doesn't see much. Service elevator's out. We have to use the stairs. God forbid the tenants ever have to look at one of us.
Brass: You got a master key to all the apartments?
Maintenance Man: Yeah. But we only go in if a tenant specifically asks us to fix something.
Brass: You ever fix anything for Christina Hollis?
Maintenance Man: Nope. Never.
(Brass notices the roll of duct tape on the maintenance man's tool belt. He reaches out and removes the roll and looks at it.)
Brass: You're running a little low on duct tape, my man.
Maintenance Man: Yeah. It's holding up half the building.
CUT TO:
[INT. CSI - TRACE LAB]
(Hodges looks at the duct tape through the scope. He writes on the clipboard when Nick walks in holding two evidence bags.)
Nick: Two pieces of duct tape; both have been swabbed for DNA and fingerprinted. Grissom wants you to compare adhesives. He's looking for a match. ...
Hodges: Okay. (nods cheerfully) That'll take a laser ablation test. That's good.
(Hodges smiles and casually looks around.)
Nick: (frowns) Why's that good?
Hodges: Well, laser ablation is both visual and dramatic.
Nick: Are you looking for the video crew right now?
Hodges: I would think that they would be looking for me.
Nick: Relax, man, the show's only an hour long. Laser ablation takes, like, six.
Hodges: Yeah, but when they cut it together, it'll only take thirty seconds.
(Nick smiles and nods. He turns and leaves.)
(Hodges picks up the two evidence bags. He again glances around the area.)
(Cut to: Hodges opens the evidence bag and removes the duct tape piece from it. He cuts a piece of the duct tape off.)
(He again glances around the area.)
(He puts the piece cut off into the machine and shuts the drawer-like door. He starts the machine and it whirrs. He moves to the monitor and starts the lasers.)
(Quick CGI EFX: Camera zooms into the machine and shows the laser cutting an S-pattern from side-to-side on the piece of duct tape.)
(The particles b*rned off the sample are sucked into the cylinder tube.)
(End of CGI EFX. Resume to present.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Hodges reports his findings to Grissom.)
Hodges: Ran laser ablation on the duct tape samples. (He hands the report to Grissom.) Not a match.
Grissom: So she wasn't tied up with the maintenance man's tape.
Hodges: (shakes his head) Mm-mm.
Grissom: What about the rest of the trace?
Hodges: White powder was primarily biological, so I kicked it back to DNA. It did contain some glassy particles. Might be industrial diamonds.
Grissom: And the yellow reflective flakes?
Hodges: My next priority.
(They turn the corner and we hear the producer talking.)
Producer: (o.s.) Okay, we're rolling. Go ahead.
(He points and scoffs as they pass by the A/V Lab.)
Hodges: That's a waste of film.
(Hodges and Grissom walk out of camera frame. The camera lingers on Archie and Catherine in the A/V lab with the camera crew.)
[INT. CSI - A/V LAB - DAY -- CONTINUOUS]
Archie Johnson: The victim came out of her apartment around 5:00 A.M., so I've been working my way back from then.
(Archie rewinds the video. The time clock is around the 10:34 hour.)
Archie Johnson: In the previous seven hours, 37 people came and went from the
11th floor, 21 of them male.
Catherine: So the assailant could be any one of them ... (Archie nods.) ... assuming that our guy didn't take the stairs which, of course, aren't monitored.
(Archie shows a particular man stepping into the elevator.)
Archie Johnson: Okay, now, here: This guy got off on the vic's floor at 10:32
P.M. There's no footage of him coming back down. And check this out.
(He enlarges the flowers in the man's hands.)
Catherine: He brought flowers. How romantic.
Archie Johnson: But I don't think this was a first date.
(Archie brings up another camera view of the front doors. The time clock reads
10:27 P.M. On the monitor, we see the man walk up to the building doors and use a key to get inside.)
Archie Johnson: Guy had his own key.
Catherine: So he could've been with the victim the whole night.
(Archie nods.)
Catherine: Pull the best image of his face you can, and get a printout to Brass.
Archie Johnson: I'm on it.
(Catherine stands up to leave. The producer stops her.)
Producer: (o.s.) Ms. Willows, hold on a second. All you have is a guy's face. How do you figure out who he is?
Catherine: Good question.
(Catherine turns and leaves.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(Nick waits.)
Producer: (o.s.) Guys, we're good to go. Speed. VOICE: (o.s.) Fine.
(He clears his throat and waits.)
Producer: (o.s.) So what have you found so far?
Nick: I lifted two identifiable prints off the bouquet wrapper.
Producer: (o.s.) How do you know they belong to the suspect?
Nick: We don't, but one matched a print found on the duct tape, right here, used to tape up the victim. (He shows the photo of the duct tape.)
Unfortunately, that print's not in our database.
Producer: (o.s.) So your suspect doesn't have a record?
Nick: Apparently not, no.
Producer: (o.s.) Well, how do you find a guy who's not in the system?
Nick: (chuckles) You just got to get creative, you know? I mean, the flowers ... (shows the flowers) ... came from a small shop off-strip. Took the suspect's image to the clerk, (Nick holds up the photo) ... showed it to him. He gave me a credit card receipt. From that receipt, I got a name. That name gave me a driver's license. (He holds up the DMV printout.) Dwight Reynolds. Police are bringing him in now.
Producer: (o.s.) Great, okay. Clear and concise, thank you.
(He breathes and relaxes.)
Nick: Thanks. Yeah, well, we have to do it in court all the time. If you can't explain it to a jury, then the bad guy usually walks, and we don't like it when the bad guy walks.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(Sofia and Brass walk through the hallway on their way to the interview room.)
Sofia Curtis: Unit picked him up at the double down. He was plastered.
Brass: What'd he blow?
Sofia Curtis: One nine.
(They stop just outside the interview room.)
Brass: That's almost enough to wash away your sins.
Sofia Curtis: Well, we're going to have wait until he sobers up.
Brass: No, no, let's not wait, let's move on this. I think we got a chance. Look, why don't you come in there with me, huh? Maybe pop a few buttons?
(She chuckles.)
Brass: No, seriously. See how he reacts.
Sofia Curtis: If he tries too hard not to look, it could be a guilty conscience?
Brass: Yeah, maybe, something like that.
Sofia Curtis: If he is the guy, and we interview him now, anything he says could be thrown out of court.
Brass: It's worth a try. What do you think, huh?
(Smiling, Sofia undoes the top button of her blouse.)
Sofia Curtis: Let's go.
(They enter the interview room. The 'Hard Crime' cameras remain outside. The door closes.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -CONTINUOUS]
(Brass and Sofia interview Dwight Reynolds.)
Brass: How's it going?
Dwight Reynolds: Okay.
Brass: Did you know a Christina Hollis?
Dwight Reynolds: Yeah, we used to date.
Brass: You seen her recently?
Dwight Reynolds: No.
Brass: Then how come we found your prints on some flowers at her place?
Dwight Reynolds: I dropped some flowers off ... but I didn't see her when I did.
Brass: You had a key?
Dwight Reynolds: Yeah. She likes me to come over sometimes, you know? Help her move stuff.
(Sofia leans forward across the table.)
[HARD CRIME CAMERA POV]
(Sofia leans forward across the table; the camera lingers on her chest.)
[RESUME BRASS]
Brass: Oh, come on, what really happened, huh? You went over to move some stuff, and she wasn't in the mood, is that it?
Dwight Reynolds: I told you -- I didn't see her.
(Quick flashback to: [HALLWAY OUTSIDE CHRISTINA'S APARTMENT - NIGHT] Dwight takes out the keys and starts to unlock the door. He hears loud Barry White music coming from inside. He stops and throws the bouquet down on the hallway floor. He leaves.)
(End of flashback. Resume to present.)
Dwight Reynolds: She was playing Barry White. Everybody knows what that means. I guess it wasn't my night.
Brass: You're lying! We found the flowers inside her apartment in the trash, and you didn't use the elevator to leave.
Dwight Reynolds: I was pissed. I tried to walk it off. I figured eleven flights down, It's better than a cold shower.
Sofia Curtis: Christina Hollis was tied up and brutally as*ault in her apartment last night.
Dwight Reynolds: What?
Brass: And you were there.
Dwight Reynolds: Is she ... ?
Sofia Curtis: She's alive and talking.
Dwight Reynolds: Last night? The guy who with her was ... was doing that to her?
(Quick flash to: [PEEPHOLE VIEW] Dwight Reynolds is standing in front of the door. He throws the flowers down on the floor and leaves. End of flash. Resume to present.)
Dwight Reynolds: I could've stopped it.
(Sofia and Brass glance at each other.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Wendy Simms reports her findings to Catherine.)
Wendy Simms: So the powder that you found on the bedroom floor was actually keratinized skin cells. They belong to the vic, and morphology suggests that they're probably from her cuticles.
Catherine: Cuticles?
Wendy Simms: Mm-hmm.
Catherine: Nail polish, diamond particles ... maybe she was giving herself a mani and pedi before the as*ault.
Wendy Simms: I don't know about you, but if I could afford to live in an apartment like that, I'd be in a spa every week.
Catherine: Yeah, I hear you there. Thank you.
Wendy Simms: Mm-hmm.
(Catherine takes the results and leaves the lab. The camera crew follows her.)
[INT. CSI - HALLWAY / GRISSOM'S OFFICE - DAY - CONTINUOUS]
(Catherine catches up with Grissom and reports.)
Catherine: Wendy ran the semen, no hits in CODIS.
Grissom: Yeah, the, uh ... ex-boyfriend didn't match any of the prints on the duct tape, either.
Catherine: SAE found oral, vaginal and a**l smears positive for semen. Degraded and intact sperm suggests multiple deposits.
(They walk into his office and continue their conversation. The 'Hard Crime' camera crew remains outside in the hallway.)
Grissom: Which means that he probably r*ped her on and off, for a long time.
Catherine: Yeah, well, tox came back -- lorazepam in the vic's blood.
Grissom: I didn't find any prescription bottles in her apartment.
Catherine: No, nor did I. Lorazepam is a hypnotic sedative, and I know in high doses, it causes acute amnesia. Maybe that's what he was counting on to cover his tracks.
Grissom: Well, it usually takes an hour for a drug like that to kick in. How did he subdue her in the meantime?
Catherine: (shakes her head) Low-profile entry, sedatives, duct tape -- I mean, if he's not a serial, he will be soon.
(Grissom glances back at the cameras outside.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges fixes his hair and his eyebrows. Sara walks in. Hodges smoothes out his eyebrows and checks his teeth. Sara startles him.)
Sara: Hey, there, gorgeous.
(Hodges turns around and casually looks around for the cameras.)
Sara: I'm going to be running with the trace from the victim's apartment. Would you mind bringing me up to speed?
Hodges: (nods) Certainly.
(Hodges pauses, waiting for something. In the background, we see the camera crew turn the corner and head for the Trace Lab.)
Sara: Take your time.
(The camera crew rushes into the lab.)
Producer: (o.s.) Did you page us?
Hodges: Um ...
(Hodges turns and looks away.)
Sara: (shakes her head) No. Mm-mm.
(Hodges opens the file folder and reports to Sara.)
Hodges: According to the gas chromatograph mass spectrometer, the glossy red drop you found on the footboard was ... nail polish.
Sara: Well, that's not unusual in a woman's apartment.
Hodges: What is far more intriguing is the reflective yellow flakes. Follow me to the Fourier transform infrared microscope.
Sara: (under her breath) Hodges, what's wrong with you?
(Hodges shakes his head.)
Hodges: Nothing.
(Sara walks over to the scope.)
Producer: (whispering) Guys ... stay with the girl.
(Hodges leans in closer to her, where the camera has a nice angle on his face.)
Hodges: As you can see, the flakes are fluorescent reflective lenses bonded to an aramid backing by a special polymer layer. And it's used exclusively in the reflective trim of firemen's turnouts.
Sara: You're telling me there was a firefighter in the victim's bedroom.
(Hodges ponders that thought.)
Hodges: Hmm ...
Sara: Thanks.
(Sara turns to the camera.)
Sara: Thanks, Hodges.
(She turns to leave.)
Hodges: Anytime.
(The camera lingers on Hodges. He turns and looks through the scope.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. f*re STATION -- DAY]
(Brass and Sara talk with Captain Hendricks.)
Captain Hendricks: Yeah, all right, okay, let 'em roll.
(He waves over at the camera crew.)
Captain Hendricks: But you're buying the lobster.
Brass: Yeah, right.
(The 'Hard Crime' camera moves in closer to the three.)
Brass: (to Sara) See, one of the guys gets on TV, that guy has to buy lobster for the whole company, you know? (The Captain chuckles.) These guys eat well -
- lobster thermidor! Check it out. (louder) So, according to dispatch, you responded to an alarm at the Omni condos last night?
Captain Hendricks: Yeah, at 6:58 P.M. We were on scene in about four minutes. Three smoke b*mb on three different floors, three pains in my ass. There's no major damage, just paint and wallpaper. We were there about a half hour.
Sara: What'd the arson guys find?
Captain Hendricks: They didn't find much. Uh, the smoke b*mb were made out of soda cans. (He shrugs.) Kids, Internet, you do the math. It's all in your lab.
Sara: Really? What for?
Captain Hendricks: A couple guys from the day shift were gonna compare 'em to those b*mb we found a couple of weeks ago.
Brass: What are you talking about?
Captain Hendricks: Apartment building over on Paradise. Smoke b*mb started a f*re, one woman died. We still don't have a suspect in that.
(Sara thinks about it. She leaves Brass to continue to talk with Captain Hendricks and she moves over to the lockers and benches to check out the firemen's gear.)
Brass: Were you on the scene?
Captain Hendricks: I saw it after. Smoke b*mb was too close to the wall, the whole place was ...
Brass: Where was the woman who died?
Captain Hendricks: Down the hall asleep.
(Sara reaches down and checks the base color of the reflection material at the base of the fireman's yellow jacket.)
Brass: Which of your guys were up on the 11th floor at the Omni?
Captain Hendricks: I don't know. I'd have to ask around. Why?
Brass: A woman was r*ped last night.
Captain Hendricks: You think one of my guys did it?
Brass: No. I'm not saying that, but we found some evidence that a fireman was near her bed.
Captain Hendricks: You came here to accuse my guys of this in front of the camera?
Brass: No, no, no. Settle down, settle down...
Captain Hendricks: The hell I will. No wonder they call you Brass, because you really got a set.
Brass: Aw, come on, Sparky ...
(Sara returns.)
Sara: Excuse me, gentlemen. Captain, uh, which of your guys ... wears a yellow reflective stripe on their turnouts?
Captain Hendricks: Nobody; department's color is orange.
Sara: The reflective flake we found in Christina Hollis' apartment was yellow.
Captain Hendricks: Then you're not looking for a Las Vegas fireman.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Archie reports his findings to Catherine and Grissom.)
Archie Johnson: According to surveillance, the victim came home at 6:19 P.M. And the firemen were in her building at approximately 7:00. They took the stairs, so we don't have them on this camera. Now take a look at this ...
(Archie shows the video at 6:36 P.M.. On it, a fireman is pounding on one of the doors.)
Catherine: Well, he certainly looks the part.
Archie Johnson: He touched the door with his bare hands. Might get prints.
Catherine: The time code says 6:36 P.M. But the alarm went out at 6:58. That's 22 minutes later.
Archie Johnson: What kind of fireman comes before the f*re?
Grissom: Someone who knows it's coming.
(b*at)
Producer: (o.s.) Uh, Mr. Grissom, we may have missed that. Could say it one more time for the camera?
(Grissom turns and glares incredulously at the cameraman.)
FADE OUT.
(COMMERCIALS ET)
FADE IN.
[INT. OMNI BUILDING - PARKING -- DAY]
(The janitor is talking with an officer. Greg is printing the garage door.)
Producer: (o.s.) You ever hear the saying, "Only the dumb ones get caught?"
Greg: Yeah ... but we catch the smart ones, too. And this guy's definitely smart.
(Quick flash to: Someone places a lit soda can on the center of the hallway floor.)
Greg: (V.O.) He lights smoke b*mb on three different floors so as not to call attention to his target.
(End of flash. Resume to present.)
(Greg continues to print the door.)
Greg: Victim sees the smoke, sees him, and opens the door.
(Quick flashback to: The smoke b*mb are smoking in the hallways. The fake fireman goes to the door and knocks.)
"FIREMAN": f*re Department, open up.
(Christina opens the door and the fireman bursts into her apartment.)
(End of flash. Resume to present.)
Greg: I mean, who wouldn't trust a fireman, right?
(Greg continues to print the door.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Christina Hollis is in the interview room sipping from a coffee cup. Her wrists are wrapped up. Her interview with Sofia Curtis is being video recorded.)
Sofia Curtis: It takes a lot of courage to do this.
Christina Hollis: Thank you.
Sofia Curtis: And if you change your mind about the camera, all you have to do is say so -- no one ever has to see this.
Christina Hollis: No, I want him to see it.
Sofia Curtis: He'll watch it in jail. Okay, so, you said you were beginning to remember what happened?
Christina Hollis: Yeah, a little.
Sofia Curtis: Can you tell me what he looked like?
Christina Hollis: Um ... no, not really. It's mostly, uh ... just feelings.
Sofia Curtis: Feelings. Of what?
Christina Hollis: I know he r*ped me.
(Quick flash of: Christina Hollis is tied and bound in her bed. End of flash.)
Christina Hollis: What I remember most ... it was, um ...
(Quick flash of: The person is touching her feet. End of flash.)
Christina Hollis: (sniffles) He ... he kept ... he kept touching my feet.
(She cries.)
Christina Hollis: He kept touching my feet.
(She covers her eyes as she cries.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - HALLWAY -- NIGHT]
(Grissom and Catherine walk through the hallway.)
Grissom: A foot fetish is a visual pathology. The suspect would have had to be close enough to the vic to see her toes and then get aroused.
Catherine: We live in a desert, Gil. You want to see a woman's bare feet, all you have to do is look down.
(They walk out of camera frame.)
CUT TO:
[INT. CSI - EVIDENCE ROOM -- NIGHT]
(Sara is going through the selection of firemen outfits on the Internet. Greg enters the room.)
Greg: Door in the parking structure was like the arm of a slot machine: Smudge city.
Sara: Anything useful from the janitor?
Greg: Yeah, he gave us a full description. Said he looked like a fireman.
Sara: Well, between eBay, uniform shops, and national manufacturers, there's about a hundred different places that you can buy yellow-striped turnouts.
Greg: Maybe he was a fireman in another city.
Sara: Maybe.
Greg: What's that?
Sara: When I was at the firehouse, all of the air t*nk were rigged with the valves on the bottom, like this one. (She looks at a security photo.) But our guy ... his valve is on top.
Greg: A real fireman probably wouldn't make that mistake.
Sara: His airline isn't even rigged to his mask. It's rigged to a second mask on his side.
Greg: Maybe he put something in the t*nk to subdue her.
Sara: He used lorazepam.
Greg: Eventually. But this guy was somehow able to get her from the door to the bed without a struggle. (He thinks about it.) I bet he used nitrous oxide. That stuff will knock you out real fast.
(Quick flash to: [Christina's apartment] The door opens. The fireman steps inside and puts the gas mask over Christina's face. She struggles. He steps inside and the door closes behind him.)
(End of flash. Resume to present.)
Greg: And it's undetectable in the blood after a few minutes. Pretty easy to come by. And it would explain the valve on top. It's liquid under pressure. It would spill if it were upside down. All you need is a driver's license and a deposit for the t*nk. If this guy bought nitrous from a local distributor, there's definitely a record.
Sara: Check it out.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Warrick is alone and talking on the phone.)
Warrick: (to phone) Come on, Tina. Like, I'm the only one working doubles here. (He listens.) Oh, so it's my fault that we have strange schedules. Great. Go out with your friends. (scoffs) I'm sure you'll be seeing Robert again tonight, too, huh?
(Warrick notices the cameras entering the room behind him and he quickly ends the call.)
Warrick: (to phone) You know what? It's fine. I got to go. Have a fun time.
(He hangs up.)
Producer: (o.s.) This a bad time?
Warrick: No. Great time. What can I do for you?
Producer: (o.s.) What are you working on?
Warrick: I'm examining smoke b*mb recovered from, uh ... the victim's condo, and comparing them to smoke b*mb from an arson case a couple of weeks ago.
Producer: (o.s.) How do you know which is which? I mean, how do you tell them apart?
Warrick: Well, so far, I've only opened up one item from each case. CSIs, when we work a case, we take extensive notes at the scene, and photos of each item. And, uh ... they're very similar, I know. But, based on the construction and the components, I'd say these two b*mb were made by the same person.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins is on a treadmill and talking with the producer on camera.)
Producer: (o.s.) So I guess this is a slow day at the morgue.
Robbins: You can't really predict this job. Today it's like this, tomorrow it's a bus accident. So I am here.
(Grissom enters the room.)
Grissom: Albert.
Robbins: Yeah?
Grissom: Did you find the blood sample I called you about?
Robbins: Female arson fatality. COD is smoke inhalation. Partial tox came back carboxyhemoglobin and cyanide.
Grissom: I need a test for lorazepam.
Robbins: Blood's on its way to tox.
Grissom: You recall any other sexual as*ault victims that tested positive for lorazepam?
Robbins: Uh ... nothing comes to mind, but I'll check my files, confer with Toxicology.
Grissom: Thanks.
(Grissom leaves.)
Robbins: Yeah. (to camera) A slow day is a good day.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(Inside the waiting room, there is a crowd of people. Outside in the hallway, Sofia talks with Sara.)
Sofia Curtis: These people lived on the same floor as the female arson fatality from two weeks ago.
Sara: Tox on the arson victim came back negative for lorazepam. So maybe she wasn't the target.
(They both head into the waiting room.)
Producer: (o.s.) Ms. Sidle, is this what you guys call a 'fishing expedition?'
Sara: We call this 'following a lead.'
Producer: (o.s.) Forgive me, but it's not very much of a lead.
Sara: What's that supposed to mean?
Producer: (o.s.) Well, this case is even colder than the one you're on. You'd almost be better off if you had a new r*pe victim and a fresh scene.
Sara: That might be true, but that is definitely not the outcome that we're looking for.
(Sara turns and heads into the waiting room. She walks up to a young woman and introduces herself.)
Sara: Hi. I'm, uh, Sara Sidle. Maybe we could talk in here?
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]
(Sara talks with Stephanie.)
Stephanie: I didn't really know the girl who died. I still can't believe what happened. It's just awful.
Sara: Tell me what you remember.
Stephanie: I was alone in my apartment Saturday night. Hello. What's new, right? I was reading or something.
(Quick flashback to: [SATURDAY NIGHT] Someone pounds on the door to apartment
108.)
Stephanie: (V.O.) And then, suddenly, there was someone pounding on my door.
(Stephanie opens the door. She looks around and sees the smoke. Her eyes widen.)
(End of flash. Resume to present.)
Sara: Can you describe what he looked like?
Stephanie: Well, he was a fireman. I mean, he was wearing a mask. It all happened pretty quick. (Sara sighs.) Why?
Sara: We're looking for a r*pist who masquerades as a fireman. He uses smoke b*mb to get his victims to open their doors.
Stephanie: He knocked on my door. Are you saying you think he was going to r*pe me?
Sara: It's possible.
Stephanie: You know, I was pretty freaked.
(Quick flash to: The walls are on f*re. Stephanie takes a step to get out as well.)
Stephanie: (V.O.) When he was standing there in front of me ... just before he left ...
(End of flash. Resume to present.)
Stephanie: ... I swear, for a second, it felt like he wasn't going to let me go.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - BREAK ROOM -- DAY]
(Catherine, Sara and Greg meet to discuss the case.)
Sara: Turnouts were a d*ad end. And there's nothing to track off of the smoke b*mb.
Greg: I've got hundreds of names of people who purchased nitrous oxide in the last six months.
Catherine: What? You got to narrow that down.
Greg: That is narrowed down.
Catherine: Okay. Our r*pist is a foot fetishist. That's what gets him off. He has to see his victim's feet somewhere. If we can figure out where, maybe we can find him.
Greg: What do the victims have in common?
(Catherine looks at the file folder.)
Catherine: Christina Hollis. African American. Single. Lives and works at the Omni. She lives on the 11th floor, so there's no real way for a peeper to see in. And she uses the gym, but not the pool.
Sara: Stephanie Daniels lives across town. Caucasian. Also single. No gym membership, but she does use the pool at her apartment complex regularly. There's a couple of adjacent buildings. It's possible that somebody could see into her place with a telescope, but she has shades and curtains. I kind of doubt it.
Greg: So they have nothing in common.
(Grissom walks in carrying a file folder.)
Grissom: Sure, they do. They both have feet. We may have a third victim who may also be our first victim. Tara Weathers. Last month, she claimed she was drugged in a bar and woke up in her apartment with her toes freshly painted. They did a tox on her at the time. Found lorazepam in her system.
(Catherine looks at the photo of feet.)
Catherine: Well, she does have nice feet. And the nail polish looks like a similar shade to Christina Hollis'.
Grissom: Yeah. So the pattern starts a month ago. Our guy drugs Tara Weathers in a bar, takes her to her apartment, paints her toes, leaves. Two weeks later, he steps it up.
Sara: Poses as a firefighter, places smoke b*mb in an apartment building, only things don't work out the way that he planned. The building catches f*re, and he runs.
Catherine: He waits a couple more weeks, he does it again, but this time he goes all the way.
Grissom: Yeah. And now he's escalating.
Greg: Where does he go from here?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. TARA WEATHERS APARTMENT - HALLWAY -- DAY]
(Tara Weathers opens her front door and finds Brass and Catherine standing there.)
Brass: Tara Weathers? I'm Jim Brass, Las Vegas Police. This is Catherine Willows from the Crime Lab.
Tara Weathers: What do you want?
Brass: Well, we're here to ask you about the incident you reported to the police last month.
Tara Weathers: The nail polish thing?
Brass: Yeah, the nail polish thing.
Tara Weathers: You guys said I should consider myself lucky, that there was no real crime anyway.
Catherine: Well, we may have be wrong about that.
Tara Weathers: I knew it, that's what I tried to tell you the first time.
(She lets them inside.)
(Inside, they talk with her.)
Brass: The guy who drugged you is a r*pist and a m*rder, and we're looking to stop him before he does it again.
Tara Weathers: Are you serious?
Catherine: Very. We're trying to understand what you have in common with the other victims that might lead us to him.
Brass: Now he has a foot fetish. He's into feet. Is there any way that he could've ... seen your feet?
Tara Weathers: (shakes her head) Um ... I - I ... I don't know.
Catherine: Where do you buy your shoes?
Tara Weathers: All over.
Brass: Do you go to a gym?
Tara Weathers: No, not really.
Catherine: Pool?
Tara Weathers: No, never. I burn easily. I'm a legal secretary, I don't get out much. My work starts early and it goes late. The firm is so conservative, we're not even allowed to wear open-toed shoes.
(Catherine sees the yoga mat.)
Catherine: I notice that you do yoga.
Tara Weathers: Yeah.
Catherine: Where?
Tara Weathers: Out on the balcony. It's practically the only fresh air I get.
(Catherine turns and looks out the balcony at the apartments around the area.)
Catherine: Anybody in those apartments has a clear view of her bare feet.
CUT TO:
[INT. BUILDING - HALLWAY -- DAY]
(Catherine and Brass run through the hallway. The 'Hard Copy' producer and camera follow.)
Producer: (o.s.) So how'd you get the warrant?
Catherine: The tenant's name was on the nitrous oxide list.
(They stop at Richard McQueen's apartment door. There are other officers there and the manager with the key.)
Brass: (loud) Las Vegas Police. Open up, we have a warrant. Open up, police.
(There's no answer.)
Brass: (to the manager) Open it.
(The manager uses the key and opens the door. He quickly steps aside. The officers and Brass enter the apartment.)
Producer: (o.s.) Let's go.
(Catherine stops the camera from following.)
Catherine: No, no, no, you're not going in there, no.
(He hands her a flashlight.)
Producer: (o.s.) Well, will you take this cam-light in, it's a flashlight camera. It'll record anything you point it at.
(Catherine takes the flashlight-cam.)
Producer: Thanks.
(Officer Akers exits the apartment.)
Officer Akers: All clear.
Catherine: Okay, thanks.
(Catherine enters the apartment.)
Producer: (o.s.) Okay, you get any of this? Zoom in. Zoom in.
(The producer holds the hand monitor and we see the image on the small screen. Camera zooms in close to the monitor screen.)
(On the monitor, Catherine makes her way over to Brass.)
Brass: Perfect view of Tara's balcony.
(Inside the apartment, Catherine finds yoga class flyers on the counter.)
Catherine: Yoga flyers from all over town.
(Next to it on the counter is an open manicure-pedicure kit.)
Catherine: Guy's got everything he needs for a pedicure.
(On the monitor, we see posters and pictures of women and their feet hanging on the walls.)
(Catherine walks over to Brass.)
Brass: Hey, check this out. God bless the Internet.
(On the wall, Brass stands in front of a bulletin board with pictures pinned to it. Catherine shines her flashlight on the pictures of women in exercise outfits with focus on their feet and women wearing high-heeled shoes. Photos upon photos of feet and toes and shoes.)
(Catherine rolls her eyes, turns and continues looking through the apartment.)
(Catherine and Brass walk into the next room. On the wall is a large poster of women's shoes. On the table, Brass finds b*mb-making paraphernalia. On the floor next to the table is a case for a 'Breathing Air Unit'.)
Brass: Fireman's air t*nk case.
(He opens the case and finds it empty.)
Brass: Where's the t*nk?
(Catherine puts on some gloves.)
(Brass takes out his phone and makes a call.)
Brass: (to phone) Yeah, this is Brass. I want to put a broadcast out on Richard McQueen. That's M-C-Q-U-E-E-N.
Dispatch: (from phone) McQueen copy that, we'll put it on the wire.
(On the table, Catherine finds a video camera. She lifts it up and finds candle wax stuck to the bottom of the camera.)
Catherine: Candle wax on the camera.
(She puts the camera down and flips it on.)
(The image of Richard McQueen giving Christina Hollis a pedicure fills the screen. She is tied to the bed.)
(Catherine picks up the flashlight camera and shines it on the digital video camera.)
(On the monitor, Richard McQueen turns and looks at the camera.)
CUT TO:
[EXT. BUILDING -- DAY]
(Officer cars stop in front of the building. Brass gets out and runs past the f*re engines to get inside. The camera crew follow him.)
(They run inside the building.)
[INT. BUILDING - DAY]
(Off screen we hear someone grunt and a loud voice.)
Voice: Stay down! Stay down!
(Brass and other officers run through the smoke-filled corridor toward the commotion.)
Brass: Las Vegas PD!
(We hear the sounds of fists hitting flesh. All we see is smoke.)
Brass: Las Vegas PD! Break it up! Break it up!
(The officers arrive and pull a couple of firemen off a man on the floor.)
Brass: What the hell's going on here?
Captain Hendricks: Smoke b*mb. We caught this creep sneaking away. My guys tried to stop him.
Richard McQueen: She wouldn't let me touch her feet.
Brass: Get him out of here.
(The officer pulls Richard McQueen away. Captain Hendricks points into the apartment.)
Captain Hendricks: You should see what he did?
(Brass rushes into the apartment. He passes several men in the living room heaving deeply, appalled by whatever they've seen in the bedroom.)
(Brass enters the bedroom and leans against the door frame at the sight of the young d*ad woman, naked and bound to the bed. The gas mask is still on her face, her eyes wide open and staring off to the side.)
(Brass stands at the base of the bed and shakes his head.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - HALLWAY/ FORENSIC AUTOPSY]
(Doc Robbins puts on his gloves as he talks to the camera.)
Robbins: Women are four times more likely than men to be the victims of a sex-related m*rder. And men are ten times more likely than women to be the m*rder. It's just the way it is.
(He pushes the doors open and enters the morgue. Inside, the young woman is on the table. He takes a Kn*fe and starts the Y-incision.)
CUT TO:
[INT. CSI - LOCKER ROOM -- NIGHT]
(Catherine is putting her things away and getting ready to go home. The producer sits nearby watching.)
Producer: (o.s.) Is that your daughter?
Catherine: Oh, yeah, these are old pictures. She's a teenager now.
Producer: (o.s.) With all the things you see on this job, do you ever worry about her?
Catherine: Are you kidding? I keep a vial of her blood in my freezer.
Producer: (o.s.) Like as a DNA sample in case you need to identify her?
Catherine: Well ... one thing you learn doing this job is that bad things happen to people who never expect it ... every day.
(Catherine turns and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(With chains around his wrists and ankles, Richard McQueen is escorted away. He turns around and looks back at the camera.)
(Brass talks with the camera.)
Brass: Yeah, we got a confession. He didn't choose women's feet, women's feet chose him. He lit candles, he played music, he thought he was on a date.
Producer: (o.s.) But did he explain, you know, why he did it?
Brass: Oh, yeah. Oh, sure. His mother was a hooker, she put him under the bed when she did her business, her feet dangled over the edge of the bed. He watched her feet;they were perfect. You know, I don't know if it's true.
Producer: (o.s.) What about the fireman thing?
Brass: I don't know, I guess he wanted to be a fireman when he grew up. Didn't you? Look, juries love explanations; they want it nice and neat. They don't want to know we live in a random world; they want meaning. It's that simple.
Producer: (o.s.) So how do you cope with a day like today? What do you do?
Brass: What do you want me to tell you, that I go home, I get drunk, I go to a bar, I stay out all night, I don't sleep ... huh? That's not the truth. You know what happens? I take care of myself; I sleep very well.
Producer: (o.s.) How well did you sleep after you learned you k*lled that fellow officer in that sh**t last year?
Brass: (angry) Uh, yeah. Oh, is this ... is that ... oh, is this what this is about? Who've you been talking to, huh? What, you come here with your camera and you roll a little film and ... what, you think you know what it's like to be a cop? You? You're all done. You're all done with this. Get out of here.
(Brass turns and leaves.)
CUT TO:
[INT. CSI - HALLWAY TO GRISSOM'S OFFICE - NIGHT]
(Grissom walks through the hallway on his way back to his office. The cameras follow him.)
Grissom: The truth is if there isn't any evidence, we have nowhere to go.
Producer: (o.s.) So you feel you did the best you could?
Grissom: Yes, I do.
Producer: (o.s.) Do you think forensic shows are just teaching the criminals how to get away with crimes?
Grissom: Everyone learns from science. It all depends on how you use the knowledge.
(Grissom enters his office and closes the door behind him.)
Producer: (o.s.) Keep going, go inside for a close-up.
(Camera moves in close to the door and holds on Grissom, who takes a seat behind his desk and continues working.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x17 - I Like to Watch"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
WHITE FLASH TO:
[EXT. TENNIS COURTS -- NIGHT]
(A girl practices hitting balls being thrown by a machine.)
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. TENNIS COURTS -- NIGHT]
(The girl grunts as she hits the ball.)
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. TENNIS COURTS -- NIGHT]
(The girl runs around the courts as she practices. As she continues hitting balls, we hear a voiceover:
Sofia Curtis: (V.O.) Stacy Vollmer was last seen practicing alone on the school tennis court that Friday at around 9:00 P.M.
[INT. LOCKER ROOM - NIGHT]
(Stacy Vollmer opens her locker. She takes out some clothes and puts them down on the bench behind her.)
Sofia Curtis: (V.O.) The clothes she was wearing were found in her locker.
(She puts some clothes back in the locker.)
(She takes off the shirt she's wearing.)
(In the foreground, a shadowy figure walks across the camera frame.)
(Stacy removes her bra.)
FLASH TO:
[EXT. FOOTBALL FIELD - DAY]
[CU: STACY'S FACE]
(The body is wrapped in plastic and buried, her face and head exposed. Camera pulls back.)
Sofia Curtis: (V.O.) Her body was discovered near the football field by the landscaping crew the following Monday morning.
(Forensics removes dirt as she's being dug up and he puts it in a plastic container. Officers look around the area. Her body is buried in an area shaped like the letter 'T'.)
CUT TO:
[INT. COURTROOM - DAY]
(Sofia Curtis is on the witness stand and being questioned by ADA Jeffrey Sinclair.)
ADA Jeffrey Sinclair: Can you tell us the exact location of the body?
Sofia Curtis: She was dumped in a flower bed, wrapped in a shower curtain.
INSERT: FLASHBACK TO:
[EXT. FOOTBALL FIELD - DAY]
(Nick arrives. He walks past Sofia, who is talking with someone at the scene.)
Sofia Curtis: (V.O.) CSI arrived an hour later, excavated the body and began processing the scene.
(Nick looks around at the small crowd of students gathered just outside the fence. He turns and looks back at the body being dug up.)
ADA Jeffrey Sinclair: (V.O.) Dr. Robbins, will you explain how Stacy died?
Robbins: (PRE-LAP) (V.O.) Beneath this laceration, ...
END OF FLASHBACK: RESUME TO COURTROOM:
(Dr. Robbins is on the stand. Next to him, is a monitor with photos. As he speaks, the appropriate morgue photo is viewed.)
Robbins: ... I found a complex fracture of the occipital bone. Multiple shards of bone were driven into the occipital lobe of the brain, resulting in massive bleeding. The cause of death was cerebral hemorrhage, consistent with a single, sharp blow to her head.
INSERT: CGI POV:
(The female body falls back, her head hits the ground. We see the image of her skull and the impact as the skull is shattered.)
(Camera zooms in for a close-up to show the image of her skull being cracked at the impact.)
END OF CGI POV: RESUME TO COURTROOM:
SHORT TIME CUT TO:
(Nick is now on the witness stand giving his testimony.)
Nick: A search of the defendant's house yielded a laundry hamper containing the clothes he wore the night of the m*rder.
(The photo of the clothes in the hamper is shown on the monitor.)
ADA Jeffrey Sinclair: Did you find any blood or DNA on the clothes?
Nick: No. We determined they had been bleached.
ADA Jeffrey Sinclair: Isn't bleach used to destroy blood and DNA evidence?
Carol Allred (defense): Objection: Argumentative.
ADA Jeffrey Sinclair: Withdrawn. What else did you find in the house?
Nick: Human hairs consistent with the victim - (Nick turns to look at the monitor where a photo of hairs stuck in a drain are shown.) -- were discovered in the drain of the bathroom sink. DNA was extracted and was also matched to the victim.
ADA Jeffrey Sinclair: And based on this evidence, police arrested Marlon West.
(Nick looks at the defendant.)
Nick: That's correct.
ADA Jeffrey Sinclair: Thank you, Mr. Stokes. No further questions.
(There's a dramatic pause.)
ADA Jeffrey Sinclair: The state now calls Hannah West.
(Carol Allred stands up.)
Carol Allred (defense): Your honor, defense reiterates our objection. She's a
12-year-old girl.
Judge Crawford: We've been through this already, counsel. (to the jury) The defendant's sister is being called as a hostile witness. That means the district attorney is permitted to ask leading questions. (to Sinclair) Be nice.
(Hannah West gets up and takes the witness stand.)
SHORT TIME CUT TO:
(ADA Jeffrey Sinclair questions Hannah West.)
ADA Jeffrey Sinclair: Now, Hannah, isn't it a fact that on the night of Friday, December 2, 2005, your parents left you and your brother, the defendant, home alone?
Hannah West: They went away for a ...
ADA Jeffrey Sinclair: Yes or no, please.
Hannah West: Yes.
ADA Jeffrey Sinclair: And isn't it also a fact that you and your brother were not together between the hours of 6:00 and 10:00 P.M.?
Hannah West: Well, Marlon -- he didn't really...
ADA Jeffrey Sinclair: Yes or no?
Hannah West: Yes.
ADA Jeffrey Sinclair: Thank you, Hannah.
Hannah West: I'd like to say something ...
ADA Jeffrey Sinclair: No further questions, your honor.
Judge Crawford: Cross-examination?
(Carol gets up.)
Carol Allred: Absolutely, your honor. Uh, Hannah, wh-what were you trying to say?
ADA Jeffrey Sinclair: Objection: Calls for a narrative.
Judge Crawford: Overruled.
Carol Allred: You go ahead, Hannah. You say what you need to say.
Hannah West: Marlon didn't k*ll Stacy. I did.
(The jury and observers react.)
Judge Crawford: Ladies and gentlemen. Order in the court.
(She stands up.)
Hannah West: And I was wearing this when I did it.
(She unzips her jacket to show her blood-stained blouse underneath.)
(The jury gasps.)
Judge Crawford: Order in the court. Please -
(Jeffrey Sinclair turns around and looks at Nick.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Conrad Ecklie joins Nick, who is picking up his messages. They turn and head down the hallway.)
Conrad Ecklie: Good news is Judge Crawford denied the defense's motion to dismiss.
Nick: Of course he did. She's just a mixed-up kid trying to protect her older brother. All the evidence points to Marlon.
Conrad Ecklie: Yeah, and all the jury's going to remember is a little girl in a bloody shirt confessing to m*rder. That's reasonable doubt on a silver platter.
Nick: All right, then we have to prove that Hannah could not have done this.
Conrad Ecklie: Exactly.
Nick: We'll need a week to reexamine the evidence.
Conrad Ecklie: Judge gave the DA a 72-hour continuance.
Nick: Come on ...
Conrad Ecklie: Best he could do, Nick. Now you go do your best.
(Nick chuckles wryly as Ecklie leaves. He shakes his head.)
CUT TO:
[INT. INTERVIEW ROOM -- DAY]
(Hannah removes her jacket She takes off her bloodied shirt and gives it to the officer in the room.)
SHORT TIME CUT TO:
(Hannah puts on the too large orange uniform.)
(The officer takes Hannah's fingerprints.)
Marlon West: (PRE-LAP) (V.O.) Everybody thought Stacy was so ...
CUT TO:
[VIDEO FOOTAGE - TIME STAMP: 7:51 PM]
(Marlon West talks with Sofia Curtis.)
Marlon West: ... special. She thought so, too. She wasn't. Stacy was a stuck-up bitch and a miserable person. I just put her out of her misery.
(He sighs and leans back in his seat.)
Marlon West: I k*lled her and I put her in the ground. That's all I've got to say.
(Nick uses the remote and puts the video player on pause.)
[INT. CSI - LAYOUT ROOM - DAY]
LEGEND:
68 HOURS TO TRIAL
(Nick and the rest of the team are around the layout table as he goes over the case with everyone. The crime scene photos are spread out on the table.)
Nick: The judge suppressed the video because the child advocate was never brought in, even though Marlon had waived his rights. We really didn't need a confession out of him. The case against this kid was solid.
INSERT: FLASHBACK
[INT. LOCKER ROOM - SHOWERS - NIGHT]
(Stacy Vollmer, a towel wrapped around her, passes by a string of OUT OF ORDER signs blocking the various shower stalls.
Nick: (V.O.) It started out as a prank: A sabotaged showerhead.
(She puts her towel aside and steps into the shower. She turns the shower on. The showerhead explodes.)
(Stacy screams.)
END OF FLASHBACK RESUME TO PRESENT:
(Nick holds a photo of the exploded showerhead.He hands the photo to Catherine to look at.)
Nick: pH tests later revealed the presence of a strong base substance, which was later identified as sodium hydroxide.
Sara: Sounds like Marlon packed the showerhead with elemental sodium.
Nick: A high school chemistry favorite, yeah. Just add water, and instant kaboom.
Warrick: Those out-of-order signs must've been part of his game. You funnel the victim to the right showerhead. Did you process these?
Nick: Yeah, I matched the spindle marks on the paper to a laser printer in the high school library.
Sara: Accessible to any student.
Nick: (nods) Mm-hmm.
Catherine: (reads) "Multiple fragments of metal penetrating skin and dermis as deep as the superficial musculature of the back and neck." The showerhead expl*si*n didn't k*ll her.
Nick: No, no, it did not.
(She points to a photo of a shower rod with empty rings on it.)
Catherine: What happened to the shower curtain?
Nick: Well, the vic was injured, disoriented. She grabbed the first thing she could to cover up and ran.
INSERT: FLASHBACK
[CU: SHOWER CURTAIN]
(Stacy screams and pulls the shower curtain off the rod.)
(She runs out of the locker room and down through the hallway.)
Nick: The intermittent blood trail started in the locker room and headed down a hall.
(She leaves drops of blood behind her.)
END OF FLASHBACK - RESUME PRESENT
Warrick: So Marlon followed her out just to hear her squeal?
Nick: Or chased her out, yeah. There's no way to know. Either way, she ended up at the bottom of the stairs. The size of the blood pool indicates that the fatal wound occurred there.
(He points to the photo of the blood pool.)
Sara: Do you have any physical evidence that would conclusively rule Hannah out as a suspect?
Nick: Well, yeah -- she's four-foot-three and 65 pounds. The crime just required more strength than she's got.
Catherine: How old is she?
Nick: Twelve.
Warrick: In high school?
Nick: She's a high school senior. She skipped six grades. She's a prodigy.
Sara: Which means she has the brains for m*rder.
Nick: Yeah, but not the brawn. The body was moved from the high school building across a football field and then hastily buried. The vic's car was then driven two miles from campus and parked in front of the house of a kid named Scott Baird, Stacy's boyfriend -- I think possibly to frame him.
Warrick: Was he ever a suspect?
Nick: No. He plays varsity hoops. He was out of town on an away game.
(He picks up a photo of a blue car.)
Nick: I found blades of grass with blood on them near the vic's car -- nondescript tracks headed towards the next-door neighbor's house.
Catherine: Marlon West.
Nick: Yeah. This kid's been in trouble before. Multiple fights, thr*at. It just got out of hand this time. Marlon West k*lled Stacy Vollmer. His little sister's just trying to exonerate him.
CUT TO:
[INT. TRACE LAB -- DAY]
(Hodges has the bloodied shirt on a tray. He puts the tray in front of him and takes a sample of the dirt on the shirt and processes it.)
(He takes a sample of known dirt and processes it as well.)
(He takes off his gloves.)
SHORT TIME CUT TO:
(He compares the two results.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Nick turns the corner and hurries through the hallway when Hodges steps out of the lab and catches him.)
Hodges: Hey, Nick.
(Nick stops.)
Nick: Hodges, did you get the soil analysis back on Hannah's shirt?
Hodges: Matches the site of the body dump.
Nick: Really!
Hodges: So does this make Doogie Howser-ette your k*ller?
Nick: Uh, I kind of doubt it.
Hodges: Don't be so sure. It's not easy.
Nick: What isn't easy, Hodges?
Hodges: (patronizingly) Being profoundly gifted, knowing that everybody knows that you're always ten steps ahead of them. It's a lot of pressure.
(Nick takes a breath; Hodges is just so full of it. Nick turns and leaves.)
Hodges: Some days you feel like you're just going to snap.
Nick: (mutters) I know the feeling.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
LEGEND:
61 HOURS TO TRIAL
(Sara talks with Sofia Curtis.)
Sara: In his confession, Marlon basically said that Stacy deserved to die.
Sofia Curtis: He was alone in that opinion. Everybody liked Stacy -- parents and students. 4.0 GPA, varsity tennis team, homecoming queen. She even took a public virginity pledge with some of her classmates. Did they have those in your high school?
Sara: No. Do you believe that Marlon k*lled her?
Sofia Curtis: I was looking right into his eyes when he told me he did it. There's no doubt in my mind.
(They walk out of camera frame.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(OPEN of a pair of child's feet dangling off the floor.)
(Sara and Sofia talk with Hannah West. The child advocate sits next to her.)
Sofia Curtis: Two confessions, one crime. We don't get that a lot. When did you last speak with Marlon?
Hannah West: The day the police came to my house and arrested him.
Sara: You don't visit him?
Hannah West: My parents won't let me see him in jail. Bad environment. Marlon didn't put me up to this. He was trying to protect me. It would've been wrong to let him be punished for something I did.
(She looks at Sara and Sofia, who both look as if they don't believe her.)
Hannah West: You don't think I could have done it. Neither one of you.
Sara: That's a big job for a little girl.
Hannah West: Not if you have the right tools.
Sara: Smart kid like you ... knows your brother's suffering. You feel bad, you want to help, so you fabricate some evidence.
Hannah West: If you thought that the evidence was fake, I wouldn't still be in jail.
(Sofia and Sara glance at each other.)
Hannah West: Aren't you going to ask me why I did it?
Sara: Would you like to tell us?
Hannah West: I throw off the curve. When I'm in a class, people who usually get A's, suddenly get C's. Stacy was applying to Harvard. She wanted me to dumb myself down. I said no. She didn't like that.
INSERT: FLASHBACK
[INT. LOCKER ROOM - DAY]
(The locker room is full of girls blow-drying their hair. Hannah tries to get to the sink.)
Stacy Vollmer: Uh ... babies use the wall dryer.
(Hannah goes to the wall dryer and turns it on, the air is too strong and it blows in her face. The other girls laugh at her.)
END OF FLASHBACK - RESUME PRESENT
Sofia Curtis: So you k*lled her because she messed up your hair?
Hannah West: No. I'm used to pranks like that. I get them most every day. But Stacy ... didn't stop there. She had to take it to another level. And she used Scott to do it.
Sofia Curtis: Scott Baird, Stacy's boyfriend.
Hannah West: I was his tutor.
INSERT: FLASHBACK
[INT. ROOM - DAY]
(Hannah is studying with Scott.)
Scott Baird: You know, I was really pissed off at Stacy when I heard about the whole ... hair dryer thing, but her ... her friends had put her up to it. Stacy wanted me to give you something.
(He gives her a box and opens it. Inside is a dress.)
Scott Baird: It's a peace offering. I think you'll look great in it at the spring formal. Oh, you are so going.
END OF FLASHBACK - RESUME PRESENT
(Sara smiles at Hannah.)
Sara: You like him.
Hannah West: He's on the basketball team. I'm twelve; I'm not allowed to like him, but ... I went anyway.
INSERT: FLASHBACK
[INT. AUDITORIUM - NIGHT]
(Hannah arrives and looks for Scott, who is dancing with Stacy. He waves to her.)
Scott Baird: Over here.
(She steps under the black light to reveal writing on the front of her dress: FLAT. Arrows point to her chest. Additional writing is on the bottom, "RAINBOW PARTY QUEEN.")
(Scott closes his eyes and turns away, feeling sorry for her.)
(Stacy and the other girls laugh at her, taking pictures of her.)
END OF FLASHBACK - RESUME PRESENT
Hannah West: The pictures were up on my space that night. I got a ton of e-mails.
Sara: You put sodium in the showerhead to get back at her?
Hannah West: (nods) A prank for a prank. I thought that there'd be a few sparks, that she'd freak out and that'd be it, but the nozzle exploded. Stacy ran ... and fell down the stairs ... and died.
(Sara watches her carefully.)
Hannah West: I tried to cover it up.
Sara: You miscalculated.
(Hannah lifts up her head.)
Hannah West: I guess I did.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - LAB -- DAY]
(Catherine is in the lab looking at the test results. Warrick walks up to her.)
Warrick: You rang?
Catherine: Got the DNA results on the blood from Hannah's sweater.
Warrick: Stacy.
Catherine: Hannah.
Warrick: So she fabricated evidence, and put her own blood on the shirt.
Catherine: Maybe, maybe not. The soil on the shirt was consistent with the dumpsite. Hannah could've been at the scene.
INSERT: FLASHBACK
[EXT. FOOTBALL FIELD - NIGHT]
(Hannah buries the body and cuts herself.)
Catherine: (V.O.) She could have cut herself burying the body.
(She wipes the dirt and blood on her shirt.)
END OF FLASHBACK - RESUME PRESENT
Warrick: Or she could have gone back to the field at any time within the last four months and rubbed her shirt in the same kind of dirt.
Catherine: And counted on us to make the match? Well, that's just plain scary smart. I mean, my daughter's a few years older than her, and the most important thing on her mind right now is how much belly button to show off at the mall.
(Warrick chuckles.)
Catherine: Never thought I'd be grateful for that.
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
[EXT. WEST RESIDENCE -- DAY]
LEGEND:
44 HOURS TO TRIAL
(The CSI SUV pulls up to the curb and parks out front of the house.)
[INT. WEST RESIDENCE - LIVING ROOM -- DAY]
(Photos and trophies grace the countertop. Sofia Curtis interviews Sally and Jim West.)
Sally West: You have to understand. My child's not capable of m*rder.
Sofia Curtis: I assume you mean Hannah.
Sally West: Of course.
Sofia Curtis: Well, Marlon's your child, too.
Jim West: Marlon's from my wife's first marriage.
Sally West: He's more like his father.
(Off screen, we hear the door open. Nick and Sara enter the house. They turn and head for the bedrooms.)
[INT. WEST RESIDENCE - MARLON'S BEDROOM - DAY - CONTINUOUS]
Nick: This is Marlon's room.
Sara: No kidding.
Nick: It's pretty much the way I left it. The bleached clothes were in the hamper.
(He points to the hamper on the side.)
Nick: But the real action ... was in here.
(He pushes the bathroom door open.)
[INT. WEST RESIDENCE - MARLON'S BATHROOM - DAY - CONTINUOUS]
(Sara and Nick enter the bathroom. Sara notes the second door to Hannah's bedroom.)
Sara: Shared bathroom. Very Brady.
Nick: Pulled Stacy's hairs out of the sink trap the first through. And I found some burn marks around the bathtub drain. pH tested positive for sodium hydroxide, so ... I figured Marlon probably did a test run.
(Nick looks over at the stool with Hannah's name on it.)
[INT. WEST RESIDENCE - HANNAH'S BEDROOM - DAY - CONTINUOUS]
(Sara enters Hannah's bedroom. There's a poster of Albert Einstein on the wall, a neat desk with laptop on it and a printer nearby.)
(In the corner of the room, there's a music stand with an open music book and a chair with a violin on it.)
(Sara looks at the binders on the shelf for AP COMPUTER SCIENCE, AP US HISTORY, AP GOVERNMENT COMPARISON, AP CALCULUS B, and AP FRENCH.)
(Sara puts on some gloves. Nick enters the room.)
Nick: The scope of the warrant only covered Marlon's room and other common areas of the house. I popped my head in here. Nothing in plain sight at the time.
(Sara notes the box of blue latex gloves. She finds a folded posterboard next to the dresser. She opens it. It's for a science fair project on the QUALITATIVE COMPARISON OF SODIUM AND LEAD-COOLED FAST REACTORS REGARDING EFFICIENCY, ECONOMY, AND SAFETY.)
Sara: Was this here before?
Nick: It wasn't in plain sight. I didn't check it.
(Sara notes the blue ribbon on the posterboard.)
Sara: Looks like Hannah won the science fair with a project about sodium.
(Nick looks around the room.)
CUT TO:
[INT. WEST RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Sofia Curtis continues to interview Sally and Jim West.)
Sally West: Hannah's just trying to help Marlon.
Sofia Curtis: So they're close?
Jim West: No, not really. Sometimes I think if they didn't share a bathroom, they wouldn't see each other at all.
Sofia Curtis: What do you mean?
Sally West: They're on different academic tracks. Never take any of the same classes, and travel in completely different social circles.
Sofia Curtis: From what we understand, Hannah doesn't really have a social circle.
Sally West: (shrugs) The other students bore her. Hannah spends most of her time with her teachers.
Sofia Curtis: And Marlon?
(Sally shrugs.)
Jim West: I guess ... I guess he spends most of his time alone.
CUT TO:
[INT. WEST RESIDENCE - HANNAH'S BEDROOM - DAY - CONTINUOUS]
(Nick snaps photos of a paperback book: CARRIE, by Stephen King. He picks up the book. Right under it is a hard cover, West's FEDERAL PRACTICE DIGEST 4th. Nick looks at paperback.)
(Sara looks at Hannah's closet with an ALS.)
(She finds the pink dress with the writing on it. She holds it up and reads it.)
Sara: "Rainbow party"?!
Nick: Yeah, it's a party game where boys get the girls to wear different colored lipsticks while they have oral sex. Boy with the most colors wins. Supposed to be trendy.
Sara: So much for "Spin the Bottle."
Nick: Carrie. "Weird high school girl gets humiliated at the prom, only to exact her revenge." Hannah wanted us to find this.
Sara: Maybe. Question is: did she read the book before ... or after the m*rder?
[INT. WEST RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Sofia continues her conversation with Hannah's parents.)
Jim West: We had Hannah's IQ tested when she was eight. It's 177.
Sofia Curtis: She really is one in a million.
Jim West: Hannah's special.
Sally West: She's an indigo child.
Sofia Curtis: Indigo child?
Sally West: A new breed. Hannah doesn't just see the world, she sees through it, through people, with an intuition none of us can comprehend. She's compelled to help others, whether they're worth helping or not.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - EVENING]
[INT. CSI - LAB -- DAY]
LEGEND:
32 HOURS TO TRIAL
(Nick hangs up the shower curtain and looks at the large bloodstain on it. He turns around and looks at the print card for:
WEST, HANNAH
SSN: 715-237-5412
(He picks up the print card with the unknown prints from the shower curtain. He turns and looks at the shower curtain.)
(Catherine walks in.)
Catherine: Ah, the shower curtain the vic was wrapped in.
Nick: Yeah, I had Mandy run the unknowns from the original case against Hannah's prints. She got a match.
Catherine: Okay. But Hannah uses those showers after gym class.
Nick: This curtain was used in the handicapped shower. Why would she do that?
Catherine: Probably hiding her body. She's twelve. She hasn't reached puberty. Undeveloped teen girls are very self-conscious.
Nick: Mm-hmm. Four ... fingers, closely spaced. Grabbing, maybe.
Catherine: Could be from Hannah dragging Stacy's body.
INSERT: FLASHBACK
[EXT. FOOTBALL FIELD - NIGHT]
(Hannah grabs the shower curtain and pulls Stacy's body across the field.)
END OF FLASHBACK - RESUME PRESENT
Nick: Hannah weighed 65 pounds. Stacy about a hundred. d*ad weight.
Catherine: Plastic slides on grass. It makes it easier. It's certainly possible.
Nick: DA's not going to like the sound of that.
CUT TO:
[EXT. HIGH SCHOOL (STOCK) - DAY]
[INT. HIGH SCHOOL - CLASSROOM -- DAY]
(Sara talks with Mr. Estrin, the science teacher.)
Mr. Estrin: Sodium demonstration is always a real crowd pleaser.
(Sara chuckles.)
Mr. Estrin: It's ended up in a senior prank more than once. I keep it over here, under lock and key, but, unfortunately, the lab's always getting broken into.
(Sara leans forward and notes the broken lock and cracked glass.)
Mr. Estrin: It's certainly possible Marlon got the sodium from here.
INSERT: FLASHBACK
(During a science experiment, Marlon stands in front.)
Mr. Estrin: Everyone have their goggles on?
(SLOW MOTION. He drops the sodium into the water.)
END OF FLASHBACK - RESUME PRESENT
Mr. Estrin: Which is precisely what I told the cops four months ago.
(Sara notes the box of blue gloves.)
Sara: You need gloves to handle elemental sodium.
Mr. Estrin: Of course. It burns skin. We keep it in kerosene to s*ab it.
Sara: Do you think it's possible that Hannah could have stolen it?
Mr. Estrin: Hannah would never do that.
Sara: I'm just wondering if it's possible. She obviously has access to this room.
Mr. Estrin: Ms. Sidle ... I've had my share of good students over the years, but Hannah ... sometimes, right in the middle of a lecture, I'll catch her staring at some little thing in the yard -- a tree, a squirrel ... and all I can think about is how much I wish I could see it the way she does. If Hannah came up and asked me for a chunk of sodium, I'd give it to her, just to see what she would do with it.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Warrick and Catherine, both in coveralls, walk up to the car in the garage.)
Warrick: The victim's car originally impounded ... in front of Scott Baird's house. Traces of blood and soil consistent with the crime were found in the front seat. Now, if Hannah's the k*ller, she had to drive this car.
(Catherine opens the driver's door and looks inside.)
Catherine: Well, it's got adjustable seats, tilt and telescoping steering wheel -- It's certainly possible.
(Warrick looks in through the back seat. He notes the blood smear on the carpet.)
Warrick: Soil and blood on the carpet. That was in the report.
(He reaches in and flips over the underside of the material covering the car seat. He finds a drop of blood.
Warrick: Hmm. But this wasn't.
(Warrick gets out and removes the driver's seat from the car. Catherine closes the door as Warrick flips the seat over onto the nearby table.)
Warrick: Okay, what do we got?
(Catherine finds a fingerprint in the blood on the material under the chair.)
Catherine: I'd say the k*ller moved the seat.
Warrick: Yeah.
INSERT: FLASHBACK
[INT. CAR - NIGHT]
(Hannah reaches under the chair to move the seat forward. Camera zooms in as she leaves a bloodied fingerprint on the material under the seat.)
END OF FLASHBACK RESUME PRESENT
[INT. CSI - PRINT LAB - NIGHT]
LEGEND:
23 HOURS TO TRIAL
(The print is being run through AFIS.)
(Nick waits as Mandy Webster runs the print.)
Mandy Webster: Twelve-year-old k*ller, huh?
Nick: Starting to look that way, yeah.
Mandy Webster: I bet that grand theft auto had something to do with it.
Nick: Mm, I don't know. I don't think Hannah's really the video-game type.
Mandy Webster: Never know. Between you and me, I actually think it's a ton of fun.
(She finds a match to SCOTT BAIRD.)
Mandy Webster: Print is a match to a Scott Baird. Isn't that the victim's boyfriend?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Sofia Curtis interviews Scott Baird with his father, Mr. Baird, sitting next to him.)
Mr. Baird: Two people confessed to the m*rder, and now you're accusing my son?
Sofia Curtis: Kids do stupid things. Marlon covers for Hannah, Hannah covers for Scott.
Scott Baird: Dad ...
Mr. Baird: (interrupts) Don't say a word.
Sofia Curtis: DNA confirmed your fingerprint in Stacy's car, in Stacy's blood.
Mr. Baird: Scott loved Stacy. We all did. And when whoever k*lled her parked her car in my driveway to frame my son, I understood why you had to talk to him. But this? That's it. We're leaving. Come on, Scott.
Sofia Curtis: This is the only chance you're going to get. If you walk out that door, you're under arrest.
Mr. Baird: I want a lawyer.
Scott Baird: I want to talk.
Mr. Baird: Scott.
Scott Baird: Without my dad.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- NIGHT]
LEGEND:
19 HOURS TO TRIAL
(In the interview room, Mr. Baird puts up a fuss before leaving.)
Mr. Baird: This is ridiculous.
(DA Jeffrey Sinclair, Nick and Sara are in the observation room watching the interview room.)
DA Jeffrey Sinclair: I asked you guys to rule out one suspect, now we have three.
Nick: If he's willing to talk, I'd say, we caught a break.
Sara: The father's going to sue.
DA Jeffrey Sinclair: Oh, I'd put money on that.
(In the interview room, Scott Baird talks with Sofia Curtis.)
Sofia Curtis: Okay, Scott. You said you wanted to talk. Let's talk.
Scott Baird: This doesn't get back to our families, all right? My dad's a deacon, and Stacy's dad is, too. They'll never understand.
Sofia Curtis: They won't hear anything from me.
Scott Baird: I was pressuring Stacy to have sex. She kept resisting. It was that stupid virginity pledge that she had taken at the high school. I told her that I loved her, and that nothing should get in the way of that.
Sofia Curtis: I take it that convinced her.
Scott Baird: (nods) Yeah.
INSERT: FLASHBACK
[INT. CAR (PARKED) - NIGHT]
(Scott and Stacy are kissing.)
Stacy Vollmer: I mean, really? You really do?
Scott Baird: Yeah. I love you. I love you with all of my heart.
END OF FLASHBACK - RESUME TO PRESENT
Scott Baird: There was a little blood. Not a lot, but ... after, she ... she started feeling guilty, so I went back into the front of the car and I tossed the condom. And ... then I ... wiped my fingers under the seat.
(In the observation room, Nick takes out his phone and makes a call.)
Hodges: (over phone) Hello?
Nick: (to phone) Hodges, Stokes. Listen, there's a bloody fingerprint in the back freezer from Stacy Vollmer's car. Pull it and test it for spermicides and lubricants. (Sara nods.) We need it quickly, all right?
Hodges: (from phone) I'm on it.
(Nick hangs up.)
Sara: If it tests positive, it will clear him.
DA Jeffrey Sinclair: Yeah. Which means we're down to Malcolm and Hannah. Right back where we started.
(Sara rolls her eyes as she looks at Sinclair, then at Nick.)
Scott Baird: Stacy said that she was afraid that God would punish her for having sex. I told her that was crazy. Guess I was wrong.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY TO TRACE LAB -- DAY]
(Sara talks with Nick.)
Sara: Archie is not getting much off of Hannah's computer. Most of her files are encrypted aes-256. It's going to be nearly impossible to crack.
Nick: What do you mean by "most"?
Sara: Well, it's not much, but apparently Hannah had IP access to the laser printer in the high school library.
Nick: Same one that printed the "out of order" signs for the shower.
Sara: If she printed those signs, it shows intent.
Nick: Mm-hmm.
(They enter the Trace Lab where Hodges reports his findings.)
Hodges: Ah, teen lust. Starts with some chemistry, and then you mess around with some biology, and once you have some experience "under your belt," then you introduce the physics.
(Hodges shows Nick and Sara the test results.)
Hodges: Apparently, chivalry is not d*ad: The bloody fingerprint tested positive for nonoxynol spermicide.
Nick: So much for the boyfriend.
Sara: If we can't pin this on Hannah or Marlon, they could both walk.
Hodges: You could flip a coin.
Nick: I have a better idea.
CUT TO:
[EXT. HIGH SCHOOL (STOCK) - DAY]
(The school bell rings.)
[INT. HIGH SCHOOL - HALLWAY -- DAY]
(Nick and Sara walk through the hallway.)
Sara: I bet you really liked high school.
Nick: Yeah, playing football, chasing girls, books when I wanted to learn something -- What's not to like?
[INT. LOCKER ROOM - DAY - CONTINUOUS]
(They meet up with Warrick and Darcy. Darcy's barely paying attention to them as she listens to her iPod.)
Warrick: Hey, guys.
Nick: Hey.
Warrick: This is Darcy, my wife Tina's niece.
Sara: Hi, Darcy.
Nick: Yeah. You were right; she's about Hannah's size.
Warrick: More or less.
Darcy: Stop talking about me. (Warrick reaches out and pulls the earplugs from her ears.) Hey, that's the best part!
(They turn into the showers.)
Warrick: That's what the pause button's for. It's time to work; it's child labor day.
(They stop in front of the showers.)
Nick: Okay. Crime started right here.
INSERT: FLASHBACK
(Stacy turns the shower on. The showerhead explodes.)
END OF FLASHBACK - RESUME TO PRESENT
(Warrick looks at Darcy.)
Warrick: Think you could reach that?
(Darcy reaches up and tries to reach the showerhead. She can't.)
Warrick: It's kind of hard to sabotage a showerhead you can't touch.
Nick: Depends on what's behind the curtain.
(Nick pushes the curtain aside and finds a stool.)
Nick: A stool. Just like the one in Hannah's bathroom. Try this.
(Nick sets the stool down under the showerhead. Darcy steps on the stool and reaches for the showerhead.)
INSERT: FLASHBACK
(Hannah removes the showerhead and adds the sodium to it.)
Sara: (V.O.) Hannah had access to the chem lab, and she knew how to handle sodium ...
(Cut to: Hannah hides as Stacy enters the shower. She turns the shower on. The shower explodes; Stacy screams.)
(Stacy grabs the shower curtain. Hannah hides as Stacy runs through the locker room.)
Sara: (V.O.) Stacy would not have known what h*t her. Or where she was going.
WHITE FLASH TO:
(Stacy runs out into the hallway. She trips on the edge of the shower curtain and falls down the steps. She hits the concrete, a pool of blood under her head.)
(The image of Stacy Vollmer on the ground dissolves out.)
Sara: Stacy landed here and bled out from the trauma to her skull.
Nick: Darcy, why don't you put those headphones back on?
Darcy: Like I didn't hear what you guys just said?
Sara: Hannah could have done this.
Nick: Maybe. But the next part, that was the toughest.
CUT TO:
[EXT. FOOTBALL FIELD -- DAY]
(Darcy grunts as she pulls the shower curtain with the body weight inside.)
(Darcy grunts.)
Darcy: It's too heavy!
Warrick: Come on, you're almost there! It's building character!
Sara: It's slow going, but you're doing it.
Nick: Yeah, so far.
(Darcy's halfway across the track when she lets go.)
Nick: (to Darcy) That's okay. Look, even if she makes it to the grass, you think she could've pulled the body the entire length of the football field?
(They walk out onto the center field.)
Nick: There were scratches on the shower curtain -- the body was dragged at least part of the way.
Sara: There's no way Hannah pulled it the entire distance.
Nick: Not by herself. They did it together.
(They pause a moment to think about it.)
Darcy: So ... did I help the d*ad girl?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - HALLWAY -- DAY]
LEGEND:
10 HOURS TO TRIAL
(Nick and Sara walk through the hallway.)
Nick: If Marlon and Hannah worked this crime together, then they're probably still working as a team.
Sara: It's all part of the plan: He confesses, then she confesses. Muddy the waters enough, they both get off on reasonable doubt.
Nick: Mm-hmm. Well, if we can't get one to implicate the other, we're screwed.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
(Nick talks with Marlon West in the presence of the child advocate.)
Marlon West: I don't get it. What's wrong with you people? You want me to confess? Again? Fine, I will.
Nick: Marlon, you need to confirm that you're willing to talk to me without a parent or lawyer present, just a child advocate.
Marlon West: I already said that was okay. I k*lled Stacy; what else do I have to tell you?
(Nick sits down.)
Nick: Well, the truth works for me. I like the truth.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
(Hannah West talks with Sara.)
Hannah West: Look, I don't need a lawyer, and I don't need my parents. I just want to do what's right.
Sara: Hannah, taking the blame for something you didn't do may be noble, but it doesn't make it right.
Hannah West: That's deep. Okay. It happened like this: Stacy humiliated me, I wanted revenge.
Sara: Yeah, and you knew that there was no way you were ever going to get it by yourself.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
(Nick continues his interview with Marlon.)
Nick: You moved the body, you buried it ...
Marlon West: I know I did; I was there. What's the problem?
Nick: Well, the problem is what happened in the locker room. I mean, you're not the kind of guy who puts sodium in a showerhead to get back at somebody. You just trip them in the hallway.
Marlon West: So you think I'm too stupid to have done it. Great, join the club.
Nick: I don't think you're stupid, Marlon; I didn't say you were stupid. But this is Hannah's game. The whole way.
Marlon West: (shakes his head) Uh-uh. I broke into the chem lab. I stole the sodium. Me. All by myself.
Nick: It takes skills to handle a chemical like that properly. And, quite frankly, man, you just don't have the skills.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
(Sara continues her interview with Hannah.)
Sara: Your prank went bad, and Stacy ended up d*ad.
Hannah West: That's what I said.
Sara: Marlon helped you bury her.
Hannah West: No. Why won't you believe me?
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
Marlon West: Stay away from Hannah. She had nothing to do with this.
Nick: No, no, she had everything to do with this. You two were working together from the beginning.
Marlon West: Just leave her alone.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
Sara: Marlon helped you move the body.
Hannah West: He didn't!
Sara: You expect me to believe that a little girl like you lugged a hundred pounds of d*ad weight the length of a football field by yourself?
Hannah West: No, of course not, that's why I had to use the cart.
Sara: What cart?
Hannah West: The electric cart. The one the landscapers were using. It was just sitting there, right outside the door.
CUT TO:
[INT. CSI -- A/V LAB - DAY]
(Warrick is digitally going through the various crime scene photos while on the phone with Sara.)
Warrick: (to phone) Wait a minute. I got something. Let me clean up this image.
(In the background, he sees the cart.)
Warrick: (to phone) I see a cart, Sara.
INSERT: FLASHBACK
(Hannah drives the cart across the football field with the body in the back.)
END OF FLASHBACK - RESUME TO PRESENT
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM - DAY]
(Sara is in the hallway and on the phone.)
Sara: (to phone) So Hannah could be telling the truth.
Warrick: (from phone) It's enough for reasonable doubt.
Sara: (to phone) Great. Thanks, Warrick.
Warrick: (from phone) Yeah.
(Sara turns and looks at Hannah sitting inside the interview room.)
CUT TO:
[INT. CSI - OFFICE -- DAY]
(Nick meets with DA Jeffrey Sinclair and Conrad Ecklie.)
Nick: The evidence says either one of them could have done it, but I think they were in it together.
DA Jeffrey Sinclair: Okay, I'll proceed against Marlon for the m*rder and bring charges against Hannah for conspiracy.
Conrad Ecklie: Another trial? You sure you want to go through all this again?
(Sara walks into the room.)
DA Jeffrey Sinclair: Stacy's parents and the community will have my ass if I don't.
Sara: Well, then maybe this is good news. I was just going over Sofia's notes from the original investigation. The night of the m*rder, Hannah and Marlon's parents had left them alone in the house. A pizza was delivered to the residence around 9:00 P.M.
Nick: That's right around Stacy's TOD.
DA Jeffrey Sinclair: So, did anybody talk to the delivery guy?
Sara: Yes, and at the point that Sofia did, a month had passed. Now, the delivery guy's at the house all the time. He recognized photos of both kids, but he could not be sure which one answered the door that night.
Nick: But one of them did answer the door. (Sara nods.) So that means they were not together at the time Stacy was k*lled.
Conrad Ecklie: Yeah. So much for conspiracy. We're right back where we started.
DA Jeffrey Sinclair: Where we are is in the crapper. Look, I have to disclose the cart. Defense is going to eat me alive.
Nick: Marlon's your guy. He's your guy -- just because Hannah wasn't there doesn't mean she didn't help plan this.
DA Jeffrey Sinclair: Well, I sure hope it's Marlon, because he's the one we have on trial.
Nick: I stand by the case we filed.
Conrad Ecklie: I agree. The girl's just trying to protect him.
(There's a pause.)
DA Jeffrey Sinclair: Sara?
Sara: (shakes her head) This was more about brains than brawn. I think Hannah did it.
(Nick shakes his head.)
Conrad Ecklie: Two out of three.
DA Jeffrey Sinclair: In my world, that's called an acquittal.
CUT TO:
[EXT. COURTROOM BUILDING (STOCK) - DAY]
[INT. COURTROOM - DAY]
(The trial resumes.)
DA Jeffrey Sinclair: High school. Even if you're popular, or a jock, or a brain ... it can be hell. Everybody here remembers what it was like ... what it was really like. Now take a look at Marlon West. Take a good, hard look. Not popular ...
[INT. CSI - LAB - DAY]
(Nick puts the evidence bags back into the storage box.)
DA Jeffrey Sinclair: (V.O.) ... not a jock ... not a brain.
(He stops and looks at a photo of Stacy Vollmer.)
DA Jeffrey Sinclair: (V.O.) Now imagine what it must be like to be Marlon West day after day after day in the sociological pressure cooker of high school.
(Nick picks up the folded clothes on the table and continues to put them back in the evidence bags.)
DA Jeffrey Sinclair: (V.O.) This imposing, struggling outsider like Marlon resenting someone like Stacy Vollmer, who made it look so easy to be popular, athletic and smart.
(Nick seals the evidence bag and removes the gloves from his hands.)
(He takes a red seal and seals the evidence bag.)
DA Jeffrey Sinclair: (V.O.) That strong resentment was already festering when Stacy made Marlon's sister the object of a typical high school prank.
(He initials and dates the seal: NS 3/29.)
DA Jeffrey Sinclair: (V.O.) And that is when Marlon, his resentment ...
[INT. COURTROOM - DAY - CONTINUOUS]
DA Jeffrey Sinclair: ... boiling over, crossed a line: He stalked Stacy. You've seen and heard evidence illustrating the elaborate pains he took to rig a showerhead to t*rture Stacy,
INSERT: FLASHBACK
[INT. SCIENCE CLASSROOM]
(Marlon wears goggles as he watches the sodium experiment.)
(Cut to: Stacy Vollmer, wrapped in the plastic shower curtain, runs out of the locker room and into the hallway.)
DA Jeffrey Sinclair: (V.O.) ... how he forced her to run and fall, ...
(Cut to: Stacy turns and falls down the steps.)
END OF FLASHBACK - RESUME TO PRESENT
DA Jeffrey Sinclair: ... and watched her die in a pool of her own blood. You know, for the first time in his life, Marlon feels like a hero. He's not invisible anymore. He's a k*ller ... and he is guilty beyond all reasonable doubt.
Carol Allred: "Reasonable doubt." You know, I'm not surprised to hear the prosecution say those words, because its case offers nothing but reasonable doubt.
[INT. CSI - LAYOUT ROOM - DAY]
(Sara logs in Hannah's bloody shirt as evidence. She signs the form.)
Carol Allred: (V.O.) Access to sodium?! Marlon couldn't find sodium on a periodic table of the elements, let alone a locked supply closet.
(Sara puts the pen down and walks around the table full of evidence bags.)
Carol Allred: (V.O.) Access to library printers? Do you really think a kid like Marlon spends any time in a library?
(Sara picks up the print cards off the table.)
Carol Allred: (V.O.) The showerhead. Yes, Marlon's tall enough.
(Sara picks up the print card with the unknown prints from the shower curtain.)
Carol Allred: (V.O.) He could reach it, but he still would have had to have handled a volatile chemical with expert safety precautions in order to orchestrate an expl*si*n.
(She looks at the photos of Hannah's science project board and of the blue gloves found in her room.)
[INT. COURTROOM - DAY - CONTINUOUS]
(The closing remarks continue.)
Carol Allred: I mean, ladies and gentlemen, do you know how to do that? I don't know how to do that. Right? You'd have to be ... a genius.
(She turns and looks at Hannah.)
Carol Allred: Marlon? Not a genius. You know, one of the underpinnings of our justice system is that it is better to send a hundred guilty men free than to imprison even one who's innocent. Marlon West is an innocent man.
[INT. CSI - BREAK ROOM - DAY]
(Nick and Sara sit in the break room.)
Carol Allred: (V.O.) Reasonable doubt compels you to find him not guilty.
(Nick's phone vibrates.)
(The message reads: NEW TEXT MESSAGE.)
(Sara's phone rings.)
(The message reads: NEW TEXT MESSAGE.)
(Nick checks his message: JURY'S IN.)
[INT. COURTROOM - DAY]
(The foreperson hands the note to the bailiff to takes it to Judge Crawford. Judge Crawford takes the note.)
Judge Crawford: Thank you.
(He looks at it. Nick and Sara are seated in the courtroom.)
Bailiff: Defendant shall rise.
(Carol Allred and Marlon West stand.)
Judge Crawford: Madam Foreman, what is the jury's verdict?
Foreman: On the sole count of m*rder in the first degree, we, the jury, find the defendant, Marlon West ... not guilty.
(Carol turns and hugs Marlon. Hannah smiles.)
(Mrs. Vollmer cries in her husband's arms. Nick shakes his head.)
Judge Crawford: So noted. Court orders the defendant released from custody. Ladies and gentlemen of the jury, thank you for your service. Court is adjourned.
(Judge Crawford bangs the gavel.)
(Hannah quickly pushes the gate open and hugs Marlon tightly around his waist.)
(Marlon barely reacts.)
(Nick and Sara watch him as he puts a hand around Hannah.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Jim West and Marlon West sign the release forms.)
Jim West: Can you sign this as well?
(Out in the hallway, Sally West waits with Hannah. Sara turns the corner and walks up to them.)
Sarah: Hey, there.
Hannah West: Did you come to say bye?
Sara: No. Actually, you and I are going to be seeing a lot of each other. If you thought the DA wouldn't prosecute a twelve-year-old for m*rder, you were wrong. He wants justice for Stacy and her family.
Hannah West: Of course. He's a totally linear thinker. Most of you guys are.
Sally West: Shame on you, Ms. Sidle. Come on, Hannah. You don't need to listen to this.
Hannah West: Mom, just give us a second.
(Sally steps away and joins Jim and Marlon at the counter.)
Hannah West: You were saying?
(Sara looks around and walks over to the hallway seats.)
Sara: Here.
(She sits down and looks eye-to-eye with Hannah still standing in front of her. She sighs.)
Sara: Hannah, with your gifts, you could've done anything you wanted, and you picked m*rder. You can't take that back.
Hannah West: You're worried how I'm going turn out.
Sara: Of course I am. I know it seems like a really long time, but ... in five years, the Stacies of the world would've been behind you.
Hannah West: Let me guess. You were a smart kid in school. Maybe you feel we're a little bit alike.
Sara: There aren't many people like you.
Hannah West: That's what my parents always say, too. The last four months, all they cared about was the effect of the trial on me ... not Marlon. It's been that way ever since I was 14 months old and started spelling words with plastic letters. It's so unfair, and nobody ever sees it. He doesn't deserve to go to jail. If I get convicted, what's the worst-case scenario? I mean, I'll be out in five years with an undergraduate degree. There's no "Son of Sam" law in Nevada -- that was ruled unconstitutional -- so I'm free to write a book about all this. (Sara shakes her head.) The story'll be worth millions. Freaks are always good box office.
Sara: You're not a freak.
Hannah West: (chuckles) When's the last time you had to sit down to be eye-level with a m*rder suspect who was standing up?
Sara: Hannah, you are smart.
Hannah West: So I've been told.
Sara: But you're not smart enough to get away with m*rder.
Hannah West: I think I am. A lot of people are smart enough to get away with m*rder. You probably are, too. But you have to be really smart to make people think things happened that never did.
Sara: What do you mean, exactly?
Hannah West: Please don't worry about me. I'm going to be fine.
(Hannah leans in close and whispers to Sara.)
Hannah West: (smugly) I didn't k*ll Stacy. Marlon did.
(Hannah turns and walks down the hallway, leaving Sara stunned.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x18 - The Unusual Suspect"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. STREET OUTSIDE THE SIXTH SENSE OCCULT SHOP - NIGHT]
(Sirens wail in the distance. There's low to medium traffic on the street - a car parks and people get out. People walk on the sidewalk on both sides of the street.)
(Camera focuses on the neon sign on the occult shop's window - a neon eye on a neon yellow triangle in the center of the shop name: SIXTH SENSE.)
(We slowly push in toward the sign, through the center of the eye's pupil as we enter through the window and into the ...
[INT. THE SIXTH SENSE OCCULT SHOP - NIGHT -- CONTINUOUS]
(The shop is dimly lit with lamps and low lighting. We push further into the shop past a shelf with skulls and a crystal ball on a stand.)
CUE Voices:
(Sounds of conversation filter from the back room. We move completely through the crystal ball and past the shelves of different colored bottles filed with various items.)
Sedona Wiley: (o.s.) Focus all your intention on the crystal for your highest truth.
(We pass hanging baskets with a sign that reads "CHICKEN FEET", across the countertop with various colored bottlesand a wall with various photos as we move to the back of the shop.)
[INT. SIXTH SENSE - BACK ROOM - NIGHT - CONTINUOUS]
Sedona Wiley: (o.s.) What is your first question?
(We continue past a cabinet and stop in front of the entryway to the back room. The voices are clearer.)
Lori: I want to know if he loves me.
FLASH TO:
[CRYSTAL BALL]
(We see the reflection of two women in the glass.)
Sedona Wiley: I see red.
(Sedona Wiley sits across a small table from two young women - the same two women from 1X22: Evaluation Day.)
Sedona Wiley: That can be passion. The connection between you is very strong.
(Lori smiles, pleased with the answer. Anna Leah watches Sedona skeptically. Sedona takes a breath and closes her eyes.)
Sedona Wiley: I see blood. There's danger around you.
Lori: Well, my parents do hate him.
Sedona Wiley: I'm getting a name Ray. Ray. And a letter "B."
(She opens her eyes.)
Sedona Wiley: Uh, when, when we put the name Ray with the letter "B," does anything come up for you?
Anna Leah: We don't know anyone named Ray. And my boyfriend's name is Stuart.
(Sedona looks at the clear marble in her hands.)
Sedona Wiley: There's something else -- "R." Ro-ro ... rode, rode, rodeo. Is he connected to a rodeo? Is he taking you to a rodeo?
Lori: I don't think so.
(Sedona appears upset, as if she's doing this reluctantly.)
Sedona Wiley: I'm getting another image. Um ... an arm. It's a one-armed cactus, but it's not in the ground. And then it's cold.
(She opens her eyes and looks at them.)
Sedona Wiley: I don't usually tell people when I see bad things, but the danger is so strong I can feel it.
(Spooked, Anna Leah gets to her feet.)
Anna Leah: Okay, this is stupid. You're scaring us.
(Concerned, Lori gets to her feet. Sedona grabs her hands.)
Sedona Wiley: Don't ... go.
(Anna Leah grabs Lori and the two head for the door.)
Anna Leah: Come on.
Sedona Wiley: Don't!
(Anna Leah and Lori leave.)
CUT TO:
[EXT. STREET OUTSIDE SIXTH SENSE - NIGHT - CONTINUOUS]
(The doorbell jingles as Anna Leah and Lori leave the shop. They head across the street. As soon as Anna Leah steps off the curb, a car stops, tires screeching.)
(She whacks the car hood with the palm of her hand.)
Anna Leah: Jerk!
[DRIVER POV]
(Anna Leah and Lori continue walking down the street in front of the car, their images blurring.)
CUT TO:
[EXT. STREET OUTSIDE SIXTH SENSE - NIGHT]
(The area is crowded with officer cars, lights flashing. Grissom exits the SUV and joins Brass.)
Brass: Say hello to Anna Leah and Lori. You may remember them. A few years ago they stole a car and found a severed head in the trunk.
Grissom: How could I forget that?
Brass: Well, now they found a d*ad psychic, Sedona Wiley, in the occult shop.
Lori: She said there was danger all around us. I mean, we almost got h*t by a car right here, and then she's d*ad.
Grissom: Wait, I'm confused. You left and then you came back?
Lori: Yeah. I forgot my sunglasses. Two hundred bucks.
Brass: This officer will take you downtown to take your statement, okay?
(Anna Leah rolls her eyes.)
FLASH TO:
[INT. SIXTH SENSE - NIGHT - CONTINUOUS]
(Sedona Wiley is d*ad, faced-up on the floor, her arms away from her body.)
(Grissom enters the shop. Photo flashes snap as someone takes pictures of the body. The entire room is trashed.)
Grissom: Greg?
(Crouched near the body alongside David Phillips, Greg looks up at Grissom. Greg stands up.)
Greg: Hey.
Grissom: I thought I paged Warrick on this.
(Grissom puts his kit down.)
Greg: Yeah, about that, uh, we traded days.
(Grissom shines his flashlight on Greg.)
Grissom: Because?
(Greg puts a hand up to block the light.)
Greg: Well, uh, it's a long story, but the short answer is I have an expertise in the occult.
Grissom: Huh. Hello, David. What do you know?
(Grissom heads toward them. Sedona's body is located near the backroom entryway.)
David Phillips: g*n to the chest. Liver temp is 98 degrees which is odd unless she's running a fever. It means I can't give you an accurate TOD. Sorry.
(Greg continues taking photos. David rolls the body over.)
David Phillips: b*llet was a through-and-through. Based on lividity, the body wasn't moved.
Grissom: What's in the back room?
Greg: A small office. Probably where she did the readings. There's, uh, incense, pendulum, jar of marbles. They're used for divining. It's hipper than the old crystal ball.
Grissom: Where did you say your expertise comes from?
Greg: Oh, my grandmother, Nana Olaf. She was a psychic. She didn't have a store. She just had a kitchen table and she prognosticated for free. She had a sixth sense. And the family thinks that I might have inherited it.
Grissom: Okay. What am I thinking?
Greg: That I'm due for a promotion?
Grissom: I'm thinking you should focus on your other five senses.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. SIXTH SENSE - DAY]
(Greg snaps photos of blood drops on a skeleton-decorated stool. He turns and snaps more photos of the broken jars and bottles on the shelves and countertops. He finds more blood drops.)
Greg: (puzzled) Got some blood drops over here.
Grissom: Connected to the blood pool?
Greg: No.
(Grissom snaps a photo of the floor near evidence marker B.)
Greg: Maybe the k*ller cut himself?
(Quick flash of: Someone swings his arm, knocking the jars and bottles off the countertop. Blood drops fall on the surface. End of flash. Resume to present.)
(Greg puts his camera down and digs into his pocket for a swab.)
Greg: I'll swab it.
(then)
Greg: You ever been to a psychic?
Grissom: Would it surprise you if I had?
Greg: Yeah.
Grissom: Surprise. So go ahead and run it for me.
(Greg looks around and points to the cash register.)
Greg: Sure. Uh, cash register's empty, which could mean robbery gone bad.
(He turns to the b*llet hole in the wall.)
Greg: The sh*t was a through-and-through. b*llet went into this wall. Haven't extracted it yet. sh*t was fired along this line.
(Greg places his back to the wall, aligning himself in line with the b*llet trajectory.)
(Quick flash to: The k*ller stands in the same position, raises a g*n and fires. The b*llet heads straight for Sedona Wiley.)
(We hear her grunt as the b*llet hits flesh.)
(End of flash. Resume to present.)
(Greg straightens.)
Greg: Which puts the sh**t on the far side of the body.
(Grissom looks around at the damage to the shop.)
Grissom: Well, if it was a robbery, why'd they trash the place?
Greg: Well, I can think of two reasons: One, the sh**t was on drugs and did it just to do it. Or there wasn't enough money in the register and he decided to look for more.
Grissom: Go on.
(Grissom heads for the back room.)
[INT. SIXTH SENSE - BACK ROOM - DAY -- CONTINUOUS]
(Grissom pushes the hanging bead divider and looks in the room as he listens to Greg talk.)
Greg: (o.s.) Well, uh, he figured that the victim must have had a purse or a safe somewhere ...
(Grissom steps into the room and looks around.)
Greg: (o.s.) and terrorizing her is one way to get her to give it up.
(Grissom picks up a book on the counter nearby. There's a five-point star in a circle on cover. The book is labeled "DEATH". He puts the book down and notices Sedona's purse on the counter. He looks through the purse and takes out her wallet. He opens it, sees the driver's ID, credit cards and cash inside.)
NEVADA DRIVER LICENSE
EXPIRES: 09-21-2006
SEX: M
HEIGHT: 5'5"
WEIGHT: 114
EYES: BRN
HAIR: GRN
WILEY, SEDONA
32 POINT VIEW
LAS VEGAS, NV 89101
Grissom: They didn't take her purse.
(Greg snaps more photos. Grissom finds a tape recorder. He turns it on and rewinds it a little.
Sedona Wiley: (from tape) I'm getting a name: Ray. Ray. And a letter "B."
Um, when, when we put the name Ray with the letter "B," does anything come up for you?
(Greg enters the back room and listens to the tape. He looks down on the table and sees a pair of sunglasses.)
Anna Leah: (from tape) We don't know anyone named Ray, and my boyfriend's name is Stuart.
(Greg picks up the sunglasses and looks at Grissom.)
Greg: Ray Bans -- "Ray B."
Sedona Wiley: (from tape) There's something else. "R," ro, rode. Rodeo. Is it connected to a rodeo? Is he taking you to a rodeo?
Lori: (from tape) I don't think so.
(Greg steps out of the back room.)
Sedona Wiley: (from tape) I'm gettin another image, an arm.
(He looks out the window.)
Sedona Wiley: (from tape) A one-armed cactus, ...
(And sees a one-armed cactus sign on the building across the street.)
Sedona Wiley: (from tape) ... but it's not in the ground. And then it's cold ...
(Greg looks down at the broken glass on the floor. Something catches his eye. He kneels down and the partially covered label on the broken glass reads: RHODE--. The other partially-covered label on the broken glass reads: LAEO--.)
Sedona Wiley: (from tape) I usually tell people when I see bad things, but the danger ...
(Greg looks at the labels ... then up at the partially covered one-armed cactus sign on the building across the street.
Greg: Grissom?
Sedona Wiley: (from tape) ... is so strong, I ...
(Grissom appears in the doorway, pushing the hanging beads to the side.)
Greg: (points) Take a look out there. What do you see?
(Grissom looks at the sign.)
Greg: A one-armed cactus. And take a look at these labels. "Rhode ... eo."
They spell rodeo.
Grissom: Power of suggestion, Greg.
(Greg stands up.)
Greg: I think that the victim saw images of the crime scene. Grissom, I think she foresaw her own death.
(Grissom smiles slightly, then closes the hanging beads.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins is standing next to the body on the autopsy table when Grissom enters.)
Robbins: Before you ask, no, I did not find her third eye.
Grissom: What did you find?
Robbins: Center-mass sh*t front to back. Large caliber b*llet. Clipped her aorta. COD was exsanguination. She bled out.
Grissom: David said she was running hot.
Robbins: There's no signs of infection but I did find trace amounts of a white powder in her nasal cavities and lungs. Possibly cocaine-induced hyperthermia. I ordered a full drug panel and sent a sample to Hodges. It could be a hallucinogen. In some native cultures, shamans use peyote to call forth visions.
Grissom: Al, when someone sells love potions and magic spells, the only visions they see are dollar signs.
CUT TO:
[INT. SIXTH SENSE OCCULT SHOP -- DAY]
(Greg prints the cash register. He finds some prints and tapes them. He puts the tape on the others on the counter.)
(He looks in the cash register and finds some gold-colored flecks. He takes a tape sample of the flecks.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Grissom and Warrick are moving through the hallway. Grissom is holding a file folder.)
Grissom: Five right 44, consistent with a Smith & Wesson, but no hits in IBIS.
Warrick: Whew, somebody used some heavy a*tillery on that psychic.
Grissom: And remind me again why you didn't show up at the crime scene?
Warrick: 'Cause your former lab boy begged me for it. He offered to take my next holiday on-call. I thought he was nuts, but I wasn't going to pass him up. To be honest with you, Grissom, my wife's having a hard time with my schedule. She's spending a lot of time alone. I didn't think it would be that big of a deal.
Grissom: Well, you should have cleared it with me. And by the way, you're still on the case.
(Grissom hands the file folder to Warrick.)
Warrick: All right.
(Grissom and Warrick enter the Print Lab.)
[INT. CSI - PRINT LAB - DAY - CONTINUOUS]
(Mandy Webster reports her findings to Grissom and Warrick.)
Mandy Webster: I paged Greg. I don't know where he is.
Grissom: That's okay, 'cause Warrick is now backing him up.
Warrick: What do you got?
Mandy Webster: There's too many prints and there's too many hits. I need some help. Can you talk to Ecklie, please?
Grissom: I'll do what I can. What about the cash register?
Mandy Webster: I ran those per Greg ... per you. All the prints belonged to the victim except for two. Both of which were a match to a Reese Bingham. His work card's in the system.
(She points to the monitor which reads:
REESE BINGHAM
AGE: 22 HEIGHT: 5'9"
WEIGHT: 139 LBS EYES: BROWN
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN DOB: SEPT 7, 1984
LAST KNOWN ADDRESS:
30382 DESERT WAY
LAS VEGAS, NV 89109
CURRENT OCCUPATION:
2004 - PRESENT: BASMATI RESTAURANT
DELIVERY BOY/SERVER
Warrick: Okay, I'm on it.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Warrick and Brass interview Reese Bingham.)
Brass: The state has a law that m*rder committed during the commission of a felony buys you the death penalty. Do you understand that?
Reese Bingham: This has to be a mistake. I don't even eat meat. Or cheese. I won't even hire an exterminator.
Warrick: Your prints were found at the crime scene.
Reese Bingham: I haven't been to any crime scenes.
Brass: You been to any occult shops lately?
Reese Bingham: Yeah, I work next door to one.
Warrick: You want to explain to me why your prints were found on the cash register?
Reese Bingham: The owner's my friend. Did something happen to her?
Brass: You don't know that she's d*ad?
(He sighs, saddened.)
Reese Bingham: No.
Warrick: She was k*lled and then robbed, and your prints are on her cash register.
Reese Bingham: Okay, yeah, wait ... I can explain that.
Brass: Start explaining.
Reese Bingham: I work at a vegetarian restaurant. We make these soy burgers. Sedona was hooked on them. So, you know, she'd order, I'd deliver.
Brass: So you're a soy-burger-making, vegetarian delivery boy, hmm?
Reese Bingham: Look, she's always busy doing a reading or whipping up some kind of potion. She told me to take the money out of the drawer.
Brass: Give yourself a tip?
Reese Bingham: Soy burger and fries was $6.95 plus tax. I'd take a ten.
Warrick: You delivered to her last night?
Reese Bingham: (shakes his head) No.
Brass: Was it your day off?
Reese Bingham: Like most nights, I work until six and then I like ... to go to the Stripperama.
Brass: I thought you didn't like meat?
(He chuckles unsure.)
Warrick: Is there anyone who can confirm that?
Reese Bingham: Well, yeah.
Warrick: She got a name?
Reese Bingham: Girls aren't allowed to tell you their real names, but I call her Star 'cause she has these ... blue stars tattooed on her hips. And it kind of looks like a meteor shower when she dances.
Warrick: Would you stand up, please.
(Reese stands up slowly, unsure.)
Reese Bingham: I can go?
Warrick: No. You can strip down to your skivvies.
Reese Bingham: Excuse me?
Brass: You want some music?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Packey Jameson waits out in the hallway. Brass exits the room and sees him.)
Det. Packey Jameson: Hey, Jim.
Brass: Packey.
(They shake hands.)
Brass: What are you doing here? Aren't you retired?
Det. Packey Jameson: Well, I'm here on business.
(They turn and head down the hallway toward Brass' office.)
Brass: Business? I thought your only business was playing golf.
Det. Packey Jameson: (chuckles) Any leads on your d*ad psychic?
(They stop in front of Brass' office door. Packey Jameson reaches for the doorknob and opens the door.)
Brass: Why? What's the interest? You looking to make a bet?
Packey Jameson: I knew the victim. A few weeks ago I went to see her about the Wallace case.
Brass: So you're still hunting the white whale, huh?
(They enter Brass' office.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY - CONTINUOUS]
Packey Jameson: Fifteen years, no arrests. (The door closes behind him.)
Still burns me he used to be one of us. I really wanted to catch Wallace before I retired.
Brass: So you talked to a psychic.
(Brass sits behind his desk. Packey remains standing.)
Packey Jameson: Jim, she told me things that she couldn't possibly know about this case. She also told me that Claire Wallace was m*rder by her husband and he buried the body in Summerlin.
Brass: Too bad she didn't give you an address.
(Brass chuckles. Packey watches him, not pleased at being laughed at. He turns to leave. Brass stops him.)
Packey Jameson: Forget it.
Brass: No, hey, come on, Packey. Come on, come on. Sit down. Sit down.
(Packey sits down.)
Packey Jameson: Look, Jim, I interrogated him at least a dozen times. And I never got a rise from the smug bastard until the last time -- until I repeated what this psychic told me.
Brass: So you think Wallace k*lled her because ...
Packey Jameson: He was afraid she'd eventually lead me to the body. I even scheduled another reading with her, but ...
Brass: Did he know her?
(Packey shakes his head, no.)
Brass: Did you tell him her name?
Packey Jameson: Of course not.
Brass: Well, if he didn't know who she was ...
Packey Jameson: All right, all right. At least do me the courtesy of running Gordon Wallace's prints against any prints found at the crime scene.
(Packey stands up.)
Packey Jameson: Check the case file. The last interrogation tape's still in there. You'll see.
(He turns and leaves the office. Brass watches him go. He takes a moment and thinks about it, then reaches for the phone and dials.)
Brass: (to phone) Gil, I need a favor.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. STRIPPERAMA -- NIGHT]
(The Stripperama is packed and busy. Girls in high heels and skimpy outfits dance on stage as men sit around with bills in their hands.)
(Warrick talks with the manager.)
Manager: Most of my girls have tats.
Warrick: He said they were shaped like stars.
Manager: What color?
Warrick: Blue.
Manager: That'd be Tammy.
(He indicates the blonde talking with someone at the bar.)
Manager: She's at the bar. Help yourself.
(The manager leaves.)
Warrick: Thanks.
(Greg walks in and joins Warrick.)
Greg: Hey.
Warrick: Greg, what are you doing here?
Greg: Oh, Grissom said you're backing me up. Can't back me up if I'm not here.
Warrick: The next time you screw me up with Grissom, I'm going to back you up right off a cliff.
Greg: (saunters) Oh, come on, Rick, ain't no thing. We're working the case. Flash the badge, no cover charge. (He stops in front of the stage and watches the girl dancing.) Get to see the ladies.
Warrick: Let's go.
(Warrick and Greg head over to the bar to talk with Tammy. She has blue stars tattooed on her hip.)
Warrick: You must be Tammy.
(She smiles at him.)
Tammy: Yes.
Warrick: Is there a quiet place where we could talk?
(The man talking with Tammy at the bar glares at Warrick and Greg before walking away.)
Tammy: You got the dime, I got the time.
Greg: Unfortunately, the Crime Lab doesn't have a budget for that. Greg Sanders, Warrick Brown. Las Vegas Crime Lab.
Tammy: Well, we get the bottom of the barrel around this place. Who's in trouble now?
(Warrick shows Tammy Reese Bingham's photo.)
Warrick: He is. Have you seen him?
Tammy: He comes in all the time. Smells like nasty pickles.
Warrick: Was he here last night?
Tammy: Yeah. Let's see, I go on around seven. He was in the front row waiting. Hung around all night. Then he waited in the parking lot to say good-bye.
Greg: So he was stalking you?
Tammy: (chuckles) No, nothing like that. He's harmless. (to Greg) Like you, sweetie.
(She looks at Greg and kisses the air. Warrick smiles.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom stands at the table with CLAIRE WALLACE'S file box as he puts the file folder aside. He opens the box and goes through the photos. He looks at the photo of Claire Wallace, smiling and holding a black dog in her arms.)
(Grissom sits down and looks over the file folder.)
(He picks up a second photo of Gordon Wallace in uniform, holding Claire Wallace. Both are looking at the camera.)
(Grissom sets the photo aside and picks up a third photo of the front seat inside a car. There's a pink sweater on the passenger seat.)
(He looks through all the photos and puts them down on the desk.)
(He flips through the file and looks at the MISSING PERSON report:
Date of report: 6-15-91 Time: 0952
Name: Wallace, Claire
Race: Caucasian Sex: F
Birthdate: 3-29-66
Driver's License Number: T5616624 State: NV
Social Security: 121-5---
License Plate: 079 HVA State: NV Year: 91
Year of Vehicle: 1990 Make: Honda Type: Accor
Claire Wallace was reported missing by her sister
Emily, on June 15, 1991, M.P.'s vehicle located in McCarran
parking lot B by airport police. Vehicle impounded. No
signs of v*olence in vehicle. M.P.'s sweater postive (sic)
---band. Husband claims wife left him for another man.
Arresting Officer: Packey Jameson
ID No. 7204
(Catherine walks in.)
Catherine: Hey, Gil, if you're swamped, I can always cancel my vacation plans.
Grissom: We've got it covered.
Catherine: Good, 'cause I really wasn't that serious. What are you working on?
Grissom: A favor for Brass.
(She picks up the Claire Wallace photo on the desk.)
Catherine: Oh, the Wallace case. Yeah, I wanted on this way back when. But I was the new kid, and my supervisor wouldn't let me do it. I probably would have solved it, too. Is there a new lead?
Grissom: I'm not sure yet.
Catherine: I heard Jameson dug thirty holes in the desert looking for her body?
Grissom: Thirty-seven actually.
Catherine: That's dedication. (b*at) Or obsession. You know, my sister lived near the Wallaces out in Henderson. Their fights were legendary. I was at a barbecue one time, I heard them screaming at each other from three blocks away. Made me and Eddie seem like amateurs.
(Grissom picks up a photo off the desk and heads out the office door with Catherine.)
Grissom: Where are you and Lindsay going this year?
Catherine: Disneyland. With the parents.
Grissom: Quality time with Dad?
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(They walk through the hallway.)
Catherine: Oh, yeah. And Sam wanted to take us on the Tangiers jet but my mother refused. Said it wasn't the tradition. So now we're driving. Yeah, that'll be a hell of a road trip.
(Catherine continues down the hallway as Grissom stops in front of the Print Lab.)
Grissom: Have fun. Say 'hi' to Sam.
Catherine: (o.s.) Will do.
(Grissom enters the Print Lab.)
[INT. CSI - PRINT LAB - NIGHT -- CONTINUOUS]
(The computer beeps periodically as Mandy continues working on the prints.)
Mandy Webster: Still working on those prints from the occult shop. Thank you for talking to Ecklie. He sent me some help.
Grissom: Good. I have one more for you.
(Grissom hands her a print card for GORDON WALLACE, SSN 399-81-9789.)
Mandy Webster: This is LVPD. It's not going to be in the AFIS criminal database. I'm going to have to do a manual comparison. It's going to take longer. Is he a suspect?
Grissom: He's a person of interest.
(Grissom turns and leaves.)
CUT TO:
[INT. CSI - TRACE -- NIGHT]
(The label on the evidence bag reads:
ARTICLE: TRACE EXHIBIT NO. 28
DATE FOUND, LOCATED OR DEVELOPED: 04/12/06
WHERE THIS ARTICLE WAS FOUND: VIC'S NOSE
INVESTIGATION OFFICER: GREG SANDERS
(Henry Andrews takes a swab of the evidence bag. He takes some chloroform and adds it to the sample.)
(Various dissolves as Henry continues to process the sample. He puts the sample in the machine.)
TIME CUT TO:
(The results print out just as Greg walks into the lab.)
Greg: Hey, Henry, what's up?
Henry Andrews: My job can get a little mundane sometimes ... not today.
Greg: I'll second that and raise you a stripper.
Henry Andrews: Okay, sure ... anyway, the powder on your victim's nose and lungs is atropine. It's used to dilate pupils, control bladder problems and it can be fatal in large doses.
Greg: Atropine comes from a plant, right?
Henry Andrews: Belladonna. Also known as 'deadly nightshade.' Most people don't know it grows wild throughout the southwest.
(Quick flashback to: A broken bottle with the label, BELLADONNA. End of flashback. Resume scene.)
Greg: The psychic had that in her shop. Can you tell from the blood work whether she absorbed enough for it to be lethal?
Henry Andrews: Levels were fairly low. No other drugs detected. So, no. But if she hadn't been sh*t, it would have made her sick.
Greg: What about hyperthermia?
Henry Andrews: Definitely. Why?
Greg: The vic's temperature was elevated. Belladonna would help explain it.
(Greg turns and sees Wendy walk past the lab.)
Greg: Later.
(He rushes out of the lab to catch up with her.)
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(Greg and Wendy are on the move through the hallway.)
Wendy Simms: Hey, I'm on a break. I'll see you in twenty.
Greg: Vending machine's on me if you give me your results first.
Wendy Simms: No, make it dinner.
Greg: Me and you?
Wendy Simms: Me, you and my friend Julie.
Greg: Okay, but I get to sit in the middle.
Wendy Simms: Deal.
(They enter the break room.)
[INT. CSI - BREAK ROOM - NIGHT - CONTINUOUS]
(Wendy opens the refrigerator door and gets a plastic container out.)
Wendy Simms: So the isolated blood drops from behind the register are not a match to your vic. In fact, they are male.
(She shuts the refrigerator door. She sits down.)
Greg: Really? Can I have the file?
(She shakes her dinner.)
Wendy Simms: Later. So, Mandy says that you have a suspect. The guy have any cuts?
Greg: Warrick didn't find any, and the suspect had an alibi. But I think you just broke the case.
Wendy Simms: How'd I do that?
Greg: Well, one of the broken jars at the store contained belladonna, which is a poison. The vic only inhaled it, but if the k*ller had an open wound, he not only inhaled it ...
Wendy Simms: It went directly into his bloodstream.
(Quick flash to: Someone knocks the bottles off the shelves. A cloud of white dust rises around the person as they inhale. End of flash. Resume scene.)
Greg: (perks up) I need to check the hospitals.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. HOSPITAL - HALLWAY -- NIGHT]
(Detective Sam Vega and Greg head for the hospital room.)
Sam Vega: Got to hand it to you, Sanders -- nice call. They brought the guy in after he ran his car up onto a median, right behind the Las Vegas sign.
Greg: That's like ten blocks from the crime scene.
Sam Vega: Yeah. Name's Damon Mitchell. Showed symptoms of narcotics withdrawal. According to the police report, he ran his car off the road up onto the median. No damage to the car, no injuries. But he's apparently hyped up on something.
(They enter the hospital room where a physician is attending to Damon Mitchell.)
Sam Vega: What do you got, doc?
Dr. Franks: Well, the lab just confirmed his blood is positive for atropine. So I'm starting him on an IV drip of physostigmine.
Greg: You swab that wound on his hand yet?
Dr. Franks: Right when he came in.
Greg: Swab's still around?
Dr. Franks: Saved it for you. It's in the biohazard bag.
(The doctor steps aside. Detective Vega steps forward.)
Sam Vega: Mr. Mitchell? I'm Detective Vega.
[MITCHELL'S POV]
(Detective Vega's voice is distorted and his face is blurry.)
Sam Vega: Mind if I ask you a few questions?
(Damon puts a hand up, tripped by what he sees.)
Damon Mitchell: Oh ... man. Your face is melting.
(Vega turns and looks at Greg. Greg shakes his head.)
Damon Mitchell: I think I'm going to puke.
Sam Vega: (to officer) Make sure you book him when he gets sober.
(Vega and Greg turn and leave.)
CUT TO:
[VIDEO TAPE]
(Packey Jameson interviews Gordon Wallace on tape.)
RESUME SCENE
(Brass looks over at Grissom as they watch the tape.)
Packey Jameson: (from tape) I got a psychic who can communicate with the d*ad. The FBI uses her to locate people. Your d*ad wife's been talking to her. Says her spirit is stuck in Summerlin. She can't cross over until the bastard who m*rder her is caught. Psychic says it's you.
(Grissom rewinds the tape.)
Grissom: Watch this again.
Packey Jameson: (from tape) Your d*ad wife's been talking to her. Says her spirit is stuck in Summerlin. She can't cross over until the bastard who m*rder her is caught.
(Close-up on Gordon Wallace's eyes. They pause the tape.)
Brass: Yeah, Packey, said he got a rise out of him.
Grissom: Right when he mentions Summerlin.
Brass: So, old Packey has been punching holes in the wrong part of the desert all these years, huh?
(Mandy knocks on the door.)
Mandy Webster: Sir?
Grissom: Yeah?
Mandy Webster: You said you wanted the print results as soon as I got them?
Grissom: Yes.
Mandy Webster: I tried to run Wallace's ten card, but the finger rolls were too sloppy. So I used the latents from the crime scene against the AFIS civil database, knowing he'd be in there, 'cause he used to be a cop.
Brass: Did you get a h*t?
Mandy Webster: Yeah, I got two. Uh, Wallace's prints were on the inside of the door handle.
Grissom: That places him at the scene.
Brass: Well, what do you know?
Grissom: Were the other ones Greg's?
Mandy Webster: No. They were another cop. A ... retired Detective Patrick Jameson.
Brass: Yeah, Packey said he went there to get a reading.
Mandy Webster: Yeah. Found a few on the table, then there were a few more on the broken jars that were found behind the counter.
Grissom: Why was he behind the counter?
Brass: Come on. Why would Packey want to k*ll Sedona?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - HALLWAY -- NIGHT]
(Grissom finds Greg walking in the hallway.)
Grissom: I need to talk to you.
Greg: You heard about the strip club?
Grissom: I hear about everything, Greg.
Greg: Then that ear surgery paid off. Our first lead didn't pan out, but I got a better one. Damon Mitchell crashed his black Chevy into a median only ten blocks from the occult shop, right around the time the psychic was k*lled. His prints match latents we found at the scene. He was hospitalized for what turned out to be belladonna poisoning. And get this -- he worked the National Finals Rodeo last year. Slam dunk. I'm meeting Vega at PD in twenty minutes.
Grissom: We have one more lead to follow up before we call this a slam dunk.
Greg: What lead? I don't think your sixth sense is working as well as you'd hoped.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(Brass talks with Packey Jameson.)
Packey Jameson: Are you accusing me of something?
Brass: Oh, come on, Packey, you know how this works. I'm just trying to put the pieces together.
Packey Jameson: I went to Sedona's shop for a consultation. I brought her Claire Wallace's sweater, from the car we found at the airport. And for your information, I signed it in and out of evidence, per chain of custody.
Brass: Okay ...
Packey Jameson: I also showed her a couple of photos. She did her thing; I paid her; I left.
Brass: So you were only in the back of the shop?
Packey Jameson: You've been there. You know you have to walk from the front to get to the back. Now, come on, Jim. You want ask me something? Don't be shy.
Brass: Somebody trashed the place, and we found your prints, on the pieces of broken glass.
Packey Jameson: And you think, what, I did it?
Brass: No, but I want to know what your prints are doing on those glass jars.
(He sighs.)
Packey Jameson: She had all these weird powders and fairy dust, and something called a gris-gris bag. Said she had her mojo working. Seemed sketchy. I figured she was dealing.
Brass: Oh ... I don't know, Packey, that's a stretch.
Packey Jameson: Come on, Jim. You know these hippy-dippy types. They love their drugs, so I questioned her. Got a lesson in alchemy. Have you ever seen a wolf's heart? (Brass shakes his head.) A dried bat? (no.) Well, I held
'em. Satisfied?
(Brass sighs.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Damon Mitchell drinks a cup of water. Detective Vega and Greg interview him.)
Damon Mitchell: Can I get some more water?
Sam Vega: We're all out. Mr. Mitchell, are you into psychics?
Damon Mitchell: No. I'm not ... I'm really thirsty. Doctor said push the fluids.
Sam Vega: We know that you went to an occult shop.
Greg: Yeah, you left your fingerprints and your blood at the location. And according to this tox report, you were most likely poisoned at the same place.
Damon Mitchell: Okay. I was there, but I didn't k*ll that little con artist bitch.
Sam Vega: Then why lie about it?
Damon Mitchell: 'Cause I didn't think you'd believe me. (He shows them the handcuffs.) I'm in enough trouble already.
Sam Vega: Give it a sh*t.
Damon Mitchell: My wife is a junky. She's a psychic junky. She spent our entire savings on consultations, tarot readings and other garbage. Thousands of dollars. I told her she had to quit seeing this woman. That was my mistake. The week after, Sedona starts having these visions of me cheating. You ever try to defend yourself against a psychic's vision?
Sam Vega: I bet that pissed you off. So you got revenge by ...
Damon Mitchell: I went down there to confront the bitch because she ruined my life. You want to know what she said to me?
(Quick flashback to: [INT. SIXTH SENSE OCCULT SHOP - DAY] Damon Mitchell talks with Sedona Wiley.)
Sedona Wiley: You want your wife back? That's going to cost you $5,000.
Damon Mitchell: What?!
Sedona Wiley: Cash. I will look into her future and I'll tell her that she takes you back, and you live happily ever after.
(End of flashback. Resume scene.)
Damon Mitchell: She tried to extort more money from me after she had already taken it all. I lost it.
(Quick flashback to:
Damon Mitchell: You think this is funny? Huh!
(Damon Mitchell trashes the shop, knocking the glass bottles off the counters, smashing them to the floor.)
(End of flashback. Resume scene.)
Sam Vega: Mr. Mitchell, do you own a g*n?
Damon Mitchell: No. Look, when I left there, she was alive.
Greg: What time was that?
Damon Mitchell: It was after nine, around ... closer to 9:30.
Sam Vega: Then where'd you go?
Damon Mitchell: Uh ... I went around the corner to the liquor store for some bourbon. But before I even opened it, I started to feel woozy. You know, then ... everything kind of went sideways.
CUT TO:
[INT. CSI - HALLWAY]
(Warrick and Greg move through the hallway.)
Warrick: The cops find the g*n or the stolen cash in the vehicle?
Greg: No. Only a full bottle of bourbon. But he could've ditched the g*n.
Warrick: Well, the victim took him for several grand. He's not ditching the money.
(Hodges turns the corner. He's wearing a suit.)
Warrick: Tight suit, baby.
Hotches: Actually, it's not. Um, I've only gained a couple of pounds, and I tend to gain ...
Warrick: No, I mean it, looks good on you.
Hodges: I see. Well ... Thank you, Warrick.
Greg: So, what's with the ghetto?
Hodges: I was with Conrad and the mayor at the City Council budget meeting, requesting more funds for you slackers.
Greg: So you probably didn't have any time to get some work done?
Hodges: Au contraire.
(He turns and motions them to follow him.)
Hodges: Multitasking is my forte. In fact, I shared your results with the City Council. (to Greg) Fine crime fighting, courtesy of your Trace Lab.
(They enter the Trace Lab.)
[INT. CSI - TRACE LAB - CONTINUOUS]
(Hodges goes over the results with them.)
Hodges: The gold flecks that you pulled from the cash register was iron pyrite, commonly known as 'fool's gold.'
Warrick: What was it doing in the cash register?
Hodges: It's also known as 'prosperity dust.' It could be for good luck.
Greg: Didn't work for Sedona Wiley.
CUT TO:
[EXT. LAS VEGAS SKYLINE (STOCK) - DAY]
[INT. CONCERT VENUE - BACKSTAGE -- DAY]
(Brass and Grissom walk up to Gordon Wallace standing in the center of the stage. Grissom is carrying a file folder. Gordon Wallace oversees the work going on around him. He turns around and sees them.)
Gordon Wallace: Jim Brass. Been a long time.
(They don't shake hands.)
Brass: How's it going, Gordon? This is Gil Grissom from the Crime Lab. So, Gordon, where were you the night before last between six-thirty and ten?
Gordon Wallace: Well, I'm working 24-7 for Joslynn Raines ... (He turns to point her out.) ... while she's in town, so I was here with my crew until ten. Raced over to the airport, picked up my brother. Flew in from Florida, landed around ten-thirty. Brought him back here for the last show.
Grissom: You ever been to the Sixth Sense Occult Shop?
(Gordon Wallace scoffs.)
Brass: What? That's funny?
Gordon Wallace: Nah, it's just, I ... I thought you were busting my chops for your boy, Jameson. Yeah, I was there, earlier this week. Joslynn wanted to buy a love potion. Despite her k*ller looks, the young lady is unlucky in the romance department. (off their looks) You don't believe me? Let's go ask her.
(He turns around and heads over to Joslynn Raines.)
Gordon Wallace: Hey, Joslynn can you spare a minute for the, uh, boys in blue?
(She turns around as Gordon sits down on a speaker and crosses his feet.)
Joslynn Raines: Friends of yours? Sure. Nice to meet you. Love your city. So you got a pen, or ... ?
(Puzzled, Grissom gives her his pen. She takes the pen ... and the file folder in his hand. She signs the folder for him.)
Brass: Um, Miss Raines, were you at the Sixth Sense Occult Shop earlier this week?
(She hands the signed file folder and pen back to Grissom.)
Joslynn Raines: Yeah. Gordie took me. I got a reading, picked up a few things.
Brass: Uh-huh. Did, uh, did Gordie go inside the shop with you?
Joslynn Raines: Mm-hmm. He goes where I go.
(Grissom notices the underside of Gordon's shoes. There's a piece of red glass stuck in the rubber.)
Joslynn Raines: I offered to pay to clear his aura, but he wasn't in to it. It's good for his soul.
(Gordon stands up.)
Gordon Wallace: Are we done? You're going to need to ... exit out the front.
SHORT TIME CUT TO:
(Brass and Grissom are making their way to the front.)
Brass: Maybe we can get a warrant and match the glass in Wallace's shoe to the glass we found at the scene, and then tie him to the m*rder.
Grissom: I don't know how. Glass breaks all the time. It's not a unique event. Plus, he admits to being in the shop, which accounts for his prints.
Brass: You know, maybe Packey was right -- maybe Wallace did k*ll that psychic.
Grissom: Well, he'd only k*ll her if he also k*lled his wife.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Packey Jameson opens the map on the table between him, Greg and Warrick.)
Packey Jameson: This is the map I've been working off of, and each of these red stickers represents a hole I dug based on different information.
(He points to the red dots on the map over and near SUNRISE MANOR.)
Packey Jameson: Now, most were around the house he owned in Sunrise Manor. These were near his, uh, brother's place, and a few near his sister's place. That's where they grew up, in Henderson.
Greg: So you never looked in Summerlin?
Packey Jameson: No reason to.
Warrick: Well, it says here, when Wallace was a cop, he worked the northwest substation, that includes Summerlin.
Packey Jameson: Yeah, but he hadn't been on the job that long, and Summerlin is out of his comfort zone and a long way from where they live. No, he ... he had better options closer to home.
Warrick: So, where would his parameters be?
Packey Jameson: Well, he'd pick a place where people don't normally go.
(Warrick looks at Gordon Wallace's work log.)
Warrick: Wallace worked northwest from January 1990 to August '92. He responded to like 20 crime scenes in Summerlin. If we just limit it down to the remote location ...
Packey Jameson: Yeah. Let me look at that.
(He looks at the list of calls:
Illegal Dumping
Susp. Person
Vandalism
Broken water pipe
Illegal dumping at abandoned septic t*nk
Disturbance
Susp. Persons
Abandoned property
Abandoned vehicle
Illegal Dumping
Illegal Dumping
Warrick: Summerlin's changed a lot over the last ten years.
Packey Jameson: Yeah, but there's two ...
(He looks back up the list.)
Packey Jameson: ... three, possibilities. I got an idea.
CUT TO:
[EXT. SUMMERLIN -- NIGHT]
(Various personnel are looking around the area. They each are pushing equipment to look at what's buried underground.)
(Grissom and Packey Jameson are standing behind an open SUV.)
Packey Jameson: Back in the day, squatters were always camping their RVs in this area. That's what brought Wallace up here. Illegal dumping of human waste on public lands.
(Warrick finds something.)
Warrick: Grissom! I've got something!
(He turns and looks at the monitor.)
Grissom: That's a metallic signature. This could be the abandoned septic t*nk.
Packey Jameson: Time to find out.
SHORT TIME CUT TO:
(Warrick, Greg and others are digging in the area. Packey watches from the side.)
(They find the septic t*nk lid and clear it.)
(Greg hooks the wires to the lid. Warrick hooks the wires together.)
Warrick: Clear!
(He activates the pulley and the lid is dragged off the septic t*nk.)
(Grissom and Packey Jameson turn on their flashlights and look inside. They find a wrapped body on the bottom.)
[INT. t*nk - NIGHT - CONTINUOUS]
(Greg goes down into the t*nk and unwraps the body. Sure enough, there's a skeleton. It's a grim find.)
Grissom: Mrs. Wallace, I presume.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. SUMMERLIN -- DAY]
(It's day. Grissom, Packey and other personnel are still out at the site. Grissom looks in the t*nk and sees something.)
Grissom: Hey, Greg. (Greg looks at him.) You missed some.
(Greg sighs and gets to his feet. He heads over to the t*nk.)
Greg: (mutters) Well, one more spider bite won't make a difference. But you, being the bug guy, would probably enjoy being bitten.
[INT. t*nk - DAY -- CONTINUOUS]
(Greg enters the t*nk. He sees the bone just under the dirt and picks it up. It's a small curved bone. He looks at it, then heads back up.)
(He hands the bone to Grissom.)
Greg: (o.s.) Could be rib.
(Grissom looks at the bone.)
Grissom: It's too small.
(Greg brushes the dirt away from more bones in the ground.)
Grissom: (to Packey) Did the Wallaces have a kid?
Packey Jameson: No. That was part of the marital discord.
Greg: Check this out.
(Greg hands a small skull and some spine to Grissom. Grissom looks at it.)
Grissom: Claire Wallace did have a dog.
Packey Jameson: Yeah. Yeah, I interviewed her sister. Said Claire had a little bulldog named, uh ... think it was Sneakers.
(Warrick stands up and snaps a photo of the bones.)
Packey Jameson: Took him everywhere with her.
(Warrick notice something.)
Warrick: What's this around the neck?
Grissom: It's a wire.
Packey Jameson: k*lled the dog. He had to k*ll the dog to make it look like Claire took Sneakers with her. Otherwise, nobody'd believe his story.
Greg: No collar or tags down here, but I found this ... whatever it is.
(Greg hands Warrick the metal contraption. It looks like a small brace with two tires.)
(Grissom looks at the item.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins and David Phillips stand around the table. David is holding a clipboard. Grissom walks in.)
Robbins: (to David) Really thin, high-bridge nose. All indicate caucasoid.
Grissom: Any chance at an ID?
Robbins: Well, so far, everything's consistent with Claire Wallace. Unfortunately, because she was in a metal box in the desert, DNA's not likely viable. I sent samples of the long bones to Wendy anyway, but I don't expect results.
Grissom: Dental records?
(Robbins picks up the skull.)
Robbins: (sighs) The, uh, k*ller knocked out most of her teeth. Roots are still in the bone. She was brutalized.
Grissom: Cause of death?
(He points to the holes in the skull.)
Robbins: I noted three separate and distinct fractures: One on the right side ... and two distinct fractures on the left side. We were able to identify the missing skull fragments, but when I tried to fit them back together, I couldn't. There was deformation of the bones. Pre- or peri-mortem, the human skull has an elastic quality, so when there's a fracture, the pieces will change shape. But post-mortem, the bone is brittle, and when it's fractured, the pieces retain their shape. It's not unlike breaking a vase or a bowl.
INSERT: CGI EFX:
(The pieces fit in perfectly in the hole in the skull.)
Robbins: (V.O.) The pieces all fit together like a jigsaw puzzle.
RESUME SCENE:
Robbins: So based on the fractures to her skull, it appears she was struck in the head three separate times, and since the pieces won't fit back together, blunt force trauma to her skull is your COD.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg and Warrick stand over the table with the dog bones on it.)
Greg: Did you know that there are approximately 280 bones in a dog's body?
Warrick: Yeah?
Greg: Well, the, uh, forensic vet should be here soon. Hopefully, he'll be able to determine whether this is a French Bulldog.
Warrick: I'm thinking this dog was an amputee.
Greg: Based on what?
(He picks up the metal contraption.)
Warrick: This contraption. Looks like the, uh, canine equivalent of a wheelchair. My grandmother had a neighbor whose dog was h*t by a car. The dog lived, but the doctor had to amputate the hind legs mid-femur.
(He picks up a bone.)
Warrick: This is the hind femur, or what's left of it. You see how it was cut?
(Greg takes the bone and looks at it under the magnifying glass.)
Warrick: You know, if Sneakers here was a handicapped dog, ID-ing it just became a whole lot easier.
CUT TO:
[INT. CSI - HALLWAY -DAY]
(Grissom and Brass talk as they walk through the hallway.)
Grissom: If we can ID the dog, it'd at least give us a compelling argument that the body found was Claire Wallace.
Brass: Yeah, but even with a cause of death of blunt force trauma, we still don't have enough to arrest him.
Grissom: So, we re-focus on Sedona Wiley?
Brass: Well, it's like a Chinese puzzle. She knew who Wallace was, but Wallace didn't know her.
Grissom: Greg's suspect, Damon Mitchell, claims that she tried to extort money from him.
Brass: So maybe she h*t up Wallace, too.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Archie is going through the phone logs.)
Archie Johnson: 702-555-0122 that's GW Security.
Brass: That's Wallace's company.
Archie Johnson: She called that number three times in the last week or so.
Brass: She was reaching out to him.
Archie Johnson: She called him again four days before she was m*rder.
Brass: Upping the ante, maybe.
(Quick flash to: [INT. SIXTH SENSE OCCULT SHOP - DAY] The doorbell jingles. Joslynn Raines and Gordon Wallace walk into the shop.)
Sedona Wiley: (to Joslynn) Hi.
(Sedona looks up and sees Gordon Wallace there. She doesn't appear pleased to see him.)
Grissom: (V.O.) Maybe he went there to intimidate her.
(End of flashback. Resume scene.)
Brass: So she was shaking him down when he went in the store to shake her up. You know, Wallace said it was the singer's idea to go in there, not his.
Grissom: Yeah, he also said he didn't m*rder his wife.
Brass: You know, the girls said something curious -- the two that found the body. I didn't think it was important at the time. When they left the store, a car almost ran them down.
(Quick flash to: [EXT. STREET OUTSIDE SIXTH SENSE OCCULT SHOP - NIGHT] A car speeds along the street just as Anna Leah and Lori are crossing. The car barely stops in time, tires screeching.)
Anna Leah: Jerk!
(Anna Leah hits the car with the palm of her hand.)
(End of flash. Resume.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Greg and Brass talk with Anna Leah and Lori.)
Greg: So, your hand made contact with the hood of the car?
Anna Leah: You bet it did. I was born in Manhattan.
Greg: Well, I'm going to need an impression of your palm and your fingerprints.
Anna Leah: If it helps nail the guy, sure.
(She holds out her right palm. Greg rolls black ink on it.)
Brass: Do you remember anything about the vehicle? Was it a car, a truck, SUV?
Lori: I think it was a car.
Brass: What color was it?
Lori: It was red. Stuck in my head after what the psychic said. Blood red.
CUT TO:
[EXT. CONCERT VENUE -- NIGHT]
(The parking lot is filled. Greg and Grissom are leaning over the hood of a red car. Greg dusts the hood and finds a palm print. He tapes the print.)
Greg: Voila.
(An officer escorts Gordon Wallace out of the venue and into the parking lot.)
(Greg does a visual comparison. Both he and Grissom are satisfied it's a match.)
(Gordon Wallace walks up to Packey Jameson.)
Gordon Wallace: You sad old man. Is this all you have to live for?
(Greg and Grissom join them.)
Greg: Palm print on the hood of the car appears to be a solid match to Anna Leah.
Gordon Wallace: Who's that?
Brass: She's a good witness who places your car outside the shop on the night of the m*rder.
Gordon Wallace: (shrugs) Maybe I was in the neighborhood. It's not a crime to drive around Vegas. I was only in that shop once, and I got my own witness. You got nothing.
Grissom: Our warrant also includes your shoes.
(Grissom holds up the warrant.)
Gordon Wallace: You like 'em? They're new. Threw the old ones away.
Grissom: May I take a look at your wallet, please?
Gordon Wallace: What for?
(Grissom holds up the warrant.)
Grissom: Because I can.
(Gordon Wallace takes out his wallet and gives it to Grissom. Grissom tucks the warrant in his jacket pocket and takes the wallet. He opens the wallet and pulls out some of the bills a little to look inside.)
(Gordon Wallace watches him smugly. Grissom turns on his flashlight and finds gold flecks on the bills.)
Grissom: You didn't make a purchase at that shop, did you?
Gordon Wallace: Already told you that.
Grissom: Gold flecks ... similar to the substance we found in Sedona Wiley's cash register.
INSERT FLASHBACK TO:
[INT. SIXTH SENSE OCCULT SHOP - NIGHT - FLASHBACK]
(Sedona gasps. Gordon Wallace steps forward, aims his g*n and fires. He takes the cash out of the register.)
END OF FLASHBACK - RESUME SCENE
Greg: You took the money to make it look like a robbery.
Packey Jameson: We got him.
Brass: You know, Packey, you've been waiting a long time for this. Why don't you take him down?
(Packey looks at Gordon Wallace.)
Packey Jameson: I couldn't get you for the m*rder of your wife, but you are now under arrest for the m*rder of Sedona Wiley.
(The officer handcuffs Wallace and leads him away. Packey smiles, satisfied.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Greg and Grissom sit at his desk and talk.)
Greg: You have to admit, it's, uh, pretty eerie -- Sedona's visions of her own death.
Grissom: Yeah. Maybe you should ask Nana Olaf to contact her, see how she's doing.
Greg: Yeah, I know you're a cynic. I just think that you can have beliefs and still be a scientist.
Grissom: I agree. The problems arise when people mistake their beliefs for the science.
(Greg nods. He looks pointedly at the book in Grissom's hand.)
Grissom: I've been reading her notebooks.
(Grissom opens the notebook and shows Greg the title: DEATH.)
Grissom: Take a look at this.
(Grissom opens to a page and shows it to Greg.)
The text reads:
I see that something is blocking ...
cannot move alone.
I am looking through an immense cloud ... a thick fog.
I sense discomfort, uneasiness in the path ahead.
He/she is in Summerland, but there is chaos and darkness surrounding him/her.
He/she is in Summerland, but she can't cross over yet.
Greg: (reading) "She is in Summerland ... but there is chaos and darkness surrounding her. She is in Summerland, but she can't cross over yet."
Grissom: Sedona said Claire Wallace was "In Summerland," not buried in Summerlin.
Greg: What's Summerland?
Grissom: Pagans believe it's a mystical place where souls go to rest before they reincarnate.
Greg: So Jameson heard Summerlin ...
Grissom: Because he was desperate to solve the case. Then when Wallace heard Summerlin ... he assumed Sedona was the real deal.
(Greg thinks about it and closes the book.)
Greg: The power of suggestion.
(Off Grissom's knowing look, we ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x19 - Spellbound"} | foreverdreaming |
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[EXT. CONVENTION CENTER DRIVE - NIGHT]
(Open on a concert poster-covered pole or palm tree. A kid carrying a backpack with a pink-colored canister tucked in it runs to the pole. He stops at the base and pauses to cover his mouth and nose with his black sweater, completely obscuring his face except for his eyes. He pulls down his black cap lower on his forehead.)
WHITE FLASH TO:
(The young man pauses and peers around the pole. Two other young people dressed similarly appear with him. They all peer around the pole to make sure the coast is clear.)
(They run quickly across the street. They each run to a poster-covered pole and start climbing the pole.)
POV: BARREL OF THE g*n
(Through the center of the g*n barrel, we see one of the young people climbing the pole.)
RESUME VIEW
(Fireworks burst in the night sky.)
(The young man climbing the pole nearly reaches the top. He climbs quickly.)
POV: BARREL OF THE g*n
(Through the center of the g*n barrel, we see the young man continuing to climb up the pole.)
(Quick CGI EFX: A g*n fires and the b*llet exits the barrel. The b*llet speeds up straight toward the climber.)
(The climber grunts upon impact.)
SMASH CUT TO:
[EXT. CONVENTION CENTER DRIVE - NIGHT]
(The body is hanging from the top of the pole. A light shines on the d*ad body dangling mid-air.)
(From the ground, Nick shines his flashlight up at the body. Grissom walks over to him. He stops and looks at Nick.)
Grissom: Feel like getting high?
Nick: Do I have to?
(Grissom nods. He turns and walks past Nick, who takes out his radio.)
Nick: (to radio) Hey, this is Stokes. I need a lift, Convention Center Drive.
Dispatch: (from radio) Copy that --
(Grissom and Nick head over to Brass, who is standing on the road nearby a second body.)
Brass: Looks like somebody had some late-night target practice. Three Boy Does. No IDs. Nobody saw anything.
(Grissom looks down at the body nearest him. There are b*llet shells on the road nearby.)
Grissom: Nine-millimeter shells all over the place.
Nick: That's a lot of racket. Somebody heard something.
Brass: Well, the only ones who did thought it was the fireworks show at the Wynn. Good luck.
(Brass turns and walks away. Grissom turns and walks over to the second body on the pavement. David is near the body with another forensics person. David peels open the victim's shirt to find a thin clock hanging from the front, a b*llet-sized hole hanging securely around his neck.)
(Grissom kneels down next to them. Nick looks over his shoulder.)
Grissom: What do you think? Time of death: 3:17 A.M.?
David Phillips: sh*t through a Flavor Flav clock. Haven't seen one of these since high school.
Nick: Old school's the new school.
(Right in front of him, Grissom picks up a stapler from off the pavement.)
(CAMERA ZOOMS in for an extreme close-up of the bloodstains at the tip of the stapler.)
(Grissom looks up at the poster-covered pole. At the top are posters for BANK NEW ALBUM APRIL.)
Nick: (to Grissom) So, what do you think? This has got to be a g*ng w*r, huh?
Grissom: Well, if it's a g*ng w*r ... (he looks at the stapler) ... these kids were g*n.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
WHITE FLASH IN:
[EXT. CONVENTION CENTER DRIVE - DAY]
(In the broad daylight, the body is still up on the pole, hanging upside down, dangling by his legs. In the background, we see two police cars parked in the center of the road to block traffic. Nick has put in pink rods in the b*llet holes at the top of the pole.)
(Nick is standing on the lift as he goes through the d*ad body's pockets.)
Nick: (shouts) No personal effects! No keys, no ID! Nothing!
(Down below, Warrick is standing near a body with his camera. He pauses and looks up at Nick.)
Nick: Either these kids were traveling light, or they were robbed blind.
Warrick: And who the hell would rob them up there? Andre the Giant?
(Warrick steps away from the body and walks over to the next body Robbins is examining.)
Warrick: Hey, Doc, is it just me, or did something crush his legs?
Robbins: Well, first off ...
(Robbins pulls the sweater away from the victim's face and shows that the BOY Doe is really a GIRL Doe.)
Robbins: ... looks like he is a she, and something crushed her legs.
(Warrick snaps photos of the body. He leans down and sees something just under the girl's leg. He snaps a photo of it and reaches down to pick it up. Robbins gets to his feet.)
(Warrick holds up the round circular tubing.)
Warrick: What do you think this is?
Robbins: That's your job.
Warrick: Yeah.
(Warrick puts the item down and stands up.)
Warrick: Well ... I did find casings in such a wide distribution ... and a lot of them were flattened, so it suggests to me that the k*ller was moving when he was sh**ting.
(Quick flash of: Tires screech. A car moves by quickly as b*ll*ts swish by amidst g*n.)
(A body falls to the ground. The car continues. A person is leaning out the car window as the car passes.)
(More g*n is heard. The car runs over the girl's legs. The heavy metal tubing falls to the ground.)
RESUME TO SCENE
Robbins: Drive-by?
Warrick: Yeah, with a h*t-and-run chaser.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - BALLISTICS LAB - DAY]
SCOPE VIEW: THE b*llet
(Under the scope, the b*llet turns around its side.)
RESUME VIEW
(Bobby Dawson is looking through the scope. He lifts his head as he thinks.)
(Nick enters the lab.)
Nick: What up, Country?
Bobby Dawson: So, the b*llet is practically smooth. I mean, no sharp-edged rifling marks.
Nick: Which means it was probably fired from a polygonal barrel. Did you run cartridge casings yet?
Bobby Dawson: Yeah, yeah, and got an IBIS h*t off of a f*ring pin impression. m*rder w*apon is an H&K MP-5.
Nick: That's a $2,500 firearm. That's not your typical street piece.
Bobby Dawson: Yeah. It's registered to LVPD.
Nick: Really?
Bobby Dawson: Yeah.
(Bobby turns to the computer, hits a key and a new screen with information appears:
{Right side: Photo of b*llet}
SPEER 9 mm LUGER
ID: 37283-2
{Left side: INFO}
LVPD FILE #: 05 11 17 6194-RC
NEVADA REVISED STATE: NRS 406.065 Property Burglarized
ITEM STOLEN: HGK MP-5
TIME/DATE OF INNCIDENT: NOVEMBER 11, 2005: 4:17 PM
SUSPECT INFO: --
MISCELLANEOUS: LOCAL REF # 4738-43
NOTE: w*apon stolen from SWAT vehicle during a drug raid on Vegas Valley and Sandhill. Contact LVPD immediately with any new leads.)
Bobby Dawson: Those babies are very popular with law enforcement, and that one is issued to SWAT ... and reported stolen during a drug raid on Vegas Valley and Sandhill ... six months ago.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges examines the rod Warrick found at the crime scene. He finds a number etched in it: 867252B--.)
(He scrapes a paint sample off the edge of the rod and looks at it under the scope.)
SHORT TIME CUT TO:
[INT. CSI - TRACE LAB - LATER]
(Warrick enters the lab.)
Warrick: Hodges, you getting anywhere with that steel rod we found?
(Hodges is looking at the monitor on the RED'S PRO-SERIES HYDRAULICS site, which reads:
2005-2006 HYDRAULIC SUSPENSION COMPONENTS ONLINE CATALOG
COILS HYDRAULIC KITS DUMPS
ALL PRICES ARE FOR RETAIL CUSTOMERS ONLY
PRICES SUBJECT TO CHANGE AT ANY TIME
<<<<CLICK ON CATEGORIES TO VIEW ITEMS
FOR WHOLESALE AND DISTRIBUTION INFO
CONTACT US AT 1-800-REDS-321
(He clicks to the rods listing.)
Hodges: Your steel rod is part of a custom hydraulic cylinder. Size and shape is a match for a brand called "Red's."
Warrick: Oh, this guy was driving a street hopper. Low-riders get little clearance ...
(Quick flash to: [ROAD] The car runs over the d*ad body's feet. It hits the legs and the rod falls off onto the road. End of flash. Resume to present.)
Warrick: I'm sure he was more busted up about his ride being damaged than the three kids he whacked.
Hodges: Hmm.
(Hodges walks around the table to pick up a file folder with the test results.)
Hodges: Also found paint traces on the rod. Color is Chesapeake Blue Pearl. It's from a Dupont line called "Brilliantz." Mostly used on show vehicles. Red's auto parts are individually serialized. Shouldn't be too hard to find out where it was sold.
Warrick: Cool.
Hodges: A'ight, G, so ...
(He holds up two fingers. Warrick turns and heads out.)
Warrick: Don't make me sh**t you.
CUT TO:
[INT. GARAGE -- DAY]
(Warrick and Nick walk and talk with the owner, Marcus. They walk past various cars in the garage. The place is busy.)
Marcus: Crime Scene Investigation. Hell, I love a bloody scene ... DNA and all that. Look, you give me a serial number, I can definitely figure out who bought it.
Nick: Yeah, yeah, here you go.
(Nick hands Marcus the slip of paper with the number on it.)
Marcus: A'ight.
(He looks at the number.)
Marcus: This is the old style cylinder. Give me a second.
(Marcus sits behind the computer and types the number into the AUTOMOTIVE RESTORATION CUSTOMER DATABASE. The screen pops up.)
ENTER SERIAL NUMBER: 62867252B
Owner: JEREMIAH CALVIN
ADDRESS: 59391 SANDHILL
CITY STATE: LAS VEGAS, NV
(He looks at the name, then hits DELETE.)
Marcus: Yeah, man, this, uh ... serial's not showing up.
Nick: You said "definitely."
Marcus: Yeah, but these old serial numbers sometimes get erased from the system. I mean, it's happened, you know?
Warrick: Sounds like the wrong name might've just popped up.
Marcus: No name popped up.
Warrick: What's the matter, man? You worried about having some hard times if you give your homey's name up?
Nick: I'll get a warrant. You don't mind taking a break for a while, sitting on the curb while we get some cops up in here.
Marcus: Look, man, I don't need that kind of a scene around here.
Warrick: How 'bout we do this? How 'bout you let us muscle you off your computer, and we can get the information ourselves? That way, if you're ever asked, you can say there was nothing you could do. You can let us do our jobs, and we'll be out of your hair.
(Marcus thinks about it.)
Marcus: I can live with that.
(Marcus gets up and walks away.)
Nick: Good man.
(Warrick types in the number and the screen for JEREMIAH CALVIN pops up on the monitor.)
Warrick: Jeremiah Calvin, 59391 Sandhill.
(Nick leans forward, his voice low so as not to be overheard.)
Nick: That's the same part of town where the SWAT cop lost his g*n.
CUT TO:
[EXT. LAS VEGAS - SANDHILL (STOCK) - DAY]
[EXT. ROAD -- DAY]
(Nick and Warrick wait in the SUV. They've been waiting a while.)
Nick: How long ago did I call for backup?
Warrick: About fifteen minutes.
(Nick sighs and picks up the radio to make the call again.)
Nick: (to radio) Dispatch, this is unit 3D7. We are 465 at 59391 Sandhill. ETA on that backup?
Dispatcher: (over radio) Unit 3D7 copy, ETA approximately five minutes.
(Nick and Warrick continue to sit outside the house they're watching.)
Nick: (to radio) Copy that. We'll sit tight.
(Just then, a car pulls up outside the house.)
Warrick: Hello. There's our gangster ride right there.
Nick: With a gangster in it.
Warrick: Yep.
(The car stops, but doesn't park. It jumps up and down, then takes off.)
Warrick: Look at that.
Nick: He saw us.
Warrick: I think I'll go get him now, man, before I lose that boy.
Nick: Go for it, go for it.
(Warrick starts the engine and follows the blue car.)
Nick: (to radio) Dispatch, this is unit 3D7. Suspect is on the move. It's a, uh, royal blue Chevy Impala northbound on Vegas Valley Drive. License 4-2-3-
Nora-Queen-John. Northbound.
Dispatch: (from radio) Copy that. I'll inform the backup.
(Warrick continues to follow the car. Nick looks around for street signs.)
Nick: Where are we now? Where are we now?
(The car turns; Warrick turns.)
Nick: (to radio) Dispatch, Westbound Hatteras. Westbound Hatteras. Suspect is now west on Crag Avenue.
Dispatch: (indiscernible response)
Nick: We're now southbound on Eastern.
Dispatch: (indiscernible response)
(The suspect's car turns the corner. Warrick turns and finds the car parked.)
Nick: Dispatch, uh, this is unit 3D7. Suspect has pulled into an alley on the 7700 block on Eastern. Requesting backup.
(The driver of the car leans to the right.)
Warrick: He's reaching for something.
(The driver gets out of the car, his hands in his pockets.)
Warrick: Hey, what are you doing?
Jeremiah Calvin: I told you little punk ... airport cops to stop riding me, man.
Warrick: Son, get back in the car.
(Jeremiah Calvin doesn't listen. He advances toward the car, his hands still in his pocket and voice rising.)
Jeremiah Calvin: You get out the car! All this old crime scene stuff followin' me, man.
(Nick gets out of the car.)
Jeremiah Calvin: Y'all think you're all cops? Y'all ain't cops.
(Nick takes out his g*n and points it at Jeremiah Calvin.)
Nick: That's right, we're not cops. We're mad scientists. (commands) Back away from the vehicle and let me see your hands right now.
Warrick: Dispatch, we got a code three.
Jeremiah Calvin: Hey, hold on, man, you calling for backup? Your backup or my backup?
(The tension level rises a notch higher. Warrick takes his sunglasses off.)
Warrick: Son, you trying to win the wet tee shirt contest? My partner here's a great sh*t.
Jeremiah Calvin: Yeah, you're real cute with that g*n, too.
Nick: I'm not going to tell you again.
Jeremiah Calvin: You know what, man? I've had so many damn g*n pointed at my face, I feel right at home looking at yours.
Nick: Let me see your hands.
Jeremiah Calvin: How you know I won't sh**t your man? Huh? How you know I ain't got something at my waist pointed at your man right now?
Warrick: Listen --
(Jeremiah Calvin steps closer to Warrick's door.)
Jeremiah Calvin: You know, hollow points'll go right through the door.
(Warrick reaches out through the open car window and grabs Jeremiah's jacket, pulling him forward and knocking his head against the door.)
(Nick rushes around the car to help subdue Jeremiah Calvin. Sirens blare in the distance and grow louder as the officer car arrives.)
Jeremiah Calvin: I got nothing on -
Warrick: You don't listen -
(There's some commotion as two officer cars arrive to assist.)
Nick: (to the officers) Whoa, whoa, hey, right here.
Warrick: You have a hard time listening, huh?
(The officers run out to help. They handcuff Jeremiah Calvin.)
Nick: Check him for w*apon, Mitch.
(Officer Mitch checks Jeremiah Calvin for a w*apon.)
Officer Mitch: It's cool. He's clean.
Warrick: He's clean?
Jeremiah Calvin: I don't need no g*n for you!
(The officers grab Jeremiah Calvin and lead him to the car.)
Officer Mitch: Stay down.
Nick: (to Warrick) Be cool. Cool. Just be cool.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Jeremiah Calvin is ranting to Brass.)
Jeremiah Calvin: I'm telling you, man, I'm ready to file a complaint right now. And that not-a-cop better be lucky I ain't suing his ass.
[INT. OBSERVATION ROOM - CONTINUOUS]
(Nick is watching the interview through the glass when Warrick walks in.)
Jeremiah Calvin: (through speaker) Maybe I will. Look, man, I wasn't even doing nothing.
Nick: (to Warrick) Hey. How'd things go with Ecklie?
Warrick: (sighs) Not good.
Jeremiah Calvin: I wasn't speeding ...
Nick: Don't worry. I'll talk to him.
Warrick: No, don't talk to him.
(They share a look and a nod.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY -- CONTINUOUS]
(Brass talks with Jeremiah Calvin.)
Brass: You want to tell me what your car was doing at the scene of a triple homicide two nights ago?
Jeremiah Calvin: Wait, hold up, h-hold up, man. Let's get this straight. I don't own a car. You can check the papers. That's my grandpa's ride.
Brass: So you borrowed it two nights ago?
Jeremiah Calvin: No, I didn't. I was working, man. I deejay over at O.G. If you don't believe me, you could ask Jeni, and Rocker Jules, and GG, and Lina, and Blaze and you know, I had my first five-some that night. And there wasn't no homicides goin' down. You could believe that.
Brass: I'm happy for you, man. So, what, are you pinning this rap on Grandpa?
Jeremiah Calvin: Yo, man, my grandpa was a gangster back in the day. You'd be surprised.
Brass: Yeah, I'm really not surprised by much anymore. We have a warrant to search your house ... and I bet I find a crime to go with every g*n.
Jeremiah Calvin: If I'd k*lled those kids ... you would never find a g*n.
CUT TO:
[EXT. CALVIN RESIDENCE - FRONT WALK/FRONT PORCH -- DAY]
(Detective Sam Vega, Catherine and a couple of uniforms head up the walk. Sam Vega knocks on the door.)
Det. Sam Vega: Las Vegas Police. We have a warrant to search the premises.
Man: (through door) Come on in.
(Sam Vega looks at the officers and nods. He steps aside as the officer reaches over and opens the door.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Inside, Grandpa Calvin sits in the lounge chair watching television. He looks up and sees the officer with his g*n out turn and head into the back rooms.)
(Sam Vega walks in.)
Grandpa Calvin: Costs money to fix a door. Thanks for knocking.
[INT. CALVIN RESIDENCE - HALLWAY -- DAY - CONTINUOUS]
(In the hallway, the officer checks the bedrooms.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Catherine walks into the house.)
Officer: (o.s.) Clear.
Sam Vega: Got any g*n in the house, sir?
Grandpa Calvin: I don't allow that garbage in here.
Catherine: Where's Jeremiah's room?
Officer: (o.s.) Clear.
Grandpa Calvin: End of the hall.
(Catherine heads for the hallway.)
[INT. CALVIN RESIDENCE - HALLWAY / BEDROOM -- DAY - CONTINUOUS]
(She walks to the bedroom at the end of the hall and sees the officer inside looking under the mattress.)
Officer: Got nothing.
(Catherine turns and looks at the second bedroom.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Detective Sam Vega talks with Grandpa Calvin.)
Sam Vega: I'm going to need you to verify the whereabouts of your grandson Jeremiah two nights ago.
Grandpa Calvin: How the hell would I know? Man, you're making me miss my program. It's not like I got that TIVO.
Catherine: Mr. Calvin? Whose room is next to Jeremiah's?
Grandpa Calvin: Morris'.
Catherine: Did Morris ever drive the car?
Grandpa Calvin: (exasperated) Go ask him.
Catherine: Where is he?
Grandpa Calvin: He wasn't in his room? He's been in there all day.
[INT. CALVIN RESIDENCE - SMALL BEDROOM - DAY (MOMENTS LATER)]
(Catherine knocks on the bedroom door as she steps inside.)
Catherine: Morris?
(Detective Sam Vega is behind her, his g*n in his hand.)
Catherine: Morris?
(He checks under the bed as Catherine reaches for the closed closet door.)
(She opens the door and Morris falls out onto the floor, shaking violently and sweating. He doesn't say anything ... or can't say anything.)
(Catherine calls for assistance on her phone.)
Catherine: (to phone) Control, this is CSI Willows. We need an ambulance.
(She looks down and sees that his right calf is red and infected.)
Catherine: Hey, Morris, somebody's coming.
(She hangs up. Morris shakes on the floor.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
(Establish.)
[INT. HOSPITAL ROOM -- DAY]
(Doctor Leever reports to Catherine and Detective Sam Vega as they stand around Morris Calvin's bed.)
Dr. Leever: He doesn't have a bad attitude, he has clostridium tetani.
Catherine: Tetanus.
Dr. Leever: I extracted this from the wound in his calf.
(He takes out a container with the staple in it.)
(Quick CGI flash to: The staple g*n is pushed up against the leg and fired, ripping through the skin and flesh. CAMERA ZOOMS FOR ECU as the staple goes into flesh. Bacteria from the staple enters the bloodstream. CAMERA ZOOMS through the bloodstream and into the nervous system, up the spine, and all the way to the JAW, where it spasms and locks.)
Dr. Leever: (V.O.) Bacteria on the staple got into the bloodstream, releasing toxins that enabled muscular contractions. That's why they call it lockjaw.
(End of CGI flash. Resume to present.)
Catherine: No wonder he wouldn't talk -- he couldn't.
Sam Vega: How long before he can?
Dr. Leever: Take couple of days for the antibiotics to flush it out of his system.
(Dr. Leever leaves. Catherine looks at Morris still shaking on the bed. She turns to Sam Vega.)
Catherine: Well, he doesn't have lock-wrist. You got a pen?
(Vega gives Catherine his pen and notebook.)
Catherine: We matched your blood to the staple g*n; it puts you at Convention Center Drive and you go down for three m*rder.
(She puts the pen in Morris' hand and the paper in front of him.)
Catherine: You have anything to tell us, now's the time.
(Morris writes: $.)
(Puzzled, Catherine shows it to Vega.)
DISSOLVE TO:
[INT. CSI - GARAGE -- NIGHT]
(Sara is processing the car. She snaps photos of the tires and hubcaps. She snaps a photo of the steering wheel and another of the stick shift and dashboard.)
(In the back seat, she finds a b*llet casing. She opens the door and goes inside the car to pick up the casing.)
(Quick flash to: [EXT. STREET - NIGHT] The g*n, with their g*n sticking out of the windows, f*re out the moving car. The camera follows the b*llet casing as it falls onto the back seat.)
(End of flash. Resume to present.)
[CU: b*llet]
(Sara looks at the b*llet casing. She puts the b*llet into a bindle.)
SHORT TIME CUT TO:
(Sara examines the outside car door with an ALS. She finds some drops on the material roof.)
(Quick flash to: [EXT. STREET - NIGHT] The g*n, with their g*n sticking out of the moving car window, f*re at the person up on the pole. The person is h*t and falls back, their shoe caught up on top. The car with the g*n passes by.)
WHITE FLASH TO:
(Blood drops fall on the car's material roof.)
(End of flashback. Resume to present.)
(Sara takes a swab sample of the blood and tests it. The swab turns red.)
(Quick flash to: [EXT. STREET - NIGHT] The g*n, with their g*n sticking out of the moving car window, f*re upward. Blood drops fall on the car's door.)
(End of flashback. Resume to present.)
(Sara tests for GSR. The pad turns red.)
(Sara dusts the dashboard for prints. She finds two sets.)
WHITE FLASH TO:
[INT. CSI - BREAK ROOM - NIGHT]
(Sara walks into the room and finds Grissom, Catherine and Nick at the table going through the files.)
Sara: Hey, so the car was definitely at the scene. Blood on the soft-top was a match to one of the vics.
(Sara sits down.)
Catherine: And Morris Calvin was there. DNA confirmed that it was his blood on the staple g*n.
(Quick flash to: [EXT. STREET - NIGHT] Tires screech as the car zooms past, g*n f*ring, bodies falling to the ground. The car door opens and Morris Calvin gets out. He walks up to one of the bodies. The person reaches over with the staple g*n and staples his leg. Morris Calvin fires at the person.)
(End of flash. Resume to present.)
Nick: Yeah, but we don't have a m*rder w*apon, so we can't confirm Morris was the sh**t.
Sara: There's a ton of unknown prints on the car. GSR in the backseat. Had to be other people involved. If we could id the vics, it might tell us who'd want them d*ad.
Grissom: Standard procedure for a drive-by is sh**t as much as you can as fast as you can, right? Then leave as fast as you can. So why did Morris get out of the car?
Sara: Maybe the vics had something he wanted.
Nick: The only thing the victims on the ground had on them were the clothes on their back. And the kid in the palm tree, empty satchel.
Catherine: Vega ran the vics past the guys in the g*ng unit. Nobody recognized them.
Nick: And tox panels on them all came back negative. There were no drugs in their system, no personal effects. I doubt they were even packing.
Grissom: They were packing posters.
Sara: Are you suggesting that they were k*lled for their posters?
Grissom: Maybe for what was on them.
Nick: All right, now wait a minute, Grissom, there were posters all over that street. Man, we have no way of knowing which posters they put up.
Grissom: Well, you got the staple g*n. Figure out what they stapled.
SMASH CUT TO:
INSERT: CGI EFX
ECU: CAMERA ZOOMS through the stapler to the chisel inside and out of the stapler.
RESUME VIEW
(The staple pops out of the stapler g*n and into the flask. Greg tilts the flask and the staple falls out onto a Petri dish.)
CUT WIDE and we find ourselves in the ...
[INT. CSI - LAB - DAY]
(Greg is standing in front of the scope. The table is covered with a variety of posters from the pole.)
(Greg puts the staple under a scope.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Nick is on the lift removing the staples off the posters from the pole.)
(On the ground, Warrick is removing staples from the posters as well. He puts the staples in a bindle.)
[INT. CSI - LAB - DAY]
(Greg puts the staple from the bindle into a dish. He places the dish under the scope.)
(He looks through the scope to compare the staple from the staple g*n to the staples off the posters.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Nick lowers the lift and continues removing posters off the palm tree. He puts the posters in a bag.)
[INT. CSI - LAB - DAY]
(Greg compares the two staples. No match.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Warrick climbs up a ladder and starts removing the posters.)
[INT. CSI - LAB - DAY]
(Greg continues to work at the scope.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Warrick takes a piece of poster off the pole.)
[INT. CSI - LAB - DAY]
(Greg puts another staple into the dish. He places the dish under the scope. The two staples match. Greg looks around and finds the poster. He picks it up and looks at it.)
(Quick flash to: [EXT. STREET - NIGHT] Morris Calvin rips the poster off the pole. End of flash.)
(Greg looks at the paper. The back reads: TROY'S COPIES.)
WHITE FLASH TO:
[INT. TROY'S COPIES -- DAY]
(Troy Thompson is walking among his large copy machines. In the back of the room, we see Brass and Greg walk in with a uniformed officer.)
(They walk up to Troy Thompson.)
Brass: Hey, slick.
Troy Thompson: I saw my PO yesterday, guys, so you can just go home.
Brass: Parole officer didn't bring us here, cousin. A poster did.
Troy Thompson: If you're trying to stick me with some kind of child p*rn thing or something sick like that, I'm not your guy. I do mainly concerts and conventions and have for the past twenty years. I'm cheap, fast, and open 24/7.
Brass: Just like my ex-wife.
(Greg hands him a portion of the poster. He looks at it.)
Greg: You have any idea where this came from?
Troy Thompson: You know, maybe.
(He motions for them to follow him. He leads them to a wall with various poster samples stapled.)
Troy Thompson: The wall of fame. This is where my customers can appreciate my work. Let's see here.
(He holds up the photo of the poster piece and matches it to a poster:
DOLLAR
DUDES GONE NUTZ
(The poster is of Dollar in a bikini.)
Troy Thompson: Yeah, now this is a classic. Now I know about "Chicks Gone Nutz" because of their booby videos but "Dudes Gone Nutz" now ... (chuckles)
that really busts my belt.
(Greg walks up to the poster.)
Greg: You know, wait a second ... I think I've seen that guy before. It's Dollar. He's a rapper.
Troy Thompson: (still chuckling) No kidding. Those dudes are nuts.
Brass: Yeah, well, everybody goes nuts. Any idea who ordered up the poster?
Troy Thompson: Skinny little black kid, day before yesterday.
Brass: One of these?
(Brass takes out the morgue photos and shows them to Troy Thompson. He looks through them.)
Troy Thompson: Oh ... man. That's too bad. Yeah, there he is.
(Greg finds something on the poster.)
Brass: How did he pay?
Troy Thompson: Wad of cash.
Greg: Interframe artifacts. It's a still frame from a video.
Brass: I'm afraid we're going to deplete your wall of fame -- that posters coming with us.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Greg and Nick are walking through the hallway.)
Greg: I did a search on Dollar. His real name is Jessie Cleveland. Vegas street kid made good, first CD went platinum. Brass is contacting his managers. Here he is.
(Greg shows Nick the poster of Dollar in a bikini.)
Nick: I'm guessing this is not his next album cover.
Greg: I doubt it.
(Greg turns and heads into the A/V Lab. Nick follows him.)
Greg: So when I went online, I found the usual things ... websites, photos, and this ...
(Greg plays the video on the monitor. It has Dollar on his hands and knees on a bed. He's in a string bikini - the same as on the poster.)
Jessie "Dollar" Cleveland: (from video) Playa, look, Dawg, you know what I'm saying, I got stacks of cash in the back, man, I got jewelry, I got black American Express cards. I got whatever you want, man, take it all, Dawg.
Voice (man): (o.s.) Put your face in the bed, your ass in the air, and say what I want you to say.
Jessie "Dollar" Cleveland: (from video) I'm Dollar ... from "Dudes Gone Nutz" and I liked it ... (He exhales heavily.) I like to take it ...
Greg: Video was mirrored on a dozen rap sites. It's all over the Net.
Jessie "Dollar" Cleveland: (from video) This ain't right, Dawg.
Nick: So this is a rap thing?
Greg: Biggie and Tupac?
(The man off screen raises a g*n and cocks it. We see the g*n and the hand holding the g*n on Dollar.)
Man: (o.s.) Who's the bitch now?
Jessie "Dollar" Cleveland: You got it, Dawg.
Nick: If these guys would sh**t somebody over lyrics, they'd definitely k*ll over this.
Greg: Yeah.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HARD ROCK TOWERS -- CORRIDOR]
(Brass, Nick and a uniformed officer walk through the hallway with the concierge.)
Concierge: Mr. Dollar left strict instructions not to be disturbed.
Brass: Well, that's too bad 'cause we're conducing a m*rder investigation.
(She points to a door. Brass knocks.)
Brass: Las Vegas Police. Open up.
(They wait a moment. There's nothing but silence. Brass turns and looks at the concierge.)
Brass: Would you open the door, please?
(She unlocks the door and lets them inside.)
Brass: Thank you.
[INT. HARD ROCK TOWERS -- SUITE]
(The place is cluttered with boxes with Dollar posters. Nick finds a DOLLAR poster.)
Nick: Hey, Jim, check it out. Geniuses hitting on 21. P-I-M-P.
Brass: Yeah. Don't kid yourself. He's getting pimped in that video, too.
Concierge: Excuse me, but if Mr. Dollar's not here, you're going to have to leave.
Brass: But - but -- We haven't even checked under the bed yet.
Nick: Yeah, and what's with all the boxes, clothes?
Concierge: It's MAGIC.
Brass: You know, for a concierge, you're not really very helpful.
Concierge: It's a convention, sir. M.A.G.I.C.-- Men's Apparel Guild In California. It's the largest fashion show in the world. With every rapper, there's a clothing line. They all come to MAGIC to promote it. Biggest party in town.
Nick: Hmm.
Brass: So what kind of car did he drive?
Concierge: Um, sir, his vehicle's still in valet.
CUT TO:
[EXT. HOTEL LOBBY]
(Brass and Nick walk through the valet service and over to the Range Rover.)
Brass: There it is right there.
Nick: Yeah, is that it?
Brass: Range Rover. It's the only one with 22-inch rims; it's got to be.
(In the back of the range rover, Brass notices a trunk.)
Brass: What's that? Open this up.
(The two uniformed officers open the back of the truck and pull out the trunk. They open the trunk and find Dollar tucked inside. He's wearing a bikini and a gag.)
(He groans and squints at them.)
Jessie "Dollar" Cleveland: Where we at, man?
Brass: You're outside your hotel, sir.
Nick: Don't worry, we're gonna get you out of there and get you medical attention.
Jessie "Dollar" Cleveland: Man, is you crazy? Look what I got on. I got all these people around here, the press. Man, let me know when we get to the hospital, man.
(Dollar grabs the trunk cover and slams it shut over himself.)
(Brass shrugs.)
Brass: He's got a point.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. HOSPITAL - DOLLAR'S ROOM -- DAY]
(Dollar is in bed as he talks with Brass and Nick.)
Jessie "Dollar" Cleveland: My prints? The hell you want my prints for? I'm the guy that was forced to wear the bikini, remember? I was in a trunk. I was in two trunks.
Brass: Three teenagers were k*lled on Convention Center Drive. They were sh*t down putting up posters of you.
Jessie "Dollar" Cleveland: Man, there's posters of me all over town. Got a record coming out.
Brass: I know. I like the album cover.
(Brass shows him the poster of Dollar in a bikini.)
Jessie "Dollar" Cleveland: Where'd you get that?
Brass: Like you said, they're all over town.
Nick: We need your prints so that we may exclude you as a suspect.
Jessie "Dollar" Cleveland: Yeah, right. Go ahead, take my prints.
Brass: So what's the story with the video?
Jessie "Dollar" Cleveland: Man, I left the Sean John party, swerving. Big bubble butt on one hand, bottle in the other. Went back to the room and I passed out before I could even get my lay on. When I woke up, I had a g*n and a video camera shoved in my face. Y'all know where that ended up. Next thing I know, I'm in my luggage with a fat-ass lip.
Brass: What'd the guy look like?
Jessie "Dollar" Cleveland: I don't know. He had on a mask.
Brass: Anyone following you at the time?
Jessie "Dollar" Cleveland: Man, I was so blunted and liquored up, I have no idea. Yo. Listen, man, y'all find out who did this for me, like, I'm telling you, like, I'll take care of you. I'll give you a whole new closet full of suits. Like, whatever you want. Like, you'll be popping tags for over a year. Like, you'll be the freshest cops on the street, I swear to God.
Brass: So, why would somebody want to do this to you?
Jessie "Dollar" Cleveland: Man, why wouldn't they? I've been dealing with beef like this my entire life, you dig? I bought my first bulletproof vest when I was fifteen years old, and I wore it to school. Them putting me in that bikini, man, that poster ain't nothing, man. I'm lucky to be alive.
Nick: Okay, look, why "Dudes Gone Nutz"?
Jessie "Dollar" Cleveland: I don't know, man. I did some guest spots on the little "Chicks Gone Nutz" video. You know, the girls flash their thing things. Dudes just jealous, man. I dodge haters for a living. I got more enemies than some countries got people.
Brass: Give us some names.
Jessie "Dollar" Cleveland: It'll be a long list.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Sara finds Grissom and they walk down the hallway.)
Sara: Griss, we are not having any luck identifying the three teenagers from CC Drive. It's been two days, no one's come forward. Without an ID, it's like they never even existed.
Grissom: We need to get their faces out in the public -- newspapers, billboards.
(She hands the pictures to Grissom.)
Sara: Well, maybe you could breathe a little bit more life into them.
Grissom: Yeah. I'm pretty good at mouth-to-mouth.
(Grissom walks away, leaving Sara puzzled by him.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom puts the autopsy HEADSHOT photos on the computer. The first autopsy photo is of the girl. The second autopsy photo is of a man.)
(On a second computer, he flips through a selection of HEADSHOT photos of various different subjects, looking for the one that most resembles the victim. He finds one and puts it on the screen next to the autopsy photo. He cuts the smiling mouth out and layers it over the morgue photo. He cuts the open eyes out of the smiling photo and puts it over the morgue photo. He melds the two photos together so now the victim is open-eyed and smiling - giving him a new
'look'.)
(Grissom pulls up a third morgue photo. He flips through a selection of HEADSHOT female photos and finds one that most resembles the victim. He changes her look as well, so now she's open-eyed and smiling.)
(When he's finished, he pulls the three photos up on the monitor.)
(Grissom nods, pleased.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. POLICE DEPARTMENT - SQUAD ROOM -- DAY]
(OPEN on the morgue photo with the different 'look'. Sofia Curtis interviews Margaret Kendric.)
Margaret Kendric: (o.s.) Gentra just loved the hip-hop music. And it kept her out on the streets. She actually wanted to be a rapper herself. She did a couple of talent shows. Didn't do too well. So she joined a street team.
Sofia Curtis: A street team?
Margaret Kendric: Groups of kids who h*t the streets to promote their favorite rapper. It kept Gentra around what she loved.
Sofia Curtis: Do you know which rapper she worked for?
Margaret Kendric: Hi-Def. That's what he calls himself.
Sofia Curtis: The State of Nevada's willing to pay to send your daughter back to California for burial.
Margaret Kendric: I couldn't afford to bury my husband.
Sofia Curtis: In that case, she'll be cremated. I'll make sure you get the remains.
Margaret Kendric: You send her ashes to Hi-Def.
(Margaret Kendric gets up abruptly and leaves.)
CUT TO:
[EXT. MAGIC SHOW AFTER PARTY - DAY]
(The party is in swing. Girls are in bikinis and dancing to the live music.)
(In the background, we see Sofia, Nick, Sara and a couple of uniformed officers making their way through the crowd. Sofia stops when she sees him.)
Sofia Curtis: That's our guy. The one in the red hat. That's Hi-Def.
(Nick notices a group of people wearing black shirts - the same black shirts he saw in the hotel room.)
Nick: Looks like Dollar's crew is here, too. All the rappers come to MAGIC. Go ahead, I'll catch up.
(Nick heads off in a different direction.)
(Sofia and Sara make their way toward Hi-Def. They walk up toward him, but stop at the red velvet ropes.)
Sara: Afternoon.
(J-Lady steps forward.)
J-Lady: You must be in the wrong spot. This isn't the security hut.
Sofia Curtis: We need to talk to Hi-Def.
J-Lady: Can't wait till after the show?
Sofia Curtis: Either you get him or we will.
(J-Lady turns and heads over to Hi-Def. She talks with him for a moment before he gets up and walks over to Sara and Sofia.)
HI-DEF: What do you cops want from me?
Sofia Curtis: You ever see these kids?
(Sofia shows Hi-Def the autopsy photos.)
HI-DEF: Never.
J-Lady: I have. They're from our street team. They look kind of weird in those pictures, but Ray never smiles.
Sara: They're d*ad.
J-Lady: (surprised) What?
Sofia Curtis: They've been gone three days. You didn't notice?
HI-DEF: Don't look at me, ma'am. I never seen those kids before ever, sorry.
(He steps aside.)
J-Lady: Look, we've got kids coming and going all the time. It's hard to keep up. I mean, I know who they are; it's Ray, Marvin and Gentra.
Sofia Curtis: Do you know their last names?
J-Lady: No, I'm sorry.
Sara: Well, do you know where they got this?
(Sara shows J-Lady the DOLLAR poster.)
J-Lady: Probably the same place I got this.
(She takes out her cell phone and dials. She hands the phone to Sofia. Sofia and Sara watch the Dollar in a bikini video.)
CUTS BETWEEN THE TWO INTERVIEWS:
[EXT. MAGIC SHOW AFTER PARTY - OTHER SIDE OF THE POOL - DAY]
(Meanwhile, Nick makes his way over to Dollar's crew.)
Nick: Hey, guys.
(Drops steps forward between Nick and Dollar's crew.)
Drops: Whoa, whoa, whoa.
Nick: How you doing?
Drops: Let me get one of those for you. Here you go.
(Drops grabs a rolled-up poster and hands it out to Nick.)
Nick: No, thanks, man, I'm all set. You know, personally, I think it's a bad idea to h*t on blackjack.
Drops: Well, you know, that's just how we do. We never bust.
Nick: I know all about Dollar. What's your connection?
Drops: Are you a cop?
Nick: I work with the police department, yeah. Crime Lab. My name's Nick Stokes.
Drops: Drops. And let's just say Dollar pays the bills.
[EXT. MAGIC SHOW AFTER PARTY - DAY]
(J-Lady explains where she got the video.)
J-Lady: The video just showed up on my desk. First day of the show. It was in a plain manila envelope.
Sara: So you put it on the Net.
J-Lady: I never said that, but things happen.
Sofia Curtis: Did Hi-Def and Dollar have a beef before this?
J-LADY; Yeah, a couple of years ago, Dollar did song called "New Vegas."
Talking about how Las Vegas is the new New York. Hi-Def is New York. He and Dollar been punking each other ever since.
[EXT. MAGIC SHOW AFTER PARTY - OTHER SIDE OF THE POOL -- DAY]
Nick: What's the deal with these street teams. What's going on?
Drops: They do all the filthy, dirty, grimy promo for Dollar. Snipe posters, give away stickers, pass CDs around. Nothing really.
Nick: You know, three kids were m*rder the other night doing the exact same thing.
Drops: What can I say, man? These kids run the streets, bro. Anybody at any given time can run up on them and try and lullaby their ass.
Nick: Yeah, I don't know about that. They were putting up posters of your boy Dollar -- ones that made him look a lot stupider than just hitting on blackjack, you know what I mean?
(Nick takes out the morgue photos and shows them to Drops.)
Nick: Take a look at these kids. See if you recognize any of them.
Drops: Nope.
Nick: Show them.
(Drops nods. He hands the photos to the crew, Ben and Dante. They look at the photos.)
Drops: (to Nick) Nice suit. Glad to see you dressed for the occasion.
Crew: No.
(He hands the photos back to Drops. Drops gives them back to Nick.)
Drops: Eh, sorry, Crime Lab, Nick Stokes. Nobody here's got a clue.
Nick: Yeah, okay.
Drops: Yeah, okay. Oh, well, what do you know? There goes one of my birds. Sorry, got to go. Peace.
(He holds out his hand. Nick doesn't take it.)
Nick: I'll see you soon, Dawg.
Drops: Yeah, whatever. Look, you need any more posters, just scream at me.
(Drops looks past Nick and heads off in that direction, bumping Nick on his shoulders as he walks past him.)
Drops: Hey, Tweety! Tweety!
(Dollar's crew leaves Nick and follows him.)
(Nick looks down at the photos ... and the visible fingerprints on the photo paper.)
(Nick smiles.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - HALLWAY -- DAY]
(Sara catches Nick in the hallway. They're both on the move.)
Sara: Hey.
Nick: Hey.
Sara: Mandy matched two prints off the photo that you gave to Dollar's street team to the unknowns that I found in the low rider.
Nick: Mm-hmm.
Sara: One was on the passenger side door, the other one was on the steering wheel.
(Nick sighs.)
CUT TO:
[INT. HOSPITAL -- DAY]
(Dollar is sitting on the bed getting his hair cut while he is on the phone. Around him, the room is filled with his various ENTOURAGE MEMBERS.)
Jessie "Dollar" Cleveland: (to Drops) Hey, yo, yo, yo, make sure you tell him about that crazy new suit line we got coming out.
Drops: (o.s.) Mr. Yen says, "Moshi, moshi."
(He turns around as Brass enters the room with a uniformed officer.)
Jessie "Dollar" Cleveland: Now what?
Brass: I'm here for Drops. (He motions to the phone.) Hang up.
Drops: (to phone) Konnichiwa.
(He hangs up.)
(Drops steps closer to Brass.)
Drops: I'm expanding into Asia.
Brass: No kidding? Where's your street team?
Drops: They're grubbing -- they went down to the cafe hospital. You know, they're kind of Benigni over that Waldorf salad.
(He looks over at the ENTOURAGE. They chuckle.)
Brass: They're m*rder suspects.
(Drops turns and looks at Dollar, who has been listening to the conversation.)
Jessie "Dollar" Cleveland: (serious) Get them up here.
(Drops sighs and shakes his head.)
Drops: This is very disappointing.
(Brass sighs, unimpressed.)
(He turns around just as the DANTE and BEN return. They step out of the elevator and into the hallway. They turn and see Brass in front of them. They stop mid-conversation, pause and turn in the opposite direction intending to escape.)
(They're instantly blocked by two uniformed officers.)
Officer: Yo, gentlemen, on the wall.
(The two kids turn and are forced to put their hands on the hallway wall as the officers frisk them.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A -- DAY]
(Sofia Curtis interviews Ben.)
Ben: I didn't sh**t nobody. Please, you got to believe me. I just wanted to drive that car. Morris was always bragging about it.
Sofia Curtis: I'll believe you if you tell me what really happened.
Ben: I was picking up an order for Drops. I saw that poster on the wall. I just told the other guys what I saw. Look, I know I shouldn't have done that, 'cause as soon as I did, Morris wanted to see the poster. Morris would do anything for Dollar. You know, Dollar's his life. He only has Dollar in his ipod. No one else.
Sofia Curtis: So then you went to CC Drive.
Ben: Yeah. We just waited for them to show up.
Sofia Curtis: Who is "they"?
Ben: Some other snippers. Hi-Def street team. Morris didn't care who they were, ...
(Quick flashback to: [EXT. STREET - NIGHT] The three kids from Hi-Def's street team run and scatter across the street to put up the posters. Ben and Dante sit in the car with Morris Calvin.)
Ben: (V.O.) ... as long as they was putting up them posters, they was d*ad to him.
Dante: Morris, hurry up, man -- you just said you were gonna scare them.
(Morris Calvin sits in the back seat of the car holding the g*n. He watches the other kids.)
Morris Calvin: Nah, man. That poster makes Dollar look like a ho. Dollar's nobody's ho.
CUT TO:
(Morris fires on the kids.)
(Scared, Ben takes off.)
(Morris continues to f*re. One of the kids falls on the road. Ben runs the car over the kid; the car rod falls off.)
Ben: (V.O.) I ran them over.
(End of flashback. Resume to present.)
Ben: After he got the first one ... he said he had to get the rest.
(Quick flashback to: [EXT. STREET - NIGHT]
( g*n )
(End of flashback. Resume to present.)
(Quick flashback to: [EXT. STREET - NIGHT] Morris continues to f*re. The kid on the palm tree is h*t and falls backward.)
Ben: (V.O.) He sh*t the second one next, down off the palm tree.
(End of flashback. Resume to present.)
Ben: The last one almost got away.
(Quick flashback to: [EXT. STREET - NIGHT] The remaining kid runs like hell down the street.)
Morris Calvin: (o.s.) Drive, man! Drive!
(The car engine roars as Morris sh**t the kid down.)
(End of flashback. Resume to present.)
Sofia Curtis: What was Dante doing during all of this?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B - DAY]
(Brass listens to Dante.)
Dante: I was just riding g*n, watching Morris.
Brass: You didn't do anything about it?
Dante: He was out of his mind.
Brass: Where did Morris get the g*n?
Dante: It was in the trunk. He said his brother swiped it off some dumb-ass cop.
Brass: Where is it now?
Dante: Broken apart and thrown away.
Brass: Pro style.
(Dante nods.)
Brass: Looks like you and your buddy are gonna get broken apart and thrown away, too.
Dante: I guess there's nothing else to say.
Brass: Guess not.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Nick empties the bag's contents on the table. Among the various contents, Nick finds a piece of wood.)
CUT TO:
[INT. CSI - A/V LAB - NIGHT5]
(Nick is reviewing the video.)
Dollar: (from video) This ain't right, Dawg.
g*n: (from video) (o.s.) Now who's the bitch? Huh? Who's the bitch now?
(In the last bit of video, Nick freeze-frames and enhances the picture of the g*n's hand and g*n.)
(The g*n has a wooden handle.)
(Nick has a digital image of the wooden piece found in Morris' backpack and matches it to the wood on the g*n's handle.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Nick reports his findings to Grissom.)
Nick: I figure Dante had that revolver when he was going up and down those poles. Grip gets thumped, chips off in the satchel.
(Grissom compares the two photos.)
Nick: Wood grain seems consistent, this means Dante made the video.
Grissom: You said Dante works for Dollar.
Nick: Mm-hmm.
Grissom: He's a fan. Why would he humiliate someone he respects?
Nick: (sighs) I don't know. I don't know, but on the video, Dante did say, "Who's the bitch now?" So ... you could say it got a little personal.
Grissom: So ... get personal.
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Crime scene photos are spread out on the table. Nick goes through all the photos. In front of him, he also has the three victims' file folders open. He also has the suspects' file folders open.)
(He sees something in Dollar's folder. Information that reads:
"DOLLAR"
SUPPLEMENTAL INFORMATION:
CLEVELAND PRODUCED VIDEOS IN THE
THE "CHICKS GONE NUTS" VIDEO SERIES )
(Nick looks at the information on Morris' file.)
Father: WHEREABOUTS UNKNOWN
Siblings: ONE Sister: TISHA JANNETT
LAS KNOWN ADDRESS:
493 BRIAR WAY LAS VEGAS NV 89122 )
(Nick looks back at Dollar's file folder:
CHICKS GONE NUTS
(He looks back at Morris' file folder:
Sister: TISHA JANNETT
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[CHICKS GONE NUTS VIDEO]
(Dollar sits in bed while Tisha Jannett, dressed in a two-piece bikini, jumps on the bed.)
Dollar: (from video) Yo, what's up, it's your boy Dollar, from "Chicks Gone Nuts". We're out here in Vegas, baby. We got whatever you want -- chicks, jewelry. We got the bottles. Come holler at us, you know.
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass and Nick show Tisha Jannett, Dante's sister, the video. She's a pretty, young woman with deep, disfiguring scars on her face.)
Brass: So you obviously know Dollar. You know, your brother has been arrested for felony kidnapping and as*ault and accessory to m*rder. Now if there's anything that you know that can help us understand his motivation, now's the time to tell us, okay?
(She looks away for a moment.)
Nick: Tisha ... what happened to your face?
Tisha Jannett: About a year ago, during black spring break, Dollar caught me walking through the MGM. He was hosting this Chicks Gone Nuts video. Said he'd give me $500 to put on a bikini and jump on his hotel bed. I needed the money ... so I did it. I got my money and went home. Couple months later, Dante came busting into my room with the tape. He cussed me out ... forgot about that, too. Until my dad saw the tape. He called me a whore and a slut. He had his car keys in his hand. He cut up my face, my chest, my stomach. I haven't seen him since.
Nick: And Dante blamed Dollar.
Tisha Jannett: He couldn't find Daddy. He wouldn't blame me.
Nick: So he joins Dollar's street team to get close to him, close enough to sneak into his hotel room and videotape him, the same way he videotaped you.
Tisha Jannett: I know he didn't mean for anyone to die. He just did it for me.
CUT TO:
VARIOUS SCENES -- MONTAGE
[DOLLAR'S POSTER]
(Camera pulls back and we find Dollar back in his hotel room and on the phone. Business continues as usual.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass is sitting on his desk and looking through a file folder. An officer walks in carrying a large, flat box wrapped in purple paper and topped with a yellow bow. She puts it on his desk and leaves.)
(Brass opens the box and lifts the purple tissue paper. He looks away and drops the tissue paper. We don't see what's inside the box, but we can guess.)
[INT. CSI - LAB - NIGHT]
(Nick opens his box and finds a suit inside. He takes the suit out of the box and looks at it.)
[EXT. POOLSIDE - DAY]
(A courier carrying a canister of ashes walks up to Hi-Def and J-Lady. The courier gives the canister to Hi-Def. He takes the canister and looks at the label:
IN LOVING MEMORY:
GENTRA KENDRIC
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY]
(Brass walks out of the office with the box. He puts it on the receptionist's desk. The box has a new label on it:
SEND TO:
SALVATION ARMY
[CU: DOLLAR'S POSTER]
[EXT. STREET - NIGHT]
(The pole with the DOLLAR'S concert poster is covered with a new poster being stapled in its place:
M.N.E. FAMILY PRESENTS
HEAD STATE
I.E. TO THE DAY
AVAILABLE NOW
www.madeit**entertainment.com
SMASH CUT TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x20 - Poppin' Tags"} | foreverdreaming |
FADE IN:
[EXT. HOTEL - FRONT DRIVE -- DAY]
(SLOW MOTION. The bride and groom sit on back of the open convertible as it slowly passes the wedding party and guests cheering them on.)
(As the convertible passes, the horrified guests in the back yell for them to
Guests: Stop! Guests: Stop!
Crowd: Stop!
(The camera moves to the tail end of the car where normally cans are tied to the bumper. The car passes and we see a woman in a white dress dragged behind the car, leaving a streak of blood on the driveway.)
(The crowd continues to scream.)
(Close-up of Diane Chase being dragged on the driveway.)
WHITE FLASH TO:
[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]
(Nick pulls up his SUV and parks. He gets out and heads for the diner.)
[INT. FRANK'S COFFEE SHOP -- DAY - CONTINUOUS]
(Sara and Greg are in a booth eating. Through the window, we see Nick head for the diner.)
Sara: Why do we always come here?
Greg: Open 24 hours.
Sara: Everything in Vegas is open 24 hours.
Greg: It's cheap.
(Nick enters and sits next to Sara.)
Nick: Smells like bacon in here. (to Sara) Slide over. That scene took forever. We were there like, what, nine hours?
Sara: Eleven.
Greg: A d*ad lawyer and two hundred eyewitnesses -- it's going to take awhile.
Nick: Come for a wedding, stay for the funeral. Why do we always eat here?
Greg: It's tradition.
Sara: Ah, tradition. Like becoming property exchange between your father and your husband?
Nick: Oh, that's not what a wedding is. It's a public declaration of love.
Greg: I'm with Vince Vaughn on this one. Dozens of horny, single women with access to an open bar and coupling on their mind.
(The waitress appears and puts a cup down on the table in front of Nick. She fills the cup as she listens to Greg.)
Waitress: Weddings are a Rorschach. Everybody sees what they want to see. My first five were good.
(The waitress leaves. As she moves off, we see a large blue truck pull up in the parking lot outside the window, blocking our and their view of Nick's SUV. Greg looks up as we overhear the news report on the television set.)
Paula Francis: (from tv) Noted criminal defense attorneyDiane Chase was k*lled yesterday. Crime Scene Investigators say ...
(On the monitor, we see Sara next to the body collecting evidence. The area is taped off.)
Greg: We haven't even gone back to the lab yet, and we're already on TV.
(Nick and Sara also watch the report.)
INSERT: NEWS REPORT
(The monitor cuts back from footage to Paula Francis reporting from the studio.)
Paula Francis: (from tv) In a tragic twist, Ms. Chase was k*lled while attending her son's wedding. She was best known for taking on the toughest cases, and it was her defense of high-profile, organized crime associates that really made her a name in legal circles.
(On the monitor, we watch file footage of Dino Fatelli walking out of the courtroom with Diane Chase by his side. They are surrounded by reporters.)
Diane Chase: (from tv) If it was an intelligent question, I'd stop to answer it.
Paula Francis: (from tv) Most recently, she represented Dino Fatelli of the Fatelli crime family, who was sentenced to life last month for the brutal slaying of casino mogul Remy James.
(On the monitor, we watch file footage of Remy James on the street, his legs tied to the back of a car, license #417 DXO.)
RESUME SCENE
Greg: The stones on these guys -- to take her out at her son's wedding?
(Through the window, we see the blue truck gone.)
Nick: Pass the cream, will you?
(Sara reaches for the creamer and hands it to Nick. As he eats, Greg absently glances out the window. We see a blue truck drive away. But, more noticeably, we don't see Nick's SUV parked anywhere.)
Greg: Dude, where's your car?
Nick: (points) It's parked right ...
(Nick and Sara both turn to look and find that it's definitely gone. Sara's jaw drops.)
(Oh, no!)
SHORT TIME CUT TO:
[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]
(A police siren sounds. Out front of Frank's Restaurant are the CSIs, Grissom and Brass.)
(Tires screech as a car turns into the parking lot and stops in front of them.)
(Undersheriff Jeff McKeen exits the car. Brass turns to the others.)
Brass: Incoming.
(Grissom instructs the CSIs.)
Grissom: I'll talk. You guys just look apologetic.
(Nick takes his sunglasses off and tucks them in his pocket. Jeff McKeen walks up to them.)
Jeff McKeen: All right, let me see if I understand this correctly. You let one of the members of your team drive his personal vehicle to a crime scene investigation; and then, even though there was a perfectly good crime scene vehicle there, that personal car was crammed with every bit of evidence collected at a major m*rder investigation, because two of you were maxed out on overtime. And then the driver, of said car, instead of securing that evidence in the lab, gave priority to his need for runny eggs and the aforementioned vehicle was stolen from a parking lot filled with police cars. Is there anything I missed?
Grissom: Just this: Even if we recover the vehicle, the chain of custody has been broken, so all the evidence has been compromised.
(Jeff McKeen removes an antacid from his roll.)
Grissom: No judge will allow any of it to be admitted into court. Also, we released the crime scene, so it, too, is compromised, leaving us nothing to go back for.
Jeff McKeen: Thank you for clarifying the situation.
(He pops the tablet in his mouth, glares at the silent CSIs, turns and heads back to his car.)
(Brass shrugs.)
Brass: Well, it could've been worse.
(The car engine sounds and gas revs as the car takes off, knocking down the line of orange road cones in its wake as it speeds on the main road. Car horns honk,.)
Off Nick, we
SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]
(Nick talks with Brass, who takes notes.)
Nick: We were seated at a booth, with clear visual access to the vehicle. A delivery truck pulls up, blocks our view.
Brass: For how long?
(Sofia walks up to join them.)
Nick: Two, three minutes, tops.
Brass: What kind of truck?
Nick: Bread, dairy ... I can't remember.
Brass: Did you have an alarm?
Nick: Yeah. Yeah, it didn't go off.
(Nick sighs and takes his glasses off.)
Brass: Are you sure it was locked?
Nick: Yeah, absolutely. And I have a tracking system on my truck, too. I called it in as soon as I realized it was missing.
Brass: Okay. I'll follow up. I mean there's about a dozen places to hide a tracking system on a car. I'm sure the Fatellis know 'em all.
Sofia Curtis: No broken glass. No bolts from a disengaged transmission. No tire treads or skid marks.
(Brass and Sofia turn. They start to leave. Nick stops them.)
Nick: Hey, Jim.
(Nick glances around.)
Nick: I need a ride.
(Brass chuckles.)
CUT TO:
[INT. CSI - HALLWAY TO BREAKROOM -- DAY]
(Grissom heads down the hallway, straight to the break room where Greg, Sara and Nick sit behind the table waiting for him.)
Grissom: Internal Affairs Bureau is coming to take our statements. They'll want to know what's been lost. So let's not make ourselves look any worse than we already do. Write down everything -- evidence collected, interview notes, etc ... every detail. No one leaves until they've given their account of the event.
(Greg nods. Suddenly rock music sounds as Greg's phone goes off. He scrambles, digs into his pocket and turns the phone off. Once more, silence ensues.)
(Grissom turns and leaves the room. Everyone is quiet. Greg exhales.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Grissom is reading through a file folder and walking through the hallway when Catherine finds him.)
Catherine: So aside from the accident, Mrs. Lincoln, how was the show?
Grissom: Not good. Fatelli was handled by the day shift. Let's pull the file.
Catherine: And compare it to what? We've got no crime scene photos.
Grissom: I have mine, but they're only of the ballroom. But every wedding these days has a videographer. We got to get the video.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(David Phillips looks over Diane Chase with his flashlight. She's d*ad, her eyes wide open. He puts the flashlight down and checks her teeth. He then checks her hands. He collects scrapings from her under nails.)
(He picks up his camera and takes photos of the marks around her ankles.)
(He puts the camera down and touches the marks.)
INSERT: FLASHBACK
[EXT. HOTEL - FRONT DRIVE - DAY]
(The car pulls along Diane Chase's body.)
RESUME SCENE
(David shaves the hair off the back of her head.)
INSERT: FLASHBACK
[EXT. HOTEL - FRONT DRIVE - DAY]
(Diane is dragged along the front drive, the back of her head scraping against the road.)
RESUME SCENE
(Grissom enters the room.)
David Phillips: Oh. Hey, Grissom. I'm sorry to hear about the setback.
Grissom: Yeah, well, it's all about the body now, David.
David Phillips: There was a vital response in the ligature marks around her ankles.
Grissom: So she might have been unconscious, but she was probably still alive when she was tied to the car.
David Phillips: Yeah, all the significant trauma was to the back of her head. We'll know more after autopsy.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Undersheriff Jeff McKeen walks with Brass through the hallway.)
Jeff McKeen: So you tell me how I'm going to spin this thing. I've got a d*ad lawyer, a known enemy of the department, who made her career picking us apart. And now, we've lost the evidence in her m*rder. Even I don't buy it.
Brass: The Fatellis are on our radar.
Jeff McKeen: Press is going to eat us alive. Six-month trial, we finally get Fatelli shipped off to Lompoc. He's not even in the state. How long are his arms?
Brass: I talked to the feds. They're checking the call logs, visitors' logs.
Jeff McKeen: It's going to look like the CSIs were paid off. Nobody's going to believe that this was an unfortunate series of coincidences. So my choices are: We're idiots, or we're dirty.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Greg, Sara and Nick are writing their notes down quietly.)
Jeff McKeen: (V.O.) So which are we?
Greg: It was a big scene. I threw tons of stuff into the back of your truck. Figured I'd just sort it out later. Print lifts, swabs, my camera.
Sara: Well, maybe if we talk it out, it will help. I started with the "just married" convertible.
Nick: Well, thankfully, that didn't get stolen. Where is it?
Sara: Because of possible Fatelli involvement, the undersheriff ordered it swept at the scene before they brought it back to the lab. It could be hours.
Greg: Did you get anything from it?
Sara: Prints ...
FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - SARA'S FLASHBACK]
[SARA'S POV]
(The entire scene is high definitioned and tinged with a green-ish hue.)
(She's standing behind the car - the ribbons with empty beer cans tied to it have been untied from the bumper and are on the driveway. The convertible is just beyond the crime scene tape.)
(Camera moves forward toward the body. Sara's kit is open by Diane Chase's bare feet. Sara waits as David Phillips checks the body.)
Sara: (V.O.) I remember David saying ...
(David turns and looks at Sara as he mouths)
Sara's Voice: "You'd think she'd know better than to wear white on the bride's big day."
(Sara looks away and heads over to the arch to the reception area in the gardens.)
Sara: (V.O.) So there we were at Cupid's kiss, a nuptial Neverland where the cheese factor was dangerously high and the flowers were ... obviously fake.
(Sara reaches the flower-covered arch and takes her sunglasses. She looks at the flowers and notices the plastic bands. Yep. Fake.)
(She proceeds through the archway toward the reception gardens.)
Sara: (V.O.) Can the love be real when the flowers aren't?
(She comes out the other side and notices two female guests walking up to each other and fake-kissing the air in greeting.)
(Sara shakes her head.)
(As Sara continues walking, she notices Nick talking with two bridesmaids, Mindy and Cindy. She walks past them and hears them speaking gibberish, in fast-forward.)
Mindy: Shidigee widias a bidigitch.
Cindy: Widigee hidiga tidiged hidiger.
BACK TO SCENE:
Nick: (without looking up) Oh, you really have a thing about weddings, don't you?
Sara: (eyes glued to paper) Hey, I didn't interview them. It was just my impression.
FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - SARA'S FLASHBACK]
(Back to the reception gardens -- half-filled champagne glasses and laughter. The groomsmen are in a group with some women. One of the groomsmen breaks away from the group. He's holding a beer can, turns and swaggers over to Sara.)
(Sara puts the glasses on her head and her kit down as she introduces herself.)
Sara: Hi, there. Hi. I'm, uh, Sara Sidle. I'm with the Crime Lab.
(He raises his beer can.)
Bryce g*n: Bryce g*n, groom's side.
Sara: Did you guys decorate the wedding car with those beer cans?
Bryce g*n: (drunk) Yep.
Sara: Did you drink all the beer first?
Bryce g*n: Yep.
Sara: Awesome. Did you also tie the groom's mom to the bumper?
Bryce g*n: Nope.
Sara: Good chat. Um, I'm going to need to get your fingerprints so I can compare them to the prints that I got off the car.
Bryce g*n: Cool.
(Sara takes out the ink pad.)
Sara: You are aware that someone has died?
Bryce g*n: Nobody's going to miss her except her son and her cell phone provider.
Sara: Oh, what do you mean?
Bryce g*n: She's creepy close to Adam. Must have called him fifteen times a day.
Sara: Huh. Uh, do you mind just putting your finger right here?
(He leans forward to put his finger carefully on the ink pad and promptly tips face-forward into Sara. She barely catches him.)
Sara: Oh! Okay, Mr. g*n ...
Bryce g*n: I think I love you.
(She pushes him back to his feet.)
Sara: Yeah, thank you. You need to sit down.
(Bryce turns around and heads back to the group of groomsmen.)
Sara: (louder) Have a club soda.
(He takes step and falls on his face on the ground. Sara raises her pen with a woman's thong hanging on it.)
Sara: Um, um, excuse me, you dropped this.
(Mikey Shoemaker grabs the thong and steps in front of Sara.)
Mikey Shoemaker: Sorry about him.
(He glances behind him at Bryce, out cold on the grass.)
Mikey Shoemaker: Why do the jerks get all the tail?
Sara: (smiling) Sara Sidle, Crime Lab.
(Having touched the thong, Mikey opts not to shake hands with Sara.)
Mikey Shoemaker: I'm, uh, Mikey. Best man. Brother of the bride.
(He wipes his hand on his vest as he explains why he's not shaking hands with her.)
Mikey Shoemaker: Yeah, it's, you know.
Sara: Yeah.
Mikey Shoemaker: Hey, this is a pretty crazy-ass situation, huh? (Sara shakes her head.) They say it's good luck if it rains on your wedding day. What do you think about a d*ad body?
Sara: What do you think?
Mikey Shoemaker: I think my sister's better off. You ever think about getting married?
Sara: (shakes her head) Um ...
Mikey Shoemaker: I'm just saying, you know, I think Bryce could make an honest woman out of you.
(He turns back to look at Bryce - still out cold on the grass. The other groomsmen are taking pictures of him. Who knows what they've done to him.)
Mikey Shoemaker: Oh, look at that -- your rejection broke his little heart.
(Sara laughs.)
Nick: (interrupts, v.o.) Should I put flirting in the case file?
BACK TO SCENE
Sara: I was printing. He was flirting.
(Right.)
Nick: Hmm.
CUT TO:
[INT. CSI - EVIDENCE ROOM -- DAY]
(Catherine is going through the things in the box when Sofia Curtis walks in.)
Sofia Curtis: Uni found the tracking device from Nick's car in a trashcan, a couple blocks from the diner. Pro job.
Catherine: Has it been to prints?
Sofia Curtis: Well, no. But if it was the Fatellis, it's going to be clean.
Catherine: Yeah. Nick's truck has no street value. The value was what was inside.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Greg, Sara and Nick are still working on their statements. The room is quiet. Nick puts his pen down and sticks his hand in his jacket pocket. He pulls out a napkin, somewhat confused as to how it got there.)
(He opens the cocktail napkin and we see in gold lettering,
ADAM AND JILL
April 22, 2006
(Just below it is a pink lipstick kiss. And just below that is:
MINDY
555-0174
(Nick stares at the napkin. Greg notices him.)
Greg: Did you get a number?
Nick: No. No, I didn't get anything. She must have put it in my pocket. Mindy.
(Sara smiles smugly at him.)
WHITE FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - NICK'S FLASHBACK]
(David kneels down next to the body, seemingly looking at Nick. He looks at Nick and mouths:
Nick's Voice: You think she'd know better than to wear white on the bride's big day.
(Nick walks past David and heads over to the garden arch. He walks through it, raises his hand and touches the flowers.)
Nick: (V.O.) The perfume of American beauties was everywhere. Though a rose by any other name would have smelled just as sweet on a day with that much love in the air.
(As he walks by, he notices a cream-colored rose. He snaps it off the stem and smells it as he exits the garden arch.)
(The guests step aside, making a clear pathway for him down the aisle.)
WHITE FLASH TO:
(Nick walks up to Mindy and Cindy.)
Nick: Ladies, hi, how you doing?
Mindy/Cindy: Hi.
(He puts his kit down.)
Nick: I'm with the Crime Lab. My name's Nick Stokes. I'm going to need to print you both, okay?
(Mindy rubs her arms.)
Mindy Faberge: Mindy Faberge. Bride's side. Um, can we go in and change. I can't get warm.
Cindy Jansen: Cindy Jansen. I think she's still in shock.
Nick: You were in the wedding party. Did you spend most of the day here with Ms. Chase?
(Nick unzips his jacket and removes it.)
Cindy Jansen: She was on her best behavior. (frowns) Outside that toast she gave.
(He hands his jacket to Mindy.)
Nick: There you go.
Mindy Faberge: Thank you.
(Mindy puts the jacket on.)
Mindy Faberge: Um, well, I think that was the alcohol talking.
Nick: So, she was a drinker?
Mindy Faberge: By the end of the toast, she was slurring her words and swaying all over the place. I almost felt bad for her.
FLASH TO:
[INT. CSI - BREAK ROOM - DAY]
(Catherine walks in carrying a DVD case.)
Catherine: Anyone interested in the wedding DVD?
Greg/Nick: (both) Yeah.
(Catherine kneels in front of the television set.)
Catherine: Courtesy of Frank Rosetti, owner of Cupid's Kiss.
(Catherine puts the DVD in and turns the television set on. She steps back to take a seat at the table.)
Catherine: All right, where do you want to start?
Sara/Nick/Greg: (all) The toast.
(Catherine goes to CHAPTER 7 on the MENU and plays.)
INSERT: VIDEO RECORDING
[INT. HOTEL -- BALLROOM - DAY]
(Someone taps the side of the champagne glass to quiet the room.)
Diane Chase: (from dvd) Everyone ... everyone.
(Diane gets to her feet. She's sitting at the head table right next to the groom.)
Diane Chase: (from dvd) I want to thank your for coming.
(She reads from a slip of paper.)
Diane Chase: (from dvd) You know, the bible says, "Love is strong as death," and as mother of the groom, a wedding is bittersweet. You are giving up as much as you are gaining.
(Diane takes a breath, pauses and sways. She braces her hand on the table to steady herself.)
Diane Chase: In some cases you are giving up ...
(She accidentally tosses the slip of paper across the table. It falls to the floor. The bride and the groom appear surprised.)
Diane Chase: (from dvd) Oh ... up much more. Oh.
(Diane leans forward and looks at the slip of paper on the floor. She sways and pauses. Very awkward pause. Camera cuts to the bridesmaids at their table.)
Diane Chase: (from dvd) (slurs) To hell with it. I'll wing it.
(She straightens and braces herself to start again. She turns and smiles at her son.)
Diane Chase: (from dvd) My Adam ... he studied at Oxford. He went to Harvard School of Business. And of all the intelligent, wonderful, beautiful women he met along the way, he ended up with Jill.
(The room is silent. Jill sits up.)
Diane Chase: (from dvd) Plain, little Jill.
(The crowd gasps. Greg turns and looks at Sara, whose jaw has dropped open.)
Diane Chase: (from dvd) There's nothing wrong with her. But what's right with her?
(Catherine can't believe what she's watching.)
Diane Chase: (from dvd) (chuckles) I mean, even her name is boring.
(Jill punches Adam in the arm to get him to stop her. She puts her face in her hand. Camera pans the wedding party to show their grim, embarrassed looks.)
(Diane turns and talks to Adam.)
Diane Chase: (from dvd) (to Adam) Adam, it's all right to take a lover. You just don't have to end up marrying her. (Adam stands up to stop her.) I mean, do you really want to shallow our gene pool like this?
(Adam pulls his mom aside.)
Adam Chase: C'mon. C'mon. That's all
Diane Chase: Oh ...
(She turns back to the crowd.)
Diane Chase: (slurs) Oh, I want to thank you all so much for coming. Oh, I love you, Adam.
Mikey Shoemaker: Hey, hey, good comedy, Diane ...
(Greg, Nick, Sara and Catherine are stunned. Catherine clears her throat. Someone's got to say it.)
Catherine: Justifiable homicide?
(Off Sara, trying not to laugh, we:
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - BREAK ROOM -- DAY]
(Sara, Nick, Greg and Catherine show the DVD to Grissom.)
Diane Chase: (from dvd) Thank you all for coming. I love you, Adam.
(Sara turns the DVD off.)
Sara: (to Grissom) You talked to the bride. This seems like motive. Do you think she did it?
Grissom: When would she have had the time?
FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - GRISSOM'S FLASHBACK]
(David is kneeling down next to the body. He turns and looks at Grissom.)
Grissom's Voice: You'd think she'd know better than to wear white on the bride's big day.
(Grissom heads for the arch.)
Grissom: (V.O.) Spring is but a song, where love and laughter are not wrong. The blossoms of desire do belong, and harmonia axyridis fly along.
(Grissom pushes his sunglass down as he enters the arch. He notices the ladybug on the rose.)
(CAMERA ZOOMS IN for an extreme close-up on the ladybug It also SLOWS DOWN and lingers excruciatingly on the ladybug as she lifts her shell and spreads her wings - the image moves so slowly it almost seems frozen. The detail on the bug is mind-bending. He can't help himself. Grissom notices these things.)
RESUME VIEW
(Grissom puts his sunglasses on and continues through the archway.)
DISSOLVE TO:
(Grissom talks with Jill Shoemaker-Chase, the bride. The camera irritatingly notices the details - her earring, her smudged make-up, the tear on her face.)
Jill: For the past six months, she made my life hell. And so I told anyone who'd listen that she should die a fiery death. So now everyone's going to think that I k*lled her.
Grissom: Would like to be more specific?
(It's as if Grissom can't keep focus. He notices the man in the tux talking with the officer in the distance behind Jill. The tear on her face, her earring, her necklace.)
Jill Shoemaker: Okay, well, when we got engaged, she ran into the backyard and she screamed, "Why, God? Why me?" Okay, she wore white today. She invited Adam's very, very attractive, very, um, single ex-girlfriend. When she found out that I had registered for sporting goods, she went behind my back and she changed the registry to housewares, saying that I'd better learn how to cook, okay? I'm a vegetarian, and she demanded roast beef. Um ... oh, and then ... then there's the toast. The ... the toast.
Grissom: Are you trying to make me think that you didn't k*ll her?
Jill Shoemaker: I would never do that to Adam. I honestly don't know how such an amazing man came from-from ... that. Look, it wasn't just me, okay? She fought with everyone today. She fought with the valets and the bridesmaids and the waiters. The caterer -- I thought for sure he was going to poison her.
WHITE FLASH TO:
[INT. HOUSE - KITCHEN - DAY - STILL GRISSOM'S FLASHBACK]
(Grissom talks with Frank Rosetti, the Caterer. He motions Grissom inside the kitchen.)
Frank Rosetti: Want to see a crime scene? I'll show you a crime scene. Come here. Come here. Look at this, huh?
(He shows Grissom the wedding cake with a rolling pin smashed in it.)
Frank Rosetti: What this woman had against the color peach -- I've never seen anything like it. "If you think you're serving that flesh-colored abomination, and I'm paying for it, you can think again!" Boom! I'm a 42-year-old paisan. She scared me. I wouldn't be surprised if her pantyhose rebelled against her and tied themselves to the car. The dame was a pill. I swear to God, she may have taken two or three years off my own life. Weddings are a blood, sweat and tears marathon, my friend. I'm on a tight schedule. 12:00 noon, I got first intro of the couple. 12:30, salad course. 12:45, first dance. One o'clock: chair dance, chicken dance, groom dance, I don't care. I'm equal opportunity.
1:30, main course. 2:15, first toast groom's side. If the best man shuts his mouth, at 2:16 we have the first toast on the bride's side. 3:00, we cut the cake. 3:30, bouquet toss.
Grissom: That's a tight schedule. She would have barely had time to go to the bathroom.
Frank Rosetti: I don't sell bridal diapers for nothing.
BACK TO SCENE:
Greg: He was kidding about the diapers, right?
(Grissom doesn't bother answering.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sofia Curtis interviews Sylvano Fatelli.)
Sylvano Fatelli: You're way too pretty to be a cop.
Sofia Curtis: I need to ask you about your brother, Dino Fatelli. Dino always was the bad seed.
Sofia Curtis: I heard you guys share the taste for blood.
Sylvano Fatelli: I once was lost, but now I am found.
Sofia Curtis: You and your brother keep in touch?
Sylvano Fatelli: Yeah, yeah. Last thing he said was he didn't like the food at Lompoc. I told him to call his lawyer. (shrugs) It's too late now.
Sofia Curtis: Where were you yesterday afternoon?
Sylvano Fatelli: You want to crawl up my ass? You can take a number.
[INT. OBSERVATION ROOM - CONTINUOUS]
(Federal Agent and Jeff McKeen watch the interview from the observation room.)
Sofia Curtis: (through speaker) No thanks.
Sylvano Fatelli: (through speaker) 50-to-one, Freddie the Feddy is out there right now talking to you guys.
Jeff McKeen: Did you know you were made?
Federal Agent: Yeah. Not even Diane Chase could keep these guys out of jail. And we figure it's just a matter of time before we get something on Sylvano.
Jeff McKeen: Like another m*rder?
Federal Agent: Sorry. He didn't k*ll the lawyer. Runs numbers out of his bar all day. Trying to pass a kidney stone. Hates his wife and his girlfriend. I hear everything.
Jeff McKeen: Could have ordered one of his guys to do it.
Federal Agent: The brothers like to be hands-on. And all we're hearing is them bitching about how somebody snatched their MO ... as if it's copyrighted.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins goes over his findings with Greg.)
Robbins: Based on my dissection, I've detected two separate events.
(He points to one of the puncture wounds in the skull.)
Robbins: I believe that this puncture wound happened first.
INSERT: CGI EFX
(Camera zooms inside the puncture in the skull and punctures an artery, blood squirts out.)
Robbins: (V.O.) The object lacerated a cerebral artery, creating a subdural hematoma.
(Camera zooms back out, blood quickly filling the puncture wound.)
RESUME SCENE
Robbins: Then subsequent blows to her skull, from a ride behind the car, created additional fractures, which caused a few bleeding on the brain, resulting in her death.
Greg: So punctured and bobbled?
Robbins: Yeah. I autopsied the Fatellis' original victim. They're sadists.
(Greg flips through the autopsy photos. He stops on a particular photo of the wound.)
Robbins: First Remy James is dragged behind the Cadillac, and when he wouldn't talk, they sh*t him in every joint. And when he still wouldn't talk, they finished him off with a sh*t to the head. The Fatellis don't mostly k*ll someone.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Catherine and Nick are moving through the hallway.)
Catherine: So you took the perimeter of the scene, right?
Nick: Yeah.
Catherine: Well, I saw this guy in the shadows. Archie blew it up. He looks more like a suspect than a guest.
(They enter the A/V lab, where Catherine has the equipment set up. She points to the monitor.)
Catherine: That face look familiar?
(On screen, there's a man peering through the window and smiling.)
Nick: Oh, yeah. Yeah, I caught that guy trying to sleep one off in the bushes. That's the groom's old man.
Catherine: Wow, I thought my wedding was bad. Where is he?
Nick: I sent him to detox, in the t*nk.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Ernest Chase fiddles with the cotton ball under the bandaid on his inner arm near his elbow. It appears they drew blood from him. Brass interviews Ernest Chase.)
Brass: See, that's the problem with being a deadbeat dad. If you're not around for the bad times, they don't want you around for the good times.
Ernest Chase: I didn't ... I'm not ...
Brass: Let's just cut right through the lie-and-deny part of the chat, and I'll tell you what I know.
WHITE FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - BRASS'S FLASHBACK]
(Brass talks with Adam Chase.)
Adam Chase: My mother was a powerful woman; she had a lot of enemies. My mother and Jill worked so hard to make this day perfect. It seems silly now. They had a fight about the gifts, then ... then there was a disagreement with the bridesmaids. And my mother accidentally brought the wrong dress.
(Behind Adam, Brass notices the waiter drinking from the champagne glass.)
Adam Chase: Then the dinner was wrong, and the cake was wrong. And my father showed up.
Brass: What, he wasn't invited?
Adam Chase: Um, no. My parents are divorced. I think that's why today was so hard on her. The wedding brought up a lot of issues for her.
(Again the waiter finishes up the champagne in the glasses as he collects them.)
Adam Chase: She sacrificed so much for me. Single parent, grad school. She was a champion. (Brass nods.) My father is ... unstable. For years, he's had a drug problem.
Ernest Chase: (V.O.) She told him that.
RESUME TO SCENE
Ernest Chase: I don't believe that bitch!
Brass: So you do or you don't have a drug problem.
Ernest Chase: Don't take everything you see at face value. Fifteen years ago, Diane decided she wanted to go back to work. And I encouraged her. But then she became ... driven. And I was slowing her down. She got nasty. I got depressed. I started taking antidepressants. She was mortified. Said it wouldn't look good. I said, "Hey, I'm not one of your clients. I'm your husband." "Not anymore," she said. She filed for divorce. And she said it was because the drugs affected my libido. We hadn't had sex for eight months before I started taking the drugs.
Brass: Did you have an altercation with her at the wedding?
Ernest Chase: Yeah. Yeah. Because of the meds, I don't drink very much. I did today because I thought it would take the edge off. It put the edge on.
FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - ERNEST'S FLASHBACK]
(Diane stands at the front of the aisle greeting guests as they enter to take their seats.)
Diane Chase: Good to see you. Hi. How are you? It's great to see you ...
(Ernest tries to sneak past, but she sees him.)
Ernest Chase: Excuse me.
Diane Chase: Excuse me.
(Diane grabs Ernest and walks him back out, away from the seats.)
Diane Chase: You were not invited.
Ernest Chase: I read the papers, Diane.
Diane Chase: They teach literacy at the halfway house?
Ernest Chase: I didn't come here to fight.
Diane Chase: You're not here at all.
Ernest Chase: He's my son, too.
Diane Chase: I wouldn't be so sure of that.
RESUME SCENE:
(Ernest continues his story.)
Ernest Chase: I stuck around to see the ceremony. I even saw a little bit of the reception. I was sleeping it off when your guys found me.
Brass: So you didn't k*ll her?
Ernest Chase: No. But you better check to see if she's really d*ad, because I don't think you can k*ll the devil.
(Brass can't help but chuckle.)
CUT TO:
[INT. CSI - LAB - DAY]
(Henry Andrews reports to Nick and Sara.)
Henry Andrews: Nick, you drew Mr. Chase's blood at the scene. His BAC was .28. That was at 4:00 P.M. And officers drew it again at the station an hour later. It was .22. So he was in the elimination phase. That means, when the victim was tied to the car, his blood alcohol level was even higher. Mr. Chase was blotto. He couldn't have tied his own shoes.
Sara: Assuming whoever took your truck is the k*ller, Mr. Chase was in the t*nk. He couldn't have done it.
Nick: One suspect down.
Henry Andrews: Speaking of downers, Ms. Chase liked her diazepam. Blood levels were somewhere between therapeutic and toxic.
Nick: That's ... that's weird. Her ex-husband told Brass she was very anti-psychopharmaceuticals.
Henry Andrews: As a toxicology tech, I'd say often those who adamantly oppose the d-train are its most frequent passengers. But, since she is deceased, I was able to get her medical records. No diazepam scrip.
Sara: So she got daffy on someone else's pills.
Nick: That explains Mindy's account of her behavior. And the toast.
Sara: Doesn't explain how she was conked out, tied to a bumper.
(Greg enters.)
Greg: I might know what happened.
WHITE FLASH TO:
[EXT. HOTEL -- FRONT DRIVEWAY - DAY - GREG'S FLASHBACK]
(We start where we start: David is kneeling next to the body. The entire flashback is sepia-toned. The blood on the road and on the victim is red, the only color allowed in this flashback.)
(David looks at Greg and mouths the words:
Greg's Voice: You'd think she'd know better than to wear white on the bride's big day.
(Greg heads for the arch. His voice over is something out of a film noir detective movie.)
Greg: A dame was d*ad, but enough about her. The air was hot and heavy with wrong, making me thirsty. Thirsty for a tall drink of water.
(Greg notices the tall woman walking in front of him dressed in a tight evening gown.)
Greg: That's when I saw her -- a flower -- but not the kind you pin on a lapel. She was long-stemmed.
(The woman turns, glancing over her shoulder. Her lips are red, the only color allowed in this flashback.)
Sara: (V.O.) All right, Raymond Chandler, we get it.
(Greg walks through the reception area toward Valerie Whitehall and Lacy Finn, two bridesmaids sitting on the concrete railing overlooking the misty pond.)
Greg: And those weren't just miracle bras. They were creating four wonders of the world.
(He approaches them and puts his kit down.)
Greg: I'm Greg Sanders, with the Crime Lab. I need to take your prints.
(He opens his case. Valerie's and Lacey's lips are red.)
Valerie Whitehall: That's quite a case you got there. Is that your magic kit?
Lacy Finn: Or your toy box?
Greg: You don't seem to be very upset about what happened.
Valerie Whitehall: Sweetheart, I've had so many martinis, I'm both shaken and stirred.
Greg: Numbing the pain?
Lacy Finn: Look, we're not gonna pretend to be all liquid and soft, okay? All that's missing here are the striped socks.
Valerie Whitehall: Ding, dong, the witch is d*ad.
Greg: So you're not a fan?
Lacy Finn: Cruella made me wear underwear today. No one makes me wear underwear.
(As Lacey talks, Valerie reaches into Greg's kit and removes a swab stick.)
Valerie Whitehall: I'll do you if you do me.
(Lacey opens her mouth and Valerie sticks the swab in her mouth --
Sara: (interrupts) (V.O.) They did not.
BACK TO SCENE
Nick: (confused) So how does that help explain how Diane Chase died?
Greg: I'm getting there.
[EXT. HOTEL -- RECEPTION GARDENS - DAY - GREG'S FLASHBACK]
Greg: Okay, ladies, let's slow it down. When was the last time you saw Diane?
Lacy Finn: In the hospitality suite. I came in to fix my hair. She was complaining of a headache. Next time I saw her, it was bottoms up, mommie dearest.
(Valerie hands the swab to Greg.)
[INT. HOTEL - HOSPITALITY SUITE- DAY - GREG'S FLASHBACK]
(Greg pushes the suite double doors open.)
Greg: (V.O.) So I headed behind the pink curtain, where the girls go to get glossy.
(He picks up his kit and walks into the suite. Vanity tables are lined up on both sides of the room. He walks over to one of the tables and picks up a blush brush still covered with powder.)
(He blows.)
(A puff of red-colored dust billows in the air. He puts the brush back down on the table and looks around the room.)
Greg: (V.O.) A little shine here, a little pouf there. A little ...
(Greg pauses as he picks up a silicone bra cup and curiously looks at it.)
Greg: (V.O.) Hmm. Well, I don't exactly know what that was, but I liked the feel.
(He puts the silicone bra cup down on the table and continues looking at the room. He notices snowboarding equipment in the back of the room piled with the other gifts and things.)
Greg: (V.O.) Marriage was looking like a lucrative endeavor. And that's when I saw it.
(He turns and sees a cupid's statue complete with bow and arrow. The arrow, he notices, is stained red with blood.)
(He looks down and sees a towel with a couple drops of red blood.)
Greg: (V.O.) Just a few drops.
(Greg takes out a swab and preps it.)
Greg: (V.O.) I figured the blood could have been incidental - a nosebleed, shaving accident.
(He tests it. It turns red.)
(He takes a second swab and stands up to take a sample of blood from the tip of the statue.)
Greg: (V.O.) But, what if, high as a kite on a slipped mickey, ...
BACK TO SCENE
Greg: ... she slips-- and BAM! - Straight to the back of the skull. The arrow was four-sided. It would leave a diamond-shaped wound.
(Greg hands the autopsy photo to Sara. It shows the wound on the back of Diane's head.)
Greg: They match.
Sara: If the initial wound was accidental, why was she panty-hosed to the back of a car?
Greg: Don't know yet.
Nick: Narrows the field of suspects down to someone who had access to that suite.
(Sara nods.)
Nick: Where's the statue?
Greg: In your car.
Nick: Ah!
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - HALLWAY / GRISSOM'S OFFICE -- DAY]
(Hodges makes his way down the hallway to Grissom's office. Grissom is behind his desk.)
Hodges: I know every piece of evidence regarding this case is precious, given the circumstances, so I just wanted to let you know that I've moved Ms. Chase's fingernail scrapings to the top of my extensive queue. Composite substance. You're never going to believe this.
Grissom: Egg whites, sugar, butter, milk, food coloring.
Hodges: How did you know?
Grissom: Butter cream frosting. She had an incident with wedding cake.
(Having the punchline stolen from him, Hodges straightens and sighs thoughtfully.)
Grissom: Are you done?
Hodges: You know, you and me, we're not the marrying kind. The intricacies of our nature can never be understood by just one woman.
Grissom: Would you close the door, please?
(Hodges goes to the door and closes it. He's still in the office.)
Grissom: From the other side.
(Hodges turns and leaves the office.)
CUT TO:
[INT. CSI - LOCKER ROOM]
(BLURRY CLOSE-UP of a hand dangling off the benches. The locker room door opens and Catherine enters.)
Catherine: Sara?
(Sara stirs, her dangling hand moving as she wakens from resting.)
Catherine: Sara?
Sara: IAB here?
(Sara gets up.)
Catherine: No. They're still held up with that officer-involved sh**ting, but the b*mb squad has cleared the convertible.
Sara: Oh. Finally ...
CUT TO:
[INT. CSI -- GARAGE]
(The blue convertible is parked in the garage.)
Sara: (V.O.) ... something to process.
(Sara and Greg open the car trunk. They both look inside.)
Sara: I thought you said the snowboards were in the suite.
Greg: I did.
Sara: Then what's the case doing in the trunk?
(Sara snaps photos of the snowboard case. Greg reaches out and opens it. Inside are bloodstained towels.)
(Sara snaps more photos.)
CUT TO:
[INT. CSI - A/V LAB]
(Archie goes over the reception DVD with Catherine.)
(Archie speeds through the beginning of the DVD.)
Archie Johnson: So you asked me to follow her comings and goings and her food and drink intake. As far as I can tell, she didn't touch her soup or salad. And the main course?
(On the monitor, the food is served. Diane looks at her plate, then at Adam's. Adam is busy with Jill and doesn't notice her promptly switching plates with him.)
Catherine: And what did Diane have to drink?
Archie Johnson: Um ... I only saw her with two glasses, both champagne, first one around 2:00.
(On the monitor, Valerie Whitehall brings Diane a fresh glass of champagne.)
Archie Johnson: But maybe she was hitting the bar, because look:
(He fast forwards through the reception. On screen, Diane Chase is woozy and can barely keep her head up.)
Archie Johnson: This is fifteen minutes later.
Catherine: Oh, my.
Archie Johnson: The waiter gave her a second glass for her toast, which I watched five times.
(Catherine chuckles.)
Archie Johnson: And that was it.
Catherine: When was the last time she was on camera?
Archie Johnson: Well, her exit was neither polite nor discreet.
(He cues the DVD.)
Mikey Shoemaker: You know, I know I may just be a grease monkey, but I drive a tow truck, and I think I know a little something about getting hitched.
(Diane Chase stands up and walks over to Valerie Whitehall.)
Mikey Shoemaker: (from DVD) And these two ... uh ... there's more. Uh ... I think these guys are in it for the long haul. (re: Diane and Valerie) Making friends over here. No, but seriously, uh ... I don't mean to get all sentimental or anything, but these two are going to have a lot of sex tonight.
(Diane turns and leaves.)
Mikey Shoemaker: (from DVD) And ... what? What? Are you embarrassed? She's embarrassed.
(Lacey quickly stands up and follows Diane out.)
Mikey Shoemaker: (from DVD) I'm her older brother. I changed her diapers.
(Archie stops the DVD.)
Archie Johnson: That was 2:25.
Catherine: Would you play that again?
Mikey Shoemaker: (from DVD) I know I may just be a grease monkey, but I drive a tow truck, ...
(Quick flashback to: [EXT. FRANK'S COFFEE SHOP PARKING LOT - DAY] A tow truck hitches onto Nick's SUV and pulls it away as the blue truck moves out of view.)
Mikey Shoemaker: (V.O.) ... and I think I know a little something about getting hitched.
(End of flashback. Resume to present.)
WHITE FLASH TO:
[INT. CSI - HALLWAY - DAY]
(Catherine is on the phone.)
Catherine: (to phone) Yeah, Jim. Check into a Mikey Shoemaker, the bride's brother. Run his wants and warrants. And also look into the location of his tow yard. Thank you.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Sara and Greg are going through the contents of the bags. Sara pulls out a nightie and holds it up as to her she looks it over.)
(Nick walks in.)
Nick: So?
Sara: We need your hands.
(She turns and looks at Nick, the nightie still held up against her.)
Nick: (mutters) I thought you'd never ask.
Sara: (clarifies) I need you to reprint the bumper because the tape lifts were stolen.
(Nick grabs a pair of gloves of the table.)
Nick: Anything to keep me awake.
(Nick kneels in front of the bumper. Greg finds something. He's holding a prescription bottle.)
Greg: Uh-oh! Looks like we had some bride's little helper going on. Diazepam.
(The label reads:
No. 1337511
Dr. Whitehall
JILL SHOEMAKER
TAKE AS NEEDED
Discard after: _____
DIAZEPAM 10 MG TAB
Refills: 0
Greg: Just filled. Rx calls for six ten-milligram pills.
(Nick lifts a print off the bumper. Greg shakes the bottle to hear the rattle.)
Greg: Two left.
Sara: Forty milligrams would match mom's blood level.
Greg: Jill gets some pills to calm herself, decides to calm her mother-in-law instead, and make everybody happy.
(Wendy Simms walks in.)
Wendy Simms: Okay, the blood from the snowboard bag was a match to Mother Chase.
Greg: That could have been what they used to transport her from point to point B.
Wendy Simms: Yeah, "they" is right, 'cause I also found two female epithelial contributions. One on each handle of the bag, and then one of the same females was also a match to the DNA from the knot in the pantyhose.
Greg: We could compare them to the buccal swabs we collected ... if we still had them.
Sara: Well, we'll just have to recollect them.
Greg: All two hundred of them?
Sara: Yeah, and since we can't leave, someone else is gonna have to recollect them.
Nick: (snaps) This is crap! I've been waiting on IAB for ... (He pulls his gloves off with a snap.) ... fourteen hours. I'm tired ... (He tosses the gloves aside.) ... and I kind of smell, and I don't have a freaking car.
(Nick leaves the garage.)
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(Warrick is tying his shoes when Nick walks in.)
Warrick: Hey, buddy.
(Nick opens his locker.)
Nick: Hey.
Warrick: How you doing? You all right?
Nick: Hey, this, this sucks, man. I didn't do anything wrong, and everybody's looking at me like I'm the bad guy.
(Nick unzips his jacket to change clothes.)
(OFF WARRICK. Warrick nods sympathetically and glances at Nick. He does a double take, his eyes serious.)
Nick: If I had to do it all over again, I'd do the exact same thing.
Warrick: (interrupts) Nick, ...
Nick: I mean, how do I ...
Warrick: Nick ...
Nick: ... fix the situation?
Warrick: (louder) Nick!
Nick: It was already screwed up to begin with. (Nick turns to Warrick.) What?
(Warrick looks at Nick's shirt. Nick looks at Nick's shirt. It's stained with a lot of blood.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - DNA LAB -- DAY]
(Wendy Simms is cutting the shirt off of Nick.)
Nick: (thinking out loud) I loaned one of the bridesmaids my jacket. She was wearing black. There was no reason to ALS. Blood must have transferred from her to my jacket, to me. I didn't want to contaminate it by pulling it over my head, you know?
Wendy Simms: That was good thinking.
(She cuts completely through one side of the shirt and helps take it off Nick.)
Nick: All right. Hey, Wendy, ...
Wendy Simms: Uh-huh?
Nick: I don't know if you'll be able to get anything off of this, but I want you to compare the female epithelials you found on the snowboard bag against the napkin that I have in my right front pocket.
(Wendy smiles at Nick.)
Nick: Come on.
(Wendy removes the cocktail napkin from Nick's front pocket. She opens it and sees the lipstick print, Mindy's name and number.)
(She looks at Nick and smiles.)
(Nick turns and leaves.)
(Wendy laughs.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Catherine and Brass are walking through the hallway on their way to the garage.)
Brass: So that was a good call on the bride's brother, Mikey Shoemaker. He had a prior conviction for car theft.
Catherine: Where did you find Nick's truck?
Brass: In one of the paint bays of his auto body shop, right next to a delivery truck. We're looking for Mikey now.
Catherine: Well, I watched the rest of the wedding video. He may have stolen the car, but once Diane disappears, Mikey never leaves the party.
[INT. CSI - GARAGE - DAY - CONTINUOUS]
(They enter the garage just as Nick's truck is brought in.)
Brass: Maybe he wasn't acting alone. (to Nick.) Hey, pip. How you like your new ride?
(Nick's SUV has been painted over with pictures of dice, hundred dollar bills and a blonde-haired woman in a bikini.)
Catherine: Hey, look. They fixed it.
Nick: (groans) Oh. Oh, that's not funny.
Catherine: Oh, it's a little funny.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg measures the size of the wound in the morgue photo to the cupid's arrow tip.)
(Sara walks in.)
Sara: Where did you get that?
Greg: Unis found it in a dumpster behind Mikey Shoemaker's body shop.
Sara: He went through all that trouble to steal the car and that's where he ditches it?
Greg: Well, they didn't find any biological evidence, and he probably hocked the cameras, but at least I've been reunited with love's deadly arrow.
Sara: You know that's not going to stand up in court, right?
Greg: Well, negative Nelly, I know that, and you know that, but the suspects might not. We have to convince them that we know what happened.
Sara: Do we?
Greg: We're close. Can you put the UV filter on the camera?
Sara: Sure.
(On the table in front of them are the photos and in the center is Diane's bloodied white dress. Sara puts the lens on the camera. Greg turns off the lights to ALS the dress. She looks through the camera lens and sees that there are two hand-sized prints on the front of the dress.)
Sara: How did you ... ?
Greg: I didn't, until I processed it. But I was thinking this statue punctured her in the back of the head, which means one of three things might have happened.
(Sara snaps photos of the dress.)
Greg: Either she was s*ab by it ...
Sara: Well, the statue looks a little unwieldy.
Greg: Or she accidentally fell on it.
Sara: But with no one to blame, why wouldn't someone just call 911?
Greg: Which leaves us with option number three: She was pushed.
(He raises his hands and pushes ...
(Quick flashback to: [HOSPITALITY SUITE - DAY] Someone pushes Diane Chase. She falls backward and hits the cupid statue. Her eyes widen from shock. End of flashback.)
Sara: Lucky for us someone had something on their hands.
Greg: Something that left good ridge detail.
Sara: I'll swab it for trace.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(The monitor shows the print results:
NAME: LACEY FINN
AGE: 23
HEIGHT: 5'2"
WEIGHT: 107 LBS
EYES: BLUE
RACE: CAUCASIAN
SEX: FEMALE
HAIR: BLONDE
DOB: JAN 7, 1983
LAST KNOWN ADDRESS:
1689 DESERT WAY
LAS VEGAS, NV 89109 )
(Mandy Webster reports her findings to Greg.)
Mandy Webster: Prints are a match to a bridesmaid, Lacey Finn.
Greg: She's in the system?
Mandy Webster: Yeah, she was a cocktail waitress for a short time.
Greg: Of course she was.
Mandy Webster: And I pulled the prints off of this pill bottle, but I didn't find a match.
Greg: Which means the bride didn't do it because as a nurse, she'd also be in the system.
Mandy Webster: Correct. However, I did find something. Look at the prescribing doctor on that label. I was cross-checking with the guest list, and guess who the good doctor's wife is. Mrs. Valerie Whitehall. She's also a bridesmaid.
GREG FLASHBACK TO: VALERIE WHITEHALL, sepia-toned and red vampy lips.
(Oh, yeah. Her.)
BACK TO SCENE
Greg: Well, she knew where the pills were. She had access to the suite, so maybe Jill didn't poison mom, Valerie did.
Mandy Webster: A little bonus in the bubbly.
(Hodges walks in with his results.)
Hodges: I got the results from Mama Chase's suit jacket.
Greg: What's the trace?
Hodges: Hair gel.
Greg: Lacey said that she went to fix her hair.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Mikey Shoemaker is in the interview room when Catherine walks in carrying a file folder.)
Mikey Shoemaker: Where's that Sara chick?
Catherine: Oh, Romeo, I don't think that you have time for romance. You're being charged with grand theft auto, obstruction of justice and conspiracy to m*rder.
(Catherine sits down.)
Mikey Shoemaker: Okay, I will cop to everything but the m*rder.
Catherine: Well, if you didn't commit the m*rder, why did you steal the car?
Mikey Shoemaker: Look, the lady was already d*ad, all right? And then, then you guys show up and this bridesmaid comes up to me and starts asking me all these questions about my tow truck.
Catherine: Which bridesmaid?
Mikey Shoemaker: The hot one. Next thing I know, she wants to be the Bonnie to my Clyde. Asked me to steal this car and trash all the evidence.
Catherine: So you committed grand theft auto to get laid?
Mikey Shoemaker: Ever stolen a two-ton piece of machinery? It is way better than sex. And finding a girl that doesn't want to kick you to the curb for it? I mean, come on. That is just hot. Besides, I hadn't gotten a wedding gift for my sister yet.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Wendy Simms reports her findings to Nick.)
Wendy Simms: So I don't have a match to one of the handles to the snowboard case, but, um, your napkin girl ...
Nick: That Mindy Faberge?
Wendy Simms: She got to be a bridesmaid.
Nick: Yeah.
Wendy Simms: She matches the other handle.
Nick: Well, she was in the suite with the gifts. She could have touched it then.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Nick, Sara, and Greg are sitting in the break room when Grissom walks in.)
Grissom: You paged?
Greg: We think that each of the bridesmaids is responsible for k*lling her. Not individually, but working in cahoots. Each one played their part.
(Grissom sits down.)
Grissom: Did you know the original role of the bridesmaid was to act as a human shield against the bride's enemies?
Sara: Women would dress similar to the bride in an effort to confuse and outsmart evil spirits that might try to overtake her on her wedding day.
Nick: Wow, for somebody who's anti-wedding, you certainly know a lot about it.
Sara: I'm not anti-wedding. I'm just anti-stupid -- you know, people who do things for the sake of tradition with no clue as to why.
Grissom: Anyway, let's start at the beginning, shall we?
(Greg turns the DVD on. On the monitor, we see Valerie getting a drink.)
Greg: Valerie kindly gets mom a drink.
WHITE FLASH TO:
(At the counter, Valerie put the drug in the glass and fills the glass with champagne.)
BACK TO SCENE
(On the monitor, Valerie turns around and carries the glass back to the table.)
Greg: Then during her toast, Diane starts to feel the effects.
(On the monitor, Diane sways forward.)
Greg: By Mikey's toast, she decides that she's toast.
(On the monitor, Diane gets up and walks over to Valerie.)
Mikey Shoemaker: (from video) ... A little something about getting hitched.
WHITE FLASH TO:
(Diane goes up to Valerie.)
Diane Chase: (slurs) I know what you did. I'm going to have your husband's medical license, and I'm going to have you put away for attempted m*rder.
(Diane leaves.)
Greg: (V.O.) Lacey overhears Diane's paranoid, yet correct ramblings and eventually follows her out.
(Lacey stands up and leaves.)
CUT TO:
[INT. HOSPITALITY SUITE -- DAY]
(Lacey pushes the doors open and finds Diane sitting inside. Lacey sits down at the vanity table.)
Lacy Finn: You okay?
Diane Chase: The gall of you to ask me that! You know I'm not okay, you little tart. You're all just as bad as she is.
Lacy Finn: Don't get mad. Valerie was just trying to make you feel better.
(Diane stands up.)
Diane Chase: Oh, by giving me a controlled substance? You are going down for conspiracy!
(Angry, Lacey gets to her feet.)
Lacy Finn: All right! You know what, lady?! That's enough!
(She turns around and pushes Diane. Diane falls backward, hitting the cupid statue.)
Greg: (V.O.) Leaving her incapacitated but not d*ad.
(Lacey stands up and hits Diane on the arm to make sure she's not d*ad.)
BACK TO SCENE
(On the monitor, Lacey appears back on the monitor. She heads over to the table.)
Nick: (V.O.) At which point Lacey tells Mindy and Cindy.
FLASH TO:
[INT. HOTEL - BALLROOM - DAY]
(Lacey finds Mindy and Cindy.)
Lacy Finn: (quietly) I made a mess in the bridal suite.
FLASH TO:
[INT. HOSPITALITY SUITE - DAY]
(
Nick: (V.O.) They formulate a plan.
(Mindy and Cindy are in the hotel suite. Mindy pulls Diane's head from off the arrow, we hear the crunch of flesh and bone as the body comes loose. Cindy spreads out the snowboard bag on the floor.)
Mindy: Oh, God! Once we get her in there, what are we going to do with her?
Cindy: Oh, um, let's make it look like it was, um, Forelli ... Fas-
Mindy: Oh, the Fatelli brothers?
Cindy: Fatelli brothers! We'll just make it look like they did it.
(They set the body down in the snowboard bag.)
Mindy: Oh, my God.
RESUME SCENE
Nick: They tie her to the car, chuck the bag in the trunk, return to the party.
FLASH TO:
[INT. HOTEL - BALLROOM - DAY]
(Mindy and Cindy push their way to the front of the group. The women are in the group clamoring as Jill tosses the bouquet over her shoulder.)
(Mindy catches the bouquet.)
Mindy: Got it, yes!
RESUME SCENE
(She fast-forwards the DVD.)
Sara: And everyone just continues along with the joyous festivities until ...
(Sara plays the DVD. The bride and groom are on the convertible leaving and waving to the passing crowd. The crowd's cheers turn to horrified screaming as the body is dragged behind the car.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]
Mindy Faberge: I'm not a bad person, and we didn't exactly k*ll her. I mean, I like to think she k*lled herself because she was ...
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B]
Cindy Jansen: ... crazy. She did crazy things to our friend. I mean, who hates a pediatric nurse? Granted, we'd all been drinking, but she drove us to it. We did what we had to do. Sisterhood is powerful ...
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM C]
Valerie Whitehall: ... this and powerful that. She was on a total trip. There was no way Jill could endure a life of that. I just ... I wanted to shut her up with the drugs, but that backfired ... leaving us ...
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM D]
Lacy Finn: ... no choice. She was coming at me. I just, I just defended myself. I didn't mean to take her down, but once she was, I ... I felt nothing. There she was just, just staring at me, and all I could think was ... "Thank God."
CUT TO:
[BRASS]
(Brass doesn't say a word. He stands up and leaves.)
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Nick is lying on the couch, his head back against the arm rest, his arm thrown over his face. Grissom and Sara are sitting at the table, their backs to the doorway. Greg paces the floor. He turns and sees McKeen and three IAB officers headed their way.)
Greg: Grissom?
(Grissom looks at Greg, who motions to the door. Grissom turns around.)
McKeen: IAB is here.
Grissom: Lovely. You should know that while waiting for IAB, we recovered the car and solved the case.
(Nick gets to his feet.)
Jeff McKeen: Well, this is not a "no harm, no foul" situation. Disciplinary action may still be taken.
Grissom: Okay.
McKeen: So who wants to go first?
(Grissom looks at the CSIs and shrugs.)
Grissom: I don't think it matters. I'm sure our stories are all the same.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x21 - Rashomama"} | foreverdreaming |
FLASH IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. CAR (MOVING) -- NIGHT
(A man drives a red Ferrari down the road, a beautiful blonde in the seat next to him. He throws his head back, laughing with exuberance.)
(The blonde kisses the man as he g*n the engine.)
(The blonde runs her hand slowly up his thigh. The man smiles at her, then shifts the car into gear and takes off down the road.)
FLASH TO:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. HOTEL LOBBY - NIGHT]
(The man drives the red Ferrari to the drive. The valet opens the passenger door and helps the blonde-haired woman out of the car. The man tosses the keys to the valet and tips him a $100.)
(The blonde smiles at the man. She takes his hand and they head into the casino.)
CUT TO:
[INT. CLUB - NIGHT]
(The blonde and the man dance. They kiss on the floor.)
[INT. CLUB - HALLWAY - NIGHT]
(The blonde and the man are kissing in the back hallway.)
(Getting carried away, she pulls him into the women's bathroom. They continue kissing. She reaches out and shuts the door closed.)
THE DOOR SLAMS SHUT:
[EXT. PARKING - NIGHT]
(Grissom and Catherine walk over to the d*ad body. Brass stands nearby as David works on it.)
Brass: A truck driver making a delivery found him.
Catherine: TOD?
David Phillips: About two or three hours ago.
(Grissom notes the bruise on the d*ad body's neck.)
Grissom: Neck contusion.
(Catherine notices the scrapes on the body's right hand knuckles.)
Catherine: Looks like he went down fighting.
Grissom: Any ID?
David Phillips: Just this.
(David hands Grissom a room key.)
Grissom: Palermo room key.
Catherine: Nice clothes.
Brass: Well, they do make the man.
(Grissom notices the white stain on the man's pants.)
Grissom: He's got some kind of transfer on his pants.
(Catherine fines more white stuff on the man's shirt.)
Catherine: Yeah, and on his shirt. So what's a guy dressed for a party with a key to this hotel doing out here?
Grissom: I don't know. But the party's over.
SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. HOTEL LOADING DOCK -- NIGHT]
(Grissom and Catherine process the crime scene. Catherine is up on the docking area when she finds white smudge on the concrete.)
Catherine: Got smudges that look like white paint up here. Similar to the trace on the vic's clothes.
(Grissom is down on the parking area.)
Grissom: Same down here. So whatever it is, it must have been wet.
(Grissom snaps a photo of the white paint smudge next to evidence marker #1.)
(Catherine walks over to the white paint smudge on the docking concrete area and puts evidence marker #3.)
Catherine: I don't see any wet paint signs up here either.
(Looking for the source of the white paint smudges, she turns and looks inside the hotel area.)
[INT. PALERMO - BACK ENTRY CORRIDOR - NIGHT]
(She walks through the white-walled hallway and touches it. The walls are still wet with paint.)
(She looks at the wall and sees the place on the wall where the paint has been smudged. She snaps photos of it.)
(At the end of the corridor are double doors leading into the hotel. Catherine slings the camera over her shoulder and heads for the doors.)
(Catherine enters the hotel lobby through one of the side doors.)
[INT. PALERMO - LOBBY - NIGHT - CONTINUOUS]
(Catherine looks around the area, noting where she is.)
Overhead: Two performances nightly of Palermo's fabulous show, "The Girls of India." Now on display at Palermo Jewelers -- diamonds at Romanoff's.
CUT TO:
[INT. PALERMO - FRONT DESK -- NIGHT]
(The manager swipes the card key in the machine. The monitor shows the room:
2147.)
CUT TO:
[INT. PALERMO - ELEVATOR -- NIGHT]
(The elevator doors open. The manager steps out; Catherine and Nick follow.)
Manager: The room is registered to a Jeffrey Powell of Van Nuys, California.
Catherine: He check in with anybody?
Manager: No. The reservation was for one person. He checked in yesterday, paid with a corporate credit card.
Nick: Do you remember the name of the company?
(The manager unlocks the room door and pushes it open.)
Manager: Sheritown Inc.
(Catherine enters the room and starts taking photos. Nick turns to the manager.)
Nick: Sheritown Inc. We're going to need access to all of the surveillance footage from tonight, all right?
Manager: You got it.
Nick: Okay.
(The manager leaves. Nick turns and enters the room.)
[INT. PALERMO - JEFF'S ROOM - CONTINUOUS]
(The room is a mess. Catherine snaps photos as Nick looks around. The bed is rumpled and messed up. The nearby table has empty dinnerware, two champagne bottles and two used glasses.)
Nick: Two glasses. Think our vic got lucky?
(Nick puts on his gloves.)
Catherine: Oh, yeah.
(Catherine leans forward and snaps a photo of some hair strands on the bed.)
Catherine: He got lucky, all right. He got lucky with a blonde.
(She picks up the hair and reaches for a bindle. Nick notices the clothes tossed on the ottoman.)
Nick: Jeans ... full of holes. Must've been wearing them a long time.
Catherine: Either that or he just bought them and paid a fortune.
(Nick moves the clothes aside and finds a book on BLACKJACK.)
Nick: I remember my first time to Vegas. I got one of these - "Guide to Blackjack". Everybody dreams of hitting it big out here, don't they?
(Nick tosses the book back on the other clothes and things.)
Catherine: Yeah, well, if that ever ends you can kiss Vegas good-bye.
(Nick opens the bedside table drawer and finds a packet of a white powdery substance.)
Nick: We have a winner.
(He picks it up and shows it to Catherine, who is looking through the jacket pockets.)
Catherine: Jackpot.
(She looks at the jacket label.)
Catherine: Ooh, Sasan. Cost him more than all of his other clothes put together.
(She notices the blue discoloration on the jacket.)
Catherine: There's some kind of blue powder trace on the pocket. Nicky, take this.
(She tosses Jeffrey Powell's wallet to Nick. He opens it.)
Nick: California driver's license.
(The information on the CALIFORNIA DRIVER'S LICENSE reads:
JEFFREY POWELL
623 VAN NESS AVE.
LOS ANGELES, CA 90028
SEX: M HAIR: BLK EYES BRN
HT: 5-8 WT: 155
Nick: Company credit card.
(The CORPORATE GOLD credit card with the VISA logo, #7002 0511 2837 3301.)
Nick: Amateur Speedway Association card.
(The Amateur Speedway Association card expires 1999.)
Nick: Guy liked fast cars.
(Catherine finds car keys on the bedside table.)
Catherine: Except he was driving a Toyota.
Nick: No cash. This sounds like a classic trick roll.
(Quick flash to: [INT. CASINO - NIGHT] Jeffrey Powell is at the gaming tables and winning.)
Nick: (V.O.) Kid from of town on a lucky streak--
Jeffrey Powell: I cannot lose tonight!
(On the side, a blonde-haired woman watches him.)
Nick: (V.O.) He's an easy mark.
WHITE FLASH TO:
[INT. ROOM - NIGHT]
(Jeffrey Powell is undressing the blonde-haired woman. They're kissing.)
Nick: (V.O.) Get him up to the room ...
(The blonde-haired woman pours champagne directly into Jeff Powell's mouth.)
Nick: (V.O.) loosen him up ...
(End of flash. Resume to present.)
Nick: ... jump him and dump him.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY ]
(Warrick snaps photos of the body on the table. David Phillips starts removing the clothes off the body. He pulls off the pants and sees the stain on the victim's underwear, a purple-ish discoloration on the front.)
David Phillips: Mom was right -- always wear clean ones. Because you never know what could happen. What do you think that is?
Warrick: Why don't you take a whiff?
David Phillips: Why am I always the guy who has to sniff the shorts?
Warrick: 'Cause it's your job.
(David looks at Warrick.)
David Phillips: You do it.
(Warrick puts his camera down and leans forward a little. He smells.)
Warrick: Red wine.
(David smiles. Warrick checks the victim's pants and finds there's no stain.)
Warrick: It's not on his pants. What about the shirt?
David Phillips: No.
Warrick: So he must have changed after the mess.
(Warrick checks the pants pockets.)
David Phillips: Oh, I already went through his pockets.
(Warrick takes out a slip of paper: INSPECTED BY #17.)
David Phillips: Of course, I was double-gloved.
Warrick: Clothes are brand new.
(David looks at the victim's hands and finds a callus on the skin between his thumb and index finger.)
David Phillips: Hmm ...
Warrick: Looks like a callus.
(David holds a ruler next to the victim's hand as Warrick snaps photos of it.)
CUT TO:
[SECURITY VIDEO MONITOR]
(The security video for ELEVATOR CAM 2 at 10:52 shows Jeffrey Powell in the elevator with a tall blonde.)
Nick: (o.s.) There's a long-haired blonde.
(Camera cuts wide and we find we're in the ...
[INT. CSI - A/V LAB #4 - DAY]
(Archie is reviewing the security camera footage.)
Archie Johnson: Yeah, I've been watching this for a while now.
Nick: Time stamped 10:52 P.M. He entered his room a couple of minutes later. Manager said the last time he used his card key was 10:54 P.M.
Archie Johnson: We look forward about an hour ...
(Archie sets the video forward to 11:47.)
Archie Johnson: Jeff leaves his room alone.
(Video shows Jeffrey Powell enter the elevator.)
Nick: He doesn't have a jacket on. He's probably not going too far.
Archie Johnson: So he gets off the elevator, goes into the casino, and nine minutes later, ...
(Archie sets the video forward to where the blonde woman enters the elevator alone.)
Archie Johnson: ... same blonde goes down in the elevator.
Nick: Mm-hmm.
(The blonde rests against the side railing, enough for the camera to catch her face.)
Nick: Grab that.
(Archie screen-caps the frame.)
Nick: Print that.
(He prints the frame.)
Archie Johnson: After the vic gets off the elevator, I lose him in the casino crowd for about fifteen minutes.
Nick: How do you lose him? Aren't there a hundred cameras in there?
Archie Johnson: And at four hours of video each, that's four hundred hours of video I got to go through. (Nick smiles.) The vic was found at the loading dock off the shopping arcade.
(Archie points to the video where the victim is walking through the lobby.)
Archie Johnson: And here, he's heading for the arcade here. That's the last time I've got him on camera. There's no surveillance in the arcade hall. Only in the individual stores.
(A woman walks out of the nearby store.)
Nick: Freeze that.
(Archie freezes the video frame.)
Nick: Enhance that bag.
(The name on the bag is SASAN.)
Nick: The vic was wearing a Sasan jacket.
Archie Johnson: Hah. Check this out. Bingo.
(Archie checks the store map and finds it:
B-102C
2,798 SF
SASAN BOUTIQUE
Nick: I'm going shopping.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. SASAN BOUTIQUE -- DAY]
(Nick talks with Erica, the saleswoman.)
Nick: But you were working last night.
Erica: Yeah, we've been short-handed.
Nick: Do you, uh, do you recognize either one of these people?
(Nick shows her the elevator photo of Jeffrey Powell and the blonde-haired woman.)
Erica: No. Sorry.
(She hands the photo back to Nick. Nick takes out a second photo of the Sasan jacket.)
Nick: How about this? Recognize that?
Erica: Sure. That's from the new spring line. The leather's like skin. It's incredible. Show me that picture again.
(Nick hands the elevator photo back to her. She studies it longer this time.)
Erica: Now I remember. He bought a whole outfit. Even wanted underwear. We don't sell underwear.
Nick: Credit card receipt, anything like that?
Erica: (shakes her head) He paid cash. He was flashing a wad.
Nick: Mm-hmm. Buy anything for her?
Erica: Nothing. She didn't need anything. Looked perfect. Was making my job real easy.
(Quick flashback to: [INT. SASAN BOUTIQUE - NIGHT] The blonde helps Jeffrey Powell into the jacket as Erica watches. She kisses him.)
(End of flashback. Resume to present.)
Erica: That guy would have bought anything she wanted him to, Mr. Stokes.
(Nick smiles.)
Nick: Thank you.
(Nick turns to leave.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins snaps photos of the victim's chest. He uses a special camera and light. As he snaps photos, the bruises on the victim's neck appear.)
TIME CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Catherine. The victim's neck is open, his skin peeled back to show inside.)
Robbins: I found extensive contusion involving the anterior aspect of the neck with hemorrhage in all the strap muscles. The thyroid, cricoid and arytenoids cartilages are all multiply fractured.
(Camera zooms in for a close-up on a CGI IMAGE of the bones snapping.)
RESUME VIEW
(Robbins points out the broken bone in the neck.)
Robbins: The hyoid bone is fractured as well.
Catherine: The blunt-force trauma to the neck?
Robbins: Yeah. COD is asphyxiation due to obstruction of the airway. Took a few minutes to die.
Catherine: Any idea of the source of the BFT?
Robbins: Well, I enhanced the contusion on the neck using UV photography.
(He shows her the photo.)
Robbins: Looks like there's a defined edge on the w*apon.
Catherine: Yeah, that could be anything. How about prelim tox results?
Robbins: Well, tox detected methamphetamine, sildenafil and oxycodone.
Catherine: Stimulant, erection and a painkiller. Party in a pill.
Robbins: Where was that on my wedding night?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. PALERMO - PARKING GARAGE -- DAY]
(Greg and Sara question Lenny Andretti, the hotel valet.)
Greg: This couple look familiar?
Lenny Andretti: Sweet red Ferrari. F-360 Spyder.
Greg: When did you see them?
Lenny Andretti: Last night-- I brought the car when they left. Around 8:15. They're gone a couple hours. The car - pfft -- was amazing.
Sara: Did they happen to tell you where they were going?
Lenny Andretti: No.
Sara: Do you know what time they got back to the hotel?
Lenny Andretti: Uh, a little after ten. The guy gave me a Benjamin. I kept an eye out on that baby, I didn't want any of these other maniacs putting their paws on it.
Sara: What about the girl? You ever seen her before?
Lenny Andretti: I don't think so.
Sara: She strike you as a working girl?
Lenny Andretti: I'll say this, if she was hooking, then she was top shelf, just like that car. I felt kind of like that garage guy in "Ferris Bueller's Day Off"? You know, he likes the car so much, he takes it out for a spin for, like, the whole day. Not that I'd ever do that.
Sara: Of course not.
Lenny Andretti: Whoa, look, I had nothing to do with the damage on that car.
(Quick flashback to: [NIGHT] Jeffrey Powell and the blonde are walking away when Lenny looks at the car and notices the scratch on the front.)
(End of flashback. Resume to present.)
Lenny Andretti: I mean, it was pristine before they took it out.
Greg: They were in an accident? How bad?
Lenny Andretti: Look, any scratch on that beauty is a tragedy and this was, like, a dent. You know what? They looked like they didn't even care. Anything else I can do for you?
Sara: Um, thanks.
Lenny Andretti: Lenny. Lenny Andretti. No relation.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges reports his findings to Catherine.)
Hodges: The trace for your vic's jacket pocket was primarily talc.
Catherine: Blue baby powder?
Hodges: No. Take a look.
(Catherine looks at the crystals in the scope.)
Catherine: Birefringent crystals. Pretty. What are they?
Hodges: It's a mixture of silica and axolite, two abrasives. But when found with talc, it suggests only one use.
Catherine: And that would be?
Hodges: In 1897, William Spinks received a patent for what came to be known as
"Spinks Billiard Chalk."
INSERT: MONTAGE
(A cue stick is chalked up. The cue tip makes contact with the white ball, sending chalk particles on the billiard table felt.)
Hodges: (V.O.) You may be surprised to know that cue-tip chalk does not contain chalk at all; it is a mixture of axolite and silica.
(Cut to: Jeffrey Powell rubs his fingers on the jacket pocket as he puts his hands in the pocket.)
RESUME VIEW:
Hodges: The abrasives give grip to the tip when it hits the ball.
Catherine: Stop trying to make that sound dirty. Our vic had a callus on his hand.
Hodges: Mmm ...
Catherine: Don't. Which means that he was probably playing a lot of pool.
Hodges: Where do you go in this town to sh**t stick with a hot blonde and a Ferrari?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CUE-T (POOL HALL) -- NIGHT]
(Brass and Catherine enter the pool hall.)
Brass: There's at least a half a dozen of these high-end pool halls in Vegas. The word on the street is a lot of out-of-town money comes through here.
Catherine: Well, it's closer to Palermo; it's a good place to start.
(Catherine picks up the chalk on the table. They look around and Brass sees someone hand money to a man, who turns around and hands it to Jake behind the counter. Brass and Catherine head over to Jake.)
Brass: Hey, buddy, how's it going? Have these two been in lately?
(He shows Jake the elevator photo of Jeff Powell and the blonde.)
Jake: No. It's pretty dark in here, wouldn't recognize my own mom if she came in.
Brass: It wasn't so dark you couldn't count your vig from that game over there.
Jake: It's not illegal to bet on a pool game in Nevada.
Catherine: -- but it is illegal for the house to take a cut a gaming license. I don't see one on the wall.
Jake: That's because nothing like that's going on here.
Brass: So, if we asked everyone in here, no one would say that you're taking a piece of the action?
Jake: Let me take another look.
Brass: Sure. Knock yourself out.
Jake: I never see the guy. Girl's kind of a regular here. Name's Heidi.
Brass: So, I guess your eyes do get used to the dark.
Catherine: You know where we can find this Heidi?
Jake: Oh, man ...
Brass: (interrupts) You know, I don't see that license anywhere. Look, here's what we're going to do. Get on the phone. Call Heidi. Tell her a distinguished gentleman has just come in with a large wad of cash looking for some action. That'd be me.
SHORT TIME CUT TO:
[INT. CUE-T (POOL HALL) - NIGHT]
(Heidi Wolff walks in. She heads over to Jake, who is standing near two officers. She stops and turns away. Brass and a uniformed officer walk up to her.)
Brass: Heidi Wolff? How you doing? I'm Jim Brass, Las Vegas Police. Can I talk to you for a minute?
Heidi Wolff: About what?
Brass: Do you know this guy?
(He shows her the elevator photo of Jeff Powell.)
Heidi Wolff: No. Apparently, you think I do.
Brass: Oh, I know you do. You want to tell me how he turned up d*ad?
(She looks at the photo again, a worried look on her face.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A -- MORNING]
(Brass interviews Heidi Wolff. She's sitting at the table. He's standing nearby.)
Brass: So you spent the night with Jeff Powell.
Heidi Wolff: And he was alive when he left me.
Brass: Oh. He left you?
Heidi Wolff: Yeah. Believe it or not. Look. He was getting kind of weird on me.
INSERT FLASHBACK
[INT. PALERMO - JEFF'S ROOM - NIGHT]
(Heidi is on the bed, the sheet wrapped around her. Jeff is dressed and putting his shoes on.)
Heidi Wolff: Hey. Where you going?
Jeffrey Powell: Don't worry, I'll be right back. You know, I think I may just have to fall in love with you.
(He walks out the door. The door closes behind him.)
WHITE FLASH TO:
BACK TO SCENE:
Heidi Wolff: So I put on my clothes and I got out of there. I was looking for fun, not a lifetime commitment.
(Brass sits down.)
Brass: Is that what you call fun? Rolling a guy, taking his money?
Heidi Wolff: I didn't take his money.
Brass: Heidi, Heidi, ho. Look, we know Jeff was waving around a large wedge of cash. And the money was gone when we found him. You're an expensive date, Heidi.
Heidi Wolff: I'm a professional gambler. Probably the only one in Vegas who declares every dollar. You can check my tax returns.
Brass: We checked the hotel sheets.
Heidi Wolff: We had sex. Is that against the law? No.
Brass: No.
Heidi Wolff: We won some money sh**ting pool. Is that against the law? No.
Brass: You gave him drugs. Is that against the law? Yeah. Look, here's the way I see it breaking down. You left the room nine minutes after he did. You went downstairs. You checked with your partner. You k*lled the kid, you took the cash, end of story.
Heidi Wolff: Let's get this straight. He was a sweet kid and I'm sorry he's d*ad, but I had nothing to do with it. And I'm done talking.
CUT TO:
[INT. EXTRAVAGANT AUTO -- MORNING]
(Greg and Sofia enter the Extravagant Auto showroom.)
Greg: According to the DMV, of the 12 Ferrari F-360 Spyders registered in Vegas, only three are red. Two of them are privately owned, and a rental company has the third. And since the vic owns a Toyota in LA and Heidi Wolff drives a beetle ...
(The manager, Robert Rhoda, exits the back and walks over to meet them.)
Sofia Curtis: ... you figured this would be a good place to start.
Robert Rhoda: Welcome to Extravagant Auto. Robert Rhoda. (He shakes their hands.) If what you're dreaming about's on four wheels, I can get it for you.
Sofia Curtis: Actually, we're looking for a red Ferrari Spyder.
Robert Rhoda: The lady likes fast cars. And I just happen to have one. But it got into a little fender-bender, so it's going to take a day or so to get it fixed.
(He notices her badge.)
Sofia Curtis: We'll take it as is.
CUT TO:
[FERRARI]
(CU: The dent and scratch on the red Ferrari Spyder.)
[EXT. EXTRAVAGANT AUTO -- MORNING]
(Greg examines the damage to the car as Sofia and Robert Rhoda watch.)
Greg: Looks like paint transfer on the left rear quarter. Clear coat's been peeled front-to-back.
Sofia Curtis: Which means the Ferrari was the faster vehicle.
Robert Rhoda: The Ferrari is always e faster vehicle.
(Greg snaps a photo of the damage. Sofia walks around the car and finds more damage in the front.)
Sofia Curtis: Ooh. Nice dent to the front bumper.
(Greg takes a sample of the car paint off the scrape.)
Robert Rhoda: You're looking at $15,000 of damage there.
Sofia Curtis: Who rented it?
Robert Rhoda: Can't help you with that. Our customer records are confidential. In any case, we're not making a police report about the damage.
Sofia Curtis: No need. We're impounding it.
Robert Rhoda: What?
(Greg looks at the car's inside.)
Greg: Looks like the interior's been cleaned. I'll call auto transport and have them tow it back to the lot.
(Robert Rhoda takes his cell phone out and starts snapping photos of the car.)
Sofia Curtis: Mr. Rhoda, what are you doing?
Robert Rhoda: I'm documenting my loss. I'm filing for crime victim compensation.
(Sofia doesn't say anything. She glances over at Greg, who smiles and shakes his head.)
WHITE FLASH TO:
[INT. CSI - TRACE LAB -- DAY]
INSERT: MONTAGE
(Hodges takes the cap off the container and removes the paint sample inside. He processes the sample.)
(He makes a resin cube around the paint sample and processes it.)
(He places the cube under the scope and looks at it.)
ECU: A RED PAINT SAMPLE
(Hodges smiles.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Grissom walks out of his office looking at a photo from a file folder when Greg catches him to report his findings.)
Greg: Grissom? Hodges confirmed the paint transfer on the Ferrari is a black acrylic enamel.
Grissom: That doesn't narrow it down much.
Greg: Well, it gets better. It's a GM paint, with traces of fiberglass-reinforced plastic. Which means, we're looking for a black Corvette.
Grissom: I'll have Brass put out a broadcast. Nick ran the vic's credit card.
"Sheritown, Inc." is based in L.A., run by a guy named Mick Sheridan. I'm going to meet him at the PD.
Greg: Mick Sheridan the movie producer? I grew up watching his action blockbusters -car chases, ninjas, cyborg death machines. We used to make body armor out of tinfoil, and re-enact the scene all over the neighborhood. What about you? You were a green beret kid? Secret agent?
Grissom: I'm not telling. And stay away from my tinfoil.
(Grissom walks out of camera frame, leaving Greg behind. Greg smiles.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Grissom and Brass meet with Mike Sheridan, the movie producer.)
Mick Sheridan: I'm sick about this. Of all kids. Jeff. I can't stop crying.
Brass: You want something to drink?
Mick Sheridan: Oh, thanks, uh ... (He looks to the officer standing on the side of the room.) Small Pellegrino, room temperature.
(The officer moves away. Brass and Grissom exchange looks.)
Grissom: Mr. Sheridan, can you tell us anything about this girl?
(Grissom shows the photo of Heidi Wolff to him.)
Mick Sheridan: I don't know her. Jeff must have met her here. I loved him like a son. Smart. Hard-working. I hired him right out of law school.
Grissom: What kind of work did he do for you?
Mick Sheridan: An assistant. He wanted to learn from the bottom up, like I did.
Brass: Oh, right, he used to be an actor.
Mick Sheridan: Yeah. But I had a nasty habit -- I wanted to eat regularly. And didn't want to work as a waiter to do it.
Grissom: Did Jeff have any nasty habits?
(Mike Sheridan turns and looks at Grissom.)
Grissom: We found several different drugs in his bloodstream.
Brass: What was Jeff doing Las Vegas?
Mick Sheridan: Um ... about a month ago, when he was making copies of my divorce settlement, he spotted a provision that my wife's lawyer had rephrased. My lawyers had missed it. He saved me millions of dollars. So to thank him, I gave him a vacation.
Brass: You give him any cash?
Mick Sheridan: Couple hundred bucks, corporate credit card. Told him to have fun.
Grissom: Fun, huh?
Mick Sheridan: (nods) Yeah. I'll be regretting that for the rest of my life.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - GARAGE -- DAY]
(Greg is in a black Corvett dusting for fingerprints. Sara walks in carrying a camera.)
Sara: I guess the broadcast paid off. Black Corvette.
Greg: Parking enforcement found it abandoned off Durango near Russell.
Sara: Right between the pool hall and the Palermo?
(Greg tape-lifts some prints off the steering wheel.)
Greg: Yup.
(Sara snaps photos of the damage to the car.)
Sara: This would have been impossible to drive away.
(Finished, Greg gets up and moves away from the car.)
Greg: Yeah. Bummer.
Sara: Please tell me there's something more to this guys and cars thing beside the obvious penis-extension metaphors.
Greg: So you want me to lie?
(Sara goes back to snapping photos of the damage to the car. Greg picks up his own camera and looks at the car damage to the back bumper.)
(Camera zooms in for a CU of the paint transfer.)
Greg: Red paint transfer.
(Greg lifts the camera and focuses.)
WHITE FLASH TO:
[INT. CAR - STREET - NIGHT]
(Jeffrey Powell is driving the Ferrari with the blonde in the passenger seat. The black Corvette speeds up and overtakes him.)
(Suddenly, the black Corvette brakes. The red Ferrari slams into the black Corvette's back bumper.)
(End of flash. Resume to present.)
Greg: I'll get a sample to Hodges. See if he can match this to the Ferrari.
(Sara checks the glove compartment and finds a receipt.)
Sara: It's a rental.
Greg: Extravagant Automobiles?
Sara: No. Zenith?
Greg: Yeah, night to be in the car-rental business.
Sara: Driver's name is Randy Bolen. Local address. Let's go talk to him.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK)]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Sofia Curtis looks through the file folder as Randy Bolen waits.)
Sofia Curtis: "Randy Bolen. Misdemeanor possession, as*ault, felony possession for sales ... " you can't help but break the law, can you? What's with the forehead?
(Randy Bolen doesn't say anything.)
Sofia Curtis: Well, you got that bruise somehow. Want me to add leaving the scene of an accident to the list?
Randy Bolen: It was a fender bender. Not my fault.
Sofia Curtis: Sure about that?
Randy Bolen: Yeah.
Sofia Curtis: Because your car and the Ferrari were both rented.
Randy Bolen: (scoffs) So what? It's a coincidence.
Sofia Curtis: You're a local. Why did you need to rent a car?
Randy Bolen: I can't afford one all the time, so I rent one when I can.
Sofia Curtis: What were you doing all night before your fender bender?
Randy Bolen: What was I doing? I was sh**ting pool. Place called the ... the Cue-T.
Sofia Curtis: How'd you play? Did you win any money?
Randy Bolen: You know, you win some, you lose some.
(Quick flashback to: [INT. CUE-T (POOL HALL) - NIGHT]
(Randy Bolen plays a game of pool with Jeffrey Powell as Heidi Wolff watches.)
SERIES OF CUTS OF THE POOL GAME
(Jeffrey Powell sinks in ball after ball after ball. The crowd gathered around the billiard table is impressed.)
(Finally, the last black ball goes into the hole. The crowd applauds and cheers.)
(End of flashback. Resume to present.)
Sofia Curtis: I guess that would be lose some. How much?
Randy Bolen: Ten grand.
Sofia Curtis: That's a lot of money for a guy like you.
WHITE FLASH TO:
(Jeffrey Powell takes the cash off the pool table and leaves with Heidi Wolff. As they leave, Jeffrey Powell looks back at Randy Bolen. Randy glares back and slams his cue stick on the table as he follows them.)
(End of flashback. Resume to present.)
Randy Bolen: I've had worse nights.
Sofia Curtis: (chuckles) Yeah, I'm sure you have. You're having one now.
(She opens the file folder and shows him the photo of Jeffrey and Heidi in the elevator.)
Sofia Curtis: These the guys you played?
(He looks at the photo, then looks at Sofia.)
Randy Bolen: Yeah.
Sofia Curtis: Now, there's a coincidence, because they were in the Ferrari, which makes you a very sore loser.
(Quick flash to: [EXT. STREET - NIGHT] The Corvette g*n its engine as it catches up with the red Ferrari. The Corvette pulls up alongside the Ferrari. Jeffrey Powell turns and sees Randy Bolen driving the Corvette. Randy pushes the car into the Ferrari, forcing him to sway away.)
(Still speeding alongside the Ferrari, Randy overtakes Jeffrey. Once in front, he slams on the brakes. The Ferrari hits the back of the Corvette. Randy turns the Corvette completely around, allowing the damaged Ferrari to speed past.)
(End of flashback. Resume to present.)
Randy Bolen: Okay. So I rubbed him a little. It was a stupid thing to do.
Sofia Curtis: Not as stupid as k*lling him.
Randy Bolen: What, that kid-- he's d*ad?
Sofia Curtis: Yeah.
(Randy sits back in his seat, thinking. He shakes his head, then looks at Sofia.)
Randy Bolen: I want a lawyer.
CUT TO:
[INT. CSI - HALLWAY]
(Nick and Sofia walk through the hallway as she reports to him.)
Sofia Curtis: According to his record, Randy Bolen used to be a professional stunt driver.
Nick: Must not have been a very good one.
Sofia Curtis: He teaches at that track off Boulder Highway where middle-aged guys get to act out their Grand Prix fantasies.
Nick: Mm-hmm, okay. A guy like that gets b*at by a punk kid on the street it's gonna be an as*ault on his manhood.
Sofia Curtis: He's got a temper.
Nick: Okay. I'll see if I can place him at the hotel. I'll let you know.
(Nick turns and heads into the A/V Lab.)
[INT. CSI - A/V LAB -- CONTINUOUS]
(Nick finds Archie in front of the monitors.)
Nick: Hey, Arch.
Archie Johnson: Hey.
Nick: Surveillance footage from the Palermo?
Archie Johnson: Yeah. I just found something really interesting.
(Archie is reviewing footage from the CASINO FLOOR - POKER, CAM 06 at 7:38.)
Archie Johnson: Now, that's the blonde from the elevator.
(He switches to CAM 09, CASINO FLOOR - SLOTS, following Heidi Wolff as she walks along the casino.)
Archie Johnson: There she is again. And here's Jeff Powell.
(He switches to another camera where Jeff Powell is sitting at the bar having a beer.)
Archie Johnson: This is where his evening begins, when he meets her for the first time.
(On the monitor, Heidi sits down next to Jeff and takes out a tissue. She dabs at her nose, obviously crying.)
Nick: Ooh. She didn't look too happy.
Archie Johnson: Yeah.
(On the monitor, a bartender puts a glass of wine on the counter in front of her. She digs into her purse.)
Archie Johnson: Keep watching when she points at something. Keep your eyes on her wine.
(She points to something for Jeff to look at. He turns and looks. She pulls the glass of wine to the edge of the counter, then knocks it over with her bag, spilling the drink on Jeff's pants.)
(Nick smiles.)
Nick: You think that was on purpose?
Archie Johnson: Well, sure looks that way. Take a look at this.
(Archie enhances Heidi's open purse. She's got a stack of cash in her bag.)
Archie Johnson: Girl was loaded.
Nick: It's safe to say she wasn't after him for his money.
CUT TO:
[INT. CSI - CATHERINE'S OFFICE]
(Sara enters the office, knocking on the door first.)
Sara: Hey.
(Catherine looks up from the computer as Sara takes a seat at her desk.)
Catherine: Hey.
Sara: Warrants came through on the rental agreements.
Catherine: Jeff Powell went a little crazy with his corporate card and rented the Ferrari himself?
Sara: No. Heidi Wolff rented it. The reservation was held in her name by a company called Caprice Unlimited. This is where it gets interesting. Caprice Unlimited also rented Randy Bolen's Corvette.
Catherine: What kind of business is it?
Sara: All I know so far is that they're unlisted.
Catherine: Well, nothing's entirely unlisted these days.
(Catherine, 1140apt6(a)gmail.com, enters CAPRICE UNLIMITED into SYPDER FINDER to run a search.)
Catherine: Caprice Unlimited.
(Sara waits.)
Sara: Mm-hmm.
(Search results show: CAPRICE UNLIMITED, "Anything is Possible", at www.capriceunlimited.com. Catherine hits enter.)
(The home page appears:
CAPRICE UNLIMITED
Anything is Possible
1-702-555-0104
Catherine: "Caprice Unlimited." "Anything is possible." (nods) Sounds like a sex business.
(She reaches for the phone. Sara smiles, amused.)
Sara: What are you going to say?
Catherine: Uh, something other than, "a guy is d*ad, and it looks like you're involved."
Male Voice: (answering machine) You've reached Caprice Unlimited. Leave a message; we shall call you.
Catherine: Not taking calls.
(Catherine hangs up without leaving a message. Sara thinks.)
Sara: Let's see if they're making any.
CUT TO:
[INT. CSI - LAYOUT ROOM - NIGHT]
(Sara is at the computer, a CELLULAR FREQUENCY LOCATOR form on screen. She ENTERS the CELLULAR NUMBER: 702-55-0104.)
(ON THE LAPTOP SCREEN: A map of the area appears with cellular towers in red and various colored grids for each tower in green or blue.)
(A RED indicator appears at an address.)
(Camera zooms in and a second FIELD pops up:
CELLULAR TRIANGULATION RESULTS:
ENTER CELLULAR NUMBER:
(Sara enters the address into the field: 20511 FARNUM ROAD.)
CUT TO:
[INT. CAPRICE UNLIMITED -- JAPANESE ESTATE - ENTRYWAY -- DAY ]
(OPEN on a lantern with painted panels hanging from the ceiling. Very Oriental.)
(CAMERA moves down and we find Grissom and Sara entering the entryway through the front gates.)
(They walk through the main hallway with various dark-haired female artwork on the walls. Two uniformed officers enter the gates behind them.)
Sara: Triangulation's consistent. Caprice Unlimited made the calls from this address. According to the building manager, Caprice is only renting it for two days.
(Grissom and Sara pass through the walkway and enter the courtyard gardens.)
[EXT. JAPANESE ESTATE - COURTYARD - DAY -- CONTINUOUS
(It's like stepping into another world. A woman playing a biwa sits on the concrete bench on the side. Large circular red and yellow lanterns are strewn up along the garden, a large Koi pond graces the center of the yard.)
(Grissom and Sara cross the walkway over the pond and head further into the courtyard. Two Japanese girls are off to the side, one brushing the hair of the other.)
(At the end of the garden is a small room with shoji doors. Inside the room, a man holds a string of pearls against a young Oriental woman's bare shoulder. The woman is kneeling in front of him. Grissom watches them.)
Anthony Caprice: (o.s.) No, not quite.
(The man moves over to the second young Oriental woman and holds the string of pearls against her bare shoulder.)
Anthony Caprice: (o.s.) Oh, yes. Perfect.
(Grissom turns and looks at Sara.)
Anthony Caprice: (o.s.) You two, go get your costumes and find out what's expected of you. (to third woman remaining behind) Why don't you wait for me inside?
(The two young Oriental women exit the room and walk past Grissom and Sara. Grissom watches them leave. Anthony Caprice exits the room and looks at Grissom and Sara.)
Anthony Caprice: I'm sorry. This is a private residence.
Grissom: My name is Gil Grissom; this is Sara Sidle. We're with the Crime Lab.
Anthony Caprice: Anthony Caprice. There's no crime here. (off their looks)
That was a job interview. Over $150,000 has been spent on this event. It's for several golf club salesmen. They're from Kansas City. Japanese formality will mesh very nicely with their inherent Midwestern restraint.
(At that, Sara smirks and turns around to look at the Oriental women brushing their hair in the back of the courtyard behind them. Anthony Caprice watches Sara. She turns and looks at him.)
Anthony Caprice: (continues) Their idealized women -- submissive, but in control ... (He looks at Sara.) ... becomes the geisha.
(Grissom notices Anthony Caprice watching Sara.)
Grissom: I get it. You're one of those companies that stages fantasies, right? Everything appears real, but it's all been worked out in advance?
(Sara looks at Grissom. Anthony Caprice turns his attention back to Sara.)
Anthony Caprice: These scenarios take weeks to craft. I learn everything ...
(He turns and looks at Grissom.) ... about my client's wants and his desires, all without him even knowing.
(Grissom glances at Sara.)
Anthony Caprice: Secret longings -- they have a ... a kind of electricity. They're often much more visible than we would want them to be.
Grissom: (b*at, then) And, uh, Jeff Powell's evening -- the girl, the car, the billiards -- all paid for by Mick Sheridan?
Anthony Caprice: (shakes his head) Never heard of him.
Sara: Who did pay?
Anthony Caprice: A benefactor. Wishes to remain anonymous.
(Anthony Caprice takes out his PDA. The screen shows a client list:
ACHESON, LENA
ASTOR, LONNIE
DUNN, TARA
FENWAY, JOE
GANEM, EMMANUEL
KIRKBAUM, MITCH
LANG, ASHLEY
LOGAN, RACHEL
PEREZ, CHASE
POWELL, JEFF
SIMON, DEAN
(He clicks on JEFF POWELL'S name.)
Grissom: Somebody rich who likes to manipulate people probably.
(A list appears on the PDA. He clicks on PRINT and PRINTS the entire SCRIPT.)
(The printer prints out the script.)
Anthony Caprice: Everybody likes to be in control. You don't have to be rich to want that.
(He walks past them and over to the printer table.)
Sara: If you're so law-abiding, why did Heidi Wolff and Randy Bolen lie to the police about what happened? Did you tell them to do that?
Anthony Caprice: All my employees have a very strict non-disclosure agreement that they have to sign, although, I'd never expect them to lie to the police. Maybe you just asked them the wrong questions.
(He turns around and hands Sara the script pages.)
Anthony Caprice: Here's a copy of Mr. Powell's scenario. Every event that they talked about was meticulously planned in advance and timed down to the minute.
Grissom: And his m*rder?
Anthony Caprice: Tragic. (shakes his head) But it's not in my script. (then)
Now, if you'll excuse me, I have a hot tub to calibrate.
(He starts to leave. He turns around and looks at Grissom and Sara.)
Anthony Caprice: Oh. And may all your dreams come true.
(He turns away and leaves.)
(Camera holds on Grissom and Sara.)
SMASH TO BLACK.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - HALLWAY]
(Brass walks Mick Sheridan through the hallway.)
Mick Sheridan: Well, I hope this means you know what happened to Jeff. That's the first time that the tower yanked back my Gulfstream on takeoff.
Brass: No kidding. Well, there's always a first for everything.
(Brass points to the interview room.)
Brass: We can talk in here.
Mick Sheridan: Something wrong with your office?
Brass: No.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass interviews Mick Sheridan.)
Brass: You seem to have bad luck with the people who work for you.
Mick Sheridan: If that's a joke, it's in pretty poor taste.
Brass: Three years ago, you were busted with an eight ball of cocaine in your luggage. You claimed that your personal assistant had planted it.
Mick Sheridan: That's because he did. The charges against me were dropped. The poor kid had a serious problem. I got him into a program. Understand he's doing better now.
Brass: I hear you bought him a car to shut him up and take the rap.
Mick Sheridan: The media spins everything ...
(Brass holds up a hand.)
Brass: The media. We found an ounce of cocaine in Jeff Powell's personal effects. He was buying drugs for you.
Mick Sheridan: I don't do drugs. And I had no idea that Jeff had a drug problem.
Brass: Last time, you bought a car, this time, an elaborate fantasy to shut him up. The problem is, he's d*ad. And that makes you responsible.
Mick Sheridan: Captain Brass ... you've seen too many of my movies. I'd like to call my attorney now.
CUT TO:
[THE SCRIPT:]
SUBJECT: JEFFREY POWELL
TIME / ACTORS / ACTION
5:00 PM / HEIDI + RANDY /
-Drive to 20511 Fornum Rd.
-HEIDI collects $7,000 cash for evening.
-RANDY collects $12,000 cash for evening.
[NOTE: HEIDI WILL WEAR SEXY, BUT SOPHISTICATED ATTIRE.]
6:00 PM / HEIDI /
-Rent reserved Ferrari at Extravagant Automobile Rentals
-Drive to Palermo. Utilize valet parking. Tip at least $20.
7:00 PM / RANDY /
-Rent reserved Corvette at Zenith Rental Cars.
-Drive to Cue-T. Play pool and wait for HEIDI to arrive.
7:15 PM / HEIDI /
-SUBJECT has been told the scene at Palermo begins at the casino bar.
-SUBJECT believes "early bird gets the worm."
-Confirm sub-rosa he is there. Then proceed with ...
7:15 PM / HEIDI /
-Enter the Palermo bar and negotiate close proximity
-Act upset. Point out random high roller as abusive
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Grissom, Catherine, Nick and Sara are standing around the table, putting a timeline together.)
Sara: The script for Jeff's fantasy starts with Heidi and Randy renting the cars at 6:00 P.M. Then it says Randy drives the Corvette to the Cue-T and waits.
Catherine: And Heidi takes the Ferrari. Finds Jeff at the Palermo bar.
(She pulls the photo video cam still of Heidi and Jeff at the bar closer to her. The still is for the CASINO BAR, CAM 11, at 7:44. The still ANIMATES into LIVE ACTION as they continue to narrate through the script.)
[INT. PALERMO - BAR - NIGHT (VERSION)]
(Heidi sits down next to Jeff and appears to be upset.)
Sara: (V.O.) (reading) Her instructions were: "Act upset. Make up story about abusive high roller boyfriend. Allow Jeff to offer comfort."
Heidi Wolff: (reacting) Sorry. I'm really okay. (off his look) No, I'm not.
Jeff Powell: Anything I can do for you?
Heidi Wolff: It's my damn boyfriend.
WHITE FLASH TO -- BACK TO SCENE:
Nick: Any guy would help a beautiful woman in distress, right?
Grissom: Some guys are intimidated by beauty ...
(Camera cuts to Sara watching Grissom.)
Grissom: ... or fear rejection. Evidently, Caprice knew Jeff well enough to know he'd want to help her.
(Nick nods.)
(Sara reads the script.)
Sara: (reading) Heidi's next instructions were to repay subject's kindness by buying drink."
Catherine: Which she then accidentally spills on his clothes.
(CUT TO: The victim's jacket and clothes on hangers with wine stains on them.)
(Camera moves over and we find Jeff dressing in the dressing room. He's buckling up his belt.)
Catherine: (V.O.) Insists on buying him a new outfit, one that he couldn't afford on his own.
(Heidi kneels in front of Jeff and helps him put his belt on. Jeff's enjoying every moment of it.)
(CUT TO: Heidi hands Jeff the money to pay for the clothes.)
Sara: (V.O.) Everything was scripted down to the minute -- the clothes, ...
(CU: The cue stick makes contact with the white ball, chalk dust spattering on the table felt.)
Sara: (V.O.) ... the Cue-T, ...
(CUT TO: Jeff and Heidi speeding in the Ferrari.)
Sara: (V.O.) ... the car.
(End of flashbacks.)
BACK TO SCENE:
Grissom: Sheridan told Caprice that Jeff had been sh**ting pool since he was a kid. So betting on and winning a big money game was probably just part of the fantasy.
Nick: Yeah, and he was a NASCAR fan. So the whole staged car chase, narrow getaway was everything he dreamed about.
Catherine: As was the partying in his hotel room. And the sex.
(Sara checks the script.)
Sara: Not quite. According to the script, "your employment ends with the good-night kiss. You are not requested to perform, nor compensated for, any activity you initiate beyond this point.
(Quick flash to: Jefff and Heidi are in bed.)
Sara: (V.O.) Should nature take its course, you are on your own."
(Heidi smiles at Jeff.)
Jeff: C'mere.
(End of flashback. Resume to scene.)
(Grissom looks at Sara.)
Grissom: So the staged fantasy ended at Jeff's hotel room.
(Sara nods.)
Grissom: Which means he was off script when he was k*lled.
(Again, Sara nods.)
Nick: I don't get it. After a night like that, I would have felt like Superman. Why leave the girl?
CUT TO:
[INT. CSI - A/V LAB]
(Grissom sits next to Archie Johnson.)
Grissom: The victim got to the shopping arcade fifteen minutes after he got off the elevator. It's not that long a walk. I need to know what he was doing during that time.
(Archie goes to the monitors and finds Jeff back in the casino room at 3:17.)
Archie Johnson: There's your guy.
(Archie switches cameras and shows Jeff pointing and talking with someone off screen.)
Grissom: Whatever he's reacting to is off camera. (Grissom checks the casino map.) Somewhere in the direction of the baccarat tables.
Archie Johnson: When the blonde came up to the vic in the bar the first time, she pointed in that same direction.
Grissom: What's going on over there?
(Archie checks the security cameras. He shows a man playing with the dealer.)
Grissom: He's playing solo with the dealer. That's ten or twenty thousand a hand. Guy's a whale.
(Jeff walks up to the man at the table. Two security guards stop him.)
Archie Johnson: Your vic's really going at him.
(Grissom thinks about it.)
Grissom: You know, Heidi was only supposed to tell a story about a high roller boyfriend. Maybe she actually picked somebody out.
(Archie groans and stands up. He starts stomping his feet, trying to get his circulation going again.)
Grissom: What are you doing?
Archie Johnson: I've been looking at video three days solid now. My butt fell asleep.
(Archie goes to look at the monitors again and sees something.)
Archie Johnson: Wait a second. I've seen those guys behind him somewhere else.
(He thinks about it, then switches to another camera, the SHOPPING ENTRANCE.)
Archie Johnson: Hang on.
(On the monitors, Jeff leaves the lobby.)
Archie Johnson: Jeff went from the casino to shopping arcade, and right behind him ... there they are. Same guys.
(The monitor shows the two security guys following Jeff out of the arcade.)
(Archie puts the three video sh*ts from the various cameras up on the screen.)
Grissom: Well, call me Ishmael.
Archie Johnson: Why?
Grissom: You need to read more, Arch.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. PALERMO - CASINO -- NIGHT]
(Grissom, Catherine and Sofia Curtis walk through the casino.)
Grissom: Jeff was a winner at everything he tried that night.
Sofia Curtis: And he was falling in love.
Catherine: Which can make a guy do some pretty stupid things. So anytime more than $10,000 hits the table, the casino's required to ID the player.
Grissom: Which may help us harpoon the whale.
Catherine: Yep.
(The dark-suited MALE PIT BOSS walks up to them.)
Pit Boss: What's the occasion?
Sofia Curtis: We're investigating the death of the young man on the casino's loading dock.
(Grissom shows the pit boss the photo of the baccarat player.)
Grissom: Are you familiar with this guy?
Pit Boss: That's Dennis Kim. Flies in four, five times a year from Seoul to play baccarat. Very generous player. We reserve a table exclusively for him while he's in town.
Sofia Curtis: He still in town?
Pit Boss: Yeah. He's at his table right now.
[INT. PALERMO - CASINO - BACCARAT ALCOVE - CONTINUOUS]
(The pit boss escorts Grissom, Catherine and Sofia Curtis to the baccarat table. His two bodyguards stand close behind him.)
Pit Boss: There's Mr. Kim, right there.
Sofia Curtis: Mr. Kim, we need to speak with you for a moment.
(Dennis Kim turns and looks at them.)
Dennis Kim: Yes?
Sofia Curtis: Do you recognize this man?
(She hands him the elevator photo of Jeff Powell. He looks at the photo and shakes his head.)
Dennis Kim: Why?
Catherine: He's d*ad.
Grissom: Just before he died, he was talking to you.
(Dennis Kim sighs and looks at the photo again.)
Dennis Kim: Oh, yes, I remember him. He was shouting about some girl.
WHITE FLASH TO:
[INT. PALERMO CASINO - BACCARAT ALCOVE - NIGHT]
(Mr. Kim is playing baccarat when Jeff Powell walks up to him.)
Jeff Powell: Hey you! Hey! Guess what?
(One of the bodyguards steps forward and pushes Jeff Powell back away from Dennis Kim.)
Jeff Powell: Heidi, she doesn't need you or your money anymore, man. That's right. Because she has everything she needs now -- love and respect. So you go ahead and play your little card game. All right? 'Cause you the playa. But I'm the man. The man.
(End of flashback.)
BACK TO SCENE
Dennis Kim: Crazy boy.
(Catherine picks up the photo and shows it to the bodyguards.)
Catherine: Did you guys see where he went?
(The bodyguards don't look at the photo.)
Dennis Kim: (in Korean)
Bodyguard 1: (in Korean)
(Catherine looks down at the bodyguard's shoes and sees the white paint smudge on it.)
Catherine: Well, we're gonna need to take those shoes. (to Grissom) White paint.
Dennis Kim: And if I don't permit this?
Grissom: We'll just hold your men until we get a warrant.
(Kim thinks about it for a moment, then --
Dennis Kim: (in Korean)
(The bodyguards look puzzled, then start removing their shoes. Grissom puts his kit on the table.)
Grissom: Kamsahamnida. [Translated: Thank you.]
Dennis Kim: (in Korean)
(The bodyguards remove their shoes.)
CUT TO:
[INT. CSI - TRACE LAB - NIGHT - MONTAGE]
(Catherine examines the bodyguards' shoes. She scans the shoe into the computer. She prints the shoeprint on a transparency.)
(She puts that shoe aside. She picks up the white paint-smudged shoe and looks at it under the enhancer, then scans that shoeprint into the computer as well. She prints it out on a transparency.)
(She puts the morgue photo of Jeff Powell's neck on the table. She places the transparency over the neck. It is not a match. She places the other transparency over the neck and finds a match to the bruises.)
WHITE FLASH TO:
[FLASHBACK -- MONTAGE]
(The bodyguards are roughing Jeff up in the corridor leading to the docking bay.)
Catherine: (V.O.) The bodyguards dragged Jeff through the service corridor.
(The bodyguards push Jeff outside.)
Catherine: (V.O.) Between the drugs and the confidence, he must've put up quite a fight.
(They toss him to the ground. He gets up.)
Jeffrey Powell: Hey!
(He punches the bigger bodyguard in the face. The second bodyguard kicks Jeff in the neck.)
(End of flashback.)
[INT. CSI - OFFICE - NIGHT]
(Grissom, Catherine, Greg and Sara are sitting at the table as they go over the case.)
Catherine: Most likely, he was still alive when they left. They probably thought they just had taught him a lesson.
Grissom: They did: Don't confuse fantasy with reality.
(Silent, Sara looks at Grissom. Their eyes meet. She smiles slightly.)
Greg: Well, hush money or not, you have to admit that whole fantasy night thing was a pretty cool gift from a very generous boss.
(Grissom looks surprised by that remark.)
Sara: Greg, don't you have a birthday coming up?
Greg: Why, yes, Sara, I do.
(Sara turns and smiles at Grissom. He looks back at her.)
Catherine: I'm thinking ear-shredding rock, a beautiful model, boatloads of sushi and ... latex?
Greg: Eh, that was last year.
(Sara suppresses a smile.)
Grissom: I think fantasies are best kept private.
(He looks at Sara. Camera holds a b*at on Sara.)
(Nick enters the room.)
Nick: Hey. Want to know why Jeff left the girl and went downstairs?
Catherine: Okay.
Nick: This was dropped off at the Palermo. Manager sent it over.
(Nick opens the jewelry case and shows the diamond bracelet inside. Everyone leans to look at the bracelet.)
Catherine: Nice rocks.
Nick: Mm-hmm. Jeff must have spent the ten g's he won playing pool on it.
(Grissom listens and glances over at Sara.)
Nick: Gift wrapped, never picked it up.
Catherine: Yeah, there was a jewelry store right across from the service corridor entrance.
(Quick flashback to: [INT. JEWELERS - NIGHT] The clerk brings out the bracelet as Jeff takes out the cash and counts the bills.)
Jeff Powell: (excited) Most I ever spent on a girl.
(Through the glass window, we see the two bodyguards standing out in the arcade and watching Jeff.)
Jeff Powell: Most I ever held in my hand at one time.
(He continues to count the cash.)
(End of flashback. Resume to scene.)
Nick: You know, the biggest fantasy in Vegas is that everything here happens by chance. Nothing here happens by chance. The odds are set before you get off the plane.
(Nick closes the jewelry case and turns to leave.)
Greg: You know, I'd settle for a birthday breakfast.
(Hint. Hint. Greg closes the file folder in front of him and glances slyly at Catherine. Catherine picks up her cup and stands up.)
Catherine: Now that is a fantasy.
(Catherine and Greg leave the room. Grissom and Sara remain behind. Sara looks up smiling and finds Grissom looking at her.)
(Their eyes meet.)
(Hold on Grissom and we ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x22 - Time of Your Death"} | foreverdreaming |
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. LUCKY DRAGON - CASINO FLOOR -- NIGHT]
(Card tables. Slot machines. Coins jingling as they come out of the machines. A white ball on a roulette wheel. Another card flipped over - an Ace of Diamonds to go with the King of Clubs --- twenty-one. A new stack of chips is placed on the table.) Card tables. Chips in a holder. The casino is buzzing.)
(Camera rises up above the casino room. Officer Boatwright patrols the room.)
Director of Surveillance: (from radio) Does anybody have eyes on our mystery guy?
(He walks and looks around the casino.)
Officer Boatwright: (to radio) Unit one, negative. I'm on the main casino floor. I'm heading over to BJ pit three.
Director of Surveillance: (from radio) Copy that, unit one.
(He continues walking through the casino and looking for someone.)
(CAMERA rises and focuses on the ceiling camera.)
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
(Security personnel monitor the security cameras.)
[INT. THE LUCKY DRAGON - MAIN CASINO FLOOR - NIGHT - CONTINUOUS]
(Officer Boatwright makes his way to the blackjack table. He hears an argument in progress.)
Willie Cutler: Get out of my way.
Voice 2: Make me get out of the way.
Willie Cutler: Just get out of my way.
Voice 2: What does this have to do -- ?
(Officer Boatwright sees two men pushing and shoving each other in the middle of the casino pit. Officer Boatwright runs over to break up the two men.)
Officer Boatwright: Break it up! Break it up!
Voice: You're the guy -- !
(Suddenly, one of the men grabs Officer Boatwright's g*n and fires, sh**ting him in the stomach. Officer Boatwright goes down.)
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
(In the surveillance room, the Director of Surveillance sees the sh*ts on the monitors. He talks into a microphone, relaying directions to casino security.)
Director of Surveillance: (to radio) sh*ts fired. Main floor. BJ pit three.
(hits switch) Dispatch, sh**t is on the run.
[INT. THE LUCKY DRAGON - MAIN CASINO FLOOR - NIGHT - CONTINUOUS]
(Officer Boatwright's on the floor, bleeding from the g*n wound in his stomach.)
Director of Surveillance: (from radio) All available security to BJ pit three.
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
Director of Surveillance: (to radio) Boatwright's down. Get an ambulance.
Voice: (o.s.) Yes, sir.
Director of Surveillance: (to radio) Zoom in. Find the sh**t. Find the sh**t.
(In the surveillance room, surveillance uses the trackball to quickly shift cameras throughout the casino, looking for their sh**t.)
Voice: (o.s.) -- the eye in the sky.
Director of Surveillance: (to radio) I got him. sh**t's headed for the slot carousel.
(On the monitor, they see the sh**t running across the casino floor.)
Voice: (o.s.) All right. Left to right.
Director of Surveillance: (to radio) There he goes. He's headed for the guest elevators.
(They quickly shift cameras to keep an eye on the sh**t.)
Voice: (o.s.) Seven to eleven. Here we go.
(On the monitors, the sh**t runs to the elevator just as the elevator doors open. He grabs the woman just stepping out and pulls her back into the elevator with him.)
Director of Surveillance: (to radio) He's got a hostage.
(The elevator doors shut quickly.)
Director of Surveillance: (to radio) Give me the whole tower. Three across the board.
(The camera monitors quickly shift to the camera inside the elevators and stop on ELEVATOR 2 on the sh**t with the hostage.)
(One of the surveillance men grabs the phone and dials.)
Director of Surveillance: (to radio) Get the police. We need SWAT. Now!
WHITE FLASH TO:
[INT. THE LUCKY DRAGON - MAIN CASINO FLOOR - NIGHT]
(Police officers file through the casino floor.)
(The officer in charge briefs Brass.)
Officer: We got the suspect holed up on three. Floors above and below evacuated.
Brass: Where's the negotiator?
Officer: En route. At least an hour away.
Brass: (sighs) Well, I'm here now.
(They enter the elevators.)
(The elevator doors close.)
[INT. THE LUCKY DRAGON - THIRD FLOOR - NIGHT]
Voice: (o.s.) All right, let's clear the floor.
(Officers escort a man and a woman off the floor.)
(Brass waits on the side as the officers clear the rooms nearby.)
Officer: Clear.
Officer 2: (o.s.) Clear.
Officer: Clear.
Officer 2: (o.s.) Clear.
(The officer knocks on the room door.)
Officer: Las Vegas Police. Open the door.
(Brass steps forward.)
(The officer slides the room key through the lock and he opens the door.)
(A g*n fires at the door.)
(Everyone pulls their g*n out and pauses.)
Brass: (dryly) Well, I guess this is the place.
WHITE FLASH TO:
[EXT. CUTLER RESIDENCE - FRONT - NIGHT]
LEGEND:
15 HOURS EARLIER
(Lower middle class neighborhood on a quiet street. Officer cars are parked along the street, their lights flashing.)
Brass: (V.O.) Just another domestic v*olence case. I wish I had a nickel --
[INT. CUTLER RESIDENCE - LIVING ROOM - LATER]
(Dr. Robbins, in booties, stands over Janice Cutler, d*ad on the living room floor in a short robe with a nightgown underneath. Her head rests in a large pool of blood-soaked carpet. Brass, Grissom and Warrick enter the room.)
Brass: Janice Cutler. sh*t in the mouth.
(David Phillips pulls her jaw down.)
Brass: Single boy's the only smart one.
(Warrick snaps photos of the scene.)
Robbins: Judy and I deal with our marital problems a little differently -- counseling, separate vacations once a year.
(Warrick snaps a photo of the b*llet casing on the carpet.)
Robbins: She's never pulled a g*n on me yet.
(Warrick picks up the casing and looks at it.)
Warrick: I got a shell casing. Nine millimeter.
David Phillips: That accounts for the high-velocity spatter.
(Grissom notes the blood-spattered wedding photo on the counter.)
Grissom: Where's the husband?
Brass: Well, there was no car in the garage. We can broadcast out for him.
(Grissom looks around the room.)
Grissom: There's no other signs of disturbance in here. What about the rest of the house?
Brass: Nothing obvious.
Grissom: How many domestics have you seen where someone got sh*t in the face and nothing else was disturbed?
Warrick: What are you thinking?
Grissom: That you married people take things too personally.
(Warrick raises his camera and snaps a photo of Janice Cutler.)
SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins and Grissom stand around Janice Cutler's body on the autopsy table.)
Robbins: She's only been d*ad a few hours. Signs of sex prior to death. No vaginal trauma to suggest it wasn't amicable.
Grissom: Assuming the husband had sex with her and then m*rder her, he went from amorous to m*rder in near record time.
Robbins: Well, maybe you were right. It wasn't the husband. But no semen, so I'd only be speculating.
Grissom: What about the b*llet?
Robbins: Single g*n wound. Based on powder burns and stipling, ...
(He opens her jaw.)
Robbins: ... muzzle was placed inside the mouth ...
(Camera zooms into the mouth and pauses on the tongue. Then angles upward to the roof of the mouth. A g*n is fired, then flash to a view of the woman's head just behind her ear.)
Robbins: b*llet then fragmented in her head.
Grissom: Explains why Warrick couldn't find it at the scene.
Robbins: Yeah, sh**t wanted to make sure he didn't miss.
Grissom: This was somebody who was emotionally close to her.
Robbins: Gil ... have you ever even been close to getting married?
Grissom: Once. When I was younger. Her name was Nicole Daley. I asked her to marry me. We were classmates. She liked bugs, too. I gave her my grandmother's ring, but my mother made me get it back.
(Robbins nods.)
Grissom: Second grade.
Robbins: Hmm.
CUT TO:
[INT. CUTLER RESIDENCE - LIVING ROOM -- DAY]
(Sara is looking at the blood-spattered wedding photo on the counter.)
Sara: (to Warrick) Was it the happiest day of your life?
Warrick: Me and Tina? Happened so fast. Time will tell. Why don't you take a look at this phone here and tell me what you think.
(Warrick shows Sara the phone with blood on the #1.)
Sara: Blood on the keypad, away from the spatter.
Warrick: A neighbor called it in. If someone was in the house, they'd have dialed 9-1-1.
Sara: Dispatch never got a call. Maybe the husband started to dial ... changed his mind and took off.
Warrick: Maybe. I just wish it was a print and not a smudge.
(Sara looks around.)
Sara: Okay. Bedroom.
Warrick: All right.
(Sara starts backing away and heading toward the bedroom. Warrick raises the camera and snaps a photo of the phone keypad.)
WHITE FLASH TO:
[INT. CUTLER RESIDENCE - BEDROOM - DAY -- CONTINUOUS]
(Sara enters the bedroom and looks around.)
(She looks at the windows.)
(She snaps photos of the bedsheets. She peels away the covers and snaps more photos.)
(She steps into the closet and looks around. She kneels down on the floor and notices the grass clippings on the floor.)
(She picks up the nearest pair of shoes and looks at them. They're both clean and clear of any signs of grass or dirt.)
(From her position on the floor, Sara notices a sock sticking out from under the bed.)
(She picks it up and bags the sock.)
(Warrick enters the bedroom.)
Warrick: Hey. I found these in his jacket.
(He shows her some brochures for THE GIRLS.)
Warrick: Looks like the husband was planning a little vacation. A little recreation on the side.
Sara: (re: sock) I found this under the bed. And grass -- not the kind you smoke -- on the floor and in the closet, but all the shoes in the closet were clean.
Warrick: So someone was walking around here with grass on their shoes?
(Sara nods.)
Warrick: Maybe it was the missing husband, or a desperate gardener.
Sara: Who was mowing more than the lawn?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass and Sara walk through the hallway on their way to the interview room.)
Brass: Good call on the grass stains. Police officers brought in your guy. He was mowing a lawn down the street.
Sara: Well, he must be a great gardener, because Mrs. Cutler was paying him way too much.
Brass: Well ... (chuckles) Wait till you see him.
(Brass opens the door and they enter the interview room.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
(Timothy Johnson sits at the table.)
Brass: Mr. Johnson? It's Timmy, right? (Timmy nods.) This is Sara Sidle from the Crime Lab.
(Brass and Sara both sit down at the table opposite Timmy.)
Timothy Johnson: (worried) I didn't k*ll Mrs. Cutler, if that's what you're thinking.
Sara: How well do you know her?
Timothy Johnson: We live across the street from the Cutlers.
Brass: We?
Timothy Johnson: My family. Mother, father, and brothers.
Brass: So you still live at home?
Timothy Johnson: Until I graduate next month.
Sara: So mowing lawns is just your sideline?
Timothy Johnson: I don't play sports. Helps with the tuition.
Brass: Did Mr. or Mrs. Cutler ever invite you in their house?
Timothy Johnson: On a cold day, yeah. Sometimes she'd make me coffee.
Sara: But she writes you a check every month, like yesterday.
Timothy Johnson: Yeah.
Sara: Did she hand you the check in her closet?
(She shows him the photo of the grass-stained sock he left behind.)
Sara: Or in her bedroom? You forgot your sock.
Timothy Johnson: Okay. Yeah, I was there. I was hitting the wife.
Brass: You had sex with her?
Timothy Johnson: Yeah. But it wasn't my idea, all right? She was ... she was really unhappy in her marriage. Me and Mrs. Cutler were in the middle of it when ... when Mr. Cutler came home early.
FLASHBACK TO:
[INT. CUTLER HOUSE - MASTER BEDROOM - DAY (FLASHBACK)]
(Janice Cutler and Timothy Johnson are in bed when they hear the front door open. She gets out of bed.)
Janice Cutler: He was supposed to be at work all night. Hide!
(Janice Cutler ties her robe and exits the bedroom. Timothy jumps out of bed and quickly fumbles for his clothes.)
Timothy Johnson: (V.O.) I guess that's when I lost my sock.
(He looks around, then quickly hides in the closet, shutting the door behind him.)
CUT TO:
[INSIDE THE CLOSET - MOMENTS LATER]
(Timothy is dressed as Willie Cutler opens the door. He grabs Timothy and slams him back against the wall.)
Willie Cutler: How was she, you little son of a bitch? Now get out of here.
(He pushes him out.)
(End of flashback. Back to scene.)
Timothy Johnson: Mr. Cutler was ... was so pissed, I ... I barely even recognized him.
Brass: You hear a g*n?
Timothy Johnson: No.
Brass: So Mrs. Cutler was still alive when you left the house?
Timothy Johnson: I don't know. I think so. I didn't see anything else.
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(Warrick sprays the hooker flyer and hangs it inside the super glue fuming t*nk. He ignites the super glue and closes the lid.)
SHORT TIME CUT TO:
(A large print appears on the photo for "SALLY". He flips the flyer over and finds four prints on the back.)
(Nick walks in.)
Nick: So, I hear your marriage is on the rocks, and you're shopping for hookers?
(Warrick laughs.)
Warrick: No, but I think I found one that Mr. Cutler likes. (He points to SALLY.) Thumb print on the front. Four fingerprints on the back.
Nick: "Sally. Sweet apple pie." Hmm. Do you really think it's a good idea to sleep with a girl who advertises in a flyer?
Warrick: Well, I don't really think there's any sleeping involved.
Nick: Hmm.
Warrick: Don't be shy, though. Give her a call.
(Nick looks at Warrick. Really? Warrick smiles. Nick's game.)
Nick: All right, for your enjoyment.
(Nick picks up the speaker phone and dials the number, (702) 555-0190. A ring or two later, someone answers.)
Sally: (from phone) This is Sally. Who's this?
Nick: (to phone) Hi. This is, uh ... Dirk ... Diggler. I'm looking for a date.
Sally: (from phone) What kind of date?
Nick: (to phone) I'm taking a trip around the world. Want to go?
Sally: (from phone) Yeah, I'll come with you. You sure you can afford the airfare, darlin'?
Nick: (to phone) Is two g's enough?
Sally: (from phone) Where you at?
Nick: (to phone) 3057 Westfall. It's right off of Charleston.
(Warrick points. Here? Nick motions him to be quiet.)
Nick: (to phone) It's a single level building, all the way in the back.
Sally: (from phone) What do you look like?
Nick: (to phone) Um ... I have a little Tom Cruise thing going.
Sally: (from phone) All right, half an hour, and I'll be there.
Nick: (to phone) All right.
(Nick hangs up. Warrick groans.)
Warrick: Yeah, right.
Nick: (pleasantly amused) Ah, sweet apple pie! The Cruiser.
(Nick leaves the lab.)
CUT TO:
[EXT. LAS VEGAS SKYLINE - DAY (STOCK)]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Nick and an officer escort SALLY down the hall to an interview room.)
Sally: Calling me to a crime lab is cute. It's still entrapment.
(He laughs.)
Nick: Well, you're not here about prostitution, sweetie.
Sally: Really?
Nick: No. I need your help with a homicide.
(He opens the door and they enter.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - CONTINUOUS]
Nick: Why don't you go ahead and have a seat? Thanks.
(Sally sits down. Nick sits down across her. Nick opens the folder and shows her a photo of Willie Cutler.)
Nick: This man's wife was m*rder last night. His name's Willie Cutler. Was he ever a client?
Sally: We dated.
Nick: Yeah.
WHITE FLASH TO:
[INT. HOTEL ROOM - FLASHBACK]
(Sally sits on Willie Cutler.)
Sally: (V.O.) He was trying to play the, you know, "I'm a big baller" role.
Sally: Do you got a present for me, baby?
(Willie takes out a wad of cash from his pants pocket and hands it to her.)
Sally: (V.O.) He must have won some big jackpot or something -- I can tell when money's new. He pulled this big wad out of his Wal-Mart pants.
(She puts the cash with her bag.)
Sally: (V.O.) But he seemed harmless.
(They start kissing.)
(End of flashback. Back to scene.)
Sally: Kind of sweet, actually. He offered me a deal on a vacation.
Nick: Deal? What, like a travel agent?
Sally: I don't know. I guess. He offered me this.
(Sally takes a brochure out of her purse and shows it to Nick.)
Sally: I've never been to Hawaii.
Nick: No ... no, me either.
(Nick takes a handkerchief out and takes the brochure from her. He flips it over and reads the business card stapled on the back:
COWBOY DAN'S
WILLIAM CUTLER - TOUR REPRESENTATIVE )
Sally: I'd let you take me to Hawaii.
(Surprised, he looks at her. She smiles back at him.)
Nick: Yeah, I'm working.
Sally: So am I.
(He chuckles.)
CUT TO:
[EXT. NEON CITY EXCURSIONS (COWBOY DAN'S) - DAY]
(Catherine and Detective Vartann exit the car and head to the tour office. A large orange banner hangs from the building roof.)
Catherine: "Tour historic Las Vegas."
Vartann: History in Vegas gets imploded.
Catherine: It's probably just a drive past the Flamingo where Bugsy Siegel took his leak.
(They stop in front of the front door, a closed sign displayed.)
Catherine: "Closed"? Now wait a minute. It should be open.
(Vartann tries the door and it opens.)
Vartann: Well, it looks like it is.
(Catherine and Vartann enter.)
Catherine: Oh.
[INT. NEON CITY EXCURSIONS (COWBOY DAN'S) - DAY - CONTINUOUS]
(There's no one there.)
Catherine: Hello?
(The door closes behind them.)
Catherine: Anybody here?
(There's no answer.)
Vartann: Las Vegas Police.
(Vartann steps forward a little and looks into the side office. He sees a body on the floor.)
Catherine: Hello?
Vartann: Catherine.
(He takes his g*n out and checks the office. He steps into the office to check on the person on the floor. Catherine uses her phone and calls it in.)
Catherine: (to phone) Control, this is CSI Willows.
(Vartann looks at her and shakes his head.)
Catherine: (to phone) We have a four-nineteen at 4172 Hamilton.
(Catherine takes her g*n out.)
Catherine: (to phone) A business: Neon City Excursions. Suspect may still be on the premises.
(She hangs up as they head further into the office.)
[INT. NEON CITY EXCURSIONS (COWBOY DAN'S) - HALLWAY -- DAY - CONTINUOUS]
(Vartann and Catherine walk through the hallway.)
(In the lobby, they find another body on the floor.)
(They continue further. Vartann checks for a pulse. In one of the offices, they hear a thudding sound.)
(They check it out and find Willie Cutler hiding under the desk and bleeding from a wound in his side.)
Willie Cutler: Please! Please don't! Don't k*ll me. Don't k*ll me. Don't k*ll me. Please, don't k*ll me.
Catherine: It's all right, sir. We're not going to hurt you; we're the police.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. HOSPITAL -- DAY]
(The nurse helps Willie remove his shirt. He groans. Sara waits on the side with a baggie. Vartann waits with her.)
(Willie groans. The nurse removes his shirt.)
Sara: Thanks. I'll take that.
(Sara puts the shirt in the bag. Dr. Franks enters the room.)
Dr. Franks: All right, b*llet wound. Let's see what the paramedics left me.
(He rips the gauze bandage off the wound. Willie Cutler groans. Dr. Franks looks at the wound.)
Dr. Franks: Irregular laceration, subcutaneous tissue only. A few millimeters deeper, it would have nicked the intercostal artery.
Willie Cutler: That sounds bad.
Dr. Franks: Yeah. Would've been a real mess. You're a lucky man. Flush out the wound, dress it with 4 x 4 gauze, start an IV, hang cefazolin and get some blood work done. Oh, and get him a tetanus sh*t.
(And with that, Dr. Franks leaves the room. Sara steps forward with the camera.)
Sara: Ah, the warm fuzzy feeling of modern medicine.
Willie Cutler: Can I get something to wear?
Sara: Uh, yes, in a few minutes. I need to document your wound. Do you think you could lift your arms for me like this?
(He lifts his arms.)
Sara: Thank you. That's perfect.
(Sara snaps a photo of the wound.)
Vartann: Why don't you tell us what happened.
Willie Cutler: Um. Not much to tell, really. Uh ... Cowboy Dan had the office working round the clock for the last week. We were putting together a campaign for a new tour. I just got back from breakfast.
(Quick flashback to: [INT. NEON CITY EXCURSIONS (COWBOY DAN'S) - HALLWAY --
DAY] Willie Cutler is working in his office when the first g*n fires.)
Willie Cutler: (V.O.) I heard a sh*t, shouting.
(He stands up. There's multiple g*n coming from the next room. People groan.)
(Suddenly, he staggers backward, sh*t on the side. He looks around and ducks under the desk.)
Willie Cutler: (V.O.) I guess the guy didn't even know I was there.
(The door opens and a hooded man with a g*n appears in the doorway. He looks around, then leaves when he doesn't see anyone.)
(Willie Cutler hides under the desk. The door closes.)
(End of flashback. Back to scene.)
Willie Cutler: I was so scared, I couldn't move. So I just played d*ad.
(Sara hands him a blanket. He covers himself.)
Willie Cutler: Ow. I don't even know how long I was there. And then you guys came in and found me.
Sara: Do you think that you could indicate on this diagram where you were standing when you were sh*t?
(She shows him an office layout. He points to the office area between the desk and the door.)
Willie Cutler: Um ... I guess I was standing somewhere around here.
(Sara marks it with an 'X'.)
Sara: Thank you.
Willie Cutler: Look, I need to call my wife. I should have been home by now, and she's probably worried.
Vartann: Um .... Mr. Cutler, when was the last time you were home?
Willie Cutler: Um ... I guess it was, uh ... probably yesterday morning. Why?
Sara: Mr. Cutler. I am very sorry, but ... your wife is d*ad. She was found sh*t last night in your home.
(He starts to cry.)
Willie Cutler: Wh...?
(Vartann and Sara exchange looks.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. NEON CITY EXCURSIONS (COWBOY DAN'S) - DAY]
(Catherine snaps photos of the crime scene at Cowboy Dan's. David Phillips kneels down next to the body.)
David Phillips: Single GSW to the forehead.
(Catherine snaps more photos of the body.)
David Phillips: Stipling makes it close range. At least he died with his boots on.
(Quick flashback to: The g*n points the g*n at Cowboy Dan and fires.)
Catherine: (V.O.) Cowboy Dan gets it first.
(The employee runs down the hallway. The sh**t follows and fires.)
Catherine: (V.O.) The sh**t finds his next target.
(The image of the employee, Roger Banks, stumbles and falls face down on the carpet in front of Greg, who is in the room. The g*n fires four more times. Roger Banks fades.)
Catherine: (V.O.) ... sh**t him in the back.
(End of flashback.)
(Catherine walks into the room and notices the CONGRATULATIONS BANNERS and signs on the wall.)
(Greg looks at Catherine. Roger Banks' desk is filled with cards.)
Greg: That's the vic's desk. He was getting a promotion.
(Catherine slings the camera over her shoulder and sighs.)
Catherine: Well, at least his day started out on a good note.
Greg: Looks like the g*n's been wiped clean. (Catherine nods.) Doubt we'll get any prints.
Catherine: So what do you got, five nine-mil shell casings?
Greg: Two went back with the body, three ... still in the walls.
(He points to the office next door.)
Catherine: So they're all accounted for.
(Greg nods.)
(Catherine walks over to the closed door with the pink rod sticking out of the b*llet hole.)
Catherine: So Willie Cutler must have been standing along this line when he was grazed by the b*llet.
Greg: Looks about right.
Catherine: It's consistent with his statement.
(Catherine opens the office door and looks inside as Greg snaps photos of Roger Banks' desk. He snaps a photo of the phone.)
Catherine: And if the sh**t never saw him, he got under the desk really quickly.
Greg: I sure would have.
(Catherine chuckles.)
Catherine: So what do you think, Greg? Is Willie Cutler the luckiest guy in the world or the unluckiest?
Greg: I wouldn't want his luck either way.
(Greg leans forward and snaps a photo of the blood-smeared #1 button on the phone.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Willie Cutler.)
Brass: Geez, you lose your wife, your boss, your co-worker, all in 24 hours; that's rough. My heart goes out to you, pal. Really. Looks like someone's out to get you.
Willie Cutler: What do you mean?
Brass: Well, the way I see it, somebody's out to k*ll you and a lot of innocent people are getting in the way.
Willie Cutler: Yeah. That's got to be it.
Brass: Yeah. Who'd want to k*ll you?
Willie Cutler: I don't know. Maybe it's just some nutcase. A guy sees me on the street, and I remind him of somebody he hates.
Brass: Yeah, that's ... that's a pretty good theory. Want to hear another one?
Willie Cutler: Sure.
Brass: Well, this one starts with your wife banging the lawn boy.
Willie Cutler: Hmm? Timmy?
Brass: Timmy. What, you didn't know?
Willie Cutler: No.
Brass: Really? 'Cause according to Timmy, you found him in the bedroom and you dragged him out of the closet.
Willie Cutler: Well, he's lying. 'Cause I wasn't home.
Brass: Oh, yeah, that's right. That's right. You were on the love boat with Sally the Hooker.
Willie Cutler: Look, my wife and I had some problems. You know, all married couples do.
Brass: Hey.
Willie Cutler: I was getting a promotion at work. At least I thought I was. So I threw myself a little celebration.
Brass: I guess that makes you a premature celebrator. Tell me about that work-promotion thing. Why were you passed up?
Willie Cutler: Cowboy Dan just couldn't bring himself to promote a felon.
Brass: Yeah, no, I've-I've read your record. I mean, it's minor league. I mean, like, joyriding at 19.
Willie Cutler: Stupid kid stuff. You know, it follows you around the rest of your life.
Brass: Oh, believe me, I know. Look, here's what we got here. Cowboy Dan is d*ad. The guy who got your promotion is d*ad. It seems to me, that the one with the most motive to k*ll in this sad tale... is you.
Willie Cutler: I got sh*t, too.
Brass: Well ... you know ... kinda. Look.
(Brass puts a report on the table. It reads:
-- OF TRANSACTION: 05/10/06
--REFERENCE NUMBER: FM053280
CUSTOMER NAME: CUTLER, WILLIAM
ACCOUNT NUMBER: 6045052068A
TRANSACTION AMOUNT: $50,000.00
AMOUNT SHOWN ABOVE WAS WIRED FROM:
FIRST MONUMENT HOME EQUITY ACCOUNT
AMOUNT SHOWN ABOVE WAS WIRED TO:
THE LUCKY DRAGON, LAS VEGAS )
Brass: Last night you wired 50-k from your home equity account to a marker at The Lucky Dragon.
Willie Cutler: So?
Brass: So, I mean, it wasn't for Chinese food. So maybe you hired a professional k*ller to h*t your wife, your boss, your co-worker.
Willie Cutler: That's not true!
Brass: Told them to take a little, you know, love bite out of you to, you know, make you look nice and innocent, you know?
Willie Cutler: I didn't k*ll my wife! I lost this money at the tables. You know ... this has been the worst day of my life, and I still haven't had a chance to see my wife's body -- I want to leave.
Brass: But we're not done here, Willie.
Willie Cutler: We're done! You can't prove that I k*lled anybody because I didn't k*ll anybody. And if you're not going to charge me, I'm going to leave.
(Willie stands up.)
Willie Cutler: I want to see my wife's body now!
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY - DAY]
(Brass and Grissom walk through the hallway.)
Brass: Well, I pushed the guy as hard as I could, but there's a lot of media heat on this one. I had to cut him loose.
Grissom: Well, he's got a b*llet wound and a d*ad wife. For now, the evidence says he's a victim.
Brass: Well, that's what I told the unit who's shadowing him.
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(Greg is looking through the photos and evidence. He holds a photo in his left hand and picks up a shell casing evidence bag in the other. The label reads:
9 MM CASING SPEER
5-11-06
NEON CITY EXCURSION
GG
LVPD 060511-1439 GG
(He looks at the photo label in his other hand:
VICTIM: CUTLER, JANICE
FILE DATE: 05-11-06
ROUTING CODE: 39353-08-1911
CASE LVPD 06 05 11 - 1439 GG
LVPD ROUTING 742-125
(The photo is the same kind of b*llet casing: SPEER.)
(He puts the evidence bag down and picks up another photo of the phone with the blood smear on button #1.)
(He opens the file folder and takes out a photo of another phone with another blood smear on button #1.)
(He thinks about it.)
(Quick flash to: [CUTLER RESIDENCE] Janice Cutler is d*ad. The k*ller dials: 111-1111.)
CUT TO:
(The k*ller dials another phone: 111-1111.)
Woman: (over phone) Sunstar Cabs.
(Camera moves and we see a d*ad body from Neon City Excursions.)
WHITE FLASH TO:
[INT. SUNSTAR CABS DISPATCH GARAGE - DAY]
(Camera pans across the yellow ad sign and phone number: 702-111-1111.)
(The taxi manager talks with Greg and Detective Vartann.)
Taxi Manager: Yeah, we had several pickups from that office park this morning, but, uh, look, those drivers are all off right now, and they take one look at my caller ID, they ain't pickin' up.
Vartann: All right, well, what about drop-offs?
Taxi Manager: Oh, definitely got something for you there. Hey, Nicco.
Nicco: Yeah?
Taxi Manager: You'll love this. Nicco, tell these guys about that guy, huh?
Nicco: The drive-around-all-night guy?
Taxi Manager: Yeah, yeah, yeah.
Nicco: Pick him up near Viking and Pecos around 2:45 A.M.
Greg: (to Vartann) That's right around the time Janice Cutler was k*lled.
(Vartann nods.)
Greg: It's right near her house. Is this your cab?
Nicco: Yeah.
Greg: Mind if I take a look?
Nicco: Okay.
(Greg heads over to the cab.)
Vartann: So?
Nicco: He didn't know where he wanted to go, but he said I should drive anyway, so I drive.
(Greg hooks up his laptop to the cab's driver cam.)
Nicco: He sees a store, he says 'stop.' Buys a beer. Then he says, 'drive, stop, cigarettes, and drive some more.' I'm all around town. Five, six hours.
Vartann: Did you get his name?
Nicco: Uh ... I think it was Sammy. Yeah. Yeah, that's what he said. He asked me to wait for him by this office place, but by then it was at the end of my shift.
(On Greg's laptop, a series of time-coded still photos is being downloaded.)
Nicco: I told him, I got to get home to my wife. And he asked me, do I love my wife, and I told him, hey (he chuckles) She loves me. And he said, I was a lucky man, which I am. And he left. He gave me a big tip.
(Greg carries the laptop.)
Greg: You need to check this out.
(He shows the video cam picture of SAMMY to Nicco.)
Greg: Is that the guy who called himself Sammy?
Vartann: Looks a lot like Willie.
Nicco: (chuckles) Yeah. Yeah, that's the guy.
Greg: Yeah.
(He zooms in on the g*n in the passenger's waistband.)
Greg: That's the g*n.
SMASH TO BLACK.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - BULLPEN -- NIGHT]
(Vartann is on the computer at his desk.)
(The information for WILLIE CUTLER appears:
DOB: 03-26-67
AGE: 39 HEIGHT: 6'2"
WEIGHT: 153 LBS EYES: BROWN
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
Siblings: SAMMY CUTLER - BROTHER
CRIMINAL HISTORY:
STATUTE: NRS 200.0525
ARREST: GRAND THEFT AUTO
CONVICTIONS:
DISPOSITIONS: PROBATION 1 YEAR
CASE # LVPD#95 03 04 - 1007 ML )
(He runs a search on SAMUEL CUTLER:
DOB: 07-01-63
AGE: 42 HEIGHT: 5'9"
WEIGHT: 165 LBS EYES: BLUE
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
Siblings: WILLIE CUTLER - BROTHER
CRIMINAL HISTORY
STATUTE: NRS 205.067
ARREST: BURGLARY
CONVICTIONS: SERVED AND RELEASED
DISPOSITIONS: SENTENCED 1 YEAR
STATUTE: NRS 205.0528
ARREST: GRAND THEFT AUTO
CONVICTIONS: RELEASED DECEMBER
DISPOSITIONS: SENTENCED 10 YEARS
CASE #: LVPD# 95 03 04 - 1008 ML )
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(Brass shares his findings with Grissom.)
Brass: So, Willie Cutler had an older brother, Sammy. Sammy did time in Chino for grand theft auto.
Grissom: Willie had a vehicle-related felony on his record, too.
Brass: Yeah, the same incident. See, Willie was a first-time offender, so he pled out. But Sammy had a record, so the judge gave him a hard time. So he got in trouble on the inside. He did an extended sentence. He got out six months ago. I got a fax from the cab company I want to show you.
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- CONTINUOUS]
(They enter his office. Brass shows the fax to Grissom.)
Brass: Check it out.
(He hands the Radio Dispatch Record to Grissom.)
Brass: They get called out to that office park where the sh**ting took place. Driver said the fare was a no-show.
Grissom: "Requested destination -- Lucky Dragon casino."
Brass: Hmm. I sent a unit out to look for Sammy.
Grissom: You know, this could be a revenge story. Willie gets a life, Sammy goes to prison. Sammy gets out, tries to get even.
Brass: Well, if Sammy was trying to get even, why did Willie keep quiet about it?
Grissom: He's his brother's keeper. (off Brass' look) It's in the Bible.
CUT TO:
[EXT. LUCKY DRAGON (STOCK) - NIGHT]
[INT. LUCKY DRAGON - CASINO FLOOR -- NIGHT]
(Warrick hands out Samuel Cutler's mug photo to the security staff.)
Warrick: This is the man that we're looking for. Please keep your eyes peeled. He may have been here last night. I want you to cover every square inch of this place. Let's spread out; let's move it.
CUT TO:
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
(Warrick walks into the casino surveillance room. He starts handing out Samuel Cutler's mug photo.)
Warrick: So, this is Sammy Cutler. This is his mug sh*t. It's a few years old, and this is what he looks like now.
(He shows them the photo taken from the taxi camera.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Sara is working, the various photos spread out on the table in front of her. Robbins walks in.)
Robbins: Hey, Sara, you're working the office sh**ting, right?
Sara: Yeah, and the d*ad wife.
(He brings the file folder to her.)
Robbins: Autopsy reports on the two DB's. Grissom wanted them ASAP, and I was in the neighborhood.
(He drops the file folder on the table.)
Sara: Thanks. I'll pass them along.
(She picks up the file folder and looks through it as Robbins takes a moment to look at the photos on the table.)
Robbins: Somebody at the office get knifed?
Sara: No.
Robbins: Kind of looks like a Kn*fe wound.
Sara: Victim survived the sh**ting. He said he was grazed by a stray b*llet.
Robbins: Really? (He puts his glasses on.) This is an irregular laceration with no defining features. A grazing GSW is usually accompanied by some marginal abrasion. There's none here.
Sara: Any idea what might have caused a wound like this?
Robbins: Yeah, lots of things. Something sharp.
(He looks at the photos closely.)
Robbins: Hmm. What's this blue discoloration?
Sara: Kind of looks like ink. Doesn't it?
Robbins: Mm-hmm.
(Sara picks up a bagged pen.)
Sara: Catherine found this under Willie Cutler's desk. Thought the blood was incidental.
[CU: SHIRT]
(Sara swabs the edge of Willie Cutler's bloodied shirt.)
(Camera pulls out and we see Grissom watching. She tests the swab.)
Sara: Sodium rhodizonate is negative. No lead in the tear. No b*llet.
Grissom: So, Willie tried to make it look like he was sh*t.
(Quick flash to: Willie Cutler gouges his side himself with his own pen.)
Grissom: (V.O.) Grabs a ball point pin, drags it across his ribs.
(End of flash. Back to scene.)
(Grissom looks down and notices the blood on the shirt sleeve.)
Sara: Did I miss something?
Grissom: Don't know. We'll find out.
CUT TO:
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT]
(Warrick stands behind the security staff as they watch the security surveillance monitors.)
Director of Surveillance: We've been running a major poker tournament here all week. You know what the loser gets? Baseball caps. There's about four hundred of them down there right now.
Warrick: Keep looking.
(On the monitor, Warrick sees his wife, Tina, walking through the casino floor with a man.)
(He steps aside and takes his phone out to call her.)
Tina: (from phone) Hey, baby.
Warrick: (to phone) What's up?
Tina: Nothin' much.
Warrick: Where you at?
Tina: I'm at the Venetian. Canyon Ranch, getting a ... manicure.
INTERCUT WITH:
[INT. THE LUCKY DRAGON - CASINO - NIGHT]
Tina: Hope you're in for a good back scratching session tonight.
Warrick: Who you talking about?
Tina: What?
Warrick: Me or the guy standing next to you? Look up. You see that little dome above your head? Give it a wave. That's me in the surveillance room, watching you lie to me.
Tina: Warrick ...
Warrick: Man, and I didn't even have to call that show 'Cheaters.'
Tina: You think you know what you're talking about?
Warrick: Don't even bother coming home tonight. I'll just text you the storage space your stuff'll be in.
Tina: You want to know what's up, huh? What's really up?
Warrick: I can see what's up.
Tina: You can't see a damn thing. He's a VIP host helping me plan your birthday party. I hope you enjoy spending it alone.
(She hangs up, then glares up at the surveillance camera.)
(On the monitor, Warrick watches her turn and walk away.)
CUT TO:
[INT. CSI - DNA LAB -- NIGHT]
(Grissom cuts a piece of material off and places it on a slide. He cuts a piece of material off from Willie Cutler's shirt sleeve and places it on another slide.)
(Wendy walks in.)
Wendy Simms: Well, hey. What are you doing?
Grissom: Serology.
Wendy Simms: Serology? Now, I read about that in my history of forensic science classes. So, what exactly is it you're trying to do?
Grissom: Lattes crust method for determining blood type.
Wendy Simms: You know, for you, I clear the decks. I mean, I can just rush your samples through DNA.
Grissom: I need it faster than DNA. And I don't need a full profile anyway, just ABO type.
Wendy Simms: You mind if I stick around and watch?
Grissom: Don't you have something better to do?
Wendy Simms: Yeah, I do, but some guy's using my lab.
(Grissom puts drops of liquid on the materials.)
Wendy Simms: Okay, now as I recall, the reagents have to be fresh. Right? So, where did you get those?
Grissom: I keep some in my fridge for emergencies.
Wendy Simms: You got anything else in there? Bottle of tequila, perhaps? Severed head?
Grissom: I don't keep tequila.
(Grissom puts it in the machine and switches the machine on.)
(Camera zooms in on the blood drops on the slides in the machine.)
(Cut to: Grissom looks at the slides under the scope. He writes something down and puts the second slide under the scope.)
[SCOPE VIEW]
(Grissom sees something.)
(Quick flash of: A woman screams. A g*n fires. Blood spatter hits Willie Cutler's sleeve. Janice Cutler falls to the floor, d*ad. Willie Cutler lowers the g*n.)
(End of flash. Back to scene.)
(Grissom takes his cell phone out and calls Brass.)
Brass: (from phone) Brass.
Grissom: (to phone) Jim, you have to bring in Willie Cutler.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass is sitting behind his desk.)
Brass: Willie got loose. He slipped our surveillance. What's up?
Grissom: We found high velocity spatter consistent with the wife on his shirt. He was in the room when she was sh*t. He could have been holding the g*n. Maybe they were working together.
Brass: That would explain what Sammy was doing at The Lucky Dragon. Willie lost a lot of money there. So either he did it, or he's covering for his brother.
Grissom: Yeah. Maybe he's got unfinished business there.
(Brass hangs up and gets up.)
CUT TO:
[EXT. THE LUCKY DRAGON (STOCK) - NIGHT]
[INT. THE LUCKY DRAGON - CASINO FLOOR - NIGHT]
(The casino is busy. Willie Cutler is in the room. He appears to be looking for someone. He suddenly turns and heads down into the casino.)
(He collides with a burley patron. They start arguing.)
Casino Patron: Ow! Man, what the hell is your problem?
Willie Cutler: Oh, you're a tough guy? You wanna go through me then if you ...
(Willie starts shoving the guy. The guy shoves back.)
Willie Cutler: Huh? You think you want some of this, huh?
(It's a full-on scuffle.)
(Officer Boatwright rushes over to break it up.)
Officer Boatwright: Hey, break it up, break it up!
(Willie grabs Officer Boatwright's g*n and pulls away, giving him enough room for Officer Boatwright to get a look at him.)
Officer Boatwright: Hey, aren't you ... ?
(He points the g*n and fires a couple of times, sh**ting Officer Boatwright in the stomach.)
(Patrons scream as chaos breaks out.)
(Officer Boatwright falls to the floor.)
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
(In the surveillance room, the Director of Surveillance sees the sh*ts on the monitors. He talks into a microphone, relaying directions to casino security.)
Director of Surveillance: (to radio) sh*ts fired. Main floor. BJ pit three ...
[INT. THE LUCKY DRAGON - MAIN CASINO FLOOR - NIGHT - CONTINUOUS]
(Willie takes off running.)
Willie Cutler: Get out of my way!
(He pushes and shoves his way as he runs across the casino floor.)
Willie Cutler: Get out of my way!
(Willie runs across the floor straight to the elevators. Just as the elevator doors open, he grabs the woman just stepping out and pulls her back into the elevator with him.)
Jackie: Hey! Hey! Get off of me! What are you doing? Help!
Willie Cutler: Shut up, or I'll k*ll you.
Jackie: Help! Help! Help! Help me!
(The security guards run to the elevators, but get there too late.)
(The elevator doors close.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. THE LUCKY DRAGON - HALLWAY FLOOR - NIGHT]
(A phone rings.)
(Officers have their g*n pointed at the hotel room door. Brass is on the phone listening to it ring.)
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(The phone rings.)
(Willie Cutler sits on the bed staring at the ringing phone.)
(Jackie sits on the floor near him.)
[INT. THE LUCKY DRAGON - HALLWAY FLOOR - NIGHT]
(Brass is still on the phone. He checks his radio.)
Brass: (to radio) This is a radio check. Do you read me?
(The phone continues to ring. He turns and looks at the officer holding the g*n on the door.)
Brass: Copy that?
(The officer nods.)
Brass: The k*ll word is "Jim."
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(The phone rings. Willie Cutler glances at Jackie, scared and silent. Finally, he picks up the phone.)
Willie Cutler: Hello?
INTERCUT WITH:
[INT. THE LUCKY DRAGON - HALLWAY FLOOR - NIGHT]
Brass: Hey, Willie. It's me, uh, Jim Brass. Remember me? Guess what? I'm right outside your door.
Willie Cutler: I will blow her head off. I'll blow both our heads straight off. You understand me?!
Brass: Look, I understand. I understand, Willie, I do. Look, I just ... I just want this to end peacefully. For everybody.
Willie Cutler: I'm not coming out.
Brass: Oh, I don't want you to come out, Willie. I want you to let me in. Look, I'm not armed.
(Brass stands in front of the door.)
Brass: Look through the peephole.
Willie Cutler: Why do you want to come in here?
Brass: Just to talk to you, Willie. I mean, you're a smart guy, I think maybe you and I, we can figure a way out of this. Come on, check me out. Okay, look, I'm going to put the phone down now, so you can see me, okay?
(Brass closes his phone. He holds his hands away from his body)
Brass: Look ... no g*n.
(After a long moment, the door opens. Brass enters.)
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(Brass enters the room and finds Willie Cutler, his arm around Jackie and holding the g*n to her back.)
Brass: Hey, Willie. It's me. I'm alone, and I'm unarmed.
Willie Cutler: Close that door.
(Brass closes the door.)
Willie Cutler: Either I walk out here right now, or she dies.
Brass: Look ... nobody's going to die, Willie. Not you, not her, not me, not Sammy, not anyone.
(Willie pauses and considers Brass.)
Willie Cutler: You sure about that?
Brass: Oh, yeah, I'm sure about that.
Willie Cutler: Then I want to talk to my brother.
Brass: Okay, I can arrange that. We have him in custody downstairs.
(He points the g*n at Brass.)
Willie Cutler: You're lying!
Brass: Hey, you got the g*n. I'm not ... I wouldn't lie to you. But I need you to do something for me. I need you to let this woman go, and I'll dial up your brother downstairs.
Willie Cutler: Where is he?
Brass: He's in the holding room, which is in the basement of the casino.
Willie Cutler: He was just trying to help me.
Brass: Look, I'm just trying to help you too, Willie. So, point the g*n at me, not at her, and let this nice young woman go, come on.
Willie Cutler: No way.
(He points the g*n at Jackie.)
Brass: Point the g*n at me, Willie.
(He points the g*n down.)
Willie Cutler: You really have my brother?
Brass: Yeah, I'm gonna call ... hold on.
Willie Cutler: I want to talk to him.
Brass: Hold on.
(Brass takes out his phone and makes a call.)
INTERCUT WITH:
[INT. THE LUCKY DRAGON - CASINO SURVEILLANCE ROOM - NIGHT - CONTINUOUS]
(The phone rings; Warrick answers.)
Warrick: (to phone) Brown.
Brass: (to phone) This is Brass. Look, I need you to get Samuel Cutler on the phone. I'm here with his brother, Willie, and he'd like to talk to him. So, could you go down to the holding room and get Samuel Cutler on the line and call me back?
Warrick: Are you with Willie right now?
Brass: Yes, I'm with him, and he'd like to speak with his brother.
Warrick: We're still looking for him in surveillance. It could take some time.
Brass: How much time?
Willie Cutler: I don't see his face, she dies!
(Willie grabs Jackie and forces her down on the ground, the g*n pointed at her head.)
Brass: (to phone) Okay, okay, okay. Look, look. I need you to get Samuel Cutler up here as soon as possible.
Warrick: Okay, Brass, we're doing the best we can. I want you to hang in there, take care of yourself. If he's in this casino, we're going to find him.
Brass: Thank you.
(Brass hangs up.)
Brass: He'll be here. Okay? Now, I just want you to point the g*n at me.
(Willie raises the g*n and points it at Brass.)
Brass: That's good. Not at her. That's it-- cause it's just you and me now, all right? I'm the hostage, all right?
(Willie pushes Jackie on the bed.)
Brass: What's your name?
Jackie: Jackie.
Brass: Jackie. It's going to be okay, Jackie. It's going to be okay, Willie. It's just you and me now. This is all going to be over soon.
[INT. THE LUCKY DRAGON - HALLWAY FLOOR - NIGHT]
(Out in the hallway, SWAT takes up position.)
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(Willie Cutler talks with Brass.)
Willie Cutler: Oh, yesterday I spent $5,000 on a hooker because I thought I was getting a $15,000 promotion. When I went to work, I got the news that I'd been
"passed over."
Brass: So now you're five large in the hole, hmm?
Willie Cutler: Well, way I saw it, I was fifteen in the hole. So I went to a cash machine and I wired myself 50-K. Every cent I own. For a second I was up, I was k*lling 'em. They were serving me cocktails, and calling me "sir."
And then the pit boss got involved and I h*t a bad streak. So I called Sammy.
WHITE FLASH TO:
[INT. THE LUCKY DRAGON - CASINO FLOOR - NIGHT -- FLASHBACK]
(Willie is at the blackjack table playing multiple hands. One after the other - all the hands - bust.)
Willie Cutler: Bust, bust, bust, bust, bust! Damn it!
(He slams his fists on the table.)
Willie Cutler: Dammit! Ah, God!
(The woman sitting next to him sighs impatiently, picks up her chips and leaves.)
Willie Cutler: What? What?
(Just then, Sammy Cutler in a ball cap and sunglasses, arrives.)
Sammy Cutler: Willie?
Willie Cutler: What?
Sammy Cutler: Let me get you out of here.
(Sammy pushes Willie out of the casino.)
WHITE FLASH TO:
BACK TO SCENE:
Brass: What happened when you got home?
Willie Cutler: Things got worse ...
WHITE FLASH TO:
[INT. CUTLER RESIDENCE - LIVING ROOM - NIGHT -- FLASHBACK]
(Willie talks with Janice.)
Willie Cutler: I lost everything. Our entire savings. I'm sorry.
Janice Cutler: You stupid lowlife. That was my money, too! You are such a loser. Just like your degenerate brother.
(Sammy grabs Janice by the throat and points the g*n at her.)
Sammy Cutler: Son of a bitch!
WHITE FLASH TO:
BACK TO SCENE:
Willie Cutler: Sammy told me to stay put, and he said I should clean up the mess. He said he was going to take care of me.
Brass: Why didn't you call the cops?
Willie Cutler: I can't turn him in. And I knew I'd get blamed.
[INT. CSI - A/V LAB -- NIGHT]
(Grissom and Catherine are reviewing security video. On the monitor, Willie Cutler is at the blackjack table.)
Grissom: Willie Cutler's marker was signed by a blackjack pit boss; this is last night's surveillance.
(On the monitor, Willie is getting angry and frustrated. The pit boss goes up to him. The chair next to Willie is empty.)
Catherine: So the pit boss gives Willie the heave-ho, with chips still on the table.
Grissom: Yeah, that's about a $10,000 marker. Casino owed him money; that's why Willie went back.
Catherine: And what about Sammy?
Grissom: (shrugs) I haven't seen him.
CUT TO:
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(Willie continues talking.)
Willie Cutler: I tried to find him myself. I figured I could get him to Mexico or something. I drove around for hours. Nothing. So I went back to my office, and that's when I saw Cowboy Dan and Roger. And I knew what Sammy meant when he said he was going to take care of me. He was going to give me a clean slate. He was going to k*ll everyone that wronged me.
Brass: But she hasn't wronged you. Jackie hasn't done anything to hurt you. So why would you want to hurt her? Let's cut her loose.
Willie Cutler: I don't want to hurt anybody.
Brass: That's right, Willie. You don't want to hurt anybody. You k*ll somebody, even by accident, you can never take it back. People never look at you the same again. And you know what? You can't look at yourself the same way again, either.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom is behind his desk when there's a knock on his door. Sara rushes in.)
Sara: Griss? You got to see this. I found it on the Internet.
(She hands him the printout:
darienchronicle.com
Feb 13, 2006
Copyright Darien Chronicle
AMERICAN TOURIST k*lled IN CAR CRASH IN TIJUANA, MEXICO
A traffic accident ended in a fatality Tuesday night. The incident occurred at 7:--
intersection of Perez Parkway and Bodega. The victim was traveling west on P--
to yield a red light. An oncoming vehicle was traveling eastbound and struck the
approximately 50 mph.
The victim was identified as Samuel Cutler from ---
(Grissom looks at Sara.)
CUT TO:
[INT. THE LUCKY DRAGON - HOTEL ROOM - NIGHT]
(Willie continues to talk.)
Willie Cutler: Me and Sammy?
(He sniffles.)
Willie Cutler: We used to be so tight.
Brass: Mm.
Willie Cutler: And that stupid car. He always felt so guilty about dragging me into that, but it wasn't his fault. He wasn't to blame.
Brass: Well ...
(Brass' phone rings. Willie gets to his feet quickly; the g*n pointed at Brass.)
Brass: Just the phone. Just the phone.
(The phone rings; Brass stands up and shows the phone to Willie. He answers it.)
Brass: Take it easy. (to phone) Yeah.
INTERCUT WITH:
[INT. CSI - GRISSOM'S OFFICE]
Grissom: (to phone) Jim? Sammy Cutler's d*ad. He died in a car crash in Mexico two months ago. Willie had to know. He's been playing us.
Brass: I got it, yeah. Thanks. (Brass hangs up.) Hey, Willie. Sammy's not coming up. But I guess we both know that, right?
Willie Cutler: Yeah. It's a good thing I have the g*n.
(Brass and Willie look at each other.)
Brass: Jim!
(Willie fires twice, hitting Brass in the chest. Brass falls to his knees just as the hotel room door bursts open. SWAT quickly steps into the room, their g*n raised and f*ring at Willie.)
(Jackie screams. Willie falls to the floor, d*ad.)
(TOP VIEW DOWN: On Brass, gasping on the floor.)
Voice: (faded) Man down! Man down! Get the paramedics!
(Camera pushes in slowly on Brass. We hear the sounds of a heart beating.)
(Blood spurts from the side of Brass' mouth.)
(Camera holds on Brass.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x23 - Bang Bang (1)"} | foreverdreaming |
FADE IN:
[CU: WILLIE CUTLER'S EYES & SWEATY BROW]
FADE TO
[CU: g*n]
(Willie Cutler raises the g*n.)
FADE TO:
[WILLIE CUTLER]
(Willie Cutler fires twice.)
(EXTREME SLOW MOTION. The two b*ll*ts whiz through the air and across the room.)
(One of the b*ll*ts hits Brass in the chest, past the b*llet-proof vest he's wearing. He grunts at the impact. His eyes grow wide.)
(Brass falls back to the floor.)
(Behind him, the door bursts open. SWAT runs into the room.)
SWAT Leader: (distorted) Get the paramedics.
CUT TO:
[BRASS' POV]
(We hear the sounds of a heart-monitoring machine beating regularly.)
(Warrick leans over him, hovering next to the SWAT LEADER attending to Brass. He looks worried.)
(HOLD on Brass, his face filled with fear. The room breaks out into commotion, both on screen and off.
SWAT Leader: Hang in there, Jim, hang in there. SWAT LEADER: Right here. Right here. Good job.
(Warrick moves aside. Brass is surrounded by SWAT trying to help him. Someone presses a white towel to his wound.)
CUT TO:
(The paramedics arrive and are working on Brass. He's still on the floor, blood smudged over his face, his eyes glassy and in shock.)
Voice: Sir, sir, can you see me? VOICE: Sir, can you hear me?
(Brass' hand reaches up wildly in the air.)
(Brass is removed from the room.)
[BRASS' POV]
(The hallway ceiling moves as he is pulled through the corridor on the gurney.)
(Blurry flashes of the paramedics pulling the gurney.)
(Blurry flashes of the casino lobby's ceiling.)
(Blurry flashes of the ambulance as Brass is put in the back.)
(Blurry flashes of the paramedics working on Brass in the ambulance.)
Distorted Voice: Sir, stay with me. DISTORTED VOICE: Sir? DISTORTED VOICE: He's got a pulse of 120.
(The paramedic shines a light in Brass' eyes.)
WHITE FLASH TO:
[INT. DESERT PALMS HOSPITAL - ER - TRAUMA HALLWAY - NIGHT]
BRASS' POV
(The ceiling passes by as Brass is rolled quickly through the corridor. His eyes are open and he's still conscious. He sees images of the paramedics and of people in the hallways as he's wheeled by.)
SMASH CUT TO:
RESUME TIME:
(The emergency doors burst open and the paramedics quickly fill in the physician and nurses on the situation.)
Paramedic: (quickly) Fifty-five year-old male, GSW left anterior chest, entering at the level of the deltoid and ac joint. Minimally responsive. He's a cop.
ON BRASS:
(His vision's blurry and he's still conscious.)
Paramedic: (echo-y) Tachycardic in the 120s, BP's 86 over 40 and dropping, 02 stats in the 80s with assisted ventilation ...
(The attending physician looks at him as everyone works on him.)
Attending Physician: Okay, we're losing a lot of blood here. (fades in and out) We need two large-bore IV's. Run the fluids wide, he's extremely hypotensive.
Nurse: We need to get a --
Attending Physician: Absent breath sounds on the left. Likely pneumothorax. Let's put in a chest tube and pressors for that BP stat.
(Brass' raised hand suddenly falls. The heart monitor flatlines at zero.)
FADE OUT.
Cue Sound: WHINE OF A DEFIBRILATOR POWERING UP
[BRASS]
(Brass's body lurches as the paddles are charged and pressed to his chest. The heart monitor continues to flatline.)
Nurse: Still in v-fib.
(The heart monitor is at zero.)
Attending Physician: Three hundred!
(The paddles whine as they're powered up.)
Nurse: Three hundred!
Attending Physician: Clear!
(Brass' body lurches again as the paddles are charged and pressed to his chest.)
Attending Physician: Come on. Come on!
(The physician waits for a response. Suddenly.)
Attending Physician: Three-sixty!
Nurse: Three-sixty!
Attending Physician: Clear!
(The paddles are pressed to his chest. Brass' body lurches. The heart monitor starts beeping rapidly, the number at 192.)
Nurse: (o.s.) Out of v-fib.
(Brass gurgles. But he's breathing.)
Brass: (V.O.) I envy these parents who live in ignorant bliss because ...
DISSOLVE TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT -- FLASHBACK]
(Brass is talking.)
Brass: ... I know how my daughter Ellie lives. I know the company she keeps and I know what she does to get by. And ... (he shakes his head) ... anyway, I mean, I'm ... I'm ... a couple of nights ago I'm in LA and sitting in my car on Hollywood Boulevard watching her work a corner and my eyes are playing tricks on me because I don't see what she's doing, I see what she was. I see a little six year-old girl with a ponytail, playing with crayons ... singing a little tune to herself. It's ... I don't know, all I want to do is save her.
(Grissom is in the room, listening.)
Brass: But the thing is, you know, if something happened to me ... I don't think Ellie would, uh ... care.
(He picks up the papers off the desk and hands them to Grissom to look at.)
Brass: So I'm asking you to do me this favor. There's no one I trust more with my life, or my death ... than you.
RESUME SCENE:
[INT. DESERT PALMS HOSPITAL - ER - TRAUMA HALLWAY - NIGHT]
(The surgeon talks with Grissom. Undersheriff Jeff McKeen is there.)
Surgeon: Captain Brass was sh*t twice. First b*llet lodged in his vest. Second entered through his axilla, h*t an artery, and is lodged near his heart. He's has internal hemorrhaging.
Grissom: Any neural damage?
Surgeon: We won't know until we stop the bleeding. If we stop it. (then)
Have next-of-kin been notified?
Grissom: For, uh, medical purposes, I have his power of attorney.
(The surgeon nods.)
Surgeon: You may have a decision to make. (then) I'll let you know.
(The surgeon turns and exits. Grissom's phone starts ringing. He answers it.)
Grissom: (to phone) Grissom. Yeah. (long pause) Okay.
(Grissom hangs up and looks at McKeen.)
Grissom: DB in Henderson on the train tracks.
McKeen: I'll take the first watch. You go to work.
(Grissom turns and exits. He turns the corner and there are officers there in the hallway also waiting.)
CUT TO:
[EXT. TRAIN TRACKS -- NIGHT]
(Grissom and Sofia Curtis walk down the train tracks toward the d*ad body. Grissom is carrying his kit.)
Sofia Curtis: I just spoke with McKeen. I heard it's bad.
Grissom: Pretty bad. They're trying to s*ab him.
(They walk up to the headless body. David Phillips is there examining the body with Nick.)
Sofia Curtis: The last train passed through here an hour ago. The engineer thought he saw a body on the track, but couldn't stop on time. He radioed dispatcher, who called 911.
Nick: No ID. Probably decapitated by the train.
Grissom: Well, if scavengers nicked his clothes, they left a nice pair of riding boots.
Nick: They probably didn't have time to finish the job before other trains roared through here.
Sofia Curtis: Well, the engineer isn't saying anything else until his union rep gets here, which ... could be a while. I'll let you know.
Grissom: Great.
(Sofia walks away while Grissom puts his kit down.)
Nick: You know, there's not a lot of blood on the ground for a decapitation like this.
Grissom: Well, we don't know how far he was dragged. Where's the head?
Nick: I'll find it.
(Nick turns and walks along the tracks. Grissom looks around the area and finds a toupee off the tracks.)
Grissom: Hey, Nick?
Nick: Yeah?
Grissom: I think I found a toupee. Our vic may be bald.
Nick: (dryly) Thanks, that will help me distinguish it from the other severed heads I find out here.
(Grissom nods and heads back to look at the body. David is just unbuttoning the man's undershirt and opens it to reveal an hour-glass figure.)
David Phillips: Whoa.
(Grissom shines his light on the victim's body.)
Grissom: What a waist.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. TRAIN TRACKS -- NIGHT]
(David inserts a thermometer in the victim's torso. He pulls the thermometer out and marks the torso.)
Grissom: David, are you getting the liver temp or performing acupuncture?
(Sara arrives at the scene and puts her kit down. David sticks the thermometer in again.)
David Phillips: Well, his liver's not where it's supposed to be.
(He pulls the thermometer out.)
David Phillips: Do you think this is some kind of birth defect?
(He turns and looks at Sara and Grissom. Grissom looks at Sara.)
Grissom: What do you think?
Sara: I think I feel fat.
(David inserts the thermometer in the torso and finds the liver.)
David Phillips: Yes. Got the liver.
(Sara sticks her hands in her pockets and thinks about it.)
Sara: su1c1de?
(Quick flash to: [NIGHT] The victim puts his head on the railroad tracks. In the distance, a train whistle blows and the train lights shine.)
Sara: (V.O.) A guy loses his shirt at the tables, decides to take a permanent nap on the tracks.
(The train whistle blows, arrives at the site and runs over the body on the tracks. The man screams.)
RESUME TO SCENE:
Grissom: Well, he died with his boots on.
(They turn and look at the body.)
CUT TO:
[EXT. LAS VEGAS SKYLINE - ESTABLISHING - DAY]
[INT. UPSCALE APARTMENT BUILDING - HALLWAY -- DAY]
(The super leads Catherine down the hallway. The guy is talking continuously.)
Super: You don't have to go through the dude's mail. Name's Manny Rupert. He's a new tenant. Paid first and last in cash.
(Catherine doesn't say anything. The super continues.)
Super: We got a lot of party people around here. You know, so there's loud music every night, but this dude was pumping tunes at seven in the morning. You know, I knock on the door, I go in, that's when I see the dude all laid out on the bed. Uh, figured I better step out, call in the big g*n. That's you.
(They reach the front door and someone off screen greets them. They wave back.)
(Catherine turns to enter the room. The super stops outside the door, offended by Catherine's lack of response to him.)
Super: Um, listen ... if my good citizenship is not going to be appreciated here, maybe I just don't call the next one in, you know?
(Catherine pops back out of the apartment.)
Catherine: Just stay here and shut up. I'll be back to take your prints, assuming they're not already in the system.
Super: Um ... okay.
(Catherine turns her flashlight on and enters the darkened apartment.)
[INT. UPSCALE APARTMENT - CONTINUOUS]
(Warrick is already inside looking at the various half-eaten food items on the counter. Empty booze and beer bottles litter the countertops.)
(CUT WIDE: Catherine steps into the trashed apartment. The place looks as if there was a wild party there. She heads for the body on the bed. Dr. Robbins is already there examining the body.)
(Warrick snaps a photo of a white powdery substance on a glass plate, the joint and pills on the countertop.)
(Catherine gets closer to the body on the bed and sees there's a plate of cocaine lines and joints on the bed next to the body.)
Catherine: Which of the seven deadly sins are not represented here?
Robbins: Petecchial hemorrhaging. Could be from vomiting or asphyxiation.
(Catherine nods.)
Warrick: This guy was rolling on all cylinders. He was bound to throw a rod.
Catherine: Or somebody threw it for him. Pillow or a hand on the face certainly could've done the trick.
(Robbins tries to open the victim's jaw and finds it pliable.)
Robbins: Well, based on the lack of rigor, TOD's three or four hours ago; tell you more after we clean him up and open him up.
(Warrick finds the victim's wallet on the countertop mess. He opens it and checks it.)
Warrick: Wallet's empty.
(Catherine looks at the broken mirror hanging on the wall and the glass on the floor.)
Catherine: You know what they say, it's not a real party till somebody breaks something.
(Catherine kneels down and checks the broken glass.)
Catherine: I got blood.
(Warrick finds a g*n in the bedside drawer.)
Warrick: I got a noisemaker.
(Catherine looks around as Warrick pulls the drawer out to snap a photo of the g*n inside.)
(Catherine looks at the wall.)
Catherine: b*llet holes. (She stands up.) Somebody sh*t out the mirror.
Robbins: No apparent g*n wounds on the vic.
(Catherine takes her jacket off.)
Catherine: Let's get busy, boys.
CUT TO:
[EXT. TRAIN TRACKS -- DAY]
(Train #100 rolls down the tracks. The train whistle blows.)
(Up on the tracks, Nick walks along the bridge, holding his camera. He walks off the bridge and climbs down the side toward the stream.)
(He peers inside a barrel with some still-burning contents inside. He snaps photos of the contents. He looks inside and around. He picks up a metal pole and uses it to pick up an item from the bottom of the barrel. He looks at it, then puts it back inside.)
(He drops the pole and moves to the side of the stream, something catching his eye. He kneels down and moves away some branches to expose a head.)
(Nick reaches down and picks up the head.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Sara stands on a ladder and snaps photos of the headless body on the table while David Phillips examines what he can.)
(He reaches over to the side and picks up the head. He matches the head to the body.)
(Sara continues to snap photos.)
INTERCUT WITH:
[INT. CSI - LAB - DAY]
(In another lab, Nick uses a shovel and takes the barrel contents out and pours them into a sifting pan on the table.)
(He sets the shovel aside and starts to sift the pan, the dirt falling out from the bottom and onto another pan on the table. He sifts through it all and fingers through the larger itemed content left in the pan.)
(He picks up a button and blows on it. He wipes it and sees the eagled-shaped pattern on it.)
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Sara leans forward and looks at the torso through a magnifying glass. She picks some fibers off the body and looks at it.)
[INT. CSI - LAB - DAY]
(Nick continues to go through the items in the pan.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(CAMERA MOVES across the monitor with the images of the head next to the body's neck.)
(Grissom walks in the room to listen to Robbins' findings.)
Robbins: This man's organs were displaced. It's similar to the way a pregnant woman's internal organs get rearranged to compensate for her expanding uterus.
(He points to a scar on the skin.) Some of these blisters are fresh. But there's evidence of scarring and irritation going back years. It all suggests a consistent long-term pressure on the waist.
(Robbins places the palm of his hand on the torso's stomach.)
(Camera zooms into the victim's torso to a CGI IMAGE of the organs inside the rib cage. We hear squeezing sounds and see the organs shift and move upward to accommodate the pressure.)
WHITE FLASH BACK TO SCENE:
Grissom: So what? t*rture or self-inflicted?
Robbins: I don't know. But either way, it must have been agonizing.
Grissom: I'm beginning to sense that COD was not decapitation.
Robbins: (points) There's a b*llet hole ... COD, sh*t to the head with this.
(Robbins hands Grissom a pan with a flattened b*llet inside.)
Grissom: It looks like lead. .44 caliber is my guess.
Robbins: That's a cannon.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - SUNSET]
[INT. DESERT PALMS HOSPITAL - CORRIDOR -- DAY]
(The surgeon talks with Grissom.)
Surgeon: We managed to stop the bleeding, but his condition is critical.
Grissom: What are the options?
Surgeon: We could try to remove the b*llet.
Grissom: What are the risks?
Surgeon: If we go in, the vertebral artery could be impacted. He could bleed out or stroke out. Permanent incapacitation.
Grissom: And without surgery?
Surgeon: The b*llet could migrate into the artery and, again, cause a stroke or k*ll him. Or it could stay there for years and do nothing. He might never wake up.
Grissom: What are the odds?
Surgeon: Mr. Grissom, this isn't a casino. I don't give odds. It's your call.
Grissom: Do it.
(Grissom nods at him.)
[INT. DESERT PALMS HOSPITAL - BRASS' ROOM -- NIGHT]
(Brass is unconscious on the bed - heart monitors beep, ventilators extend from his mouth, IV lines run from his arms. Nurses sit nearby charting and monitoring his stats.)
(Camera pans across the room to the hallway window. Grissom is standing outside and is on the phone. He's holding a yellow note.)
Ellie: (answering machine) Hi, it's Ellie. You know the drill.
(The answering machine beeps.)
Grissom: (to phone) Ellie, this is Gil Grissom from the Las Vegas Crime Lab. I'm a friend of your father's.
[CU: ANSWERING MACHINE]
(Grissom's voice continues over the machine, a pack of matches on the table nearby.)
Grissom: (from phone) I'm sorry to have to tell you this, but your dad's been sh*t.
(Camera pulls back and we see Ellie smoking a cigarette, listening to the message as it records.)
Grissom: (from phone) And his condition is serious.
(She inhales, long and slow from the cigarette.)
Grissom: (from phone) I think you should come and see him. It would help him a lot. Please call me at 702-555-0141.
(She exhales, a long cloud of white smoking streaming out her lips. She closes her eyes and taps the cigarette ash into the tray.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - HALLWAY -- DAY]
(Hodges reports his findings to Nick as they talk and walk down the hallway.)
Hodges: White residue on your guy's so-called waist was topical cortisone, prescription strength.
(He hands the report to Nick to look over.)
Nick: The guy had an itch.
Hodges: He was doing more than scratching. Topical doesn't get absorbed into the bloodstream. But Henry says that the guy's blood was flooded with cortisone.
(They turn the corner and enter the Trace Lab.)
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Nick walks in and puts the report on the counter. Hodges follows.)
Nick: That makes sense, as much orthopedic pain as the guy was in.
(Hodges is silent. Nick catches him looking at him.)
Nick: Hey, you checking out my waist?
Hodges: I'm a 32-incher myself. Same as in college.
Nick: Oh. Congratulations.
Hodges: Women aren't the only ones who feel the pressure to look good. Time was, having a rotund belly was a sign of prosperity and success. Now it just means you're a lazy glutton, not getting any.
Nick: Fibers.
Hodges: The fibers from the victim's long johns are consistent with the fibers found in the b*rned-up clothes.
(He points to the scope. Nick looks in the scope at the fibers.)
[INSERT SCOPE VIEW: FIBERS]
Nick: Means those were the clothes he was wearing.
Hodges: Raw wool, dyed grey.
Nick: Did you get a manufacturer?
Hodges: No one from my database. But I did find pomegranate berry extract used to turn wool dye in the 1800s.
[INSERT SCOPE VIEW: DIFFERENT FIBERS VIEW]
Nick: There's insect activity all over these fibers. Maybe moths or mites. Check it out.
(Hodges looks at the scope.)
Hodges: Means that the fabric was old. Vintage clothing, maybe?
Nick: Maybe. Did you analyze the bone fragments?
Hodges: I'm only one highlygifted person.
(Nick sighs. That means no. He leaves the lab.)
Hodges: I'll let you know.
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
(Grissom is walking through the hallway when Nick finds him.)
Nick: You been to the hospital?
Grissom: They're prepping him for surgery.
Nick: I'll keep good thoughts.
CUT TO:
[INT. CSI - LAB -- DAY]
(Henry Andrews reports to Warrick.)
Henry Andrews: Mr. Party till I drop. His blood alcohol level was .28.
Warrick: Point two-eight?! That's barely conscious for most people. That's like falling down drunk.
Henry Andrews: Drunk just gets you in the door. We're also talking cocaine, opiates, barbiturates, methamphetamine, MDMA, THC. Serum was milky white with triglycerides.
Warrick: Wow. If it was illegal, fun or nasty, this guy was into it.
Wendy Simms: (o.s.) Yeah, I'll say.
(They turn and Wendy Simms walks into the lab with her own report.)
Wendy Simms: I just analyzed the secretion swabs you collected from his body.
Warrick: Was there enough for DNA?
Wendy Simms: Oh, yeah. The donor's female. She's consistent with both the blood from the mirror and the pubic hair from the victim's mouth. And then I ran the profile through CODIS, and you got really lucky.
(She hands Warrick the file folder and photo.)
Wendy Simms: She's a local prost*tute. She's in the system for a trick roll.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Catherine.)
Robbins: There's evidence of sexual activity in every orifice, including his ears.
Catherine: You joking?
Robbins: No. We've got pubic hairs, vaginal secretions.
Catherine: Maybe he suffocated during oral sex.
Robbins: Would you care to move on to stomach contents?
Catherine: Guess we're done with the appetizers.
Robbins: Well, the main course was enough alcohol and cake to cater a wedding.
Catherine: Well, at least he went out in style, hmm?
(Quick flashback to: [APARTMENT ROOM] FAST FORWARD. The man and two women gorge themselves on food, drink and drugs. They move to the bed. They move out of the bed and back to the counter for more food, drink and drugs.)
BACK TO SCENE:
Robbins: Alone, maybe none of it would've been fatal, but taken all together ...
Catherine: ... means he died with a smile on his face.
Robbins: Among other things.
(Catherine and Robbins share a chuckle. The door opens and David Phillips enters with a covered body on a gurney.)
David Phillips: (absently) Hey. Just came from the hospital.
(Suddenly, all laughter and levity dies in the room. Catherine stares at David, her mouth open with shock and horror.)
(He looks at their reaction and realizes what they must be thinking.)
David Phillips: Oh. No, no. (points to the body) Traffic fatality.
(Catherine's eyes close with relief.)
David Phillips: Sorry.
(Catherine covers her eyes.)
CUT TO:
[INT. DESERT PALMS HOSPITAL - OR WAITING ROOM -- DAY]
(Camera pans across the room. Nurses move around inside. Out in the hallway, Grissom turns the corner and sees Greg sitting on a chair.)
Grissom: Where's McKeen?
(Greg stands up.)
Greg: (joking) I sent him home. (then) Just kidding. He, uh, went to get something to eat. Brass just went into surgery.
(There are other officers in the hallway waiting.)
Greg: You two have known each other for a long time.
Grissom: We've worked together ever since he came from New Jersey.
Greg: Just between you and me, does he always wear a suit? Like when you guys go to dinner, the movies or whatever it is you do when you hang out. 'Cause I got to tell you, thought of him in a sweater kind of freaks me out.
Grissom: We don't "hang out," Greg.
Greg: No kidding. (shrugs) I just assumed ...
(In the silence, voice off screen rises. Grissom turns to look.)
Ellie Brass: (o.s.) What do you mean consent was given? Nobody has asked my consent to do anything, and I'm his daughter.
Nurse: (o.s.) I understand you're upset, miss, but there's no need to take that tone.
(He turns the corner and sees Ellie Brass at the nurse's station. He walks up to her.)
Ellie Brass: Look, I'm just here to see my father, okay? He's a cop.
Nurse: He's in surgery. The only thing you can do right now is take a seat and wait until he gets out.
Grissom: Excuse me, Ellie?
Ellie Brass: What?
Grissom: I'm Gil Grissom. Thanks for coming.
Ellie Brass: So I guess you're the one who's in charge. How long is his surgery going to take?
Grissom: Probably a few hours.
Ellie Brass: Look, I just got off a bus, I would really like to take a shower and change and maybe get a little rest. Do you have the keys to his house?
Grissom: No.
Ellie Brass: Well, you're a cop, right? How 'bout you just let me in?
Grissom: You know, there's a motel just down the street. I'll get you a room.
Ellie Brass: Do you want to check my arms? (She pulls up her sleeves.) Go ahead. All right? It looks like Daddy already told you all about me. I don't even know why I bothered to come.
(She grabs her bag off the counter, turns and storms away.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom is sitting in his office looking through a book when Sara walks in carrying a file folder.)
Sara: How's it going? You okay?
(She puts a hand on his shoulder. He looks at her.)
Grissom: I'm okay.
(She looks at him for a moment, assessing. She then looks at the book he's flipping through. A book with picture ads for MADAME DOWDING.)
Sara: That's a ... man in a corset.
Grissom: Corset-training. A venerable practice.
Sara: Maybe for Scarlett O'Hara. Since when was it equal opportunity?
Grissom: In Victorian times, it was considered a staple of masculine attire. Students in British boarding schools were encouraged to lose an inch a year from the time they were 14 on.
(Sara takes a breath and sits down.)
Sara: I guess I should feel comforted that sadistic ideas of beauty aren't restricted to women.
Grissom: Mmn.
(He flips to the next page - a photo of a man with a tiny waist. The headline on top reads, "BODY PLAY.")
Grissom: It's called a wasp-waist, which is revealing. A wasp is from the insect group hymenoptera. The notion of hymen indicates virginity. In predacious wasps, the genitalia no longer function as a reproductive organ. It's used as a stinger.
Sara: Go in for sex and get stung. Pretty much every man's fear.
Grissom: (nods) Mm. (b*at) The victim was sh*t, body dumped, clothes b*rned.
(She gives him the file folder.)
Sara: The corset, too. The bone fragments that Nick found at the crime scene were whalebone, which is what they used to make corsets out of. Where did you learn so much about corsets?
Grissom: (enigmatically) I have my sources.
CUT TO:
[EXT. LAS VEGAS SKYLINE (STOCK) - ESTABLISHING - DAY]
[INT. ANTIQUE CLOTHING STORE -- DAY]
(CAMERA MOVES PAST an old sewing machine and trays of various items, stacks of books, mannequins in old clothes. Victorian suits and dresses and other turn-of-the-century items.)
Mr. Phillipe: (o.s.) The embroidery is Chinese, silk. The lace is made from hand-tatted linen thread. Ribs are pure whalebone. They don't make them like this anymore.
(Mr. Phillipe is talking with Sara while showing her an antique whalebone corset on a female mannequin bust.)
Sara: I'm sure the whales appreciate that. How many, if any, do you sell to men?
Mr. Phillipe: More than you'd think. Many men with back problems have remarked how much better a boned-tabbed Elizabethan corset feels than a steel back brace.
Sara: Oh. Uh, let's focus on your customers that don't have back problems.
Mr. Phillipe: Ms. Sidle, people's private lives are their own business. I don't want to ...
Sara: (interrupts patiently) Mr. Phillipe, I have a d*ad man with a 19-inch waist and no way to identify him. Any help at all would be appreciated.
Mr. Phillipe: Do you have a picture?
Sara: I have a head sh*t.
(She opens the file folder and shows him the photo of the victim's head, cleaned up and on the autopsy table.)
(Mr. Phillipe starts hyperventilating.)
Mr. Phillipe: Oh, my God, that's, uh, that's, uh, Caleb Carson. He comes in once a year for a re-stitch and, uh, reinforcement.
Sara: Is he into pain, masochism?
Mr. Phillipe: I don't know.
Sara: How about cross-dressing?
Mr. Phillipe: I seriously doubt that.
Sara: How come?
Mr. Phillipe: Mr. Carson never spoke much, but he was the type of man who, when he came into the store, if I were sitting down, I'd immediately stand up. He treated me like a servant. And, truth be told, he actually made me feel like one.
Sara: I'm going to need his address.
CUT TO:
[INT. CARSON RESIDENCE -- DAY]
(Sara and Sofia enter Caleb Carson's residence. They look around at the various civil w*r memorabilia in the large room. Sofia stops in front of a portrait.)
Sofia Curtis: Colonel Caleb "C.C." Carson. 1864.
(They look at the portrait.)
Sara: Resembles the victim. At least from the neck up.
(They share a smile and soft chuckle.)
(They note the various photos on the fireplace mantle.)
Sofia Curtis: These are civil w*r-era photos.
Sofia Curtis: They didn't smile much back then.
Sara: Subjects had to hold completely still for five minutes. Otherwise, the exposure would blur. It hurt to hold a smile.
Sofia Curtis: Bet these hurt more.
(Sofia looks down at the collection of g*n and b*ll*ts in the display case. She leans forward and looks at the b*ll*ts.)
Sofia Curtis: It's the same caliber k*lled the vic.
Sara: They don't make 'em like they used to.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CARSON RESIDENCE -- DAY]
("Dixie" and g*n play on recording in the background. The camera shows various close-ups of various Civil w*r soldiers - both blue and the gray in a recreation of a battle display. We see various views of the toy soldiers by the light of a flashlight.)
(Grissom reaches down and picks up a toy piece and looks at it closely. Sofia walks in.)
Sofia Curtis: Warrick just called from the hospital. They got the b*llet.
Grissom: How's he doing?
Sofia Curtis: He hasn't regained consciousness yet.
Grissom: This fellow seems to have lost his way.
Sofia Curtis: Is this Gettysburg?
Grissom: You into military history?
Sofia Curtis: My dad was. Used to spend the summer touring Pennsylvania in an RV, so I could learn things.
Grissom: You were a lucky girl.
(Sofia smiles.)
Grissom: Pickett's charge, I think. The Confederates advanced from this position to Cemetery Ridge. They marched to their doom, but kept their honor. Carson obviously was a son of the South.
[INT. CARSON RESIDENCE - BEDROOM -- DAY]
(Sara is printing the back of a corset on a mannequin bust when Sofia and Grissom walk in.)
Sofia Curtis: Looks comfortable.
Grissom: Well, he was into discipline and self-denial.
Sara: This corset ties from the back, which means Mr. Carson couldn't have tied the laces by himself.
INSERT: FLASHBACK
(Caleb Carson is in the bedroom wearing a corset as a second man tightens it for him.)
Sara: (V.O.) He had to have help.
(He turns around and faces the camera.)
RESUME TO SCENE:
(Grissom looks down and sees a photo on the table. He opens the frame and inside is an old photo of a man wearing a corset.)
(Sara tape-lifts the print off the corset. Grissom shows the photo to Sofia.)
Grissom: Seems to run in the family.
(He flips the photo over and shows it to Sara.)
CUT TO:
[EXT. DESERT PALMS HOSPITAL - CORRIDOR -- DAY]
(Warrick is walking outside and talking on the phone when he sees Ellie smoking and waiting.)
Warrick: (to phone) Oh, I don't really know. I ... you know what? Let me call you back, okay?
(Warrick walks over to Ellie.)
Warrick: Ellie? (She turns around and sees Warrick.) Hey. You know your father's out of surgery.
Ellie Brass: Yeah. How's he doing?
Warrick: It's a little too early to tell, but I know when he wakes up, he'll be happy to see you.
Ellie Brass: You think so?
Warrick: I know so. You look good.
Ellie Brass: Yeah, you mean I don't look like a crack whore anymore?
Warrick: That's not what I meant, but no.
Ellie Brass: Does he ever talk about me? (Warrick remains silent.) That's a no.
Warrick: Look, what do you want me to say, hmm? It's not really about you right now, okay? But the fact that you're here is saying a lot.
(She finishes up her cigarette, tosses it on the ground and smashes it out.)
Ellie Brass: Yeah, well, thanks for clearing that up for me.
(Ellie walks away.)
CUT TO:
[EXT. LAS VEGAS SKYLINE - ESTABLISHING - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(OPEN on Catherine.)
Catherine: Remember that trick roll that you pled out last year?
(Catherine is interviewing Sindee, a hooker.)
Sindee: I have no idea what you're talking about.
Catherine: Your DNA in our database says that you do. (b*at) We found your blood in Manny Rupert's apartment, with him lying there d*ad. (She swallows.)
If you Belushi'd the guy, maybe you didn't mean to. Now would be the time to say it.
Sindee: Look, I'm the victim here.
Catherine: Funny, you don't look d*ad.
Sindee: (sighs heavily) Look, the whole night started out normal, okay? I mean, he paid for everything. He was kind of fun.
WHTIE FLASH TO:
[INT. UPSCALE APARTMENT - NIGHT -- FLASHBACK]
(The champagne cork pops. In the background, Manny and Sindee are kneeling on the bed as Manny pours champagne down Sindee's open mouth.)
Sindee: (V.O.) ... and he was up for anything. I mean, there was champagne, e, coke, cake.
(Cut to: Manny and Sindee are kissing.)
Sindee: (V.O.) And he wasn't even badlooking.
(Cut to: The two continue to kiss, the bed creaking as they move.)
WHITE FLASH TO -- BACK TO SCENE:
Catherine: So, how did it go so bad?
Sindee: Well, usually, a guy is good for maybe one or two. This guy wanted more after six, if you know what I mean.
Catherine: No "off" switch?
Sindee: No, not even close.
WHITE FLASH TO:
[INT. UPSCALE APARTMENT - LATER]
(Through the mirror's reflection, we see that Sindee is disheveled and in her underwear. She gathers her things as she tries to leave.)
Sindee: It's getting kind of late.
(Manny grabs her wrist and doesn't let go.)
Manny Rupert: No, look, you're not ... you're not going anywhere!
(She tugs her arm trying to get free from him.)
Sindee: Okay, honey, you need to get some rest.
(She pulls her arm free. Manny reaches for the g*n in the nightstand.)
Manny Rupert: No. I paid for the whole night!
(He fires. The b*ll*ts h*t the mirror, smashing it.)
Sindee: (screams) Ow. Ouch. Ow.
(Sindee heads for the door anyway, her bare feet stepping over the broken glass.)
(CU: HER FOOT)
(She cuts her foot on the glass, leaving her blood behind.)
WHITE FLASH TO:
BACK TO SCENE:
Sindee: He was whacked out, but he was alive when I bolted.
Catherine: Well, that's a great story, but it doesn't sound like it was worth the ten g's that we found in your purse.
Sindee: I earned that money.
Catherine: Don't take it personally, but you are not a $10,000-a-night girl.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Warrick enters to find Mandy Webster at the monitor surrounded by latent lifts. She appears busy.)
Warrick: Are you finished processing those prints from Manny Rupert's apartment?
Mandy Webster: Does it look like I have? (off his nod) So far, the decedent's prints are everywhere. Got them on liquor bottles, drug paraphernalia, the g*n, the dishes. Are you looking for something in particular?
Warrick: We're looking for anything the hooker might have touched. We're thinking she might have slipped him something that pushed him over the edge.
(Mandy looks at the file folder with photos and matching print lifts.)
Mandy Webster: Uh ... I got her prints off of the bedpost, the chair, and a soda can. She didn't touch the booze or pills. Maybe she's in AA.
Warrick: Hmm. Maybe she's not a k*ller.
(Warrick turns and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sofia Curtis interviews Gregory Kimble.)
Gregory Kimble: I just can't believe it. I've been with Mr. Carson for years.
Sofia Curtis: How do you mean?
Gregory Kimble: Nothing like that. I was his driver. I take it you got my fingerprints from my work card?
Sofia Curtis: That's right. They were on one of Mr. Carson's corsets.
Gregory Kimble: I was also Mr. Carson's dresser.
Sofia Curtis: What did that entail?
Gregory Kimble: In the 19th century, a dresser's job was to help gentleman soldiers with their equipment.
Sofia Curtis: So, you dressed him in rebel drag.
Gregory Kimble: If you're asking, did I lace his corset, of course. Every morning.
Sofia Curtis: Did it hurt?
Gregory Kimble: Absolutely. But he controlled the pain.
Sofia Curtis: When was the last time you saw him?
Gregory Kimble: Yesterday morning.
Sofia Curtis: At the house.
Gregory Kimble: No. At a duel.
Sofia Curtis: A duel? Where?
Gregory Kimble: Gettysburg.
CUT TO:
[EXT. b*ttlefield ON OUTSKIRTS OF VEGAS -- DAY]
(Soldiers line up, their g*n raised. Smoke billows around them as they f*re.)
(On the other side, cannons f*re. A man screams as he's thrown in the air.)
(Camera pulls back to reveal a Civil w*r re-enactment - two sides of soldiers in Civil w*r uniforms, the blue and the grey, waving g*n and f*ring smoke.)
(The w*r re-enactment continues.)
(Grissom and Sofia interview a Union Soldier, his arm in a sling. Behind him, another soldier stands nearby listening.)
Sofia Curtis: If all you do is Civil w*r recreations, why were you and Caleb Carson having a duel?
Union Soldier: Ugh! Apparently, I offended him.
INSERT: FLASHBACK
[EXT. b*ttlefield - SEVERAL DAYS AGO -- DAY]
(During the middle of a re-enactment, the Union Soldier leans casually against a cannon while talking on his cell phone.)
Union Soldier: (to phone) Honey, I'm right in the middle of Cemetery Ridge here. I care what we have for dinner. Well, check the cupboards ...
(Caleb Carson walks up to him and knocks the phone out of his hands.)
Caleb Carson: Sir! You dishonor the d*ad.
(The Union Soldier leans down to pick up the phone.)
Union Soldier: Damn it, Caleb, that was my wife I was talking to.
(He hangs up.)
Caleb Carson: My great-great grandfather spilled blood on this hallowed ground.
Union Soldier: Oh, really? (scoffs and looks around) I didn't know Gettysburg was in Nevada.
Caleb Carson: I demand satisfaction.
(He takes out a white glove and slaps the Union Soldier's cheek.)
Caleb Carson: I challenge you to a duel, sir!
(The Union Soldier sighs heavily.)
Union Soldier: Okay. Fine. Let's do it.
(He turns and walks away.)
WHITE FLASH TO:
BACK TO SCENE:
Union Soldier: I'd never reenacted a duel, so, uh, we agreed to meet on the field of honor with our p*stol.
Grissom: And real b*ll*ts?
Union Soldier: No, no, not in my g*n. No, I figured we were just going to blast some powder and then go out for pancakes. Caleb wanted a little more authenticity.
INSERT: FLASHBACK
[EXT. b*ttlefield - DAWN]
(The two men stand back to back. On the side, their seconds stand watching.)
Gregory Kimble: g*n at the ready and ...
(The two men start walking in separate directions.)
Gregory Kimble: One, two, three, four, five, six, seven, eight, nine, ten.
(Caleb Carson stops, turns and fires. The b*llet hits Union Soldier in his arm. He screams and falls to the ground.)
WHITE FLASH TO:
BACK TO SCENE:
(The Union Soldier lifts his elbow in his sling.)
Union Soldier: Look, this isn't a recreation, you know. He really sh*t me. Almost nicked the bone. It's a good thing my second was there.
(He points to BUGLE BOY standing behind him.)
Union Soldier: He's a male nurse.
(BUGLE BOY shrugs and nods. Grissom smiles and nods back.)
Sofia Curtis: A man sh**t you, and you don't call the police?
Union Soldier: He sh*t me 'cause I was taking a cell phone call. What do you think he was going to do if went to the cops? When that b*llet h*t me, I ran for my life. I jumped in my car and got the heck out of ...
Sofia Curtis: What about him?
Union Soldier: Oh, we-we carpool.
(Grissom nods at the g*n hanging from Union Soldier's belt.)
Grissom: Colt .44?
Union Soldier: (pats the g*n) Yeah.
Grissom: Is that your dueling p*stol?
(Union Soldier nods.)
Grissom: We're going to have to take that with us.
Union Soldier: Why?
Grissom: I, too, demand satisfaction.
(Grissom looks at him. He turns and looks back at Bugle Boy.)
(The Civil w*r soldier continues to play fighting.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. b*ttlefield -- DAY]
(Sara and Grissom are back to back. Sara lifts up her camera.)
Sara: Ready?
(Grissom lifts up his camera.)
Grissom: Ready.
(They start counting their paces as they head in opposite directions.)
Sara/Grissom: (both) One, two, three, four, five, six, seven, eight, nine, ten.
(They both whirl around. Sara snaps her camera first. Grissom snaps his camera.)
(They grin at each other.)
(Sara turns and starts looking at the ground around the area. She finds blood on some leaves on the ground.)
Sara: (shouts) I got blood drops. Heading way from Mr. Carson. Consistent with the duelist's story.
INSERT: FLASHBACK
(A g*n fires. A man screams and the two men run from the area.)
RESUME TO SCENE:
(Grissom looks down at the ground and finds a larger circle of red-colored leaves.)
Grissom: I got something here, too. This could be the blood that we didn't find at the train tracks -- it's a lot of blood.
(Sara kneels down to work. Grissom raises camera and snaps photos of the bloody leaves.)
Grissom: Maybe Carson was k*lled here?
(Sara looks back at Grissom. Grissom raises his camera to take more photos.)
WHITE FLASH TO:
[EXT. DESERT PALMS HOSPITAL (STOCK) - DAY]
[INT. HOSPTIAL - RECOVERY ROOM -- DAY]
(Brass is in recovery. Out in the hallway, Ellie watches through the windows. Behind her, Nick watches Ellie. He turns the corner and continues his phone conversation.)
Nick: (to phone) Yeah, she's here. Been drinking a ton of coffee and going outside for smokes; on her cell. Not real sociable, you know? You want me to keep an eye on her?
Grissom: (from phone) It sounds like you already are.
Nick: (to phone) Nah. I'm off the clock. I'll stick around for a while, let you know if there's any change.
INTERCUT WITH:
[INT. CSI - HALLWAY - DAY]
(Grissom is moving through the hallway.)
Grissom: (to phone) Thank you, Nick.
(Grissom hangs up and heads to the Ballistics Lab.)
[INT. CSI - BALLISTICS LAB - DAY - CONTINUOUS]
(Grissom enters the lab while Bobby Dawson works.)
Grissom: Did you compare the b*llet from the victim to this p*stol?
Bobby Dawson: Uh, no, not yet, but, boss, I don't think that's your m*rder w*apon.
Grissom: And you know this how?
Bobby Dawson: Uh, here, I'll let Hawkeye show you.
(Bobby slides the borescope down the barrel of the Colt. Grissom looks at it.)
INSIDE THE BARREL:
( -- is coated with a residue.)
Grissom: What is that?
Bobby Dawson: Well, Hodges will have to confirm, but I'm pretty certain it's cream of wheat.
(Grissom stands up.)
Grissom: So he's a cereal k*ller.
Bobby Dawson: (amused) Snap, crackle and pop. Uh, the dried powdered wheat particles actually augment the smoke, and, uh, seal the g*n in the cylinder.
Grissom: Which would be perfect for Civil w*r re-enactments.
Bobby Dawson: (nods) Yeah. I don't think that Colt's fired a real b*llet in quite a while.
CUT TO:
[INT. CORONER'S OFFICE - AUTOPSY ROOM - DAY]
FROM INSIDE THE MORGUE DRAWER
(Dr. Robbins pushes Manny Rupert's body back into the drawer.)
Warrick: (V.O.) Miss Rupert, as far as we can tell, your brother died from diabetic shock.
(Dr. Robbins shuts the drawer door.)
CUT TO:
[INT. CORONER'S OFFICE - HALLWAY -- DAY]
(Warrick is talking with Darcy Rupert, who is devastated by her brother's death.)
Darcy Rupert: What? How?
Warrick: Well, it seems that he went on a bender. He consumed a great deal of alcohol, sugar and narcotics. Did he party like this a lot?
Darcy Rupert: No. No. He was just diagnosed as pre-diabetic.
Warrick: So he was aware of his condition.
Darcy Rupert: (nods) Yeah.
Warrick: Do you think that this was self-induced?
Darcy Rupert: (sighs) You know, our family has a history of heart disease and diabetes. Both our parents died of heart att*cks in their forties. Two of our grandparents, too. Well, Manny turned forty last week and he acted like it was a death sentence. You know, but he ... he always said, "You can't fight bad genes." You know, he had a vasectomy when he was 22.
Warrick: Hmm.
Darcy Ruper: Never got married, just didn't see the point.
Warrick: So he just ... gave up? He quit?
Darcy Rupert: You don't know what it's like to live with a death sentence hanging over your head.
Warrick: No. You're right, I don't.
Darcy Rupert: No.
Warrick: But I've seen what it's like to not have a choice. And he did. He could have fought it, but he just chose not to.
Darcy Rupert: You know, I just lost my brother, and you're judging him? How dare you.
(Warrick takes a deep breath and stops.)
Warrick: I'm-I'm so very sorry for your loss.
(He walks away from her.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
[COMPUTER MONITOR]
Medical Research
g*n Wounds
-- arterial access to a part of --
-- or debris in the arterial b--
-- embolus is most frequently--
[NEXT SCREEN]
data suggests, that in --
post-operative strokes --
in sixty -two percent of --
In thrombotic --
(Grissom sits at his desk and is reading on-line information about Brass' injuries.)
(Sofia walks up and knocks on the door before entering.)
Sofia Curtis: Am I interrupting?
Grissom: No.
Sofia Curtis: I just got a heads up from a friend in Payroll at PERS. Ellie Brass just called about Jim's pension. She wanted to know how much there was and was she a beneficiary.
(Grissom pulls his glasses off.)
Sofia Curtis: This girl is circling like a vulture. Jim doesn't need this kind of energy around him now. Now ... Ellie's been in a lot of trouble with the law. It wouldn't be difficult to chase her out of town.
Grissom: Well, I'm sure he'd appreciate the offer, but I don't think he'd want you to do that.
(Just then, Wendy Simms enters.)
Wendy Simms: Excuse me. I got the DNA results for your decapitated Civil w*r corset victim, and the blood from the field is a match to Carson ... but the epithelials on the toupee from the train tracks are not. So, were any of your suspects wearing a rug?
Sofia Curtis: I can think of one.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sara and Sofia sit facing Gregory Kimble as he removes the hairpiece.)
(He puts it in the bag Sara's holding open for him.)
Gregory Kimble: Please be careful. That's a very expensive piece.
(Sara seals the bag.)
Gregory Kimble: I don't understand why I'm here again. It's not a crime to lose your hair.
Sofia Curtis: Depends on where you lose it.
Sara: If it's on the train tracks near a decapitated body with the victim's blood on it, it's usually a crime.
Sofia Curtis: Mr. Kimble, would you like to revise your prior statement?
Sara: Or would you prefer to wait in a cell while we match toupees?
Gregory Kimble: It was an accident.
Sofia Curtis: Which part?
Gregory Kimble: I suppose mostly the part when I sh*t him. I could see the insanity in his eyes.
WHITE FLASH TO:
[EXT. b*ttlefield - DAWN -- FLASHBACK]
(At the duel, Caleb Carson whirls around, points, aims and sh**t the Union Soldier. The Union Soldier screams and falls to the ground with a thud. Gregory Kimble turns aghast at Caleb Carson.)
Gregory Kimble: Mr. Carson, you sh*t him! You really sh*t him!
(Gregory Kimble heads over to Caleb Carson. Bugle Boy turns to help Union Soldier.)
(Caleb Carson cocks his w*apon again and points it.)
Caleb Carson: And I intend to k*ll him.
(Gregory Kimble reaches him.)
Gregory Kimble: Don't sh**t.
Caleb Carson: Get out of my way!
(Gregory Kimble wrestles with Caleb Carson for the g*n as the Union Soldier and Bugle Boy run away.)
Gregory Kimble: Please!
(They struggle for the w*apon and it fires. Caleb Carson falls backward.)
WHITE FLASH TO:
BACK TO SCENE:
Gregory Kimble: He was really going to k*ll that man.
Sofia Curtis: If it was an accident, you should have called 9-1-1.
Gregory Kimble: I couldn't let him be found like that. His corseting was private.
Sara: You're right, it's much better to have his body found stripped and dumped on some train tracks.
Gregory Kimble: His great-great-great grandfather died trying to stop a Yankee train from entering Virginia. Legend has it he stood square on the tracks f*ring at the engineer until the train ran him down. Mr. Carson spoke of it frequently. He said it was an honorable death. I was just trying to give him the same.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(An officer escorts an irritated Ellie down the hallway. She pulls her arm out from Officer Metcalf's grip.)
Ellie: All right, look, are you guys arresting me or what?
Officer Metcalf: Hey, don't get in my face. All he told me was bring you here.
(They stop in front of Brass' office.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE - CONTINUOUS]
(Grissom greets her.)
Grissom: Hi. Come in.
(Ellie shrugs and steps into the office. She notes the nameplate on the desk.)
Grissom: This is your dad's office.
Ellie Brass: Yeah, I can read.
Grissom: Have a seat.
Ellie Brass: Why?
Grissom: Why not?
(Ellie moves around the desk and sits on the desk. She props her feet on the corner of the desk.)
(She looks over and finds a framed photo of a blonde-haired girl on the desk. It's her. She chuckles as she seems to remember.)
Ellie Brass: Oh, wow.
Grissom: That's the reason we asked you to come in.
Ellie Brass: That's like loving a puppy. That's easy. You know, did you ever think that maybe he's better off just lying there and not waking up? A lot easier.
CUT TO:
[INT. DESERT PALMS HOSPITAL - HALLWAY -- NIGHT]
(Dr. Stewart pours himself a cup of coffee as he talks with Catherine. They're both standing in the lounge looking at Brass through the window.)
Dr. Stewart: Every patient is different, but for now, no change is good news.
(Catherine's phone rings; she answers it.)
Catherine: Excuse me. (to phone) Hi, Lindsey. I know, I told you that I might be a little while. No, I said that we could try and see a movie. Hey, you know what? I've got a friend here who is fighting for his life. I would appreciate a little understanding. I will talk about this with you later. Good-bye.
(She hangs up.)
Dr. Stewart: How old?
Catherine: Fourteen. Supposedly.
Dr. Stewart: I got one of those in high school myself. World's pretty small at that age.
(The alarms start ringing.)
Catherine: It feels pretty small to me right now, too.
Voice: (over PA) Code blue. Code blue.
(The doctor leaves the room as the crash cart is pushed and brought to Brass' room.)
(Grissom and Ellie walk in to stand next to Catherine and watch.)
(The nurses and personnel work on Brass.)
(As they work, Ellie grabs Grissom's sleeve. It's a tense moment as they watch the nurses and physicians work.)
(The heart monitor comes down.)
Nurse: He's coming back. That's an improvement.
Doctor: Okay, we're back.
(The crisis is over.)
(Brass stirs on the bed, his eyes open and he sees Ellie.)
(Ellie stares.)
(Brass raises his hand, his finger reaching for her.)
(Ellie shakes her head and slowly backs away from the window. She backs away, turns and leaves.)
(Grissom looks at Brass. He turns and looks at the empty space next to him where Ellie was standing. She's gone.)
CUT TO:
[EXT. DESERT PALMS HOSPITAL (STOCK) - NIGHT]
[INT. DESERT PALMS HOSPITAL - BRASS' ROOM - NIGHT]
(Brass is awake and off the ventilator. Grissom is standing next to him. Behind him in the hallway, officers look into the room through the window.)
Brass: Hey.
Grissom: Hey. Have some water.
(Grissom lets Brass drink from a cup and a straw.)
Brass: Thanks for not pulling the plug.
Grissom: Your, uh, fan club is here.
(He turns and indicates the second window in the hallway where the CSIs and Dr. Robbins wait, smile and wave to him.)
(Brass nods and waves back.)
(Catherine smiles, turns and hugs Dr. Robbins. Sara is hugging Warrick, who has a hand on Nick's shoulder. Greg turns around and hugs Catherine.)
(Brass smiles.)
(Grissom looks at Brass and sighs.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. BEDROOM -- NIGHT]
(CLOSE-UP ON Grissom as he lounges on the bed in a blue and white shirt, pondering death. The camera slowly pans around him, picking up various clues from the bedroom - warm lights, photos and other knick-knacks on the bed stand behind him.)
Grissom: (thoughtfully) I don't know. Most people want to die in their sleep, I suppose. Never know that it's happening.
(Behind him we see pale cream and sage-colored pillows in front of the headboard.)
(Grissom continues to think out loud.)
Grissom: Like a crime scene. Surprise, you're d*ad. I'd prefer to know in advance that I was going to die. I'd like to be diagnosed with cancer, actually. Have some time to prepare.
(On the second night stand, we see more photos, knick-knacks, flowers and an alarm clock.)
(Grissom sighs as he stares off in the distance and continues to ponder death. The camera continues to pan around Grissom.)
Grissom: Go back to the rain forest one more time. Re-read 'Moby Dick.'
Possibly enter an international chess tournament.
(The camera stops behind Grissom and on the connecting bathroom doorway. From the angle, we see the waist and legs of a woman in an off-white knee-length robe exit the bathroom. She enters the bedroom and heads toward Grissom.)
(He continues to ponder death and good-byes.)
Grissom: At least have enough time to say good-bye to the people I love.
(Sara kneels down in front of the bed, her arms reaching out along the bed cover. She shakes her head and smiles as she responds.)
Sara: I'm not ready to say good-bye.
(Camera holds on Grissom as he smiles at her.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x24 - Way To Go (2)"} | foreverdreaming |
FADE IN:
[Scenes from 7X01: Built to k*ll (1)]
[Song: "Waiting on the World to Change," John Mayer]
[INT. HOTEL - BAR -- NIGHT]
(CLOSE-UP: Catherine's drink. She mixes the drink.)
VARIOUS CUTS:
(Catherine is woozy; her vision blurry. The music sounds muffled and fades out. The people in the bar look as if they're moving in slow motion.)
CUT TO:
[CU: CATHERINE'S EYE]
(Catherine opens her eyes.)
REVERSE POV
[INT. MOTEL ROOM - MORNING]
(Sunlight filters in through large holes in the closed curtains.)
(Catherine raises her head off the bed. We note that she is naked and on her stomach on a bed in an unknown motel room.)
(Cut to: Catherine opens the curtains and is blinded by the sunlight.)
(Outside is a small motel swimming pool. She squints as her eyes adjust to the bright light and as she looks around. All she sees is a parking lot and more motel rooms.)
CUT TO:
(Catherine is standing in front of the mirror. She's wearing her black slip. She picks up the phone and dials.)
CUT TO:
(She takes the tampon and uses it to get a sample from herself. She sets it aside.)
[INT. MOTEL ROOM - SHOWER -- MORNING]
(Catherine is taking a shower. As the water falls and steam rises, she covers her face with her hands and cries.)
CUT TO: END OF PREVIOUSLY ON RESUME EPISODE
TEASER
[EXT. MOTEL - WALKWAY -- DAY]
(Catherine is dressed and heads toward the registration office. She looks around.)
[INT. MOTEL - REGISTRATION OFFICE - DAY]
(The desk clerk is on the phone. He's looking at the computer at MatchMistress.com. On the site is a photo of a dark-haired woman, presumably the woman he's talking to on the phone. He touches the photo as he talks.)
Desk Clerk: (to phone) Yeah, that's my real photo on my profile.
(Catherine walks into the office.)
Catherine: Excuse me.
(He holds up his finger for her to wait. He continues talking on the phone.)
Desk Clerk: (to phone) Well, I exercise a lot. Kind of an animal about it.
(Catherine looks around and sees the concrete. It triggers a memory.)
INSERT: FLASHBACK
(Someone walks along the concrete sidewalk at night half-carrying, half-dragging Catherine on his back.)
BACK TO SCENE.
(Agitated, Catherine grabs the desk clerk's arm.)
Desk Clerk: Hey.
Catherine: Did you see me last night?
Desk Clerk: Yeah, you were feeling no pain.
Catherine: Who was I with? Describe him. Was he white, black, tall? Hair color, car?
Desk Clerk: Look, lady, I get paid not to notice.
(Catherine digs into her bag and shows him her ID.)
Catherine: Who was room 229 registered to?
(He reluctantly checks. The computer beeps.)
Desk Clerk: Catherine Willows. You used your credit card.
(Catherine turns and walks out of the office.)
CUT TO:
[INT. DELANCY RESIDENCE - KITCHEN -- DAY]
(Izzy Delancy is d*ad and slumped over the kitchen table, his head in a pool of blood. Sara and Grissom are near the kitchen counter looking at the diorama, an exact replica of the real crime scene.)
Sara: I think Malibu Barbie did it.
(Sara glances over at Izzy at the table.)
Grissom: Well, then there's a lot more to Barbie than just a pretty face, 'cause this is a perfect half-inch scale model of the room. And assuming that the k*ller is the same person who made the miniature ...
Sara: -- it would of taken weeks. Maybe even months to create with this kind of detail.
(She notes the miniature framed photos and miniature bowl of fruit on the miniature counter.)
Sara: Certainly qualifies as premeditation.
(Grissom takes out a swab.)
Grissom: Yeah, but take a look at the blood pools.
Sara: They're identical.
Grissom: There's no predicting a blood pool; it's inherently random.
Sara: k*ller must of stuck around to match the scene.
(Grissom takes a swab of the blood in the miniature and tests it as Sara looks at Izzy.)
Grissom: It's real blood.
INSERT: FLASH OF
(Someone takes a syringe of blood from the real blood pool and adds a drop of blood to the miniature crime scene.)
BACK TO SCENE.
Sara: That is a level of obsession that gives even you a run for your money.
(Sara turns and notes the gold records on the wall. She reads the title off the first one. It's a Final Mile record.)
Sara: "If Dusty Fell," Izzy Delancy.
Grissom: It's his biggest h*t.
(Sara turns to look at Grissom.)
Sara: I have never heard of him.
Grissom: Probably before your time.
Sara: I'll download it. (Sara turns back to Izzy and walks around him.) I checked the perimeter; property is gated with a code. There is no sign of forced entry on the windows or the doors. Of course if a girl can get into Brad Pitt's underwear drawer and take a nap on his bed, I guess anything is possible.
(Sara touches the body.)
Sara: Lividity suggests he hasn't been moved. He was probably sitting right here when he was k*lled.
(She looks at the back of Izzy's head. Grissom watches her.)
Sara: Looks like blunt force trauma.
(Sara looks up at the ceiling.)
Sara: No spatter or cast off.
INSERT: FLASH TO:
(Someone comes up behind Izzy as he sits at the table and hits him on the back of the head. He slumps forward.)
Sara: (V.O.) Which suggests a single blow ...
BACK TO SCENE.
(Sara stops and looks at Grissom.)
Grissom: Sometimes it only takes one h*t.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. DELANCY RESIDENCE - FRONT DRIVE-- DAY]
(The coroners roll the gurney with Izzy's body down the front drive. Sara follows them. Off screen, we hear a crowd of adoring fans scream. We see the flash of camera bulbs as the body is wheeled out.)
(The officers lift the tape up and the coroners exit under it and through the crowd.)
(At the same time, a group of girls duck under the tape and run up the drive toward the house. An officer runs after them.)
(Greg also ducks under the tape and walks up to Sara. She sees him and turns around to walk with him up the drive.)
Sara: Oh, great, you're here. Thanks for coming.
Greg: I can't believe you're leaving Izzy Delancy's death scene. Groupies are already starting to gather.
Sara: I have something that I have to take care of. Nick and Sofia are talking to the family, Grissom's s in the kitchen. You can process the bedrooms? Thanks.
(Sara turns and heads back down the front drive while Greg turns and heads toward the house.)
(An officer drags a woman fan away from the front door.)
Fan: Izzy!
CUT TO:
[INT. DELANCY RESIDENCE - LIVING ROOM -- DAY]
(Sofia and Nick enter the living room where Annie Lansfield is jiggling the baby.)
Sofia: Mrs. Delancy?
(Annie Lansfield turns around. She smiles as she walks over to them.)
Annie Lansfield: No, that's Mrs. Delancy. (She points to the blonde woman on the phone behind them.) I'm Annie, the nanny.
Nick: I'm going to need to photograph your hands.
Annie Lansfield: To look for blood, right?
Nick: Blood evidence, yeah, and defensive wounds. I'm also going to get a sample of your DNA and your fingerprints. So, why don't you hand little Nora to her mom for right now, okay?
Annie Lansfield: (shakes her head) No, Mrs. D never holds the baby.
(whispers) She's got a bad back.
(She surprises Sofia and holds the baby out to her.)
(Sofia takes the baby and Annie holds her hands out, palms down. Nick clears his throat and shakes his head. He snaps photos of her hands.)
Annie Lansfield: I should warn you, I'm a little freaked. When I get nervous or scared or whatever I have this problem where I talk a lot. I've had it since I was little. I just keep talking ...
Sofia: (interrupts) You found the body?
(Annie stops talking and tears up. She nods. Nick continues to snap photos of her hands.)
Annie Lansfield: Tuesday is Chinese. Izzy insists ... on having ... a really strict eating schedule. I have to start cooking by 4:00 and when I went into the kitchen ...
(Quick flashback to: Annie Lansfield bounces the baby in her arms as she heads to the kitchen.)
Annie Lansfield: (to the baby) Baby's don't eat bok choy. Yeah, wonder what you're going to have for --
(She suddenly stops when she sees Izzy slumped in a pool of blood over on the table.)
(She screams.)
(End of flashback. Resume present.)
Annie Lansfield: I immediately called 911. Speaking of which, can I get a copy of the police report?
(Sofia looks at Nick and shakes her head at the girl's audacity.)
Nick: Why don't you ... where is your shirt?
(Annie glances down at the bra she's wearing. She laughs.)
Annie Lansfield: Right after it all went down, the baby spit up on it and I put it in the laundry.
Nick: Mmm.
Annie Lansfield: It happens all the time. (shakes her head) Nobody minds.
[INT. DELANCY RESIDENCE - NURSERY -- DAY]
(Greg opens the door and walks into the nursery. He snaps photos of the baby's changing bed, crib and wall. He walks out of the nursery, through the open connecting door and into the nanny's bedroom.)
(He stops and snaps the contents of the photos pinned to a small bulletin board hanging on the wall. There's also a photo of Annie with Izzy.)
(Cut to: Greg pulls back the bed covers and uses the ALS on the sheets. He doesn't find anything and turns the ALS off.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -MORNING]
[EXT. MOTEL PARKING LOT -- MORNING]
(Catherine is standing out in the parking lot. She turns as Sara walks up to her.)
Sara: Hey, what's going on?
Catherine: I may have been roofied and r*ped. I woke up here.
Sara: What?
(They start walking.)
Catherine: I, uh, improvised my own r*pe kit. I've got pubic combing, nail scrapings, vaginal swab, urine samples ...
Sara: Whoa, whoa, whoa. Did you call it in?
Catherine: I called you.
Sara: Catherine, doing it yourself is going to make anything that you get inadmissible.
Catherine: Yeah, I know procedure. I didn't want an official investigation. I-
I just want to know what happened.
Sara: Okay, all right.
Catherine: Uh ... I got to get this, uh, stuff to the lab. Room 229, it's right up there. Please print it. And keep it between us.
Sara: Okay.
Catherine: Thanks.
(Catherine turns and heads to the taxi waiting nearby. She gets in the car.)
CUT TO:
[INT. DELANCY RESIDENCE - LIVING ROOM -- MORNING]
(Mrs. Delancy holds her hands out, palms down as Nick snaps photos.)
Madeline Delancy: I went out for a latte. I got home around five. I never even went into the kitchen. I just went straight upstairs and took a shower.
(She sighs.) God that means that he was d*ad this whole time.
Sofia: We believe whoever k*lled your husband had access to the house.
Nick: Yeah, do you think anyone else had the ... the gate code?
Madeline Delancy: (shakes her head) Just the housekeepers. And the handymen, and the pool guys. And the gardeners, and the ... messengers and ... the caterers.
[INT. DELANCY RESIDENCE - MASTER BEDROOM - MORNING]
(Greg is in the master bedroom. He looks around and notes the photo hanging on the wall of Mrs. Delancy and Izzy, who are both holding bouquets.)
(Greg pulls back the bedcovers and uses the ALS on the bed.)
[INT. DELANCY RESIDENCE - LIVING ROOM -- MORNING]
Madeline Delancy: I can tell you where you should start looking.
(She nods toward someone off screen.)
Madeline Delancy: (whispers) Sven.
(Nick and Sofia turn around and note the teenager sitting quietly on the couch, video game in hand and earphones on.)
Nick: Are you accusing your son of k*lling your husband?
(She laughs.)
Madeline Delancy: He is not my son. That's Izzy's kid from his first wife.
Nick: Oh.
Madeline Delancy: He has real problems. (whispers) His mom was like a cokehead or something.
[INT. DELANCY RESIDENCE - MASTER BEDROOM - MORNING]
(Greg is in Sven's bedroom. He has the ALS on and pulls back the bedcovers. He uses the ALS on the bedsheets and finds semen.)
[INT. DELANCY RESIDENCE - LIVING ROOM -- MORNING]
(Sven Delancy is playing his video game.)
Sofia: (o.s.) Hey, how you doing?
(He looks up and finds Sofia and Nick in front of him. Nick taps his ear. Sven removes his earphones.)
Nick: How you doing man?
Sven Delancy: I've been better.
Sofia: What time did you get back from school?
Sven Delancy: Around four.
Sofia: And then what did you do?
Sven Delancy: Homework, games.
Sofia: Did you ... see your dad at all?
Sven Delancy: No, I usually don't see him until dinner. And then ... I get picked up right after, so.
Nick: By who?
Sven Delancy: My mom.
Nick: You don't live here full time?
Sven Delancy: Tuesdays and every other Saturday.
(Sofia kneels in front of him.)
Sofia: Well, that's got to be tough.
Sven Delancy: (shrugs) Whatever. I just go where I'm told.
Dusty Decosta: (o.s.) Let me in, I am his mother.
(A woman enters the house and pushes past the officer at the door. She ignores Nick and Sofia. She sits on the armrest of Sven's chair and hugs him.)
Dusty Decosta: (croons) I know, baby, I know. This is really hard. It's okay to be upset, okay.
(She holds his hand and kisses his knuckles. She notices the fingerprint ink.)
Dusty Decosta: What's on your finger ... (She glares at Nick and Sofia.) Did you fingerprint my son?
Nick: We fingerprinted everyone in the house, DNA samples as well.
Dusty Decosta: Is he a suspect?
Sofia: He didn't refuse and Mrs. Delancy was here.
Dusty Decosta: Sleeping with his father does not make her his mother, okay. I'm his mother.
Sofia: Where were you this afternoon?
Dusty Decosta: I was taking a walk.
Sofia: Can anyone confirm that?
Dusty Decosta: No.
(She stands up and pulls Sven up as well.)
Dusty Decosta: (to Sven) Come on. Let's go.
(Dusty puts her arm around Sven's shoulders and walks out of the room with him.)
CUT TO:
[INT. DELANCY RESIDENCE - KITCHEN -- DAY]
(Grissom opens the drawer in the miniature kitchen. He finds a miniature blue and white bottle of bleach in a white trash bag. This gets him thinking. He sets aside his glasses and opens the RECYCLABLE MATERIALS ONLY bin. Inside, he finds a blue and white bottle of bleach in a white trash bag.)
(Grissom grabs the camera off the counter and snaps a photo of it. He picks up the bottle of bleach and looks at it, quietly impressed by the detail. He turns and looks at the empty chair and blood pool on the table.)
(He sets the bleach down and looks over at the garbage disposal.)
(Grissom takes out his spray bottle and sprays the inside of the garbage disposal. He puts his goggles on and uses the ALS on the disposal. He finds bloodstains in the sink.)
(He continues down to the drawer. He pulls open the utensil drawer and continues on, ALSing the other drawers.)
(He finds stains on a drawer handle and opens it. Inside, he finds a rolling pin with bloodstains on the handle. He picks up the rolling pin and looks at it.)
(Greg walks into the kitchen.)
(Grissom puts his goggles down on the counter and turns to address Greg.)
Grissom: Bleach was used in this kitchen but not to clean up the blood.
Greg: So the aging rocker bit it in the kitchen with the marble rolling pin?
(Grissom carries the rolling pin to the miniature. He opens the same drawer and finds the same utensils in the drawer - including a miniature marble rolling pin.)
(Grissom and Greg share a look.)
Grissom: If only the who was as easy as the how.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
VARIOUS CUTS:
(Catherine snips a piece of the tampon and sets about processing it.)
(Wendy Simms walks in and startles Catherine.)
Wendy Simms: Oh, hey. You got to be pulling a double if you're in my lab at this hour.
Catherine: Yeah.
Wendy Simms: What's up? You need a hand?
Catherine: No. Thanks.
(Wendy looks over Catherine's shoulder.)
Wendy Simms: Oh. ABA card. It's negative for semen.
Catherine: I said I didn't need your help.
(Catherine takes her things and walks out of the lab.)
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Catherine walks through the hallway and into Trace. She puts a cup on the table.)
Hodges: Oh, thank you, but there's no drinking or eating allowed in the lab.
Catherine: It's a urine sample.
Hodges: My bad.
Catherine: Get it to Tox. And ... (She gives Hodges the tampon.) Check this for spermicide. Call me with the results.
(Hodges looks at the tampon.)
Hodges: Did you run out of proper swabs?
Catherine: Just do it.
Hodges: What's the case number?
Catherine: Consider this a proficiency exam.
(Catherine walks out of the lab and into the --
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
(Someone points Catherine out to Sam.)
Woman: There she is.
Sam Braun: Muggs?
(Catherine turns around and heads over to Sam. The woman leaves.)
Catherine: Sam. What are you doing here?
Sam Braun: Just wanted to see your face, and I missed you at the implosion party.
Catherine: Oh, yeah. I heard about that, um ... I'm sorry I missed that.
(Catherine takes Sam's arm and leads him away.)
Sam Braun: When's Lily get back from her cruise?
Catherine: Monday.
Sam Braun: How about a family dinner?
Catherine: Uh, yeah, I'll call you when she's had a chance to catch her breath.
Sam Braun: You know you don't always need a reason to call me. I know you're busy. (He touches his finger to her cheek.) I'll see you later.
(Sam leaves. Catherine looks surprised by the sudden departure.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY - DAY]
(A couple of coroners wheel out a body on a gurney. In the background, we hear rock music and someone singing along loudly.)
Voices: (over rock music)
Knows how to get what she wants
knows how to get what she needs, yeah, yeah
yeah, she knows just how to play, what to say
(The camera moves along the hallway and turns to the window in the Forensic Autopsy door. We see Robbins tapping a drum b*at on the autopsy table in front of the body, singing loudly to the music with Grissom on the other side.)
[INT. CSI - FORENSIC AUTOPSY - DAY - CONTINUOUS]
Grissom & Robbins: (singing to music) make you give her anything
(Izzy is d*ad on the table, his eyes wide open. Robbins segues into the guitar solo he plays to his cane.)
(Grissom looks over at him and Robbins turns the tape off.)
Grissom: Cause of death?
Robbins: (sings)
Blunt force trauma
to the back of the skull
and a fracturing of the occipital lobe
there was massive hemorrhaging on the brain
and death was probably swift
yeah!
(Grissom glances down at the body on the table.)
Grissom: Sorry, Izzy. Now ...
(Grissom picks up a chest x-ray and points to a white object inside.)
Grissom: What is that?
CUT TO:
(Robbins digs into the chest and pulls out a BUMBLEBEE key.)
Grissom: The key to our mystery?
(Robbins chuckles.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. TAXI -- DAY]
(The cab comes to a stop. Catherine pays the driver.)
Catherine: Keep the change.
(She exits the taxi at the bar and finds her car still in the parking lot. She uses her key and unlocks the car.)
(She opens the glove compartment and sees her g*n and holster inside.)
CUT TO:
[INT. BAR -- DAY]
(Catherine walks through the bar. She looks over at the stage. A worker is waxing the dance floor.)
INSERT: FLASH OF:
(The night before - John Mayer is on stage singing, people are on the dance floor, the bartender tends the bar--)
BACK TO SCENE.
(Catherine walks up to the bar.)
Catherine: Excuse me.
(The bartender turns around.)
Bartender: What can I do you for?
Catherine: You were working last night.
Bartender: Always. I own the place.
Catherine: Do you remember me? I was ... I was here.
Bartender: Was a busy night, I'm sorry.
(She sighs.)
Catherine: Well ... do you have any surveillance cameras in the place?
Bartender: What's this about?
(She shows him her ID.)
Catherine: I'm with the Crime Lab.
(He tosses her ID back at her and indicates the camera above the bar.)
Bartender: Yeah, that's the only one. Just gets the cash register.
Catherine: So you've got nothing that covers the customers or the dance floor, or ... ?
Bartender: No need to.
(Catherine sighs and looks around.)
INSERT: FLASH OF:
(The night before - Catherine sits at the bar, tending her drink. She gets woozy. Fast forward to the people on the floor.)
BACK TO SCENE.
(Catherine looks around the room as she thinks.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAYOUT ROOM -- DAY]
(Grissom cuts the shirt off the miniature Izzy doll. He sits at the layout table, the photos spread out in front of him showing the different views of the miniature crime scene.)
(He places the mini Izzy doll on the metal pan and cuts it open - a slit down the chest as if performing a mini autopsy on the doll.)
(He opens the doll up and finds it stuffed with cotton.)
(Sara walks in.)
Sara: Find something?
(She leans forward to see what he's doing.)
Grissom: No. No prints, no hairs, no fibers. Materials are common hobby shop issue, but the blood matches the victim's.
Sara: Are you interested in motive? Sofia just spent the last two hours with the sheriff, the head of the Olympia Casino, and a couple of dozen lawyers. Apparently, Izzy Delancy owned the rights to his own songs. The Olympia was negotiating to purchase them for a medley show based on his music. Izzy never got a chance to sign the contracts. d*ad rock star, nut job family, and a company hungry for the next Mamma Mia!
Grissom: Who inherits the music rights?
Sara: The son, Sven, but he's a minor, so the rights would be controlled by his mother, Dusty.
Grissom: Its illegal to benefit from a criminal act. If either one of them committed the m*rder ...
Sara: Then the rights would go to Izzy's current wife, Madeline.
Grissom: Well, that's motive for her. But how does this fit in?
(He points to the miniature crime scene.)
(Ecklie walks in.)
Conrad Ecklie: Maybe we should release it to the media. Someone might have unwittingly made a component of the miniature. If they came forward, that could help us.
Grissom: What's the point of gratifying the m*rder with publicity?
Conrad Ecklie: Izzy Delancy is famous; the press wants answers.
Grissom: Don't we all?
Conrad Ecklie: Sara, this is your case, too -- what do you think?
Sara: I, uh ... I agree with Grissom.
Conrad Ecklie: (nods) Of course you do.
(Ecklie rolls his eyes and walks out of the room. Sara watches him leave. He couldn't know - could he?)
(She turns and shares a look with Grissom.)
(She shakes her head. Nah.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Greg reports his findings to Grissom as they walk through the hallway.)
Greg: I looked into the key that Izzy swallowed. Turns out that Bumblebee is a safe company. Sofia asked Madeline about it. She says she knew that there was a safe in the house but didn't know where it was -- my kind of marriage.
Grissom: So the key could've been in his system anywhere from a few minutes to several days?
Greg: Right. So if robbery was the motive for m*rder and Izzy swallowed the key to keep something hidden, maybe whatever is in that safe will lead us to who.
CUT TO:
[INT. DELANCY RESIDENCE]
(Greg is back at the Delancy home. He's removing a large framed wedding photo from the wall. He sets it aside and runs a scanner device along the wall as he looks for the safe.)
VARIOUS CUTS:
(Greg walks into the hallway and removes another large framed photo from the wall. He checks the wall for a hidden safe.)
[INT. DELANCY RESIDENCE -- BATHROOM]
(Greg enters the large bathroom and runs the device over the wall over the large framed Izzy photo.)
(It must be a big house. Greg looks exhausted. He takes a break and sits on the toilet. Right in front of him is a large television set. He picks up the remote and points it at the television. He presses the button to turn it on.)
(The floor under the furry rug clicks and pops up.)
(Greg moves the furry rug aside. He's found the safe. He opens the safe door and reveals the lock. He takes the key out of his pocket and opens the safe.)
(He finds the OLYMPIA HOTEL CASINO CONTRACT. It's dated the "12th day of August, 2006," and it has IZZY DELANCY'S name on it.)
(Greg puts the contract aside.)
(He finds a framed wedding photo of Izzy with a young woman in his arms.)
(He finds a small box labeled:
CINCINNATI
6/21/86 )
(He opens it and finds an eagle head inside.)
(Inside the box, he finds white fibers. He takes a sample of it.)
[INT. DELANCY RESIDENCE -- NURSERY]
(Greg goes back into the nursery and looks around. He looks at the baby blanket and things to see if it could be a possible match to the fibers.)
[INT. DELANCY RESIDENCE - NANNY'S ROOM]
(Greg goes back to Annie the nanny's room. On her laptop, she has dice rolling on her screen saver. Greg looks at her laptop and finds photos of the eagle head - one from CINCINNATI, 6/21/86; and LOS ANGELES, 8/2/85.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. STREET - NIGHT]
(Catherine slows at the side of the road. She beeps her horn twice and Lindsey heads over to the car. Lindsey looks peeved.)
(She gets into the back seat and closes the door.)
(Catherine drives off.)
[INT. CAR (MOVING) - NIGHT -- CONTINUOUS]
Lindsey: You're late.
Catherine: (sighs) I did the best I could, Lindsey.
Lindsey: You said you would watch the rehearsal.
Catherine: Work just ... really got out of hand.
Lindsey: Surprise.
(Catherine's cell phone beeps. She checks the message:
SWAB SPERMICIDE NEGATIVE. HODGES
(Catherine sighs and puts the phone down. Lindsey continues to sulk in the back seat.)
Catherine: Lindsey. I really am sorry. I hate it when work gets in the way. I love to watch you dance.
(Lindsey shrugs and lets a little resentment go.)
Lindsey: Fine. Whatever. (shyly) I got a solo.
Catherine: You did? That's so great!
Lindsey: (smiles) It's Romeo and Juliet.
Catherine: Fantast ...
BAM!
(Someone hits Catherine's car. The car comes to an abrupt stop, the airbags inflate.)
(Lindsey's head rolls back. She groans. Catherine's head is bleeding from a cut on her forehead.)
(In the background, we see the driver of the other car get out. The driver of a second vehicle behind them also gets out of his car. He reaches into the back seat and releases Lindsey's seatbelt.)
Catherine: Is my daughter okay?
(The man doesn't say anything. He picks Lindsey up and carries her out of the car.)
(Groggy, Catherine tries to get her seatbelt off but is hindered by the airbag.)
Catherine: Lindsey!
(The man puts Lindsey in the back of his vehicle.)
Catherine: (panicking) Lindsey!
(Catherine scrambles to get out of her seatbelt and is helpless to stop them from taking her daughter. She hears the car tires screech as it leaves the scene with Lindsey.)
Catherine: (screams) Lindsey ... !
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. STREET -- NIGHT]
(The emergency personnel are there. A tow truck removes the car used to crash into Catherine's vehicle.)
Catherine: (o.s.) I don't need that. I'm fine.
(Catherine sits in the back of the open ambulance as the EMT checks on her.)
Paramedic Rivers: Ma'am, you need to put this on, for your own safety.
Catherine: No --
Paramedic Rivers: You suffered a head trauma. There could be serious delayed problems.
Catherine: I'm refusing treatment. Just give me the release form.
Paramedic Rivers: Ma'am, I strongly recommend you put this on ...
(Warrick walks up to them.)
Catherine: (annoyed) Just give me the damn form!
Warrick: Hey, hey, hey. Catherine.
(He puts an arm on her shoulder. Catherine turns and stands up.)
Catherine: They got Lindsey. Warrick: I know.
(They turn and walk out on the road.)
Catherine: They took Lindsey.
Warrick: It's all over the radio. I heard.
Catherine: It was an SUV. And it was silver or brown.
Warrick: We're gonna get Lindsey back, okay?
(She points in the direction the tow car is going.)
Catherine: And they drove that direction. I never saw it coming.
Warrick: Okay.
(Catherine walks out onto the road; Warrick follows her.)
Catherine: They came from this direction.
Warrick: Slow down, slow down.
(Catherine looks at the tire marks on the asphalt.)
INSERT: FLASHBACK OF
(The tires screech and the car moves forward.)
(CUT TO: Catherine is in the car when she's h*t. The air bag inflates.)
BACK TO SCENE.
(She stands up.)
Catherine: These are acceleration marks. They were waiting for us.
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(Catherine talks with Grissom.)
Catherine: I should've told you, but I didn't want a sermon. I did my own r*pe kit. Came back negative.
Grissom: Thank God. These events have to be connected. We'll check your old cases for possible suspects. I'll ask Ecklie if he can kick in some help from day shift.
Catherine: I appreciate that.
Grissom: You've got to stay at arm's length, Catherine.
Catherine: (nods) I-I know.
(Catherine turns and sees Nick in the garage with the car that h*t Catherine's car. Grissom leaves and Catherine enters the garage.)
[INT. CSI - GARAGE - NIGHT - CONTINUOUS]
(Nick is examining a tape lifted print.)
Catherine: Any luck on the prints?
Nick: Nothing but partials.
Catherine: That's impossible.
Nick: I ran the VIN number on the cougar that h*t you. A place sold it yesterday for cash. Catherine, I'm really sorry for leaving you there.
Catherine: Don't go there, Nick. They were gonna get to me, one way or another. It had to have been at least two guys -- one who was driving the Cougar, and the other in the SUV.
INSERT: FLASHBACK
(After the crash, Lindsey is in the back seat. She groans.)
(The man reaches in through the open window and opens the car from the inside.)
BACK TO SCENE.
(Catherine's phone rings.)
Catherine: He reached through the window. Print the inside of that handle.
(Catherine's phone rings.)
Nick: Okay.
(Nick starts printing the inside door handle as Catherine answers her phone.)
Catherine: (to phone) Sam?
(Catherine turns and heads out of the garage.)
Sam Braun: (from phone) When were you going to tell me about Lindsey?
Catherine: (to phone) It just happened. Who told you?
Sam Braun: (from phone) It's a small town, Catherine.
Catherine: (to phone) Well, I can't talk right now. I'll let you know when we find something out.
Sam Braun: (from phone) Anything you need to tell me, I've got people who deal with this stuff. Nobody gets away with thr*at my family.
Catherine: (to phone) Sure, Sam.
(Catherine hangs up. She stops, then thinks about it.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CASINO - MAIN FLOOR -- NIGHT]
(Catherine walks quickly through the main floor. She sees Sam.)
Catherine: Sam!
(He stops and turns around.)
Catherine: What do you know about what happened to Lindsey?
(He continues walking, forcing Catherine to walk with him.)
Sam Braun: What do you know about it?
Catherine: Who's using us to get to you? This is your granddaughter we're talking about. What the hell do you know?
(He stops and looks at Catherine. He reaches into his pocket and takes out an envelope.)
Sam Braun: Front desk found this in the quick checkout bin.
(Catherine opens the envelope and takes out a photo of Catherine sprawled naked on the motel bed. There's a message: CAN YOU GUESS WHAT YOU'RE GOING TO GIVE ME?)
Catherine: "Can you guess what you're going to give me" What does that mean? Who's behind this?
Sam Braun: I don't know. This was just found. Same place.
(He takes out a second envelope.)
(Inside is another photo of Lindsey, blindfolded and tied to a chair in an empty room. The message reads:
20 MILLION BY WIRE
#77-889-9000-662
BANQUE ROYALE GENEVA )
Catherine: Where is she? Who has her?
Sam Braun: I swear, I don't know.
Catherine: Like hell! I blame you! I blame you for this!
Sam Braun: I never wanted to involve you personally or professionally in any of my business.
Catherine: Business? You don't have a business. You're a thug in thousand dollar shoes!
(Sam slaps her across the face.)
Catherine: Thanks for not disappointing me, Sam.
CUT TO:
[INT. CSI - A/V LAB -- NIGHT]
(Warrick is analyzing the Lindsey photo as Catherine watches earnestly.)
Warrick: Catherine, I know this is really hard, okay, but could you take a break or get a cup of tea or something here?
(The door opens and Nick walks in with a file folder.)
Nick: Think I got something.
Catherine: What?
Nick: Mandy ran the print that I picked up from your car, and it's a match to an open burglary case, from a few months ago. I think this was yours, Warrick.
(Catherine takes the file from Nick, but before she can look at it, Warrick takes the file from Catherine.)
Warrick: (softly) I got it.
(He looks at the file and remembers the case. He looks at the case photos.)
Warrick: Oh, this is from this couple from San Francisco. Bought a second home in Seven Hills, came back and found it tossed.
(He notices the chair.)
Warrick: The chair.
(It's the same chair Lindsey's sitting in the photos.)
Warrick: Look at that. The chair.
CUT TO:
[INT. ROOM -- NIGHT]
(The door bursts open.)
(Armed officers enter the room through the door. The man sitting at the table in the dark gets up and runs for it.)
Officer: (shouts) Las Vegas Police! You're under arrest!
(The man runs through the house, trying to get out.)
Officer: (shouts) Move! Move!
(The man runs and pulls out a g*n.)
Officer: (shouts) g*n!
(The man fires at the officers.)
(The officers f*re back.)
(The man falls to the floor with a thud.)
(Brass runs forward to check the man.)
Brass: Police!
(He reaches the man and checks for a pulse.)
Brass: Call a paramedic!
CUT TO:
(Catherine runs into the room. Warrick runs in right behind her, his g*n raised.)
Catherine: Lindsey!
Officer: (shouts) Clear!
(Catherine runs through the living room and heads for the hallway.)
Catherine: Lindsey!
(Bound to her chair, Lindsey hears her.)
Lindsey: (muffled screams) Mmmm!
Catherine: Where are you, Lindsey?!
Lindsey: (muffled screams)
Catherine: Lindsey! Lindsey!
(Catherine finds Lindsey sitting in the center of one of the rooms and runs down the stairs to her.)
Catherine: Lindsey!
(She reaches Lindsey and puts a hand on her shoulder. Warrick immediately stops her.)
Warrick: Catherine! Don't touch her!
(He gently guides Catherine away from Lindsey.)
Warrick: If you want a conviction, you have to let me do this, all right? Let me do it, all right?
(Getting through to her, Catherine nods.)
Catherine: All right.
(She stops, steps back and kneels down in front of Lindsey. Warrick works on removing the tape from Lindsey's eyes and mouth.)
Warrick: (softly) Lindsey, you're gonna be fine.
Catherine: I'm right here, Lindsey. Right here. I'm right here.
(Warrick removes the tape from Lindsey's eyes. She sees Catherine and starts to cry.)
Catherine: I'm right here. I'm right here. I'm right here.
(Warrick removes the tape from Lindsey's mouth.)
Catherine: Deep breaths.
(Catherine takes deep breaths, trying to get Lindsey to do the same. Lindsey's crying and barely holding it together.)
Catherine: Breathe easy. Deep breaths.
Warrick: Almost. Almost.
(Warrick works on removing the tape around Lindsey's wrists. He finally frees her and Lindsey falls into Catherine's arms.)
Catherine: Okay. It's okay. I got you. I got you. Everything's okay.
(Catherine and Lindsey cling to each other.)
Lindsey: (crying) Mom.
Catherine: It's okay. It's okay, baby. It's okay. Everything's okay.
(Warrick climbs the stairs and puts a hand on Brass' shoulder. Brass stands at the top of the stairs watching them.)
Lindsey: (crying) Mom.
Catherine: I got you. Everything's okay.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. HOSPITAL - ROOM -- NIGHT]
(The kidnapper/g*n is handcuffed to the hospital bed. He's alive and hooked up to machines. An officer sits in the room with him.)
(Catherine stands out in the hallway and looks at him through the glass.)
(Grissom arrives.)
Grissom: How's Lindsey?
Catherine: (sighs) She says she's fine. The doctor is assessing her now. We still don't have an ID.
(Grissom shows Catherine the print-out.)
Grissom: Prints put him in the motel. Found them on the Polaroid paper slip.
INSERT: FLASHBACK
(Catherine is lying naked on the bed in the motel. The man steps forward with a Polaroid camera and takes a photo. He pulls out the picture and the paper slip falls to the carpet.)
BACK TO SCENE.
(Catherine looks at the man in the hospital bed.)
Grissom: Can you place him at the bar?
INSERT: FLASHBACK
(Catherine turns and looks at the man who wants to buy her the drink. It's the same man.)
BACK TO SCENE.
Catherine: Yeah. Yeah, he was there.
Grissom: The accident was a two-man job. Can you remember anybody else?
(Catherine thinks about it.)
INSERT: FLASHES OF VARIOUS FACES
(She remembers the bartender and other men at the bar, but no one specific.)
BACK TO SCENE.
Catherine: (shakes her head) I can't get a face.
CUT TO:
[INT. CSI - A/V LAB -- NIGHT]
(Sara is scrolling through the e-mails from
From: <Annie Lansfield>
Sent: 9:05 PM
To: ScandalPages.com
Subject: More Izzy Photos. Let's talk price )
(She reports the findings to Grissom.)
Sara: Greg found the mother lode. The nanny saved all of her e-mails on her computer. She was sending private Delancy family photos to an editor at Scandal Pages magazine. Based on a sliding scale of salaciousness, Scandal Pages was depositing money into Annie's Paypal account.
(She scrolls through the photos and the Scandal Pages website.)
(Wendy Simms walks in with DNA results.)
Wendy Simms: So I have the DNA combo from Sven's bed sheets, and none of it was actually Sven's.
(She hands the results to Grissom.)
(Just then, Sara finds the crime scene photos of Izzy on the Scandal Pages website.)
Sara: Whoa.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Sofia interviews Annie Lansfield.)
Sofia: Annie Lansfield, Cornstalk Queen of Tidioute, Pennsylvania. You move to Vegas to become famous and ended up doing diaper duty for a washed-up rock star. Do you want to tell me how you ended up in a safe that even his wife didn't know about?
Annie Lansfield: I clean for extra cash. I know the house better than anyone. I knew where the safe was. I just didn't have a key, until ...
(Quick flashback to: Madeline talks with Izzy at the kitchen table. They're sitting opposite each other while Annie holds the baby and sits at the far end of the table.)
Madeline Delancy: Honey, I need some money to buy clothes for Emma.
Izzy Delancy: I just gave you money for that.
Madeline Delancy: She's a baby. She grows. You know, this wouldn't even be an issue if you would sign those damn contracts.
Izzy Delancy: Really? Well, that is between me and my music. And you, you will never see this safe.
(He takes the safe key out and puts it in his mouth. He drinks some water and swallows the key. He laughs maniacally.)
Izzy Delancy: Gold digger! Dig for that!
(Annie watches the exchange with interest.)
(End of flashback. Resume present.)
(Annie chuckles.)
Annie Lansfield: The ER doctor said it would pass in a couple of days. They gave us a copy of the x-ray to keep on file with the general physician. It had the perfect outline of the key. (shrugs) So, I took the x-ray to a key shop, told them my kid swallowed it.
Sofia: Resourceful.
Annie Lansfield: But I put everything back.
Sofia: After making Scandal Pages money off it.
Annie Lansfield: Look, a few years ago, Izzy went on this big health kick -- vegetarian, blah, blah. He claimed that all those chicken heads that he bit on stage were fake. When I found them, I was just so excited. Do you know how much Scandal Pages pays for an urban legend story? A lot.
Sofia: Here's a scandal: We got evidence of sex between you and Izzy Delancy in Sven's bed. Or how about this: If you k*lled him, you'd be the first to crack open that whole story.
(Sofia puts the crime scene photo on the table in front of Annie.)
Sofia: Exclusive pics, the whole deal.
Annie Lansfield: It took 911 a while to come. I just got a quick pic. You said it-- I'm resourceful, not a m*rder. I didn't do it.
CUT TO:
[INT. CSI - A/V LAB]
(Greg and Sara sit and watch a program. Various photos of Izzy Delancy flash on the monitor, then the title card for the show: AFTER THE HITS.)
Narrator: (from program) After the Hits. The Izzy Delancy story. It seemed like a fairy tale. Hard living rocker Izzy Delancy met Dusty Decosta. They fell in love. He wrote a h*t song about her. She was to become his first wife ... or was she? In a potentially shocking display of distrust and business acumen, --
Sara: (to Greg) Where did you find this?
Greg: Oh, I dug deep.
Narrator: (from program) -- Izzy Delancy, after ten years of dating Dusty Decosta, wed her in a beautiful, flower-filled ceremony in Malaysia. The ceremony was everything a girl could hope for -- beautiful, romantic. The only thing it wasn't? Legal. Much to Dusty's surprise, years later, after filing for divorce and custody of their then eight-year-old son, Sven, she was shocked to discover that the Malaysian shaman was not recognized by the United States as an officiant. The marriage was a sham.
(Sara is surprised.)
(Greg stops the program.)
Greg: Sounds like motive to me.
CUT TO:
[INT. DECOSTA RESIDENCE -- DAY]
(Dusty Decosta opens the door and finds Sara and Sofia standing outside.)
Dusty Decosta: Oh. Hi. Listen, you're going to have to follow me 'cause I'm late for a client.
(She turns and heads inside. Sara and Sofia follow.)
Dusty Decosta: What is it you want?
Sofia: We were wondering if you could tell us about your relationship with Izzy?
(She stops in front of her worktable.)
Dusty Decosta: (groans) Oh, God. So I'm a suspect now? That's precious. Okay. The man makes a mint off of singing about our sex life, barely offers a relationship to our son, kicks me out of a house we built together, leaves me with nothing, and now you want to put me in jail? Rich. Really rich.
Sofia: Izzy was a smart businessman. He owned all the rights to his music.
Dusty Decosta: What does that matter to me? Do I get royalty checks for being his muse.
(She chuckles wryly.)
Sara: Exactly. But with Izzy d*ad, the rights go to Sven. Ostensibly you.
Sofia: And you still don't an alibi for the afternoon of Izzy's death.
Dusty Decosta: I do. (sighs) It's just embarrassing to me. The "new" Mrs. Delancy called a meeting. She tells me about the Olympia offer. Izzy's being difficult about the deal, so would I talk to him because he listens to me still.
(She scoffs.)
Dusty Decosta: Had he started sleeping with the nanny yet?
Sara/Sofia: Yeah.
Dusty Decosta: Did Madeline tell you that was her old job?
Sara: No. SOFIA: No.
Dusty Decosta: Look, I'd like to pin it on her, I really would, but I can't because I was with her at the Espresso Drop all afternoon. I really have to go.
(Sara notices some half-inch scaled drawings on the table.)
Sara: What are those drawings on the table?
(She turns and picks up the drawings.)
Dusty Decosta: Oh, those are Sven's. Some mothers get sport trophies; I get perfectly rendered skyscrapers. He wants to be an urban planner. He's kind of obsessed with models. You guys let yourself out, okay?
(Dusty leaves.)
(Sara and Sofia share a look.)
CUT TO:
[INT. DELANCY RESIDENCE - SVEN'S ROOM - DAY]
(Sara and Sofia walk into the room and notice the various scaled drawings hanging on the walls and on the desk.)
Sara: If Sven is capable of creating these kinds of 3-D renderings, he definitely could've built that miniature.
Sofia: Son defending the honor of his mother?
Sara: Name that Greek tragedy.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sofia interviews Sven Delancy. An advocate sits at the back of the room.)
Sven Delancy: Yes, I'm angry with my father for the way he treated my mother. I'm angry with my father for sleeping with Annie. I'm angry with my father for naming me Sven. But I've been in therapy twice a week since I was six. I'm tired of adults asking me if I'm angry. Besides, I'm ... I'm not the only one who's pissed at my dad.
Sofia: Right, but your mom and Madeline are covered. They were together at the time of your father's death.
(She shows him a security cam photo of Dusty Decosta and Madeline Delancy at the Espresso Drop.)
(Sven swallows.)
INTERCUT WITH:
[OBSERVATION ROOM]
(Grissom and Sara watch the interview.)
Sofia: (from intercom) So maybe you were so angry with your father that you channeled your anger and used your skills as a model builder to build this.
(She puts a photo of the model on the table in front of Sven. Sven's very quiet and surprised as he looks a the photo of the model.)
Sofia: And a nice ... heavy object to do this.
(She puts another crime scene photo on the table of Izzy d*ad, his head in a pool of blood.)
(Sven looks at the photos of his dad in the blood. His eyes roll back and he loses consciousness.)
Voice: (o.s.) Sven? Sven!
(Sofia stops the advocate from getting too close. She watches Sven as he slowly slides down his chair.)
(In the observation room, Grissom and Sara share a look.)
(After a moment, Sven wakes up and sits up.)
Sven: I always faint at the sight of blood.
(The interview continues in the background. Sara discusses with Grissom what it means to their case.)
Sara: If that's the case, he probably did not commit the m*rder and he certainly didn't paint the miniature with his father's blood.
Grissom: And there's a test we can do to prove it.
CUT TO:
[INT. HOSPITAL -- DAY]
(Sven is on a tilt table in the room. Outside, Grissom explains the test to Dusty Decosta. A nurse inside the room preps a needle for Sven.)
Grissom: We're using a tilt table and we're injecting him with isoproterenol. We're testing his sensitivity to his vagus nerve. Basically, we're looking to find out if the nerves that control his blood pressure are predisposed to short circuit when he gets an adrenaline rush.
Dusty Decosta: So, you're telling me that this could keep him out of jail?
Grissom: Unless he was faking it.
(Sven turns and looks at his mom.)
(Dusty sighs and looks at Sven.)
VARIOUS CUTS OF THE TEST IN PROGRESS
(The orderlies tilt the table. The heart monitor beeps.)
Voice: Start the IV.
(The nurse injects the solution into the IV. The heart monitor beeps rapidly. Sven's eyes roll back and he passes out.)
(Dusty turns and looks at Grissom.)
(Grissom sighs.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom sits behind his desk looking at the diorama. Sara walks up to the doorway and knocks softly on the frame.)
(Grissom looks up.)
Sara: I hear we're out of suspects.
Grissom: Not necessarily. Could be anybody in town. Or anybody out of town for that matter. That's a lot of suspects.
Sara: What do you want us to do?
Grissom: I don't know.
(He puts his glasses on. Sara watches him.)
Grissom: I'll deal with it.
(He sighs and shakes his head as he pushes the magnifying lens down and looks at the diorama.)
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(Wendy Simms shares her findings with Catherine as they walk through the hallway.)
Wendy Simms: I ran DNA on the guy who was holding Lindsey.
Catherine: Did you get a name?
Wendy Simms: Um, kind of. See, this guy has markers that are found in, like, ten percent of the population, which reminded me of some other results that I'd been processing recently.
(She shows the results to Catherine.)
Catherine: Thirteen alleles in common with Robert O'Brien?
Wendy Simms: The su1c1de from Sam Braun's implosion party.
INSERT: FLASHBACK OF
(Blood drips from Robert O'Brien's mouth as he slumps forward after sh**ting himself.)
BACK TO SCENE.
Catherine: The guy who grabbed Lindsey is Robert O'Brien's brother?
Wendy Simms: Right. So when that came up, I ran all the other exemplars from the O'Brien case, and I got a h*t on a piece of hair from the duct tape that they used to bind Lindsey.
(Catherine looks at the results.)
Catherine: Joe Hirschoff. O'Brien's partner.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. HOTEL - FRONT -- NIGHT]
(Sam Braun and a blonde-haired woman exit the hotel. Catherine walks up to him.)
Catherine: Hi, Sam.
(He chuckles.)
Catherine: Everybody in town knows you're here every Thursday night. And usually with my mother.
Sam Braun: (to the blonde) I'll be right along.
(The woman steps away.)
Sam Braun: She doesn't mean a thing. It's all show. Look, Muggs, yesterday was ...
Catherine: (interrupts) Just save it. I only came here to tell you to call off your guys.
Sam Braun: I don't know what you're talking about.
Catherine: Joe Hirschoff and his partner invested everything they had in the Eclipse. But it went bankrupt before you broke ground. You formed a new corporation to finish the project, leaving those guys with nothing.
Sam Braun: Sometimes that's the way it goes in business.
Catherine: (nods) Uh-huh. O'Brien and Hirschoff lost $20 million, right? O'Brien caved and stuck a g*n in his mouth. Hirschoff wants you to pay him back. So, where is he?
Sam Braun: I don't know.
Catherine: Come on, Sam, this isn't old Vegas anymore. Let the police handle it. Or have you already k*lled him?
(He chuckles. Behind him, we see Joe Hirschoff walking up to them, his right hand hidden behind his back.)
Sam Braun: I give you my word, no.
(Catherine sees Joe, her face serious.)
INSERT: FLASHES OF
(Catherine thinks back to the bar. Various flashes of the people she remembers seeing in the bar flash in her mind. Suddenly, it stops on the man in the hospital. He's looking at her, then he leans back and Catherine remembers Joe Hirschoff sitting next to him.)
BACK TO SCENE.
AUDIO OFF
(SLOW MOTION. Joe raises his g*n at Sam. Catherine reacts. Sam turns around and Joe fires twice, hitting Sam in the chest. Sam falls backward, collapsing in Catherine's arms.)
(Joe turns and runs across the street. Sam's armed bodyguards step forward and sh**t Joe in the back. Joe falls to the ground.)
(Catherine shakes Sam.)
Catherine: (no audio) Sam? Sam?
(Catherine looks around for help.)
Catherine: (no audio) Somebody help me!
(Catherine puts her head down.)
BLUR OUT.
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
CU: MINIATURE DOLL
(Grissom is looking at the diorama through a magnifying scope.)
(He passes the miniature Izzy doll and continues to examine the contents on the countertop. He sees the various framed photos, the bottle of water, the mail, the bowl of fruit and other items.)
(He focuses in on a framed photo of Izzy holding a baby in his arms.)
(Grissom puts the scope down and puts his glasses back on. He uses the tweezers and picks up the framed photo. It's very, very tiny.)
(He flips the frame around and sees something. He uses a hand-held magnifying glass to look at it.)
(He finds a laser-etched picture of what looks like a portion of a doll's face - one green left eye and red blood on its forehead. The detail is amazing. A closer look at the photo of the doll's eye has us seeing her individual top and bottom eye lashes.)
(We hold on Grissom's eye as he puts the magnifying glass down and thinks about it.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x02 - Built To k*ll (2)"} | foreverdreaming |
FADE IN:
CUE MUSIC: "Sleeper's Awake," J.S. Bach
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins sews up the final stitches after an autopsy. He snips the thread. The body he's working on is a woman; her scalp is exposed and folded over.)
(The toe tag reads:
BASSET, DONNA
5TH FLOOR ELEVATOR
10/5/06
6241
(Robbins folds the scalp back over her head. Finished, he heads to the door, flicks off the overhead light and leaves.)
Grissom: (o.s.) Generally, autopsies are performed in the morning.
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY - DAY - CONTINUOUS]
(Grissom leads a group of students through the hallway just outside Forensic Autopsy.)
Grissom: Hello, David.
David Phillips: Hello, Grissom.
(David comes out of one of the autopsy rooms pushing a body on a gurney.)
Grissom: David Phillips, everyone, our excellent assistant coroner and baseball trivia expert.
(David waves to them.)
Male Student: (re: the body) And who's that?
Grissom: I'll introduce you to her later. (They continue on.) Afternoons are usually for paperwork and court.
(David pushes the gurney through the hallway. He stops and opens the door to the morgue.)
[INT. MORGUE - DAY - CONTINUOUS]
(David pushes in the gurney into the room. There's another body on a gurney already there. He leaves the two gurneys next to each other and leaves.)
(The door closes behind him.)
CU: DONNA BASSET
(Her eyes open. She blinks several times. She sits up and looks around. The body on the gurney next to her sits up as well.)
Rebecca McGill: Hi. I'm Rebecca.
Donna Basset: Donna. (They shake hands.) I'm ... I was Donna.
Rebecca McGill: But you know, I don't think that matters much anymore.
(Donna looks around.)
Donna Basset: So ... so we're ... ?
Rebecca McGill: (sympathetically) Yeah.
Donna Basset: Huh. Somehow ... it's not quite what I expected.
Rebecca McGill: What were you expecting? White light, puffy clouds?
Donna Basset: My mom.
Rebecca McGill: So how'd you get here, anyway?
Donna Basset: You know ... someone will figure it out.
WHITE FADE OUT TO:
[INT. HOTEL - 5TH FLOOR ELEVATOR - DAY]
(Catherine looks at the body in the elevator floor. The body is wrapped in a towel.)
(Brass stands in the hallway talking with the housekeeper, Gloria.)
Brass: So you're the one who found the body?
Gloria Torres (housekeeper): Yeah, I pushed the button, the doors open, I get this.
Brass: Right. Do you recognize her?
Gloria Torres (housekeeper): No.
(Catherine snaps a couple of photos.)
Brass: At any time did you step inside the elevator?
Gloria Torres (housekeeper): Get closer to that? No, thanks.
Brass: All right, thank you, Gloria. Thank you.
(The officer escorts Gloria away. Brass turns his attention to the elevator. Catherine finds a white fiber in the elevator door tracks. She picks it up and looks at it.)
Catherine: Some white cotton fibers. Probably from the towel. Could be she was dragged into the elevator.
INSERT: FLASHBACK
(Someone drags the body from the hallway into the elevator. The towel brushes against the door tracks and leaves cotton fibers behind.)
BACK TO SCENE.
(Catherine looks at the outer door track and shakes her head.)
Catherine: From any floor except this one.
Brass: How many floors we got?
Catherine: Well, no 13th. (As she puts the fiber in a baggie, she glances at the button panel and stops.) No four and no 14. (nods) Yeah, unlucky numbers. Different countries, different superstitions. That was something Sam taught me.
(She puts the baggie away.)
Brass: Yeah.
Catherine: (sighs) And we just eliminated the one we're on.
Brass: You do the math.
Catherine: Thirty-three floors.
David Phillips: Hey, I'm sorry I'm late.
Brass: The wedding planner. Hmm?
David Phillips: Yeah. Twenty-one days and counting.
Catherine: That's all right, David. Why don't you help me turn the body? Examine her for injuries.
(David kneels to help Catherine, but she sees something.)
Catherine: Wait a second.
(A rose petal on the floor near the victim's head. She picks it up and looks at it.)
Catherine: A rose petal. American Beauty.
(They roll the body over.)
Catherine: Oh!
(Water pours out of the victim's mouth.)
Catherine: I'm gonna take a wild s*ab and guess drowning.
Brass: How do you drown in an elevator?
(Catherine turns and looks at him.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[BLACK SCREEN, WHITE TEXT]
CHAPTER I:
AMERICAN BEAUTY
[INT. HOTEL - ELEVATOR - DAY]
(The elevator bell dings and the doors open. Catherine looks out at the basement hallway leading to the elevator. She kneels and checks out the elevator door tracks. She runs her hands on the grooves.)
[CU: ELEVATOR PANEL]
(She presses button #18.)
[INT. HOTEL - ELEVATOR - DAY]
(The elevator bell dings and the doors open. A housekeeper stands near her cart by the far SERVICE DOORS. She turns to look at Catherine.)
(Catherine looks down at the elevator door tracks.)
[CU: ELEVATOR PANEL]
(She presses button #26.)
[INT. HOTEL - ELEVATOR - DAY]
(The elevator bell dings and the doors open. A service table on wheels with a setting for two is out in the hallway across from a janitor's mop and bucket. Catherine looks out.)
[CU: ELEVATOR PANEL]
(She presses button #29.)
[INT. HOTEL - ELEVATOR - DAY]
(The elevator bell dings and the doors open.)
[CU: ELEVATOR PANEL]
(She presses button PH.)
[INT. HOTEL - ELEVATOR (PH FLOOR) - DAY]
(The elevator bell dings and the doors open. Out in the hallway, Catherine sees several linen and laundry push carts. She looks down at the elevator door tracks and kneels to get a closer look. She finds another white cotton fiber. She's on the right floor.)
(She steps out into the hallway and checks the laundry bags. It's empty. She checks the towels stacked on the push cart, then turns to check the other carts as well. In the second cart, she finds used white cotton towels. She reaches in and takes them out. Under that, she finds dark clothes. She takes that out. Under that, she finds a g*n in a holster.)
CUT TO:
(Brass and the hotel manager burst in through the double doors.)
Brass: What do you got?
(Catherine shows him the badge and ID.)
Catherine: We got a d*ad cop.
(Brass looks at the ID.)
Brass: Donna Basset out of San Francisco.
(MARTIN) HOTEL MANAGER: She's not a registered guest.
Brass: San Francisco PD lets their guys moonlight. Do you know anyone on this floor needs private security?
(MARTIN) HOTEL MANAGER: Mr. Hsing. Robert Hsing. He's an architect. A pretty big deal in Hong Kong.
Brass: Which room?
CUT TO:
[INT. HOTEL - PENTHOUSE - DAY -- CONTINUOUS]
(Brass kicks the door open and bursts into the room, g*n drawn. A couple of officers follow him inside.)
(Brass checks the main room while the officers check the other rooms.)
Officer: Clear!
(Catherine and the hotel manager enter the penthouse.)
Brass: Clear and empty.
(Brass tucks his g*n back in his holster. Catherine looks around the living room.)
Brass: (sighs) We need to locate Mr. Hsing.
Catherine: I know these suites. This furniture's been moved.
(MARTIN) HOTEL MANAGER: Per Mr. Hsing's request.
(Catherine looks at the room's furniture pattern.)
Catherine: What is this is, an eight-sided pattern? Feng shui?
(MARTIN) HOTEL MANAGER: (nods) He's exacting. The furniture we moved left impressions in the carpet. We vacuumed them out. Some numbers patterns make elements flow. Luck, energy, chi.
Brass: So you believe in all this feng shui stuff?
(Catherine turns and heads over to the next room.)
(MARTIN) HOTEL MANAGER: When a guest gambles several million dollars per visit, it doesn't matter what I believe.
[INT. HOTEL - PENTHOUSE - BEDROOM - DAY -- CONTINUOUS]
(Catherine steps into the bedroom and finds a bathtub in the room. The water is overflowing. Rose petals float on the top of the water.)
Catherine: (to Brass) Now we know how you drown in an elevator. You don't.
(louder) Martin, could you join us?
(She stops him from entering.)
Catherine: Don't step in. Just take a look around and do you notice anything missing or out of place?
Martin (hotel manager): There's a couple of towels missing. And a bath sheet.
Catherine: And do all your infinity tubs come with rose petals?
Martin (hotel manager): No, we did that.
Catherine: When the water flows, the money flows?
Martin (hotel manager): Four dozen red rose petals exactly. Imported bath oil.
Brass: Per Mr. Hsing's request, hmm?
(The hotel manager's phone rings. He steps away and answers it.)
Martin (hotel manager): (to phone) This is Martin. Great. What floor? Who's in the room with him?
(Catherine watches Martin for a moment. Brass watches Catherine.)
Brass: (quietly) You okay? You know, I mean, working Sam's hotel so soon after the, you know?
Catherine: I think that working helps. I mean, you know that.
Brass: Yeah.
Martin (hotel manager): (b.g.) (to phone) No, stay put. (to Catherine) We found Mr. Hsing.
CUT TO:
[INT. HOTEL - SUITE - DAY - CONTINUOUS]
Martin (hotel manager): (V.O.) He's gambling in a private suite downstairs.
(The dealer deals the cards, then flips his own over.)
Dealer: Player has five.
(Mr. Hsing checks his cards and tosses them over and in.)
Dealer: Natural nine. You win.
(Robert Hsing smiles. The door opens. Brass, Catherine and a couple of officers walk in.)
Robert Hsing: Close the door.
Brass: Mr. Hsing, I'm Detective Jim Brass, Las Vegas Police. (Robert Hsing gets to his feet.) Your security officer, Donna Basset, was found d*ad tonight. m*rder in your hotel room.
Robert Hsing: I'm so sorry. Donna's worked for me the last twelve times I've come to your city. Have you notified her family?
Brass: We'll take care of that. When did you last see her?
Robert Hsing: When she escorted me here about four hours ago.
Brass: Mm-hmm. Mr. Hsing, when you hire security, how much of it is for real thr*at and how much is perceived? Do you know what I mean? How much is for show?
Robert Hsing: I have very real enemies.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins holds the victim's right eye open as he shares his findings with Catherine. CGI CU of the eye vessels turning red.)
(Robbins and Catherine are standing on either side of the body on the autopsy table.)
Robbins: Yeah, she drowned, all right. Slight petechial hemorrhaging in both eyes.
Catherine: Any chance it was an accident?
Robbins: When was the last time you took a nap in Grissom's tub? Take a look.
(He shows her the bruising on the victim's shoulders.)
Catherine: Oh, yeah. Someone held her down.
Robbins: And she ...
(He shows her the cuts on the victim's knuckles.)
Catherine: ... put up a fight.
[INT. HOTEL - SUITE - DAY - CONTINUOUS]
(Brass talks with Robert Hsing, as the game is on hold.)
Brass: So, you checked in around 6:00. Where have you been since?
Robert Hsing: Here, playing. It's why I come to Vegas.
Brass: So you never left this room all night?
Robert Hsing: Once, about three hours ago.
Brass: (nods) Oh, that's helpful. Why'd you leave?
Robert Hsing: My luck was bad. I went to change it.
(Brass chuckles.)
Brass: And how'd you swing that?
Robert Hsing: Called Detective Basset to escort me back to my suite. She didn't answer. I went by myself.
Brass: I see. (to the dealer) You can corroborate this?
Dealer: He used the hotel phone.
Brass: Okay, good, there's a record then. So you get back to you suite. Then what?
Robert Hsing: I urinated. Changed my underwear. Came back. Kept playing.
Brass: So changing your skivvies can change your luck?
(Robert Hsing turns to look at the dealer.)
Dealer: Mr. Hsing's was down $1.2 million. Now he's up over $2 million.
Brass: Wow. I'll have to try that.
[INT. CSI - A/V LAB -- NIGHT]
MONITOR: TOP VIEW DOWN
(The elevator security camera shows Donna Basset's body pushed into the elevator. The man's arm reaches in and presses a button. Video pauses.)
(Archie and Catherine sit in front of the monitors reviewing the security video.)
Archie: Well, got part of your k*ller.
Catherine: He knew there were cameras in the elevators, but not in the hallways or the service area.
Archie: So what do you want to do now?
Catherine: His sleeve is wet.
(She gets an idea.)
Catherine: Stop and smell the roses.
[INT. CSI - LAB -- NIGHT]
(Catherine opens and lines up all the rose petals taken from the hotel room tub. She takes the rose petal found with the body and cuts a piece of it off.)
VARIOUS CUTS:
(Catherine tests and analyzes the rose petal.)
CUT TO:
[INT. HOTEL - PENTHOUSE -- NIGHT]
(The door opens and Robert Hsing finds Catherine, Brass and an officer at his door. Right behind him are his bags and things.)
Robert Hsing: You just caught me.
(Catherine steps into the room.)
Catherine: Mr. Hsing, I'm Catherine Willows, from the Crime Lab, and I need to see the suit that you wore last night.
Robert Hsing: You already have my fingerprints.
Brass: Well, we can be finicky.
Catherine: A rose petal from the victim's body was found to contain traces of vitisvinifera -- grapeseed oil. The kind that this hotel puts in your tub. We know that the k*ller's shirt was wet, so I need to see your clothes.
(He takes the shirts wrapped in plastic off the suitcase rack.)
Robert Hsing: I'll leave you my address in Hong Kong. You can ship them back to me when you're done.
(She takes the shirts from him.)
Catherine: Thank you.
[INT. CSI - A/V LAB - NIGHT]
(Catherine is back in the A/V Lab reviewing video from the elevator security camera. She watches it over and over again and appears to be stumped. She shakes her head as she thinks.)
(Grissom walks in.)
Catherine: Rose petals in the bathtub had traces of grapeseed oil. k*ller's sleeves were wet.
Grissom: So you get the clothes, you get your guy.
Catherine: Dry cleaner screwed us.
Grissom: Did he push all the buttons?
Catherine: Yeah. Enough to keep that body moving, and leave me with a lot of partials.
Grissom: A lot?
(Catherine gets it. She looks at Grissom.)
CUT TO:
[INT. CSI - PRINT LAB - NIGHT]
(Catherine scans all the partial prints into the computer.)
VARIOUS CUTS
(She puts a composite print together and runs it through the search to specifically match against Robert Hsing.)
(The computer beeps. MATCH FOUND.)
INSERT: FLASHBACK
(Robert Hsing is in the penthouse changing his tie. He turns and sees Donna Basset taking a bath in his tub.)
Robert Hsing: You're in my water. You're the reason I'm losing!
(He grabs her shoulders and pushes her down under the water. She struggles and gurgles.)
Donna Basset: (V.O.) I changed his luck, and he took my life.
FADE TO:
[INT. CSI - MORGUE]
(Donna Basset talks with Rebecca McGill.)
Donna Basset: Every time he came to Vegas, he would gamble for four hours exactly. And, you know, I took that bath every time.
Rebecca McGill: You were m*rder.
Donna Basset: I was a cop. Thought I could see danger coming.
Rebecca McGill: Well, not me. I got into more train wreck relationships than I can count. And then I met Gavin.
Donna Basset: And ... ?
(We move around to the back of Rebecca's head where we see a large hole and her skull empty. Her brains are gone.)
Rebecca McGill: He was a great guy. And then I fell ... I fell hard.
CUT TO:
[BLACK SCREEN, WHITE TEXT]
CHAPTER II:
NO BRAINER
CUE SOUNDS: (PRE-LAP) A WOMAN GROANING, A CRUNCHING SOUND, THEN A WOMAN SCREAMING
[EXT. NEVADA DESERT - DAY]
INSERT: CGI VISUALIZATION
(Looking up from the bottom of a tall cliff, a woman's body falls off the top. She screams as she hits the rocks and ledges on her way down.)
(She hits the bottom.)
Warrick:
(Warrick is at the top of the cliff looking down at the drop below.)
(Sofia walks up to him and joins him at the cliff's edge.)
Sofia: Rebecca McGill. She was taking a hike with her husband Gavin. He was taking photos. One second she was there, the next she was gone. He went for help.
Warrick: Hiking accident?
Sofia: Maybe.
(Sofia looks around.)
Sofia: It's going to take you some time to get down there.
(Warrick puts his dark glasses on.)
Warrick: It's better than the express route she took.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. NEVADA DESERT (STOCK) - DAY]
(Camera moves low and fast along the desert terrain.)
[EXT. NEVADA DESERT - CLIFFSIDE -- DAY]
(The coroners are at the bottom of the cliff with Greg. Warrick is near the top.)
Warrick: Okay, Mr. Boy Scout.
Greg: Eagle Scout. I didn't earn a chestful of merit badges for nothing.
(Greg puts a flagged marker near a piece of bloodied cloth.)
Greg: You see anything interesting up there?
INSERT: CGI VISUALIZATION
(The victim's body falls down the cliffside.)
Warrick: Well, looks like she bounced around a lot up here at the top before she caught air.
(The CGI body hits the side of the cliff and vanishes as it comes to a stop at the bottom.)
Greg: She was hot.
Warrick: You pay for "hot," believe me.
(Greg turns the head and sees the large empty hole in her skull.)
Greg: It's a no-brainer. I guess that makes me the search party.
(Greg starts climbing.)
Warrick: Oh, I see it. You're getting warm.
(Greg sees the bits of brain on the dirt.)
Warrick: Hotter by the foot.
(Greg continues climbing till he finds the brain in the grass.)
Warrick: There you go.
(Greg takes out a digital camera and snaps photos of the brain.)
INSERT: CGI
(Through the hole in the victim's head, the brain on the ground "rewinds" back into her skull.)
Greg: It's hard to crack an egg without breaking the yolk.
BACK TO SCENE.
Warrick: That's amazing.
(Greg shuffles over to the side and picks up a cell phone.)
Greg: Don't think she'll be needing it, but ... I found her cell phone.
CUT TO:
[EXT. NEVADA DESERT - TOP OF CLIFF - DAY]
(Sofia and Warrick talk with Gavin McGill, Rebecca's husband. The body is wheeled on a gurney to the back of the coroner's van.)
Gavin McGill: It was a bald eagle, and they're extremely rare, and Rebecca had to have a picture for our Christmas card.
(He glances over at the body on the gurney.)
Gavin McGill: (swallows) You take a picture, and you turn back around, and life as you know it is forever changed.
Warrick: Sir, is that the camera that you used?
Gavin McGill: Yeah.
Warrick: May I see it?
(He gives Warrick the camera. Warrick looks at the photos of Gavin and Rebecca.)
Gavin McGill: This was supposed to be our second honeymoon. We fell in love at an Internet convention at the Hilton. Couldn't believe my luck. A model ... and a guy like me. Beauty and the geek.
(There are six photos in the camera - a couple of Gavin and Rebecca; a couple of Rebecca showing off her wedding ring; and a couple of a flying eagle.)
Warrick: What did you do after she fell?
Gavin McGill: I ran to the edge, called down to her, and she didn't move.
Sofia: Mr. McGill, you hiked to the ranger station for help. Why didn't you just use your cell phone?
Gavin McGill: Bad reception.
Sofia: You're free to go. But stay local.
CUT TO:
[INT. CSI - FORENCIS AUTOPSY - DAY]
(Robbins goes over his findings with Warrick.)
Robbins: (re: the brain) Impressive that it remained intact.
Warrick: I'd say.
Robbins: So take a look at this.
(CU of the victim's neck.)
Robbins: The multiple embedded small rocks present in the neck area.
(Camera zooms out.)
Robbins: Also in the parietal and occipital scalp, suggest she landed head first. Extremity fractures, rib fractures, spine fracture -- all consistent with a fall. Multiple abrasions on the arms and legs. So I am guessing most were sustained before hitting the ground.
Warrick: Well, I did find some blood on the rocks at the top of the cliff, as well as a piece of his shirt. Looks like it was a bumpy ride all the way down.
Robbins: Yeah. Which could explain these abrasions.
Warrick: She tore up her hands grabbing on to anything she could.
Robbins: Severe lacerations on the backs of both hands and a broken right middle finger.
Warrick: Was that sustained during the fall ... or did someone step on her hand?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - HALLWAY -- NIGHT]
(Warrick is on his cell phone leaving a phone message for Tina.)
Warrick: (to phone) Tina, baby, can you give me a call when you get this? Listen, I know we haven't been spending quality time with each other, but I was thinking tonight we could ...
(Henry Andrews steps out of the lab. He's carrying a file folder.)
Henry Andrews: Uh, Warrick - Oh.
(He sees Warrick on the phone.)
Henry Andrews: (whispers) I'll come back.
(Warrick hangs up and puts his phone away.)
Warrick: Work comes first. What's up?
(They start walking down the hallway together.)
Henry Andrews: Oh, uh, tox came back. I detected traces of sertraline in the vic's blood. It's a currently popular anti-depressant. She had moderate levels of alcohol, oh, six percent.
Warrick: That's a dangerous combination.
Henry Andrews: But it's not that unusual.
Warrick: Well, would you let your wife drink if she was on medication?
Henry Andrews: If I had a wife? No.
(They walk out of camera frame.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Warrick and Sofia interview Gavin McGill.)
Warrick: So let me get this straight. You took your depressed wife to the top of Red Rock Canyon, shared a bottle of wine, and then you went on a nature hike?
Gavin McGill: What are you implying?
Sofia: Did you know she was on anti-depressants?
Gavin McGill: She made her living with her looks and, lately, she'd been worried about ... losing them.
Sofia: Worried enough to k*ll herself?
Gavin McGill: (smiles) I was going to take her to New York and then to Paris. We started talking about planning a family. Suicidal people don't make plans.
Warrick: Maybe it wasn't a su1c1de, but then again, you're the only one left. You can say anything you want.
Sofia: Let's just say your marriage wasn't so rosy. Alimony's a bitch. You get her drunk. It's cheap just to shove her off a cliff.
Warrick: According to the coroner, the evidence suggests that her hands may have been stepped on.
INSERT: FLASHBACK
(Rebecca hangs off the edge of the cliff. Gavin steps on her hands and she falls. Rebecca screams. Her body hits the bottom.)
BACK TO SCENE.
Gavin McGill: You're right, Rebecca was drifting away. She became a different person. The meds weren't helping enough. I thought if I took her to Vegas, where we met, it would snap her out of it, but instead, she jumped.
INSERT: FLASHBACK
(Rebecca stands at the edge of the cliff. Gavin starts running to her.)
Gavin McGill: No, no.
(She jumps.)
BACK TO SCENE.
Gavin McGill: (crying) It is my fault. I never should've taken her out there.
Sofia: Why didn't you just tell us this in the first place?
Gavin McGill: Would you want people to know that your wife would rather be d*ad than spend another minute with you?
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Warrick shows his findings to Grissom as they walk through the hallway. Grissom reads the report.)
Warrick: Well, if he is lying, somebody should give him an Emmy award.
Grissom: Well, there's plenty of physical evidence, but it's all ambiguous.
Warrick: Yeah. Ultimately, I think he is responsible, whether he meant harm or not.
Grissom: Well, you know, there's precedent for charging him with promoting a su1c1de attempt. It's reckless endangerment. There was a case in New York, but it's hard to make that charge stick.
Warrick: Well, what if I can prove she tried to k*ll herself before?
Grissom: How do you do that?
Warrick: Well, I have her phone. I could go through the most recent calls. If I know women, the husband's usually the last person to know anything.
(Grissom hands the file folder back to Warrick and walks away.)
CUT TO:
[INT. CSI - LAB - DAY]
(Warrick takes the cell phone out of the evidence bag, hooks it up to the computer and checks the RECENT CALLS. A list appears:
702-555-0102
702-555-0193
702-555-0134
702-555-0172
702-555-0159
(He copies the list to the hard drive. He checks the PICTURE HISTORY and finds the FOLDER IS EMPTY.)
(He checks the CAMCORDER and finds VIDEO R1004.MP4.)
(He plays the video.)
(Rebecca and Gavin are struggling. She falls and he looms up above her. He steps closer, looks down at her, kicks her and she falls. The monitor goes black.)
(Warrick is stunned.)
INSERT: FLASHBACK
(Gavin walks up to Rebecca. She turns and they struggle.)
Rebecca McGill: Gavin, what are you doing? Gav ... wait ... No! No!
(He pushes her off the cliff. She slides and manages to hang on to the edge.)
Rebecca McGill: Wait! No - Oh, my God ...
(Gavin steps up to her and kicks her hands.)
(She falls.)
END OF FLASHBACK.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Warrick shows Gavin the photo of him.)
Warrick: We have a witness. Why did you k*ll your wife, Mr. McGill?
Gavin McGill: You try having a hot wife. You pay for it every day. I want a lawyer.
CUT TO:
[INT. CSI - MORGUE]
(Rebecca shakes her head.)
Rebecca McGill: I finally found a guy who liked me for my brains. Turns out he thought I didn't have any.
(The door opens.)
(A fourth body is rolled into the morgue in between Rebecca and another gurney on the far end with a red-haired man on it. The new body has a tattoo on his upper right arm.)
(The door closes.)
(Jack Day sits up and looks around.)
Jack Day: Excuse me, ladies? Have you seen my wife? Her-her name's Cara.
Rebecca McGill: No.
Jack Day: Or my little girl? I had a beautiful little girl. She was only about that big. (He holds his arms as if carrying a baby.) You ain't seen her, have you?
Donna Basset: (shakes her head) Nope. Just us.
Jack Day: So they're not here?
(He looks up and away. He exhales, relieved.)
Jack Day: Okay. Then, it's okay. Anywhere but here, right?
(He laughs, relieved.)
Rebecca McGill: So, how'd you get here?
Jack Day: Oh, ma'am, I thought the w*r was hell until I came to Vegas.
CUT TO:
[BLACK SCREEN, WHITE TEXT]
CHAPTER III:
EMBALMY DAY
CUE SOUNDS: (PRELAP) CAR TIRES SCREECH, CAR CRASHES
[EXT. VEGAS STREET -- NIGHT]
(Inside the car, a red-haired man is face-forward in his steering wheel.)
(Outside, Nick ducks under the crime scene tape as Officer Linda Mendosa explains what happened.)
Linda Mendosa: Knucklehead just blew the stop and ran right into the side of my car.
(They walk toward the two cars - one black four-door smashed into the side of the officer car.)
Nick: Damn. You're lucky -- I don't even see any skid marks.
Linda Mendosa: Didn't even try to stop! Just dropped off my partner -- otherwise I would've been sitting in that passenger seat.
(Nick snaps a photo and sees the blood on the outside driver's door handle.)
Nick: Hey, Linda ...
(Nick removes his camera from around his neck. He takes out a swab and preps it.)
Nick: You didn't touch the outside of that door handle, did you?
Linda Mendosa: No. I know better. Been to a couple of forensic classes taught by you lab guys. Reached in through the window to check his vitals -- he was d*ad. Paramedics pronounced; made sure no one touched anything.
Nick: You did good. This might take a while, if you want to take a little break or something. Thanks.
(Linda Mendosa leaves.)
(Nick swabs some blood off the car door.)
Robbins: (o.s.) Hey, Nick.
Nick: Hey, Doc. What brings you out?
Robbins: David's on a pickup, and he's got another two lined up after that. He's going for some sort of record.
Nick: Dig in.
(Robbins opens the car door and looks at the body as Nick walks around the car.)
Robbins: What was going through his mind just before he crashed into the police cruiser? "I want to die today and take somebody with me"?
Nick: Huh?
Robbins: Nothing.
(Robbins reaches in and removes the victim's wallet.)
Robbins: Got a wallet.
(He takes out the driver's license. It reads:
CARIS, RUSSELL
50 VIKING CIRCLE
LAS VEGAS, NV 89101 )
Robbins: Mr. Russell Caris.
(Nick opens the passenger door and snaps a photo.)
Robbins: He has dried blood on his hands and on the steering wheel but no bleeding wounds that could have contributed to it.
(Nick finds a Kn*fe on the passenger seat.)
Nick: This could explain the blood.
(He holds it up. The blade is bloody.)
Nick: Sofia ...
(Sofia, who is on her phone, walks toward them. Robbins hands her the driver's license.)
Robbins: Here you go.
(She looks over at Nick.)
Nick: You might want to put out a broadcast on Mr. Caris and his vehicle. (She shows him the Kn*fe.) Possible s*ab suspect.
Sofia: Well, he's definitely good for something. I'll include the local hospitals in case they've had a s*ab victim.
Robbins: Why wouldn't he have thrown that Kn*fe away?
Nick: He's not smart.
(Robbins laughs.)
Robbins: This is natural selection. The dumb ones die.
(Sofia hangs up.)
Sofia: The good ones, too. I just found your s*ab victim.
CUT TO:
[EXT. GAS STATION -- DAY]
(Officers tape off the area. A large American flag flies on the pole nearby.)
(Nick and Sofia stand over the d*ad body.)
Sofia: Patrol got a 415b call. Man with a Kn*fe. The paramedics rolled up soon after they did. The guy was already d*ad.
Nick: Was he alone?
Sofia: No. He was with his family.
(Nick puts his sunglasses on and sighs.)
CUT TO:
(Nick and Sofia talk with Cara Stone, Jack's wife. She's carrying her baby daughter.)
Cara Stone: We were getting gas, and, uh, some lunatic came up ...
(The baby starts crying.)
Cara Stone: ... just s*ab my husband in the chest. My baby saw Jack get s*ab.
Sofia: Did your husband know the man?
Cara Stone: No. And Jack offered him his wallet. The guy just muttered something, just ... just s*ab Jack. And left the wallet. Why ... why did he do this? My ... my husband just met his daughter.
Sofia: Wha ... what do you mean, he just met his daughter?
Cara Stone: He just got back from his second tour in Iraq.
Nick: Would you recognize this guy if you saw him again?
(Cara nods.)
(Nick shows her his digital camera view screen and a photo of the red-haired man from the car crash.)
Nick: Is that him right there?
Cara Stone: That's him. Well ... is he d*ad? Who is he? Why did he k*ll my husband?
Nick: That's what I'm gonna find out for you. Why don't you go with this officer right now. She'll take care of you, all right? I'll do my best to keep you informed, ma'am, I promise.
(Cara Stone and the officer leave. Nick and Sofia head back to the victim.)
Sofia: Um ... I'll check with the clerk, see if his surveillance camera was working.
Nick: Yeah, there's some-some ... oil and grease around the pump. I'll check the tire and ... shoe impressions.
(They reach Jack. Nick sighs.)
Sofia: Made it back from the w*r to die on the streets of Las Vegas.
Nick: I'm telling you, no place is safe anymore.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Nick.)
Robbins: Sergeant Jack Day was in top condition except for the single s*ab wound to his chest. Kn*fe entered the fourth intercostal space, transected the fourth intercostal muscle, and the left internal mammary artery. COD's exsanguination.
Nick: What about the crash-test dummy here?
(Nick and Robbins turn to the body on the second table.)
Robbins: Interesting case. He has intense erythema of the tracheal mucosa extending down into the main stem bronchi.
INSERT: CGI ENHANCEMENT
(The victim inhales. An x-ray view of the victim's chest shows the smoke entering into his lungs and turning the lungs black.)
BACK TO SCENE
Nick: You don't get that from an auto accident, do you?
Robbins: No. You get it from inhalation of some caustic poison or drug. I sent samples to Tox.
Nick: Okay, good. So ... COD?
Robbins: Well, the impact of the accident caused the first cervical vertebrae to tear away from his skull, lacerating the brain stem.
Nick: His skull separated from his spine.
Robbins: Exactly.
Nick: Should've been wearing a seat belt.
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Nick and Archie are reviewing surveillance tapes from the gas station. On the monitor, they watch the car crash victim get out of his car and stagger over to Jack Day, who is filling his car up with gas.)
(Jack backs away from him. The attacker takes out a Kn*fe. Jack reaches into his back pocket and takes his wallet out. He offers it to the attacker.)
(We push into the monitor and see the scene as a flashback. Jack backs away.)
Jack Day: No!
(The attacker s*ab Jack in the chest.)
BACK TO SCENE.
(Archie shakes his head.)
Archie: Well, why'd he s*ab him? I mean, it's not like he put up a fight.
Nick: And why does he pick the biggest guy at the station?
Archie: You think that guy in the back would be an easier target.
Nick: Rewind it back to this fool getting out of the Buick.
(Archie rewinds the video and they watch it again. The attacker gets out of the car and staggers as he heads for Jack.)
Nick: He seems disoriented, shaky ... high on something.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
Henry Andrews: (V.O.) He had fairly high levels of THC in his blood.
[INT. CSI - LAB - DAY]
(Henry Andrews shares his findings with Nick.)
Henry Andrews: 97 nanograms per milliliter.
Nick: THC? That's it?
Henry Andrews: Isn't that what you were looking for?
Nick: No, I was kind of thinking there was something else in there. You should've seen this guy -- he was acting really ... sketched out.
Henry Andrews: Sometimes people are just crazy.
[INT. CSI - GARAGE - DAY]
(Nick examines the smashed-up Buick. He opens the ashtray and finds a joint.)
[INT. CSI - LAB - DAY]
(Henry Andrews is holding the joint Nick found in the ashtray. He reports his findings to Nick.)
Henry Andrews: Well, you're persistent, I'll give you that. I tested the remaining marijuana in the paper wrapper. You were right. The joint was dipped.
Nick: PCP?
Henry Andrews: No. Embalming fluid.
Nick: "Embalming fluid" is the street name for PCP.
Henry Andrews: Yeah, but I don't use street names when I don't mean to. No, I mean real, inject-into-a-d*ad-person embalming fluid, made of formaldehyde, methanol, ethanol, all that bad stuff.
Nick: So this guy was smoking wet.
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Grissom and Nick talk.)
Grissom: Well, the embalming fluid would make the marijuana burn slower, giving it more chance to be absorbed, creating a longer lasting high, I would imagine.
Nick: So, now, what do I tell Sergeant Day's widow? A retired Marine who served two tours in Iraq. That-that all this is about getting higher?
Grissom: You got to tell her the truth.
[INT. CSI - WAITING ROOM - DAY]
(Nick talks with Cara Stone.)
Cara Stone: (crying) It-it was ... it was just random? That's the reason I don't have a husband? That's why?
Nick: (softly) I'm sorry.
CUT TO:
[INT. MORGUE]
(Back in the morgue, Jack Day smiles.)
Rebecca McGill: So after all that, how can you be happy?
Jack Day: (shakes his head) You don't get it. This is the best week of my life. I got to hold my baby girl.
(He looks at her and winks. He lies back down on the morgue table and closes his eyes, a small smile on his face.)
(Suddenly, Lou Beltran, a dark-haired man on the gurney at the far end of the line-up, sits up. He looks around and swears violently.)
Lou Beltran: Oh, son of a bitch!
(The man on the gurney next to him also sits up. He's missing his left arm.)
Ray Gaynor: Let me tell you something, you got nothing to bitch about here.
(Ray Gaynor puts a cigarette in his mouth with his good right hand. Donna Basset watches wide-eyed as Ray tries to open a matchbook with his right hand.)
Donna Basset: I don't think you can smoke in here.
Lou Beltran: Nah. Let him try.
Rebecca McGill: No, you guys, we're gonna be here a long time. Let's just try to keep it pleasant, okay?
Lou Beltran: (angry) I'm not even supposed to be here.
Ray Gaynor: Tell me about it.
Cue Sound: (PRE-LAP) CHAINSAW WHIRRING
[BLACK SCREEN, WHITE TEXT]
CHAPTER IV:
THE NEVADA CHAINSAW m*ssacre
CUE SOUNDS: (PRELAP) CHAINSAW WHIRRING CONTINUES, TWO MEN SCREAMING, CHAINSAW STRIKES SOMETHING HARD AND STOPS.
[CU: A WEDDING PHOTO]
(A man in a suit and a woman in her wedding gown smile happily at the camera.)
[EXT. BELTRAN RESIDENCE - FRONT DRIVE - DAY]
(Camera pulls back and we see the framed photo in the trash bin.)
(Brass joins up with Grissom and Sara as they all head for the house.)
Brass: The hot weather, the full moon, too many people moving to Vegas. Whatever the reason, the natives are restless. (points) Scene's in the garage.
(On their way up the driveway, Sara and Grissom see a splotch of something messy on the center of the concrete.)
Sara: Well, that's not a good sign.
Grissom: Bacon and eggs?
(They both stop and examine the mess. Brass waves them to continue up the driveway.)
Brass: Yeah, no, you know, don't bother about that. That's the water delivery boy. He lost his breakfast, and his bottle.
(They continue up the driveway and walk past the water bottle on the ground.)
Brass: He said the house belonged to a guy named Lou Beltran.
Grissom: Is he one of the victims?
Brass: He couldn't tell. The door's been forced.
(They reach the garage door and see that it's partially opened.)
[INT. BELTRAN RESIDENCE - GARAGE - DAY -- CONTINUOUS]
(The door creaks open and Sara steps inside. The garage is a mess. There are two d*ad bodies; one of them has their left arm completely severed and is lying in a pool of blood. The second body is nearby in another pool of blood, a bloodied chainsaw between them. Broken furniture covered with a layer of blood spatter is scattered around the room.)
(Sara and Grissom both remove their sunglasses. They're stunned by what they're looking at.)
Sara: I thought this only happened in the movies.
VARIOUS CUTS OF THE d*ad BODIES
Grissom: Life imitates art.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. BELTRAN RESIDENCE - GARAGE - DAY]
VARIOUS CUTS OF THE d*ad BODIES
(The camera flashes as Grissom stands on top a ladder and takes photos of the blood-spatter patterns on the ceiling.)
(Finished, he checks out the ceiling to make sure he's got it all. Then, he checks out Sara, who is printing the door, her head down and concentrating on her work.)
Grissom: Okay. You first.
(Grissom climbs down the ladder.)
Sara: All right. Kicked-in door, one bloody chainsaw, two d*ad bodies. Someone broke in, cut up the two guys, left the m*rder w*apon and split.
(Grissom looks at the furniture cut into pieces.)
Grissom: What about all this mess, the furniture and appliances?
Sara: Some of the furniture looks new. Some of it's cut up, some of it's not.
(She puts her printing powder and brush down. She steps into the room as she theorizes.) Maybe they were cutting it up when the assailant came in.
Grissom: That's a workable theory for now.
(Grissom snaps photos of the blood spatter on the furniture.)
(Sara sits on a nearby overturned tub.)
Sara: You know what this reminds me of? The first time we met. San Francisco. Your lecture. Double m*rder in a garage. I'd heard you were a little ... dull as a speaker, but you can't rely on your first blush.
(b*at)
Sara: That was the, uh, subject of your talk.
Grissom: I believe I said first opinions are crucial, but if the evidence changes, so must the theory.
Sara: Exactly.
(Brass steps into the room, putting his gloves on. He stops at the doorway.)
Brass: Hey. Any ID on them yet?
Grissom: We're still working our way in.
Brass: Well, you know, I'm kinda stuck until I know who they are, so, uh ... Sara, do me a favor, will you? Reach into that barbecue and hand me his wallet.
Sara: Sure.
(Sara carefully steps near the body and reaches down to pull out the wallet from the man's pants pocket. She hands it to Brass.)
Brass: Thank you.
(He checks out the driver's license. It belongs to:
GAYNOR, RAY
31160 DESERT WAY
HENDERSON, NV )
Brass: This guy doesn't live here. This is Ray Gaynor, lives a few houses down.
(Grissom stops taking photos and looks up from his camera. Sara points to the other body.)
Sara: Maybe the other one's Lou.
Brass: I don't know, but I'd bet my right arm that's his left arm.
(Grissom tosses them a look.)
(Brass chuckles. Sara stifles a smile.)
Brass: I'm gonna see if the one-arm man has a wife who knows how to operate a chainsaw.
INSERT: FLASHBACK
(Someone wielding a chainsaw att*cks Ray Gaynor.)
BACK TO SCENE
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins shares his findings with Grissom. Both bodies are out in the room.)
Robbins: It was a jagged, sharp force injury to the base of the neck on the right side. Wound extends down and left laterally from the right shoulder to the left hip. Wound becomes shallow and then separates into individual incisions.
(Grissom notes the watch tan on the victim's right wrist.)
Robbins: Directionality of the individual wounds is from bottom to top.
Grissom: All chainsaws operate the same way, right? (Robbins nods.) Chain travels around the bar, teeth move away from the operator around the top and come back on the bottom.
Robbins: Mm-hmm.
Grissom: So, if our guy, Lou, was att*cked from the front, the teeth would h*t him from a downward angle.
Robbins: Leaving downward wounds instead of the upward wounds you see here.
Grissom: So ... what? He was att*cked from behind?
CUT TO:
[INT. CSI - LAB - DAY]
(Sara is swabbing blood off the chainsaw when Grissom walks in.)
Sara: Guess who owns the chainsaw.
(Grissom puts his glasses on and looks at the etching on the plastic:
RAY GAYNOR
702-555-0123 )
Grissom: Ray Gaynor. The neighbor.
Sara: I also found bits of wood and metal shavings on the inside of the cover plate, consistent with the furniture and appliances. The teeth on the chain are dull, probably from cutting them up.
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(Brass interviews Lou's wife, Julia Beltran. She's also the woman in the framed wedding photo found in the trash outside the house.)
Julia Beltran: Don't tell me Lou cut up my mother's headboard.
Brass: Was it blue?
(She takes a deep breath. She nods.)
Brass: Sorry.
Julia Beltran: How about my dining room set?
Brass: Um ... I think there's a couple of chairs left.
Julia Beltran: Damn that man. Everything I asked for in the divorce. Did he get the living room furniture?
Brass: No.
Julia Beltran: Figures. That was going to be his. Well, now it's mine. The bastard can rot in hell.
Brass: So, Mrs. Beltran, I assume the divorce wasn't final.
Julia Beltran: No. Lou held it up out of spite.
Brass: Hmm. Do you know Ray Gaynor?
Julia Beltran: Decent guy. Never married. Lots of women around, though. Pretty handy with his tools.
Brass: Uh-huh.
Julia Beltran: Halfwit would go over there and Ray'd teach him how to do things. Too bad he never taught him how to be more of a man.
Brass: Look, I gotta ask you this -- where were you last night?
Julia Beltran: Thirty-two thousand feet over the Pacific with 300 other people.
Brass: So you were in a plane.
Julia Beltran: I'm a flight attendant. But go ahead and ask me if I'm sorry he's d*ad.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Sara wheels a dummy into the mini plastic room they've put up. Grissom goes to stand next to the other dummy already there. Each dummy has a white foam strip covering the saw cuts for the person they represent --- Grissom's dummy has a foam strip on its left shoulder and Sara's dummy has a foam strip across its chest.)
Sara: Where do you want him?
Grissom: Put him under the Lou Beltran spatter. And load him up.
(On the ceiling are red lines indicating the blood spatter similar to that found at the crime scene. Sara positions the dummy in the right spot.)
VARIOUS DISSOLVES OF SARA AND GRISSOM BOTH SPRAYING BLUE INK OVER THE WHITE FOAM STRIPS ON THE DUMMIES.
(When they're finished, they put their spray bottles down. Grissom picks up his chainsaw.)
(Grissom powers up his chainsaw and cuts downward into the foam strip. The blue paint spatters on the ceiling plastic in the opposite direction of the red spatter.)
(Grissom stops and looks up.)
Sara: Blue test paint is not lining up with the red known spatter.
Grissom: Well, the body's in the correct relative position. But the angle's off.
Sara: What could throw the angle off?
(Grissom looks at the ceiling and at the chainsaw. He tries to line it up.)
Grissom: I don't know, but it's very awkward to try and line this up.
(Sara watches him for a moment, then gets an idea.)
Sara: You know ...
(She reaches for the chainsaw and takes it from Grissom.)
Sara: ... what if you line it up switching hands, like this?
(Sara holds the chainsaw differently. She powers it up and cuts into the foam. The blue ink spatter lines up with the red spatter.)
Sara: Ray Gaynor's k*ller was left-handed.
Grissom: Lou Beltran wore his watch on his right wrist.
INSERT: PHOTO FLASH OF LOU BELTRAN'S RIGHT ARM.
BACK TO SCENE.
Grissom: I bet he was left-handed.
(Sara lifts up her mask.)
Sara: So ... Lou could have k*lled Ray, cut off his arm ... but who k*lled Lou?
Grissom: Doc Robbins said that the cuts on Lou's body were made when the chain was traveling upwards.
(Sara motions with the chainsaw. Grissom's eyes widen.)
Sara: Well, if I att*cked you, the chain would be traveling downwards when held normally by a left-or a right-handed person.
Grissom: Which means that the top of the chain had to be facing him.
Sara: The way that this works, is if Lou was holding the saw.
(Sara steps back.)
Sara: The chain was dull from cutting up his wife's things. The wife told Brass that he wasn't very handy.
Grissom: An inexperienced left-handed operator with a dull chainsaw certainly increases the risk for injury.
(Sara lifts the saw straight upward and back toward her.)
Sara: Kickback.
INSERT: FLASHBACK
[INT. BELTRAN RESIDENCE - GARAGE - DAY]
(Lou Beltran is using Ray's saw to cut up his wife's furniture.)
Ray Gaynor: You don't know what you're doing!
(Ray grabs Lou from behind, trying to get him to stop.)
Lou Beltran: I know exactly what I'm doing!
(Lou pushes Ray away from him. He swings the chainsaw around and cuts Ray.)
(Ray screams.)
(Blood spatters on the ceiling.)
(He hits the floor with a thud.)
BACK TO SCENE.
[INT. MORGUE - DAY]
(Grissom is in the morgue teaching the class. They surround the bodies on the tables. He summarizes.)
Grissom: So he chainsawed his wife's furniture and appliances, the metal dulled the blade, and the kickback from the chainsaw is what k*lled him.
Smart Girl: So it was an accident.
Grissom: How many of you are right-handed?
(Most everyone raises their hands.)
Grissom: Left-handed?
(The smart girl raises her hand.)
Grissom: Twenty-five hundred left-handed people die each year using products designed for right-handed people.
Smart Girl: Okay, but how do you know there wasn't a third person that k*lled both of them?
Grissom: A third person would have left shoe impressions in the blood, various other sign -- there was none.
Smart Girl: You're absolutely certain?
Grissom: Part of being a CSI is learning to work in the absence of absolute certainty. Each and every case brings us a new opportunity to learn something. For instance, in the case of Donna Basset, we can see that there is no such thing as an insignificant detail. (He points to Rebecca McGill.) Here, the evidence itself can bear witness. Don't just look for what you think you're going to find. (He points to Jack Day.) And this one, never impose logic on an illogical act. (Then to Ray and Lou.) And finally, if the evidence changes, your theory must change as well. Questions?
(The male student raises his hand.)
Male Student: How do you deal with the smell?
Grissom: You get used to it.
Male Student: I'm not sure I can do this.
Grissom: Well, not everyone can.
Smart Girl: Why do you do it?
Grissom: Because the d*ad can't speak for themselves.
(They look at each other.)
TOP VIEW DOWN
(The students and Grissom leave the room. We hold on the six bodies in the morgue.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x03 - Toe Tags"} | foreverdreaming |
FLASH IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[CU: CLOCK]
(The time clock reads midnight. Vasco Ruiz punches out. He takes his name tag off and puts it in his pocket and walks through the hallway.)
[INT. GOLDEN SAPPHIRE -- GARAGE – CORRIDOR -- NIGHT]
(Vasco Ruiz takes out his cell phone and dials.)
Vasco Ruiz: (to phone) Hola, cariño. Todo bien? Estan mis bebes durmiendo como bebes?
(He continues walking through the corridor and heads for the garage. He passes by a man dressed for work walking in the opposite direction.)
Vasco Ruiz: (to phone) Sí, ya se, ya se. No me reganes mas. Sí, sí. Comida para el bebe. Sí, pan, leche. Mira, cariño, ahorita vengo.
(He reaches the garage and continues walking. A car slowly drives down the ramp. He doesn't pay any attention to it.)
Vasco Ruiz: (to phone) Te quiero.
(He hangs up with a smile on his face. He kisses the phone, folds it and continues walking through the dark garage.)
(Vasco Ruiz walks down the ramp and passes by a drunk singing in the dark.)
Drunk: (singing) Danke schoen / Oh, darling / danke schoen / danke schoen, oh, darling / danke schoen / thank you for all the joy and pain ...
(He continues through the garage.)
(A figure moves swiftly across the camera and disappears back into the darkness.)
(Vasco Ruiz continues walking. The drunk's singing fades into the background. Vasco has his keys in his hand. He turns when he hears clanking behind him.)
(He continues walking.)
(Suddenly, a masked figure runs up to him from behind, grabs him and punches him hard. Vasco drops his phone and falls to the ground. The masked figure continues to punch and b*at up Vasco.)
(As the beatings continue, we hold on the photo image of Vasco and his wife Lucita on the phone.)
FLASH TO:
[INT. GOLDEN SAPPHIRE HOTEL – GARAGE -- NIGHT]
(Grissom and Catherine shine their flashlights on Vasco Ruiz's body. His face is bloody.)
(Brass walks up to them carrying an ID badge.)
Brass: The vic had nothing on him but his casino ID. Name is Vasco Ruiz. He's a dishwasher here at the Golden Sapphire.
(Grissom snaps photos. Catherine kneels down next to the body.)
Brass: My guess he got off his shift, went to his car, got whacked.
Catherine: By what?
Brass: A blender?
(Grissom snaps more photos.)
Grissom: Surveillance?
Brass: Not in the employee structure.
Grissom: Witnesses?
Brass: Well, we found a Wayne Newton impersonator, but all I could get him to do was sing a few bars of "Danke Schoen". But no wallet no cash, no cell phone, no car keys. Smells like a robbery.
Catherine: Maybe it was his payday.
Grissom: Even if this guy was walking out of here with a million dollars ... this is way more than excessive.
Catherine: Personal.
Brass: Yeah, I'm gonna go get personal with his boss. See what he knows.
(Brass hands the phone to Catherine. He turns and leaves the area.)
CUT TO:
[EXT. MOTEL -- NIGHT]
(A young woman steps out of her motel room and starts walking across the dark parking lot. She's alone and dressed to have a night out on the town. In her hands, she has her drink and her bag.)
(She reaches the end of the parking lot and sees the strip off in the distance several blocks away from her. She smiles, takes a sip of her drink, and starts walking.)
[EXT. SIDEWALK – NIGHT – CONTINUOUS]
(A man rides past her on a bike. He rings the bike bell. The young woman continues walking down the sidewalk. Sirens wail in the distance.)
(She turns the corner and walks through an unlit parking area.)
(She takes out a small pocket mirror and checks her lipstick. She turns the mirror and sees a hooded figure standing behind her.)
(She puts the mirror down and finds a hooded figure standing in front of her.)
(She screams.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. GOLDEN SAPPHIRE HOTEL – GARAGE -- NIGHT]
(The area in the parking garage is taped off. Grissom walks down the aisles looking for evidence. He stops and finds a set of keys near a side pillar. He picks it up and looks at it.)
(Grissom looks around the area at a car parked nearby. He gets up and walks over to the parked car. He tries the key and opens the door. He kneels down and sees two dice hanging from the rear-view mirror. On the dice are pictures of Vasco Ruiz's two kids, one on each fuzzy block.)
(He looks around the car.)
(In the background, Grissom hears dispatch over the police radio. He looks up and sees the police scrambling for their cars. The next call is only a few blocks away from their present location.)
Dispatch: (muffled)
Officer: Got a 4-15, we gotta go.
(Grissom stands up. The police officers start their car engines, turn their sirens on and head up the parking garage ramp.)
(Grissom goes back to looking at the car.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
(Sirens wail in the distance.)
[EXT. PARKING LOT – NIGHT]
(Jessica is wheeled out on a gurney, her head in a brace. She is badly beaten and bruised.)
(The gurney passes Warrick and Brass on their way in.)
Warrick: (to Brass) You got a name?
Brass: She's not talking.
Warrick: What about ID?
Brass: He must've taken her wallet.
Warrick: Cell phone?
Brass: It's not here; they took it. Somebody had to see something.
(Brass walks away. Warrick reaches Nick at the site.)
Warrick: Hey.
Nick: Hi.
(Warrick looks at her things on the ground, most stained with blood.)
Warrick: Well, we got a souvenir cup that screams "tourist."
Nick: (nods) Yep.
Warrick: I don't see a bar anywhere around here. She must've been either going to or coming from the strip.
(Nick looks around the area. It's isolated, dark and dangerous-looking.)
Nick: But she shouldn't have been walking around here, Warrick. Couldn't pick a shadier part of town, man.
Warrick: You know these tourists don't know what they're getting when they book a trip to Vegas online.
(Warrick kneels down and looks around.)
Warrick: They think "I got a room on the strip for 75 bucks. Whoo, what a deal."
Nick: Then they mosey through the naked city with their thousand dollar cameras.
(Warrick nods.)
Nick: Next thing you know, we're taking their picture.
Warrick: You know what? Grissom's crime scene is just five blocks from here. Both victims had their wallets and their cell phones stolen. And they were both beaten down in the same way.
Nick: Looks like someone's on a little crime spree.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(David Phillips washes down the victim's head as Catherine watches.)
Catherine: Uh, David, hang on.
(She stops David. She finds a piece of toenail in the victim's mouth and removes it. She holds it up.)
David: Looks like a woman's toenail.
Catherine: Well, it's not necessarily a woman's.
CUT TO:
[INT. HOSPITAL – ROOM -- NIGHT]
(In the hospital room, Sara snaps photos of Jessica's cuts and bruises. Jessica is in a neck brace. She flinches from the camera flashes.)
(Sara moves in closer and snaps more photos.)
(Sara sets the camera down, then picks up forceps and a bindle.)
Sara: Jessica ... this might hurt a little bit, but it's going to help us get the people who did this to you.
(Sara picks off trace she finds on Jessica's facial cuts and puts it in the bindle. Jessica flinches and groans.)
Sara: I'm sorry. Thank you.
(Sara sets the bindle aside and picks up the camera again.)
Sara: Do you have any other injuries?
Jessica Hershbaum: Yeah. On my left side. Ow.
(Jessica rolls over on her side, her back to Sara. Sara leans in and looks.)
Sara: Could you lift your left arm for me, please?
(With a lot of pain and difficulty, Jessica raises her arm. She cries from the effort. Sara snaps a photo of the bruised indention on her side. It's in the shape of an "F.")
Sara: Thank you.
(Sara steps away. Jessica lowers her arm and rolls back.)
Jessica Hershbaum: I just got out of a ten-year relationship. So I decided to take a solo trip to Vegas. You know, try the whole "What happens in Vegas, stays in Vegas."
(Sara picks more trace out of Jessica's facial cuts and places it in a bindle.)
Sara: Been there.
Jessica Hershbaum: Yeah, well, I get to take this face back with me.
(Jessica cries. Sara picks up a pen to mark the bindle.)
Jessica Hershbaum: Well, did anybody else get hurt?
Sara: Why do you ask?
Jessica Hershbaum: I heard them say that I was number two. Was there a number one?
Sara: There was.
Jessica Hershbaum: How are they doing?
Sara: He died.
CUT TO:
[EXT. ALLEYWAY -- NIGHT]
(The pack of hooded people moves swiftly through the dark alleyway. Someone violently kicks something in their way and laughs.)
(The pack continues on.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAB -- NIGHT]
(Catherine is marking the various shoe prints on the victim's shirt. She sticks a sticker next to each print as she identifies it.)
(Greg walks in. He's dressed in a suit and looking snazzy. There's a gait in his step and his spirits are up. Catherine looks up and he poses for her, turning this way and that to show off his threads.)
Catherine: All right, slick. Now what's with the suit?
Greg: (proudly) Today was my first jury trial.
Catherine: Today ended ... (she checks her watch) ... an hour and a half ago.
Greg: Well, maybe I just don't want the day to end.
Catherine: Well, if that's the case, why don't you help my day end quicker and help me isolate some shoe treads. (She tosses the roll of stickers to him. He catches it.) Take the pants.
(Greg walks around the table and grabs some latex gloves from the box. He puts them on.)
Catherine: So ... ? How'd you do on the stand?
Greg: So good the prosecutor took me to dinner.
Catherine: Female?
Greg: Yeah, she was icing. (Greg puts a sticker on the pants near a shoe print.) I was just happy to finally see a case from the crime scene to the courtroom. We freakin' buried the guy. It was bad ass. I dropped the hammer ... he was squirming in his chair.
Catherine: How many different patterns you have there?
Greg: Five different patterns.
(Greg walks around the table and moves the pants closer to Catherine's shirt so she can see and compare the patterns herself.)
Catherine: Well, I've got three different ones on the t-shirt.
(She points out the different shoe patterns.)
Catherine: I mean, this one that looks like an athletic shoe sure got around. As did this pointed toe high-heeled one. Check out the heel mark.
Greg: So did this work boot.
Catherine: (teases) What do you know about work boots? I'm guessing you haven't worked a day of hard labor in your life.
Greg: I wore Doc Martens in high school. It was the style.
Catherine: Yeah, for skinheads.
Greg: Yeah, they kind of ruined it for everyone.
Catherine: You know, one of the victims was Hispanic, the other was Jewish. Maybe this was a hate crime.
(Greg picks up a photo of the victim's bashed-in face.)
Greg: Sure looks like hate to me.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Robbins looks at the body as he shares his findings with Grissom. Grissom writes on the clipboard.)
Robbins: Vasco Ruiz was someone's punching bag. He suffered multiple abrasions, lacerations, contusions. I found no particular patterns, sharp edges or tool marks from any w*apon.
Grissom: Do fists and feet count?
Robbins: He had too many bruises to count, one on top of another. And under the skin, things get even worse.
INSERT: CSI ENHANCEMENT
(Camera zooms in to the bones in the victim's hands. As Robbins speaks, the bones snap and break.)
Robbins: Long bone fractures of the fingers, radius, ulna, humerus.
(Camera zooms in to the chest cavity. The bones break there as well.)
Robbins: (V.O.) Rib fractures, flail chest. Fractures of the vault and base of skull. Almost every bone in his face.
(The skull bones break as well.)
BACK TO SCENE.
Robbins: Somewhere along the way, he took a sh*t to the head that resulted in a subdural hematoma. COD is multiple blunt force trauma.
Grissom: Could one person have done this?
Robbins: (shakes his head and sighs) Not even Mike Tyson.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. LIQUOR STORE -- NIGHT]
(The liquor store owner rattles off the damage to Sofia.)
Liquor Store Owner: (rambles quickly) Okay, okay, okay, they took my good vodkas, my single-malt whiskies, they took vermouth, cognac, VSOP cognac. Am I going to get any of the stuff back? What are you guys going to do about this?
Sofia: Okay, slow down. You're talking too fast.
Liquor Store Owner: All right, you know what? Just let me know when you're ready.
Sofia: I'm ready, sir, I just, I just need you to talk slower.
Liquor Store Owner: Okay, I can do that. These creeps come flying in here -- they take a lot of my good stuff. And I chased one of them and I snatched the sweater right off his back.
Sofia: How many did you see?
Liquor Store Owner: I don't know. There was a bunch.
Sofia: A bunch. Two? Five? Ten?
Liquor Store Owner: Closer to the ten.
Sofia: Any descriptions?
Liquor Store Owner: They had hoods on. They were hooded.
Sofia: You took the sweater off one of them and you didn't get to see what he looked like?
Liquor Store Owner: He was on his way out the door. What I did see was really weird. Anyway.
Sofia: What does "weird" look like?
Liquor Store Owner: I don't know. His face. His nose was all deformed. The whole thing creeped me out.
Sofia: Thank you.
CUT TO:
[INT. CSI – HALLWAY -- NIGHT]
(Greg walks through the hallway. He passes a tech, who smiles and high-fives him.)
Tech: Way to go.
Greg: Thank you.
(Greg continues down the hallway. Grissom steps out of his office, his face buried in the clipboard he's writing on.)
Grissom: Greg ... lose the monkey suit, you got a scene; liquor store robbery. Here's the address.
(Greg takes the slip of paper from Grissom.)
Greg: Related to the earlier 415s?
Grissom: Could be -- Sofia's got one of the suspect's sweaters. I need you to seal it, bring it back here and anything you can find.
Greg: All right. Who's my wingman?
Grissom: You're a big boy, Greg. You don't need a wingman for this.
(Grissom turns and leaves.)
Greg: Primary. (smiles) Nice.
(Greg heads out.)
CUT TO:
[INT. CSI – LAB -- NIGHT]
(Sara dips the toe of her shoe in a pan of dark-colored dirt. She kicks the dummy on the ground. The dummy's wearing a white jumpsuit.)
(With her back to the doorway, Sara kicks the dummy again and again.)
(She moves the dummy to get a bigger area to kick. She pulls back and kicks again and again.)
(She dips the toe of her shoe in the pan of dirt again. She continues to kick the crap out of the white-suited dummy on the ground.)
(Grissom walks in from the hallway and watches her. Sara pulls back and kicks the dummy hard.)
Grissom: Whoa! Pick on somebody you're own size.
(Sara turns around and looks at Grissom.)
Sara: Are you volunteering?
(Grissom looks at Sara. He raises his eyebrow at her.)
Grissom: No.
(Sara wipes her forehead with the towel. She points to the two dummies wearing the victim's clothes.)
Sara: The two scenes are related. I found two common treads on both vics: an athletic shoe and a boot. I ran them through the SoleMate database. The athletic shoe ... is a converse Chuck Taylor and the boot is a Doc Marten.
(She shows Grissom the printouts.)
(Grissom looks at the shoe prints on the shirt.)
Grissom: Could this be a woman's shoe?
Sara: Yeah, I ran that through the SoleMate database, too. That is a Steve Madden Dynasti Stiletto. Open-toe shoe.
Grissom: 'Cause Catherine found a broken female toenail in the vic's mouth.
INSERT: FLASHBACK
(A woman grunts as she kicks the victim in the mouth. Blood spatters into the air.)
BACK TO SCENE.
Sara: Most of the treads are on the sides and back of the victim's clothing.
Grissom: Which suggests that they were on the ground for most of the beating.
Sara: Kicked to death.
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY / WAITING ROOM -- NIGHT]
(An officer is outside with Vasco Ruiz's two boys. In the waiting room, Brass talks with Lucita Ruiz, Vasco's wife.)
Lucita Ruiz: How am I going to feed my boys?! Pay the rent, gas, car? God ...
Brass: Mrs. Ruiz, I'll do the best I can. I'll put you in touch with state services that'll help you deal with these issues, okay? But right now I need your help to do my job. I need some information, okay?
Lucita Ruiz: (nods) Whatever you need.
Brass: All right. When was the last time you talked to Vasco?
Lucita Ruiz: Midnight. He calls me every night after work.
Brass: Did he have any enemies that you know of?
Lucita Ruiz: No. He was a good man with a good heart. No one disliked him.
Brass: Okay. Did he carry a wallet or a cell phone?
Lucita Ruiz: He had both.
Brass: I want you to write down his cell phone number on this piece of paper, okay? I need to access his records.
(He slides the pen and paper to her. She writes it down.)
[INT. POLICE DEPARTMENT – HALLWAY – NIGHT – CONTINUOUS]
(The door opens and Brass walks over to the two boys. He kneels down in front of them.)
Brass: Hey, guys, this officer's going to take you and your mom home, make sure you all get home safe, okay?
Lucita Ruiz: Thank you.
(Brass walks away and leaves the Ruizes with the officer. Brass continues and steps into the lobby area. He turns and watches the report on television.)
Reporter: (from tv) I'm standing across from the Holiday Motel where a brutal beating just occurred a few hours ago. We have the footage which was recorded by an anonymous bystander's cell phone.
(Brass turns and takes interest in the news report.)
Reporter: (from tv) Although the quality is poor, you can see several images as*ault the lone female victim. Anyone living near the strip is being told to stay at home until the assailant is caught. For anyone who has any information, please call 555-0155.
(Brass turns to the officers standing nearby.)
Brass: Get this reporter on the phone.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. SUV (MOVING) -- NIGHT]
(Greg is driving on the road, making his way to the liquor store to pick up the sweater from Sofia. As he drives, he hears sounds of people grunting and yelling.)
(He turns and sees an att*ck at the far end of an alleyway. Greg stops and reverses.)
(Sure enough, there is a group of about a dozen individuals beating up a man on the ground.)
(Greg stops and calls it in on his radio.)
Greg: (to radio) Control, control, this is CSI Sanders. I need some help.
Control: (from radio) Control, go with your information.
Greg: (to radio) Okay, I got an as*ault in progress one alley south of Casino Central Drive, cross street Shane.
Control: (from radio) How many suspects involved?
Greg: (to radio) Multiple suspects. Could be the guys who've been doing it all night.
Control: (from radio) The closest unit has a five-minute ETA. Rolling code three. Are they armed?
(As Greg watches, the group continues to kick and b*at up on the man on the ground.)
Greg: (to radio) I don't know. I don't know. Ma'am, please, listen. You got to get here quicker than this.
Dispatch: (from radio) Copy that. We'll roll two additional units ASAP. Wait for backup.
(Greg watches the group in the alleyway. Five minutes seems too long. The man might not survive. Making a decision, Greg puts his SUV in gear and heads into the alley.)
(With headlights on and lights flashing, Greg beeps his horn, trying to disrupt the g*ng.)
(The g*ng continues to kick and b*at up the man on the ground.)
Greg: Move!
(The beating continues. Greg beeps his car horn and flashes the siren. Several people in the group turn and notice the vehicle. They disband and run, leaving a single person behind who continues kicking the man on the ground.)
Greg: (shouts) Get out of here!
(The single person continues to kick and b*at the man on the ground. Greg drives up close enough and stops. He honks the horn, but the person continues kicking the man.)
(Then, the man turns around and looks at Greg. His eyes glow eerily and unnaturally in the shine of the car headlights.)
(Greg doesn't move.)
(The man runs to the side and picks up a large rock. He motions as if to bash the victim's head, then turns and starts running toward Greg.)
(Greg watches for a moment, then presses the gas. The SUV lunges forward and hits the hooded man. He falls to the ground.)
(Greg remains inside. He looks around. It's very quiet.)
SMASH!
(The back door glass smashes into pieces. Greg whirls around to see what's going on.)
CRASH!
(Greg ducks as the driver's side glass window is smashed into pieces.)
(Someone from outside reaches in through the window and pulls Greg out of the SUV.)
(Greg struggles. The rest of the g*ng returns. They take up where they left off ... this time with Greg as their victim.)
(They turn on him, kicking and beating him up. Greg tries to stay on his feet. They push him into the nearby chain-linked fence, laughing as they kick and punch him in the back.)
(They pull him away from the fence and toss him back to the center of the alleyway. Greg lands on his hands and knees. He tries to get up and crawl away, but they keep kicking and punching him in the back.)
(Finally, Greg collapses on the cold ground.)
(They kick him over onto his back ... and they continue beating, kicking and punching him.)
(Greg is senseless, barely taking in anything anymore. His vision's blurred; sounds of his attackers' laughter echo around him. The kicks and punches don't stop.)
(One of the attackers spits on Greg's vest. He steps over Greg and walks away. Greg reaches up and grabs the attacker's ankle as he leaves.)
(Face bloodied, Greg opens his eyes and watches as the car leaving scratches against his SUV.)
(We hold on Greg.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. ALLEYWAY -- MORNING]
(A group of observers has gathered at the taped-off entry to the alley. Sofia talks with a hysterical Marla James, Demetrius' mother.)
Marla James: Please let me see Demetrius. I just want to talk to him.
Sofia: I'm sorry. It's a crime scene. I can't let you pass. I'm sorry.
Marla James: (o.s.) He's not d*ad, is he?
(Sara runs up to the tape.)
Sofia: He's been badly injured, but he's being attended to, I promise you.
(The officers lift the tape for Sara. She rushes past Sofia, who walks with her to the scene.)
Sofia: Hey.
Sara: Hey.
(Sara sees three bodies on the alley floor. Medics attend to the beaten visitor and the attacker. Greg is unattended in the center.)
Sara: Why isn't there a medic on Greg?
Sofia: He's been s*ab. Sara, he's going to be okay.
(Sofia walks away. Sara walks over to Greg and kneels next to him. Greg's eyes are closed.)
(Sara puts a hand on Greg's hair, lightly stroking, offering what little comfort she can.)
Greg: (faintly) Sara ...
Sara: I didn't think you could see me.
Greg: I can't ... but I know that Sidle scent.
Sara: I'm going to take that as a compliment.
(Sara looks up and turns away as she sniffles.)
Greg: (rasps) I scratched one of them.
(Sara takes Greg's hand with hers, careful to avoid touching his fingernails.)
Greg: And you should check my vest. I think the same guy s-spit on me.
(Sara doesn't say anything.)
Greg: And one of their cars crashed into the Denali. I guarantee there's transfer on it.
(Sara doesn't move. She continues to stroke Greg's hair.)
Greg: You should process the scene now. Me later.
Sara: I came here for you, Greg.
CUT TO:
[INT. HOSPITAL – ROOM -- DAY]
(Stanley Tanner's leg is in a cast. His arm is in a cast and his face is bruised and beaten. Brass talks with him.)
Brass: So how long you been in town, Mr. Tanner?
Stanley Tanner: About twenty hours, man.
Brass: You on vacation?
Stanley Tanner: Straight from Union City, Tennessee.
Brass: Okay, tell me what happened.
Stanley Tanner: Well, I was cutting through that alley trying to find a taxi off one of them side streets. Next thing I know I'm on the ground just getting pounded all to hell. I thought I was gonna die. Even give it up to the man. Then I heard that horn honking and engine revving toward me.
(He fades out and smiles at the thought.)
Brass: Can you give me any descriptions?
(Stanley shakes his head, no.)
Brass: Okay. All right. You take it easy.
Stanley Tanner: Could you do me a favor?
Brass: Sure, I'll do my best.
Stanley Tanner: The man that saved my life, I'd like to meet him, give him a thank you.
Brass: His name is Greg Sanders. And I'm sure he'd appreciate it. I'll tell him.
CUT TO:
[EXT. ALLEYWAY -- DAY]
(Nick scrapes red paint transfer off of Greg's dark-colored Denali. He's quiet and disturbed by the scene.)
(Warrick snaps photos of the blood on the ground. He even snaps a photo of a small tuft of brown hair.)
Warrick: I think I just found a piece of Sanders' hair.
(Cole Tritt, standing at the tape line, shouts to the CSIs inside.)
Cole Tritt: So what, did somebody else get a b*at down?
(Nick turns to see the man standing outside the crime scene tape.)
Cole Tritt: You bitches haven't caught them cats yet?
Nick: Excuse me?
Warrick: You fellas want to keep it moving? We're trying to work here.
Kid 2: You call that working? Why is there an ass-whupping on every other block?
(Nick stands up.)
Nick: There's about to be an ass-whupping on this block.
Kid 2: Is that right?
Nick: That's right.
Warrick: Hey, Nick ...
Cole Tritt: Man, you're weak, weak, weak, weak.
(The officer grabs kid 2 and pushes him up against the wall. Nick makes his way toward Cole Tritt.)
Officer: Come on, man.
Kid 2: You can't do this. I'll say what I want.
(Cole Tritt holds his hands up in surrender.)
Cole Tritt: I'm sorry. You're not weak.
(Warrick is picking up something when he notices Nick heading toward Cole Tritt.)
Warrick: (warns) Nick.
(Nick stops in front of Cole Tritt.)
Warrick: Nick ...
Cole Tritt: You're a joke.
(Nick turns around and smiles at Warrick. Warrick shakes his head, no.)
(Nick turns and punches Cole Tritt in the stomach. The crowd reacts. Nick pulls back his fist and Warrick grabs his arm in a lock. He turns and pushes Nick toward the SUV.)
Warrick: Nick. Come on!
Cole Tritt: (to the crowd) Anybody get that on video? Man, I'll take a picture myself.
(Cole Tritt takes out his phone. Warrick walks up to him and grabs the phone from him. He looks at it.)
Warrick: That's a nice phone you got there, man. Real nice phone. Wonder how many drug dealers' numbers you got on this phone here.
(Warrick ducks under the crime scene tape and gets in Cole Tritt's face.)
Warrick: Feel like going to jail tonight? Listen, I'm sorry about the little spill you had earlier, but that's why we got the crime tape up, so you could see it. Watch where you're going next time. (Warrick pushes him away.) Get you home safely.
(Warrick ducks back under the tape and heads over to Nick.)
Warrick: What are you doing? We beating people up now?
Nick: I'm sick of these punks, man. I'm serious, I'm sick of it.
Warrick: Then you're in the wrong town.
Nick: Maybe.
(Nick pushes past Warrick and heads off screen.)
CUT TO:
[INT. HOSPITAL – GREG'S ROOM -- DAY]
(Grissom walks into the room and stops at the foot of Greg's bed. Greg's eyes are closed.)
Grissom: Greg?
(Greg's one good left eye flutters open.)
Greg: Grissom.
Grissom: Just another day at the office, huh?
Greg: Well, at least I can see now. The guy they b*at up ... how is he?
Grissom: He's gonna be fine.
Greg: What about the other guy? The guy I h*t.
Grissom: His name is Demitrius James. He's in surgery.
Greg: Is he, like, a gangbanger or something?
Grissom: Actually ... he's a student at the university.
Greg: He gonna be okay?
Grissom: I don't know.
(Greg turns away and sighs.)
Grissom: Has someone called your parents? We should let them know.
Greg: Mmph.
Grissom: What's the matter?
Greg: They still think I'm in the lab.
Grissom: (confused) Why do they think that?
Greg: When I was in high school ... I never played any sports. No football, no basketball. Definitely no hockey.
Grissom: I never would've guessed.
Greg: Well, it wasn't by choice. My mom wanted four kids. Ended up with only one. She always made sure I stayed close. If I got a nosebleed, she'd take me to the ER.
Grissom: Well ... now would be the time to come clean.
Greg: (upset) My mom's gonna freak.
Grissom: You tell her that you risked your life to save someone else's ... and I think she'll be very proud of you.
(Greg cries quietly.)
[INT. HOSPITAL – HALLWAY – DAY -- CONTINUOUS]
(Grissom steps out of the room and walks down the hallway. Sara turns the corner.)
Sara: Hey.
(She heads toward him.)
Sara: Doctor found these on Demitrius James.
(She shows him a container. He takes it and looks at it. There is a pair of contact lenses inside.)
Grissom: Contact lenses?
Sara: Special kind. They're called Halloween lenses. They're wearing costumes.
Grissom: Great. Just a game to them.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI -- DAY]
(The fax machine prints out a sheet. Catherine looks at it. It reads:
TEL NEVADA
CELLULAR PHONE RECORD
VASCO RUIZ
702-555-0102
(She looks at the numbers.)
Catherine: (V.O.) Is that your number, Cha Cha?
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Catherine interviews Cha Cha Romero.)
Cha Cha Romero: Yeah, that's my number.
Catherine: So tell me ... what does a d*ad guy sound like?
(Catherine puts the post-mortem photo of Vasco Ruiz on the table. Cha Cha Romero looks at it and laughs.)
Catherine: Oh, is that funny?
Cha Cha Romero: Oh, man, I mean, isn't it supposed to be?
Catherine: Someone called you from his phone-- who was it?
Cha Cha Romero: When'd they call again?
Catherine: 12:33 A.M., last night.
Cha Cha Romero: Man, you know how many people blow me up at that time? sh**t, that's like prime time. Finding-the-right-party time. Half my calls go to voice mail my line's so busy.
Catherine: Who's this guy?
(Catherine flips through the photos and shows her a picture of Demetrius James.)
Cha Cha Romero: (sighs & shrugs) M-maybe I seen him before, I don't know.
(She reaches down and picks up her bag. She puts it on the table. Catherine notices the large "F" insignia on the bag flap. She unzips the bag.)
(Catherine looks at the photo of the large "F" shaped bruise taken from Jessica after her beating.)
INSERT: FLASHBACK
(The g*ng punches and hits their victim. Cha Cha swings her bag and hits the victim.)
BACK TO SCENE.
Catherine: Farami, huh?
Cha Cha Romero: Yeah. You like?
Catherine: If it was real, I might.
Cha Cha Romero: Whatever. (She stands up and walks over to the door.) Can I go now?
(Catherine shows her a photo of Jessica.)
Catherine: When I swab that knockoff Farami buckle and I find this tourist's DNA on it, you're going down for m*rder.
Cha Cha Romero: (scoffs) She didn't die.
Catherine: No, but Mr. Ruiz did. And you were the last person that he called. That connects you to both crimes.
Cha Cha Romero: (sighs) Tara, okay? Tara called me. It's funny, 'cause the only reason I picked up my phone is 'cause I didn't know the number. (She sits back down.) Thought it was this hot boy.
Catherine: And what did Tara want?
Cha Cha Romero: Her boyfriend Pig invited her to a party at a motel. She invited me, so I rolled.
(Quick flashback to: The group beats up a tourist in the parking lot. Tara and Cha Cha step into camera frame.)
Tara Miller: Go get a piece. It's fun.
(Tara puts her hood on and heads for the group. After a b*at, Cha Cha puts her hood on and joins them.)
(End of flashback.)
Catherine: Is that your idea of a party?
Cha Cha Romero: Man, everyone loves a good fannysmackin' session.
Catherine: A what?
Cha Cha Romero: Beating up fannypackers. You know, tourists.
Catherine: Why would you want to do that?
Cha Cha Romero: (shrugs) Nothing else to do.
Catherine: And you do this all the time?
Cha Cha Romero: Yeah, but this was the first time I ever heard of anyone dying.
Catherine: What is Pig's name?
Cha Cha Romero: I just know "Pig."
Catherine: So if ... fannysmackin' is all about tourists, why'd you go after a dishwasher at the Golden Sapphire?
Cha Cha Romero: I don't know. Maybe he was just practice.
(Catherine looks absolutely speechless.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – HALLWAY -- DAY]
(Sofia meets up with Brass.)
Brass: So, you think we're out of the woods yet?
(She looks at her watch.)
Sofia: Well, the beatings were occurring every half hour, and it's been three hours since the last one, so maybe.
(In the background, they hear voices rise from a commotion at reception. They head over.)
Officer: You need to sign in.
Dean Harden: Do I look like I want to sign in? I want to talk to a cop, okay? (shouts) Somebody get me a cop! I want to talk to a cop now!
(Brass and Sofia turn the corner.)
Sofia: (points to Brass) He's a cop.
Brass: (points to Sofia) She's a cop.
(Dean Harden and Anthony Himmer walk over to Sofia and Brass. Anthony points to Dean's beaten face.)
Anthony Himmer: Hey, my friend, he got b*at up and robbed.
Brass: I can see that.
Sofia: Where?
Dean Harden: On the corner of Decatur and Jones. They-they took the ten g's that I had on me, they took my watch, they took my cell phone.
Anthony Himmer: And look at his face. They b*at him up, too.
Brass: Did you get a good look at 'em?
Dean Harden: Not really -- they were wearing hoodies.
(Brass and Sofia look at each other.)
CUT TO:
[EXT. MILLER RESIDENCE -- DAY]
(The door opens. Tara Miller, escorted by two officers, walks out of the residence. Her hands are cuffed behind her back. She's got a large bandage on her left big toe.)
(They put her in the back of the officer car.)
(Nick exits the residence carrying a couple of bags of evidence. He walks past a red car and stops to look at the scratch on its side. He turns and looks at Tara in the back seat of the officer car. She's watching him.)
(Nick puts the packages down and opens the car door. He crawls inside and opens the glove compartment. He opens the center armrest compartment and finds a wallet and cell phone. He takes the wallet and cell phone out of the car and shuts the door.)
(He opens the wallet and finds VASCO RUIZ's driver's license inside. Nick looks at Tara. She knows she's busted.)
CUT TO:
[INT. CSI – HALLWAY / LAYOUT ROOM -- DAY]
(Hodges walks through the hallway and finds Grissom in the layout room, various items spread out on the table.)
Hodges: Processed the sweater found at the liquor store. Found blood.
(He shows the results to Grissom.)
Hodges: Sent it to DNA. Wendy found two types, matched both to your vics. She also ran saliva on Greg's jacket. Came back unknown male. Same unknown male that Greg scratched.
(Finished, Hodges puts the results back in the folder and looks at the map and various evidence out on the table.)
Hodges: Nice map.
Grissom: What do you see?
Hodges: My old neighborhood. What do you see?
Grissom: Inconsistency.
Hodges: In what?
Grissom: The dishwasher, both tourists and Greg were att*cked near the strip. Dean Harden claims that he was att*cked all the way over here in southwest Las Vegas. Swarms don't backtrack.
Hodges: We're talking about humans here, not bugs.
Grissom: Humans have always adapted strategies from insects. Swarming is an ancient military tactic. You surround your enemies, then att*ck from all directions simultaneously. Alexander the Great pioneered the maneuver 2,000 years ago. Although swarms consist of several individuals, they must be treated as a single entity, which lives, thinks and moves as one, built with an internal logic to continue forward, gain momentum and never backtrack.
Hodges: So this guy Dean probably was not a victim of this swarm, or he's lying.
Grissom: Take a look at these clothes.
(Grissom shows Hodges Dean Harden's clothes.)
Grissom: In contrast to the other beatings, I found only one type of shoe tread on Dean's clothing. The print matches a size 12 Nike Air. And this tennis shoe is ... his own.
Hodges: He swarmed himself?
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Sofia talks with Dean Harden and Anthony Himmer.)
Dean Harden: I owe my Uncle Lenny ten g's. And I don't got it, all right?
Sofia: Am I supposed to know who Uncle Lenny is?
Anthony Himmer: Uncle Lenny? Lenny G. The famous sports handicapper.
Sofia: (interrupts) Yeah, it's not ringing any bells.
Anthony Himmer: He's black-booked from the casinos.
Dean Harden: But he still likes to bet.
Sofia: And you bet for him.
Dean Harden: Yeah, he gave me five dimes to bet the Eagles this past Sunday. You see, me and Ant, we're hurting for cash right now.
Anthony Himmer: We didn't think the Eagles had a chance, so we thought we would just pocket the cash.
Sofia: But they won and now you owe Uncle Lenny G. ten gs.
Dean Harden: Yeah. And when we saw these beatings on TV and ... just thought it was a great idea.
(Quick flashback to: [EXT – NIGHT] )
(Dean and Anthony discuss the beatings.)
Dean Harden: Don't go near the package.
Anthony Himmer: Why am I going to go near your package?
Dean Harden: All right. All right.
Anthony Himmer: It'll be like Pesci did it to De Niro in "Raging Bull."
Remember that?
Dean Harden: Yeah, all right, just do it, man, come on.
Anthony Himmer: Okay.
Dean Harden: All right, just do it, man!
Anthony Himmer: I'm doing it!
(Anthony punches Dean in the face. Dean yells and groans. He starts crying from the pain.)
Anthony Himmer: What, are you crying?
Dean Harden: Shut up, man! It's not funny, all right?!
(End of flashback.)
Anthony Himmer: I figured if Dean said we got b*at up and robbed, we wouldn't have to pay up.
Sofia: Yeah, well, now you're eleven g's in the hole. The ten thousand you owe Uncle Lenny for the bet, and the thousand you owe us for filing a false police report.
(Sofia turns and leaves the room. Dean shakes his head and exhales.)
CUT TO:
[INT. CSI – LAB -- DAY]
(Nick empties out handbag contents on the table. He picks up the cell phone and checks the messages. There is one new text message.
CALLBACK #: 702-555-0165
MESSAGE: FROM PIGMAN. WHERE DA HELL U @
CALLBACK #: 702-555-0165
MESSAGE: U ROLLIN OUT TONIGHT
SENT ON: SEP 11, 06 8:58 PM
1 NEW TEXT MESSAGE
MESSAGE: PIGMAN: HEY Y'ALL. GOLDEN SAPPHIRE FANNYSMACKIN' SESSION. 11. MESSAGE SENT 9:33 PM
(Nick continues to check the messages when Catherine walks in.)
Nick: Hey, Catherine. I think I'm on to something. Check this out.
(Catherine takes a latex glove and uses it to hold the phone as she reads the text message.)
Catherine: Oh ... the king swine.
Nick: Now, "y'all" is plural. Believe me, I used the word a lot, so I have a feeling he sent that to more than one person.
Catherine: It could be a mass text. Lindsey once sent everyone in her phonebook the same message at the same time. I got stuck with a $300 bill.
Nick: Hmm, we got this punk's phone number. All we have to do is subpoena his phone records. We'll get every one he sent the message to. We'll text him, we'll tell him to meet us somewhere.
Catherine: From Tara's phone? They'll know it's us.
Nick: No, from Pig's phone.
Catherine: We don't have Pig's phone.
Nick: Don't need it. When you text from a computer, you put in the number that you're calling from. We'll just use Mister Piggy's.
Catherine: Okay, but how do we get the pig?
(Nick turns and looks at Catherine.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Brass talks with Tara Miller.
Brass: Look, I'm not going to play you, Tara. So let's not waste each other's time. I have enough evidence to try you for first-degree m*rder. But I'm greedy. I want the rest of the Mickey Mouse Club. So you have a choice. You can either spend a very, very long time in jail or you can help me out.
(Tara holds her wrists out for him to handcuff. She bobs her head from side to side. Brass looks at her and bobs his head from side to side in the same manner.)
Tara Miller: I'm not saying nothing.
Brass: You don't have to say anything.
(Brass slides a pad and pen toward her.)
Brass: Write a text message. Something Pig would send to his buddies to gather them all up for another fannysmackin' party. Look, Tara, I don't think that beating these people up was your idea, so why should you and Cha Cha take the fall? These guys don't care about you. I mean, let's face it. You're just a piece of tail to them. Right? So what's it going to be? Are you going to let a guy with the colorful but unfortunate name of "Pig" run free while you go to jail? You know, it's funky in there. No Posh Spice. No parties, no purses or pedicures or pasta primavera. So you decide. (firmly) Decide.
(She grabs the pen and starts writing.)
CUT TO:
[CU: MONITOR]
(The text messages are sent out. It reads:
From: 702-555-0165
Pigman: yo.
Fannysmakin' championship .Round two. Meet @ 5 @ da spot. 09/22/2006 7:50
PM
[INT. DA SPOT – NIGHT]
(A couple of guys wearing masks sit in their car. A second car pulls up along side theirs.)
Hooded Kid #1: Pig text you?
Hooded Kid #2: (nods) Yeah.
(Several more cars pull into the warehouse and park.)
Hooded Kid #3: Hey, Pig, thanks for that text. I'm ready for some smackin'.
"PIG": I didn't text you.
Hooded Kid #3: You didn't?
"PIG": Nah. Did you text me.
Hooded Kid #3: I didn't text you.
(Suddenly several officer cars pull into the warehouse, their sirens pulse on and off, lights flashing.)
(Brass parks his car.)
(Sofia parks and gets out of her car, a g*n in her hands. Nick parks and gets out of his car, his g*n out and leveled at the kids. More cars pull in, surrounding the kids.)
Brass: (over bullhorn) Everybody out of the car, now. Get out of the car.
(One-by-one, the kids get out of their cars.)
Brass: (over bullhorn) Let's see those hands. Put them on the top of the car.
(The officers move forward.)
Officer: Put ‘em where I can see ‘em.
(Nick takes special notice of a kid who hasn't moved from his car. Sofia heads forward toward the car. She cocks her g*n on her way to the car.)
Sofia: Turn off the truck. Get out. And put your hands above your head.
(The kid doesn't move.)
Brass: (over bull horn) Get out of the car!
("Pig" gets out of the car. The officer steps forward and slams him face-down onto the hood of the car.)
Sofia: You're going to jail.
(He looks at her.)
"PIG": Free shower, free food, free sleep.
("Pig" chuckles. Nick pushes his way toward "Pig." He tucks his g*n away.)
Nick: Let me in there.
(Nick pulls the mask off and finds it's the guy from the alleyway crime scene.)
Cole Tritt (Pig): This little piggy went, "wee, wee, wee," all the way home.
(Nick knocks the cap off Cole's head. Cole looks at Nick and snorts like a pig as the officers pull him away.)
CUT TO:
[INT. HOSPITAL – GREG'S ROOM -- NIGHT]
(Greg is feeding himself. He lifts his head and through the glass window between the two rooms, he sees Demetrius' mother and brother standing over Demetrius' bed.)
(He hears voices and turns to find Nurse Lizzy pushing Stanley Tanner in a wheelchair. They enter his room.)
Nurse Lizzy: I think this is the room, sir.
Stanley Tanner: There he is.
(Greg pushes the bedside table away and gets to his feet.)
Stanley Tanner: Mr. Sanders?
Greg: Hey. How you doing?
Stanley Tanner: Better than d*ad. Get me over here, Lizzy, where I can shake this man's hand.
(Lizzy pushes his wheelchair closer. Greg holds up his bandaged hand. Stanley holds up his arm in a cast. It's a little awkward, but Stanley grabs Greg's left hand with his right in a firm grip.)
Stanley Tanner: You're a brave man. Thank you.
Greg: You're welcome.
Stanley Tanner: (to the nurse) Home, Elizabeth.
Nurse Lizzy: Okay.
(Nurse Lizzy backs Stanley toward the door.)
Stanley Tanner: I cook some mean barbeque, if you ever get yourself to Union City, Tennessee.
Greg: I'll look you up.
Stanley Tanner: You do that.
(In the next room, Marla James cries hysterically over her d*ad son's body. Greg turns and steps closer to the window. She drapes herself over her son and sobs loudly.)
(Her other son Aaron stands helplessly on the side. He looks up and sees Greg watching them. He glares at Greg. Greg looks down and steps away from the window.)
(He continues to glare at Greg.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – MORNING]
[INT. CSI – LOCKER ROOM -- MORNING]
(Sara removes the lock from her locker and opens it. She turns and addresses Warrick, who is sitting on the locker bench, and Nick, who removes the cartridge from his g*n before tucking it back into his locker.)
Sara: I am going to pick up some Roberto's, take it over to Greg. I'm sure he's sick of that hospital food -- anybody want to come?
Warrick: I'll take a ride with you, but I'm going to pass on the Mexican food at 10:00 in the morning.
Nick: (chuckles) No, I'd like to see Greg. I'm definitely in, yeah.
(Catherine walks in.)
Catherine: Pig and the piglets are in the pigpen.
Warrick: It's about time. Finally, some good news.
Catherine: Did you know that Pig, aka Cole Tritt, was the only adult. The rest of them were under 18. One was 14.
Warrick: Are you kidding? Who raises these kids?
Catherine: I mean, they weren't all delinquents. Demitrius James was a college student.
Nick: Hanging out with the wrong crowd in the wrong town. I'm telling you ...
[INT. POLICE DEPARTMENT – BOOKING – DAY]
(The kids are being processed. One is outside the holding cell while the others wait inside, sitting on benches.)
Nick: (V.O.) ... a fake ID in Las Vegas is like having a free ticket on the hell train. Sex, drugs, gambling, no adult supervision, 24/7.
(The officer grabs the next kid and lead him to the holding cell door.)
Nick: (V.O.) By the time they're 21, they've done and seen it all.
BACK TO SCENE.
(Catherine looks shocked by their assessment of today's young people.)
Catherine: Make me slit my wrists, why don't you? I'm raising a teenager here.
Warrick: Oh, you're doing a great job. Lindsey's gonna turn out to be a beautiful young woman. Besides, I grew up in Vegas. I didn't turn out so bad, did I?
Nick: Yeah, that was pre-Mirage, back when you were a little squirt going to the casino playing the arcade games.
[INT. POLICE DEPARTMENT – BOOKING – DAY]
(Camera moves down the line of bored kids sitting on the benches inside holding cells as they wait to be processed. There's no fear on their faces. No remorse. Nothing.)
Nick: (V.O.) No, Vegas is a different animal now.
Warrick: (V.O.) Yeah, these kids need to b*at people on the street to be entertained. They just need some good discipline.
BACK TO SCENE
(Sara finishes and turns to listen. Warrick tucks his things in his pockets as he smiles at Nick.)
Warrick: They need their grandmother whupping their ass like, like I had.
Nick: (nods) Yeah, a good slap.
Sara: You know, it kind of sounds like you guys are blaming everybody but these kids. I mean, you don't get a bye just 'cause you grew up here or your parents are on drugs. Those kids are perfectly capable of telling the difference between a wild night out and ... beating somebody to death.
Grissom: (o.s.) The truth is ...
(Grissom, who has been unnoticed in the room all this time, shuts his locker closed. He has everyone's attention.)
Grissom: ... a moral compass can only point you in the right direction, can't make you go there. Our culture preaches that, uh, you shouldn't be ashamed of anything you do anymore.
INSERT: VARIOUS FLASHES OF THE KIDS HAVING THEIR MUG sh*ts TAKEN.
Grissom: (V.O.) And unfortunately, this city was built on the principle that there's no such thing as guilt. "Do whatever you want; we won't tell." So without a conscience, there's nothing to stop you from k*lling someone. And evidently, ...
BACK TO SCENE.
Grissom: ... you don't even have to feel bad about it.
FLASH TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x04 - Fannysmackin'"} | foreverdreaming |
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY – EARLY MORNING]
[INT. CHURCH – EARLY MORNING]
(Two nuns, Sister Elizabeth and Sister Bridget, walk into the church. Both are carrying large vases of flowers. The vases are so large, they can barely see in front of them. Sister Elizabeth sniffs the air.)
Sister Elizabeth: Urine.
(Sister Bridget sniffs the air. They make their way to the front of the church.)
Sister Bridget: I don't smell it.
Sister Elizabeth: Ever since Father started leaving the church open at night --
Sister Bridget: -- the church has gotten a lot more use.
Sister Elizabeth: Yeah, as an orgy house and a toilet.
Sister Bridget: No. People come in at all hours of the night to pray.
Sister Elizabeth: "Dear Jesus, please keep me from bl*wing all my laundry money on the nickel slots at the Gas 'n' Go."
(Sister Bridget puts her vase down on the floor next to a pew. Sister Elizabeth continues to the front. She sees a stream of liquid leading to the base of the statue of Jesus.)
Sister Elizabeth: Oh, somebody's done their business right here next to Jesus.
(She puts her vase down on the floor near the statue of Jesus. She steps back, her eyes wide and fixed on the statue in front of her. Sister Bridget heads over.)
Sister Bridget: Oh, no, not again.
(She turns and sees the older nun's reaction. She looks at the statue of Jesus and sees the blood on the palms of the statue's open hands.)
(The two nuns look at each other. Sister Bridget gasps. Sister Elizabeth crosses herself.)
Sister Elizabeth: Right here on the eve of the apocalypse, a miracle.
CU: BLOODY STATUE HAND
(SLOW MOTION. A single drop of blood falls and spatters on the statue's hand.)
(The two nuns look up.)
(There hanging from the rafters is a woman dressed in a white gown, her arms spread out wide and away from her body.)
CUT TO:
[INT. CHURCH -- DAY]
(Sirens wail in the distance.)
(Crime scene tape is attached to the pews to block aisle entry. Grissom and Brass stand at the base of the statue, looking up at the d*ad body hanging from the rafters.)
Brass: Somebody went to a lot of trouble to get her up there.
Grissom: Why? I wonder. Somebody had a grudge against the church or somebody in the church.
Brass: Or maybe they were just mad at God.
(They look at each other, then turn and look up at the body above them.)
Grissom: Well, Jesus died for our sins. What sin did she die for?
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CHURCH -- DAY]
(Warrick stands on the ground taking photos of the d*ad body. Nick is on the rising platform nearby.)
Nick: You know if you think about it, this is one of the oldest ways to k*ll somebody.
(The platform stops near the pulley system holding the body up in mid-air.)
Warrick: Considering where we are, highly symbolic. All right, what do you got? How we gonna do this?
Nick: Well, the two-by-four is tied to the scaffold with a single loop. There is an empty pulley up here. We could lower her down with that.
Warrick: (looking up) That's probably how the k*ller got her up there in the first place. Then he ditched the rope. (looks around) I wouldn't be surprised to find it around here someplace.
Nick: First things first. We'll use our rope; I'll run it through this pulley, and then let you take the weight. I'll mark the rope, cut the knot; down she goes.
(Warrick picks up their rope from the ground.)
CUT TO:
(Nick tightens the rope around the two-by-four. He has the rope through the pulley.)
Nick: Ready?
Warrick: Yeah.
Nick: You take the weight. I'll cut it on three.
(Down below, Warrick braces himself as he holds the end of the rope.)
Nick: One, two, three.
(Nick cuts the rope.)
Nick: Got it?
Warrick: Yeah, ready. (groans) Oh. Whoever tied her up there had to be strong enough to deadlift her weight.
(Nick brings the platform down with the body.)
Nick: Yeah, either that or highly motivated. You know how it is once somebody's adrenaline gets pumping. Feel like they can do anything.
(The platform and the body reach the ground.)
Nick: All right, that's it.
(Warrick and Nick put the cross and body flat on the plastic over the ground.)
CUT TO:
[EXT. CHURCH – FRONT (STOCK) -- DAY]
(Sirens wail in the background. An officer ducks under the crime scene tape and walks away.)
[INT. CHURCH – HALLWAY -- DAY]
(Greg finishes fingerprinting the two sisters, Sister Elizabeth and Sister Bridget. Brass stands nearby as they talk. The sisters wipe the ink of their fingers.)
Brass: Look, shouldn't Father Frank be here by now?
Sister Elizabeth: Father Frank lives in mañana land.
Sister Bridget: Well, I'm sure he's on his way. Father Frank is a wonderful priest. And since he's been here, church attendance has tripled.
Sister Elizabeth: (gruffly) Among our female congregants.
(Sister Bridget sighs. She turns back to Brass and smiles.)
Sister Bridget: And we have sponsors for our building fund.
Sister Elizabeth: One sponsor.
Greg: The Big Hombre?
Sister Elizabeth: The car dealership.
CUT TO:
[INT. CHURCH -- DAY]
(Robbins wipes his liver thermometer. Grissom stands nearby with his clipboard.)
Robbins: Time of death was sometime between 2:00 and 4:00. Nasty head wound. She was actively bleeding, so she had to have been alive when she was tied to the cross. Good chance she died of suffocation.
Grissom: Like Jesus.
Robbins: Well, Jesus had a footrest. He was able to lift himself up and take short breaths. But this young lady was hanging. Her pectoral muscles probably became paralyzed and the intercostal muscles were unable to function. She was able to breathe out, but not breathe in.
INSERT: CGI ENHANCEMENT
Robbins: (V.O.) In time, carbon dioxide built up in her lungs and bloodstream. Edema built up in the chest cavity. Heart went into fibrillation.
BACK TO SCENE.
Grissom: Gruesome t*rture in any century.
(Catherine walks up the aisle.)
Catherine: In eighteen years, this is my first crucifixion. In a Catholic church with no crucifixes.
(Catherine notes the blood on the palm of the statue of Jesus.)
Grissom: I imagine the priest is a resurrection theologian, as opposed to a crucifixion theologian. They believe in forgiveness rather than penance.
Catherine: We could all use a little forgiveness.
Grissom: She was bleeding from her head wounds, and the beating didn't take place up there.
(Catherine notes the blood at the base of the statue of Jesus.)
Catherine: Well, the blood pool is gravitational. And the blood trail ...
(She looks around at the trail on the floor.)
Catherine: ... the tips are pointing towards the statue. She was bleeding on the way in. I'll backtrack, see if I can find the point of origin.
(Catherine follows the blood to the door.)
CUT TO:
[EXT. CHURCH – FRONT -- DAY]
(A crowd of reporters and on-lookers have gathered around the front of the church. Father Frank Berlin pushes his way through the crowd to the church. Marty, a crackhead, follows him and gets too nervous with the police there.)
Marty: Uh, ... I-I got to go, Father. I'll see you.
Frank Berlin: Okay.
(Marty leaves. Frank Berlin stops at the tape barrier and talks with Officer Mitchell.)
Frank Berlin: I'm the pastor of the church.
Officer Mitchell: (over his shoulder) Hey, Captain. He'll take care of you.
(Officer Mitchell holds up the tape and Father Frank Berlin ducks under it.)
Frank Berlin: Thank you.
(Brass walks over to him.)
Frank Berlin: Father Frank Berlin.
Brass: I'm Jim Brass, Las Vegas Police. You were supposed to be here 45 minutes ago. Where you been?
Frank Berlin: Been serving breakfast at the shelter. I understand there's been a death in the church. How soon before you're out of here?
Brass: Father, this is a m*rder investigation.
Frank Berlin: It's just we hold mass at ten o'clock.
Brass: Yeah, I understand. Sorry, Father, but, uh, this is a crime scene. You're not gonna get your church back for a while.
Frank Berlin: Is it all right if we set mass in the community center?
Brass: Yeah, sure, I have no problem with that.
CUT TO:
[INT. CHURCH – FOYER / SANCTUARY – DAY]
(Sisters Elizabeth and Bridget are wiping their hands. They stand up when Father Frank Berlin walks in.)
Frank Berlin: Sister, would you tell the choir we'll be singing "In Paradisum."
Sister Bridget: I'll take care of it, Father.
(Sisters Bridget and Elizabeth leave. Greg gets up and follows Frank Berlin and Brass, who walk to the church sanctuary.)
Frank Berlin: We sing the hymn for the d*ad every time we have a death.
(They turn and enter the church sanctuary and walk down the aisle toward the body.)
Brass: Sisters couldn't identify the victim, so we'll need you to take a look.
Frank Berlin: Sorry. I didn't mean to sound cavalier. It's just we've had over half a dozen deaths this year. We've never had to close the church.
Brass: That's because in this neighborhood those derelicts and drug addicts died of heatstroke, overdose and old age. None of them were strung up in the rafters.
(They reach the front. Grissom turns around.)
Brass: Father Frank Berlin, this is Gil Grissom from the Crime Lab.
(Robbins turns the victim's head toward Frank Berlin so he can see her.)
Brass: Do you recognize her?
(Frank Berlin is quiet and distressed. Obviously he does recognize her. He shakes his head, no.)
Brass: I'll take that as a no.
(Grissom watches Frank Berlin.)
Greg: Excuse me, Father. Is that blood on your jacket?
(Frank looks at the blood on the back of his upper arm.)
Frank Berlin: Yeah. We had a fight in the shelter. I had to break it up.
Grissom: We're gonna need to take your clothes.
Frank Berlin: No, you can't have my clothes.
Brass: Then you have to come downtown to the police station.
Greg: If you're gonna say mass later, you have to change anyway, right?
(Frank Berlin turns and leaves. Grissom motions to Greg.)
Grissom: Greg, go with him, collect his clothing.
(Greg shrugs and leaves to follow Frank Berlin.)
Brass: Is it a bigger sin to lie if you're a priest?
Grissom: I hope so.
CUT TO:
[INT. CHURCH – HALLWAY -- DAY]
(Catherine follows the blood trail. She looks up and sees the candles on the stand near the window. She walks over.)
(She looks around. She takes a bill out, puts it in the donation slot. She takes a match from the matchbox and lights it.)
Catherine: This one's for you, Sam.
(She lights the candle and blows the match out. She crosses herself.)
CUT TO:
[INT. CHURCH – STAIRS -- DAY]
(Greg follows Frank Berlin down the stairs. Greg carries the bag of clothes with him.)
Frank Berlin: When will I get those back? I only have three sets of clothes.
Greg: Respectfully, Father, a woman's been m*rder in your church and your clothes have blood on them. You're lucky you're not under arrest.
(Greg continues walking. Frank Berlin stops and sits down on the steps, upset.)
(Greg stops walking. He turns around and watches Frank Berlin for a moment. Greg turns and continues walking.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Sara gathers trace from the victim's body. She finishes marking the envelope and puts it on the tray. She picks up another envelope and gathers scrapings from under the victim's fingernails.)
(She finishes and sets it aside. She picks up the magnifying glass and looks at the victim's feet. She finds a thorn in the victim's feet and snaps a photo of it.)
(She removes the thorn and looks at it. She continues working.)
(The door opens and Grissom walks in. Without looking up, Sara knows it's him. Grissom puts his gloves on. Sara pulls out another thorn from the victim's feet.)
Sara: Was there bougainvillea at the crime scene?
(Grissom stops and thinks about it.)
Grissom: Two shrubs at the entrance of the church. A row of four on the wall of the community center. Three bushes behind the rectory adjacent to the statue of St. Jude.
(She turns and smiles at him.)
Sara: Did you anticipate that question in order to impress me with your powers of observation?
Grissom: Memory's a gift.
(Sara goes back to examining the victim's feet. Grissom looks at the victim.)
Sara: Mmm. From whom?
Grissom: Who do you think?
Sara: Well, I wouldn't necessarily call myself an atheist, but I am not sold on the notion of a higher power. However, I used to love the stories of the saints.
(Grissom notices a bruise pattern around the victim's neck. He puts his glasses on.)
Grissom: This job certainly challenges your faith.
Sara: Yes, it does, but I have science.
Grissom: I believe we need a little of both.
(Grissom thinks about it a moment. He takes his glasses off.)
Sara: Sometimes I think we made up God just to have someone to blame for our mistakes.
(Grissom's quiet and doesn't answer her. He gets an idea and quickly leaves the room.)
Sara: (calls out) It's just a theory.
CUT TO:
[EXT. CHURCH – BACK -- DAY]
(Catherine puts evidence marker #18 down next to a drop of blood on the stone walkway. She continues walking and puts evidence marker #19 down near some blood near a statue.)
(She snaps a photo of it and looks around. Near the bushes, she finds a high-heeled sandal on the ground. She snaps photos of it and looks around the area. She finds the second matching sandal on the bougainvillea bush. She picks up the sandal and puts it on the ground next to the other sandal.)
(She looks around and sees a set of keys on the ground nearby. Catherine walks over and picks it up. She looks at it.)
CUT TO:
(Catherine steps out onto the sidewalk and holds out the car keys. She points it down the long row of cars and presses the alarm.)
(The car alarm blares behind her. She turns around and looks at the car parked right in front of the church.)
CUT TO:
[INT. CHURCH -- DAY]
VARIOUS DISSOLVES OF:
(Warrick checks the scaffolding for prints. He climbs up the ladder and swabs the scaffolding. He tests the swab.)
(Warrick looks around. He climbs up and finds a piece of hair on the scaffolding. He picks it up and puts it in a bindle.)
(He swabs some blood on the metal scaffolding. He tests it. It tests positive.)
(He climbs up further and finds a blood smear on the scaffolding.)
[INT. CHURCH – WALKWAY/BACK ROOM -- DAY]
(Nick is walking through the side hallways. He finds things lying against the wall. He opens a backroom door and finds the mother lode.)
Nick: (chuckles) Hey.
(He steps inside and finds rope and other supplies.)
Nick: (shouts) Hey! Hey, I found it. Rope, nails, hammers, everything.
(Nick lifts up the rope and finds more hammers under it. He picks up the topmost hammer and examines it.)
Nick: (softly) Oh, yeah.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Grissom walks in his office. He heads for his desk. He opens his top right-hand drawer and picks up a small wooden box.)
(He takes the box and walks out of his office.)
[INT. CSI – FORENSIC AUTOPSY – DAY -- CONTINUOUS]
(Grissom walks back into the room. Sara is examining the body. She doesn't look up.)
Sara: Something I said?
Grissom: No, dear.
Sara: I didn't offend you, did I? Did I say something offensive to you as a Catholic?
Grissom: I'm not really a Catholic anymore, you know. I suppose I practice a kind of secular Catholicism that involves ritualizing certain aspects of everyday life and imbuing them with a spiritual intensity they might not otherwise possess, but I don't want to put too fine a point on it.
(Grissom opens the box and takes out rosary beads.)
Sara: And the rosary beads are a part of that.
Grissom: This belonged to my mother.
(He holds the beads up against the bruising around Jane Doe's neck. It matches.)
Grissom: Take a look at this pattern.
(Sara leans in to look. She picks up the camera and snaps photos of the beads and bruising.)
Grissom: Five series of ten beads, each representing the "five mysteries" separated by five "our father" beads.
Sara: Who would strangle someone with a rosary?
Grissom: Probably the same person who would crucify someone in a church.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. CHURCH -- DAY]
(Grissom walks out of the church and heads over to Father Frank Berlin, who is talking with a man. When he's finished, the man leaves. Father Berlin picks up the scrub brush and starts working on removing the black ink from St. Jude's back.)
Grissom: St. Jude. (Frank Berlin turns around.) Patron saint of lost causes.
Frank Berlin: And that's why it's so difficult to keep the local kids from defacing this statue. Did you run those tests on my clothes?
Grissom: We did. The blood on your clothes is not a match to the blood on the victim.
Frank Berlin: So do I get my clothes back?
Grissom: Not just yet.
(Frank Berlin turns to leave. Grissom stops him.)
Grissom: I have a favor to ask.
Frank Berlin: You steal my clothes and then you want to ask for another favor?
Grissom: We'd like permission to search your rectory and the nuns' apartments.
Frank Berlin: Just because someone dies in our church doesn't mean we have anything to do with it.
Grissom: Well, we want to eliminate you as suspects.
Frank Berlin: That's what you said when you fingerprinted us, and the truth is you don't have enough for a warrant.
Grissom: You're right. But you have nothing to hide.
Frank Berlin: You really think if I k*lled a woman, I'd leave her body in my own church?
Grissom: It's so obvious that it obviates suspicion.
(In the background Sister Bridget walks over toward them. The church bells start to ring.)
Frank Berlin: Mmm, I'm not that smart.
Grissom: Well, that's hardly the argument to make.
Frank Berlin: What is it you're looking for?
Grissom: Rosaries.
Sister Bridget: Mr. Grissom, I didn't realize you were here.
(Frank Berlin takes the glass of water from her.)
Frank Berlin: That's all right, Sister. We don't have to hide anything from Mr. Grissom. Uh, he's here to confiscate our rosaries. I don't know where mine are. Do you?
Sister Bridget: It's probably in the sacristy.
Grissom: We'll need all the rosaries.
Sister Bridget: Uh, even Sister Elizabeth's? She's not going to like that.
Frank Berlin: Happy day for Sister Elizabeth, for she delights in what she dislikes.
(Grissom notes Sister Bridget smiling at Father Frank Berlin.)
CUT TO:
[INT. CSI – LAB -- DAY]
(Nick and Warrick have the hammers on the table in front of them. The other supplies from the church are also in the lab.)
(Nick sprays the hammers. Warrick finds the matching rope ends.)
Nick: The k*ller used materials from the church: the rope, the 2x4s, and one of these hammers. I just haven't found it yet. But all this was in the same utility closet.
Warrick: He didn't bring anything with him?
Nick: Hmm-mm.
Warrick: What does this feel like to you?
Nick: Inside job.
Warrick: I mean maybe one of the construction workers wasn't a fan of the victim. I'm going to call Brass.
(Warrick heads out of the lab.)
[INT. CSI – HALLWAY / TRACE LAB – DAY -- CONTINUOUS]
(Warrick walks out across the hallway. Hodges sees him and knocks on the glass window to get his attention. Warrick looks up and Hodges motions for him to come to his lab.)
(Warrick walks in.)
Warrick: What?
Hodges: I've solved your case.
Warrick: Bull.
Hodges: No, cow. Those hairs you found on the scaffold ... not human.
(Warrick looks at the scope.)
SCOPE VIEW: BOVINE HAIR SHAFT.
Hodges: Bovine.
Warrick: They have red cows?
Hodges: You betcha, partner. Guernseys. Maybe the scaffold was used somewhere else. Like on a farm.
Warrick: Or maybe it was secondary transfer.
Hodges: Well, you can take care of that. I've done all the heavy lifting. As usual.
(Warrick rolls his eyes and leaves the lab.)
[INT. CSI – HALLWAY -- DAY]
(Catherine is walking through the hallway when she meets up with Greg.)
Catherine: Oh, hi.
Greg: Hi.
Catherine: I saw you at the crime scene. I thought you were on desk duty until the coroner's inquest.
Greg: Yeah, I was starting to get a serious case of trucker butt so I told Grissom that I wanted to, uh, get back out with the team.
Catherine: Yeah, there's no therapy like work.
(Catherine turns and looks at Greg.)
Catherine: You doing okay?
(He motions absently to the bruises still evident on his face. It looks somewhat painful.)
Greg: Yeah.
(He smiles.)
Catherine: Well, hang in there.
Greg: All right.
(Catherine walks away. Greg sighs and heads off in another direction.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Sofia walks in and talks with Hugo b*mb.)
Sofia: Mr. b*mb. We found your keys at the scene of our m*rder. We also found your car close by.
Hugo b*mb: I don't know anything about a m*rder.
Sofia: (looking in file folder) Well, we also found a wad of bloody tissues in the front seat of your vehicle.
Hugo b*mb: What ... what's going on?
Sofia: You tell me.
Hugo b*mb: I loaned my car to a woman I work with last night. She sings at my club. Charlotte Danville. Is she all right?
(Sofia puts a photo on the table. He looks at it. It's the victim's morgue photo. He takes a moment.)
Sofia: Was this your friend?
Hugo b*mb: Yeah, that's her. (He pushes the photo back to Sofia, visibly upset by the image.) Who did ... who did this to her?
Sofia: Why did she borrow your car?
Hugo b*mb: (stares at photo) She had to ... she had to do another set and needed to change her clothes.
Sofia: Doesn't she have her own car?
Hugo b*mb: She had a Toyota Solara. Totally tricked out.
Sofia: So why did she borrow yours?
(He flips the photo over.)
Hugo b*mb: I don't know. I didn't get the whole story. She seemed upset. She was talking to this guy.
(Quick flash to: [INT. CLUB – NIGHT] Charlotte Danville sits at a table and talks with someone. A waitress walks over and whispers to her.)
Hugo b*mb: (V.O.) I had to send a waitress over to remind her that she was getting paid to sing.
(End of flashback.)
Sofia: You ever see the guy move forward?
(Quick flash of: Cody White talks with Charlotte.)
Hugo b*mb: (V.O.) Yeah, it's that guy that sells cars on television.
(End of flashback.)
Hugo b*mb: Uh ... Cody White. I mean, but a lot of guys came in to see Charlotte. I mean, it's not like she slept around or anything. I tried. Can I go now?
Sofia: Not without an alibi. Where did you spend the night?
Hugo b*mb: I allowed myself to succumb to the pleasures of Donna. And she kept me up to the wee hours of the morning gratifying her abnormal lust.
(Marty turns around and waves to a buxom brunette sitting out in the waiting room. Donna waves back.)
(Marty looks at Sofia.)
Hugo b*mb: (whispers) She sleeps with her eyes open.
(He grimaces. Sofia stifles a smile.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
(FAR VIEW of HOMBRE MOTORS.)
[INT. HOMBRE MOTORS -- DAY]
(Brass walks over to a car with Cody White.)
Brass: Yeah, this is it.
Cody White: Well, this car's already been cleaned and detailed. It's ready to be sold.
Brass: Well, I guess it's a change of plans.
Cody White: No. No, there's not a change of plans. This baby's staying right where she sits. I'm not in the give-away-the-car-to-cops business. I'm in the sell-the-car-to-willing-victims business.
Brass: Mr. White, we have a court order to examine this car for evidence related to the m*rder of Charlotte Danville.
Cody White: Whoa, whoa, whoa, Charlotte? She and I are friends. I ... I knew her.
Brass: Yeah, I know. We have a witness who places you arguing with her last night. You may be one of the last people to see her alive.
Cody White: Yeah. I was with her. I went to see Charlotte to give her the car. Helped Charlotte through a rough patch, but lately she's been ducking me.
(Quick flash of: [INT. CLUB – NIGHT] Cody White talks with Charlotte Danville.)
Charlotte Danville: What am I supposed to do now? Walk home?
Cody White: I'll give you money for a cab. Tomorrow, we'll see about getting you a good used car.
Charlotte Danville: Some junker. Thanks a lot. Some friend you are. Take your damn car.
(She picks up the keys off the table and tosses them to him. She knocks over a glass and stands up.)
(End of flashback. Resume to present.)
Cody White: Guess that's what you get for helping a friend, you know. Look, I feel awful about Charlotte. I really do. But I'll tell you this: Whatever happened, happened after I got this car.
Brass: Well, I feel awful too, but the car is coming with me.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
Catherine: (V.O.) No sign of forced entry.
[INT. DANVILLE APARTMENT -- DAY]
(Catherine and Sofia walk into the apartment.)
Sofia: Pricey address.
Catherine: Does this look like the condo of a woman who sings weekends at the Gorilla Room?
(They look around the living room. Catherine finds blood.)
Catherine: Fight must've started here. Got some blood, some here on the pillow. But no blood trail. The real beating took place in the bushes at the church.
Sofia: This was just the opening act.
Catherine: Explains the bloody tissue found in the back seat of Hugo's car. I guess she got a bloody nose or a fat lip here, ran out and used Hugo's car to go to the church.
(Catherine looks at a scrapbook with newspaper clippings.)
Sofia: The k*ller must have followed her and caught up with her there.
(Catherine smiles as she reads the newspaper clipping headline: CHARLOTTE DANVILLE FLOORS ‘EM AT THE LAVISH CAFÉ.)
Catherine: She had quite the career.
(She turns the page and finds a large colored photo of a happy Charlotte and Frank Berlin.)
Catherine: Sofia.
(Sofia walks over.)
Catherine: You recognize that guy? That's Father Frank Berlin. I mean, a lot younger, obviously.
(Catherine points to another man in another photo.)
Catherine: You know him?
Sofia: No.
Catherine: That's 'the Big Hombre.' He sells cars on TV. She's known these guys forever.
(Sofia turns and looks around the room. Catherine continues looking through the scrapbook. Sofia finds some rosary beads on a pair of black high-heeled shoes. Sofia walks over and kneels down.)
Sofia: Here's a rosary.
(Catherine turns around.)
Sofia: Looks like it's broken.
(Catherine picks the beads up.)
Catherine: Hmm. Could be the one she was strangled with.
(Sofia looks around and finds a bag and cell phone on the living room table.)
Sofia: And here's her purse and cell phone. You don't leave home without those unless you're in a hurry.
Catherine: Or you're being chased.
(Catherine notices the television set.)
Catherine: DVD's on pause.
(She hits ‘play' and a home video of Charlotte Danville, Cody White and Frank Berlin singing karaoke appears on screen.)
Catherine: Well, there they are again.
Sofia: Someone was taking a trip down memory lane.
CUT TO:
[INT. DANVILLE APARTMENT – BEDROOM – DAY -- CONTINUOUS]
(Catherine is in the bedroom using the ALS on the bedsheets.)
Catherine: There was a man in her life.
(She pulls back the bedcovers and finds semen on the bedsheets.)
(She looks through more sheets and finds more semen.)
Catherine: Mr. Frisky.
[INT. DANVILLE APARTMENT – KITCHEN – DAY -- CONTINUOUS]
(Catherine steps out of the bedroom and finds Sofia looking at the trash.)
Sofia: Drain smells like whiskey, empty bottles in the trash, more liquor than you could use in a wild weekend. She might have been going on the wagon.
(Catherine steps into the kitchen and picks up a bottle of vitamins.)
Catherine: Folic acid.
(Sofia opens the refrigerator door and finds it completely stocked. Catherine continues to look through the vitamin bottles.)
Sofia: Fresh fruit, vegetables, plenty of milk.
(They stop and get the same idea at the same time. They turn and look at each other.)
Sofia: You think she was pregnant?
Catherine: We'll have Robbins run a pregnancy test.
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Grissom takes the memory chip out of the camera and loads it into the computer. He goes through the photos. He finds a particular photo of the bruising around the victim's throat and prints it out.)
(Grissom puts his glasses on. On the table is the bagged silver rosary beads belonging to Father Frank Berlin. Grissom takes the beads out of the bag and places them over the bruises in the photo.)
(Sara walks in carrying an evidence bag.)
Sara: Hey. Got another rosary for your collection.
(Sara hands the evidence bag to Grissom.)
Grissom: Where'd you get this?
Sara: Catherine found it in Charlotte's condo. There is some evidence that the fight started there.
(Grissom takes the beads out of the bag. He compares them to Father Frank Berlin's rosary beads. They look exactly alike.)
Sara: Charlotte's bag and cell phone were there, as if she left in a hurry. Are those Father Frank's?
Grissom: Yeah.
CUT TO:
[INT. CHURCH – HALLWAY -- DAY]
(Brass meets up with Sister Elizabeth and Sister Bridget.)
Brass: Where's Father Frank?
Sister Bridget: Father Frank is hearing confessions tonight.
(Brass turns and heads for the main sanctuary. He walks out of frame. The two sisters linger behind. Sister Elizabeth leans toward Sister Bridget and whispers to her.)
Sister Elizabeth: It's St. Bart's all over again. Only that time, he went in handcuffs.
Sister Bridget: That never happened. It was just a rumor.
CUT TO:
[INT. CHURCH – SANCTUARY – DAY -- CONTINUOUS]
(Father Frank Berlin runs out of the confessional booth. He opens the other confessional door and hauls Cody White out. The two men start fighting.)
Voice: Get away.
(Brass rushes in.)
Brass: Hey!
(The two men stop fighting.)
Brass: Didn't your mother tell you you're not supposed to fight in church? Cody White. What's up, Hombre?
Cody White: Father Frank and I are actually old friends. Just having a conversation about church finances.
Brass: But aren't you the one who's funding the renovation of the church?
Cody White: Not anymore. Well, there you go. We done here?
Brass: Yeah.
(Cody White leaves through the side door.)
Brass: So what sins did he commit to earn the punch-out penance? Let's talk about it downtown.
(Brass and Frank Berlin walk out the front -- past the sisters and curious on-lookers.)
(We hold on Sister Bridget.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Grissom puts photos of the rosaries out on the table in front of Father Frank Berlin as he and Brass question him.)
Grissom: These are unique rosaries, Father. Handmade in Italy. And they're sequentially numbered on the back. So we know that they were purchased together. One of them is yours; one we found at the victim's condo. Did you give it to her?
Frank Berlin: Yes.
Brass: You know, Father, when we asked you if you knew her, you said you didn't.
Frank Berlin: After I saw Charlotte's body, I don't recall being asked any questions. Um, uh, maybe I said "no" to what I was seeing. I don't really remember much about yesterday.
Brass: What about the night before?
Frank Berlin: I was at the shelter.
Brass: You know, we can't find anyone who remembers seeing you there after midnight.
Frank Berlin: Because I wasn't there past midnight.
Brass: Where were you?
Frank Berlin: One of our regulars, Marty, came in high on crack. He got into an argument, a fight with one of the other men, and I ...
Brass: What time was that?
Frank Berlin: Uh, it was late. I don't wear a watch. We had to call the paramedics; you can check with them.
Brass: Charlotte died around 2:00 A.M. Where were you then?
Frank Berlin: I was out with Marty trying to walk off his high to keep him out of trouble.
Brass: Does crackhead Marty have a last name?
Frank Berlin: I-I don't know.
Brass: You know, Father, listen, I'm telling you, these answers -- none of them work for me.
Frank Berlin: Well, then put me in jail. I'll still be doing exactly the same work I'm doing out here with exactly the same results.
Brass: I don't want to do that.
(There's a knock on the door. Brass gets up to answer it.)
Brass: Sister Bridget?
(Grissom quickly gets up and follows Brass out of the room.)
[INT. POLICE DEPARTMENT – HALLWAY – DAY – CONTINUOUS]
(Officer Mitchell is holding a bloodied hammer wrapped in a towel. Brass and Grissom step out of the room.)
Officer Mitchell: I think you should see this, cap.
Sister Bridget: I'm sorry I didn't come forward sooner, Father.
Officer Mitchell: We caught her trying to bring this into the building.
Sister Bridget: This is the hammer I used to build the cross.
Frank Berlin: No, no, she didn't. She must've got that out of my office at the shelter. I took it off Marty.
Brass: Father, sit down, please.
(Frank Berlin goes back into the interview room and sits down.)
Grissom: Sister, excuse me, but ... could you tell us how you managed to haul the victim's body to the top of the scaffolding?
Sister Bridget: I used the rope and the pulley, the one the workmen use.
Brass: But why did you k*ll her?
Sister Bridget: Because she had to be stopped. She was coming for Father, and I couldn't let that happen. Now ... do your job. Arrest me.
Grissom: Sister, how much do you weigh?
Sister Bridget: 123 pounds.
Grissom: It's a question of physics. Charlotte weighed 140 pounds, plus the weight of the cross. You don't weigh enough or have enough strength to have hoisted the body 17 feet into the air.
Sister Bridget: It was a miracle.
(Grissom nods and doesn't say anything. He turns to Brass.)
Brass: The only miracle is I'm not charging you with obstruction.
CUT TO:
[INT. CSI – LAB -- DAY]
(Nick preps a swab and swabs the hammer's handle. He caps the swab.)
(He sprays the handle and finds a print. He takes a photo of the print. He puts the camera card into the computer and compares the print with Father Frank Berlin. He has a POSITIVE MATCH.)
Nick: Father Frank.
CUT TO:
[INT. CSI – LOUNGE -- DAY]
(Nick talks with Sara and Grissom about his print findings.)
Nick: The blood on the hammer is a match to the blood found on the father's clothes, but none of it is from Charlotte.
Grissom: Well, you know, he told me that he broke up a fight at the shelter.
Nick: I think Sister Bridget found the bloody hammer and confessed to the m*rder because she thought Father Frank was guilty.
Sara: If she thinks he did it, maybe he did it. But why does she think that he did it?
Grissom: You know, his move from St. Bart's to St. Jude's involved a female parishioner who committed su1c1de. No charges were filed, but the parish board asked that he be removed.
Sara: I can do you one better. Catherine found two sets of semen stains on Charlotte's bedding. Unknown contributor on the bed skirt. Probably doesn't get washed as often. But the one on the sheet is a match to Father Frank. It's probably more recent. And here is the big thing: Uh, Doc Robbins says that Charlotte was about ten weeks pregnant.
Nick: Maybe he's the unwilling father of her unborn child.
Grissom: Well, DNA will give us a profile.
Sara: One more thing that he did not tell us.
Grissom: We didn't ask.
CUT TO:
[INT. HOMBRE MOTORS -- DAY]
(Brass talks with Cody White.)
Brass: I don't know, I mean, most people give their friends, uh, subscriptions to a fruit-of-the-month club. But you gave your friend Charlotte a condo and a car.
Cody White: It's like I told you before, I was helping her out. I was letting her live there and use the car till she got on her feet. She came back to Vegas broke and strung out, and I was helping her.
Brass: So it was supposed to be a short-term thing?
Cody White: It was supposed to be short-term, but it was endless. Sort of like renovating St. Jude's.
Brass: So is that what the fight in the church was about?
Cody White: No, that's not what the fight was about. I went to talk to him about Charlotte. I thought maybe taking the car back had something to do with her death. I don't know. Then he said something; I said ... I don't even remember, to tell you the truth. But I'll tell you this: he lost it. I've never seen Frank like that.
Brass: So do you always have personal conversations in the confessional?
Cody White: Can't talk to him in his office with that Sister Bridget hovering around. Besides, I'd never want his relationship with Charlotte to be open to misinterpretation.
Brass: Now, why would their relationship be open to misinterpretation?
Cody White: They were more than friends.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Grissom looks through Charlotte's scrapbook. Sara and Nick are still in his office.)
Grissom: Going by her scrapbook, this seems to have been a golden time in Charlotte's life -- high school. There's a lot of pictures of the three of them together, but the only two-sh*ts are of Frank and Charlotte except for this one.
(Nick leans forward to look at the picture Grissom's talking about.)
Grissom: Evidently, she went to her prom with Cody.
Nick: She looks thrilled.
(not.)
Grissom: The next picture of Frank, he's in a seminary. Maybe, uh, giving up Charlotte was the sacrifice he made to join the church.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Frank Berlin sits at the interview room table. Brass walks in.)
Brass: I need to ask you a few more questions.
Frank Berlin: Go ahead and ask the question you really want to know.
Brass: Who k*lled Charlotte Danville?
Frank: I did.
(He looks away. Brass sighs.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – PARKING GARAGE -- DAY]
(The elevator bell dings and the doors open. Grissom and Brass step out into the garage.)
Brass: Single malt express is leaving the station as soon as I get home.
Grissom: Look, I know it sounds nuts, but this is not the way a resurrection theologian would k*ll his pregnant mistress.
Brass: He confessed.
Grissom: He's a Catholic. They're full of guilt.
(Brass walks over to his car.)
Brass: He's a priest, for God's sakes. That's the whole point of the priesthood. No sleeping around. More energy for good works and noble deeds. Now you find me some evidence to exonerate the good father, and we'll talk.
CUT TO:
[INT. CSI – GARAGE -- DAY]
(Sara is in the car, wearing a mask, and spraying luminol on the car seats.)
Catherine: Hi. I heard Grissom wants us to keep digging. This Charlotte's car?
Sara: Yeah. I found blood smears, but they've been washed. Cody said he repo'd the car at the club and drove it back to the lot. There shouldn't be any blood in this car.
Catherine: Well, unless Father Frank drove it that night, and we've got no reason to believe that he did.
Sara: Which brings us back to Cody.
Catherine: Do you have a big enough sample for DNA?
Sara: No. But I do know one spot the detailers never h*t.
(Sara sprays the pedal. It lights up.)
Sara: Bloody shoe impression on the brake pedal.
Catherine: Well, I'll compare it to Father Frank's shoes. If it's not a match, I'll get a warrant for Cody's shoes.
Sara: I'll get a sample of the blood to DNA.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. HOMBRE MOTORS -- DAY]
(Sara and Sofia wait for Cody White to read the warrant. Cody is wearing a cowboy outfit complete with yellow hat.)
Cody White: I'm trying to sh**t a commercial here, so I don't see why this can't wait.
(He looks at the warrant.)
Cody White: I can't even read this, so why don't you tell me what it is that you want?
Sara: Your boots and a DNA sample.
Cody White: Well, there's my wife. (shouts) Candy! Get my damn lawyer on the phone now.
Candice White: What's wrong?
Cody White: Would ... would you just do it, please?
Sara: We found rust-colored fur on the scaffold at the crime scene.
Sofia: Well, I'll call a judge and get him to amend the warrant to include the vest.
Cody White: J-j-j-j-j-J... hold on for a minute, all right? J-Just hang on?
(Greg appears behind them carrying a plastic bag with cowboy boots in it.)
Greg: Hey, I found these in his office. Positive for blood on the right sole.
Cody White: Where's my wife? (shouts) Candy?!
Greg: Well, Big Hombre, it looks like you're going to the hoosegow.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]
(Brass and Grissom talk with Frank Berlin.)
Brass: So, you don't like crucifixes, but maybe you made an exception when you found out Charlotte was pregnant, hmm?
Grissom: Father ... I want you to take a look at this.
(Grissom puts the crime scene photo of Charlotte hanging from the rafters. Frank Berlin looks at the photo and grimaces sadly.)
Frank Berlin: I'm responsible for her m*rder. I could never do that.
Brass: In my world, Father, you're either guilty or innocent.
Frank Berlin: Well, in my world, you can be both.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]
(Sofia interviews Cody White.)
Sofia: The blood on your boot is Charlotte's. Your footprint was found on the brake pedal of her car in blood. The lab also matched hair from your fur vest to hair found dried in the blood of the victim in the church.
(Cody White shrugs and laughs.)
Cody White: No matter how much evidence you have, I'm the Big Hombre. I get whatever I want, including store-bought justice.
Sofia: And yet, the one thing you couldn't get was Charlotte's love.
Cody White: Yeah, like I said, I only saw her that last time to get the car.
(Quick flashback to: [INT. CLUB – NIGHT] Charlotte sings and plays piano as Cody White listens.)
(She finishes and the audience applauds.)
CUT TO:
(Charlotte sits at Cody White's table.)
Charlotte Danville: Thanks for coming.
Cody White: Come on. I'd come every night if you wanted me to. You know that.
(Charlotte takes the keys out of her bag and puts them on the table.)
Charlotte Danville: Here's the car back. You're a good friend.
(End of flashback.)
Sofia: No, you gave her the car. You gave her everything. And how did she pay you back? She dumped you for your best friend.
(Quick flashback to: [INT. CLUB – NIGHT] Charlotte puts the keys on the table.)
Charlotte Danville: Here's the car back. And I'm moving.
Cody White: Why would you do that?
Charlotte Danville: I can't do this anymore. It's not right. I'm in love with another man. I'm sorry, Cody.
Cody White: That's what you got for me? You got, you're sorry? I'm sorry, too.
(He angrily knocks the glass over, spilling the drink all over her dress. She gasps and stands up.)
(End of flashback. Resume to present.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]
(Grissom and Brass talk with Frank Berlin.)
Grissom: We, uh, found a letter you wrote to the bishop and pulled it off your computer. "The spirit has left my vocation. I've crossed a line in my discipline and committed an act unfit for the priesthood." What act is that?
Frank Berlin: Putting my love for Charlotte above my love for God.
Grissom: So, you were leaving the priesthood?
Frank Berlin: I was leaving because I loved her, and I wanted to be with her in all ways. Her dying doesn't change that. I still love her.
(Quick flashback to: [INT. CHURCH] Frank Berlin talks with Charlotte.)
Frank Berlin: I talked to the monsignor. It's a complicated process, but I told him I'm leaving.
Charlotte Danville: Are you sure?
Frank Berlin: I prayed about it. What came to me was that God is love. Wherever there is true love, God is, as well. I have to follow my heart.
(End of flashback.)
Frank Berlin: And we only made love once, but in the wake of that, I found the husband in me, the father in me. I wanted to be those men for her. And I always loved her.
Grissom: And what if the baby wasn't yours?
Frank Berlin: A child is always welcome.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]
(Cody talks with Sofia.)
Cody White: Yeah, I decorated her condo, you know that? I bought her that car. Special-ordered the paint to match the color of her eyes. She didn't care as long as she had a place to stay. That's all she cared about.
Sofia: She cared about Father Frank, didn't she? Did you suspect that she was leaving you for him?
Cody White: Should have, but I didn't.
(Quick flashback to: [INT. CHARLOTTE'S APARTMENT – NIGHT] Charlotte changed and steps out into the living room. She finds Cody sitting there.)
Charlotte Danville: What are you doing here?
Cody White: Look, I'm sorry about the dress, all right?
Charlotte Danville: I have to get back to the club.
(Charlotte grabs her things off the table. Cody gets up and grabs Charlotte's arm. She gasps.)
Cody White: Wait, wait, wait. I want to know who you're leaving me for.
Charlotte Danville: No.
(He slaps her. She falls backward over the chair.)
Cody White: What is that?
(He sees the rosary on the floor. He picks it up.)
Cody White: It's Frank, isn't it? (shouts) Isn't it?
(He uses the rosary and chokes her. She gasps.)
Cody White: It's always been Frank.
(Charlotte kicks Cody off her. She scrambles to her feet.)
(End of flashback.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM A -- DAY]
(Brass and Grissom talk with Frank Berlin.)
Brass: You know, he doesn't think you did it. But I think that you know who k*lled Charlotte. He came to the church that day to confess, didn't he?
(Quick flashback to: [INT. CONFESSIONAL] Cody confesses to Frank.)
Cody White: Bless for I have sinned. My last confession was two weeks ago. I lied to my wife seven times. I cheated an old lady out of a classic car. And I k*lled my best friend for cheating on me with you.
(Frank turns and looks at Cody when he realizes what he just said.)
(End of flashback.)
Frank Berlin: You know I can't discuss that.
(Brass sighs.)
Frank Berlin: You know, in Vegas, it's routine to hear the most heinous sins, and as a priest, you listen, and in Christ's name, you forgive.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM B -- DAY]
Cody White: I knew she'd go running to him. She'd always run back to Frank, and I knew he wouldn't be there. He was never there.
(Sofia sits down.)
Sofia: Is that when you thought of crucifying her in Frank's church?
Cody White: I don't know how I came up with that. You know, Frank always used to talk about the problem of human evil. How ... you better watch out 'cause it'd come into you in times of despair. Something terrible came into me that night.
(Quick flashback to: [EXT. CHURCH] Charlotte is walking outside the church when Cody jumps out and hits her. She falls to the ground. He jumps over her and chokes her.)
CUT TO:
[INT. CHURCH – NIGHT]
(Cody hammers the plyboards together. He uses the string and ties Charlotte to the make-shift cross.)
(As Charlotte comes to, Cody uses the pulleys to lift Charlotte and the cross up to the rafters.)
(End of flashback.)
Cody White: I loved Charlotte more than anything.
Sofia: The paternity test came back. You were the father.
(Cody turns and looks at Sofia.)
Sofia: You k*lled your own baby.
(Cody cries.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]
(Father Frank Berlin alone sits in the hallway. Grissom walks down the hallway toward him. From the opposite end of the hallway, officers escort Cody White out of the interview room and past Frank Berlin. Frank gets to his feet.)
(Cody stops in front of him.)
Cody White: You were my friend. You should have come to me like a man.
(The officers lead Cody away.)
(Grissom watches them go. He turns and looks at Frank Berlin.)
Grissom: Can you forgive him?
Frank Berlin: That's Christ's mandate. You know what that means.
Grissom: You have no choice.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x05 - Double Cross"} | foreverdreaming |
FADE IN:
[BLURRY IMAGES]
(We're inside a dark room, the blinds are closed. Light filters in through the blinds. Muffled sounds are heard. The rooms spins around slowly, then blurs out)
FADE OUT.
[FADE IN: BLURRY IMAGES]
(Figures walk past the blinds. Sounds are still muffled. The room is tilted. The images blur out.)
FADE OUT.
[FADE IN: A DARK ROOM]
(Blurry images continue to walk past the window. Voices of people arguing loudly are heard.)
FADE OUT.
[INT. POLICE DEPARTMENT - BRASS'S OFFICE - NIGHT]
(Grissom is lying on the couch, his eyes closed. He blinks hard, his eyes squinting and forehead contorted in pain. He hears the muffled sounds of arguing voices coming from outside the room.)
(He looks around the room, the lights flash and pierce his eyes.)
Reporter (woman): (o.s.) (clearly) There's an Amber Alert this evening in Clark County for two missing boys.
FLASH TO:
[INT. POLICE DEPARTMENT - CONFERENCE ROOM - NIGHT]
(Brass briefs the roomful of officers.)
Brass: Okay, we have two missing criticals -- Jason Crowley, age eleven -- black, male, four-foot-six; Lucas Hanson -- age ten, Caucasian, male, five feet. Now, uh, the boys were last seen at this location at 15:30 hours -- Jason Crowley's house. Jason lives with his grandfather, Terrance Crowley. The address is on your handouts. Terrance Crowley assumed that they were staying at Lucas's house. Dawn Hanson, Lucas's mother, returned home from work at 21:00 hours. She assumed they were at Terrance Crowley's house. She reported them missing at 24:00 hours. Now, we searched the schools, playgrounds, basketball courts. Found nothing. Canine is on the scene. Neither of the boys carried cell phones or pagers. Now, any questions?
Officer: Boys ever run away before?
Brass: No, and, uh, we interviewed the teachers at the school, and according to them, they're both good kids.
(Grissom's cell phone beeps; he checks it.)
Officer 2: (o.s.) Any, uh, distinguishing features or marks?
Brass: Well, as you can see, Jason wears glasses, but that's it. Yeah?
(Grissom's message reads:
MY 204 MIGHT BE YOUR 418. NICK )
(Grissom gets up and slips out of the room.)
Officer 3: (o.s.) Did Amber Alerts go out to any other states?
Brass: Amber Alerts have gone out to the states of Utah, California ...
DISSOLVE TO:
[EXT. ARSON SITE (FISHER RESIDENCE) - NIGHT]
(Grissom walks up the front drive. The f*re is out. The area is taped off with emergency personnel at the scene. Grissom walks up to Nick, who is looking at a car parked in the driveway.)
Grissom: Okay, so what does your arson have to do with my missing kids?
Nick: Upon initial search of the premises, farmer located one adult male unconscious on the living room floor. His name's Carl Fisher. Paramedics have him on the bumper now. Once he came around, he started claiming every time there's an Amber Alert, somebody tries to k*ll him.
Grissom: Child molester.
Nick: Tier Two, by his own admission.
(Grissom seems surprised. He heads over toward Carl Fisher, who is sitting on the back of the ambulance, the paramedics finished with him.)
Grissom: Excuse me, Mr. Fisher?
(Carl Fisher looks at Grissom. He's dirty and looking exhausted.)
Grissom: My name's Gil Grissom. I'm with the Crime Lab. What happened to your shoes?
Carl Fisher: They're in the house. I was asleep.
Grissom: Are you familiar with the names Lucas Hanson or Jason Crowley?
Carl Fisher: The kids from the Amber Alert? No, sir. I'm a convicted pedophile. That would be a violation of my parole.
Grissom: Which is it -- boys or girls?
Carl Fisher: Boys. Pre-teen. I know what you're thinking.
Grissom: No, you don't.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. FISHER RESIDENCE - LIVING ROOM - NIGHT -- FLASHBACK]
(Carl Fisher is on the couch, the flames of the f*re in the living room. He coughs and looks around.)
Carl Fisher: (V.O.) Don't know what woke me up, the smoke or the f*re.
(He looks at his cell phone on the floor and reaches for it with his left hand. It's too hot for him to pick up.)
Carl Fisher: Ahh!
(End of flashback.)
[INT. HOSPITAL - NIGHT]
(Carl Fisher is in a gown talking with Brass as Grissom picks up his camera.)
Carl Fisher: Next thing I remember, I was outside, looking up at the paramedics.
Grissom: Hold out your hands, please.
(Grissom snaps photos of Carl Fisher's hands. His left hand is more b*rned than his right.)
Grissom: Turn them over.
Brass: So, uh, can you account for your whereabouts the last 24 hours?
Carl Fisher: I worked from 6:00 until 2:00 p.m., and then I went straight home.
(Grissom snaps photos of the blisters on Carl's back.)
Brass: Where do you work?
Carl Fisher: At the feed lot off Highway 111. I've got a Masters in English Literature. I used to teach high school.
Brass: Let me guess -- the kids loved you.
Carl Fisher: Someone set f*re to my house. I almost died. Why don't you ask me about that?
Brass: Okay. Who would want to barbecue you?
Carl Fisher: My neighbors make it clear every day how they feel about me. I would start with Mr. Hamilton. He threw a rock through my window a few months back when a little girl went missing. Hamilton ... he barely finished high school. He has a lot of displaced anger.
Brass: Hmm.
Carl Fisher: You're not writing any of this down.
Brass: I have a good memory.
Carl Fisher: Listen, I've called you guys half a dozen times in the past two years. I've had my house graffitied, my windows broken, my tires slashed.
Brass: Well, you know, Carl - (he sighs) -- sometimes bad things happen to bad people. (Grissom stops and looks at Brass. He doesn't say anything.) But I'll tell you what -- I'll let you file a formal complaint down at the police station.
(Brass's phone rings; he checks his message. It reads:
FROM: L.V.P.D.
DAWN HANSON WAITING IN RECEPTION FOR YOU. )
Brass: I got to go. You all right here?
Grissom: I'm almost done.
(Brass leaves. Grissom continues working.)
Carl Fisher: I've been living right the past five years since I got out of prison. I haven't gone near a child. I go to a support group every week. I've even lectured social workers on how to recognize sexual predators. Ask my parole officer.
(Grissom doesn't say anything. He continues working.)
Carl Fisher: (frustrated) Doesn't that count for something?
Grissom: I don't know. But it doesn't change anything, does it?
CUT TO:
[TELEVISION MONITOR]
Paula Francis (news Reporter): (on tv) Police have no new clues in the disappearance of ten-year-old Lucas Hanson and 11-year-old Jason Crowley.
[INT. POLICE DEPARTMENT - WAITING ROOM - NIGHT]
(Dawn Hanson sits in the waiting room waiting for Brass.)
Paula Francis (news Reporter): (on tv) Teachers and classmates are planning a six p.m. vigil at Rockwater Elementary ...
(Brass walks in.)
Brass: Mrs. Hanson, I got your message. You said it was urgent.
Dawn Hanson: You told me to go home and look around. That's what I did. My ex took 'em.
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass looks at the empty hide-away key container.)
Brass: Ms. Hanson, I thought you told me that your ex-husband wasn't involved in Lucas's life.
Dawn Hanson: He doesn't care about Lucas. He barely uses his visitation, and then, six months ago, I don't know, he-he got into some kind of trouble. He started coming around when Lucas was home alone. He'd gone through my mail, my checkbook. He-He stole our TVs.
(Quick flashback to: [EXT. HANSON RESIDENCE - FRONT - DAY] Perry Hanson carries a television set down the front walk as Lucas and Jason Crowley follow.)
Lucas Hanson: Daddy, please. Mama said she's gonna call the cops. Put it back.
(Perry Hanson drops the television set into the back of his convertible.)
Perry Hanson: Your mom can do whatever she wants. I paid for this. It's mine.
(He gets in the car and leaves the two kids staring at him.)
(End of flashback.)
Dawn Hanson: So I told Lucas that he couldn't be home alone anymore, and I took his key.
Brass: You locked your son out of his own house?
Dawn Hanson: I made arrangements with Jason's grandpa. The hide-a-key is for emergencies only.
Brass: So it's possible that Lucas took the key.
Dawn Hanson: (voice breaking) Lucas ... Lucas always drops his book bag in the hallway and turns on the TV. I bought him a new one. I'm positive he didn't come home.
Brass: Okay, all right, all right. Give me an address for your ex-husband.
Dawn Hanson: 225-IHG.
Brass: That sounds like a license plate.
Dawn Hanson: Yeah, well, he moves around a lot. Practically lives out of his car. He ... He runs a stripper circuit on I-15.
(Brass puts a mug photo of Carl Fisher on the desk and points to it.)
Brass: Have you ever seen this man?
Dawn Hanson: No. Why?
Brass: Uh, he's a person of interest.
(Brass turns to make the call.)
Dawn Hanson: (interrupts, affronted) Lucas knows better than that. You don't talk to strangers.
(Brass holds up a hand as he makes the call.)
Brass: (to intercom) Ah, it's okay. Uh, yeah. Put out a broadcast on Perry Hanson.
CUT TO:
[EXT. LAS VEGAS CITY SUBURBAN COMMUNITY (STOCK) - DAY]
[INT. CROWLEY RESIDENCE - JASON'S BEDROOM - DAY]
(Sofia talks with Terrance Crowley as Catherine snaps photos of the residence.)
Terrence Crowley: Look, Jason and Lucas probably just ran away. They're at that age. You know what I'm saying?
Sofia: Well, kids with no money and no place to go usually come home quickly.
Terrence Crowley: Do you know how hard it would be to catch them? Lucas is a big boy. And Jason ... (chuckles) Jason is fast.
(Catherine sees two backpacks against the bedside table.)
Terrence Crowley: The red one is Jason's.
Catherine: Your grandson's into sports, huh?
Terrence Crowley: Yeah, you'd think. Plays them damn video games. That's all he wants to do. I told him I don't allow that stuff in my house. Boys need fresh air and sunshine.
Sofia: Uh, we haven't been able to reach Jason's father. Have you spoken to him?
Terrence Crowley: You know, my son fell apart when his wife died. Quit his job. I was basically taking care of both of them. And then he got a great opportunity in Houston. Couldn't get Jason into a school until next semester, so I said I'd keep him until then.
(A dog barks outside. Terrance Crowley turns and looks out the window. Sofia notices he's got a tooth missing.)
Terrence Crowley: How do those dogs find people?
Catherine: Just like the movies, they sniff them out.
Terrence Crowley: Bet it's expensive, huh?
Catherine: You worried about the money?
Terrence Crowley: Let me tell you something. Boys are gonna walk right in here just like that runaway bride. And you people are gonna be handing me a bill for all the looking, you watch.
CUT TO:
[EXT. FISHER RESIDENCE - FRONT -- DAY]
(Nick is holding a hand-sized device and is testing the car hood. The meter beeps at regular intervals. Greg turns the corner of the house and walks over to Nick.)
Greg: Hey.
Nick: Hey.
Greg: I talked with the neighbors. A Mrs. Hamilton says she walked her dogs around 6:00 last night. She saw Carl watering his outside plants. He was alone. She also said that after dark, everyone locks up their doors, and the kids stay inside.
Nick: And let me guess. Nobody saw or heard anything, right?
Greg: Right.
Nick: Right.
(Nick turns the hand-held reader off.)
Greg: What do you got?
Nick: Based on the burn pattern, the origin of the f*re was definitely here. I detected an accelerant on the front of the car, and on the ground, both consistent with gasoline. Now, the back seat's still intact, so I figure the f*re jumped from the car to the house and fast.
INSERT: FLASHBACK
(Someone lights the car. The house catches on f*re.)
BACK TO SCENE.
(Nick walks over to the prints on the concrete marked by evidence markers and rulers.)
Nick: Check this out.
(Greg kneels down and looks at the prints.)
Greg: Full shoe impression on the concrete.
Nick: Someone stepped in the accelerant before the car was lit.
INSERT: FLASHBACK
(As someone leaves, they step in a puddle of gasoline and trail a wet shoeprint behind. It burns an impression into the concrete.)
BACK TO SCENE.
Greg: Treads lead toward the street. Could've been a neighbor.
Nick: Could've been anybody.
[INT. FISHER RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Meanwhile Sara snaps photos of a pair of shoes inside the house next to evidence marker #1. She picks it up and looks at it. She puts it in a container.)
(Sara looks around. She notices the b*rned stack of video games and video equipment. She snaps photos of it. She snaps photos of the b*rned video games on the living room floor.)
(Warrick walks in.)
Warrick: Well, so far, the only prints I found in the bedroom are Carl Fisher's. No semen stains in the bed. And nothing to indicate children.
Sara: Well, there's tons of these.
(She picks up the b*rned comic books.)
Warrick: What's that?
Sara: 'Spencer's Last Straw,' 'Wiz Kids,' 'Mayhem and McCabe,' 'Secret City.'
Guy lives in a trailer. He drives an old Mercury. He has a ton of expensive DVDs and video games. There's gummi bears and chips on the floor. House might as well be made out of gingerbread.
CUT TO:
[EXT. LAS VEGAS CITY HIGHWAY (STOCK) -- DAY]
(A police siren sounds.)
[EXT. LAS VEGAS STREET -- DAY]
(A blue convertible, license #225-IHG, is stopped by the side of the road. Brass and a couple of officers head toward the vehicle.)
(Perry Hanson and a blonde stripper lean back against the side of the car.)
Officer: Vehicle matched the description. Went to pull him over, he tried to split on us.
(Brass looks at the driver's license.)
Brass: Perry Hanson? So, Mr. Hanson, where are the boys?
Perry Hanson: Which boys?
Brass: Lucas and Jason.
Perry Hanson: My kid, Lucas? What, did he ditch school or something?
Brass: No, he's missing, and so is his best friend. You mean, you didn't hear the Amber Alert, or check your messages?
Stripper: You don't have to talk to him, okay, Perry? (to Brass) See, I know the frickin' Constitution.
Brass: I bet you do. Somebody get Ben Franklin out of here.
(Officer Mitchell grabs the stripper's arm and pulls her away.)
Officer Mitchell: Yes, sir. Ma'am.
Stripper: Don't ...
(She grumbles all the way.)
Stripper: You didn't have to cuff us, you know? It's not like we're frickin' t*rrorists.
Officer Mitchell: Put her in the car --
(The officers put the stripper in the car.)
(Brass, meanwhile, looks in the car and notices the open glove compartment. He sees a key. He picks it up and looks at it.)
(He then checks out the back seat and finds a baseball glove. He takes out a handkerchief and picks up the baseball glove. It has JASON CROWLEY'S name on it.)
Brass: You want to tell me what Jason Crowley's baseball glove is doing in your car?
Perry Hanson: (shrugs) Lucas must've left it there. I don't know, man, kids are always taking each other's crap.
Brass: Yeah, well, I'm not taking any more of yours. You're under arrest.
(The officer leads Perry Hanson to their vehicle.)
CUT TO:
[EXT. CROWLEY RESIDENCE - SIDE -- DAY]
(The search dog barks. Catherine, Sofia and the officers stop at the wire gate. The dog whines, kneels forward and down at something at the base of the fence.)
Catherine: Got something here.
(Catherine finds a piece of khaki material caught in the wire fence. She picks it.)
Catherine: Lucas was last seen wearing khaki-colored board shorts.
Sofia: I've had calls here before. A lot of these houses are vacant.
Catherine: Perfect place for a little privacy.
Sofia: (to the officers) Okay, let's get around this fence.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass walks in and talks with Perry Hanson.)
Brass: Okay, let's hear it.
Perry Hanson: You know my ex is crazy, right? Always been a drama queen. She probably told you that I stole the TV.
Brass: I don't care about the TV. When was the last time you were in your house?
Perry Hanson: Day I left -- I've never been back.
(Brass shows a photo of the key.)
Brass: I found this in your car. Guess whose front door it opens?
Perry Hanson: Look ... my ex will hardly even let me see my kid. You know, not until I pay up on the vaginamony that I owe. And that's illegal. She doesn't care. Yesterday, I-I just wanted to see my boy. You know? So I went over there and he wasn't home. I guess I forgot to leave the key.
Brass: Another sad, suffering single dad.
Perry Hanson: You better find my kid. And if I were you, I'd start with Dawn's boyfriends.
Brass: (scoffs) Oh, if you were me.
(Brass gets up and heads for the door.)
Perry Hanson: She only dates scumbags and bottom-feeders. At least I never been in prison.
Brass: Well, that can change.
(Brass leaves the room.)
CUT TO:
[INT. ABANDONED RESIDENCE -- DAY]
(A dog barks.)
Officer Metcalf: (o.s.) LVPD.
(The door opens open and officers enter. The officer with the search dog also enters. The dog barks.)
Officer: Kitchen's clear.
(Sofia enters the room with Catherine behind her.)
Officer: Clear!
(They stop in front of a closed closet door. The dog continues barking.)
(Sofia opens the closet door and finds no one inside.)
Sofia: Closet's clear. (to officers) Check the rest of the house.
(The officers leave the room to check the rest of the house. The dog continues to bark at the closet. Catherine steps forward and closes the closet door. She finds blood on it.)
Catherine: It's the door itself, not what's inside. There was a struggle here.
(She uses a magnifying glass and looks at it.) I've got blood ... and short dark hairs caught in the wood. Could be Jason's.
INSERT: FLASHBACK
(Someone pushes Jason up against the door. He grunts upon impact.)
BACK TO SCENE.
(Sofia looks around the room.)
Catherine: We've got tags.
(Sofia finds blood on the floor.)
Sofia: Blood smear.
Catherine: That's far enough away from the door. It's possibly a separate event.
(Sofia continues to walk through the room.)
Sofia: Toys and candy.
Catherine: Somebody's kids were playing here.
(Catherine looks around the room and finds something on the floor.)
Catherine: Sofia ... A dental bridge.
(She picks it up and looks at it.)
Catherine: Two premolars.
INSERT: FLASHBACK
(Sofia remembers Terrance Crowley's missing teeth.)
Terrence Crowley: How do those dogs find people?
BACK TO SCENE.
Sofia: Grandpa lied through his teeth.
(Catherine and Sofia share a look.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sofia puts a photo of the teeth on the table as she interviews Terrence Crowley.)
Sofia: Recognize these?
Terrence Crowley: You brought me way down here to show me a picture of my teeth? Huh? The least you could do is give 'em back.
Sofia: Remember those dogs ... you were so interested in? Well, they led us to an abandoned house, not far from where you live, and that's where we found your teeth. We also found physical evidence -- blood evidence -- that tells us that your grandson and Lucas --
Terrence Crowley: You think you're real smart, lady. Don't you?
Sofia: Before I start thinking you k*lled those boys, why don't you tell me what happened.
Terrence Crowley: I was defending myself.
Sofia: Against a pair of sixth graders?
Terrence Crowley: You're damn right. Two boys can cause a lot of damages. Especially that Lucas.
INSERT: FLASHBACK
(Lucas and Jason are playing in the abandoned house. Terrence Crowley walks in and finds them. He starts yelling and they immediately stand up.)
Terrence Crowley: Hey, hey, hey! Dinner was at 5:00, now it's cold -- let's go!
Lucas Hanson: We don't want your food. We're going to eat at my house.
Jason Crowley: My dad said I could stay with Lucas and his mom. I like it better there.
Terrence Crowley: Don't you lie to me, boy.
Jason Crowley: I'm not lying. I wish you weren't my grandpa.
Terrence Crowley: Don't talk to me like that again.
(Terrence grabs Jason and slams him up against the closet door. Lucas pushes Terrence away from Jason. Terrence's teeth fall out.)
(Terrence pushes Lucas away from him. Lucas falls face forward on the hard floor.)
BACK TO SCENE.
Terrence Crowley: They had it coming. Those boys have no respect. They're punks. Now, I love my son, but he didn't do right by Jason.
Sofia: So you thought you'd b*at respect into him.
Terrence Crowley: I don't need a lecture about how to discipline my grandson. That's the trouble with parents today, they're afraid of their own kids.
Sofia: Sounds like they were afraid of you.
Terrence Crowley: That's the way it's supposed to be.
Sofia: What happened after the altercation?
Terrence Crowley: They ran off. You don't want to eat, you go hungry. That's how you learn.
Sofia: Why didn't you tell us this before?
Terrence Crowley: I told you what was important, lady. Now those boys are going to be fine. What they're trying to do, they're trying to punish me. That's what they're trying to do. And you'll see, they'll be back. And then I will sit down and I will talk to Jason. Now, what about my teeth?
Sofia: They're evidence. We'll give them back to you when we're done.
Terrence Crowley: It was self-defense and you can't charge me.
(Sofia looks at him for a moment, then nods.)
Sofia: Okay, I'll let you go. Until we find the boys.
(She gets up and heads for the door.)
Terrence Crowley: Well, how am I supposed to get home? You took my car, too.
Sofia: (on her way out) There's a bus stop down the street.
(Sofia leaves the room. Terrence Crowley stands up to leave.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Sofia walks through the hallway. Terrence exits the interview room. A man walks past Sofia and heads for Terrence.)
Gerald Crowley: Where is he? What did you do?
Terrence Crowley: You better watch your tone.
(Sofia heads back toward them.)
Gerald Crowley: You swore you wouldn't lay a hand on him.
Terrence Crowley: You better get out of my face, boy.
Sofia: Are you Gerald Crowley? Jason's dad?
Gerald Crowley: Yes, ma'am. Did you know this man is a bully? Big college football coach until he got caught abusing his own players. Almost got thrown in jail. You just had to take care of him for a few months. What the hell is wrong with you?
Sofia: Okay, let's go talk some place.
Gerald Crowley: (quietly) I swear ... If you hurt Jason ... I will k*ll you.
(Sofia leads Gerald Crowley away.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Sara examines the back seat of Carl Fisher's b*rned car. She finds a crushed large plastic drink container stuffed in the pocket of the seat in front of it. She puts it in a container.)
(She then finds a cover of an old style whisky bottle. She checks between the cushions and pushes the armrest cushion down. She finds a napkin with picked-off mushrooms inside.)
(Greg checks the front seats. He pries a melted piece of plastic off the floorboards and looks at it.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg and Sara look at the melted piece of plastic.)
Sara: It's a gas container.
Greg: Yeah. I found it melted to the floorboard.
INSERT: CGI
(The plastic gas container is on the floor as the f*re melts it down to plastic.)
BACK TO SCENE.
Sara: People are so predictable.
Greg: Lucky for us.
CUT TO:
[INT. HOSPITAL - ROOM -- DAY]
(The nurse pushes the dividing curtain back. Brass talks with Carl Fisher.)
Carl Fisher: You want me to go to the station, and repeat all the facts I already told you.
Brass: If you want to file a formal complaint to make it official, yes. (He looks at the form in Carl's hand.) Oh, is that a Red Cross voucher? I'll call and make a hotel reservation for you.
(Carl stands up.)
Carl Fisher: I got to go to the bathroom. You want me to leave the door open?
Brass: I'm too old for you.
(Brass speed dials his cell as Carl walks out of camera frame to the restroom..)
Grissom: (from phone) Grissom.
Brass: Yeah, Gil, yeah. He's agreed to come to the PD. But I can't keep him there long, so let's ratchet it up a notch and get something to hold him on, all right?
CUT TO:
[INT. CSI - ROOM -- DAY]
(Nick examines the prints of various kinds of shoes. Grissom walks in.)
Grissom: Carl Fisher's on his way in to the station to sign off on his arson claim. Brass needs something from us to hold him.
Nick: Yeah, if he's got those kids stashed somewhere, he could try to take them out of state.
Grissom: Or worse.
Nick: I wish I had more. The b*rned shoe impression was a size 11. Carl Fisher wears a size 11. But none of the patterns match up. And the shoes that Sara found near the sofa ... I can't even identify a brand.
(He takes it out of the container and shows Grissom the print completely melted off.)
Nick: Sorry.
(Grissom leaves the room.)
[INT. CSI - LAB - DAY -- CONTINUOUS]
(Loud music blasts inside the room when Grissom walks in. He grimaces and turns the music off. Greg turns and looks at Grissom.)
Grissom: Didn't we talk about this once before, Greg?
Sara: I'm the one who turned the music on.
(Grissom doesn't say anything. He heads over to Greg.)
Grissom: What have you found?
Greg: A gas container. As the heat melted the plastic, it formed pockets, trapping the gasoline inside.
INSERT: CSI
(The plastic melts and traps the liquid inside.)
BACK TO SCENE.
Greg: And if Hodges can isolate any unique compounds from the gas, you know, like, gas DNA.
Grissom: Gasoline comparisons are only credible if you have pure samples. Otherwise, there's too many variables.
Greg: I know that, Grissom. What I've extracted was never exposed directly to the f*re. So, if we can identify either a dye, or a unique compound, and match to a particular station, then we might be able to prove whether Carl set the f*re.
(It's an extreme long-sh*t and it shows on Grissom's face.)
Greg: I'll get this to Hodges.
(Greg leaves the room.)
Sara: Greg's got the coroner's inquest coming up. He's been under a lot of stress. Maybe you could be a little nicer to him.
Grissom: I just want to find these boys.
Sara: Okay. Carl Fisher, apparently ...
(She shows him the plastic container with remnants of fruit punch inside.)
Sara: ... eats and drinks in the backseat of his car. I found it in a seat pocket.
Grissom: Fruit punch?
Sara: Or a mixer.
(She shows him the whiskey bottle cap.)
Sara: Whiskey -- I did not find the bottle.
Grissom: And ... so?
Sara: Mushrooms, picked off a cheese pizza. I found it stuffed between the cushions in the backseat of the car.
(She shows him the napkin with the mushrooms inside.)
Sara: If you're an adult, and you don't like mushrooms, you don't order them.
CUT TO:
[INT. POLICE DEPARTMENT - OFFICE -- DAY]
(Carl Fisher is signing the form.)
Brass: Oh, did I tell you, you can't check into the hotel till after four.
Carl Fisher: I'll find something to do.
Brass: Well, I'm wondering if you might hang out and volunteer your services here. Isn't that what you do? Talk to groups about sexual deviancy?
Carl Fisher: You want me to help you do your job? Help you find those missing kids?
Brass: Yeah, that's what I want. So you going to help us out or what?
Carl Fisher: I may be able to offer some insights. But only if I can talk to the other guy.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Carl Fisher has a coffee cup on the table near his bandaged right hand as he talks with Grissom.)
Carl Fisher: I'm a victim of abuse. My older brother. I was eight. He was much older -- sixteen. He was jealous and angry. He wanted to destroy me. It's not offered as an excuse, but it might explain why I'm here with you right now.
(Grissom opens the file folder and shows Carl the photos and info inside.)
Grissom: These are known child molesters living within our search radius.
(Carl looks at the photos.)
Carl Fisher: I met him in prison. He's an environmental offender. Situational. Only molests members of his own family. Small world -- he's in my support group.
(He continues looking through the photos.)
Carl Fisher: Your boys are too ripe for him. He likes toddlers. A couple of these guys are mysopeds -- aggressive pedophiles. Some of their pleasures derive from physical v*olence. They like to molest, then b*at, and sometimes k*ll their victims. But these guys aren't K*llers.
Grissom: Who said the boys were d*ad?
Carl Fisher: They've been gone a long time.
(Grissom's phone beeps. He looks at it.)
FROM W. BROWN
419 CHILD FOUND.
Carl Fisher: Bad news?
(Grissom stares at Carl Fisher.)
CUT TO:
[EXT. GOLF COURSE -- DAY]
(Dawn Hanson and Gerald Crowley run across the greens as they head for the sand trap. The area has been taped off. When they reach the crime scene tape, two officers positioned there stop them.)
Officer 1 (man): Sir, hold on.
Officer 2 (woman): Ma'am, I'm sorry. I can't let you in.
(As they watch, Warrick and Nick lift the small Caucasian boy and put him back down in the sand trap. Lucas's arms are crossed over his chest.)
(Dawn Hanson screams.)
Dawn Hanson: Oh! Oh, God!
(She collapses to her knees. Gerald Crowley turns to help her.)
Dawn Hanson: (cries) Oh, God, no!
(Brass and Warrick turn as they hear Dawn Hanson cry.)
(We hold on Dawn Hanson.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(David Phillips cleans the body and Nick goes over it for trace.)
David Phillips: There's a scrape on his left cheek.
Nick: Yeah, there's some minor bruising on the knuckles of his right hand. Probably a defensive wound.
(Nick walks over to the table with Lucas's pants on it. He looks at the pants.)
Nick: Catherine found some brown fabric on a fence nearby. I bet it's from these shorts.
(He finds the tear. He puts the pants down and picks up the shirt.)
Nick: Hey, super, you didn't leave this shirt inside out when you took it off the body, did you?
David Phillips: No. Could be a redress.
Nick: Yeah. Yeah, it could. (He puts the shirt down.) Okay ... Well, SAE kit should tell us whether or not he was molested.
David Phillips: Sometimes this job gets to me.
Nick: (nods) Yeah, me, too, buddy. Me, too.
CUT TO:
[EXT. GOLF COURSE -- DAY]
(Warrick and Brass walk around the sand trap and nearby water trap.)
Warrick: Grandpa play golf?
Brass: I think golf's a little too rich for his blood.
Warrick: Doesn't mean he didn't follow them here. A k*ller wouldn't take time to bury him that way; it was too nice. It suggests whoever k*lled him cared about him, knew him, you know?
Brass: Well, my money's still on the pedophile.
(They stop near a large drainage pipe with a broken wire mesh in front of it. They both kneel down and look at the hole.)
Warrick: A ten-year old could fit in there, huh?
Brass: Well, Jason's a skinny kid.
(Warrick steps forward and shines his flashlight inside. He finds a pair of broken kid-sized wire-rimmed glasses.)
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(The Pizza Gal talks with Sara. She points to Lucas's photo .)
Pizza Gal: I didn't see this boy at the pizza place, but I remember the little guy. (She points to Jason's photo .) He had a fat lip. I asked him where he got it.
Sara: What did he tell you?
Pizza Gal: He said his grandfather was a bully. I started to walk out with him and I was worried. But he swore he was safe. With friends.
Sara: Did you see who he was with?
Pizza Gal: Some white guy. It was pretty dark.
Sara: And there was no one else with him?
Pizza Gal: Not that I saw. But they ordered an extra-large with everything -- and that's 18 slices-and a full liter of cherry soda. If it matters, they sat in the parking lot for a while.
Sara: Is there anything you can remember about the car? Make? Color?
Pizza Gal: It was a Mercury Marquis.
Sara: Are you positive?
Pizza Gal: Yeah. My boyfriend's a street ... uh, he's into cars, so ... I know cars.
(Sara nods.)
CUT TO:
[INT. CSI - FORENCIS AUTOPSY -- DAY]
(Robbins goes over the body with Nick.)
Robbins: No sand in his nasal passages or lungs. He was d*ad before he was buried.
Nick: Are those palm prints on his sternum?
Robbins: Consistent in position and pressure with CPR. Also found air in his stomach.
INSERT: CGI
(Side view of a victim flat on their back. Someone blows air without tiling the head back and we see the air go into the esophagus and into the stomach. The stomach expands.)
Robbins: (V.O.) If you don't tilt the head back, the trachea doesn't open. It forces air into the stomach instead of the lungs and that's bad CPR.
BACK TO SCENE.
Nick: Now, what kind of a k*ller performs CPR on their victim?
Robbins: Well, maybe he didn't mean to k*ll him. His pupils were dilated.
(Robbins picks up the metal bowl with the brains inside.)
Robbins: I found a subdural hematoma in the left frontal lobe. That's your preliminary cause of death. I sent samples to Tox, of course.
Nick: Catherine found blood smear on the floor where he was playing. He has a laceration on his cheek. And the grandpa admits he pushed Lucas down when he h*t his head.
Robbins: Except that, by itself, the head injury wouldn't have been immediately fatal or necessarily incapacitating. But, yeah, he would've had a headache.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Greg pushes a cart with gasoline samples on it over to Hodges, who waits for him in the doorway to Trace.)
Greg: Hey, got some gasoline samples for you.
Hodges: Thanks, Greg. It's gonna take a little while to fill my t*nk. Why don't I get you a funnel?
(Greg doesn't smile.)
Hodges: Kidding. You think your arson case has something to do with these missing kids?
Greg: Well, Carl Fisher lives in the neighborhood, but, so far, his alibi checks out.
Hodges: I don't know why pedophiles just don't k*ll themselves.
Greg: Who knows, he might have tried. I collected these from service stations closest to his house.
Hodges: Did you consider ...
Greg: That he might have filled up on his way to work or anywhere else in Vegas? Yes -- that's why I wanted to get you started on these before I h*t the other stations on the list.
Hodges: Good job, gas-hopper.
(Hodges takes the cart and heads back into Trace while Greg turns and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Grissom is sitting. He has his eyes closed and rubs his temple with the tip of his index finger. He's obviously fighting a headache. And still talking with Carl Fisher.)
Grissom: Okay, then ... what would you do if you were going to take those boys?
Carl Fisher: I would be studying them. Do they like sports? Comic books? Do they skip school? Have any friends? Good parents, or are they neglected? Unhappy? Angry?
Grissom: And then?
Carl Fisher: What do you do when you like a woman? It's a game of seduction. Once you know what they like, you make contact. You start slowly, play it cool. Especially with boys. It's about building trust. (b*at) Like you're doing with me.
SHORT TIME CUT TO:
(Grissom is standing.)
Grissom: Do you like mushrooms, Carl?
Carl Fisher: I like all the nightshade vegetables. Are you going to buy me dinner?
Grissom: We found mushrooms in the backseat of your car.
Carl Fisher: Is this turning into an interrogation?
Grissom: (indicates the door) You're free to leave. (Carl doesn't move.) On the night the boys disappeared, witnesses said they saw them sitting in a car with a man, eating pizza.
Carl Fisher: You take a date out to a nice steak dinner. Kids would rather have hamburgers or pizza.
Grissom: Did you take the kids out for pizza?
Carl Fisher: No, I'm talking hypothetically. You must be desperate for a suspect, or a scapegoat. Do you need to give the press something to chew on?
Grissom: We just found Lucas Hanson's d*ad body. They're chewing on that.
Carl Fisher: What about the other boy?
Grissom: He's still missing.
Carl Fisher: In my opinion, if someone k*lled one boy ... he'd k*ll them both.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Grissom pops two extra-strength acetaminophen and drinks them down with water from the water fountain. Brass walks up to him.)
Brass: So, we're working on a couple of Jason sightings. Camper in Red Rock spotted a kid who looks like Jason, so I sent Vega. And Sofia is on her way to Bullhead City, Arizona. A woman on a bus called the cops. She swears that Jason's sitting next to her. That's what I've got. Any luck with Carl Fisher?
Grissom: I don't know. He wants something from me ... or he wouldn't still be here.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Grissom enters the room carrying a cup and takes his seat at the table. He gives the cup to Carl. Grissom and Carl look at each other.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges processes a gasoline sample from a container.)
VARIOUS CUTS OF HODGES PROCESSING THE GASOLINE
(He puts the sample in the machine and turns it on.)
INSERT: CGI GRAPHICS
(The results print out. He takes his phone out and calls.)
Greg: (from phone) Sanders?
Hodges: You can stop gassing up. I've got a match. AvCon on Buffalo Canyon. Pump six.
CUT TO:
[EXT. DESERT (STOCK) - DAY]
[EXT. PARKING LOT (BULLHEAD CITY, ARIZONA) - DAY]
(Sofia talks with the driver of the bus parked nearby and the woman who called it in.)
Sofia: Where did he board?
Bus Driver: Vegas depot.
Sofia: Was he with anyone?
(The bus driver hesitates.)
Sofia: So, I'm not gonna report you. You can tell me the truth.
Bus Driver: Children aren't supposed to travel alone, but it was a full bus when I took off today. I couldn't tell you.
(The woman is holding the MISSING flyer.)
Female Passenger: He was definitely by himself. I saw this; I knew it was him.
Bus Driver: I radioed my dispatcher. She told me to pull over at the next town, make sure he doesn't get off, and wait for you.
Sofia: Thank you for your help. (to the woman) Can you tell me where he's sitting?
Female Passenger: Back row.
(Sofia steps into the bus.)
[INT. BUS (PARKED) - DAY - CONTINUOUS]
(Sofia heads for the back row. Jason peeks out from the seat he's hiding behind. Sofia takes her dark glasses off and sits in the seat across the aisle from where Jason is hiding.)
Sofia: Hey. My name's Sofia. Are you Jason?
(Jason doesn't say anything.)
Sofia: There's nothing to be afraid of, Jason. You're not in trouble. I just want to help you. You're on your way to Texas to see your dad, right? It's just ... well, when you went missing, your dad flew to Las Vegas to find you. He's waiting for you. Can I take you to him?
(She holds out his hand. Jason takes it.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
Warrick: (V.O.) Is that the tox report for Lucas Hanson?
[INT. CSI - HALLWAY -- NIGHT]
(Nick and Warrick walk through the hallway. Nick hands the report printout to Warrick.)
Nick: His blood alcohol -- point one six.
Warrick: Geezus. It's a drunk kid.
Nick: And Sara found a whiskey cap in Carl Fisher's car.
Warrick: Oh, perfect way to loosen up a little boy -- give him pizza and whiskey.
Nick: Yeah, well, listen to this. According to the report, Lucas also had 98 micrograms per milliliter of salicylates in his system.
Warrick: Well, I guess he took the aspirin after he h*t his head.
Nick: Wonder who gave him that.
Warrick: Probably the same responsible adult that gave him the whiskey.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM --NIGHT]
(Grissom looks exhausted. He rubs his temple with the tips of his fingers as he listens to Carl.)
Carl Fisher: So, you think I got the boys drunk, and then k*lled them?
Grissom: Not exactly. We found Jason Crowley. Alive. On a bus headed for Houston.
Carl Fisher: One of the lucky ones.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
(Gerald Crowley sits in the waiting room. Sofia walks in with Jason. Gerald gets to his feet, then kneels to hug Jason.)
Gerald Crowley: It's okay, Jason. Daddy's here, boy. Daddy's here.
(Sofia stands on the side watching them.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM --NIGHT]
(Grissom talks with Carl Fisher.)
Grissom: That bus ticket costs $95 for a child under twelve. Jason's grandfather doesn't keep any cash in the house, and he doesn't give him an allowance, so where do you think Jason got the cash?
Carl Fisher: Maybe he stole it.
Grissom: From whom?
Carl Fisher: I don't know. Why don't you ask him? GRISSOM: I will.
(Grissom stops for a moment and closes his eyes. He's still got his headache pain. Carl notices.)
Carl Fisher: Do you get a lot of migraines, Gil? You should ask your doctor for a prescription of sumatriptan. Works for me.
Grissom: Captain Brass wants to put you in a lineup. If you'll agree to it, then I think this will all be over with.
Carl Fisher: Then let's do it.
CUT TO:
[LINE UP]
(Jason stands in the observation room looking at a line-up of similar men in body building and coloring to Carl Fisher. Jason's father, Gerald, is in the room standing behind Jason.)
(The lights switch on.)
Sofia: Do you recognize anyone, Jason?
(Jason nods.)
Sofia: Which number?
(Jason points to Carl Fisher.)
Sofia: Number two?
Jason Crowley: Yes.
Sofia: Was he the man who kidnapped you and Lucas?
(Jason shakes his head.)
Sofia: Jason, remember, you can see him, but he can't see you. Did number two hurt Lucas?
Voice: (v.o., distant, distorted) I'll k*ll your dad if you tell ...
Jason Crowley: No, ma'am.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Sofia walks Jason and Gerald through the hallway. Grissom steps out toward them and she shakes her head at him, no.)
(They turn and leave.)
(Greg enters the hallway. He hands Grissom the folder.)
Greg: The gas DNA panned out.
Grissom: (surprised) It did?
Greg: Yeah. Hodges and I traced the gas back to a service station near Fisher's house. Station had security cameras. Got him filling up the night of the f*re, so I went through the electronic receipts. All of them. Carl Fisher purchased 16 gallons.
Grissom: And?
Greg: His Mercury Marquis only holds 14, so, where did he put the extra two gallons?
Grissom: In a plastic gas can?
Greg: All which he paid for with his ATM.
(Greg hands the ATM receipt to Grissom.)
Greg: Not the same as cash.
Grissom: Thanks, Greg.
(Grissom turns and walks down the hallway, back to the interview room.)
CUT TO:
[INT. POLICE DEPARTMENT - HOLDING CELL --NIGHT]
(Grissom talks with Carl Fisher.)
Carl Fisher: No one has told me why I'm being detained.
Grissom: Arson is a felony. You torched your own car. We have video surveillance and electronic records that show you purchasing gas and a gas can.
Carl Fisher: I was trying to scam my insurance company. I needed the money.
Grissom: You were destroying evidence of Lucas Hanson and Jason Crowley in your car. And I think you helped k*ll Lucas.
Carl Fisher: No, I didn't. And you're not charging me for that, so I'm guessing Jason didn't pick me out of the lineup.
Grissom: He told us he knew you. k*ll one, k*ll both, remember?
Carl Fisher: If I had k*lled Lucas, I would have k*lled Jason.
(Grissom doesn't believe him. Carl sighs.)
Carl Fisher: Lucas was looking for a father. His real one was an accident of biology. His mother was limited, always working. He was lonely. He found me.
INSERT: FLASHBACK
[EXT. SIDEWALK - DAY - FLASHBACK]
(Carl is walking down the sidewalk bouncing his basketball. He's sweaty and just finished with a workout.)
Lucas Hanson: (o.s.) I see you every day. You play a lot, huh? Maybe we can play sometime.
(Carl turns and looks at Lucas.)
Lucas Hanson: My best friend's always grounded. How about tomorrow?
(Carl turns and tosses the basketball to Lucas.)
BACK TO SCENE.
Carl Fisher: Did you know that most parents spend less than twenty minutes a day of quality time with their kids? Lucas was starved for attention. All his mother did was complain about his father and how he'd abandoned them. Do you know what that does to a child?
Grissom: It doesn't k*ll them.
(Carl doesn't say anything.)
Grissom: Okay, Carl, just tell me what happened.
(Carl sighs.)
Carl Fisher: Lucas and Jason had gotten into it with Jason's grandfather. He knocked the boys around. They ran to Lucas' house, but couldn't get in, so they came to me.
INSERT: FLASHBACK
[INT. FISHER RESIDENCE - LIVING ROOM - DAY - FLASHBACK]
(Carl Fisher sits in his living room when there's a knock at his door.)
(He finds Lucas and Jason standing outside.)
Carl Fisher: Come on in, guys.
(He lets them in.)
Carl Fisher: (V.O.) I explained to them that hitting wasn't okay.
BACK TO SCENE.
Carl Fisher: I said Jason needed to call his father and tell him what was going on.
Grissom: Did you let them use your phone?
Carl Fisher: But they were too upset. When the grandfather pushed Lucas, he h*t his head. I gave him a couple of aspirin.
Grissom: Well, if he didn't want to call his mother, why didn't you call her?
Carl Fisher: I couldn't risk it. She might have turned me in.
Grissom: So, instead, you took them for pizza?
Carl Fisher: I didn't touch him. I didn't want to hurt him.
Grissom: You gave him liquor.
Carl Fisher: I stopped and bought some whiskey before we picked up the pizza--
I was nervous about them being in the car with me. I didn't want to go back to prison.
Grissom: And you wanted to get them drunk.
Carl Fisher: They ... they just wanted to try it. I gave them a taste.
INSERT: FLASHBACK
[INT. CAR (PARKED) - NIGHT]
(Carl gives Lucas some whiskey as Jason sits in the back seat of the car eating pizza.)
Grissom: (V.O.) It was more than a taste, Carl. Lucas' blood alcohol level was point one six. That's twice the legal limit for an adult.
BACK TO SCENE.
Grissom: Why didn't you take them home?
Carl Fisher: They didn't want to go home. They wanted an adventure. I promised them a dollar for every golf ball they brought back.
INSERT: FLASHBACK
[EXT. GOLF COURSE - NIGHT]
(The car pulls up to the golf course.)
Carl Fisher: (V.O.) Lucas wasn't feeling well, so he stayed in the car with me.
(Jason gets out of the car. Lucas is in the car with Carl. His eyes are closed. Jason heads for the golf course.)
BACK TO SCENE.
Grissom: And you knew that Jason wanted money, so he could go to Texas and see his dad, so you bribed him in order to be alone with Lucas.
Carl Fisher: I didn't molest him.
Grissom: Who took his shirt off?
Carl Fisher: He was hot.
Grissom: What were you gonna do to him once his shirt was off?
Carl Fisher: It was innocent. He wasn't feeling well. He laid his head in my lap. I touched his hair. I didn't want to ... I loved him. I loved Lucas, and he loved me.
Grissom: Is that what you think? Then why didn't you help him? He told you he h*t his head. He was in pain. He had a concussion, Carl. You must have known that. I'm sure he was dizzy, probably had no appetite. Maybe he was even slurring his words, but you didn't care about that, because you wanted what you wanted.
INSERT: FLASHBACK
[INT. CAR - NIGHT]
(Carl helps take Lucas' shirt off as he shivers.) . Lucas puts his head on Carl's lap.)
Carl Fisher: Lucas?! Lucas!
(Cut to: Lucas is flat on the asphalt outside as Carl tries to help him.)
Grissom: (V.O.) His brain was bleeding.
BACK TO SCENE.
Grissom: Now, most kids won't die from that, because someone who really loves them takes them to the hospital, but instead, you gave him alcohol and aspirin, a lethal combination for his head injury. It prevented his blood from clotting. You k*lled him, Carl.
INSERT: FLASHBACK
[EXT. GOLF COURSE - NIGHT]
(Carl is over Lucas's d*ad body. Jason returns, his shirt full of golf balls. He sees Lucas d*ad and drops the golf balls.)
Grissom: (V.O.) And you would have k*lled Jason, too, except he ran away from you and out of your reach.
(Jason turns and runs.)
Carl Fisher: Jason --
(Jason runs and crawls into a drain pipe.)
Carl Fisher: Jason!
(Carl runs and finds Jason in the drain pipe.)
Carl Fisher: Hey, what are you doing in there?
BACK TO SCENE.
Carl Fisher: You're not listening to me. I didn't want to hurt anyone. I need you to believe me.
Grissom: I don't. You had choices. You made the wrong ones. And now this little boy is gone.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Grissom and Brass talk in the hallway in front of his office door.)
Brass: So I talked Voris into violating parole, and we're adding the charges of negligent homicide. You're not gonna see Carl for a long time.
(Officer Mitchell turns the corner with Carl Fisher in handcuffs.)
Brass: Also, we, uh ... we've arrested the grandpa, Terrance Crowley, for child abuse.
Grissom: Everybody wins.
(Brass shrugs.)
Grissom: Except Lucas.
(Officer Metcalf turns the corner with Terrance Crowley in handcuffs. The two men cross in the hallway.)
Terrence Crowley: (hisses to Carl) You're gonna fry.
(Carl lunges at Terrance.)
Carl Fisher: You drove him right to me, you bastard! You did this! You did this!
Terrence Crowley: I'll k*ll you!
(Officers pull the two men apart. Brass rushes over to join them.)
(Grissom turns when he hears more arguing in the hallway adjacent to him. Margaret Finn and Brad Lewis, the two lawyers, argue with an officer. Their voices echo and get distorted from the pain in his head.)
Margaret Finn: Where is Carl Fisher? You can't take him to County ...
Brad Lewis: Mr. Crowley's civil rights were violated. This department is r*cist.
Margaret Finn: Excuse me! I was here first. My client has been detained illegally.
(Grissom slips into Brass's office.)
[INT. POLICE DEPARTMENT - BRASS'S OFFICE - NIGHT - CONTINUOUS]
(He closes the blinds. The voices outside echo as the arguing continues.)
Brad Lewis: You cannot charge Mister ...
(Grissom turns and makes his way over to the couch. He sits down, exhausted. He closes his eyes from the pain in his head, then lies back, his head on the armrest.)
(He sighs and squeezes his eyes closed.)
(The arguing outside continues. The blurry images from the teaser are repeated here.)
(Light filters in through the blinds. Muffled sounds are heard.)
(Figures walk past the blinds. Sounds are still muffled. The room is tilted.)
(Grissom squeezes his eyes closed. The arguing outside continues.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x06 - Burn Out"} | foreverdreaming |
FADE IN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
(Heavy black clouds cover the sky. Lightning flashes. Thunder rumbles as it prepares to rain.
[CU: TURNTABLE]
(Someone puts the needle on the LP.)
Lyric: "Lollypop, lollypop. Oh, lolly, lolly, lolly. Lollypop, lollypop – "
(An old woman dabs at her nose with a white handkerchief. She sniffles.)
(Lightning flashes and thunder rumbles outside.)
(She tucks the handkerchief into the right sweater sleeve.)
TOP VIEW DOWN
(The woman sits in a chair.)
(She opens a cigarette case and removes a single cigarette. She puts the case down in the side-table tray. She picks up a heavy lighter and lights the cigarette between her lips. She breathes deeply.)
(She exhales as she puts the heavy lighter aside. She coughs.)
(The old woman takes out a bottle of CHERRY HERRING liqueur and uncaps it. She pours herself a glass.)
(She sits back and enjoys her cigarette and glass of liqueur as she listens to the music.)
(She finishes her glass.)
(She picks up the paper and cuts coupons out. She cuts a coupon out and looks at it.)
(Thunder rumbles outside.)
(She gets up.)
[EXT. VIEW]
(Through the covered windows, we see the shadow of a figure moving about in the room. The figure's arms are moving about as the person moves to and fro, almost as if they're dancing. The figure's arms bump into the lamp stand, causing it to tilt, but not fall over.)
(Finally, the shadow of the figure rushes across the room into the arms of a second shadowy figure that suddenly appears in the room. The two figures move close with each other and appear to sway to the music.)
(We move in closer toward the large clear glass windows of the room. The two figures continue to move together across the room.)
(Suddenly, the shadowy figure of the old woman moves swiftly from one end of the room and SMASH! -- into the glass window as it breaks. The old woman slumps on the broken shards of glass, over the window frame, hanging partially outside.)
FLASH TO:
[EXT./INT. GARDEN RESIDENCE – ROOM -- NIGHT]
(Penny Garden hangs over the broken picture window frame, shards of glass cutting through her skin. We hear the camera snap and see the lights flash.)
(Grissom kneels outside in front of the body as he takes photos of the d*ad woman.)
(Brass is inside the room as he reports to Grissom. Sara walks around the room snapping more photos.)
Brass: Her name is Penny Garden. Age 65. Retired cocktail waitress.
(Sara holds the camera and snaps a photo of the overturned liqueur bottle, overturned glass and coupons scattered on the floor.)
Brass: Been living here since the Rat Pack days.
Grissom: She may have served them drinks.
Brass: Well, they must have tipped well because twenty years ago, this was a nice neighborhood. Anyway, a guy next door heard a racket, called 911. Down the hallway, there's a spare bedroom. The bed's unmade. So if the vic had a houseguest, they're nowhere to be found, so I'm going to dig around.
(Brass walks away.)
(Sara continues to snap photos of the room. Grissom notes the windows.)
Grissom: Unfortunately, these windows aren't tempered.
Sara: Very dangerous if broken.
Grissom: And she went through face first.
Sara: The door's right here -- I doubt she missed it. Maybe she had some help.
INSERT: FLASHBACK
(The man in the hooded sweater has his hands around Penny Garden's face and neck as he pulls her toward the window. Penny screams.)
END FLASHBACK
Sara: Those coupons on the floor on top of the glass suggests they were scattered after the window broke.
Grissom: Maybe they went through the room after they k*lled her.
(Sara looks back at the room.)
Sara: There's nothing particularly valuable here.
(Grissom looks at the d*ad body in front of him.)
Grissom: There used to be.
SMASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. COURTROOM -- DAY]
(Greg is looking around the courtroom.)
Greg: (V.O.) (faintly) Control, Control, this is CSI Sanders. I need some help.
FLASH TO FLASHBACKS
[Scenes from 7X04: Fannysmackin']
[EXT. ALLEYWAY – NIGHT]
VARIOUS FLASHES
(Greg is witnessing a mob go after a man in the alley. One of the hooded attackers turns and looks back at Greg.)
Woman: (V.O.) Control, go with the information. GREG: (V.O.) as*ault in progress.
(The driver's side window smashes and the mob pulls Greg out of the SUV.)
(They att*ck Greg.)
Control: (V.O.) How many suspects? Are they armed?
Greg: (V.O.) Ma'am, please, they gotta get here quicker than this.
(They continue to surround and b*at up on Greg.)
(The SUV smashes into one of the hooded mob men.)
END FLASHBACK
(We are in what appears to be a courtroom. Greg is sitting behind the table.
Pete Athens: Thank you, ladies and gentlemen. My name is Pete Athens. I am the coroner of Clark County; I want to thank you all for being here. Coroner inquests go back to medieval times during the reign of Richard I in England. In fact, "coroner" comes from the word "crown." A public inquest was one of the crown's checks and balances on the powers of the sheriff. And today, a thousand years later, it serves the same purpose in our county—checks and balances on the sheriff and for those who work for him. The Honorable Clayton Trueblood will be our hearing master. He's not a judge, but he's going to be more like a, um ... a traffic cop, because an inquest isn't a trial.
Judge Clayton Trueblood: We're going to examine the death of Demetrius James. The Assistant District Attorney Valerie Nichols will present the facts in the case, introduce the witnesses and ask them questions. Any member of the jury may also ask questions, either orally or in writing. I understand that there are family members of the deceased present.
(He looks out and several people raise their hands. Greg turns to see who.)
INSERT: FLASHBACK
(Marla James cries over the body of her d*ad son. Greg looks out the window. Aaron James turns and glares at Greg.)
END FLASHBACK
Judge Clayton Trueblood: I'm very sorry for your loss, and I want you to know that as what the State calls "interested parties," you may ask questions, too. When all the facts have been presented, the jury will then rule the death in question as either justifiable, excusable or criminal.
CUT TO:
[EXT./INT. GARDEN RESIDENCE – ROOM -- NIGHT]
(Sara looks at the body draped over the windowsill. She's kneeling outside the house looking at the body while David and the other coroner are inside the house.)
Sara: Cut's pretty deep. Let's try and keep her head on while we move her.
(She helps David and the coroner remove the body from the windowsill.)
David Phillips: On three: one, two, three.
(They lift the body. David and the coroner take the body into the house. Sara steps away from the window.)
(David and the coroner put the body down on an open bag. Catherine walks in.)
Catherine: Hi.
(Sara looks up from writing on her clipboard.)
Sara: Hi.
Catherine: Grissom said you could use some help. What haven't you done?
Sara: (grimaces) The rest of the house.
(Catherine nods as she turns and leaves the room.)
(She walks back through the hallway and looks into one of the rooms. She continues through the hallway and stops at the end room. She looks inside and notes the tubs of poker chips on the table.)
(She walks into the room and kneels next to the bed. She picks up a prescription bottle.)
(Catherine opens the bedside drawer and finds dozens of prescription bottles inside.)
Catherine: (to herself) Hope I die before I get old.
CUT TO:
[EXT. NEIGHBOR – DAY -- CONTINUOUS]
(Brass talks with the neighbor, Jason Tua. Behind him, a couple of other men sit in lawn chairs drinking beer.)
Jason Tua: Man, I was just lampin' in the crib with my boys when all of a sudden, psssh. I thought someone was breaking in next door. Took a look over the fence, old Penny was breaking out.
Brass: Did you hear anything? Any voices, yelling, screaming?
Jason Tua: (shakes his head) Mm-mm. I don't even think Mrs. Penny could scream. She had, like, a real low, raspy voice.
Brass: Yeah. Well, you think that's sexy? Is that the way you roll? Huh? All right, I'll take that for a "no." You see anybody leave the house?
Jason Tua: No, sir. Not last night.
Brass: Who's she got staying with her?
Jason Tua: Don't know his name, but I seen him always going in and out of there.
Brass: Describe him.
Jason Tua: White dude. Skinny. Always wears jeans and white tees.
(Jason sees the coroners wheel out Penny's body on a gurney wrapped in a white sheet.)
Jason Tua: Man. I liked that old lady. She made some good vittles and always had an extra stogie if I was out.
Brass: This is my card. If you see that white skinny guy, give me a call, will you? All right?
(Brass gives him his card.)
Jason Tua: Yeah.
Brass: All right?
Jason Tua: Yeah.
(Brass turns and leaves. Jason Tua heads back to his own house.)
(Officer Mitchell heads over toward Brass. Brass turns and sees a house nearby with CLOSED CIRCUIT TV.)
Brass: You talk to that guy in that house?
Officer Mitchell: Been there twice. Still nobody home.
Brass: Put someone on his doorstep until he shows. He's got security cameras. I want the video.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
(Sofia is on the stand. ADA Valerie Nichols is questioning her.)
Sofia: The first att*ck that night occurred just after midnight, in the employee parking structure at the Golden Sapphire Hotel.
(On the monitor, the location and name of victim appears on the map on screen.)
Sofia: A group of youths ranging from teens to early 20s att*cked Vasco Ruiz, a hotel dishwasher on his way to his car.
(Various photos of the badly beaten victim appear on the screen.)
Sofia: He was apparently selected at random.
INSERT: FLASHBACKS OF
(Vasco Ruiz is beaten by a group of people. They punch and kick him in the face and all over his body.)
BACK TO SCENE.
Sofia: Mr. Ruiz was found d*ad at the scene.
Valerie Nichols: And what was the mob's next move?
Sofia: Approximately thirty minutes after the first att*ck, not far away, at the Holiday Motel, they att*cked their next victim, Jessica Hershbaum.
(A second caption pops-up on the monitor map: JESSICA HERSHBAUM, HOLIDAY MOTEL.)
INSERT: FLASHBACK
(The g*ng beats Jessica up.)
Jessica Hershbaum: Stop it! Stop it!
BACK TO SCENE.
(Valerie Nichols puts a photo of Jessica's injured face on the monitor. She turns to Sofia.)
Valerie Nichols: Now, Miss Hershbaum survived.
Sofia: She's alive. But she has physical and emotional scars from the att*ck that she may never recover from.
Valerie Nichols: So when Mr. Sanders was coming to your crime scene, would he have known about these first two swarming att*cks?
Sofia: Absolutely. CSI was still processing those crime scenes, and then I heard on my radio about another att*ck- - the third that night -- and that a CSI was one of the victims.
(A third caption pops-up on the monitor map: STANLEY TANNER, CASINO CENTER DR. ALLEYWAY.)
Valerie Nichols: Is this the location of the third swarming att*ck?
Sofia: Yes. I drove over there immediately.
Valerie Nichols: And what did you find?
Sofia: Three men, all seriously injured. Stanley Tanner was unconscious, as was Demetrius James and CSI Sanders.
(Photos of Demetrius James appear on the monitor.)
Sofia: The mob had pulled CSI Sanders from his vehicle and beaten him.
(Photos of Greg on the ground appear on the monitor.)
Sofia: But it was his intervention that saved Stanley Tanner's life.
(One of the male jurors hands a note to the juror next to him. She hands the note to the bailiff. The bailiff hands it over to the judge.)
(The judge reads the note.)
Judge Clayton Trueblood: While I appreciate your participation in the process here, I don't find this question relevant.
(The male juror stands up.)
Male Juror 1: Excuse me, Your Honor. The question's quite relevant. Are we just going through the motions here, so it looks like someone actually asked whether or not it's okay to run over black kids in the street?
Judge Clayton Trueblood: Do you have a question, sir?
Male Juror 1: Yeah. Are you also going to be censoring verbal questions?
Judge Clayton Trueblood: Relevance is at my discretion here. Now, please, take your seat.
(The male juror sits down, then turns and glares at Greg.)
(We hold on Greg.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins goes over the findings for Penny Garden with Grissom.)
Robbins: Multiple lacerations on face, neck shoulders. If it weren't for the couple dozen glass fragments I tweezed out, I'd say somebody went to town on her with a straight razor. COD is exsanguinations due to sharp force injury to the jugular-carotid complex, but she was already on her way out.
(Robbins shows Grissom the lungs on a metal pan.)
Robbins: Cannonballs of tumors on her lungs.
Grissom: Man ... her cancer had cancer. I guess she liked smoking more than living, huh?
Robbins: Or else she wanted to die with a cigarette in her mouth.
Grissom: You know, Catherine found antidepressants, laxatives, acid-reflux meds in her house, but I don't think she found anything for pain.
Robbins: I guarantee you, this lady was in pain. She must have been taking something for it.
Grissom: Maybe the k*ller took it with him.
Robbins: Well, there's a big market for that stuff now. I'll get her medical records.
CUT TO:
[INT. GARDEN RESIDENCE – KITCHEN – DAY]
(Catherine closes the washing machine cover and looks around the kitchen. She finds a piece of glass on the rug near the door.)
(Sara steps into the room and finds Catherine down near the rug to look at the glass.)
Sara: Did you find something?
Catherine: Bloody glass.
(Sara snaps a couple of photos.)
Sara: The k*ller on his way out?
(Catherine picks up the glass and stands up. Sara toes the door open and slips out of the house.)
[EXT. GARDEN RESIDENCE – BACK YARD – DAY -- CONTINUOUS]
(Sara checks outside and finds another piece of bloodied glass on the grass. She snaps a photo of it.)
(She continues walking along the back of the sunroom past the open doors and broken window. She turns and sees a peephole cut into the fence. She walks over to it and snaps a photo of it.)
CUT TO:
[EXT. GARDEN RESIDENCE – FRONT – DAY]
(Officer Mitchell keeps a skinny man in a white t-shirt and carrying a bag of groceries out of the taped-off area.)
Henry Briney: You can't keep me out of there! This is where I live, man!
Officer Mitchell: Sorry, son. This is a crime scene. You don't want to be in there.
Henry Briney: Look, I just want to see my Auntie Penny. Where is she?
(Sara exits the house and heads over toward them.)
Officer Mitchell: Calm ... calm down.
Henry Briney: I don't want to calm down!
Sara: Do you live here?
Henry Briney: Yeah, that's what I was just telling this guy. What's going on?
Sara: What's your name?
Henry Briney: Henry. Henry Briney.
Sara: Henry, I'm going to need you to come down to the police station, give us a statement.
Henry Briney: For what?
Sara: Um ... Sorry to tell you, but your aunt is d*ad.
CUT TO:
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
VARIOUS FLASHES OF the mob beating up Stanley Tanner.
ADA Valerie Nichols: (V.O.) Mr. Tanner, can you tell us what injuries you sustained as a result of the att*ck?
BACK TO SCENE.
(Stanley Tanner is on the stand.)
Stanley Tanner: Cuts, some of them pretty bad, mostly on my face. Broke left arm, crushed windpipe, one eye socket cracked, broke right ankle. And I got this headache they tell me might be permanent.
ADA Valerie Nichols: Would it be correct to say that while you were being att*cked, you felt like your life was in danger?
Stanley Tanner: Hell, yeah.
Male Juror 1: I have a question.
Judge Clayton Trueblood: Go ahead.
Male Juror 1: Did you actually see Demetrius James attacking you?
Stanley Tanner: Oh, I couldn't tell who was who. I mean, hell, my hands were on my face. I was just trying to stay alive. If Mr. Sanders hadn't shown up just then, I'd have been like that first guy -- d*ad.
CUT TO:
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
(Robbins is on the stand. A photo of a brain is on the monitor as Robbins goes through his testimony.)
Robbins: There was a large laceration where Demetrius James' head h*t the ground when he fell. Underlying that wound was a fracture of the occipital bone, which crosses at the base of the skull. The motion of the impact caused the brain to collide with the bony protrusions inside the skull, resulting in what we call contra-coup contusions. There was also prominent cerebral edema -- or swelling -- as well as hemorrhages of the brain stem.
ADA Valerie Nichols: So your official cause of death was ... ?
Robbins: Blunt force trauma to the head following a motor vehicle collision.
Male Juror 1: So this was a death at the hands of another?
Robbins: Yes.
Male Juror 1: And what do you call that kind of death?
Robbins: A homicide.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Brass talks with Henry Briney.)
Brass: So where did you go last night?
(He puts a ticket stub on the table.)
Henry Briney: Movies.
Brass: Oh, a ticket stub. That's good. Who'd you go with? You went by yourself?
Henry Briney: Who else would I go with?
Brass: I don't know. A friend?
Henry Briney: No. I don't have friends.
Brass: Okay, so the movie ended. You're all by yourself, then what?
Henry Briney: I sat in the Keno Lounge all night, h*t the grocery store, and then came home to cops.
Brass: Why are you staying at your Aunt Penny's?
Henry Briney: Because my parents threw me out.
Brass: Why would they do that?
Henry Briney: Because they don't like me.
Brass: Let me see your arms.
(Henry shows Brass the scars on the inside of his right arm.)
Brass: Are you "booting that good oodgie"? You ever use intravenous drugs?
Henry Briney: Not anymore, but I did for a while.
Brass: You know, your Aunt Penny had some scrips for some pain medication –
Oxycontin, Fentanyl, Methadone. When we searched her house, we didn't find any. Did you take them?
Henry Briney: No, I didn't take them. She must have taken them. I don't touch them. I just got out of rehab. Haven't touched a pill, line or needle in six months.
Brass: (scoffs)
Henry Briney: My parents threw me out, and she took me in. I would not screw her over.
Brass: We're going to need to take your clothes and your shoes.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – LAYOUT ROOM – DAY]
(Sara is using the ALS on Henry Briney's clothes. Catherine walks in as Sara turns the ALS off.)
Catherine: Any luck?
Sara: No. No blood on the nephew's shoes or clothes.
Catherine: Drug panel on his urine came back negative. He's clean.
Sara: What about Auntie Penny?
Catherine: No pain meds in her system either.
Sara: We've got a lot of serious drugs that are unaccounted for.
CUT TO:
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
(Nick is on the stand. A photo of the glass fragments is on the monitor.)
Nick: These glass fragments are from the mob breaking out the windows of CSI Sanders' Denali.
INSERT: FLASHBACK
(The group breaks through the car's back window. They pull Greg out of the car.)
Nick: (V.O.) That's how they dragged him out.
BACK TO SCENE.
(Nick continues. His testimony is interspersed with flashes from 7X04:
‘Fannysmackin'.)
(On the monitor, he shows a photo of Greg's torn hair and a photo of a rock.)
Nick: This is a clump of his hair, torn from his scalp. And that's the rock Demetrius James used as a w*apon.
Male Juror 1: According to who? This is the first we've even heard that Demetrius James had a w*apon.
ADA Valerie Nichols: In his report, Mr. Sanders testified to that fact. The rock was found at the scene.
Male Juror 1: How do we know the cops didn't plant it there?
Judge Clayton Trueblood: Sir, I've warned you.
Nick: I'd like to answer that question. Usually, when someone plants a w*apon, whoever did it puts it right beside the body -- in this case, the rock was found near the front tire of the Denali. Skid marks suggest it was dropped upon impact.
Male Juror 1: A rock against two tons of steel.
Nick: No. More like one man against an extremely violent, out-of-control mob.
Male Juror 1: What's department policy in a situation like that?
Nick: It has always been department policy not to harm innocent civilians. You call for backup, you try to be a good witness, and you stay out of the way.
Male Juror 1: So what makes it okay to start running over people?
Nick: Well, when those people are wearing masks, running around beating people up.
Aaron James: Man, DJ was going to a costume party.
Nick: One victim was d*ad. Another was seriously injured. Another fatality imminent. I'd say the use of deadly force in this case was consistent with department policy, absolutely.
ADA Valerie Nichols: Demetrius James was going to finish off the victim with the rock.
(Marla and Aaron James surge to their feet.)
Marla James: (shouts) You're a liar! AARON JAMES: (shouts) My brother wasn't a k*ller!
ADA Valerie Nichols: Excuse me.
Marla James: Demetrius was going to college.
ADA Valerie Nichols: Mrs. James!
Marla James: He had a 3.6 GPA.
ADA Valerie Nichols: We are all very sorry for your loss, but you are not a witness here.
(Judge Clayton Trueblood doesn't say anything.)
Marla James: (shouts) You didn't know him! AARON JAMES: (shouts) DJ had a future!
Marla James: I knew him! We knew him!
ADA Valerie Nichols: Judge, can we have some order here?
Marla James: You didn't run over a mob, you ran over one boy! My boy!
ADA Valerie Nichols: Judge?
Judge Clayton Trueblood: Mrs. James' comments give context to the events of the night in question. I'd like to hear what she has to say.
(Valerie Nichols sits down. Greg leans over toward her.)
Greg: Why is Trueblood letting her do this?
ADA Valerie Nichols: It's probably good for his campaign. He's running for Assembly.
Greg: Now you tell me.
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Sara walks into the lab. Archie is reviewing the tapes from the neighbor's security camera.)
Sara: Got your page. Surveillance footage from the neighborhood watch guy across the street.
Archie: Yeah, he was paranoid, but lazy. He had four security cameras on his house; three of them were cardboard boxes. Homemade security is the worst. Okay, so the nephew comes in and out of the house a couple times during the day.
Sara: Yeah?
Archie: It's a whole different story next door. Okay, this guy comes out of the house and meets with a different car at least three times an hour.
Sara: He's slinging drugs.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass shows Jason Tua a couple of photos of pills.)
Brass: We found these in your house. The white one is Carisoprodol. It's a muscle relaxant.
Jason Tua: Yeah, I strained my pecs bench pressing.
Brass: Oh, yeah. And the blue one is Prevalis. You look a little young to need that.
Jason Tua: Well, I've had my share of women. Mr. Johnson's gotten bored over the years, so?
Brass: Well, he's going to get really bored in prison. You hope.
Jason Tua: What, you gonna bust me for selling Prevalis?
Brass: Well, you think a guy in my job doesn't know what goes on in the clubs and in the street? You ever hear of a Las Vegas Cocktail.
Jason Tua: I don't drink.
Brass: It's a combination of Carisoprodol, Prevalis and very strong painkiller called Fentanyl. Problem is, Fentanyl's hard to get. I mean, doctors don't just give it away. You got to be in really serious pain to get it, like dying of cancer. On the street it's called "perc-a-pop".
(Jason Tua shakes his head.)
Brass: Now, Penny Garden was prescribed 40 a month. Problem is, we couldn't find any in her house.
Jason Tua: So what, you think I stole them?
Brass: Yeah, I do.
(Quick flashback to: [INT. GARDEN RESIDENCE – NIGHT] Penny sits in her chair clipping coupons when Jason Tua walks in.)
Jason Tua: Where are the pops, old lady?
Penny Garden: Get out of my house.
(He grabs her and pushes her back.)
Jason Tua: Where are they?
Penny Garden: Back off, bully!
Jason Tua: No you won't.
(He throws her toward the glass windows. She smashes through the glass.)
BACK TO SCENE.
Jason Tua: Never. Never, never, never. Look, I told you, I liked the lady. She made me dinner. She lent me smokes, man.
Brass: You liked her 'cause she had what you needed.
Jason Tua: No, man. No way. (He turns and looks around.) Hey, I need a lawyer in here.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Sara and Catherine talk.)
Sara: So we have a drug dealer and a former drug user, both of which would have motive to steal Penny's drugs.
Catherine: Well, there wasn't any trace of Fentanyl in the nephew's system.
Sara: He's broke, he's unemployed; maybe he's stealing them from Penny so he can sell them to the neighbor.
Catherine: If that's the case, it's motive for both.
(They turn the corner and stop at reception.)
Henry Briney: (o.s.) Excuse me.
(Henry Briney is at reception carrying a large box.)
Sara: Hi, Henry. What are you doing here?
Henry Briney: Um ... I just found this on my porch -- I opened it and thought I should bring it down to you guys. It's ... pretty creepy.
(Sara and Catherine step forward to look inside the box and find an exact miniature replica of Penny Garden's crime scene.)
(We hold on Sara.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[CU: MINIATURE]
(There's broken glass on the grass outside the room and roses just outside the windowsill where the miniature body of Penny Garden hangs partially outside.)
(Camera continues over the body and into the miniature crime scene room where furniture is overturned, clipped coupons are strewn on the floor, Chinese take-out containers are on the table. The detail is amazing.)
(Camera continues moving through the room, then moves on to the first miniature crime scene with a miniature Izzy Delancy slumped over the kitchen table.)
(Camera moves in toward the blood on mini-Izzy Delancy's shoe, then rapidly pulls back and out.)
[INT. CSI – LAYOUT ROOM – DAY]
(TOP VIEW DOWN. The two miniature crime scenes are side-by-side on the table.)
Sara: If one was horrifying ... what is two?
(Sara and Grissom look at the two dioramas.)
Grissom: Possible serial k*ller.
Sara: I'd say that it takes the nephew and the neighbor off the hook. I doubt either one of them could afford a mini-contractor, anyway.
(Grissom picks up one of the small pillows with an image on it. He looks at it under the magnifying glass.)
Sara: A bloody doll. Similar to the one in the other miniature.
(Sara pulls out the photo and they compare the two.)
Grissom: Look at the blood on the doll's forehead.
Sara: Same pattern on both.
Grissom: Could be two different views of the same subject.
Sara: Maybe it's a signature.
Grissom: Yeah, but we have no context. It could mean or represent just about anything.
Sara: Okay ... again, the miniature suggests that the k*ller had an intimate familiarity with the victim, home and habits. So what do they have in common?
Grissom: Izzy Delancy, 50-year-old white male, washed-up rock star. Penny Garden, cancer-stricken retiree.
Sara: Different friends, different family, different social circles.
Grissom: Why wasn't this one left at the crime scene like that one?
(Grissom picks up the Penny Garden diorama and shakes it. Something rattles.)
(He and Sara share a look.)
CUT TO:
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
(Marla and Aaron James stand in front of the courtroom.)
Judge Clayton Trueblood: Marla and Aaron James are not sworn witnesses. If they were, they couldn't be in the courtroom during testimony and that would effectively take away their rights as interested parties to question witnesses. So please try to remember that their remarks are not evidence. Go ahead.
Marla James: My sons didn't grow up with a father. Barely had a mother on account of me working all the time. They got into trouble. Mostly 'cause of where we live. Aaron here, he got into a whole lot of trouble.
Aaron James: And I did my time, too. I did my time, but that wasn't D.J. He was helping me turn my life around. Coached me on my GED. Made me feel like there was a chance for me, you know. (to Greg) Man, you have no idea what you k*lled when you k*lled my brother.
CUT TO:
[INT. HALLWAY OUTSIDE COURTROOM -- DAY]
(Reporters record their segments as people mill about.)
Reporter 1 (woman): Everyone was moved by the compelling testimony of the victim's mother, Marla James. Her outburst in the courtroom today --
Reporter 2 (man): It wasn't the judge, the jury or the lawyer. Instead it was the mother of Demitrius James that had the courtroom asking did her son behave ...
(Greg exits the courtroom and meets up with Sofia at the end of the hallway.)
Sofia: Hey.
Greg: Nichols was right. This isn't a trial, it's a circus.
Sofia: Yeah, I heard. Starring the mother.
(She indicates Marla and Aaron James giving an interview with a reporter.)
Greg: I feel like I should say something.
Sofia: Like what?
Greg: I don't know.
Sofia: Sorry? You going to apologize to the mother of a guy who b*at one man to death and was trying to do the same to you? That's as good as saying you're guilty and setting yourself up for one hell of a civil suit besides. You did nothing wrong.
Greg: I just want to be able to sleep again.
Sofia: We put ourselves in harm's way every single day and sometimes we pay one hell of a price for surviving it. Other people will never understand that.
(Greg again turns and watches Marla and Aaron James giving their interview to a reporter.)
Aaron James: No way D.J. was a violent person.
Marla James: My son is not a k*ller. He was trying to stop that k*lling.
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Grissom turns the MINI-RAD 3000 X-RAY MACHINE on. It's pointed at the Penny Garden diorama, which appears on the laptop monitor.)
(Grissom turns the diorama around and adjusts the lens on the x-ray machine. As he adjusts the image and finds something, he picks up a loose rock on the grass and looks at it.)
INTERCUT WITH:
[EXT. GARDEN RESIDENCE – DAY]
(Sara kneels on the grass outside the windows as she takes photos of the rock in front of the bushes lining the wall.)
(She puts her camera down and moves the rock aside.)
[INT. CSI – LAYOUT ROOM -- DAY]
(Under the rock, Grissom finds something wrapped in plastic. He picks it up and looks at it.)
[EXT. GARDEN RESIDENCE – DAY]
(Sara picks up a syringe wrapped in plastic. It's marked FENTANYL 400 MCG.)
CUT TO:
[INT. CSI – LOCKER ROOMS – DAY]
(Nick is at his locker when Warrick walks in.)
Warrick: Hey.
Nick: Hey.
Warrick: How'd it go in there?
Nick: I don't know.
Warrick: Really?
Nick: Yeah.
Warrick: You know, I know it was a hardcore situation that Greg ran up on, but you think it ever would have occurred to him to just put it in reverse and get the hell out of there?
Nick: Well, that's not the question. What a jury wants to know is did Greg do what any reasonable person would have done under the circumstances.
Warrick: I know Greg must have been scared as hell, man.
Nick: What can we do to help him?
Warrick: We'll put the jury behind the wheel of the car.
(Nick smiles.)
CUT TO:
VARIOUS CUTS OF NICK AND WARRICK
[INT. CSI – GARAGE -- DAY]
(Warrick hooks the Denali's black box to the laptop and downloads the information.
ENGINE SPEED
RPM/100
BRAKE SWITCH
CIRCUIT STATUS
100=ON
[EXT. ALLEYWAY -- DAY]
(Nick uses a hand-drawn layout of the crime scene and is setting up the alleyway, marking the area with cones.)
[INT. CSI – LAB -- DAY]
(Warrick is working on a computerized reenactment of the events of the night.)
[EXT. ALLEYWAY -- DAY]
(Nick marks two cones – one "DJ" and the other "DENALI".)
[EXT. ALLEYWAY -- DAY]
(Warrick shows Nick the computer reenactment.)
Warrick: All right, the Denali's black box reports only five seconds before impact. Now, Greg was idling with his foot on the brake. And then he accelerated for no more than two seconds.
Nick: Yeah, according to the acceleration skid marks, the front end went from there to there with D.J. coming at him.
Warrick: Want to give it a go?
(Nick nods and heads for the Denali.)
Warrick: Take it for a spin?
Nick: Yeah.
(Nick removes the cone in front of the Denali. He climbs behind the driver's wheel and starts the engine.)
(Warrick turns the laptop timer on.)
Warrick: You ready?
Nick: Ready.
Warrick: Go.
(Nick presses the gas and heads to the second cone.)
Warrick: Stop!
(Nick stops the car. Warrick walks over.)
Nick: (shakes his head) With this kid running at him the whole time, there's no way Greg could have avoided hitting him.
Warrick: You think a jury will see it that way?
CUT TO:
[INT. COURTHOUSE – BATHROOM -- DAY]
(Greg walks into the bathroom and leans against the sink as he looks at himself in the mirror.)
(A man exits the stall and leaves.)
(Greg runs the faucet, washes his hands and wets his face. The door opens and Aaron James walks in. He lingers in the doorway and watches Greg.)
(Greg looks into the mirror, then notices Aaron James standing there.)
Aaron James: How tough you feel when you're not in your big SUV, huh?
(Greg says nothing. Aaron James walks toward him.)
Aaron James: I asked you a question, k*ller.
(Greg turns and looks at him, still saying nothing.)
(A man walks in and heads for the faucets. He walks between them.)
Man: Excuse me.
(Aaron James backs away and leaves. We hold on Greg.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
(Greg is sworn in.)
Judge Clayton Trueblood: In the cause now pending before this court, do you swear to tell the truth, the whole truth and nothing but the truth?
Greg: I do.
Judge Clayton Trueblood: Be seated.
(Greg sits down.)
ADA Valerie Nichols: All right, let's take a look at the official transcript of your call for backup.
ADA Valerie Nichols: 01:54 and 21 seconds, Dispatch Control answers. Would you please read your response.
(The transcript appears on the monitor.)
Greg: (reads) "Control, Control, this is CSI Sanders. I need some help."
ADA Valerie Nichols: You took a couple of seconds to look at the street signs. There's a few more exchanges and then dispatch tells you: "Closest unit has a five minute ETA." Five minutes. Control continues-- "Rolling Code 3. Are they armed?" Please read your response.
INSERT: FLASHBACK
Greg: I don't know, I don't know. Ma'am, please, listen. They gotta get here quicker than this.
Dispatch: Copy that.
BACK TO SCENE.
ADA Valerie Nichols: What'd you do?
Greg: I thought I'd try to break up the mob. I turned into the alley, h*t the horn, yelled, anything.
ADA Valerie Nichols: Did that stop the beating?
Greg: Not entirely. One guy decided not to run away. Instead, he turned around, picked up a rock ... and moved like he was going to finish off the victim. But he turned and started coming at me with it.
Aaron James: Oh, come on, that's just his word, man. His word against my brother's word!
ADA Valerie Nichols: Mr. James.
Aaron James: You know, we can't get his side, now can we?
ADA Valerie Nichols: All right. Your Honor?
Judge Clayton Trueblood: Ms. Nichols. The man has a right to speak.
Marla James: C'mon. Sit down. C'mon.
(Marla and Aaron sit down.)
ADA Valerie Nichols: At this point, did you fear for your life?
Greg: Yes.
ADA Valerie Nichols: Did you have a w*apon, a g*n?
Greg: No.
ADA Valerie Nichols: What were you thinking when D.J. left Stanley Tanner's unconscious body and ran at you with that rock?
Greg: I thought that he could make me his next target. I thought he wanted to k*ll me. No matter what, I knew that I had to incapacitate him.
ADA Valerie Nichols: Now it's taken us several minutes to go through the events of that night. And I'm sure that you've all formed some kind of opinion about what happened. But, right now, let's put ourselves in Mr. Sanders' position. Let's see how much time Greg had to save a man's life.
(She runs the computer-generated scenario.)
ADA Valerie Nichols: Seconds. Mere seconds. What would you have done? Mr. Sanders, was it your intention to k*ll Demitrius James?
Greg: No. I wish he hadn't come at me. I wish that he had just run away.
Judge Clayton Trueblood: Mr. Sanders ... aren't you leaving something out?
Greg: I don't think so.
Judge Clayton Trueblood: You testified at a criminal trial earlier that day, didn't you?
Greg: Yes.
Judge Clayton Trueblood: ADA Ulrich must've been pleased with your testimony. She took you to dinner at the Tillerman. I'm looking at a copy of her credit card receipt. How was the sea bass? And the bottle of Pinot Grigio Santa Margherita 2005. How was that?
ADA Valerie Nichols: Your Honor ...
Greg: I ... wasn't on shift, and I only had ...
Judge Clayton Trueblood: Mr. Sanders, I'm sure the jury's wondering, if you hadn't been drinking before going to work, would Demitrius James still be alive?
Greg: (clearly) Alcohol wasn't ... a factor. ADA Ulrich insisted on ordering the wine. I drank half a glass. About six ounces. At my weight, 150, that would give me a blood-alcohol content of .02%. Even without food, the alcohol burn-off rate would be .015% per hour ... meaning that there was no alcohol in my bloodstream after ninety minutes, well before I reported for my shift and about ... seven hours before the incident.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – LATE DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1 -- DAY]
(Sara shows Henry Briney the file folder.)
Sara: This is where we found your aunt's Fentanyl, so we know that you didn't take it.
(She puts the file folder on the table.)
Sara: Which means you've gone from a suspect ...
(Camera follows Sara as she walks around the room, then veers off through the wall and into –
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 2 – DAY – CONTINUOUS]
(Brass interviews Jason Tua.)
BRASS -- to a witness. Now it's up to you to help us find the real k*ller. If you really cared about Penny, you'll tell us the truth about everything.
Jason Tua: So this is off the record?
Brass: Yeah.
Jason Tua: So I ain't going to jail?
Brass: Yeah, what do you want to know?
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1 – DAY – CONTINUOUS]
(Sara continues interviewing Henry Briney.)
Sara: Who was Penny hiding her drugs from?
Henry Briney: I don't know. Maybe it was me, although I never would've taken them. Or maybe you should ask the guy next door.
Jason Tua: No, man, I'd never take those things from her. I buy 'em, 50 bucks a pop.
INSERT: FLASHBACK
[EXT. FENCE – NIGHT]
(Jason Tua knocks on the fence. Fentanyl syringes in plastic wraps are pushed through the hole. He takes the syringes and puts the cash through the hole.)
BACK TO SCENE.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1 – DAY – CONTINUOUS]
Sara: Did you know your aunt was selling her drugs?
Henry Briney: Yeah, I had an idea. I figured it was how she was supporting her habit.
Sara: Which one?
Henry Briney: I guess I should've said "habits." Um, she loved her liqueur, and she loved her cigarettes, but what she really loved was video poker. She liked the sound the coins made when she h*t a jackpot. She offered me a couple of bucks a week to keep the house clean, and ... and she paid me in nickels and quarters.
Sara: Can you think ... of anyone else that might have known that those drugs were there?
Henry Briney: No. I lived with her for a couple of months, and ... and she never had anyone over but me.
DISSOLVE TO:
[INT. CSI – LAB]
(Grissom is examining the latest miniature crime scene through a scope. He pushes the scope through the room and notices something on the miniature chair.)
(Hodges walks in.)
Hodges: I know that look. You just figured something out.
(Hodges looks at the miniature.)
Hodges: This is much better than d*ad rock star kitchen. The whole al fresco thing? (Grissom looks at Hodges.) Come on, share. (b*at) Please?
(Grissom hands the scope to Hodges.)
Grissom: Look carefully at the back of the doll and at the pillow on the chair. There appears to be remnants of glue on both.
Hodges: So the doll was originally glued to the back of the chair.
(Grissom studies the chair.)
Grissom: I think the k*ller expected the victim to die in this chair.
INSERT: VISUALIZATION
(The image of Penny Garden appears in the chair, drinking her liqueur.)
(From above, Grissom visualizes what must've happened.)
(As Penny Garden sits, the hooded intruder comes up from behind her.)
Hodges: Well, if that's the case, then how did the k*ller expect to ... k*ll her?
(Grissom continues visualizing Penny Garden sitting in the chair, drinking from her glass. The k*ller is behind her, waiting.)
(Grissom reaches down and tries to pick up the miniature liqueur bottle from off the floor. It doesn't move. It's glued there.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. JUDGE TRUEBLOOD'S COURTROOM -- DAY]
Judge Clayton Trueblood: I understand the jury has reached a verdict?
Woman Juror: We have, Your Honor. (reads) We, the jury in this inquest, find the death of Demitrius James excusable.
(The people murmur.)
Coroner Pete Athens: Well, thank you, ladies and gentlemen, Judge Trueblood. This inquest is concluded.
ADA Valerie Nichols: (mutters under her breath) "Excusa ..." No. (She turns to Greg.) See, "excusable" is a lawful act with no intention to k*ll. "Justifiable" means that the action was the only alternative. That's what they should have found.
Greg: It's okay. I think they may have it right.
CUT TO:
[EXT. COURTHOUSE – FRONT STEPS -- DAY]
(The Male Juror 1 interviews with a reporter.)
Male Juror 1: Look, look, I got nothing against Mr. Sanders personally, but all these inquests ever really seem to do is protect the cops. ...
(Camera moves past him and we see Greg exit the courthouse. He looks around and we see Judge Trueblood interviewing with another reporter.)
Judge Clayton Trueblood: As I've emphasized during my campaign, the public deserves the truth about any death at the hands of law enforcement.
(Just behind him, Marla and Aaron James are interviewing with yet another reporter.)
Marla James: No, it's not over. We won't get justice till Demetrius --
(Greg continues walking through the crowd. A reporter stops him.)
Reporter: Mr. Sanders, Mr. Sanders, do you think the verdict was fair? Was your k*lling Demitrius James excusable?
(Before Greg can respond, a friendly arm wraps around his shoulders. Stanley Tanner appears at his side.)
Stanley Tanner: This kid saved my damn life. He is a hero, a genuine hero.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – EARLY EVENING]
[INT. CSI – LAB -- EVENING]
(Hodges removes the Cherry Herring Liqueur bottle from the evidence bag. He takes a sample and processes it.)
(He puts it in the machine and switches it on. The machine runs and Hodges takes a moment to dance along with the machine and background music.)
(The results print out.)
(Hodges smiles and heads out.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(The results read: NICOTINE – FATAL LEVEL.)
(Grissom shares his findings with Sara.)
Grissom: Penny Garden was poisoned with nicotine.
Sara: Well, that's not exactly a surprise -- the woman smoked liked a chimney.
Grissom: She didn't smoke it. She drank it. Liquid nicotine. Truman Capote used it as a m*rder w*apon in his story, "Hand-Carved Coffins," and our k*ller put it in Aunt Penny's liqueur bottle.
INSERT: FLASHBACK
(The k*ller drops liquid nicotine into the cherry liqueur bottle.)
(Penny Garden sits, lights her cigarette and pours herself a drink.)
Grissom: (V.O.) A cigarette introduces approximately one milligram of nicotine into the body. The liqueur contained over 60. A dose that massive can induce severe convulsions ...
(Penny stands up and starts convulsing. She takes several steps, knocking things over along the way. She coughs and gags.)
[EXT. GARDEN'S RESIDENCE – NIGHT]
(The shadow moves around the room, till she finally smashes into the window, falling on broken glass on the windowsill.)
Grissom: (V.O.) ... and evidently, mess up a meticulously crafted m*rder.
BACK TO SCENE.
Grissom: That's why the miniature wasn't at the crime scene. The k*ller was compelled to fix it, so that it would match what actually happened.
VARIOUS FLASHES OF: The k*ller pulls the miniature Penny doll off the chair and puts it on the windowsill.
BACK TO SCENE.
Sara: Liquid nicotine is in a lot of smoking cessation products.
Grissom: Yeah. Commonly available to just about anyone. Any luck with the vic's calls?
Sara: Kind of. I data-mined the home phone numbers of Izzy Delancy and Penny Garden. They actually had ten numbers in common. Information, couple of mail-order catalogs, power company, Moviefone. There's one other number which turned out to be an untraceable disposable cell phone – suggests someone who doesn't want to be found.
(Greg appears in the doorway.)
Greg: Hey, boss, unless you need me for something, I'm gonna take off.
Grissom: Yeah. Take off that suit, too.
(Greg turns to leave; Grissom stops him.)
Grissom: And Greg ... you did a good job.
Greg: I'm glad you think so.
(Greg turns and leaves. Sara turns to look at Grissom.)
CUT TO:
[INT. CSI – PARKING GARAGE]
(Greg is on his way to his car. A car engine starts and revs. He looks up and sees Aaron James sitting behind a driver's wheel revving the engine.)
(A man walks up to Greg and hands him some papers.)
Man: Mr. Sanders, you've been served.
(The man leaves. Greg looks at the papers:
DISTRICT COURT
CLARK COUNTY, NEVADA
THE ESTATE OF DEMITRIUS JAMES, PLAINTIFF, VS.
GREG SANDERS, AND DOES 1 THROUGH 50, INCLUSIVE AND EACH OF THEM, DEFENDANTS
CASE NO. CIV. 11456
COMPLAINT FOR WRONGFUL DEATH
(Greg turns around and looks at Aaron James behind the car wheel.)
(Aaron James g*n the engine and the car surges forward, tires screeching and headed straight toward Greg. Greg steps aside as the car passes him.)
CUT TO:
[INT. CSI – A/V LAB -- NIGHT]
(Archie is reviewing security video. Grissom walks in.)
Grissom: What is it, Archie?
Archie: Oh, hey, Gris. I was just looking at footage from the next-door neighbor's, the night the package was delivered.
(Archie runs the video. Someone walks up to the front door.)
Archie: Never underestimate the Neighborhood Watch.
(Archie enhances the video. The person carries the box to the front door and puts it down.)
Archie: I don't see a delivery truck.
Grissom: Well, fortunately for us, this was a personal delivery ... right to our front door.
(On the video, the person walks away.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x07 - Post Mortem"} | foreverdreaming |
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT]
(Establish. We start in the city, then pull out to the suburban community.)
[INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT]
(Amanda Sinclair stares at the kitchen window at her own reflection. After a moment, she goes back to washing the dinner dishes. Her mind is elsewhere.)
INTERCUT WITH:
[INT. CASE APARTMENT – BATHROOM – NIGHT]
(Jill Case wipes the steam off the shower door with the palm of her hand. She opens and pushes the door open, grabs a towel and steps out of the shower stall as she wipes herself.)
(She walks over to the bathroom sink and picks up the wine glass on the counter. She drinks.)
[INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT]
(Amanda Sinclair drinks from her baby's sippy cup before she opens it and adds it to the dishes to wash.)
(Her son, Henry, runs into the kitchen and holds his arms up to her.)
Henry Sinclair: Mommy, up. Up, Mommy, up.
Amanda Sinclair: Not now, baby, Mommy's busy. Go find Daddy.
(Henry turns and runs out of the kitchen. Gary, Amanda's husband, steps out into the hallway and scoops Henry into his arms.)
Gary Sinclair: Aah ...
(He enters the kitchen.)
Gary Sinclair: Honey, I cannot find my navy suit.
Amanda Sinclair: Oh, I'm sorry, sh**t. I meant to get it this morning, but Henry was doing his ear-itchy thing, so I took him to Dr. Neilsen. I'll get it first thing tomorrow.
Gary Sinclair: Oh, I have an early meeting, sweetie.
Amanda Sinclair: So go get it.
Gary Sinclair: Oh ... all right.
(He tries to put Henry down on the floor, but Henry complains.)
Henry Sinclair: Daddy, no leave. Daddy, no leave.
Gary Sinclair: Aw ... Daddy no leave.
(Henry giggles.)
Amanda Sinclair: You give him a bath, I'll go.
(She looks at her watch – its 7:45.)
[INT. CASE APARTMENT – BATHROOM – NIGHT]
(Jill Case adjusts her watch. Her radio is on.)
Disk Jockey: (from radio) Welcome to LVRP, Rat Pack Radio. Here's an oldie but a goodie by two salty dogs of stage and screen, Bobby Darin and Johnny Mercer.
(She sings along with the radio.)
Lyric: (singing) Two of a kind / For your information, we're two of a kind ...
[INT. AMANDA'S CAR – NIGHT]
(Amanda backs out of her driveway. She sings along with the radio.)
Lyric: (singing) Like peas in a pod and birds of a feather, alone or together you'll find that we are two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind.
(She puts her hair up in a ponytail with a scrunchie.)
[INT. CASE APARTMENT – BATHROOM – NIGHT]
(Jill puts her hair down.)
Lyric: (singing) Now, who's to say if we're going the whole way? At least we got this far.
[INT. CASE APARTMENT – LIVING ROOM – NIGHT]
(The television set is on to channel 19 with BREAKING NEWS coverage. The volume is off.
Lyric: (singing) Sharin' our lives, our vittles, and viands, we're two of an ilk. Say, what if we've got rare Chateaubriands or crackers and milk? Makin' it plain. Explainin' it fully. We're similarly inclined, --
(Jill is in her black slip and secures her thigh stockings. She gets up and pulls her black dress out of the plastic covering. She tosses the hanger on the bed. The advert on the hanger is for CHEN'S ONE HOUR CLEANERS.)
Lyric: (singing) Because we're --
[EXT. CHEN'S ONE HOUR CLEANERS – NIGHT]
Lyric: (singing) – two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind.
(Amanda pulls into the lot and parks her car. She gets out of the car and opens the back door. She gathers the laundry and notices a lipstick print on her husband's white shirt collar. She smiles.)
[INT. CASE APARTMENT – LIVING ROOM – NIGHT]
(Jill Case blots her lipstick. She does a last look-over in the mirror, then heads out of her apartment. The door slams shut behind her.)
[EXT. CHEN'S ONE HOUR CLEANERS – NIGHT]
(Amanda Sinclair closes the car door and activates the car alarm. She turns toward the cleaners. Two g*n f*re and h*t her square in the chest.)
[CU: SHOES]
(A pair of black high-heeled shoes h*t the ground.)
[AMANDA]
(Amanda falls backward and hits the concrete ground. Her eyes dilate.)
[JILL]
(Jill's eyes are clouded over as she hangs from a dog leash, her feet bare and shoes on the floor.)
CUT TO:
[EXT. CHEN'S ONE HOUR CLEANERS – PARKING LOT -- NIGHT]
(Police radio chatter is in the background. A flashlight shines on Amanda Sinclair, d*ad on the pavement.)
(Catherine and Nick walk up to the body.)
Nick: (sighs) Bad day when you can't even run a simple errand.
Catherine: Everybody's got dirty laundry. Sometimes it gets you k*lled.
CUT TO:
[INT. CASE APARTMENT – LIVING ROOM – NIGHT]
(Warrick and Grissom walk into the apartment and find Jill Case hanging in the middle of the room.)
Warrick: What would she have done if she didn't have a second story?
Grissom: Every death has at least two stories.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CASE APARTMENT – LIVING ROOM – NIGHT]
(The coroners cut the body down and place it on the gurney. They cover her face with a white sheet.)
[EXT. CHEN'S ONE HOUR CLEANERS – PARKING LOT -- NIGHT]
(David covers Amanda Sinclair with a white sheet. He turns and talks with Catherine.)
David Phillips: Two GSWs to the chest. Rigor hasn't set. Probably been d*ad less than four hours.
Catherine: Thanks, David.
(David leaves. Catherine looks at the blood on the concrete. Nick walks up to her.)
Nick: Mr. Chen works here alone with his wife, and English is not their first language. I'm not even real sure that it's their second, but what I did gather is that the steam machines are very noisy, so neither one of them really heard anything. Mr. Chen found the body when he was closing up around 9:00. Said she's a regular customer.
Catherine: Well, I got a phone and keys, but no purse.
Nick: Mugging?
Catherine: Take the purse, leave the Lexus?
Nick: Yeah, that's not real savvy, is it?
Catherine: Hmm. Car's been keyed.
(She opens the front door, climbs inside and checks the registration. It's for:
DR. GARY SINCLAIR
143 SHADY OAK LANE
LAS VEGAS, NV 89101
Catherine: Registered to a Dr. Gary Sinclair.
(Nick is looking at Amanda's cell phone record of missed calls.)
Nick: Yeah, that's gonna probably be the husband. "Gary Home" has called her six times in the last hour.
(Catherine looks at the clothes and car seat in the back.)
Catherine: Wife and mother.
Nick: I'll check the trashcans for the complex, see if I can find her purse. Maybe they dumped what they couldn't liquidate.
CUT TO:
[INT. CASE APARTMENT – LIVING ROOM – NIGHT]
(Warrick looks around the living room.)
Warrick: Well, she obviously doesn't have any kids. Place is like a museum. This chick hung out with some big wigs.
(He looks at framed photos of Jill with some famous political people.)
(Grissom is in the kitchen looking at the LAS VEGAS GLOBE and NEVADA Driver's License.)
Grissom: She was a big wig. Jill Case, Editor-in-Chief of the Las Vegas Globe. She was a wunderkind. One of the youngest women in history to run a newspaper.
(Brass walks into the kitchen.)
Brass: Well, I've been all around the house, --no sign of a forced entry.
Grissom: Consistent with su1c1de.
Warrick: So is this.
(Warrick shows them the hand-written note: "I apologize to everyone.")
Warrick: You can't even use a whole sheet of paper on your su1c1de note?
Grissom: Well, I don't know. Maybe if you feel like you don't deserve to take up space on the planet, you don't deserve a whole piece of paper.
(Warrick snaps photos of the note under a foiled doggie bag in the shape of a swan.)
Warrick: She obviously ate at Joie de Vive. It's the only place that still serves old school swan doggie bags.
Brass: Yeah, dressed in a fancy outfit, having a fancy meal.
Warrick: If you're planning on k*lling yourself, why do you bring home a doggie bag?
Grissom: (shrugs) It's human nature. We continue to perform the routine motions of our life until the moment of our death.
CUT TO:
[EXT. CHERI'S ONE HOUR CLEANERS – PARKING LOT -- DAY]
(Nick goes through the trash on the side of the building.)
(He goes through the smaller bins, then heads over to the large garbage bin. He looks inside and finds the purse under a garbage bag.)
(He snaps a couple of photos.)
(Nick dives into the bin and pulls out the bag. On the bag is a stocking.)
(Quick flash of: The k*ller wears a stocking over his face. End flash.)
(Nick takes out the wallet and looks at the driver's license inside:
AMANDA SINCLAIR
143 SHADY OAK LANE
LAS VEGAS, NV 89101
(He takes out a datebook and finds an envelope. Inside the envelope, he finds a hand-written note, "Please do not ever contact me again. Sincerely, Dora.")
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – EARLY EVENING]
[INT. CSI – FORENSIC AUTOPSY --
(OPEN ON A TOE TAG:
OFFICE OF CHIEF MEDICAL EXAMINER
THE CITY OF LAS VEGAS
AMANDA SINCLAIR
CHEN'S PARKING LOT
11-16-06
LVPD 06115-2198—
(On the next table is another body with another TOE TAG for JILL CASE.)
(The two women are side-by-side on two tables in the room.)
(The door opens. Catherine, Warrick and Robbins walk in.)
Robbins: DNA's been sent out, but this is one case where I don't need to wait for results.
Warrick: Identical twins? You got to be kidding me.
Catherine: They're even wearing the same toenail polish.
(He hands Warrick the evidence bags.)
Robbins: And both ... wore the same watch, too.
Warrick: Oh, it's just too much.
Catherine: Well ... eight-year-olds dressing alike I kind of get, but grown women? That's weird.
Robbins: Some people like it. I'm a twin.
Warrick: Really?
Robbins: Well, I was. My twin died in utero. My mother didn't tell me about it until I was an adult. When I decided to become a coroner, she blamed herself. She said it was because I'd spent so many days living next to a d*ad body.
Warrick: Well, speaking of d*ad bodies, uh ...
Robbins: Right. Right. Jill has petechia around the eyes, bruising around the neck, and a broken clavicle. All consistent with a hanging. And I extracted these from Amanda.
(He shows them the two b*ll*ts.)
Robbins: One went straight to the heart. The other penetrated the right lung. Sharp sh**t or close range.
Catherine: Don't tell me they died at the same moment.
Robbins: Not quite. Amanda was a couple hours ahead of her sister.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – DAY]
(Grissom is reading a letter from:
WILLIAMS COLLEGE OFFICE OF ADMINISTRATION
450 CASTLE AVENUE, 3RD FLOOR
WILLIAMSTOWN, MA 01265
NOVEMBER 9, 2006
DEAR MR. GRISSOM, As an accomplished entomologist in the field-- invite you to join us for an interdisciplinary--
VARIOUS CU OF THE LETTER WITH FOCUS ON:
* "interdisciplinary"
* "Walden Pond"
* "term graduate seminar"
* "specialists"
* "entomology,"
* "consider taking"
* "sabbatical"
(Catherine knocks on the door before walking in. Grissom looks up and puts the letter away.)
Catherine: Our two cases have become one.
Grissom: Could still be two cases.
Catherine: What happened to Mr. No-Such-Thing-As-Coincidence? Simplest hypothesis is usually the correct one. If you hear hooves, think horses not zebras.
Grissom: What would the horses be in this case?
Catherine: m*rder/su1c1de. Jill k*lled Amanda. Felt guilty, then k*lled herself.
Grissom: And, uh, what do you got to support that?
Catherine: Did you notice any photos of Amanda or her family in Jill's house?
Grissom: No.
Catherine: Right. And I looked through Amanda's phone book. Jill was not even in it.
Grissom: Well, maybe she had her number memorized.
Catherine: Brass spoke with Jill's attorney for next of kin. None existed. She's leaving a small fortune to various charities. It just sounds to me like estrangement. Okay, even if that's not the exact way it went down, I'll bet you a dollar that the twins' deaths are related.
Grissom: Two women found d*ad on opposite sides of town. If they didn't look alike, would you still link them?
Catherine: If they're relatives, yes: sisters, husband and wife, father and son.
Grissom: Okay.
Catherine: Okay, what?
Grissom: I'll take the bet.
CUT TO:
[BLACK SCREEN W/WHITE LETTERS]
AMANDA
[INT. POLICE DEPARTMENT – HALLWAY – DAY]
(Dr. Gary Sinclair sits in the hallway chairs as Sofia talks with him. Henry is on the opposite side of the hallway looking through the glass windows.)
Gary Sinclair: I must've called her ten times, then after about an hour I got so worried.
Sofia: Did your wife have any enemies? Anyone she was fighting with?
Gary Sinclair: No, she was a good wife, great mother. There's no one ...
Henry Sinclair: Home, Daddy, home.
Gary Sinclair: Okay, buddy. Can you-- hey, you know what? Come over here. Can you come over here and draw your butterfly for daddy?
Sofia: What was her relationship like with Jill?
(Sofia sits down.)
Gary Sinclair: Jill who?
Sofia: Her twin sister, Jill Case.
Gary Sinclair: Amanda didn't have a sister.
Sofia: DNA tells us otherwise.
Gary Sinclair: My wife was an only child. Sh-she was adopted, but ...
Sofia: Is it possible that ... your wife knew she had a twin, but she hadn't told you?
Gary Sinclair: Well, I'd like to think no ... that we told each other everything. But that's not ...
Sofia: True?
Gary Sinclair: A marriage. Married, Detective?
Sofia: No.
Gary Sinclair: Something weird happens between two people who know each other for years, see each other every day. Every night I drive home from the hospital and I think of twelve things I want to tell Amanda. And then I get home and, uh ... she's cooking. And we read stories to Henry and then ... the phone rings, so I -- you know, you say, "Oh, I'll just tell her tomorrow. Tomorrow." I'd like to meet her. Jill.
Sofia: I'm sorry that's ... that's not possible. We found them both ... last night.
Gary Sinclair: What happened?
Sofia: Right now ... we don't know.
Henry Sinclair: It's okay, Daddy. Let's go home and see Mommy.
Gary Sinclair: (cries) Okay.
(Henry hugs Gary.)
CUT TO:
[INT. CSI – PRINT LAB -- DAY]
(Mandy prints the envelope. She scans the print into the computer and runs it through the database. The computer beeps. Mandy stares at it with surprise.)
LATER:
(Nick walks into the lab.)
Nick: Hey. I got your text. What's up?
Mandy Webster: Sing it, dude. This is huge.
Nick: Oh ... (sings) Oh, Mandy / Oh, you came and you ...
(Mandy shakes her head. She motions for him to try again. Nick glances behind him and tries again. This time, louder.)
Nick: (singing) Oh, Mandy / Well, you came and you gave / Without taking / But I sent you away ... (holds note) Oh, Mandy.
Mandy Webster: Okay. I got a h*t off of that envelope you found in Amanda's purse. It's a Dora Pomerantz.
Nick: Oh, that would make sense. The letter was signed "Dora."
Mandy Webster: Do you wanna know why she's in the system?
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) – DAY]
[EXT. FARM -- DAY]
(Sofia and Nick walk up to the fence.)
Sofia: Mrs. Pomerantz?
(Dora Pomerantz leads her horse over to the fence.)
Dora Pomerantz: Who wants to know?
Sofia: Detective Curtis and CSI Nick Stokes.
Nick: Hi.
Sofia: We just need to ask you a few questions.
Dora Pomerantz: About what?
Nick: Your twins.
(Dora opens the gate and leads her horse through it. Sofia and Nick follow her.)
Dora Pomerantz: That was a very long time ago.
Sofia: We were just curious about the circumstances under which they were adopted.
(She tethers her horse.)
Dora Pomerantz: I was eighteen years old when I got pregnant. Charlie said he'd stay with me. Then he got drafted to Vietnam. Came home six months later ... in a box. These two chirping birds. "Waa, waa, waa." I couldn't get them to stop. I couldn't take it. So one day I just ... Boop ... snapped. That was it. No more babies. I spent ten years in a state facility, you know?
Sofia: We were aware. How have you been since?
Dora Pomerantz: Oh ... fine. A smart doctor put me in touch with an equine assisted therapy program. Saved my life. Horses don't have judgments. They have needs. Meet the needs, the horse is happy. Helped retrain my brain.
Nick: Healthy enough to get back in touch with your daughters?
Dora Pomerantz: Oh, no. Uh ... not recommended. Sometimes you just can't go back.
Nick: Is that why you wrote Amanda this letter saying, "Please do not ever contact me again?"
Dora Pomerantz: Who's Amanda?
Sofia: One of your daughters.
Dora Pomerantz: We keep envelopes loose in a desk drawer. I must've touched it before she sent it.
Sofia: Who?
Dora Pomerantz: The handwriting, it's Tiffany's.
Sofia: I'm sorry. Who's Tiffany?
CUT TO:
[EXT. FARM (LATER) -- DAY]
(Tiffany Hughes talks with Sofia and Nick. She gets off her horse.)
Tiffany Hughes: I had no idea my mom had given up a kid. But I did know that there was no way she could handle dealing with it.
Nick: So ... you always go through your mom's mail?
Tiffany Hughes: Yeah. My dad and I have a system. We screen all her mail.
Nick: Why's that?
Tiffany Hughes: She's got this problem. Any time a children's charity solicitation comes, she donates and not just a little. Half my college fund was gone before we realized what was going on.
Sofia: So you thought Amanda had her hand out?
Tiffany Hughes: Wasn't worth the risk. The anti-depressants and the horses help, but my mom's barely hanging on. And I only have a year left before I go to college. I just need her to hang on one more year. So, I sent the polite response and hoped it was over.
Nick: Did Jill ever try to contact your mom?
Tiffany Hughes: Who's Jill?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – DNA LAB -- DAY]
(Wendy Simms reports her findings to Catherine.)
Wendy Simms: So I got bad news and weird news. Which would you like to hear first?
Catherine: Bad.
Wendy Simms: Bad news: I got nothing from the blue stocking that was found in the trash. Weird news: I tested the red lipstick on Gary Sinclair's collar and I got DNA, but it wasn't his wife's.
Catherine: Well, based on the contents of her purse, she's more the lip balm type.
Wendy Simms: You know I like to be thorough, so ... I ran it through CODIS and I actually got a h*t: Natal Peled. She's in the system from a r*pe charge in L.A.
Catherine: They don't put victim's DNA in the database.
Wendy Simms: No, they don't. Yeah, I had to know, so I called a friend of mine at L.A. Sheriff's Department, and apparently, Natal was a nurse at a Hollywood hospital. And she went to the annual Christmas party, she fed this doctor a bunch of cocktails, slipped him a Prevalis, and then took him up to a hotel room. And rumor has it, it was in order to have unprotected, you know ... baby-making sex. So he pressed charges, she was arrested, and then they settled out of court. And now Natal's a nurse at our very own Dessert Palm.
Catherine: With Amanda's husband, Dr. Gary Sinclair.
CUT TO:
[INT. DESERT PALM – DAY]
(Catherine talks with Gary Sinclair.)
Gary Sinclair: Doctors have a name for what Natal is.
Catherine: What she is?
Gary Sinclair: A woman who trolls hospitals looking to land themselves a doctor. Call them bedpans: shiny, full of crap, and ... best when dumped.
CUT TO:
[EXT. DESERT PALMS HOSPITAL – DAY]
(Nick talks with Natal Peled. She's smoking a cigarette.)
Natal Peled: Of course we slept together. Who wouldn't want to get with this? Of course he's gonna deny it because of that little wife of his.
Nick: So you met his wife, Amanda?
Natal Peled: Please. Yes, I've met her. Always coming by the hospital, check up on him. Talk about paranoid.
Nick: Hey, with you around ... sounds like she had pretty good reason.
Natal Peled: Mr. Stokes ... men are like tigers -- if you can't tame them, you must let them roam free. I go now, yeah?
(She holds up her hand to wave him goodbye. She has her keys in her hand and Nick sees the car paint shavings embedded in the key grooves.)
INSERT: CGI
(A laser cuts into the key and takes a sample of the car paint shavings.)
CUT TO:
[INT. CSI – TRACE LAB – DAY]
(Hodges reports his findings to Nick.)
Hodges: Yes. It seems that the paint on the Sabra's key is consistent with Lexus factory issue. Color's Galactic Grey Mica IE9. Same as Amanda's.
Nick: So ... crazy chick keys the wife's car. Is it gateway v*olence that led to m*rder or just another coincidence like everything else in this case?
Hodges: I almost keyed a car once.
Nick: You what?
Hodges: I know, but, in the end, I couldn't go through with it. So I peed on the door handles instead.
Nick: So they'd freeze up and can't get them open?
Hodges: No. It was San Diego.
Nick: Over a girl?
Hodges: Over a "B." Professor gave me one on my term paper. I felt I deserved an "A".
(And with that, Nick leaves.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Nick and Catherine talk.)
Nick: So she definitely keyed the car, and may or may not have been doing the husband.
Catherine: I'm going with yes. Ballistics came back on the b*ll*ts that k*lled Amanda. There's only one g*n with a six right polygonal barrel that comes in a .41 caliber: a Baby Eagle-- Israeli military issue.
Nick: Israeli g*n are really hard to find.
Catherine: Unless you served in the Israeli army like Natal.
Nick: Okay. Okay, I certainly wouldn't put it past her, but what about the husband?
Catherine: Classic "he said, she said." They're either acting in cahoots, trying to confuse us, or Natal is acting on her own, thinking that the wife is the obstacle standing between them.
Nick: Nothing quite says "I love you" like, I k*lled your wife so we can be together."
CUT TO:
[INT. SINCLAIR RESIDENCE -- DAY]
(Gary Sinclair opens the front door and finds Sofia there. She hands the warrant to him.)
Sofia: Sir, we have a warrant to search the premises, and we need you to come down to the station. If you can't make arrangements for your child, we have a Child Services Advocate who can take him.
Gary Sinclair: This is ridiculous. I've been nothing but cooperative. You harass me at my place of work. You harass me at my home. Now you want to take my kid away?
Sofia: Sir, are you resisting?
Gary Sinclair: I didn't k*ll my wife. I was giving my son a bath. I couldn't have done it. Can I at least put my shoes on?
(Sofia nods for the officers to go with him. Gary and the officers head into the house.)
[EXT. SINCLAIR RESIDENCE – FRONT – DAY – CONTINUOUS]
(Nick looks around the area and finds a small batch of cigarette butts out on the opposite side of the road. He looks at them and snaps a photo of them.)
(Quick flash to: Natal Peled sits in the car smoking her cigarette as she watches the house across the street. She watches as Amanda gets into her car and drives away. Natal tosses her cigarette out the open car window, starts her own car engine and follows her. End of flash.)
(Nick picks up a cigarette butt and looks at it. Sofia joins him.)
Sofia: What have you got?
Nick: A smoking g*n.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – EARLY EVENING]
[INT. CSI – DNA LAB -- NIGHT]
(Wendy reports her findings to Nick.)
Wendy Simms: You're not going to like the answer. The DNA on the cigarette butts doesn't match Natal.
Nick: Come on. You can't tell me we're back to square one on this deal.
Wendy Simms: Well, we're not. DNA was female, so I ran it against Amanda, thinking, I don't know, maybe she takes super-secret cigarette breaks. And it wasn't a match, but they do have seven loci in common. So, is there another sister maybe?
(Nick looks at the printout and thinks about it.)
Nick: Tiffany.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT]
(Sofia talks with Tiffany Hughes.)
Tiffany Hughes: I'm confused. This is 'cause I was smoking?
Sofia: Well, no, smoking is bad for you, but, no, this is really more about where you were smoking.
Tiffany Hughes: I'm an only child who lives on a horse farm in the middle of nowhere with a horse- whispering mother and a dad who works all the time to avoid her. When Amanda's letter came ... I was so excited at the idea of having a sister. I was jumping out of my skin. So I told my mom I joined cheerleading. And after school, I would ...
Sofia: You'd what?
Tiffany Hughes: It started where I would just drive by.
Sofia: And then it escalated?
Tiffany Hughes: Well ... once, I saw her in the yard, playing with her little boy. So I started parking out front, hoping to see her again.
(Quick flash to: Tiffany sits in the car watching Amanda push Henry in his plastic tricycle.)
Tiffany Hughes: (V.O.) Basically, I would just sit there, imagining her in my life. She'd make me tea. And we'd go over my college applications and talk about boys.
(End of flashback.)
Tiffany Hughes: It was like a TV commercial.
Sofia: And then what? Did your ... curiosity ... become an obsession?
Tiffany: Oh, my God. No. I could barely get up the courage to introduce myself. That's why I'd just sit there smoking. And then my stomach would hurt, so I would just drive home. And now, I'll never get the chance.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CASE RESIDENCE – LIVING ROOM -- NIGHT]
(Two high-heeled black shoes h*t the floor. Jill Case's body sways mid-air.)
[BLACK SCREEN W/WHITE TEXT]
JILL
[EXT. LAS VEGAS CITY (STOCK) – EARLY MORNING]
[INT. CASE RESIDENCE – LIVING ROOM -- MORNING]
(Warrick walks around the room with his camera. He approaches the computer table and finds something missing. He snaps a photo of the cables.)
(He opens the desk drawer and notes the labeled container for PUSH PINS, BINDER CLIPS and NOTE PADS.)
[EXT. CASE RESIDENCE – GARAGE – MORNING]
(Warrick opens the garage door and looks at the car inside. He opens the back door and looks at how neat it is. He slams the door closed and opens the car's back door. He looks inside, then slams it shut.)
(He opens the passenger door and looks around at how neat the car is.)
[INT. CASE RESIDENCE – BEDROOM -- MORNING]
(Warrick looks around the bedroom and snaps a photo. He opens the bedside table drawer and snaps a photo of its contents.)
(Greg walks in.)
Greg: Hey, Grissom said you might need some help.
(Warrick turns and looks at Greg.)
Greg: What?
Warrick: I don't know, you don't look like you've been put through the ringer.
Greg: Well, I guess the inquest was the easy part. Now the kid's family wants to sue me. Know any good lawyers?
Warrick: I hate lawyers. Want to take the bathroom?
Greg: Sure.
(Greg heads for the bathroom. Warrick opens the second drawer and finds it full of handcuffs and toys. He picks up a pair of handcuffs.)
Warrick: I found her naughty drawer.
(Greg is in the bathroom.)
Greg: My favorite part of any bedroom search.
Warrick: I don't believe these girls anymore.
(Warrick heads over to the second bedside table. He opens the drawer and finds men's stuff – deodorant stick, shaving gel, a shaver, comb and condoms.)
(Warrick picks up a shaver.)
Warrick: Looks like someone's been elevated to drawer status.
(Greg steps out into the bedroom, holding bottles of pills.)
Greg: Well, apparently, love can't cure all that ails. Alprazolam, clonazepam, diazepam and sertraline -- all in her medicine cabinet.
Warrick: Well, I said dude had a drawer, I didn't say it was love.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GRISSOM'S OFFICE – DAY]
(Grissom talks with Dr. Gus Hoffman.)
Gus Hoffman: Jill had OCD-related depression, which is very deceiving because the sufferers are high functioning. It's not your usual, you know, "lie on the couch and listen to the Beatles" kind of depression.
Grissom: Did she ever talk about family?
Gus Hoffman: You know, when a patient dies, the doctor-patient confidentiality clause is void. But I'm just sort of feeling a little uncomfortable. Do I have to ... call a lawyer?
Grissom: It's entirely your choice. We can subpoena her records, or you and I can talk.
Gus Hoffman: Okay. All she would say was that she didn't get along with her parents, and that, um, you know, relationships in general were difficult. I mean, her condition made her excel professionally but flop personally.
Grissom: We, uh, checked her records. She was adopted as an infant.
(Grissom looks at the file folder in front of him.
STATE OF NEVADA
CHILD ADOPTION RECORDS DIVISION
DATE: 11-15-06 TIME: 14:17
DL/NO: EXPIRED*B/D: 11-04-55: MONA/TAYLOR*
ADDR AS OF 10-23-01: 102 MESQUITE AVE LAS VEGAS NV 89101
OTH/ADDR
AKA
CHILD >>>>> CASE, JILL
BIRTH MOTHER >>>>> SUPPRESSED
ADOPTION DATE >>>>03/14/72
OPERATOR: 3398 /////8714DAKOTA CLASS C )
Gus Hoffman: Her parents never told her. Huh. Well, that explains her abandonment-attachment issues, and why she always felt like a square peg in a round family.
Grissom: Did you believe she was suicidal?
Gus Hoffman: Off the record, no, I don't. I don't think she was suicidal, I thought, I actually thought she was getting better.
Grissom: So then how does an attractive, successful 36-year-old woman hang herself from her own balcony?
Gus Hoffman: 'Cause the choice was there.
(Quick flash to: Jill Case puts the tie around her neck and climbs over her second floor balcony.)
Gus Hoffman: (V.O.) At the end of the day, when an obsessive brain is presented with a choice, it just, sometimes, it just can't shut off the clatter of the idea until it sees it through to conclusion.
(End of flash.)
Gus Hoffman: The idea found its way in.
CUT TO:
[INT. FORENSIC AUTOPSY -- DAY]
(Robbins pulls out the morgue cabinet with Jill Case's body on it. He explains his findings to Grissom.)
Robbins: It wasn't su1c1de. These bruises developed postmortem. Two on the front, eight on the back.
Grissom: Strangulation.
(Quick flash to: Someone strangles Jill Case. End of flash.)
Robbins: m*rder.
CUT TO:
INSERT: CGI
(We start at the camera, then follow the UBS cord IN THROUGH the disk as it writes and OUT TO the monitor where its –-- DOWNLOADING photos on a monitor.)
[INT. LAS VEGAS GLOBE – NEWSROOM – DAY]
(Brass and Warrick cross the newsroom.)
Allison Shram: (to phone) No, she missed the morning news meeting. All the section editors are biting my head off. Look, I don't have a straight answer for you. No, I've called, I've e-mailed, I've texted. She'd have to be lying d*ad in a ditch not to answer her phone. I know. Bye.
(She looks up. Brass shows her his badge.)
Allison Shram: Can I help you?
Brass: I'm Detective Jim Brass, Las Vegas Police. This is Warrick Brown from the Crime Lab. We have a warrant to search Jill Case's office.
Allison Shram: Okay, is she in some kind of trouble?
Brass: Well, it wasn't a ditch.
Allison Shram: Oh, my God. I ... (Several reporters step closer.) God.
(They linger around.)
Jake Lenoir (reporter): What's going on?
Allison Shram: Back off. Get away. All of you, go! Go!
(She takes her earpiece off and whispers to Brass.)
Allison Shram: Look, you can't drop a hot one in a room full of vultures. They smell blood. Half of them were wanting to pry her ass out of that chair for months.
Brass: I'll need a list of all the employees who work for the paper -- can you provide that?
Allison Shram: I don't have access to that kind of information. You're gonna have to go down to Human Resources.
Brass: Human Resources. Okay. (to Warrick) You're on your own.
(Brass leaves.)
Warrick: I'll be taking a look inside her office, okay?
(He heads for her office. Allison follows him.)
Warrick: Did Jill have a computer?
Allison Shram: Yeah, her laptop, of course. It was like an extra limb.
(Warrick opens the drawers and finds them just as organized as the ones at home. The final drawer won't open.)
Warrick: What's with the locked drawer?
(He notes the damage to the desk. He tugs and the drawer opens.)
Allison Shram: That was a new thing. She's always been neurotic, but lately she's been secretive, like sneaky – rolling her own calls, making her own appointments, talking with editors from other newspapers. Honestly, I just thought she was looking for another job.
(He looks through the drawer, then pulls it completely out. He finds a flash drive taped to the side.)
Warrick: Did you ever try to open this drawer?
Allison Shram: Are you kidding? She had the only key, and protecting her privacy was how I kept my job.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
Archie: (V.O.) Because Amanda's m*rder --
[INT. CSI – A/V LAB – DAY]
(Archie goes over his findings with Grissom and Catherine. He has the address books on two monitors.)
Archie: -- is still unsolved, I cross-checked the twins' address books. Now, they have no contacts in common, but ... there are a couple freaky things.
(On the monitor is Amanda's hand-written address book with dry cleaning crossed out and "Henry ear doctor" written in.)
Catherine: So Amanda was set to pick up dry cleaning in the morning, but it looks as though she had a sick child, so she went at night instead.
Archie: Right. And if she'd gone earlier than she was supposed to, she might've run into Jill, who was scheduled to pick up her dry cleaning at 8:30 in the morning.
(On the monitor, Archie has Jill's printed address book with the following:
PILATES
PICK UP DRESS AT CHENS
MEETING WITH LAYOUT DESIGNER
LUNCH MEETING )
Archie: But it gets better. Based on receipts from Amanda's planner and Quicken listings from Jill's Treo, they used the same dry cleaner, same car dealership, they both had a weakness for the same frozen yogurt and blended mochas, and in two weeks, Jill was scheduled to teach a university extension class in photography. Guess who was signed up to take the class?
Catherine: Amanda.
Grissom: Huh. They would've finally met.
Catherine: So having the same toe nail polish and watch made sense when we thought they knew each other, but now? I mean, they even have almost the same handwriting.
Grissom: Well, people's first explanation with twins is always parapsychology, but the truth is, there's a lot of biological encoding at work. I mean, if you have the same musculature and bone structure in your hand, the chance of writing the same is not out of the question. If beauty is in the eye of the beholder, and you both see with the same eyes or taste with the same tongue ...
Archie: Well, I don't know whose eyes she was using for this guy.
(In her address book, she has: 7:00 pm DINNER AT JOIE DE VIVE
Archie: Jill was scheduled to have dinner at Joie de Vive on the night she died.
(Archie shows footage of Jill holding flowers and being kissed on the cheek by a man.)
Archie: So Warrick called over and got the surveillance footage. I don't have an ID yet.
(He pauses the footage and Grissom recognizes the man.)
Grissom: I do.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Brass talks with Gus Hoffman.)
Gus Hoffman: Her relationship with me was the most intimate she's ever had. I actually felt like we were making progress.
Brass: Until the m*rder.
Gus Hoffman: What are you talking about? She committed su1c1de.
Brass: Did I tell you that?
Gus Hoffman: What are -- What are you suggesting, that I m*rder my own patient?
Brass: Let me run down the sequence of events. So you took your "girlfriend" out to dinner.
(Quick flash to: Jill is tied to the bed.)
Brass: (V.O.) Then you brought her home for a little tie-me-up, tie-me-down. But things get wonky and in the throes of passion, you remembered, "Wait a minute she's a patient. Uh-oh."
(Cut to: Jill is d*ad on the bed. Gus picks up the dog leash.)
Brass: (V.O.) So she had a history of depression. So you used that knowledge to cover it up.
(End of flashback.)
Gus Hoffman: Well, we did go to dinner that night, but afterwards I dropped her off. Because she said she had to work to do. I didn't even go inside, so I don't even understand your question.
Brass: Are you saying the two of you never had rough sex? Now, be careful here, doctor.
Gus Hoffman: Yeah, It's true that, in the past, we engaged in some, you know, some, uh, role playing sex games to help get her comfortable, but ...
Brass: But what?
Gus Hoffman: She was the "S." I was the "M."
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – HALLWAY -- DAY]
(Wendy Simms catches up with Greg in the hallway.)
Wendy Simms: Hey, um ... you know, how we thought that the shrink was a slam dunk for Jill's strangulation-hanging-combo?
Greg: Yeah.
Wendy Simms: Well, I ran his DNA against the epithelials we found on the leash. And the epithelials are male, but they're not his.
(She gives Greg the results.)
Greg: Thanks.
(Greg turns and enters the --
[INT. CSI – A/V LAB – DAY -- CONTINUOUS]
Greg: News on our case ...
(Warrick and Archie don't look surprised.)
Warrick: The shrink might not have done it?
Greg: How did you know?
Warrick: Because Archie found us another strong suspect. You know that flash drive that I found in the locked drawer in Jill Case's office, ? I thought it was just a bunch of photos, but it turns out there was a little bit more than meets the eye.
Greg: You mean the flash drive was a transformer?
Warrick: No.
Archie: Well, the pictures kind of were. Check it out. Look familiar?
(Archie puts a w*r photo on the monitor.)
Warrick: This got bought by the AP. It was on the front page of the Las Vegas Globe. It won a Pulitzer. It was everywhere.
Greg: Okay. So what?
(Archie puts a series of photos up on screen.)
Archie: These are Jake Lenoir's photographs taken in Iraq last summer. Watch this.
(He puts components of the photos together to make the winning photo.)
Greg: The front-page news was actually a composite?
Archie: Well, it's a ... essentially an art project.
Warrick: And Jill printed it. I assume she didn't realize it until it was too late. And before she died, she was trying to figure out how to handle it.
Greg: The only thing standing between Jake and the rest of his career was the truth.
Warrick: And Jill Case.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – BRASS' OFFICE]
(Brass holds a printout of the photo and talks with Jake Lenoir.)
Brass: Got a job that takes you around the world, get to meet some great girls, even win some awards. So why would an adrenaline junkie like you waste his time with Photoshopping?
Jake Lenoir: Let me tell you something that the, um ... newspapers, TV stations don't want to hear. There's nothing over there to photograph. Insurgents? They f*re off their outdated w*apon, then run the other way. When we do midnight raids in the villages, you know what the people tell us? "Ali Baba not here." We are fighting a fictional character. And you got thousands of soldiers over there, kids, 18 years old, pumped up on testosterone, full of nicotine, and caffeine, waiting for something to bloody well happen. And you know what? You pray for a roadside b*mb because it feels like action. But you can't photograph the taste of gasoline. It just looks like smoke. So one day, yeah, I'm screwing around on my computer. Couple of soldiers come by, took a look at what I'm doing. You know what they say? They say, "Yeah, yeah, that's our w*r. That's what it's like waiting and bodyhauling." So I had it. I had the image that said it all. So yes, I used a lie to tell the truth.
Brass: Well, thanks for the insight. But I'm looking for another kind of confession. I'm here to bust you for the m*rder of Jill Case.
Jake Lenoir: What?
Brass: Come on, she was hip to your, uh, you know cut-and-paste scheme and she was going to blow the whistle on you.
Jake Lenoir: Yeah, yeah, yeah, well, I heard she committed su1c1de and look --
Brass: Oh, is that what you heard?
Jake Lenoir: Yeah. Me and her, we-we had a history, okay. We dated. But if she felt like outing me for this all I had to do was accuse her of sexual harassment and we both go down.
Brass: Maybe ethical journalism was worth the price for her.
Jake Lenoir: Doubtful. Without her job, she had nothing.
Brass: Well, for a while, she had you.
Jake Lenoir: Yeah, but not for long. Bird was rigid in everything she did. Having sex with her was like ... eating glass.
Brass: The lab did a DNA test. Your skin cells are all over the dog leash that was used to hang her.
Jake Lenoir: Well, I was probably the last person to actually walk that dog. God knows she never did.
CUT TO:
[INT. LENOIR APARTMENT – DAY]
(Greg and Warrick enter the apartment and look around.)
Greg: Guess this is more like his crash pad between foreign assignments.
Warrick: I'm sorry, I just don't see Miss Neat Knickers and this guy making it as a couple, you know.
(They look around. Warrick looks in the satchel.)
Warrick: Still no laptop.
(Greg finds an empty software box in the trash.)
Greg: Steal it, scrub it and lose it.
Warrick: This guy's smart. This is all just circumstantial.
(Warrick finds a note pad with some writing on it.
"On behalf of the Las Vegas Globe, I apologize for the mistakes I made."
"I apologize to the readers of this paper."
"My deepest apologies" )
Warrick: Now we know how he got her to write the su1c1de note. She wasn't sorry to be living. She was sorry that Jake was such a liar.
Greg: Well, this is more like what we need.
(Greg puts the pad down and looks around the area. He finds a vent with a blue stocking on it.)
Greg: Hey, Warrick. Didn't Nick's case have a blue thigh high stocking?
Warrick: Yeah.
(Greg checks the dryer and takes out a shirt.)
Warrick: Even if he was the one that strangled Jill, there was no blood at the crime scene.
Greg: Well, with two g*n to the chest, Jill's twin sister was a bloody mess.
(Greg tests the shirt for blood. It tests positive.)
Greg: Checkmate?
Warrick: So he k*lled them both.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Brass talks with Jake Lenoir.)
Brass: You must have thought you were losing your mind? Let me run it for you.
(Quick flash of: Amanda pulls into Chen's parking lot. Jake is waiting for her, thinking it's Jill.)
Brass: (V.O.) Jill always picked up her dry cleaning on Thursday nights. So right place, right time, right car, looks like the right woman.
(He puts the stocking on, walks up to her and sh**t her twice in the chest.)
Brass: (V.O.) You thought it was done. So you go to the house, get the computer files and you think you're seeing your conscious walk through the door.
(Jake is inside Jill's apartment when Jill comes home. She goes to her computer, turns around and sees Jake in the house. He is surprised to see her and reaches out to touch her arm.)
Jill Case: Don't touch me!
(She fights him and he chokes her. She falls to the floor, d*ad.)
(He carries her up the stairs to the second floor.)
Brass: (V.O.) The first time you had a plan. Try to make it look like a mugging. The second time, you had to improvise.
(Jake secures the leash around Jill's neck and tosses her off the second floor balcony.)
(End of flashback.)
Jake Lenoir: So there were two of them. I dated Jill. She kept the most rigid schedule of anyone I've ever met, you know. It was always Thursday night pick up the dry cleaning night. And I mean, God forbid I wanted to see a movie or catch a show or something. Leave it to Jill to be so thorough. Makes me have to k*ll her twice.
(Brass stands up and leaves the room.)
[OBSERVATION ROOM]
(Catherine and Grissom are watching Jake in the interview room. Catherine rips the bill in half and offers it to Grissom.)
Catherine: We were both right.
Grissom: That's a federal offense, you know.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- NIGHT]
(Grissom is reading "Walden" when Sara walks in.)
Sara: I heard the guys solved a double m*rder.
Grissom: Mm-hmm.
Sara: I spent the day sitting on a bench outside the courtroom; they never got to me.
Grissom: That sucks.
Sara: Feeling transcendental?
Grissom: Hmm?
Sara: Thoreau. I, uh, I haven't read him since college.
Grissom: Me, neither. It holds up. "I would rather sit on a pumpkin and have it all to myself, than be crowded on a velvet cushion."
(Sara turns and picks up the clipboard with the crossword puzzle on it.)
Sara: Oh, look, you missed one. Sixty-three down. "Misanthrope."
(Grissom looks at her. She puts the clipboard down.)
Sara: I won't wait up.
(She turns and leaves the room. Grissom closes the book.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x08 - Happenstance"} | foreverdreaming |
FADE IN:
[CH 19 FOOTAGE]
CAPTION:
BREAKING NEWS
MOB BOSS DISCOVERY
(Open on various cuts of footage of the GOLDEN NUGGET GAMBLING HALL.)
Tally Jeffers (reporter): (V.O.) It was the '70s, it was Las Vegas, it was the time of Mickey Dunn ...
(A rolls pulls up to the front of the casino. Mickey Dunn exits the car.)
VARIOUS PHOTOS OF MICKEY DUNN
Tally Jeffers (reporter): (V.O.) ... the legendary organized crime figure who ran Vegas operations of extortion and racketeering by day ...
(Mickey Dunn is in the casino with a woman in each arm.)
Mickey Dunn: I love America!
(More footage of Mickey Dunn playing in the casino.)
Tally Jeffers (reporter): ... and partied on its disco dance floors by night. Until August 1976, when federal authorities linked Dunn to the m*rder of a low-level mob informant.
(Photo of a d*ad man on the concrete.)
Tally Jeffers (reporter): (V.O.) It was the case prosecutors were waiting for. The arrest warrant was issued, the party was over. But the legend had just g*n.
(Photo of Mickey Dunn in front of his Cadillac with the license plate, CHAINSAW.)
Tally Jeffers (reporter): (V.O.) Mickey Dunn and his fabled gold Cadillac vanished that hot summer night, never to be seen again –
(On the footage, "the" Cadillac turns the corner out of view.)
(Cut to: TALLY JEFFERS reporting. The news caption reads: BREAKING NEWS, RECORDED EARLIER.)
Tally Jeffers (reporter): (V.O.) -- until today.
(She turns to speak with an old Spanish-speaking fisherman.)
Fisherman: (in Spanish)
(He holds up a g*n.)
Tally Jeffers (reporter): (from tv) So you went fishing, your line got stuck, and you pulled this up. Do you know what this might be?
Fisherman: Si, si ... Everybody, they know Mickey Dunn.
(A small crowd had gathered just beyond the crime scene tape. One person watches the news report on a portable tv.)
Tally Jeffers (reporter): (from tv) I'm TALLY JEFFERS, KRAC-TV, Lake Mead, Nevada.
Anchorman: (from tv) Thank you, Tally. We look forward to the next installment of the Mickey Dunn story.
(Catherine and Warrick make their way through the crowd toward the crime scene tape.)
Warrick: Coming through. Crime Lab, coming through.
(The officers hold the tape up for them to walk through.)
Warrick: Thank you.
(They make their way toward the lake.)
Voice: (o.s.) All right, we're all hooked up-- let 'er rip.
(A couple of divers are in the lake near the car.)
Catherine: You ready for this?
Warrick: Ready to waste my morning on another Mickey Dunn sighting? Yeah, right.
Catherine: The guy's been spotted more places than Elvis.
Warrick: I know somewhere in hell, Mickey and his old pal Jimmy Hoffa are laughing their asses off at us poor dumb taxpayers.
(The crane starts and the car is pulled out of the lake.)
Workman: Easy now. WORKMAN: All right, here she comes. Easy ... easy ...
(Warrick stops.)
Warrick: What do you know.
(Catherine reads the license plate.)
Catherine: CHAINSAW.
Warrick: That looks like him.
Workman: (b.g.) That's good. Keep it coming.
(The car is pulled out onto the beach.)
CUT TO:
[INT. KARAOKE BAR – NIGHT]
(A man is on stage singing.)
Michael Myers: (singing) 'Cause this fine old world keeps spinning round, I've been a puppet, a pauper, a pirate, a poet, a pawn and a king, I've been up, down, over and out and I know one thing, Each time I find myself laying flat on my face, I pick myself up and get back in the race. That's life, That's life. I just can't deny it, Many times, I've thought of quittin', But my heart won't buy it.
(A man in the audience simply enjoys the singing.)
Michael Myers: (singing) But if there's nothin' shakin', Come here, this July, I'm gonna roll myself up, in a big ball, and die -- my, my.
(The audience cheers and applauds.)
Ken Billings: Shut the machine off. You can't top that.
(He laughs. He sees Michael Myers leaving the stage and stops him.)
Ken Billings: Hey, whoa, whoa, man, man. No, no, you're not going anywhere until I buy you a round. Come on.
(Michael Myers stops and heads over to Ken, who is in a wheelchair. They shake hands.)
Ken Billings: That's my music!
(Michael sits down.)
Ken Billings: Them that can sing it, never heard of it, and them who heard of it, they can't sing it no more.
Michael Myers: Well, there's still some of us left.
Ken Billings: I thought I was the last of a dying breed.
Michael Myers: Myers. Call me Michael.
Ken Billings: Ken Billings. What are you drinking?
Michael Myers: What do you got?
Ken Billings: Tina, Tina.
(The waitress comes over and takes several Polaroids of the two men, drinking and having a grand time.)
(She hangs one up on the board.)
WHITE FLASH TO:
[LATER]
(Everyone has gone and the two men are still having drinks.)
Ken Billings: I don't remember the last time I closed a joint down. You know ... we gotta do this again.
Michael Myers: Anytime. Now, can I give you a hand?
Ken Billings: Oh, no, no, no, no. I'm fine; I'm fine. No problem.
WHITE FLASH TO:
[EXT. KARAOKE BAR – NIGHT]
(Michael Myers is behind Ken as they leave the karaoke bar. Ken is singing.)
Ken Billings: (singing) Riding high in April, sh*t down in May ...
(Michael grabs the wheelchair bars.)
Ken Billings: No, wait. I told you, I don't need any help.
(Ken lets Michael push him. He points to his car, the only one left in the parking lot.)
Ken Billings: Right over there.
(Michael continues pushing Ken past his car.)
Ken Billings: I thought I was drunk. No, back there. Back there.
(Michael isn't drunk. He continues to push Ken down the sidewalk.)
Ken Billings: Back there!
(Now, he starts running.)
Ken Billings: What are you doing?
(In front of him is the busy road.)
Ken Billings: No, no, stop ... Stop! Stop! Stop!
(Ken uses his hands and tries to stop the wheels, but Michael continues to push the wheelchair toward the busy road.)
Ken Billings: Stop! Stop! Help! Help!
(Michael pushes the wheelchair into the path of an oncoming SUV driven by a group of partying kids.)
(The car hits the wheelchair.)
CUT TO:
[EXT. ROAD -- NIGHT]
(Grissom examines the wheelchair. Brass is interviewing the kids.)
Brass: All right, fine. Okay, all right. Thanks.
(He finishes the interviews and heads over to Grissom. He sighs. Grissom snaps photos of the wheelchair.)
Brass: At least the driver was sober. I can't say the same about the boatload of high school kids he was driving around town. Listen to some of the wonderful statements I got: "We go, 'errr ...' dude goes 'aah.' "We go bam ... Dude goes, 'Aah!'"
Grissom: The wheelchair brake attachment has been loosened.
Brass: Well, maybe it broke on impact.
Grissom: Impact was from the left side. But the bolts were loosened on both sides.
(Grissom stands up and looks at the body on the road.)
Brass: Well, then... that looks like we have a homicide-related road pizza.
Grissom: Yeah. Who ordered it?
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. ROAD -- DAY]
(Grissom is measuring the distance from the car to the body. David Phillips is checking out the body.)
Grissom: Force of impact propelled the body just over 47 feet.
David Phillips: Not a lot of spatter.
Grissom: External damage, mostly superficial.
David Phillips: Bet he's mashed up on the inside.
Grissom: Probably d*ad before he h*t the ground.
(Quick flash of: The car hits Ken Billings. End of flashback.)
(David checks the body and finds something.)
David Phillips: Oop ... Wallet.
(He checks the wallet. Grissom looks around the area. The wallet info reads:
BILLINGS, KEN
7543 CASTLE BANKS RD.
LAS VEGAS, NV 89101
David Phillips: License ... registration ... Kenneth Billings. Nevada resident. Date of birth, 11-9-52.
(David finds a photo in the front shirt pocket.)
David Phillips: Photo.
(He hands the photo to Grissom. Grissom takes it and looks at it. It's a photo of Mickey Dunn and four other men standing in front of a Cadillac. Two of the men have large black X's on their faces.)
CUT TO:
[INT. KARAOKE BAR -- DAY]
(Brass talks with Tina, the bartender. She pulls the Polaroid off the bulletin board and hands it to Brass.)
Tina: Michael Myers. Never seen the guy before. Sure was the life of the party, though.
Brass: Hmm. And the victim?
Tina: Kenny -- a regular. He'd come in for Karaoke Nght. Drink a little, go home. You'd never notice him, except for the wheelchair.
Brass: Well, this is a late-night place. It ever get rough in here?
Tina: Sometimes. You think it could've been a hate crime?
Brass: It's a karaoke bar. I don't see a lot of hate here.
Tina: Me neither.
(Nick looks at the WHO'S NEXT? sign up board. M. MYERS is listed at #9.)
Nick: M. Myers. Here he is, Jim. Knucklehead left us his autograph.
Brass: So what was our boy drinking?
Tina: The good stuff -- Well's Head Lager.
Brass: You sell much of that?
Tina: (shakes her head) I'm lucky if I move a case a year.
Nick: Got trash?
Tina: (nods) Mm-hmm.
Nick: Empties should give us DNA and fingerprints. Not that we really need them. Mr. Myers has already left us his photograph and signature.
(Nick snaps photos of the empty bottles)
Brass: And he sang karaoke. Do you have video?
Tina: Tape's in the machine.
Brass: Perfect.
Nick: Boy, you got to love it when a guy makes it easy for you.
(Nick chuckles.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GARAGE -- DAY]
(Catherine and Greg unwrap the Cadillac from the lake, making sure the plastic is completely under the car.)
Greg: Mickey Dunn's ride. Well, I guess it looked better in the '70s.
Catherine: Live fast, die young ... Doubt he left a good-looking corpse.
(Catherine opens the passenger's front door and all the sludge and water from the car pours out onto the plastic.)
Greg: Look at this. Thirty years of toxins, pesticides, heavy metal ... maybe some decomp.
Catherine: Little piece of Vegas history right here.
Greg: You know, in ‘Kicks and Kisses,' Lois O'Neill wrote a whole chapter about Mickey Dunn.
(Greg walks over with a sieve and water bottle. He places it on the bin.)
Catherine: What, that he was a thrill in the sack?
(Catherine grabs some sludge and puts it on the tray. Greg works through the dirt.)
Greg: No ... no, that was Tony Constantine. Apparently, Mickey wanted to go down in a barrage of b*ll*ts, like Sonny in ‘The Godfather.'
Catherine: Quite the ego on that guy. Even in death, he was larger than life.
Greg: Well, sure, but all the original mobsters were like that: Tony, Mickey Dunn, Sam Braun ...
Catherine: My father was not a Mob guy.
(Greg stops.)
Greg: I wasn't comparing ... or speaking ill of the d*ad.
(Catherine finds something in the car.)
Catherine: Greg --
(She pulls out a skull. Greg clears off the sludge and they find the skull has a b*llet hole in the center of its forehead.)
Greg: Now we know how Dunn-Dunn died.
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Sara and Archie watch the video of Michael Myers singing.)
Sara: How can we be sitting on this much evidence and still have nothing?
Archie: Well, I can tighten up the image for you.
Sara: I don't think more pixels are going to solve the problem. You got the face.
Archie: And the name.
Sara: Plus photos, witnesses, DNA samples, handwriting, prints. There's no record in DMV or AFIS.
Archie: He knew exactly where the cameras were.
Sara: He played right to them.
Archie: Obviously wasn't afraid of being identified.
Sara: Why not?
(Sara and Archie look at each other.)
CUT TO:
[INT. CSI -- LAB]
(Nick is in the lab working on the photo. He clears some of the dirt off, wipes it, then puts it under different lights.)
(He removes the black X's off the faces and comes up with a clear picture.)
(Camera moves along the row of men and stops on the man standing next to Mickey Dunn.)
FADE TO:
[INT. HOTEL – HALLWAY – DAY]
(Mason Carter kisses his hooker girlfriend goodbye as she escorts him to the door.)
Hooker: Same time next week?
Mason Carter: Sure, baby.
Hooker: Okay.
(She closes the door. He walks down the hallway and is stopped by an older woman peering out the open door.)
Old Woman: Excuse me, sir? Please, could you help me with my bags? I hate to bother you, but my back ... Getting old ain't for sissies.
(Mason Carter walks into the room. She closes the door.)
[INT. ROOM 200]
(He reaches for the suitcases. From behind, she wraps something around his neck and pulls.)
(He chokes and dies.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. ROOM 200 -- DAY]
(Sara snaps photos of the d*ad man with the marking around his neck.)
Sara: Garroted. Wire broke the skin but, from the discoloration, I'd say suffocation k*lled him.
Sofia: Do you know anyone who'd want to do this to him?
(Sofia talks with the hooker.)
Hooker: I know he wasn't into breath-play. Choking on purpose. More bang for your buck.
Sofia: After he left the room, did you hear anything -- argument, shouting – anything like that?
Hooker: No. Whatever happened, happened fast.
Sofia: Okay, thank you; if we have any more questions, I'll contact you.
(The hooker leaves.)
Sofia: I don't get it. A john walks by, the door may be open, but why walk in?
Sara: Who was the room registered to?
Sofia: Well, the manager said an older woman. A "Pamela Voorhees." He's got a camera in the lobby.
Sara: So we'll get a face. I'd love an address to go with that.
(Sara checks the bags. The labels are blank. The suitcases are light.)
(Sofia looks in the closet and finds it empty. Sara opens the suitcase and finds it empty as well.)
Sara: Empty bags. Empty closet. Bags could have been a lure.
(David Phillips walks in.)
David Phillips: Hey, guys. Busy day.
Sara: Hey, David. David ... can you get us a TOD, please?
(He opens the victim's mouth and finds it stuffed.)
David: Oh ... There's something in the mouth. Bizarre.
(He opens the crumpled photo. It's of Mickey Dunn.)
David Phillips: It's my second one today. (points) That guy got h*t by a limo.
(Sara looks at the photo.)
Sara: I guess that makes this a h*t list.
CUT TO:
[INT. CSI – GARAGE -- DAY]
(Greg continues to sift through the dirt, mud and debris from the car. Everything he finds, he puts aside next to the skull.)
VARIOUS CUTS:
(He finds pieces of bones.)
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins goes through the cleaned bones and puts them together on an autopsy table.)
[INT. CSI – GARAGE – DAY]
(Greg finds a tattered piece of cloth and what looks like a pin. He puts it down on the table, then continues to sift through the dirt.)
(He finds a b*llet.)
[INT. CSI – FORENSIC AUTOPSY]
(Warrick takes the b*llet from the matching hole in the skull. He holds the b*llet up and looks at it.)
Warrick: A lead .38 round-nose. I like it. It's kind of '70s.
(Warrick and Catherine stand on either side of the table with the bones on it.)
Catherine: You were a kid in the '70s.
Warrick: Yeah, but I was a Vegas kid, so I grew up on all those '70s stories. Like the "Ghost Rider" story. Remember that one?
Catherine: No.
Warrick: You never heard of the "Ghost Rider" story? That has everything to do with Mickey Dunn. Yeah, August 12, 1976. Officer Eddie Sanchez was the real-life motorcycle cop who radios in the last known sighting of Mickey Dunn's funky, gold Cadillac.
Catherine: Is this on record?
Warrick: It's stuffed away in some police file somewhere. Know what happened to the cop?
(Catherine shakes her head.)
Warrick: No one does. Officer Sanchez and his motorcycle disappeared that night.
Catherine: What? In a puff of smoke?
Warrick: A puff of smoke -- never to be heard from again. Legend has it that you can still hear the Ghost Rider g*n up and down that highway. My grandmother used to try to scare me into good behavior with that one.
Catherine: Did it work?
Warrick: Not when I was six. No. But a .38 round-nosed lead b*llet was what Nevada Highway Patrol used back in the day. And I don't need to tell you there was a lot of dirty cops back then.
(Catherine picks up the gold pin.)
Catherine: There was a lot of dirty everything back then.
Warrick: Think about this. You're a motorcycle cop. You pull over a speeding gold Cadillac. Sitting in the driver's seat is Mickey Dunn.
Catherine: Skipping town with a load of cash.
Warrick: Bang. Put a cap in Mickey Dunn.
Catherine: So you think this motorcycle cop k*lled him?
Warrick: I think I'd like to find that police file.
(Catherine fingers the gold pin.)
Warrick: What, you got a better story?
Catherine: I was sixteen.
(Quick flashback to: [INT. CASINO (1970'S) – NIGHT] Mickey Dunn walks through the casino.)
Catherine: (V.O.) Jaws was sold out, so I went looking for trouble. Found Mickey Dunn.
(Catherine smiles at him. He turns around. She notes he's wearing the tie clip. He smiles at her; she smiles back.)
(He turns and whispers something in her ear.)
Catherine: (V.O.) All he said was, if I met him outside at 2:00 a.m. sharp, --
(End of flashback. Resume present.)
Catherine: -- he'd show me the time of my life.
Warrick: No way. You and Mickey Dunn ...?
Catherine: Well, I showed ... he didn't.
Warrick: You were sixteen, hot and ready, and he stood you up?
Catherine: All I know is that I dodged a b*llet. And he didn't.
(Catherine walks out of the lab. Warrick puts the pin down and follows.)
CUT TO:
[INT. CSI – A/V LAB]
(Grissom and Archie review the registration security video. On the video, the woman stands at the front desk talking with the clerk. The video is date-stamped, 11/24/06 at 9:55 AM.)
Grissom: Our k*ller pays in cash to avoid identification.
(Archie hits a couple of keys on the keyboard.)
Archie: Then she signs in.
Grissom: Yeah -- giving us her name.
(Grissom looks at the registration card for PAMELA VORHEES.)
Grissom: Why?
(Nick walks in.)
Nick: Gentlemen ... blew up a clean copy of our h*t list photo. Look at that.
(He shows the photo to Grissom.)
Grissom: Planted on two separate bodies by two separate K*llers. You know, Mickey Dunn practically owned Las Vegas -- these guys look like employees.
Nick: Busboys, waiters, obviously at the Desert Inn.
Grissom: Rumor has it that Mickey had a percentage of the DI.
Nick: It still begs the question: Why are those guys k*lling these guys?
Grissom: Yeah. I'll get PD to identify the last two. See what they have to say.
(Grissom's phone rings. He answers it.)
Grissom: (to phone) Grissom. Yeah. Okay. (He hangs up.) Brass just got a call from someone claiming that the ghost of Mickey Dunn wants to k*ll him.
(They look at each other.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. D'ANGELO RESIDENCE – FRONT DRIVE -- DAY]
(Brass walks up the front drive. An officer follows him. He reaches the front door and rings the doorbell.)
(The door opens.)
Brass: Johnny D'Angelo -- Las Vegas Police. Look, we tried you at work, down at the chicken joint, but no Johnny.
Johnny D'Angelo: I'm not coming out. Think I'm crazy?
Brass: Slow down. Take it easy.
Johnny D'Angelo: He k*lled all the others, now he's coming for me.
Brass: Take it easy.
Johnny D'Angelo: Can't arrest him. How do you k*ll a man who's already d*ad?
Brass: Why don't you make it easy on all of us and blow off this ghost business, and ID the person who's after you -- preferably someone living. Okay? Now, you don't even have to say a name, all right?
(Brass holds up the photo.)
Brass: Just point at one of these guys.
(Johnny D'Angelo glances outside, then points to Mickey Dunn.)
Johnny D'Angelo: That's the ghost of Mickey Dunn.
Brass: Okay, Johnny, I'll bite. Why would a d*ad guy have a beef with you?
Johnny D'Angelo: You know? Back in the day ...
Brass: Yeah?
Johnny D'Angelo: Vegas was like ...
(Quick flash to: [CASINO (1970's) – NIGHT] Mickey Dunn sits with a beautiful woman under each arm.)
Johnny D'Angelo: (V.O.) -- out of some kid's book. And Mickey Dunn was the king -- only this was real. And, in reality, --
(Mickey Dunn pulls up in his Cadillac and passes the keys to his valets. He puts his arm around a beautiful woman and heads into the casino.)
Johnny D'Angelo: (V.O.) -- the king has guys who work for guys all the way from the top to the bottom of the barrel.
(He passes the bartender.)
Johnny D'Angelo: (V.O.) -- That was us: Kenny, Mason, me and Derek.
(The four workers are in camera frame.)
(End of flashback. Resume present.)
Johnny D'Angelo: You know how they say nobody saw Mickey Dunn leave Vegas that night?
Brass: Yeah.
Johnny D'Angelo: It's true.
(Quick flashback to: [CASINO (1970'S) – NIGHT] Mickey Dunn leaves the casino. He pushes past one of his workers and puts his briefcase in the trunk of his car.)
Johnny D'Angelo: (V.O.) 'Cause we saw him, and we was nobody.
(He shuts the trunk, takes his jacket off and gets into his car.)
Johnny D'Angelo: (V.O.) Mickey was acting like he owned the joint. Like he owned us.
(The four workers watch Mickey start the car and leave. Derek talks to the others.)
Johnny D'Angelo: (V.O.) That's when Derek got smart.
(Cut to: The car zooms down the road. Another car follows.
Johnny D'Angelo: (V.O.) Derek explained that we hadn't been paid in months.
(Cut to: Mickey swerves off the road and hits a wire gate that gives way and opens. He parks. The second car parks behind him and the four workers get out.)
Johnny D'Angelo: (V.O.) We were young. We were stupid. But Derek ...
(Derek walks up to the car and fires a sh*t at Mickey.)
Johnny D'Angelo: (V.O.) ... he was insane.
(End of flashback. Resume present.)
(Johnny D'Angelo takes a pill out and puts it in his mouth.)
Brass: What do you got there, nitroglycerine?
Johnny D'Angelo: (nods) Bum ticker.
Brass: You know you just confessed to armed robbery, right?
Johnny D'Angelo: (scoffs) Least of my worries. Now, either you get out there and you arrest the ghost of Mickey Dunn or you get the hell off my property.
Brass: We're the cops, not the Ghostbusters.
(Johnny shuts the door.)
CUT TO:
[INT. CSI – HALLWAY / FORENSIC AUTOPSY]
(Robbins heads back to his autopsy room. From out in the hallway, he sees camera lights flashing and hears the shutter click.)
(He enters the autopsy room and finds a man snapping photos of the bones on the table.)
Robbins: Excuse me?
(The man glances back at Robbins.)
Robbins: Hello. Who are you?
(Robbins heads toward him. The man walks around the table.
Cameraman: I work here, in the, uh, lab.
Robbins: No, I don't think so. I know everybody that works here, and I don't know you.
(The man snaps another photo.)
Cameraman: (smiles) I'm new.
(The man snaps another photo.)
Robbins: You're lying. Give me that camera.
(The man looks at his camera.)
Robbins: Now.
Cameraman: All right, all right.
(The man removes the camera from around his neck. The man pretends to give it to Robbins, then tries to get past him. He pushes the tray aside while snapping the camera flash in Robbins' face.)
(As he tries to get past Robbins, Robbins trips the man with his cane. The man hits the counter and falls down.)
Robbins: (shouts) Security!
(Using the end of his cane, Robbins pushes the man's cheek to the side.)
Robbins: Papparazzi.
(Robbins looks at the bones and sees something. He turns on a light and the bones glow.)
(An officer enters the autopsy room.)
Robbins: Book that moron. Keep the camera.
(The officer grabs the camerman.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. PAUL RESIDENCE – FRONT -- DAY]
(Officer Mitchell walks up to the front door. He knocks. Iris Paul opens the door.)
Officer Mitchell: Iris Paul?
Iris Paul: Yes.
Officer Mitchell: Officer Mitchell, Las Vegas Police Department. Are you Derek's mother?
Iris Paul: Yes, I am. But I haven't seen Derek in-in months, uh, not since he got out of prison, mm-mm. He might be in Florida.
Officer Mitchell: Florida.
Iris Paul: Yeah. He loves it down there.
Officer Mitchell: Can you give me a description of Derek?
Iris Paul: Sure, sure. Uh, he's very tall, very, very lean, he has very long, dark hair that he won't cut, no matter how many times ...
(As she speaks, a door opens and closes o.s. Derek runs out into the backyard and makes a break for the fence. Two officers grab him and catch him before he can get away.)
(Officer Mitchell glances to the side.)
Officer Mitchell: Kind of like that?
(Iris Paul watches as the officers wrestle Derek to the ground and handcuff him.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Sofia talks with Derek Paul.)
Curtis: So why'd you run?
Derek Paul: I don't like cops.
Sofia: We hear you don't like criminals, either.
Derek Paul: Is that right?
Sofia: We know you worked for Mickey Dunn. We know you chased him,
(Quick flashback to: [NIGHT (1970's)] Derek and the other workers get out of their parked car and head over to Mickey Dunn's parked car.)
Sofia: (V.O.) -- you ran him off the road, you stuck a g*n in his face. That's armed robbery.
(Derek points the g*n at Mickey and fires.)
(End of flashback.)
(She shows him the photo.)
Derek Paul: If it happened.
Sofia: Johnny D'Angelo said it did.
Derek Paul: How is old scaredy-cat?
Sofia: Credible.
Derek Paul: There were a lot of rumors going around. Mickey owned this, he owned that. He owned a piece of the DI. We just happened to work there. A lot of us guys did.
Sofia: See, I'm thinking that's not the full story.
Derek Paul: You're young; you don't know. The memories, you get up there, they ... they start getting tricky.
Sofia: Well, why don't you tell me what you do remember.
Derek Paul: We took a little joyride, --
(Quick flashback to: [NIGHT (1970's)] The car with Derek and the other workers arrive at the lot. They get out of their car.)
Derek Paul: (V.O.) -- looking for Mickey Dunn. But we never found him -- because someone else found him first, and who that was, I don't know.
(The men look out at the sinking car in the lake.)
Derek Paul: (V.O.) Because, by the time we got there, whoever had k*lled Mickey Dunn --
(End of flashback. Resume present.)
Derek Paul: -- was already gone. Whoosh. Like a ghost.
Sofia: I don't believe in ghosts. But we got one scared guy, we got two d*ad guys, and we got you, Derek. How do you feel about your buddies getting bumped off?
Derek Paul: I'm all torn up inside.
(She shows him the photos of Michael Myers and of Pamela Vorhees.)
Sofia: You ever seen them?
Derek Paul: Never. But ... they look like suspects. And I think you're fishing. And you got no legal right to hold me. If you can't hold me ... you got to let me go.
(b*at)
Cue Sound: (PRE-LAP) g*n COCKS AND FIRES
CUT TO:
[EXT. SIDEWALK – DAY]
(Derek Paul is d*ad on the sidewalk from a g*n to the chest. Johnny D'Angelo stands over him. He pulls out a photo and tucks it into Derek's pants pocket.)
(The door opens and Iris Paul steps out. Johnny simply tucks the g*n in his pants, grabs an apple --
Iris Paul: Johnny? Johnny D'Angelo? -- tosses it up in the air and catches it with one hand. He turns and leaves.)
(She sees her son d*ad on the concrete and Johnny D'Angelo walking away.)
Iris Paul: No!
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT./ INT. JOHNNY'S CHICKEN PALACE -- DAY]
(Brass and several officers are outside the back door. An officer opens the door. An alarm blares.)
Brass: Johnny D'Angelo! Las Vegas PD!
(They enter and search the kitchen. No one is there.)
(Brass turns and motions to the officers at the doorway. The alarm shuts off. Brass holsters his w*apon. He exhales and looks around the kitchen.)
Brass: (to radio) Yeah, go for Brass.
Sofia: (from radio) Scene is Code 4. Johnny D'Angelo is not at his house.
(Brass toes a broken frame and glass on the floor.)
Brass: (to radio) Okay, got it. Thank you.
(Up on the wall are various framed photos of famous people. There's a blank where a frame should be.)
(Brass sniffs the air and smells something unpleasant.)
Brass: Do you smell that?
(Brass checks out the kitchen. He looks at the oven. He takes a couple of napkins out of the holder to use to open the oven door. We hear flies buzzing.)
(Brass opens the large restaurant oven door and finds a d*ad body inside. It's Johnny D'Angelo.)
(Brass checks for a pulse just to be sure. There's a photo clutched in Johnny's hand.)
(Brass finds some sort of goo on his fingertips.)
Brass: Maybe it was the ghost of Mickey Dunn.
CUT TO:
[INT. CSI – TRACE LAB -- DAY]
(Hodges is at the scope. He finds something, then removes his gloves.)
(He grabs the printout and looks at it. He smiles, turns and heads out of the lab.)
[INT. CSI – GARAGE – DAY – CONTINUOUS]
(Hodges walks into the garage. He looks at the car and whistles appreciatively.)
Hodges: Sweet ride.
(Hodges walks over to the open car door where Greg is working.)
Hodges: Know what makes human bones glow in the dark?
Greg: Love?
Hodges: Tetracycline.
(Greg is reaching under the car seat and pulls out a revolver. He looks at it. Hodges looks over his shoulder.)
Greg: You want to help me with a little experiment?
Hodges: Sure.
(Hodges goes to the counter to put on a pair of gloves. Greg gets out and goes to the front of the car.)
Greg: Grab that evidence bag?
(Hodges walks over to Greg.)
Greg: Okay, let me see that.
(Hodges takes the hood ornament out of the bag and gives it to Greg. Greg gives Hodges the hood ornament he's carrying.)
Greg: Take this.
(Greg tries the hood ornament on the hood. It doesn't match.)
Greg: No go.
(He swaps ornaments with Hodges and tries it on the hood. Hodges watches intently. It matches.)
Greg: Okay. Looks like a match to me.
Hodges: This is your experiment?
Greg: Actually, it is. Thanks.
(He grabs the bag from Hodges.)
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(The photos of the victims are spread out on the table.)
Grissom: The victims-- Ken Billings, Mason Carter, Derek Paul and Johnny D'Angelo -- all m*rder in the last 24 hours.
(Grissom, Warrick, Sara and Greg surround the layout table.)
Sara: Four victims, three K*llers, no connection between them.
Greg: Johnny D'Angelo's on both lists.
Warrick: Could be he hired the others.
Sara: Could be. We don't know where they are. We don't know who they are.
Grissom: Let's stick to what we do know-- all the victims worked for Mickey Dunn, who's been d*ad for thirty years.
Warrick: Well, check this out. I've been digging through the police files all morning, and guess who I found--Officer Eddie Sanchez. The "Ghost Rider." Now, assuming he's alive, the officer would be 55 today. And he has family down in Mexico.
Sara: So you're thinking bike cop sh**t Mickey Dunn, dumps the car and takes the money?
Greg: And with the exchange rate, lives like a king, south of the border, for the last thirty years.
Warrick: Fast-forward -- Mickey Dunn's car gets discovered.
Sara: By a Mexican fisherman who would be just about the same age as the bike cop.
Greg: Only the discovery was bogus. Turns out the hood ornament pulled from Lake Mead is a fake.
Sara: So ... the fisherman was what, pulling off a hoax?
Grissom: That or fraud -- he either planted that Derringer at the crime scene, or maybe someone paid him to.
(Grissom looks at the photos of the K*llers and at the photos of the victims.)
Warrick: Either way, whoever did it knew that this car was down there.
Greg: And was missing the original hood ornament.
Sara: Who could know that?
Grissom: Someone who was there the night it went down.
Greg: The motorcycle cop's looking better every minute.
(Grissom takes the photos of the fisherman and of the K*llers.)
Sara: (calls out) Hey, don't rule out the ghost of Mickey Dunn.
[INT. CSI – HALLWAY – CONTINUOUS]
(Hodges catches up with Grissom as he walks through the hallway with the photos.)
Hodges: Doc told me to tell you your last vic, the one all pretzeled up in the oven, lividity's fixed: d*ad two days.
Grissom: Before the Cadillac was found.
Hodges: Yeah. Ah, and I got trace analysis on the sample Phillips collected on Chicken Johnny.
Grissom: And?
Hodges: Alginate and plaster of Paris. Combination used to make dental impressions. And you don't even seem to be the teeniest bit surprised.
Grissom: I'm not.
(Grissom walks into his office. Hodges sighs and leaves.)
[INT. CSI – GRISSOM'S OFFICE – CONTINUOUS]
VARIOUS CUTS OF
(Grissom takes out a ruler and a notebook. He measures the photos and writes down his findings. He measures the fisherman's eyes and writes:
FISHERMAN
EYE TO EYE – 2.25
(He measures Michael Myers' eyes and Pamela Voorhees' eyes. He writes in his notebook.)
P. VOORHEES
EYE TO EYE – 2.25
CUT TO:
[INT. CSI – A/V LAB]
(In the computer, Grissom has the three photos – the fisherman, Michael Myers and P. Voorhees. Measurements appear on the photo of the fisherman. Grissom explains his findings to Archie and Catherine.)
Grissom: Our Mexican fisherman signed his television release form "F. Kreuger."
Catherine: Freddy Kreuger, ‘Nightmare on Elm Street.'
Archie: Yeah, and the karaoke singer was Michael Myers from ‘Halloween.'
Catherine: Parts one through nine.
Johnson: Yeah, but ... who's the hotel k*ller now? Who's Pamela Voorhees?
Catherine: ‘Friday the 13th.'
Archie: No, that's Jason. Jason's the sequel. Pamela, the mother, was the k*ller in the original -- that's the question that tripped up Drew Barrymore in
‘Scream.'
Catherine: Yeah, and look what happened to her.
Archie: You watch slasher flicks?
Catherine: (wry laugh) With Lindsay, I ... do. (scoffs) They never get the spatter right.
(The faces of all the K*llers flash on the screen with the same matching measurements in every photo.)
Grissom: All I know is the master of all scary movies was Lon Chaney, Sr., the man of a thousand faces, and that's what we're looking for.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – HALLWAY -- DAY]
(Grissom and Brass talk as they walk through the hallway.)
Brass: The thing that really gets me is, I talked to this k*ller dressed as Johnny D'Angelo, close enough to smell his breath and still he walks.
Grissom: All the evidence says he was wearing state-of-the-art prosthetics.
Brass: I want to see him in an orange jumpsuit and cuffs. He's got the real Johnny's wallet.
Grissom: Well, if he's got his driver's license, he could be using it to try and escape.
Brass: Yeah, but he said the vic's car is parked in the parking lot.
Grissom: He doesn't need his car. He's got his face.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
Brass: (V.O.) I'll pull his credit records. I hope he bought something nice.
[EXT. HIGHWAY -- DAY]
("Johnny D'Angelo" speeds along the highway in a convertible. "That's Life" plays on the sound system.)
Lyric: "That's life (That's life) That's what all the people say / You're riding high in April, sh*t down in May"
(A couple of police cars catch up with the convertible, their sirens wailing.)
Lyric: "But I know I'm gonna change that tune ..."
("Johnny D'Angelo" slows the car down.)
Lyric: "That's life"
CUT TO:
(The two cars are stopped on the side of the road. The officer car doors open and officers get out, their g*n drawn.)
(Brass and Officer Mitchell approach the convertible.)
Brass: Put your hands on the wheel! Put your hands on the steering wheel now!
("Johnny D'Angelo"puts his hands on the wheel.)
"Johnny D'Angelo": (singing) I just can't ...
Brass: Shut up and get out of the car.
(Officer Mitchell opens the front door and helps "Johnny D'Angelo" out of the car.)
"Johnny D'Angelo": (singing) Checking out, but my heart won't buy it
(Officer Mitchell sees the revolver on the seat.)
Officer Mitchell: g*n on the seat.
(Officer Mitchell frisks "Johnny D'Angelo.")
Officer Mitchell: He's clean.
"Johnny D'Angelo": (singing) And then I'd buy it
(He's handcuffed.)
Brass: I thought I was clear on the "shut up."
"Johnny D'Angelo": (singing) That's life.
(The officers pull him away from the convertible to put him in back of a squad car. Brass looks at the trunk.)
Brass: Pop the trunk.
(Officer Mitchell pops the trunk.)
"Johnny D'Angelo": (singing) And as funny as it may seem ...
(The hood opens and inside are the ‘fake' faces of the K*llers and of the old Spanish fisherman.)
(Brass looks at the masks.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Catherine removes "Johnny D'Angelo's" wig.)
Catherine: Chainsaw -- sound familiar?
Mickey Dunn: You get to be my age, all kinds of things ring a bell.
(Brass pushes a photo of Officer Eddie Sanchez toward him.)
Brass: How about this? Any chimes?
Mickey Dunn: That's a real good-lookin' boy. But as the poet said ...
(Mickey Dunn removes his face mask and moustache.)
Mickey Dunn: "It ain't me, babe."
Catherine: Mickey Dunn.
Mickey Dunn: Back from the d*ad. (points to the fake skin still hanging on his neck) You missed a spot.
Catherine: I think I got all I need.
Mickey Dunn: (to Brass) Just going along.
Brass: Well, keep going, Mickey. Do you recognize him?
(Brass shows him Officer Eddie Sanchez's photo.)
Mickey Dunn: Could be a d*ad cop.
Catherine: Yeah, Officer Eddie Sanchez. He had a wife, two kids. He also had a skin condition commonly known as acne which he treated with tetracycline.
(Quick flash of: [AUTOPSY ROOM] Dr. Robbins snaps photos of the glowing bones.)
Catherine: (V.O.) That drug incorporated into his bones, making them glow under ultraviolet light.
(End of flashback.)
Catherine: Helped us identify him.
(Catherine sits down.)
Brass: Thing's aren't looking too good for you, Mickey. So now we know we got a d*ad cop's body in your old car. So tell me what happened. You were skipping town and Eddie Sanchez pulled you over and you sh*t him point-blank?
Mickey Dunn: (to Catherine) Like I told you, you missed a spot. You missed a big spot. I sh*t a lot of guys point-blank. But this nosy piece of garbage bike cop that you two are so teared-up about ... I sh*t him from 40 feet away with a soaking-wet revolver. It was one hell of a sh*t.
(Quick flashback to: [LAKE – NIGHT] Eddie Sanchez turns his bike in to the embankment near the lake. He parks his bike and follows the tire tracks in the dirt all the way to the lake.)
Mickey Dunn: (V.O.) The poor dumb bastard didn't know what h*t him.
(He sees lights of the car in the lake.)
Mickey Dunn: (V.O.) He thought he'd been trained. They don't prepare you for what I got.
(He's startled when Mickey Dunn comes up for air. He takes his g*n out and points it at Mickey. Mickey starts to walk toward him.)
(He sees the g*n in Mickey's hand.)
Eddie Sanchez: Stop! Stop or I'll sh**t!
(Mickey doesn't stop. He continues to walk toward Eddie.)
Eddie Sanchez: I said stop!
(Mickey raises his g*n and fires. He hits Eddie in the chest. Eddie falls back to the ground.)
(Cut to: Mickey smashes in Eddie's teeth.)
Mickey Dunn: (V.O.) You found the skull had no teeth because I bashed 'em in with the barrel of my g*n.
BACK TO SCENE.
Mickey Dunn: And all the forensics in the world ain't gonna show you that when I smashed his face in ... I liked it.
Brass: You're under arrest, Mickey, for m*rder.
Catherine: Thank God you blew me off when I didn't know better.
(Catherine gets up and heads out.)
Mickey Dunn: Sam Braun's daughter.
(She stops at the door, surprised that he even recognized her.)
Mickey Dunn: You think that I would ever forget a face?
(Quick flash to: [CASINO] Young Catherine in the casino as she smiles at Mickey.)
Mickey Dunn: (V.O.) That face?
(He pushes her hair back and whispers to her.)
Mickey Dunn: Meet me outside, 2:00 a.m. sharp.
BACK TO SCENE.
Mickey Dunn: Ask yourself what force on earth would have kept me from your soft teenage graces. Only one: Daddy.
Catherine: Sam Braun stopped you?
Mickey Dunn: Sam always said that if I ever touched you, he'd tear me apart.
(chuckles) That took a big pair to say that to me. He said that you were family. Still, now he's gone. We're here. We could always give it a go.
Catherine: You're not going anywhere.
(Mickey gasps and clutches his chest. Brass gets up and checks on Mickey.)
Brass: (to Catherine) He's having a heart att*ck. Call a paramedic.
(Catherine turns and leaves the room. Brass and the other officer in the room help Mickey to the floor.)
Mickey Dunn: (gasps) Bum ticker ... right on time.
(Brass does chest compressions on Mickey.)
Brass: Okay, take it easy, buddy. Take it easy.
FADE TO WHITE:
[INT. HOSPITAL – ROOM]
(Mickey Dunn wakes up in a hospital bed. He's handcuffed to the bedframe. Catherine stands over him.)
Catherine: I'll give you a hint: you're not in heaven. How long you been living with a b*llet in your chest?
Mickey Dunn: Who told you?
Catherine: Why God invented X-rays.
Mickey Dunn: You'd like to take it out, have a closer look. Ah, but you can't do that, not without k*lling me.
Catherine: I'm guessing it's a .38 ...
(Quick flash to: [NIGHT] Derek Paul sh**t Mickey Dunn and tosses the g*n in the car.)
(Cut to: Robbins pulls out a b*llet from autopsy.)
Catherine: (V.O.) ...which matches the .38 that we took from the body of Derek Paul, --
(Cut to: Greg sifts through the dirt found in the car and finds a b*llet.)
Catherine: (V.O.) -- which also matches the one that k*lled Eddie Sanchez.
BACK TO SCENE.
(Mickey Dunn smiles. Catherine sits CATHERINE: You like horror movies, Mickey?
Mickey Dunn: You know ... I love 'em.
Catherine: I got one for you.
Mickey Dunn: Does it got a monster in it?
Catherine: (chuckles) Yeah.
(Quick flash to: [NIGHT] Mickey crashes through the wire fence gate and onto the lake embankment. Derek Paul and the other workers follow him.)
Catherine: (V.O.) I bet you heard it. It's strictly B-list stuff. No-name cast, summer release.
(They park and get out of the car. Derek walks up to the car.)
Catherine: (V.O.) Four Vegas punks run a monster off the road.
(Derek sh**t Mickey and tosses the g*n in the car.)
Catherine: (V.O.) They sh**t him, they rob him, they leave him for d*ad.
(Derek pops the trunk and takes the suitcase of cash.
Catherine: (V.O.) But everybody knows that sh**ting the monster and k*lling him are never the same.
(They push the car into the lake. The car hits the water. Mickey opens his eyes.)
(The guys get in the car and drive away. Officer Eddie Sanchez arrives on his bike.
Catherine: (V.O.) A young honest cop arrives and with him comes opportunity.
(Mickey emerges from the lake. Eddie reaches for his g*n. Mickey fires and kills Eddie. He changes clothes with Eddie.)
Catherine: (V.O.) The monster changes his name, his face ... passes for human.
(Mickey puts on the officer's helmet.)
Catherine: (V.O.) Rides off into the night.
(He runs to the bike and rides away.)
BACK TO SCENE.
Mickey Dunn: And the legend is born. The end.
Catherine: Mickey, you know that real horror stories never end.
Mickey Dunn: Oh, this one does. (laughs) It's been huge fun coming back, trying new faces, leading you all around town by the nostrils. Setting up the big discovery.
(Quick flashback to: [LAKE – DAY] The fisherman is holding the revolver hood ornament while being interviewed by Tally Jeffers.)
Fisherman: Everybody here knows Mickey Dunn.
(Mick changes masks. He pulls off his fake face.)
Tally Jeffers: (V.O.) I'm Tally Jeffers, KRAC-TV, Lake Mead, Nevada.
(FLASH TO: Michael pushes Kenneth's wheelchair.)
Mickey Dunn: (V.O.) Going after Kenneth...
(He puts the photo in Kenneth's shirt pocket.)
Mickey Dunn: (to Kenneth) I'm Mickey Dunn.
(He pushes Kenneth's wheelchair out onto the street. Kenneth screams as he's h*t by the vehicle.)
(Mickey removes his Michael Myers' face.)
(CUT TO: Pamela Voorhees chokes Mason in the hotel room. He shoves the photo in his mouth.)
Mickey Dunn: (V.O.) ...taking out Mason ...
(He moves his Pamela face.)
Mickey Dunn: (V.O.) ... and the best part of all, --
(CUT TO: Mickey removes a cast from Johnny's face.)
Mickey Dunn: (V.O.) the look on poor Johnny's face.
(CUT TO: Mickey has his Johnny face on. He stands over Derek Paul's body and tucks the g*n into his pants.)
Mickey Dunn: (V.O.) Not the most handsome guy in the world,
BACK TO SCENE.
Mickey Dunn: but a face worth wearing. And the hardest part? Learning Spanish. (He chuckles.) Good times.
Catherine: Why now?
Mickey Dunn: Because that tiny piece of metal that Derek sh*t in my chest has finally moved. Doctors gave me a week, maybe two, to live. Figured I'd go out with a bang, never see the inside of a cell. It's really funny how one little b*llet can make things suddenly seem so clear.
(Catherine smiles at him and stands up.)
Catherine: (innocently) You mean this b*llet?
(She shows him a b*llet.)
Catherine: Mob doctors ... (she puts the b*llet on the table) ... become Mob doctors because they sucked in the first place. B
ut we got a licensed surgeon that fixed you up good. Cheer up, Mickey, you're gonna live another twenty ... thirty years. And you'll be spending every day in the federal penitentiary. But only until you die.
(Catherine turns and heads out. She stops.)
Mickey Dunn: Well, I'll still go out a legend. You haven't changed that.
Catherine: Oh, you've been out of the game awhile. The homies they have in the pen these days never heard of you.
Mickey Dunn: That's impossible.
Catherine: No, Mickey, that's life.
(Catherine winks at him. She turns and leaves.)
Lyric: "That's life ... That's life ..."
(Camera holds on Mickey Dunn in the hospital bed.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x09 - Living Legend"} | foreverdreaming |
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[EXT. CONSTRUCTION SITE -- NIGHT]
(A lone figure carries a body through the construction site. His feet stagger in the dirt under the weight.)
VARIOUS DISSOLVES OF: The man continues to carry the body through the construction site.
(The man adjusts his hold on the barefooted body wrapped in a blanket. He starts walking across a board leading to the still drying concrete. He tosses the body onto the concrete. The body lands with a splat, unrolls and the body comes to a halt.)
(The man nearly loses his balance as he looks at the body out on the concrete. He rolls his eyes.)
FLASH TO:
[EXT. CONSTRUCTION SITE -- DAY]
(The man is stuck waist-deep in the concrete. Brass leads Catherine and Grissom to the man in the concrete next to the body.)
Brass: Construction crew found him when they came into work this morning. The woman's d*ad. The guy's still alive, but he's not talking. Wouldn't even give me his name, even after I gave him my name.
(Catherine starts laughing as she heads over to look at the body.)
Grissom: Did you, uh, pull his wallet?
Brass: No, everything is just the way I found it. I mean, I figure some knucklehead, you know, came in off the street, found him, figured he had a free pass, and picked his pocket.
(The man in the concrete shakes his head. Catherine can't seem to stop laughing.)
Brass: Anyway, I'm, uh ... I'm talking to people. I'll, uh, I'll let you know what we find out.
Grissom: Catherine ... Do you need a minute?
Catherine: Yes, I'm ... Yes, I'm ... (clears throat) I mean ... No, Gil. I'm good.
(Catherine walks back to the man in the concrete.)
Catherine: So, how's your day going?
Max: Lady ... the best day I ever had is worse than the worst day you've ever imagined.
Catherine: Oh, I doubt that.
Grissom: Who's your lady friend?
Max: Never saw that woman before in my life.
Catherine: Uh, look, you're not going anywhere. It'll be a lot better for you if you just cooperate and tell us what happened.
Max: You want to know what happened?
Catherine: Mm-hmm.
Max: Figure it out yourself.
Grissom: That's the fun part.
(Catherine chuckles.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
(Sirens wail in the distance.)
[EXT. APARTMENT COMPLEX -- DAY]
(The residents wait outside. Nick and Warrick walk into the complex. They pass the guard posted at the gate. They meet up with Sofia.)
Sofia: Hey.
Warrick: Hey.
Stokes: Que pasa?
Sofia: One of the residents reported smelling a gas leak at 6:00 a.m.
(She leads them up the stairs.)
Sofia: He, uh, called the gas company. They arrived; they evacuated the building.
Nick: I'm surprised anyone picked out a gas leak through the rest of the stench around here.
(They reach the second floor.)
Warrick: Yeah, smells like used diapers.
[INT. IVANOVNA RESIDENCE – DAY – CONTINUOUS]
(She leads them into the apartment.)
Sofia: The gas boys traced the leak to this apartment, and that was when they found ...
(She leads them into the kitchen where someone has their head stuck in the open oven.)
Sofia: -- this.
Nick: Whoa.
(Nick walks around the body and looks inside the oven.)
Sofia: Alyona Ivanovna. Manager said she's lived here alone for 27 years.
Nick: Head in the oven ... It's kind of a classic, huh?
(Warrick sees a broken dish on the wash rack.)
Warrick: Maybe not. I mean, this apartment is neat as a pin. A lady this tidy wouldn't leave a broken dish in a rack like that, you know?
(He snaps a photo of the dish.)
Sofia: It doesn't necessarily indicate foul play.
(Nick snaps digital pictures of the body while Warrick continues to take photos of the apartment.)
Sofia: I checked the doors and the window. There's no sign of forced entry.
(Warrick notes the broken phone, twisted on the wall.)
Warrick: What do you make of this? A busted phone ...
(Quick ZOOM to a CU of the gray hair on the phone.)
Warrick: -- with gray hairs in it.
(Nick looks at the old woman's hair.)
Nick: She's definitely got gray hair.
CUT TO:
[EXT. CONSTRUCTION ISTE -- DAY]
(The paramedic squirts water into Max's mouth and puts some goggles over Max's eyes.)
Catherine: (o.s.) Okay, David. Let's roll her over together.
(Catherine and David are with the body. They flip the body over. Max watches from the side. The paramedic is applying sunscreen to the top of Max's bald head.)
David Phillips: Single s*ab wound, just below the sternum. It feels domestic. Crime of passion? CATHERINE: Maybe?
David Phillips: Good point.
CUT TO:
(The workers use a jackhammer on the concrete around Max. Catherine covers her eyes as the dust fills the air around them.)
Catherine: Hey! Hey! Hey!
(She motions for the worker to stop. The jackhammer stops.)
Catherine: You ready to give me a name?
(Max doesn't say anything.)
Catherine: You know, you are in a very deep hole, in every sense of the word, my friend. Think about that while we chisel you out. It's going to take a few hours ... assuming we're careful. See ya.
(Max waves to her as Catherine gets up and leaves.)
CUT TO:
[INT. IVANOVA RESIDENCE – KITCHEN -- DAY]
(Warrick spreads the white sheet on the floor as Nick and David Phillips help get Alyona Ivanovna out of the oven. They place her on the sheet.)
Nick: It's just a guess, but I'd say she's in rigor.
(Warrick snaps photos of the body.)
David Phillips: Blunt-force trauma on the forehead, and on the base of the skull.
Warrick: I doubt very highly that those were self-induced.
(Warrick shines his flashlight on the inside of the oven.)
Warrick: Look at that: it's dented.
(Quick flash to: Someone shoves the old woman into the oven. End of flash.)
Warrick: Looks like she may have been slammed into her own oven.
Nick: Yep.
David Phillips: She's been d*ad at least twelve hours.
(Camera zooms in toward something behind her ear.)
Nick: I've got a substance on her ... right ear. She doesn't really look like the hair gel type.
(Warrick snaps photos.)
Nick: Hang on a second, fellas. Look at that.
(Nick reaches in and takes out the woman's bottom teeth.)
Nick: Her dentures ... they were in upside down.
(Very strange.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Grissom finds Greg in the hallway.)
Grissom: Hey. You're coming with me. We got another 419 out by Nellis.
Greg: Wow, busy night. Any details?
Grissom: They tell me it tastes just like chicken.
CUT TO:
[EXT. MANNLEIGH CHICKEN -- DAY]
(Grissom and Greg walk past the officers as they head for the warehouse. Outside, there are moveable cages filled with chickens.)
[INT. MANNLEIGH CHICKEN –WAREHOUSE – DAY]
(The plant is quiet. Grissom and Greg walk inside and meet up with Brass, who waits by the body. The body is in the basin in some water.)
Brass: The d*ad guy in the bath is Raymundo Suarez. He works the night shift. He cleans the equipment from 8:00 p.m. to 4:00 a.m. The day-shift guys came in, found him like this. The foreman here called it in.
Grissom: This basin is designed to transfer an electrical current.
Plant Foreman: Of course it does. It's a stun bath. We use it to stun the chickens before they go into the next room.
Brass: Where they get their throats cut.
Plant Foreman: Which is why we electrocute them first. It's humane.
Greg: Was the current on when you found the body?
Plant Foreman: No, sir, it was off; it stays off all night. Hey, uh, how long is this gonna take?
Brass: As long as it takes.
Plant Foreman: I got a lot of birds piling up outside. They're gonna die out there in that heat.
Brass: Well, it's not like they're gonna do any better in here. Come on, I want to talk to your crew.
(Brass leads the plant foreman out of the area. Grissom looks up at the equipment.)
Greg: Maybe he was high. Passes out and falls in?
Grissom: How does he end up face down in the middle of the bath?
Greg: Kind of tough to drown in three inches of water.
Grissom: Not impossible, though.
(Quick flash of: Raymundo Suarez is face down in the water. He seizes and shakes from the electrocution.)
Grissom: (V.O.) If he h*t the water when the current was on, his muscles could've contracted, making it impossible for him to get out.
(Someone comes and turns the switch off.)
Greg: (V.O.) But the machine's off at night, and it was off when they found the body.
(End of flash.)
Greg: Which means someone turned it off after he was d*ad.
Grissom: Yeah. (b*at) Who?
CUT TO:
[EXT. MANNLEIGH CHICKEN – DAY]
(Outside, the workers are being interviewed by officers. The chickens continue to sit in their cages.)
(Brass interviews Ernie Dell.)
Brass: All right, what's your name, and what do you do here?
Ernie Dell: Name's Ernie Dell. Maintenance man. I work 3:00 to 11:00.
Brass: Mm-hmm. You see the victim last night?
Ernie Dell: Uh, yeah, and Raymundo was just fine when I left.
Brass: You and Raymundo get along?
Ernie Dell: Kept my nose out of his business; he kept his out of mine. Didn't have a problem with him.
Brass: But you know somebody who did?
Ernie Dell: Well, between you and me, the guy you ought to be talking to is Ike Mannleigh.
Brass: Oh. You mean the guy who owns the company?
Ernie Dell: Well, Raymundo's pretty far down on the pecking order.
Brass: You think the big boss had a problem with him?
Ernie Dell: No. Not unless you think a guy banging your wife is a problem.
(Quick flash of: Raymundo and Mrs. Mannleigh kiss and undress among the clucking chickens. Ernie Dell sees them from behind the chicken cages. End of flash.)
Ernie Dell: Can't blame him, though. Bubbles Mannleigh is a cheap whore.
Brass: Did you and Bubbles take a tumble?
Ernie Dell: Me? Nah. Reminds me too much of my mother. Besides, uh ... Bubbles likes the dark meat.
[INT. MANNLEIGH CHICKEN –WAREHOUSE – DAY]
(Greg snaps photos of the body and surrounding areas while Grissom looks around.)
(Grissom kneels in front of the electrical switch and moves it a little.)
(Greg finds something. He snaps a photo and picks up a used condom.)
Greg: Unappetizing place to get your rocks off.
Grissom: Not if you have a poultry fetish.
(Grissom looks around and finds something. He heads over to a box tucked away in the corner. Greg glances up at him.)
Greg: You got something?
Grissom: Yeah, I think so.
(Grissom opens the box and finds a miniature plant replica complete with d*ad body inside.)
Grissom: One more chance.
WHITE FLASH TO:
[INT. MINIATURE PLANT]
(Camera swoops around the plant basin and d*ad body face-down inside.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAYOUT ROOM – DAY]
(TOP VIEW DOWN: One by one, the camera moves across the miniatures lined up on the table. First the most recent miniature of the Mannleigh Chicken Plant, then the Penny Garden room.)
INSERT: SCENE FROM 7X07: POST MORTEM
(Someone smashes Penny Garden into the window. She falls on the glass and dies.)
(Cut to: Grissom moves the pillow on the chair aside and finds the image of a doll on the pillow.)
BACK TO SCENE.
(The camera continues to move to the first diorama found of Izzy Delancy's kitchen.)
INSERT: SCENE OF 7X02: BUILT TO k*ll (2)
(Someone comes up behind Izzy Delancy and hits him on the back of his head.)
(Cut to: Grissom picks up the framed photo of Izzy carrying his baby. Behind the frame is a partial image of a doll.)
BACK TO SCENE.
[CU: PHOTOS]
(Pan over a XCU photo of the doll, then on the image of the doll on the pillow.)
(Grissom turns around from the board full of photos of various views of the dioramas. He puts his glasses on and picks up the scope. He puts one end in the latest diorama and the other end up against his eye.)
SCOPE VIEW: Grissom looks through the diorama, covering a lot of ground. He sees the door and an image in one of the door's windows.
(Grissom peels off the image and looks at it under a magnifying glass. He smiles. It's of a red-haired doll on the ground – partially on the grass and on concrete with blood spatter under the head.)
Sara: (o.s.) You look like a kid who's just found the prize at the bottom of a cr*cker Jacks box.
(Sara walks in the room.)
Grissom: Definitely some kind of doll.
Sara: It sure is.
(Grissom turns around and indicates the other doll photos on the board.)
Grissom: Three different views of the same d*ad doll. Maybe this is more than a signature. Maybe there's something these victims have in common.
Sara: First two victims were white, third Hispanic, two men, one woman, one rich, two poor, one young, two old, one famous, two obscure ...
Grissom: Yeah.
(He picks up a blurry photo.)
Grissom: And unfortunately, this is the best lead we have for their k*ller.
INSERT: SCENE FROM 7X07: POST-MORTEM. The k*ller delivers the box on the front porch.
(Sara takes the blurry photo.)
Sara: This is the most that Archie could get off that video?
Grissom: Yeah, well, with the equipment we have here.
Sara: I'm getting Raymundo's cell phone records. I'm gonna see if any of his calls are a match to the numbers that Penny Garden and Izzy Delancy had in common.
Grissom: Whatever happened with that number we got off the disposable cell phone? Any luck with that?
Sara: Disposable phone numbers are assigned by the carrier to the phone distributors. It took a little bit of legwork, but I did find the store where the phone was sold.
Grissom: Let me guess. It was paid for with cash.
Sara: Yeah. (Sara sees the information on the bottom of the photo.) Mannleigh Chickens.
Grissom: What about it?
(She picks up the file folder.)
Sara: I'll let you know.
(She heads for the door. Grissom looks at her. She looks back.)
Sara: See how it feels?
(Sara suppresses a smile and leaves Grissom there.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(There are three bodies on exam tables. Catherine waits while Doc Robbins signs David Phillips' clipboard.)
David Phillips: You know, we're getting kind of backed up in here.
Robbins: The only one I hear complaining about it is you.
(He gives the clipboard back to David. David leaves.)
Robbins: Your cement lady's approximately 40 to 45 years old. COD is exsanguination due to laceration of the right ventricle. Wound seven centimeters long, five millimeters wide.
Catherine: That looks like it could be a double-edged blade. It's pretty thick, too.
Robbins: Well, it passed into the heart--
(Quick CGI flash of: A blade pierces the heart and it bleeds out.)
Robbins: (V.O.) with a, uh, point of entry midline just below the xiphoid process.
(End of CGI flash.)
Catherine: Upward thrust.
Robbins: I just said that.
Catherine: Okay. Any idea what the w*apon might have been?
Robbins: If I knew, I would've told you. I got to get to work. Taxpayers are getting their money's worth tonight.
(Robbins steps away to the next body. We hold on Catherine.)
CUT TO:
[CAMERA]
(Max holds the identification plate as his photo is taken. There is no ID number or name on the board.
ID NO.
DATE
LAS VEGAS POLICE DEPARTMENT. )
(The camera flashes.)
(Max blinks and turns to the side. The camera flashes again.)
(Max steps out of camera frame.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(An officer leads Max into the room. Catherine dips his hands into a bowl)
Catherine: Thank you.
Max: Tingles.
Catherine: You take them out, he puts them back in.
Max: What is it?
Catherine: It's acetic acid.
Max: Do you do feet? I got a bunion that could use some soaking.
(Catherine takes his hands out and towel dries them.)
Max: What's this do?
Catherine: Takes your fingerprints.
Max: Mmm.
(She puts his hands on the box.)
Max: Good luck with that.
(Brass walks in.)
Brass: How's Mr. Hoffa?
Max: Hey, Jim. Cathy and I are just getting reacquainted. Will Gilbert be stopping by?
Brass: I take it we don't have a name yet.
Catherine: No.
Brass: I bet you ten bucks that I have you made by 9:00 p.m.
Max: You're on.
CUT TO:
[EXT. OUTSIDE IVANOVNA APARTMENT -- DAY]
(Nick and Warrick step out of the apartment. Nick is on the phone.)
Nick: (to phone) Okay, Hodges. What do you got?
Hodges: (from phone) The green trace on your old lady.
INTERCUT WITH:
[INT. CSI – HALLWAY – DAY]
(Hodges walks through the hallway with the results while talking on the phone with Nick.)
Hodges: Adipic acid, disodium phosphate, sodium citrate, fumaric acid, Yellow
#5, Blue #1, BHA, a whole lot of gelatin, and sugar.
Nick: Which is?
Hodges: Oh, come on. There's always room for it.
Nick: Just tell me what it is, Hodges.
Hodges: Jell-O. Lime Jell-O.
Nick: Lime Jell-O?
Hodges: I tell you what. You tell me why.
(Hodges hangs up.)
CUT TO:
[XCU: GREEN JELL-O]
(Through the green Jell-Osludge on the floor, ants crawl all over it.)
CAMERA ZOOMS OUT on the ant-infested green spot on the floor.
[EXT. OUTSIDE IVANOVNA APARTMENT -- DAY]
(Warrick looks down and notices the green Jell-O spot on the ground. He takes his camera out and follows the trail of ants and Jell-O.)
(He takes a photo.)
VARIOUS DISSOLVES OF:
(Warrick and Nick follow the trail. Warrick snaps photos and Nick puts down evidence markers.)
(Dissolve to: Nick hands Warrick evidence marker 8. He puts it on the ground and snaps photos.)
(Dissolve to: FAR sh*t. Nick and Warrick continue following the trail to the end of the floor.)
(Dissolve to: Nick and Warrick follow the trail to the next building.)
(Dissolve to: Nick puts down evidence marker #39. Warrick snaps photos. Warrick puts the next evidence marker #16 down in front of the door.)
(They look at the apartment door.)
[INT. APARTMENT – DAY]
(The door bursts open. An officer and Sofia quickly check the apartment.)
Sofia: Clear.
(Warrick puts his g*n away. He and Nick enter the apartment. He sees another spot of green Jell-O on the floor.)
Officer: (o.s.) Clear.
(Warrick snaps photos of the Jell-O spots. Nick points them out as they head toward the kitchen.)
(They enter the kitchen and see the smears on the floor.)
Nick: Oh, boy. Looks like somebody cleaned up in a hurry. More green Jell-O.
(Warrick continues to snap photos. Nick takes out a swab.)
Warrick: Sofia, you get a tenant's name for this apartment?
Sofia: According to the management office, this apartment's a sublet, has been for years. He's not seen who lives here.
(Nick tests the swab.)
Nick: I got blood, too.
(Warrick looks out the window.)
Warrick: This place has a direct view of the old lady's apartment.
(Sofia and Nick join Warrick and look out the window as well.)
Warrick: So, what, the guy's k*lling the old lady, --
(Quick flash of: VIEW ON WINDOW. The curtains are closed and all we see are the shadows behind them. The man on the other side pushes the curtain aside and looks out.)
Warrick: (V.O.) -- he sees he's being watched, and he, what, comes back here and whacks the witness?
(End of flash.)
Nick: It's possible. But why get rid of this body and leave the old lady?
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Grissom and Sara are watching an IZZY DELANCY ad.)
Izzy: (from video) Hi. I'm Izzy Delancy. And back in my bad old days, I'd do almost anything to sell albums.
(The caption on the bottom of the ad runs: PLEASE DONATE! – 1-800-555-0199 –
LITTLE CREATURES GREAT & SMALL – WE NEED YOUR HELP! )
Izzy: (from video) People even accused me of biting the heads off live chickens on stage. I'm not proud of that. But I've worked hard to change. And with the help of the good Lord, fourteen years of therapy and two loving wives, I humbly believe I've made progress. But this story is not about Izzy Delancy. It's about something much, much bigger: cruelty. Did you know that every day in the United States, more chickens are k*lled than all the people in the Rwandan genocide? Now, you may argue, "Izzy, African people are not a food source." Well, you're missing the point entirely. Cruelty is cruelty, whether the victim be a chicken or a malnourished African.
(Sara pauses the ad.)
Grissom: Where did you find this?
Sara: I like animals, and after the Delancy m*rder, I brushed up on my history. As it turns out, three years ago, Izzy Delancy had a midlife awakening and became an animal rights activist. He starred in and financed this PSA targeting Mannleigh Chickens as the epitome of everything that is wrong in the slaughter industry.
(Sara continues the ad. This time, it's for MANNLEIGH CHICKEN. The caption on screen reads: MANNLEIGH CHICKEN TV COMMERCIAL.)
Ike Mannleigh: (from ad) It takes a manly man to make a Mannleigh chicken.
(On screen, Ike Mannleigh leans forward and crows like a rooster. The caption reads: IKE MANNLEIGH, C.E.O.)
(The ad continues.)
Izzy Delancy: (from ad) Now, perhaps you've purchased Mannleigh Roasters, Fryers or Assorted Parts at your local grocery store, and you believe you're eating chicken. But what you're really eating is cruelty. Our undercover investigators secretly recorded workers at a Mannleigh processing plant throwing loose animals up against the wall, stomping up and down on them, kicking them across the room.
(Sara pauses the ad.)
Grissom: How bad did Mannleigh get hurt by this?
Sara: His sales dropped 60%. He launched a very expensive PR campaign to rehabilitate his image, including retrofitting a plant with cruelty-free equipment. His business never recovered. He probably hated Delancy.
(Grissom nods.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Brass talks with Ike Mannleigh.)
Ike Mannleigh: I have no idea how Raymundo ended up d*ad. I liked that boy.
Brass: Apparently, so did your wife. She was spending some quality time with Raymundo down at the plant.
Ike Mannleigh: If I k*lled every guy that banged my Bubbles, they'd be stacking up like cord wood.
Brass: So you have no problem with it?
Ike Mannleigh: Look. Bubbles is an insatiable slut, but she's my slut, and I love her. I don't expect you to understand.
Brass: Oh, I get it.
(Brass passes a crime scene photo of Penny Garden.)
Brass: Do you know this woman?
Ike Mannleigh: I've never seen her before in my life.
Brass: How about him?
(He passes over a crime scene photo of Izzy Delancy.)
Ike Mannleigh: Let's not screw around here. You know I knew him, and you know I hated him. That jerk nearly put me into Chapter 11.
Brass: He ended up d*ad, too.
Ike Mannleigh: And I sent his wife a Hallmark and a case of frozen chickens the day he died.
Brass: He was m*rder.
Ike Mannleigh: That's what I heard, too. We're done here. You want to call my attorney or should I?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – A/V LAB -- NIGHT]
(The label on the package reads:
DATE: 12-07-06 657-18898-23564
R. KRANSEN 206*-555-0165
VISION IMAGE AZ
2655 WEST 37TH AVE NE
SEATTLE WA 98101
MR. GIL GRISSOM 702-555-0189
CSI: LAS VEGAS CRIME LAB
3057 WESTFALL AVENUE
LAS VEGAS NV 89156
(Grissom opens the box and plugs it in.)
(The VISION IMAGE AZ FORENSIC PHOTO LAB software is installed.)
(Grissom sits at the workstation installing the software.)
(Grissom watches the 11.09.06 footage of the box being delivered to PENNY GARDEN'S neighbor. He runs the video through the software and enhances the image. He works on sharpening the enhanced image.)
(Hodges walks in and watches Grissom for a moment. Grissom successfully enhances the image on the back of the deliveryman's shirt. It looks like a train.)
Hodges: (enthusiastic) Whoo, whoo-whoo!
Grissom: (startled) Thank you, Hodges. I can see that it's a train.
Hodges: Yeah, but it's Locomotive-ville.
(Grissom is quiet.)
Hodges: Sorry. Thought you might be a member.
(Surprised, Grissom glances at Hodges, then back at the enhanced photo.)
CUT TO:
[MONITOR]
(Greg is at the L.V.M.T.C. site. He enters the site. The write up reads:
LOCOMOTIVEVILLE
LAS VEGAS MODEL TRAIN CLUB
Welcome to Locomotiveville! If you are a new to the site, be sure to check out the --
page and join. Jordan Palmer will be here this Saturday for a free workshop on bu—
trains. Jordan will cover the entire process, from where to get the best models at –
to which glue and paint will hold up the be---
Jordan's 4th year at the annual model fest—
answer all of your questions. Reservations –
made early, classes always fill up. Don't –
for the raffle, only five dollars at the door.
(He scrolls through the on-line photos of various members. Names include: KEVIN SIMONS, JORDAN PALMER, KRISTEN DEARDAH?, JANE TEMPLETON, CHARLES McCORMICK, AMY KIRKWOOD, COREY JENNINGS, CHOLE KEATON, HERBERT BELL, GRANT BOYD, ERNIE DELL, MARISSA CALLAH?, ... )
(Greg stops on ERNIE DELL.)
CUT TO:
[EXT. DELL RESIDENCE – NIGHT]
(Squad cars pull up, their sirens off but lights flashing.)
Brass: (V.O.) Attention all units, suspect's name is Ernie Dell.
Dispatch: (V.O.) Copy that. All units, please be advised that suspect Ernie Dell –
(TOP VIEW DOWN on squad car 694. Brass exits the vehicle and meets up with Officer Mitchell who is carrying something to open the front door.)
[INT. DELL RESIDENCE – FRONT PORCH – NIGHT]
(They reach the front porch. Brass knocks on the door.)
Brass: Ernie Dell? Las Vegas Police! Open up.
(There's no answer coming from the darkened house. Brass steps away from the door.)
Brass: (to Officer Mitchell) Go ahead. Break it.
(Officer Mitchell uses a crowbar and opens the front door. The two officers enter the house and move silently inside. Brass enters the house. He looks around.)
Officer: (o.s.) It's clear, Captain.
SHORT TIME CUT TO:
(The trains are powered on. The electricity powers on and the hum of the model trains start as it runs along the tracks set up inside the room. Greg and Brass look at the set-up.)
(The detail is amazing and also gruesome. There's a person standing on top of a large building – and another lying in a pool of blood on the sidewalk below.)
(In another part of the route, there are four people beating to a pulp another person on the ground in front of a warehouse.)
(Greg continues to look at the miniatures – there's a cemetery. Greg looks around.)
Officer: (o.s.) Captain. There's a workshop in the basement.
(The train enters a tunnel and toots its whistle.)
CUT TO:
[INT. DELL RESIDENCE – BASEMENT – NIGHT – CONTINUOUS]
(The lights turn on. Brass and Greg enter the basement. Along one of the walls is a workstation with incomplete and partial miniature parts. There are also many, many molds on the worktable.)
(Brass finds dozens and dozens of miniature people of different sizes.)
(Greg looks around and sees a blue car through a lamp post, its front red and bloodied. There are other bloodied figurines and even a grim reaper for the cemetery, complete with bloodied scythe.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – HALLWAY -- DAY]
(Sofia walks with Warrick through the hallway on their way to the waiting room.)
Sofia: One of the other residents ID'd the tenant in the sublet apartment as Paula Sullivan.
Warrick: That's good.
Sofia: Well, it's better than good. Apparently Paula Sullivan does a little day care on the side. We have a witness.
(They enter the waiting area.)
Warrick: Hi. I'm Warrick Brown from the Crime Lab.
(Suzy's mom stands up. Suzy sits nearby with her teddy bear.)
Suzy's Mom: Hi. My Suzy was in that apartment yesterday. And she was filthy when they sent her back, and I marched right over there to give Paula a piece of my mind, and she wasn't home. Paula wasn't there.
Suzy: Max watched me. He's nice.
Suzy's Mom: Her husband. Neither of them was there when I went back.
Warrick: Well, ma'am, we're going to need your daughter's clothes from yesterday.
Suzy: I like you. You're a giant.
(Warrick chuckles.)
Warrick: And you're a princess.
Suzy: Thank you.
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Suzy's feet dangle about a foot off the floor as she swings her legs back and forth. Warrick talks with her as Suzy's mom watches.)
Warrick: Okay, Suzy, tell me about Max. What's Max like?
Suzy: Max is my friend. He's a lion tamer and an astronaut and a spy.
Suzy's Mom: Guy always kinda creeped me out.
Warrick: (whispers to Suzy's mom) How come you didn't know that Paula Sullivan wasn't home?
Suzy's Mom: We live across the courtyard.
(Quick flashback to: Suzy's mom puts her shoes on and gives Suzy a shaka sign. Suzy gives her the shaka sign back.)
Suzy's Mom: Bye.
(Suzy turns and runs up the stairs.)
Suzy's Mom: (V.O.) I send Suzy over. I watch until she gets inside.
(She reaches the door and waves to her mom before entering.)
(End of flashback.)
Suzy: I went in. It was a big mess.
Warrick: A big mess? What color was the mess?
Suzy: Red and green.
(Quick flashback to: Suzy enters the apartment and closes the door. She walks into the kitchen and starts playing with the green Jell-O on the floor. She picks some up and is going to eat it when --
Max: (o.s.) Don't eat that.
(Suzy turns.)
(End of flashback.)
(Suzy giggles.)
Suzy: Max came into the kitchen in his underpants.
(Warrick glances at Suzy's mom.)
Warrick: Hmm ... Did Max try to hug you or touch you?
Suzy: Oh, no. He went and got dressed.
Warrick: Did Max seem surprised to see all that big mess there?
Suzy: (shrugs) I don't know.
Warrick: What did Max do next?
Suzy: He started cleaning up the big mess. I bet he didn't want to get in trouble.
Warrick: I bet you're right. You know what? Could you help me? I've got a picture right here. And I have some crayons, too. Could you draw where the red and the green is in the room?
(Warrick gives her a photo of the kitchen. Suzy colors the floor red and puts green circles up on the refrigerator.)
Warrick: So the green was all the way up here in the cabinets, too?
Suzy: He, um, he had to stand on a chair to reach it.
Warrick: Did you help him clean up the mess?
Suzy: At first, but then he said there was sharp stuff, so I watched TV.
(Quick flashback to: Suzy watches tv. End of flashback.)
Warrick: And then what happened?
Suzy Sullivan: Then I watched some more TV. Then I watched some more TV, and then I watched some more TV, and then I went home.
(Warrick smiles.)
CUT TO:
[INT. CSI – GARAGE – DAY]
(Grissom removes a single pot from the miniature pot rack from the ceiling of the IZZY DELANCY diorama. He fits the ceiling back on the miniature.)
(Grissom takes the pot and starts comparing it to all the moldings taken from Ernie Dell's basement. He finds a mold and puts the pot in the mold. He looks for the matching mold cover and fits the two pieces together. He squeezes in some mold mixture.)
(He removes the sample and checks it under the scope to compare the two pots. It's a match.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Grissom and Brass question Ernie Dell. Grissom places photos of matching items taken from the dioramas and molds taken from Ernie's house.)
Brass: Do these belong to you?
Ernie Dell: You know damned well they do. You took 'em from my house. They're mine and I want them back.
Brass: So you worked with Raymundo Suarez. Did you know Izzy Delancy?
Ernie Dell: Everybody knows Izzy Delancy. He's famous. Used to do it to his music.
Brass: And how did he thank you for that? Public humiliation?
(Brass puts a screen capture off of an IZZY DELANCY ad. It's of Ernie Dell with a Mannleigh chicken.)
Brass: And you knew Penny Garden.
Ernie Dell: Who?
Grissom: Penny Garden. You delivered a package to her house.
(Grissom shows Ernie a photo of the train off the back of the shirt.)
Brass: You're a handyman. What'd you fix for her?
Ernie Dell: I don't know anything about that. Lots of guys got them shirts.
Grissom: Do you have any idea how ... your work ended up at crime scenes from three different m*rder?
(Grissom shows the dioramas to Ernie.)
Ernie Dell: I've been making scale models since I was nine years old. I sell my stuff at craft fairs, to hobby shops, over the Internet, every damned place. Sold things to hundreds of people over the years. Any of them could have ended up in the hands of your k*ller. You're just picking on an old man 'cause you got nothing.
Brass: We're just talking here, Ernie. We're just talking.
Ernie Dell: You charging me with something?
Brass: You want a cup of coffee, Ernie? We got decaf.
Ernie Dell: Charge me or let me go. (He looks at them.) I want a lawyer.
Brass: You're free to go.
(Ernie gets up and leaves the room. Brass sighs.)
Brass: So was he right? Are we really just picking on an old man or is he the bad guy?
Grissom: Well, he's associated peripherally with all the victims, and he certainly has the right skills.
Brass: Yeah ... he spent half his life in Locomotiveville.
Grissom: I know what it's like to lose yourself in little things. After a while it gets to you.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
Catherine: (on phone) (V.O.) We're coming up goose eggs on "cement boy" and his lady friend.
[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]
(Brass is on the phone as he hurries through the hallway.)
Brass: You got to be kidding?
Catherine: (from phone) No hits on AFIS, no hits on CODIS. Guy's got no work card, and his keys weren't a match for any vehicle in a three-block radius of the construction site.
Brass: Unbelievable.
Catherine: Apparently, just a couple of law-abiding folk.
Brass: Well, keep me posted.
(He closes his cell phone and enters –
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT – CONTINUOUS]
(Max sits at the table.)
Max: Hello, Jim.
Brass: Hello.
Max: Hello ... who?
(Brass sits down.)
Brass: You know, I don't need your name to arrest you. I can call you John Doe. Okay, let's assume for the moment that you did know the d*ad lady laying five feet from where we found you. I'm gonna go out on a limb here and say that you k*lled her, and then you tried to dispose of her body, but you did something very, very stupid. Are you with me so far?
Max: Interesting. Do you have the time, Jim?
Brass: Yeah.
Max: 'Cause it looks like it's half-past. You owe me ten bucks.
(Brass chuckles.)
Brass: Make sure this goes in his personal effects.
(Brass takes out his money clip and pulls out a ten-dollar bill. He holds it out and Max reaches for it.)
Brass: Now, I'm gonna suggest you get a name tag, put the name "Trixie" on it, 'cause that's what your cell mates will be calling you.
(Max takes the bill.)
Brass: Take him to his cell.
(The officer helps Max up.)
[INT. POLICE DEPARTMENT – HALLWAY – CONTINUOUS]
(Max smugly waves the ten-dollar bill out in front of him as he moves through the hallway.)
Max: Anybody want anything from the vending machines? Come on. It's on me. Actually, it's on Jimbo. (to the officers) Took this baby off of Captain Brass myself. (to Brass) Look at me, generating income my first day in the joint. Yeah, Mom would be so proud. Not hungry? Soda, maybe? Anybody?
(Walking toward him are Suzy's mom, Suzy and Sofia.)
(Max sees Suzy and tries to hide behind the ten-dollar bill. He looks at her and tries to signal her to be quiet. The little girl looks at Max and her face lights up.)
Suzy Sullivan: Hi, Max!
Max: (sheepish) Hi, Suzy.
Brass: (mocks) "Hi, Max."
(Brass takes the ten back from Max. Max rolls his eyes.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT]
(Max is back in the interview room with Brass.)
Max: Yeah, I k*lled my wife, but it was an accident.
Brass: You accidentally s*ab her through the heart?
Max: That's right. Believe me or don't believe me. I don't care. It's the truth.
(Quick flash of: Max pours himself a cup of coffee and spills some on his shirt. He groans.)
Paula Sullivan: (groans) Oh, Max. You got coffee on your shirt.
(He puts the cup down on the counter near the refrigerator and opens the refrigerator to get the container of milk out from behind the large bowl of green Jell-O.)
Paula Sullivan: Here. You're gonna be late again. Could I please just get some ...
(She kneels to dab at his shirt as Max pulls the container of milk out of the refrigerator. He knocks over the bowl of Jell-O and it breaks, shattering glass on the floor and green Jell-O everywhere.)
Max: Oh!
(Both Max and Paula bend over forward and they bang foreheads.)
Max/Paula: (both groan) Oh. PAULA: Oh. MAX: Nice.
(They rub their foreheads. Max bends over and starts to pick up the broken glass off the floor.)
(Meanwhile, the toaster burns the morning toast. The smoke detector starts beeping.)
(Max takes a step, slips and accidentally grabs Paula, s*ab her in the chest with the piece of broken glass in his hand.)
Paula: Oh.
(Paula dies and falls to the floor. Max looks at the piece of broken glass in his hand.)
(End of flashback.)
Brass: Max, I want to believe you, but I ...
(He chuckles.)
Max: If I wanted to k*ll her, do you think I would've dropped a bowl of Jell-O and s*ab her with a piece of broken glass?
Brass: But if it was an accident, why didn't you just pick up the phone and call the police?
Max: Because I k*lled my granny. Okay?
(Quick flashback to: Granny is in bed and wearing an oxygen mask. She gasps for breath.)
Max: (V.O.) It was a long time ago, and it was an accident.
(A young Max sits in the rocking chair next to the bed and he's sleeping. Unfortunately, the rocking chair is on Granny's oxygen tubing.)
Max: (V.O.) She stroked out. It wasn't my fault.
(End of flashback.)
Max: They never should've put the oxygen line there. They let me off for that, but I didn't think anyone would believe me this time.
Brass: You were never convicted of k*lling your grandmother.
Max: No.
Brass: Which is why you don't have a record.
Max: You would've found out eventually and held it against me.
Brass: All right, what about your neighbor? Mrs. Ivanovna-- did you k*ll her or was that an accident?
Max: I just wanted to talk to her.
(Quick flashback to: Max looks at the piece of broken glass in his hand. He turns and sees Mrs. Ivanovna looking at him through the window.)
Max: (V.O.) You know, I thought I could make it be okay.
(He closes the curtain.)
CUT TO:
(Max knocks on the door to apartment 21.)
Max: Mrs. Ivanovna? Hello.
(The door opens.)
Aloyna Ivanovna: Hello. What do you want?
Max: Good morning. Uh, I was wondering if I might borrow some sugar.
Aloyna Ivanovna: I get sugar. You stay.
Max: Sure.
(She turns and heads back inside
Aloyna Ivanovna: I get sugar. Stay!
Max: Yeah.
Aloyna Ivanovna: I get. Yes. I get. You stay.
(She disappears into the kitchen. Max smiles at her.)
Max: (calls out) I can't have my coffee without my sugar.
(He turns and looks at his reflection in the mirror. There's a large bloody mess on his shirt. He groans.)
Max: (V.O.) The last thing I wanted to do was hurt that lady.
(Max rushes into the kitchen.)
Max: Mrs. Ivanovna, it's not what you think!
(The old woman is rushing and moving very slowly. She turns to reach for the phone.)
Max: No, Mrs. Ivanovna, it's not what you think.
(Max reaches her, bumps into her and smashes her into the kitchen phone.)
Max: You don't understand. It was an accident.
(She falls on the floor, a cut on her head and her false teeth out on the floor. He goes to check on her.)
Max: Oh, God. Mrs. Ivanovna?
(Max groans.)
Max: (V.O.) She was d*ad. So, you know, I thought ...
(Max turns the gas stove on.)
Max: (V.O.) ... maybe I'd make it look like a su1c1de.
(He picks her up off the floor and sticks her in the oven.)
(End of flashback.)
(Max sighs.)
Max: It was not ... a good start to the day.
(Quick flashback to: Max rolls his wife in a carpet.)
(Cut to: He carries her out over his shoulders and out the back.)
(Cut to: He opens the car door and sticks her in the trunk. He strips there, tosses the clothes in the trunk and slams the trunk door closed. He glances around and dashes back to the apartment.)
(Cut to: Max reaches the apartment and closes the door. He turns to go inside.)
Suzy: (o.s.) Hi, Max!
(He turns.)
Max: Don't eat that!
(Suzy is sitting on the kitchen floor with some Jell-O in her fingers. Suzy giggles.)
(End of flashback.)
Max: After Suzy went back to her mother, I decided to, you know ...
Brass: What, to give your wife -- your beloved wife -- a proper burial?
Max: Something like that.
(Quick flashback to: The back of the car sags from the weight of the body in the trunk, causing the muffler to spark as it drags on the asphalt as Max drives away.)
(Cut to: A bunch of homeless people are outside. Max's car fails right in front of the homeless people.)
Max: (V.O.) But along the way, I had a bit of car trouble.
(Cut to: Max is transporting the body in a shopping cart.)
(Flash to: Max carries the carpet as he walks along the thin wooden plank over the wet concrete foundation. He drops the carpet and his wife's body rolls out. Max steps out to get the body and he sinks – and gets stuck – and can't move – and the more he struggles, the deeper he sinks – till he's waist deep in the concrete.)
(Max sighs.)
(End of flashback.)
Max: Few hours later, some punk wanders over and swiped my wallet. That's my life. That's who I am.
[OBSERVATION ROOM]
Max: (through speakers) I'm the guy who buys his daughter a puppy for her eighth birthday, and the next day, he backs out of the driveway and ...
(Catherine rolls her eyes and shakes her head.)
Brass: No. No. Don't tell me you ran over the puppy.
Max: No. I ran over my daughter.
(Catherine's jaw drops.)
Max: Twenty years later, she still walks funny.
(Catherine laughs quietly.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(Catherine sits in front of Grissom's desk. She's still laughing.)
Catherine: I'm sorry. It's horrible. But it's really funny. It's horrible and it's funny.
(She looks at Grissom.)
Catherine: Are you okay?
(Grissom shakes his head.)
Grissom: A guy kills two people before breakfast that he had no intention of k*lling when he woke up that morning. By all accounts, he's led a meager life, an unnoticed life. And then all of a sudden, in a flash, it's over. And now, for him, the real suffering begins.
Catherine: You're tired.
Grissom: Yeah.
(Sara walks in.)
Sara: Hey. Guess what.
Grissom: Mankind has reached a new evolutionary plateau, and starting tomorrow, no one will r*pe, m*rder or maim again.
Sara: Uh, no.
Grissom: Too bad.
Sara: But we did catch a break on that disposable cell phone number.
Grissom: Raymundo Suarez called it as well.
Sara: No, he didn't. But according to the carrier, additional minutes were recently purchased with a credit card belonging to Ernie Dell. Brass is already on it. They're picking him up. We've got the miniature k*ller.
CUT TO:
[EXT. DELL RESIDENCE – OUTSIDE STREET – NIGHT]
(Officers head quietly for the front door.)
INTERCUT WITH:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(Grissom sits in his office and waits.)
(His computer beeps.)
Recorded Voice: You have e-mail.
(Grissom turns and sits in front of his computer. He opens the e-mail from:
Ernie @ eedellworld.co... 6KB I CONFESS TO THE m*rder OF ...
(He opens it:
From: <Ernie @eedellworld.com>
To: GilGrissom
Date: 12/08/06 12:32 am
Subject: I CONFESS TO THE m*rder OF
Izzy Delancy, Penny Garden, & Raymundo Suarez.
www.eedellworld.com
(It's a video file.)
(Ernie appears on the monitor.)
Ernie Dell: (from video) My name is Ernest Edward Dell. I was born in 1946 in Ames, Iowa. My life's been hard, but I don't complain. I never expected better.
[EXT. DELL RESIDENCE – NIGHT]
(The police open the front door and enter.)
[VIDEO]
(Ernie lifts a cup of tea, then puts it down.)
Ernie Dell: (from video) I'm good with my hands. I make things. I fix things. I'm a handyman. That's what I am.
[INT. DELL RESIDENCE – LIVING ROOM – NIGHT]
(The officers are inside the house. They go through it quietly.)
[VIDEO]
Ernie Dell: (from video) A man has a right to an honest day's pay. Me, I service the machinery of death so that people can eat. If that makes me evil, then so be it. (He sips his tea.) I'm not the sociable type. I know that. Spend any amount of time around people, you get your heart broke. Treachery, hypocrisy. Promise of love.
[INT. DELL RESIDENCE – NIGHT]
(The officers move into the next room.)
[VIDEO]
Ernie Dell: (from video) Look into the mouth of a person, and you'll find lies wriggling there like maggots waiting to grow wings. The world has gone mad. A man could k*ll from sunup to sunset, and still his work would never be done.
(Ernie looks to the side, picks up a g*n, puts it under his chin and –
OFF GRISSOM:
BAMM!
(Grissom flinches.)
THUD.
(Grissom stares at the video.)
(All we see is the top of Dell's bloodied head.)
Officer: (o.s.) g*n! Let's go!
(Grissom stares at the screen.)
Officer: (o.s.) Not here.
(The flashlight glares off the monitor as the officers approach Ernie Dell's body. The first officer there checks for a pulse.)
(We hold on Grissom as he stares at the screen.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x10 - Loco Motives"} | foreverdreaming |
FLASH IN:
CUE SONG: "Sweet Jane" by The Velvet Underground
TIME LAPSE SEQUENCE:
[EXT. (OLD) LAS VEGAS STRIP (STOCK) – NIGHT]
(We're traveling along the old Las Vegas Strip.)
[EXT. BUS STATION – NIGHT]
(People carrying their suitcases cross the street in front of the bus station.)
[TIME LAPSE]
(FAST FORWARD: Night turns to day. The days pass. Seasons come and go. The weather changes. Tall buildings in the city are built.)
[INT. BUS STATION (1970'S) – LOBBY – NIGHT]
(FAST FORWARD to 1975: People come and go through the lobby.)
(SLOW ON: A young blonde-haired woman carrying a suitcase arrives. She walks past a Liberace poster.)
[TIME LAPSE]
(FAST FOWARD TO 1989: More time passes. People come and go through the bus station.)
(SLOW ON: A young woman with crimped hair arrives. She walks past a MIRAGE poster for their GRAND OPENING, FALL 1989.)
CUT TO:
AS MORE TIME PASSES, FLASHES OF VARIOUS POSTERS WITH PEOPLE CONSTANTLY COMING AND GOING
* EXCALIBUR, JUNE 1990
* LUXOR, GRANS OPENING, FALL 1993
* NEW YORK NEW YORK, OPENING JANUARY 1997
* MANDALAY BAY, LAS VEGAS, OPENING 1999
[EXT. BUS STATION – NIGHT]
(FAST FOWARD ON: People are coming and going.)
(SLOW ON: A blonde-haired young woman arrives with her suitcase in her hand. She looks around. A large billboard looms in the distance – MANDALAY BAY, LAS VEGAS, NOW OPEN.)
(She walks out of screen and heads down the sidewalk, pulling her suitcase behind her.)
(Sirens sound in the distance.)
DISSOLVE TO:
[EXT. BACK LOT – NIGHT (PRESENT)]
(Catherine carries her kit and heads over toward Brass, who stands near the body. Officer car lights flash. The area is taped off.)
(She stops next to Brass.)
Brass: A trucker driving by saw the body, called it in.
Catherine: Easy to miss.
Brass: The coroner's tied up on a multiple in Pahrump, but they're en route.
(Catherine notes that the ground surrounding the body has been brushed neatly. The only pair of shoes is the officer's prints leading up to the body.)
Brass: Officer Jensen was first responding. When he saw the condition of the body, he backed out of the scene, stepping in his own footprints. Anyway, we've been beating the bush looking for her personal effects, but so far nothing.
Catherine: (nods) Jane Doe it is.
(Catherine ducks under the tape and heads toward the body, careful to step in the shoe prints already on the ground.)
(The blonde-haired woman is naked, her right hand raised over her shoulder, palm facing up. Catherine looks around, then puts her kit down.)
(The ground has been brushed, the dry leaves left near the body.)
(Quick flashback to: SOMEONE brushes the ground, obscuring their shoeprints and any other markings. End of flashback.)
(Catherine snaps photos of the body.)
(A second CSI, carrying his kit, arrives on the scene.)
(Catherine stops and sees Michael "Mike" Keppler arrive. He's carrying a cup of coffee. He stops outside the tape and empties the liquid on the ground. He crushes the cup and tucks it into his jacket pocket.)
Catherine: You must be Keppler.
Mike Keppler: Willows?
Catherine: Catherine.
Mike Keppler: Sorry I'm late. Got stuck on the Strip.
(He takes out his flashlight, ducks under the tape and heads for the scene, careful to step in the shoeprints already there.)
(He kneels down next to the body.)
Catherine: Welcome to Las Vegas.
(He smiles at Catherine, turns and looks at the body. The girl's eyes are open, a lock of hair over her face. Keppler gently brushes the hair aside.)
Catherine: Is that how they're doing things in Baltimore these days? Out here, we don't touch the body until the coroner releases it.
Mike Keppler: Sorry. Just ... trying to get a better look at her face.
Catherine: There's bruising around the neck, relatively fresh. No other obvious wounds on the body. This girl's barely out of high school.
Mike Keppler: Catnip.
Catherine: Excuse me?
Mike Keppler: The way they attract men at that age; it's like catnip.
Catherine: That's a terrifying thought.
Mike Keppler: You have kids?
Catherine: A daughter, fifteen.
Mike Keppler: You must be a h*t on career day.
Catherine: I try not to bring my work home with me.
Mike Keppler: Yeah.
Catherine: How about you?
Mike Keppler: What?
Catherine: Any kids?
Mike Keppler: (shakes his head) No. Patchy discolorations on the skin. Looks like dehydration.
(Catherine gets a tweezers from her kit and picks up a fiber off the body.)
Catherine: White fibers.
Mike Keppler: I'm guessing cotton.
(Keppler notices the dried liquid on the body's arm.)
Mike Keppler: Looks like she's been swabbed down with something that evaporated, maybe alcohol.
(Quick flashback to: Someone swabs the victim's arm. End of flashback.
Catherine: Unlike most men, this one knows how to clean up after himself.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. BACK LOT -- DAY]
(Officer and crime scene units are there at the scene to process the lot. Catherine stands nearby as David goes over the body. Warrick turns and notes Keppler taking dirt samples of the area.)
Warrick: So how long is this fellow Keppler supposed to be with us?
Catherine: Well, he was hired to staff the new day shift, but ... since we're one shy with Grissom away, Ecklie wanted us to break him in for a few weeks.
(David Phillips examines the body's hand.)
David Phillips: Got a broken fingernail.
Warrick: Please tell me she got a piece of her attacker.
(Warrick snaps photos of the victim's nails.)
Catherine: If the nail had been torn off, the break would be smooth. It's jagged; she's a biter.
(Just out of the taped area, news cameras are there reporting the death. The coroners set up the gurney near the body.)
(In another area, Brass shows the deputy a photo and instructs her. They are near where Keppler is working. He overhears the conversation.)
Brass: So flash this photo around the Alphabets. If she's a pro or a local, somebody will recognize her.
Deputy: Sure.
(The deputy leaves with the photo.)
Mike Keppler: Alphabets?
Brass: Yeah, it's a neighborhood. You know, A Street, B Street, D Street.
Mike Keppler: Mm.
Brass: A through F is pretty bad -- homeless, junkies, scumbags, the hookers we chase off the Strip. I mean, if you're down and out in Vegas, sooner or later, you're gonna end up here.
Mike Keppler: Hear you got one of the fastest growing m*rder rates in the country.
Brass: Yeah, we're very competitive. Is that a Philly accent I hear?
Mike Keppler: Trenton, born and bred.
Brass: My condolences. I'm from Newark.
(They shake hands.)
Mike Keppler: How you doing?
Brass: How are you?
Mike Keppler: Thought I heard something familiar.
Brass: (loudly) But you got to love Vegas, isn't that right, Catherine?
(Catherine joins them.)
Catherine: My hometown.
Brass: I mean, the pizza's terrible, but everything else is paradise.
(Keppler stands up. Brass steps away. Catherine and Keppler head out.)
Catherine: So I see you've got the soil and vegetation exemplars.
(The officer holds the tape up for them.)
Catherine: (to the officer) Thank you.
Mike Keppler: Three distinct locations. Not that it's gonna make much difference. I get the feeling our guy's not the type to track away dirt on his shoes.
Catherine: Probably not. Our best bet's the body. Which we're probably not gonna get much from, either.
Mike Keppler: So is the pizza really that bad?
Catherine: I like it.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – KEPPLER'S OFFICE -- DAY]
(The door opens and Keppler enters his office. He flicks on the lights. He unbuttons his suit jacket and loosens his tie. He checks the messages on his desk. They are:
MESSAGE 1:
FOR: M. KEPPLER
DATE: 1-18-07 11:00 AM
FRANK
PHONE: 609-910-3200
MESSAGE 2:
FOR: M. KEPPLER
DATE: 1-18-07 12:10 PM
FRANK
PHONE: 609-910-3200
VERY URGENT
MESSAGE 3:
FOR: M. KEPPLER
DATE: 1-18-07 1:00 PM
FRANK
PHONE: 609-910-3200
(Keppler looks at his messages.)
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Catherine washes the body. Keppler walks in.)
Mike Keppler: No obvious traces of semen?
Catherine: No.
Mike Keppler: No visible skin under the fingernails, so she probably didn't fight back.
Catherine: There were no defensive wounds on her forearms, no ligature marks on her wrists or ankles.
Mike Keppler: Maybe he didn't want to mark her up. I mean, look at her. So young.
(Quick flash of: The victim as she was alive.)
Mike Keppler: (V.O.) Innocent. He wanted to take his time.
(End of flash.)
Mike Keppler: He drugged her. We should expand tox to include volatiles and sedative hypnotics. You got something?
(Catherine examines the victim's hair.)
Catherine: Highlights and lowlights. That's a hair process that isn't cheap. Nominal hair growth is roughly half-a-millimeter a day. (She measures the hair.) And based on the length of her roots, it's been about two months since she's had it done.
Mike Keppler: Not the kind of girl who goes missing without a report.
VARIOUS CUTS OF:
(The victim's prints are scanned into the computer and run through the database.)
(A camera snaps photos of the victim – the color of her eyes and an iguana tattoo on her ankle.)
(Information is fed into the U.S. DIRECTORY OF MISSING ADULTS, IMPERILED MISSING ADULTS database:
EYE COLOR: BLUE
IDENTIFYING MARKS: IGUANA
HAIR COLOR: BLONDE
(The computer searches the database for a print match.)
(A POSITIVE MATCH is found.)
NAME: VERONICA SORENSEN
RACE: CAUCASIAN
AGE: 17
EYE COLOR: BLUE
HAIR COLOR: BLONDE
HEIGHT: 5'4"
WEIGHT: 125 LBS
IDENTIFYING MARKS: IGUANA TATTOO ON LEFT ANKLE
[INT. CSI – HALLWAY -- DAY]
(Greg shares his findings with Catherine.)
Greg: Your vic's name is Veronica Sorensen, age 17. Last reported in Victorville.
Catherine: About two months ago?
Greg: Yeah, yeah. She's a ...
Catherine: Runaway?
Greg: Yeah. Parents reported her missing. PD's already made the notifications. So, what's the verdict on this Keppler guy? What? You're usually pretty quick to size people up.
Catherine: Jury's still out, but he knows what he's doing.
(They stop just outside the breakroom to listen to the news report on the television set.)
Reporter (on TV): In other news, local Las Vegas police officers are still trying to identify the body of a nude woman found late yesterday evening just off Highway 51 --
[INT. POLICE DEPARTMENT – WAITING ROOM – DAY]
(At the same time, Sofia watches as Mr. and Mrs. Sorensen watch the news report in the waiting room.)
Reporter: (on tv) -- in an area commonly referred as ‘Alphabet' Street. It's a well-known hangout for drug users and prost*tute. However, the police believe that this time --
Sofia: I'm Detective Curtis. (Mr. Sorensen turns around.) I'm ... so sorry for your loss.
(Mrs. Sorensen shakes her head.)
Mrs. Sorensen: That girl on the TV, that is not my Veronica.
Mr. Sorensen: They wouldn't call us if they weren't sure.
Sofia: We were able to match her fingerprints.
Mrs. Sorensen: Then you've made a mistake.
Mr. Sorensen: The prints that we gave to the police, they were from a school safe kit. She was ten years old. They could've changed, right?
Sofia: Fingerprints don't change. There was a tattoo on her right ankle -- an iguana.
Mrs. Sorensen: (cries) Oh, no.
Mr. Sorensen: We just want to take her home.
Sofia: Of course. As soon as we've completed the autopsy.
Mr. Sorensen: No. No, you're not gonna cut her open.
Sofia: Sir, this is a homicide.
Mr. Sorensen: We're not giving our permission.
(The Sorensens hug. On the monitor, Mrs. Sorensen watches as they cover her daughter.)
Sofia: I'm afraid you don't have a choice. But I promise you, we'll treat her with the utmost respect.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins whistles as he examines the victim's teeth. The door opens and Sofia walks in.)
Robbins: And what can I do for you?
Sofia: Let me know when you release the body.
Robbins: It's going to be a while. I haven't even opened her up yet.
Sofia: Well, just let me know.
(Robbins turns the camera on and snaps a photo. He whistles as he works.)
Sofia: And stop whistling.
CUT TO:
(Quick flash to: Someone strangles the victim.)
Robbins: (V.O.) COD was asphyxiation due to strangulation, but it wasn't quick. The overlapping patterns of fours and ones suggest multiple events.
(End of flash.)
[INT. CSI – LAYOUT ROOM – DAY]
(Robbins goes over his findings with Catherine and Keppler. On the layout table are the photos of the bruises on the victim.)
Robbins: I imaged subcutaneous bruises under UV from several positions around the throat. k*ller choked and released at least three times. That's consistent with sexual asphyxiation. SAE is about what you'd expect. Vaginal trauma, no semen, but traces of spermicide. Guy used a condom.
Mike Keppler: What about tox?
Robbins: Well, blood was positive for MDMA.
Mike Keppler: Ecstasy. That's it?
Robbins: Yep.
Catherine: I can't believe that she was compliant. Thanks, Doc.
Robbins: You got it.
(Robbins leaves. Keppler looks at the photos.)
Mike Keppler: You ever see a cat playing with a mouse? Point isn't to k*ll the mouse, just keep the game going.
Catherine: I'm guessing you've got cats.
Mike Keppler: No. I just like the metaphor.
(They share a smile.)
Mike Keppler: Same game every time. Cat goes home, leaves its k*ll on the doorstep.
Catherine: Our guy's done this before. I'm with you there.
Mike Keppler: What got our cat's attention this time? Around puberty, most guys fixate on a particular body type that turns them on. Tall, skinny, short, red hair. Whatever floats your boat. It's imprinted. Hard to let go of.
Catherine: Okay. So we know what his type is and we know what he likes to do with them.
CUT TO:
[COMPUTER SCREEN]
(In the UNSOLVED HOMICIDES DATABASE, under VICTIMS, a search is entered.
AGE: 16-21
RACE: CAUCASIAN
SEX: FEMALE
EYES: BLUE
HAIR: BLONDE
(The computer beeps. SEARCH RESULTS: 3 CASES FOUND.)
JANE DOE # 99-3218
JANE DOE # 89-5829
JANE DOE # 75-218
[INT. CSI – A/V LAB -- DAY]
(Catherine and Keppler sit in front of the monitor.)
Catherine: Okay, we've got three that fit the type. The cases were years apart. 1999, 1989 ... and 1975.
(The case #'s are:
CASE #: LVPD 99 10 17-3218 PB
JANE DOE # 99-3218
CASE #: LVPD 89 09 12-5829
JANE DOE # 89-5829
CASE #: LVPD 02 07 1975-218
JANE DOE # 75-218 )
Mike Keppler: Let's bring up their photographs.
(Catherine puts the three victims' photos up on the monitor. They're all posed in the same position, their right hand up near their head, palm up.)
Mike Keppler: Look at the similarity in the body positions. They look posed, almost as if they were ... waving good-bye.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAYOUT ROOM -- DAY]
INSERT: SEQUENCE
(Catherine, Sara, Nick and Keppler put the photos out on the table. They each open a file folder.)
END SEQUENCE
Sara: Jane Doe '99 was discovered naked in a stretch of dirt off Paradise behind the old Hotel Continental. Based on the photos, her hair was matted with dirt, which suggests that it was wet when she was dumped. It's likely that her body was washed.
Catherine: That's consistent with the latest victim.
Mike Keppler: Any traces of alcohol or cotton swabs?
Sara: There's nothing indicated, but there's almost nothing in this file. Based on TOD, the body was found less than four hours after death. Yet other than a general canvass, not a single person was interviewed. The homicide detective's summary is less than a page.
Nick: Sounds like shoddy police work.
Mike Keppler: Sounds like no police work.
Sara: After the autopsy, COD confirmed asphyxiation by strangulation. There was absolutely no follow-up whatsoever.
Nick: Well, there was a follow-up in spades on Jane Doe '89. She was found in a vacant lot off 28th Street near Boulder Highway. Uh, stripped of her clothing. Like the others, several peri-mortem bruises, but check out this hair.
Catherine: Yeah, it's crimped. I remember those days. There's no way that style survives a shower.
Nick: k*ller didn't wash that one down.
Mike Keppler: Methods evolve. Practice makes perfect.
Nick: Again, the cops didn't come up with a single suspect. There were detailed sketches of the crime scene, microscopy on errant hairs and fibers, even ran the vic's prints through WIN.
Sara: '89 ... that database was barely on the Internet.
Nick: The guy that worked on this case was very thorough. He just didn't close it.
Catherine: Okay, Jane Doe '75.
Mike Keppler: Well ... she was found in an alley off of Bridger near Fremont Street. Based on the level of decomp, she'd been lying there about two days before they found her. Only thing about this one is, she had her clothes on. Might have been his first.
Nick: Or maybe the first one found.
Mike Keppler: Isolated contusions on her neck, arms and shoulders. COD listed as heroin overdose.
Nick: Junkies do bruise easily.
Sara: And the "waving good-bye" hand position is a natural way to fall. It's possible that this one is a coincidence.
Mike Keppler: It's not.
Catherine: How do you know?
Mike Keppler: Because I do. This guy pays attention to the details. Knows what he likes; he doesn't mix it up. Thing that gets me is the discipline, though. He's got a habit, but he seems to be able to control it. Only needs to k*ll once every ten years or so, and when he does, he's got a type.
Nick: Pretty but not pricey.
Mike Keppler: And not likely to be missed.
Catherine: You're a CSI, not a profiler.
Mike Keppler: What's the difference?
Catherine: Evidence. I want leads and IDs. Follow up on what you've got.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. POLICE DEPARTMENT – HALLWAY / WAITING ROOM -- NIGHT]
(Sara leads Detective Paul Browning to a free table.)
Paul Browning: When I left this place, it was all grey walls and cinder blocks. Very fancy.
Sara: What made you transfer to Henderson?
Paul Browning: Cost of living, better commute. I socked away a few bucks, bought a nice place in Green Valley.
Sara: Ah, I take it you're a shortcuts kind of guy.
(They sit down.)
Paul Browning: I guess you could say that. I like to get to the heart of things right away.
Sara: Any reason that you didn't get to the heart of this?
(Sara shows Paul Browning photos of Jane Doe ‘99.)
Paul Browning: Whoa. October 17, 1999.
Sara: You remember the date?
Paul Browning: Yeah.
Sara: Why is that?
Paul Browning: Hey, I'm not sure I like your tone.
Sara: Answer the question, Detective.
Paul Browning: It's my son's birthday. Day I caught the case, my wife went into labor. It was rough. There were complications. Anyway, I was out for weeks taking care of her. Used up all my vacation time. When I got back, there were a half-dozen cases on my desk. My captain told me to let it go. Look. We canvassed the neighborhood. No name. She was homeless, hooking for drug money.
Sara: You do not know that. You didn't even ask for tox.
Paul Browning: We didn't need to do a test. We found her at Paradise and Flamingo. What else would she be doing there?
CUT TO:
[INT. CSI – COLD STORAGE]
(The door opens. Sara and David walk in. David carries a clipboard and passes shelves and shelves of plastic containers with contents inside. He stops and picks one up.)
David Phillips: Okay, here we are. Autopsy samples for Doe, Jane. 99-103.
(The label reads:
99-103
DOE, JANE
CONTENTS: LIVER
ID: 48120071
DATE FILED: 10/17/1999
Female: [X]
Sara: Uh, most recent vic had traces of E in her system. If this one does, too, there might be a connection.
David Phillips: To a drug dealer from ten years ago? That's kind of weak.
Sara: Weak is the best that we have right now.
CUT TO:
[INT. CSI – TRACE LAB -- DAY]
(Hodges processes the contents in the container.)
Sara: (V.O.) Hodges ran the formalin-fixed tissue sample from Jane Doe '99 through GCMS. There's no traces of Ecstasy, but he did find chloral hydrate.
[INT. CSI – HALLWAY -- DAY]
(Sara and Catherine walk through the hallway as Sara reports her findings.)
Sara: Chloral hydrate is a hypnotic sedative. There were no traces of anything like that found in Veronica Sorensen.
Catherine: Which means if our guy still sedates his victims before sexually asphyxiating them, whatever he's using now isn't leaving a trace.
CUT TO:
[INT. CSI – BREAKROOM -- DAY]
(Keppler marks the victims locations on a map. Warrick walks in.)
Warrick: Warrick Brown.
(They shake hands.)
Mike Keppler: Mike Keppler.
Warrick: I know ... You trying to do a geographic profile of your serial?
Mike Keppler: Yeah, most of these guys tend to operate out of one place. In theory, as the k*ller gets more and more comfortable with each act, the locations of the bodies should spiral outward from one central point.
Warrick: I tell you one thing that your dumpsites do have in common.
Mike Keppler: What's that?
Warrick: When the bodies were found, the location that they were found in at the time had the highest crime rate in the city.
(That's new to Keppler. He closes the file folder he's looking through and looks at the map.)
Mike Keppler: Smart. The crime center sure seems to move around pretty quickly here, huh?
Warrick: Well, in Vegas, new is old in five years, old is history in ten, and nothing ever seems to leave a mark.
Mike Keppler: Sounds refreshing.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CAR (PARKED) -- DAY]
(Nick shows the case file to Jake Daniels. They sit in the car as Jake works on surveillance.)
Nick: '89 Jane Doe, this was your case.
Jake Daniels: One of the first homicides I ever worked. Damn, I had good handwriting. Excuse me.
(Jake pauses and uses a camera to monitor the man walking the corridor.)
Jake Daniels: Come on, come on, I know you got company.
(As he watches, a woman steps out from the room wearing a dressing gown.
Jake Daniels: Yeah, that's it. Oh, man.
Nick: You processed a mountain of evidence but didn't turn up a single suspect.
Jake Daniels: It's not my fault, man. I had the scumbag d*ad to rights.
Nick: What are you talking about? There's nothing here to indicate that you ...
(He shows the hair analysis report to Nick.)
Jake Daniels: This is it. That's the k*ller's hair.
Nick: You did note morphology consistent with the vic.
Jake Daniels: Yeah, but the position-location was all wrong. I pulled that out of her navel, just that one hair. It was a sexual as*ault, It had to be from the k*ller. But I couldn't prove it, so... I didn't write it down.
Nick: This hair had a tag. Did you run DNA?
Jake Daniels: (chuckling) In '89? Man, we were just reading about DNA. The only lab in the country that was doing that stuff was the FBI, and my supervisor -- he wouldn't have called them in on a case like this.
(He snaps a photo of the woman carrying a suitcase and running down the corridor. He snaps a photo of the man headed toward his car.)
Jake Daniels: I used to bust my ass to keep a crime scene pristine, and then some uniform would wobble over, stuffing his face, drop a hamburger wrapper right at my feet. Who the hell needs that?
(He snaps a photo of the woman in her dressing gown. He puts his camera down.)
Jake Daniels: (wistfully) Man, if I had the tools you guys do today ... I finally would have been a real hero.
(The man gets out of the car and kisses the woman. Nick nods toward the couple.)
Nick: There's your money sh*t.
(Jake puts his camera up to get the photo, but the man is already back in his car.)
Jake Daniels: Damn it.
Nick: Did you preserve the hair?
Jake Daniels: Permount on a microscope slide with a cover slip. It should still be in Central Property.
CUT TO:
[INT. WAREHOUSE STORAGE – DAY]
(The lights switch on and we see long rows of large boxes stacked one on top the other. The floor looks damp.)
Clerk: Are you sure it's really here? As I said when you called, we have no record.
Nick: Sir, I spent half the day at Central Property going through their records. Now, according to the case logs, it was transferred to this court in late 1989 and never returned. So, it's got to be here somewhere, okay?
Clerk: Okay.
(The clerk finds the box on the bottom of a stack.)
Clerk: So it is.
Nick: Excuse me, bro.
(Nick gets to the box and opens it. There are baby rats inside the box. The paper is shredded. This doesn't look good.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAB -- DAY]
(Nick has the box and is wearing a mask as he takes handfuls of shredded material and puts them in the glass t*nk with the vent on. The dust is sucked up the vent as he sifts through the shredded material looking for anything salvageable.)
(Nick puts his mask aside and sifts through the material. He find an envelope and opens it. The glass slide inside is cracked.)
Hodges: (o.s.) You rang?
(Hodges walks into the lab.)
Nick: Yeah, I think I need a hand here, Hodges.
Hodges: Well, what is this?
Nick: It's from an '89 Jane Doe. I'm looking for anything that will help us out.
Hodges: Those look like rat droppings.
Nick: That's because they are rat droppings, man.
Hodges: Are you familiar with the hantavirus? Carried by rodents, transmitted to humans when they inhale vapors from contaminated urine, saliva or feces. That crap will k*ll you.
Nick: (interrupts) Hodges ... glove up.
(Hodges sticks his gloved hands in the mess.)
Hodges: If I start leaking blood from my eyeballs, I'm blaming you.
(Together, they sift through the shredded material. Nick picks up an old film negative and looks through it.)
CUT TO:
[INT. CSI – BREAKROOM -- DAY]
(Keppler is sitting in the breakroom, the various crime scene photos spread out on the table in front of him. He has the television set turned on softly for background sound.)
(Robbins walks in carrying a file folder.)
Robbins: Keppler?
(Keppler stands up.)
Robbins: Didn't they give you an office?
Mike Keppler: I, uh ... I like the noise. It helps me to concentrate.
Robbins: I prefer things quiet myself. Of course, I am a pathologist.
(Keppler turns the television set off.)
Robbins: I reviewed that Jane Doe autopsy from '75.
Mike Keppler: That was fast.
(Robbins and Keppler sit down.)
Robbins: Well, I'm sure the original examination was, too. ME was a hack named Sam Barnard. He, uh, retired a little while after I started. Once saw him do a Y with a scalpel in one hand and a hot dog in the other.
Mike Keppler: I take it he wasn't known for his, uh, rigorous analysis?
Robbins: He was known for liking hot dogs.
Mike Keppler: (chuckles) Well, that's just great.
Robbins: You know, if you really want to figure out what k*lled your Jane Doe, there's pretty much only one thing we can do.
CUT TO:
[EXT. LV CITY CEMETERY -- DAY]
(There is a small crowd having a service around the coffin just before burial. The grass is green; it's sunny and it looks like a typical cemetery.)
(We pull back and on the other side of the trees, there is an empty lot. A large bulldozer starts digging as Brass, Catherine, Keppler and Robbins watch.)
(The ground is marked only with a small plate of numbers on a wooden stick, which indicate which coffins are buried. They're grouped in threes.)
(Camera moves over the row of number plates:
DOE, JOHN / 56-381
DOE, JANE / 52-492
DOE, JOHN / 50-021
DOE, JANE / 92-560
DOE JOHN / 89-013
DOE, JANE / 75-212
DOE, JOHN / 95-134
DOE, JOHN / 94-012
DOE JOHN / 88-45
DOE, JANE / 99-063
DOE, JOHN / 92-213
DOE, JOHN / 86-034
DOE, JANE / 99-103
DOE, JANE / 89-074
DOE, JANE / ---
(CUT TO: The group of three crates are lifted out of the hole. They're stacked one on top of the other and are labeled on the side of the crates with large black lettering:
DOE, JANE
95-131
DOE, JANE
83-804
(The bottom crate is old and the most damaged. It's labeled with a metal plate screwed into the sisdeboard. The metal plate is old and dirty. The technician cleans the plate and they see that it's:
DOE, JANE
75-032?
(Catherine points and nods.)
Catherine: That one's it.
(Keppler watches.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Using a crowbar, David Phillips and another coroner pry the crate open. Inside is a set of bones. They pick the skeletal remains up and put them on the examining table.)
(David hangs a tag around the remains' toe.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins goes over the remains with Catherine and Keppler. He points to the skull.)
Robbins: See the sutured cut across the top of her head and the Y-incision?
Catherine: No.
Robbins: It's because they're not there.
Catherine: So the original ME didn't even do an autopsy?
Robbins: What can I say? He was a lazy bastard.
Mike Keppler: That's criminal malfeasance.
Robbins: Well, if you want to tell him, I can dig him up, too.
Mike Keppler: Ah, right. So what do you got?
Robbins: Check out the hyoid bone.
Mike Keppler: It's fractured.
Robbins: Yeah, it doesn't take much force to do it, so it's possible there were no external marks. But our girl was strangled.
Catherine: So she is one of ours.
Mike Keppler: Gum line filling. Silver amalgam.
Catherine: On the outside of the tooth?
Mike Keppler: That's a cheap way to do it. Old school. Nowadays, most dentists use epoxy and other components to make it match the enamel. I worked a mass fatality f*re in Philly. Learned a lot about teeth.
Robbins: Well, Veronica Sorensen had a similar filling in her mouth.
Catherine: Jane Doe '99 had traces of chloral hydrate in her system. I read that dentists used to use it to sedate pediatric patients.
Mike Keppler: Looks like our guy might be a dentist.
CUT TO:
[MONITOR]
(A search is entered in the AMERICAN NATIONAL DENTAL COUNCIL database for CLARK COUNTY, NV. Keppler hits enter.)
(He types in a SEARCH REQUEST:
TYPE: DENTAL OFFICES
KEY WORDS: DOING BUSINES SINCE 1975
5 RESULTS FOUND
ARCHOFF DENTISTRY GROUP
8973 DUNELY DRIVE
LAS VEGAS, NV 89109
LINDALES VALLEY DENTAL
6783 SORIANO ROAD
LAS VEGAS, NV 89109
VEGAS CITY DENTAL GROUP
2030 GELSON STREET
LAS VEGAS, NV 89110
COLEBERT DENTAL CENTER
9786 CHARLOTTE STREET
LAS VEGAS, NV 89110
BEACHOFF DENTAL OFFICE
248 BOLSTON ROAD
LAS VEGAS, NV 89109 )
CUT TO:
[EXT. LV CITY CEMETERY – DAY]
CU: NAME PLATE
DOE, JANE
05-131
DOE, JANE
89-074
DOE, JANE
78-275
(Another old coffin is raised from the ground. The technician wipes the metal plate to reveal:
DOE, JANE
89-074 )
[INT. CSI – HALLWAY TO FORENSIC AUTOPSY – DAY]
(A coroner pushes a crate through the hallway. A CLOSE-UP of the lettering on the side of the box shows:
DOE, JANE
99-103 )
CUT TO:
(CU: A toe tag on skeletal remains.)
(CU: Dental work.)
(Robbins turns from looking at the teeth of one remains to the teeth of another remains.)
CUT TO:
[INT. CSI – LAB – DAY]
(Mike Keppler is back at the computer looking at the map of the city area with emphasis on the five dental groups in the area and the locations the victims' bodies were found.)
(He places a spiral on ARCHOFF DENTISTRY GROUP and widens the spiral. It doesn't work. Some victims are outside the spiral.)
(He moves the spiral to the LINDALES VALLEY DENTAL and widens the spiral. It doesn't work.)
(He moves the spiral to the COLEBERT DENTAL CENTER. He widens the spiral and notes that all the victims fall inside the area.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. COLEBERT DENTAL CENTER – RECEPTION – DAY]
(Catherine and Mike Keppler talk with the office manager. Catherine shows her a photo of the victim.)
Catherine: Her name is Veronica Sorensen, and we believe that she might have been a patient here.
Office Manager: Oh, yes ... that poor girl. I saw her on the news. It's terrible.
(She barely looks at the photo and hands it back to Catherine.)
Catherine: Yes. These girls, do you recognize any of them?
(Catherine hands the folder with the other victims' photos to the office mnager. The office manager looks away. She doesn't look through the photos.)
Office Manager: Are those girls d*ad?
Mike Keppler: We need you to look carefully at those, ma'am.
(She sighs and looks at the photos.)
Office Manager: I'm sorry. I don't recognize them.
Catherine: Well, we're going to have to see your patient files from 1975 to
'99.
Office Manager: Oh, well, I'm sorry. Inactive files aren't kept past seven years. We just don't have the space.
Mike Keppler: Can you tell us who worked on Veronica Sorensen?
Office Manager: I'll have to check. (She goes to the file cabinet.) We have several dentists on staff. Even a few dental students who volunteer. There we are. (She looks at the file folder.) She saw Dr. Dave. That's Dr. David Lowry. Everyone around here calls him Dr. Dave.
Catherine: How long has Dr. Dave been working here?
Office Manager: Oh, as long as I have. And I'm going on my thirty-second year.
Mike Keppler: Could you ask him to step out, please? We'd like to speak with him.
Office Manager: It's 1:15. He's at the Quality Cafe, around the corner on Fremont. Second booth on the left facing the counter. The man is nothing if not predictable.
CUT TO:
[INT. QUALITY CAFÉ – DAY]
(Catherine and Mike Keppler enter the cafe and head for the booth where David Lowry is sitting.)
Catherine: Dr. David Lowry?
David Lowry: Everybody calls me Dr. Dave.
Catherine: I'm Catherine Willows. This is Michael Keppler. We're from the Crime Lab.
David Lowry: Please, join me.
Catherine: Thank you.
(Catherine and Keppler sit down.)
Mike Keppler: Dr. Lowry, we'd like to ask you about one of your patients ... Veronica Sorensen. Is this your work?
(Keppler shows Lowry photos of the victim and her dental work.)
David Lowry: That was a very sad business. She was a lovely, young girl.
(sighs) She had a gum-line cavity. Now, normally, I would have used enamel resin to match the teeth, but this was on the inside of her mouth, so I used amalgam to fill it because it was less expensive, and she was worried about the cost, and ... her bill was never paid.
Mike Keppler: Are these your work as well?
(He shows Lowry the other victims and their dental work.)
David Lowry: I have no idea -- I was ... I was seeing a lot of patients over the years. Do you know their names? I mean, that might ring a bell.
Catherine: No, we don't know who they are. Do you ever use chloral hydrate?
David Lowry: No one uses chloral hydrate anymore. It's too dangerous.
(Keppler watches Lowry.)
David Lowry: I just feel so awful.
Mike Keppler: Why is that?
David Lowry: I brightened her smile. Perhaps that's what attracted her predator. (He looks at them.) Oh, well ... you'll forgive, but if you don't have any more questions, I really should get back to my office.
(He gets up.)
David Lowry: (to Catherine) Whoever did your mouth ... he does lovely work.
Catherine: Thank you.
(Lowry heads out.)
Woman: (o.s.) See you tomorrow, Dr. Dave.
(Catherine and Keppler watch him leave.)
Mike Keppler: I don't know, kind of reminds me of my Uncle Ralph.
Catherine: Except for the serial k*ller part, I hope.
Mike Keppler: Haven't seen him in a while. Who knows?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – A/V LAB -- DAY]
(Nick looks over the damaged film negatives. He scans it into the computer. The images appear on the monitor. He works on the negatives of the victims. He finds a photo of some bruising on the victim. He clears the image and sees it's a set of teeth marks.)
CUT TO:
(Nick shares his findings with Catherine and Keppler.)
Nick: In the original photograph, it would've looked like a severe bruise. But there's a lot of information in the negative. You know, back in the day, they didn't have the capability to see this stuff.
Mike Keppler: Pretty distinct impressions of the six upper teeth.
Nick: Yeah. And here, there's a small gap between the two front teeth. Did Dr. Dave have a space between his teeth?
Catherine: I don't remember.
CUT TO:
[INT. COLEBERT DENTAL CENTER – HALLWAY -- DAY]
(Catherine and Keppler head for the back dental offices. The office manager tries to stop them. Catherine is holding a warrant.)
Office Manager: But you can't go in there, because he's with a patient.
Mike Keppler: Excuse me.
(Keppler motions to the officer, who stops the office manager from following them.)
Officer: (b.g.) Ma'am. I'm sorry, but you'll have to stay here.
(Catherine knocks on the door to the room. Dr. Lowry is working on a patient.)
Catherine: Dr. Lowry, would you please come with us?
David Lowry: Eugenia has been seeing me for, um, how many years, my dear?
Eugenia: (grunts)
David Lowry: I think it's much longer than that. I'd like to finish Eugenia up before the Novocain wears off.
Catherine: We've got a court order to collect a bite impression from you.
David Lowry: Is this about these young girls?
Mike Keppler: I think you know what this is about, Dr. Lowry. You're gonna need to come down to the Crime Lab with us.
David Lowry: Bite impression. Couldn't we just do that here? It'll save us all a lot of time and trouble, unless of course, embarrassing me in front of my patient is your real intent.
(Dr. Lowry looks at Eugenia, who looks at them. Mike shrugs to Catherine.)
Catherine: Fine.
David Lowry: Okay. Eugenia?
(Eugenia grunts.)
David Lowry: I'm going to have you wait in Exam Four, and I'll be in there in just a short while.
(Eugenia grunts again.)
(He helps her up and out of the chair.)
David Lowry: No, come on, let's go. Let's see, just ... And you know the upper right teeth we worked on? Well, they're looking fine.
(He leads her out of the exam room. Keppler closes the door.
CUT TO:
(Catherine is mixing the mold mixture. Lowry watches her work with disapproval.)
David Lowry: (to Keppler) That's too much water. It will never set.
Mike Keppler: We've got time.
David Lowry: Young lady, please, please, please, let me do this. I have much more practice.
Catherine: Be my guest.
(He takes the container from her and mixes it himself.)
David Lowry: You know ... I don't believe courts accept bite mark evidence much anymore. No, they'd much rather have DNA from saliva around a wound.
Catherine: I've gotten convictions from bite marks.
David Lowry: Not many, I suspect. Do you know that our teeth continuously migrate through our entire life? (chuckles) Yes. Dental forensics is definitely an inexact science.
(He slathers the mixture on the holder and puts it in his own mouth. He shows it to Keppler, then settles to wait.)
CUT TO:
[INT. CSI – LAB -- DAY]
(The two teeth molds are made. Keppler compares it to the impression on the victim.)
Mike Keppler: We could probably match four out of six.
Catherine: That's not enough for a conviction.
Mike Keppler: Has to be. It's all we've got.
(Catherine looks at the k*ller's teeth impression.)
Catherine: The k*ller's left front incisor is misaligned. Dr. Dave's smile is perfect.
Mike Keppler: Would you go to a dentist with bad teeth?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. POLICE DEPARTMENT – HALLWAY OUTSIDE INTERVIEW ROOM -- DAY]
(Brass, Keppler and Catherine walk through the hallway on their way to the interview room.)
Brass: So we're all on the same page, right? About giving the man to these girls.
Catherine: Yes.
Brass: So, Mike, the viewing room is down the end of the hall.
Catherine: Wait, why don't you go in and I'll watch.
Mike Keppler: What makes you think he's gonna talk to me?
Catherine: Because I have a pretty good feeling he's not gonna talk to me.
(Catherine gives the file folder to Keppler. She enters the observation room to watch.)
Mike Keppler: All right.
(Brass and Keppler enter the interview room.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- CONTINUOUS]
(Brass and Keppler talk with David Lowry.)
Mike Keppler: Dr. Lowry, I'd like to show you a bite impression that we're using as evidence in the Sorensen case.
(Lowry looks at the bite impression.)
David Lowry: There are similarities. But I don't think it's conclusive.
Mike Keppler: Yes. The left front incisor doesn't match, and there's a sizable gap between the two front teeth. But then we found these.
(Keppler opens a file folder and takes out another bite impression.)
Brass: We subpoenaed your personal records. You go to a good dentist.
Mike Keppler: In late 1989, you had a cosmetic surgery to repair a sizable gap between your two front teeth.
David Lowry: Diastema. It's called diastema.
Mike Keppler: We used the X-rays taken before the procedure to modify your dental model so that it matched the configuration of your teeth in 1989. This is the new overlay.
(He shows the comparison to Lowry. It's a match.)
David Lowry: Very impressive. You make a good case.
Mike Keppler: Wasn't easy, Dr. Lowry. You cover your tracks well.
David Lowry: Dr. Dave, please, call me Dr. Dave.
(Keppler shows Lowry the victim photos.)
Mike Keppler: Jane Doe in 1975, Jane Doe in 1989, and Jane Doe, 1999. Three girls without identities.
Brass: You were the last person to see them alive. You know their names. Tell us.
Mike Keppler: You have two daughters, don't you, Dr. Lowry?
David Lowry: This is the most cryptic conversation I've had since dental school.
Brass: All right, let me clear it up for you. The last time you moved as a free man was when you walked into this room. When you leave here, you're gonna be charged with m*rder. So do yourself a favor and give us the identity of these three girls, and you might spare yourself the death penalty.
David Lowry: At my age, I'll die before that happens.
Brass: So what do you have to lose?
David Lowry: I don't want to degrade the sweetness of my memories. My memories are all I have left.
Mike Keppler: I can't imagine that you didn't feel something for these girls at some point. We're just asking you to help us return them to their families.
David Lowry: What benefit would I get from doing this?
Mike Keppler: You might sleep better at night.
David Lowry: I sleep fine, thank you very much. I've always considered that a key to my good health.
Mike Keppler: So none of this bothers you?
David Lowry: My life has been blessed. I was married to a kind woman. Just lost her a few years ago. We raised two children. One of them is an oral surgeon, the other one is a homemaker.
Mike Keppler: And you don't care how this might affect them?
David Lowry: They'll be horrified, of course. They're not monsters.
Brass: Well, I'm sure the judge will take that into consideration.
David Lowry: You're not listening. I don't feel bad about what I've done. I feel disappointed that I've been caught, but I tend to take the long view of things. I've had a wonderful life, and I know that all things human eventually must end.
(Keppler looks at Catherine and shakes his head.)
CUT TO:
CUE SONG: "Sweet Jane"
[EXT. LV CITY CEMETERY – DAY]
(The three crates are lowered into the grave. City workers shovel dirt back on the boxes.)
CUT TO:
[INT. – DAY]
(Keppler sits at the table and dials.)
Recorded Voice: (from phone) You have no new messages.
(Keppler sighs.)
CUT TO:
[EXT. SCHOOL – DAY]
(Lindsey heads off to school. She looks back at Catherine sitting in the car and waves to her. She runs over to join a group of friends.)
(Catherine sits in her car and adjusts the rear view mirror to watch Lindsey.)
CUT TO:
[EXT. BUS STATION – NIGHT]
(FAST FORWARD: Just like the teaser, people walk to and from the bus station.)
(SLOW ON: A young woman arrives and looks out at the city.)
(Hold on the young woman.)
SMASH TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x12 - Sweet Jane"} | foreverdreaming |
FLASH IN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – DAY]
Radio: (V.O.) Welcome back to the voice of Las Vegas, KWMS Radio.
[EXT. LAS VEGAS DESERT ROAD – NIGHT]
(A lone car drives along the road.)
Radio: (V.O.) The city remains in mourning, as we try to make sense of the m*rder of Assemblyman Danilo Zamesca.
(At the end of the road is another parked car. Danilo Zamesca parks his car and engages the brakes. He looks over at the driver in the next car.)
(Zamesca gets out of his car.)
Radio: (V.O.) After his only son was g*n down by a drug dealer, Zamesca dedicated his life to public service.
(Zamesca heads over toward the other parked car. The other car door opens and a man gets out.)
Radio: (V.O.) He set his sights on the drug tr*ffick and the drug suppliers.
(The man is holding a extra-large drink and a folded photo. He hands the photo to Zamesca.)
Radio: (V.O.) He believed you get drugs off the streets by putting the suppliers out of business.
(Zamesca takes the photo, looks at it, and rips it to shreds while saying a few choice words to the man.)
Radio: (V.O.) That was his mission.
(He tosses the ripped photo to the wind. A piece of the photo falls to the ground.)
(CLOSE-UP: It shows Zamesca doing lines with a woman with a Scorpion sign tattooed on her inner left arm.)
Radio: (V.O.) His m*rder's rocked headlines, --
DISSOLVE TO:
[EXT. DESERT ROAD -- DAY TIME (PRESENT)]
(A corner ruler is positioned next to the photo.)
Radio: (V.O.) -- uniting Democrats and Republicans alike, all of us asking the same question:
(Nick snaps a couple of photos of the picture.)
INSERT: FLASHBACK
(Zamesca turns away from the man and heads back to his car. The man tosses his extra large drink to the ground.)
Radio: (V.O.) What happened out there?
BACK TO SCENE.
(Nick snaps several photos of the drink cup.)
Radio: (V.O.) Peg from Sunrise Manor, you're on.
INSERT: FLASHBACK
(The man takes out a g*n, points it at Zamesca's back and fires.)
Peg: (V.O.) Danilo Zamesca spoke truth to power and got k*lled for it.
(The empty shell casing falls to the ground.)
BACK TO SCENE.
(Nick snaps photos of the empty shell casing with a ruler on the ground.)
Peg: (V.O.) I don't think there's anybody out there who has the courage to stand up and take his place.
INSERT: FLASHBACK
(Zamesca manages to open the car door and get inside. Before he can start the engine, the g*n fires twice. Blood spatters on the passenger window.)
BACK TO SCENE.
(Nick takes more photos of the body slumped over on his side in the car. Photos of drugs in a plastic bag on the passenger seat are taken.)
Radio: (V.O.) Roger from MacDonald Ranch.
(Nick picks up the plastic bag. He turns and looks over at Brass.)
Roger: (V.O.) If this guy was pure as the driven snow, what's he doing out in the middle of nowhere with drugs in his car? Give me a break. He was dirty, just like the rest of them.
(Nick continues to process the evidence in the car.)
Radio: (V.O.) Okay, Roger, thank you for calling.
(Brass makes a call on his radio.)
INSERT: FLASHBACK
(The g*n runs to the car, leaving shoeprints in the dirt.)
BACK TO SCENE.
(Nick snaps several photos of shoeprints in the dirt and some foam.)
(Catherine picks up a piece of foam and looks at it.)
Nick: Looks like some sort of foam.
Catherine: Found it next to the tire impression.
(Nick stands up and heads back to the car. Catherine prepares and makes a shoeprint cast.)
CU: b*llet
(The bottom of the b*llet is for a PMC 9MM LUGER.)
[INT. CSI – BALLISTICS LAB]
(Bobby scans the bottom of the b*llet into the computer and runs it through the database.)
(He finds a match.)
[INT. CSI -- PRINT LAB]
(Nick dusts for prints on drink cup cover. He finds a print on the straw.)
(CUT TO: He runs it through the database and finds a POSITIVE MATCH to:
NAME: THOMAS SIMON
DOB: JULY 21, 1972
AGE: 34 HEIGHT: 5'8"
WEIGHT: 147 LBS. EYES: BLUE
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
LAST KNOWN ACCRESSESS:
431 DADSCELL CT.
LAS VEGAS, NV 69117
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY – DAY]
(Brass walks with Undersheriff Jeff McKeen.)
Brass: So CSI got a fingerprint off the drinking straw we found at the scene.
Jeff McKeen: Guys like Thomas Simon never get their hands dirty.
Brass: No. It was a very clean print. And Ballistics matched some shell casings that we found at Simon's McMansion on that raid last year.
Jeff McKeen: Did you find the g*n?
Brass: No. So Zamesca was trying to put Simon out of business, and it cost him his life.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. STRIP CLUB – NIGHT]
(Girls dance on stage, music blaring. The club is sparsely filled. Several officers enter the club, looking for someone. Brass walks in and looks at Officer Mitchell, who shakes his head and indicates that the person they're looking for isn't there.)
(Brass turns and heads for the bartender. He shows him his badge.)
Brass: Hey. I have a warrant for Thomas Simon. Is he here?
Bartender: He's the owner, man. But even I haven't seen him in, like, three weeks. Sorry.
FADE TO BLACK.
[INT. RESTAURANT – DAY]
(Undersheriff Jeff McKeen meets with Brass, Catherine and Keppler over breakfast.)
Jeff Mckeen: The biggest drug supplier on the West Coast kills a public official, and we can't find him. I'm just the undersheriff. I have one job: make the sheriff look smart. You're not helping.
Brass: We busted our hump trying to find this guy.
Catherine: Science can only do so much with a cold trail.
Jeff McKeen: You ever seen a man's face change into that kind of a demon?
Keppler: My eggs are runny. I couldn't have been more specific with the waitress. (to Brass) You gonna eat those?
Brass: Oh, you want my pancakes? Yeah, sure, knock yourself out. Here.
(Keppler switches plates with Brass.)
Keppler: Thank you.
Jeff McKeen: I don't hear a solution.
Keppler: We could try something I did in Philly. It's, um, a little unorthodox.
Jeff McKeen: I only want to know if it works.
Keppler: Philly, yes. Baltimore, no.
Catherine: Is that why you're in Vegas?
(Keppler smiles a little.)
Jeff McKeen: Fifty-fifty. I can live with those odds.
Brass: So, are you waiting for a drum roll?
Keppler: It's called "reverse forensics."
Catherine: Oh. We fake a crime scene.
Keppler: Basically.
Jeff McKeen: How do we get around entrapment?
Keppler: Well, it's not entrapment if you're not enticing anyone to commit a crime. The goal is to make Simon think he's off the hook.
Brass: So what's the catch?
(Catherine gets it and doesn't like it.)
Keppler: Whole thing's a catch. The hardest part is stopping leaks. You've got to be willing to deceive the people you work with.
Catherine: Assuming they can be deceived, which they can't.
Jeff McKeen: Not your call.
(Catherine definitely doesn't like it.)
Brass: You know, I can think of nine, no, ten ways that this could screw up.
Keppler: At least.
Jeff McKeen: So don't screw it up.
Keppler: The first thing we need is a victim, somebody we own. You need a fall guy to play the role of "k*ller," somebody who's jake with having his mug sh*t everywhere. In Baltimore, we used a snitch. So you're going to have to bring the DA into this.
Jeff McKeen: (scoffs) The DA?
(He shakes his head.)
Jeff McKeen: That bitch won't like it. (to Keppler) Thanks for breakfast.
(McKeen stands up and leaves.)
Keppler: You ever notice how it's the, uh, guys with all the money that never pay?
Brass: Sure, that's how they keep all the money. (Brass offers his portion.)
Here, let me get it.
Keppler: No, I got it. New guy.
Brass: Thank you.
Keppler: You know, Catherine, if we do our job right and catch the bad guy, nobody's going to remember the rest.
Catherine: I'll remember.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – HALLWAY -- DAY]
(Warrick walks in carrying a file box, a couple of evidence envelopes and wearing a suit. He walks into the evidence room and finds Keppler there leafing through the filing cabinet.)
Warrick: Hey, Mike.
Keppler: Hey. Do you guys, uh, organize your files by case number?
(Warrick signs in a clipboard.)
Warrick: In a perfect world. We hired this, uh, knucklehead named Mahoney. He had this dyslexic filing system.
Keppler: So what do you think? Does the dyslexic atheist not believe in dog?
(Keppler pulls out the file for DANILO ZAMESCA.)
Warrick: What?
(Warrick looks up and sees the file folder a second before Keppler pulls it out of the cabinet. Keppler turns and looks at Warrick.)
Warrick: Oh ... I get it.
(Keppler closes the file cabinet.)
CUT TO:
[INT. CSI – LOCKER ROOM]
(Nick shuts his locker and tucks his g*n in his holster. He heads out.)
(Catherine finds him.)
Catherine: Hey. I need you on a 411 tonight.
(She gives him the assignment paper.)
Nick: Stolen motor vehicles? You got to be kidding me.
Catherine: PD recovered twenty stolen motorcycles. They're at the Dupont Towing Lot.
Nick: Can't you slide it to days?
(Warrick walks by.)
Warrick: Hey, guys.
Catherine: Take Warrick with you. It'll go faster.
(Catherine leaves.)
Nick: (amused) Okay.
Warrick: What'll go faster?
(Nick gives Warrick the assignment sheet.)
Nick: Giddyup.
(Nick turns and heads down the hallway. Warrick looks at the assignment sheet and follows him out.)
CUT TO:
[EXT. ALLEYWAY – NIGHT]
(A stray cat meows and runs across the alleyway. Rat is selling drugs to a kid. He takes the kid's money and gives him a pack of drugs. The kid turns and runs.)
(Brass walks up to Rat.)
Brass: What's happening, Rat? (They wave to each other.) Boy, you got to love junkies, huh? What stamina, what willpower. I mean, even the rain doesn't keep them away.
Edward "Rat" Dennison: It doesn't keep the cops away either, I guess, huh?
Brass: You nervous, Rat? Relax, relax, I'm just here to talk. Listen, you like game shows? Because I got a deal; listen to this. First place is a life-changing experience. You get a whole new life.
Edward "Rat" Dennison: What's second place?
Brass: There is no second place, Rat. Either way, you don't get to work the alley anymore.
Edward "Rat" Dennison: Screw you.
Brass: Screw me? No, no. Screw you.
(Brass reaches into Rat's shirt pocket and pulls out a packet of drugs.)
Brass: Look, take my deal. Otherwise, you're in possession of a controlled substance, and with your record, that's a mandatory sentence.
Edward "Rat" Dennison: Okay. If you want information, just ask me. Just that I'm ...
Brass: All right, let's walk, walk with me.
(Brass and Rat walk along the alleyway.)
Brass: It's a little complicated. You own a g*n?
CUT TO:
[INT. CSI – TRACE LAB --]
(Hodges is on the phone.)
Hodges: (to phone) That's K-E-P-P-L-E-R, Michael Keppler.
(Just out in the hallway, we see Sara walk past, a box tucked under her arm.)
Hodges: (to phone) Yeah, check it out. Okay, I got to go.
(He hangs up the phone.)
(Sara stops and watches Keppler put up sheeting over the glass windows to block out prying eyes. She watches for a moment, then stops Catherine on her way in.)
Sara: What's going on?
Catherine: Um, nothing I can talk about. Keep me posted on the 419. Greg's going to meet you at the scene.
Sara: Okay.
(Catherine enters the lab and closes the door.)
(Hodges slides up next to Sara.)
Hodges: (in confidence) Ten to one, it's Internal Affairs. Got a vibe off Keppler the minute he blew in. Always with a suit. If you got any dirty laundry, I hope you used bleach.
(Sara hugs the box to her and heads out to the –
[INT. CSI – LOCKER ROOM – NIGHT – CONTINUOUS]
(The locker room is empty. Sara walks in and opens her locker. She looks as if she's going to put the box in the locker, then she has second thoughts. She looks at the label and sits down on the bench. The label reads:
(TO)
SARA SIDLE
3057 WESTFALL AVE
LAS VEGAS, NV 89156
(FROM)
GRISSOM
WALDEN POND RESEARCH CENTER
CONCORD, MA 01742-4511
(She cuts the tape and opens the box. She lifts up the packing paper and finds a branch with a cocoon. She smiles. How Grissom.)
(She picks up the branch and looks at it. She digs further into the box and finds the box empty. That is the only thing in the box. She shakes her head. How Grissom.)
(She puts the packing paper back in the box, looks at the branch and sighs.)
CUT TO:
[EXT. LVPD IMPOUND LOT 17 – NIGHT]
(Warrick and Nick are outside the impound gate. They press the buzzer. The lot attendant opens the gate.)
Lot Attendant: What?
Nick: I'm CSI Stokes, this is Brown.
Lot Attendant: Where's your paperwork?
Nick: We're from the Crime Lab, dude.
Lot Attendant: I still need paperwork.
Warrick: We're here to process those stolen motorcycles, man.
Lot Attendant: I need authorization, fellas, in writing.
(And with that, the lot attendant closes the gate. He leaves Nick and Warrick outside the lot.)
Nick: Wh-What if, what if I promise to come back and give it to you later?
Warrick: Okay, cut us some slack here, man. You think we really feel like being down here?
(The gates clang shut.)
Warrick: How do you want to handle this?
Nick: You want to sh**t our way in?
Warrick: I'd love to bust a cap in his knee.
(Nick chuckles.)
Nick: Sir, don't make us call your supervisor. Now, come on. (bangs on door)
Come on!
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. APARTMENT -- NIGHT]
(David Phillips picks up a maggot off the maggot-infested face of the d*ad body in the motel room.)
David Phillips: (exhales) We got third Instar maggots.
(Sara snaps photos around the apartment.)
David Phillips: With this smell, she's been d*ad at least 48 hours.
(Sara looks at the contents on the table – drug paraphernalia and pizza boxes.)
Sara: Toys are all here. Needle, syringe, tubing, candle, spoon.
(Sofia walks into the room. Sara picks up what looks like a black drop wrapped in plastic.)
Sara: It looks like heroin.
Sofia: Manager said he found her like this when he came by for a visit. Said they were friends, but he was a little unclear of her name. Monique something or other.
Sara: Maybe she was, uh, working off the rent.
David Phillips: No ID on the body.
Sofia: I'll take a look around for it.
(Sofia steps out of the room. David pushes the victim's sleeve up and finds a scorpion tattoo on her inner forearm.)
David Phillips: Needle marks are sclerotic. Chronic user. Probable OD.
(Sara snaps more photos off screen.)
(Sofia looks around the kitchen. There are dirty dishes and stacks of pizza boxes.
(Sara snaps photos of the needle marks on the victim's arm.)
(camera shutter clicking)
Sara: Scorpio. Ruled by Pluto. Although since it's not a planet anymore ... I'm not sure how that works.
David Phillips: (serious) Maybe it's a "dwarf" sign. Like Pluto is, you know, a "dwarf" planet now.
(David nods. Sara smiles.)
(Sofia check's the victim's cell phone.)
Sofia: Car keys. Cell phone.
(The list of CONTACTS reads:
FARCROFT, ETHEL 702-555-0169
FAUREAU, MITCHELL 702-555-0143
FINKELMAN, CONRAD 702-555-0123
LIGHTOWER, ROBERT 702-555-0106
WELLSLEY, GETRUDE 702-555-0139
Sofia: No "Mom" or "Dad" listed. There's a lot of food for a junkie.
Sara: Maybe she had a roommate.
CUT TO:
[INT. CSI – LAB – NIGHT]
(Catherine looks over the crime scene photos with Keppler.)
Catherine: Zamesca was sh*t three times with a nine millimeter. We've got two sets of shoe impressions. Two sets of tire impressions. A plastic "Jumbo Cola" cup. Drugs were found in Zamesca's car, in plain view, but his tox was negative.
Keppler: Drugs were planted.
Catherine: Crime scene was a remote location.
Keppler: That's in our favor.
Catherine: Car was a bloody mess.
Keppler: Our "victim" was kind enough to donate a pint of his blood.
(Keppler has a bag of blood from "EZEKIEL HOLSTEIN.")
Catherine: Did Mr. Holstein also donate his brain matter and bone fragments?
Keppler: Brass recruited him from Narco, undercover cop. Opted to keep his brains intact.
Catherine: Well, without actually sh**ting the guy, this scene is going to be slightly less than perfect, but it's just you and me out there.
Keppler: No, can't be. We're going to need a third person processing the scene to make it look kosher -- someone who's not in on it.
Catherine: Well, if we use one of my guys, they're going to figure it out.
(He offers her the spray bottle filled with blood.)
Keppler: Keep them away from the car.
(She takes it.)
Catherine: I'm not used to faking it.
Keppler: When's the last time you had to?
(Keppler smiles.)
(Catherine climbs into the front seat of the car and sprays the blood on the passenger window.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. CAR -- DAY]
(Greg pops open the glove compartment and snaps a photo of its contents. He reaches in and checks the registration. It's registered to:
CARTER, MONIQUE
155 NORTH COURT
HENDERSON NV 89176
VALIDATED: 06/13/06
EXPIRES: 06/13/07 )
(Sofia walks down the steps. She's looking through her notes.)
Greg: Registration's expired. Want to bet she's not insured?
(He shows the registration to Sofia.)
Sofia: Monique Carter, 155 North Court, Henderson.
Greg: Oh, that's a good neighborhood. Well, this used to be a nice car. Maybe she traded in her old lifestyle to ride the "H" train.
SOFIA; Now the manager wants it out of here. So, I'll have it towed.
(Greg nods.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(David Phillips is washing the maggots off the face of the victim.)
(Robbins walks in, puts his glasses on and examines an injury on the victim's skull.)
David Phillips: It looks like an impact from a w*apon.
Robbins: Very good observation, David. Shave the area. Call Sara. We may be looking at a homicide.
(David takes photos of the injury.)
CUT TO:
[INT. CSI – DNA LAB -- DAY]
(Henry processes the drugs. He puts a sample into the machine.)
(Quick CGI flash of: The sample is heated and processed and analyzed into a colored graphical output on the monitor. End of flash.)
(Catherine walks in.)
Catherine: Hey, Henry.
Henry Andrews: Hey. It's heroin mixed with cocaine and methamphetamine, which are the same drug components you found in Zamesca's car.
Catherine: Really?
Henry Andrews: Should I call Sara? It's her case.
Catherine: Henry, I need you to step out and get a cup of coffee.
Henry Andrews: Well, I can't leave my evidence out.
Catherine: This is not a request.
Henry Andrews: Oh ... okay.
(Henry leaves the lab. Catherine takes a plastic bag and cuts off a piece of the drug. She puts it in the bag and pockets it.)
CUT TO:
[INT. CSI – BALLISTICS LAB -- DAY]
(Keppler test-fires a g*n.)
Keppler: f*ring one.
(He fires. Hodges, who is standing in the next lab over, enters Ballistics and heads toward Keppler. Keppler removes the cartridge from the g*n.)
(He goes to retrieve the b*llet.)
Keppler: Is there a problem?
Hodges: FYI, Bobby Dawson is a bit of a control freak. Doesn't like anyone in here unsupervised. So he got one accidental discharge on his record. I'm sure he doesn't want another one. Unless ... of course, this is an IA investigation, and, uh, Bobby is his subject.
(Keppler puts the b*llet in a container.)
Hodges: Interesting that Grissom, champion of the little guys, is on sabbatical.
Keppler: Interesting, especially if he planned it that way.
(Keppler leaves.)
CUT TO:
[EXT. DESERT -- DAY]
(Edwin "Rat" Dennison sips from his Jumbo Cola cup.)
(Camera slides down to his white tennis shoes ... then on to the shoeprints in the dirt.)
(We follow the shoeprints to the car. The driver's door is open and there's a man slumped over in the front seat, bleeding from a g*n wound to the head.)
INSERT: CAMERA FLASHES
(Catherine snaps photos of the body in the car. The body talks.)
Ezekiel Holstein: This is my own blood, right? 'Cause it's starting to drip in my mouth.
Catherine: It's all yours. You can get out now, Detective, and ...
Ezekiel Holstein: I know, don't touch anything.
Catherine: You got it. Oh, and there's some fresh clothes in the back of the vehicle.
Ezekiel Holstein: Got any brandy?
Catherine: Sorry, man.
(Ezekiel Holstein gets out of the car. Catherine snaps another photo. Keppler walks up to her.)
Catherine: So, Mike, you said reverse forensics didn't work in Baltimore. How come?
(Keppler uses his elbow and shuts the driver's door. He uses a shock plug and punches a hole in the driver's window to make it look like a b*llet went through it.)
Keppler: Smart cops.
Catherine: (doesn't look up) You steal cars before you became a CSI?
(She puts some blood on the b*llet.)
Keppler: Stealing cars gets old fast. I like more of a challenge.
Catherine: Note to self.
(Catherine puts the b*llet in the car.)
Keppler: Okay, you can drop that cup now.
(Dennison stands by another car.)
Edward "Rat" Dennison: Yeah, I'm not done yet.
(Ezekiel Holstein walks toward them.)
Ezekiel Holstein: He said drop it.
Edward "Rat" Dennison: About my new identity, um, I don't want to go to Denver. I think I'd rather go someplace where I'd fit in ... like Maui.
(Keppler glances back at Catherine. She steps away from the car.)
Ezekiel Holstein: Yeah, yeah, yeah. And I want a threesome with Beyonce and Scarlett Johansson. Drop the cup and get your rat ass in the car.
Edward "Rat" Dennison: I drop the cup.
(He drops the cup. The cup hits the ground, the cap pops off and spills on the dirt.)
(Keppler sees something. He removes his glasses and thinks about it.)
INSERT: REVERSE FOOTAGE
(REWIND: The cup undrops and ends up in the k*ller's hand.)
BACK TO SCENE.
Keppler: (mutters to himself) Casual.
(Catherine turns to look at Keppler.)
Catherine: Excuse me?
Keppler: Simon. His soda. He wasn't expecting trouble.
(Quick flash to: [NIGHT] Danilo Zamesca stands in front of his car facing the k*ller. Keppler imagines himself facing Zamesca.)
Keppler: (V.O.) Get out of my car ... walk over to Zamesca.
(Keppler walks toward Zamesca.)
Keppler: (V.O.) Didn't come here to k*ll him ... came to talk.
(He shows Zamesca the photo.)
Keppler: (V.O.) Hand him the photo.
BACK TO SCENE.
Keppler: Then something doesn't go as planned.
(Quick flash to: Zamesca rips the photo into pieces and tosses it to the air. He turns and heads back to his own car.)
Keppler: (V.O.) I drop the drink ...
(Keppler drops the drink.)
Keppler: (V.O.) -- grab my g*n.
(FLASH TO: Keppler changes to Thomas Simon. Thomas Simon grabs his g*n and points it at Zamesca.)
BACK TO SCENE.
Keppler: m*rder was Plan B.
Catherine: Plan A was the photograph. Anti-drug crusader doing lines. Career buster.
Keppler: Looks like he underestimated Zamesca.
Catherine: He was a hard man to k*ll. Simon panicked. Which explains why he left evidence behind this time.
Keppler: And why he had to disappear. And why we have to do this.
(Catherine drops the drugs in the car.)
CUT TO:
(Catherine puts up crime scene tape around the area. Keppler watches a car arrive.)
Keppler: I'm going to call it in.
(Keppler takes his phone out. The car stops just outside the tape and Brass steps out. He holds up his radio.)
Dispatcher: (from phone) 911, is this an emergency?
Keppler: (to phone) Yes, someone's been sh*t. I'm a quarter mile west of Mountain's Edge and Durango. There's a man bleeding from the head in his car. Looks like a g*n wound, but I didn't see a g*n. He's d*ad for sure.
Dispatcher: (from phone) Sir, may I have your name?
(Keppler shuts the phone off and removes the card.)
(The call comes over Brass's radio.)
Control: (from radio) 419, possible 420, quarter mile west of Mountain's Edge and Durango. Possible man down, g*n wound to the head. 2-0cean-2, 2-0cean-
34, please respond.
Keppler: Show time.
Brass: (to radio) Control, this is 2-Zero-3, Charlie-Captain-Brass. I am with Charlie-Zero-4-Willows and Charlie-Zero-9-Keppler. We're around the corner. Our ETA is five minutes. We'll be responding also.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins shares his findings with Sara.)
Robbins: COD was blunt force trauma to the right temporal region.
(A phone rings.)
Robbins: Wound's inconsistent with a fall. (Sara glances at the phone.) You fall into something, say a coffee table, wound's always deeper on one end.
(The phone continues ringing.)
Robbins: Depth here is uniform. (shouts) Would someone please answer that phone? (Someone o.s. picks up the phone.) (to Sara) I'm sorry. Tox confirms high level of heroin, cocaine, methamphetamine in her system. I opened up her arm under a fresh needle mark, drew out one milliliter of dark liquid.
(Sara opens the cut and sees the black goo in the arm.)
Robbins: The drugs were puddled. Means they didn't circulate in her bloodstream. Injection was postmortem.
Sara: d*ad girls don't sh**t up.
(Robbins nods. David Phillips peers into the room.)
Phillips: (to Robbins) Sorry. Catherine needs to speak to you. Says it's urgent.
Robbins: Right.
INTERCUT WITH:
[INT. DESERT – DAY]
(Catherine is on the phone with Robbins.)
Robbins: I'm in the middle of an autopsy, Catherine.
Catherine: Sorry. I'm at a 420. Similar MO to Zamesca. (approaching sirens wail in the distance.) Press is all over us. I need permission to get the body out of here ASAP.
Robbins: That's fine. Just photograph and diagram it before transporting.
Catherine: Of course. Now, which mortuary's on call?
Robbins: Kentworth. You have that number?
Catherine: I'll take care of it. Thanks, Doc.
(She hangs up just as the police cars arrive at the scene.)
CUT TO:
[EXT. LVPD IMPOUND LOT 17 – DAY]
(Nick and Warrick are working on the bikes.)
Nick: This is so lame. How much do you want to bet half the prints come back to the cops who recovered these bikes. They never wear gloves.
(Warrick's phone rings; he answers it.)
Warrick: (to phone) Brown. Hey, Cath. We'll see you there. Well, in that case ... I'll see you there.
Nick: Boy, she has got it in for me today.
Warrick: Well, giddyup.
(Nick laughs.)
(Warrick picks up his kit and leaves Nick to work on the bikes – alone.)
CUT TO:
[EXT. DESERT HIGHWAY (STOCK) – DAY]
[EXT. DESERT ROAD -- DAY]
(A small crowd of press has gathered just outside the crime scene tape. Warrick arrives and heads for the scene.)
Warrick: CSI coming through.
(The officers lift the tape for him and he continues.)
Warrick: Thank you.
(Warrick shakes Brass's hand. Brass is on the phone. Warrick arrives at the scene. Catherine and Keppler are already processing the car.)
(Warrick notices the missing body.)
Warrick: Where's the body?
Catherine: Called the morticians to get it out of here. g*n victim.
Warrick: Got ID?
Keppler: Ezekiel Holstein. Local. Brass is running him now.
(Warrick looks around the area.)
Warrick: Hey, Cath, didn't you find Zamesca near here?
Catherine: Yeah.
Warrick: Got the "Jumbo" cup. Shoe and tire impressions. sh*t in his car. Think Simon's coming out of hiding?
Keppler: Or it's a copycat.
Warrick: Want me to take the backseat?
Catherine: No, um, take the perimeter, get started on a diagram.
Warrick: Okay, sarge. Not my first barbecue.
Catherine: Thanks, Warrick.
(Warrick turns and heads out.)
(The reporters' voices rise and we hear them shouting questions to Undersheriff Jeff McKeen.)
Reporter: Undersheriff McKeen, is this related to the Zamesca m*rder?
Jeff McKeen: We're in the process of conducting an investigation, so I don't have all the facts. But there does appear to be some similarities to Assemblyman Zamesca's m*rder.
Reporter: Right. Right, but his body was found near here --
Jeff McKeen: Uh, I have no further comments at this time.
(Jeff McKeen heads for Brass as he notes the CSIs working on the car.)
Brass: (to phone) Ezekiel Holstein. Date of birth: 07-14-72. Do a records check. Oh, and, uh, contact Narco. May be drug-related.
Jeff McKeen: I really feel good about this.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Sofia talks with the apartment manager.)
Apartment Manager: Monique's d*ad body means I got to get the carpet cleaned. You said the scene was clear; I called the cleaning service.
Sofia: It's a good way to cover your tracks.
Apartment Manager: Like I said, she'd been shacked up with some guy.
Sofia: Can you describe him?
Apartment Manager: (sighs) Average-looking, white dude. I only saw him from a distance. He was driving her car. Look, she was a nice, smart lady. She helped me get out of a jam with my insurance company. I know she liked the
"candy," but she did not deserve to go out that way.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Greg shares his findings with Sara.)
Greg: I ran Monique Carter's phone records. Someone made a dozen calls from her cell yesterday.
Sara: She was d*ad yesterday.
Greg: Yeah, and we recovered her phone from her apartment, so someone was yakking while she was lying d*ad on the floor d*ad.
Sara: Let's run those numbers.
(They walk past Nick. We stick with Nick and follow him back through the hallway in the opposite direction. He's looking through a file folder.)
(Nick glances up as he passes by the lab and he notices the JUMBO cup out on the counter. Hodges catches Nick.)
Hodges: Hey, how's the king of property crimes? My socks keep disappearing in the dryer. You want to tackle that one?
Nick: What are you doing with the cup from my Zamesca scene?
Hodges: That's not your cup. It's from Catherine and Warrick's 420.
Nick: They found the same kind of cup at their scene?
Hodges: Same everything. Watch the news lately?
(Nick doesn't like it. He turns and leaves the lab.)
Hodges: (calls out) Hey, what about my socks? They're not gonna find themselves.
CUT TO:
[INT. CSI – BALLISTICS LAB -- DAY]
(Keppler slips into the Ballistics Lab and heads for the counter. He glances around, then looks through the stack of file folders.)
(Bobby Dawson returns to the lab.)
Bobby Dawson: Uh, excuse me. Uh, what are you doing?
(Keppler shakes Bobby's hand.)
Keppler: Hi, Mike Keppler. Sorry, didn't get a chance to introduce myself before I, uh, inv*de your lab.
Bobby Dawson: Uh, well, can I help you with something?
Keppler: Yeah, I'm looking for the ballistics on Holstein.
Bobby Dawson: Uh, yeah, just about to run them.
Keppler: Great. Mind if I sit in?
(Bobby sits down at the counter and runs the ballistics. Keppler stands behind Bobby, then leans in close to watch the search over Bobby's shoulder.)
(The search stops: NO MATCH.)
Bobby Dawson: b*llet that k*lled Holstein was a nine-mill, same caliber as Zamesca, but no match. k*ller could have used a different g*n.
Keppler: Thanks, Bobby. See you later.
(Keppler leaves.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Nick walks in as Robbins is sewing up the body.)
Nick: Hey, Doc.
Robbins: Hey, Nick.
Nick: Want you to catch me up with Catherine and Warrick.
Robbins: I haven't seen them.
Nick: Where's the body from their 420?
Robbins: Uh, it hasn't come in yet. It was a mortuary pickup.
Nick: Who's this?
Robbins: It's Monique Carter. Heroin addict, got whacked on the head.
(Nick notices the Scorpio sign tattoo on the inner forearm.)
(Quick flash to: [PHOTO] The photo of Zamesca with the girl with the same tattoo on her inner forearm. End of flash.)
Nick: She involved with Catherine's 420?
Robbins: If she was, nobody told me.
Nick: Will you send me a photo of this tattoo? And when the body comes in at the mortuary, will you give me a call?
Robbins: I'll get right on it.
(Nick leaves.)
CUT TO:
[INT. CSI – GARAGE -- NIGHT]
(Sara dusts the steering wheel of Monique's car. Greg is working on the passenger side.)
Sara: Seat's been pushed all the way back.
Greg: Manager said he saw a guy driving.
(Greg finds an envelope under the chair. It's addressed to:
MS. MONIQUE CARTER
32 POINT VIEW LANE
LAS VEGAS, NV 89102
(He opens and reads the letter. From what we see, the letter reads:
On behalf of the Board of –
writing you to inform you of your --
attempts to have you resolve the unpaid --
informed 4 months ago, you would be dropped –
ineligible status if payment was not made. –
outstanding amount of $8,342.00 is paid. --
Greg: She was a lawyer. Suspended for failure to pay her Bar Association dues.
Sara: Lose all that to drugs, you gotta be in a lot of pain.
Greg: Or you think you're too smart to get addicted.
(Nick walks in.)
Nick: You guys seen Catherine around? She's not answering her cell phone.
Sara: Mm-mm.
Nick: Anything from your scene link back to Zamesca?
Sara: No. Why?
Nick: Because I think your DB's the unidentified woman in the photo I found.
Sara: Really?
(Nick nods. He looks down and notices the foam in the cut in the front seat upholstery. Nick kneels.)
Nick: And, excuse me, we found this same type of material at the Zamesca scene. If we can match it back to this car ... you could place the car at the scene. And Simon behind the wheel.
CUT TO:
[INT. CSI – BREAKROOM -- NIGHT]
(Catherine meets with Keppler and Warrick.)
Catherine: Got a partial print off the straw from the soda cup. AFIS h*t Edwin Dennison, aka "Rat."
(She hands the photo to Warrick.)
(Quick flash to: Dennison sips from the straw.)
Warrick: Small-time drug dealer with a big-time rap sheet.
Keppler: Well, I'll get Brass to bring him in, huh? Nice work.
(Warrick hands Keppler the file folder. Keppler gets up and heads out of the room. Nick walks in.)
Nick: I just connected Sara's vic to Simon.
(Keppler stops. Nick turns around and motions Keppler back into the room.)
Nick: Yeah, you might want to hear this.
Keppler: What's the connection?
Nick: Well, I think, that Simon was driving her BMW to meet Zamesca.
Catherine: Nick, we got a print from the Holstein case. Street dealer. We're bringing him in now. And he looks dirty for Zamesca, too.
(Catherine gets up and walks past Nick. Warrick notes the brush-off. Nick turns and looks at Warrick. Something's going on.)
(Catherine walks down the hall with Keppler.)
Catherine: Excuse me. I grew up in this town. I know about playing the odds. You are gambling with my team.
Keppler: We talked about the risk going in. It's not like we can quit now.
Catherine: I'm not quitting. But I don't like it. And I hate lying to my guys.
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]
(The officers bring Edwin "Rat" Dennison in through the hallway in handcuffs. The press are there snapping photos.)
(Brass follows Dennison.)
Reporter: Mr. Dennison, could we have a comment? REPORTER: Is this relating to the ...
(They walk out of the hallway. Undersheriff Jeff McKeen enters the waiting room where the reporters are gathered.)
Jeff McKeen: Good afternoon.
CUT TO:
[INT. CSI – BREAK ROOM – NIGHT -- CONTINUOUS]
(In the breakroom, Nick is eating and watching the press conference on the television.)
Jeff McKeen: (from tv) The Las Vegas Police Department has successfully apprehended a suspect, one Edwin Dennison, who's confessed of multiple homicides, including that of Assemblyman Danilo Zamesca.
(The caption on the set reads:
UNDERSHERIFF MCKEEN PRESS CONFERENCE
ASSEMBLYMAN ZAMESCA'S m*rder ARRESTED )
(Nick definitely doesn't like this.)
Jeff McKeen: (from tv) Mr. Dennison admitted to luring Mr. Zamesca to a remote location, while seeking his help to escape the drug trade. When Mr. Zamesca encouraged him to surrender to police, Mr. Dennison sh*t him. He later sh*t Mr. Holstein during a dispute over a drug deal.
(Nick is more than pissed. He throws the remainder of his sandwich away and heads out of the breakroom.)
Jeff McKeen: (from tv) I'd like to say how very proud I am of the swift and efficient work done that my department has done in tracking down and apprehending this dangerous criminal ...
CUT TO:
[INT. CSI – BALLISTICS LAB -- NIGHT]
(Keppler enters the Ballistics Lab and finds Warrick working on the b*llet.)
Keppler: You know that Dawson guy gets kind of uptight when people touch his stuff.
Warrick: Well, the Holstein scene b*llet was fired from the same g*n that you found in Rat's car.
(Quick flash to: Keppler fires the b*llet in the Ballistics Lab.)
(Cut to: Catherine tosses the b*llet into the front seat of the car.)
(End of flashback. Resume to present.)
Keppler: Done deal.
Warrick: I'm not so sure. If this b*llet went through the window and a guy's head ... it would have pieces of glass and bits of bone in it.
(Quick CGI flash of: A g*n fires. The b*llet breaks through the glass and goes through the person's brain. It comes out the other side and falls onto the front seat of the car – a mess.)
(End of CGI flash.)
Warrick: This hollow point's clean. There's no sand-blasted effect.
Keppler: Hmm. The DNA sample yet, might have been cleaned already.
Warrick: There's still blood on it.
Keppler: I see your point. Maybe autopsy will show something.
(Keppler turns and leaves the lab. Warrick notes he doesn't appear concerned at all.)
CUT TO:
[INT. CSI – EVIDENCE LOCKER -- NIGHT]
(Nick is looking for the evidence in the Holstein case. Catherine walks past and stops in the room.)
Catherine: Hey, Nick.
Nick: I can't find the evidence in the Holstein case.
Catherine: What do you want it for?
Nick: Because that guy who confessed to k*lling Zamesca didn't do it. Sheriff's jumping the g*n.
Catherine: We have evidence and a confession. You can't just come in here and take over my case.
Nick: Is there a reason you don't want me to see that file, Catherine?
Catherine: Nick, as your supervisor, I'm ordering you to back off.
(Catherine turns and leaves. Nick definitely doesn't like it at all.)
CUT TO:
[EXT. SIDEWALK -- NIGHT]
(Greg opens the door for Sara. They exit the building.)
Sara: (to Greg) Thanks.
(They join Nick and Warrick, who are already waiting outside.)
Sara: Uh, it's freezing. Why are we having a meeting outside?
Nick: 'Cause Catherine and Keppler are in there.
Greg: What, have you guys been listening to Hodges?
Nick: No, and this isn't about Keppler being IA anyway. This is about Catherine having a false confession and standing by it.
Warrick: You'd better be able to back that one up, man.
Nick: Zamesca knew Sara's and Greg's vic. He's d*ad, she's d*ad, same drugs are found at both scenes, and then ... those same drugs showed up at your crime scene?
Warrick: Could have come from the same supplier.
Greg: We see that all the time. I don't think it's a coincidence.
Sara: (hesitates, voice lowers) You know, Catherine ... (glances behind her) ... Catherine ordered Henry to step out of his lab without putting drug evidence away.
Greg: Why would she do that?
Warrick: I did see Keppler checking out Zamesca's file yesterday. I didn't think anything strange about it then, but now ...
(Sara again looks around.)
Sara: Okay, so ... maybe there is an IA investigation.
(Nick doesn't want to say it.)
Nick: I can't find the Holstein evidence.
Sara: What?
(Nick nods.)
Warrick: Catherine put it in a temporary locker.
Nick: Yeah. Why didn't she put it where it belongs?
Warrick: The Holstein b*llet was a little bit too clean, and Keppler didn't seem at all concerned about it. He said that we would see at autopsy.
Nick: Well, it's kind of hard to have an autopsy when you don't have a body, man. I talked to Doc Robbins; he's still trying to track it down. And the mortuary has no record of Catherine's phone call whatsoever.
Sara: Do we have access to any of the Holstein evidence?
Warrick: We got the car.
(Warrick remembers something.)
Warrick: Catherine sent it to the impound.
Greg: Well, at least we know where it is.
Nick: All right, that's it. We're a team now, the four of us. We can't trust Catherine and we can't trust Keppler. I'm serious. I'm gonna run with this one.
Warrick: (nods) I'll run with you.
(Nick slaps Warrick's shoulder. He knew he could count on him.)
Warrick: (to Sara) You?
(Sara looks at Nick as she weighs it. Then --
Sara: I'm in.
(They turn and look at Greg.)
(Greg nods.)
(Nick nods. It's settled. He heads inside.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LVPD IMPOUND LOT 17 -- NIGHT]
(A tow truck exits the open gate. Nick walks in. The lot attendant turns and sees Nick. He tries to stop him.)
Lot Attendant: Hey. Hey, you!
Nick: Try to stop me and I'll have you put in jail.
(The lot attendant backs off. Nick heads over to the car. He cuts the seal open.)
(Nick opens the car door and checks the blood spatter on the seats, on the door and on the inside car window.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- NIGHT]
(Sara is in Grissom ‘s office. The box delivered to him from 7X11, "Leaving Las Vegas," is still on his desk. Sara slides some magazines on his desk closer to her and toward the top drawer. She opens the desk drawer, reaches under the small animal skull and pulls out a key. In one smooth movement, she tucks the key under the magazines and things, closes the desk drawer and heads out.)
(We linger on the large unopened box on Grissom's desk.)
CUT TO:
[EXT. LVPD IMPOUND LOT 17 -- NIGHT]
(Nick is on the phone.)
Warrick: (from phone) Brown.
Nick: (to phone) Hey, Warrick, it's Nick. When is the last time you found high-velocity exit spatter with no brain and no bone?
Warrick: (from phone) Never.
INTERCUT WITH:
[INT. CSI – EVIDENCE (TEMPORARY) LOCKER -- NIGHT]
(Sara knocks on the door and walks in.)
Nick: Got the evidence yet?
Warrick: (to phone) You know what? Sara's here. And she has the key. Got to go.
(Sara shows Warrick the key. She's still hesitant about all of this.)
Sara: You know. I really hate deceiving people because, eventually, you get what you give.
Warrick: I hate being deceived.
(Sara unlocks the door and she opens it. Inside are two boxes marked HOLSTEIN.)
Warrick: Yes.
(Warrick grabs the first box and heads back to the table.)
Warrick: All right.
(Sara reaches for the second box.)
Warrick: Anything I collected, we ignore.
(Warrick cuts the seal.)
CUT TO:
[INT. CSI – TRACE LAB -- NIGHT]
(Nick is in Trace processing his own samples. He runs several samples through the machines.)
(Hodges returns.)
Hodges: You running your own samples? Smart, considering that you're the odds-on favorite in the IA pool.
Nick: There's a pool now?
Hodges: Oh, yeah.
Nick: Who's number two?
Hodges: That would be me.
Nick: Number three?
Hodges: Grissom.
(The machine beeps. Hodges reaches for the printout, but Nick stops him. Hodges backs off. He tries to look at it, but Nick folds it in half. Nick leaves the lab.)
(When Nick leaves, Hodges presses REPRINT on the printer. The printer reprints the results.)
OPERATOR: HODGES
ACQUIRED: 01/25/07 14:39
INSTRUMENT: GC/MS Ins
(The results for whatever Nick was processing show ETHYLENEDIAMINE TETRA-ACETIC ACID "EDTA".)
CUT TO:
[INT. CSI – LAB -- NIGHT]
(Warrick places the driver's window glass on the table. He examines it and finds something. Nick walks in.)
Nick: How's it going in here?
Warrick: This glass wasn't sh*t out. Take a look at that.
(Warrick steps aside to let Nick look through the magnifying glass.)
Nick: Spark plug?
Warrick: The only mark a spark plug makes is a nick at the center. Now, who would know about that?
Nick: Crooks. And cops. And, hey, get this. The blood found in Holstein's car had high levels of EDTA. Anti-coagulant.
Warrick: Means the blood didn't come from his head; it came from his arm.
Nick: That means this crime scene was staged.
Warrick: Well, if Keppler is IA, Catherine can't tell us anything if she wanted to.
Nick: Yeah, if this is all IA BS, then why would they play it out in the press?
Warrick: Maybe Brass can help us out.
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]
(Warrick enters the hallway. He sees Brass exit his office. Warrick starts toward Brass and starts to call out to him, but stops.)
(Keppler steps out of Brass's office and they talk.)
(Warrick watches them for a moment. They appear to be on the same page and very friendly.)
(Brass and Keppler both turn and look at Warrick.)
(Warrick backs away and leaves without speaking to Brass. Brass walks over to the group of officers in the hallway.)
Brass: Let's roll.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. STRIP CLUB -- NIGHT]
(Thomas Simon is back and is talking with someone. Brass and some officers walk into the strip club.)
Officer Mitchell: (to radio) I got a 20 on Simon, right here.
(Thomas Simon looks up.)
Brass: (loudly) Thomas Simon, you're under arrest! You two -- step over there.
(The girl and the man Thomas Simon was with leave. The overhead music stops.)
Thomas Simon: Is there a problem, Detective?
Brass: A problem? We're charging you with the m*rder of Danilo Zamesca.
Thomas Simon: You already got a guy for that m*rder. I saw it on the news.
Brass: Well, it's good to meet an informed citizen.
(Officer Mitchell finds a g*n.)
Officer Mitchell: Nine-millimeter.
Brass: Get him out of here.
(Officer Mitchell pulls a handcuffed Thomas Simon out with him.)
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY -- NIGHT]
(Keppler and Jeff McKeen stand outside in the hallway. Inside the interview room, Catherine and Brass talk with Thomas Simon and the lawyers.)
Woman: Even your own district attorney said she wasn't aware.
Man: There's no way you'll get a jury to believe this evidence wasn't fabricated.
Woman: We're done here.
(She stands up and heads out. She slows and looks at Jeff McKeen as she passes him.)
(The team of attorneys leaves. Brass steps out into the hallway and sighs.)
Jeff McKeen: All right. Which one of you screwed this up?
Brass: I'm looking at him. You dropped the ball, man. You never cleared this operation with the DA, and now, she says she can't tell fact from fiction. She's not going to file charges against Simon.
Jeff McKeen: She's a tight-ass. I told her what I thought she needed to know.
Brass: Did you hear what I said? Now, what are you going to tell the sheriff?
(Jeff McKeen turns and leaves.)
CUT TO:
[INT. CSI – BREAKROOM -- NIGHT]
(Catherine and Keppler talk with Nick, Warrick, Greg and Sara.)
Keppler: It's called reverse forensics.
Greg: Reverse forensics?
Catherine: Simon had to believe it when he saw it on the news.
Keppler: He was a fugitive. The only way to get him to show his face was to make him think he was off the hook.
Warrick: And your only option was to fabricate evidence and make me process it?
Greg: How could you think that we wouldn't figure it out? It's kind of what we do.
Catherine: I understand how you all feel. I am sorry. I did not have a choice.
Nick: We trust you with our lives, Catherine. You could have trusted us with this.
Catherine: Sara?
Sara: If I have something to say to you, Catherine, I'm gonna say it in private. No offense.
Catherine: Okay, look. We can still get Simon. He only walked on Zamesca. He drove Monique Carter's vehicle out into the desert. Nick's established that. Did he k*ll her, too?
(Nick looks away and shakes his head.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – HALLWAY – NIGHT]
(Greg shares his findings with Catherine.)
Greg: Three calls were made from Monique's cell phone to Simon's strip club after she died.
Catherine: There's another half a dozen calls to Hugh Griffin, Bud Small, Frank Townsend. All known associates.
Greg: He was using her phone to do business, thinking it was safe.
(Quick flash to: [APARTMENT] Thomas Simon is on the cell phone as Monique's d*ad body is on the floor.)
Greg: (V.O.) Oh, yeah, the last call was made to his wife's cell.
END OF FLASH. CUT TO:
[INT. MONIQUE'S APARTMENT -- NIGHT]
(The door opens. Nick and Sara)
Nick: What hasn't been cleaned?
(Nick looks around and heads for the kitchen.)
Sara: Furniture.
Nick: If Simon was hiding out here for a couple of weeks, he had to eat, sleep and use the bathroom. So, what did the cleaners miss?
(Sara takes out the crime scene photos and compares it to the room.)
Sara: There used to be a pillow here. Maybe ... he slept on the couch. I'm going to pull some hair 'cause you never know.
Nick: We'd have to get a court order to compel a DNA sample from Simon. That takes time. Brass can only stall this guy's release for a couple hours, you know.
(Sara does a tape lift and finds a lot of hairs.)
Sara: Yeah, it's going to take days to sort through these.
(Nick sighs and looks under the sofa cushions. He finds a bedsheet. He lifts the cushion and finds the handle. He smiles at Sara.)
Nick: Sara.
Sara: It's a pullout.
(Sara dusts the handle for prints as Nick watches.)
CUT TO:
[INT. CSI – PRINT LAB]
(Nick is running the print through the database. He finds a POSITIVE MATCH for:
THOMAS SIMON
DOB: JULY 21, 1972
AGE: 34 HEIGH: 5'8"
WEIGHT: 147 LBS EYES: BLUE
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
LAST KNOWN ADDRESS:
431 DADSCELL CT.
LAS VEGAS, NV 89117
CUT TO:
[INT. CSI – BALLISTICS LAB]
(Keppler takes Simon's g*n out of the box as Warrick watches. He removes the cartridge and finds blood and hair stuck to the bottom.)
(He shows it to Warrick.)
(Quick flashback to: Monique fights with Thomas Simon.
Monique Carter: (screams) Give me something. You better give me something!
(He hits her on the head with his g*n. She falls to the floor.)
INSERT: PHOTO OF MONIQUE'S POST-MORTEM SHAVED IMPACT INJURY
(Simon injects Monique's arm with the drug.)
END OF FLASHBACK. CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY – NIGHT]
(Officer Mitchell escorts Thomas Simon down the hallway. Brass steps out right in front of them.)
Radio Host: (V.O.) Welcome back to the voice of Las Vegas, KWMS radio. Today, Thomas Simon, alleged drug kingpin, was charged with the slaying of former attorney Monique Carter.
(Officer Mitchell pulls Thomas Simon off to the side hallway as Brass watches.)
Radio Host: (V.O.) Ms. Carter and Assemblyman Zamesca were classmates in law school, and police are continuing to investigate the link between the two crimes.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. RESTAURANT -- NIGHT]
(Catherine and Keppler talk.)
Keppler: So I dig up a ghost. I know he has a son who was k*lled by drug dealers, she's being k*lled by drugs. He's got a savior complex, so I use her to lure him out into the desert. It's why I drive her car. So he'll recognize it, feel safe.
Catherine: You are aware that you talk about the k*ller in the first person?
Keppler: That's the point, isn't it? Clouds my judgment to identify with the victims. Our job is to catch K*llers. (sighs) Guess it helps me to think like one.
CUT TO:
[INT. CSI – HALLWAY -- NIGHT]
(Warrick and Nick step out from the locker room into the hallway. Warrick is carrying his bag while Nick is putting his jacket on.)
Warrick: You want to, uh, get a drink or something?
(Nick starts down the hallway.)
Nick: Nah. No, I'm, I'm tired. I'm going home.
Warrick: Nick. Nick!
(Nick stops and turns to look at Warrick.)
Warrick: (quietly) Let it go, man.
(Nick doesn't say anything. He turns and leaves.)
(We hold on Warrick. After a b*at, Warrick turns and leaves as well.)
Radio Host: (V.O.) Tonight we're talking about anti-drug legislation sponsored by the late Assemblyman Danilo Zamesca. It was passed into law today by the Nevada State Legislature. Tony from Seven Hills, you're on the air.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x13 - Redrum"} | foreverdreaming |
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. ROAD -- NIGHT]
(The road is busy, crowded with cars. Sirens wail in the distance. Keppler walks toward the scene with his kit.)
(He nods to Sofia and ducks under the tape the officer holds up for him. He meets up with Nick. Together, they head toward the b*rned house.)
Nick: The vic is Ross Neddy. Ex-con. Spent a couple years in Jean for domestic as*ault. Just got paroled.
(They look at the d*ad body.)
Nick: Shop foreman says he's only been working here a few days.
Keppler: Out of the frying pan into the f*re.
Nick: He is a crispy critter. I'd say the point of origin was him.
(Keppler kneels.)
Keppler: He should have stayed in prison.
Nick: Mmm-hmm.
(Keppler sees the b*rned gasoline can next to the body.)
Keppler: Sloppy shop. This whole place is a f*re hazard.
(David walks up to Nick.)
David Phillips: Okay if I move him out?
Nick: Yeah, he's all yours, Super Dave.
(Inside the room, Greg sweeps the floor with a hand-held device. It beeps.)
Greg: There was a lot of gasoline over here. (Keppler joins Greg.) Which explains this V-pattern.
(Greg indicates the burn on the wall.)
Greg: Accelerant, a second point of origin. Most likely arson.
(Nick snaps a photo.)
Nick: Ex-con.
(Quick flash to: Someone douses the place with gasoline and lights a torch.)
Nick: (V.O.) Enemies on the outside ... two points of origin ... maybe we're looking at a little payback.
(End of flashback. Resume to present.)
(Nick turns to Keppler.)
Nick: What do you think, Keppler?
Keppler: I think I'd better head back to the body.
(Keppler steps past Nick and heads out. Nick calls out after him.)
Nick: Hey ... you know what Grissom would say here, don't you?
David Phillips: Something ironic, I'm sure.
(David and the coroner pass by with the body. Nick nods.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Keppler and David Phillips roll the body on the table onto its side. Keppler looks at the back and cuts the shirt down the middle. He peels the material apart and finds the body's back is stapled together down the middle.)
Keppler: Looks like somebody took a staple g*n to him.
CUT TO:
[CU: X-RAY]
(X-ray images of the bones in the body's legs appear on the monitor as Dr. Robbins and Keppler look at the images on screen. They reach the thighs and they know they're not looking at bones.)
Robbins: Those aren't bones.
(Keppler leans forward and looks at the monitor.)
CUT TO:
(Robbins removes the s*ab in the body's back. He reaches in and pulls out a pipe.)
CUT TO:
(Robbins opens the back of the body's upper right thigh while Keppler opens the back of the body's upper left thigh. Robbins removes another pipe.)
(Keppler removes an umbrella. The umbrella pops open.)
(oops.)
(Keppler moves the umbrella aside and finds Robbins spattered with blood. Robbins looks drolly back at Keppler as he wipes the blood from his scrubs top.)
Keppler: That's bad luck, isn't it?
SMASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over his findings with Keppler, Nick and Greg.)
Robbins: ABC piping is sometimes used to replace bones that have been donated for transplants.
Keppler: So that the body looks right at open casket?
Robbins: Right.
Greg: They use umbrellas and broomsticks for that, too?
Robbins: Not that I've seen.
(Greg looks at the bottom of the umbrella and notices a distinct logo.)
Keppler: Wait a minute, they k*lled the guy and torched him; there's no open casket. What's the point of stuffing the body?
(Nick has his hands in the body.)
Nick: Looks like the long bones are gone ... ditto for the spine ... tendons and cartilage ... most major veins ... phew.
Robbins: They took the heart valves, too.
(Nick looks at the part of the heart that's left.)
Keppler: So somebody m*rder an ex-con, then commits arson to make it look like an accident just so that they can harvest his bones and tissues?
Robbins: That's big business -- disc replacement, joint replacement, bypasses-- more demand than supply.
Greg: Why leave the kidneys, the heart and the liver? They're worth big money, too.
Robbins: Organ donation is heavily regulated. Bone and tissue aren't.
Greg: COD?
Robbins: At this point, indeterminate. All I can say right now is based on the level of decomp, he's been d*ad at least a week.
CUT TO:
[INT. POLICE DEPARTMENT – BULLPEN – NIGHT]
(Sofia talks with Joe Boony.)
Joe Boony: You think I'm selling body parts? Come on, you're wasting your time. I sell refurbished engines. I don't know jack about body parts.
Sofia: No one's looking for a down-and-out ex-con. It's less risky than drugs.
(He points to the photo of Ross Neddy.)
Joe Boony: I hired Ross to weld metal together. Even if I k*lled him -- not saying I did -- but if even if I did, I'd just burn the body as is, not re-pipe the guy. And I definitely wouldn't burn him at work. f*re station's a block away.
Sofia: How do you know Ross? You meet him in the joint?
Joe Boony: I was out before he even went in. I picked Ross up with a bunch of other guys looking for work outside that big hardware store on Herrick four days ago.
Sofia: When was the last time you saw him?
Joe Boony: Four days ago. He'd been working nights.
Sofia: Really? 'Cause the coroner said he's been d*ad at least a week.
Joe Boony: You calling me a liar?
Sofia: I'd believe a d*ad guy over an ex-con.
Joe Boony: Ouch.
CUT TO:
[EXT. LAS VEGAS (STOCK) – DAY]
[EXT. NORTON RESIDENCE -- DAY]
(Brass, Warrick and Sara duck under the crime scene tape on their way to the large plush house.)
Warrick: Living large.
Brass: Mm.
Warrick: Place this big in MacDonald Ranch -- what's the occupation?
(Brass looks over his shoulder at the man leaning against the car.)
Brass: That's, uh, Bill Dorton. You know, Dorton Homes. Biggest homebuilder in town. He built mine.
Warrick: Huh.
(They reach the front door.)
Brass: Oh, uh ... you'd better throw on some booties.
CUT TO:
[INT. DORTON RESIDENCE – LIVING ROOM – DAY]
(The body is on the carpeted floor between the coffee table and the couch. The carpet is soaked with blood.)
Brass: Margo Dorton, age 39.
(Sara puts her kit down. Warrick snaps photos of the body and surrounding areas.)
Brass: Her husband said he returned from a business trip and found her like this. No sign of a forced entry. My guys are gonna go talk to the neighbors, see what they say about their relationship.
(Brass turns to leave.)
Warrick: What did he say?
Brass: According to him, it was a honeymoon every day.
(Brass leaves. Warrick turns and looks at Sara. Sara shrugs.)
Sara: Maybe ... she was having a honeymoon with someone else.
Warrick: That'll be good motive for the husband.
(Sara notices the patch of blood-free couch.)
Sara: There's a void here. Maybe someone was sitting on the couch, or someone was sitting on the floor in front of the couch.
Warrick: But then where's the "someone else"? I mean, why k*ll her and not the lover?
(Quick flashback to: Bill Dorton sits on the couch and is kissing someone else. His wife walks in.)
Warrick: (V.O.) Maybe the husband was the one having the honeymoon and the ... the wife walks in.
(End of flashback. Resume to present.)
Warrick: He kills her, tells his lover to b*at it.
Sara: I'd buy it. Unless the husband's alibi checks out.
CUT TO:
[EXT. DORTON RESIDENCE – FRONT – DAY]
(Brass talks with Bill Dorton.)
Bill Dorton: Airport. I was coming home from the airport. It's a business trip. Caught an early flight to surprise Margo. I want your best cops on this. I contributed a lot to this community.
Brass: Absolutely. Let's establish a timeline. What time did your plane land?
Bill Dorton: Around 10:30.
Brass: 10:30. And you arrived here at ...
Bill Dorton: Midnight.
Brass: Well, it took you an hour and a half at that time of night to get from McKaren to here?
Bill Dorton: (crying) A half an hour waiting for baggage check, and half an hour to find my driver, and a half an hour to get home.
[INT. DORTON RESIDENCE]
(Warrick finds a ticket and key in Margo's purse.)
Warrick: Look at this. Valet ticket. Nice purse. Nice dress. Maybe safe to say she went out last night. Maybe this will tell where.
(Sara finds some hair.)
Sara: Maybe this ... will tell us who.
(Warrick snaps a photo. He looks down and sees the trail of blood.)
Warrick: I'm gonna follow a little lead I got.
(Warrick follows the blood drops into the bathroom. The blood drops lead to the toilet. There's a drop on the seat. He takes a swab sample of it. There's also a stain on the floor. He tests the stain. It's positive for blood.)
Warrick: (V.O.) Well, I found a circular blood transfer in the bathroom ...
(Warrick reports his findings with Sara.)
Warrick: ... about three inches in diameter.
(They look around and see the bottle on the table.)
Sara/Warrick: Champagne bottle.
(Sara checks it.)
Sara: Looks like it's been wiped down.
Warrick: Looks like we found our m*rder w*apon.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY]
(Keppler cuts off a finger and sticks it in a liquid-filled sample container. He adds some powder to the container and shakes it.)
[INT. CSI – PRINT LAB]
(Back at the lab, he injects the solution into the finger, then takes a print off the finger.)
(He runs the finger through the database and finds a match to a ROGER LAPINSKY.)
(He runs the name ROGER LAPINSKY through SPYDER FINDER. He finds an obituary.)
[CU: HEADLINE]
(The online headline reads: Roger Lapinsky Dies at age 37.)
Nick: (V.O.) So the crispy critter isn't Ross Neddy?
[INT. CSI – HALLWAY -- DAY]
(Keppler shares his findings with Nick.)
Keppler: Nope.
Nick: Let me get this straight. The ex-con digs up a corpse, scoops out a few body parts to sell, then fills it back up with PVC and umbrellas, then torches the body where he works to make it look like he's the victim?
Keppler: Cops don't come looking for you if you're already d*ad.
Nick: But if this Lapinsky guy was already d*ad, then how come the doc didn't find traces of embalming fluid?
Keppler: He's Jewish.
Nick: So what?
Keppler: Observant Jews don't believe in embalming or donating organs. It's part of their faith. They think the body should go out the way it came in.
Nick: So, this isn't just about desecration of the body, but of the family as well.
Keppler: Mmm-hmm.
Nick: I'll get a court order for the exhumation.
(Nick heads off in one direction, Keppler heads off in the other. We stay with Keppler.)
[INT. CSI – KEPPLER'S OFFICE – DAY – CONTINUOUS]
(Keppler walks into his office and puts his cup down on the desk. He looks through his mail and stops on a particular envelope. He opens the envelope.)
(Inside is a funeral program for:
AMY MCCARTY
JUNE 28, 1969 – JANUARY 22, 1983
You are cordially invited to a celebration of life in remembrance of Amy.
January 22, 2007
7:00 pm
St. Martine's Church
5689 Gelson Way, Trenton, New Jersey
(Keppler sits down. He flips the program over and finds a note:
We missed you this year kiddo.
Be well.
Fr. Anthony
(Keppler takes a deep breath. He looks at Amy's photo on the cover.)
CUT TO:
[INT. CSI – TRACE LAB]
(Hodges is looking through the scope when Warrick walks in.)
Warrick: What you got?
Hodges: Well, looks like your k*ller wigged out on your vic.
(He steps aside and Warrick looks through the scope.)
Hodges: Use the polarizer. The pink fiber's modacrylic with low birefringence. Most likely made of elura.
Warrick: Synthetic hair. So much for DNA.
Hodges: And the substance you found in the toilet -- if it looks like vomit and smells like vomit, it is.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Sara reports her findings to Catherine.)
Sara: The champagne glasses were negative for DNA, and Mandy found nothing but smears and partials on them. And the blood from the champagne bottle just came back to the vic.
Catherine: Any good news?
Sara: Well, I called the phone number on the valet stub. It was a company called Chariot Parking. They operate the parking lots at thirty restaurants and nightclubs.
Catherine: Oh, well, that narrows it down.
Sara: Actually, it does. The ticket on Margo Dorton's key ring came from a batch at the Over-Under Cabaret.
CUT TO:
[INT. OVER-UNDER CABARET]
(Warrick and Sara enter the club. Warrick stops a dancer and shows her a photo.)
Warrick: Excuse me, have you seen this man?
(She looks at the photo and shakes her head.)
Dancer: No. Warrick: No. Thank you.
(Warrick and Sara continue through the club.)
Announcer (over speakers): All right, guys! Listen up! Get ready for tonight's panty auction!
(The crowd applauds.)
(Sara walks up to a worker and shows her the photo.)
Sara: Hello. Have you seen this man?
Dancer: No.
(Dancer leaves.)
Announcer: All right. For our first pair, starting at the low price of $50, Cotton Candy! Doesn't accept checks, just cold, hard cash.
(The first dancer appears on stage. She's wearing pink underwear and a pink wig.)
Warrick: Check out the pink wig.
(The crowd goes wild. Sara holds up her badge just as the dancer takes her panties off.)
Sara: Bid!
(Cotton Candy stops. Sara smiles at her.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. OVER-UNDER CABARET]
(The officers hold Cotton Candy as Warrick handles her pink wig.)
Cotton Candy: Come on, come on. Why you got to take the wig? Wig's part of my act.
(Warrick hands the pink wig to Sara.)
Cotton Candy: Y'all are straight stealing from me right now! Hello!
Warrick: I'm crying for you.
(Sara examines the wig.)
Sara: Synthetic. Same color and texture as the one that we collected off the vic.
(Warrick motions to the officer, who puts handcuffs on Cotton Candy.)
Cotton Candy: Whoa, wh ... Hey, hey, hey! Look, look, look, look, look. Look, we didn't even have sex, okay? It was all touchy feely. Jerky treats.
Warrick: What are you talking about?
Cotton Candy: The guy I took into VIP right before panty auction. Look, man, all we did was touch.
Warrick: Why do you think you're being arrested?
Cotton Candy: Solicitation, right?
Sara: No, actually. We found this hair on this woman's d*ad body.
Cotton Candy: Margo? She's d*ad? And you think I k*lled her?
Warrick: With or without the help of her husband.
Cotton Candy: No, no, no. Look, man, I never seen dude in that picture. And Margo, yeah, I'll admit, I slapped the ho around last night, but I didn't k*ll her.
Sara: You slapped her around?
Cotton Candy: She's always hanging out with my fiancé, okay? I couldn't take it anymore, so ... yeah.
(Quick flashback to: Margo is walking when Cotton Candy runs out and tackles her.)
Cotton Candy: (screams) Bitch!
Margot Dorton: Get off of me! No!
Man: Hey, hey, hey, hey!
(A man grabs Cotton Candy from behind and pulls her off Margo.)
Cotton Candy: Get off!
(End of flashback. Resume to present.)
Sara: Why would Margo Dorton be hanging out here with your fiancé?
Cotton Candy: He works upstairs.
Warrick: Upstairs?
Cotton Candy: Look, honey, they don't call this the Over-Under for nothing, all right?
Sara: What's your fiancé's name?
Cotton Candy: Jesse.
Warrick: Take her downtown. We're going upstairs.
Cotton Candy: Are you serious? I didn't do anything.
(Warrick and Sara leave Cotton Candy with the officer. He puts handcuffs on her.)
Cotton Candy: (o.s.) Come on, man.
[INT. OVER UNDER CABARET -- UPSTAIRS]
(Sara and Warrick walk through the corridor. On each side of the hallway are rooms. They peer into room 16 and see a man and a woman sitting at a table.)
(They continue to the next room. In room 17, there's a gathering inside.)
(They stop at the next room where two women are looking through a binder full of photos of men.)
Sara: Is this a restaurant?
Warrick: If it is, I'm scared of the menu.
(There's a bar and a bartender in the large room at the end of the hallway..)
Warrick: The bus boy looks likes he's in charge of stocking the champagne. I'm gonna have a word with him.
Sara: Okay.
(Warrick walks away.)
(The head host walks up to Sara.)
Head Host: Would you like a Meet Book or do you have a steady host?
Sara: Uh, actually, it's my first time. What exactly goes on here?
Head Host: This is a host club, a place where men entertain women. It's the first of its kind in Las Vegas. They started in Japan. Take your pick.
(He offers her a thick binder. Sara takes it and looks through it.)
Head Host: Hosts get paid by the bottle. There's a two-bottle minimum. Bottles range from $50 to $5,000.
Sara: What's a $5,000 bottle of champagne taste like?
Head Host: We only sell one brand of champagne. It's the host attached to the bottle that determines price.
Sara: Oh. Everything is legal in Clark County.
Head Host: Miss, we don't sell sex here.
Sara: What do you sell?
Head Host: A relationship. Isn't that what most women want?
(She flips through the book and stops at a photo.)
Sara: I don't know. But I know what I want. I want Jesse.
Head Host: Who doesn't? Let me see if he's avail.
(He takes the binder from her, turns and leaves Sara. Sara looks inside the room where one man sits with three women. The host approaches the man and talks to him. It's Jesse.)
[WARRICK]
(Meanwhile, Warrick has a chat with the bus boy.)
Bus Boy: Never seen the old guy before, but the lady, a bunch. Last night, she got blasted on by one of the strippers downstairs.
Warrick: Really?
(Someone retches. Warrick turns and sees two men run into the men's room.)
Warrick: Are they doing what I think they're doing?
Bus Boy: Hosts get paid by the bottle. So they drink more than their stomachs can handle. Always see blood in those toilets.
(Warrick nods.)
[SARA]
(Jesse approaches Sara.)
Jesse Hottman: Ah, just off work, huh?
Sara: Just on, actually. Sara Sidle, Crime Lab.
Jesse Hottman: Oh. What can I do for you?
Sara: Do you know this woman?
Jesse Hottman: Ah. Lady Dorton. Yeah, she's one of my relationships.
Sara: Could I ask you a few questions about her?
Jesse Hottman: Okay. Um, I don't like to talk about my relationships out here. Let's take it someplace a little more intimate, yeah?
Sara: Okay.
(He takes her hand and leads her away.)
CUT TO:
[INT. CSI – GARAGE]
(The coffin is wheeled into the garage. Keppler puts on his gloves.)
Nick: The coffin had only been in the ground for about a week. Dirt and sod were pretty loose, so it was relatively easy to take out and put back in.
Keppler: You guys sure do a lot of exhumations here.
Nick: As many as we have to.
(Keppler and Nick each grab a cover. They open the coffin and find it empty of a body.)
Keppler: Nobody home.
Nick: No surprise.
(Keppler takes out his flashlight while Nick snaps photos of the inside of the coffin.)
(Keppler finds a piece of cloth caught in the wood.)
Keppler: Look at this. (He picks it up.) Lapinsky may have been b*rned in this shirt, but I doubt he was buried in it.
Nick: d*ad men don't wear plaid. (Nick finds something.) Wait a minute. Is this blood?
(Nick points to the red spots at the bottom of the box.)
(Quick flash to: Someone opens the coffin, catches his sleeve on the wood and tears it with some of his skin. End of flash.)
Keppler: d*ad men don't bleed.
(Nick snaps photos of the blood.)
CUT TO:
[INT. OVER-UNDER CABARET -- UPSTAIRS]
(Sara talks with Jesse Hottman.)
Sara: How did you meet Margo?
Jesse Hottman: Uh, she picked me from the Meet Book.
Sara: And then what?
Jesse Hottman: Uh, she wanted what most women want.
Sara: What's that?
(He offers her a drink. She declines.)
Sara: No, thank you.
Jesse Hottman: The dream.
Sara: And that's you.
Jesse Hottman: 50 G's I make a month says I am. Who doesn't want to be swept off their feet?
Sara: I am not sure it's something that I would pay for.
Jesse Hottman: Yeah, but you don't want to spend your whole life waiting for it either. Right here, right now, a woman can have a relationship with a man who only wants to please her -- who can make her laugh, wipe away her tears, give her the confidence to be herself.
Sara: And how many of these relationships do you have?
Jesse Hottman: I can handle about twenty-five at a time.
Sara: Is a woman named Cotton Candy one of them?
Jesse Hottman: Yeah. She's been financially worshipping me for a while.
Sara: Now, she says that she is your fiancée.
Jesse Hottman: That's good. Means I'm doing my job.
Sara: She told me that she and Margo had a scuffle.
Jesse Hottman: Yeah. Um ... my relationships do get jealous sometimes, especially when one has more money than the other and can monopolize my time. Is that why you're here, because of that little catfight?
Sara: No. Um, Margo Dorton was ... bludgeoned to death with a bottle of champagne.
Jesse Hottman: Margo was ... k*lled?
Sara: Yeah.
Jesse Hottman: And you think Cotton Candy k*lled Margo?
Sara: What do you think?
Jesse Hottman: Um ... I wouldn't know.
Sara: Would you know if Margo took you home the other night?
Jesse Hottman: I don't see my relationships outside of here. You know, if it does happen, it marks the end of the relationship. I mean, by having sex with me, a woman's reached her goal. There's nothing more I can give her.
Sara: Did Margo's husband know about you?
Jesse Hottman: She told me she was divorced.
Sara: Well, Jesse ... I'm, uh, sorry for your loss.
(Sara stands up and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – DNA LAB – DAY]
(Wendy reports her findings to Keppler.)
Wendy Simms: I ran the blood from the coffin through CODIS, and I got a h*t, but it's not Ross Neddy.
Keppler: So he's got a partner.
(Wendy sits at the computer.)
Wendy Simms: Well, DNA matches a Heidi Sultz, who did time for domestic as*ault and is currently out on parole.
Keppler: That's funny. Ross Neddy did time for domestic as*ault, too. Maybe they're sparring partners.
CUT TO:
[EXT. SULTZ RESIDENCE – DAY]
(Sofia and Keppler get out of the SUV.)
Sofia: This is Heidi's last known. According to her PO, she's been trying to straighten out. She's detoxed, got a job. She's dumped Ross Neddy.
Keppler: She may be taking the right steps, but she definitely hasn't cleaned up.
(They head for the front door.)
CUT TO:
(Heidi opens the door.)
Mitchell: Las Vegas PD.
Sofia: Heidi Sultz?
Heidi Sultz: What's going on?
Sofia: You're under arrest.
Heidi Sultz: Why?
Sofia: Where's Ross?
Heidi Sultz: I haven't seen that dog in weeks.
Mitchell: Anyone else living here with you?
Heidi Sultz: Yeah, my baby and my new boyfriend, Charlie.
Keppler: Where are they?
Heidi Sultz: Out back, hanging out.
Sofia: Put her in the car.
(The officer takes her to the car.)
CUT TO:
(Out back, the baby's in the playpen while Charlie is sleeping in the nearby chair. Sofia takes out her g*n.)
Sofia: Ross. Wake up, sugar.
Ross Neddy: (absently) Hey, baby. (He opens his eyes and sees Sofia.) My name's Charlie, Charlie Keefer.
Sofia: Get on the wall.
(Charlie stands up.)
Ross Neddy: I got ID. It's in my jeans.
(The officer pulls the wallet out of Charlie's pocket. He tosses it to Keppler.)
Keppler: Where'd you get this, the dollar store? Have a seat, Ross.
(Ross Neddy sits down.)
Keppler: This is your third strike, pal. Right now you're looking at a minimum of 25 years. You want to talk to us? We can make sure it doesn't get any worse. What do you say?
(The baby fusses in the playpen.)
Ross Neddy: Daddy will be right there, sweetheart.
Sofia: It's ten more for falsifying an ID. Fifteen for grave robbing. Arson, that's another ten.
Keppler: Desecrating a corpse, ten; another twenty for tr*ffick body parts.
Ross Neddy: Body parts? No way. I thought those cuts were from, like, an autopsy.
Sofia: So you admit to digging up Roger Lapinsky?
Ross Neddy: I've been out two months and the best job I can get is five bucks an hour welding engine parts together. They wouldn't even let me flip burgers. Heidi just had the baby. It wasn't like it was gonna hurt anyone.
(Quick flashback to: Ross and Heidi dig up a corpse and set it on f*re.)
Ross Neddy: (V.O.) We dug up someone my age, took him to work. Made him look like me. And then we torched it.
(End of flashback.)
Ross Neddy: All I was looking for was a fresh start. Best way to make it happen was to k*ll myself.
Keppler: Should've stuck with the five bucks an hour.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins goes over the preliminary findings with Catherine.)
Robbins: Whoever did this, must've been pretty angry.
Catherine: Let me guess, multiple BFT?
Robbins: You got it. Fractured skull, broken nose, cheek bones. Take a look. Defensive wounds consistent with a cylindrical object.
Catherine: Warrick found a bloody champagne bottle at the scene.
Robbins: That'll do the trick. But the death blow came in the neck area. Impacted her Adam's apple with so much force, ...
(Quick CGI to: The champagne bottle hits the side of the neck. The shock hits the nerve, sending pulses to the brain, then down to the heart.)
Robbins: (V.O.) ... it sent a flex arch to the vagus nerve, causing a stimulus to the heart. Bradycardia set in, causing the heart to slow and eventually to stop.
(End of CGI flash.)
(Hold on the body of Margo Dorton on the autopsy table.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass and Catherine interview Cotton Candy.)
Brass: So where'd you go after the fight with Margo?
Cotton Candy: Back to the pole.
Brass: You're a real workaholic, huh?
Cotton Candy: Look, man, the more I work, the more I can be with Jesse.
Catherine: I know how hard it is to wiggle your ass all night. Now, why would you want to spend all your hard-earned money on a guy whose job it is to be with you and 24 other women?
Cotton Candy: He doesn't care about them.
Brass: Now you know this is not a real relationship. It's a business transaction.
Catherine: He's doing the same kind of thing that you are doing on the pole for the guys.
Cotton Candy: Those guys, they can't see past this, okay? I am more than a piece of meat to Jesse. Okay? He-he-he doesn't judge me. All right? He doesn't blow me off. He makes me smile, you know? He heals me, he heals me when I'm down. He makes me feel like I am Mrs. Steve Wynn.
Brass: Hmm.
Cotton Candy: Now we're going to get married, real soon.
Brass: Can you show me some verifiable proof of where you were the night Margo was m*rder?
Cotton Candy: I was in VIP with this pit boss, Joe Brodsky -- works at the Olympia. But he's married and he'll probably deny it. But I can prove it to you if you give me my wallet right now.
Brass: Sure. Okay, go ahead.
(The officer puts her bag on the table. She digs inside and takes out several hundred dollar bills, holding it gingerly by the corner.)
Cotton Candy: There it is.
(She fans them out and puts them on the table in front of Brass and Catherine.)
Cotton Candy: Right there. He paid me with those. Brand-new, straight from the bank.
Catherine: And what would you like us to do with those?
Cotton Candy: You're a CSI. You can take a print off of there, easy ... duh.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Keppler is looking at the miniature diorama. Sara walks by and enters the office.)
Sara: Hi. What are you doing?
Keppler: Just looking.
Sara: What do you think?
(He looks at the various dioramas in the plastic cases.)
Keppler: Meticulous. Obsessive. Clearly knows his way around a modeling kit.
Sara: Grissom didn't make those.
Keppler: No? Hmm. Fits the profile. Bugs in bottles, the Darwin desk set.
Sara: He's a bit of a collector of certain things.
Keppler: Yeah, I knew a guy in Philly like that. Kept a case of thumbs in his closet.
Sara: Friend of yours?
Keppler: No, a serial k*ller.
Sara: Do you miss it?
Keppler: What?
Sara: Philly.
Keppler: No.
(Keppler leaves the office.)
(We hold a moment on the box on Grissom's desk and additional mail piled up on the box.)
(Sara takes a moment and walks up to the t*nk. In the t*nk, she placed the cocoon and branch Grissom sent her.)
DISSOLVE TO:
[CU: LETTER]
(VARIOUS DISSOLVES: Grissom sits behind his desk and writes Sara a letter. Parts of it read:
Sara,
Our parting was awkward. I don't know why I find it so difficult to express my feelings for you ... even though we're far apart, I can see you as vividly as if you were here with me ... I said I'll miss you, and I do.
Sonnet #47
Betwix my eye and heart --
(He finishes the letter and looks at it. He folds it and puts it in an envelope. He addresses the envelope:
SARA SIDLE
1623 WEST
(He stops and takes his glasses off. We hold on Grissom.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – HALLWAY – DAY]
(Nick walks out into the hallway and is surprised to see Greg. Greg is carrying a folder.)
Nick: Hey, thought you had a deposition.
Greg: Oh, it got postponed. So I did a little follow-up on tissue procurement companies in the area. Turns out there's only two in the state. One is out in Summerlin. It's called Longevity Tissue Services. Check this out.
(He takes out a web page printout and points to the logo in the corner.)
Nick: That's the same logo you found on the umbrella that was in Lapinsky's leg.
Greg: Yeah. It's the Chinese character for "long life."
CUT TO:
[INT. LONGEVITY TISSUE SERVICES – LOBBY – DAY]
(Sofia talks with the owner, Ty Miloni, while Nick looks around the office.)
Ty Miloni: So, what can Longevity do for the LV Police?
Sofia: We need to know if your company received tissue or bone from a Roger Lapinsky.
Ty Miloni: What's the problem?
Sofia: There might not be one.
Ty Miloni: All right. Well, I'd be happy to check. Will you excuse me, sweetie?
(He goes to the computer and types in a search. The computer beeps.)
Ty Miloni: Yep, there he is. Roger Lapinsky, 37 years old, died of cardiac arrest. It's tragic.
Sofia: We're going to need a copy of his records, and we're going to need to confiscate his parts.
Ty Miloni: And if you don't tell me what's going on, you're going to need a warrant.
(He turns the computer monitor away from their view.)
Nick: This is a criminal investigation. Those parts are evidence now.
CUT TO:
[INT. LONGEVITY TISSUE SERVIES – STORAGE – DAY]
(Nick takes a bagged bone out of the refrigeration unit.)
Nick: You know, I was always under the impression that the body parts were to be removed at the hospital.
Ty Miloni: Major organs have to be removed at the hospital and then transplanted into the new patients within four to six hours, but bone and tissue can be removed at any point and stored for up to five years.
Sofia: Who gives you access to those parts?
Ty Miloni: I always have signed consent from next of kin.
Nick: And?
(Nick takes the bones and tissue and puts them in a chest.)
Ty Miloni: Most funeral homes have tissue recovery coordinators. They choose who the parts go to. If you have a good reputation, you have a better chance of getting the parts. I help the d*ad help the living.
Sofia: According to your records, Roger Lipinsky's body parts came from the Silver Hills Mortuary.
Ty Miloni: If that's what it says.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Warrick is placing the crime scene photos on the table. Sara walks up to him.)
Sara: Hey.
Warrick: So you heard Cotton Candy's alibi checked out?
Sara: Yeah.
Warrick: And Brass talked to Mr. Dorton's limo driver. Confirms his story, he got home way past TOD.
Sara: I don't get it, Warrick. The vic is in a good marriage, and she's spending thousands on a "fake" boyfriend that she's not even having sex with.
Warrick: It doesn't make any sense. Like this void on the sofa for instance. It suggests the presence of a third person, but we don't have any evidence to back that up.
Sara: Maybe it's not a person. Maybe it's a thing. Rectangular, roughly, what, 11 by 14 inches?
Warrick: It was obviously important enough that the k*ller took it.
Sara: What if he didn't take it?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. DORTON RESIDENCE – LIVING ROOM -- NIGHT]
(Sara is back at the crime scene looking at the blood spatter on the couch. She looks around the area. She heads to the bookshelf and looks at the items on the shelf. She finds that the albums are out of sequence – 1986, 1988, 1987, 1989.)
(She takes the 1987 album off the shelf and opens it. She flips through the pages and finds a couple covered with blood. Its labeled, CHRISTMAS 1987. Photos are of a young Margo carrying a baby.)
(Sara looks at the blood void on the couch and visualizes the photo album open – one side on the side of the couch, the other side on the floor.)
(Quick flashback to: Margo Dorton is on the floor between the coffee table and the couch. She's on the open photo album as the k*ller att*cks her. End of flashback.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT]
(Sara shows the photo of Margo and the baby to Bill Dorton.)
Sara: Whose baby is this?
Bill Dorton: Margo's.
Brass: I remember, Bill, you telling me that you didn't have kids.
Bill Dorton: We don't ... or I don't. She gave him up right after we met. She was seventeen. And I didn't want any kids.
Sara: Who'd Margo give the baby to?
Bill Dorton: The biological father, but he was a drunk. Last we heard, the kid ran away.
Sara: She was looking at these photos when she was k*lled.
Bill Dorton: Yeah. She started taking them out ever since she h*t menopause.
Brass: Wasn't she a little young for menopause?
Bill Dorton: They call it premature menopause and she was having a tough time with it. The mood swings, the "brain fog," the emotional detachment.
Sara: The finality of not having any more children.
Brass: Bill ... did you know that Margo was frequenting um ... a so-called host club, and paying money to a male escort?
Bill Dorton: No. She was paying for sex?
Sidle: She was paying ... for companionship.
(Bill closes his eyes.)
CUT TO:
[INT. SILVER HILLS MORTUARY]
(Salvatore Heinz, a certified tissue recovery coordinator, is working on the latest body. We hold on a TISSUE RECOVERY certificate hanging on the wall.)
(Keppler and an officer walk in.)
Keppler: I'm looking for Salvatore Heinz.
Salvatore Heinz: You got him.
Keppler: Mike Keppler, Las Vegas Crime Lab.
Salvatore Heinz: Sorry if I don't shake. I, uh, hope you don't mind if I keep working here. I'm kind of on a deadline. That's mortuary humor.
Keppler: I'm sure it never gets old. We're following up on a body that came through here. Roger Lapinsky.
(Keppler shows Salvatore Heinz a photo.)
Salvatore Heinz: You know, he does look familiar. I believe he's spending his eternal rest at Horizon Meadows Cemetery.
Keppler: Not anymore. Someone dug him up.
Salvatore Heinz: Aw, geez. You know, sometimes I wonder what the heck is going on with the world these days.
Keppler: His major bones, veins and tendons were all stolen.
Salvatore Heinz: Recovered! Not stolen. I'm a certified tissue recovery coordinator.
Keppler: Oh, yeah? That where you learned how to stuff the bodies with umbrellas?
Salvatore Heinz: That was a one-time thing. I ran out of PVC pipe, and, uh ... so I improvised.
Keppler: Understandable.
Salvatore Heinz: Look, it was a closed casket service, and uh ... I have a signed consent form.
Keppler: Where? If you don't mind, I'd like to take a look at that.
Salvatore Heinz: Sure. Anything for LVPD.
(He goes to the filing cabinet and opens the drawer. Keppler follows him and notices the stack of umbrellas from Longevity Tissue Services.)
Keppler: I take it you do a lot a work with, uh ... Longevity Tissue Services?
Salvatore Heinz: Some.
(He looks back and notices Keppler looking at the umbrellas.)
Salvatore Heinz: Those are just promotional items.
Keppler: Handy in a pinch, huh?
(Keppler sees the death certificates on the desk. The filing cabinet drawer closes and Salvatore Heinz hands Keppler the file.)
Salvatore Heinz: Lapinsky, Roger. It's all yours. I got copies.
Keppler: Thanks.
Salvatore Heinz: COD, cardiac arrest.
Keppler: Everything seems to be in order here.
Salvatore Heinz: Like I said.
Keppler: Thanks for your time.
(As Keppler heads for the door, his phone rings. He answers it.)
Keppler: (to phone) Keppler.
Robbins: (from phone) Robbins here. Want a COD on your Frankenstein?
Keppler: (to phone) b*at you to it -- cardiac arrest.
Robbins: (from phone) Not according to histology. Roger Lapinsky died of leukemia.
(Keppler puts his phone on speaker mode and holds it out so Salvatore Heinz can hear.)
Keppler: You want to repeat that, Doc?
Robbins: (from phone) Sure. Roger Lapinksy died of leukemia.
Keppler: Thanks. (He hangs up.) If you don't mind, I'll, uh ... stick around here till the warrant comes.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAYOUT ROOM]
(Keppler shows Nick the two death certificates.)
Keppler: I got a copy of Roger Lapinsky's death certificate from Carson City. This is the one we got from the mortician, that old nut job, see? Changed the COD.
Nick: It turns out, Ty Miloni ... is a bit of a hustler as well.
(Nick shows Keppler a copy of a LAS VEGAS GLOBE article.)
Nick: Those umbrellas were a promotional gift for a vitamin telemarketing company he ran a few years back.
Keppler: This guy isn't even a doctor.
Nick: He did drop out of chiropractic school.
Keppler: You're telling me that any Tom, Dick, or Harry with a sign can open up a tissue bank?
Nick: Well, if you're FDA registered, yeah.
Keppler: How do you get FDA registered?
Nick: You just fill out a form. In the last three years, 37 of the bone and tissue donors were from Silver Hills Mortuary that went to this Longevity clinic.
(Nick shows Keppler the database list with the items highlighted.)
Nick: COD in 23 of those cases was cardiac arrest. And most of those decedents were in their thirties and forties.
Keppler: That's a lot of young heart att*cks. We're going to go through all these COD's and match them up against the official death certificates.
Nick: And do more exhumations.
Keppler: The only thing I'm wondering -- is the mortician hustling the tissue bank guy or they're working together.
[CU: EVIDENCE/PROPERTY BAG LABEL]
(It reads:
AGENCY: CSI CASE NO. 1716
ITEM NO. OFFENSE.
SUSPECT: LVPD 0702011716NS
VICTIM
DATE AND TIME OF RECOVERY: 2-1-07
RECOVERED BY: NS
DESCRIPTION AND/OR LOCATION
DESKTOP EVIDENCE
S. HEINZ
SEALED BY: NS DATE: 2-1-07
(Keppler puts the items down on the table. He looks at the two death certificates and then notices the desktop calendar. He takes the calendar out of the box and looks at the indentions on the paper.)
(He scans the paper in the computer, then dusts the paper to bring out the indentions.)
(Quick flash of: Salvatore Heinz writes over the signature, then flips to the death certificate to forge the signature. End of flashback.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1]
(Keppler shows Salvatore Heinz a photocopy of the various signature indentions found on his desktop calendar.)
Keppler: Dr. Stewart, Dr. Klein, Dr. Combs, Dr. Jones.
Salvatore Heinz: That's not my handwriting.
Keppler: Well that's the point of forgery, isn't it, Mr. Heinz? A man dies of leukemia, and his body comes into your mortuary, and you decide to ... sell his spare parts for a few extra bucks. Only problem is, nobody wants to buy diseased body parts, so you make a new death certificate, change the COD, sign off with a legit doctor's signature, and cash a check from Ty Miloni.
INTERCUT WITH:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 2]
(Sofia interviews Ty Miloni.)
Ty Miloni: I'm so disappointed with Mr. Heinz. He always seemed so honest.
Sofia: Have you ever followed up on any of the patients who received parts from the Silver Hills Mortuary?
Ty Miloni: No. That's the hospital's job. But as far as I know, none of the recipients have ever complained.
Nick: Maybe that's 'cause they're not around anymore. We followed up on several patients who received Silver Hills bone and tissue from your clinic and now seven of them are d*ad. Three from hepatitis, three from cancer, and one AIDS-related. The same thing ironically k*lled the donors.
Sofia: One of those victims was a 15-year-old healthy high school soccer player. You gave him a contaminated kneecap.
Ty Miloni: Oh, my God.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1]
Salvatore Heinz: He came to me!
Keppler: You harvested diseased body parts and sold them under false pretenses.
Salvatore Heinz: He told me what to do. He ... he said it was safe!
Keppler: But you didn't have to do it, did you, Mr. Heinz? You took money, and people died. Now, whether or not we got him -- we got you.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 2]
Ty Miloni: You've got nothing on me. I don't care what that .. little body snatcher tells you.
Sofia: The families are going to sue you and your company into bankruptcy.
Ty Miloni: They can try. That is what signed release forms are for.
Nick: You're reopening a very nasty, old wound for them, now.
Ty Miloni: Uh-uh. I didn't do anything.
Sofia: Because of you ... they're going to have to rebury their mother, their father, their son, their daughter.
(Ty scoffs.)
Nick: Ty ... let me tell you something. I'm gonna come down to that clinic ... and I'm going to go through it piece by piece by piece. And if something doesn't jibe, I can assure you, sir, I will find it.
Ty Miloni: Well, that is your job, isn't it?
Nick: Yes, it is.
Ty Miloni: And you'll have my full cooperation.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – HALLWAY – DAY]
(Sara reads a file and shares her findings with Warrick.)
Sara: I did a little background on Jesse, the host. He was in and out of eleven different foster homes. Brass accessed his juvie records. He had multiple arrests for prostitution, and drug possession.
Warrick: Kid had a hard life if he had to take it to the streets to make a buck.
Sara: We still need his DNA, and if he did k*ll Margo, he's not just gonna give it up.
Warrick: What about the vomit that we found in the toilet at the crime scene?
Sara: What about it?
Warrick: Well, the hosts drink a lot and throw up a lot. Busboy says he always finds blood in the toilets. If Jesse's a host, chances are he's throwing up blood, too.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Sara interviews Jesse Hottman. She shows him the DNA results.)
Sara: Jesse, we found your DNA in Margo Dorton's toilet. I thought that you said that you didn't see your relationships outside of the club.
Jesse Hottman: Unless, of course, the relationship is ending.
Brass: Oh yeah, that's a cold word for it -- for m*rder.
Jesse Hottman: I didn't k*ll her, all right? I ended the relationship and I bounced. Champagne got me sick.
Brass: No, I don't think it was the champagne, Jesse. I think it was Margo. She was coming to see you for a couple of months, spending a lot of money, you were running your pro-game, you know, doing the host thing. Holding her hand, touching, consoling her. Laying on the old Jesse magic. But then she laid some pretty heavy information on you.
(Quick flashback to: Margot talks with Jesse.)
Margot Dorton: I want you to come home with me.
Jesse Hottman: So you want to end the relationship?
BACK TO SCENE.
Brass: I guess you thought, you know ... here's Margo, this cougar ... wants to take me back to the love pit, end the relationship. Sexy time. But it didn't turn out that way, did it?
(Quick flashback to: Margot and Jesse are sitting on her couch. Jesse tries to kiss her. She pulls away.)
Margot Dorton: Jesse, I ...
(He tries to kiss her again.)
Jesse Hottman: Shh ...
(She pushes him away.)
Margot Dorton: Jesse, no.
(She smiles at him.)
Margot Dorton: Look, um ... I have something I need to show you. Okay?
(She stands up and gets the photo album. She shows him photos of her with the baby.)
Margot Dorton: This is you. I'm your mother, Jesse. I've waited my entire life to tell you this. I love you. I'm sorry.
(He picks up the champagne bottle and beats her.)
Margot Dorton: No!
(She falls to the couch.)
(CUT TO: Margot is d*ad on the floor, the photo album under her. Jesse looks around. He runs to the bathroom, puts the champagne bottle on the floor and throws up in the toilet.)
(He picks up the bottle and wipes it.)
BACK TO SCENE.
Brass: You look a little pale, Jesse. Are you getting this?
Jesse Hottman: She lied to me. Said she hired some private investigator to find me. Said she'd been building up the nerve to tell me the truth. Said she had a lot to make up for. And that, uh ... I could have her car. And that I didn't have to work anymore.
Sara: You thought those were lies?
Jesse Hottman: (nods) Yeah, lies to get closer to me. All my clients have their tactics. But hers was ... insane.
Sara: She wasn't lying to you, Jesse. You have 13 alleles in common. You k*lled your mother.
Jesse Hottman: (upset) Then take me to jail. You know, call me a k*ller ... a m*rder, whatever, but don't tell me I have a mother ... because I don't. I never did. And I never will.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – EARLY EVENING]
[INT. CSI – KEPPLER'S OFFICE]
(Keppler sits behind his desk, looking at the funeral program for AMY McCARTY.)
(He shakes himself and slips the program back into his folder. He gets up and leaves the office.)
CUT TO:
[INT. CSI – HALLWAY OUTSIDE FORENSIC AUTOPSY]
(Keppler heads for autopsy. Nick walks out, his arms full of evidence bags from the Longevity Tissue Services.)
Nick: Hey.
Keppler: Need some help?
Nick: Aren't you off shift?
Keppler: Yeah. Are you?
Nick: Yeah. Yeah, thanks. I'll be back in a minute.
(Nick leaves.)
[INT. CSI – FORENSIC AUTOPSY -- CONTINUOUS]
(Keppler walks into Autopsy. There's a dark-haired woman on the table. When Keppler looks at her, he sees AMY McCARTY in her white nightgown.)
(We hold on Keppler.)
Voice: (o.s.) (whisper) Keppler?
(Keppler turns around and looks behind him.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x14 - Meet Market"} | foreverdreaming |
FADE IN:
[EXT. (PHILADELPHIA) STAIRS TO BUILDING – NIGHT -- FLASHBACK]
(Snow falls on a young man begging for his life.)
Alvarez: You got the wrong guy, man. I didn't do it. I didn't do it, man.
CU: g*n
(The sh**t cocks the g*n.)
(Alvarez cries.)
(The sh**t fires the g*n at Alvarez. Alvarez gets up and tries to get away.)
(A second sh*t is fired.)
(Alvarez gets to his feet and grabs the sh**t.)
(A third sh*t is fired point blank into Alvarez's chest.)
FADE OUT.
FADE IN.
[EXT. (PHILADELPHIA) SIDEWALK – NIGHT – FLASHBACK]
(A man with bloodied hands carries the g*n down the sidewalk. Keppler slows when someone comes down the building's front steps.)
(The young woman stops in front of him.)
(She reaches down for his hand. She places his hand on her chest.)
Amy McCarty: (echoy) I love you, Mikey.
(A bright white light shines down on them. She removes her hands from his and Keppler takes her heart out of the opening in her chest.)
(He looks at her beating heart in the palm of his hand. He looks at her.)
(TOP VIEW DOWN: on Keppler and Amy. They're both standing in the middle of the busy sidewalk.)
DISSOLVE TO:
[INT. – DAY]
(Keppler wakes up. Sirens wail in the distance. Keppler is panting and sweaty. He sits up and we see an open bottle of liquor on the coffee table next to a glass.)
(Keppler cries.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. DINER – MORNING]
(Keppler pushes his empty plate away from him and picks up his cup of coffee.)
Wendy Simms: (o.s.) That is what I love about this town.
(Keppler turns around and sees Wendy standing behind him, paying her bill at the register.)
Wendy Simms: They've got good Eggs Benedict 24 hours a day.
Keppler: Just getting off shift?
Wendy Simms: No, I'm going in early. (to cashier) Thank you. (to Keppler)
Do you ever eat dinner?
Keppler: You're looking at it.
Wendy Simms: Okay, I'll see you at the lab. Bye.
(Wendy leaves. Keppler turns to the waitress behind the counter.)
Keppler: Can I get a check please?
Waitress: (points) That guy over there already paid and tipped. Says he's your friend.
(Keppler turns and sees a white-haired man sitting in a booth. The man waves to him.)
(Keppler stands up and heads over to the man.)
Frank McCarty: How's it going, Mike?
Keppler: What are you doing here, Frank?
Frank McCarty: What do you want me to do? You don't return my calls.
Keppler: I tried calling you, but I've been, uh ... busy.
Frank McCarty: You didn't make it to Amy's memorial mass.
Keppler: Yeah, I know. I got the card from Father Anthony. Couldn't get away this year.
Frank McCarty: It's okay. Dennis Graves and I decided to come to Vegas for a few days, blow off some steam. You like standing? Sit down.
Keppler: I can't. Look, Frank, I got to run. We'll get dinner later in the week, all right? I'll call you.
(Keppler turns to leave. Frank stands up.)
Frank McCarty: Mike. Listen, I, uh ... I'm in a bit of a fix; I need you to do me a favor.
Keppler: I can't do it this time. Okay? Don't ask me to do it, Frank. I --
Things are just starting to ...
Frank McCarty: Hey. What are you getting so excited about? I didn't say anything.
Keppler: I'm just getting the lay of the land here, you know? Trying to move on.
Frank McCarty: I got it, bad timing.
Keppler: You all right?
Frank McCarty: Don't you worry about it. I'll sort it out.
(Frank turns and heads back to his seat. Keppler doesn't like it one bit. He turns and hurries out of the diner.)
CUT TO:
[INT. HOTEL – HALLWAY/ ROOM – DAY]
(The elevator bell dings and the doors open. Keppler steps out and finds Nick in the hallway waiting for him.)
Nick: Looks like it's you and me again, Hoss.
(Nick turns and heads down the hallway toward the room. Keppler follows him.)
Keppler: You got a problem with that?
Nick: No, no, I like your style. It's just the whole suit thing you got to work on a little bit.
(They enter the room.)
Keppler: Yeah, yeah, what do we got?
Nick: Two g*n victims. Male, two sh*ts in the chest. Female sh*t in the back, and her hand is missing.
(They enter the bedroom and find a man d*ad on the bed and the woman d*ad on the floor. Keppler puts his kit down.)
Nick: Why take just one hand?
Keppler: Maybe there was something on it he wanted.
(He puts on his gloves and looks through the open suitcase.)
Keppler: Boxer shorts, socks. I'm guessing this is his. You see another suitcase?
(Nick looks around the room and finds something on the floor.)
Nick: No, no, I did not.
Keppler: Looks like she was just visiting.
(Nick picks up an empty shell casing.)
Nick: .45 a*t*matic.
(Keppler opens the closet doors.)
Keppler: No purse ... no valuables.
(Keppler closes the closet door.)
Keppler: Did you see a safe?
(Nick looks for a safe.)
Nick: No.
(He opens the closet door and finds shirts hanging inside.)
Nick: No, no safe in here.
Keppler: Looks like a robbery.
Nick: Hey, this guy has a bunch of law enforcement logo shirts hanging up in here. Check the bible drawer.
(Keppler checks the bedside drawer. He finds a bible and a g*n. The embossing on the leather has T.P.D. on it. He doesn't like the looks of it. He pushes the bedcovers away from the d*ad man's face to see who it is.)
(Nick walks out.)
Nick: Anything?
(Keppler hands the g*n to Nick.)
Nick: Nine-millimeter service p*stol?
(Nick notices the embossing.)
Nick: Stamped "T.P.D." Could be any city starting with T.
(Keppler looks at the d*ad man's face again. This time, we see definite recognition from Keppler.)
Niki: I didn't find any nine-millimeter casing, so this w*apon was never fired.
Brass: The room is registered to a Dennis Graves, Trenton, New Jersey. He's a cop, Trenton PD. (to Keppler) Hey, you're from Trenton. Do you know him?
Keppler: No. Who found them?
Brass: His buddy, Frank McCarty.
(Brass steps aside. In the hallway, Keppler sees Frank McCarty talking with an officer.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. HOTEL – HALLWAY -- DAY]
(Brass talks with Frank McCarty.)
Brass: So what were you two guys doing in Vegas?
Frank McCarty: Playing a little golf, indulging in the buffets.
(Keppler listens to the interview. David Phillips wheels the body out of the room.)
Brass: Is that all you indulged in?
Frank McCarty: We were down in the bar, Dennis picked up a date.
Brass: Is she the date?
Frank McCarty: (nods) Yeah. I didn't get a name. Anyway, they went upstairs, I played a little blackjack.
(Off to the side, Keppler looks at the items on the dinner cart.)
Brass: Then what?
Frank McCarty: Then, I pulled some strings and got us a tee time at the Wynn. Dennis didn't answer his phone. I figured he was busy going around the world. After a while, I ... I knew something was wrong. I got hotel security to open the door.
Brass: Excuse me. Yeah?
Officer Mitchell: Captain, we got press all over the place.
Brass: Can you stick around? I'll be right back.
Frank McCarty: Yeah, sure.
Brass: Okay.
(Brass and Officer Mitchell leave the hallway. Frank is left alone with Keppler.)
Keppler: Mr. McCarty? If you don't mind.
(Frank turns around. Keppler points to the fingerprint kit he has set up on the table.)
Keppler: (whispers) You want to tell me what I'm seeing here, Frank?
Frank McCarty: Could be anything. Pimp went off on his whore. Robbery gone bad. It's a dangerous town.
(Keppler nods. The elevator doors at the end of the hallway ding and open. Catherine steps out.)
Keppler: Have a seat.
Frank McCarty: Yeah.
(Keppler turns to join Catherine.)
Catherine: Heard we have a d*ad out-of-town cop.
Keppler: Yeah, Detective Dennis Graves, Trenton PD.
Catherine: Trenton?
Keppler: Yeah.
(Catherine and Keppler step into the bedroom where David is taking the body's liver temperature.)
Catherine: David, you got the TOD?
David Phillips: About four hours ago.
Keppler: Male was sh*t twice, both frontal.
David Phillips: No exits.
Keppler: The girl was sh*t once in the back.
Catherine: Did you find the hand?
Keppler: (shrugs) I'm guessing the k*ller's got it, along with the rest of their valuables.
(Nick is sealing up something in an evidence bag.)
Nick: Hey, Catherine, check this out. I've got an uncapped bottle of mouthwash here.
Catherine: Probably come back to the hooker.
Nick: Yeah, but I've got something else, and this is good.
(Nick and Catherine disappear into the bathroom. Keppler follows.)
(Nick pushes the shower curtain aside.)
Nick: There are quite a few long, light-colored hairs snagged in the soap dish right there. Not a match to either victim.
Keppler: Sloppy housekeeping?
Nick: I doubt the maid would miss this. What appears to be high heel shoe impressions -- I checked, again, no match to the working girl.
Catherine: Bath towels haven't been used.
Keppler: So who was in the tub with her shoes on?
Nick: Hey, Keppler. Do me a favor. Go over by the body, will you?
(Keppler heads over to the body. Nick peers through the shower glass and has a nice view of Keppler.)
Keppler: Yeah?
Nick: I can see you; can you see me?
Keppler: Yep.
Nick: What about if I get low?
(Nick ducks below the shower glass.)
Keppler: Not anymore.
Catherine: So either she was lying in wait ...
Nick: Or an eyewitness tried to hide from a k*ller.
(Quick flashback to: There's a woman hiding in the shower. End of flashback.)
Catherine: Let's pull the elevator surveillance. (She looks at Keppler.)
Maybe we can find a blonde who got off on this floor.
FLASH TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – RECEPTION / HALLWAY – NIGHT]
(Judy sees Grissom.)
Judy: Welcome back, Dr. Grissom.
Grissom: It's good to be back, Judy.
(Grissom continues through the hallway.)
Hodges: There are no words to describe how glad I am you're back.
(Grissom turns and finds Hodges standing in one of the doorways.)
Grissom: But I'm sure you'll find some.
Hodges: The lab almost went to hell in a handbag while you were sabbaticalling. I'm sure you talked to Catherine, but just in case you didn't ... lot of hurt feelings, so in case you talk to Nick ...
Grissom: I'd rather hear it from Catherine, thanks.
(Grissom turns and heads for his office. Hodges stops him.)
Hodges: Fair enough, but, uh, permit me to say that the "Seasonal Behaviors of the Walden Pond Swamp Mosquito" was an incredibly stimulating seminar.
Grissom: And you know this how?
Hodges: I took your course online. It's free to alumni.
Grissom: Oh, you're Spanky.
Hodges: (nods) Seven-four-three. I aced the final, didn't I?
(Grissom nods non-committally and doesn't say anything. He turns and heads for his office.)
[INT. CSI – GRISSOM'S OFFICE – NIGHT – CONTINUOUS]
(Grissom walks in and looks at the stack of mail on his desk – including the large, unopened box.)
(He sighs and shakes his head.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – NIGHT]
(Robbins goes over the body with Keppler and Nick.)
Robbins: Post-mortem tool marks to the left wrist. No vital reactions from the tissue. Cuts are scalloped, definitely a serrated blade. Not a bad job.
Keppler: Anything to help us identify her?
Robbins: David printed the right hand. No hits on AFIS. Lucky for you, like many young ladies her age, she had some surgical work done. Feel these.
(Robbins hands the silicone implants to Nick.)
Robbins: What do you think?
Nick: Implants. Kind of big for my taste, really.
(Robbins points to the bottom of the body.)
Robbins: The other end.
(Oh!)
Nick: Oh, they're for the butt?
Keppler: Implants are serialized. We can get an ID from those.
(Keppler notices a metal bowl on the counter.)
Nick: You know, I spent twelve hours on a court bench last week. I could have used a pair of these bad boys.
(Keppler walks over to the bowl and looks at the b*llet inside.)
Keppler: What about COD?
Robbins: Single g*n to the back, just to the right of the spinal column. b*llet severed the aorta, lodged inside the sternum.
(Keppler picks up the b*llet and puts it in a bindle.)
Keppler: And the cop?
(Robbins picks up the evidence envelope.)
Robbins: I removed these from Detective Graves. Large caliber, too.
(He grabs the envelope from Robbins' grip.)
Keppler: I'll get those to Ballistics.
(Keppler opens the door.)
Nick: Okay, so I'll run the serials?
Keppler: Yeah.
(Keppler leaves. Nick looks at Robbins.)
Nick: I am an ass man.
(He chuckles.)
CUT TO:
[INT. CSI – HALLWAY – NIGHT – CONTINUOUS]
(Keppler walks through the hallway.)
Grissom: (o.s.) Michael Keppler.
(He stops as Grissom walks up to him.)
Grissom: Hi, Gil Grissom. (They shake hands.) How's everybody been treating you?
Keppler: No complaints; you've got a great team.
(Keppler has the evidence bindles in his hands. He tucks his hands behind his back)
Grissom: Yeah, thanks. Does Ecklie still have you slotted for days?
Keppler: As far as I know.
(Keppler brings his hands in front of him. Grissom can't help but notices the bindles.)
Grissom: I hear you're working the double homicide at the Olympia. What have you got?
Keppler: Oh, it's uh, b*ll*ts from Doc Robbins. I was going to run them through IBIS.
Grissom: The d*ad cop was from your hometown, huh?
Keppler: Yeah. Retired.
Grissom: Did you know him?
Keppler: (avoids) You know how many retired cops there are in Trenton?
(Grissom shrugs.)
Keppler: Well, it's great to finally meet you.
(He shakes Grissom's hand again.)
Grissom: Same.
(Keppler turns and leaves. We hold on Grissom as he watches Keppler go.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. MCCARTY RESIDENCE – DINING ROOM – NIGHT -- FLASHBACK]
(Keppler sits at Frank McCarty's dining room table along with his daughter, Amy. It's set for dinner. Amy turns to Keppler.)
Amy McCarty: I love you, Mikey.
(Keppler looks across the table at Frank. Frank smiles at him and sips from his wine glass.)
(Keppler brings the Kn*fe down to cut the roast. As he cuts, the roast bleeds.)
(He looks up and Amy is gone.)
ABRUPT CUT TO:
[INT. HALLWAY – NIGHT -- FLASHBACK]
(Keppler stands at the end of the hallway. He makes his way toward the open door at the end.)
(CAMERA ZOOMS from Keppler – ZOOMS through the hallway – ZOOMS toward the open door.)
(The door slams shut.)
END OF FLASHBACK
ANGLE -- KEPPLER
(Keppler sits on a hallway chair. He's lost in his thoughts.)
Wendy Simms: (o.s.) Hey.
(Keppler looks up.)
Keppler: Hey.
[INT. CSI – HALLWAY – NIGHT]
Wendy Simms: I said, "How do you feel about butt implants?"
Keppler: You don't need them?
Wendy Simms: Thank you. I wasn't really talking about me, but ...
Keppler: Oh, right. Sorry. You got something on the d*ad cop case?
Wendy Simms: The blond hair from the tub does match the saliva left in the mouthwash bottle. And it's female, but not from the d*ad hooker with the big back seat.
Keppler: Second female in the room uses mouthwash. More than likely another hooker. Looks like we got a witness.
CUT TO:
[INT. POLICE DEPARTMENT – BRASS' OFFICE – NIGHT]
(Frank McCarty sips from his cup as he talks with Brass.)
Frank McCarty: Dennis should've lived long enough to spoil his grandkids. He was a good man, good cop.
Brass: Good enough to spot a hooker when he saw one?
Frank McCarty: You don't have to be a cop to have that radar.
Brass: So tell me about Dennis. Did he major in French? Maybe liked ménage a trois? You know, two's company, three's a party? 'Cause there was another girl in the room with him.
Frank McCarty: Really?
Brass: (nods) Mm-hmm. I only saw him leave with one girl. So as far as you know, there wasn't a blond in there with him?
(chuckling):
Frank McCarty: Dennis? (chuckles) He could barely handle one. Besides, he was a little tight with the buck.
(Brass nods.)
CUT TO:
[INT. EVANS RESIDENCE – LIVING ROOM -- DAY]
(Officer Metcalf talks while Warrick gathers evidence.)
Officer Metcalf: I'm looking at the over-under in the Suns game. What do you think?
Warrick: I don't bet sports anymore.
Officer Metcalf: Not what I hear. According to Stokes, you're at the top of your game. Well, why don't you get your picks from him with his fat Texas mouth. I'd take the over.
(The door closes. Warrick looks up and sees Grissom standing there with his kit.)
Grissom: Hey. Want some help?
Warrick: Welcome back.
Grissom: What do you got?
Warrick: Well, I'm just following a lead off some serialized butt implants.
Grissom: I missed Las Vegas.
(Warrick laughs.)
Warrick: What are you doing here?
Grissom: I'm avoiding the paperwork and mail that's piled up on my desk.
(Grissom puts his kit down and puts on some gloves.)
Warrick: Well ... we got a, uh, d*ad prost*tute's apartment. It's obvious that it's been ransacked and robbed. I'm thinking that she was the target of the double and the cop was collateral.
Grissom: Where would you like me to start?
Warrick: You can h*t the dinette. I haven't taken that yet. Unless you're avoiding her paperwork, too. There's a lot of it.
(Grissom picks up the mail on the table for:
COURTNEY EVANS
1637 DUNCANSON AVE.
LAS VEGAS, NV 89115 )
Grissom: Well, she was past due on her electric bill. But seems to have paid her telephone bill on time.
Warrick: Telephone. Hooker's lifeline.
(Warrick takes a print lift off the phone.)
Warrick: I'm telling you, whoever h*t this place left a lot of prints.
Grissom: I, uh, heard there was some friction in the lab while I was gone.
Warrick: You ever hear of "reverse forensics"?
(Grissom looks at Warrick.)
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY -- DAY]
(Keppler walks in through reception. He looks up and sees Frank McCarty leave Brass's office. He walks right past Frank McCarty and heads down the hall.)
(Frank McCarty heads in the opposite direction. He takes his phone out and dials.)
(Keppler's phone rings. He answers it.)
Keppler: (to phone) Keppler.
Frank McCarty: (from phone) There was someone else in that hotel room.
Keppler: (to phone) I know.
Frank McCarty: I need a name.
(Keppler slips into a room.)
Keppler: I don't have one.
(Behind Keppler, Nick appears in the doorway to the back of the room. He sees Keppler on the phone inside.)
Frank McCarty: (from phone) Don't let me down, kid. You got to help me here; I'm counting on you.
(Keppler hangs up and stares out in front of him.)
Nick: You okay?
(Keppler turns around and looks at Nick.)
Keppler: Yeah.
(He closes his phone. Nick steps into the room to share what he's learned.)
Nick: Well, I tracked down the plastic surgeon that augmented Courtney Evans' glutes. Probably the only implants ever paid for in cash by, get this ... her pimp, a guy named Eric Hong, aka ...
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Keppler and Nick interview Precious Ricky.)
Keppler: "Precious Ricky," huh?
Eric "Precious Ricky" Hong: Yeah, that's what my mama calls me. Precious
"Licky."
(He chuckles.)
(Nick shows him a morgue photo of Courtney Evans.)
Nick: Is she one of yours?
Eric "Precious Ricky" Hong: No, ain't seen her before.
Nick: You bought her butt cheek implants. Is that something you normally do for girls you don't know?
Eric "Precious Ricky" Hong: Oh, see, that's the problem. You're showing me the wrong end.
Nick: Okay. So, then she is one of yours, right?
Eric "Precious Ricky" Hong: Hey, I run an escort service. Strictly legal.
Nick: I'm sure it is. So what did she do, Precious? She make you mad?
Eric "Precious Ricky" Hong: No. No, I don't get mad, man. I'm blissed out. I'm a Buddhist. I let the anger flow right through me. Sentient beings are numberless, and I vow to save them.
(He slides the photo back across the table toward Nick.)
Eric "Precious Ricky" Hong: I didn't do nothing to her.
Nick: Nothing? Like cut off her hand, and you k*ll the cop she was with?
Keppler: We know Courtney was with a blond last night. Long hair. You got anyone who matches that description?
Eric "Precious Ricky" Hong: Jenny, Coco, Lani ... April, May and June, too. But you know what? (jokes) The cuffs don't always match the collars, you know what I ...
(Keppler moves swiftly. He grabs Ricky's head and slams him down onto the table.)
Eric "Precious Ricky" Hong: Ugh!
(Keppler holds him there.)
Keppler: Now, look, Ricky, maybe you're a nice guy, maybe you're not, but right now I really don't care, because I think you're lying to me. And that could go very badly for you.
(Ricky lifts his head and looks at Keppler.)
Keppler: Do you understand what I'm saying?
(Keppler lets Ricky go.)
Eric "Precious Ricky" Hong: Okay, okay. They were all on the clock last night. It was a bachelor party.
(Nick watches as Keppler straightens his jacket.)
(There's a knock at the door before it opens. Sofia looks in.)
Sofia: Nick, Mike, can you step out a minute?
(Keppler and Nick step outside.)
[INT. POLICE DEPARTMENT – HALLWAY – DAY -- CONTINUOUS]
(Sofia fills Keppler and Nick in. She indicates the young woman sitting in the hallway holding a baby.)
Sofia: Miss McFarland is a babysitter, of sorts. I wouldn't leave her with my cat. I think she likes the pipe. She claims that that baby belongs to Courtney Evans.
Nick: She had a baby? Damn.
Sofia: I'm going to call Child Services.
(Sofia leaves.)
Nick: Yeah.
(Nick and Keppler walk over to Dorothy McFarland.)
Nick: Ma'am, I'm Nick Stokes; this is Mike Keppler. We're with the Crime Lab. You mind if we ask you a few questions?
Dorothy McFarland: (interrupts) Um, look, Courtney was supposed to come in the morning to pick up Lila, okay. I got to work. You know, real work. Okay, look, my own problems, okay? Otherwise, I would have taken her myself, but, um, I ain't in no shape, okay? So, uh, you can find her a family, right?
Nick: What about the father?
Dorothy McFarland: I don't know. I heard he was in prison or something like that. I ain't never seen him.
Keppler: When she left the baby with you, was Courtney with anyone? A friend maybe?
Dorothy McFarland: No, no, she ain't got no friends.
Keppler: What about enemies?
Dorothy McFarland: You know what? I can't take this. Mm-mm, please take her. Thank you.
(She deposits the baby in Nick's arms.)
Dorothy McFarland: Please.
(She backs away and starts leaving.)
Nick: (to the officer) Go with her.
Dorothy McFarland: I got to go.
(Dorothy and the officer leave. Nick looks at Lila.)
Nick: Oh. Looks like we have another victim, huh?
(Keppler doesn't like the looks of this. He leaves Nick with the baby.)
Nick: (to Lila) It's gonna be okay, baby.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CASINO -- DAY]
(Keppler walks across the floor and over to Frank McCarty, who is at a poker machine.)
Keppler: We got to talk, Frank.
(Keppler sits next to him.)
Frank McCarty: Hold on, hold on, I'm on a streak here. Now, do I keep the ace or draw the inside straight? I'm gonna draw to the straight.
Keppler: She had a kid.
Frank McCarty: Oh, God.
Keppler: Why don't you tell me about the hand?
Frank McCarty: Why? She scratched me, Mike.
(He shows Keppler the blood on his shirt coming from a wound on the inside.)
Frank McCarty: Come on, what was I supposed to do? I couldn't take the chance that one of your guys would find my DNA under her nails.
Keppler: Why, Frank?
Frank McCarty: You know why.
Keppler: That was a long time ago; Dennis never said a word.
Frank McCarty: Yeah, but he was going to. He was about to be indicted. Wife, three kids. There was no way he was doing time. He was going down, Mikey, and he was taking us with him.
Keppler: He was a cop, Frank.
Frank McCarty: Yeah.
Keppler: You taught me that. You don't do that, not even to save your own ass.
Frank McCarty: Yeah? What about yours? (to the bartender) Hey! Give me another vodka and tonic. And give my boy here a scotch. Neat, right? Make it a double. We got to loosen him up.
(Frank chuckles.)
Frank McCarty: Look at her. Just like catnip.
(Keppler turns and looks at Frank.)
Frank McCarty: Don't look at me like that, Mike. We did the right thing, all of us. But do you think the grand jury's gonna see it like that? They're gonna see a white cop turned "Dirty Harry" goes across the river to take out some Puerto Rican drug dealer. sh**t him in the back. They don't understand. Every time we take one step outside the box for public safety, they nail our asses to the wall.
Keppler: Sit down, Frank.
Frank McCarty: Hey, Mikey, there's no turning back. You did the right thing. If you hadn't taken care of that evidence ...
Keppler: Keep your voice down, all right?
Frank McCarty: Come on, I need some help here. Or you're gonna lose everything. And that isn't what Amy would have wanted. She loved you.
Keppler: Don't do that.
Frank McCarty: What?
Keppler: Don't bring her into this.
Frank McCarty: You think you're the only one who cared for her? I was her father, Mikey. Don't ever forget that.
(The bartender appears with the drinks. She leaves.)
Frank McCarty: I would've k*lled that scumbag who r*ped her with these bare hands, but you got to him first.
INSERT: FLASHBACK of the kid in the teaser. Keppler sh**t the kid.
Frank McCarty: I love you for that. Yeah, I made compromises for you. You wouldn't be here now if it wasn't for me.
Keppler: Yeah. Yeah. You're out of line, Frank.
(Keppler stands up. McCarty puts a hand on his shirt to stop him. He grins at Keppler.)
Frank McCarty: Hey, Mikey, there is no statute of limitations for m*rder. The kid you sh*t, his mother's still crying. And I got the g*n ... with your prints and his blood on it.
(Frank sits down.)
Frank McCarty: (smugly) You go down now, you take every case you ever worked on with you. Trenton, Philly, Baltimore, Vegas. All those K*llers go free. All on your hands. So, pin it on the blond in the bathroom or the pimp. Just do it, I don't care how, just do it.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Warrick talks with PJ Turner.)
(PJ Turner sniffs and pushes the photo back toward Warrick.)
PJ Turner: I don't even know Courtney what's-her-name.
Warrick: So how is it that your prints ended up all over her apartment?
PJ Turner: I've never been to her apartment.
Warrick: Did I mention she was d*ad?
PJ Turner: What? Yo, I don't even know no d*ad person.
Warrick: PJ, you know what I think? I think you k*lled her. You took her purse, went to her apartment and stole all her stuff.
PJ Turner: No, no, no. I didn't k*ll nobody.
Warrick: Well, she's d*ad. And so is the cop she was with. That's the death penalty.
PJ Turner: Here's what happened -- I swear, this-- this is the truth.
(Quick flashback to: PJ Turner is going through the trash.)
PJ Turner: I was minding my own business. I was checking out the dumpsters behind, behind the Strip, and lo and behold, I find this lady's purse.
(He finds the purse and opens it.)
BACK TO SCENE.
Warrick: Right there in the dumpster?
PJ Turner: Yeah, like pennies from heaven.
INTERCUT WITH:
[OBSERVATION ROOM]
(Catherine watches the interview.)
PJ Turner: It had a wallet, it had keys, it had a cell phone. So I checked for her license, I got her address and went to her house. I was going to return the purse, I swear.
Warrick: Oh, like a Good Samaritan?
PJ Turner: Yeah, but, when I got here, no one was there.
Warrick: So what'd you do?
PJ Turner: I used the key. I was going to leave the purse inside.
Warrick: But you didn't do that, did you?
PJ Turner: I might have taken a couple of things.
Warrick: Where was the dumpster?
PJ Turner: Behind the Palermo.
(Catherine's phone rings.)
Warrick: Behind the Palermo.
(She answers it.)
Catherine: This is Catherine.
INTERCUT WITH:
[INT. CAR (TRAVELING) – DAY]
(Keppler is driving and is on the phone.)
Keppler: Catherine, it's Mike.
Catherine: Mike. Where have you been?
Keppler: I had to take care of something. How's it going? Any ID on the blonde yet?
Catherine: No, but we got some info from the deadbeat who burgled the hooker's apartment. Claims he found her purse in a dumpster behind the Palermo.
Keppler: I'm just off the Strip now; I'll take care of it for you.
Catherine: Mike, are you okay?
Keppler: Yeah, yeah. I'm fine. I'll see you in a little bit.
(Catherine hangs up.)
[EXT. STREET – DAY]
(Keppler turns the car around and heads back in the direction he came from.)
DISSOLVE TO:
[EXT. PALERMO – DAY]
(Mike is going through the trash in the dumpster. He finds something wrapped in a cloth.)
(He unwraps the missing hand.)
FADE OUT TO:
[EXT. SNOWY NIGHT (FLASHBACK)]
(Keppler is shaken as he hugs Frank McCarty. He then puts the bloodied g*n in a bag McCarty holds open for him.)
(REWIND: Keppler walks backward – away from McCarty.)
END OF FLASHBACK.
[INT. KEPPLER'S APARTMENT – SHOWER]
(Keppler is in the shower. His head on his arm up against the wall.)
CUT TO:
[INT. CSI – HALLWAY / LOCKER ROOM]
(Catherine walks through the hallway. She turns and sees a g*n on the locker room bench.)
(Keppler steps out into view. He's dressed, his hair damp.)
Catherine: Hey, Mike.
Keppler: Hey.
Catherine: Did you get anything from the dumpster?
(Keppler puts his shirt on.)
Keppler: Yeah ... a bad smell.
Catherine: So ... Ecklie wants you on days now that Grissom's back, but ... I could talk to them, get you to stay with us.
Keppler: Oh, I'm sure you guys will do just fine without me.
Catherine: Yeah, usually transfers don't fit in, but ... think about it.
(Catherine heads out of the locker room. Keppler stops her.)
Keppler: Catherine.
(She steps back inside.)
Keppler: Thanks.
(Catherine leaves. Keppler watches her go.)
CUT TO:
[INT. CSI – HALLWAY & A/V LAB– DAY]
(Keppler is walking through the hallway when he sees Archie and Nick in the A/V Lab. They're working on the security video. Nick turns and sees Keppler.)
Nick: Keppler. Archie found the mystery blonde. Before she was in Dennis Graves' room, she was with that cop, Frank McCarty.
(The video shows Frank McCarty with Suzy Gibbons in the elevator.)
Nick: They got on in the lobby, got off on 11—around the time McCarty said Dennis picked up his hooker. Hey, he never mentioned he had company, and he knew we were looking for another hooker. Now I'm starting to think we're looking at a dirty cop.
Keppler: Who knows about this?
Nick: PD's about to. I'm calling them right now.
Archie: You'd think a cop would know he's on camera, huh?
(Keppler leaves without another word.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. HOTEL – HALLWAY TO MCCARTY'S ROOM – DAY]
(Sofia, Nick, Keppler and some officers head for McCarty's hotel room.)
Sofia: McCarty's phone keeps going to voice mail. And, according to the receptionist, he didn't check out.
(They reach the door. Sofia knocks.)
Sofia: LVPD. Open up.
(There's no answer.)
Keppler: Give me the card.
(The officer on the side gives Keppler the card key. Keppler unlocks the door. He opens it and walks in.)
(There's no one in the room. On the bed is a paper package. Sofia uses the muzzle of her g*n to turn the package. Nick uses a glove and takes out a plastic bag with a bloodied g*n inside.)
(Keppler looks at the g*n.)
[EXT. – NIGHT]
(The kid is crying.)
(Someone points the g*n at the kid.)
kid: I didn't do it ... I didn't do it, man. Come on, man; I didn't do it. You got the wrong guy, man.
(Camera whirls around on the sh**t and its --
ANGLE – FRANK MCCARTY
(He's pointing the g*n down at Dennis Graves, who is in his underwear and sitting on the bed. He sh**t Dennis first. Then he points the g*n at Courtney Evans, who is trying to get away.)
Courtney Evans: No!
(He sh**t her in the back. She falls on the floor.)
BACK TO SCENE.
(Nick and Sofia are looking at the g*n in the bag.)
Sofia: It's a .45 auto.
(Nick holds the bag up.)
Nick: Same caliber as the g*n that k*lled the cop and the hooker.
Sofia: With blood stains.
Nick: This-this is practically gift-wrapped. If the guy wants to get caught so bad, just confess, make it easy on all of us. I can't wait to get this back to Ballistics. I'll see you.
(Nick leaves with the g*n. Sofia looks at Keppler.)
Keppler: I'll finish up here.
(Sofia turns and leaves the room. Keppler sits on the bed and takes his phone out. He dials.)
Frank McCarty: (voice message) You've reached Frank. Leave me a message after the tone.
(Keppler closes his phone.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Sara is walking through the hallway. She's wearing the blue jumpsuit and has smudges on her face.)
(Grissom rushes out of the office when he sees her.)
Grissom: Sara.
(Sara turns around. Grissom takes his glasses off.)
Sara: Hey. You're back.
Grissom: Yeah.
(Grissom takes a step toward her. Sara takes a step back. She holds up her evidence packages to defend herself.)
Sara: Uh, I've -- I've been out at a, um ... I've been at ...
Grissom: A garbage dump?
(Grissom continues to advance. Sara continues to back away.)
Sara: (smiles) Yeah. It's so obvious, isn't it? Nice, um ... You look good.
(She nods and continues to back away from Grissom, who continues to walk toward her.)
Grissom: Did you, uh, put the cocoon in my office?
Sara: Cool, dry, not a lot of light. It seemed like the right place for it.
Grissom: I think you're going to be surprised when it hatches.
Sara: I have no doubt. (Grissom stops.) I'm gonna ... go clean up now.
(Sara turns and heads off.)
Grissom: I'll see you later.
(She stops and looks at him.)
Sara: Yeah, you will.
(Sara leaves.)
CUT TO:
[INT. CSI – A/V LAB – DAY]
(Archie goes over the security video footage with Keppler.)
Archie: McCarty's mystery blonde knew the d*ad hooker.
Keppler: How do you know that?
Archie: Check out the time code.
Keppler: 1:10.
Archie: We recovered the hooker's cell phone, thanks to a dumpster diver. These are all her voice mails, the last couple hours before she died. At the same time the blond was making this call, Courtney Evans received a voice mail. So, I synched up the audio to the video.
(Archie plays the footage with sound. Keppler steps closer to the monitor.)
Suzy Gibbons: Yeah, Courty, it's me, Suzy Q. Got your message. What, are you too busy to answer me back? Uh, so anyway, I just left my guy. Eh, it went all right. Usual "Call me Daddy" crap.
(She laughs)
Suzy Gibbons: You know, he actually wanted me to whimper. Whatever. He kept calling me "Amy."
INSERT: FLASHBACK
(Keppler is walking down a long dark hallway. He hears a woman whimpering.)
Keppler: (v.o., whisper) Amy?
(At the end of the hallway is an open door.)
(CAMERA ZOOMS toward the door and –
-- the door SLAMS shut on him.)
BACK TO SCENE.
(We hold on Keppler watching the security video of Suzy Q on the phone.
Suzy Gibbons: (to phone) ... that three-way ... I don't know, I don't know. I think I'm gonna have to --
Catherine: Do we have an ID on the blonde?
(Keppler turns and sees Catherine inside the lab.)
Keppler: Just now.
Catherine: I just finished running names off Courtney Evans' incoming calls.
Archie: Yeah? Well, we're looking for Suzy Gibbons.
Catherine: Here it is. Priors for prostitution and a last known.
Keppler: Can I see that?
(He looks at Suzy Gibbons' mug sh*t.)
Archie: She knew the vic. She's the blonde in the bathtub.
Catherine: Well, if we can find Suzy, so can a retired cop. He needs her d*ad.
Keppler: If she's dumb enough to hide out in her own house, she already is.
(Keppler turns and leaves the room.)
Catherine: Mike? Mike, where are you going?!
CUT TO:
[INT. CSI – LAB – DAY]
(Nick snaps images of a clear print into the digital camera hooked up to the computer. He scans the print and runs it through the database.)
(Nick swabs the blood off the g*n.)
(He gets a match.)
MICHAEL KEPPLER
BADGE # 8590
AGE: 40 HEIGHT: 6'3"
WEIGHT: 175 LBS EYES: BLUE
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN
ADDRESS:
LAS VEGAS CRIME LAB
3057 WESTFALL AVE.
LAS VEGAS, NV 89156
Law Enforcement Personnel:
ACCESS RESTRICTED
(We hold on Nick.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[CU: BEDROOM DOOR -- FLASHBACK]
KEPPLER'S POV: He approaches the door that's ajar and enters the bedroom.
(Keppler stops outside the door and sees a girl on the bed. He pushes the door open.)
Keppler: Amy?
(Amy McCarty is in bed. There's a man sitting on the edge of the bed. Frank McCarty walks around the bed. Keppler steps toward Amy.)
Amy McCarty: Daddy said never tell you.
(He looks and sees the blood on her wrists.)
END OF FLASHBACK
[INT. CAR (STOPPED) – DAY]
(Keppler is in his car and stopped at the light on the street. Car horns beep for him to go at the green light. Keppler drives.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Nick shares his findings with Catherine.)
Catherine: Why would McCarty have a bloody g*n with Keppler's prints on it, in his hotel room?
Nick: Doesn't make any sense.
Catherine: No. Could Mike have touched it when he found it?
Nick: No, no way. I was right there. Besides, the blood was already dry. You don't leave fingerprints in dried blood. I compared the .45 a*mo evidence to the d*ad cop and the hooker. It's the correct make, model and caliber, but I'm telling you, it's a different g*n.
Catherine: Maybe he's being set up.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – DAY]
(Catherine and Nick report their findings to Grissom.)
Grissom: Why? By whom? Keppler told me that he didn't know Frank McCarty.
Warrick: He also said he didn't know the victim. Maybe he's lying about that, too. I'm sorry, Catherine. I like the guy, too, but I'm just following the evidence here.
Nick: We should be talking to Keppler about this.
Grissom: Where is he?
Catherine: He was with me in A/V. Nobody has seen him since, and he's not answering his cell.
Nick: He knows where the eyewitness lives.
Catherine: What are you saying, Nick?
Nick: I'm saying that if he had something to do with these two m*rder, then Frank McCarty's not the only one we need to worry about.
Catherine: PD's on their way to Suzy Gibbons' apartment now.
Grissom: Okay, grab Sara and go over there, and I'll have Brass call Trenton PD, see who knows who.
Catherine: Welcome home.
(Catherine stands up and leaves the office. Grissom watches her leave.)
Grissom: What other evidence did, uh, Keppler handle?
Nick: He brought back the three b*ll*ts from Autopsy, which didn't match the g*n with his prints on it.
Grissom: Could he have swapped the b*ll*ts?
Nick: Anything's possible.
Warrick: He also searched the dumpster where the homeless guy found the hooker's purse and cell phone. He told Catherine he didn't find anything.
(Wendy Simms enters the office to share her findings.)
Wendy Simms: I got your DNA results, and the blood on the g*n from Frank McCarty's hotel room, it doesn't match either victim. There were no hits in CODIS, and the DNA print ancestry markers say that it's from a black male.
Nick: Keppler and McCarty were both Jersey boys. Expand the search to the East Coast.
Wendy Simms: Will do. I really hope he's clean.
(Wendy leaves the office.)
Grissom: We have to treat him like a suspect. I'll tell Ecklie.
CUT TO:
[EXT. EMPTY LOT NEAR HENDERSON – DAY]
(Keppler's phone rings. He takes the phone out of his pocket and looks at it. He doesn't answer.)
(Keppler is standing in an empty lot; there's a pile of trash near him.)
INTERCUT WITH:
[INT. CSI – A/V LAB – DAY]
(Greg closes his phone.)
Greg: Still no answer on his cell.
Archie: Hey. Got a fix on the GPS in his Denali.
(The red blip appears on the monitor map.)
Greg: He's near Henderson. (Archie nods.) What's he doing there?
[EXT. EMPTY LOT NEAR HENDERSON – DAY]
(Keppler goes to his Denali and rips the GPS antennae off the roof. He tosses it away.)
[INT. CSI – A/V LAB – DAY]
(The message box appears on the monitor:
LAS VEGAS POLICE DEPARTMENT
NO ANTENNAE DETECTED
SIGNAL REFERENCE
LOST #01254512
UNABLE TO DETECT )
Archie: He just disabled his GPS. Smart guy.
Greg: Guilty guy. Try tracking his cell. PD-issued phones have GPS, too.
Archie: Yeah.
(Archie type in the phone number: 702 555-0147. The blip appears again on the monitor map.)
Archie: Got him.
(We hold on the BLIP.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. FREIGHT ELEVATOR -- NIGHT]
(Eric "Precious Ricky" Hong is on the phone as he rides up the freight elevator. The elevator door opens and he steps out.)
(Keppler steps out from his position behind the corner and follows Ricky. He turns Ricky, grabs the phone out of his hand and slams him up against the wall.)
Eric "Precious Ricky" Hong: Okay? I'll take the phone.
Keppler: Suzy Gibbons -- how do I find her?
Eric "Precious Ricky" Hong: Okay, you know what? First off, you're gonna get your freakin' hands off me.
Keppler: I don't have time, Ricky.
Eric "Precious Ricky" Hong: Wh-Why should I tell you?
Keppler: Because if you don't ...
(Keppler takes his g*n out, cocks it and presses the muzzle against Ricky's jaw.)
Keppler: I'm the last face you're gonna see alive.
CUT TO:
[INT. GIBBONS' APARTMENT -- NIGHT]
(Catherine leaves the bedroom, walks through the hallway and heads back into the living room.)
Catherine: I don't think Suzy works out of here.
(Sara is in the kitchen looking through the cupboards.)
Sara: Me, either.
(Catherine's phone rings. She answers it.)
Catherine: (to phone) Jim?
Brass: (from phone) So I finally got through to the Homicide captain in Trenton.
INTERCUT WITH:
[INT. POLICE DEPARTMENT – BRASS'S OFFICE – NIGHT]
Brass: (to phone) Anyway, here's the story. Keppler knew McCarty. Not only did he know him, he was like a son to him. Keppler had a close relationship with his daughter and McCarty was the one who got Keppler his job as a CSI.
Catherine: And – (sighs) -- what about the victim -- Detective Graves?
Brass: Yeah, he knew him, too. Graves was being indicted. Seems like too many of his suspects were showing up d*ad before the trial. Catherine, I think all three of them are dirty.
Catherine: Okay.
(She hangs up.)
Sara: You know, some women ... live out of their purses.
(Sara shows her the motel key envelopes for:
WELCOME GUESTS
CHECK OUT TIME
12 NOON
BLUE SIREN MOTEL )
Catherine: I know a lot of working girls operate out of the Siren.
Sara: I think we just found her office.
(Catherine's phone rings.)
Sara: I'll see you back at the lab?
Catherine: Okay.
(Sara leaves. Catherine checks the caller ID and sees it's from: ERIC HONG.)
(She answers the phone.)
Catherine: (to phone) Hello.
[EXT. BLUE SIREN MOTEL – NIGHT]
(Keppler is sitting in his car.)
Keppler: (to phone) It's Mike.
Catherine: Where have you been? Everybody is looking for you.
Keppler: I know. I'm sorry.
Catherine: Then come back in.
Keppler: I can't. It's kind of complicated. I ... made a mistake a long time ago.
Catherine: Let me help you.
Keppler: It's too late. You're gonna end up looking into my cases, Catherine.
(sighs) They're clean. I promise, every one of them. Except the Alvarez homicide in Philly. If you run the ballistics again, it'll come back to Dennis Graves. Your guys are smart, they'll figure it out.
Catherine: Mike, don't do anything stupid.
Keppler: I got to go.
(Keppler hangs up.)
(Catherine looks at her phone.)
CUT TO:
[EXT. BLUE SIREN MOTEL (STOCK) -- NIGHT
[INT. CAR (PARKED) – NIGHT]
(The line rings and clicks as the voice message starts.)
Frank McCarty: (voice message) Hey, you've reached Frank. Leave me a message after the tone.
(Phone beeps.)
Keppler: If you still want to fix this, Frank, you got twenty minutes. Blue Siren Motel, Third, below Fremont.
(Keppler steps out of the car. He heads for the motel.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(Grissom is going through his mail. He comes upon the large box and looks at the label:
GIL GRISSOM
LAS VEGAS CRIME LAB
3057 WESTFALL AVE
LAS VEGAS, NB 81956 )
(He starts to pick up the box when his cell phone rings. Grissom puts the box down and answers his phone.)
Grissom: (to phone) Grissom.
INTECUT WITH:
[INT. GIBBONS RESIDENCE – NIGHT]
(Catherine is on the phone.)
Catherine: (to phone) He just called, sounded desperate. Like a man with nothing to live for and nothing to lose.
Grissom: Well, he's not your priority. Find the witness.
Catherine: Yeah. I'm on my way. I just wanted you to know.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. BLUE SIREN MOTEL ROOM – NIGHT]
(Suzy Gibbons sits on the bed smoking a cigarette. She appears extremely nervous.)
(There's a knock at the door.)
Suzy Gibbons: It's open.
(The door opens and Frank McCarty steps inside. Suzy backs away as Frank raises his g*n at her.)
(Keppler appears behind him, his own g*n pointed at the back of Frank's head.)
Keppler: Drop it, Frank.
(Frank freezes.)
Keppler: Put the g*n down.
(Frank puts his hands up and places the g*n on the nearby dresser.)
Frank McCarty: Look, Mike ... about the bar, you were right. I was out of line. You know how I get -- come on. Put the g*n down. (Frank lowers his hands.) You're not gonna sh**t me.
Keppler: Suzy, I want you to get up and walk out of the room, all right?
Frank McCarty: I can't let that happen. (to Suzy) Sit down!
(Suzy sits down.)
Keppler: It's over, Frank. I know what you did.
(Keppler lowers his g*n.)
Frank McCarty: What are you talking about?
Keppler: I know what you did to Amy.
INSERT: FLASHBACK
(Frank is naked and sitting on the side of Amy's bed. Amy is in bed, listless.)
BACK TO SCENE.
(Keppler swallows.)
Keppler: I k*lled an innocent man.
Frank McCarty: Mikey, you're talking crazy.
Keppler: She was your daughter, Frank.
Frank McCarty: You watch your frickin' mouth. (Keppler raises his again. Frank backs away, his hands up.) All right, okay! Put the g*n down.
(Gibbons cries. Frank turns around to her.)
Frank McCarty: (shouts) Shut up!
(She stops sobbing loudly.)
Frank McCarty: (quietly) I loved her, Mike, more than you know.
(Keppler cocks his g*n.)
Frank McCarty: All right, okay. I'm a dirty cop, rotten to the core. What do you want from me?
CUT TO:
[INT. BLUE SIREN MOTEL – FRONT DESK -- NIGHT]
(Catherine closes her badge and opens the door. She looks at the rooms. She heads toward the door.)
[INT. BLUE SIREN MOTEL – PARKING LOT -- NIGHT]
(A police car with flashing lights silently rolls into the parking lot.)
[INT. BLUE SIREN MOTEL – STAIRS TO ROOMS -- NIGHT]
(Catherine climbs up the stairs.)
[INT. BLUE SIREN MOTEL ROOM – NIGHT]
(Keppler keeps his g*n pointed at Frank. Outside, police sirens get closer.)
Keppler: I want you to tell me why, Frank. Why you would do that to your own daughter.
Frank McCarty: Come on, Mike. You're all I've got.
(Suzy gets up and runs for the door. She runs past Frank and Keppler.)
Suzy Gibbson: No! No!
(Keppler steps in front of Suzy as she reaches the door.) Frank turns, grabs his g*n off the dresser, points and fires.)
(He sh**t Keppler in the chest.)
(Suzy screams. She opens the door and runs out.)
(Frank stares at Keppler.)
[EXT. BLUE SIREN MOTEL ROOM – NIGHT -- CONTINUOUS]
(The door opens and Catherine sees Suzy run out of the room. She runs down the walkway in the opposite direction.)
(Catherine runs to the room.)
Catherine: Mike!
(Behind her, officers are running up the stairs.)
[INT. BLUE SIREN MOTEL ROOM – NIGHT -- CONTINUOUS]
(Keppler falls against he radiator. McCarty stares.)
(Catherine runs to the door, her eyes on Keppler.)
Catherine: Mike.
(Frank turns his g*n on Catherine.)
(Keppler fires at Frank, sh**ting him in the chest and empties his g*n into him.)
(Frank falls back onto the bed.)
(Keppler grunts.)
(Catherine holsters her g*n and grabs the nearby roll of paper towels.)
Catherine: Mike.
(She kneels next to him and presses a wad of paper towels into his wound to stop the bleeding.)
Catherine: Mike.
(The officers arrive in the room.)
Catherine: Mike, hang in there. (to the officer) Call the paramedics.
(One officer is outside the room to make the call while a second officer goes to check on Frank.)
Officer: Dispatch, got a Code 44.
(Catherine holds her hand against Keppler's cheek.)
Catherine: You're gonna be okay. Just stay with me.
Keppler: I'm sorry.
CUT TO:
[EXT. BLUE SIREN MOTEL ROOM – NIGHT -- CONTINUOUS]
(Suzy Gibbons talks with an officer.)
Suzy Gibbons: I just know they both had g*n.
(The paramedics rush Keppler on a gurney toward the ambulance. Catherine runs next to them.)
Paramedic: Move it. PARAMEDIC: Pupils still fixed and dilated. PARAMEDIC: He's moving into V-fib! Let's go!
Catherine: I'm here. Stay with me, Mike.
Paramedic: Place him into the back of the rig.
Catherine: Mike?
Paramedic: Let's go, let's go.
(The push the gurney into the back of the ambulance.)
Catherine: Hang on, Mike.
(Catherine watches from the open doors. The paramedics working on Keppler charge up the paddles.)
Paramedic: Charging, 300.
(In the background, Grissom runs toward them.)
Paramedic: Two placement's good. PARAMEDIC: Clear? PARAMEDIC: Clear.
(They shock him.)
Paramedic: No response. Hitting him again. PARAMEDIC: Copy. Clear.
(They shock him again.)
Paramedic: Yeah, I've got nothing. PARAMEDIC: Still in V-fib. Come on, come on.
(They shock him again.)
Paramedic: There's no pulse.
Catherine: What?
Paramedic: He's gone.
(They stop working on Keppler and put the paddles away. Grissom glances at Catherine and steps closer to her. He puts his arm around her shoulders and holds her.)
(Catherine looks at Keppler and she cries.)
(Grissom turns her and leads her away from the ambulance.)
FAR sh*t OF: Grissom and Catherine walk across the parking lot.
FADE OUT.
(PRE-LAP) Warrick: (v.o., to phone) Talk to me, Archie.
FADE IN:
[EXT. EMPTY LOT NEAR HENDERSON – DAY]
(Warrick is on the phone while Nick looks around the area.)
Archie: (from phone) The signal's twenty yards north of your position.
(Warrick looks around the area.)
Warrick: I don't see anything.
Archie: (from phone) Hold on. I'm calling the phone now.
Warrick: All right.
(A b*at later, a cell phone rings.)
Nick: Hey, wait, wait, wait, wait! I got something.
(He motions to Warrick as he turns toward a pile of rubbish on the side.)
Warrick: (to phone) I'll call you back.
(Nick and Warrick head for the ringing phone. Warrick hangs up.)
(Nick finds a portable ice chest. He takes out a Kn*fe and cuts the biohazard seal. Inside he finds Keppler's phone and severed hand in a plastic bag.)
(There's also a note.)
(Nick looks at Warrick.)
Warrick: Keppler left his phone so we'd find the hand.
(Nick takes his glasses off and picks up the note.)
Nick: "Check under the nails. You'll find Frank McCarty's DNA."
(Nick nods and sighs.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x15 - Law of Gravity"} | foreverdreaming |
FLASH IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. RESIDENCE -- NIGHT]
(The city is lit outside the window. The camera pulls back and passes a crackling f*re inside the large, spacious living room. A cat meows and runs across the wood-paneled floor, disappearing behind the large bookshelf.)
(The camera continues through the spacious room. There are bookshelves, couches and modern-styled lamps. Up against the wall there are filled vases. Paper crunching is heard and a light shines down from above. The camera continues around the room.)
(More paper crunching is heard. More light appears from above, illuminating the room.)
(The camera swings around and lingers on a LAS VEGAS GLOBE newspaper on the desk with the headline, "Another Body Found!")
(The paper crunching continues. Camera swings around the miniature desk and pulls back from the miniature chair. Light shines from above as Grissom lifts the lid to the room.)
(He can't believe his eyes and stares at the latest diorama.)
[INT. CSI – GRISSOM'S OFFICE / HALLWAY – NIGHT – CONTINUOUS]
(Grissom reaches down and lifts the miniature room out of the box. We're looking up from the room at Grissom. He carries the diorama and heads out of his office.)
(He rushes carefully through the hallway. He glances to the side and shouts.)
Grissom: Catherine, layout room, right away!
(He continues toward the layout room.)
Catherine: (o.s.) Where're you going?
(The elevator bell dings. Grissom continues toward the layout room.)
[INT. CSI – LAYOUT ROOM – CONTINUOUS]
(He sets the diorama down on the table.)
Catherine: (o.s.) Gil, where's the f*re?
(Catherine appears next to Grissom as they both look at the latest miniature.)
TOP VIEW DOWN: This miniature has a person sitting on a long, black sofa.
Grissom: It's been sitting in my office for the last four weeks.
Catherine: But ... we caught the 'miniature serial k*ller'; he confessed.
Grissom: Yeah, I watched him blow his brains out. But I think the package was postmarked after he k*lled himself.
Catherine: So maybe he arranged to have it sent postmortem.
(Grissom turns the diorama.)
Grissom: The three other m*rder, the miniature was left at the scene. This one was addressed to me.
(Grissom uses the magnifying glass and examines the room.)
Catherine: So, now it's personal?
Grissom: The victim appears to be a Caucasian female with lots of books. It could be an office, somebody's living room ... or a modern hotel lobby. When I was gone, did anybody work a scene like this?
Catherine: No ... at least not on our shift.
(Grissom notes the miniature newspaper on the table.)
Catherine: I'll check with days and swing, and see if anybody caught a case that matches.
(Catherine turns to leave, but Grissom stops her.)
Grissom: Never mind.
Catherine: Why not?
Grissom: Take a look at the early edition.
(Grissom hands Catherine the magnifying glass. The date is SATURDAY, FEBRUARY
17, 2007.)
Catherine: It's dated the day after tomorrow.
Grissom: This m*rder hasn't happened yet.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAYOUT ROOM -- NIGHT]
(Grissom snaps photos of the diorama. He snaps a photo of the three vases and of the newspaper on the miniature desk, of the coffee table with miniature tea set and of the woman on the couch. He continues snapping photos.)
CUT TO:
[INT. CSI – BREAK ROOM -- NIGHT
(Sara, Nick and Warrick watch the video.)
Ernie Dell: (from video) My name is Ernest Edward Dell. I was born in 1946 in Ames, Iowa. My life's been hard, but I don't complain. I never expected better.
(On the video, he takes a sip of his cup.)
Ernie Dell: (from video) I'm good with my hands. I make things. I fix things. I'm a handyman. That's what I am.
CUT TO:
[INT. CSI – LAYOUT ROOM – NIGHT]
(VARIOUS DISSOLVES OF: Grissom puts the photos on the board lining the wall.)
Ernie Dell: (V.O.) I'm not the sociable type. I-I know that. You spend any amount of time around people, you get your heart broke -- treachery, hypocrisy ... the promise of love.
[VIDEO]
Ernie Dell: (from video) A man has a right to an honest day's pay. Me, I service the machinery of death so that people can eat. If that makes me evil, then so be it.
(They pause the video.)
Sara: The ‘Miniature k*ller' m*rder three people over a period of roughly six months. Ernie Dell was either directly or indirectly related to all of them.
Warrick: What's with the bloody dolls?
Sara: We're not sure. There's a different perspective of that same image in all of the miniatures. (She hands Warrick an enlarged photo.) We're thinking it could be some kind of signature.
(The video resumes.)
Ernie Dell: (from video) Look into the mouth of a person and you'll find lies wriggling there like maggots waiting to grow wings. The world has ... has gone mad. A man could k*ll from sunup to sunset, and still his work would never be done.
(Ernie takes the g*n, puts it under his chin and fires. Sara, Nick and Warrick flinch. Sara pauses the video.)
Nick: Remember the Blue Paint K*llers? Maybe Ernie Dell had a partner. Like an apprentice, an accomplice, something like that.
Warrick: Or a disciple.
Sara: You guys make models when you were kids?
Nick: t*nk and airplanes.
Warrick: Classic cars.
Sara: These miniatures are obsessively precise, half-inch scale models of the crime scenes. They probably took weeks of focused effort to create. I don't think the k*ller's into team sports.
Warrick: Izzy Delancy ... he was a rock star. You know, famous brings out the nut jobs. Maybe we're just looking at a copycat.
Sara: The miniatures were never released to the press. No photos, nothing. You can't copy what you can't see.
Nick: Other people had access to those files. Maybe it was a cop. Or somebody in the lab. It's been known to happen.
Warrick: Yeah, so, Ernie Dell takes the rap for three m*rder, and then eats a .38. Why?
Sara: I think he was trying to protect someone -- someone he cared a lot about.
CUT TO:
[INT. CSI – LAYOUT ROOM]
(SCOPE VIEW: Of the purse. Grissom checks the inside of the purse and finds it empty.)
(Catherine walks in.)
Catherine: Prints and DNA are going over the package and wrapping paper.
Grissom: They won't find anything.
Catherine: Return address was an empty lot. Any clue as to who the victim is?
Grissom: No, I even went through her little purse.
(Catherine puts her glasses on and looks at the miniature.)
Catherine: Well, she's not wearing a wedding ring. She's probably single. Her eyes appear to be bloodshot. Petechial hemorrhaging, maybe?
(Grissom notices something on the pillows.)
Grissom: Look at this.
Catherine: Blue smudges on the pillow. Blue mascara on the victim.
(Catherine leans forward and looks through the miniature's window and visualizes the woman lying down on the couch.)
Catherine: Our vic gets comfortable, grabs a little shut-eye ...
(Someone leans over her and smothers her with a pillow. She struggles and stops.)
Catherine: ... and never wakes up.
(The people in the miniature vanish. Catherine straightens and looks at Grissom.)
Catherine: She's going to be smothered.
Grissom: It would seem so.
Catherine: If you interpret this headline literally, the doll is the victim. That's different than the others.
Grissom: Methods change. K*llers evolve.
(It sounds familiar to Catherine.)
Grissom: What?
Catherine: Keppler said something like that once. (She looks at Grissom.) He did come down on the right side.
(Grissom nods. He looks at the books on the shelf.)
Grissom: These books are all arranged by subject matter: art, religion, science ... The victim is apparently well-educated.
(Grissom looks on the shelf and sees a framed photo of Izzy carrying his baby.)
Catherine: That's from the Izzy Delancy miniature. What's it doing here?
Grissom: I don't know.
(Grissom picks up the framed photo and looks at it. He turns it over and sees the doll image.)
Grissom: There's something on the surface. Looks like brush strokes.
(Catherine shines the light on it and reveals the word: YOU.)
(Grissom goes straight for the pillow on the couch – the same pillow form the Penny Garden miniature. He puts it on the table next to the framed photo. On the shelf he picks out the window covering from the Mannleigh miniature and puts that on the table as well. Under the light it reveals:
YOU WERE WRONG )
(We hold on Grissom.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. FILE STORAGE WAREHOUSE -- DAY]
(Sara walks along the rows of file boxes. Greg turns the corner and walks over to her. He's in a suit.)
Greg: Hey, Sara, I heard we got another miniature. Is that true?
Sara: Yeah, looks like Ernie Dell was covering for someone.
(Sara pulls a file box off the side and hands it to Greg. She grabs another for herself.)
Greg: No kidding?
(They head out with the two boxes.)
Sara: Hey, you were the one who checked for next of kin after his su1c1de, right?
Greg: SOP. Snail mail, email, bank accounts, police records, Google. All I got was he's a widower. Received his wife's Social Security benefits.
(They put the two boxes down on the table.)
Sara: He had to be connected to somebody.
(Sara cuts the tape on the box while Greg puts on his gloves.)
Sara: It's kind of early for court.
Greg: Finally rescheduled my deposition for the civil suit.
(Sara opens the file box.)
Greg: You know, Demitrius James's family is suing the city for 3.5 million.
Sara: That's going to be a long deposition.
(They go through the items in the box. Under the shirts, Sara finds a stack of video tapes. The top one is labeled SUMMER '87.)
Sara: Home movies.
CUT TO:
[INT. CSI – HALLWAY / LAYOUT ROOM -- NIGHT]
(The hallways are sparse while the janitors mop the floor. In the layout room, Grissom is still going over the latest diorama with a magnifying glass. He looks at the books on the shelves and the flowers in the vases. He goes back to the books on the shelves.)
(He pulls out a particular book and looks at it. He puts it down, then notices the black cat resting on the bookshelf. Grissom picks up the black cat and looks at it.)
(Hodges knocks on the door before entering.)
Hodges: Hey, boss. We're ordering out for breakfast.
Grissom: (interrupts) You have a cat, don't you, Hodges?
Hodges: Mr. K. Kobayashi-Maru. It's in reference to ...
Grissom: Do you ever take him out of the house?
Hodges: My little Kobe? No way. Vegas is coyote country.
Grissom: So if this is a house cat, then this must be somebody's home.
(He looks at the cat and notices the white around the mouth.)
Hodges: Tsk, tsk. Looks like he's been in the milk.
Grissom: Yeah. Maybe the victim has as well. The previous m*rder have all involved the vic's habits and routines. So maybe this time, it's a little something extra in her afternoon tea.
(Grissom and Hodges leans forward to look at the tea set on the coffee table.)
Hodges: So they're going to be poisoned.
(Flash to: The woman finishes her tea and lies back on the couch. She puts a pillow over her face. The cat sips the milk on the tea tray and jumps on the shelf.)
Grissom: (V.O.) She lays down for her usual nap, the cat sneaks a sip, and neither one ever wakes up again.
(End of flash.)
Grissom: It doesn't matter how she dies if we can't figure out who she is or where she is.
(Hodges glances at his watch.)
Hodges: Well, you can't figure that out on an empty stomach. If you don't like this restaurant, there's plenty of others to choose from.
(Grissom looks at the DELIVERY ZONE on the back of the menu from Hodges.)
(Grissom puts the menu down and looks at the diorama. On the bottom of the coffee table, Grissom picks up two miniature order menus for the KRISPY WOK and the TANDOORI TEMPLE.)
Grissom: I choose these two.
CUT TO:
[INT. CSI – A/V LAB -- NIGHT]
(The fax prints the KRISPY WOK menu. Grissom looks at the delivery area on the back of the menu. He marks the area on the computer map in green.)
(He prints out another KRISPY WOK menu and marks that area on the computer map. He does so with the additional KRISPY WOK delivery areas.)
(He prints out a TANDOORI TEMPLE menu and does the same for that eating area. He marks it on the map in red. He does the same for the other TANDOORI TEMPLE menus and delivery areas.)
(He finds the area where the two eating places overlap and marks it CROSSING DELIVERY.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. SIDEWALK -- DAY]
(Brass briefs the officers.)
Brass: We're looking for a building whose exterior looks exactly like this.
(He gives them a photo of the exterior of the miniature. The officers spread out to canvass the area. Brass makes a call on his cell.)
Warrick: (from phone) Talk to me.
Brass: (to phone) So what are we looking at, Rick? We've got a modernist structure with cement beams, steel rails, frosted glass.
INTERCUT WITH:
[ANOTHER SIDEWALK]
(Warrick is walking and talking on the phone.)
Brass: (from phone) Something like that.
Warrick: (to phone) Probably, but whatever it is, it should match exactly. The k*ller's hyper-specific.
Brass: Well, maybe that'll work in our favor.
(Warrick hangs up. Nick is looking at the buildings around them.)
Nick: Now, even if we find a match, we could already be too late.
Warrick: Hey.
(Warrick whacks Nick on the arm to get his attention and points to the building directly in front of them. It's exactly like the miniature.)
(Nick checks it against the photo.)
Warrick: Let's check it out.
(Warrick starts running toward the building. Nick motions for the officer to follow them.)
Nick: C'mon. C'mon.
[INT. BUILDING – LOBBY – DAY – CONTINUOUS]
(Nick, Warrick and the officer enter the lobby and walk up to the manager behind the front counter.)
Nick: Nick Stokes, LVPD. We're looking for a woman that lives in this building. She looks like this. (Nick shows him the photo of the miniature.) Have you ever seen her?
(The manager looks at the photo and scoffs.)
Manager: That looks like a doll.
Nick: Yeah, well, it's actually a death thr*at. Time is of the essence here. Can you help us out? Anyone in the building look like this? No?
Warrick: She's got a cat.
Manager: Well, that narrows it down to about a hundred tenants.
(Warrick puts a photo of the miniature down.)
Warrick: That's her home.
(The manager looks at the photo and recognizes it immediately.)
Manager: 1106. That's Ms. Tallman's place.
[INT. HALLWAY TO 1106 -- CONTINUOUS]
(The manager leads Nick, Warrick and the officer to 1106.)
Dispatch: (over radio) All units responding to 3-5-0-4, 3-5-0-4. CSI Brown and Stokes have ID'd the building. Please respond.
(The manager points to the door. They stop and listen. Behind the door, they hear music playing. Nick knocks loudly on the door.)
Nick: Ms. Tallman? Las Vegas Police. You need to open your door, please.
(There's no answer.)
Nick: Ms. Tallman?
(There's no answer. Nick looks at Warrick. Everyone moves. Nick reaches for his g*n and stands on the side of the door. Warrick motions toward the door.)
Warrick: (to manager) Open it and stand clear.
(The manager unlocks the door and steps aside. Nick opens the door and Warrick steps through, his g*n out in front of him.)
[INT. TALLMAN APARTMENT – DAY]
(Warrick, Nick and the officer enter the apartment cautiously.)
TOP VIEW DOWN: It is the apartment, although no one is sleeping on the sofa.
(Nick notices that the sofa is empty. Music continues blasting through the apartment. The f*re is burning in the fireplace. Nick sees a newspaper on the desk and the books on the shelf.)
(He hears a door open and close. Nick raises his g*n as a woman returns. She sings along with the loud music, turns and sees the men in her apartment.)
(She screams.)
(Warrick puts his g*n down and looks over at Nick.)
Nick: Please, ma'am, calm down. We're with the Crime Lab.
Barbara Tallman: This isn't a lab. This is my home. You must be confused.
Nick: No, we're not confused. We're here for your protection.
(Nick motions to the music. Warrick turns it off.)
Warrick: Ms. Tallman ...
Barbara Tallman: Dr. Tallman.
Warrick: Dr. Tallman ... I need you to take a look at this.
(He shows her the photos of her apartment.)
Barbara Tallman: Did you make this for me? That's very sweet.
Warrick: It's a death thr*at.
Barbara Tallman: Who would want to k*ll me?
Nick: Doctor, do you normally take a nap around the same time every day covering your face and eyes with the pillow?
Barbara Tallman: (sleepily) Yes, at 4:00 p.m. I ... I have tea and cookies every day when I wake up. Have you been watching me?
Warrick: No, Miss, no, but we think someone else has. Doctor, your life is in danger. We need you to get dressed and come with us, please.
Barbara Tallman: Am I in trouble?
Nick: No, ma'am. No, not anymore. This officer will help you get your things, okay?
Barbara Tallman: No, no, no. I'll go get my things.
(She starts to leave, then turns around.)
Barbara Tallman: I want you to know that you young men are refreshingly polite.
Warrick: Thank you.
(Dr. Tallman leaves. Warrick turns and looks at Nick.)
Warrick: Is she on something?
Nick: She may have already been poisoned.
(The cat jumps on the table and starts drinking from the tea set.)
Warrick: We'll get her to the hospital.
Nick: We should collect blood for tox.
Warrick: And any open food or drink.
(Nick turns and shoos the cat away.)
Nick: Hey, get out of there! (The cat meows.) The k*ller did plan every detail.
Warrick: Except for us showing up.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – LATE DAY]
[INT. CSI – A/V LAB]
(The video DATE/STAMPED MARCH 7, 1988, is on the monitor. Greg, Archie and Sara watch the video. On the video, Ernie speaks with the engineer of the small train. The children run toward the train.)
Sara: That's got to be Ernie Dell's wife.
(They climb into the train. Ernie waves the engineer.)
Archie: Quite the bash.
(The train starts to move.)
Archie: They must love kids.
(The next video scene is of the family around a table full of kids. Ernie and his wife stand behind a little boy seated at the head of the table. Everyone sings "Happy Birthday To You.")
Archie: Is that Ernie's son?
Greg: There's no record of a son, but it sure looks like it.
(On the monitor, the little boy glares at his birthday cake.)
Sara: One, two, three, four, five birthday candles in 1988 would make him around 24 now.
(On the monitor, the little boy can't seem to blow out the candles. Everyone laughs. The little boy sweeps the cake off the table and onto the ground.)
Archie: Hmm. Don't look like a very happy birthday.
(The little boy jumps off his seat and runs. Mrs. Dell runs to console him.)
Greg: Did you get the boy's name?
Archie: Cake never made it on camera.
Sara: How about audio?
Archie: It sucks. '80s video cam with built-in, non-directional mic, pulls in nothing but wind and train noise.
Sara: So let's process it.
Archie: This is processed.
(On the monitor, Ernie Dell is with his son and eats some of the cake off his son's fingers.)
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Nick walks through the hallway with Grissom and fills him in.)
Nick: We ran tox on Ms. Tallman's blood as well as her milk and cookies. She was negative on everything from pharmaceuticals and illicits, to herbicides, pesticides and heavy metals. You sure she was going to be poisoned?
Grissom: No, but I'm pretty sure she was scheduled to die today. In each of the previous cases, the k*ller was at the scene to commit the m*rder. So maybe he was planning to show up at the condo.
Nick: Well, it'd be kind of rude not to greet him, don't you think?
CUT TO:
[INT. TALLMAN RESIDENCE – LIVING ROOM -- DAY]
("Barbara Tallman" walks into the living room with the tea set. She sets it down on the coffee table and sits on the sofa. She lifts her lapel and speaks into the mic.)
Officer Kamen: I'm ready for my close-up.
(Officer Kamen glances at the camera set up on the top of one of the shelves.)
(In another room, Sofia watches the monitor. Officer Kamen stretches out on the couch for her afternoon nap.)
Officer Kamen: (from mic) This definitely beats walking the b*at.
Sofia: Feed's good. Officer Kamen, how's your read?
(On the monitor, Officer Kamen nods.)
Officer Kamen: Time to go to sleep.
(On the monitor, Officer Kamen picks up the couch pillow and puts it over her head as Barbara Tallman does.)
[INT. TALLMAN BUILDING – LOBBY – DAY -- CONTINUOUS]
(Brass sits in the lobby reading the paper.)
Brass: (to radio) All units, this is Brass. All right. Maintain a low profile. That means I don't want to see a uniform within three blocks of this place, okay?
[INT. STORAGE ROOM – CONTINUOUS]
(Sofia watches Officer Kamen pretend to sleep.)
Brass: (from radio) Be vigilant, but be cool.
(She takes a sip of her coffee cup as she waits.)
[INT. TALLMAN BUILDING – LOBBY – DAY -- CONTINUOUS]
(The lobby door opens and a delivery man walks in with a package. He goes to the front desk and signs in. Officer Mitchell is behind the desk pretending to be the manager.)
Officer Mitchell: Where you headed?
World Send Deliveryman: Eleven.
(The delivery man signs in.)
World Send Deliveryman: Oh, sorry. Ten.
Officer Mitchell: Go on up.
(The delivery man walks past Brass on his way to the elevators. The elevator bell dings off screen in the background.)
(A second, older man walks in. He's wearing a dark coat and carrying a large briefcase.)
Man: Hold the elevator.
World Send Deliveryman: What floor?
Man: Eleven.
(The elevator doors close.)
Brass: (to radio) Someone's coming up.
[INT. STORAGE ROOM – CONTINUOUS]
Brass: (from radio) White male with a suitcase.
(On the monitors, the man gets out of the elevator on the eleventh floor. He heads toward the apartment.)
(The man puts his suitcase down on the floor in front of the apartment.)
Sofia: (to radio) We got a possible.
[INT. HALLWAY – CONTINUOUS]
(Sofia and a couple of officers burst out of the storage room.)
Sofia: LVPD. Up against the wall.
Peyton Tallman: What?
(The officer turns and pushes Peyton Tallman up against the nearby wall.)
Officer: She said hands against the wall.
Sofia: What's your business here, sir?
(Sofia checks his wallet.)
Peyton Tallman: Nothing. I mean, this is my sister's place. I'm Peyton Tallman. Where's Barbara? Did something happen to her?
(His NEVADA DRIVER LICENSE reads:
TALLMAN, PEYTON
2672 W. 6TH ST.
LAS VEGAS, NV 89109 )
Sofia: This officer will explain everything to your satisfaction. Get him out of here.
Peyton Tallman: What?
(The officers lead Peyton Tallman down the hallway.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Grissom walks through the hallway and is on the phone with Brass.)
Brass (from phone): Peyton Tallman's ID checks out. And you know ... and I kind of doubt the k*ller's going to make a miniature crime scene of his own sister's house.
Grissom: (to phone) And we have nothing to link him to the other three m*rder?
Brass: (from phone) He wants to see his sister. I'll let you know how that goes down.
Grissom: Okay. Thanks.
(Grissom hangs up and enters –
[INT. CSI – GRISSOM'S OFFICE – DAY – CONTINUOUS]
(The latest miniature is on his desk. He sits down, looks at it and sighs. Grissom looks at the three vases. He zooms in on the middle vase.)
[INT. STORAGE ROOM – CONTINUOUS]
(It's night. Sofia is watching Officer Kamen on the monitors. She looks at her watch.)
Sofia: (to radio) Okay, that's it. k*ller's not gonna show. (to officers)
Let's call it a night.
[INT. CSI – GRISSOM'S OFFICE – DAY – CONTINUOUS]
(Grissom pulls the lamp in closer for a better look. The flowers in the vases immediately melt and fall apart. Grissom thinks about it.)
[INT. TALLMAN RESIDENCE – LIVING ROOM – LATE DAY]
(The front door opens. Sofia walks in.)
Sofia: All right, I know you must be exhausted from your brutal day in the field, but it's time to go.
(Officer Kamen doesn't move.)
Sofia: Officer Kamen?
(Sofia knocks the pillow away from her face. Officer Kamen's d*ad open eyes stare back at her.)
(Sofia gasps.)
CUT TO:
[INT. TALLMAN RESIDENCE – LIVING ROOM – LATE DAY]
(A camera flashes as David Phillips snaps photos of Officer Kamen. Sofia stands on the side watching and upset.)
David Phillips: She's pale. No sign of trauma. COD'll have to wait till autopsy. Sorry.
Sofia: Not as sorry as I am.
(Grissom steps into the room.)
(He puts his kit down near the door. Sofia turns around and he doesn't say anything. Grissom looks around the room and sees the shelf where the black cat was found. He heads over to the shelf while putting on his gloves.)
(He pulls the books away and finds the d*ad cat.)
(Grissom shakes his head.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – BRASS'S OFFICE]
(Brass walks into the office. Barbara and Peyton Tallman are sitting at his desk.)
Brass: Look, I know we've all had a tough day, but the sooner we get done here, the sooner we can all go home.
Barbara Tallman: (sniffles) Why? So my little Tripper can run out to greet me?
Peyton Tallman: Barbara.
Brass: I'm sorry about your cat, ma'am. We lost an officer.
Barbara Tallman: How much did you love her?
Peyton Tallman: Barbara, please.
Brass: When my guys went to your house, they said you were a little out of it, but you're thinking clearly now, right?
Barbara Tallman: Well, having your home inv*de can be a little bracing.
Peyton Tallman: Captain, how can we help?
Brass: Can you tell me why anyone would want to k*ll you?
Barbara Tallman: No.
Peyton Tallman: But you can. Well, Barbara was a high regarded psychotherapist.
Barbara Tallman: Is. That hasn't changed.
Brass: Is or was?
Barbara Tallman: I'm retired.
Brass: You seem a little young to be retired.
Barbara Tallman: I got tired of it.
Brass: Can you tell me why one of her patients would want to k*ll her?
Barbara Tallman: No.
Peyton Tallman: Well, no, it's-it's possible. She, um ... she counseled a lot of at-risk adults, um, halfway house kids, pro bono.
Barbara Tallman: I also treated suburban sexual dysfunction for $300 an hour.
Peyton Tallman: She helped a lot of people.
Brass: Did you work out of your home?
Barbara Tallman: For the last few years.
Brass: Treat any sociopaths?
Barbara Tallman: That's not a term for which there's any diagnostic criteria. You're not looking for one of my patients.
Brass: Well, maybe I am. Maybe I'm looking for a 20-something-year-old male, last name of Dell.
Barbara Tallman: Won't say.
Peyton Tallman: She can't say. It's doctor-patient confidentiality.
Brass: But you're retired.
Barbara Tallman: Well, you know where I live. Are you done yet?
Brass: No, we're not done yet. At least, I'm not done yet. All right, look, let's start again, all right? Let's ... Maybe we started off on the wrong foot, all right? Look, I'm asking you as a professional, as a psychotherapist, please ... help me out here.
(He puts the photos of the miniature crime scenes out on the table.)
Brass: Okay? Tell me ... what am I looking for?
(She looks at them, putting her hand out over the photos. She moves stiffly and awkwardly, but nothing too much out of place.)
Barbara Tallman: Repetition ... attention to detail indicates obsessive-compulsive disorder. Obvious antisocial personality.
Brass: Uh, yeah, four bodies -- I'd call that antisocial.
Barbara Tallman: Most m*rder lack impulse control, inability to plan ahead, but ... this one's different.
Brass: Different how?
Barbara Tallman: He conceives m*rder ... visualizes it. Then he takes all that horror that he's imagined. He compresses it into these little rooms. These models literally indicate repressed rage. And when you start taking that apart, all that rage comes flying out ... and you will have let the monster out of the box.
CUT TO:
[INT. CSI – LAYOUT ROOM]
(Grissom snips the shirt off one of the miniature d*ad bodies. Hodges stands in the doorway watching. Grissom doesn't look up.)
Grissom: Stop hovering, Hodges. You're in or you're out.
Hodges: In.
(Hodges steps into the room.)
Hodges: So, she wasn't poisoned, huh?
Grissom: No. Hand me a scalpel.
(Hodges hands Grissom the scalpel. Grissom cuts the miniature d*ad body open, performing an autopsy of sorts on it. He opens the body.)
Grissom: Tweezers.
(Hodges hands Grissom the tweezers. Grissom removes the body's lungs.)
Hodges: Nice lungs.
CUT TO:
[INT. CSI – TRACE LAB]
(Hodges takes a sample of the gas inside the miniature lungs with a syringe. He tests the sample.)
CUT TO:
[INT. CSI – A/V LAB]
(Grissom is in the A/V lab watching the video of Officer Kamen sleeping. His phone rings. He answers it.)
Grissom: (to phone) Grissom.
INTERCUT WITH:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Tripper is cut wide open on the autopsy table.)
Robbins: (to phone) Yeah, Gil, uh, got a good idea on COD for your asphyxiated officer.
(On the other table, Robbins stands in front of the table with Officer Kamen on it.)
Robbins: (to phone) Internal organ color nailed it on both the autopsy and necropsy as ...
(Grissom is reviewing the GCMS test results: CARBON MONOXIDE.)
Grissom: Carbon monoxide poisoning.
Robbins: You know, nobody likes when you do that. So, how did CO get into the room?
Grissom: That I don't know.
(Grissom hangs up and goes back to watching the video of Officer Kamen sleeping. He sees something and rewinds the tape. The f*re in the fireplace flares.)
CUT TO:
[SCOPE VIEW]
(Grissom pushes the scope through the living room and past the miniature body on the couch.)
INTERCUT WITH:
[INT. TALLMAN RESIDENCE – LIVING ROOM]
(Nick and Warrick enter the room and put their kits down near the fireplace. Nick turns on his flashlight and checks under the flue.)
[LAYOUT ROOM]
(Grissom checks under the flue and finds the rigged timer. He thinks about it.)
[INT. TALLMAN RESIDENCE – LIVING ROOM]
(Nick looks up under the flue and finds the rigged timer.
(Quick flash to: [THE FLUE] The flue is open. The timer activates and shuts the flue, dropping the charcoal on the f*re.)
Nick: (V.O.) The timer goes off, activating the motor, which closes the flue and drops powdered charcoal onto the flames, producing carbon monoxide.
(In the living room, Officer Kamen sleeps on the sofa. The fumes fill the room.)
Nick: (V.O.) Fumes have nowhere to go but out into the apartment, into Officer Kamen.
(End of flashback.)
[INT. CSI – LAYOUT ROOM]
Nick: And the cat.
(Nick reports to Grissom.)
Nick: You know, this timer was geared to run for weeks. It could have easily been put in place a month ago.
Grissom: That's why the k*ller felt safe enough to send me the miniature. He never intended to be at the scene. There was no danger of being caught.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Greg catches up with Sara and shares his findings with her.)
Greg: Hey, Sara, check this out. I was digging through Mannleigh Chicken's employee health insurance records ...
Sara: 45 million Americans without health coverage, and a chicken slaughterhouse provides medical benefits?
Greg: Izzy Delancy's animal rights PSA forced the company to clean up its act in all departments. Anyway, Ernie Dell had one dependent listed: a son.
Sara: "Lionel Dell." Unbelievable.
Greg: Yeah, the man loved his trains. Lionel changed his name to Mitchell Douglas after he turned eighteen, and get this. He did time in a halfway house after getting busted for fentanyl.
Sara: Which connects him to the fentanyl-dealing sexagenarian, Penny Garden. Where's young Dell now?
(They walk out of camera frame.)
CUT TO:
[INT. MITCH DOUGLAS'S WORKPLACE -- DAY]
(Sara and Greg walk up to Mitch Douglas.)
Sara: Lionel Dell?
Mitch Douglas: My name is Mitch Douglas.
Sara: I'm Sara Sidle. I'm with the Crime Lab. I was wondering if you knew this woman.
(She shows him a crime scene photo of Penny Garden.)
Sara: She used to sell fentanyl.
Mitch Douglas: Want me to pee in a cup?
Sara: What about this guy? He's d*ad, too. He was found face down in a chicken stun bath in a place your dad used to work.
Mitch Douglas: He worked a lot of places. I met a lot of people.
(Mitch uses a device on the canister. Sara watches him.)
Sara: Did you know Izzy Delancy?
(Sara shows him another crime scene photo.)
Mitch Douglas: Yeah. His music sucks. What do all these stiffs got to do with me?
Sara: What was your relationship like with your father?
Mitch Douglas: Before or after he blew his brains out?
Sara: Let's start with ... before.
Mitch Douglas: You ever step in a pile of crap, but you're wearing boots, so you can't just scrape it off. You got to dig it out with a stick, but even that doesn't work, so you just end up tossing the boots in the trash? It was kind of like that.
Sara: And after?
Mitch Douglas: Much better. You gonna arrest me?
Sara: (shakes his head) We're just talking.
Mitch Douglas: I'm not.
(He goes back to work.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Camera passes by all the miniature crime scene set up in plastic cases in Grissom's office. Grissom is at his desk looking at photos of the most recent miniature. Sofia knocks on the door.)
Sofia: Did you know Officer Kamen?
Grissom: No.
Sofia: Me, neither. I was watching her die, and I didn't even realize it.
Grissom: Look, Sofia, there weren't any carbon monoxide sensors in the apartment, so no one could have known.
Sofia: Yeah.
Grissom: And in fact, if I hadn't have gone away, we'd have had another month to work with; you'd have never been in that position.
Sofia: It doesn't make you feel any better either, does it? You know, the scene's been released. Ms. Tallman was pretty insistent. We offered to leave a uniform with her, but she wasn't having it.
(Grissom picks up the photo and looks at it again. He sighs.)
Sofia: So, what are you looking for? The miniature's complete.
Grissom: It's not perfect, though. Officer Kamen was not the intended victim.
Sofia: Well, she was dressed like her. She died in the right position. So did the cat.
Grissom: I'm still not sure it's perfect enough.
(The phone rings. Grissom answers it.)
Grissom: (to phone) Grissom. (pause) Yeah. (pause) Okay.
(He hangs up and looks at Sofia.)
Grissom: Now, it's perfect.
(He looks at the photo.)
CUT TO:
[INT. TALLMAN RESIDENCE – LIVING ROOM – DAY]
(TOP VIEW DOWN: Barbara Tallman is d*ad on the sofa. DISSOLVE IN officers and other crime scene personnel.)
(Nick snaps photos of the real BARBARA TALLMAN d*ad on the sofa.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. TALLMAN RESIDENCE – LIVING ROOM – DAY]
(Nick snaps photos of Barbara Tallman. Catherine checks a hand-held meter, then picks up the pillow.)
Catherine: It's deja vu all over again.
Nick: Not entirely. There's some kind of liquid. It looks like it fell and splashes on the floor ... and the body ... and it looks like ... the ear.
(Camera ZOOMS into the liquid in Barbara Tallman's ear.)
(Catherine looks around and sees some liquid at the base of the vase on the table.)
Catherine: This could be the source.
(Quick flash of: The k*ller smothers Barbara Tallman with a pillow.)
Catherine: (V.O.) k*ller returns to ... complete the miniature the old-fashioned way.
(As the k*ller leaves, he backs into the vase and knocks it over.
Catherine: (V.O.) And things get a little messy. But in the end ...
(The k*ller picks up the vase and fixes everything as best as possible.)
(End of flash.)
Catherine: -- he puts everything right back where it belongs.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
Peyton Tallman: (V.O.) What happened to my sister was not just some isolated tragedy.
[EXT. -- NIGHT]
(Peyton Tallman is holding a press conference.)
Peyton Tallman: There have been four other m*rder, four deaths which could have been prevented had the public been warned by the people sworn to protect us. Barbara Tallman was the latest victim of a serial k*ller ... the LVPD has known about for months.
Reporter Janine Sharell: What do they call him?
[INT. CSI – BREAKROOM – NIGHT]
(The television is on the WFIN 19 LIVE news coverage of the press conference. The caption on the bottom of the screen reads: BREAKING NEWS, BROTHER OF SERIAL k*ller VICTIM SPEAKS.)
Peyton Tallman: (from tv) They call him the ‘Miniature k*ller,' because he makes little models of his victims posed in the places where they die.
(Hodges and Grissom are watching the news coverage.)
Hodges: I feel for the guy, but he just made our job a lot harder.
Grissom: It was inevitable. With the m*rder, the amount of information that could leak rose exponentially.
Peyton Tallman: (from tv) I'm a private person, but if this prevents just one tragedy, then it's worth it.
(Hodges gives Grissom the test results.)
Hodges: Trace report on the second crime scene or ... or should I say second m*rder? Crime scene is the same.
(The results show:
: C:\Database\Wiley275.L
: 99
: CHLORINE BLEACH, NaCIO )
Hodges: Haven't finished processing all the samples, but the water from the vase is consistent with the water found on the victim's clothing.
Grissom: There's chlorine bleach in the samples. Why put bleach in vase water?
Hodges: I knew you'd ask that. Well, I had this girlfriend who was a florist ...
Grissom: The one with the water retention problem.
Hodges: You remembered. Anyway ... she said that if you add a few drops of bleach to your water, it kills bacteria, and gives your flowers a nice long life, but add too much ... the flowers die.
(Greg walks in.)
Greg: Grissom, we may have caught a break on Barbara Tallman. She did pro bono work at Lionel Dell's halfway house.
(Grissom removes his glasses at the news.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT]
(Sofia and Sara interview Mitch Douglas.)
Mitch Douglas: Okay, so maybe I met her. So what?
Sofia: So, she's d*ad. That's four stiffs associated with you, Lionel. Five, if you count Ernie.
Mitch Douglas: I don't.
Sara: You know, you keep saying that you hated your dad, but I'm not buying it.
(Sara shows him the photos of the miniature crime scenes.)
Sara: You go through your life alone. You're good with your hands. You have weird hobbies. You make little things. And when that gets tricky ... you call your father.
Sofia: Maybe Ernie didn't know you were a k*ller. Police start poking around, asking questions, showing him pictures. And when Ernie sees these ... he knows exactly what his little boy's become.
Sara: To the rest of the world, a monster, but to him ... just a little boy knocking over his birthday cake.
Sofia: So he confesses to crimes you committed, sh**t himself in the head; it's a d*ad end for us.
Sara: New start for you.
Mitch Douglas: If only. Let me tell you about Ernie. What he cared about in this life was ... his wife, his trains, and his kids. In that order.
Sara: Kids? You're an only child.
Mitch Douglas: (chuckles) Again, if only. If you're looking for a love connection, then ... then you should maybe go talk to one of the chosen ones.
Sofia: What are you talking about?
Mitch Douglas: Fosters. My parents had, like ... dozens. They'd come and go, some before I was born. My mom loved kids. Dad loved Mom. I guess as soon as I came around ... the love ran out. And then Mom dies ... the kids leave ... and Ernie's left with me.
(He looks at them.)
Mitch Douglas: Ernie didn't take a b*llet for me. (shakes his head) But it's a beautiful thought.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over the preliminary findings with Catherine.)
Robbins: I pulled these fibers out of her nasal passages.
Catherine: Well, they appear to be consistent with the sofa pillow cushion at the scene.
Robbins: COD was asphyxiation. Now ... what is wrong with this brain?
(He picks up the brain from the metal bin and shows it to Catherine.)
Catherine: Other than the fact that it's out of its skull? Pigmentation's unusual.
Robbins: Bingo ... or keno or whatever you prefer. Pronounced lack of pigmentation near the midbrain, along with ... clearly diminished substantia nigra. She had Parkinson's.
Catherine: Nick and Warrick did say that she was a little ... spacey when they met her, but they didn't mention any shaking.
Robbins: Her disease was advanced. She was on some pretty heavy meds.
Catherine: Would they have shown up on a poison tox panel?
Robbins: No, but those kinds of medications can cause abnormal thinking and behavior. Takes somebody with a very strong will to keep it hidden.
CUT TO:
[INT. CSI – HALLWAY / CATHERINE'S OFFICE]
(Grissom is heading into one of the labs when Catherine catches him.)
Catherine: Hey! How'd it go with the sheriff?
(Grissom steps into Catherine's office.)
Grissom: Media's all over him. Which means he's all over the undersheriff, who's all over Ecklie, who's blaming me for not going public with the Izzy Delancy miniature like he told me to.
(Catherine shows him the test results.)
Catherine: Well, I got the final trace report on the bleach water that spilled at the scene, but ... the fluid in the ear was biological. Water and proteins.
Grissom: Lipocalin, lactoferrin, lysozyme. Tears.
Catherine: (nods) Mm-hmm.
Grissom: The victim was crying?
Catherine: The smudges are from the pillow. There were no tear tracks. I don't think the victim was crying. I think the k*ller was.
(Quick flash of: Peyton Tallman removes the pillow from Barbara's face. He cries.)
Catherine: (V.O.) When you cry, your tears sometimes can pick up skin cells from your cheek.
(XCU: A single tear runs down his cheek and falls into Barbara's ear cavity.)
END OF FLASHBACK
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Catherine interviews Peyton Tallman. She shows him the test results.)
Catherine: The DNA in your tears that were found on your sister's body proves that you were there. I imagine it was the hardest thing you've ever done. But you did it.
Peyton Tallman: You should've seen Barbara when she was young. She was fierce. And fearless. She protected me. She was the smartest, the funniest, best friend I could ask for in life. The Parkinson's just robbed her of everything. She'd take medication; she'd go away. She'd get off medication. She'd become lucid again, only in agony. She wanted to die in her own home.
Catherine: There's no ... assisted su1c1de protection in Nevada.
Peyton Tallman: She said this was the perfect opportunity. She could get what she wanted, and ... everyone would blame the ‘Miniature k*ller.'
Catherine: I understand. You're under arrest.
CUT TO:
[INT. CSI – A/V LAB]
(On the monitor is the video footage from the birthday party held on MARCH 7, 1988. Then entire train is filled with kids.)
(Sara and Grissom are watching the video tapes.)
Sara: We reran the footage several times to get a head count. Assuming that they're all Dell foster kids, there's 13 of them.
Grissom: At this birthday party?
Sara: Yeah. Lionel only remembered the first names, and only a few of those. Getting the DHS records is going to be tough. Judges hate giving them out unless we can demonstrate a pressing need ... and even then, they're spotty. And a lot of a foster kids change their names when they age out.
Grissom: Ernie Dell confessed and k*lled himself to protect someone he loved. And that someone has m*rder five people.
(The kids on the video look like they're having fun – girls and boys.)
Grissom: Eenie, meeny, miney, mo. Catch a monster by the toe.
(On the video, one of the boys elbows another boy. A dark-haired girl stops him. The boy being elbowed turns and looks at the monitor.)
(The video ends.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x16 - Monster in the Box"} | foreverdreaming |
FLASH IN:
[Intro: "Good Enough," by Evanescence]
[INT. RIDGE VALLEY HIGH SCHOOL – HALLWAY -- NIGHT]
VARIOUS DISSOLVES OF:
(Three cheerleaders with their pom-poms run through the hallway.)
(The trophy case with various awards.)
Grissom: (V.O.) Primitive people refused to be photographed, fearing the camera would steal their soul.
(Just beyond the trophy case are large photos of various high school students –
Sheila Latham, Charlie Kellerman with his camera, Megan Cooper in her cheerleader uniform and Ryan Lansco in his basketball pose.)
Grissom: (V.O.) Like any good hunter, the photographer stalks, takes aim, and sh**t an image. Who's to say that when the shutter traps that moment in time those primitive fears weren't well founded?
(We continue past the wall and into the –
[INT. RIDGE VALLEY HIGH SCHOOL GYM – NIGHT – CONTINUOUS]
(A basketball game is in progress. Photographers stand on the side snapping photos of Ryan Lansco on the court.)
(On the sidelines is a group of photographers. The game is in timeout and the cheerleaders step out onto the court. Ryan Lansco turns and smiles at his girlfriend, Megan Cooper.)
VARIOUS sh*ts OF:
(Ryan's parents are sitting in the audience. Sheila Latham is in the stands cheering her team.)
(The photography teacher, Diane Kentner, helps a student take photos.)
(The cheerleaders continue their routine.)
(A camera flashes and a PHOTO is taken.)
Various PHOTOS sh*ts of:
-- Megan Cooper.
-- Ryan Lansco.
-- Sheila Latham.
(The game continues. Megan takes a seat next to Charlie Kellerman. They watch the game. The score is 42-HOME, 43 GUEST. There's ten seconds left on the clock.)
(The buzzer sounds and the ball is in play. Ryan Lansco gets the ball and passes to a teammate. He moves into position and gets the ball again. He sh**t. He scores. Time runs out. The buzzer sounds. Game is over.)
(Everyone rushes out onto the court. Megan runs to Ryan. Ryan's father runs up to congratulate him.)
PHOTO FREEZE-FRAME: The scene is frozen and captured. Camera pulls back -- out of the gym and into the hallway.
(We linger on the large photos of the students hanging on the wall. The first one of Ryan Lansco – as he slowly vanishes. The second photo of Megan Cooper as she also vanishes.)
CUT TO:
[INT. POLICE DEPARTMENT – BRASS'S OFFICE -- DAY]
(Megan's parents – Brenda and Sam Cooper – and Ryan's parents – Eddie and Linda Lansco – are in Brass's office.)
Sam Cooper: Megan has no reason to run away. She's always been a happy kid and we trust her implicitly.
Brenda Cooper: Captain, this is not like her. Of course it's no accident they're missing together.
Eddie Lansco: Ryan has a scholarship to Duke. He's not going to throw it away for some chippie.
Sam Cooper: Excuse me? "Chippie?"
Linda Lansco: Your daughter's the one who's calling our house twenty-five times a day.
Brass: All right, all right, all right. This isn't helping. Now, the kids have been missing since last night. Why'd you wait till now to report it?
Brenda Cooper: We thought that Megan was sleeping over at Sheila's.
Brass: Sheila who?
Brenda Cooper: Uh, Sheila Latham, her best friend. When I called Megan on her cell phone this morning, I couldn't reach her, so I called the house, and, uh, she wasn't there. And Sue Latham didn't know anything about a sleep-over.
Eddie Lansco: Ryan doesn't have a curfew. But he never stays out all night.
Linda Lansco: He's not answering his cell phone, and his van is missing.
Sam Cooper: Captain, please, find my daughter before she does something stupid.
Brenda Cooper: Stupid I can live with. I need to know they're okay.
CUT TO:
[EXT. RIDGE VALLEY HIGH SCHOOL – PARKING LOT – DAY]
TOP VIEW DOWN: Officer car #682 is parked across three parking stalls.
(Officer Mitchell walks around the car.)
Brass: (from radio) The last place they were seen was the parking lot at the school after the game.
(Grissom is carrying his kit and headed to parking stall #42.)
Grissom: (to phone) These two kids have only been missing for fourteen hours. They could have eloped to Mexico.
Brass: (from phone) I know it's a favor, but ...
Grissom: (to phone) All right. But you owe me one for getting me out of bed on a Saturday morning.
(Grissom hangs up and meets up with Officer Mitchell.)
Grissom: Mitch?
Officer Mitchell: This is Ryan Lansco's assigned parking spot. His drives a blue '72 Ford van. It's missing.
Grissom: What do you want me to test?
(He indicates the dark drops on top of the oil spots in the middle of the parking stall.)
Officer Mitchell: Doesn't look like transmission fluid.
(Grissom opens his kit and takes out his gloves.)
Grissom: Did you have assigned parking when you were in high school?
Officer Mitchell: No. I didn't even have a car.
(Grissom swabs a sample and tests it.)
Grissom: Yeah, it's blood. I hope they're in Mexico.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. RIDGE VALLEY HIGH SCHOOL – PARKING LOT – DAY]
(Nick and Grissom check the parking lot for more blood drops. More officer cars are there.)
Nick: Forty may be the new twenty, but 16's the new 30, between cars and cell phones and the Internet.
Grissom: Yeah, well, the world's become a very small place, Nick. All the vices are closer to home.
(Nick swabs a stain on the asphalt and tests it. It tests positive.)
Nick: Hey.
(Nick and Grissom continue through the ground and head toward the track field.)
(On the field, Nick finds some polyfill caught in the metal gate hinge.)
(On the track, Grissom finds more polyfill.)
Grissom: More polyfill.
(Nick nods. Together, they continue searching for more evidence. Nick stops to check something on the track. Grissom sees blood on the football equipment.)
Grissom: Hey, Nick?
Nick: Yeah?
Grissom: This looks like arterial spraying. Something bad happened here.
(Grissom points to more blood on the equipment.)
Nick: A little blood in the parking lot, a lot of blood here. But very little in between?
(They look around the field. Nick sees something.)
Nick: Hey. Look at that equipment shed door.
(They head over to the shed. The door is partially opened. Grissom checks the ground on his way there.)
Grissom: Some kind of broken glass.
(There's a shoe print on the door near the knob.)
Grissom: Well, this was kicked in.
(Grissom uses the end of his flashlight and pushes the door open. They look inside.)
(There's a cheerleader's top on one of the machines. There's also a jersey with
‘LANSCO‘ embroidered draped on another machine.)
(Grissom and Nick look at each other.)
CUT TO:
[INT. POLICE DEPARTMENT – WAITING ROOM -- DAY]
(Sofia gives Sheila Latham a cup of something to drink. Sheila's mother, Sue, is there also.)
Sofia: Sheila.
(Sofia sits down.)
Sofia: Megan told her parents she was spending the night with you.
Sheila Latham: (shrugs) But first she was ... gonna hook up ... with Ryan after the game.
Sofia: Do you know where?
Sheila Latham: No.
Sue Latham: Sheila ...
Sheila Latham: What? I don't know.
Sue Latham: Excuse me? Your best friend is missing and you're at a police station. Act accordingly. And sit up straight.
(Sheila sits up straight.)
Sofia: Are you okay?
Sheila Latham: Yeah. Yeah, I'm fine. I just have a headache.
Sue Latham: Were you drinking last night?
Sheila Latham: Mom, no! (to Sofia) Look ... a couple of us went out for burgers and then I came home. Megan was supposed to call me on my cell ... and I was going to go downstairs and let her in.
Sofia: And did she call?
Sheila Latham: No.
Sofia: And you weren't worried?
Sheila Latham: I thought it was just an overtime make-out session. I fell asleep. And now I'm here.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Catherine and Grissom walk through the hallway.)
Catherine: Both kids have an ATM card. Neither's been used since they went missing. No calls were placed from either of their cell phones. There's an APB out on Ryan's van-- no hits. An APB has gone out to local hospitals-- nothing yet. I know. It sucks.
Grissom: Any calls placed before they went missing?
Catherine: Where do I start? Megan and Sheila phoned each other about a dozen times. A handful of calls were placed to Charlie and Bonnie. They're both on the cheerleading squad. "Hair up or down? Black socks or gold socks?"
Grissom: How about Ryan?
Catherine: Ryan, uh, and Megan exchanged a few calls. He phoned home twice. His last call was after the game to a Diane Kentner. She is the photography teacher at the high school. Warrick is following up and ... I'm going to collect DNA exemplars from the kids' houses. My favorite part.
(Catherine walks away.)
CUT TO:
[INT. RIDGE VALLEY HIGH – EQUIPMENT SHED -- DAY]
(Nick takes an impression of the shoe print off the shed door. Greg is gathering the jerseys off the equipment.)
Greg: Wish I had one of these back in high school.
Nick: What's that? A letter jacket?
Greg: No. No, a love shack. Back seat of my car got real old, real fast. I was getting so much play my senior year, I seriously considered getting a hearse.
Nick: Well, I never accused you of not being smart. Greg, you're a little weird, but ... a hearse?
(Nick indicates the ropes tied to the equipment.)
Nick: So what's with the ropes, Casanova?
Greg: Well, I don't think they were working out. Looks like what started out as a good time went bad.
CUT TO:
[INT. CSI – TRACE LAB -- DAY]
(Hodges puts the glass pieces together and takes the large piece and puts it in a dish. He puts it under a scope. Grissom walks in.)
Hodges: I'd know those footsteps anywhere. The glass you found on the track is optical glass. Camera lens, not spectacle. Camera lenses have one side that's round and one side that's flat for a high refractive index.
Grissom: It bends the light more.
(Hodges takes the results out of the printer.)
Hodges: It also has magnesium fluoride and calcium fluoride coatings for anti-reflection.
(Grissom looks at the test results.)
Hodges: You're looking for a high-end, non-compact camera -- Nikon, Leica, or Canon -- that's missing its lens.
Grissom: Thank you, David.
(Grissom turns to leave.)
CUT TO:
[INT. RIDGE VALLEY HIGH SCHOOL -- HALLWAY – DAY]
(Warrick meets with Diane Kentner.)
Warrick: Warrick Brown from the Crime Lab. (They shake hands.) Thanks for coming in on a Saturday.
Diane Kentner: Diane Kentner. I took these photographs of Megan and Ryan.
Warrick: You took these.
Diane Kentner: Yeah, I teach photography.
Warrick: Well, that's a nice sh*t right there.
Diane Kentner: Thanks. That's Charlie Kellerman. I try to take pictures of what the kids are passionate about.
Warrick: So I guess he's passionate about photography.
Diane Kentner: Yeah. That and Megan. Charlie's in love with her. She's in love with Ryan. Ryan's in love with his future. Ah, high school.
Warrick: Yeah. Did you notice any drama yesterday in class between Megan and Ryan?
Diane Kentner: No. I mean, if a day goes by that a teenage girl doesn't cry in my class, it's a rarity. But yesterday, it wasn't Megan. And Ryan's head was already in the game. He's got a lot of pressure on him. He's oldest of six. His parents are already counting the money that he's gonna make from his first NBA contract.
Warrick: Hmm. Ms. Kentner, what kind of cameras do you use in class?
Diane Kentner: We have a couple of junky ones. Students usually bring their own.
Warrick: And what about your own personal collection?
Diane Kentner: Well, I'm old school. I mean, I took these with a Hasselblaad, but ... otherwise, I use a Minolta I've had forever. Why?
Warrick: Just following up on some evidence. And Ryan called you after the game last night.
Diane Kentner: Yeah, he wanted copies of the photos the photography club had taken.
Warrick: And he called you on your cell?
Diane Kentner: Yeah, I put it on the syllabus. You can have it if you want.
Warrick: No, thanks. I've ... I've already got it.
CUT TO:
[EXT. RIDGE VALLEY HIGH SCHOOL – TRACK FIELD – DAY]
(Greg and Nick look at the football equipment.)
Greg: I'm not seeing any evidence of other people. It's possible that the basketball player snapped, k*lled the cheerleader, took her body and drove off.
Nick: What about the busted door?
Greg: He starts out the big romantic ...
(Quick flash to: Ryan is carrying Megan on his back. He kicks the door open.)
Megan Cooper: Oh, don't break your million-dollar foot.
Ryan Lansco: Shh.
(They go into the equipment room.)
Greg: (V.O.) And that's when things went south.
(Ryan removes Megan's clothes.)
Megan Cooper: Hey. Stop. I told you Come on. I want to wait till prom.
Ryan Lansco: It's gonna be fun.
(He puts her wrists in the ropes.)
Megan Cooper: Stop it!
(End of flash.)
Greg: She pushes him off, makes a run for it. But he realizes that an attempted r*pe charge might crash a Duke scholarship, so he chases her down and bashes her head in.
(Nick's phone rings. He answers it.)
Nick: (to phone) Stokes. Oh, hey, Wendy. Really? Yeah, thanks.
(Nick hangs up.)
Nick: How does your theory account for the fact that all the blood's Ryan's?
Greg: It doesn't.
Nick: Okay. Let's say I'm a Lovers Lane r*pist. I stalk them. I want me a high school cheerleader. What's the first thing I do?
Greg: You take out the basketball player. Grab her, take her somewhere more private.
Nick: Why take Ryan's body?
(Greg shakes his head.)
Nick: (to the officers) People ... let's spiral out.
VARIOUS DISSOLVES OF:
(Nick, Greg and the officers search the field for evidence.)
(Nick and Greg are walking further out to the road. They find debris on the ground. Nick takes his camera out. He sees the broken glass and items.)
(He kneels down in front of the bloodied shoe.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. RIDGE VALLEY HIGH SCHOOL – ROAD – DAY]
(Greg snaps photos of the debris. Grissom walks up to him.)
Grissom: Greg.
Greg: Accident debris. Broken turn signal light. Lots of pieces of grille for a physical match. Shoes match the description of the sneakers Megan Cooper was wearing last night.
(Greg picks up the shoe.)
Greg: So far, the only blood I found was on the shoes.
(Grissom looks over at Nick, who is headed their way.)
Nick: This road has almost no traffic at night. Take a look at this.
(Nick shows Grissom the tire prints.)
Grissom: Looks like acceleration marks.
Nick: Start out heavy, and then they fade out as the vehicle gains momentum.
INSERT: CLOSE-UP of tire burning rubber.
Nick: They're in a direct line with the accident debris. That tells me it's probably related to the impact. If Megan was h*t by a car, hard enough to knock her out of her own shoes, I doubt she just walked away from this.
Grissom: So far there's no reports of anyone fitting Megan's description being admitted to area hospitals.
Nick: I had a friend once that got h*t by this big-ass van. Knocked him like two hundred feet in the air.
(Grissom looks out at the area.)
SHORT TIME CUT TO:
(Nick and the officers are searching the tall grass on the side of the road. Grissom is at the top of the hill using the height to look around. He sees something.)
Grissom: Nick!
Nick: Yeah?
Grissom: Straight ahead of you about twenty yards.
(Nick heads off in the direction and sees the body on the ground. He starts running toward the girl.)
Nick: Yeah! Yeah, I got her.
(He checks for a pulse.)
Grissom: Is she still alive?
Nick: Barely.
(Nick turns the girl's head. It's Megan Cooper.)
CUT TO:
[INT. POLICE DEPARTMENT – BRASS'S OFFICE -- DAY]
(Brenda Cooper is waiting in Brass's office. She sighs. Through the wall glass, we see Brass on the phone and headed back to his office.)
Brass: (to phone) Yeah ... Okay ... All right. Right, yeah, yeah, hold on.
(to the parents) We found Megan. She's alive. She was found on the side of the road near the high school. She's apparently victim of a h*t-and-run car accident. She's in a very serious condition and has been taken to Desert Palm Hospital.
Linda Lansco: And what about Ryan?
Brass: We haven't found him yet. We're still looking. (to phone) Go ahead.
(Brass heads out of the office.)
Brenda Cooper: (to Sam) Let's go.
(Brenda grabs her jacket and heads out with Sam. Eddie hugs Linda as they continue to wait.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. ROAD -- DAY]
(Warrick and Sara arrive at another scene and meet up with Sofia.)
Sofia: Uniforms found the van on patrol. They called it in. I cleared it, waited for you guys to open it up.
(They turn and head toward the van.)
(They check the front for impact.)
Sara: Front end's intact. No damage, no paint transfer. There's no signs of an accident.
Warrick: The keys are still in the ignition. There's no blood on the driver's seat.
Sofia: Which means Ryan probably wasn't driving, because his blood was all over the field.
(They check the back of the van.)
(There's a stain under the back door handle. Warrick snaps a picture of it. He opens the van's back door. They find an unrolled sleeping bag.)
Warrick: Body dump?
(Warrick opens the sleeping bag and finds it blood stained. No body.)
Sara: Where's the body?
(Warrick snaps pictures of the sleeping bag.)
CUT TO:
[INT. HOSPITAL – HALLWAY -- DAY]
(Charlie Kellerman carries some food over to Sam and Brenda Cooper. He offers it to them.)
Charlie Kellerman: Hospital food.
Brenda Cooper: Oh.
Charlie Kellerman: The best I could do. Any word?
Sam Cooper: Not yet.
Charlie Kellerman: You know Megan. She's a fighter. She'll pull through this.
Brenda Cooper: Thank you, Charlie. Thank you. You've always been very good to her.
(Nick walks up to them.)
Nick: Excuse me. I'm Nick Stokes with the Crime Lab.
Sam Cooper: Oh, Charlie, he's the one that found Megan.
Charlie Kellerman: Thank you.
Nick: You're very welcome. I left your mom a message. I wanted to ask you a few questions. You mind if I ... (to the Coopers) steal him for a minute?
Brenda Cooper: Sure.
(They step away. Nick and Charlie walk through the hallway.)
Nick: I understand you and Megan were pretty close, huh?
Charlie Kellerman: We live next door to each other. I drive her to school every day, home after cheerleading practice.
Nick: You wait that whole time? Don't cheerleaders work out for, like, hours?
Charlie Kellerman: No, I'm, I'm on the squad.
Nick: Oh. (nods) Oh, okay.
Charlie Kellerman: Cute girls, short skirts.
Nick: Yeah, yeah, yeah, I get it. Did you wait for her after the ballgame the other night?
Charlie Kellerman: I don't usually see her after Friday night games. She catches a ride home with Ryan.
Nick: Hey, Charlie, since you guys are so close you'd know if somebody had it in for her, wouldn't you?
Charlie Kellerman: The only person who was ever rude to Megan was Ryan.
Nick: How rude?
Charlie Kellerman: Ryan was a dog. And the only person that wouldn't believe that was Megan.
(Nick nods.)
CUT TO:
[INT. CSI – GARAGE – DAY]
(Ryan's van is in the garage. Sara and Warrick are processing it.)
Sara: High school kid with a van. We could have half the senior class in here.
Warrick: Yeah, a bunch of minors that won't be in the system. That'll be helpful.
(Sara looks at the front seat. She opens the van door and finds the seat pushed up close to the wheel.)
Sara: Ryan is six feet. Whoever was driving must have adjusted the seat.
(She pushes the seat back and finds a phone.)
Sara: Hello.
Warrick: What you got?
Sara: I got a cell phone.
(Warrick continues to snap photos of the back of the van.)
(Sara checks the phone.)
Sara: Battery's d*ad, so I don't know who it belongs to. But something tells me that pink is not Ryan's color.
Warrick: I don't know.
(Warrick picks up a pink thong.)
Warrick: I think he might be always thinking pink.
(Warrick snaps photos of the thongs in the back of the van.)
Warrick: If these all belong to one girl, she's got nothing left to wear.
Sara: You know, when I was in college, I had this boyfriend and I thought we were monogamous. And one night, during the post-coital panty search, he handed me a pair of underwear that wasn't mine.
Warrick: Ooh. How'd he explain that one?
Sara: He said they belonged to his sister.
Warrick: Yeah, right.
Sara: I know.
Warrick: Let's hope your taste in men has improved since then.
(Sara nods.)
Sara: Yeah.
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Catherine has the sleeping bag open on the table and is marking the bloodstains and recording her notes into a tape recorder.)
Catherine: There's a large rectangular blood pool at the center of the sleeping bag ... with several satellite transfers. At each corner ... a four-plus-one pattern consistent with transfer from bloody hands, indicating the body was carried on the sleeping bag.
(Catherine turns the light off, puts her goggles on and uses the ALS.)
Catherine: Between ten and twenty semen stains. Some overlaid with blood.
(She uses another instrument and finds something on the monitor. She realizes what it is. Just then Grissom passes by.)
Catherine: Ugh.
Grissom: You okay?
(Catherine shows him the monitor.)
Grissom: Phthirus Pubis.
Catherine: Yeah, crabs. I am buying Lindsey a chastity belt.
Grissom: There's a hole in the metal to let the urine pass. So theoretically, she could still get them.
Catherine: You are so creepy sometimes.
Grissom: You know, the incidence of STDs in monogamous couples is slim.
Catherine: Unless someone arrives at the party with them.
Grissom: So assuming they both have pubic lice, if either Megan or Ryan were as*ault, they would have given them to their attacker.
Catherine: A sex pervert with an STD? That's not going to narrow it down.
Grissom: Yeah, but once they jump to the fresh host, crabs contain the DNA of the receiver and the giver. Did the parents agree to an SAE kit?
Catherine: Yes.
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Archie is going through the card from the cell phone Sara found in the van. Sara walks in.)
Sara: You rang?
Archie: Yes. Found the owner of that cell phone.
Sara: Megan.
Archie: Nope. Sheila Latham.
(The phone info reads:
Owner:
SHEILA LATHAM
MOBILE NUMBER:
702-555-0159
SERVICE PROVIDER:
SIERRA NEVADA PHONE COMP )
Sara: What is Megan's best friend's cell phone doing in the front seat of her boyfriend's van?
Archie: (sings) If that's your boyfriend, if that's your boyfriend ...
Sara/Archie (both): (sings) He wasn't last night.
CUT TO:
[INT. POLICE DEPARTMENT – WAITING ROOM -- DAY]
(Brass walks in the waiting room and finds Sue Latham at the vending machine.)
Brass: Hi, hi, I'm sorry I'm late, but, you know, the sun goes down on missing kids and it's news.
Sue Latham: I know this sounds awful, but all I keep thinking is: thank God it wasn't Sheila.
Brass: Doesn't make you a bad person.
(She's putting money in the machine.)
Brass: Oh, this, this, this thing is so broken. There's a trick to it.
Sue Latham: Ah. I lost two dollars in there.
Brass: This is Vegas, baby. That's nothing.
(Brass does his trick on the machine and the can clatters out.)
Sue Latham: Thank you.
(Brass picks up the can and offers it to her.)
Brass: Voila. Let's go to my office, okay?
(They head out to the hallway and into the next waiting room where Sheila is.)
Sue Latham: Look, I know you have questions for her, but, you know, Sheila almost lost her best friend yesterday and she's still a little out of it.
Brass: No, I get it, and I appreciate you bringing her in. (loud) Hey, Sheila.
(Sheila is sleeping on the sofa, an open book in her hand.)
Sue Latham: See, she's exhausted. Oh, poor baby. Sheila, honey. It's time to wake up. Captain Brass is here.
(She sets her bag down and nudges Sheila.)
Sue Latham: Sheila?
(She rolls of the sofa and onto the floor.)
Sue Latham: Sheila?
(Brass checks her.)
Brass: We got a 421! Somebody run next door and get the squad medics.
Sue Latham: (crying) Sheila, honey!
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Sheila Latham is on the autopsy table. Robbins shares his findings with Brass and Grissom.)
Brass: I'll tell you it's been a banner week for teens and police. Two kids disappear; one we can't find; one may not make it out of surgery; and another one ends up d*ad in custody. I mean, I don't want to make this about me, but I need to know my office is not responsible.
Robbins: Did you h*t her over the head? Because COD is epidural hemorrhage caused by a blow to the top of the skull.
(Quick CGI Flash of: The brain, the h*t to the brain, and blood seeping out.)
Robbins: (V.O.) The blood clot pushed against the brain, which compressed the respiratory centers.
(End of flash.)
Robbins: Her brain stopped telling her body to breathe, and she died.
Grissom: How recent was the injury?
Robbins: I extracted about 150 cc's of partially clotted blood. Would have taken at least a day to form, maybe longer.
Brass: Wait, so ... Sheila suffered the blow around the same time that Megan and Ryan were, um ... well, whatever they were.
Grissom: Did her mother mention the injury?
Brass: Injury? No.
Robbins: Well, that's not the only secret she was keeping. She swallowed something rather unusual, --
(The chest x-ray shows a card inside Sheila.)
Robbins: -- and she had crabs.
Grissom: Well, I can guess where she got those and who she gave them to. What is it that she swallowed?
(Robbins shows them the card.)
Grissom: Looks like a memory card from a camera.
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Greg unzips Sheila's pink backpack. He takes out Sheila's pink tablet. Inside the side pouch, he finds a broken camera.)
(He finds a strand of hair on the bottom of the camera. He takes the hair and puts it in a bindle.)
(He measures the diameter of the broken lens from a photo and measures the size of the camera lens.)
(He opens the card slot and finds it empty.)
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Archie looks at the connectors on the card under a magnifying glass.)
Archie: Looks like the metal connectors got pretty gacked up by the stomach acids. Let's see if it still downloads.
(Archie puts the card in the port and starts it up.)
Archie: Ah, we're in luck.
(On the card is Ryan Lansco tied with ropes to the equipment in the shed.)
Archie: I'm guessing that's your missing basketball player.
Greg: Yeah. In the equipment shed.
Ryan Lansco: (from video) Look, I don't even know how I got crabs.
Girl's Voice: You (from video) got them from humping everything that moved, you big loser. Now, read.
Ryan Lansco: (from video) What are you so mad about?
Greg: "Danger"? It looks like lipstick.
Ryan Lansco: (from video) Come on, guys. It's cold in here! You could at least close the door. (reads) I, Ryan Lansco ... am a diseased subhuman sex pervert. If you do me, you'll go home with a souvenir: your own little crab colony. (angrily) My parents better never see this!
Girl's Voice: (from video) Oh, yeah? This is going up on YouTube, or maybe you'd like to put it on your FriendAgenda page. You put everything else up there, why not your crotch rot?
Greg: Handheld camera. There's a light in the room. Someone opened the door. There's got to be more than one person yanking his chain.
Archie: You know, hang on, I can give you one voice comparison right now.
(Archie accesses the phone message left on Sheila's cell phone.)
Sheila Latham: (from cell) Hi, guys, this is Sheila. Guess you missed me, but if you leave me a message, I'll get you back.
(He takes a portion of it.)
Sheila Latham: (from cell) Hi, guys, this is Sheila.
(He compares it to the video.)
Sheila Latham: (from video) This is going up on YouTube.
(It's an AUDIO WAVEFORM MATCH.)
Archie: Oh, Sheila. So does that make her a victim or a suspect?
Greg: Maybe both.
CUT TO:
[INT. HOSPITAL – MEGAN'S ROOM -- DAY]
(Nick talks with Megan Cooper.)
Nick: Megan, listen, I know you've already been through a lot, but you may be the only one that can tell us what happened to Ryan.
Megan Cooper: Where is he?
Nick: We don't know. Let's start with the last thing you remember.
Megan Cooper: We were at the game ... and I did a perfect hurkey.
Nick: What's a hurkey?
Megan Cooper: It's a jump where you go ...
(She starts to show him and stops.)
Megan Cooper: I keep forgetting I can't move my legs.
(Brenda turns and buries her head in her husband's shoulder.)
Brenda Cooper: Oh, my God.
Megan Cooper: Mom, you're not helping.
Nick: Do you remember anything after the game? Anything?
Megan Cooper: We won. Everybody was happy. I remember being really cold. There were lights. And then ... nothing. I'm sorry.
(She starts to cry and stops.)
CUT TO:
[INT. CSI – BREAK ROOM -- DAY]
(Warrick is watching the LANSCO FAMILY PRESS CONFERENCE on WFIN 19.)
Eddie Lansco: (from tv) If anyone knows anything about our son, please contact the Las Vegas Police. He's a great kid, with a bright future ahead of him, and we just want him home where he belongs.
(Grissom walks in. Warrick turns the television set off. He's on Ryan's web page.)
Warrick: "I'm likin' basketball, virgin daiquiris, and sweet, sweet ladies."
It's Ryan Lansco's FriendAgenda page.
Grissom: What's a "h*t List"?
Warrick: Well, he's not an assassin. His van was like a hot sheets motel, and he wants a password.
Grissom: Try "Megan."
Warrick: It's too obvious.
(Grissom gives him a look.)
Warrick: I'll try it anyway.
(He enters MEGAN and the computer beeps. The h*t LIST appears.)
(Warrick scoffs.)
Grissom: Men are never as mysterious as women wish they were.
(The h*t LIST reads:
Sheila L. – Couldn't move it
Bunny B. – Is a honey bee
Diane K. – Taught me a thing or two
Laurie Z – Begged for it
Shelly T. – Wild woman
Megan C. – Sack artist
Warrick: "Sheila L.-- couldn't move it. Bunny B. is a honey bee. Diane K. taught me a thing or two." Diane K. Diane Kentner is his photography teacher.
Grissom: The fingerprint results on Ryan's van. No hits except on the back door handle, came back to Diane Kentner. She was arrested last year at a demonstration in support of an X-rated photography show.
Warrick: Now, what's a photography teacher doing touching a student's van?
Grissom: Maybe she wanted a ride.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Warrick interviews Diane Kentner.)
Warrick: Ms. Kentner, the car that h*t Megan Cooper left a broken turn signal light in the road. It's from a Saab. Isn't that the car that you drive?
Diane Kentner: Yeah, along with hundreds of thousands of other Americans.
Warrick: Well, we're going to need to take a look at yours.
Diane Kentner: Get a warrant and you can.
Warrick: We also found your fingerprint on the door handle of the back of Ryan's van. Could you explain to me how that got there?
Diane Kentner: Well ... Ryan helped me move an enlarger I got for the photo lab for the school. My Saab wasn't big enough to move it.
Warrick: Your name came up on, uh, Ryan Lansco's FriendAgenda page, what was called a "h*t List." It's apparently a list of people that he slept with.
Diane Kentner: (laughs) Wow. If you're under 40 years old and you teach teenage boys, they all want to make you Mrs. Robinson. It's flattering, but it's fantasy.
Warrick: So, you are denying that you had any sexual relations with Ryan Lansco?
Diane Kentner: I would never take advantage of a student.
Warrick: Well, we're going to need to take a DNA sample, and that I have a warrant for.
(He shows her the paper. Warrick takes out a swab. She shrugs and opens her mouth. Warrick takes the sample.)
CUT TO:
[INT. CSI – A/V LAB]
(Greg and Archie replay the video for Nick.)
Ryan Lansco: (from video) My parents better never see this!
Sheila's Voice: (from video) Oh, yeah? This is going up on YouTube.
(Archie pauses the video.)
Archie: The only reflective surface in this whole frame is that cabinet.
Nick: What am I looking at here, Arch?
Archie: I'm thinking it's two faces.
(Archie starts to process the video, enhancing and clearing out the reflective image.)
Archie: Only time I can see it is when the light hits it.
(Two faces appear in the metal.)
Greg: Sheila.
Archie: And some dude.
Nick: Some dude named Charlie.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Charlie Kellerman is in the interview room. Nick enters and motions for the guard to leave.)
Nick: You can grab a cup of coffee.
(The officer leaves.)
Nick: I know you've waived your right to counsel. I appreciate you coming in here and talking to me, Charlie. That means you're ready to be honest. That's, that's good. Because Ryan is still missing, Sheila is now d*ad, Megan is partially paralyzed, and you are digging yourself into a pretty deep hole here, pal.
(Nick sits down, the file folder open in front of him.)
Nick: I know you were there that night in the equipment shed. I have your shoe impressions at the scene; I've got you on film; and we found Sheila's cue cards in the back of her mom's trunk. So ... Where's Ryan?
Charlie Kellerman: I don't know.
Nick: You're an adult, Charlie. There's a big difference between going to juvie and going to state prison. Big difference. Okay, I'll tell you what I think happened.
(Nick leans back.)
Nick: You're in love with Megan, who's in love with Ryan, who's a dog. You said so yourself. And he gives her crabs. But does she break up with him? No. She goes right back to him after crying on your shoulder. Man, that'd piss me off. Don't make me present to a jury that you came up with this plan, this little prank, and recruited Sheila -- equally afflicted by this -- and you ran that boy's head against a tackling sled. Then when Megan freaked out and got scared, you just ran her over and left her for d*ad.
Charlie Kellerman: No. No, no, that's not what happened.
Nick: Then you tell me what happened!
Charlie Kellerman: Okay. You're right. It started as a prank. Sheila and I wrote out that speech. Sheila brought her camera. We went down to the field house. We knew they'd be there fooling around.
(Quick flashback to: [INT. SHED] Charlie kicks the door in and finds Ryan and Megan fooling around in the shed.)
Ryan Lansco: What the hell?!
Charlie Kellerman: Shut up!
(Megan gets up and holds her jersey over herself.)
Ryan Lansco: No, no, no, no. Megan! Megan! Get off me!
Charlie Kellerman: Shut up!
(Charlie and Sheila tie Ryan to the equipment.)
Megan Cooper: Stop it!
BACK TO SCENE
Charlie Kellerman: We tied him up. We got him to read the speech. We were just gonna post it on YouTube.
Nick: What happened?
Charlie Kellerman: He got loose, came tearing after us.
(Quick flashback to: [TRACK FIELD] Charlie and Sheila run out of the shed.)
Charlie Kellerman: He's coming. He's coming. RYAN LANSCO: You two.
(Ryan runs after them. Charlie and Sheila throw the camera between the two of them.)
Ryan Lansco: Give me the camera.
Sheila Latham: Here! Here!
(She throws the camera too high to Ryan. It falls on the track and smashes.)
(He stops and picks it up, but Sheila has the card.)
Sheila Latham: Come on and get it Ryan! This what you want? (She sticks the card on her tongue, teasing him.) Huh? Ah, ah, ah. Ah, ah...
(He throws the camera at her and hits her on the head. Sheila gags.)
Charlie Kellerman: What the heck, man?
(Ryan walks over to them. Charlie pushes him back. Sheila continues to cough. Ryan coughs back at her, mocking her.)
Sheila Latham: Jerk!
(Sheila rushes him and pushes him into the equipment. Ryan hits his neck and blood gushes out from the wound.)
Sheila Latham: Ryan? Ryan!
Charlie Kellerman: (V.O.) Next thing I know, blood was just gushing out of his neck.
(End of flashback.)
(Charlie gets up.)
Charlie Kellerman: I haven't slept. I haven't eaten. I can't stop playing it over and over again in my head. (crying) He just went down so fast. And-and I was looking at him. And it-it was like he wasn't Ryan anymore. Whatever made him Ryan was gone.
Nick: What did you do with the body?
Charlie Kellerman: This is where I suck. We should have just called 911, but we panicked.
(Quick flashback to: [EXT. TRACK] Charlie and Sheila pull the sleeping bag with Ryan's body inside.
Sheila Latham: Come on.
(The sleeping bag tears on the metal gate.)
Sheila Latham: Shut up and just pull. We don't have time to think about that.
(They get the body in Ryan's van.)
Charlie Kellerman: What are you doing?
Sheila Latham: Look, let's just get him in the van. I'll drive; you follow.
(Charlie and Sheila put Ryan in the back of the van.)
Sheila Latham: Move. Move!
(They shut the door.)
BACK TO SCENE.
Nick: Where is Ryan?
Charlie Kellerman: (crying) I just told you everything I know. We left him in the van.
Nick: What about Megan?
Charlie Kellerman: The second we barged into that field house, she freaked out and took off. I-I didn't even know she was in the hospital until her parents called.
Nick: Okay, come here and take a look at this.
(Nick shows him the photo.)
Nick: Sheila's holding the camera; you're holding the cue cards. Who's holding the light? Was there somebody else there?
Charlie Kellerman: (shakes his head) Uh-uh.
Nick: Hmm?
Charlie Kellerman: I-I was holding the light and the cue card.
Nick: Are you sure?
Charlie Kellerman: (nods) It was just Sheila and me.
(Nick sits back in his seat.)
Charlie Kellerman: And now, it's just me.
CUT TO:
[INT. CSI – LAB]
(Grissom opens the container with Sheila's crabs in it. He takes one out and extracts a sample of blood from the crab. He tests the sample.)
CUT TO:
[INT. CSI -- DNA LAB]
(Wendy shares the findings with Grissom.)
Wendy Simms: Okay, we got quite the smorgasbord here. Um, the only constant from the crabs is Ryan. He's half the DNA on each of the combos. And the other contributors were Megan, Sheila, several unknowns, and everybody's favorite photography teacher, Diane Kentner. Certainly hope she gave him an A.
Grissom: It proves sex with a minor. Even if we can't get her for Megan's h*t-and-run, it's enough for a search warrant.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. WAREHOUSE -- NIGHT]
(Warrick and Grissom meet up with Brass and several officers outside the warehouse.)
Warrick: So, what you find at Diane's house?
Brass: Uh, not much, but propped up on a dresser was a rental agreement to this address and a key.
Grissom: Looks like she drew us a map.
Brass: Looks like it.
(Brass pounds on the door.)
Brass: (shouts) Diane Kentner, open up! Las Vegas Police!
(Warrick notes the smashed car light.)
Warrick: There's our busted headlight.
(There's no answer.)
Brass: Okay.
(Brass unlocks and opens the door. He takes his g*n out.)
Brass: Let's go.
(Flashing lights come from inside the warehouse. A high-pitched whir sounds.)
Warrick: What the hell is that?
(Brass and the officer enter the warehouse. Warrick and Grissom follow.)
[EXT. WAREHOUSE -- NIGHT]
(A camera clicks and whirs. Brass and the officers maneuver their way into the warehouse's main room.)
Brass: Hold it. Hold it. Hold it. Hold it.
(He holds the officers back and goes in first. Up on the sheeting on the walls are larger-than-life sized projections of Ryan Lansco.)
(Brass turns the corner first. He sees more projections of Ryan up on the sheeting covering the walls. A camera snaps, flashes and whines. Brass and the officers head to the back.)
(The camera sounds get louder. They head deeper into the warehouse.)
(He turns the final corridor and sees the image of Ryan d*ad up on the screen. They continue forward. More projections of Ryan are up on the walls.)
(Warrick and Grissom are the last to follow.)
(They turn the last corner and find DIANE KENTNER in bed with RYAN LANSCO. Both of them are d*ad.)
Brass: Now I remember why I don't like modern art. I'm gonna go call the coroner outside.
(Brass turns and heads back out. The camera continues to snap, flash and whine. Warrick looks at the scene.)
Warrick: I'm slipping, Grissom. I talked to this woman twice, and this body was here the whole time.
Grissom: No one could have predicted this.
(Warrick picks up the empty prescription container from DIANE'S hands.)
Warrick: She was on a daily dose of lithium. Bipolar.
(click, high-pitched whirring)
Warrick: What is this, Grissom, Romeo and Juliet?
Grissom: Postmortem photography-- memento mori. In the 19th century, a photo of your d*ad loved one was a popular keepsake. Death remembered. One last look.
(Up on the walls, a series of images are played out in sequential order.)
Grissom: Hey.
(The images show Megan pushing Ryan.)
Grissom: Charlie told Nick that Sheila pushed Ryan.
Warrick: Charlie lied ... to protect Megan.
CUT TO:
[INT. HOSPITAL – MEGAN'S ROOM -- DAY]
(Nick knocks on the door before entering.)
Nick: How you feeling?
Megan Cooper: Okay, considering. Oh, my parents are in the cafeteria if you want to wait.
Nick: Oh, no, no, I'm ... I'm good. I just wanted to show you something.
Nick: What do you think about that?
(Nick shows Megan the photo of Megan pushing Ryan.)
Megan Cooper: Is that me? What am I doing?
Nick: Oh, it looks like you're k*lling your boyfriend. You tell me.
Megan Cooper: Who took this?
Nick: Ms. Kentner.
Megan Cooper: Oh, come on. Obsess much?
Nick: Oh, so, you do remember?
Megan Cooper: No. Not what happened that night.
Nick: I wish I could get selective amnesia. There's a lot in my past I'd like to forget about.
(They look at each other.)
Megan Cooper: If I did push Ryan, and he died, then that was wrong. Don't you think that I've been punished enough?
(Nick says nothing. He turns and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY – DAY]
(The Lanscos follow Brass through the hallway.)
Eddie Lansco: Are you telling me you're not gonna prosecute the girl that k*lled my son?
Brass: The DA decided not to file. I mean, my guess is that he probably felt he couldn't get a conviction.
Linda Lansco: Wh ... Where's the justice in that?
Brass: Everybody involved in this thing has been punished in some way. I mean, Diane and Sheila are d*ad. Charlie's probably going to jail, and Megan ...
Eddie Lansco: Got away with m*rder.
(The Lanscos leave. Brass watches them go.)
[Intro: "Good Enough," by Evanescence.]
[INT. RIDGE VALLEY HIGH SCHOOL – HALLWAY – DAY]
(A shrine of flowers has been placed under the photos of Sheila, Charlie, Megan and Ryan. The principal walks up to the photos and removes Charlie's photo. He turns and leaves. We linger on the pile of flowers against the wall.)
[INT. SARA'S APARTMENT – BATHROOM – NIGHT]
(Sara picks up the straight razor off the bathroom counter. She looks in the mirror and hold up the razor.)
Sara: You trust me?
(She turns and looks at Grissom, who has shaving lather on his beard. Sara faces him.)
Grissom: Intimately.
(He turns his head and lifts his chin slightly to the side. Sara puts her hand on Grissom's ear and raises the razor. She starts to shave off his beard and we --
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x17 - Fallen Idols"} | foreverdreaming |
THIS EPISODE CONTAINS ADULT CONTENT. PARENTAL DISCRETION IS ADVISED.
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. RESIDENTIAL SIDEWALK – NIGHT]
(Libby Cooperson and Cammie Brookston walk home. They're dressed in sweats and carry their duffle bags with them.)
Libby: (laughs) Oh, you were so on tonight, Cammie.
Cammie: I was channeling my nerves in a positive way. Somebody's got to hold it together.
(They head inside.)
[INT. HOUSE – NIGHT – CONTINUOUS]
(The women laugh as they enter the house.)
Cammie: I swear, Janice can't dance a straight line.
Libby: Pigeon-toed. Should have stayed on the bluebell line. BG.
(They put their bags down on the hallway chair in the living room. They take their jackets off.)
Cammie: Well, you know how she scored that principal role, right? Bad on her feet, good on her back.
(They laugh. Cammie stops and looks at the mess in the kitchen. On the center counter is a bottle of wine and two glasses.)
Cammie: Oh, Libby, can you believe this? I am so sick of this pig sty.
Libby: Been like this ever since Lauren got her creepy new boyfriend.
(Libby puts the car keys back on the hook. Cammie washes her hands in the sink.)
Libby: He's a musician. My mom dated a musician -- total freeloaders.
(Libby stacks used pots on the stove as Cammie wipes her hands.)
Cammie: If I get bumped to principal this week, I am so out of here.
Libby: Take me with you.
(She turns and points to the burning cigarette in the ashtray on the table.)
Libby: Becca fell off the wagon again.
Cammie: The nicotine dancer diet.
(Suddenly, they hear loud music blasting from upstairs. The two girls look at each other and smile.)
(They head upstairs.)
FLASH TO PRESENT:
[INT. HOUSE – NIGHT – PRESENT]
(The cigarette in the ashtray on the table is b*rned out completely to the edge of the filter.)
(Sara notes it and continues looking around in the kitchen on her way to the living room. The house is eerily quiet. She shines her light back into the kitchen – there's half a six-pack of soda on the counter near the stove. There's the empty wine bottle on the kitchen floor.)
(Sara turns and slowly walks through the living room. She carries her kit and looks around as she goes.)
(The phone rings, startling Sara. The answering machine kicks on.)
Roommates: (on machine) Hey! You've reached Showgirl Heaven. Please leave a message at the tone. Thanks. Bye.
Agent (woman): Cammie, great audition today. You made it, girl. You're principal. Call me for the details. Congrats!
(Sara passes the line of duffle bags on the floor against the wall. The machine beeps off. Sara heads for the stairs.)
(On the step, she notes a bloodied shoeprint. She looks up at the second floor, then cautiously makes her way up the stairs.)
WHITE FLASH TO:
[INT. HOUSE – SECOND FLOOR -- NIGHT – FLASHBACK]
(Libby and Cammie reach the second floor.)
Libby: Everyone's in my room. Follow the music.
(Cammie pauses to pick up some clothes hanging on the stairway bannister.)
Cammie: Be right there.
(Libby hurries to her room. She pushes the door open --
Libby: Hey, guys.
(As Cammie turns to her own room, she smiles and glances at Libby long enough to hear a muffled scream and see Libby disappear into the room.)
(The bedroom door slams shut.)
Cammie: Libby?
(Cammie takes a couple steps toward the room.)
Cammie: Libby!
FLASH BACK TO PRESENT:
[INT. HOUSE – SECOND FLOOR HALLWAY / BEDROOM 1-- NIGHT – PRESENT]
(Sara reaches the second floor. On the carpet are bloodied shoe prints between the rooms.)
(We hear the snap of a camera shutter. Sara turns to Cammie's room and finds Warrick snapping photos. Warrick turns and looks at Sara. Sara nods back to him.)
Warrick: Hell of a way to spend your night off.
Sara: How many bodies do you have in there?
Warrick: Three.
(PHOTO FLASHES of the three girls – one on the floor and one on each bed. They are all tied with their hands behind their backs and gagged.)
Warrick: Grissom's down the hall, first door on your right. Just follow the blood.
(Sara turns and heads for the hallway bedroom. She looks down at the bloodied shoeprints on the carpet.)
FLASH TO:
[INT. HOUSE – SECOND FLOOR -- NIGHT – FLASHBACK]
(Cammie makes her way slowly to Libby's room. The music is loud. She comes up even to the door when someone reaches out and grabs her, pulling her into the room.)
(There are four other girls sitting on the floor, their hands tied behind their backs and gags in the mouths.)
WHITE FLASH BACK TO:
[INT. HOUSE – SECOND FLOOR BEDROOM 2 -- NIGHT – PRESENT]
(Sara shines her flashlight into the room.)
Sara: My date got canceled.
(An answering light shines back on Sara. Grissom looks at her.)
Grissom: I'm sure he had a good excuse.
(Sara steps cautiously into the bedroom. Grissom is kneeling next to the bed with a d*ad body on it.)
Sara: Looks like sexual as*ault. Bound, pants pulled down.
Grissom: Yeah.
Sara: Where do you want me?
Grissom: Next bedroom. There's another body in there.
Sara: Well, that makes five. The dispatch said there were six.
(Grissom stands up.)
Grissom: According to Brass, the boyfriend of one of the victims found the bodies. Said there were six roommates, all showgirls. Evidently, one didn't come home.
Sara: She picked the right night.
CUT TO:
[INT. HOUSE – SECOND FLOOR BEDROOM 3 -- NIGHT – PRESENT]
(Sara walks into the third bedroom. There's a d*ad girl on the bed. She pauses a b*at by the doorway and looks inside. She walks in.)
(Sara puts her kit down and steps closer to the bed, studying the scene. She looks around and notices some blood smeared on the floor next to the second bed in the room.)
(She walks over and kneels down to look under the bed. She shines her flashlight.)
(Suddenly, a BLOODY HAND SWIPES AT HER, SCRATCHING SARA'S FACE –
(Sara pulls back and reaches for her g*n while shouting.)
Sara: Hot scene! Suspect under the bed!
(Grissom appears in the doorway.)
Grissom: Sara!
(Sara looks under the bed and sees Cammie huddled in a pool of blood, her hands tied in front of her.)
Cammie: (gasps) Please ... please help me. Please.
(Sara puts her g*n aside and reaches for Cammie.)
Sara: Hold on. Victim down! Call an ambulance!
Grissom: (o.s.) Dispatch, this is CSI Grissom ...
(Sara holds Cammie's hand.)
Sara: You're safe now, okay? You're safe now. It's going to be okay.
Cammie: (gasps) Help me. Help me.
(We hold on Sara.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. SHOWGIRL HEAVEN RESIDENCE -- NIGHT]
(The street outside the residence is cluttered with officers, emergency personnel and news reporters.)
News Repoter (man): Up until a few hours ago, this was considered one of the safest neighborhoods in Las Vegas. But with the discovery of six young women brutally slain in their beds ...
(Nearer the house inside the taped-off area, Brass talks with Jonathan Alaniz, Becca's musician boyfriend.)
Jonathan Alaniz: I got here at 3:45. I've been dating Becca about a month. When I saw all that blood on the stairs, I just ... I just knew.
Sofia: Jonathan, do you have a key to the house?
Jonathan Alaniz: Becca gave it to me. I usually try to come over and say good night, but I was ... I was late. Had a couple clients in town. But I didn't need the key. Front door was open.
Sofia: If we brought you some photos, would you be able to ID the girls for us?
(He nods.)
(Greg walks past them. An officer lifts up the tape for Greg to duck under. We STAY WITH Greg. He walks up to Brass and Sara waiting outside. There's a large scratch on Sara's left cheek. She has a jacket draped over her.)
(Greg doesn't say anything and continues on to the house.)
(We stay with Brass as he talks with Sara.)
Brass: Look, I know this is tough, but did she give you anything?
Sara: She told me her name. When I went into the room, she thought that I was him.
Brass: Anything else?
Sara: (shakes her head) It didn't make any sense.
(Quick flash of: Sara holds Cammie.)
Sara: Can you tell me your name?
Cammie: Ca ... Cam ... Cammie.
(Sara sits on the floor and holds Cammie.)
Sara: Cammie, I'm Sara. Who did this to you, Cammie?
Cammie: Mm-an.... mm-an.
Sara: The man, what did he look like?
Cammie: Poor w ... Poor wine ...
(Sara shakes her head. It makes no sense to her.)
Cammie: Breast ... Breast ... Kn*fe ...
Sara: He-he s*ab you in the chest?
(Cammie grunts and shakes her head.)
Cammie: No.
Sara: (shouts) I need some help here!
Cammie: Bye ... Fin ...
(And Cammie dies.)
Sara: No, no. No.
END OF FLASHBACK
[INT. SHOWGIRL HEAVEN RESIDENCE – STAIRS – NIGHT]
(Nick snaps photos of the bloodied shoe print on the stairs.)
(Greg walks in and starts climbing the stairs.)
Nick: Looks like he was about a size 11.
(Greg stops and looks at Nick.)
Greg: You been up there yet?
(Nick looks at Greg and raises his eyebrows. Greg nods back. Greg continues up the stairs, around Nick's shoe prints.)
CUT TO:
[INT. SHOWGIRL HEAVEN – BEDROOM 2 – NIGHT]
(As David Phillips reports, Grissom tries to take a photo of the window while holding the ALS in his hand.)
David Phillips: I've been through all the bedrooms. She's the last. Rebecca Mayford. Boyfriend ID'd her. Neck's clean. The other five victims' throats were transected. There are at least a dozen s*ab wounds to the chest and abdomen.
Grissom: Yeah. He took his time with her. The others were k*lled efficiently.
David Phillips: Liver temp is 95.6. Been d*ad at least two hours, which is consistent with four of the five other victims.
(CAMERA POV: Grissom finds footprints on the window and is taking a photo of them.)
Grissom: David, don't move any of the bodies just yet, okay?
David Phillips: You got it.
(David leaves the room. Greg walks in.)
David Phillips: (to Greg) Hey.
Greg: What did you find?
Grissom: Partial footprint. Whoever kicked in this window was barefoot.
Greg: She's wearing socks.
Grissom: Yeah, but some of the others weren't.
Greg: Means one of them must have been in here at some point.
(Greg looks at the photos in the bedroom.)
Greg: I don't think this was her room.
(Grissom looks around.)
Grissom: What else?
Greg: Looks like the bindings were cut from the sheets.
(Quick flash of: The k*ller rips the sheets. End of flash.)
Greg: It takes at least a few minutes to cut up a sheet.
Grissom: I think when he came to this house, he was unprepared. He had to use things that were already here. They say a disorganized k*ller is apt to obtain his victims by chance.
CUT TO:
[INT. SHOWGIRL HEAVEN – BEDROOM 1 – NIGHT]
(Warrick is gathering evidence from the body on the bed.)
Grissom: (V.O.) Luck of the draw.
(He puts it in a bindle. Catherine walks in. She stops in front of the body on the floor.)
Catherine: Busy night.
(Warrick stops gathering evidence as he pauses to really look at the face of the girl on the bed.)
Warrick: She looks so familiar.
Catherine: When I first started doing this, everybody I worked on reminded me of someone.
(Warrick stands up.)
Catherine: Somehow, we all get past it.
Warrick: I'm not so sure that's a good thing.
(Catherine heads for the bathroom.)
Catherine: I'll start with the bathroom.
[INT. SHOWGIRL HEAVEN – SECOND FLOOR BATHROOM – CONTINUOUS]
(Catherine walks in. There are photos tucked in the mirror frame and a long-white feather boa draped on a second wall mirror.)
(Two evidence markers are near two shoe prints leading up to the bathroom sink.)
(Catherine looks at the spilled powder on the counter. There are impressions in the powder. She snaps several photos.)
(In the trash bin she finds a bloodied paper towel. She snaps photos of it, then picks it up and puts it in a paper package. She puts the evidence package on the side.)
(She snaps more photos of the tissues in the trash bin and bags them.)
(There are many paper evidence bags on the side.)
CUT TO:
[INT. SHOWGIRL HEAVEN – BEDROOM 1 – NIGHT]
(Grissom finds a picture of Becca.)
Grissom: The girl in this picture is the victim from my room.
(He picks up the picture and the recording in the bear activates.)
(Warrick looks up.)
Jonathan Alaniz's Voice: (recorded) Becca, I'm so crazy about you. I just wanted to tell you happy three-week anniversary! You're awesome! And I love you bear-y much. (chuckles)
Warrick: Sounds like Becca was still a kid.
(Grissom puts the photo back on the shelf. He looks at another set of photos of Becca in her showgirl costume.)
Grissom: Yeah. Well, not when she was onstage.
Warrick: So, Grissom, I found beige carpet fibers on all three victims. It's consistent with the hallway carpet. I've also found rug burns on their knees.
(ZOOM for CU of the abrasions on one of the victim's knees and the carpet fibers caught inside.)
[INT. SHOWGIRL HEAVEN – HALLWAY– NIGHT]
(Grissom and Warrick walk outside the bedroom. They follow the bloodied shoe prints on the carpet.)
(They follow the shoe prints to the second bedroom.)
[INT. SHOWGIRL HEAVEN – BEDROOM 2 – CONTINUOUS]
(They look inside where the sheets have been pulled off the beddings.)
Grissom: k*ller herded them all into here. He used the sheets from that bed to tie them up, then dragged them all down the hallways to the other two bedrooms to k*ll them.
(Quick flashback to: The k*ller ties the girls up.)
(CUT TO: The k*ller grabs the girls down the hallway.)
(CUT TO: The girls are d*ad on the bed.)
(End of flashback.)
Warrick: What about Becca? Why wasn't she dragged somewhere else?
Grissom: Maybe he wanted to get her alone. Maybe she excited him ... or pissed him off. Either way, he was brutal with her. She was the messiest k*ll.
(Catherine walks into the room.)
Catherine: He had a g*n. I found grip and slide impressions in some powder on the bathroom counter.
Warrick: Well, a g*n is one good way for crowd control. Why didn't he just sh**t them?
Catherine: Noise factor? You can't scream once your throat's been slit.
Grissom: Yeah. He had all the time he needed 'cause the neighbors couldn't hear a thing.
CUT TO:
[EXT. SHOWGIRL HEAVEN – BACKYARD – NIGHT]
(Sara walks around the side to the back of the house. She sees a porch chair jammed under the back door knob.)
(Sara puts her kit down and snaps several photos of the chair. She dusts the chair arm rests for prints and finds several.)
(Quick flash of: SOMEONE jams the chair under the knob. End of flash.)
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. SHOWGIRL HEAVEN – KITCHEN – DAY]
(Nick snaps pictures of the photos pinned to the bulletin board in the kitchen. He pauses a moment to really look at the faces of the women who lived in the house. He continues to take photos.)
(He stops when the back door opens.)
(Sara opens the door and nods to him. She walks into the house, closing the door behind her.)
Sara: He used a chair to jam this door.
Nick: I heard about what happened. You okay?
Sara: I'm fine.
Nick: There's a custom-made label on a wine bottle over there.
(Nick points to the wine bottle on the kitchen floor. Sara kneels down and reads the label.)
Sara: "Love, Lewis."
(Quick flash of: Sara holds Cammie.)
Sara: Who did this to you, Cammie?
Cammie: Mm-an .... mm-an.
Sara: The man. What did he look like?
Cammie: Poor w ... Poor wine.
(End of flashback.)
(Sara looks at Nick.)
Sara: Cammie said something. "Poor wine." Maybe it had something to do with this bottle.
(She looks at the bottle.)
Sara: "Poor wine."
Nick: Maybe he forced wine down her throat. Tox will tell us.
(Sara puts the wine bottle down on the floor and looks around. Nick watches her.)
Nick: It was good that you were there for her, Sara. She didn't have to die alone.
Sara: We usually show up too late to meet the victim.
(Nick nods and turns his attention back to the bulletin board. We hold on Sara.)
CUT TO:
[EXT. ROAD – DAY]
(A red Chrysler is parked on the side of the road, license #011-SUZ. As we move in closer to the car, we hear the radio on.)
Reporter: (from radio) Police have confirmed there are a total of six victims in the Green Valley showgirl m*rder. The names have not yet been released pending individual identification and notification of their families.
(The driver sits, drumming his fingers on the steering wheel.)
Reporter: (from radio) According to police sources, there are no suspects at this time. LVPD has asked anyone with any information to call the following hotline number: 702-555-0132.
(The k*ller takes a drink from a flask. He hangs his hand outside his open window, his finger drumming against the side of his car.)
Reporter: (from radio) Again, that number ...
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – HALLWAY OUTSIDE FORENSIC AUTOPSY -- DAY]
(Five bodies are on gurneys against the hallway walls. David Phillips and another coroner take notes and fill out a clipboard.)
(We continue through the wall and into –
[INT. CSI – FORENSIC AUTOPSY – DAY – CONTINUOUS]
(Inside the room, Sara works on one of the bodies. She carefully snips off the sheet tying the girl's wrists together. She removes the sheet and puts it in an evidence package.)
(On another table, David Phillips snaps photos of another showgirl's mouth. He puts the camera down and removes a ball of bloodied sheet stuffed in her mouth. He puts the sheet in an evidence package.)
(CUT TO: David Phillips washes the neck wound on one of the girls.)
(On the other table, Sara washes the wounds off another blonde-haired girl. Her showgirl make-up is still on, enhancing her blank, glassy stare.)
(CUT TO: Sara snaps photos.)
(CUT TO: Sara scrapes under the girl's nails.)
(We linger on the d*ad girl's blank, glassy eyes.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins and Sara go over the findings of all the bodies. The bodies are lined up next to each other in the large room.)
Robbins: All six victims had ligature marks on their ankles and wrists. Jenn Smith was the only one with rib fractures. She took some abuse. Except for Becca Mayford, COD was exsanguination through incised wounds to the neck with a sharp-edged instrument.
Sara: How did Cammie Brookston survive until we got there?
Robbins: Well, in her case, there was only a partial transection of the jugular. Shallower cut, slower bleed.
Sara: I found her at least two hours after the att*cks.
Robbins: She must've applied pressure to her wound. That would've bought her some time.
Sara: So if we'd have found her sooner, she would still be alive.
Robbins: Sara, there's nothing you could've done.
(Sara is quiet. Robbins continues.)
Robbins: Well, she has a C-section uterine scar. Hairline, almost invisible.
Sara: She has a child.
Robbins: Well, she gave birth some time ago.
Sara: Any signs of sexual as*ault?
Robbins: Not with Cammie. I found semen in the vaginas of Emily Wilson and Lauren Walderson. Both had mild reddening and some superficial abrasion at the vaginal introitus. They could have had consensual sex in the hours prior to the att*ck. This young lady was r*ped.
(He turns to the body on the table set aside.)
Robbins: Rebecca Mayford had lacerations at three o'clock. Contusions extended from four to eight and ten to twelve.
Sara: Any semen?
Robbins: No. But, uh, look at these puncture wounds. s*ab wounds have a large cutting component to the margins. Several of these s*ab have additional tracks through the organ, suggesting a partial withdrawal and re-thrust of the blade.
Sara: Is that everything then?
Robbins: Not quite. He left something behind.
(Robbins points to the film on the viewbox.)
Sara: The tip of the Kn*fe.
(Quick CGI XCU of: The Kn*fe inserted through the flesh, hitting the bone and the tip breaking off. End of CGI.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. CSI – GRISSOM'S OFFICE – DAY]
(Grissom is on the phone.)
Grissom: (to phone) Yes, sir, I understand that, but, uh, we're still analyzing the evidence. As soon as we have something to report, we'll report it. Okay.
(He hangs up. Catherine is sitting in the seat opposite his desk.)
Catherine: I may have something for you to feed to the monster.
(Catherine hands him the results.)
An att*ck order based on the blood evidence. In the bathroom trash, I found six bloody paper towels. Wendy ran the DNA. Each towel has blood from only one victim.
Grissom: Bottom of the pile -- first victim, top of the pile-- last.
Catherine: And the pattern on each is consistent with the Kn*fe being wiped off. I think that the k*ller cleaned off the Kn*fe after each k*ll.
(Quick flash of: The victims:
Catherine: (V.O.) First was Emily ...
(The k*ller wipes the Kn*fe in the bathroom.)
(Lauren is on the bed.)
Catherine: (V.O.) -- then Lauren ...
(The k*ller wipes the Kn*fe again and tosses the paper towel in the trash.)
(End of flash.)
Grissom: Both found in Warrick's bedroom.
Catherine: Libby was next.
Grissom: She was found d*ad in Sara's bedroom.
Catherine: Then Cammie was att*cked, followed by Jennifer.
Grissom: She was found on the floor in Warrick's bedroom. There's no logic to any of this.
Catherine: But you were right--Becca was att*cked last. It was all of her blood that was tracked throughout the house.
(Quick flash of: The k*ller steps in the blood --
Catherine: (V.O.) He stepped in her blood, walks into the bathroom to clean off the Kn*fe, back out into the hallway, down the stairs.
(End of flash.)
Grissom: But why would he clean off the Kn*fe between victims?
Catherine: To maintain control. I see a clean Kn*fe, I think that the others are still alive and ... I'm more compliant.
CUT TO:
[INT. CSI – TRACE LAB – DAY]
(Hodges is on the phone.)
Sara's Voice: (from phone) This is Sara Sidle. Leave a message after the tone.
(The machine beeps.)
Hodges: (to phone) Sara, the Kn*fe tip Doc Robbins extracted from Becca Mayford isn't metal, it's ceramic ... and extremely sharp. I accept your thank you in advance and you're welcome.
(Hodges hangs up. He puts his goggles on, then picks up the ALS to start checking the victim's clothes out on the table.)
(Someone's phone buzzes.)
(Hodges sees the phone in the evidence bag and puts the ALS down. He removes his goggles and picks up the phone. The CALLER ID reads: MOM.)
(Hodges answers the phone.)
Hodges: (to phone) Hello? Uh, no, ma'am, Libby's not here. My name is David Hodges. I work for the Las Vegas Crime Lab. Well, ma'am, uh ... I can't really say ... but I can give you the number of someone who can.
(Hodges glances down at the heart-shaped necklace in the evidence bag.)
Hodges: (to phone) Did your daughter Libby wear a heart-shaped necklace?
(Hodges stops and sits down.)
Hodges: (to phone) Y-Y-Yes, yeah, I-I'm still here. Uh, ma'am ... I don't know quite how to say this, but, um ... I'm afraid I have some bad news.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Sara and Greg are on the move as Greg reports his findings to Sara.)
Sara: I matched Jenn Smith's footprints with a partial Grissom lifted from that broken window.
Sara: According to Catherine's att*ck order, Cammie was s*ab first and then Jenn. He didn't get sloppy with Cammie; he got distracted.
Greg: So he was with Cammie when Jenn tried to escape.
(Quick flash of: Jenn is on the bed trying to kick out the window.)
(The k*ller hears her and enters the room. He drags her off the bed and kicks her on the floor.)
(End of flash.)
Sara: Which explains Jenn's fractures. He kicked the crap out of her.
Greg: He must have gone to the bathroom, cleaned off the Kn*fe, then dragged Jenn down the hallway to k*ll her.
Sara: He never went back to check on Cammie.
CUT TO:
[INT. CSI – A/V LAB – DAY]
(Archie has a LAS VEGAS GLOBE article on the monitor. The headline reads: SHOWGIRL MANOR: SIX GIRLS, ONE LOCK. The subheadline reads, "Living the Dream," by Lewis Greyburg.)
Warrick: Six girls, one lock.
Archie: I ran the names of all the victims. This article's the only common link.
Warrick: "They pooled their money and lived the dream in style."
Archie: This could definitely bait a k*ller. The only thing missing from this is their address.
Warrick: Well, it says "Green Valley," it's got a photo of the house. If you looked hard enough, you could find it.
Archie: Lewis Greyburg wrote the article.
Warrick: "Lewis" is the name on a custom wine label that we found at the crime scene. Do me a favor. Could you zoom in on that photo?
(Archie zooms in and Warrick recognizes one of the girls.)
Warrick: Oh, my God. I knew I recognized her. Emily Wilson.
Archie: Figures you'd know a showgirl. Take it you've seen her dance, then, huh?
Warrick: No, last time I saw her, she was still wearing braces.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. STREET – DAY]
(A kid on a bicycle rides by. Warrick leans against his car parked on the side of the road, looking at the house across the street.)
(The front door opens and Warrick straightens as he sees Mary Wilson exit the house carrying a garbage bag. He walks over to her.)
Mary Wilson: Warrick Brown. I remember you standing on my steps with those guilty green eyes, afraid to come in because you knew your grandma would size you up no matter what kind of trouble you got into.
Warrick: I don't remember any trouble.
Mary Wilson: Like when you were 13 years old and you took her new Buick out for a spin.
Warrick: Oh, and I banged the bumper trying to parallel park. I forgot about that one.
Mary Wilson: Mm-hmm. I haven't seen you since your grandma passed.
Warrick: Yeah, the old neighborhood reminds me how much I miss her.
(They walk. Warrick takes the garbage bag from her.)
Mary Wilson: So why you here?
Warrick: I came to see you.
Mary Wilson: Oh.
Warrick: Let me take that for you. New family painted right over my history.
Mary Wilson: That's 'cause they're making their own history.
(He throws the trash away for her.)
Mary Wilson: You know, my daughter Chelsea died last August.
Warrick: Oh, God.
Mary Wilson: Mm-hmm. Lung cancer. She never smoked a day in her life, but her sorry husband did. He's healthy as an ox.
Warrick: (interrupts) Mrs. Wilson ...
Mrs. Wilson: You were always interrupting your grandma. But-but she liked that. That's because you were thinking, she said. Oh, she was proud of you. You remember my little granddaughter, Emily. The next time you drive up the Strip, you, you going to see her little buns in lights 'cause she's a dancer now. Uh-huh.
Warrick: Um ...
Mary Wilson: What, what, what, what?
Warrick: I'm working this case. Those six showgirls ...
Mary Wilson: The ones in the news?
Warrick: Emily listed you as the next of kin.
Mary Wilson: No. No. Oh, oh, please, God ... (screams) No!
(Warrick holds her as she cries.)
Warrick: I'm so sorry. I'm sorry.
Mary Wilson: Oh ...
CUT TO:
[INT. TRIP WIRE BAR – DAY]
(Brass is on the television monitor at a televised police conference.)
Brass: (from tv) We're pursuing a number of leads based on evidence gathered at the scene. Now, we believe that our suspect targeted one individual in particular and that's where the investigation is focused.
(The k*ller is at a bar having a drink.)
Brass: (from tv) Look, look, we have every available police officer out looking for him.
(He puts his glass down on the counter and drums his fingers against the bar.)
Brass: (from tv) He can run, but he can't hide.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Nick and Sara interview Mr. Greyburg. Sara puts the photos out on the table between them.)
Nick: So, Mr. Greyburg, you don't want a lawyer?
Lewis Greyburg: Why would I need a lawyer? I sent the wine over to express my gratitude for their cooperation on the article.
Nick: How did you get to know them?
Lewis Greyburg: I followed them around for a week as part of my research. They were nice kids ... uh, with big hearts.
Sara: It's an airhead piece.
Lewis Greyburg: My editor gave me an angle, I ran with it. But those girls raised $12,000 for a fellow showgirl with breast cancer. They organized their own walk-a-thon. They gave out swag bags, kitchen stuff.
Sara: What kind of kitchen stuff?
Lewis Greyburg: Uh ... cutting board, juicer, kitchen Kn*fe.
(Something he says triggers a memory in Sara.)
(Quick flash of: Cammie struggles to talk.)
Cammie: Breast ... breast. ..
Sara: He s*ab you in the chest?
Cammie: No!
(End of flash.)
(Sara stares out in front of her. Nick notices her.)
Nick: Sara.
Sara: What did the Kn*fe look like?
Lewis Greyburg: It had a purple handle embossed with the name of their friend and the date. It was ceramic.
Nick: k*ller shoes. There were multiple shoe impressions in blood at the house, looked just like those.
Lewis Greyburg: Whoa, whoa, whoa. Look, I didn't k*ll those girls.
Sara: Where were you last night, Mr. Greyburg?
Lewis Greyburg: I was at home alone working on my novel.
Nick: Prove it. We'll take your little ceramic Kn*fe, give us your shoes, and we'll take a sample of your DNA.
Lewis Greyburg: You can have whatever you want. (to Sara) Just stop looking at me that way.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Nick takes prints off Greyburg's shoes. He compares the two prints.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – DAY]
(Greg walks in to report results to Grissom.)
Greg: Wendy swabbed the ligatures cut from the sheet for epithelials. Each knot had one DNA source on it--female, but not from the victim who was tied up.
Grissom: So he forced them to tie each other up.
(Quick flash of: [BEDROOM] The k*ller holds his g*n against one of the girls' heads as someone ties up another girl.)
k*ller: Tighter!
Girl: Please don't make me do this.
(End of flash.)
Grissom: Thanks.
Greg: It was all Wendy.
(Greg starts to leave.)
Grissom: Hey, Greg. The, uh, civil suit that was filed by the Demitrius James family, DA decided not to go to trial. So the city's agreed to a payout; $2.5 million.
Greg: $2.5 million? That's like saying I'm the guilty one.
Grissom: It's just political pragmatism. City wants to cut their losses.
Greg: So they did throw me under the bus.
Grissom: Comes with the job.
(Greg turns and leaves. Grissom watches him go.)
CUT TO:
[INT. CSI – TRACE LAB – DAY]
(Hodges has the Kn*fe tip on the monitor, as he reports his findings to Sara.)
Hodges: Ran a laser ablation on the Kn*fe tip from Becca's spine. Zirconium oxide, otherwise known as ceramic. Basically, ceramic is glass. Both the exemplar that you got from the reporter and the m*rder w*apon have the same composition, color, texture and thickness.
Sara: The k*ller could have gotten the Kn*fe from a swag bag at the walk-a-thon. Either that or he could have gotten it from the house.
Hodges: You find me the broken Kn*fe, and I'll match the tip.
(Sara watches Hodges.)
Sara: What's wrong with you?
Hodges: Nothing.
(Sara turns to leave. Hodges stops her by the door.)
Hodges: You ever do the right thing and still feel guilty about it?
Sara: Yeah. Sucks, doesn't it?
Hodges: Yeah.
(Sara turns and leaves.)
CUT TO:
[INT. CSI – PRINT LAB -- DAY]
(Mandy Webster shares her findings with Nick.)
Mandy Webster: So I lifted two sets of prints from the wine bottle, but there's no match to any of the victims.
Nick: Any hits?
Mandy Webster: One set was smudges. I'm guessing whoever they belonged to works with their hands. You know, calloused, cut. The other set came back to a Chris Mullins. His work card's in the system. He's a musician at the Legs show where all the girls danced.
CUT TO:
[EXT. MULLINS' RESIDENCE – DAY]
(Brass exits the residence and heads for Sara and Nick waiting outside. Officers are around the area.)
Brass: Well, there's a cold brewski on the table. We must have just missed him.
(Officer Mitchell catches up with Brass.)
Officer Mitchell: Captain?
Brass: Yeah, what?
Officer Mitchell: Neighbor gave this guy up. Mullins hangs out at a bar right down the street.
Brass: All right, we'll check it out. But first we're going to lose the radio cars. Post an unmarked. I'm going to put a broadcast out on his vehicle. He's gotta come home sometime. (to radio) Control, this is 2-0-3 Charlie, Captain Brass.
Control: (over radio): Go ahead, Captain.
(Just then, two officer cars with their sirens wailing, turn the corner and speed off in front of them.)
Nick: Whoo! Did you call for backup?
Brass: (to radio) Look, uh, two squad cars just passed rolling Code Three. I'm at 562 Herrick Drive. Where are they en route to?
Control: (over radio): Units are responding to a 415 Baker in progress outside the Trip Wire Bar. Person down, suspect possibly still in location.
Brass: (to radio) All right, copy that. I'm headed to the 415B location.
Sara: as*ault with a deadly w*apon?
Nick: Feeling lucky?
(They all head off in that direction.)
[EXT. TRIP WIRE BAR – DAY]
(Sofia and the paramedic are with the injured victim, Marlon Frost.)
Paramedic: Sir, could you move your hand, please? Please? Thank you.
(Brass, Sara and Nick turn the corner.)
Brass: Hey, what do you got?
Sofia: Marlon Frost, out of state. Bar patron found him.
Brass: Anyone see the suspect?
Sofia: Mm-mm, no witnesses.
Brass: Okay, I'm going inside. Chris Mullins hangs out here. Somebody's got to know something.
Sara: Incise wound to the neck?
Sofia: Yeah. Seems to be flavor of the week.
Sara: Did he say anything?
Sofia: I don't think he can.
(Sara watches as the paramedics put Marlon Frost on the gurney.)
Nick: (o.s.) Hey, Sara?
(Sara turns.)
Nick: Got a Kn*fe over here.
(Sara and Nick look at the bloodied Kn*fe.)
Nick: Tip's broken off. That's probably going to be the m*rder w*apon right there.
(Quick flash of: [BEDROOM] The k*ller raises the ceramic Kn*fe as Becca struggles on the bed.)
(She whimpers as he s*ab her. When he raises the ceramic Kn*fe again, the tip is broken off. End of flash.)
Nick: And it matches the one from the swag bag.
(The label on the Kn*fe reads:
TAWNIA'S RUN
FEBRUARY 18, 2007 )
Sara: Crime scene's only a couple blocks from here. I'm going to go with the vic. I'm going to collect his clothes.
(Sara stands up. Nick stands up with her.)
Nick: You sure that's really such a good idea?
(Sara runs to the ambulance.)
Sara: (to the paramedics) Hold up! I'm coming with you.
(Nick watches her go and shakes his head.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. AMBULANCE (MOVING) – DAY]
(Sara holds Marlon Frost's hand.)
Sara: My name is Sara. Just hold on. You're going to be fine.
(Quick flash of: Sara holds Cammie's hand. End of flash.)
Sara: Do you know who did this to you?
(Marlon looks at Sara. Sara holds his hand.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. TRIP WIRE BAR – DAY]
(Brass questions the bartender.)
Brass: You see this guy? Marlon Frost? He was just s*ab in the parking lot.
Bartender: Yeah, I seen him around last couple of days. Friendly enough.
Brass: What, did he get into an argument or something here?
Bartender: It's not that type of place.
Brass: Yeah, right.
(Brass shows him the NON-GAMING PERMIT for CHRIS MULLINS.)
Brass: Uh, how about this guy? You see him? Chris Mullins?
Bartender: Yeah, he's a regular of mine. A-lister with the ladies, you know.
Brass: Has he been in lately?
Bartender: Why don't you check in the back?
Brass: (nods) Great.
(Brass heads for the back. Chris Mullins exits from the bathrooms.)
Brass: Chris Mullins?
Chris Mullins: Yeah?
Brass: I hope you washed your hands.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass interviews Chris Mullins.)
Chris Mullins: I didn't s*ab that guy, I didn't k*ll those girls. I will cop to drinking their wine.
Brass: So you're in the house the night of the m*rder.
Chris Mullins: I'd been messing around with Lauren since last weekend.
Brass: You know, you don't seem too upset that she's d*ad. How come your fingerprints are in every single room of the house?
Chris Mullins: It's kind of an inside joke. We did it in all her roommates' beds just to see if they noticed.
Brass: But you're only having sex with Lauren, right?
Chris Mullins: She was a good place to put it till something better came along.
Brass: I guess that's funny to somebody. But when we get a warrant for your DNA and match it to the semen we found in Lauren and Emily, the joke is going to be on you, pal.
Chris Mullins: I was supposed to meet Lauren after her last show. She was late. Emily was home.
Brass: And you couldn't help yourself, right, stud?
Chris Mullins: Girl politics. One wants what the other has. Why not give it?
Brass: So I guess when Lauren came home, you gave it to her, too. Is that right, Santa? And what about Becca?
Chris Mullins: Was she blonde? I didn't meet all the roommates.
Brass: Boy, you have an answer for everything, huh? What about the guy in the bar? What about him, what did he do, look at you the wrong way, bum a smoke? Or did he want you to give it to him, too?
Chris Mullins: You know what? Lawyer. Now.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Grissom, Warrick, Catherine and Nick meet.)
Warrick: Well, DNA confirmed that Mullins had sex with Emily and Lauren. Assuming he's the k*ller, why didn't we find any semen in Becca?
Catherine: Maybe by the time he got to her, he was unable to ej*cul*te.
Nick: I was able to make a physical match between the broken tip in Becca and the Kn*fe recovered from outside the bar.
Grissom: Was the same Kn*fe used to s*ab Marlon Frost?
Nick: We don't know yet. Sara's at the hospital now -- she's bringing back a DNA sample to compare.
Warrick: Whoever ... shanked Frost k*lled those girls.
Catherine: Did you get any prints on that Kn*fe?
Nick: Yeah. No ridge detail. Same smudges were found on the wine bottles and in the bedrooms.
Grissom: Smudges won't put the Kn*fe in Mullins' hands, though.
Warrick: I don't get it. He s*ab the guy and walks back in the bar.
Grissom: All the evidence at the house suggests that the k*ller was unfamiliar with the layout.
Catherine: And by his own admission, Mullins had been in that house at least a couple of nights.
Warrick: Well, that's also how he could've made the connection to Becca.
CUT TO:
[INT. HOSPITAL – MARLON'S ROOM – DAY]
(Sara snaps photos of Marlon Frost's wounds.)
Sara: Mr. Frost, I'll be out of your way soon. I'm sure you want to get some sleep.
(Sara turns to get the ink and paper.)
Sara: I just need to get your fingerprints. It's routine. I promise it won't hurt.
(She takes his prints. He watches her.)
(She notices the smudges on his fingertips. When she finishes printing him, she turns his hands over to look at his fingertips. The skin is callused.)
(She turns and looks at Marlon Frost. He stares back at her.)
(Suddenly, he grabs her hard with both hands. Sara tries to get away.)
Sara: (grunting) Get off me! Get off me!
(She frees herself from him. In the struggle, his gown slips off his shoulders, revealing a large discoloration – a birthmark.)
(Quick flash to: [BEDROOM] Cammie sees the birthmark on Marlon Frost's shoulder as he cuts her neck. There's a noise from the other room and he gets up to check it out, leaving her on the floor.)
CUT TO:
Cammie: Port... port wine... port wine.
(End of flashback.)
[INT. CSI – HALLWAY – DAY]
(Sara reports her findings to Grissom.)
Sara: He has a vascular birthmark, a port wine stain, on his upper chest -- that's what Cammie was trying to tell me. We can get DNA off his bloody clothes, but we have no blood or semen at the scene to compare it to. His prints are useless -- they're all calluses. They only leave smudges, like the kind we found on the broken Kn*fe. I think the bastard tried to k*ll himself.
Grissom: Sara, slow down. Frost isn't going anywhere.
Sara: I am going to nail this son of a bitch, and I don't want him to think for a single second that he is going to get away with this.
Grissom: Okay, one step at a time.
Sara: Frost smelled like alcohol when they took him into the ER so they ran a tox. His BAC came back .34 -- only a chronic alcoholic can function at those levels. You know what I think? I think he polished off the wine at the scene straight from the bottle.
Grissom: So his DNA should be on it.
CUT TO:
[DNA RESULTS]
(The DNA results are a MATCH.)
(The suspect is ID'd as DAVID MARLON.)
(The view REFOCUSES, revealing Sara's reflection in the monitor.)
Brass: (from conference) The suspect's name is David Marlon. M-A-R-L-O-N.
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass is talking with the press.)
Brass: (from conference) Also known as Marlon Frost. Released from California State Penitentiary where he served time for sexual as*ault. Mr. Marlon is also wanted in the questioning of the as*ault of an elderly woman in North Lake Tahoe one week ago. We believe he stole her vehicle and then fled to Las Vegas.
CUT TO:
[INT. CSI – GARAGE – DAY]
(Nick and Sara are in the garage with the elderly woman's vehicle.)
Nick: Where'd Brass find it?
Sara: A block away from the bar. Guy didn't even bother to switch plates.
Nick: Smart.
(Nick opens the trunk and looks at Sara. He snaps photos of the garbage bags in the back.)
(CUT TO: Nick and Sara open the garbage bags and find various articles inside.)
Nick: Whoa. One, two ... three, four, five, six.. . ladies' handbags.
(He opens one and finds REBECCA MAYFORD's driver's license inside.)
Nick: Rebecca Mayford. Becca.
(He finds nicotine gum.)
Nick: Mm. Looks like she was trying to quit smoking.
(He also finds a pack of cigarettes.)
Nick: And failing. Miserably.
(He opens the cigarette pack and checks it.)
Nick: There is only one missing.
(He puts the cigarettes aside and looks in the wallet. He finds a receipt.)
Nick: Here we go. Bought at the Trip Wire Bar at 12:48 a.m. same night as the m*rder.
Sara: That's where Marlon and Becca crossed paths.
(Quick flash to: [TRIP WIRE BAR – NIGHT] The bartender puts a pack of cigarettes on the bar for Becca. She smiles. Marlon sits at the other end of the bar and watches her.)
Bartender: There you go.
Becca: Appreciate it. Bye.
(She leaves the bar. Marlon watches her leave.)
CUT TO:
(Becca is walking home. Marlon follows her.)
(End of flash.)
(Sara continues to search through the clothes. She finds a g*n.)
Sara: I got a g*n.
(Sara picks it up.)
Sara: It's plastic. It's a toy.
Nick: Looks real to me. Imagine if you're petrified.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – ROOM – DAY]
(Sara is looking at photos of a baby. Corey Archfield sits at the table.)
Corey Archfield: How'd you find me?
Sara: Cammie had these in her wallet. We tracked you from the birth certificate. She's a cutie. What's her name?
Corey Archfield: Fin. After Cammie's grandmother. But her adoptive parents call her Annabelle.
Sara: She kept in touch with them?
Corey Archfield: They're pretty cool. We didn't have contact, but ... they would send Cammie a photo every year on Fin's birthday. And every year, Cammie and I would get together, have a beer, look at it. Biggest regret of my life is not marrying Cammie and raising Fin together. I wanted to, but ... she said we were too young. Maybe if we had ...
Sara: (interrupts) Corey ... you can't blame yourself.
Corey Archfield: Were you with her when she died?
(Sara nods.)
Corey Archfield: At least Cammie died knowing kindness.
(Quick flash of: Cammie struggles to breathe.)
Sara: Stay with me, Cammie.
Cammie: Bye ... Fin ...
(Cammie gasps and her eyes grow blank.)
CUT TO:
[INT. HOSPITAL – MARLON'S ROOM – DAY]
(Marlon talks with Brass.)
David Marlon: I watched the life go out of their eyes. Um, life drains. That's ... that's how you can tell they're d*ad. They have, uh, empty eyes.
Brass: That's not what I asked you. What I asked you was, why did you k*ll them?
David Marlon: I saw this girl I liked at the bar.
(Quick flash of: Becca smiling at the bartender at the bar. End of flash.)
David Marlon: I followed her home. I knew she wanted to party. I chose her. Girls act ... sometimes like they don't want what they want ... because they want you to take it. They like that. But this girl ... she was flirting with me.
(Quick flash of: Becca smiling at the bartender at the bar. End of flash.)
David Marlon: And I ... I just gave her the party of her life.
Brass: You know, there's something I don't understand, Marlon. Why are you smiling? You feel good about this?
David Marlon: I don't feel anything. Nothing.
CUT TO:
[INT. CSI – BREAKROOM – NIGHT]
(The news report is on the monitor.)
Reporter: (on TV) Las Vegas PD has confirmed that David Marlon confessed earlier today to the m*rder of the six Green Valley showgirls.
(Grissom and Sara watch the report.)
Reporter: (on TV) He was found within a block of the crime scene in an apparent su1c1de attempt. I've just been informed ...
(The report continues in the background.)
Reporter: (b.g. on TV) ... has confirmed the names of the six victims. They are Cammie ... Libby Cooperson 22, Becca Mayfield, 20 ...
Sara: I held his hand.
(Sara is crying. She glances back at Grissom, who is standing just behind her.)
Sara: Just like I held hers. I lost perspective.
(Grissom wipes the tear off her cheek. Sara turns and looks at Grissom.)
Reporter: (b.g. on TV) ... Lauren Walderson 21 and Emily Wilson, 19. Their families have organized a candlelight vigil that will begin here tonight.
(He looks at her. She nods.)
[INT. CSI – HALLWAY – CONTINUOUS]
(With his arm around her, they walk out the hallway and turn the corner out of view.)
(In the back of the hallway, a janitor mops the floor. And we --
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x18 - Empty Eyes"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[CU: TWO WOMEN KISS]
[EXT. HOTEL FRONT – NIGHT]
(Miss Tangiers pushes Miss Palermo away.)
Miss Tangiers: Okay, back that thing up. I wanted to steal some gloss off my lips.
(Miss Palermo giggles.)
Miss Palermo: Yeah, and you bought it. Hey. You are hotter than anyone in there.
(Just then, a young woman and a man walk past.)
Woman: For $1,000, I'll take you around the world. MAN: I think I love you.
Miss Tangiers: God should just flush this city down the toilet. Look, hey ... I'm going to go find our limo.
(Miss Lucky Dragon sits on the side smoking.)
Miss Tangiers: (disgusted) Where it's safe.
(Miss Tangiers puts her jacket on as she heads for the valet. In the distance, g*n and tire screeching sounds. Miss Tangiers turns her back for a moment. An out-of–control limo turns the corner and heads straight for the lobby.)
(People scream and run to get out of the way. The limo rams through the front drive and stops when it hits a parked car.)
CUT TO:
[EXT. HOTEL FRONT – NIGHT]
(Brass gets out of his car. OFFICER BAILEY HUSKINS is already there.)
Brass: Huskins, you first responding?
Bailey Huskins: Yes, sir. We got one d*ad guy in the limo; the rest are cuts and bruises.
(They duck under the crime scene tape on their way to the limo.)
Brass: So, what's the story?
Bailey Huskins: Witnesses are pretty much in sync. They heard, uh, several g*n from down the street, they saw the limo and everybody started hightailin' it.
Brass: (chuckles) Right. Running the Bulls, Las Vegas style. So, I got a feeling the driver didn't see anything.
Bailey Huskins: No, sir.
Brass: Make sure you do Nystagmus before we pound him through the FSTs. Limo equals drugs and whatnot. And collect all the cell phones.
Bailey Huskins: Are we authorized to do that, sir?
Brass: No. (loudly) Hey, anybody have any photos or video of the crash? If you do, I promise to get them on Channel 8 News.
(Suddenly, everyone in the crowd holds out their phone for him.)
Voice: I do. VOICE: I do. VOICE: I do.
Brass: Wow.
Voice: I got it.
Brass: (to Huskins) You better wear gloves before you do the collection. There's a lot of interrupted lap dances out there.
Bailey Huskins: Yes, sir. We got one on the guy in the limo. A passenger. Paramedics are working on him now. Name's Kellen Tyford.
Brass: Oh, Kellen. I know Kellen. Calls himself "Drops."
VARIOUS FLASHES OF THE b*llet HOLES IN THE LIMO GLASS
CUT TO:
(Greg is examining the back of the limo. He sees the blood on the seat and the d*ad body on the floor.)
(Grissom is looking over David Phillips' shoulder.)
Grissom: This is what happens when you don't wear your seatbelt.
David Phillips: That's why I always do.
Greg: It's the law. Even in limos.
(Greg notes the champagne bottle on the limo floor.)
David Phillips: Found a wallet.
(He checks it.)
David Phillips: Got a license. Vic's name is "Champ Landley."
(The NEVADA DRIVER LICENSE reads:
LIC # 1825588741
EXPIRES: 10-04-2010
SSN: 502-45-195 CLASS: C
BIRTHDATE: 10-04-1978 SEX: M
HEIGHT: 6'2" WEIGHT: 195
EYES: BRN HAIR: BRN
CHAMP LANDLEY
332 CALLE MATRIA RD.
LAS VEGAS, NV 89109
Greg: Open champagne bottle. White powder residue. I'll guess coke.
(Grissom sees the blood spatter and other material on the limo seats.)
Grissom: Well, then that must be ... his brain on drugs.
Greg: Party till you drop.
Grissom: Or get sh*t, whichever comes first.
SMASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – MORNING]
[EXT. CASINO/MOTEL – FRONT DRIVE -- MORNING]
(Brass walks up to Drops who leans up against a parked car and is holding a cloth pressed to the back top of his head. He's also a mess, stained with a lot of blood.)
Brass: Konnichiwa.
Drops: Konnichiwa. Look. I ain't in the mood, man.
Brass: So, let me guess--you don't have any blood on your hands. Oh, look at that, you do.
Drops: Yeah, I got blood on my face, too. How about that?
Brass: So, who's the d*ad guy?
Drops: It's Champ.
Brass: Yeah, we know that, but who's he to you? Huh?
Drops: It's family, man.
Brass: So, he's your "cuz", he's your g*ng buddy.
Drops: Look, B, I ain't no Blud and I ain't no Crip. Champ's just a cool kid I knew from around the way. I met his ass over two decades ago riding my Big Wheel. We go back like your hairline. That's family.
Brass: So, how did his B-L-U-D end up on your face?
Drops: We was parlayin', chillin', slidin' to the strip club, mindin' our own.
(Quick flash of: [INT. LIMO] Drops and Camps clink champagne glasses. A g*n fires.)
(Quick CGI of: SLOW MOTION. The b*llet bursts through the glass and hits Champs in the head. Champs goes down immediately against Drops.)
(End of CGI. End of Flashback.)
Brass: So, what'd you do, piss off some rapper band again?
Drops: The only bands I'm playin' with now is the one's I'm ripping off stacks of green. And I ain't talking about weed, B.
Brass: You're the big cheese maker. What's your secret, anyway?
Drops: I promote events, parties. I help the club life pop.
Brass: Well, you must be throwing some pretty crappy parties for someone to want you and your buddy d*ad. Huh? So, tell me. Who lit you up?
Drops: I don't know, okay? Could be everybody, man, could be nobody.
Brass: Okay. Let's start with everybody.
Drops: I know a lot of people -- friends and foes. They know I come here late night. Or maybe, maybe the limo driver cut somebody off and we're the victims of road rage. How about that?
Brass: Look, we're going to take you down to the station.
Drops: You can't be ser ... I'm the one that got sh*t at!
Brass: You know the rigamarole: we need an official statement, we need your clothes, we need your prints, we need your DNA. Because you're a concerned citizen. You want to help us find out who did this ... unless you already know.
CUT TO:
[EXT. HOTEL/CASINO – FRONT ROAD – DAY]
(The officers and techs check the road for evidence and mark them as they find them.)
CSI Tech #1: Got a nine mill over here.
CSI Tech #2: .45 auto casing.
(Grissom and Hodges walk over to Greg, who has his kit open on the ground at his feet. Hodges is carrying a kit.)
Greg: This neighborhood rains lead.
Grissom: Yeah, and we have to process every last drop of it.
(Greg is digging out a b*llet from the stone wall.)
Greg: (mutters) We're going to make Bobby Dawson's boat payment this month.
(Hodges takes his sunglasses off.)
Hodges: I was right. This is a lot like garbage colleting.
Greg: You're not helping, Hodges.
Hodges: I have no intention to. Field rotation for the lab techs was Ecklie's idea. He was very explicit that I was only allowed to observe.
(Hodges turns his attention to observing the techs on the street.)
(Greg manages to get the b*llet out of the stone wall.)
Greg: Looks like a .38, maybe a .357.
(Hodges looks down at the street.)
Grissom: It's a little small for those golf-ball size holes we found in that limo.
(Hodges finds something. He clears his throat loudly and motions for someone.)
Hodges: A little help?
(Grissom gives Greg a look before they head toward Hodges to see what he wants. Hodges points to the road.)
(Grissom picks up the b*llet casing.)
Grissom: .50 caliber. Casing looks new. I bet it's from a Desert Eagle.
Hodges: Or a coffee shop. I could drink an espresso out of that thing.
(Grissom looks at Hodges.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) – DAY]
[EXT. RESIDENCE – FRONT LAWN -- DAY]
(Sofia, Catherine and Warrick stand around a d*ad woman's body on a front lawn.)
Sofia: Residential area. Not much traffic. Landscaper found the body, called
911. Driver's license is in her purse. Her name's Melissa Gentry, lives off Nellis. We're trying to contact the family.
(Sofia hands the wallet to Catherine. She takes out the NEVADA DRIVER LICENSE for:
MELISSA GENTRY
247 DUNPHY ROAD
LAS VEGAS, NV 89109 )
Warrick: Little bit outside of her neighborhood, isn't it?
Sofia: Definitely.
Warrick: Party clothes shredded. Breaded abrasions. Must've h*t the ground moving.
Catherine: No car keys and no unaccounted for ... cars in the vicinity.
Sofia: You thinking she got jacked?
Catherine: She gets taken along for the ride, jumps out trying to escape.
(Quick flash of: [NIGHT] The car drives by. The door opens and the body hits the ground rolling. End of flash.)
Warrick: Maybe she was k*lled first, and this is a body dump at high speed.
Sofia: I'm going to go bang on some doors, see if anyone heard anything.
(Sofia leaves Warrick and Catherine with the body.)
Warrick: I'm gonna go see if I can figure out where this started.
(Warrick stands up and starts down the road. Catherine snaps photos of the body.)
(Warrick puts evidence marker #2 next to a shoe. Catherine snaps a photo of a particular deep mark on the body.)
(Warrick puts evidence marker #3 next to a blue piece of cloth. Catherine snaps more photos of the scrapes on the body.)
(Warrick finds a black broken part with a partial VIN number on it. He takes a photo and picks it up. Warrick looks around the area.)
CUT TO:
[INT. POLICE DEPARTMENT -- INTERVIEW ROOM – DAY]
(The officer in the room opens the door for Nick. Drops is waiting inside.)
Drops: Whoa! "Crime Lab Nick Stokes!" I see we're in between bad haircuts.
Nick: Drops. Told you I'd see you later. (He opens his kit.) It's called criminal activity. Stand up and hold your hands up for me, please.
(Drops stands up and holds out his hands, palms down. Drops smiles at Nick.)
Drops: Now, come on, Crime Lab, I thought we was old buddies.
Nick: The only thing we have in common, Kellen, are the d*ad bodies that seem to keep piling up around you. (He snaps a photo.) Turn around, please.
(Drops turns around.)
Drops: Well, first of all ... I ain't never k*lled nobody in my life. Second, I don't have a record. (Nick snaps another photo.) Never even done a day in jail.
(Drops turns to face Nick.)
Nick: Well, you keep heading down this road and, unfortunately, that's where you're going to end up.
(Drops looks at his bloodied clothes.)
Drops: Yeah, well ... this, this ain't me. I'm not used to this. As a matter of fact, I don't even know what that is.
(He points to the item in Nick's hand.)
Nick: It's a test for g*n residue. Hands up.
(Nick takes a sample.)
Drops: Oh, yeah, uh ... the powder from a g*n. You ain't gonna find none of that.
Nick: Maybe not. Okay, now, I need you to remove all of your clothing, including your shoes.
(Nick gives him some red clothes.)
Nick: You can put these on for now and I'll come back to get them when you're done.
Drops: No, thanks. Uh, I got one of my queens bringing me a suit. I will not be throwing on these nasty ass scrubs.
Nick: You are covered in blood. Your clothes are evidence now and I'm going to come back in here and I'm going to get them. If not, you're just going to be standing here in your underwear.
Drops: What underwear? I don't wear drawers.
Nick: This is not a compromise, Kellen.
(Nick grabs his kit and things off the table and heads for the door. He passes Officer Mitchell standing inside the room.)
Nick: You might want to close your eyes or turn around or something.
(Nick leaves. Officer Mitchell crosses his arms. He's not budging. Drops glances at him, then turns his back to him.)
CUT TO:
[INT. CSI – GARAGE – DAY]
(Greg motions as the limo is backed into the garage and parked.)
INTERCUT WITH:
[INT. CSI – FORENSIC AUTOPSY]
(David Phillips hangs Champ Landley's bloodied jacket on a hanger and puts it next to his other clothes.)
(Greg examines the back of the limo carefully. He notes the blood and glass on the floor and he finds something flattened on the floor, half tucked under the carpeting.)
(David washes the blood off the body.)
(Greg gathers pieces of glass off the limo floor.)
(In the layout room, Nick puts the pieces of broken glass together.)
(In the limo, Greg picks up small pieces he finds.)
(Champs Landley is on the table with a rod in his head while Robbins reconstructs the skull pieces on a dummy head.)
(In the limo, Greg finds a rolled up bill with white powder residue. He leans forward and sees the white circular markings.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – DAY]
(Greg reports his findings to Grissom.)
Greg: Fifty AE casings came back clean on IBIS, but Ballistics was able to pull type and caliber from the copper jacket fragments inside the limo.
Grissom: Consistent with .50 caliber Desert Eagle g*n.
(Greg shows Grissom the diagram.)
Greg: Yeah. Blood on the seats suggests that the victim was sitting here, on the left, with Drops somewhere to the right.
(Grissom counts the b*llet lines on the diagram.)
Grissom: Six sh*ts into the limo. Autopsy reports cause of death was single g*n wound to the head with variable trajectory, so one of those was the k*ll sh*t.
Greg: Yeah, it's just hard to say which one. The crash tossed everything all over the place. And it's basically one big mess now.
Grissom: Sounds like Drops' story is holding up, though.
(Nick appears in the doorway. He motions to them.)
Nick: Gentlemen. Follow me.
CUT TO:
[INT. CSI – LAYOUT ROOM – CONTINUOUS]
(Greg shows the reconstructed window findings to Greg and Grissom.)
Nick: There were two sh*ts fired through the glass, but as you can see, different sizes, different calibers.
Greg: Big one's consistent with the .50.
Nick: Yeah, but check out the beveling on the impacts.
Greg: Well, based on the beveling, these sh*ts were fired from opposite directions.
Grissom: Tinting film is applied to the inside of a window, so the small-caliber round was fired from inside the limo.
Nick: Well, I analyzed the radial cracks from both holes. The cracks from the sh*t that was fired out was terminated by the cracks from the sh*t that was fired in.
(Quick CGI flash of: A g*n fires. The b*llet hits the glass and enters the limo. A second g*n fires inside the limo. The second b*llet hits the glass on its way out the limo. The cracks in the glass overlap each other. End of CGI flash.)
Greg: Someone inside the limo had a g*n.
Grissom: And, evidently, Drops wasn't telling us the whole story after all.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. PRICY COMMUNITY (STOCK) – DAY]
[EXT. DROPS' HOME – POOLSIDE – DAY]
(Women in lacy underwear serve drinks. Brass talks with Drops.)
Drops: Look, I didn't lie, all right? I just left a couple of things out.
Brass: Well, you want to fill in the blanks before I ship you for obstruction?
Drops: We sh*t back; it's that simple.
Brass: We? You both had g*n?
Drops: Nah, man, just one of us.
Brass: Well, I bet I can guess which one. 'Cause you're the only person in the limo with a registered .38 revolver.
(Quick flash of: [INT. LIMO] A g*n fires and the b*llet breaks through the glass, hitting Champ and k*lling him. Drops pulls out his own g*n and returns f*re. End flash.)
Brass: I guess you know that blood is a good way to wash off GSR, right?
Drops: Nah, my dude. Look, I ain't do no sh**ting. All right? Somebody jacked that piece off me, like, a year ago.
Brass: You're telling me that you didn't sh**t a g*n from inside the limo? You're blaming it on a d*ad guy, a d*ad guy who just happens to have the same g*n as you.
Drops: What can I say, man? .38's back in style. Besides, man, Champ always had heat. Everybody know that. He got my back.
Brass: You know, I know everything about you, Kellen. You're just a small-time street thug and drug dealer from Northtown. You got the nickname "Drops" 'cause when you sold the chronic, you made a lot of drops.
Drops: Wow, and here I was thinking that I got that name based off my boxing skills, seeing as how I used to drop fools in the squared circle.
Brass: I don't know, you're a little slow behind the jab. And all you do is a lot of bobbing and weaving. So get me the g*n, and I'll let you have your massage.
(Drops looks at Brass. It's obvious he doesn't have it.)
Drops: I tossed it after the sh**ting, man.
Brass: Look, CSI's been all over that area, they didn't find any g*n.
Drops: That's because a g*n like that in a hood like that, that's rent money, baby.
Brass: Excuse me, beautiful. We're gonna wrap up these chicken wings and take them to go.
Drops: Whoa, okay, easy now, Kojaks.
Brass: No g*n, no happy ending. Come on.
CUT TO:
[INT. CSI – TRACE LAB – DAY]
(Catherine walks into Hodges' lab.)
Catherine: Don't tell me you're tired of the field already.
Hodges: No, I had to catch up on my Perez Hilton.
Catherine: I take it you're not gonna pull a Sanders on us, then?
Hodges: Let's see: Clean, friendly lab -- b*llet-strewn, urine-soaked street -
- that's a tough call.
Catherine: You have something for me?
Hodges: Oh, most definitely. I ID'd the serial number on the piece of plastic Warrick found in the street.
Catherine: Yeah?
Hodges: It's a GMC seatbelt adjuster. Keeps the shoulder harness webbing from rubbing on the neck.
Catherine: Okay. You got make and model of that car?
Hodges: Sure do. But I don't think it's gonna help you much.
(He hands her the first sheet full of owner names.)
Catherine: Oh.
(He hands her another printout ... and another and another.)
Hodges: That's it.
(Catherine smiles at Hodges, takes the printout and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins shares his findings with Catherine.)
Robbins: She had atlanto-occipital dislocation, a basilar skull fracture and contre-coup injuries from bouncing her head on the ground. COD is craniocerebral trauma.
Catherine: And are those ligature marks?
Robbins: They are. The right wrist was broken. Take a look at the shoulder. The humeral head's in front of the usual articulation. Completely dislocated.
Catherine: She was dragged by her wrist. (Robbins nods.) We found a seatbelt adjuster at the scene. Maybe she was dragged by a seatbelt?
(Quick flash of: Melissa Gentry screams as she's dragged on the road. End flash.)
Robbins: Whatever it was, the dragging went on a while. Abrasions on her elbows, ribs, and kneecaps go down to the bone.
(Catherine notices the victim's eyes.)
Catherine: Her eyes.
Robbins: What about them?
Catherine: They're the wrong color. They were green.
Robbins: You mean these?
(Robbins hands her a container with contact lenses inside.)
Catherine: Green contacts.
(Catherine checks the DRIVER LICENSE. It says her eyes are green and shows her with green eyes in the photo.)
(Catherine thinks about it.)
CUT TO:
[INT. CSI – WAITING ROOM – DAY]
(Warrick is with Pamela Gentry, who is crying at being told the news about the death of her daughter.)
Warrick: I'm sorry for your loss, Mrs. Gentry, but we could really use your help. Is there anyone in this neighborhood that your daughter might have been going to see last night?
(Warrick shows her a map of the area with a large red X marking the spot where the body was found.)
(Pamela Gentry looks at the map and shakes her head.)
(Warrick's phone rings. He answers it.)
Warrick: (to Mrs. Gentry) Excuse me.
(He stands up and steps away for a moment.)
Warrick: (to phone) Hey, Cath. Yeah. Are you serious? You're kidding, right? I'm actually with the mother right now. I'll handle it.
(Warrick hangs up and sits back down.)
Pamela Gentry: I'm sorry. I don't know why Melissa would have ...
Warrick: Ma'am, your daughter's alive.
Pamela Gentry: What?
Warrick: We made a mistake. The victim that we found was carrying your daughter's ID.
Pamela Gentry: Are you sure?
Warrick: Yes. She just spoke with my supervisor; she's fine.
(She laughs with relief.)
Pamela Gentry: It's a miracle. Oh, thank God. It's a miracle!
(She hugs Warrick.)
Warrick: All right. There's just one thing. We still need to identify the victim. Could you tell me if you recognize this girl?
(Warrick shows her the photo of the victim. Pamela Gentry starts to cry again.)
Pamela Gentry: That's Simone. Oh, no. (crying) That's Simone Molinez. That's my daughter's best friend. Oh ...
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Henry Andrews shares his findings with Greg as they walk through the hallway.)
Henry Andrews: There were no drugs or alcohol in the limo driver's system.
Greg: Really? What about Drops?
Henry Andrews: Also clean. As was your head sh*t vic. Club scene's getting really tame these days.
Greg: There's got to be something on the rolled-up hundred.
Henry Andrews: It's positive for cocaine, along with every Benjamin in the country.
Greg: But no coke in the driver or the passengers? That doesn't make any sense.
(Greg looks at the results and looks at Henry.)
CUT TO:
[INT. CSI – DNA LAB – DAY]
(Greg takes the rolled hundred out of the evidence bag and unrolls it. He examines the bill on the monitor and finds something.)
(Wendy walks in.)
Wendy Simms: You know, if you're still having trouble coming to terms with the fact that this is no longer your lab, I suggest counseling.
Greg: I would like you to run this for me, please.
Wendy Simms: Okay. (She looks at the monitor.) Hmm. Boogers on a nose straw.
Greg: Yep.
Wendy Simms: Well, in recognition of your years of previous service, I will make it a priority.
Greg: Thank you.
Wendy Simms: You're welcome.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – BULLPEN -- DAY]
(Sofia interviews Melissa Gentry.)
Melissa Gentry: I gave Simone my license a couple of months ago. She was always getting her fakes snatched by bouncers, so I gave her my expired one. Bouncers only ever look at the birth date. We look alike.
(She looks at the autopsy photo of Simone Molinez.)
Melissa Gentry: Kind of, in ways, like her nose and ... parts of her chin and cheeks. (proudly) And we both have nice butts. But ... that's not on a license.
Sofia: Do you know anyone who'd want to hurt Simone?
Melissa Gentry: (shakes her head) No way. She was so nice, super cool ... all about fun.
Sofia: Any guys involved?
Melissa Gentry: Yeah. Mostly guys. Guys with money.
Sofia: Like who?
Melissa Gentry: I never met any of them. They weren't long-term things. She would just go out with them to party.
Sofia: She have sex with these guys?
Melissa Gentry: No, no sex. She would just use them to get drunk and hang out at penthouses.
Sofia: Where was Simone last night?
Melissa Gentry: I don't know, but she always starts off her night at the same place: the Gold Square on Sunset.
Sofia: That place is a dive. That's not the kind of place to find rich guys.
Melissa Gentry: It was kind of a confidence builder for her. Simone was a star in there. She'd always come out with at least a couple numbers.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Catherine looks through Simone's bag as Sofia watches.)
Sofia: Gold Square Bar, gold wad of tissue in her purse -- figured it was worth checking out. Looks like a bar napkin.
Catherine: Yeah, that's been shaped, rolled and twisted. Las Vegas origami. Pretty corny.
Sofia: Probably work on me.
(They both chuckle.)
Catherine: That bad, huh?
Sofia: Yeah.
(Catherine unrolls the napkin and opens it.)
Catherine: Here we are.
(The hand-written number is:
CAREY
555-0179 )
Sofia: "Carey." Looks like this Carey was hitting on the vic.
Catherine: Maybe in more ways than one.
(Catherine snaps a photo of the napkin.)
(Quick flash to: Someone sits on the bloodied chair and leaves an impression on the leather in the blood.)
[INT. CSI – LAB – DAY]
(Greg looks at the impressions left behind on the bloodied leather seat. He puts the photo down and looks at the bloodied clothes. He looks through the clothes to find a similar circular pattern, but he doesn't.)
(Wendy walks in with the DNA results.)
Wendy Simms: Hey. Um, I got your DNA results.
Greg: Yeah, and?
Wendy Simms: Well, there were two donors on the nose straw. There was one unknown female and one half-known male.
Greg: So a sibling match?
Wendy Simms: Yeah. Greg, the male is the brother of Demitrius James.
(Greg is surprised. He grabs the test results from Wendy to look at it.)
Greg: (V.O.) One guy decided not to run away.
FLASH TO:
[Scenes from 7X04: Fannysmackin']
(Demetrius James with his glowing contact eyes steps out into the alleyway and charges at Greg with a rock in his hand.)
Greg: (V.O.) He picked up a rock and started coming at me with it.
(Greg sits in the van. He steps on the gas and hits Demetrius James.)
(Cut to: In the hospital, Marla James cries over her d*ad son.)
[Scene from 7X07: Post Mortem]
Marla James: (V.O.) You didn't run over a mob, you ran over one boy! My boy!
(Greg sits in the courtroom during the coroner's inquest.)
Aaron James: (V.O.) How tough you feel when you're not in your big SUV, huh?
(Aaron James corners Greg in the bathroom.)
Aaron James: Asked you a question, k*ller.
(Flash to: In the hospital, Aaron James turns and looks directly at Greg.)
END OF FLASHBACKS
(Greg looks at Wendy.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAB -- DAY]
(Grissom and Greg show Undersheriff Jeff McKeen the camera phone image.)
Grissom: This image was captured on a cell phone at the scene. We believe that that is Aaron James.
Jeff McKeen: That fuzzy blob?
Greg: We also found evidence of Aaron James inside the limo.
Jeff McKeen: Well, I hope it's better than this photo.
Greg: It's DNA, along with traces of cocaine on a rolled-up $100 bill.
Jeff McKeen: Which doesn't place him in the limo. That bill could have been brought in there by anyone.
Grissom: We found a pattern in the blood on the seat next to the vic's. It doesn't match the clothes from the limo driver or Drops, so there was at least one other passenger in that limo, and we need to question Aaron James.
Jeff McKeen: This city just paid Aaron James and his mother $2.5 million because you ran his brother over. Are you trying to find a way to give them more money?
Greg: I'm just trying to do my job.
Jeff McKeen: You want to talk to Aaron James, give me more than snot on a bill, and a dot on a crummy photo. This is a PR nightmare in the making.
Greg: We still don't have a m*rder w*apon. Aaron James could be destroying evidence right now.
Jeff McKeen: (to Greg) All right, first of all, stop talking. You're off the case. (to Grissom) Everything he touched gets reprocessed.
Greg: There's nothing wrong with my work.
Grissom: Okay. I know that. It's just standard procedure.
Greg: Oh, procedure.
Jeff McKeen: Open your mouth one more time, and you're on suspension. I'm trying to avoid a harassment suit here. This is cover-our-ass time. Keep me apprised.
(The undersheriff turns to leave.)
Jeff McKeen: This would have been so much easier if you had been the black guy.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. GARAGE – DAY]
(Sofia, Catherine and an officer walk into the garage.)
Sofia: We're looking for Carey Corville.
Carey Corville: That's me, Bob.
(The young man working under the hood turns and smiles appreciatively at Sofia and Catherine.)
Carey Corville: M ... hottest cops I've ever seen. Yeah, might be the hottest chicks I've seen all week. You guys are here to get me, take me away.
Sofia: Pat him down.
Carey Corville: Am I under arrest for something?
Catherine: Yeah, that depends.
(Catherine shows him the photo of the napkin with his name and number on it.)
Catherine: This your idea of romance?
(The officer pats Corville down.)
Carey Corville: Can't really arrest me for that.
Catherine: We found it in Simone Molinez's purse.
Carey Corville: She kept that, for real? Oh, it's on. What are you guys doing with it?
Catherine: She's d*ad.
Carey Corville: Oh. Well, listen, I don't know nothing about none of that. Sh-she was breathing when I left her.
(Quick flash to: [INT. GOLDEN SQUARE (BAR) – NIGHT] Corville rolls up the napkin, turns and presents it to Simone. She takes it and tucks it in her purse.)
Simone Molinez: That's sweet. But I have a boyfriend.
(He watches her leave.)
(End of flashback.)
Sofia: So you say.
Carey Corville: Come on. I'm not that hard up. Look, she didn't like me. So what? On to the next who will.
Catherine: You've got a GMC truck? Where is it?
(He indicates outside.)
CUT TO:
[EXT. GARAGE PARKING LOT – DAY – CONTINUOUS]
(Catherine puts her gloves on as she heads for the GMC truck parked in the stall. The officer, Corville and Sofia stand just outside as Catherine opens the passenger-side doors to look inside.)
(She checks both the front and back seatbelts while holding the photo of the seatbelt part found near the body. Catherine opens a tool chest on the back seat floor and sniffs.)
Catherine: Disinfectant.
(Sofia looks at Corville. Catherine dabs the seat with her forearm.)
Catherine: Seat's damp.
(Catherine sprays luminol and the seat glows.)
Catherine: Hey, Carey, there's blood in your car.
Carey Corville: Yeah, it's, uh, my boy, Scotty. He had a nosebleed.
Sofia: Scotty who?
Carey Corville: Scotty Brittington?
Catherine: Well, it's a hell of a lot of blood for a nosebleed. Looks more consistent with the body of a bloody girl.
Carey Corville: (shakes his head) I don't know what you're talking about.
Sofia: Where would we find your boy Scotty?
Carey Corville: I don't know. He's kind of hard to get a hold of easy.
(Sofia hands him her notepad and pen.)
Sofia: Address and phone. We're going to see what your boy has to say about this blood. Until then, you're coming with us.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI -- DAY]
(Catherine looks at a file folder and photo of SCOTT BRITTINGTON. The info sheet on him shows:
PRIOR:
487.2 PC-ARMED ROBBERTY
SEN.: 2 YR SUJMM PROB-- )
(Catherine's phone rings.)
Catherine: (to phone) This is Catherine.
Sofia: (from phone) It's me.
INTERCUT WITH:
[INT. HOSPITAL – HALLWAY – DAY]
Sofia: Scott Brittington wasn't at any of his usual haunts, so I checked the hospitals, and guess what? He was admitted last night with a severe puncture wound to his shoulder. He told the staff it was a work injury, but during surgery, they extracted a b*llet fragment.
(Sofia holds up the container with the b*llet in it.)
Catherine: Interesting line of work.
Sofia: Doc thinks someone tried to dig it out to avoid police notification, which actually made it a lot worse.
(Quick flash of: CORVILLE tries to get the b*llet out of Scotty's shoulder. Scotty screams.)
Carey Corville: Dude, it's ...
Scott Brittington: Keep going. I can't go to the hospital with a b*llet in me. Cops'll be all over us.
(Corville tries to get the b*llet out. Scotty screams. Corville gets the b*llet out.)
Carey Corville: It's all right, man. I got it, I got it.
(End of flashback.)
Catherine: Needle-nose pliers aren't exactly a fine surgical tool.
Sofia: Yeah, that's for sure.
Catherine: You talk to Scott?
Sofia: Well, I'm on my way to his room right now.
(Sofia stops. The crash team surrounds Scotty's bed.)
Catherine: (from phone) If he's anything like his friend, I'll sure he'll give you plenty of attitude. Let me know what he has to say.
(Scotty fails to revive.)
Doctor: All right, let's call it, people. We've done what we could.
(They start disconnecting the vent tube.)
Sofia: (to phone) I don't think it's going to be much.
(Scotty's d*ad.)
CUT TO:
[INT. CSI – BALLISTICS LAB – DAY]
(Catherine removes the b*llet from the container and puts it under the laser scanner. The bent-out-of-shape b*llet is scanned into the computer.)
(Catherine runs a scan and finds a match to a .38 CALIBER b*llet from the CHAMP LANDLEY case.)
(The b*llet matches the fragment.)
CUT TO:
[INT. CSI – BREAKROOM – NIGHT]
(Catherine meets with Grissom, Nick and Sara.)
Catherine: A .38 fragment recovered from a suspect in my homicide matched a .38 b*llet that Greg found near the strip club drive-by.
Sara: So the guys in the GMC truck got into a sh**t-out with the guys in the limo.
(Quick flash of: The GMC truck drives past the limo and fires. A b*llet is fired back and hits Scotty in the shoulder. End of flash.)
Grissom: Tie score -- one d*ad on each side.
Catherine: Over what? Why were these guys sh**ting each other up?
Nick: It's got to be about the girl. Her DNA matched the unknown female contribution on the hundred dollar bill, so, she was in the limo.
Grissom: But that bill doesn't put her in there any more than it does Aaron.
Nick: No, but it proves she was with Aaron at some point in the night.
Catherine: Wait a minute. Why would Simone even be with those guys?
Nick: Because of Drops. He knows everybody in the club scene, especially the party girls. He could have picked her up anywhere.
Sara: Simone blows off the broke guys to party with the rich guys. The broke guys feel dissed, so they track down the limo and retaliate.
Nick: Yeah. Yeah. And somewhere in between, Simone just gets ... tossed.
Catherine: All right, how are we going to prove any of this? I mean, we're not going to get any answers from the suspect in the truck. He's lawyered up.
Sara: So is Drops. And the undersheriff isn't letting anyone talk to Aaron.
Grissom: What about the seat belt adjuster you found?
Catherine: No match to the truck. Doesn't even have seat belt adjusters.
Grissom: What about the limo?
Sara: It's not a GMC. It's a Lincoln Continental.
Grissom: Yeah, but maybe not entirely.
CUT TO:
[INT. CSI – IMPOUND -- NIGHT]
(Grissom and Sara walk to the garage where the limo is parked.)
Grissom: Stretch limos are custom-made. You take a Lincoln Continental, cut it apart, stretch it with whatever parts you have available: Ford, Chrysler, General Motors, doesn't matter.
(Sara opens the back door while Grissom opens the other back door. They check the seat belt adjuster. Grissom compares the number with the adjuster in the evidence bag.)
Grissom: Looks like the same belt adjuster.
Sara: This one's missing.
(Grissom looks over at the seat. Sara notes the blood on the upper seat belt.)
Sara: This blood has to be from the sh**ting.
(She pulls the seat belt and finds blood on the upper part of the belt.)
Sara: This is from something else. There shouldn't be blood on this part of the seat belt. Think the undersheriff will let us talk to Aaron now?
Grissom: If the DNA matches Simone Molinez's, anyone that was in this limo is up for m*rder. The, uh, undersheriff won't have a choice.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. JAMES RESIDENCE – DAY]
(Sofia and two officers exit the car and head for the front door.)
Officer Mitchell: From the hood to the hills. Didn't take him long to spend the taxpayers' money.
Sofia: Hey, knock it off.
(Sofia knocks on the door. Marla James opens the door. She's holding a wine glass in her hand.)
Marla James: (loudly) You need to look in the fridge.
Sofia: Mrs. James?
Marla James: Oh, hell, no. I got company!
Sofia: We have a warrant to search the premises.
Marla James: A warrant? A warrant for what?!
Sofia: We also need to speak to Aaron.
Marla James: Oh, we're not talking to nobody. This is harassment!
(She throws her wine at Sofia and tries to close the door. Sofia glances down at her shirt then pushes the door open.)
Sofia: That could be considered as*ault an officer. Let's not make this harder than it has to be.
(Sofia gives the warrant to Marla James and steps into the house.)
Marla James: (shouts) Somebody get me a phone!
[INT. JAMES RESIDENCE – BILLIARDS ROOM – CONTINUOUS]
(Aaron James looks at the pool table.)
Aaron James: All right, ten ball, corner pocket.
(Aaron leans in close to take his sh*t. Sofia and Officer Mitchell walk into the room.)
Sofia: Mr. James?
(Aaron stops. There are two other men in the room.)
Sofia: We need to talk to you down at the station.
(Aaron puts his poolstick down on the table and holds his wrists out.)
Sofia: You're not under arrest. We just want to talk.
Aaron James: Yeah, right.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – DAY]
(Sofia is standing at the drinking fountain dabbing at the wine stain on her blouse. The undersheriff turns the corner and walks up to her.)
Jeff McKeen: I hear soda water works better.
Sofia: What'd work better is if I took it out and sh*t it.
Jeff McKeen: So long as I don't see it on the 11:00 news.
(She chuckles.)
Jeff McKeen: The James kid, he lawyered up?
Sofia: Yeah. Yeah, his attorney's on his way. You holding a press conference?
Jeff McKeen: Yeah, I'm on my way there now. How do I look?
Sofia: Like fresh meat.
Jeff McKeen: Oh. Hope I hold my temper as well as you. You've got a big future in this department. Send the dry cleaning bill to my office.
(He walks away. Sofia turns and watches him go.)
CUT TO:
[INT. JAMES' RESIDENCE – BILLIARDS ROOM – DAY]
(Nick checks the cabinets. Sara walks in carrying some clothes and a pair of shoes.)
Sara: I checked the mom's room and the guest rooms, no sign of any w*apon, but ... I did find these in the laundry room. Look familiar?
(She holds up the pair of jeans. There's a button pattern on the back pocket that matches the pattern on the bloodied leather in the limo.)
(Quick flash to: Someone standing up and leaving the imprint on the limo seat. End of flash.)
Nick: Yeah. Any trace of blood?
Sara: Nothing obvious. They were just washed.
(She smells them.)
Sara: They smell like bleach.
Nick: Great. What about the, uh, the hoodie in that cell phone picture? It looked like Aaron was wearing one.
Sara: Yeah, it's still wet. Aaron wears his clothes baggy. He probably keeps them out of the dryer so they won't shrink.
(She hands the hoodie to Nick, who feels around and finds something.)
Nick: Looks like the little hood left us something.
(He holds up the piece he found.)
(Quick flash to: [LIMO] The b*llet breaks through the glass and hits Champ Landley in the head. A piece of his skull flies out and lands on Aaron, who is sitting next to him. Aaron breathes in panic. End of flash.)
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – NIGHT]
(Sofia interviews Aaron with his attorney Duane McWane.)
Duane McWane: You're right. My client is guilty of partying in Las Vegas. But with this de minimus amount, you wouldn't be able to hold him for possession.
INTERCUT WITH:
[INT. OBSERVATION ROOM]
(Greg enters the observation room to watch the interview.)
Duane McWane: (scoffs) Those jeans? Come on. You'd probably find that same pattern on at least a couple thousand asses in this town. There's nothing here that places my client in that limo at the time of the sh**ting.
Sofia: How about this?
(Sofia puts a photo of the bone fragment on the table.)
(Quick flash to: Nick places the piece of skull in the reconstruction that Robbins worked on. The piece fits perfectly.)
Sofia: (V.O.) A piece of Champ Landley's skull in the hood of your sweater.
(End of flash.)
Sofia: I'd say you were definitely there.
(Duane whispers to Aaron. When he finishes, he answers Sofia.)
(Greg watches in the next room.)
Duane McWane: Look, scared kid makes a couple of mistakes. It's peer pressure, all right? It's a misdemeanor, at best. You want to put LVPD through PR hell for that?
Sofia: No. Not just that. Simone Molinez was dragged to death from your limo before the sh**t-out.
(Sofia puts Simone's morgue photo on the table.)
Sofia: Aaron was in the car when she was being dragged. I'd say that makes him a prime suspect.
Aaron James: No, no, no, hold it, hold it. I don't know this girl. Okay, she came up to Drops at the Gold Square.
Duane McWane: Aaron, don't say ...
Aaron James: No, hold up, man. I didn't k*ll anybody.
Sofia: What's a guy like Drops doing at a dump like the Gold Square?
Aaron James: Drops grew up in that 'hood. Guess he, uh ... wanted to claim his old territory.
(Quick flash of: [GOLD SQUARE – NIGHT] Drops, Champ and Aaron walk into the bar.)
Aaron James: (V.O.) We own that place. Picking up a girl in there was like stealing.
(Carey Corville and Scott Brittington leave a table. Drops and Aaron sit down at the table.)
Aaron James: (V.O.) Drops trying to open up his own club. Asked me to invest. Before I got my money, guy like Drops wouldn't have "What up?" to me, let alone ask me out to talk business.
(End of flashback.)
Aaron James: I felt like a big sh*t. What's the big deal?
Sofia: We think it's that big sh*t attitude that's exactly what got you sh*t.
(Quick flashback to: Simone leaves Corville at the bar and sits with Drops at the table. Scotty and Corville don't like it. End of flashback.)
Sofia: Taking that girl out of the Gold Square, you pissed off a couple of locals.
(Greg continues to watch the interview.)
Sofia: Everyone knows Drops ends his nights at the strip club. They were waiting for you.
Aaron James: Look, I had nothing to do with that. And I definitely didn't kick her out of that limo.
Sofia: So who did then?
Duane McWane: (interrupts) Aaron, unless you want to go to jail, son, don't say another word.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Sara and Greg walk through the hallway.)
Sara: You observed the interview? If the undersheriff had seen you, he would've gone ballistic.
Greg: Well, I'm still off the case. Besides, I just happened to be listening, and I heard Aaron say that he didn't kick the girl out of the limo.
(Sara looks at Greg.)
Sara: You want me to check the body?
Greg: Well, bruises get more distinguished as a body decomposes, so just see if there's anything we missed.
(As they talk, they don't notice the commotion going on at reception.)
Marla James: (b.g.) That's the one I want to talk to.
Sara: (to Greg) I'm on it.
Marla James: (b.g.) That's the one I'm looking for.
(Marla James steps into the hallway.)
Judy Tremont (receptionist): Miss, excuse me. You're not allowed back there!
(She heads over toward Greg.)
Marla James: Taking one of my boys wasn't good enough for you, was it? Now you've got to take both? What did we ever do to you?
Greg: Mrs. James, I don't have anything against you or your family.
Marla James: Then what is it? Is it about the money? Then take it! I just want my boy back!
(An officer runs into the hallway.)
Sara: Mrs. James, you need to calm down ...
Marla James: I'm not talking to you!
Sara: Well, you're going to get yourself into trouble here.
Officer: Ma'am ... you're going to have to leave.
Marla James: (scoffs) Protecting the nice white boy from the mean black lady.
(The officer leads her back out to reception.) You've got to help me. You owe me. You owe me!
(The officer escorts Marla James back to reception.)
(Greg turns the hallway and follows her.)
Greg: What do I owe you?
Marla James: Yeah, like you don't know.
Greg: I'll tell you what I know: I know that Demitrius was a k*ller. And Aaron -- Aaron made the decision to hang out with Drops. He made the decision to do drugs, and to bring that girl into the limo. That's not on me. It's on him, and you.
(She turns and looks at Greg.)
Marla James: Aaron is all I have left.
(Marla turns and leaves.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Sara is with the assistant coroner as she checks Simone Molinez's body. The assistant coroner turns over her body while Sara checks her back. They switch sides and check the other side of the body.)
(Sara finds a shoeprint on her back. She takes a photo of it.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass interviews Drops with his lawyer, Brad Lewis.)
Brass: This bruise on Simone Molinez's body matches the heel of your buddy Champ's dress shoe.
(Drops and his lawyer confer.)
Drops: Man, forensics be jammin' a brother up.
Brass: No doubt. And you saw him do it.
Drops: Look, he was just trying to show a potential investor a good time, that's all. The boy got a short fuse.
(Quick flash of: [INT. LIMO] Simone sits next to Aaron in the back of the limo.)
Aaron James: All right. Whatever.
Champ Landley: Why don't you really hook up my man?
Simone Molinez: Hey!
(Champ smiles at Drops. Drops hides his laugh.)
Aaron James: Champ, come on, man. What's wrong with you, man? She's a lady.
Simone Molinez: Let me out the car!
Champ Landley: Oh, you want out?
(He opens the door.)
Champ Landley: Get out.
Simone Molinez: Tell the driver to stop.
Champ Landley: We're in a hurry! You want out, you get out now!
Simone Molinez: No!
(He kicks her out of the car.)
Aaron James: Hey!
(End of flashback.)
Brass: So, what, he pushed her out of the car because she wouldn't have sex with Aaron?
Drops: Champ thought it was a bad look.
Brass: Bad? Bad for what?
Drops: Champ gets a bonus when business is good.
Brass: You got booze, bling, girls, g*n and drugs in a limo. Would you call that doing legitimate business?
Drops: Yeah. So, um ... what's a few scrapes and bruises on this girl got to do with me?
Brass: Yeah, a few scrapes and bruises, a broken wrist dislocated shoulder, broken neck -- add it up: it equals death.
Drops: Death? Wait a minute, no way. See, first of all, that limo was turtle stepping' it down the block. It's like fallin' off a bike.
Brass: Yeah, maybe so, if she wasn't tangled up in the seat belt. What, you didn't hear her dragging on the street?
Drops: (shakes his head) The speakers were on blast. I couldn't even hear my cell phone and that was on vibrate.
Brad Lewis: My client has corroborated your evidence. Are we free to go?
Brass: What? No! I'm charging you with the m*rder of Scott Brittington.
Drops: Scott ... Who?
Brass: The guy you sh*t.
Drops: Okay, we already went over that. Champ was the sh**t.
Brass: Yeah, so you say. But you're the only one in the limo with a registered .38. And you didn't toss that g*n after you used it; you gave it to Aaron.
(Quick flash to: [INT. LIMO] Champs is d*ad and leaning on Aaron.)
Drops: Trust me, son, you don't want to be here when the cops come, okay? Here, take the ratchet, and make it disappear.
(He hands the g*n to Aaron.)
Drops: Take the ratchet! Don't worry about it; I got you covered.
(The car door opens and Aaron leaves with the g*n.)
Brass: (V.O.) Aaron leaves the scene with your m*rder w*apon. Your g*n.
(Drops sits in Aaron's seat.)
Brass: (V.O.) And you take his spot like he was never there.
(End of flashback.)
Brad Lewis: Captain Brass, I've seen the ballistics report. The sh*ts fired from inside the limo were fired second. That's textbook self-defense.
(Brass looks at Drops. Suddenly, Drops smiles.)
Drops: "Textbook self-defense." Told you, forensics be jammin' a brother up.
Brass: I'll take my chances with the jury. I'm going to see your arms behind your back sooner than you think. Counselor.
(Brass stands up and leaves. Drops doesn't look worried at all.)
Drops: And all this time I thought I was paying you too much. Give me some.
(They knock fists.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – LOCKER ROOM – DAY]
(Greg is at his locker. Grissom appears in the doorway.)
Grissom: The DA tells me you requested he go easy on Aaron James.
Greg: Yeah.
Grissom: He's getting a suspended sentence. Released on his own recognizance.
(Greg nods.)
INTERCUT WITH:
[INT. POLICE DEPARTMENT – HALLWAY /WAITING ROOM – DAY]
(Aaron James walks through the hallway. Drops walks out and meets him. He smiles and holds out his hand to Aaron. Aaron doesn't smile and doesn't shake his hand. He pats Drops on the shoulder and continues down the hallway toward his mom.)
(Marla James stands up from her hallway chair. Aaron walks over to her.)
[INT. CSI – LOCKER ROOM – DAY]
Grissom: If the kid's brother hadn't died, would you have done the same?
Greg: (shrugs) I don't know. I just, uh ... you think it's wrong?
Grissom: Doesn't matter what I think.
(Grissom looks at Greg, then leaves.)
(We hold on Greg.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x19 - Big sh*ts"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – HALLWAY -- NIGHT]
(Grissom walks through the hallway and meets up with Nick and Warrick.)
Grissom: Fellas, another incident at Lolita's.
Warrick: What now?
Grissom: An erotic athlete claiming a 420-Z. The paramedics have her on a stretcher.
(Grissom gives Warrick the assignment sheet. He turns and continues back through the hallway. We stay with Nick and Warrick a bit.)
Nick: What the hell's an erotic athlete?
Warrick: Well, I hope it's a tight end in a G-string.
Nick: Nice.
(Warrick and Nick leave. We follow Grissom, who continues through the hallway.)
Grissom: Greg?
Greg: (o.s.) Yeah.
(Grissom walks up to Greg.)
Grissom: (reads) 419 at Tagliferri's Restaurant on 8th Avenue.
(Greg takes the assignment sheet from Grissom. In the back, Catherine turns the corner and heads their way.)
Greg: (to Grissom) `All right. Thanks. I'm on it.
(Catherine walks up to Grissom as Greg leaves.)
Grissom: Cath?
Catherine: Huh?
Grissom: 415-B at the Ha-Ha-Ha.
(She takes the assignment sheet from him and looks at it.)
Catherine: What's the w*apon? A Taser? Come on!
Grissom: An angry clown got pissed at some heckler with clogged arteries, and it caused a heart att*ck.
Catherine: So, Greg-O gets a h*t at a mob restaurant, and I get a clown who can't take a joke?
Grissom: Trust me, you don't want Greg's 419.
(Catherine and Grissom walk over to Sara.)
Sara: Hey.
Catherine: Hey.
(Catherine leaves. Grissom reads Sara's assignment.)
Grissom: Hey. CDC needs someone out at the Omdi-Tech offices on Boulder Highway. I'm sure it's not hazardous, or they wouldn't let us collect it.
(Sara takes her assignment sheet.)
Sara: Okay. You coming with?
(Grissom reads his own assignment.)
Grissom: No, I'm spending the night in autopsy with the Lake Mead floater.
(They walk past the lab doorway, Sara's voice fading as they pass.)
Sara: Well, enjoy. That guy was putrid. Oh, by the way...
[INT. CSI – TRACE LAB –CONTINUOUS]
(Hodges looks up from the paper in his hand. He sees Wendy in her lab across the hallway. He also sees Wendy step away from her lab.)
(Hodges walks up to his lab doorway and looks around the halllway.)
CUT TO:
(Hodges' phone beeps as he sends a message.)
(Across the hallway in the A/V Lab, Archie's phone tone plays. He checks the message and turns to look at Hodges. Hodges nods.)
(Another phone tone plays. Mandy looks at her message, then looks up at Hodges.)
(In Henry's lab, his phone tone sounds – it's monkey laughter. He checks his message. It reads:
1. HODGES
FWD: MEET ME IN GRISSOM'S OFFICE ASAP.
TELL NO ONE.
FROM: HODGES
TO: HENRY
(How mysterious.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – CONTINUOUS]
(The camera pans across the table with the four miniature crime scenes in their respective see-through cases.)
(Hodges, Mandy, Henry and Archie meet in Grissom's office.)
Hodges: Four crime scene miniatures, four m*rder victims, and one diabolical k*ller with an obsessive streak who still remains at large. I don't know if any of you have noticed how distracted Grissom's been lately, but it's these. Keeping him up at night.
(Hodges removes the padlock on the Izzy miniature crime scene.)
Archie: You know the combination?
Hodges: Of course. Grissom could use some fresh eyes on the case, and that's why I've asked you here. Obviously, this could be perceived as insulting to the CSIs who formerly worked the case, so secrecy is of the utmost importance. Double-down low.
(Mandy uses her shoe as a phone.)
Mandy: (in British accent) Oh, James, it's Moneypenny. M needs you back at HQ.
Archie: Shoe phone was ‘Get Smart,' though.
Mandy: Oh, that's right.
Henry: 99 was so hot.
Archie: Mm.
Hodges: Four people are d*ad, the k*ller is still out there, and you're mocking?
Mandy: We're mocking you.
Hodges: Ah. You in or out?
Henry: I don't really know anything about these cases.
Hodges: We'll review.
Henry: I don't know. I have a lot of work to do.
Hodges: And by work, you mean IM'ing your Icelandic pen pal who thinks that you look like Warrick Brown because that's the picture you posted.
Henry: How ... ?
Hodges: I just know. Archie, in?
Archie: What the hell, but I got to leave early. I got a surfing trip in Santa Barbara this weekend.
Hodges: Miss Mockery?
Mandy: Well, we can't leave the lab, we can't talk to suspects. What exactly does Grissom wants us to do?
Hodges: It's not always what you look at that matters; it's what you see.
(Archie, Mandy and Henry step in closer.)
Henry: That's Thoreau.
Hodges: Oh, is it? Hmm.
(Hodges opens the case with the Izzy crime scene in it.)
Archie: Okay, professor. And your point would be?
Hodges: The answers lie in these.
(Hodges takes out the miniature out and puts it on the case cover.)
Hodges: We're lab techs. We think differently than field guys. They deal with people, we deal with things. Maybe we can't find the k*ller, but I think we can find the thing that links all four m*rder. This is an opportunity. We have one shift to show Grissom what we're made of. Tonight, we could be heroes.
Mandy: All right, all right. I'm in.
(Hodges, Archie, Mandy and Henry lean forward and look at the miniature.)
Hodges: It's time to think outside the box.
SMASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[IZZY DELANCY'S MINIATURES]
(Camera moves back through the first miniature of Izzy Delancy's kitchen – back through the counter full of miniature framed photos, bottles and mail. We continue to pull back through the kitchen table with a plate of breakfast and fork. We move down to the carpeting with a perfect blood pool under the miniature Izzy Delancy doll slumped on the table.)
(A human eye appears through the miniature kitchen window as someone looks inside the box.)
[INT. CSI – GRISSOM'S OFFICE]
(Hodges straightens.)
Hodges: The first miniature was found at the crime scene seven months ago.
(He turns as he carries a file folder. Archie, Mandy and Henry are also in the office.)
Hodges: The victim is Izzy Delancy, washed-up rock star. Blunt force trauma to the back of the head.
(Quick flash of: [Scene from 7X02: Built to k*ll-2] Someone hits Izzy over the back of the head and he hits the table. End of flash.)
(Hodges shows them the photo of the back of Izzy's head.)
Hodges: Bonked with a rolling pin, found in the drawer at the scene.
Henry: Stalker maybe?
Hodges: Izzy didn't have any known stalkers, and there was no forced entry. Suspects include his first wife, his current wife, the nanny he was schtuping and his teenage son.
Mandy: Motive thought to be sex?
Hodges: And-or money. Izzy's music library was for sale. Mucho dinero to be gained.
Mandy: So?
Hodges: So ... nothing. Every suspect was exonerated.
(He puts the file folder down and walks over to the miniature.)
Hodges: All we were left with was this ...
(Flash to: [Scene from 7X02: Built to k*ll-2] Grissom and Sara examine the miniature crime scene.)
Grissom: A perfect, half-inch scale model of the room. And assuming that the k*ller is the same person who made the miniature ...
Sara: It would have taken weeks, maybe even months to create with this kind of detail. It certainly qualifies as premeditation.
(Grissom takes a swab of the blood in the miniature. He tests it.)
Grissom: It's real blood. The k*ller actually stuck around to match the blood pool at the scene.
(End of flash.)
(Archie starts to sit down in Grissom's chair when --
Hodges: Ah, ah, ah, ah!
Archie: What?
Hodges: What are you doing?
Archie: Sitting.
Hodges: No, no. You're tempting fate. You know how you should never try on someone else's engagement ring, hold the Oscar, use the excuse that your grandmother died when she didn't ...
Mandy: (deadpans) I tried on Suzie Quinceworthy's diamond ring last year. It looked really good on her, and looked terrible on me. I don't think an emerald cut flatters my little ten-ies. (wistfully) Will I never marry?
Henry: I'll marry you. Although, you know, my grandmother's still alive. She lives down in Boca. I don't know if you know this, but I am the shuffleboard champion of the Boca Surf and Sand. Mm. Ladykiller of the senior set.
Mandy: Rock on. I can do an open marriage.
Hodges: Why do you guys keep doing that?
Mandy: (innocently) Do what?
Archie: Hodges, relax, man. I don't want to run the lab.
Hodges: We are guests in the man's office. If there was one person who was more respectful of space and boundaries, it's Grissom. (Mandy nods.) You could at least offer him the same courtesy.
(Archie thinks about it and concedes.)
(Henry stands up.)
Henry: Wait. Is he okay with us being in here?
Hodges: He said he'd be in Autopsy--won't be back for hours.
(Henry glances at Mandy. Hodges continues.)
Hodges: Anyway, they never solved Izzy Delancy's m*rder. Two months later, Penny Garden was found d*ad in her house.
(TOP VIEW DOWN: The Penny Garden miniature.)
Cue Sound: (PRE-LAP) THUNDER RUMBLES
CUT TO:
[Scene from 7X07: Post Mortem]
(A record plays, "Lollypop, Lollypop." Penny Garden opens a bottle of CHERRY HERRING liqueur. She coughs and pours herself a drink.)
(She smokes her cigarette and drinks.)
(Lightning flashes and thunder rumbles. She finishes her drink. She cuts a coupon and looks at it. She gets up.)
[EXT. VIEW]
(Through the covered windows, we see Penny Garden move awkwardly from one end of the room to the other where another shadow is. The two figures move together when – SMASH! Penny Garden crashes through the glass window.)
FLASH TO: BACK TO SCENE.
CU: Of the miniature Penny Garden slumped over the window frame.
Mandy: Suspects included her ex-junkie nephew, who was living with her, and her drug-dealing neighbor, who was buying prescription meds from her. Obvious motives -- drugs and money.
Henry: Did either of them have any connection to Izzy Delancy?
Archie: No. CSIs didn't even realize this was a ‘miniature' case until this was anonymously delivered to the scene the next day.
Mandy: And why wasn't it left with the body like the other one?
Hodges: Good question. Grissom and I really noodled over that one.
FLASH TO: [Scene from 7x07: ‘Post-Mortem']
(Grissom hands Hodges the scope.)
Grissom: Look carefully at the back of the doll and at the pillow on the chair. There appears to be remnants of glue on both.
Hodges: So the doll was originally glued to the back of the chair.
Grissom: I think the k*ller expected the victim to die in this chair.
INSERT: VISUALIZATION
(The image of Penny Garden appears in the chair, drinking her liqueur.)
(From above, Grissom visualizes what must've happened.)
(As Penny Garden sits, the hooded intruder comes up from behind her.)
Hodges: Well, if that's the case, then how did the k*ller expect to ... k*ll her?
(Grissom continues visualizing Penny Garden sitting in the chair, drinking from her glass. The k*ller is behind her, waiting.)
(Grissom reaches down and tries to pick up the miniature liqueur bottle from off the floor. It doesn't move. It's glued there.)
Hodges: (V.O.) The k*ller knew that Penny was always stinko on Cherry Herring by coupon-clipping time, so ...
VARIOUS FLASHES OF: The k*ller drips liquid nicotine to the liqueur. Penny pours herself a drink. Penny drinks.
Henry: (V.O.) He laced her booze with liquid nicotine, which induced convulsions.
(Penny gets up and staggers around the room.)
(Penny bumps into the chair and staggers around.)
Archie: (V.O.) And when she went all twitchy and through the window ...
(Penny smashes into the window and slumps forward over the frame.)
(Cut to: The k*ller moves the Penny doll from the chair to the window frame.)
Mandy: (V.O.) The OCD k*ller had to match it with his mini, which is why it showed up late.
END OF FLASHBACKS
(Henry turns and sees Wendy appear in the door.)
Henry: Red dog barks at midnight.
(Everyone stops and turns to look at Wendy.)
Wendy: What are you guys doing in here?
(Hodges shakes his head.)
Hodges: Nothing.
Henry: Yeah.
(Everyone innocently takes their file folder and heads for the door. They leave the office. Hodges stops in front of Wendy.)
Wendy: All right, freakboy, your phone has been ringing off the hook, so I finally answered it, and Warrick and Nick said they have a ton of trace, and they really need you to clear the decks.
Hodges: No problem. After you.
Wendy: After you.
(Hodges leaves the office.)
(We hold on Wendy.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – FORENSIC AUTOPSY – NIGHT]
(Robbins and Grissom are in front of a body on a table.)
Robbins: Hmm. Irides Brown. No apparent puncture wounds, abrasions or lacerations. COD appears to be drowning.
Grissom: We did pull him out of Lake Mead, you know.
Robbins: Right. Based on decomp, I'd put TOD around 48 hours ago.
(An assistant coroner pulls a headless body on a table into the room. David Phillips appears at the end of the table, pushing it through the door.)
Grissom: Where's his head, David?
David Phillips: They haven't found it yet.
Grissom: (scoffs) Day shift.
(Robbins laughs.)
(Grissom watches as Robbins cuts into the torso. As he reaches the stomach area, the area under the skin moves. Grissom leans forward intently.)
Grissom: Uh-oh. He's got gas. Phew.
Robbins: Yeah, he's going to be a stinker. You want a mask?
Grissom: No, I'm all right.
(Robbins completes the cut. The skin continues to move.)
Robbins: What the hell?
(As they watch, a rat bursts out through the skin. It lands on the table with a PLOP!)
Robbins: (screams) Rat!
(Grissom grabs a metal pan and tries to cover the rat, misses and smashes the glass and samples on the table.)
(The rat scampers to the floor and runs. Robbins tries to s*ab at it with his crutch. He misses. The rat runs across the floor.)
Robbins: Get ‘im! Get ‘im!
(Grissom runs after the rat. The rat escapes out the partially opened door.)
Grissom: Oh.
(Too late! Grissom stops. He turns and looks at Robbins.)
Robbins: (sarcastic) Nice work.
Grissom: At least I tried to get him. Where were you?
Robbins: I hate rats.
(Glass shatters and someone screams from the next room.)
(As Grissom runs out, we --
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – PRINT LAB -- NIGHT]
(Warrick takes out the many, many print cards and puts them on the table in front of Mandy.)
Mandy: Wow. Don't bother being discerning.
Warrick: Hey, what can I say? Erotic athletes are kind of gratuitous with the hands. And lube on latex leaves excellent ridge detail. What's with the, uh, blast from the past? You got new evidence on the miniatures?
(He points to the open file on Mandy's table. She casually closes the file.)
Mandy: Um, just refiling some stuff. Uh, G-on-G action. It's not really a big question as to who did it, is it?
Warrick: One ring, six women. Ursula Major claims Ursula Minor was responsible for the pile drive. Only you, my dear, will know for sure. Have fun.
(He turns and leaves.)
CUT TO:
[INT. CSI – TRACE LAB – NIGHT]
(Hodge looks at the pink bikini in the evidence bag.)
Hodges: Is that condensation?
Nick: Oh, no, it's-it's lube ... I think. Yeah, these bikinis are from the erotic athletes at Lolita's bar. This woman, Lucy Pavorotti, broke her neck flipping around up there. Well, now she's suing everybody.
Hodges: Okay. I'm on it.
(Hodges turns away to get on it.)
Nick: Nothing?
Hodges: What?
Nick: Nothing at all? I'm all ready for "Luscious Lucy likey Lolita's lubey."
Or something.
Hodges: Every man is not an end but a beginning. Today I rise above and step up. Have a nice day.
Nick: Good point. Hey, I've been meaning to ask you about something you might be interested in. The Forensic Academy has their conference in June.
(Hodges' cell phone buzzes. He checks his message:
1. HENRY
WENDY'S HERE !!!!!!!!
From: Henry
To: Hodges
(Hodges turns back to Nick and nods. Actually, he's really nodding at Henry and Archie with Wendy in the lab behind Nick. Henry looks expectantly at Hodges wanting him to do something to get them out of this situation.)
Nick: -- and I'm going to be speaking on fieldwork. But the thing about it is, man, I'm just no good when it comes to IR trace technology.
(Hodges nods. Henry looks trapped. Wendy and Archie are looking through a file folder.)
Nick: (cont) But now you ... you are.
Hodges: Oh.
Nick: So ... what do you think? It's in Iowa. Which is ... as fun as you want to make it, but ...
(Hodges is trapped in his office while he tries to see what's going on in Archie's lab.)
[INT. CSI – A/V LAB – CONTINUOUS]
(Wendy and Archie look through the file folders.)
Wendy: So according to this, a month after Penny Garden's m*rder, Grissom investigated an electrocution at the Mannleigh chicken plant.
FLASH TO: [Scenes from 7X10: Loco Motives]
(The k*ller pulls the switch down. Raymundo Suarez is electrocuted in water.)
Wendy: (V.O.) The victim was Raymundo Suarez, early 30s, a nighttime janitor.
(Flash to: Grissom and Greg look around the crime scene.)
Wendy: (V.O.) It looked like a possible industrial accident, or maybe even a workplace homicide. Right up until they found the perfect half-inch scale cast metal mini.
(Grissom finds the miniature.)
INSERT: VIEW OF THE MINIATURE
END OF FLASHBACKS
(Archie nods.)
Archie: Suspects included the boss, Ike Mannleigh.
(Quick flash of Bubbles and Raymundo are kissing among the chickens.)
Archie: (V.O.) Raymundo was sleeping with his wife, Bubbles.
(End of flashback.)
Henry: I can't even do it with my cat watching. Wait. Sex, drugs, rock and roll. Do you think it's a pattern?
Wendy: No, 'cause according to this, sex may not have actually been the issue. Yeah, Ike Mannleigh was exonerated, and another co-worker, Ernie Dell, he looked good for all of the m*rder.
Henry: Yeah, that's right, he was caught on tape in an animal rights PSA made by Izzy Delancy.
Archie: Yes, he was.
(Archie shows them the PSA on the monitor. He fast-forwards to some footage of Ernie Dell abusing the chickens.)
Archie: Look at this.
Wendy: Ew.
Archie: Yeah, tell me about it. I had to scan this thing for hours. I haven't been able to eat chicken since. Anyway, Ernie Dell was really into model trains. You know, the way a serial k*ller's really into pets.
(Quick flash of: A miniature man on a rooftop ready to jump off a building. The miniature train runs. On the ground below is a miniature body on the sidewalk in a pool of blood.)
(Another part of the miniature train set shows a g*ng beating up a bloodied miniature person. The miniature train set circles around the entire room.)
(There is a graveyard with a grim reaper holding a bloodied scythe.)
(There is a blue car smashed into a pole. A bloodied miniature body hangs out of the hood. There's blood on the car and on the ground nearby.)
(There are more violent scenes of miniature people k*lling other miniature people.)
(Brass finds the miniature molds in the basement.)
Archie: (V.O.) So when CSIs went to his house, they found these molds for all these creepy little things ...
(Cut to: Grissom takes a pot from the miniature and matches it to a mold.)
Archie: (V.O.) ... some of which matched pieces from the Izzy Delancy miniature.
(Cut to: A side-by-side SCOPE VIEW of the two pots. They match.)
BACK TO SCENE.
(Archie shows more footage from 7X07: Post Mortem.)
Archie: Ernie was caught on some neighborhood watch surveillance video delivering the mini to Penny Garden's house.
Henry: This guy can't stay away from a camera.
Archie: You don't know how right you are. He confessed on live video, e-mailed it directly to Grissom.
(Archie plays the video for them.)
Ernie Dell: (from video) My name is Ernest Edward Dell. I was born in 1946 in Ames, Iowa.
(He fast-forwards the video.)
Ernie Dell: (from video) ... spend any amount of time around people, you get your heart broke.
OFF HENRY:
Ernie Dell: (from video) Treachery.
OFF ARCHIE:
Ernie Dell: (from video) Hypocrisy.
OFF WENDY:
Ernie Dell: (from video) The promise of love.
(They continue to watch the video.)
Ernie Dell: (from video) A man could k*ll from sunup to sunset and still his work would never be done.
(On the video, Ernie takes the g*n, puts it under his chin and fires.)
(Hodges appears in the doorway behind them.)
Hodges: Wendy? Could I speak with you a moment?
Wendy: Sure.
(She hands the folder to Henry and leaves the lab.)
[INT. CSI – HALLWAY – CONTINUOUS]
(Hodges and Wendy step out into the hallway.)
Hodges: This is exactly why I didn't invite you to join us. You take over everything.
Wendy: Uh ...
Hodges: Grissom asked me to gather some techs to review the ‘miniature' cases. Like a think t*nk.
Wendy: Yeah, I know, they told me. So, kudos to you.
Hodges: I hand selected them with careful consideration to group dynamics.
Wendy: Well, I can see that. I mean, it's you and your back-up singers. You're Davy Hodges and the Lemmings. You should take your act on the road.
Henry: (o.s.) We can hear you.
Wendy: Look, the only reason that you don't like me is because I actually stand up to you. Which, by the way, is exactly what you need. You know I would be good at all this ‘miniature' stuff.
Hodges: That's not the only reason.
Wendy: Really? Okay, what is it?
Hodges: You think you're too cool.
Wendy: Oh, my God. What are we, 12?
Hodges: I don't know, are we?
Wendy: I don't know, are we?
CUT TO:
[INT. CSI – HALLWAY OUTSIDE FORENSIC AUTOPSY -- NIGHT
(Grissom follows David Phillips and Robbins through the hallway.)
Grissom: It's just a rat, fellas. Why are you wearing the HazMat gear?
(Phillips points to Robbins.)
David Phillips: He made me do it.
Robbins: It's a wild animal covered with potentially biohazardous material with claws. Rabies, scabies, AIDS, hepatitis. I'm thinking of this suit as a giant rubber glove.
(Robbins and Grissom turn and head into the autopsy room.)
[INT. CSI – FORENSIC AUTOPSY – CONTINUOUS]
(Grissom puts the intestines on the table.)
Robbins: The vic's intestines? What are you doing?
Grissom: Rats are neophobic -- they fear the new. We stand a better chance of catching him by giving him what he's used to.
(Grissom cuts off a piece of the intestines and uses it as bait to bait the traps.)
(They hear the rat scratching, squealing and thumping in the room.)
Robbins: Pestilence, alive and well.
(The lights power off and the back-up kicks in.)
Grissom: (ominously) I think he's onto us, Doc.
CUT TO:
[Scene from 7X16: ‘Monster in a Box']
(A view of the Las Vegas City lights can be seen out the window. A f*re flickers in the fireplace. A black cat meows and runs across the floor.)
Henry: (V.O.) Miniature number four was another home, a unit in a high-rise condo, complete with a working fireplace ... and a d*ad cat.
(We pan around the condo –
-- around the darkened room. There are miniature flowers in the miniature vases. Paper scrunching is heard and a light shines down on the room as the box is finally opened.)
Henry: (V.O.) But the MO on this one was full of anomalies.
(The camera swings around and lingers on a LAS VEGAS GLOBE newspaper on the desk with the headline, "Another Body Found!")
Henry: (V.O.) It was sent to the Crime Lab shortly after Ernie Dell's su1c1de, but before the m*rder had actually been committed.
(The paper crunching continues. Camera swings around the miniature desk and pulls back from the miniature chair. Light shines from above as Grissom lifts the lid to the room.)
(He can't believe his eyes and stares at the latest diorama.)
Henry: (V.O.) And the really weird part was the package was addressed directly to Grissom.
BACK TO SCENE.
(Wendy, Hodges and Henry are in the room reviewing the case files.)
Wendy: But why, to taunt him? Like suddenly it's personal?
(Henry shakes his head. Hodges steps forward with the open file.)
Hodges: The intended victim was Barbara Tallman, a therapist. But we got there first. PD set up a sting which resulted in the death of an undercover officer, while a roomful of detectives watched.
Henry: Oy.
Hodges: Again, the k*ller knew the habits of the victim. This one always took an afternoon nap.
(Quick flash to: Grissom looks through the miniature through the SCOPE.)
Hodges: (V.O.) Based on her position on the couch, the CSIs thought that the intended cause of death might be suffocation or poisoning.
(Cut to: Nick checks under the fireplace vent.)
Hodges: (V.O.) But they found something else instead.
(Cut to: Grissom is looking at a miniature timer set up under the miniature fireplace vent.)
(Cut to: Nick finds the timer set up under the fireplace flue.)
Henry: (V.O.) Yeah, here, it looks like the k*ller put some kind of gizmo on the flue. See, the timer went off, activated a motor, which sealed the flap and dropped powdered charcoal onto the f*re, producing carbon monoxide. So the fumes had nowhere to go but out into the apartment and into the undercover officer.
BACK TO SCENE.
(Wendy shakes her head. Someone knocks on the glass. Henry, Wendy and Hodges turn and see Archie putting on his hat.)
Archie: Later, Betties.
Hodges: Quitter.
Archie: Glory whore.
(Archie leaves. Wendy smiles and looks at Hodges.)
Wendy: Who were the suspects?
Hodges: Somebody directly connected with Ernie ... somebody worth k*lling himself for. They interviewed his son Lionel. Looks like Lionel Dell knew Barbara Tallman.
(Hodges reviews the transcript of the interview.)
Mitch Douglas: (V.O.) Okay, so maybe I met her, so what?
Sofia: (V.O.) So, she's d*ad.
(Quick flashback to: [Scene from 7X16: Monster in a Box] Sofia interviews Mitch Douglas, aka Lionel Dell.)
Sofia: That's four stiffs associated with you, Lionel. Five, if you count Ernie.
Mitch Douglas: I don't.
Sara: You know, you keep saying that you hated your dad, but I'm not buying it. You go through your life alone, you're good with your hands, you have weird hobbies, you make little things. And when that gets tricky ... you call your father.
Mitch Douglas: Let me tell you about Ernie. What he cared about in his life was ... his wife, his trains, and his kids, in that order.
Sara: Kids? You're an only child.
(He chuckles.)
Mitch Douglas: Again, if only. If you're looking for a love connection, then you should maybe go talk to one of the chosen ones.
Sofia: What are you talking about?
Mitch Douglas: Fosters.
(Cut to: Home video footage of Ernie with kids.)
Mitch Douglas: (V.O.) My parents had, like, dozens. They'd come and go, some before I was born. My mom loved kids. Dad loved Mom. I guess, as soon as I came around, the love ran out.
BACK TO SCENE.
(Wendy looks at the photo of Lionel Dell.)
Wendy: I had a friend who tried to reconnect with some of her old foster siblings. And honestly, it's next to impossible. The system protects minors, they change their names, and some of them just fall right off the map.
Hodges: Well, the only link we have is a disposable cell phone number.
Henry: Calls made to all four victims?
Hodges: Mm-hmm. And additional minutes purchased on the phone with Ernie Dell's credit card after his death.
(Hodges shows the bill and the number flashes: 702-555-0192.)
Wendy: Yeah, online billing. You can just keep spending and paying until the card expires. So what happened when they called the number?
(Hodges doesn't answer.)
Wendy: They did call the number, right?
Hodges: I'm sure they did.
(He flips through the file folder.)
(Wendy grabs Hodges phone and dials.)
Hodges: What are you doing?
Wendy: Shh.
(The line rings.)
Computerized Voice: Leave a message after the tone.
(beep)
(Hodges grabs the phone and closes it.)
Hodges: Nice one, Simms. Now they have my cell phone number.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – BREAK ROOM -- NIGHT]
(Henry, Wendy and Hodges are in the break room. The crime scene photos are a mess on the table.)
Henry: Well, the victims don't have much in common, so I say we go metaphoric. Hypocrisy.
Wendy: Yeah, I get it. There's Izzy the vegan eating bacon; Penny, the cigarette-smoking cancer patient; Raymundo, the church-going adulterer; and Barbara, the overmedicated shrink.
(Hodges gets his brown lunch bag and sits down.)
Hodges: This is the United States of America. Hypocrisy is the new national anthem. Forget it. Stretching. Grissom said they checked for commonalities between victims and got nowhere. I was reading an article in the JFS about literary forensics. They use a computer program to analyze documents to determine authorship.
(Henry watches as Hodges puts three packages of chips on the table.)
Hodges: For instance, when the book Primary Colors was first published anonymously, people knew it was one of Clinton's speech writers, so they compared word usage and phrasing with the writers on his staff and discovered who'd probably written it. I say we look at the work to find the author. Try to figure out who it is by what message they're trying to send.
(They stare at him.)
Hodges: What?
Wendy: That was a very good idea.
Hodges: Well, I have one occasionally.
(They smile at each other. Henry glances between them.)
Henry: Okay. Look, clearly the k*ller is into signatures, right? I mean, the miniatures themselves are signatures, and then within each miniature, they all have this doll thing.
Hodges: That creepy little Sally.
Wendy: Well, we're working under the assumption that the k*ller was a foster kid, right? With probably an abusive childhood. So a bloody baby doll? I mean, it's really not that much of a stretch to say that the doll represents the k*ller.
Hodges: Grissom had something on that. (reads) "Freud's Theory of the Uncanny raises the point that as children, we want the doll to come to life, but as adults, we are terrified by the idea. Doll could represent the uncanny that is feared, the Sandman."
Wendy: Right. Or exactly what I just said.
Henry: So, we're looking for an obsessive, meticulous, dark-ass misanthrope who seeks recognition for his efforts.
(Hodges meticulously places one carrot stick on each bag of potato chips. He straightens the packages.)
(Wendy and Henry turn and look at Hodges.)
(Hodges doesn't even look at them.)
Hodges: When would I find the time? I'm always here.
(Henry chuckles.)
Henry: Can I have a chip?
Hodges: No.
Wendy: (smiling) Here.
(Wendy gives Henry her bag of chips.)
Henry: Thank you.
Wendy: You're welcome.
(Hodges bites into a carrot stick. Henry looks at Hodges.)
Henry: All the miniatures have food.
(Quick flashback to: Izzy is sitting at the table when the k*ller hits Izzy on the back of his head. He falls face forward onto the table – right in front of his breakfast plate.)
Henry: (V.O.) Eggs ...
(Cut to: Penny Garden's Cherry Herring Liqueur bottle as she pours herself a glass.)
Henry: (V.O.) Booze ...
(Cut to: Barbara Tallman pours herself a cup of tea before she takes a nap.)
Henry: (V.O.) Tea and cookies ...
(The cat jumps on the table and drinks from the milk container.)
Henry: (V.O.) ... milk ...
(Cut to: Bubbles Mannleigh and Raymundo Suarez are kissing passionately in the chicken factory.)
Henry: (V.O.) And a chicken?
(End of flashbacks.)
Wendy: But is it considered food if it's still alive and clucking?
Henry: You've never lived in Pennsylvania.
Hodges: I think if the k*ller is trying to make some sort of anti-food statement, there are much better places in Vegas to do it.
Henry: Like bl*wing up a buffet.
Wendy: Yeah. Gluttons eating crab legs. That's exactly where I'd start.
(Henry chuckles.)
(Hodges cell phone buzzes. Everyone stops laughing and stares at the phone.)
Henry: Did you guys see ‘Scream'?
(The phone continues to buzz. Hodges answers it.)
Hodges: (in a low voice, to phone) Hello?
(Everyone stops and waits with anticipation.)
Hodges: (to phone) Oh, hi, Catherine. Have I seen Wendy?
(Wendy gets up and reaches for the phone as Hodges continues talking.)
Hodges: (to phone) Uh, no. She hasn't been at her desk all day long.
Wendy: Give me ...
(She grabs the phone from him.)
Hodges: (to phone) Here, let me look for her. Oh, oh, wait, here she is.
Wendy: (whispers) Loser. (louder, to phone) Hey, Catherine, what's up?
(Wendy rushes out of the break room and through the hallway.)
INTERCUT WITH:
[INT. POLICE DEPARTMENT – HALLWAY]
(Catherine is on the phone in the hallway.)
Catherine: Hey, you said you were gonna rush DNA off that Taser that I checked in.
[INT. CSI – DNA LAB – CONTINUOUS]
(Wendy enters her lab to get the results on the computer.)
Wendy: Yeah, I did. And the blood on the Taser tips did match your heart att*ck victim, but I also found a second male contributor, who's probably your suspect.
(Catherine walks over to the interview room. Through the window we see Brass inside interviewing a clown.)
Catherine: Run the unknown against the semen that I found on the clown wig from my Peeping Tom case last month.
(The clown in the interview room gets up and runs to the door.)
Wendy: Um, okay. Why?
Catherine: Let's just say I got a real good hunch about this one.
(Catherine hangs up just as the clown reaches the door and finds it locked.)
BAMM! HONK!
(Brass catches up with the suspect at the door and smashes his face against the glass, causing the yellow-haired, dress-wearing clown's red nose to honk – right in front of Catherine.)
Brass: Who's the big clown now, huh?
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(Henry studies the Izzy Delancy miniature.)
Henry: What about music? Izzy has gold records, Penny had a record player, Barbara had high-end stereo equipment.
Hodges: Yeah, but what about the chicken plant?
Henry: The squeals of dying chickens?
Hodges: No go, amigo.
Henry: What about flowers? The flower delivery guy might have access to the space.
Hodges: Well, I see flowers in Penny's and Barbara's, but not Izzy's.
Henry: Flour canister?
Hodges: Stop that. Besides, I don't think the slaughterhouse would be into the lobby bouquet.
Henry: What about mail?
Hodges: A crazed postal worker. Wouldn't be the first time.
Henry: There's mail on the counter, mail on the floors, mail on the desk ... no mail in the henhouse.
Hodges: Maybe they have puns in common.
Henry: Look, if this is really about the k*ller trying to reveal something, is there anything that's gotten more in-your-face with each successive miniature?
Hodges: Well, the way he kills has certainly gotten more complicated. Blunt force trauma to poison to electrocution to a timed booby trap of carbon monoxide in the fireplace.
Henry: What about newspaper? Starts out on the counter, then all over the floor, then with the doll, as the headline. That's bolder and bolder.
Hodges: No, you see, again, there's no newspaper in the chicken plant, not even shredded in the cages.
Henry: Okay, buzz k*ll. You come up with a theory.
Hodges: Hey, it's not me, it's the chicken plant. That's the streak-breaker.
Henry: Well, then, maybe we should start with that one and work our way out.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – HALLWAY]
(Grissom and Robbins are still searching for the rat. Grissom walks up to the electrical box.)
Grissom: Can you smell that?
Robbins: Yes.
Grissom: You shouldn't be able to smell that through your suit.
Robbins: Good to know.
(Grissom opens the box and smoke comes out from the b*rned wiring. Grissom closes the door for a moment as he removes the screws holding the door in place.)
Grissom: Did you know that rodents have skeletons with flexible joints?
Robbins: No.
Grissom: If they can get their head through something, the rest of their body can contort to fit. They can crawl into spaces as small as a quarter.
(Grissom removes the door.)
Robbins: (mutters) Lousy varmints.
(They find the rat d*ad and b*rned in the box.)
Robbins: Bastard h*t the main line.
Grissom: That's not the only thing he's got in his mouth.
(There's something stuck in the d*ad rat's mouth.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – NIGHT]
(Grissom watches as Robbins performs an autopsy on the d*ad rat. Robbins cuts open the rat's stomach and takes out a piece of a capsule.)
Grissom: What is it?
Robbins: My guess would be black tar heroin.
Grissom: Looks like the rat ate the mule.
CUT TO:
[INT. CSI – LAYOUT ROOM – NIGHT]
(Hodges uses the scope and looks at the Mannleigh chicken factory miniature crime scene. Henry's getting nervous.)
Henry: Okay, look, we gave it a try. There's nothing in this thing but machinery. Let's just put it back.
Hodges: Relax.
(He continues using the scope and comes across a miniature white barrel with blood on it.)
Hodges: What's this?
(He knocks the miniature barrel off its spot on the floor. Oops! Henry's jaw drops.)
(Wendy rushes into the room.)
Wendy: You freaking broke it! That's destroying evidence.
Hodges: I can fix it.
(Greg appears in the doorway behind them.)
Greg: Have any of you guys seen Grissom?
(Hodges, Henry and Wendy immediately turn around and block Greg's view of the miniature crime scene on the table.)
(Greg is in blue overalls with spaghetti on the front.)
Hodges: Some garlic bread? Nice Chianti, maybe?
Greg: Kiss my ass. I'd like to see you crawl around in a dumpster determining the difference between blood and marinara sauce with six mobster g*ons giving you the stink eye.
Henry: Wouldn't know anything about that. We're holed up in a lab all day.
Greg: What are you guys doing? (Greg doesn't wait for an answer.) You know, forget it. I don't even care. I need to go take a shower. Would one of you please call Janitorial and have them clean my Denali?
Wendy: Sure.
(Greg hands Henry a sample container.)
Greg: Oh, and, uh, we think the k*ller might have threw up in the alley. Full panel. Enjoy.
(Greg leaves. Henry steps away from his position in front of the miniature crime scene. He holds up the container to Hodges.)
Henry: Got to go. Good luck.
(He leaves.)
(Wendy and Hodges examine the miniature white barrel with a magnifying glass.)
Wendy: "NaOCl."
Hodges: Bleach.
Wendy: There was bleach at the Izzy Delancy scene.
(Quick flash of: Grissom opens the garbage drawer and finds an empty container of bleach.)
Hodges: (V.O.) And in the vase water at Barbara Tillman's condo.
(Cut to: Grissom shines the lamp on the miniature flowers and they die.)
Wendy: (V.O.) Why?
Hodges: (V.O.) Put a few drop in the water, helps k*ll bacteria keeps the flowers blooming a long time. Put too much bleach, flowers die.
(End of flash.)
Wendy: What about Penny?
Hodges: Okay. You stay here. I'm going to switch this out for the Penny Garden.
(Wendy doesn't like it.)
Wendy: No, you know what? No.
(Hodges picks up the miniature.)
Wendy: Look, this entire thing has turned into a three-ring circus, 'cause every time we get something, something else just comes along and proves us wrong. And, honestly, I think you've lost your damn mind. I mean, what makes you think if the CSIs can't solve this, that we can? Seriously. I'm a little tired of your delusions of grandeur. And I'm way behind in work, and I'm sick of sneaking around. So that's it. I'm out.
(Wendy takes a step to leave the room, but Hodges is in her way. They both take a step to the side, then another step to the side. Finally, Wendy holds Hodges in place while she walks around him. She finally leaves the room.)
(Hodges exhales.)
(And he's left holding the miniature.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – BREAK ROOM / DNA LAB-- NIGHT]
(Hodges is sitting alone at the break room table.)
(In the DNA lab, Wendy watches him.)
(Sara walks up to Wendy.)
Sara: Hey.
Wendy: Hey.
Sara: Here you go. I checked under the keys. Crusty white stains, pale blue under ALS.
Wendy: Semen, huh? What made you check under the keys?
Sara: A butt print on the credenza.
Wendy: Yeah, okay, that's gross.
Sara: CDC contacted us, because the whole office has a herpes simplex 1 outbreak, and nobody could figure out why. I guess you never really know what's going on in your office.
(Wendy stops Sara from leaving.)
Wendy: Hey, Sara? Is it true that the ‘miniature' cases have been keeping Grissom up at night?
Sara: How would I know?
Wendy: I just thought that maybe you guys all talk about this it, and ... Hodges told me that Grissom confided in him and ... You know what? Never mind. Just forget I even asked.
Sara: Well, listen, I-I don't know what Hodges has been telling you, but ... do you really think that Grissom would confide in him? About anything?
Wendy: No. Of course not.
CUT TO:
[INT. CSI – BREAK ROOM -- CONTINUOUS]
(Hodges sits at the break room table with three bags of chips in front of him. Wendy storms into the room.)
Wendy: You are a liar and an ass. I mean, if you want to go running around like Sir Galahad, just yanking swords willy-nilly, that is totally your business. But you put all of us at risk here.
(Hodges gathers his three bags of chips and gets up to leave the room.)
Hodges: I think we might be onto something with the bleach.
Wendy: Hey! Stop! Archie and Henry gave up a full day's work thinking that they were doing something to help Grissom. And Grissom never even asked you to do this in the first place.
Hodges: Technically, all I said to them was that Grissom needed our help, which is true. I only lied to you.
Wendy: Aren't you worried about your own caseload?
Hodges: I've trained them all to believe that the laser ablater and mass spec take twice as long as they actually do.
Wendy: Oh, my God. I cannot believe you. I can't believe that, for half a second, I actually thought that I might ...
Hodges: You what?
Wendy: Nothing. What on God's green earth possessed you to do this?
(He looks down at his chips.)
Hodges: It's my lucky day.
Wendy: What?
(He looks at Wendy.)
Hodges: It's my lucky day.
(Quick flash to: [EXT. SIDEWALK – DAY] Hodges is walking outside when he looks down and finds a dollar bill on the sidewalk. He looks around, then picks the bill up. He puts it in his pocket and continues walking.)
(He looks up and sees a beautiful blonde walking out of the building. He smiles at her – she smiles back at him. Hodges continues to the building.)
(Cut to: Hodges puts the bill in the vending machine and gets a bag of LUCKY chips. He reaches down to get the chips and a SECOND bag of chips falls – then a THIRD bag of chips also falls.)
(Hodges picks up the three bags of LUCKY chips out of the vending machine.)
(Cut to: [INT. LAB] Hodges walks into the lab. He checks his mail and finds something flashing at him. He checks the BARTER BARRELL.COM site and finds that
"THE ITEM YOU BID ON IS YOURS!". It's for a "Three's Company Board Game," Item
#18364-329.)
Hodges: (happy) Yes!
(The test he's running finishes. He goes to the printer and checks the results:
MATCH FOUND
1 IN 600 BILLION. )
(Hodges smiles.)
Sara: (o.s.) Well, enjoy.
(Sara and Grissom walk past his lab door.)
Sara: That guy was putrid. Oh, by the way, you left the miniatures unlocked.
Grissom: Yeah, I've been looking at those a lot lately.
(That gets Hodges' attention. They walk past. Hodges looks up and over at Wendy's lab. Wendy finishes and walks away.)
Hodges: (o.s.) When you walked away--
(End of flashbacks.)
Hodges: -- it was like the stars aligned. It was my lucky day.
Wendy: Lucky? You're a scientist.
Hodges: I was trying to help Grissom.
Wendy: Oh, come on. If Gil Grissom were here, he'd slap your face.
(Wendy walks away.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – RECEPTION / HALLWAY – DAY]
(Grissom shows Sofia the photo of the body he's working on.)
Sofia: Yeah, I recognize him. His street name's Ralo Perez. He's a drug runner for the Jamaican mob. According to sources, he was skimming, swallowing a couple balloons for personal use. He dropped out of sight a couple of weeks ago.
Grissom: He dropped into Lake Mead.
Sofia: Well, that's one off my desk.
Grissom: Well, I'll get the drugs to Tox, and we'll wrap this up.
CUT TO:
[INT. PENNY GARDEN MINIATURE]
(Hodges visualizes himself standing in the Penny Garden's miniature. He walks over to the table and picks up an open carton of Chinese food. He smells it, then puts it back on the table as he looks around.)
(He picks up an empty flower pot and looks at it. He puts it back down and looks around at the coupon clippings on the floor, the items on the counter, the chair where Penny was supposed to die.)
(He goes back to looking at the coupon clippings on the floor. He kneels down and finds a single coupon wadded into a ball. He picks it up and opens it.)
(Hodges smiles.)
(The room around him darkens as something blocks the light.)
REVERSE MINIATURE HODGES' POV: Giant Grissom looms over him.
Grissom: This better be good, Dave.
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Hodges is in Grissom's office looking through the Penny Garden miniature using an eyepiece attached to goggles. Hodges looks at Grissom.)
Hodges: Bleach.
Grissom: What?
(Hodges removes the goggles.)
Hodges: I found a common element in all four miniatures ... bleach. There's a bottle of it in the trash at Izzy's; there's a barrel of it at the chicken plant, there's, uh, bleach in the flower water at Barbara's condo, and now ...
(Hodges gives Grissom the crumpled miniature bleach coupon and magnifying glass.)
Hodges: -- a bleach coupon in Penny's.
(Grissom looks at the coupon.)
Hodges: This-this may sound crazy, but if the k*ller is a housekeeper or a janitor, they would certainly know the ins and outs of each location, uh, what goes in what drawer, what book on what bookshelf. Hours of operation, habits, schedules. I've thought a lot about the k*ller's pathology, and there doesn't seem to be any regular interval between m*rder, which makes me think that they're triggered by something. Maybe ... maybe the k*ller is triggered by bleach.
(Grissom thinks about it.)
Grissom: The bellows.
Hodges: I'm sorry?
Grissom: James Tilly Matthews. Early 19th century London. Matthews was in Bedlam Hospital awaiting trial. Doctors were trying to determine his sanity. Several interviewed him. Half thought he was sane, half insane. Turns out he was perfectly normal ... except when someone mentioned politics. At that point, he'd go into a rage about the little men who lived underground and used a bellows to push thoughts into his mind, as well as the minds of Parliament and the Queen. A specific object or word that triggers the urge to k*ll. That's a form of delusional psychosis. Rare, but does exist.
Hodges: If the k*ller is one of Ernie Dell's foster kids, maybe bleach played a role in some sort of childhood abuse. He's getting back at the world for what they did to him.
Grissom: Well, if having bleach in your home is the common element among victims ... then anyone can be next.
Hodges: Did the victims use a common cleaning service?
Grissom: Not that we know of. However, it's not unusual for people with these pathologies to become vocal toward the institutions that they feel propagate the trigger.
Hodges: Maybe we could call bleach-manufacturing companies and see if they've received any hate mail.
Grissom: Cross-reference correspondence with Vegas postmarks. Might be able to narrow down neighborhoods. (He stops.) Good job, Hodges.
(Hodges blushes.)
Grissom: Really.
(Hodges sighs.)
Grissom: Now ... do you mind?
(Grissom motions for Hodges to get out of his seat.)
Hodges: Absolutely ...
(Hodges gets up and heads for the door. He stops.)
Hodges: I ... I'm sorry if I crossed the line. It won't happen again.
(Hodges smiles. He turns and leaves the office.)
[INT. CSI – HALLWAY – CONTINUOUS]
(Hodges smiles and punches the air with success. After all, it is his lucky day.)
(Hodges gives a little hop for joy as he continues through the hallway. He turns the corner, vanishes from sight, and we --
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x20 - Lab Rats"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. DESERT ROAD – DAY]
CU: LIZARD ON A ROCK
(A lizard is on a rock in the middle of the road.)
(Officer cars rush down the road and are headed toward the lizard. Sirens blare. The lead car suddenly turns right and smashes through the wooden fence. The other cars follow.)
[EXT. CONNORS RESIDENCE – DAY]
(The officer cars rush down the long driveway and stop in front of a house complete with pigs in a sty out front. Car doors open and officers with their g*n out take position behind the doors. The SWAT team moves out toward the house. Brass gets out of the car and yells through the bullhorn.)
Brass: Hank Connors, Las Vegas Police. Come out with your hands above your head. Come out slowly.
(g*n erupts from the house. Officers duck as b*ll*ts shatter car glass.)
(The officers return f*re.)
(A couple of SWAT move in closer and take cover behind an old tractor.)
(The g*n from the house continues.)
(The two SWAT officers move in closer to the house. One of them is h*t.)
Brass: Officer down!
(They continue to exchange g*n.)
Hank Connors: (shouts) Go back where you came from! You're not taking me!
(He continues to f*re on the officers outside.)
(He stops and looks outside.)
SLOW MOTION: Three SWAT officers move in toward the house.
(Hank Connors takes a moment, then he runs into the house.)
(The officers reach the front porch.)
[INT. CONNORS RESIDENCE – HALLWAY – CONTINUOUS]
(Hank Connors makes his way through the hallway to the door in the back.)
[EXT. CONNORS RESIDENCE – FRONT PORCH –C ONTINUOUS]
(One of the officers kicks the front door in.)
[INT. CONNORS RESIDENCE – BACK DOOR – CONTINUOUS]
(Hank Connors stops in front of the back door and turns around to look inside, his back to the door.)
[INT. CONNORS RESIDENCE – LIVING ROOM – CONTINUOUS]
(SWAT officers enter the house and head for the hallway.)
REVERSE VIEW
(The SWAT officers appear in the hallway entrance and make their way toward the back door.)
(Hank Connor appears to stand in front of the back door.)
(SWAT officers continue to make their way toward him.)
(Hank Connor grabs a g*n, puts it under his chin and --
BANG!
(Blood spatters on the back door window.)
CUT TO:
[INT. CONNORS RESIDENCE – LIVING ROOM / HALLWAY – CONTINUOUS]
(The g*n found in the house are on the table. Nick walks in and heads for the hallway where Hank Connor's body is slumped up against the back door.)
(Along the hallway walls, Nick notes the g*n and amm*nit*on stacked on the side. He stops in front of the body and notes the g*n in the victim's grip. He also notes the large water bottles in the room beyond the back door.)
(Brass enters the hallway.)
Brass: MREs, a*t*matic w*apon, a*mo, water -- this guy Connors was ready for the end of days.
Nick: Which, in his case, was today. b*mb squad find any booby traps?
Brass: No, he liked it mano a mano.
Nick: Any sign of Chyna De Vere?
Brass: Not yet.
CUT TO:
[EXT. CONNORS RESIDENCE – FRONT YARD -- DAY]
(Grissom and Warrick walk along the side of the house where the pigs in the pen are.)
Warrick: You know, there's some food, you just shouldn't see where it comes from.
Grissom: Did you know that pigs are very intelligent animals, right behind chimps, dolphins and elephants?
Warrick: Ahead of dogs?
Grissom: And certain politicians.
(Warrick chuckles.)
(They look around.)
Warrick: I don't see Connors' truck anywhere.
Grissom: Let's look in the barn.
(They head for the barn.)
CUT TO:
[INT. CONNORS RESIDENCE – BARN -- DAY]
(The cat runs down the steps and out the door as it opens. Grissom and Warrick walk in.)
Warrick: There's the truck.
(Warrick steps up to the area where the blue truck is parked. He and Grissom look at the truck. They find bloodstains in the bed.)
Warrick: If this is Chyna De Vere's blood, we're getting warmer.
(Warrick snaps photos of the blood. Grissom turns and looks around the barn. They note the items on the desk and the stuffed animals on the side.)
Warrick: Looks like he had a hobby -- stuffed animals.
(Warrick stops near the table and looks at the items on it while Grissom continues toward the other side of the barn. He looks at the various stuffed animal heads up on the wall.)
Grissom: Hey, Warrick.
Warrick: Yeah?
Grissom: I feel like Marco Polo.
(Warrick heads over toward Grissom.)
Warrick: Why's that?
Grissom: I just discovered Chyna.
(Chyna's head is mounted up on the wall.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CONNORS RESIDENCE – BARN -- DAY]
(David Phillips is standing up on a chair and looking at Chyna's head up on the wall.)
David Phillips: This is a career first.
(Warrick is working on the table in the back.)
Warrick: A little tip for you: The new Mrs. Phillips doesn't need to hear about this.
David Phillips: Are you kidding me? She'll want to hear every detail. Why do you think I married her?
CUT TO:
[EXT. CONNORS RESIDENCE – FRONT YARD -- DAY]
(Sara walks around the house and finds Nick in the sty with the pigs and the mud. He's trying to round them up.)
Nick: Come on, pretty girl, come on.
(The pigs squeal. Sara watches him.)
Nick: Come on.
Sara: Hi.
Nick: Hey.
Sara: What are you doing?
Nick: Well, I read about this farmer in Canada who k*lled a bunch of women and fed them to his pigs.
Sara: Oh.
Nick: Yeah, their health department had to put out a bulletin that said, "Warning: your pork may be contaminated with human."
(Nick pushes a pig toward the container opening.)
Sara: I'm so glad I'm a vegetarian.
(The pig snorts as Nick grabs him and pushes him through the opening.)
Nick: Get through there!
(The pig goes through the opening.)
Nick: Well, no one has seen or heard from the victim's husband, so ... I kind of figured he may have been dessert.
(Nick herds another pig to the opening.)
Sara: I think the fat one likes you.
(Nick smiles and sighs at Sara.)
Nick: They always do.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GARAGE -- DAY]
(Greg and Catherine walk into the lab.)
Greg: We went to Connors' ranch because a week ago, Chyna De Vere went missing. She just separated from her husband, got her own place.
(They stop in front of a large piece of carpeting on the floor.)
Greg: This is a large section of her living room carpet -- wet to the touch, pheno confirmed a blood pool.
Catherine: Well, it's certainly enough blood to suggest foul play.
(Greg looks through the file.)
Greg: There were also traces of perchloroethylene, phosphates, alcohol, ethers and sodium hypocholorite.
Catherine: Used a steam cleaner. Would've denatured any DNA.
(She stands up and walks around the carpeting.)
Greg: Yeah, we checked all the local places that rent them. Connors' name didn't come up.
Catherine: How about the husband's?
Greg: Nope. And he's still missing.
Catherine: So what's this?
(She points to a circle on the carpet marked GS 102.)
Greg: That is a single, distinct blood drop -- not from the victim, not from the husband. They didn't clean the whole carpet. Unknown female. We also found soil trace, identified as scheelite, a tungsten ore. Apparently, Connors' ranch is near old tungsten mines by McCade.
Catherine: (shakes her head) How is Connors, this pig farmer, connected to the victim?
Greg: Oh, he's in kind of a club with the victim's husband.
Catherine: Kind of a club?
CUT TO:
[INT. CONNORS RESIDENCE – BACK ROOM -- DAY]
(Grissom flips through a book of drawings of aliens, UFOs and other unidentified creatures. He closes the book to look at the title, "To Walk Among Us.")
(He puts the book down. The next book on the bookshelf is, "Serpents of the Universe: A Comprehensive Account of the Reptilian Conspiracy.")
(He turns and looks at the various items on the table – UFO magazines, a photo, tin foil, tape. He picks up the photo of two men and a woman. He puts the photo down and opens a magazine to a yellow flyer. It reads:
APRIL 15, 2006
FRIENDSHIP AUDITORIUM
McCADE, NEVADA
SPECIAL PRESENTATION
BASED ON THE WORK OF DR. SIDNEY BUCKMAN
WE ARE NOT ALONE. COME HEAR THE TRUTH. )
(He picks up the flyer and looks at it.)
[INT. CONNORS RESIDENCE – LIVING ROOM / BACK ROOM -- DAY]
(Sara walks into the house as the coroners are wheeling out the body. She walks through the hallway and into the back room where Grissom is.)
Sara: Want me to take the living room? Looks like Armageddon came on a Thursday.
Grissom: Do you believe that intelligent life exists on other planets?
Sara: I'm not sure there's intelligent life on this planet.
(He gives her a look.)
Sara: I'll get started.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Brass walks in and talks with Shannon Turner.)
Brass: Ms. Turner.
Shannon Turner: I already went through this a week ago.
Brass: You know, you're right. But let's go through it again. Chyna De Vere is d*ad. And her remains were found on your boyfriend's ranch.
Shannon Turner: Yeah, not my boyfriend -- my friend. And furthermore, I never knew Chyna De Vere.
Brass: She wasn't a member of your club?
Shannon Turner: No. If she was, I would have known her, and I didn't.
Brass: Her husband was. And he's MIA. You know, the club's getting smaller and smaller by the minute. This morning, Hank Connors died.
(Shannon Turner appears shocked and upset by the news.)
Brass: When we went up there to arrest your friend, he sh*t himself. And I'm getting the feeling that you're going to be missing a meeting, too. Look, Shannon, you alibied a k*ller. You're already an accessory to one m*rder. If Hank Connors k*lled Chyna's husband, too ...
Shannon Turner: Oh. Oh, is that what you think happened?
Brass: Tell me where he is. Hmm? You know, this can work in your favor with the DA.
Shannon Turner: Oh, you know what? I'm not really worried about that.
CUT TO:
[INT. CONNORS RESIDENCE – BACK ROOM -- DAY]
(Grissom is looking at the notices and clippings pinned to the bulletin board. He looks around and notices the pull-down projector screen up on the ceiling. He pulls down the projector screen and looks around for the projector.)
(At the end of the room, the projector is set up in the closet. Grissom turns the closet light on and switches on the projector.)
(The image of Dr. Sidney Buckman appears on the screen.)
Sidney Buckman: Adam and Eve were not only the first humans on the Earth, they were bait ... for intelligent life forms elsewhere in the cosmos, refugees from planets that could no longer sustain them. But why Earth? Deoxyribonucleic acid. DNA. The blueprint of human life is the key to their survival. Without it, they will perish.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(The door opens and Greg walks in with his kit.)
Greg: Hi, Ms. Turner. My name's Greg Sanders; I'm with the Crime Lab. I have a warrant to take a sample of your DNA.
(He puts his kit on the table and gives the warrant to her.)
Shannon Turner: You're not touching me.
Greg: Well, ma'am, this is standard procedure.
(Greg opens his kit and takes out a swab.)
Shannon Turner: I know who you are.
Greg: I'm just going to swab the inside of ...
(He approaches her with the swab. She stands up and violently pushes him away from her.)
Shannon Turner: Hey! Not!
(The woman officer grabs her and holds her as she struggles.)
Officer: Calm down.
Shannon Turner: Get off of me!
Officer: Calm down, ma'am. Calm down.
Shannon Turner: All of you get away from me! Get him away from ... !
Officer: Calm down.
(They force her to sit down on the floor.)
Shannon Turner: No!
Greg: Let's try this again.
(He tries to get the swab in her mouth and she bites down on his hand.)
Officer: Let go of his hand! Let go of his hand, ma'am.
(Greg looks at the bite mark on his hand.)
Greg: That bitch bit me.
(Greg turns and swabs her saliva from his hand.)
Greg: I got my sample.
(He turns and heads back to his kit.)
CUT TO:
[INT. CONNORS RESIDENCE – BACK ROOM -- DAY]
(Grissom continues to watch the film.)
Sidney Buckman: (on film) The first encounters between humans and extraterrestrials took place over a hundred thousand years ago in Atlantis, and in its sister civilization in the Pacific, Lemuria. Ancient civilizations on every continent have recorded evidence of these encounters. These visitors were highly advanced and did not appear in human form. Now, the Mayans called them Chanes -- people of the serpents-- and in Hebrew legend, the snake represented knowledge. Of course it did. It was not human. Not of this Earth.
CUT TO:
[INT. TURNER RESIDENCE – DAY]
(Catherine and Brass walk into the living room. Catherine puts her kit down while Brass looks at the books on the shelf.)
Brass: Shannon sure has a lot of books.
(There are titles for ‘Foundation for "A Course in Miracles"', ‘Flying Saucers: Top Secret,' ‘The Handbook of Artificial Intelligence,' ‘Astronomy: The Cosmic Journey,' and A Different Approach to Cosmology. )
Brass: UFO's, alien abduction ...
(Catherine is looking at the mail on the desk. She flips the card over. The address on the other side is to:
SHANNON TURNER
1654 HILLIS AVE
LAS VEGAS NV 89101 )
Catherine: Chyna was a dealer at the Palermo. Looks like Shannon was a player. Gold level.
(The card is for PALERMO PLAYER'S CLUB, LOOSEST SLOTS IN VEGAS.
WORLD-CLASS BUFFET
GOLD LEVEL MEMBERS – ½ OFF
EARN POINTS FOR CASH
GOLD LEVEL MEMBERS – EARN
DOUBLE POINTS ON TUESDAYS
EXCLUSIVE OFFER ONLY FOR GOLD LEVEL MEMBERS LIKE YOU! )
Brass: Yeah, tell me they never met. We'll check the Palermo security.
(Catherine opens the desk drawer and takes out a sketchbook. Brass walks over as Catherine flips through it. She sees sketches of various designs and reptilian creatures.)
Catherine: Reptiles ... UFOs ...
(She turns the page over to a sketch of a warrior woman.)
Brass: Xena, Warrior Princess.
CUT TO:
[INT. CONNORS RESIDENCE – BACK ROOM -- DAY]
(Grissom continues to watch the film.)
Sidney Buckman: (on film) History is replete with stories of the heroic destruction of serpents: Perseus and Medusa, St. George and the Dragon, St. Patrick and the Snakes of Ireland.
(Sara walks in and stops to watch the film with Grissom.)
Sidney Buckman: (on film) But these are not merely legends ...
Sara: What is this?
Grissom: I think their UFO club is based on the teachings of this guy.
Sidney Buckman: (on film) ... and the natural form of these inv*de is not human. They are described in ancient accounts as serpents and dragons. And man's w*apon against them is the sword. Cut off the tail, the serpent lives. Cut off its head, and it dies.
Sara: So Connors cut off her head because he thought she was a serpent from outer space?
(Grissom turns and looks at her. The film ends.)
CUT TO:
[INT. TURNER RESIDENCE – DAY]
(Catherine continues to flip through the sketchbook to show more reptilian creatures. Brass is in the kitchen.)
Brass: Catherine ... check this out.
(Catherine heads for the kitchen. Brass shows her a mug with a photo of Preston De Vere and Shannon Turner. The caption reads: Chillin' in Cabo.)
Brass: Chyna De Vere's husband, Preston.
Catherine: What's Shannon doing with him?
Brass: "Chillin' in Cabo."
(Catherine sees something black like a handle up on the top cabinet shelf. She takes the stepladder out to see what it is.)
(A brown cat trots into the kitchen.)
Brass: Aww. Well, while Mommy's in custody, I guess the kitty's hungry; I'll call Animal Control.
(Catherine climbs up the stepladder and finds a long blade sword.)
Catherine: Oh, Jim ...
Brass: Well, hello, Xena.
CUT TO:
[INT. CONNORS RESIDENCE – FRONT YARD -- DAY]
(The pigs are sunning in the mud on one half of the pen. On the other side of the pen, Nick digs through the mud and finds what looks like a human bone.)
Nick: Oh, boy.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – FORENSIC AUTOPSY – NIGHT]
VARIOUS CUTS OF:
(David Phillips and Robbins use a drill to unscrew Chyna's head off the mounting board.)
(They remove the board and cut the wire holding the sides of the head together.)
(They unwrap the skin and hair from around the skull, which was padded with dry straw.)
Robbins: Look what he used on the incision.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – NIGHT]
(Robbins shares his findings with Grissom.)
Grissom: Duct tape?
Robbins: Yeah, he used it to close up the laceration from a sharp force perimortem wound. Corresponds to the indentation in the skull.
(He picks up the skull and shows Grissom the mark.)
Grissom: Could that be the fatal wound?
Robbins: Give me the rest of the body and I can tell you.
Grissom: Nick's working on it.
(Robbins peels back the duct tape.)
Grissom: Almost three inches, smooth-edge blade; you know, Catherine found --
Robbins: (interrupts) Yeah, I heard. A sword -- everyone's talking about this one.
(He glances over his shoulder at Hank Connors on the table behind him.)
Robbins: Why would anybody want to taxidermy a human head?
Grissom: I'm still working on the "how."
Robbins: That, I can tell you. Mounted one myself. A deer-- Dad was a hunter. First, our guy had to separate the head from the body. For that, he used a serrated-edge Kn*fe.
(Robbins shows Grissom the pattern on the bottom of the skin.)
Robbins: Dad used a carving Kn*fe, same one we used at Thanksgiving. When mom found out, she almost k*lled him with it.
Grissom: Heartwarming.
Robbins: Yeah, so then ... he had to flesh the skin away from the underlying muscle.
(Quick flash of: Hank peeling the skin off the muscle. End of flash.)
Robbins: Next, he would've stretched the skin out on a board, --
(Quick flash of: Hank rubs rock salt into the skin.)
Robbins: (V.O.) -- rubbed it with rock salt ...
(End of flash.)
Robbins: ... then waited two days. Then he tanned the skin to preserve it,
(Quick flash of: Hank working on the head.)
Robbins: (V.O.) -- hydrated it with a borax and water solution to keep the bugs off.
(End of flash.)
Robbins: Next, he cleaned the skull, filled the imperfections with clay, sawdust, anything at hand. Popped in two glass eyes, and then ...
(Robbins puts the skull back in the skin.)
Grissom: And he's got the best-looking wall mount in the neighborhood. (smiles and nods.) We're going to need to process that toolmark.
Robbins: Yeah, I'll get it over to CSI.
CUT TO:
[INT. CSI – LAB -- NIGHT]
(Catherine dusts the blade for prints. She finds several. She takes a print lift of the prints.)
(Mandy walks in and finds Catherine in her chair.)
Mandy: Oh ... nice sword. Mm-hmm! I dated a guy on the fencing team. His thighs were incredible. (She takes a lift of a print on the hilt.) Did you want to show me something?
Catherine: Yes, the, uh, tip has been wiped clean. Negative for blood. But I did find a couple of partials on the blade just above the hilt.
(Catherine takes her gloves off.)
Mandy: Okay.
Catherine: And a couple of full prints on the handle.
(She takes her coat off.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Nick measures the length of the bone he found.)
Nick: The femur measures 461 millimeters. (He checks the height chart.) Gives us a height for a white female of 5'6".
Grissom: Exactly Chyna's height. How about for a male?
Nick: 5'7".
Grissom: Preston De Vere is too tall. Did you measure the head of the femur?
Nick: No, sir, I was just about to.
(He measures the head.)
Nick: 41 point s ... point five millimeters.
Grissom: It's a female.
Nick: You want my theory?
(Grissom listens and Nick ticks off the items on his fingers.)
Nick: This little piggy went to market. This little piggy stayed home. This little piggy had Chyna.
Grissom: Yeah. (He looks at the markings on the bone.) Human teeth aren't strong enough to leave these marks.
Nick: And it is consistent with Connors chopping off her head and tossing his
"girls" a bone.
Grissom: (sighs) Okay ... go back to the ranch. See if you can find the rest of her.
CUT TO:
[INT. CSI – LAB]
(Greg is in the lab when Catherine walks in with her sword. Greg's hand is bandaged.)
Catherine: Hey, Greg. You up for a bite?
(Greg laughs like it's the funniest joke ever. He pounds on the table as if unable to control his laughter.)
(Catherine watches him as she takes her jacket off.)
(He continues laughing, then stops.)
Greg: No. I am on antibiotics, I had a tetanus sh*t-- I'm having a pretty bad year.
(Catherine puts her lab coat on.)
Catherine: Oh, it's only a bad year if you do a bad job, Greg. You're having a great year.
(She winks at him.)
Greg: (suggestively) I got that gel ready for you.
(Catherine picks up her sword and starts cutting into the gel.)
VARIOUS DISSOLVES OF:
(As Greg works on one side of the table, Catherine cuts impressions into the gel on the other side of the table. She makes several cuts working her way down the sword.)
(Meanwhile, Greg prepares the cast and makes an impression of the marking in the skull.)
(Catherine stands the gel impression on its edge and makes a cast impression of the sword cuts.)
(Greg removes the cast from the skull. He puts it under the scope.)
(Catherine peels off the impression from the sword cut and gives it to Greg, who puts it under the second scope to compare. He looks under the scope and finds a MATCH.)
Greg: Voila!
Catherine: We have our w*apon?
Greg: Yeah, and a mounted human head, a suicidal pig farmer, a missing husband, and a bunch of UFO believers. What could be next?
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Grissom's lizard is in its t*nk. Grissom sits at his desk looking up a website on the DRACO CONSPIRACY. The lizard on the monitor removes its mask to reveal photos being morphed into reptilians.)
(Warrick walks in.)
Warrick: Wendy got results back on the blood from Connors' workbench in the pickup truck. It's Chyna De Vere.
Grissom: Good. Come here, take a look at this.
(Warrick walks around the desk to look at the humans morphing into reptilians.)
Warrick: Hey, isn't that, uh ... ?
Grissom: Yeah. You can see Dick Cheney, Al Gore, all nine Supreme Court Justices shape-shift into reptilians. Did you know that, for thousands of years, creatures from the constellation Draco have been mating with humans to form a super-race that includes 43 US presidents, most members of Congress, and the entire British royal family?
(Catherine walks in.)
Grissom: Hey, did Shannon Turner have a cat?
Catherine: Yeah.
Grissom: So did Hank Connors. See, it figures. Cats are a natural enemy of reptiles.
Catherine: I'll keep that in mind. The sword I found at Shannon Turner's made the tool marks on the skull. Shannon's prints were all over the handle. And the partials on the blade, above the hilt -- Chyna De Vere's.
Grissom: She tried to defend herself.
(Quick flash to: Shannon is sparring with Chyna, who is unarmed. Chyna grabs the sword's blade to avoid getting h*t. End of flash.)
Catherine: Did Wendy find anything on that drop of blood on the carpet?
Warrick: Came back to Shannon.
Grissom: Yeah, but Brass interviewed her last week. She didn't have any visible cuts.
Catherine: Warrick? Come at me with a sword.
(Warrick steps forward and Warrick advances toward Catherine with a make-believe sword. Catherine puts her hands up and pushes Warrick's make-believe sword back in his face.)
Catherine: All right, so I push back hard enough ...
(Quick flash to: Shannon comes at Chyna with the sword. Chyna pushes the sword back and hits Shannon in the face.)
Catherine: (V.O.) -- bang you on the nose. Brass wouldn't have seen that.
(End of flash.)
(Grissom concedes the possibility.)
Grissom: But what I don't understand is if Shannon Turner and Hank Connors really believed in a reptilian conspiracy and they felt thr*at by the political establishment, why k*ll a blackjack dealer?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CONNORS RESIDENCE – LAND AROUND AREA -- DAY]
(Officers are moving slowly around the area looking for evidence.)
(Warrick walks around the house.)
Warrick: Hey, Nick!
Nick: (o.s.) Yeah?
Warrick: I got something over here.
(Warrick walks over to a circular stone formation on the ground with ashes in the center. He uses a stick and pushes the ashes and dirt aside. Nick walks over to him.)
(Nick kneels down in the dirt as Warrick picks up a bone.)
Nick: Man, that looks human.
(He puts the bone down and picks up his camera to snap a photo of it.)
(Nick pushes the ashes and dirt around with a stick and picks up a fabric remnant.)
(Warrick sifts through the ashes and finds a ring. He reads the inscription inside.)
(Nick finds a second ring and reads the inscription.)
Warrick: (reads) "To Chyna, Love, Preston."
Nick: "To Preston, Love, Chyna."
Warrick: Till death do us part.
(They look at each other. Nick holds the ring up.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – A/V LAB -- DAY]
(Sara and Archie go over the Palermo security video.)
Archie: According to the Palermo, Shannon Turner joined the Player's Club last month. Whenever a player uses a club card at a table game, the floor man writes down what game you played, where you sat, what time you started, time you quit. Then they estimate your average bet, win-loss ratios ...
Sara: No wonder she believed in conspiracies.
Archie: Well, this is the first time Shannon used her card.
(He fast-forwards the video and stops on Shannon at Chyna's table.)
Sara: And the dealer is Chyna.
(He puts up different video.)
Archie: A week later. By now, she's a regular.
Sara: Looks like they're best friends.
(He puts up another video.)
Archie: Two weeks ago.
Sara: Table's full. She's waiting for a seat.
Archie: Shannon only gambled at Chyna's table.
Sara: Maybe Chyna was her lucky charm.
Archie: That depends on how you define luck.
(Archie puts up Shannon's tally sheet showing losses every week.)
Sara: She never walked away a winner.
Archie: Maybe she blamed Chyna for her losses.
Sara: She's too friendly. I think she was gaining her trust. Stalking her.
Archie: Well, it's Las Vegas.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass and Grissom interview Shannon Turner.)
Shannon Turner: It's not a crime to play blackjack.
Brass: You're right, it's Las Vegas. But it is a crime to lie to the police. We found your blood in Chyna's apartment.
Shannon Turner: Then it was planted.
Brass: By whom?
Shannon Turner: How should I know? Maybe you planted it.
Brass: Look ... you k*lled Chyna, and you got Connors to help you move the body. And Connors k*lled Preston, because he was obsessed with you and wanted to eliminate the competition.
(Brass puts a photo of the SHANNON AND PRESTON mug on the table. Shannon swallows.)
Brass: You lied about knowing Chyna; you going to lie about this, too?
Shannon Turner: Preston can't be k*lled. His cells don't die. He's over 4,000 years old.
Brass: Oh, 4,000. The new fifty.
Shannon Turner: You just don't know the truth when you hear it. Preston is a great man. He has the wisdom of the ages. Beyond your capacity to understand.
Grissom: Ms. Turner ... was Chyna a reptilian?
(She doesn't answer him.)
(Grissom opens the folder and takes out a sketch of a reptilian with a crown.)
Grissom: Who is this?
Shannon Turner: The Reptilian Athena.
Grissom: Is that Chyna De Vere?
(Again, Shannon doesn't answer him.)
(Grissom shows her the sketch of the warrior princess.)
Grissom: Tell me about this one.
(She smiles.)
Shannon Turner: That's the Protector of Mankind.
Brass: Is that you?
(Brass sips from his water cup. Shannon sees his snake-like forked tongue slip out of his mouth and drink from the water.)
(Brass stops drinking. He looks at Shannon.)
Shannon Turner: Hmm?
Grissom: Did you slay the Reptilian Athena?
Shannon Turner: I did what I had to do.
(Quick flash of: Shannon is dressed in her warrior princess outfit.)
Chyna De Vere: What's this all about?
Shannon Turner: I have to k*ll you.
Chyna De Vere: What?!
(Shannon takes out her sword and att*cks Chyna. Chyna fights back. Eventually, Shannon knocks Chyna back.)
(End of flashback.)
Shannon Turner: It's not like there's nothing at stake here. Just the survival of the human race.
Brass: Yeah, I'm just a phone booth away from changing into my tights and saving the world.
CUT TO:
[INT. CSI – A/V LAB]
(Archie is in the lab going through the security video. Warrick walks by.)
Archie: Hey, Warrick, I got something.
(Warrick walks into the lab.)
Archie: I was scanning the casino footage from the day Chyna disappeared. And she had a visitor--her husband.
Warrick: She doesn't look so happy to see him.
(On the video, Chyna and her husband are arguing. She holds out the palm of her hand. He takes his ring off and gives it to her.)
Warrick: Well, we don't need words to get that.
Archie: "Give me your ring. I really, really hate you. Our marriage is over."
(She takes her ring off and slips both rings in her pocket.)
Warrick: Well, that means she was k*lled before she had a chance to change her clothes. That would explain why we found both rings in the ashes. But it doesn't explain what happened to him.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
VARIOUS DISSOLVES OF:
(David brushes the ashes and dirt off the bones and hands them to Robbins, who sets them in their correct place on the table.)
(When they're done, David looks at the table. Robbins snaps a photo of the bones.)
(David turns over a vertebra with a b*llet inside. Robbins takes a photo of it.)
(Robbins extracts the b*llet from the vertebra.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins shows Warrick the b*llet.)
Robbins: I found it embedded in this. T-9 vertebra.
Warrick: But that means the b*llet had to pass through at least one vital organ.
Robbins: Yeah, heart, lung, and then the dome of the liver. That's your COD.
Warrick: And you're sure these are Chyna De Vere's bones.
Robbins: Yeah, pelvis is female. No duplicate bones. The femur's the same length as the one the pigs were chomping on. It's her.
(Warrick holds out the open bindle. Robbins drops the b*llet inside.)
Warrick: Okay. Well, we'll run this against Connors' g*n.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
Cue Sound: (V.O.) GODZILLA ROARING
[INT. APARTMENT – BEDROOM – NIGHT]
(Sara and Grissom are watching an old Godzilla movie on the television set. Godzilla stomps through the city. People scream and run. Godzilla uses his tail and smashes into a building.)
(Sara is leaning back against the bed headboard while eating yogurt. Grissom sits near the foot of the bed with Bruno the dog.)
Sara: I always feel sorry for the monster.
Grissom: (amused) Then you better turn it off before they use the Oxygen Destroyer on him.
(Grissom gets up and leaves the bed. He whistles. Bruno gets up and follows Grissom.)
(After a moment, Sara puts the yogurt down on the bedside table and turns the television set off with the remote. An envelope stuck in between the pages of a book catches her eye. It has her name on it.)
(She takes the envelope out and looks at it, partially addressed to her.)
(She looks at it for a moment, then opens it. It's the letter Grissom wrote to her back in 7X13-Redrum. He never sent it to her. Sara reads it.)
Grissom: (V.O.) I don't know why I find it so difficult to express my feelings to you. Even though we're far apart, I can see you as vividly as if you were here with me. I said I'll miss you, and I do.
(In his study, Grissom takes a photo off his desk and moves to the worktable where he's constructing
Grissom: (V.O.) As Shakespeare more ably wrote my sentiment in Sonnet 47, "Thyself away art present still with me;
For thou not farther than my thoughts canst move, and I am still with them ...
(Grissom is in the next room working on his miniature scene.)
Grissom: (V.O.)
Or, if they sleep, thy picture in my sight, Awakes my heart to heart's and eye's delight."
(We hold on Sara. She turns and looks over in Grissom's direction.)
Warrick: (PRE-LAP) f*re in the hole!
CUT TO:
[INT. CSI – BALLISTICS LAB]
(Warrick files into the t*nk. BANG!)
(Nick jumps. His earphones aren't on yet.)
Nick: You're supposed to let me get these things on.
Warrick: Hey, you were supposed to be ready.
(Warrick puts the g*n down and opens the container to get the can with the b*llet in it.)
Warrick: I don't know, man. Maybe it would have worked out if Tina was someone who did what we did. At least she'd understand the hours.
(Warrick empties out the contents of the can.)
Nick: Oh, I don't know. I don't think it's a good idea to date somebody you work with. You never really get away from work or them the way you need to, you know?
(Warrick picks the b*llet out and juggles it from hand to hand.)
Warrick: You mean, like me and you, baby?
Nick: Yeah, exactly, honey.
Warrick: Mm-hmm.
(He gives the b*llet to Nick. Nick looks at it under the scope. It looks like a match.)
Nick: Yeah, it looks like the b*llet that k*lled her came from Connors' Walther PPK.
(Quick flash of: Chyna is on the floor crying. Hank Connors stands above her with the g*n pointed down at her. He fires. End of flash.)
FLASH TO:
[EXT. LAS VEGAS DESERT (STOCK) – DAY]
[EXT. LAS VEGAS DESERT ROADWAY – DAY]
(Brass parks his car on the side of the road. The officer car following him stops as well. A sheriff's car is parked on the opposite side of the road with the sheriff waiting for them.)
Joe Vasquez: Captain Brass?
Brass: Jim.
(They shake hands.)
Joe Vasquez: Joe Vasquez.
Brass: How you doing, Joe?
Joe Vasquez: I got a call from a passing motorist. Naked guy running around in the desert. That may not be so strange where you work, but out here, it gets our attention. I recognized him from the news.
Brass: Thanks a lot, Joe.
(Brass looks into the back of the car.)
Brass: Preston De Vere?
Preston De Vere: Very glad to be back home.
Brass: What are you doing out here, Preston?
Preston De Vere: I was a c*ptive, held against my will. From what the sheriff tells me, I've been gone over a week. Feels like just seconds.
Brass: Can you describe these people to me?
Preston De Vere: Well, yes, but you won't believe me.
Brass: Try me.
Preston De Vere: They were very tall ... with reptilian features: large, almond-shaped, red eyes.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. HOSPITAL – PRESTON'S ROOM -- DAY]
(Brass walks in. Preston is in bed.)
Brass: Hey, what's happening, Lizard King?
Preston De Vere: I appreciate your skepticism. I anticipated it. Insight begins with asking the right questions.
(He sits up and puts his glasses on.)
Brass: Okay, then, when exact were you abducted?
(Preston takes his glasses off and looks at Brass.)
Preston De Vere: Nine days ago.
(He puts his glasses on.)
Brass: Oh, so you were abducted before your wife was missing.
Preston De Vere: What do you mean Chyna is missing? What happened to her?
Brass: What are you trying to tell me? You don't know your wife is d*ad?
Preston De Vere: That was callous of you. Unnecessarily cruel. I had no idea. That sweet girl ...
(Preston takes his glasses off, covers his face with his hand and sobs loudly. Brass is unmoved.)
Brass: Stop the crocodile tears. Come on. Preston. If she was so sweet, what were you doing Chillin' in Cabo with Shannon Turner?
Preston De Vere: Are you suggesting that was romantic?
(Preston puts his glasses back on.)
Brass: Well, you got your pictures on the coffee mug. That's romantic to me. You better come up with an alibi -- on planet Earth -- of where you were the night your wife was k*lled.
Preston De Vere: That's easy.
(Preston slides off the bed and stands up.)
Preston De Vere: There's a woman, and it is romantic, very romantic. I was with her when they took me. Her name is Clarissa Niles.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. ROOM -- DAY]
(An Alien Abduction Survivor's Group meeting is being held.)
Man: We are victims ... and no one is listening to us. We're powerless against what's going on.
(Brass and Grissom arrive with several officers. They wait in the doorway while the group meeting continues.)
Man: We're not crazy. If you look at who has had contact, we're airline pilots, professionals, teachers, scientists. I don't know how to get the truth out, but we have to.
(Some of the members nod in agreement.)
Barbara: Has anyone talked to Shannon in the last couple of days?
(Several members shake their heads.)
Man: They've got her.
Grissom: It's like we're witnessing some form of mass hallucination. You know, they think the cops are part of this reptilian conspiracy as well. That's why Shannon att*cked Greg.
(Quick flash to: [INT. P.D. -- INTERVIEW ROOM] The officers hold Shannon down while Greg stands over her.)
Greg: Let's try this again.
(As she looks at him, his hand turns scaly and green with webbed fingers.)
(Shannon looks at Greg and his face turns reptilian.)
(End of flash.)
Brass: And why Hank Connors sh*t himself.
(Quick flash to: [EXT. CONNORS RESIDENCE] Hank looks out his window. The officers are advancing toward the house with their g*n. A cloud of dust blocks his view. When it clears, Hank sees reptilians dressed as officers and carrying g*n as they advance toward the house.)
CUT TO:
(Hank stands in front of the door to his back room. He sees a reptilian advancing toward him down the hallway. He puts the g*n under his chin and sh**t himself.)
(End of flashes.)
(Brass steps into the room and holds up his badge.)
Brass: Sorry to interrupt.
Man: Don't make eye contact with them.
(Everyone in the group looks away.)
(Brass looks at Grissom.)
Grissom: Please, we come in peace.
Brass: Which one of you is Clarissa Niles?
(The man looks at Clarissa and shakes his head.)
Man: Don't.
(Clarissa raises her hand.)
Clarissa Niles: It's all right. I'm not afraid.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – SUNSET]
Greg: (V.O.) Got a warrant to tow in Clarissa Niles' car.
[INT. CSI – GARAGE]
(Greg shows Catherine what he's found on the tires under the ALS.)
Greg: Blue fluorescence is one of the properties of scheelite.
(Catherine puts her gloves on.)
Catherine: Which was found in the soil at Hank Connors' ranch.
Greg: (nods) And Preston beamed down in the same area.
Catherine: Have you looked inside yet?
Greg: Naw. I was just about to.
(Catherine opens the back door and looks inside. She finds men's shoes and clothing.)
Catherine: Preston was found naked, right?
Greg: Yeah, it's a recurrent theme in tales of alien abduction. I practically grew up on ‘The X-Files.'
Catherine: Preston's wallet. Somehow I doubt aliens would have folded his clothes when they abducted him.
(Greg pops the trunk.)
Catherine: So Clarissa drove him out there and he left his stuff in her car.
Greg: That's not all he left.
(Catherine joins Greg and she chuckles at the contents in the trunk.)
Greg: Steam cleaner. Just what every estranged husband needs to clean up his d*ad wife's blood.
Catherine: This case just came down to Earth.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Brass interviews Clarissa Niles.)
Clarissa Niles: Yes, Preston was at my home in Summerlin. We were asleep and suddenly the room turned very cold. Freezing. I woke up and looked over and Preston was gone. I ... I searched the house, outside ... It was as if he evaporated.
Brass: (SIGHS) Come on, Clarissa, you're a smart woman, I mean, really. I mean, you have a beautiful home, you're a good citizen, you pay your taxes, you vote, you even play a little golf. You got way too much on the ball to fall for this con man.
Clarissa Niles: Con man? You think I'm gullible? He's a brilliant man. He saved my life. When we first met, I was very ill. It was cancer and he cured it.
Brass: Really? How'd he do that?
Clarissa Niles: He knows how to prevent human cells from dying. He has injections; they're, they're radioactive. Hospitals won't do it because it would make everyone well. It would put them out of business.
Brass: Do you really think he's four thousand years old? Here. Let me show you something. (He opens a file folder. She puts on her glasses.) Look at this. He's 42. He claims he's a nutritionist. He's not. And look. Look at all these schools and labs he said he went to. They never heard of him. He has no place of business, no job. He just preys on vulnerable women. He got Shannon Turner to k*ll his wife for him. Got you to give him money.
Clarissa Niles: He never asked for it. I wanted to give it to him.
Brass: You would have done anything for him, whether he asked for it or not.
(Quick flashback to: Preston talks with Clarissa at a group meeting.)
Preston De Vere: Do you have any idea how beautiful you are? (She blushes.) I mean really, really, really beautiful. More so every day.
Clarissa Niles: That's because you cured me. I-I-I've never felt better or happier.
Preston De Vere: You know, I didn't want to alarm you, but they put an implant in you. They do it while you're sleeping so they can manipulate your thoughts. My injections disabled it. You're not only cancer-free, you're free of their control.
Clarissa Niles: Oh, my God. How am I ever going to be able to thank you?
(End of flashback.)
Brass: You drove him out to McCade, you dropped him off, you brought back his clothes. The evidence is all over your car.
Clarissa Niles: He loved me.
Brass: He used you just like he used everybody.
CUT TO:
[INT. CSI – TRACE LAB]
(Hodges opens the steam cleaner and finds a single strand of hair in the bristles. He removes the hair.)
[INT. CSI – FORENSIC AUTOPSY]
(David opens the drawer and takes a single strand of Chyna's hair.)
[INT. CSI – GARAGE]
(Greg dusts the plastic steam cleaner water container and finds a print under the cover. He lifts it and scans it into the database.)
[INT. CSI – HALLWAY/ DNA LAB]
(Hodges shares his findings with Catherine.)
Hodges: If they were trying to clean up all the blood, they did a good job. Steam cleaner tested positive for blood, but there wasn't enough for DNA.
Catherine: Did you find anything?
(They enter the DNA Lab.)
Hodges: Funny you should ask. Found a hair in the brushes.
Catherine: Oh.
Hodges: It's on the left.
(Catherine looks in the scope at the two strands of hair.)
Hodges: The one on the right is Chyna De Vere's.
Catherine: They're both Chyna's.
(Hodges nods. Greg bursts into the lab.)
Greg: Hey. So, that steam cleaner was completely wiped down, couldn't find any prints. But then I remembered this story about a CSI down in LA. Nobody could find any prints on a gas can from an arson, but he realized that you got to grip it underneath in order to pour out the gas. And you know what? He broke the case.
Catherine: So whose prints are on the steam cleaner?
Greg: I just got an AFIS h*t: Preston De Vere.
(Quick flash to: [INT. CONNORS RESIDENCE] Chyna is on the floor. Hank paces nearby. Preston talks with Shannon.)
Preston De Vere: You have a destiny. You were chosen. You are a Protector of Mankind. Have no fear. (to Hank) Cut off her tail, she lives. Cut off her head, she dies.
Hank Connors: No problem.
(Hank picks Chyna up. There's a large bloodstain on the carpet.)
CUT TO:
(Preston steam cleans the carpet.)
CUT TO:
(Preston removes the plastic water container and empties the bloodied water down the drain.)
(End of flashback.)
Greg: It wasn't a reptilian conspiracy, but it was a conspiracy.
Catherine: Men are snakes.
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY]
(The officers lead Preston out through the hallway. Preston smiles and nods to everyone. Brass follows behind him.)
Brass: So we checked Chyna's bank account. She had a tidy little inheritance until she met you.
Preston De Vere: Chyna was sucking the life out of me. She deserved none of what she wanted and all of what she got in the end. I'm glad it took a long time for her to die. I can only imagine the pain.
Brass: You know, every time I think about leaving this job, a guy like you comes along and reminds me why I can't.
(Brass leaves. Preston turns and sees Clarissa Niles walk up to him. She spits on his face. The officer leads her away.)
Sidney Buckman: (V.O.) History is replete with stories of the heroic destruction of serpents.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
Sidney Buckman: (V.O.) Perseus and Medusa, St. George and the Dragon, St. Patrick and the Snakes of Ireland.
[INT. GRISSOM'S RESIDENCE – NIGHT]
(Grissom works on constructing his miniature scene while Bruno slobbers at his feet.)
Sidney Buckman: (V.O.) These are not merely legends. These are accounts of battles for the survival of the human race -- a battle we will lose unless we stop k*lling one another and focus on the real enemies.
(Grissom applies glue to a piece and puts it on the grid of the room he's constructing.)
Sidney Buckman: (V.O.) They are among us.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x22 - Leapin' Lizards"} | foreverdreaming |
COLD OPEN:
[EXT. OAKLEY'S OLD WEST TOWN -- NIGHT]
(A man wearing an old leather duster and a cowboy hat walks through the middle of the town's dirt road. His spurs jingle with every step.)
(Lightning flashes and thunder rumbles.)
(The man stops and puts his thick leather gloves on. The wind howls, stirring up dust.)
[INT. OAKLEY'S OLD WEST TOWN -- SALOON – CONTINUOUS]
(The dark-haired woman drinks a sh*t and puts her glass down on the bar counter. She turns. It's Lady Heather.)
(The saloon doors are pushed open and the man walks in. Lightning flashes and thunder rumbles.)
(She turns and leans against the bar.)
Lady Heather: You're late.
(The man takes the thick rope he has hanging from his belt and unravels it. He rolls the rope around his hand.)
CUT TO:
(The man has the rope wound around Lady Heather's neck. He kicks a random bar chair over.)
Man: Now say it.
(He holds the rope tight around her neck.)
Man: I said ... say it.
(He keeps his hold on the rope. Lady Heather gags.)
Man: You have to say it. Say it.
(Lady Heather gags. Her hand slips from gripping his arm as she loses consciousness.)
CUT TO:
[EXT. OAKLEY'S OLD WEST TOWN – NIGHT]
(The lights in the western town are turned on. The dirt road is lit up. The paramedic rolls the gurney toward the ambulance as Catherine walks past. She sees it's Lady Heather.)
Catherine: Is she going to be okay?
Paramedic: Yes, ma'am, she's s*ab. Severe trauma to the neck.
(Lady Heather's eyes open.)
Catherine: Heather, I'm Catherine Willows. I don't know if you remember me. It's going to be all right.
(Brass joins Catherine.)
Brass: Like a bad penny, some people just keep showing up.
Catherine: Did you call Grissom?
Brass: No.
(Catherine nods.)
Catherine: Who found her?
Brass: Guy over there in the ten-gallon -- Vernon Porter.
(Catherine turns and sees a man dressed as a sheriff talking with an officer.)
Brass: He's a night watchman. All the employees are required to wear that cowboy getup. That's the job that cops get after they retire.
Catherine: You've got something to look forward to, Jim.
Brass: Yes, ma'am.
(They turn and walk over toward the saloon. Catherine sees some spit on the wooden floor near the spittoon.)
Catherine: Chewing tobacco. Looks fresh.
(She puts evidence marker #1 down near the spit.)
[INT. OAKLEY'S OLD WEST TOWN -- SALOON – CONTINUOUS]
(Catherine and Brass enter the saloon. Piano music plays in the background. Catherine looks around the saloon at the gaming tables and life-sized western mannequins sitting at the tables.)
(Catherine sees the overturned bar stool.)
Catherine: Lady Heather has a house for this. Why take her show on the road?
(Brass motions to the player piano.)
Brass: Do you think you know how to ... ?
Catherine: Yeah.
(Catherine turns the piano off.)
Brass: Oh, you're a genius. (He motions to the floor.) Well, this is where we found her.
(Catherine sees the rope on the floor.)
Catherine: Did she have ligature marks?
Brass: On her neck, yeah.
Catherine: Well, that doesn't make any sense. She was a dominatrix. Not a submissive.
Brass: Maybe the party just got out of control.
Catherine: Or somebody didn't know the rules.
[Captioning sponsored by CBS, C.S.I. PRODUCTIONS and brought to you by Toyota.]
WHIP OUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERICAL SET)
FADE IN:
[INT. CSI – BREAK ROOM -- NIGHT]
(Greg is in the break room going through some files. Grissom walks in carrying his cup.)
Grissom: How you doing?
Greg: These files are out of control. Typos, white-outs, names missing, whole sections missing.
Grissom: Twenty years ago, the county was still using typewriters. Did you find anything?
(Greg picks up a paper.)
Greg: Ernie Dell's foster child. Donna Catalani. Lived with the Dells for a year. Her CASA report came with a supplemental. They forgot to black out her social security number.
(He hands the paper to Grissom, who puts his glasses on to look at it.)
Greg: We can use that to track her down, unless the adoptives changed it.
Grissom: Good. I'll run it. I have to pull you off of this. Days is down to four CSI's. You're on loan-out.
Greg: Why can't Days keep anybody?
Grissom: Money, stress, Ecklie, maybe. Just help them with their backlog.
(Grissom turns and leaves the room.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[EXT. OAKLEY'S OLD WEST TOWN -- NIGHT]
(Brass talks with Vernon Porter.)
Brass: So you're sure that the gate was locked?
Vernon Porter: I come on at 6:00 when Oakley's closes. The first thing I do is lock the gate.
(He shows Brass the keys on his large key ring hanging from his belt.)
Vernon Porter: Make my rounds every two hours.
(As Brass watches, Vernon tucks a large wad of tobacco in his mouth and chews.)
Vernon Porter: 8:00, 10:00, 12:00 -- everything was Code 4.
Brass: When did things go Code 3?
Vernon Porter: Found the main gate unlocked at 0214. Went to check out the street, heard that music. Found her on the floor, called it in.
CUT TO:
[INT. OAKLEY'S OLD WEST TOWN -- SALOON – NIGHT]
(Sara snaps a photo of the broken bootle on the counter. Catherine examines the piano.)
Sara: This is a family theme park. I'm assuming they don't actually serve alcohol here. Must have brought their own.
(Sara picks up the label:
THE GLEN EDMONDS
30 YEAR OLD
PURE SINGLE MALT SCOTCH WHISKEY
PRODUCT OF SCOTLAND
UNHURRIED SINCE 1924 )
Sara: (reads) Single malt, twelve years old.
Catherine: S & M is a rich man's sport. Kind of like hockey -- a lot of equipment.
(Catherine takes a swab of something under the piano.)
Sara: How much do you think a night like this would cost?
Catherine: Heather told me, five years ago, she was clearing 20 grand a week.
(Sara's shocked.) And that was before ladyheather.com.
Sara: What is she like?
Catherine: Beautiful ... smart, intense ... charming. The only woman I've ever seen rattle Grissom. I mean, he kind of liked that forensic anthropologist, Terry Miller. Remember her?
(Sara puts the label in a bag.)
Sara: Yeah.
(She picks up her camera. Catherine opens an evidence bag.)
Catherine: But she wasn't enough of a challenge for him.
(She picks up the rope and puts it in the bag.)
Catherine: Heather, on the other hand ... uninhibited and can b*at him at mental chess.
(Sara snaps a picture.)
Catherine: They had chemistry. And he is a scientist.
(Catherine stands up.)
Catherine: I have no proof and I know he'd never tell me, but I'm certain they spent the night together. Wonder which one wore the chaps.
(Way too much information.)
Sara: Lots of ... (clears throat) ... coins and toothpicks. They don't sweep under here.
Catherine: I mean, more power to him, really, to find somebody outside of work
'cause you start fishing from the company pier, and ... asking for trouble.
(Sara picks up a glass and looks at it.)
Sara: I got a sh*t glass. Looks like there's some lipstick around the rim.
Catherine: My fantasy does not include costumes, or pain ...
(Sara turns and looks at Catherine.)
Catherine: -- and certainly not sawdust.
(Catherine brushes the sawdust off her pants.)
Catherine: You?
(We hold on Sara's stunned expression.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. STREET -- NIGHT]
(Sofia, Nick and Warrick walk over to the body on the concrete.)
Sofia: Patrol found her.
Nick: Any witnesses?
Sofia: No. No businesses open, no cars on the side streets.
Warrick: So how'd she get here?
Sofia: Well, in this neighborhood, unless she's a hooker, I doubt she walked. I'm going to go make some calls, see if any of these places have any security cameras.
Nick: Thanks.
(Sofia leaves them.)
Nick: That's a pretty nasty head wound. Where's Super Dave?
Warrick: He's probably at the 420 on Flamingo. They left their purse.
(Warrick picks up the bag.)
Warrick: Oh! The thing is heavier than my kid. Ever get h*t in the head with one of these?
Nick: No. Gentlemen don't get h*t in the head with those.
(Nick snaps a photo of the victim's face.)
(Warrick takes out several driver licenses. We see the one on the top and the address of the second under it:
KEYSHA SAYRUN
6589 TIBER LANE
LAS VEGAS, NV 89151
JEFFREY LANIER
74112 VIXTON ST
LAS VEGAS, NV 89151 )
Warrick: Keysha Sayrun?
(Warrick holds out the driver license to compare the photo to the victim.)
Warrick: Well, that's not her.
Nick: Maybe it's not her purse.
Warrick: There's a whole bunch of wallets in here. Driver's permit. Kid's only 15 --
(Warrick looks at the NEVADA DEPARTMENT OF MOTOR VEHICLES, LEARNERS PERMIT
(TEMPORARY), DIVISION OF DRIVERS LICENSES for:
SIMON, CHAD
7141 PACIFIC VIEW DRIVE
SEX: M
COLOR HAIR: BRN
COLOR EYES: BRN )
Warrick: -- has got a credit card? She's got to be a pickpocket.
Nick: Aw, man, that's a shame. Look at her. She could be anything she wanted to be. Makes you wonder what happens to people.
Warrick: I got her.
(Warrick finds the right ID.)
Warrick: Faith Maroney. Twenty-five ... from Southern Highlands.
Nick: Sometimes I miss the days when I didn't take this job so personally, Warrick.
Warrick: Yeah? Well, I miss the days when we only had five homicides a week.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- NIGHT]
(Grissom puts a miniature item on his miniature shelf. He places the shelf in the miniature of his own office. The phone rings.)
Grissom: Grissom. Catherine. (pause) I'm on my way.
(He hangs up and heads out.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. HOSPITAL – LADY HEATHER'S ROOM -- NIGHT]
(Lady Heather talks with Brass.)
Lady Heather: I was planning an Old West party. I was checking out the facilities.
Brass: So why couldn't you check them out during normal business hours?
Lady Heather: It was my normal business hours.
Brass: You know, we spoke to the night watchman. He said the gate was locked. How did you get in?
Lady Heather: I know the owner.
Brass: Do you know him the way you know Judge Fincher? Because I know that's how you got out of jail last time. I need a name.
Lady Heather: Mr. Oakley. I have his number, but not on me. You'll have to look it up.
(There's a knock on the door. Sara walks in.)
Sara: Hi. I'm with the Crime Lab. Sara Sidle.
(Lady Heather watches Sara walk in and put her kit down on the table.)
Sara: I'm here to collect your clothes and trace evidence from your body.
(She looks away.)
Lady Heather: Can I say no?
Sara: Why would you want to? (to Brass) Did the nurse forget to collect an SAE kit?
(Sara takes her camera out.)
Lady Heather: Not necessary.
Brass: You don't want help, that's okay by me. Just don't waste my time. I've got a lot of cases on my desk that need my attention. So when you come out of your haze, give me a call.
(Brass leaves.)
Lady Heather: I don't respond well to men who judge me based solely on my profession.
Sara: I get that a lot, too. (She offers Heather a smile.) Law enforcement.
(Lady Heather smiles back. Her smile fades.)
Sara: May I move your hair?
(Lady Heather nods.)
(Sara reaches out and gently moves Lady Heather's hair aside to expose the bruises on her neck. She snaps photos of the markings. Lady Heather closes her eyes.)
Sara: These look like rope marks on your neck.
(Lady Heather opens her eyes. Sara takes a couple more photos.)
(Lady Heather's eyes brighten as she sees someone outside the room, behind Sara.)
Lady Heather: (softly) Grissom.
(Sara turns around and finds Grissom standing in the open doorway.)
Sara: I'll be done in a minute.
(We hold on Grissom.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY -- NIGHT]
(Dr. Robbins yawns as he holds a specimen container over FAITH MARONEY'S body on the table. Warrick walks in.)
Warrick: What's the matter, Doc; you been hitting it a little too hard?
Robbins: No, canine-induced insomnia. We're fostering some puppies-- Jack Russells. Had me up all night. How about a puppy to keep you company?
Warrick: No, if I stay up all night, it's not going to be because of a puppy. COD?
Robbins: Okay, uh, blunt force trauma to the left temporal region of the skull. The skull's fractured.
Warrick: Any idea what kind of w*apon might have been used?
Robbins: No, but I found these imbedded in the skull.
(Robbins lifts the pan with the sample on it.)
Warrick: Paint chips? Could she have been h*t by a car?
Robbins: Well, it's possible. But if she was standing when she was h*t, I'd expect to find pedestrian fractures on her legs. And there are no run-over marks, so she wasn't in a prone position.
Warrick: So if she wasn't standing or lying down ...
Robbins: She was somewhere in-between.
CUT TO:
[INT. STREET -- NIGHT]
(Nick is kneeling at the crime scene. Officer Mitchell is with him.)
Officer Mitchell: Stokes, you ready for a cup of coffee?
Nick: No, thanks. (He stands up.) I'm only going to be about another ten minutes here, okay?
Officer Mitchell: Your call.
(Officer Mitchell leaves.)
(Nick looks down on the road and finds yellow paint chips. Behind him, a station wagon takes the corner and smashes into the police car parked on the road behind Nick.)
(The car horn blares.)
(The passenger door of the station wagon opens and a man crawls out.
Officer Mitchell: (muffled)
(He heads around the car to check on the driver. Nick heads for the passenger.)
Nick: Hey. You all right?
(The man stumbles out and heads for the street. Nick grabs him.)
Nick: Whoa, whoa, whoa. Not the street. Not the street.
(Nick grabs the kid. Officer Mitchell checks on the driver.)
Officer Mitchell: You all right, man? You all right?
(Nick sets him down on the sidewalk curb.)
Nick: I got you.
(Nick's front shirt and vest are covered with blood. He looks around.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. HOSPITAL – LADY HEATHER'S ROOM -- NIGHT]
(Grissom sits next to Lady Heather's bed.)
Lady Heather: (rasps) Are you here in a professional capacity?
Grissom: Does it make a difference?
Lady Heather: (rasps) Maybe not to you. I feel exposed. The last time you saw me ...
Grissom: You had just lost your daughter.
Lady Heather: (rasps) That's not all I lost that night.
INSERT: SCENES FROM 6X15: Pirates of the Third Reich
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - NIGHT]
(Lady Heather has Leon Sneller tied to the front of her car and whips him. His face and chest are cut and bloodied.)
Grissom: (shouts) Stop it!
(Grissom gets out of his car to stop her.)
Lady Heather: (crying) No! Let me finish.
(She pulls back the whip. Grissom steps forward and catches it.)
BACK TO SCENE.
Grissom: If a client did this, and left you to die, why are you protecting him?
Lady Heather: I'm not.
Grissom: Tell me the truth.
(Lady Heather has difficulty breathing.)
Grissom: Did they check your glucose level when you came in?
(She puts her head back and passes out.)
Grissom: Heather?
(The monitor alarm rings. Grissom presses the nurse's call button. The nurse walks in.)
Grissom: She's diabetic. I think she's going into shock.
Nurse: The patient never told us.
(Grissom watches as the nurse checks Heather's eyes.)
CUT TO:
[EXT. LAS VEGAS CITY SUNRISE (STOCK) – MORNING]
[EXT. OAKLEY'S OLD WEST TOWN -- DAY]
(Brass walks with Jack Oakley down the center of the town road. Jack's son, Benjamin, follows behind them.)
Jack Oakley: Captain, I'll need a copy of the police report for my insurance.
Brass: Oh, sure, sure, sure. We'll get to that. But, first, I need to straighten out a few things.
(They stop walking.)
Brass: Mr. Oakley, did you give Heather Kessler permission to enter the park after hours?
Jack Oakley: No, I didn't.
Benjamin Oakley: I did.
(Jack looks at his son.)
Benjamin Oakley: She called the office. Wanted to know about renting out Oakley's Saloon for a private party.
Brass: Well, you know what she does for a living, right?
Benjamin Oakley: Money's money -- doesn't matter who's handing it to you, right, Dad?
Jack Oakley: As long as you're not breaking the law.
Brass: So you have no problem with a dominatrix doing business at a family theme park?
Jack Oakley: Captain, sometimes, my son, he ... he doesn't think things all the way through.
Benjamin Oakley: But I'm learning.
Brass: So how did she get in?
Benjamin Oakley: I swung by. Wanted to meet her.
Brass: After midnight?
Benjamin Oakley: Yeah. Told her to lock up when she was done.
Jack Oakley: You should have stayed, Ben. You got liability to think about.
Benjamin Oakley: (scoffs) Right, Dad. 'Cause you always do.
(Jack stops at the obvious jab.)
Jack Oakley: Captain, is this about it?
Brass: Well, I'd like to talk to Benny a little more. We need to confirm his statement.
CUT TO:
[INT. OAKLEY'S OLD WEST TOWN -- BATHROOM -- DAY]
(Catherine walks into the bathroom, puts her kit down and starts snapping photos. She picks up her kit and heads for the stall. She opens the stall door and finds something blue stuffed in the toilet.)
(She reaches in with a forceps and pulls it out. It's a pair of men's underwear. She finds a crumpled paper towel on the floor behind the toilet. She puts her goggles on and takes out her ALS.)
(She checks the paper and finds body fluid on it.)
CUT TO:
[INT. CSI – LAB -- DAY]
(Warrick snaps photos of the contents of the purse out on the table. Sofia walks in.)
Sofia: There were no security cameras at the crime scene, but Ms. Maroney had multiple arrests for petty theft and shoplifting. She had just been released on court-ordered rehab for kleptomania.
Warrick: She got noodles, hairpins, dish towels, a can of tuna.
Sofia: (amused) She didn't care what she took. She just had to take it.
Warrick: You know, I was thinking. If she pinched my wallet, and I whacked her for it, I'd probably get back my wallet before I split.
Sofia: Which means the theft victims are probably not the suspects. Got anything else?
Warrick: A couple of loose receipts, all from last night, all paid in cash. A pack of gum from the Bargain Bin, a soda from Carlisa's, and a Bloody Mary from Diane's Steakhouse.
Sofia: Which is less than quarter of a mile from the crime scene.
Warrick: Yeah. At 9:52 p.m.
Sofia: Patrol found her just after 11:00. I'll start at the steakhouse and backtrack.
(Sofia leaves the room. Warrick nods as he watches her go.)
CUT TO:
[INT. CSI – TRACE LAB -- DAY]
(Hodges takes a paint chip sample and cuts off a piece. He puts the piece on a slide and slips it under the scope.)
INSERT: SCOPE VIEW of the edge of the paint chip.
(Nick walks into the lab.)
Nick: Hey.
(He turns and sees the blood on Nick's shirt.)
Hodges: Hey. What? Have you been shaving with a broken beer bottle?
Nick: No, no. Some drunk driver ran into a radio car at my crime scene. Friggin' idiot.
Hodges: Yeah. I heard you pulled the friggin' idiot's friend out of a burning car.
Nick: Nothing was on f*re. I didn't pull anybody from anywhere.
Hodges: Oh, so humble. You know, some people are just destined for greatness.
Nick: Run these against the paint chips from the body, please.
(The results appear on the computer monitor.)
Hodges: Sure. You mean the engine black over canary yellow paint chips from a Ford automobile? Yeah. If I had a yellow car, I'd paint over it, too.
Nick: So the victim was h*t by a car.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CAB – GARAGE -- DAY]
(Nick and Warrick walk into the garage area.)
Warrick: Steakhouse called Faith Maroney a cab. They have a direct line to this place.
Nick: Well, the car that h*t her was yellow and black.
Warrick: Paint color's not going to help us narrow it down any, is it?
Nick: No.
(The cab dispatcher steps out to meet them.)
Cab Dispatcher: You guys from Strip-O-Gram?
Nick: Excuse me?
Cab Dispatcher: 'Cause last year, for my birthday, a cop showed up with a phony badge, started tearing his clothes off and trying to rub up on me. (She chuckles.) I'm an excellent tipper.
Nick: Well, I'm sure you are, but, uh, no, ma'am, we're not dancers. We're here about the warrant.
Cab Dispatcher: (disappointed) Okay, then. So we dispatched twenty cabs to Diane's Steakhouse last night.
Warrick: Around 10:00?
(She checks her clipboard.)
Cab Dispatcher: Received a call at 10:01. Dispatched number 29. Chandru Kambhatla. He doesn't come on until 8:00.
Warrick: Well, we're going to need to see that cab and your trip sheet.
Cab Dispatcher: Number 29's right there. Keys are inside.
(Warrick and Nick head for the cab #7029.)
Cab Dispatcher: No joy riding, and don't leave the doors off like you did last time.
Nick: Hey, we just take them apart. We don't put them back together, now.
Cab Dispatcher: That's why nobody likes to deal with your asses!
(Warrick and Nick laugh. They examine the cab. Nick finds blood on the front bumper. Warrick finds the camera over the rear view mirror.)
Warrick: Hey, Nick, there's a camera in here. Maybe that'll be able to tell us if Princess Pickpocket was one of his fares.
(Nick takes a swab of the blood on the front bumper and tests it.)
Nick: Front bumper screens positive for blood.
(Gus and another cab driver walk up to them.)
Gus Difusco: Hey. I got robbed last week, filed a report. How come you're helping Chandru and not me?
Nick: This isn't a robbery, sir.
Cab Driver: Then, what is it?
Nick: Do you know the guy that drives this cab?
Cab Driver: Sure.
Warrick: You see him last night?
Gus Difusco: I had to cut out early. My wife's sick. But, uh, Dru's solid. Got to respect a guy who comes here and wants to be legit. Goes to work, pays his taxes, studying to be a citizen.
Cab Driver: If you want to know about state capitals, you just ask Dru. Did you know that Vegas is not the capital of Nevada?
Nick: Thanks for the info, fellas.
Gus Difusco: Go get 'em.
(Gus DiFusco and the Cab Driver turn and leaves.)
(Nick takes a sample of the black bumper paint. Under it is the yellow paint.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – HALLWAY -- NIGHT]
(Catherine and Brass walk through the hallway.)
Catherine: The substance that I found under the saloon window was chewing tobacco.
Brass: The night watchman chews.
Catherine: Yeah, Vernon Porter. He was fired from the force back in Chicago.
Brass: Yeah, I know. I checked him out.
Catherine: Oh.
Brass: He got in an off-duty incident. He was in a fight in a bar and a woman was hospitalized.
Catherine: I'm thinking he had a front row seat.
Brass: Well, you know, it fits his profile. He could have waited till Heather's client left -- there's always a client ...
Catherine: Yeah.
Brass: ... and then att*cked her. You know, I should have checked to see if he was wearing underwear.
Catherine: There's no way that he could afford her. So why would Heather cover for him? Unless he's just a witness.
Brass: Well, you want to see a man about a horse?
CUT TO:
[INT. CSI – LAB -- NIGHT]
(Sara looks through the scope at two fibers.)
Grissom: Any results on Heather Kessler?
Sara: So far, all the prints come back to her. Player piano, whiskey bottle, sh*t glass. There was some lipstick around the rim. I haven't had a chance to test it. You think it's her shade?
Grissom: Heather's not supposed to drink because of her diabetes, which could explain the hypoglycemia and shock.
(Sara nods.)
Sara: Catherine found a pair of men's underwear in the toilet. Any evidence on them would have been washed away, but she also found seminal fluid in a tissue on the floor nearby.
Grissom: She was sexually as*ault?
Sara: She refused an SAE kit, so we'll never know. There were no defensive wounds, no skin or rope fibers under her nails. At first blush, I figured he might have ambushed her, except that I noted three separate strangulation attempts on her neck.
(Sara shows Grissom the photo.)
Sara: She had time to fight back.
Grissom: This makes no sense. She's very strong. And tough as nails. Why didn't she fight?
CUT TO:
[EXT. OAKLEY'S OLD WEST TOWN -- NIGHT]
(Catherine checks the latch on the front gate.)
Catherine: Gate's unlocked again.
Brass: Well, it's ten after. Probably unlocked 'cause he's doing his rounds.
Catherine: Maybe.
(The gate swings open and they walk down the front road.)
Brass: Ah, the Wild West, partner.
Catherine: Okay, come on, Jim, give it up. I know you know something about Grissom and Lady Heather.
Brass: I know something a lot juicier than Grissom and Lady Heath ...
(They find Vernon Porter's body d*ad on the road. Brass has his g*n out as they make their way toward the body.)
Catherine: Oh, yeah, he's d*ad.
Brass: He took one in the back.
Catherine: Who sh*t the sheriff?
FADE OUT.
(COMMERICAL SET)
FADE IN:
[EXT. OAKLEY'S OLD WEST TOWN -- DAY]
(Catherine snaps photos as David Phillips looks over Vernon Porter's body. Brass stands behind him and watches.)
David Phillips: b*llet entered through his back.
(He grunts as he lifts the body to check the back.)
David Phillips: No exit wound. There's some swelling under his lip.
(David checks and takes out a wad of chewing tobacco.)
David Phillips: Ugh, disgusting. You get mouth cancer from this.
Brass: David, hand me his cell phone.
David Phillips: Sure.
(David hands Brass the phone. Catherine removes Vernon's g*n from his holster and looks at it.)
Catherine: Ruger Single Six. g*n hasn't been fired.
Brass: Guess who he called yesterday?
(The list of RECENT CALLS are:
Chloe Jones
Christopher Jones
Heather Kessler
Chloe Jones )
Brass: Lady Heather.
Catherine: Might have thr*at her.
Brass: And we both know how she likes to settle her own scores. I'm going to get a warrant, but it may take me some time because I have to find a judge who isn't a client of hers.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CAB CO. – GARAGE -- DAY]
(Nick shows the cab photo of Faith Maroney sitting in the back seat to Chandru.)
Nick: You sure you've never seen her before?
Chandru "Dru" Kambhatla: No.
Nick: You don't remember her at all?
Chandru "Dru" Kambhatla: No, sir.
Nick: That picture was taken by the camera inside your cab. Why don't you take another look?
(He takes another look at the photo and still doesn't recognize her.)
Nick: Recognize her now?
Chandru "Dru" Kambhatla: You know, a lot of people get in my cab. There's always a big convention in town.
Nick: Hey. Dru. I was born at night, but not last night, okay? I know you picked her up at the steakhouse. I know the last time she was seen alive was in your yellow cab. I know she was k*lled by a yellow car. I found blood on your front bumper.
Chandru "Dru" Kambhatla: (nods) Okay, I ... uh, I remember her now. She wanted to go to MGM. There is bad traffic, so she tells me to let her out. She wants to walk.
Nick: Where'd you let her out?
Chandru "Dru" Kambhatla: Near the Monte Carlo.
Nick: Mr. Kambhatla, if I match the paint from your cab to the paint we found in her skull, do you realize how much trouble you're in? (He nods.) 'Cause I'm not sure you really do. Scotty.
(The officer Scotty standing behind Chandru leads him out of the garage.)
CUT TO:
[INT. CSI – A/V LAB – DAY]
(Archie goes over the stills from the taxicab security camera with Nick and Warrick.)
Archie: The older types of cameras only take stills. They take them sequentially for twenty seconds any time a passenger door is opened.
Warrick: Can you clarify the background?
Archie: Yeah.
(Archie enhances an outside bench taken from picture #1.)
Nick: I recognize the graffiti on that bench. That's the street we found her on, right there.
Warrick: So Mr. Kambhatla was lying. That's nowhere near the Monte Carlo.
(Archie drags and drops another photo.)
Warrick: Go back to number two.
(Warrick sees something.)
Warrick: The wallet in her hand is ... black. And her wallet was white.
Nick: Go back, show me the last three photos, Archie.
Archie: Yeah.
(Archie goes back to the last three photos.)
Archie: Okay, so he's looking at her. Looks down. He's looking for something. He looks up.
Nick: (nods) Well, he's pissed. So she did snatch his wallet after all.
Warrick: And he ran her down and took it back.
Warrick: Well, we have him in custody. We have his wallet. Let's, uh, go see if her prints are on it.
Nick: Yeah. Thanks, Arch.
Archie: Yeah.
(Warrick and Nick head out of the lab.)
CUT TO:
[INT. OAKLEY'S OLD WEST TOWN – SALOON -- DAY]
(Sara takes photos of a b*llet hole in the saloon glass window. Catherine walks in.)
Sara: This window wasn't broken yesterday. And I got a b*llet in a poker player.
Catherine: Well, the one that k*lled Porter's still inside him. Porter was sh*t in the back. He was facing away from the saloon.
(Quick flashback of: Vernon Porter walks down the street, his back to the saloon. He's sh*t in the back and falls down. End of flashback.)
Catherine: To get to the window, this b*llet had to be fired from the opposite direction.
(Quick REWIND of Vernon Porter falling. A g*n fires. The b*llet zooms TOWARD Vernon Porter, misses him and hits the window and the poker player sitting at the table in front of the window. End of flashback.)
Sara: There were two sh**t.
(Sara removes the b*llet and looks at it.)
Sara: Lead b*llet. Cannelure. We're looking for a revolver.
(Catherine looks out the window and sees the two signs for TRADING POST and g*n SLINGER MUSEUM.)
[INT. OAKLEY'S OLD WEST TOWN – g*n SLINGER MUSEUM – CONTINUOUS]
(Sara unlocks the door. She and Catherine walk into the g*n SLINGER MUSEUM. They look at the g*n in the display case.)
Catherine: Oh, wow. These look authentic. All revolvers.
(Sara tries the display case door.)
Sara: Case is unlocked.
Catherine: I'll get the g*n to ballistics.
Sara: I'll process the a*mo boxes.
CUT TO:
[INT. CSI – HALLWAY / TRACE LAB -- DAY]
(Nick walks through the hallway. He's on the phone.)
Nick: (to phone) Sofia, Faith Maroney's prints were found on the cab driver's wallet so there's your motive. No problem.
(He hangs up.)
(Nick walks into the lab. The printer prints and paper falls near him. Nick takes the printout Hodges holds for him because Hodge's is too busy working a Sudoku puzzle. Nick looks at the printout.)
Nick: The paint from the d*ad girl's skull matched the paint on Chandru's cab.
Hodges: Page two.
Nick: The paint chips from the street are not a match to the paint chips from her skull. Are you sure about this?
Hodges: I just finished a diabolical soduku in six minutes flat. I'm positive.
Nick: Then what color were the other paint chips?
Hodges: What did you have for lunch? I had a ham sandwich. Hmm? It's a clue. Your sandwich.
(He points to the scope.)
Nick: Oh.
(Nick looks at the scope and sees the paint chip.)
Hodges: The paint chips you collected are from two different cars, stuck together as a result of impact. Yellow paint, black paint, clear coat. The other half -- clear coat, black paint, yellow paint, clear coat, white.
Nick: That's a lot of canary yellow and engine black. Cab-on-cab hate?
Hodges: One half of the sandwich is from Dru's 29.
Nick: What about the other half?
Hodges: You're looking for a white Ford that's been repainted yellow and black.
Nick: Sweet. I'm glad I figured that out.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins goes over Vernon Porter's body with Sara. The body is on its side as Sara and Robbins examines the entry wound.)
Robbins: COD's a single g*n wound to the lower lumbar region. b*llet entered here and then traveled slightly upward.
Sara: Where is the b*llet?
Robbins: Well, that's the fun part. He didn't die from the initial wound. It entered through his back and then penetrated the inferior vena cava.
(Quick flash of: The g*n fires. The b*llet enters Vernon's back.)
(ZOOM in through the body and follow the b*llet through the vessel.)
Robbins: (V.O.) It traveled through that vessel into his right lung. It's called a b*llet embolus.
(End of flash.)
Robbins: And it's hard to find. Most medical examiners would have missed it.
(Sara smiles and takes the container with the b*llet inside from Robbins. She looks at the b*llet.)
Sara: Full metal jacket, nine millimeter. The b*llet that I found at the saloon was from a revolver. Colt single-action Army.
Robbins: (nods) The g*n that won the West. That b*llet is from a 20th Century, high-capacity, semi-a*t*matic p*stol. I ... see a lot of b*ll*ts.
(Sara looks at the b*llet.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CAB CO. – GARAGE -- DAY]
(Nick walks out of the office with a clipboard. He heads back to Warrick.)
Nick: Well, it looks like Friendly bought a small fleet of white cabs from another company last year that went belly-up.
Warrick: How small are we talking?
(Nick hands the clipboard to Warrick.)
Nick: Seventy-five.
Warrick: Paint samples from 75 cabs? Well, we'll be back in the lab by next week.
INSERT: VARIOUS DISSOLVES OF WARRICK AND NICK TAKING PAINT SAMPLES FROM THE TAXICABS.
(Nick finds a cab with a scratched car door. He takes a swab sample from the front bender. He scrapes the paint down to the silver base.)
Nick: Hey, Warrick. I got what looks like fresh damage over here.
(Nick looks at the driver's license. It belongs to GUS DIFUSCO.)
Nick: Do we know that guy?
(Warrick walks over and checks the license.)
CUT TO:
[INT. CSI – A/V LAB]
(Archie puts the video from the new cab security camera up on the monitor.)
Archie: Gus's cab is equipped with a new camera. Video, not stills, motion-activated.
Warrick: So the impact turns it on, huh?
Nick: Freeze that and grab a number off that cab.
(Archie highlights the number form the cab next to him and enhances the image. The cab is numbered 7029.)
Warrick: 7029 -- that's Dru's cab.
Nick: If Dru was dispatched, then what was Gus doing at that steakhouse?
Warrick: Well, he had to be staging, trying to steal Dru's fare.
Nick: Looks like Gus took the fight to the streets. He h*t him again right there.
Warrick: Whoa. (points) Well, that's the corner.
Nick: And we know from the paint chips we found on the ground that Gus's cab collided with Dru's on that street.
Warrick: Well, the airbags didn't deploy, so he must have been going under fifteen miles an hour.
Archie: I can't see Dru's cab, so Gus must have rear-ended him when he was stopped.
Nick: It's physics. Gus's cab transferred most of its energy into Dru's -- more than enough to launch him into the girl. Car bumpers are designed to absorb the impact from another vehicle, but the bumper hitting her? Would have been like a ... elephant hitting a flea.
(Quick flash of: The taxi hits Faith. She screams and falls onto the road. End of flash.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1]
(Warrick interviews Gus DiFusco.)
Warrick: You were in the wrong. You were the one who was staging. So why road rage Mr. Kambhatla?
Gus Difusco: Because he was gonna report it and get me fired. I'm two months from retirement. My wife's got MS. I need my health benefits. But I didn't h*t that girl. He did.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM 2]
Nick: It's a bad neighborhood. Nothing's open out there. So why'd you drop her off?
Chandru "Dru" Kambhatla: She was screaming at me, "Screw you, pull over."
(Quick flash to: Faith is in the back seat of Chandru's taxi.)
Faith Maroney: Let me out.
Chandru "Dru" Kambhatla: Sorry.
Faith Maroney: You guys are crazy. I want out of this cab right now.
(She's going to get out. He stops her.)
Chandru "Dru" Kambhatla: $6.25, please.
Faith Maroney: (shakes her head) No way. I'm not paying for this ride.
(Chandru realizes that she took his wallet.)
Chandru "Dru" Kambhatla: Hey, wait! You're a tease! Give me back my wallet!
(She runs and trips over the side of the curb just as the other taxi rams into the back of Chandru's taxi.)
(End of flashback.)
Chandru "Dru" Kambhatla: He tries to steal my fare. She tries to steal my wallet, and I am arrested.
Nick: So why didn't you just report the accident?
Chandru "Dru" Kambhatla: You h*t a pedestrian, it is always your fault.
Nick: Hey, you were stopped and Gus h*t you, pushing your cab into her. Now, that's not your fault. Okay?
Chandru "Dru" Kambhatla: Gus said it was. And he has been driving for thirty years. My cab h*t her, so I am guilty.
Nick: Yeah, well, Gus doesn't know the law, but I do. What else did he say to you? Mr. Kambhatla, this may be the last chance you have to tell me the truth, now.
Chandru "Dru" Kambhatla: We made a deal.
Nick: Okay. Okay. What kind of deal?
Chandru "Dru" Kambhatla: He said if I don't report him for staging, and hitting me, then he would keep quiet about me hitting the girl. And I can stay in this country ... with my mother and sisters. I need to be here to make money for them. I'm telling the truth now. Is going to be okay, right?
Nick: No, sir, unfortunately, that's not the way it works. I've got you for obstruction, for fleeing the scene, and now you're an accessory. I'm sorry, man. I know you're confused, but ... you just made a deal with the wrong guy.
CUT TO:
[EXT. LADY HEATHER'S RESIDENCE -- DAY]
(Brass, Catherine and several officers arrive on Lady Heather's front door. Catherine knocks. Lady Heather opens the door.)
Lady Heather: This isn't a good time.
Brass: We have a warrant to search your house. And you'd better put some sunblock on because we're going downtown.
Lady Heather: My memory isn't any better than it was yesterday. I'm not up to it.
Brass: Well, we'll swing by the hospital. And you can explain to them why you checked yourself out early, against doctor's orders.
Catherine: We're investigating a homicide.
Lady Heather: I don't understand.
Brass: Where were you last night?
(She opens the door for them.)
Lady Heather: You may come in.
[INT. LADY HEATHER'S RESIDENCE – DAY -- CONTINUOUS]
(Catherine and Brass walk into the house.)
Lady Heather: I was here.
Brass: Can anyone verify that? Preferably someone not on the payroll.
Lady Heather: Captain Brass would like to know where I was last night.
(Catherine and Brass turn around. Grissom steps out into the room carrying a coffee cup.)
Grissom: She was here ... with me.
(Grissom takes a sip from his cup. Catherine turns and looks at Lady Heather. Everyone looks at each other.)
(We hold on Grissom.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Catherine talks with Grissom.)
Catherine: You were there all night. Want to explain why? Look, I know that you don't go home and cuddle your insects every single night, but why would you go there knowing that we're in the middle of an investigation? And now she's a prime suspect with you as her alibi.
Grissom: It was a social call, that's all.
(Grissom sits down.)
Catherine: So, when your personal life gets tangled up in a case, that's off limits?
Grissom: Yes.
Catherine: Isn't that a little hypocritical?
Grissom: Apparently so.
Catherine: You know I'd slap you, but I think you'd enjoy it too much.
Grissom: Look, I went to Heather's on a hunch. There's something not right with her.
Catherine: (disgruntled) Your timing sucked.
(Catherine notices the miniature on Grissom's desk.)
Catherine: What's this? So now you're building your own?
Grissom: Yeah. Keeps my hands busy.
CUT TO:
[INT. POLICE DEPARTMENT – BRASS'S OFFICE -- DAY]
(Brass talks with Lady Heather.)
Lady Heather: You think I paid someone to k*ll Porter and then used Grissom as my alibi?
Brass: And with your history, yes. How do you know Vernon Porter?
Lady Heather: He did some work for me. I helped him get the job at Oakley's.
Brass: You know what? That's the first thing you said to me that doesn't sound like a lie. What kind of work?
Lady Heather: I needed to locate someone.
Brass: So an ex-cop does some legwork for you. So what happened-- did you have a falling out or he thr*at you?
(She takes her phone out and lets Brass listen to the message.)
Electronic Voice: (from phone) First skipped message. Received yesterday at
12:02 p.m.
Vernon Porter: (from phone) Hey, Heather, Vernon. Looks like you got yourself into something. If you need anything, call me. Call me anyway. Let me know you're okay.
Lady Heather: Does that sound like a man who wants to hurt me, Captain Brass?
(She closes the phone.)
Brass: Oh, I don't know, Heather. I don't know. I mean, you get as*ault at Old West Town where he works, he calls it in, then he ends up d*ad. What is it, just one big coincidence?
Lady Heather: I already told you I was there on business. Mr. Porter had nothing to do with it.
Brass: Yeah, but it was your business that got him k*lled. Come on, come on, we both know that you weren't there for some western hoedown. So what were you doing there?
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Catherine and Sara are at the table. Wendy walks in.)
Wendy Simms: The semen on the tissue in the bathroom did not come from Vernon Porter.
Catherine: Well, the underwear that I pulled from the toilet was a 38-inch waist. Porter was a 34. He didn't att*ck Heather.
Sara: But we know he was there.
Catherine: One of Heather's clients pays for a kinky Wild West fantasy only to discover he had an audience?
Wendy Simms: Well, I don't want to derail this but why k*ll Porter and not go after Heather?
Catherine: 'Cause she's not talking. Her business is based on discretion. Couldn't count on Porter's discretion.
(Catherine's phone rings. She checks the message.)
Sara: So this client goes back to Oakley's the next night and sh**t Porter.
Catherine: Oh, Mandy got a h*t off the revolver and the a*mo box.
(Catherine's message reads:
2. MANDY
GOT A h*t. SUSPECT
BENJAMIN OAKLEY
From: Mandy
To: Catherine
Received: 05/10 1:48 PM
Catherine: Benjamin Oakley.
Sara: His family owns the place. He had access.
Catherine: Yeah, I'm calling Brass.
(Catherine turns and heads out. Wendy also leaves the lab. Grissom walks in.)
Catherine: (to Grissom) Sara will fill you in. (to phone) Hey, Jim ...
(Grissom looks at Sara.)
Sara: We may have a suspect.
(Sara gathers up the photos from the table. Grissom watches her for a moment.)
Grissom: I'm the only one Heather trusts.
Sara: I get it.
Grissom: Sara ...
Sara: Yeah?
(Grissom looks like he wants to say more.)
Sara: It's fine. Do what you need to do.
(Sara takes the photos and leaves the room.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Grissom is reading TEXTBOOK OF PSYCHIATRY. He's reading Chapter 9, "Mood disorders, su1c1de and parasuicide.")
(Quick flashback to: Lady Heather talks with Grissom.)
Lady Heather: When the submissive accepts they're in control, that's when they embrace their true power. They can say "stop." They can choose to either end the pain or continue enduring it. But ... higher consciousness doesn't negate our animal instinct to survive.
(End of flashback.)
(Judy startles Grissom.)
Judy Tremont: Dr. Grissom, you requested a custody file from the court.
(She hands him the file.)
Grissom: Thank you, Judy.
Judy Tremont: I'm assuming it's for your investigation into the Miniature k*ller. Everybody in the lab believes you're gonna get him.
(She smiles and gives him two thumbs up. He nods. She leaves the office.)
(Grissom looks at the papers:
HEATHER KESSLER, PETITIONER
VS.
JEROME KESSLER, RESPONDENT
FOCUS ON THE WORDS:
DENIES VISITATION RIGHTS TO PETITIONER,
DISSOLVE TO: MORE WORDS
MATERNAL GRANDMOTHER, HEATHER KESSLER
DISSOLVE TO: MORE WORDS
FULL CUSTODY AWARDED TO JEROME KESSLER, MATERNAL GRANDFATHER OF THE CHILD.
QUICK FLASH TO:
(There are two framed photos on the mantle. The first is of Heather and her daughter, Zoe. Grissom picks up a second framed photo of Jerome Kessler with the baby girl. The photo appears to be taken without their knowledge.)
Lady Heather: She's all I have left of Zoe.
(Quick flashback to: Scene from 6X15: Pirates of the Third Reich)
[INT. FORENSIC AUTOPSY – NIGHT]
(Zoe's body is on the table. Lady Heather caresses her daughter's cheek.)
Lady Heather: Can you tell if she's ever given birth?
Robbins: There was some scarring on her pelvic bones, but given the condition of the body, it's hard to say for sure.
(Quick flash to: CU: THE PHOTO OF JEROME AND THEIR GRANDDAUGHTER.)
Grissom: This is your granddaughter. Did you take this picture?
Lady Heather: I hired someone to find her. I can't give her love, but I can give her the freedom to be who she wants to be.
(End of flashback.)
CUT TO:
[EXT. CITY (STOCK) – DAY]
[EXT. PARK -- DAY]
(Grissom talks with Jerome Kessler.)
Jerome Kessler: Is this official police business?
Grissom: No.
Jerome Kessler: Did Heather send you?
Grissom: No, I'm just a friend of hers.
Jerome Kessler: Did she tell you about me?
Grissom: Not really.
Jerome Kessler: We were married very young. Didn't last long. Heather left without telling me she was pregnant. I wasn't aware I had a child until after Zoe was already d*ad.
(Grissom nods and looks over at Alison playing on a blanket.)
Grissom: That's Zoe's daughter, Heather's granddaughter.
Jerome Kessler: Her name is Alison. So why are you here?
Grissom: I'm just trying to understand what's happening to her.
(Alison walks up to Jerome to hand him something. He leans forward and listens to her childish babbling.)
Grissom: I'm aware that the court has denied her visitation rights.
Jerome Kessler: Wouldn't you?
Grissom: I'm not sure. (Jerome is quiet.) Has Heather tried to give you any money for Alison?
Jerome Kessler: Yes, the day before yesterday I got a call from the bank. Heather had set up a very generous trust fund for her, no strings attached. I assumed she sold her house.
Grissom: Can you tell me how much?
Jerome Kessler: $843,508. I know Heather had closed her business a few months ago, trying to convince the judge she'd be a fit guardian, so it had to be from the sale.
Grissom: I wonder if she calculated the exact amount it would cost to raise a child and put her through college, especially at Harvard. That's where she sent Zoe. But it wasn't her house that she sold.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Catherine and Brass interview Benjamin Oakley.)
Catherine: You took a sh*t at Porter.
Brass: That's attempted m*rder. Your dad's not going to like that, Benny.
(Catherine shows him the warrant.)
Catherine: This is a warrant for your DNA.
Benjamin Oakley: Why do you need my DNA?
Catherine: To prove that you also att*cked Heather Kessler.
Brass: And that makes two attempted m*rder. And that adds up to a lot of jail time, bud.
Catherine: Open up.
Benjamin Oakley: I didn't touch her, okay? I didn't k*ll Porter.
Brass: What do you want, a gold star for being a bad sh*t?
Benjamin Oakley: (sighs) Porter knew I lied. He wanted fifty grand to keep his mouth shut. And I was gonna pay him. I went to the bank to get the money, but somebody drained the account.
(Quick flash to: [BANK] Benjamin goes to the bank. The transfer amount on the screen is for: $843,508.00. The remaining balance is for: $31,053.86.)
Benjamin Oakley: There was a million dollars in that account last week. Who authorized the transfer?
Bank Officer: (o.s.) Jack Oakley.
(End of flashback.)
Benjamin Oakley: I went there to k*ll my father.
(Quick flashback to: [INT. g*n SLINGER MUSEUM] Benjamin opens the display case and takes a g*n out.)
Benjamin Oakley: (V.O.) I knew he was going to meet Heather, but for some reason, she didn't show. And Porter got up the courage to ask my dad for the money. He'd seen my father with Heather.
(Cut to: Jack and Vernon argue in the street.)
Jack Oakley: You sick bastard!
Vernon Porter: You got 24 hours, then I turn you in!
(Vernon takes a couple steps out and stops when he sees Benjamin exit the museum.)
(A g*n fires. Porter falls to show Jack with the smoking g*n in his hand.)
(Benjamin raises the g*n and points it at his father. Jack advances on Benjamin. Benjamin fires wildly and hits the glass in the saloon.)
(Jack walks up to Benjamin.)
Benjamin Oakley: (V.O.) The Marquis de Sade's got nothing on my old man. Inflicting pain is his idea of foreplay.
Jack Oakley: You're your mother's son, not mine.
(End of flashback.)
Benjamin Oakley: Do you know how much money he spent abusing women? He didn't leave anything for my mother and me except for more abuse. It had to stop.
Brass: Where is he?
Benjamin Oakley: His phone's off; every time his phone's off, he's with her.
Brass: Is he at the saloon?
Benjamin Oakley: No, he wouldn't do that, not after Porter.
Brass: He's got to be at Heather's.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. HEATHER'S PLACE -- DAY]
(The officer puts the cuffs on Jack Oakley.)
Brass: So your sick fantasy was to k*ll her.
Benjamin Oakley: I didn't do anything. She solicited me. Strictly a business deal. She needed the money. I paid her close to $1 million for this, you know that? That's about all I'm gonna say. I'll be talking with my lawyer.
(The officers leave with Jack.)
Brass: Too bad you spent the million. You could use it on your defense.
(Brass turns to look at Lady Heather sitting in her chair.)
Brass: Look, Heather, for what it's worth, I think you're in the clear. The DA's not gonna press charges. Attempted m*rder, assisted su1c1de, the lines are kind of blurred. But do yourself a favor. Get some help.
(Heather doesn't say anything.)
CUT TO:
[EXT. HEATHER'S RESIDENCE -- DAY]
(The officers escort Jack to the car and put him in the back seat.)
DISSOLVE TO:
(The officer cars leave. The place is quiet and empty.)
Cue Sound: KNOCKING
[EXT. HEATHER'S RESIDENCE – FRONT PORCH – DAY]
(Heather opens the door. Grissom smiles at her.)
Heather: Leave me alone. I didn't ask you to save me.
Grissom: I know. What am I supposed to do? I'm your friend. Besides, there's someone I want you to meet.
(He motions for her to step outside. He takes her hand and she joins him on the porch.)
(Jerome Kessler walks toward her with Alison in his arms.)
(Heather looks at Grissom, then goes to meet her grand-daughter.)
Heather: Hi.
(Grissom watches them.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "07x23 - The Good, The Bad and the Dominatrix"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. CSI – HALLWAY – NIGHT]
(Sara walks through the hallway. Her arm is in a sling. She walks past the Print Lab. Mandy looks up from her worktable and watches her go.)
(Sara continues through the hallway.)
(She walks past the Trace Lab. Hodges looks up from his work and watches her go.)
[INT. CSI – ECKLIE'S OFFICE – CONTINUING]
(Ecklie closes the file folder. He's on the phone waiting for someone to pick up.)
(Sara appears in the doorway and knocks lightly on the door to get Ecklie's attention. He looks up and motions her inside as he stands up at his desk.)
Conrad Ecklie: (to Sara) Have a seat.
(The line clicks and the recorded message switches on.)
Grissom: (answering machine) This is Grissom.
Conrad Ecklie: (to Sara) How's the arm?
Grissom: (answering machine) Please leave a detailed message after the tone.
Sara: Fractured in two places.
(Sara sits down.)
(The machine beeps.)
Conrad Ecklie: (to phone) Gil, Conrad again. Um ... message number three. Call me back please.
(He smiles at her and hangs up.)
Conrad Ecklie: It's feeling better?
Sara: Yeah.
Conrad Ecklie: Good.
(b*at)
Conrad Ecklie: So, you must know where he is.
Sara: Actually, I don't.
Conrad Ecklie: Really?
(He picks up his folder.)
Conrad Ecklie: Okay ... um ... Look, I don't want to play any games here. This is as difficult for me as it is for you.
(He closes the office door.)
Conrad Ecklie: So let's just ... uh ... get this over with, shall we?
(He sits down on the other side of his desk and opens his notebook.)
Conrad Ecklie: Okay then ... uh ... this is an administrative inquiry. You and your supervisor were in direct violation of lab policy ...
Sara: (corrects) "Are."
Conrad Ecklie: "Are" in direct violation of lab policy, which states that members of the same forensic team may not engage in a romantic relationship. So when did you and Supervisor Grissom begin your relationship?
Sara: We've always had a relationship.
Conrad Ecklie: I mean, when did you become intimate?
Sara: Two years ago. I think it was a Sunday.
(HOLD on ECKLIE.)
CUT TO:
[EXT. ROAD – NIGHT]
(SLOW MOTION. VIEW of the desert road at a SLOW 360 degree turn. For the moment, WE are the OBJECT turning.)
MUSIC STARTS: "An der Schonen Blauden Donau," Op. 314 (On the Beautiful Blue Danube") by Johann Strauss
(A round object comes into view. It rolls and turns as it bounces off the pavement and continues down the road.)
(The round object bounces along the pavement, leaving dark, circular splotches on the road.)
(A truck heads its way and it hits the bouncing object.)
SIDE VIEW
(Like a basketball, the bouncing object bounces against the truck and the pavement until the truck passes over it.)
TOP VIEW DOWN
(The object stops in the middle of the road.)
-- AND NIGHT TURNS INTO DAY –
(The object hasn't moved.)
(Another truck passes by, knocking the round object off the road.)
(The object skips and hits the pavement as it heads over to a group of highwaymen in orange vests cleaning the roadside.)
(The object bounces off the pavement and onto the dirt, where it rolls to a STOP right in front of one of the men.)
(He looks and sees that it's a HEAD in a football HELMET.)
CUT TO:
[EXT. ROADSIDE – DAY]
(Grissom leans forward and looks at the head closely. Yep, it's a head. The helmet is for the SVHS cobras.)
Det. Ezekiel Holstein: (o.s.) Sagebrush Valley High School.
(Detective Ezekiel Holstein and Nick look closely at the head in the helmet.)
Ezekiel Holstein: The Cobras.
Nick: He looks like he could still be in high school. Boy, football's gotten a lot more brutal since my playing days.
Ezekiel Holstein: Yeah, where's the rest of him, still on the field?
(Nick looks down the long stretch of highway before them.)
Nick: There's no high school football fields around here anyway. What do you think, Grissom?
(Grissom studies the head.)
Grissom: "Ichabod was horror-struck on perceiving that he was headless."
[Note: "The Legend of Sleepy Hollow," by Washington Irving]
(Nick grins and looks at Holstein.)
HOLD on the HEAD.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. ROADSIDE – DAY]
(Grissom's phone rings. He's still at the crime scene and he steps away to check it.)
INCOMING CALL
CONRAD ECKLIE
(Grissom shuts his phone without answering it. He walks over to Nick who is in the middle of the road looking at the bloodstain.)
Nick: Blood pool tells me the helmet must've been here for a while.
(Grissom looks at the stain.)
Grissom: Vehicle tire rolled through it. Helmet has black abrasions on it consistent with being h*t by a tire.
Nick: Probably got pinballed down the road.
(Greg joins them.)
Greg: I checked with Traffic. No reports of any traffic accidents near here. Uh, Holstein's getting an absentee list from the high school.
(Nick nods.)
Grissom: Head's over there. Blood trail leads up from here. We follow the blood.
(Grissom starts walking.)
(Greg walks up to Nick.)
Greg: (low whisper) He say anything about what's happening with Sara?
Nick: (shakes his head) No.
(They turn and follow Grissom down the road.)
(Nick stops, puts an evidence marker down on the road. Greg raises the camera and takes a photo.)
VARIOUS DISSOLVES:
(Grissom continues looking at the blood trail.)
(A camera clicks.)
(Grissom points to something.)
(The camera shutter clicks again.)
(Grissom continues further down the road. Nick and Greg are a little ways behind documenting the blood trail.)
(Nick looks out at Grissom, a good distance away from them.)
Nick: (to Greg) Hey, did Sara ever say anything to you about her and Grissom?
Greg: Not in so many words.
Nick: So you knew about the two of them?
Greg: (shrugs) Yeah.
(Greg continues down the road. Nick spreads his arms wide.)
(Meanwhile, Grissom finds more bloodstains on the road. This one veers off to the side. He follows the fluid trail in the dirt. He heads for the bushes and finds a body without a head.)
Grissom: Hey!
(Nick and Greg appear.)
(Nick takes his glasses off and sighs from the smell.)
Nick: Where's the uniform? (He kneels next to the body.) If he's not a player, what's with the helmet?
(They note that the left hand is missing.)
Greg: Maybe he's a rabid fan. There were all kinds of high school games last night.
Grissom: Where's his hand?
Nick: (o.s.) Got to be around here somewhere.
CUT TO:
[INT. CSI – AUTOPSY -- DAY]
(Nick takes prints off the d*ad man's hand. The door opens and Robbins walks in.)
(In the foreground, David Phillips is struggling to get the helmet off the body.)
Robbins: The hand -- where did you find it?
Nick: Twenty yards away, two hours later.
(David isn't having any success with getting the head out of the helmet. Robbins goes to check on him.)
Robbins: David, he doesn't look prepped. What's taking so long?
David Phillips: I can't get the helmet off.
Nick: I better get this ten-card to Mandy right away.
(Nick leaves with the print card. Robbins puts his cane aside and assists.)
(Robbins holds the head; David holds the helmet and they pull.)
Robbins: Hold it.
(They get the head out of the helmet. Robbins sighs.)
Robbins: His face looks like hamburger.
(Robbins snaps photos of the victim's face.)
(He picks up the envelope and comb. He combs the debris from the hair into the envelope. Some black powder falls into the envelope.)
David Phillips: I found the same black powder on his clothes.
(Robbins looks at him.)
CUT TO:
[INT. CSI – HALLWAY/ PRINT LAB – NIGHT]
(Nick walks into the print lab and gives the card to Mandy.)
Nick: Hey, Mandy. I got a ten-card on our John Doe.
Mandy: Well, let's see if it matches the safe-kit that Holstein brought in. Only have one more kid unaccounted for at that high school.
(Mandy takes the envelope from Nick and heads into her lab.)
Nick: Hey, if you had a kid, would you collect a safe-kit on them?
Mandy: Why not? It's better to be prepared. Think of it as a cheap insurance policy.
(Mandy visually checks the two sets of prints.)
Mandy: It's just a print card, a cheek swab and a photo.
Nick: Then go to bed every night hoping you don't have to use it.
Mandy: Mm ... well, there's a match. Your John Doe is Vincent Bartley.
Nick: Yeah?
Mandy: Yeah.
(She hands Vincent Bartley's file to Nick.)
Nick: Okay, good. Thanks.
(He heads out.)
Mandy: You're welcome.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. BLIND – LOBBY -- NIGHT]
(The place is quiet as people speak in hushed tones. Techs snap photos and officers take statements. An officer talks with two women.)
Shasta McCloud: Well, nothing. I mean, it was dark.
April Kissimee: It was really dark.
(Warrick and Catherine walk in with their kits.)
Warrick: One minute we're married, and the next ...
Catherine: You know what? Good for you. Divorces should be like Band-Aids, one quick yank and done.
(They note the people sitting at the tables.)
Warrick: You think?
Catherine: Oh, what do I know? Eddie and I stayed together way too long. Every decision was an act of Congress.
(Warrick and Catherine leave the main room and turn into the dining area.)
[INT. BLIND – DINING ROOM – NIGHT]
(The officer at the door lets them in. Catherine and Warrick note the food and the tables. They find Brass standing next to the d*ad body on the floor.)
Brass: It's the end of an era, ladies and gentlemen. Hampton Huxley, publisher of Hux magazine -- where boys became men, and men became more manly -- has died.
(Catherine puts her kit down as she waits for David Phillips to finish with the body.)
Brass: That magazine got me through Vietnam.
Warrick: Oh, that would explain the lookers out front. They were Kitties.
Brass: Yes, Kitties, indeed. He was dining with a couple of them when he bought the farm. Miss Summer and Miss Winter, I believe.
David Phillips: Every male in the Phillips family gets a lifetime subscription to Hux for his Bar Mitzvah.
(He turns and looks at the d*ad body.)
David Phillips: I guess my sons will have to settle for a Cross pen.
Catherine: I'm sure the magazine will go on without him, Dave.
(David nods.)
Catherine: What are we looking at?
David Phillips: Puncture wound. Um ... no abrasion ring. But I can re-approximate the skin.
Catherine: So it's probably not a g*n. (David nods.) s*ab?
David Phillips: Maybe. Right through the temple, into the brain. Be lights out in seconds.
Warrick: It's a crowded restaurant. Somebody must have seen something.
Brass: Not exactly. Welcome to the latest fad. Dining in the dark.
(Brass holds up the remote. He presses the button and the lights go out. The shades on the windows lower.)
Brass: Waiters are blind. No one sees anything. Piece of cake, huh?
(The blinds close. Everyone is in the dark.)
[BLACK SCREEN]
(They hear the soft sounds of footfalls as someone leaves.)
Catherine: (V.O.) Did he just leave?
Warrick: (V.O.) I think so.
David Phillips: (V.O.) Guys? I-I have a d*ad body here.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. BLIND – LOBBY – NIGHT]
(TOP VIEW DOWN. A waiter dressed in black walks on screen. The tray of food is illuminated like a work of art. As he walks, the waiter vanishes ... only the food remains as it is carried across the room.)
Pippa Sanchez: (V.O.) Dining should be an experience, like opera or art. It should feed the soul as well as the belly. You should smell it, touch it and let it rest on your tongue.
VARIOUS IMAGES OF WOMEN EATING
Pippa Sanchez: (V.O.) I'm selling sensuality here. I encourage eating with your hands. Texture is crucial. The salty, meaty flesh of lobster drenched in creamy, clarified French butter. The pulpy seeded flesh and firm skin of a fresh fig dipped in honey. The tongue understands four major taste groups –
CGI ZOOM INTO THE MOUTH AND HIGH POWERED IMAGE OF THE TASTE BUDS ON THE TONGUE
Pippa Sanchez: (V.O.) -- salty, sweet, sour, bitter -- and has over 10,000 taste buds, --
CGI ZAP! PULSES TRAVEL FROM THE NERVES TO THE BRAIN
Pippa Sanchez: (V.O.) -- each with a direct connection to the pleasure center of the brain, triggering endorphins. The anticipation and the release of eating good food is chemically quite similar --
END CGI
(The chef, Pippa Sanchez, talks with Brass.)
Pippa Sanchez: -- to getting high on drugs.
Brass: And apparently just as dangerous.
(As they talk, a CSI tech takes Pippa's prints.
Brass: So tell me what happened.
Pippa Sanchez: I don't know. Each one of the waiters has one of those clickers. If there's an emergency, the houselights come up and a red light goes off in the kitchen.
(Quick flashback to: A woman screams. The alarm buzzes and Pippa Sanchez comes running out of the kitchen.)
Woman: Somebody help! WOMAN: Help! Help him!
(Pippa reaches the room and finds the screaming woman standing next to Hampton Huxley on the floor.)
Pippa Sanchez: Are you okay?
April Kissimee: Hux!
Pippa Sanchez: Call 9-1-1.
(End flashback.)
Brass: Oh, so you didn't see anything?
Pippa Sanchez: I'm in the kitchen. I have two sittings a night, at 7:00 and
10:00, average 25 heads, ten courses per. I have no time to pee.
CUT TO:
[INT. BLIND – DINING ROOM – NIGHT]
(Catherine has a floor map of the room and a seating chart.)
Catherine: April was here ... and Huxley was here.
(She and Warrick are putting name place cards down on the table. They finish with the Huxley table. Catherine puts the chart down. Warrick puts his goggles on and turns on the ALS.)
(He checks the overturned chair.)
Warrick: Okay. Got blood on the chair.
(Catherine picks up a discarded napkin off the floor and looks at it. Warrick finds more blood drops.)
Warrick: Blood on the tablecloth.
(He works his way around the table.)
Warrick: Blood drops on the floor, leading away from Hux's chair.
Catherine: s*ab him. Extract the w*apon—drip, drip, drip.
Warrick: And they end here.
Catherine: Near Ms. Shasta.
CUT TO:
[INT. BLIND – LOBBY – NIGHT]
(Brass talks with Shasta McCloud, the woman in the black dress, while the woman in the pink dress is there.)
Shasta McCloud: Shasta McCloud -- big "M," little "c," big "C," plus "loud."
McCloud.
April Kissimee: On TV, they never show anyone bleeding from a heart att*ck.
Brass: Is that what you think happened?
April Kissimee: Well, yeah. I mean, all that Prevalis and diet soda. I just figured ...
Shasta McCloud: April, shh! He was an animal until the day he died, sir.
Brass: Uh-huh.
April Kissimee: Wait a minute. What did happen?
Brass: Well-well, you're the one with blood on you. Maybe you can tell me.
April Kissimee: I thought he just fell asleep like he always does at the end of meals.
(Quick flashback to: The room is completely dark.)
April: (V.O.) Come on! Wake up, Huxey.
(April takes out the pink kitten.)
April: (v.o., low voice) Wake up, Huxey. Wake up, Huxey-Hux. Come on, it's time to go. Meow, meow! Meow, meow!
(She makes kissy noises. Hampton Huxley appears in the light and we see that the side of his face is smeared with blood. He falls on her and she whimpers.)
April Kissimee: Waiter! Emergency!
Shasta McCloud: April? April, what's wrong?!
April Kissimee: Call 9-1-1! Help!
(Hampton Huxley falls to the floor.)
Shasta McCloud: April! April!
(The waiter appears.)
Michael Bowie: Michael here.
April Kissimee: (screams) Code red!
(She screams.)
(The place is very loud.)
Shasta McCloud: Help! Help us!
(Michael hits his button and starts the alarm.)
(End of flashback.)
Brass: Okay. Um, look, I'm going to need to take your sweater.
April Kissimee: (giggles) Yeah, like I haven't heard that one before.
(She starts to take her sweater off. Brass stops her.)
Brass: No. No, I don't mean right now. No, I mean, I... I'll need to take it before I go. You know, later, when I, when I leave, I have to take your sweater then.
(April nods.)
CUT TO:
[INT. CSI – HALLWAY – NIGHT]
(Nick walks out into the hallway and finds Matt Bartley sitting in a wheelchair and drinking from the water fountain. Nick stops.)
Nick: Mr. Bartley?
(Matt stops drinking. He turns his chair around.)
Matt Bartley: Matt. I'm Vincent's brother.
Nick: I'm... Nick.
(Nick shakes his hand.)
Nick: Stokes. Uh ...
Matt Bartley: You don't need to say it. I knew when the detective asked me for that safe-kit that it was going to be Vinnie.
Nick: Shouldn't I be talking to your parents?
Matt Bartley: Don't have any parents. Mom skipped out when we were little, and Dad died a couple years ago. It's just the two of us.
(Nick sits down.)
Nick: Matt ... your brother wasn't on the football team, but when we found him, he was wearing a football helmet. Why is that?
Matt Bartley: It was my old helmet.
Nick: Is that how you got injured?
Matt Bartley: No. It was the last day of spring break, and ... I was wasted. Like a dumb-ass, I dove into the Tangiers wave pool headfirst. Fractured my T-1 vertebra.
Nick: So why the helmet?
Matt Bartley: Well, I was a pretty good football player. He was proud of that. That and my dad's dragon belt. He got it when he was in the service. Vinnie wears it every day. It's just something that he has to hold onto ... (voice breaks) ...to deal with.
Nick: (softly) Yeah.
CUT TO:
[INT. BLIND – DINING ROOM – NIGHT]
(Catherine and Warrick are still processing the dining room. Catherine picks up a kabob skewer.)
Catherine: You know, one of these could've been the m*rder w*apon. It's approximate in size and shape. And everybody had one.
(Warrick takes a swab of something on the carpet.)
(Catherine grabs another napkin off the table and puts it in an envelope.)
(Warrick tests the swab.)
Warrick: Well, something dripped over here that is not blood.
Catherine: Well, could've been whatever food was on the skewers. ALS will pick up anything that's fatty or dairy-based.
(Warrick sees something. He finds a pair of goggles under the table and picks it up.)
(He opens it and looks at it. He removes the goggles from the headband.)
Warrick: Could you turn off the lights for a second?
(Catherine puts her clipboard down and turns the lights off with the remote. She chuckles as everything is dark and the shades lower.)
Catherine: I'm sorry, but this is a stupid idea for a restaurant.
WARRICK'S POV: NIGHT GOGGLE VISION. Catherine is cast in green.
Catherine: I need to see what I'm eating.
(Warrick walks over to Catherine.)
Warrick: I can see just fine.
(Catherine turns at the sound of his voice.)
Catherine: Where are you?
Warrick: (whispers) Right here. CATHERINE: (whispers) Oh.
(She turns the lights back on. Warrick is standing right in front of her looking through the goggles.)
Catherine: Hi. Warrick: Hi.
(The shades pull up.)
Catherine: Night vision goggles?
Warrick: Yeah, someone left these behind.
Catherine: Kind of defeats the purpose of dining in the dark.
Warrick: Unless you don't come here for the food.
CUT TO:
[INT. BLIND – LOBBY – NIGHT]
(Warrick talks with Jerry Nivens.)
Warrick: Mr. Nivens. Are these yours?
(He shows him the goggles in an evidence bag.)
(Mona Nivens sits nearby and looks at her husband, Jerry. Jerry rolls his eyes, barely looking at her and doesn't answer Warrick.)
Warrick: I'll take that as a "yes."
(The officers turn Jerry Nivens around to handcuff him.)
Jerry Nivens: Wait, wait ... I didn't k*ll anyone.
Warrick: Then why would your bring military-grade, night vision goggles to the restaurant?
(He glares at his wife.)
Jerry Nivens: A hunch.
(Quick flashback to: [BLACK SCREEN] The dining room is dark. We hear the sounds of eating intermittent with a man and a woman moaning.)
Jerry Nivens: Hey. Sweetheart, you want to try some of my steak?
(Jerry Nivens appears in the light holding a piece of steak.)
Mona Nivens: (o.s.) No, thanks. I'm all good.
(He hears heavy breathing and gets suspicious. He takes out his night vision goggles and puts it on.)
JERRY'S POV
(Mona is sharing an intimate bite with the husband of the couple they're seated with while his wife is alone eating her meal.)
END FLASHBACK.
Jerry Nivens: Always be suspicious when your wife wants to dine in the dark with another couple.
Mona Nivens: You brought night vision goggles to spy on me during dinner?
Jerry Nivens: Damn right.
(Warrick can't believe this. Brass wipes his face with his hand and sighs. He grins sheepishly.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Nick is walking through the hallway and reading a file when Hodges steps out of his lab and joins him.)
Hodges: Millions of tires wear out ever year. You ever wonder where all that rubber dust goes?
Nick: No, I don't.
Hodges: The black powder trace you found in your victim's clothing was tire rubber.
Nick: It's not surprising. We found the body on the side of the highway.
Hodges: Of course you would expect that. However, I did find some very interesting type of rubber.
Nick: Okay, Hodges, dazzle me.
Hodges: Truck tires have 27% isoprene and 14% neoprene. That's what makes them so hard. Passenger tires have a lower isoprene-to-neoprene ratio, but they also have silica for fuel economy and wet traction.
INSERT: FLASH OF A GO-CART TIRE
Hodges: (V.O.) Go-cart tires, or "slicks," –
END FLASH.
(Hodges shows Nick the test results.)
Hodges: -- to those in the know, have much higher levels of carbon black and oil, resulting in extremely high traction.
Nick: Guess I better get my go-cart on.
Hodges: You know, just so you know, I'm a bit of go-cart enthusiast myself.
Nick: Oh, uh ... that's awesome.
(Nick leaves.)
CUT TO:
[INT. GO-CART TRACKS -- DAY]
(Nick and Greg talk with the girl behind the counter, Christin Gillis.)
Greg: Have you seen this guy before?
Christin Gillis: Day before yesterday, day before that, and the day before that. Oh, man, did he get in trouble?
Greg: Are these the race stats?
Christin Gillis: Uh-huh.
Greg: You keep record of them?
Christin Gillis: Yeah, all in here. People ask for them every day like they're some sort of trophy.
Greg: Could you print out Vincent Bartley's trophy from the last time he was here?
Christin Gillis: Yeah. But I'm not getting him in trouble, am I?
Nick: No. No, not really. (to Greg) You know, when I was a kid, we used to make these things out of lunch trays and old lawn mower engines.
Greg: When I was kid, I used to make b*mb--little b*mb.
(She hands the printout to Greg.)
Greg: Oh. "Vinnie Vroom." Won all three of his races. b*at out a guy named "Hot Rod."
Christin Gillis: Vinnie ran circles around him.
INSERT: FLASHBACK TO
(Vinnie Vroom and Hot Rod race around the tracks.)
Vinnie Vroom: Yes.
(Vinnie stops and takes his helmet off to do his victory dance.)
Vinnie Vroom: Yes. Yes, is that all you got? Is that all you got? Is that all you got? Is that all you got?
(Hot Rod gets out of his go-cart while Vinnie continues his victory dance.)
Vinnie Vroom: Is that all you got? Is that all you got?
END FLASHBACK.
Christin Gillis: Rodney went from being A-Rod to being No-Rod.
(Behind them, they hear tires screech.)
Christin Gillis: Hey, there he is, right there.
(They turn around to see Hot Rod get out of his cart.)
Hot Rod: Aw, come on. Hey, if you guys want to race, then you guys have to wear dresses, huh?
(He takes his helmet off.)
Hot Rod: Get your skill up, all right. I need some competition here.
Nick: Hot Rod!
(He turns and looks at them ... then runs.)
(Nick and Greg look at each other. Greg shrugs and motions for Nick to go on ahead.)
(Nick takes off after Hot Rod. He jumps right over the track fence and takes the direct route. Greg takes off, going around the fence to head Hot Rod off.)
(Nick runs clear through the track.)
(Hot Rod jumps over the fence on the other side.)
(Nick jumps over the other side of the fence.)
(They exit the building.)
[EXT. GO-CART TRACKS – PARKING LOT – CONTINUING]
(Hot Rod heads for his truck.)
(He opens the truck door and gets inside just as Nick reaches the truck. Nick takes his g*n out and holds it on Hot Rod.)
Nick: Get out of the truck! Get out of the truck now!
(Hot Rod takes his hands off the steering wheel.)
Nick: Get out of the truck now!
(Hot Rod gets out of the truck.)
(Greg arrives with the officers, who handcuff Hot Rod.)
Nick: Nothing says "I'm guilty" like running from the cops, dumb-ass. Give me his wallet.
(The officer takes Hot Rod's wallet out of his pocket.)
Nick: Rodney Banks. We're with the Vegas Crime Lab, Mr. Banks.
(Greg looks inside the truck.)
Rodney Banks: Hey, I didn't do nothing.
Greg: You got quite a mess here, Rod. Mind if I take a look?
(Greg holds up the belt.)
Nick: Where'd you get that belt?
Rodney Banks: I don't know.
Nick: Where?
Rodney Banks: I don't know.
(Greg tests the belt for blood.)
Greg: Blood. Looks like things just got a lot hotter for you, Rod.
CUT TO:
[INT. BLIND – DINING ROOM – DAY]
(Warrick continues to snap photos of the food on the table. Catherine is in the back testing the skewers.)
Catherine: All skewers accounted for, none of them bloody.
(Warrick picks up something off the table and looks at it.)
Catherine: We've got a high-profile d*ad guy in a locked-room situation, with sixteen diners and three blind waiters. Give me something.
Warrick: How about a Band-Aid with petals?
(Catherine walks over and looks at it.)
Catherine: It's not a Band-Aid. It's a nipple flower.
Warrick: What's it doing at a table with four guys?
CUT TO:
[INT. BLIND – LOBBY – DAY]
(Man 1 stands in front of Brass.)
Man 1: Can I go to the bathroom? Please, please, please?!
Brass: Again?
Man 1: Yes, sir.
Brass: Yeah, okay.
(Man 1 runs to the bathroom. The rest of the three guys in his party laugh.)
Brass: Okay. What's so funny?
Orange Shirt Manducci: We slipped a laxative in his beer in the dark. It's his sixth trip to the can. It's freakin' hilarious.
Brass: What are you guys, like twelve years old? Oh, hey, hey, Curly. How come you're so pretty in pink? Huh?
(The man in the orange shirt looks down at the pink fur on his sleeve.)
(He points at April Kissimee, who is being comforted by Shasta McCloud.)
Orange Shirt Manducci: Breast exam.
(The men erupt in laughter.)
Orange Shirt Manducci: You know, doctors without boundaries, if you know what I mean.
INSERT: FLASHBACK
(It's completely dark in the room. The two women with Hampton Huxley are giggling softly. The orange shirt man turns to his buddies.)
Orange Shirt Manducci: You guys, come here. It's total darkness. There's two Kitties. That's four ... They're all up for grabs! I'm going on a mission of mercy.
(He gets up and heads over. He feels around for their table, then reaches April. He grabs her.)
April Kissimee: Who is that? Hux? Stop it. Save it for later.
Hampton Huxley: What are you talking about?
April Kissimee: That's not you, Hux? (screams) Somebody's touching me!
Orange Shirt Manducci: Sweet mother. Guys, they're real -- both of them!
Hampton Huxley: Waiter? Waiter, we have a problem over here.
(The waiter, Michael Bowie, heads over to them.)
END FLASHBACK.
(Brass talks with Michael Bowie.)
Michael Bowie: Yeah, I lead Mr. Manducci back to his seat. He and his brothers had had quite a bit to drink.
Brass: So it was the blind leading the drunk, huh?
Michael Bowie: I could do it with my eyes closed.
Brass: Well, did you, did you hear anything unusual?
Michael Bowie: No. Everyone seemed to be having a good time. Until the woman in the fuzzy dress shrieked. I found Mr. Huxley slumped forward. Checked for a pulse, and he didn't have one, so I turned on the emergency lights. Then she really screamed. Is she pretty? She had a pretty girl scream.
Brass: Oh, man. She's a Huxley Kitty. She's gorgeous.
(Brass notes the waiter's tie is wet.)
Brass: Hey, uh ... Let me ask you something. Did you wash your hands?
Michael Bowie: Force of habit; I'm sorry. Waiter.
Brass: Okay, we're going to have to take your prints, okay?
Michael Bowie: Sure.
(Brass leads Michael Bowie over to the print table.)
Brass: We're going to walk, straight ahead.
CUT TO:
[INT. BLIND – DINING ROOM – DAY]
(Warrick and Catherine look at the mess on the table.)
Warrick: Looks like there was some kind of struggle.
(Catherine touches the substance.)
Catherine: Sticky.
(She finds it on the floor as well.)
Warrick: What do you think it is?
(She touches it and smells it. She looks at Warrick)
CUT TO:
[INT. BLIND – LOBBY – DAY]
Peter Ellis: Honey? The detective needs to ask us some questions.
(Nanci Katz holds a cold pack to her head. She shakes Brass's hand.)
Nanci Katz: Hi, Nanci Katz. Soon to be Ellis.
(She giggles.)
Brass: I'm Jim Brass. Yes. So, what happened, Nanci?
Nanci Katz: Oh, um ... ask him.
Peter Ellis: Oh ... uh ... well, I-I thought it would be romantic ...
(Quick flashback to: They're eating in the dark.)
Nanci Katz: (V.O.) Mmm. I have not ever tasted a fig this juicy.
Peter Ellis: Oh, they're so good.
Nanci Katz: Mmm.
Peter Ellis: It's like they're, it's like, it's better than the Newtons.
(He feels around and opens a ring box. He takes out a diamond ring and slides it across the table toward her hand.)
Nanci Katz: Mmm. It's so much better.
(He pulls the tablecloth down and the plates of food fall off the table.)
Peter Ellis: Oh, God!
Nanci Katz: Baby, are you okay?
Peter Ellis: Yeah, um ...
Nanci Katz: What happened?
Peter Ellis: Yeah. Uh ... a thing ... I'm ... uh ... okay.
(Peter tries again.)
Michael Bowie: (o.s.) It's Michael here. Is ... is everyone all right?
(Peter puts the ring in Michael's hand so he can feel what he's trying to do.)
Peter Ellis: Oh ... uh ... yeah. Michael, I'm just ... (mutters) I'm trying to get something going here.
Michael Bowie: Oh, no problem, sir. I'll leave you two alone.
Peter Ellis: Okay.
(Michael leaves.)
Peter Ellis: Uh, baby, where's your ...
Nanci Katz: Yeah?
Peter Ellis: Where's your hand?
(He reaches for her hand. She gasps.)
Peter Ellis: Ever since I met you, I've known I wanted to ask you this question. (He pauses to count her fingers to make sure he gets the ring on the right one.) One, two, three. Would you be my wife? Will you marry me?
(She laughs.)
Nanci Katz: Yes! Yes.
(Since she can't see it, she feels the diamond.)
Nanci Katz: Oh, my gosh. I can't even see it, but it feels big. The ring, I mean.
Peter Ellis: Sure, yeah.
Nanci Katz: Yes! Yes!
END FLASHBACK.
(Brass is holding Nanci's hand and looking at the ring. Peter looks at him expectantly.)
Brass: Oh. Congratulations.
Peter Ellis: Thanks.
Brass: So how'd you bump your noggin?
(She looks a little embarrassed as she glances at Peter.)
Nanci Katz: It was dark; nobody, could see. I wanted to say yes.
(Brass nods. He gets it.)
Nanci Katz: Loud and clear? There's a lot of metal under those tables.
Peter Ellis: There really is, yeah.
Nanci Katz: Way too much.
Peter Ellis: It's not safe.
Brass: I bet.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
Holstein: (V.O.) Losing the race was just the beginning.
[INT. PD – INTERVIEW ROOM – DAY]
(Holstein and Nick interview Rodney Banks.)
Holstein: Then, you k*lled him. Cut his body up and dumped it on the side of the road.
Rodney Banks: Whoa, man. I swear I didn't k*ll anybody. Or I didn't cut anybody up or dump 'em. All I did was ask him for a rematch ... off the track, where it really counts.
(Quick flashback to: [NIGHT] Vincent Bartley and Rodney Banks race the go-carts on the open road behind a truck.)
(Vincent tries to pass the truck, but there's another car coming toward them. He goes back behind the truck.)
(Rodney goes ahead and passes the truck.)
(He stops and celebrates, knowing he won.)
Rodney Banks: Yeah!
(He turns and sees Vincent's go-cart swerve uncontrollably. Vincent has no head.)
END FLASHBACK.
Nick: So your statement is he just spontaneously lost his head?
Rodney Banks: Yeah. You know, one minute, he's staring at me. The next, I look back, and the Headless Horseman is driving his cart.
Nick: And then what happened?
(Rodney's quiet.)
(Quick flashback to: He gets his helmet off and gets out of the go-cart. He gets Vincent's body out of the cart, removes Vincent's belt and uses it has a tie between the two go-carts. He climbs back into his cart and tows it back.)
END FLASHBACK.
Ezekiel Holstein: So why you just didn't ditch the carts?
Rodney Banks: Christin, that ... that girl at the track, she let us sneak out with them. You know, my life was turning into a horror movie -- I didn't want to bring her in on it.
(Nick shrugs.)
CUT TO:
[INT. CSI – HALLWAY / GRISSOM'S OFFICE -- DAY]
(Conrad Ecklie moves through the hallway, determined to corner Grissom. He walks into Grissom's office.)
Conrad Ecklie: You've been dodging me; it's time to talk.
(Grissom is sitting at his desk.)
Conrad Ecklie: Gil, nobody wants to hear about your love life less than I do, but since you didn't handle this right, I have to take a formal statement.
(Ecklie sits down and opens his notebook.)
Conrad Ecklie: Should've been a conversation between friends. I mean, we could've found some way around this. Catherine could have done Sara's evaluations. Why didn't you just tell me?
Grissom: We didn't want you to know.
Conrad Ecklie: Don't most women like the world to know they're dating someone?
Grissom: Where do you get your information about women, Conrad?
(Ecklie shakes his head.)
Conrad Ecklie: Okay, so, when did you two, you know?
(Grissom thinks about it.)
Grissom: Nine years ago.
(Ecklie rolls his eyes.)
Conrad Ecklie: (exasperated) You know what? You two need to get your stories straight.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. GO-CART TRACKS -- DAY]
(Greg examines the go-carts. He stops and kneels next to one of the carts. He notices gravel.)
CUT TO:
[INT. CSI – GARAGE -- DAY]
(Nick and Greg examine the go-carts.)
Nick: There's road gravel embedded in all these tires.
Greg: Yeah, but no visible blood on that one.
(Greg looks at the bumpers.)
Greg: Got a worn area on this front bumper. Some brown trace. Same goes for the rear of that one.
(Nick moves over to look at the bumper.)
Nick: Well, if it turns out to be leather, it would confirm Hot Rod's story that he towed the second cart back using Vinnie's belt.
Greg: Got what looks like ... blood on this wheel well.
INSERT: CGI BLOODSPATTER
(Greg swabs it and tests it.)
Greg: This is the victim's cart. Must have been movin' when his head popped off.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins snaps photos of Hampton Huxley on the table as David works nearby.)
Robbins: Well, another one for the scrapbook. Boy, he looks different without hair. Never knew he wore a toupee.
David Phillips: Oh ... uh ... it had something sticky on it, so I bagged it for Trace. (He holds up the bag.) But if you want, we could put it back on for the photo op.
Robbins: No, that's okay; let's get to cutting.
(David picks up the bone saw.)
(He turns the saw on as Robbins makes the initial cut on Hampton Huxley's skull.)
SHORT TIME CUT TO:
(Robbins examines Huxley's brain.)
Robbins: Embedded horizontally in the parenchyma of the right temporal lobe is a linear, silver-toned, metal tube that tapers to a point. And in this case, David, the pen may be mightier than the sword.
INSERT: CGI
(The pen punctures through the head into the brain where the tip breaks off as it's extracted.)
(The blood and ink drip out.)
CUT TO:
[INT. PD – BRASS'S OFFICE -- DAY]
(He empties Shasta's bag onto the desk and finds her cell phone, wallet and other items stained with leaky ink.)
Brass: Okay.
Shasta McCloud: Okay, that pen's not mine.
Brass: Yeah. Nice try, sweetheart.
(Shasta sighs and sits down.)
Shasta McCloud: Excuse me. Can I be Lucy Logic for a bit? First of all, that purse is designer. There's no way I'm ruining it with ink.
(April shakes her head at Brass in agreement.)
Shasta McCloud: Second of all, I know where my bread is buttered. Hux was my meal ticket -- k*ll him, go hungry.
Brass: Unless you're in the will.
(Both April and Shasta laugh.)
Shasta McCloud: Kitties don't get in the will. Besides, if I had touched that thing, wouldn't I have ink on my hands?
Brass: Hmm.
Shasta McCloud: Whoever did it ditched the pen in my bag. It was on the back of my chair the whole time. It could have been anyone.
April Kissime: What about the guy who as*ault me?
Shasta McCloud: Look, if you really want a suspect, you need to check out little Miss Chef Lady.
Brass: Little Miss Chef Lady? Why is that?
April Kissime: Hello.
Shasta McCloud: Duh, she's ... Winter Issue? 1995.
CUT TO:
[INT. PD – INTERVIEW ROOM -- DAY]
(Brass sits at the table looking at a magazine centerfold.)
Brass: You certainly weren't hiding anything back then. Hmm?
(He closes the magazine and looks at Pippa Sanchez.)
Brass: Ms. Sanchez, according to your fellow Kitties, you and Huxley had a falling out. It's curious that you didn't mention that.
Pippa Sanchez: I didn't mention it, because it's ancient history. Twelve years ago, a misogynist told me I should eat less. And today, I now have a hot restaurant on the Strip and two contracts for spots in LA and Chicago. "Food Seduction" is a best-seller. I think I won that battle already.
Brass: So, did you and Huxley speak to each other last night?
Pippa Sanchez: His reservation was booked under a pseudonym. I didn't even know he was there. Mr. Brass, do you know why I started my restaurant?
Brass: No. Tell me.
Pippa Sanchez: Because I fell in love with a blind man. He would turn off the lights and feed me. When you deprive one sense, other senses are heightened. My only focus was on my tongue. It was brilliant. And then he died. And this restaurant is an homage to him—to our love affair.
Brass: How nice for you.
Pippa Sanchez: I don't mean to be crude, but a m*rder is, quite frankly, bad for business.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAB -- DAY]
(Warrick takes one of the napkins out of the package and puts it in the video spectral comparator.)
VARIOUS DISSOLVES.
(He takes the napkin out and grabs the next package where he does the same for the next napkin and the next napkin.)
INTERCUT WITH:
[INT. CSI – LAYOUT ROOM – DAY]
(Catherine looks at the morgue photos and spreads them out on the table. She opens the file folder and looks at the photos of various items -- of a watch, wallet and toupee.)
(In the file, she sees:
8) TOUPEE AUTOPSY – D. HODGES TRACE. IDENTIFY UNKNOWN STICKY SUBSTANCE
(Warrick finishes the napkins. He looks at the napkins under various lights in the VSC and finds a print on one of them.)
(Catherine finds the analysis for the sticky substance: HONEY.)
(Warrick walks into the room with his results.)
Catherine: Hey.
Warrick: Hey.
Catherine: So, Huxley had honey on his hairpiece, ink in his brain and blood all over. There were three people who had honey on their hands: the frisky couple and Michael. Two people who had blood on their clothing: April and Michael. And there was a total of five people moving around the room: two Manducci brothers and all three waiters. Now, that's a lot of lists for Michael to turn up on. He does work there, so there's reason for it, but ...
Warrick: Well, there's no reason for this: Michael's print in ink, on a napkin.
(He shows her the print.)
Catherine: What would he have against Huxley?
Warrick: His prints h*t back to an old work card. The guy used to be a chef.
Catherine: A blind chef?
Warrick: He lost his sight a few years back. But before that, guess who was his sous-chef?
CUT TO:
[INT. PD – INTERVIEW ROOM -- DAY]
(Catherine reads to Michael Bowie from Pippa Sanchez's book)
Catherine: (reads) "The man knew his way around a kitchen, and his way into my heart. Michael would spend hours teaching me, feeding me ... loving me."
Brass: So, you're the d*ad guy?
Michael Bowie: She seduces me, steals my recipes, my ideas, my investors. And then she hires me as a freaking waiter. Night after night, I listen to her tell stories of the tragic love affair, of the poor, d*ad blind guy. Last night, I finally confronted her.
(Quick flashback to: Michael talks with Pippa.)
Michael Bowie: I deserve a piece of the action.
Pippa Sanchez: At $200 a head, you're clearing at least $1,000 in tips at night. That's a lot of action for a blind man.
Michael Bowie: I made you.
Pippa Sanchez: You're fired. We're done.
(End of flashback.)
Brass: But why k*ll Huxley? Why not just her?
Michael Bowie: I'm blind. She's not. But in that dining room, everybody else is blind, too. And when Huxley walked in with his Kitties, it was like a sign from the gods. I knew I could destroy her and the restaurant.
(Quick flashback to: Hampton Huxley eats an oyster.)
Michael Bowie: (V.O.) I waited till the oyster course. The shells clanging, and slurping, the "oohing," the "aahing, I knew it would cover any noise I was going to make.
(As they eat, Michael s*ab him with the pen.)
(End of flashback.)
Michael Bowie: I wanted her rotting in jail, eating bologna sandwiches.
Catherine: If you wanted to frame Pippa, why did you plant the pen in Shasta's purse?
Michael Bowie: I tell everyone to put their purses and jackets on the back of the chairs, so I knew exactly where her purse was.
(Quick flashback to: Michael puts the dripping pen in the purse. He wipes his hands on the napkin and drops the napkin on the floor.)
Michael Bowie: Old cat frames young Kitty. Kind of perfect.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Greg and Nick report back to Grissom.)
Greg: We found high velocity blood spatter inside the rear wheel well of the victim's cart, which means he lost his head at high speed.
Nick: So how did Hot Rod decapitate Vinnie while racing down a highway at 60 miles an hour?
Grissom: Maybe he didn't.
Greg: Well, people's heads just don't fly off for no reason. Well, I mean, maybe we should check the scene for some wires or branches, or something he could've run into.
Nick: If it would've happened that way, we would've found trace from whatever did it. The only trace in the neck and arm wounds was rubber from truck tires.
Grissom: Which was present on both sides of his wounds but not on his clothing.
Greg: There were blown-out tire fragments all over the road.
Grissom: But we found his body off the road. There shouldn't be any transfer from truck tires.
(Grissom thinks about it.)
Grissom: Unless ...
(Nick and Greg exchange looks.)
CUT TO:
[INT. CSI -- LAB]
(Grissom is revving up a rubber tire. In the background, Ecklie passes in the hallway and stops when he sees Greg and Nick setting up the Jell-O bust. They secure the bust at about the same height as the go-cart.)
(Ecklie walks in.)
Conrad Ecklie: What's going on here?
Grissom: We're trying to determine whether a steel-belted truck tire can decapitate a kid driving a go-cart.
(Nick puts the helmet on the bust.)
Conrad Ecklie: I thought that was an urban myth.
Grissom: Myths, legends, tall tales -- they all come from something real.
Nick: If that go-cart was going 60 miles an hour drafting a truck going the same speed, and that truck blows a tire, sending a two-pound projectile into the driver's neck ...
Conrad Ecklie: Yeah, the combined speed of impact would be 120 miles an hour. Which is about ...
Greg: 962 foot-pounds of energy.
Grissom: All right, let's go, fellas.
(Nick pats the helmet secure on the bust. He and Greg get up and move behind the shield. Ecklie doesn't move. They can't do the experiment until Ecklie moves.)
Grissom: Come on, Conrad. There's always room for Jell-O.
Conrad Ecklie: (mutters) It's expensive Jell-O.
(Ecklie grabs protective head gear and moves behind the shield with the others.)
(Grissom picks up some rubber, --
Greg: (excitedly) I love this.
-- then sends it through the rolling tires.)
SLOW MOTION. The rubber hits the helmet and knocks the head off the bust.
(Quick flashback to: [NIGHT] During the race, Vincent doesn't pass the truck. The truck hits a piece of rubber on the road, sending it back toward Vincent, hitting him on the shoulder. He blocks it and continues racing.)
(The truck hits more pieces of rubber on the road, sending it back toward Vincent. He raises his hand to block it. The rubber cuts off his head and his hand.)
(End of flashback.)
SLOW MOTION. The rubber knocks the head off the bust.
(The helmet and Jell-O bounce off the lab floor.)
(Ecklie looks at them.)
Conrad Ecklie: Well, it worked. See if we can't reuse some of that.
(And like a kid, Grissom smiles.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. GRISSOM'S CAR (PARKED) -- DAY]
(Grissom and Sara talk.)
Grissom: When did you tell Ecklie we got involved?
(Thinks about it.)
Sara: Two years ago. Why? What did you tell him?
Grissom: Nine years ago.
(Sara laughs.)
Sara: The Forensic Academy Conference?
Grissom: Yeah.
(She laughs.)
Grissom: You ... uh ... had too many questions about anthropology, for some reason.
Sara: Well, I was stalling. I was trying to get the nerve to ask you to dinner.
Grissom: You had a ponytail.
Sara: I'm going to move to swing.
Grissom: We talked about this.
Sara: I know that you said that you would do it, but I don't want to do that to the team. Besides ... I am sure that I could use more daylight in my life.
(Grissom is quiet. He nods.)
Sara: We should go.
Grissom: Yeah.
(They get out of the car.)
CUT TO:
[INT. GO-CART TRACKS -- DAY]
(The team is inside racing around the tracks in the go-carts. Sara and Grissom walk up to the fence and watch them. As they round the corner, they wave to them. Grissom gives a thumbs-up sign to them.)
(Nick stops the cart in front of them and opens his helmet visor.)
Nick: Whoo! (to Sara) You ... uh ... you want a ride?
Sara: Wish I could.
Nick: What about you, Ricky Bobby?
Grissom: No, thanks, I like to watch.
Nick: Okay.
(Nick laughs, shuts the visor and heads off on his way. Sara turns at Grissom.)
Sara: You should go.
Grissom: Yeah?
Sara: Yeah, you should go.
Grissom: Okay.
(Grissom goes through the gate and picks up the helmet off the nearby cart.)
(Sara smiles. Grissom is in the cart and ready to go. Sara gives him a thumbs-up sign.)
(Grissom starts the cart, gives her a thumbs-up sign and races around the track with the others. They're like a bunch of little kids.)
(Sara remains at the fence watching them from the outside.)
(Grissom rides the go-cart around the tracks.)
(HOLD on Sara watching.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x02 - A La Cart"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – DAY]
[EXT. RESERVOIR (STOCK) – DAY]
VARIOUS CUTS OF:
(A woman turns on the kitchen tap. Clear, fresh water pours into the glass. The woman takes a pill and drinks it down with the water.)
CLOSE-UP
(A toilet flushes. The water spins down the bowl.)
SHOWER HEAD
(A woman takes a bath. The water runs down her body.)
[EXT. RESIDENTIAL AREA – DAY]
(A man waters his bushes.)
(Another man washes his boat.)
(The water runs down the drain.)
CGI ZOOM down through the sewers, following the water through the various treatment pipes.
RESUME
(The water rushes out the drainpipe.)
PULL BACK and DOWN into the murky waters. A fish swims by. The fish is pulled out of the water by a fisherman's net.
(The fisherman in the boat puts his net down and sees the body dangling from the tree off shore.)
FLASH TO:
[EXT. LAKE – DAY]
(David Phillips tends to the body. Grissom and Nick are at the site while Brass fills them in.)
Brass: Guy in a boat spotted him this morning. No witnesses.
Nick: How did he get up there?
(Grissom snaps a photo of the tire tracks on the dirt.)
Grissom: I think maybe somebody gave him a lift.
(Nick takes his Kn*fe out.)
Nick: Okay, super, I'm ready to cut.
(David Phillips holds the body as Nick cuts the rope. The body is put on the gurney. David examines the body.)
Grissom: Lacerations to his chest.
Brass: s*ab and then hanged. I guess he wasn't d*ad enough.
David Phillips: Rope burns on both palms.
Nick: He probably tried to pull himself up.
Grissom: Lift his shirt up, will you, David?
(David lifts the shirt and sees the victim's breasts.)
David Phillips: Whoa! I ... thought this ... guy was a guy.
Grissom: Check the plumping.
David Phillips: Full male genitalia.
Nick: Mutilated tr*nny strung up in a tree.
(Quick flash to: Some men hang up the victim as he cries and struggles.)
Man: Go! Go! Go! Go!
(They drive away, leaving the victim hanging from the tree.)
(End flash.)
Nick: Bet I know how he got up there.
Grissom: Hate?
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAKE -- DAY]
(Nick removes the tire print cast off the ground. He sets it aside and stands up to look around the area. He puts evidence marker #2 on the ground near some blood.)
(He puts evidence marker #3 on the ground near more blood. He puts evidence marker #4 near a pair of shoes. Nick picks up the cell phone left inside the shoe. He checks it and sees the message:
INBOX
PCYDEN:
I NEED IT TONIGHT
(He scrolls back.)
INBOX:
TO PCYDEN:
CAN YOU GIVE ME MORE MONEY THIS TIME?
PCYDEN:
OKAY.
(Nick puts the cell phone down. He continues looking around. He puts evidence marker #5 down near a couple of empty alcoholic bottles on the sand. Nick picks up a broken bottle and looks at the sharp glass edge.)
(Quick flash to: Someone breaks the glass bottle against the rock and slashes Brian Towne in the chest.)
END FLASH
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins pulls out a small piece of glass from the laceration.)
Robbins: Lacerations aren't deep enough to have k*lled him. Ligature furrows canted upward. Scratches ... consistent with struggling to get free.
(Grissom picks up the rope and looks at it.)
Robbins: Preliminary COD's suffocation from hanging.
(Grissom looks at the driver's license.)
TOWNE, BRIAN
6487 HILLIS STREET
VERDANT GLEN, NV 89110
EXPIRES: 4-13-2008
WEIGHT 140 EYES GRN HAIR BRN
Grissom: Eighteen years old.
(Robbins snaps photos.)
Grissom: Brian Towne. Lived in Verdant Glen.
Robbins: Hmm. Twenty years ago, my wife wanted to buy out there, but there was no 215 freeway back then. The commute would've k*lled me. No physical signs of Klinefelter syndrome.
Grissom: So he's not an XXY.
Robbins: No, he's all skin and muscle. These can't be fatty deposits ... this is glandular tissue. His mammaries are swollen.
Grissom: Gynecomastia. Pre-op transsexuals take a lot of estrogen.
Robbins: I'll run an expanded tox panel, send out for a hormone screen.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
(The block where the Rampart Casino once stood is now a construction area.)
[EXT. CONSTRUCTION SITE -- DAY]
(The SIGN reads:
COMING SOON SPRING 2008
ECLIPSE HOTEL & CASINO
(Catherine and her mother, Lily Flynn, stand near the sign as they watch the construction going on in front of them.)
Lily: It wasn't easy being a Copa girl. When the curtain came down, we had to stay and decorate the Sands Casino into the wee hours.
Catherine: Ugly guys do gamble more when there's pretty girls to look at.
Lily: They weren't all ugly. And your father, in that tuxedo ... giving me the eye, trying not to grin, 'cause he thought floor managers had to be tough.
Catherine: So, Mom, who made the first move?
Lily: Sam. (She holds a chip.) Stuck this five-dollar chip in my hand and said, "Take it, you can't miss." I sh*t craps all night with Peter Lawford and cleaned up. I was right here the day Sam opened the Rampart, his first casino.
INSERT: FLASHBACK
(A young Sam cuts the tape.)
Lily: (V.O.) And we were going to be right here again when he opened the Eclipse.
(Sam turns and hugs Lily.)
END FLASHBACK.
Lily: I know you wanted to be buried with this, but I just couldn't let go. I can now. They're going to build your dream on it, honey.
(She kisses the chip.)
Lily: Take it. (whispers) You can't miss.
(She tosses the chip into the construction pit. The chip hits the sand.)
FLASH TO:
[EXT. RAMPART – NIGHT]
(The lights of the RAMPART Hotel and Casino flash in the night.)
INSERT: VARIOUS FLASHES OF SAM
(Lily wipes the lipstick off Sam's lips.)
(Sam walks with his arm around Catherine.)
(Cut to: Sam turns around.)
(Catherine waves to him.)
(Sam and Catherine)
(Sam dabs Lily's mouth with the edge of his napkin.)
(A g*n fires. Someone sh**t Sam. He falls backward. Catherine breaks his fall.)
(The RAMPART explodes and falls as the observers cheer.)
END FLASHBACKS.
[EXT. CONSTRUCTION SITE -- DAY]
(A couple of police cars arrive at the bottom of the pit. Their sirens wail as they arrive. Catherine and Lily stand on top near the sign as they watch.)
(Catherine goes down to find out what's going on.)
(The foreman talks with his worker.)
Foreman: I don't care if it's Jimmy Louise Hoffa. I want you to grab that jackhammer and bust up this concrete.
(Catherine shows the officer nearby her ID.)
Catherine: Supervisor Willows from Crime Lab. What's going on here?
Officer: Worker found a body.
Worker: I'm just following protocol. You find a body, call you guys.
(Catherine looks at the hand sticking out of the ground.)
Foreman: How do you know this is one of the Marquis Chimps?
Catherine: 'Cause they played the Frontier in Ronald Reagan's act. And only humans have a saddle joint. In fact, that's how we were able to swing out of trees and end up here. Opposable thumbs.
Foreman: Well, these casinos weren't built by saints, you know.
(Catherine takes her phone out.)
Catherine: Oh, I know. My dad built this one.
(She makes the call.)
Man: (on phone) Crime Lab.
Catherine: (to phone) Yeah, this is CSI Willows. I need to hand a case off to swing. Conflict of interest.
CUT TO:
[EXT. LAKE (STOCK) – DAY]
[INT. TOWNE RESIDENCE – BRIAN'S BEDROOM -- DAY]
(Warrick snaps photos in the bedroom. He closes the dresser drawer. He turns and opens the bedside table driver and finds a half-empty tray of b*ll*ts.)
(He looks at one of the b*ll*ts.)
(Warrick pulls the pillows off the bed as he looks for the g*n. He checks under the mattress and finds a box. Inside the box, he finds the VERDANT GLEN WATER TREATMENT PLANT, the ANNUAL WATER ANALYSIS 2007 MEMO. The report is signed by JONAH QUINN, General Manager.)
(He puts the report aside. Also inside the box, he finds a tray with vials of water samples.)
(Warrick finds a second box under the bed filled with cash. He snaps a photo of it. Warrick counts the money.)
CUT TO:
[INT. TOWNE RESIDENCE – KITCHEN -- DAY]
(Brian's mother, Lynn Towne, takes a glass out of the cupboard. She talks with Brass.)
Lynn Towne: I want to know who did this.
Brass: Well, that's what we're trying to find out.
(She fills her glass with water from the tap and drinks.)
Brass: Mrs. Towne, it would be of help if you could tell me a little bit more about your son Brian.
Lynn Towne: He was kind ... and sweet and ... didn't have an enemy in the world.
Brass: What about friends?
Lynn Towne: Not really. He was always so busy putting in overtime down at the ... water treatment plant. He loved to take long runs. Exercise is a natural cure for depression.
Brass: Was he depressed? I mean, there's a lot of medications here. Are these Brian's?
Lynn Towne: No. These are all mine. I had a mastectomy eight years ago. Cancer came back three months ago.
Brass: Oh. I'm... I'm sorry to hear that.
Lynn Towne: I never thought I'd outlive my son. Is there anything else?
Brass: Did you know a person with the last name Cyden? C-Y-D-E-N?
Lynn Towne: Paul Cyden. He's a family friend; he lives a couple blocks over.
Brass: So Brian knew him, too?
Lynn Towne: Oh, he was like a father to Brian after my husband died.
(Warrick enters the kitchen.)
Lynn Towne: Why are you asking about Paul?
Warrick: Ma'am, your son had a good deal of cash stashed away in his bedroom. Was he saving up for something?
Lynn Towne: I don't know. (Warrick and Brass exchange looks.) What's going on here?
Brass: Mrs. Towne, we think Brian was saving up for a sex change operation. Were you aware of this?
Lynn Towne: My son was not a freak.
Brass: No, I didn't say that.
Warrick: Ma'am, we're not trying to upset you in any way.
Lynn Towne: (upset) I volunteered to let you in my house! And now I want you to leave. I want you to leave right now!
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. CONSTRUCTION SITE -- DAY]
(Sara and Ronnie work on excavating the body while the construction workers continue working at other areas of the site. Ronnie puts the large stones aside.)
Ronnie Lake: In college, I wanted to be an archeologist, until I did a summer on a dig in Tunisia. Hot. But that got me into forensics. What made you pick Vegas?
Sara: Well, it.. uh.. it kind of picked me.
(Sara snaps some photos.)
(The foreman stands on the side and watches them. Ronnie uncovers a piece of jewelry.)
Ronnie Lake: Hey, check this out.
(Sara snaps a photo. Ronnie picks it up.)
Ronnie Lake: Turquoise and silver beads. I got the matching necklace at the Indian market in Santa Fe.
Sara: (shouts) Everybody stop! (Ronnie is surprised.) Stop what you're doing!
Foreman: What is the problem now?
Sara: We have just found evidence that this might be a Native American burial site. We have to notify the Inter-Tribal Council. Until they say so, nobody touches anything.
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Grissom turns the corner. Henry catches him.)
Henry: Hey, Grissom. About your hanging victim. The one with the "chesticals." (jokes) The man boobs ... uh, the ... (sees Grissom's serious look) ... gynecomastia, sorry.
(Henry gives him the report.)
Henry: Quant hormone report. Androgen's low. Estradiol's high. It's 250 picograms per milliliter. Arogester one, too.
Grissom: Estrogen level is five times the normal amount for an adult male.
Henry: It's consistent with a pre-op transsexual.
Grissom: Yeah, but there's no other pre-op drugs in his system. No spironolactone, no flutamide, progesterone.
Henry: Maybe he's a "do-it-yourselfer."
(Grissom looks at Henry.)
Henry: Okay.
(Henry turns and leaves. Grissom continues down the hallway.)
CUT TO:
[EXT. LAKE -- DAY]
(Paul Cyden puts his cooler in the boat. His phone rings. He answers it.)
Paul Cyden: (to phone) Hello?
Brass: (from phone) Paul Cyden?
Paul Cyden: (to phone) This is he.
(Brass hangs up as he and Catherine walk on the dock toward Cyden. He sees them.)
Brass: Paul Cyden. I'm Detective Jim Brass, this is Catherine Willows, from the Crime Lab. I'd like to ask you a couple questions about Brian Towne.
Paul Cyden: What a great kid. I can't believe he's gone.
Brass: When was the last time you talked with him?
Paul Cyden: Oh ... uh ... honestly, I don't remember.
Catherine: Oh, you don't remember yesterday? Calling him? Texting him?
Paul Cyden: Brian occasionally does odd jobs for me.
Catherine: How odd?
Paul Cyden: I ... uh ... study water. I'm a hydrologist, retired, but I still do consulting. Brian was helping me with a project.
Brass: Well, it seems to me, according to your messages, Brian was the project.
Paul Cyden: You're way off base.
Catherine: Then you won't mind giving us your fingerprints and DNA?
Paul Cyden: Not if you have a court order.
(Brass's phone rings.)
Brass: Look, you can do this the hard way or the easy way. But trust me, we're going to get this done.
(Brass answers his phone.)
Brass: (to phone) Yeah, what's up, Doc?
INTERCUT WITH:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins is on the phone.)
Robbins: (to phone) Yeah, Brian Towne's mother is here. She wants to see the body.
Brass: (to phone) Okay. If anything of interest pops up, why don't you text me?
Robbins: (from phone) All right.
(Brass hangs up.)
[INT. CSI – FORENSIC AUTOPSY – DAY]
(Robbins opens the morgue cabinet for Lynn Towne. She looks at her son and touches his hair.)
Lynn Towne: He needed a haircut.
(She starts to lift up the sheet and she stops.)
(She cries.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – DNA LAB -- DAY]
(Wendy is working on the two beer bottles found at the lake. Nick appears in the doorway and looks inside. He lingers. As the computer trills, Wendy turns and looks at him. Nick's back is to the door as he waits for the results.)
Wendy: Are you lurking around here for results?
Nick: No. No, no. I wouldn't do that. I was just ... uh... I was getting a cup of coffee.
Wendy: Actually. You can come in.
(Nick walks in.)
Nick: Why, do you got something?
Wendy: I do. I got a two-fer. I got epithelials from the rope from multiple contributors, and one of them ... drank from the bloody beer bottle.
(She pulls up the ID results.)
Nick: Larry Ludwig. Convicted of aggravated as*ault and DUI. Bring up his parole record.
Wendy: Okay.
(The record appears on screen.)
Nick: There you go. He works at the same water treatment plant as my victim.
Wendy: Thought you were getting coffee.
(Nick looks at his cup.)
Nick: Right.
(He picks up his cup and heads out.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. VERDENT GLEN WATER TREATMENT PLANT – NIGHT]
(Larry Ludwig walks up to Warrick and Nick.)
Larry Ludwig: You sure you fellas don't want masks? The smell in here makes some people puke.
Warrick: Mr. Ludwig, can we see your palms, please?
Larry Ludwig: What, you gonna tell me my future or something?
Warrick: Depends on what I see.
Larry Ludwig: I don't think so.
(The manager, Jonah Quinn, joins them.)
Jonah Quinn: Gentlemen?
Larry Ludwig: Hey, I was just getting back to work, Mr. Quinn.
Jonah Quinn: Jonah Quinn. General Manager.
Warrick: I'm Warrick Brown.
Nick: And I'm Nick Stokes, we're with the Vegas Crime Lab. We're here investigating the death of one of your employees, Brian Towne.
Larry Ludwig: I told them I had nothing to say, sir.
Jonah Quinn: You have my permission to question and search any of my employees.
Larry Ludwig: They don't have warrant, Mr. Quinn. They're just... they're just fishing around, sir. Anybody who doesn't want to cooperate with the police in trying to find out who k*lled Brian – (shouts back to everyone else watching and listening to them) -- can clean out their lockers and search for another job!
(quietly to Larry) Weren't they asking you a question?
(Larry nods.)
Nick: Go ahead and take off your gloves. Show us your palms.
(Larry takes his gloves off and shows them the marks on the palms of his hands.)
Warrick: Well, now, they look like rope burns.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins and Sara talk over the bones.)
Robbins: Did you know that there's a Paiute reservation in the heart of Las Vegas? It's only an acre, but it's right up on North Main.
Sara: Do you think that we found the bones of one of their ancestors?
Robbins: Well, the fusing of the plates and shape of the skull indicate a 30-year-old of the Mongoloid race.
Sara: Which does include Native Americans.
Robbins: And Southeast Asians, Pacific Islanders. But take a look at the teeth.
(Sara looks at the teeth under the light.)
Sara: I don't see any dental work.
Robbins: But there are caries.
Sara: Cavities.
Robbins: Right. Teeth from ancient tribal graves usually have distinctive wear marks ... uh ... grooves from pipe-smoking, rope-making -- but no cavities. You look disappointed.
Sara: I was ... hoping, just once, Vegas would have to honor its past.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Nick and Warrick talk with Larry Ludwig. Larry fidgets with his ring.)
Nick: These tire treads were under a tree where Brian's body was found. (Nick puts the photos on the table.) They're from a Chevy Colorado. Isn't that what you drive?
Larry Ludwig: Yeah.
Warrick: You're putting a nice polish on that wedding band.
Larry Ludwig: Hey, this is between us, right?
Nick: Yeah, absolutely.
Warrick: Oh, yeah.
Larry Ludwig: All right... I did see Brian last night. Me and my buddy, we started out at a bar, threw a few back, you know, met some ladies. And the hot one, she said, "Let's go swimming."
(Quick flashback to: Larry drives his truck over to the lake with his friend and the girls in the back.)
(Brian sits on the bank with his beer. They join him.)
Larry Ludwig: Brian. What's shaking?
Brian Towne: Not much.
(Brian shares his beer.)
Brian Towne: Anybody want one?
Larry Ludwig: Yes, please.
END FLASHBACK.
Larry Ludwig: So the girls, they wanted to play Tarzan. So I pull my pickup truck underneath the tree, I grabbed a rope out of my utility box, and we all started stripping down and everything ...
(Quick flashback to: The girls grab the rope and swing into the lake.)
Girls: Whoo! Come on, it's fun!
(Brian grabs the rope and swings into the lake. He stands up and the girls laugh when they see his breasts through his t-shirt.)
Girls: Oh, my God.
Brian Towne: What?
(He tries to cover himself and the guys see it too and they start laughing as well.)
END FLASHBACK.
Larry Ludwig: I mean, the guy had boobs, man. I mean, you could see 'em right through the t-shirt.
(He starts to laugh, but stops when he sees Nick and Warrick both don't find it amusing at all.)
Larry Ludwig: I mean, we were all kind of cracking up about it, but ... um ... uh ... it kind of broke the party up a little bit.
Nick: No, you kind of broke up the party, man, when you cut him up with a beer bottle and you hanged him in a tree.
Larry Ludwig: Hey, man, I mean ... he ran off and we left. All right, I-I-I don't know what else I can tell you. I mean, you can ask Tony -- he works with me, too.
Warrick: Where did you go?
Larry Ludwig: I went to the ... I went to a motel with one of, one of the girls.
Warrick: These girls have names?
Larry Ludwig: Yeah, mine was ... uh ... she was named after some city in Texas. I don't know, like ... uh ... Dallas or Houston or something like that. The other one, she really wasn't that hot, so I don't know what her name was.
(Warrick stands up.)
Warrick: You better hope we find these girls.
Nick: We better not find any of Brian's blood in your flatbed.
(Nick also stands up. He and Warrick leave the room.)
CUT TO:
[INT. CSI – LAYOUT ROOM -- NIGHT]
(Sara has the original Rampart plans spread out on the table as she works the layout of the construction site in proportion to the old hotel. Greg drifts into the room and looks at the plans. It hits him what he's looking at.)
Greg: Wow! (excited) The original plans for the Rampart. Opening day, New Year's Eve, 1964. Half of the hotel tower was still under construction, but Sam decided to have the party anyway. He's got the Midas touch, and help from the boys in Kansas City.
(Greg walks around Sara to look at the rest of the plans.)
Greg: This is the ultimate.
Sara: Don't you have work to do?
Greg: Deal me in.
Sara: Well ... the workers found the bones here ... (she points to her site layout) -- which corresponds to this area.
(Sara points to the plans. As she talks, a CGI IMAGE of the hotel building rises up from the plans. In the visualization, a body falls from the top and hits the bottom.)
END VISUALIZATION.
Greg: Bottom of the construction shaft. Wonder if it's Gus "the Beauty"
Finkel. Snitch, disappeared in '64.
Sara: The skull shape is Mongoloid.
Greg: Maybe it's Eddie Chang, the Peking Pimp. Caught Dean at the Sands, went out for eggs, never came back.
Sara: Did the Peking Pimp ever wear anything like this on his arm?
(She shows him the photo of the bracelet.)
Greg: Nope. Just French cuffs and platinum blondes.
(Sara starts to roll the plans up.)
Greg: Careful with those. They're like the d*ad Sea Scrolls of Las Vegas.
Sara: I have to go back to the scene.
Greg: I'm off the clock. You ... uh ... need a hand?
(Sara smiles at him.)
CUT TO:
[EXT. CONSTRUCTION SITE (STOCK) -- NIGHT]
[EXT. CONSTRUCTION SITE -- NIGHT]
(Sara and Ronnie measure the length of the skeleton as Greg watches.)
Ronnie Lake: 67.5 inches.
Greg: (sighs):Not the Peking Pimp. He was only five-two.
Sara: It looks like every bone in his body is broken.
(Ronnie snaps photos of the skeleton.)
Ronnie Lake: Check out the third vertebrosternal rib, left side. Isn't that a b*llet hole?
Sara: Exit wound. Good call. Document it.
Greg: Nothing says "Mob h*t" like sh*t in the chest, thrown down a construction shaft, and tucked in under a concrete blanket.
Ronnie Lake: For real? My first Mob h*t. Cool.
Sara: You know, only the bones at the point of impact should be broken.
Greg: Then the implosion must have busted up the rest of him.
(Sara brushes away dirt from something she finds.)
Sara: Hey, Ronnie? Will you take a picture of this for me, please?
Ronnie Lake: Yeah.
(She snaps a photo. Sara picks it up.)
Sara: It looks like ... treated hide.
Ronnie Lake: Buckskin. Maybe your ME was wrong.
Sara: Well, only if the ancient tribes used sewing machines. The stitches are uniform.
Greg: You know, the showroom had this Wild West Revue with cowboys, and horses, and r*fles, a real stagecoach. And Indians who sh*t flaming arrows that ripped off the dance hall girls' clothes. It ran from the day the Rampart opened until
1976.
(Sara stands up and looks at Greg.)
Sara: An Indian playing an Indian?
CUT TO:
[EXT. COMMUNITY (STOCK) – DAY]
[EXT. CYDEN RESIDENCE – FRONT -- DAY]
(Catherine and the officer head for the front door.)
Catherine: When I was growing up, there weren't any lakes in Vegas, just hotel swimming pools.
(She knocks. There's no answer.)
Catherine: I think Mr. Cyden might be dodging us.
(She peeks in through the window.)
Catherine: We've got a 419.
CUT TO:
[INT. CYDEN RESIDENCE – FRONT -- DAY]
Catherine takes photos of Paul Cyden's body on the floor.)
Catherine: So you think that's a message or his dinner?
Nick: Well, that's carp. Nobody really eats those.
David Phillips: Body's in full rigor. Been d*ad at least ten hours. Appears to be ... one, two, three g*n wounds to the torso.
Catherine: Probably rules out su1c1de.
David Phillips: No exit wounds.
Nick: I don't see a g*n or cartridge casings anywhere. He has some fairly dense g*n residue patterns. sh**t was only a couple of feet away, practically face-to-face.
Catherine: No signs of forced entry, no signs of struggle.
Nick: I bet he knew his k*ller.
Catherine: Maybe the same person who k*lled the tr*nny k*lled the boyfriend.
(Catherine looks at the photos.)
Catherine: Offer to buy his house dated... yesterday. Who tears up an offer in this tough market? "Purchaser: Jonah Quinn."
Nick: That's Brian's boss. I met him. This notebook charts hormone levels. No names, just numbers. There's over 40 test subjects here. If this guy was running some kind of underground clinic here, then where are the drugs?
(Catherine picks up one of the vials in the tray.)
Catherine: These could be hormones.
Nick: Warrick found vials like that in Brian's bedroom. Check that freezer.
(Catherine opens the freezer.)
Catherine: Carpe diem. Lots of them. Numbered and dated.
Nick: sh**t me a number.
Catherine: "R-41"
(Nick checks the notebook.)
Nick: "June 20, 2007."
Catherine: Why would he be giving hormones to fish?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – TRACE LAB -- DAY]
(Hodges is looking through a scope when Sara walks in.)
Sara: Hodges? Here's the problem ...
Hodges: You know, that's just what Mom says when all I ask is to come home for Thanksgiving.
Sara: My John Doe is from 1964.
Hodges: Well, to quote Sherlock Sanders, "This town was built on d*ad bodies."
Sara: The National Missing Persons Database only lists four persons in '64, none of which are a match. It might help if we knew where he was from.
Hodges: Do I look like the Ghost Whisperer?
Sara: Every geographic area has specific levels of oxygen isotopes due to rainfall, climate and vegetation. And you can identify those isotopes in bones.
Hodges: You do know that those isotopes will only tell you where he spent the last three years or so of his life.
(Sara slides the container with the bone sample inside.)
Sara: I'll take it. It's more then we have now.
Hodges: If this works, I write the paper for the Forensics Journal, sole credit.
Sara: Deal.
(Sara walks away. Hodges picks up the sample and looks at it.)
Hodges: Me and my big mouth.
VARIOUS CUTS OF HODGES PROCESSING THE SAMPLE
INTERCUT WITH:
[INT. CSI – GARAGE – DAY]
(Greg is going through the large rock pieces around the skeleton.)
(Hodges continues processing the sample.)
(Greg puts the rock pieces together and makes a cast.)
(Hodges looks up the areas on the computer map. He finds something interesting.)
(Greg pries the rock pieces apart. Ronnie walks in.)
Ronnie Lake: Sara told me to document the detritus, but I see you b*at me to it.
Greg: Oh, sorry, yeah, I kind of got carried away, but look at this-- it's the vic's right hand. He was holding on to something and when they poured the concrete on top of him, it made kind of a fossil.
Ronnie Lake: Whatever it was, we must have collected it, right? It's definitely not a g*n.
Greg: No, you didn't find one of those.
(They look through the items.)
Ronnie Lake: Cigarette lighter?
(They compare the two. It doesn't match.)
Greg: No.
(Greg finds it.)
Greg: Hey. It's film. Uh, 35 millimeters used to come in a screw-top metal can like this. Whatever's on it must be important enough for Mr. Bones to hang on to it while taking a header. Later.
(Greg leaves.)
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Archie looks at the film while Greg sits at the computer monitor.)
Archie: Black and white Tri-X stock. It's pretty grainy. Photographers like it 'cause you can sh**t fast.
(Archie puts the film on the scanner.)
Greg: It's like finding pictures of Lincoln at Ford's Theatre.
(The film negatives appear on the monitor. They reverse the image.)
Greg: The party was on the rooftop. Bring up that last sh*t on the roll.
Archie: Hmm.
(Archie enhances the image.)
Archie: Let's see if we can take a better look at that.
(He clears it up and it shows a ledger:
12-31-64
TOTAL $58,720.00
STATE $ 2,771.00
FERGUS $ 1,900.00
Greg: Looks like the casino take on opening day. Everybody got a cut -- the feds, the state -- and something called Fergus.
CUT TO:
[INT. COVERED GREENERY AREA -- DAY]
(Grissom is at the worktable. He's wearing coveralls and a beekeeper's mask. He picks up a smoker. Sara walks in. She's also wearing coveralls and a beekeeper's mask.)
Grissom: Oh, I love it when you dress up.
(Sara laughs)
(Grissom carries the smoker over to the bees. Sara follows him.)
Sara: Well, you know, whatever it takes to get some time with you. How's the study going? Any sign of Colony Collapse Disorder?
Grissom: Nope, so far it's healthy.
(He uses the smoker.)
Sara: Nothing too healthy about smoking.
(He puts the smoker aside.)
Grissom: Well, the scent confuses the guard bees. They won't emit the pheromone that tells the colony there's an intruder.
(He opens the box to show the frames and bees inside.)
Sara: Don't worry, he's harmless.
(Grissom takes out a frame.)
Sara: Who's who?
Grissom: These are the workers -- infertile females.
Sara: They don't sting?
Grissom: No, not unless you swat one, or close one up in your hand, or freak out. Go ahead, take off your glove.
Sara: Eh... all right, I trust you.
(Sara takes her glove off. A bee lands on her hand.)
Grissom: See? It's cool.
(Sara smiles and watches a bee walk along the back of her hand.)
Grissom: The worker bees defend the hive, procure the pollen, make the honey, nurture the larvae and pupae in each of these brood cells.
(Sara watches the bee on her hand. Grissom watches Sara.)
Grissom: You know, maybe we should get married.
(Surprised, Sara looks at Grissom. He looks at her.)
Sara: Ouch!
(She turns her hand over to show the swelling on the palm of her hand.)
Sara: Oh, oh ... Ow.
Grissom: I'm sorry.
Sara: Ow.
(Grissom picks up the smoker and uses it.)
(Sara laughs.)
Grissom: No, no, don't, don't, don't pick it out. Makes it worse, releases the venom into the bloodstream. It's better to scrape it.
(Grissom takes out his pocketknife and starts scraping the sting from Sara's hand. He works intently. Sara watches him.)
Grissom: So, uh... what do you think, you know, about...
Sara: Yes. Let's do it.
Grissom: Yeah?
(They lean forward to kiss – and their masks bump.)
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Hodges finds Sara walking through the hallway.)
Hodges: Hi, Sara. You look like you're having a good day.
Sara: Thanks.
Hodges: Got your isotope results.
(She looks at the results.)
Sara: My John Doe lived in Southeast Asia?
Hodges: Yeah ... uh ... more specifically, southern Vietnam. Like I said, this test only dates back to the last three years of his life.
Sara: In '64 ... soldier? Consultant, refugee? Thanks. Hmm.
(Sara leaves.)
Hodges: Let me know if you get an ID. It'd be a great touch for the article.
(Hodges turns and heads back into his lab.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Catherine pushes the cooler on a cart past the doorway to Grissom's office. She looks in and sees Grissom at his desk, daydreaming.)
Catherine: Hey, what are you up to?
(He looks at her.)
Grissom: Nothing. Why?
(Catherine looks at the cooler. Grissom stands up.)
Grissom: What's in the cooler?
(She opens it.)
Catherine: Carp. Paul Cyden died holding one. He had a freezer full of them, some kind of an experiment.
Grissom: Huh.
(Grissom walks over.)
Grissom: I can process those fish if you like.
Catherine: Do I know how to turn you on or what?
CUT TO:
[INT. CSI – BREAKROOM -- DAY]
(Warrick is eating lunch when Nick walks in.)
Nick: Hey. Heard you were looking for me.
Warrick: Yeah, our friend Larry Ludwig -- he's sharp as a marble, but his alibi checked out. We found the motel and the girl.
Nick: Really?
(Nick sits down and sighs.)
Nick: What's her name?
Warrick: (amused) Tucson.
Nick: Ah, yes. Tucson, the capital of Texas.
(They both chuckle.)
Nick: Well, Paul Cyden's DNA and fingerprints finally arrived.
Warrick: Well, I'll run it, but I don't think it'll matter. I think Brian k*lled himself.
Nick: You think he just climbed that big ol' tree all by himself?
Warrick: Yeah.
Nick: Okay, yeah. What about the mutilation?
Warrick: Self-inflicted. It took a while, but Mandy was able to recover some prints from the beer bottle, but it came back to Brian.
(Quick flashback: Using the broken bottle, Brian uses the sharp edges to try and cut his breasts out.)
(He looks up at the rope hanging from the tree. He climbs up and puts the rope around his neck. He jumps off the branch.)
(End flashback.)
Nick: So this was a hate crime.
Warrick: Yeah. He hated himself.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAB -- DAY]
(Grissom is working on the carp when Hodges walks in and looks over his shoulders.)
Grissom: Yes?
Hodges: Oh, sorry, just a bad habit from ... um ... when we worked the Miniature case together.
Grissom: That was fun, wasn't it?
Hodges: I thought so.
(Grissom points to the carp.)
Grissom: What do you see?
Hodges: Well, those are eggs-- it's a girl.
(Grissom opens up the fish.)
Hodges: And those white organs would be gonads. Male and female parts. Simultaneous hermaphroditism? Stop me if you already know this, but some fish do change sex naturally.
Grissom: Not carp.
Hodges: I heard of a study when I was attending a forensics consortium in DC. Feminized male bass were found in the wastewater effluent of the Potomac River.
(Grissom's eyes widen. He turns and picks up a vial of water from the tray.)
Grissom: It's the water.
Hodges: Yeah, it was full of excreted pharmaceuticals and what they called "personal care products," all of which supposedly altered the endocrine system of the fish and their young.
Grissom: Good, Hodges. Well, now that we're working together again ...
(Grissom opens the cooler and takes a carp out. He puts it on Hodges' outstretched hand.)
Grissom: ... take at least two organ samples along with blood. Send them with these water samples to our clinical lab for hormone quants.
(Grissom puts the tray of water vials in Hodges' other hand. He leaves the room.)
Hodges: You got it, partner.
(Hodges is left holding the carp.)
CUT TO:
[INT. CSI -- BREAKROOM -- DAY]
(Greg talks with Lily Flynn. She points to a man in one of the photos.)
Lily: Melvin Fergus. He was a gaming commissioner. "Honest Melvin."
Greg: Well, it looks like Honest Melvin was on the take. Bribing a public official could cost you your gaming license. Maybe our d*ad guy found out about it and somebody found out about him finding out about it.
Lily: Who was this d*ad guy?
Greg: Some wisenheimer with extortion on the brain. Maybe a reporter.
(Sara walks in.)
Sara: Hi, Lily.
Lily: Hi.
Sara: Uh, Wendy ran that tooth. Pre-CODIS, but DNA confirms that our John Doe was Native American, so it was one Indian's burial ground.
Lily: There was a reporter and I'm pretty sure he was an Indian. (pause) Lee George. He'd just come back from Vietnam for Life magazine and he was doing a piece on Vegas.
Greg: Do you remember if he was at the party?
Lily: Yeah, in this little Indian costume -- bracelets on his biceps, and boy, did he have biceps. Trust me. If anybody hurt him, it was Benny Dunbar, Sam's bodyguard. (She points to him in the picture.) That lump in his jacket ain't a heart full of love.
INSERT: FLASHBACK
(It's the grand opening of the Rampart. The ribbon is cut. The crowd cheers. Lee George snaps a photo along with the others. The party continues.)
FLASH TO:
(Lee George is in the back office looking through the ledger. He finds a torn piece of it and takes a photo of it. He immediately takes the film out of the camera and puts the film in the metal film container. He puts his camera back together.)
(He hears a sound and picks up the camera to pretend to take a photo of the ledger. Benny Dunbar walks in.)
Benny Dunbar: I'll take that camera, kemosabe.
(Lee George tosses the camera at Benny Dunbar and runs out of the room.)
FLASH TO:
(Lee George is up in the unfinished areas of the hotel. He tries opening the door only to find it locked. He runs to the next door. Benny Dunbar turns the corner. He sh**t Lee George in the back.)
(He tosses Lee George off the building and down the shaft. He turns and leaves.)
END FLASHBACK.
Sara: Either Benny tossed him or he jumped. We'll never know.
(Greg picks up his hat.)
Greg: This is great stuff for my book.
Sara: Your what?
Greg: Oh, this little piece on Vegas history -- stories that didn't make the papers.
Lily: Honey, if you need to know anything, just ask me. I was there.
Greg: Well, how about if I take you to dinner tonight? A bottle and a bird. We'll talk about the Peking Pimp.
(Greg and Lily leave the room arm-in-arm.)
Lily: Eddie Chang. They shipped him home in pieces.
CUT TO:
[INT. CSI – LAYOUT ROOM -- DAY]
(Grissom shows the Verdant Glen community and stream as he talks about the plant with Nick, Warrick and Catherine.)
Grissom: Twenty years ago, Verdant Glen was far enough outside Vegas to get the right to use well water for drinking. They also got approval to remove waste water at a private plant. There, it was cleaned, creating "grey water," which was used for secondary purposes -- watering lawns, washing cars, everything but drinking. The treatment plant then stored excess grey water in the reservoir.
Nick: Where they let the kids fish and swim.
Grissom: It passed every water quality test.
Catherine: And the carp from Paul Cyden's freezer had high levels of estrogen plus other prescription drugs.
Grissom: Brian's level and tox panel correlate to the carp. Cyden was collecting water samples from the reservoir, the tap, and the treatment plant.
Nick: Thanks to Brian.
Grissom: According to Cyden's research, the hormone levels in the tap water are nearly equal to the water in the reservoir.
Catherine: I thought they drink ground water.
Grissom: They do. Cyden was convinced that the ground water was contaminated.
Catherine: How?
Grissom: He discovered that the reservoir was improperly lined, allowing the grey water to leech into the ground water.
Nick: Well, if that's the case, then why didn't the other boys develop breasts?
Grissom: There's a good chance that others have been affected, especially children who were born to women who were living there while they were pregnant.
Catherine: Because the womb is the only place a human lives in fluid ... like a fish.
Nick: That reservoir is supposed to be lined to prevent contamination.
Grissom: Obviously, it's not. Or the lining's defective. Which is the decision I think Cyden had come to right before he was sh*t.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Nick and Brass talk with Jonah Quinn.)
Jonah Quinn: You don't know where he got those samples. Cyden could have pulled them from raw sewage for all I know. And just for the record, that reservoir was built to code. You show me one complaint, one documented illness from that water.
Nick: What about Brian Towne?
Jonah Quinn: Listen ... it's a tragedy ... but his mother has breast cancer. You don't think it's that gene pool that might be polluted?
Brass: Let me ask you something. Why did you offer to pay such a big price for Paul Cyden's house?
Jonah Quinn: He's a nut. He was trying to sink me. His research was wrong, but perception is reality these days. I admit it. I was trying to buy him off. Would have been money well spent.
Nick: But he turned you down. Is that why you sh*t him?
Brass: I mean, with Brian gone, you're in the clear.
Jonah Quinn: Look, I don't need a g*n; I've got lawyers. And I would like to speak to them now.
CUT TO:
[INT. CSI – BALLISTICS LAB – DAY]
(Catherine gives the b*llet to Warrick.)
Catherine: Here's the b*ll*ts pulled from Paul Cyden.
Warrick: Thanks.
(He looks at them under the magnifying glass.)
Warrick: Well, all three are jacketed hollow points with a center post. Hydra-
Shok. Only one company makes them--Federal. You know what? Cath, I found a box of this same a*mo in Brian Towne's bedroom. Five b*ll*ts missing.
(Catherine sits down and checks the computer to see if Brian Towne bought a g*n. Warrick looks at the b*llet under the scope.)
Warrick: Got five lands and grooves, right-hand twist. Could've been fired from a Smith and Wesson, Ruger, or a Taurus.
(Catherine comes up with a computer result.)
Catherine: Brian bought a Ruger SP 101 revolver two weeks ago.
Warrick: Damn. The mother had access to that g*n and motive.
CUT TO:
[EXT. HOSPITAL (STOCK) – DAY]
[INT. HOSPITAL]
(Catherine talks with Lynn Towne.)
Lynn Towne: I was too busy taking care of me ... to see what was wrong with him. The signs were there.
Catherine: Mrs. Towne, don't blame yourself. You had a teenager who was depressed and not communicating and you push too hard and they pull away ...
Lynn Towne: I should have pushed. If I had gone through his room before he died ... maybe then ...
Catherine: Is that when you found his g*n?
Lynn Towne: I was trying to understand why. I went through his e-mails. Paul was taking him to LA. I trusted him, and all those years that he pretended to be our friend ... He k*lled my son.
Catherine: Mrs. Towne ... he was trying to save your son, not hurt him. We found this letter on Paul's computer. You need to read it.
(Catherine gives the letter to Lynn.)
Paul Cyden: (V.O.) "I have decided to alert you to this grave matter prior to contacting the EPA. It is my professional conclusion that the water in this community contains unsafe levels of pharmaceutical contaminants, which have caused irreparable harm to wildlife and humans. One specific example is the case of Brian Towne. His endocrine system and physical body have been
'feminized' due to chronic ingestion of the water at Verdant Glen."
Catherine: He was going to blow the whistle. I think that's what Paul was trying to explain to you when you went over to confront him.
Lynn Towne: I worked two jobs to keep us in our house because ... because Brian loved it so much. And being there is what k*lled him.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. CSI – GRISSOM'S OFFICE -- NIGHT]
(Grissom and Catherine talk with ADA Kirkson.)
Kirkson: The feds have already swooped in to investigate the water problem.
Grissom: Do they plan to prosecute Jonah Quinn?
Kirkson: They'll try, but Quinn isn't the only one involved. Verdant Glen is now owned by a conglomerate -- the Altimera World Group. They'll bring in experts to contradict the research, discredit witnesses. They'll say that there are chemicals in everything that we eat, touch, breathe. It'll be in litigation for years.
Catherine: What about Brian's mother?
Grissom: Are you going to prosecute her?
Kirkson: Did you recover the m*rder w*apon, find her prints in blood at Cyden's house, or get a signed confession?
Catherine: Her son's g*n plus motive -- that's not enough?
Kirkson: She's a widow with breast cancer who lost her only kid.
(Kirkson stands up.)
Kirkson: No way I'd get her in front of a jury and ask them to convict. Nice work though.
(She leaves.)
Catherine: Lynn Towne goes free.
Grissom: It's all out of our hands now.
Catherine: That's not enough for me. If their lawyers can hog-tie the EPA for years, someone's got to go around them. They've got to take Brian's story and the research to the press. I mean, if ... if it's happened here, what's to say there aren't other Brians out there?
Grissom: You can't give information about a case to the media. You'll get fired.
Catherine: As a mother, maybe I don't care.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x04 - Case of the Cross Dressing Carp"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. WAREHOUSE]
(A young woman is held c*ptive with her wrists tied high above her head. Off screen, she hears faint slicing, and gurgling. She screams.)
(Blood squirts on her face and in her mouth. She coughs. Yuck.)
(Behind her, a man hacks off a dummy's head.)
Zack Putrid (director): (o.s.) Cut!
(She continues to cough.)
Zack Putrid: (o.s.) Cut! Damn it!
(The bell rings and overhead lights turn on. The director, Zack Putrid, gets out of his chair.)
Zack Putrid: Can somebody please get her a glass of water?! (He walks up to the actress.) What happened? Babe? What are you doing? Are you choking on the blood?
(She nods.)
SFX Guy: I did what you told me to.
Zack Putrid: Yeah, but this time, get it on her face, not in her mouth.
SFX Guy: The mouth is part of the face.
Zack Putrid: Yeah, I know, I know. But h*t her from the side, from the side. And get plenty on the rack.
(The SFX guy turns and leaves. We hold on the two actors dressed as doctors – one giant man and Dickie Jones.)
Giant Doctor: We're dying here.
Dickie Jones: I'm going to go ring it.
Giant Doctor: All right. Hey, grab me a bear claw.
(Dickie Jones heads off the set. He walks past Zack Putrid talking with the cameraman who is wearing a red baseball cap.)
Zack Putrid (director): How long have I known you, huh? This is you and me. Get the sh*t -- not too tight. Wide enough to fit in the fun bags.
(The director turns back to the actress, who is still tied up with her arms over her head as the fake blood is being wiped off her. Her make-up is being retouched.)
Zack Putrid (director): Baby-cakes ...
(The actor playing the k*ller interrupts them.)
k*ller Actor: (to the director) Where was I? Want me to laugh?
Zack Putrid (director): Don't laugh. You were scary. Get away.
(The k*ller leaves.)
Zack Putrid (director): Honey, this time, don't inhale the blood, okay? All right, let's get her cleaned up. Let's sh**t this bitch.
(He heads back to his chair. The actress gasps loudly.)
Actress: (o.s.) Oh ...
Zack Putrid (director): Not you, baby. The sh*t. The sh*t's a bitch. I love one-ers. And you know what else I love? I love sushi. Me, too. Do you want to go for sushi?
(In the background, Stanley Vespucci leads Brass through the set. Nick follows them.)
Stanley Vespucci: Our lead actress, Weatherly Adams, had her dressing room violated last night.
Brass: So she's the one you suspect is missing?
Stanley Vespucci: She missed her call this morning. The woman is nothing if not professional. She's predictably precisely 35 minutes late every day. You could set your watch to it. She's already ... three hours late and still no sign of her.
(He looks at his watch.)
(A light blows out as they pass.)
Stanley Vespucci: Nothing to worry about, gentlemen. It's just a bad bulb. If you will, please, follow me.
(He leads them out.)
[INT. WEATHERLY ADAMS' DRESSING ROOM – CONTINUOUS]
(He opens the dressing room door.)
Stanley Vespucci: Here we are.
(They walk in.)
Stanley Vespucci: Check out the flowers in the vase.
(Nick looks at the note on the flowers.)
Nick: "Congratulations on your last film." Any idea who sent her these, Mr. Vespucci?
(A framed photo of a pretty blonde-haired woman is on the dressing table next to the flowers.)
Stanley Vespucci: (shrugs) Stalkers, creeps, cranks, nut balls, degenerates -- we get them all here. Weatherly attracts them like flies.
(He shows them a stack of letters.)
Stanley Vespucci: These are ... uh ... some of the guys we've had trouble with in the past.
Brass: I'll take that.
(Nick continues to look through the dressing room.)
Brass: When was the last time you saw her?
(Vespucci takes his phone out and dials.)
Stanley Vespucci: At wrap yesterday. We sh*t all night, finished about 4:00 in the morning.
Brass: Did anyone see her leave the building?
Stanley Vespucci: Her car's still parked out back.
(Nick holds a purse.)
Nick: This hers?
Stanley Vespucci: Yeah.
Weatherly Adams: (recording) Hi, it's Weatherly. Leave a message or I'll scream. (giggles)
(Nick turns the bag over, the contents spilling out onto the sofa.)
Nick: Wallet, keys, and cell phone still in there.
Stanley Vespucci: Still no answer on her home phone.
Brass: I'll send a patrol car to her house. You said there was a break in. Why don't you show me?
CUT TO:
[INT. REPULSION PICTURES -- BASEMENT]
(Down in the basement, various items are stored – dress dummies, rolled-up carpets and a VORTEX OF EVIL movie poster hangs on the wall just below the ceiling light.)
Stanley Vespucci: Ah, Weatherly ... how has she died for us, let me count the ways.
(Stanley Vespucci leads Brass and Nick down through the basement.)
(They walk past posters of the movies Weatherly made – NIGHT SHIVERS, INTO THE MOUTH OF HELL, and CAN I LICK THE SPOON?.)
Stanley Vespucci: Bludgeoned, boiled, filleted, defenestrated, decapitated, disemboweled, oh, yeah, and strangled with her own intestines. Autopsied while still alive.
(They walk into the large storage area.)
Stanley Vespucci: Made to eat her own liver, fed slowly through a tree chipper, roasted and served on a bed of Belgian endive. When Weatherly Adams dies, it's money in the bank.
(He shows them the open window.)
Stanley Vespucci: Here you are, gentlemen.
Nick: Looks like somebody broke the glass, reached in, unlocked it and opened it.
(Nick looks around the area.)
Stanley Vespucci: Yeah, that's the way I found it when I got here this evening.
(Nick finds some blonde-haired stuffed dummies on the furniture. Among the dummies, he finds the real Weatherly with an axe stuck in her back. Flies buzz around the d*ad body.)
Nick: Uh, Jim ... I got her.
(Nick kneels to look at the body. Jim and Stanley Vespucci join him. Vespucci gasps.)
Nick: And I believe she's died for the last time.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. REPULSION PICTURES -- BASEMENT]
(A movie poster, I HAVE TO AXE MY MOTHER, hangs on the cement post. The main photo is of Weatherly in red with an axe stuck in her head.)
Nick: Whoever stuck her under this poster was trying to send a twisted message.
(Weatherly's d*ad body is also in red with an axe stuck in her back.)
Catherine: Either that, or the k*ller's got a wicked sense of humor.
(Catherine puts her gloves on. Nick snaps a photo as David Phillips turns the body to look under it.)
David Phillips: Lividity is fixed along the anterior aspect, and ... she is still in full rigor.
(Nick checks his watch.)
Nick: She was last seen alive about 15 hours ago.
David Phillips: No panties. I'll do an SAE kit.
(David pauses and looks up where he sees the movie poster.)
David Phillips: (inflecting) "The horror."
(He chuckles and looks at Catherine and Nick. He does it again.)
David Phillips: (exaggerating) The horror ...
(Catherine smiles.)
David Phillips: Huh? Huh? Bra-Brando? (normal voice) Brando from Apocalypse Now?
Catherine: Oh, yeah, yeah. I know, Dave. Everybody knows that.
David Phillips: (deflated) Oh. I'll get the gurney.
(David leaves. Catherine notices Weatherly's broken shoe.)
Catherine: Looks like the Lady lost a heel.
Nick: There's a whole lot of something here, but it doesn't really look like blood to me.
(Nick indicates the blood under the body. Catherine dusts the axe handle.)
Catherine: No, it's ... uh ... it's the wrong color. It's too red.
Nick: Smells sweet. Karo syrup and food coloring -- it's prop blood.
Catherine: And I am not seeing any prints. It's been wiped clean.
Nick: The question is, where does the fake blood end and the real blood begin?
CUT TO:
[INT. REPULSION PICTURES – MOVIE SET]
(The actress in pink wails and cries. The actor playing the k*ller cries.)
(Brass talks with the cast and crew.)
Brass: Now, I know this may come as a shock to most of you, and I'm sorry for your loss. I understand that Weatherly Adams was a long-time member of this company ...
(The midget, Dickie Jones, looks around, then turns and hugs the pretty actress in pink.)
Zack Putrid (director): Well, do you have a suspect?
Brass: Uh, sir, we just found the body about an hour ago.
(Dickie Jones hugs the actress, then squeezes her butt.)
Brass: We're just beginning our investigation.
(The actress pushes Dickie Jones away.)
Zack Putrid: Yeah, I get it, I get it. I mean, it could be anyone.
(He turns and looks around – just as the other cast and crew members look around at each other.)
Brass: Now, I'm going to have to look at your IDs and I'm going to take statements and fingerprints from all of you. And I thank you in advance for your cooperation.
Stanley Vespucci: Anything we can do to help.
(Brass turns and heads up the platform stairs.)
Zack Putrid: So what am I supposed to do today?
Stanley Vespucci: Edit.
(Stanley Vespucci catches up with Brass.)
Stanley Vespucci: Excuse me, Mr. Brass. Do you think that it would be all right if we were to ... continue to sh**t ...
Brass: No.
Vincent Lafoon: I want that little twerp Zarco found and locked up.
Brass: Uh, who are you?
Vincent Lafoon: Vincent Lafoon. This is my brother Mason. We own this place.
Brass: Who's Zarco?
Vincent Lafoon: Oliver Zarco. He used to work here. He had a thing for Weatherly, and then he got hurt, blamed it on us, went a little nuts.
Mason Lafoon: He was the one who got ...
Vincent Lafoon: (interrupts) He was the one who sent the flowers and the note.
Brass: So he's done this before.
Mason Lafoon: Yeah, like, three times.
Vincent Lafoon: (irritated) Would you shut it? (to Brass) Three times. He's your guy.
Brass: Do you have video surveillance by any chance?
Vincent Lafoon: Yeah, only on the exterior, but the video system's been on the fritz lately.
Stanley Vespucci: I had it repaired three days ago-- I'll get the tapes.
Vincent Lafoon: Oh, good. (Vespucci leaves.) (to Brass) Look, just find Zarco, okay?
(Vincent leaves. Mason lingers.)
k*ller Actor: Everyone come together.
Mason Lafoon: Um, I can't, I still can't believe she's gone. I mean ... she was a ... she was a real beautiful lady.
(Everyone gathers on the set.)
k*ller Actor: Let's form a circle and touch hands with someone you care about.
(Mason turns to join the others.)
k*ller Actor: Yea, though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me. Thy rod and thy staff, they comfort me ...
CUT TO:
[INT. REPULSION PICTURES -- BASEMENT]
(Nick swabs the "blood" and tests it. It doesn't work.)
INTERCUT WITH:
[INT. REPULSION PICTURES – DRESSING ROOM]
(Catherine is in Weatherly's dressing room. She dusts the green vase.)
(She stops when she doesn't find any prints.)
[INT. REPULSION PICTURES -- BASEMENT]
(Nick goes over to the window. He sees the security camera outside and measures the distance. He notes it on the sketchpad.)
[INT. REPULSION PICTURES – DRESSING ROOM]
(Catherine snaps photos of Weatherly's dresser and open drawer.)
(She opens the top drawer and snaps a photo of it. She takes out a notebook and looks inside. She finds dates, times and numbers.)
(Nick walks in.)
Nick: How's it going in here?
Catherine: The vase is clean. I've got a spiral notebook filled with dates, times and weights. Looks like she was a bit concerned about her size.
Nick: Actors.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY]
(Robbins and David are working on removing the axe from Weatherly's back.)
David Phillips: (appalled) You really don't recognize her?
(David holds the body down while Robbins pulls on the axe.)
Robbins: (grunts) No.
David Phillips: You've ever seen Chop Chop, Fizz Fizz?
Robbins: No.
David Phillips: Can I Lick The Spoon?
Robbins: Please, David.
David Phillips: They're classics.
Robbins: Those are not classics.
(The axe pops out.)
Robbins: The Exorcist. The Shining. Rosemary's Baby. Those are classics.
(David washes the body.)
David Phillips: You know what I loved about her? She really made you feel the terror. When she was scared for her life, I was scared, too.
(Robbins holds the axe cut open as David washes it out. He sees something.)
Robbins: Interesting.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – DAY]
(Brass talks with Oliver Zarco.)
Brass: Mr. Zarco ... tell me about you and Weatherly Adams.
Oliver Zarco: It was the happiest time in my life. I had realized my dream.
FLASHBACK TO: The set is busy.
Oliver Zarco: (V.O.) I was working in the movies. Though I was only in an entry-level position, Weatherly and I were already an item.
(Weatherly and Zarco are kissing in the back.)
Oliver Zarco: (V.O.) Just like ...
END FLASHBACK.
Oliver Zarco: ... Julia Roberts and what's his name.
FLASHBACK TO: They're filming on the set.
(Weatherly takes the burning meat out of the oven and puts it on the table. The meat is smoking.)
Oliver Zarco: (V.O.) We were in love.
Weatherly: (smiles) Hi.
(Zarco is on the side with a smoke machine, adding to the smoke. He blows her a kiss. Filming continues.)
Oliver Zarco: (V.O.) And then it was all over in an instant.
(The smoke machine blows up and bursts into flames in his face. Zarco screams.)
Oliver Zarco: Oh, God!
(Zarco's face is on f*re. He gets up and runs around the set.)
Oliver Zarco: Oh, my God!
(Finally someone with a f*re extinguisher puts the f*re out.)
END FLASHBACK.
(Zarco's face is scarred.)
Oliver Zarco: I was in rehab for six months. That slime ball Lafoon convinced me not to file a Worker's Compensation claim. He said that he'd take care of me.
Brass: And you trusted him?
Oliver Zarco: Yes. And then, when the deadline passed to file my claim, Vincent offered me two grand, take it or leave it, and then he fired my ass. And I could have lived with that, but ...
Brass: But what?
Oliver Zarco: Weatherly ... dumped me. She felt we were no longer compatible. The truth was, she couldn't stand to look at me. She cried when she told me. Actresses can do that. The smell of her skin ... like fresh lemon poppy seed scones baking in the oven. Gold flecks that danced like Valkyries in the emerald depths of her eyes. Her hair-- oh, God ... Her hair ...
Brass: So you started stalking her.
Oliver Zarco: I brought her gifts from time to time, to let her know that I still loved her. Is that against the law?
Brass: It is if you break in to do it.
Oliver Zarco: They wouldn't let me in the front door.
Brass: So you came in through the window. Only this time, you got caught. You argued. She told you where to shove your flowers, and you thought to yourself, "You know, do I really need this aggravation?" So you k*lled the bitch. I think you k*lled the bitch.
Oliver Zarco: Why would I k*ll her?
Brass: How should I know?
Oliver Zarco: Do I know you?
Brass: Listen, Zarco, you whack job, you'd better focus! You focus.
Oliver Zarco: I'm trying to explain to you. I haven't been near that place in over a year. You got the wrong guy. I don't do that anymore. I'm in therapy now. Lots of therapy. Freudian, Jungian, Gestaltian -- all that crap. I've let go of my anger.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Grissom is in his office when Wendy appears in the doorway. She's carrying some test results.)
Wendy: Have you seen Catherine around?
Grissom: No, why?
Wendy: 'Cause I just got the DNA results for Weatherly Adams, and the skin under her nails and the semen from her SAE, they both belong to Vaughn Krunty.
Grissom: Who?
Wendy: Vaughn Krunty, aka "Zack Putrid."
Grissom: Who's that?
Wendy: (amazed) The Titan of Terror, The Sultan of Slash. He's the movie director. I just ... I found him in CODIS for a statutory r*pe charge in Laughlin when he was 18 and the girl was 16. Can you believe that?
Grissom: What's the matter with you?
Wendy: Nothing.
Grissom: Go tell Catherine what you found, make sure that you pull all the old evidence out of storage in case she needs it.
Wendy: Okay.
(Wendy looks at the results, turns and leaves the office.)
CUT TO:
[INT. REPULSION PICTURES – EDITING ROOM]
(Zack Putrid is reviewing the footage sh*t that day.)
Zack Putrid: Please. That looks pretty stupid, doesn't it?
Editor: Well, you could cut out earlier, maybe go to a wide exterior sh*t, you could carry the scream over a big flock of birds taking off.
Zack Putrid: Yeah?
(Putrid kicks the editor's chair.)
Editor: Or ... yeah ...
(He picks up the golf club and hits the table, smashing whatever is on it.)
Editor: (mutters) Or not. Or not, just ... bad idea. All right, okay.
(Putrid turns around and sees Brass leaning against the door frame watching him. Putrid chuckles.)
(Putrid chuckles)
Zack Putrid: Detective Brass.
(He points to Brass, turns and chuckles at the editor.)
Zack Putrid: Man, I love that. Detective Brass. You're a detective, and your name is Brass. I mean, I can use that. That's like a cop named Officer Copper. Or a tin horn sheriff named Sheriff Tin. You cannot write that stuff.
Brass: Listen, buddy ...
Zack Putrid: Dude, I know why you're here, okay? Weatherly and I, yes, we were knocking boots, man.
Brass: So, you acknowledge having sex with her?
(Brass walks in and heads toward the editor's table where he looks at the latest
"star" covered with fake blood.)
Zack Putrid: Well, yeah, I just said I had sex ... Why would I deny it? Hey, I bang all my stars. It builds trust. It's part of my process.
Brass: We found traces of your skin under her fingernails. Maybe she wasn't into your "process," so you r*ped her.
(Putrid chuckles.)
(Brass turns and looks at him.)
Brass: You find that funny?
Zack Putrid: Dude, you gotta see this. You're gonna love it. (to the editor)
Bring up Double D.
Editor: Yeah. Here goes.
(The editor switches tapes and shows a recording of Weatherly wearing a pink dressing gown in her pink dressing room.)
Weatherly Adams: (on tape) Hi, baby. Hi.
(On the tape, she blows a kiss to the camera. A man off screen laughs.)
(Putrid whacks Brass on the arm and indicates the monitor.)
Zack Putrid: Check it out.
(On the tape, Weatherly opens the dressing gown and shows the camera her boob job.)
Zack Putrid: (on tape) Money. Money.
(On the tape, she giggles.)
(Putrid turns and looks at Brass.)
Zack Putrid: Oh, yeah.
Zack Putrid: (on tape) You're a star. WEATHERLY ADAMS: (on tape) Oh, ba-by. Oh, ba-by.
Editor: (groans) I can't believe this is my life.
Zack Putrid: (on tape) Oh, man, oh, man...
Weatherly Adams: (on tape) Come over here, baby.
(On the tape, they start kissing as the camera rolls.)
(Zack Putrid puts a hand on Brass's shoulder and smiles proudly. Like a little kid, he points excitedly to the monitor.)
Brass: This what you do all day?
Zack Putrid: Look, does that look like a woman being taken against her will?
Brass: That still doesn't explain how your skin got under her fingernails.
Zack Putrid: Weatherly was ... how can I put this delicately? She was an ass-scratcher, man. She liked to scratch my ass. She wasn't pushing me away, man, she was pulling me in.
(Putrid puts his pants down.)
Zack Putrid: Brass, look at my ass.
(He shows Brass his ass.)
Zack Putrid: Freaking claw marks.
Brass: Are you trying to make me throw up, Mr. Putrid?
(Putrid purrs.)
(HOLD on Brass.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. UNKNOWN HALLWAY]
(A woman walks down the hallway. She glances over her shoulder and continues walking quickly down the hallway.)
(We see the woman is WENDY SIMMS. She glances behind her again and speeds up a little. She turns the corner and glances behind her. She starts running.)
(The camera follows her.)
(She comes to the end of the hallway and tries opening the doors. The first one is locked. The second door is locked. She hurries to the third door. It opens.)
[INT. UNKNOWN ROOM – CONTINUOUS]
(Wendy enters the room and shuts the door. She cowers and waits.)
(A chainsaw engine revs. The double doors open and a bearded man in a hooded raincoat carries a bloodied chainsaw.)
(Wendy screams.)
REVEAL:
[INT. CSI – BREAKROOM]
(Henry Andrews, Hodges, Sara and Wendy are watching a video.)
(On the monitor, Wendy runs and the man with the chainsaw cuts her. She spits out blood and some really bad EFX has her top half fall to the floor while her bottom half remains in a standing position. After a b*at, the bottom half falls to the floor as well.)
(Henry laughs.)
Henry Andrews: Oh, my God. No way!
(Hodges jaw drops.)
(Sara closes her eyes.)
(Wendy smiles and pauses the tape.)
Henry Andrews: That is so cool. I can't believe you worked for Repulsion Pictures.
Wendy: Well, I did it on a whim. I was supposed to be an extra, but then they liked me, so they gave me this whole featured bit. I got 600 bucks for that. What? What? I was fresh out of college. I really needed the money.
Ronnie Lake: I don't get it -- what's the thrill here? It's always hot babes with huge breasts falling out of their shirts, getting hacked up ...
Wendy: I don't have huge breasts. Mine are kind of ... medium.
Hodges: But perfect ...
(Wendy turns and glares at Hodges.)
Hodges: --ly adequate. Better, in fact.
(He turns and looks at Sara.)
Sara: Okay. Uh, I'm out of here.
(Sara leaves.)
Henry Andrews: Hey, let's watch it again.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY]
(Robbins shares his findings with Nick.)
(TOP VIEW DOWN of the BACK with an IMAGE of the AXE.)
Robbins: (V.O.) When I removed the axe, --
(The AXE vanishes and CGI VIEW of the inside of the WOUND.)
Robbins: (V.O.) I noticed that the dermis along the margin of the wound showed no vital response, except in a small area on both sides of the center of the track.
(MOVE in CLOSE TO VIEW.)
Robbins: (V.O.) The cause of death was perforation of the liver, spleen, and pancreas.
(A CGI pointed object jabs into wound.)
BACK TO SCENE.
Robbins: But the injuries are inconsistent with the position of the axe wound.
Nick: The axe isn't what k*lled her.
Robbins: Exactly. The perforation was caused by a sharp, hollow, cylindrical object entering through the lower back, and then passing upwards into the organs.
Nick: Like a spear, or a pipe of some kind?
Robbins: Perhaps.
Nick: If the axe was planted in her back postmortem to conceal t original puncture site, then ... we don't have a m*rder w*apon.
CUT TO:
[INT. CSI – A/V LAB]
(Archie goes over the video with Catherine.)
ON THE COMPUTER MONITOR is the footage dated 11/07/07 at 05:22 A.M. of someone in a baseball cap opening the window to the warehouse.
Archie: The only thing I found on the surveillance tapes was this.
(He pauses the video.)
Catherine: That guy looks familiar. Oh, that's Vincent Lafoon. He and his brother own the place.
Archie: Well, here's where it gets a little weird.
(Archie resumes the tape. Vincent opens the window, then backs away and leaves.)
Catherine: He's trying to make it look like somebody broke in. I think he's framing Zarco.
Archie: If he owns the place, he must have known about the surveillance cameras. Right? (Catherine nods.) Why would he let himself get caught on tape?
Catherine: I don't know, but according to Brass's notes, he thought the system was down. So, we found no physical evidence linking Zarco to the scene. Vincent knew he had an easy fall guy. He's been playing us the whole time.
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY]
(Brass is sipping a cup of coffee as Vincent Lafoon is escorted in by an officer.)
Vincent Lafoon: Hey, you're making a big mistake; you got the wrong dude.
Brass: Yeah, a lot of guys tell me that.
Vincent Lafoon: But I didn't do anything. Why would I k*ll Weatherly? She was my company's best asset. Plus, I liked her. She was my friend.
(They turn and continue through the hallway just as Oliver Zarco turns into the same hallway.)
Vincent Lafoon: That's him. That's Zarco. That's your guy.
Oliver Zarco: What happened, Lafoon? She get too old, so you k*lled her for real?
(Zarco walks past him and heads out.)
Vincent Lafoon: Where's he going?
Brass: I don't know. Probably out for a nice dinner.
(Brass sits down. Zarco stops walking and turns to watch.) )
Vincent Lafoon: You're letting him go? Are you out of your mind?
Brass: We've got nothing on him.
Vincent Lafoon: But I'm the one getting set up here, me! Don't let him go--
I'm telling you-- you'll regret this.
(Zarco walks up to Lafoon.)
Oliver Zarco: I never touched her. You know it, I know it, and they know it. You k*lled her, and you're going down.
(Zarco turns to leave again. Lafoon lunges at Zarco. The officer holds Lafoon back. Brass sits on the chair, sipping his coffee and watching the show.)
Oliver Zarco: Can I go now?
Brass: Yeah, get out of here while I'm still in a good mood.
(Zarco smiles.)
Oliver Zarco: So long, Lafoon. I hope they tear you a big one.
(Zarco chuckles as he leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – LOCKER ROOM -- DAY]
(Sara sits in the locker room when Greg appears in the doorway.)
Greg: What's up?
Sara: You know, in the slasher movies, when they go after the dark-haired girl, she always dies?
(Greg walks in.)
Greg: Yeah. And the blond always lives. (He sits down.) Aren't you glad it wasn't a movie?
(She giggles at the irony.)
Sara: I think, um ... I think I am sick of having my face shoved in death every day. The m*rder rate has gone up every year since I've been here. It's totally out of control, and ... we're not even slowing them down.
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Nick walks and talks with Catherine.)
Nick: After examining the crime scene, I determined there were between 200 and
300 milliliters -- that's less than a cup -- of Weatherly's actual blood outside of her body. Originally, we had assumed that the axe blade had sealed the wound, that the position of her body had caused her to bleed internally.
Catherine: But if she had been gored first by another w*apon and then axed, there would have been a lot more blood.
Nick: Right, right. So, I compared the initial coroner's report with the last entry in her weight loss journal -- which was taken no more than an hour or two before her death. And guess what?
Catherine: Her body came up light?
Nick: Six pounds light. That's six pints of blood at a pound each nowhere in or around the body. She was moved.
(Quick flash to: Someone drags a tarp with Weatherly's body on it through the hallway. End flash.)
(Hodges joins them.)
Hodges: Hey. The trace from the puncture wound came back. It's zinc, which is electrically coated onto steel to make galvanized pipe.
Catherine: Well, we should go back, expand the search perimeter, try to find the actual m*rder site.
Nick: Okay. I'll get a hold to swing. We're going to need some help.
Catherine: Okay.
CUT TO:
[EXT. REPULSION PICTURES (LOT) – WAREHOUSE -- DAY]
(Dark clouds roll across the sky. Stanley Vespucci steps outside and looks up at the sky.)
(He sees the CSI SUV roll in and park. Catherine, Nick and Ronnie carry their kits and meet up with him.)
Stanley Vespucci: I hear you're holding Vincent Lafoon on suspicion of m*rder. His lawyer called me. I'd be surprised. Yes, the guy is a bit rough around the edges, but I don't think that he..uh ... Hello.
(He turns and looks at Ronnie.)
(Nick and Catherine both turn and look at Ronnie.)
Catherine: Nick. Why don't you ... uh ... take the offices, and Ronnie and I will start in the storage area.
(Nick heads into the warehouse. Catherine and Ronnie turn and head inside, too. Vespucci turns toward Ronnie.)
Stanley Vespucci: My name is Stanley. (Catherine and Ronnie head inside, ignoring him.) But you call me Stan.
(Stan waits outside.)
CUT TO:
[INT. REPULSION PICTURES -- OFFICES]
(A NIGHT SHIVERS poster hangs on the wall. Nick walks into the offices. He puts his kit down and starts looking around.)
(Up on the bulletin board are lots of WORK-SAFETY notices. There are fake body parts on the shelves. Nick finds a really large pair of slippers under the desk. He looks over and finds a red baseball cap on the wall hook. He notes the cap-size band has been adjusted.)
(Quick flash of: Someone adjusts the size of the red baseball cap to make it fit a bigger head. End flash.)
(Nick takes his phone out and makes a call.)
INTERCUT WITH:
[INT. REPULSION PICTURES – WAREHOUSE – DAY]
(Catherine and Ronnie are walking around the building.)
Nick: (from phone) Hey.
Catherine: (to phone) Hey, Nicky, what do you got?
(Ronnie splits apart and enters a side room while Catherine continues to talk on the phone.)
Nick: (from phone) I've got the hat Lafoon was wearing in the surveillance video. The wear on the strap indicates that it's been set larger ... like it was adjusted for somebody with a bigger head or something.
(Catherine walks across the warehouse.)
Nick: (from phone) So I'm going to get it back, see if I can get some prints off it.
Catherine: (to phone) Okay, I'll ... uh ... meet you back at the lab.
(Catherine hangs up.)
(She stops and looks around and doesn't see or hear Dickie Jones approach.)
Dickie Jones: Howdy. Dickie Jones. And you are?
Catherine: Busy.
Dickie Jones: How about after your shift, I take you out for a cup of coffee? And I could tell you my whole life story.
Catherine: No, thanks.
Dickie Jones: It's just a cup of coffee, doll. I'm not asking you to make love.
(Catherine rolls her eyes and turns to the side. Dickie eyes her behind and hisses his appreciation.)
Dickie Jones: (under his breath) Not right away, anyway.
(Catherine kneels and puts her goggles on.)
Dickie Jones: You know, I could open up new worlds to you. Have you ever had the back of those thighs kissed by a man ... who's standing up?
(Catherine turns her head as she starts laughing. She gets to her feet.)
Dickie Jones: So you find dwarves funny?
(Catherine laughs.)
Catherine: Sometimes, yeah.
Dickie Jones: Come on, what do you say? Is it because of my receding hairline?
(Catherine stops laughing.)
Catherine: I don't go out with persons of interest in an ongoing investigation.
Dickie Jones: Well, I just think you might be missing out, pookie.
Catherine: Don't call me pookie.
(Catherine stands up with her kit.)
Dickie Jones: But you haven't told me your name.
Catherine: Catherine.
(He walks over to her.)
Dickie Jones: Catherine.
Catherine: Catherine.
Dickie Jones: Catherine. Well, Catherine, we little people see things from a different perspective -- things other people might miss.
(Catherine puts her case down.)
Catherine: If you're implying that you know something about Weatherly's death, and you're not giving it up, that makes you, at a minimum, an accessory after the fact, --
(Stanley Vespucci walks in.)
Catherine: -- and that buys a long stretch for a stubby guy.
Dickie Jones: I'm just talking, doll-face.
Stanley Vespucci: Dickie. Why don't we leave the nice woman alone to do her work?
Catherine: Here's my card.
(She gives him her card.)
Catherine: If there's anything that you want to tell me as it pertains to the case ...
(Dickie takes the card from her and kisses the back of her hand.)
Catherine: Uh ... call me.
(Dickie backs away as Stanley walks over. Catherine turns and leaves.)
Dickie Jones: What are you doing?
Stanley Vespucci: Don't complicate things, Dickie.
Dickie Jones: I'm just trying to work--
CUT TO:
[INT. CSI – PRINT LAB]
(The red baseball cap is in the fumer.)
DISSOLVE TO:
(Nick removes the red baseball cap from the fumer. He looks for prints and puts it down when he doesn't find any. He runs a computer search on CASE FILE NO. LVPD 07 11 08 – 1078 GG.)
(He pulls up the MDV licenses.)
(He turns and looks at the sketch with the notation 5'02" near the window. He looks at the screen cap of the man in the baseball cap. He pulls up the driver license for VAUGHN KRUNTY (aka Zack Putrid). He notes the height: 5'10".)
(He pulls up the driver license for VINCENT LAFOON. He notes the height:
5'10".)
(He pulls up MASON LAFOON'S driver license. His height is 6'3".)
(Nick again looks at the video capture.)
(He gathers the file folder with the pictures and heads out.)
[INT. CSI – A/V LAB – CONTINUOUS]
(Nick heads over to Archie.)
Nick: Hey, Archie, could you bring up the surveillance video from Repulsion Pictures, please?
Archie: Yeah, got it over here.
(Archie plays the video.)
Nick: What's the best you can get me on the face?
(Archie enhances the image without success.)
Nick: He seems to be deliberately looking away from the camera. Take him to the window.
Nick: Freeze that. Zoom in on the sleeve. Does that jacket look a little small for that guy to you?
Archie: Maybe.
Nick: I measured the height of the window. It's five feet. How tall is the guy?
Archie: Well, he's a head taller than that window.
Nick: Vincent Lafoon's only five-foot-ten. This guy's six-foot-two, six-foot-three, easy. And a lot rounder. The only guy that big in the bunch is Mason.
(Nick makes a call.)
Nick: (to phone) Catherine, it's Nick. Listen, the surveillance video footage is a fake. I think we got the wrong brother in custody. I think Mason set up Vincent to set Oliver up. It's getting complicated.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. REPULSION PICTURES – WAREHOUSE -- NIGHT]
(Thunder rumbles and lightning flashes. Catherine has her goggles on as she looks around.)
[INT. REPULSION PICTURES – SET -- NIGHT]
(Ronnie is inside the set looking around with her flashlight.)
(Catherine is on the other side looking at the bloodied dummies with her ALS.)
Catherine: (calls out) Hey, Ronnie, anything?
(Ronnie walks through the set.)
Ronnie: No. This place is creeping me out.
Catherine: It's supposed to.
(Catherine turns and looks over at the shelves with extra body parts.)
(Lightning flashes and thunder rumbles outside. Catherine walks over to one of the props. She checks it and finds blood. In one of the pipes protruding from the prop, she finds more blood.)
(Catherine turns her ALS off and goes to her kit to take a sample.)
(Meanwhile, Ronnie continues to make her way slowly through the dark, creepy aisles.)
(Catherine takes a swab sample off the pipe and tests it. It comes out positive. Ronnie joins her.)
Catherine: I think we just found our m*rder w*apon. Hidden in plain sight.
(Ronnie sees something on the side.)
Ronnie: Catherine? I've got something else here.
(Ronnie photographs it and pulls it out of the rolled up coils on the shelf.)
Catherine: Looks like Weatherly's missing heel.
(Quick flash to: Weatherly struggles with someone. She backs up, trips and falls backwards. End flash.)
Catherine: This is where she died.
(Lightning flashes and thunder crashes. The overhead lights go out completely.)
Catherine: Ah, damn.
(The generator lights turn on.)
Catherine: Oh, good.
Catherine: Auxiliary generator just kicked in.
(Catherine checks her phone.)
Catherine: And I don't have any service.
(Ronnie checks her phone.)
Ronnie: Mine's d*ad, too.
(Ronnie puts her phone down on the shelf.)
Catherine: I'm going to get a dolly for you to move this thing. Photo it and get it back to the lab.
(Catherine heads out.)
Ronnie: Okay.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
(Its pouring.)
[EXT. CAR (MOVING) – NIGHT]
(Ronnie is driving. She glances down at her fuel. It's nearly empty. The message on the dash reads: FUEL RANGE LOW.)
(Ronnie turns into the nearest gas station to fill it up. The attendant, dressed in a raincoat and hat, runs out. Ronnie gives him the money.)
Ronnie: Here you go. Thanks!
(He turns and heads back inside. She fills the SUV and reaches for her phone. It's not there.)
Ronnie: Damn it.
(Ronnie opens the car door and takes out the radio.)
Ronnie: (to radio) Control, this is C-147 Lake for C13 Willows.
Dispatch: (from radio) Copy, C-147. Stand by. C-147, you have C-13. Over.
SPLIT SCREEN WITH: [INT. CATHERINE'S CAR]
Catherine: (to radio) This is Catherine.
Ronnie: (to radio) Hey, Catherine, I left my cell phone at the studio. I need to go back and get it.
(Ronnie finishes filling her car.)
Catherine: (to radio) Yeah, you'd better. They're department issue. And if you lose it, you replace it.
Ronnie: (to radio) Does that include the cost of the contract?
Catherine: (to radio) Oh, yeah.
Ronnie: (to radio) Damnit. I'll see you later.
(Ronnie goes back into the car, puts her seatbelt on and leaves the gas station.)
(As she pulls out, a woman with short blonde hair watches her. Lightning flashes.)
(Ronnie's SUV heads back to the studio.)
CUT TO:
[INT. CSI – HALLWAY – NIGHT]
(Catherine returns. She's on the phone with Brass.)
Catherine: We found the pipe that k*lled Weatherly. It's in the print lab being processed. She was k*lled on the soundstage and then dragged over.
Brass: (from phone) We've got a warrant out for Mason Lafoon. We're looking for him now.
Catherine: (to phone) Okay. Let me know what you find out.
(She hangs up. Another call comes in. It's DICKIE JONES.)
(Catherine sighs and heads into her office.)
Catherine: (to phone) What do you want?
Dickie Jones: (from phone) Pookie, it's me, Dickie.
Catherine: (to phone) I know.
Dickie Jones: (from phone) I've got information I think you might be interested in.
Catherine: (to phone) Okay, sh**t.
Dickie Jones: (from phone) No. It has to be in person.
Catherine: (to phone) Where are you?
Dickie Jones: (from phone) I'm at the studio.
Catherine: (to phone) I thought there was no phone transmission from there.
Dickie Jones: (from phone) There wasn't. Now there is. That's how it is with phones and electrical storms. Look, it's urgent. Get down here as soon as you can.
Catherine: I just came from there. Why didn't you tell me then, you annoying little man?
Dickie Jones: (from phone) The situation is evolving.
Catherine: (to phone) If you're screwing with me, I will to string you up and b*at you senseless.
INTERCUT WITH:
[EXT. REPULSION PICTURES]
Dickie Jones: (to phone) I look forward to it. Just hurry.
(Thunder cracks. Dickie Jones hangs up.)
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT]
(Brass puts a photo of Mason opening the warehouse window down on the table.)
Brass: That's you, Mason. All six feet, three inches of you impersonating your brother, which makes you good for Weatherly's m*rder. You did that one, too, didn't you?
Mason Lafoon: No, no, no. Nobody k*lled Weatherly, okay? She k*lled herself.
Brass: Oh, really? What, she axed herself in the back?
Mason Lafoon: No, you don't understand. She ... she ... It was an accident. She tripped.
(Quick flashback to: Mason Lafoon and Stanley Vespucci are talking as Weatherly says good night to them.)
Mason Lafoon: Good night, Weatherly.
Stanley Vespucci: Good night, kid.
Mason Lafoon: Yeah, great stuff tonight. Have a good night.
Stanley Vespucci: All right.
Mason Lafoon: See you tomorrow.
Weatherly Adams: See you tomorrow. Okay.
(Weatherly smiles and waves to them as she backs away. She trips on the rolled up hose on the floor, falls off the set stage, and ... SQUISH!)
(Mason and Stanley rush over to check on her. They find her impaled and d*ad on the prop below.
Mason Lafoon: (shouts) Call 911! Call 911!
(Mason reaches for his phone. Stanley stops him from dialing.)
Stanley Vespucci: Wait, let's think about this.
Mason Lafoon: No, but Stanley ...
Stanley Vespucci: Mason, she's d*ad! This time she's not coming back. We've got so many health and safety violations. If we report one more set-related accident -- especially one resulting in a death -- we will lose our bond, our liability insurance, OSHA will shut us down, we'll get our asses sued for wrongful death, and that will be the end of Repulsion Pictures! Is that what you want? Is that what you want?!
Mason Lafoon: (shouts) No!
BACK TO SCENE.
Mason Lafoon: He ... he said "the show must go on," th-that Weatherly ... would have wanted it that ... I don't ... we ... we didn't k*ll anybody.
Brass: But you made it look like a m*rder, and then you framed your brother.
Mason Lafoon: Well, he's been treating me like crap my entire life.
(Brass chuckles.)
Brass: Yeah, but for that, you're going to send him to jail for the rest of his life?
Mason Lafoon: This was all ... this was all Stanley's idea.
Brass: Do you realize how much trouble you're in?
Mason Lafoon: Look, Stanley was the one who wanted to frame Vincent, okay? All I was supposed to do was clean up the accident scene and pretend to be Vince and buy the roses and that was it. The rest was him. If you don't believe me, talk to the dwarf.
(Brass sits down.)
Brass: Why? What did he have to do with it?
Mason Lafoon: Dickie saw the whole thing.
(Quick flashback to: Stanley and Mason talk. Dickie Jones is in the back of the set watching ... and hearing them.)
Stanley Vespucci: ... and that will be the end of Repulsion Pictures. Is that what you want? Is that what you want?!
Mason Lafoon: No!
Mason: (V.O.) And he's been trying to shake down Stanley ever since.
BACK TO SCENE.
Brass: Well, that would explain the animosity.
CUT TO:
[INT. REPULSION PICTURES – SET -- NIGHT]
(Ronnie returns to the warehouse. She wipes the rain from her forehead as she heads to the back to get her phone.)
(Thunder rumbles. Lightning flashes. The lights are on. Ronnie enters the room. She grabs her phone off the stage and turns around to leave. She stops at a fresh pool of dripping blood on the floor.)
(She looks up and finds Dickie Jones hanging from the overhead beams upside down. He's d*ad.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. STREET -- NIGHT]
(The CSI SUV turns on the road.)
[INT. CATHERINE'S CAR (TRAVELING) – NIGHT]
(Catherine is driving.)
Catherine: (to radio) Control, this is C-13 Willows, trying to contact C-147
Lake.
Dispatch: (from radio) C-13, Control. Copy. Stand by.
[INT. REPULSION PICTURES – SET -- NIGHT]
(Ronnie is on her phone.)
Ronnie: (to phone) Hello, Dispatch?
(She doesn't get a response. She shakes her phone.)
Ronnie: (to phone) Hello?
[INT. CATHERINE'S CAR (TRAVELING) – NIGHT]
Dispatch: (from radio) C-13, Control. C-147 is not responding.
Catherine: (to radio) Okay, thanks. Over and out.
[INT. REPULSION PICTURES – SET -- NIGHT]
(Ronnie's phone beeps as it disconnects. She looks around. Two g*n f*re.)
(She heads out to the door.)
(She stops when a WOMAN in a long gown, high spiked heels and a short blonde wig walks across the far entryway. The WOMAN looks like it might be Weatherly.)
(Ronnie's phone rings.)
(She ducks quickly to the side to hide. She reaches for her phone to turn the ringer off. But the WOMAN turns around and looks at Ronnie. Ronnie runs back to the set.)
(She ducks into the corner and crouches against the wall. She opens her phone and makes a call.)
SPLIT SCREEN: [INT. CATHERINE'S CAR]
Ronnie: (to phone) (whispers) Catherine, it's Ronnie. I'm stuck at Repulsion Pictures. I need backup.
Catherine: Ronnie ...
Ronnie: (to phone) Hello?
(Ronnie looks at her phone.)
Catherine: (echo-y) ... uh ... I'm, I'm coming.
Ronnie: (to phone) Hello?
Catherine: Just ... just stay on the line.
("Weatherly" turns and heads back toward the set where Ronnie is.)
Ronnie: (to phone) Hello?
Catherine: Ronnie?
Ronnie: (to phone) Hello?
Catherine: Ronn—
(The line goes d*ad.)
Ronnie: (to phone) Hello?
(Catherine's phone beeps. She picks up the radio to call dispatch.)
Catherine: Dispatch, this is C-13 Willows requesting backup to meet me at Repulsion Pictures.
(Catherine turns the sirens on.)
[INT. REPULSION PICTURES – SET -- NIGHT]
(Meanwhile, Ronnie looks out the window. Lightning flashes and the woman's figure passes by the window, her heels clacking on the floor.)
(Ronnie reaches over and picks up the toilet t*nk cover. She backs away from the door.)
(She turns around and ZACK PUTRID is standing there.)
(He falls to the floor with a THUD. He grabs Ronnie by her ankle.)
Zack Putrid: (gasps) You gotta help me. I'm sh*t! I'm sh*t! You gotta get us out of here.
(Ronnie puts the cover down and applies pressure to the wound in Zack's back.)
Ronnie: (quietly) It's gonna be okay. Keep your voice down.
Zack Putrid: (gasping) Do you know how many people I've k*lled in this place?
Ronnie: Shh!
Zack Putrid: The irony is exquisite, but the pain is more formidable, you know? I think the pain is preventing me from enjoying the irony.
(Ronnie covers Zack's mouth to stop him from talking.)
Ronnie: Shh! Shut up!
(She removes her hand and he starts talking again.)
Zack Putrid: But I ...
Ronnie: For the love of God, stop talking.
[EXT. STREET – NIGHT]
(Catherine's SUV turns onto the road, sirens wailing.)
[INT. REPULSION PICTURES – SET -- NIGHT]
(Zack coughs blood.)
Zack Putrid: Oh, that's not good. (coughs) I should really stop talking and-and try and relax.
OTHER POV: Someone watches them.
Ronnie: That's good. Yeah, stop talking.
Zack Putrid: But I can't stop talking. I've got that thing that ... It's a syndrome. It's a word ... There's a word for it.
Ronnie: Shh-shh-shh!
Zack Putrid: People have it. It's a syndrome. I can't stop talking.
Stanley: Zack.
(Ronnie looks up and sees Stanley Vespucci standing up on the mezzanine level above them. He's carrying a g*n and raises it at them.)
(Zack turns and looks at Stanley.)
Zack Putrid: Stanley ... Stanley, don't sh**t me again. I don't want to die, okay? You already sh*t me twice. I learned my lesson, okay?
Ronnie: Sir, I'm a CSI. Think about what you're doing.
(Thunder rumbles.)
Ronnie: Put down your w*apon.
Stanley Vespucci: I'm sorry, I don't think I can do that.
(He cocks the g*n. Zack sobs.)
(Suddenly, Stanley gasps. He staggers down the stairs with an axe in his back.)
(He falls to the floor in front of Ronnie and Zack.)
(Behind him, Oliver Zarco is dressed in a blue sequined gown and is wearing a short blonde wig. He's looking a lot like "Weatherly.")
(Ronnie looks at Zarco.)
Oliver Zarco: Are you okay?
Ronnie: (nods) Yeah.
(Oliver gulps and sits down hard on the steps. He removes the blonde wig.)
(The approaching sirens grow louder.)
Oliver Zarco: I really loved her.
(He buries his face in the wig and cries.)
(Ronnie lets out a shaky breath.)
Catherine: (o.s.) Ronnie!
(Catherine enters the room with two officers behind her. Their w*apon are out.)
(Ronnie sits down on the floor.)
(Catherine sees the bodies on the floor – and Zarco sitting on the steps. She looks up and sees Dickie Jones hanging from the ceiling beams.)
CUT TO:
[BLACK SCREEN]
Zack Putrid: (V.O.) I'm editing late, like I always do, and I hear a sh*t.
INSERT: FLASHBACK
(Stanley is turning the crank that raises Dickie Jones up to the ceiling beams by his feet.)
Zack Putrid: (V.O.) So, I go outside and check it out.
(Zack walks in and sees him.)
Zack Putrid: Stanley!
Stanley Vespucci: You gotta help me hide the dwarf before the cops come back. Dickie was blackmailing us about Weatherly's accident. He wants to bring the whole company down.
Zack Putrid: But you k*lled him! You k*lled Dickie!
Stanley Vespucci: What's it gonna be, Zack? (He points the g*n at Zack.) You gonna help me here or what?!
WHITE FLASH TO:
[INT. HOSPITAL – ZACK'S ROOM]
(Zack talks with Ronnie.)
Zack Putrid: Next thing you know, I'm running for my life. And the nut job is chasing me. He sh**t me, and then I see the hot ... you. And all I can think the whole time is, "Man, this is great. I could use this stuff." I mean, this is life imitating art imitating life. You are so beautiful.
(Ronnie starts to smile.)
Zack Putrid: You are ... Your, your face is so expressive. It-it emotes. You do terror so good.
Ronnie: I wasn't acting.
Zack Putrid: I know.
Ronnie: I'll see you.
(Ronnie turns to leave.)
Zack Putrid: Well, hey, listen. If you ever get tired of fighting crime, you know, there's always a future for you in the horror business. I mean, I'll take you there.
Ronnie: Thanks, but I like what I'm doing.
Zack Putrid: Oh, hey, the offer's still good.
Ronnie: Okay, thanks.
Zack Putrid: No, I'm serious. I could build an entire franchise around you.
Ronnie: Bye.
(Ronnie leaves.)
Zack Putrid: (shouts) Seriously. Give me a call.
CUT TO:
[INT. CSI – HALLWAY / FORENSIC AUTOPSY]
(We move through the hallway, past a d*ad body on a gurney. We turn the corner and enter Forensic Autopsy.)
(We hear music and screaming – men screaming, maniacal laughter and a woman screaming.)
(We see a d*ad body on the autopsy table and hear horror movie climax music playing. A man laughs. A door hinge creaks loudly.)
(Robbins and David Phillips sit at the desk watching a horror movie and eating popcorn.)
Robbins: That is impressive. As the woman's throat is being slashed, you can actually see the entire transverse view of the trachea.
David Phillips: That's all you've got to say?
(Robbins puts his glasses on and sits forward.)
Robbins: I believe I can see the epiglottis.
David Phillips: Epiglottis? What about the pathos? I mean ... what about the humanity? This may be Weatherly's finest performance.
(Robbins stares at David.)
David Phillips: Oh, just watch the movie.
(A woman screams. They go back to the popcorn and the movie.)
SLIDE TO BLACK.
(A man laughs maniacally.)
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x05 - The Chick Chop Flick Shop"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT]
[INT. DAVIS RESIDENCE – LIVING ROOM -- NIGHT]
(The dice rolls out onto the coffee table.)
Carmen Davis: She-bang!
(Carmen Davis is playing with a young blonde-haired boy who sits on the couch looking very bored. She holds a glass of wine as she plays the game.)
Carmen Davis: That's pretty cool, right?
Evan Michaels: (nods) Mm-hmm.
Carmen Davis: That doesn't happen very often, you know.
Evan Michaels: I know.
(She totals the points.)
Carmen Davis: You won. You b*at me!
Evan Michaels: (unenthusiastic) Uh-huh.
(She puts her glass down on the table and gathers the dice.)
Carmen Davis: You want to play again?
(She shakes the container. He shakes his head. The dice rattle. She sighs.)
Carmen Davis: Fine.
(She picks up her wine glass.)
Carmen Davis: Whatever.
(She gives him the television remote.)
Carmen Davis: Knock yourself out.
(Carmen gets up and heads down the hallway. Evan turns the television set on to watch cartoons.)
(Carmen closes the bathroom door.)
[INT. DAVIS RESIDENCE -- BATHROOM – NIGHT]
(The bathtub water runs. Carmen drops the towel wrapped around her, turns the water off and climbs into the bathtub. She sighs and settles back to enjoy her bath. She has candles lit on the sink, shelves and windowsill, and she has her glass of wine with her.)
(The small apartment starts to quiver and shake, the bottles on the sink rattle as the nearby train passes by. But Carmen is used to this. She continues with her bath and sips from her wine glass.)
(Then, she hears a loud thud coming from outside. She puts her wine glass down on the bathroom sink. She looks at the door.)
Carmen Davis: Evan? Evan.
(She hears a sound coming from the other side of the door.)
(She sees the doorknob turn and open. A bloodied hand pushes the door open.)
(The train horn blows.)
(She screams.)
(The door is pushed open and a man carrying a hammer walks in. He hits her over and over and over again; blood spatters everywhere – on the sink, on the wall, on the tub.)
CUT TO:
[EXT. STREET OUTSIDE DAVIS RESIDENCE – NIGHT]
(The CSI SUV turns the corner and pulls up along the curb. Grissom gets out of the car and appears puzzled by what he sees – David Phillips and the other coroner are leaning against the gurney on the sidewalk.)
(He heads for the house.)
[INT. DAVIS RESIDENCE – NIGHT]
(Grissom peers into the house. He sees the body of the little boy on the living room floor, face down. Apparently, nothing has been done yet. Grissom walks up to the body. Greg is kneeling next to the boy. He looks at Grissom.)
Grissom: How long have you been here?
Greg: About six hours.
(Grissom turns and heads for the bathroom at the end of the hall where Carmen's body is on the floor. She is covered with a towel.)
(He turns when he hears a camera snap. Catherine is taking photos in the bedroom.)
Grissom: Why haven't these bodies been released?
Catherine: Good question. David was in Henderson on another call, so, when Greg and I got here, we just started processing the house.
(Catherine walks over to him.)
Catherine: Found the victim in the bathroom, covered with a towel. We got a plastic print on the bathroom door. It's the strongest piece of evidence -- I photographed it and transmitted the image back to the lab; Mandy got a h*t to an unknown palm; case info was in ViCAP. And then, Dispatch called, telling me to stop processing immediately, by order of the FBI.
Grissom: The FBI field office is right next to the Strip. What's taking them so long?
Catherine: Oh, beats the hell out of me.
(The small apartment starts to quiver and shake, the bottles on the sink rattle as the nearby train approaches. Overhead, they hear the sounds of a helicopter rotor. Catherine and Grissom look at each other.)
[EXT. STREET OUTSIDE DAVIS RESIDENCE – NIGHT]
(The FBI helicopter, #N67TV, approaches and lands near the house. Brass walks over. Jack Malone gets out of the helicopter and they shake hands.)
Jack: Jack Malone, FBI.
Brass: Jim Brass.
(They head for the house.)
Jack: I'm based in New York, but I was testifying in a case in San Francisco. When I heard about the ViCAP h*t, I got here as fast as I could.
Brass: Chopper from the Strip? That's nice. That's my tax dollars at work?
Jack: You get a positive ID on the boy?
Brass: No, but we have an ID on the female -- name is Carmen Davis. According to neighbors, she lives alone. Apparently no kids of her own. But if I find anything out, I'll let you know.
Jack: Thank you.
(Brass leaves. Jack motions for David Phillips and the other coroner.)
Jack: You're up.
(David takes his kit and follows him inside.)
[INT. DAVIS RESIDENCE – NIGHT]
(Jack enters the residence. He sees Greg with his camera.)
Jack: (to Greg) You -- you get enough photos?
Greg: Definitely.
(Catherine and Grissom are there as well.)
Jack: (to David) Roll the body over.
(David rolls the little boy's body over so that Jack can see his face. Jack is quiet. He sighs.)
Grissom: What's going on?
Jack: Jack Malone, FBI, New York City.
(Jack hands Catherine a photo.)
Jack: This boy was kidnapped from his babysitter's apartment six years ago. Babysitter was k*lled. The only evidence at the crime scene was a bloody palm print.
Catherine: Well, there may be a resemblance, but kids change a lot in six years.
Jack: Mm-hmm.
Grissom: DNA will tell us if this is your kid. But it does look like your k*ller came to Vegas.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. DAVIS RESIDENCE – NIGHT]
(David Phillips goes over the body.)
David Phillips: Based on levidity and rigor, TOD is roughly 24 hours ago. And he's got perimortem bruising on the back of the neck. And a single sharp-force injury to the forehead.
(Grissom notices the blood on the table.)
ECU – THE TABLE CORNER
(There are blonde hairs stuck to the blood on the corner.)
BACK TO SCENE
Grissom: Looks like he h*t his head on the table.
Jack: Or somebody slammed it against the table.
Grissom: Well, we don't know that yet.
Catherine: Agent Malone, why don't I fill you in on what else we do know. There are no signs anywhere that the boy actually lived here. The sleeping bag on the couch indicates that he was probably a house guest. Why don't you follow me into the kitchen.
(Catherine heads for the kitchen. Jack looks at David.)
Jack: Let me know when you're ready to transport the body.
David Phillips: Yes, sir.
(Jack follows Catherine into the kitchen. Grissom looks at the little boy.)
ECU – THE COLLAR
(There is a fine white powder on the collar.)
BACK TO SCENE
(Grissom tape-lifts the powder and looks at it.)
[INT. DAVIS RESIDENCE – KITCHEN -- NIGHT]
(Greg is looking through a wallet at the kitchen table when Catherine and Jack join him.)
Catherine: Bring us up to speed, Greg.
Greg: Okay, sure. Um ... Carmen Davis's keys were still in her purse; the car's outside. No cash in the wallet, and the credit cards have been removed and neatly stacked on the table; it appears as though they've been wiped clean. The k*ller was smart enough not to take anything that could be traced.
Catherine: Which suggests that he was an experienced criminal. What do you know about this guy?
Jack: Including everything you just told me? Everything you just told me. Six years ago, the k*ller took the m*rder w*apon with him. It was a baseball bat that he found in the apartment.
Catherine: Well, this time, we think it's hammer.
[INT. DAVIS RESIDENCE – BATHROOM -- NIGHT]
(Catherine shows Jack the wounds on Carmen's head.)
Catherine: The round indentation wounds are consistent with hammer blows. Do you see any similarities between this victim and the babysitter who was k*lled six years ago?
Jack: Just that they were both bludgeoned to death. The babysitter was a lot older, and she wasn't covered.
Catherine: Covering a body usually indicates remorse on the part of the k*ller.
Jack: So you think he felt remorseful about this victim and not the one from six years ago?
Catherine: Maybe he knew Carmen Davis. There's three toothbrushes, two of them in travel cases. My guess: the k*ller was staying here with the little boy. There was no sign of forced entry.
David Phillips: (o.s.) Agent Malone?
(Jack turns and looks at the coroners.)
David Phillips: We're read to take the boy out.
Jack: Okay.
(He turns back to Catherine.)
Catherine: So, I assume we'll be sending over the case evidence to Quantico?
Jack: We can't process the evidence from every case we're involved in. We have a massive overload already. This will be joint jurisdiction. You do your thing, I'll do mine.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – MORNING]
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Catherine walks into Autopsy. Robbins fills her in on his findings.)
Robbins: COD is multiple blunt-force trauma. Based on the development of the contusions, it appears the blow to the back of the skull was the first impact, but the ones on the face came about half-hour later.
Catherine: Half an hour?
Robbins: Yeah.
Catherine: Was she r*ped?
Robbins: Yeah. I ... uh ... did a wet mount, found semen in the vaginal vault, and I collected an SAE kit.
(He hands her the kit.)
Robbins: This guy is some piece of work.
Catherine: (nods) I'll get it to DNA.
(Catherine heads out.)
WHITE FLASH TO:
VARIOUS FLASHES OF THE LITTLE BOY'S BODY
[INT. CSI – AUTOPSY – DAY]
(Grissom is using a magnifying glass to look over the body. Jack is standing in the back of the room.)
Grissom: No birthmarks.
Jack: Our missing boy didn't have any, either.
Grissom: So the only way to confirm the identity ...
Jack: (interrupts) I've had the original DNA report electronically sent to your lab.
Grissom: Well, then you'll just have to wait for your answer. (Grissom turns around.) You know, maybe now would be a good time for you to brief us on the original case.
WHITE FLASH TO:
[INT. BABYSITTER'S APARTMENT – NIGHT – FLASHBACK]
Jack: (V.O.) His name was Jason Taylor.
(The babysitter and Jason Taylor sit on the couch and watch television.)
(The sound of glass breaking startles them.)
Jack: (V.O.) He was at his babysitter's apartment.
(Someone outside opens a window.)
(The babysitter and Jason get up.)
Jack: (V.O.) He'd been home sick from school.
(The intruder climbs into the apartment.)
Jack: (V.O.) That's when it happened.
(The intruder grabs a baseball bat leaning against the side of the wall.)
(CUT TO: The babysitter falls to the floor, her head bleeding.)
(The intruder carries Jason Taylor with him out the window. He keeps the bloodied bat.)
(CUT TO: Jack enters the apartment with the officers processing the scene. He looks at the body on the floor. He looks at the open window. There's a bloodied palm print on the outside of the living room window frame.)
Jack: (V.O.) An unidentified male entered, most likely through an open window on the f*re escape, m*rder the babysitter and took Jason with him.
BACK TO SCENE.
[INT. CSI – EVIDENCE ROOM]
(Jack is talking with Nick, Warrick, Catherine and Grissom.)
Jack: Uh, we never got a decent description of the perp.
Nick: Nothing was stolen?
Jack: Cash was still in the babysitter's purse; the only thing missing was a baseball bat.
Warrick: Which, based on her wounds, you figure that was the m*rder w*apon?
Jack: Mm-hmm.
Nick: Baseball bat there, hammer here-- w*apon of convenience. Guy seems to grab whatever's handy.
Catherine: And takes it with him. (to Jack) Was the babysitter r*ped?
Jack: No.
Nick: Why kidnap a kid, wait six years, then k*ll him?
Catherine: Most four-year-olds will do what you tell them. Most ten-year-olds will do what they want.
Warrick: Kid starts asking the wrong questions, talking to the wrong people ... tons of possibilities.
Jack: Yes. Way too many.
Nick: According to this, the kid was adopted. Did you take a look at the biological parents?
Jack: Jason was adopted as an infant. Uh, there was no way we could track his records.
Warrick: Adoptive parents had no contact with the kidnappers? They were not given any ransom demands?
Jack: There was no motive. I couldn't even give the parents a reason.
Grissom: Maybe there isn't one.
Jack: Most children are abducted by somebody who's associated with the family. Random kidnappings are extraordinarily rare.
Grissom: Except in the US last year, there were almost a hundred. Some things are just random.
Jack: Have you ever tried telling that to the parents of a child who's been kidnapped?
Grissom: Yes, actually, I have.
Jack: And how'd that work out for you?
CUT TO:
[INT. CSI – DNA LAB]
(Wendy is processing the samples.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) – DAY]
[INT. DAVIS RESIDENCE – NIGHT]
(Greg walks out of the bedroom and heads for the living room. Nick is in the living room while Warrick is looking around the kitchen.)
Greg: Hey, guys. I found an empty jewelry box in the bedroom. Maybe the k*ller swiped the jewelry in addition to the cash. Easy to fence in this neighborhood.
(Nick picks up a framed photo.)
Nick: Was the d*ad girl wearing any jewelry when you found her?
Greg: Nope.
Nick: Then that's a good call, man, 'cause she's wearing some in just about every one of these pictures.
(Warrick is looking at a printout for a POKER TOURNAMENT at PLANET HOLLYWOOD.)
Nick: I wouldn't doubt if she kept a lot of it in that box. I'll check with the local pawnshops, see if anything's been hocked.
(Warrick checks the computer and finds it on a poker game.)
Warrick: Hey, Greg, you see any books on the shelf over there on gambling or poker?
Greg: No, just a lot of romance novels, mysteries and women's health.
Warrick: 'Cause I got poker player stats, and multiple websites on online gambling. Seems kind of out of place to be the victim's. I think we got a mystery houseguest who is a card shark.
(The number highlighted and circled on the poker sheet print-out is 273.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT]
(The Planet Hollywood Hotel.)
[INT. PLANET HOLLYWOOD – GAME FLOOR – NIGHT]
(A poker table. The dealer shuffles and deals out the cards to the various players. Warrick, Jack and a couple of officers walk in. They look around the room, which is set up with many poker tables. They spread out between tables looking for player #273.)
Announcer: (over speakers) Ladies and gentlemen, the first of the elimination rounds for our money poker tournament are over and we're down to our last one hundred players. Congratulations to all and good luck.
(As they walk through the tables, they look for the player #273.)
(Player 273 wears a dark jacket and sits at the table. Warrick sees him. Player 273 sees Warrick. He gets up and runs.)
Warrick: Got him!
(Warrick and the officers chase after him. Jack heads him off.)
(Player 273 reaches the slot machines and runs, making his way to the exit. Suddenly, Jack steps out in front of him and elbows him in the face. Player 273 goes down with a thud.)
Player 273: Ugh.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(Warrick takes Tom Michael's fingerprints.)
Tom Michaels: You know what this is? Huh? This is police brutality.
Warrick: Yeah, whatever.
[INT. POLICE DEPARTMENT – OBSERVATION ROOM -- DAY]
(Warrick hands Tom Michaels a tissue. In the observation room, Brass and Jack watch them inside the interview room.)
Warrick: (through speaker) We're not done yet.
Brass: Well, he doesn't look like much, but then again, they never do.
Jack: If you don't mind, I'd like to talk to him first.
Brass: You don't have to be polite, Jack. This is a federal case; you don't need my permission.
(In the interview room, Warrick rolls some ink on Tom Michael's palm.
Brass: How you going to go at him?
Jack: I don't know. I usually just make it up as I go along.
(Jack leaves the observation room.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM -- DAY]
(The door opens and Jack walks in. Warrick takes his things and heads out.)
Warrick: All done here.
Jack: Thank you. (to the officer at the door) You can leave, too.
(Warrick and the officer leave the room. Jack closes the door.)
Jack: Mr. Michaels. Jack Malone, FBI.
(Jack puts the file folder down on the table.)
Tom Michaels: Huh. FBI.
(Jack sits down.)
Jack: Mm-hmm. Why'd you run back there?
Tom Michaels: Oh, I don't know. I was scared, I guess.
Jack: Of what?
Tom Michaels: (flippantly) Um ... of getting caught, being embarrassed.
Jack: Right. So it's probably a good idea not to do anything that would embarrass you.
Tom Michaels: Yeah, I know. But you never really think you're going to get caught, do you?
Jack: Yeah, but you did. You want to talk about it? I got nowhere I have to be. And you got nowhere to go.
Tom Michaels: (sighs) I don't know what the big deal is. I mean ... we've all thought about it, right?
Jack: Sure. It's natural.
Tom Michaels: Right. I had a plan. It was simple. I take it ... I play with it for a little while ...
Jack: "It"? Like it's property?
Tom Michaels: Yeah, yeah, it's nothing personal. I didn't even think Brother Willard would even miss it.
Jack: Brother Willard? You want to talk to me about Brother Willard?
Tom Michaels: (sighs) Oh, Brother Willard is my spiritual advisor. He's supposed to talk me out of doing things like this. But you know what? Sometimes I just ... I just feel like listening to that little voice inside my head.
Jack: Hmm. Right.
(Jack stands up and walks around the table. He leans in close to Tom's ear.)
Jack: And what is that little voice inside your head telling you right now?
Tom Michaels: Just take it.
(Jack slaps Tom's shoulder. He sits down.)
Jack: "Just take it." This is not the first time that you've taken something that doesn't belong to you, is it?
Tom Michaels: What do you mean?
Jack: Six years ago, in New York City.
Tom Michaels: I don't know anything about New York.
Jack: Six years ago, in New York City, you took something that didn't belong to you.
Tom Michaels: I don't know anything about New York. Look, I told you -- I was going to give it back. Really, I just had some bad luck.
(Jack stands and grabs Tom's shoulder, pushing him down onto the table.)
Jack: Is that what you call it?! You abducted and m*rder a four-year-old boy!
(Brass walks into the room.)
Tom Michaels: (shouts) I don't know what you're talking about!
(Jack knocks the file folder off the table. The crime scene photos spill out onto the floor.)
Jack: Just bad luck?!
(Brass reaches Jack.)
Brass: Let him go. Look, you want to rendition him to Gitmo, be my guest, but in this house, we play by the rules. Now get your hand off the suspect.
(Jack lets Tom Michaels go. Tom sits up and wipes his mouth. He looks down and sees the photos of Evan Michael on the floor.)
Tom Michaels: What's that? That's ...
(He picks up the photo and looks at it.)
Tom Michaels: That's Evan. That's ... this is my son. This is Evan.
(Tom Michaels starts to cry.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. CSI – HALLWAY -- NIGHT]
(Jack paces the floor. Grissom turns the corner and finds Jack.)
Jack: Guy's not the m*rder.
Grissom: I know. We ran his palm print. Doesn't match.
Jack: He's a Mormon from Utah. Stole $10,000 from the church, entry money into a poker game. Figured he'd win the money, replace it before they noticed.
Grissom: And decided he'd bring his kid with him?
Jack: Single parent. Carmen Davis is an ex-girlfriend. Dropped the kid off with her.
Grissom: And while he's playing cards, they both get m*rder.
Wendy: (o.s.) I got your DNA results.
(They turn and see Wendy with the file.)
TIME CUT TO:
[INT. CSI – DNA LAB – CONTINUOUS]
(Wendy shares her findings with Jack and Grissom.)
Wendy: The d*ad boy was confirmed as Tom Michael's son. So he's definitely not your kidnap victim from New York. However, the results of the SAE kit on the female victim showed two semen donors.
(She reads the search results on the computer monitor.)
Wendy: One was Tom and the other unknown, but that unknown was connected to two unsolved r*pe m*rder in CODIS.
Jack: Excuse me.
(Jack takes over the keyboard and scrolls through the screen.)
Jack: Two years ago in Wyoming, 11 months ago in Idaho. Okay, one victim was
23, the other one 54. One blonde, one brunette. Both female. Both with their faces covered.
Grissom: Both single, with no kids.
Jack: Breaks the pattern.
Grissom: If there is a pattern.
Jack: There's a big gap between Vegas and New York. Now, this guy has been involved in four m*rder in the last two years. There's got to be more.
Wendy: Well, if there are, then there may not be any associated DNA in the system. Small towns usually can't afford to run it if they don't have a suspect.
Jack: Doesn't mean there's not a pattern. Just means we haven't found it yet.
(Jack goes back to looking at the monitor. Grissom watches Jack.)
CUT TO:
[INT. CSI -- HALLWAY]
(Jack walks through the hallway and passes Hodges in the Trace Lab. Hodges sees Jack and quickly gets up to join him.)
Hodges: Special Agent Malone. David Hodges. (hands him file) The granular powder that you found on the d*ad boy's neck and shirt was largely ammonium nitrates and sulfates -- commercial grade fertilizer.
(Jack looks at the results and sighs.)
Jack: Great, so the k*ller could be from any farm in the United States.
Hodges: Yeah, or any backyard.
Jack: Thank you.
(He hands the file back to Hodges.)
Hodges: So, I was curious about opportunities at the federal level. Pay scale, working conditions ...
Jack: You want my honest opinion?
Hodges: Absolutely.
Jack: There's a lot less competition in Vegas for a guy like you. The FBI has enough ass-kissers already.
(Jack walks away. Hodges nods, stops and turns to head back to his lab.)
CUT TO:
[INT. CSI – HALLWAY OUTSIDE FORENSIC AUTOPSY]
(Jack heads down the hallway and sees Robbins.)
Jack: I'm looking for Tom Michaels.
Robbins: Yeah, he's in there. You might want to give him a minute, though. He's ... uh ... saying good-bye. Do you have any kids?
Jack: Yes. I have two daughters.
(Robbins nods and leaves. Jack waits a moment, then steps into Autopsy where he finds Tom Michaels looking at Evan's body on the morgue cabinet.)
Jack: Um, Mr. Michaels ... I wanted to apologize for my behavior earlier.
Tom Michaels: You're afraid I'm going to sue?
Jack: The same man who m*rder your son kidnapped another boy six years ago. He's here in Vegas, right now. And this is closest that I've ever been to him.
Tom Michaels: You thought it was me.
Jack: I promise you ... that I will do everything in my power to catch this man.
Tom Michaels: Is that what you told the other boy's parents?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. PAWNSHOP -- DAY]
(Nick is examining some jewelry on a tray when the pawnshop owner steps out from the back. Brass is there with Nick.)
Pawnshop Owner: Those the items?
Nick: Yep.
Pawnshop Owner: Damn. This always happens to me.
Nick: Is that the surveillance?
Pawnshop Owner: Yeah.
(He gives the image sheets to Nick.)
Pawnshop Owner: That's the guy.
Nick: Okay.
Pawnshop Owner: I almost didn't call you guys, you know. What about me? I'm out 350 bucks.
Brass: You'll live. The woman these items belonged to is d*ad, along with a kid.
Pawnshop Owner: Oh. (b*at) Is there a reward?
Brass: Shut up. You saw him the night before last. You talk to him? He say anything to you?
Pawnshop Owner: Not much. He showed me the jewels. I gave him his $350. Uh, he asked me for directions to the Tangiers.
Brass: Hmm.
Pawnshop Owner: I showed him how to get there. Recommended that Let It Ride game. It's been pretty lucky for me.
Brass: Good for you.
(Brass makes a phone call.)
Woman: (from phone) Tangiers Hotel.
(Nick looks at the images of the man in a baseball cap.)
Brass: (to phone) This is Captain Jim Brass, LVPD. Would you connect me to the surveillance room, please?
CUT TO:
[INT. CSI – A/V LAB -- DAY]
(Archie is reviewing the Tangier's surveillance tapes. On it is the man in a baseball cap sitting at the card table game. He's talking with the waitress. She leaves him and walks away.)
Archie: That's definitely not a guy you want to go home with. That cocktail waitress doesn't know how lucky she is.
Jack: We need a sh*t of his face.
(Archie goes through the tape. The man in the baseball cap doesn't look up once.)
Archie: Well, I think he knows that.
Jack: Just ... hold on. Zoom in on the ball cap. There's a logo.
(Archie enhances the logo. It's for HARGREEN HARVEST.)
Archie: "Hargreen Harvest."
Jack: He had commercial fertilizer on his hands when he k*lled Evan Michaels. He's a migrant worker, perhaps.
Archie: Well, Tangiers sent over more than twelve hours on this guy. It's gonna take some time, but of course I'll let you know the minute I find anything.
Jack: Okay, great.
(Jack leaves. Archie goes back to reviewing the tapes.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Grissom walks into his office. Jack follows him.)
Grissom: I'll call in some additional AV techs, help Archie get through the footage, ...
Jack: All right.
Grissom: ... but you know, I've learned that sometimes you can go faster by going slow.
Jack: Yeah, well, I like to go faster by going fast. Waiting around is not exactly my best thing.
Grissom: I gathered that from your interrogation technique. You know, maybe you should go back to your hotel, take a nap.
Jack: Is this your office? Really? By choice? It's not some kind of ... uh ... surplus overflow issue?
Grissom: What's wrong with my office?
Jack: Oh, I don't know. Uh ... why don't you tell me?
(Jack puts his glasses on to look at a pig fetus in a jar on a shelf.)
Grissom: That's an irradiated fetal pig. I used it to determine the effects of radiation on tissue.
Jack: For what?
Grissom: For fun.
(Sara walks in.)
Sara: Hey, Gil, I ... uh ... Oh, I'm sorry. I didn't mean to interrupt.
Grissom: No, no, it's fine. Jack Malone, FBI. Sara Sidle, CSI.
Jack: Hi.
Sara: Hello. I hear your abduction case is now a serial m*rder.
(Jack nods and looks at Grissom.)
Jack: Uh ... yeah.
Sara: Well ... uh ... I got called into work early, but I did pick up Hank, and I took him to the sitter.
Grissom: Thank you. I'll see you when I see you.
(Sara turns and leaves.)
Sara: Pleasure.
Jack: Hmm.
(Jack nods. He looks at Grissom.)
Jack: Is Hank your kid?
Grissom: Hank's my dog. She walks him for me sometimes.
Jack: Oh, yeah, that's how it starts. Oh, I have some experience dating in the workplace.
Grissom: Really? And, uh ... how'd it work out for you?
Jack: Undetermined.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
(Children shout and laugh. A train horn blows in the background.)
[EXT. COMMUNITY STREET -- DAY]
(Several kids kick a soccer ball around on the street. They have a soccer goal set up. A kid kicks the ball at the goal and it misses, bouncing off the street and rolling on the grass. One of the kids runs to get it.)
(He runs over the grassy hill and stops when he sees a man on the ground, bloodied and beaten up.)
Bloody Man: Please, help me.
(He reaches up to the kid.)
Bloody Man: Please, help me, help me ...
CUT TO:
[INT. RESIDENCE – DAY]
(The door opens. Detective Ruben Bejarano, Sara and a couple of officers walk in.)
Det. Ruben Bejarno: Kid who found the old man says he lives here with his wife. She doesn't answer.
Sara: You think the suspect's still here?
Det. Ruben Bejarno: We'll know in a minute. You better wait here.
(The officers continue through the house while Sara waits by the door. She sees some blood on the floor and notices it leads to the side.)
(Dining room and Kitchen appear clear. The detective stops and turns to look at the living room. He finds a body.)
Det. Ruben Bejarno: Sara ...
(Sara walks over and they find a woman d*ad on the floor with a blanket over her.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. RESIDENCE – DAY]
(Grissom is holding a bloodied hammer.)
Grissom: The victim have circular indentations on her head?
(Robbins is kneeling next to the body. Sara is snapping photos in the kitchen.)
Robbins: Yeah. You want to do the autopsy, too? Just let me know.
Grissom: My guess is, this is the hammer we didn't find at the Davis house.
Robbins: Why take the m*rder w*apon from one scene, walk around with it for more than a day, use it to k*ll again, but this time leave it behind?
(She puts her camera down and opens the g*n case.)
Sara: Maybe he found something better ... Colt .45 auto. Case is empty.
(Grissom puts the hammer in a bag. He looks at the counter and sees the cards stacked neatly on the surface with the driver's license on the top. The keys are next to the cards. Just like the Davis house.)
Grissom: Huh.
(Grissom checks the wallet and finds it empty.)
Grissom: He lost the proceeds from the Vegas m*rder at the Tangiers. So, he probably needed more cash.
Robbins: Double m*rder ATM.
Grissom: Driver's license is on top, like before.
Sara: He likes to know their names.
Robbins: I heard the husband died at the hospital. But the k*ller was definitely here awhile. According to liver temp, she died a couple hours before the husband.
Sara: So the husband was here and alive while his wife was being r*ped and k*lled?
Robbins: It looks that way.
(Sara is quiet. This disturbs her. Grissom watches Sara.)
CUT TO:
[EXT. RESIDENCE – DAY -- CONTINUOUS]
(The officer holds the tape up as Sara leaves the house. Grissom follows her out.)
Grissom: Sara? You okay?
Sara: I don't know. Do you have any idea how he selects his victims?
Grissom: No. He picks houses with no security systems, or dogs. Enters at night when most people are asleep, through open doors or windows. Easy targets.
Sara: So, basically at random. (Grissom nods.) They were spending a night on the sofa, watching a movie. It's just ... uh ...
(She turns --
Sara: It's just wrong.
-- and walks away. Grissom watches her for a moment. A train whistle blows nearby. Grissom quickly turns around.)
TIME CUT TO:
(Grissom steps down the hillside and finds train tracks running along the community. He looks around from the tracks to the houses. His cell phone rings.)
Grissom: (to phone) Grissom.
INTERCUT WITH:
[INT. CSI – HALLWAY]
Jack: (to phone) You at the Boulder City house?
Grissom: (from phone) No, I'm at a railroad spur about a quarter of a mile from the house.
Jack: (to phone) You taking a trip?
Grissom: (from phone) Carmen Davis's house was next to the tracks, too.
Jack: (to phone) So?
Grissom: (to phone) Freight trains carry bulk fertilizer. I think your k*ller is riding the rails.
CUT TO:
[INT. CSI – LAYOUT ROOM]
(Grissom and Jack look at a map of the area on the table. Catherine is at the wall map.)
Grissom: All the previous m*rder were committed within about a mile of an active railroad spur.
Jack: Right, so he gets off the train, finds his victim, kills them, rapes them if he feels like it, then just takes off.
Catherine: So, I cross-referenced similar-patterned unsolves in ViCAP by proximity to rail spurs. There's at least a dozen cases.
Grissom: (to Jack) You know, you have the authority to stop all the trains coming in and out of Nevada.
Jack: Well, I'm not gonna do that unless I got a face.
Catherine: If these are the work of your guy, he's piled up one hell of a body count.
(Camera pans across the map showing the various red-circled cities and names of the victims. The two most recent:
LAS VEGAS
JULIAN/CHRISTINA GARDELLA
11/1/07
BOULDER CITY
CARMEN DAVIS
10/29/07
CUT TO:
[INT. CSI – A/V LAB]
(Archie and Nick are reviewing the Tangier's surveillance tapes. The first clip is from CAMERA 31, POKER PIT 15 at 17:38.)
Archie: Guy kept his head down the entire time.
Nick: Mm-hmm.
Archie: Oh, check out what happens when he runs out of money. He starts hitting on the waitress, been doing it to every one of them that walked by.
(Archie changes the clip on the computer. The next clip is from CAMERA: 37, SLOT MACHINE PIT 4 at 17:41.)
Archie: And this ... is the last good image of him before he leaves the casino. He stops to look at this poster and quickly makes a phone call.
Nick: Three numbers? I don't know too many serial K*llers that dial 911. He's calling Information.
(Nick takes his cell phone out and makes a call.)
Nick: (to phone) Uh, yes, this is CSI Nick Stokes with the Vegas PD. I need to get the telephone number of one of your pay phones on the casino floor. Near the ... uh ... Let It Ride tables.
(Archie enhances the image of the waitress on the poster the man was looking at.)
Nick: (to phone) Yes, ma'am.
Archie: (mutters) So, why was he so interested in this poster?
Nick: (to phone) Oh, great. Okay.
(Nick takes Archie's pen out of his pocket and jots the number down on his hand.)
Nick: (to phone) Mm-hmm. Very good. Thank you.
Archie: Look at this.
Nick: What is it?
Archie: South Point Casino, just outside Boulder City. Might be a reason he went there.
(Nick sighs and makes another call.)
Nick: (to phone) Hey, it's Nick. Uh, I need to get an AG waiver to get a hold of some phone numbers. Yeah, exigent circs. Mm-hmm. (reads off his hand)
702-555-0177. At, uh ...
Archie: (prompts) 17-41-33.
Nick: (to phone) 17-41-33. Yes, ma'am, day before yesterday.
(Archie goes back to the video and enhances the waitress's name tag.)
Archie: Well, we know this guy likes his waitresses. So maybe that's what he's looking at. (squints) Is that a "D"? No. "G," "G-I-R"... "N"?
Nick: (to phone) Okay, thanks. (hangs up) Gina. Gina Farentino. He called Information to get her number in Boulder City, but it's unlisted.
(On the video, the man in the baseball cap bangs the phone's receiver against the phone in frustration.)
Archie: Maybe that's what pissed him off.
Nick: He knows where she works.
CUT TO:
[EXT. (BOULDER) SOUTH POINT CASINO – DAY]
[INT. SOUTH POINT CASINO – MAIN FLOOR – DAY]
(Nick and Jack talk with the floor manager.)
Floor Manager: Yeah, Gina works here; she's off today, though. Probably at home.
Jack: We checked her house; she's not there. When was the last time you saw her?
Floor Manager: Not since yesterday.
Jack: What about this guy, seen him?
(He shows her the image of the man in the baseball cap taken from the pawnshop camera.)
Floor Manager: This is the best picture you got?
Jack: What do you think?
(She looks at the photo.)
Floor Manager: There was a guy ... I don't know if it's him. He was on those slots when Gina came on her shift.
(Quick flashback to: The man in the baseball cap wins big.)
Man in Baseball Cap: Oh, yeah! (laughs) Whoo!
(Confetti falls down and the other people sitting around him applaud. Gina Farentino is smiling as she heads over to him.)
Floor Manager: (V.O.) Guess it was his lucky day. Must've thought the jackpot gave him a sh*t at her. He started chatting her up.
(Her smile fades as she gets a good look at him. He heads over to her.)
Man in Baseball Cap: Hey.
Gina Farentino: Oh ...
(She turns her back to him, but he starts after her.)
Man in Baseball Cap: Don't go. What are you doing?
Gina Farentino: No--
Man in Baseball Cap: When do you get off work? Huh? Where are you going?
Gina Farentino: Don't talk to me!
Floor Manager: (V.O.) She blew him off and left. Said she wasn't feeling well.
(Gina leaves.)
END FLASHBACK.
Jack: And when did he leave?
Floor Manager: He cashed out and left a few minutes later.
Nick: How much did he win?
Floor Manager: Um ... $2,500.
Nick: I need to take a look at his W2-G, okay?
SHORT TIME CUT TO:
(At the counter, Nick prints the form.)
Nick: If you make over twelve hundred bucks, Uncle Sam gets his cut, you know?
Jack: Oh. That's how we stay in business.
Nick: Mm-hmm.
Jack: It's got name, address, social ... The whole thing has got to be bogus.
Nick: Yeah, the cashiers don't really seem to care, (to the cashier) -- no offense, as long as you have a picture ID. (He tape-lifts the print.) And even when that's fake ... you can't fake one of those.
CUT TO:
[EXT. NEVADA MOUNTAINS (STOCK) – DAY]
(A siren wails.)
[EXT. DESERT HIGHWAY ROAD -- DAY]
(A black car, license #ARCB-421, pulls to the side of the road in front of the state trooper, who stops him.)
Dispatch: (from radio) Chevy Impala, Nevada license Adam-Robert-Charles-Boy-4-
2-1. No wants or warrants, welfare check only. License owner is a Gina Farentino.
State Trooper Robinson: (to radio) Copy, Dispatch.
(Robinson gets out of the car. He walks over to the car and looks in the backseat. He waves, then looks at the driver.)
Robinson: License and registration, sir.
Man In The Baseball Cap: I got it right here.
(The man reaches to the side, picks up his g*n and sh**t Robinson four times in the chest. Robinson falls backwards. The black car takes off and speeds away.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. DESERT HIGHWAY ROAD -- DAY]
(Jack sits in the car watching footage from the video camera mounted on the state trooper's car.)
(On the monitor, Robinson walks up to the car, waves, then leans forward to talk with the driver. The driver fires and Robinson falls to the ground.)
(Grissom kneels next to Robinson's body. Jack gets out of the car and joins him. Grissom picks up the casing and looks at it.)
Grissom: .45 auto. Same caliber as the one taken from the Boulder City double.
Jack: You can see the whole thing on video if you want.
Grissom: Was the waitress in the car with him?
Jack: He was waving at somebody in the passenger seat when he got sh*t. According to the time code on the dash cam, it was about 33 minutes ago.
(Grissom looks out at the long stretch of road in front of them.)
Grissom: That's a pretty good head start.
Jack: Yeah. I don't want to lose this guy.
(Grissom's phone rings. He answers it on speakerphone.)
Grissom: (to phone) Grissom.
INTERCUT WITH:
[INT. CSI – HALLWAY]
Catherine: (to phone) We ran the fingerprints that Nick lifted from the casino IRS form. Got an AFIS h*t. Terry Lee Wicker. Served two years in Sing Sing for burglary. He got out four months before Jack's original kidnapping, and get this, when he was sent up, he was married to Gina Farentino. Brass put out a broadcast.
Grissom: (to phone) Listen, do me a favor. Take a look at the map, find the nearest railway spur to our location.
(Catherine enters the layout room and checks the map on the table.)
Catherine: (to phone) Meadowood. It's off the 93, and it looks to be about ... 16 miles northeast of your location.
(Grissom turns and looks in that direction.)
CUT TO:
[EXT. MEADOWOOD -- RAILROAD SPUR (STOCK) – DAY]
[EXT. MEADOWOOD -- DAY]
(Officer cars arrive with sirens blaring. They stop just behind the black car parked next to one of the trains.)
(Jack gets out of the car with his g*n out. The other officers also get out with their g*n out. Jack approaches the car and finds the driver door wide open and empty.)
(The station yard controller dressed in an orange vest approaches them.)
Station Yard Controller: What the hell's going on?
Jack: Did you see who drove this car here?
Station Yard Controller: No, but I called the tow company. You can't park here.
(A train whistle blows. One of the trains is leaving.)
Jack: Where's that train going?
Station Yard Controller: The Fresno 211. Chicago bound.
Grissom: Any other trains pass through here in the last hour?
Station Yard Controller: No, and nothing else is scheduled for another hour.
Grissom: Can you stop that train?
Station Yard Controller: I don't have that capacity, no. Who you guys looking for?
(Jack, Grissom and one of the officers turn to board the train. It's several tracks over. Jack jumps onto an open car filled with motorcycles. He jumps out the other side, turns and finds Grissom already there waiting for him. Grissom shrugs and they continue toward the second train.)
(Jack climbs up the side and jumps down the other side. Grissom follows them. They find the third train leaving.)
(They both turn and run toward the moving train. They grab a hold and climb aboard.)
Jack: You starting to miss the lab?
Grissom: No, I like a good field trip.
(Jack takes his g*n out.)
Jack: Right. Stay behind me.
(They enter the passenger car and start looking for a man in a baseball cap.)
(They find a man wearing a baseball cap sitting next to a window and looking outside. Jack approaches the man.)
(Grissom motions for the officers behind him to stay close.)
Jack: Freeze! (The man turns around.) Put your hands where I can see 'em! You Wicker?
Baxter: No. The name's Baxter, and I ain't got no ticket.
Grissom: Where'd you get that hat?
Baxter: Oh ... from a man. (Baxter takes out a bill and shows it to them.) He gave me a hundred bucks to get on this train. I don't want no trouble. I mean ... don't sh**t.
(Jack puts his g*n away and takes his sunglasses off. This isn't the guy. He looks at Grissom.)
CUT TO:
[EXT. MEADOWOOD -- DAY]
REVERSE VIEW – INSIDE THE CAR TRUNK
(The trunk opens. Grissom and Jack look inside. Grissom sighs.)
(They find Gina Farentino's d*ad body inside.)
Grissom: Maybe, uh ... he came here to k*ll his ex-wife.
Jack: Why?
(Grissom's phone rings. He puts it on speakerphone.)
Grissom: Grissom.
Brass: (from phone) It's Brass.
INTERCUT WITH:
[INT. POLICE DEPARTMENT – HALLWAY]
Brass: (to phone) Listen, the Boulder PD got a call from the principal at the local elementary school. Gina Farentino was supposed to pick up her son, only she didn't show up.
Grissom: (to phone) Yeah, there's a reason for that.
Jack: (to phone) She had a son?
Brass: (to phone) The kid's name is Kobe. Yeah, according to the principal, a guy fitting Wicker's description came and picked him up in the mother's car. He said the kid seemed to know him.
Grissom: (to phone) Thanks, Jim.
(Jack thinks about it. Grissom opens the backseat door and looks inside. He finds a handheld game and an empty juice box left on the seat.)
Grissom: Hey, Jack. I don't think that trooper was waving at Gina.
(Quick flashback to: State Trooper Robinson approaches the car. He looks in the backseat and sees the little boy. He smiles and waves to the boy. He approaches Wicker in the driver's seat.)
State Trooper Robinson: License and registration, sir.
Terry Lee Wicker: I got it right here.
(Wicker reaches for his g*n, turns and sh**t the Trooper.)
WHITE FLASH TO: PRESENT
(Jack walks up to Grissom.)
Grissom: You said the kid who was kidnapped was six years old when he was adopted, birth parents unknown.
(Grissom shows him the game and empty juice box.)
Jack: That's right.
Grissom: Terry Wicker was looking for his ex-wife ...
Jack: ... and his son.
Grissom: A family reunion.
CUT TO:
[EXT. ROAD (STOCK) – DAY]
(A MOJAVE EXPRESS bus passes by.)
[INT. BUS – DAY]
(The bus is full of passengers.)
Terry Lee Wicker: (singing softly)
The wheels on the bus go round and round
Round and round, round and round
The wheels on the bus go round and round
All round the town.
(Terry Lee Wicker sits in the seat next to the sleeping blonde-haired boy.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x06 - Who and What"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- EVENING]
[INT. CSI – HALLWAY -- NIGHT]
(Grissom and Brass walk through the hallway. Grissom has a file folder tucked under his arm.)
Grissom: Ecklie's been on me to finish the monthly stats, so I need a list of all the lab call-outs from dispatch as soon as you can.
Brass: You'll have it by the end of shift tomorrow.
Grissom: Thanks.
Brass: So, you've been pulling a lot of doubles this week.
Grissom: Yeah, it's about all I do.
Brass: Have you been in touch with Sara?
Grissom: We've talked a little.
Brass: So where's she at?
Grissom: San Francisco, visiting her mother.
Brass: No, I mean -- that's nice. No, but I meant where's she at emotionally? You know, with respect to the two of you.
Grissom: I can't speak for her.
Brass: So speak for yourself.
Grissom: I can't talk, I'm really busy.
(Grissom walks away from Brass. He continues through the hallway and around reception. He heads into his office. Archie walks by.)
(We follow Archie through the hallway as he reads through a file. He has a camera over his shoulder.)
CUT TO:
[INT. CSI – GARAGE – NIGHT – SCENARIO 1]
(Archie enters the garage. He stops in front of a counter with stacks of cocaine in bundles. He puts the file folder down and removes the camera off his shoulders.)
(He puts his goggles on and opens the case with more evidence – bundles of cocaine.)
(Archie takes the top bundle out, places it on another bundle on the counter, picks up the digital camera and takes a photo of it.)
(He puts the camera down and logs it on the clipboard.)
(He reaches into the case and takes the same bundle out and puts it on another bundle on the counter. He picks up the camera, takes a photo, then logs it on the clipboard.)
(He reaches for the next bundle in the case, lifts, and –
BOOM!
-- the case explodes in Archie's face. The force of the expl*si*n throws Archie backward and shatters the glass in the doors to the garage.)
(f*re alarms blare. People run out along the hallways.)
(Hodges saunters into the smoking garage. He sees debris on the floor and poor Archie d*ad in white cocaine. His chest is bloodied from the expl*si*n.)
(Hodges laughs maniacally in evil glee.)
CUT TO:
[INT. CSI – BREAKROOM – NIGHT]
(Hodges clasps his hands together in evil glee. He has file folders open in front of him along with his lunch as he talks with Wendy.)
Wendy: So Archie's in the garage, he's documenting evidence from a drug bust, he picks up a thing of coke, and then it blows up in his face?
Hodges: No. He picks up a cellophane and duct-tape-wrapped kilo of coke, and the third one from the top of the stack blows up in his face.
Wendy: Oh.
Hodges: It's important to be specific.
Wendy: Okay, well, this game is not as much fun as I thought it was going to be
--
Hodges: It's not a game, it's a thought experiment. If you want to be a good criminalist --
Wendy: I am a good criminalist.
Hodges: If you want to be a better criminalist, then you have to learn to train to --
Wendy: Learn to think like a criminal. I know.
Hodges: Look, I'm sure Grissom's told you--well, maybe not you, but he's told me many times--that we speak for the d*ad. Think of this exercise as a way for the d*ad to speak for themselves.
CUT TO:
[INT. CSI – GARAGE – SCENARIO 1]
(We PAN across the floor and come upon Archie's d*ad body covered with white cocaine powder. His chest is bloodied from the expl*si*n.)
Wendy: (V.O.) But that's not actually what this is--
Hodges: (V.O.) It's a chance for you to be a CSI. The only thing you need to do is answer two simple questions.
("d*ad" Archie's eyes pop open and he looks DIRECTLY at the CAMERA.)
d*ad Archie: Whodunit and how?
(His eyes close and head lolls back to the floor.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – GARAGE – SCENARIO 1]
(White powdered cocaine dusts the floor and shows various shoe print voids and a large Archie-sized body-shaped void.)
(Archie's body is on the gurney being pushed out by Robbins and David Phillips, who are both wearing masks.)
Hodges: (V.O.) After HazMat cleans up the scene ... the coroner does his thing ...
(On his way out, David Phillips passes Nick and Warrick on their way in. Both Nick and Warrick are wearing masks along with matching blue FORENSICS coveralls.)
David Phillips: No sign of sexual trauma.
Wendy: (V.O.) What?
Hodges: (V.O.) I believe he's legally required to check.
(Nick and Warrick turn around and pull their masks down. They're both crying from the death of their friend.)
Hodges: (V.O.) What the CSIs realize is --
Nick: (chokes) I can't believe Archie's gone.
Warrick: (voice breaking) He was too good for this world.
(Both Nick and Warrick sob loudly. Warrick covers his face with his hand.)
CUT BACK TO:
[INT. CSI – BREAKROOM]
Wendy: What? They would be very upset.
(Hodges stares at Wendy.)
Hodges: Can we at least stipulate that they heroically contain their bereavement?
Wendy: Yes, I suppose Archie could live with that ... so to speak.
Hodges: Thank you.
Wendy: Mm-hmm.
[INT. CSI – GARAGE – SCENARIO 1]
Hodges: (V.O.) What the CSIs realize is ...
(On his way out, David Phillips passes Nick and Warrick on their way in. Both Nick and Warrick are wearing masks along with matching blue FORENSICS coveralls. Nick and Warrick turn around and pull their masks down.)
Nick: It's gotta be the dealer.
Warrick: Yeah, he booby-trapped the stash so if the cops got the drugs ...
[INT. CSI – BREAKROOM]
Wendy: (interrupts) Then they would get the boom along with it? Right? Am I right?
Hodges: No, you're wrong. Just let me finish the setup, okay?
Wendy: Sorry.
[INT. CSI – GARAGE – SCENARIO 1]
(The evidence in the garage is cleaned and sorted in various bins.)
Hodges: (V.O.) What the CSIs finally realize is ...
Wendy: (interrupts) They sorted everything already? That was quick.
Hodges: (V.O.) Can you just let me finish!
(Nick steps up and center. He reads through a file and records his notes on the micro-cassette recorder.)
Nick: (to recorder) According to this, twenty bricks of coke were logged into evidence just past midnight. The expl*si*n occurred about a half an hour later. But there are twenty-one wrappers here. And since no one entered or exited the lab during that time frame, it means the expl*sive was planted in the suitcase here. Which means ...
[INT. CSI – BREAKROOM]
Hodges: The k*ller is someone in the lab.
Wendy: Well, if the k*ller is someone who works in the lab, then he could just tamper with the evidence. Which means that there's really no way for me to solve this thing, this a trick question.
Hodges: No, no, no, that's not what I want ...
(click)
Hodges: My shoelace is untied. Excuse me.
(Hodges bends down to attend to it under the table.)
Wendy: Okay.
Hodges: (muffled) Okay, um ... wouldn't, how about this. (Wendy reaches over and looks at papers in Hodges' file.) Since it would be pretty risky for the k*ller to tamper with evidence during a full-on investigation in the lab ... let's just say, for the purposes of this exercise, --
(Hodges sits up.)
Hodges: -- that can't happen.
Wendy: Okay. Now what?
Hodges: That's up to you. You have the setup. You run the investigation from here. Simple Q & A. You ask, I answer.
Wendy: Truthfully?
Hodges: Absolutely. No lying-- call that a rule.
Wendy: Well, what if I get close to actually figuring it out, you're not just gonna change who did it or something like that?
Hodges: No revisionism-- also a rule.
Wendy: For something that's not a game, it sure does have a lot of rules.
Hodges: You want to do this or not?
Wendy: All right. Okay. I guess the first thing that I would do would be to examine the actual b*mb mechanism to see if there's any clue as to who might have built it.
Hodges: Good idea. Because there are a lot of clues.
[INT. CSI -- LAYOUT ROOM – SCENARIO 1]
(Nick sets out the b*mb parts on the layout table. He records his notes in his micro-cassette tape recorder.)
Nick: (to tape recorder) Chemicals have been sent to Trace for ID, but the b*mb appears to be a binary expl*sive.
(Quick flashback to: The k*ller packs the cocaine bricks in the case.)
Nick: (V.O.) k*ller hides the loaded brick amongst the others ...
CGI ZOOM to the mechanism between the cocaine bricks.)
Nick: (V.O.) ... and pressure arms it ...
(The pressure breaks the ampoule and the red liquid bubbles out.)
Nick: (V.O.) Liquid "A" in ampoule mixes with solid "B", creating an unstable chemical expl*sive ...
END CGI ZOOM
(Flashback to: Archie reaches for the cocaine brick in the case.)
Nick: (V.O.) All you need to do is move it.
(He picks it up and triggers it.)
BOOM!
BACK TO SCENARIO
(Nick turns the recorder off and looks at the b*mb parts on the table.)
(He's quiet as he waits.)
(He leans in forward to look intently at the blasting cap on the table.)
( ... and he waits ... )
( ... his eyes slide toward the CAMERA ... he looks DIRECTLY at the CAMERA ... and nudges his head toward the blasting cap on the table.)
(CAMERA moves down to the blasting cap on the table ... then moves back up to NICK.)
(What? Still don't get it?)
(Nick picks up the blasting cap with two fingers and holds it up to the camera.)
[INT. CSI – BREAKROOM]
Wendy: Ooh, I have an idea.
[INT. CSI -- LAYOUT ROOM – SCENARIO 1]
(Finally!)
Hodges: (V.O.) What?
Wendy: (V.O.) What about the blasting caps?
(Nick nods with approval.)
(He goes back into position and looks intently at the blasting cap.)
Hodges: (V.O.) Ah, well, what do you know?
XCU: LEG WIRES
Hodges: (V.O.) The leg wires are color coded.
Wendy: (V.O.) Good, --
[INT. CSI – BREAKROOM]
Wendy: -- 'cause the color coding is manufacturer specific. So now we can track down the source.
Hodges: Indeed we could.
(Archie – alive and breathing – walks in. He knocks on the door as he enters.)
Archie: Hey, people. What's going on?
(He walks over to the refrigerator.)
Hodges: Nothing.
Wendy: You look ... better.
(Wendy turns and smiles at Hodges.)
Hodges: Let's say you learn that LVPD recently seized one dozen commercial grade blasting caps in an arson-expl*sives raid, and that the lab was processing the case evidence.
Wendy: Well, then, I know exactly where I'd go next ...
[INT. CSI – BALLISTICS LAB – SCENARIO 1]
(Bobby walks into the g*n locker with Warrick and Nick.)
Bobby Dawson: 'Course I know where those blasting caps are. They're right in here.
(Bobby walks around the g*n cage to the locked cabinet under it.)
Wendy: (V.O.) No, no, no, no, no.
(Warrick rushes to stop him.)
Warrick: Not so fast, cowboy. Give me those keys.
(Bobby gives the keys to Warrick. Warrick unlocks it.)
(Nick motions for Bobby to step aside.)
(Warrick checks the lock. Nick checks the cabinet for the blasting caps. Nick picks up the box and checks it. He finds one missing.)
Nick: Looks like you're one blasting cap shy, Bob.
Bobby Dawson: That's not possible. No.
(He shakes his head. Nick looks intently at him.)
Bobby Dawson: Wait ... Y'all don't think I had something to do with ...
(He looks at both of them.)
[INT. CSI – BREAKROOM]
(Archie drinks his coffee near the counter.)
Archie: Are there any prints on the lock?
Hodges: Excuse me, we're--
Archie: Playing a m*rder game. I know, I get it. I wanna play.
(Archie sits down on the sofa.)
Wendy: (confidentially) He says it's not a game.
Archie: Well, I wanna play anyway.
Hodges: No.
Archie: Why not?
Hodges: You're the d*ad guy.
Archie: Oh. Well, then I'd have a vested interest in the outcome then, wouldn't I?
Wendy: Oh, come on, I'll fill him in as we go along.
Hodges: Fine.
Archie: Yup. So. Are there any prints on the lock?
[INT. CSI -- BALLISTICS – SCENARIO 1]
(Warrick examines the lock.)
Hodges: (V.O.) No, no prints. Just metal shavings.
Warrick: Looks like this lock's been slipped.
FLASH TO: Someone uses a Kn*fe to jimmy the lock.
CGI ZOOM: Inside the lock. The Kn*fe slips the lock.
END CGI
[INT. CSI – BREAKROOM]
Archie: So somebody stole the blasting cap from Ballistics to make it look like Bobby did it.
Hodges: Nefarious, don't you think?
Wendy: What about the chemicals that were used to make the expl*sive? Did we get anything back from Trace?
(Hodges leans back.)
Hodges: (smugly) You always get something from Trace.
[INT. CSI – HALLWAY – SCENARIO 1]
(As they walk through the hallway, Nick shares the findings with Warrick. They're both in their forensics overalls.)
Nick: The expl*sive was liquid nitro-acetate and solid ammonium nitrate packed in baking soda.
Warrick: To blend in with the rest of the cocaine bricks. Cute. expl*sive liquids are generally pretty volatile. Did you ask Hodges if nitro-acetate has any special storage requirements?
Hodges: (V.O.) It needs to be refrigerated.
Nick: Yeah, he said it needed to be refrigerated.
Warrick: Well, there's only so many refrigerators in the lab. Maybe "where" can get us to "who".
[INT. REFIGERATOR 1]
REVERSE VIEW
(The door opens. Warrick and Nick look inside. There are various biohazard containers, test tubes on a rack, sample containers on a rack.)
(They both shake their heads and close the door.)
[INT. REFRIGERATOR 2]
REVERSE VIEW
(The door opens. There are various Erlenmeyer flasks and various brown bottles inside. Warrick pulls down a brown bottle and looks inside the fridge. Nick peers in over Warrick's shoulder.)
(Warrick shakes his head, puts the brown bottle back on the shelf and closes the door.)
[INT. REFRIGERATOR 3]
REVERSE VIEW
(The door opens. Nick kneels as he peers into the refrigerator with various food containers and ziplock bags of people's lunches. Warrick peers in over Nick's shoulders.)
(Nothing there. The door closes.)
[INT. CSI -- TOX – SCENARIO 1]
(Nick opens the refrigerator door. Inside are brown bottles of SODIUM NITRATE and NITROGEN TETRA-HYDRIDE. Warrick talks with Henry.)
Henry: What are you guys looking for?
Warrick: I'm sorry, we can't tell you that, Henry.
Nick: Nitrogen tetra-hydride ...
Hodges: (V.O.) Sodium –
[INT. CSI – BREAKROOM]
Hodges: -- nitrate.
Wendy: Wait, what happens when you mix those two compounds?
[INT. CSI – TOX – SCENARIO 1]
Nick: They produce nitro-acetate.
Warrick: That's a high expl*sive binary, Henry.
Henry: (nervously) Really? I didn't know that.
(Nick picks up the open box of BRENNER'S BEST Baking Soda.)
Henry: Look, just 'cause I have those compounds in my fridge doesn't mean I used them to make nitro-acetate.
(Nick picks up the box of baking soda and walks over to Henry.)
Henry: You can't prove that.
Nick: Baking soda was used to conceal the expl*sive, smartass.
Henry: (nods) It's also used to absorb odors. Nice smell is a priority of my life.
Warrick: I think the baking soda was used to absorb a lot more than odors, Henry.
(Quick flashback to: Henry nervously looks around, then opens his refrigerator. He puts an open beaker with a mixture on the shelf next to the baking soda. The masking tape note across the beaker reads: DO NOT TOUCH.)
(Henry leaves.)
CGI OF: The odors from the open beaker rise up and are absorbed by the baking soda.
BACK TO SCENARIO
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – SCENARIO 1]
(Henry looks nervously at Brass. Brass glares at Henry as he picks up the chair and turns it around excruciatingly slow. He puts it down firmly, deliberately. Brass' steely gaze penetrates straight into Henry's guilty soul as he ever so slowly straddles the seat.)
(The pressure is too much for poor Henry.)
Henry: (blurts) Okay, I confess! I did it!
[INT. CSI – BREAKROOM]
Archie: (huh?) Henry? Why would Henry k*ll me?
Wendy: (confidentially) We're not supposed to care about the why.
Archie: Whatever.
(Archie gets up and walks out of the BREAKROOM.)
[INT. CSI – HALLWAY – CONTINUOUS]
(He passes Nick and Warrick headed in the opposite direction.)
Archie: Hey, fellas.
Warrick: Hey.
Archie: (scoffs) Thanks for giving me justice at least.
Nick: (no clue) Yeah, you're welcome.
(We stay with NICK and WARRICK as they continue through the hallway.)
Nick: Man, I don't know if I'm more tired or hungry right now. You wanna get something to eat?
Warrick: Yeah. Actually, I felt like a little Pai Gow or some Blackjack. Let's h*t the strip.
Nick: After the shift we just pulled?
Warrick: Yeah. I just drank one of those energy drinks. I probably won't sleep for another couple hours.
Nick: (groans tiredly) I don't think so, man. Maybe another time, huh?
Warrick: All right.
(Warrick leaves.)
Nick: I'll catch ya later.
[INT. CSI – GRISSOM'S OFFICE – CONTINUOUS]
(Grissom is working at his desk when Nick walks in.)
Nick: All right, Grissom. That's it for me. I'm out of here.
Grissom: Have a nice day.
(Nick lingers.)
Nick: Yeah, I'm going over to Frank's to grab something to eat. I'll probably be there for at least an hour if you want to ... if you want to join me.
(Nick nods and heads for the door. He turns around.)
Nick: You know, we don't have to talk about anything in particular. Just two guys having breakfast. I just don't think it's good for people to be alone too much.
(Nick backs out the door.)
Nick: If you want to, cool. If not, cool. Whatever.
(Nick leaves.)
(Grissom goes back to work.)
CUT TO:
[INT. CSI – BREAKROOM]
(Mandy walks in and smiles at Wendy and Hodges.)
Mandy: How are you.
(Hodges moves the folders around to cover whatever it is he doesn't want her to see.)
(Mandy plops down in the empty chair at the table and looks at them.)
Mandy: Rack 'em up.
Hodges: Excuse me?
Mandy: Well, word on campus is, there's a m*rder game going on.
Wendy: Oh, no, no, no, it's not a game. It's a thought experiment.
Hodges: Sounds like the late Archie Johnson has a big mouth.
Mandy: Come on, please, it's been really slow at Prints all day.
(enthusiastically) Who we killin'?
(Hodges and Wendy share a look.)
CUT TO:
[INT. TOX – SCENARIO 2]
(Mandy walks in while reading a file.)
Mandy: Henry, I need the tox on that lady..um ...
(In the background, we have a view of the freezer. Henry's face is plastered up against the window.)
(Mandy turns, sees him and screams.)
Mandy: Hen-ry!
(Poor Henry's frozen cheek is stuck to the glass in the door.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY – SCENARIO 2]
(Poor frozen Henry with his flat face is on the table. David Phillips and Robbins stand over him.)
David Phillips: No sign of sexual trauma.
Robbins: Thank God for small favors. (David taps Henry's chest.) You know, David, our job is never easy, but this is a colleague. If your emotions are too raw and you feel you need to excuse yourself ...
David Phillips: (interrupts) Look.
(David taps Henry's chest. There's a crunchy sound.)
David Phillips: He's crunchy.
Robbins: Um ...
(David cuts open Henry's lab coat.)
David Phillips: Frozen sweat stains. Yuck.
Robbins: He was trapped in a small space at minus ten degrees centigrade. So it's fair to assume he was exerting himself in a state of mind-numbing terror.
David Phillips: How long do you think he was stuck in there?
(Robbins taps Henry's frozen cheek. It cracks.)
Robbins: Well, several hours at least. Time of exposure in extreme cold is difficult to gauge physiologically. Why don't you let me know when he softens up and we'll start cutting.
(Robbins starts to leave.)
David Phillips: So we're just going to wait for him to thaw?
Robbins: What do you want me to do, stick him in a microwave?
Sound: MICROWAVE BEEPING
[INT. CSI – BREAKROOM]
(Mandy opens the microwave oven and pulls out her pop tart.)
Mandy: Ooh ... Hot ... hot, hot, hot.
(She takes her seat at the table.)
Mandy: So, then, okay, Henry froze to death.
Wendy: Well, maybe not. Because if the autopsy hasn't been performed yet, then we can't be sure that's COD.
Hodges: Well played, Simms. So it takes a few turns for the autopsy results to get back.
Mandy: Turns?
Hodges: Hours. A few hours. So, while you're waiting for the autopsy results, what do you do in the meantime?
Wendy: Well, the CSIs would process the freezer. Did they find anything?
Hodges: A virtual cornucopia.
FLASH TO:
[INT. CSI – TOX FREEZER – SCENARIO 2]
VARIOUS FLASHES OF labels for METHYL-ETHYL KETONE, CHLOROFORM. Broken glass is on the floor.
(Evidence markers 5 & 6 mark glass and an empty test tube rack.)
FLASH TO:
(Catherine stands in the doorway and takes photos of the mess on the floor. She looks around.)
Catherine: (to recorder) The condition of the interior could be the result of a struggle, or the simple, understandable panic of a man trapped inside a freezer. In any event, the emergency release handle appears to have been bent and rendered inoperative, and several chemical containers broken in the process possibly releasing chloroform and methyl ethyl ketone into the space. I'm sending samples to Trace to confirm.
(Catherine turns the recorder off. She laughs with girlish appreciation.)
Catherine: Trace. Is there anything you can't do?
Wendy: (V.O.) Hodges.
[INT. CSI – BREAKROOM]
Hodges: Sorry.
[INT. CSI – TOX FREEZER – SCENARIO 2]
(Catherine closes the freezer door and checks the outside lock.)
Catherine: (to recorder) This could be a case of lab geek humor gone wrong.
(Quick flashback to: Henry carries the tray of test tubes into the freezer. Someone closes the door behind him.)
(Inside the freezer, Henry glances behind him and puts the tray on the shelf. He heads for the door.)
(Someone on the outside secures the pin in the door.)
(Inside the freezer, Henry can't open the door.)
Henry: Hello?
(He tries the door. It still doesn't open.)
Henry: Hello!
(Henry knocks on the door.)
Henry: Hello?! It's not funny!
(He pulls the emergency release handle too hard. It slips from his grip and he knocks the chemical bottles off the shelf behind him. The bottles smash on the floor and combined gasses are released.)
(Henry inhales the toxic fumes. The image of a skull rises in the green smoke. It's a deadly combination.)
Henry: Oh, my God.
(Henry looks at the release handle in his hand. It came off.)
Henry: Oh, my God.
(He turns to try to fix the door to get out.)
Henry: Oh, my God, help!
(It doesn't work. He panics, shouts and pounds on the door.
Henry: Help me!
(Henry presses his face to the frosted glass.)
Henry: (muffled) Please help!
FLASH TO:
[INT. CSI – BREAKROOM]
Mandy: So the merry prankster comes back later, sees the joke gone bad, then he just yanks the pin and scrams.
(Hodges shrugs.)
Wendy: You said that the emergency release plunger was bent.
Hodges: Mm-hmm.
Wendy: Well, that thing is made of solid steel. How could Henry do that?
Mandy: Adrenaline kicks in when he finally realizes that he's dying. So, maybe in the moment of crisis, Henry has the strength of ten men. (b*at) Ten small men.
(Mandy chuckles.)
Hodges: "Maybe." That word always looks so good on a case report.
Wendy: Was there any evidence on the handle on the outside of the freezer?
Hodges: Just a schmear.
[INT. CSI – TOX – SCENARIO 2]
(Catherine checks the pin and finds the schmear.)
Hodges: (V.O.) Sugar, soy protein, partially hydrogenated vegetable oils, roasted nuts.
(Catherine straightens and drops the pin.)
[INT. CSI – BREAKROOM]
Wendy: Peanut butter?
Mandy: (o.s.) Well, k*ller's got to eat, too.
CU: PHOTOS – of a pair of gloves in a trashcan, of peanut butter on the gloves' fingertips and of the peanut-buttered latex fingertips.
Wendy: (V.O.) So, CSIs would check every trashcan and every biohazard disposal unit in the whole lab.
Hodges: (V.O.) Yes, they would, and they would find ...
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – SCENARIO 2]
(Bobby Dawson sits at the table looking at the incriminating photos.)
(Brass picks up the chair, turns it around and sets it down. He spreads his arms out wide at Bobby.)
Brass: What, no jelly? We found the peanut butter from inside your glove. It matches the stuff we found on the freezer door handle.
(Brass walks behind Bobby and puts his hands on his shoulders.)
Brass: Chunky, right?
Bobby Dawson: I didn't k*ll Henry.
Brass: Well, not on purpose.
Bobby Dawson: No, not even by accident.
(Brass deliberately places his hands on Bobby's shoulders.)
Bobby Dawson: I only had a couple of minutes for lunch, and I had a bunch of photo emulsion sheets that needed to be stored. And I store them in the freezer.
Brass: You seem very tense.
Bobby Dawson: You know, I don't really like being persecuted.
Brass: Yeah.
(Brass goes back to his chair and straddles it. He glares at Bobby.)
(Brass mouths.)
Hodges: (v.o., raspy) Get used to it, punk.
[INT. CSI – BREAKROOM]
Wendy: No, I don't know about that.
Hodges: What?
Wendy: Well, Bobby's a g*n guy. g*n guys sh**t people.
Mandy: g*n guys don't sh**t people. People sh**t people.
Hodges: Actually, b*ll*ts sh**t people, sh*t from g*n which are usually in the hands of g*n guys.
Wendy: Can we get the autopsy results?
Hodges: Well, I guess Henry's had enough time to defrost. COD was not, in fact, due to hypothermia.
Mandy: Ooh, wait, no, I can guess what they found in Tox. It was chloroform.
Hodges: Nope.
Wendy: Methyl ethyl ether?
Hodges: PCP.
Wendy: What?
Hodges: Massive, overdose amounts of PCP. Commonly known as phencyclidine, or angel dust.
CGI sh*t
(ZOOM through the nerves and synapses with blue lights flashing.)
Hodges: (V.O.) PCP blocks the brain's NMDA receptors, hypothalamus goes nuts, resulting in anxiety, confusion, and fever-like overheating.
FLASH TO: FLASHBACK
(Henry is in the freezer, shouting and moving erratically in place as he pulls on his hair.)
(Henry runs to the freezer, opens the door and runs inside.)
Mandy: (V.O.) So Henry goes into the cooler to cool off ...
(In the freezer, Henry is all over the place. He pulls the emergency door handle off.)
Wendy: And with the PCP stimulating his adrenal glands, he has the strength of the Incredible Hulk.
(He turns, yells and knocks over the chemical bottles off the shelves.)
Henry: (V.O.) A duster?
[INT. CSI – BREAKROOM]
(Henry is in the doorway.)
Henry: (offended) You made me a lousy duster? That is totally bogus! Okay, aside from the 10,000 other reasons why I'd be crazy to even try that junk, if I were a closet PCP freak, I wouldn't do it in the lab.
Hodges: That's very professional.
(Hodges moves the books stacked on the table.)
Henry: Archie told me about your sick little thought experiment, and I want to play. But I still can't believe, even hypothetically, you'd do something like this to me.
(Henry joins them at the table.)
Mandy: Well, Henry, I hypothetically called your mother and I explained everything. (whispers) That woman is a crier.
Wendy: Your autopsy didn't mention powder in his nasal passages or PCP damage in his lungs.
Hodges: That's because it wasn't there.
Mandy: So Henry didn't inhale it, or smoke it, or snort it?
Hodges: No, he didn't.
(Hodges takes a chip out of the bag.)
Henry: Then how did the PCP get into my system?
Hodges: You tell me.
(Hodges pops the potato chip in his mouth and crunches. Everyone is quiet as they think about it.)
Wendy: Oh! Crusty pits.
(Henry glances down at his shirt.)
Wendy: Sweat stains. You said that Henry's lab coat had big sweat stains on the collar and on the armpits. So that's it -- somebody dosed the coat.
(Hodges nods.)
[INT. CSI – LAB – SCENARIO 2]
(Catherine takes a sample of Henry's lab coat and tests it for PCP. It comes out positive.
Catherine: (to recording) Lab coat tests positive for PCP. Combined with body heat and sweat, the drug must've entered his system transdermally. (sighs)
Like a nicotine patch from hell.
[INT. CSI – BREAKROOM]
Wendy: Well, Henry would've died of an overdose no matter what. So, all the trapping him in the freezer with the chemicals spilling, that was all completely incidental.
Hodges: It was the logical outcome of the initial crime.
Mandy: And it's quite funny.
Henry: Hey.
Hodges: Well, we're not done yet.
Mandy: Who did the deed? Well, taking lab coats off the premises is against regulations. So the PCP would've had to have been applied in the lab, right under our noses.
Henry: And that stuff reeks. I have to crank my fume hood up full whenever I work with it, I still go home with a headache.
Mandy: Fume hoods. There's fume hoods in the garage, and DNA and Trace.
[INT. CSI – LAB – SCENARIO 2]
(Catherine swabs the sink.)
Mandy: (V.O.) So we would have to test all the sinks for PCP.
Hodges: (V.O.) Excellent. That's a good approach.
(She cuts the swab and tests it for PCP.)
Hodges: (V.O.) It's well considered, thorough and thoughtful, but you would find nothing.
(The test is negative.)
Wendy: (V.O.) Really?
Hodges: (V.O.) Yeah, there's no trace of PCP in any of sinks. Squeaky clean.
(Catherine looks at the negative result and thinks about it.)
[INT. CSI – BREAKROOM]
Wendy: Damn it.
[INT. CSI – LAB – SCENARIO 2]
(Catherine looks at the open t*nk with a plant growing inside.)
[INT. CSI – BREAKROOM]
(Wendy thinks about it. Everyone is quiet as they think about it.)
[INT. CSI – LAB – SCENARIO 2]
(Catherine snaps her fingers in front of the open t*nk with the plant in it.)
[INT. CSI – BREAKROOM]
Wendy: Oh! Wait. (She smiles) I got it, check the plant.
[INT. CSI – LAB – SCENARIO 2]
(Catherine looks straight at the CAMERA: DUH!)
Hodges: (V.O.) You got it.
(Catherine rolls her eyes as she takes a sample of the plant.)
FLASH TO:
(The k*ller empties the mixture into the sink. The fumes from the sink rises up and are absorbed by the plant in the open t*nk.)
Hodges: (V.O.) The k*ller cleaned up, but he left one witness.
(The k*ller watches the mixture go down the drain. The k*ller faces the sink. CAMERA PULLS BACK TO REVEAL that the k*ller is WENDY.)
[INT. CSI – BREAKROOM]
Henry: (accusing) Wendy.
Wendy: (meekly) Me?
(Mandy's phone beeps. She checks her messages and groans.)
Mandy: Oh, drat.
(She closes her phone and gets up.)
Mandy: Well, it's not a slow day for me after all. Ecklie wants me to pick up the backlog from swing. Somebody please tell me who dies next. And how. Thank you.
(Mandy leaves.)
(Wendy smiles and leans on the table toward Hodges.)
Wendy: So ... you got time for one more?
(Hodges leans on the table toward Wendy.)
Hodges: Well, someone's having fun.
Wendy: Maybe a little.
Hodges: You're not bad at this.
(Henry looks around the BREAKROOM awkwardly.)
Wendy: Thanks. I've been thinking about taking the CSI field test. This is actually really good theory and practice for me.
Hodges: The field test?
Wendy: Yeah.
(Hodges nods.)
Wendy: What? Why?
Hodges: Nothing.
Wendy: Nothing?
Hodges: That's right. A great big pile of nothing. From me, to you.
(Wendy doesn't like the sound of that.)
CUT TO:
[INT. CSI – HALLWAY]
(Catherine finds Grissom in the hallway near the BREAKROOM.)
Catherine: Oh, hey. How are you?
(They walk away from the BREAKROOM.)
Grissom: Why?
Catherine: I can't ask how you're doing?
Grissom: I'm sorry. I've just had a lot of ... uh ... I've been busy.
Catherine: Oh. Well, maybe you should take a few days off, for once in your career. I mean, you've got enough stored up. Go after her.
(Grissom looks at her.)
Grissom: It's not what she wants.
Catherine: What do you want?
Grissom: I want her to be happy.
(Grissom walks away.)
CUT TO:
[INT. CSI – BREAKROOM]
Hodges: (teases) Field Agent Simms.
Wendy: Stop it.
Henry: Hey, I think it's got a nice ring to it.
Wendy: Thank you.
Hodges: Here she comes, flashing her badge, taking down perps.
Wendy: (annoyed) Why is even potential advancement so thr*at to you?
Hodges: Hey, Sanders left the lab, he got his ass kicked. I'm just saying.
Henry: All right, come on, let's do another one.
Hodges: Okay. Fine. (smirks) Let's.
CUT TO:
[INT. CSI – EVIDENCE LOCKER – SCENARIO 3]
(The corner of the table is stained with blood. We move slowly past the table and past the stepladder on wheels.)
(On the floor is a black pump, evidence in bags are scattered all over the floor -- and Wendy d*ad in a pool of blood.)
Wendy: (V.O.) Well, now, that's a little passive-aggressive, don't you think?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – EVIDENCE LOCKER – SCENARIO 3]
VARIOUS CAMERA FLASHES OF – Wendy's head, her bare foot, her open hand, the shoe on her other foot.
(Wendy is on the table. David is standing over her when Greg ducks under the tape and walks in.)
David Phillips: (whispers) No sign of sexual trauma.
Greg: (scoffs) No kidding.
(David leaves with the gurney and Wendy's body. Greg looks around the room.)
Greg: It appears as though the vic struck the edge of the table.
(He takes a photo of the blood on the table. He looks at the mess on the floor.)
Greg: The evidence on the floor is ... well, evidence. Brown paper bindle must have opened when it fell. Looks like the contents of a woman's purse. And here's the vic's other shoe.
(Greg picks up Wendy's shoe.)
Wendy: (V.O.) ... Square toe, low heel, stylish but affordable.
[INT. CSI – BREAKROOM]
Wendy: Flirty, not whory.
Henry: You will be missed.
[INT. CSI – EVIDENCE LOCKER – SCENARIO 3]
Greg: There's an oily residue on the sole.
(Greg notices the sheen under the shoe. He also notices the oily residue on the ladder.)
(Quick flashback to: Wendy steps up on the ladder to reach a box on the top shelf. She stretches over, pulls the box, slips and falls, hitting her head on the table. End flashback.)
(Greg is busy erasing the OSHA sign:
THIS DEPARTMENT HAS WORKED
1659 DAYS
WITHOUT A LOST TIME ACCIDENT.)
(He erases the 1659 and replaces it with: 0.)
Greg: (V.O.) The evidence appears to lead to an inescapable conclusion. This tragedy might have just simply been the result of an accident in the workplace.
Wendy: (V.O.) I fell off a ladder?
(Greg caps the pen.)
[INT. CSI – BREAKROOM]
(Hodges goes to get a cup of coffee.)
Hodges: Well, you are kind of a little clumsy.
Wendy: Since when?
Henry: It's endearing.
Hodges: Are you satisfied with the explanation?
Wendy: Uh, no. What about the oily residue on the ladder?
CU: THE LADDER
(ZOOM IN to show bristles in the oil.)
Hodges: (V.O.) There are bristles in the oil, --
Wendy: (V.O.) -- which means that somebody brushed it on.
(Greg notices the bristles in the oil.)
Henry: (V.O.) What exactly is the oily stuff?
[INT. CSI – BREAKROOM]
(Hodges sits down.)
Hodges: Well, thank God ...
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – SCENARIO 3]
Brass: (wistfully) ... for trace analysis. Hmm. Hodges, who is a genius and tragically underpaid, used the powers of his brilliant mind and the scientific method to discover that the oil that was brushed on the ladder –
CU: TRACE ANALYSIS RESULTS SHEET
Brass: -- was a Teflon-based two-part oil—a g*n lubricant.
(Brass points his index finger at Bobby as if pointing a g*n.)
Bobby Dawson: So?
Bobby: So you're the g*n guy, Bobby.
Bobby Dawson: Yeah, which is exactly why I would never use Teflon-based two-part oil.
(Brass puts his hands on Bobby's shoulders.)
Bobby Dawson: Real g*n guys hate that stuff. If it separates in the can, it separates in the g*n.
(Bobby starts to rise, Brass keeps him down in his seat.)
Brass: Whoa, whoa, whoa, whoa. Whoa. You are tense.
(Brass releases Bobby and moves away from him.)
Brass: So, where do you think you're going?
Bobby Dawson: Back to work. This is ridiculous.
(Bobby starts to stand up again. Brass whirls around and opens his police BATON!)
Brass: Oh. Sit down.
(He taps Bobby firmly on the shoulder with his police BATON!)
[INT. CSI – BREAKROOM]
(Hodges turns as if slapped.)
Hodges: Ow!
Wendy: No, no. Captain Brass is not the kind of cop who smacks a suspect around.
Henry: Really? He scares me.
(click!)
(Hodges grabs a file folder off the table and drops it on the floor.)
Hodges: Oh, well, look who's the clumsy one now. Excuse me.
(Hodges quickly ducks under the table. Henry takes the opportunity and confers with Wendy on the case.)
Henry: Okay, so we don't have nearly enough to hold Bobby, right?
Wendy: No.
(Hodges gathers the files and papers and slams them on the BREAKROOM table.)
Hodges: All right. Who's up for an autopsy?
(Wendy smiles and raises her hand.)
[INT. CSI – FORENSIC AUTOPSY – SCENARIO 3]
(Wendy is on the table. Robbins points to the slit in her throat as he explains his findings to Greg.)
Robbins: The carotid-jugular complex was transected, --
(CAMERA starts to move downward toward d*ad Wendy's chest ...
Robbins: -- and based on the placement and size of the wound, I'd say she had at ...
d*ad Wendy: (firmly) Hey!
(CAMERA bounces back up to Wendy's neck.)
d*ad Wendy: It's a NECK WOUND !!
(She glares at the camera.)
(Wendy shuts her eyes again.)
Robbins: Based on the placement and size of the neck wound, she was conscious
30 to 60 seconds before blood loss was fatal.
Greg: That's a long time. No one reported her screaming or calling out for help.
[INT. CSI – BREAKROOM]
Henry: (interrupts) We have to get back to the case file.
[INT. CSI – FORENSIC AUTOPSY – SCENARIO 3]
(Greg looks at the camera.)
Greg: (mouths silently) I know.
(He reaches off screen and grabs the case file. He opens it and looks at the photo of Wendy's hand.)
Greg: There was no blood on her hands at the scene. Unless she was unconscious, she would have at least tried to stop the bleeding.
Robbins: Well, there was no blow to the head.
Greg: Do you think it's possible she was d*ad before she h*t the table?
Robbins: You mean like a cardiac event?
(Greg nods.)
Robbins: Well, I can't rule that out, but a healthy, 36-year-old having a heart att*ck?
Wendy: (V.O.) Thirty-five in October, thank you very much.
(Greg again looks at the photos of Wendy's hands. He compares it to her hand.)
Greg: She has an oval, perimortem burn on her wrist.
[INT. CSI – BREAKROOM]
Henry: (interrupts) Wait a second. That's familiar.
[INT. CSI – FORENSIC AUTOPSY – SCENARIO 3]
(Greg glares at the camera. He reaches off screen and grabs an evidence bag with the silver bracelet inside. He compares it to the markings on Wendy's wrist.)
(Greg and Robbins share a look.)
(Quick flashback to: Wendy reaches for the evidence box on the top shelf. She grunts as the bracelet on her wrist sizzles and burns right into her skin. The bracelet melts off and falls to the ground.)
END FLASHBACK.
[INT. CSI – BREAKROOM]
(Henry sighs regretfully.)
Henry: Singed right off her barely 35-year-old wrist.
(Wendy looks at her own wrist.)
Wendy: That bracelet wasn't old evidence. I was wearing it.
Hodges: Correct.
Henry: So, what melts silver and stops your heart at the same time?
Wendy: A bolt of lightning.
Hodges: In the lab.
Wendy: Electrocution.
Henry: From what?
Wendy: Something in the evidence locker.
[INT. CSI – EVIDENCE LOCKER – SCENARIO 3]
(Greg is back in the evidence locker. He's standing up on the ladder and looks at cut wiring from the nearby box. He follows the wiring to the vent.)
(Inside the vent, he finds a battery.)
Wendy: (V.O.) There was a motorcycle battery in the ventilation duct?
(The cut wire is attached to the battery.)
(Down below, Greg sees the wire attached to the evidence box.)
Henry: (V.O.) Wired to the ladder and the evidence box?
Hodges: (V.O.) Precisely.
(Greg picks up the evidence box.)
(Quick flash to: The electrical current sizzles as it passes from the battery to the handle of the evidence box.)
POV – INSIDE THE EVIDENCE BOX
(Wendy finds the box and grabs it by the handle hole. Her fingers grasp the foil plate. She's zapped by the electrical current and she's electrocuted.)
FLASH TO:
[INT. CSI – BREAKROOM]
Hodges: Devilishly clever, wouldn't you say?
Henry: No.
Wendy: Well, who's the k*ller, Wile E. Coyote?
Hodges: Well, what do you mean?
Henry: It's ridiculous! Anyone could have walked in there. So, what, the victim's just random?
Hodges: (lying) Uh, no.
Wendy: How'd the k*ller get me up there in the first place? What did he do, pass me in the hall and say, "Hey, Wendy, go climb up that ladder and check out the case evidence you had absolutely nothing to do with?"
Hodges: Not in those words exactly, but ... uh ... yeah.
Wendy: That's completely unverifiable.
Henry: This is so lame.
(Hodges lowers his head to the table.)
Hodges: (mutters) Scenario requires further revision.
Wendy: (annoyed) Okay, what is that?
Hodges: Nothing.
(Wendy glances under the table. Hodges reaches for the tape recorder and rips it off the table it's taped to. He drops it in his case.)
(uh-oh!)
Wendy: Is that a tape recorder?
Hodges: You are so paranoid. This thought experiment has now concluded.
(Hodges shoves his things in his case.)
Hodges: Thank you.
(Henry stares at him, his mouth hanging open.)
(Hodges quickly leaves the room.)
CUT TO:
[INT. CSI – LOCKER ROOM]
(Hodges shoves his things in his locker. The door opens and Wendy walks in.)
Wendy: Why were you recording us?
(He shoves his case in the locker.)
Hodges: I wasn't recording you. Why would I record you? That makes no sense.
(Wendy pushes the locker door open and a thin, long box falls out and open on the floor. Wendy kneels and picks up the cover. It's a board game.)
Wendy: "Lab Rats." "The Game of Science and m*rder."
Hodges: (embarrassed) It's a prototype.
Wendy: "Two to four players, ages eight and up." You're making a board game?
(Hodges reaches down to pick up the game pieces off the floor.)
Hodges: Well, it's not just a board game. Gets people to think.
Wendy: Why were you recording us?
Hodges: (sighs) I needed your help to flesh out scenarios, and I figured that if I hid the recorder, your answers would be candid and honest. Look, see.
(He opens the board onto the bench in front of her to show her what he's made so far.)
Hodges: It's like "Clue," only CSI-ier.
Wendy: Hodges this is, uh ... this is kind of impressive. In a painfully sad, geek type of way.
Hodges: Well, painfully sad geeks have a lot of spare time on their hands and loads of disposable income. "Lab Rats" could be a gold mine.
(He reaches down to pick up the rest of the pieces. Wendy reaches for the velvet pull bag and opens it to look inside.)
Wendy: Oh!
(She pulls out the pieces and laughs.)
Wendy: Little lab techs.
Hodges: Mm-hmm.
(She goes through the pieces. The names of the pieces are on the side and the detail is on the bottom of the piece.)
Wendy: "Sandy Baxter, fingerprint fanatic." "Reggie Chang, eagled-eyed A/V expert." "Andrew Henries, top-notch tox tech." "Hodgkins." Hodgkins.
Hodges: Mm-hmm.
Wendy: You named yourself after cancer.
(It never occurred to him. Wendy picks up the last piece. Hodges tries to stop her.)
Hodges: Oh!
(She pulls it away and reads it anyway.)
Wendy: "Mindy Bimms, the clumsy yet buxom DNA tech." (she looks at the piece.)
Clumsy yet buxom?
Hodges: (shrugs) It's a redeeming feature. It's-it's a prototype.
Wendy: (insulted) So, tell me, do you think that Mindy Bimms is clumsy because she's top-heavy?
(She tosses the piece at Hodges. He flinches.)
Wendy: Or do you just mean clumsy like this?
(She knocks the board and the pieces off the bench and onto the floor.)
Wendy: Oops.
(Wendy gets up and heads for the door. She turns around.)
Wendy: Okay, are you ... are you allergic to being honest with me? 'Cause the thing is, if you had actually asked me to help you with this game, I would have. But, no, you had to hide a tape recorder under a table and engage us all in this great big "thought experiment!" When in reality, it doesn't even matter, apparently, what I think because I'm just Mindy Big Boobs to you, and I ... You are the dumbest smart guy I know.
Hodges: You think I'm smart?
(Wendy rolls her eyes, turns and leaves the locker room.)
(Hodges sighs heavily as he looks down at his game on the floor.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI -- HALLWAY – DAY]
(Greg walks through the hallway. As he heads out, he passes Grissom.)
Grissom: Night, Greg.
Greg: (grunts) Yeah, whatever.
(Grissom turns and looks back at Greg.)
(Grissom continues walking.)
Hodges: (o.s.) (high-pitched voice) Oh, Hodges, I'm so sorry.
(Grissom does a double-take and sees Hodges in the breakroom looking forlornly at his board game set up on the table. He's playing with the pieces.)
Hodges: It's just that I'm jealous of your intellect.
(He maneuvers the Mindy Bimms game piece over a glass of water.)
Hodges: (normal voice) But Wendy, you have so much to live for. Don't do it. You're too close to the edge.
(He drops the Mindy Bimms game piece into the glass of water.)
Hodges: (high-pitched voce) Oh, and now I'm drowning! Oh, God! Oh, God, help me. Help me.
(Grissom stands in the doorway and stares at Hodges. What the hell--?)
Grissom: What are you doing?
(busted! Hodges looks up and finds Grissom there.)
Hodges: Oh, uh ...
(Hodges takes the Mindy Bimms game piece out of the water glass.)
Hodges: (sighs) I was ... uh ... just trying to ... develop a board game –
(Grissom walks into the BREAKROOM, his eyes on the board game on the table. He seems genuinely interested.)
Hodges: -- based on this place, but not in any legally actionable sense. You get evidence, scenarios, analysis. Try to solve diabolical m*rder.
(Hodges holds the Mindy Bimms game piece. Grissom takes it from him and looks at it. He looks at the board, the rooms, the pieces, the timer, the dice.)
(Hodges waits.)
Grissom: I like games.
Hodges: Really?
Grissom: Yeah.
(Grissom sits down.)
Hodges: Okay. Let's play.
(Hodges picks up the board game cover and reads the blurb on the inside.)
Hodges: What makes it hard to catch a k*ller? Is it the sheer destructive power of the m*rder itself that obliterates evidence –
CAMERA SLIDES OVER TO:
[INT. CSI – LAB]
(Archie is in the lab documenting a case full of cocaine bricks.)
Hodges: (V.O.) -- as it snuffs out life?
(He looks at the case and pauses at the next brick. He reaches into the case and cautiously lifts the brick. There's no expl*si*n.)
(He lets out the breath he's been holding.)
(He continues to work.)
CAMERA SLIDES OVER TO:
[INT. CSI -- TOX LAB]
(Mandy walks into the lab.)
Hodges: (V.O.) Or is it the chain of events the m*rder sets into motion which obscure the true crime?
(She turns and sees Henry inside the freezer, his face plastered up against the glass. She rushes over to open the freezer. She grabs the handle and rattles it –
(Henry moves. He's been faking it.)
(Mandy gasps. He laughs and opens the freezer.)
Henry: That was good.
(Mandy whacks him on the arm.)
CAMERA SLIDES OVER TO:
[INT. CSI – EVIDENCE LOCKER]
(Wendy is standing on the ladder. It moves and she gasps and grabs the ladder handle to keep from falling. She pauses a moment, spooked.)
Hodges: (V.O.) Or is it a mechanism so complex and diabolical that it borders on the incredible?
(She grabs the evidence box from the top shelf and climbs down.)
CAMERA SLIDES OVER TO:
[INT. CSI – A/V LAB – SCENARIO 4]
ON MONITOR: HODGES talks directly to the monitor camera.
Hodges: (from monitor) In truth, it is all these things, --
(PULL BACK to REVEAL: Hodges sits in front of the computer camera as he records himself.)
Hodges: -- and all these things are the same. Because the only real way to catch a k*ller is to outsmart him ... and hope that he's not smarter than you.
(Hodges smiles. He sits up straight.)
BANG!
(Hodges falls backward and rolls off the chair with a THUD!)
ON CHAIR – empty and spinning round and round and round.
ON HODGES – on the floor, d*ad – still wearing that grin and a b*llet hole in his forehead.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – BREAKROOM]
(Grissom looks at his notes.)
Grissom: Your "speech" in front of your computer, and you take a b*llet to the head.
Hodges: No witnesses. Nobody heard the sh*t, and the k*ller is somebody in the lab.
(not bad.)
Grissom: Am I eligible?
Hodges: In this scenario, no.
Grissom: Okay. So during the basic process of the scene, what do I find?
[INT. CSI – A/V LAB – SCENARIO 4]
(Grissom kneels and looks at the bare floor where Hodges' body was. The chair in front of the computer is still spinning around and around and around.)
Hodges: (V.O.) A single nine-millimeter casing at the doorway to Trace.
(Grissom picks up the casing and looks at it. He looks around.)
Grissom: Then my first blush theory is a walk-by.
FLASH TO:
(Someone walks past the lab, stops in front of the computer and sh**t Hodges in the head. He drops the casing as Hodges falls to the floor with a thud. The k*ller leaves the lab and leaves the casing behind.)
[INT. CSI – BREAKROOM]
Grissom: I'm going to need the b*llet.
Hodges: Then I'm going to need an autopsy.
[INT. CSI – FORENSIC AUTOPSY – SCENARIO 4]
(Hodges is on the autopsy table. David Phillips and Robbins are standing around the table. David bounces on his feet with anticipation. Robbins sighs with annoyance. David wiggles his eyebrows at Robbins, waiting for his cue. He smiles and nudges his head, waiting impatiently for Robbins to give him the cue.)
Robbins: (annoyed) Get it out of your system!
David Phillips: (bursts) No sign of sexual trauma.
Robbins: (barks) Out!
(David grins at him.)
Robbins: (shouts) Now!
(David turns and leaves with his head down.)
(The door closes behind him.)
(Robbins gets to work. He puts a plastic rod in the b*llet hole in Hodges' forehead. The rod sticks straight up.)
Robbins: All right, trajectory of the sh*t was roughly 90 degrees from vertical, straight through his noble skull. b*llet didn't exit.
Grissom: (V.O.) Is it intact?
FLASH TO: LATER
(Robbins holds Hodges' brain and pulls the b*llet out. He looks at the b*llet.)
Robbins: More or less.
[INT. CSI – BREAKROOM]
Grissom: IBIS.
[INT. CSI – BALLISTICS – SCENARIO 4]
(Grissom studies the b*llet under the scope.)
Hodges: (V.O.) The b*llet's nose is significantly deformed and the lead base is pitted. But there are sufficient striae to get a match for what little it's worth.
(Grissom runs the b*llet through the computer database. He finds a match. He puts the two b*ll*ts and compares the striae. The computer beeps. It's a
99.936% match.)
(He pulls up information on the g*n.)
Hodges: (V.O.) The g*n came through the lab about a week ago in a buyback program and was subsequently destroyed.
XCU: MONITOR
(Disposition shows "destroyed.")
[INT. CSI – BREAKROOM]
Grissom: So you were sh*t by a w*apon that no longer exists.
Hodges: Apparently.
(Grissom nods.)
Grissom: Okay, let's go over your snuff film, shall we? I want to see exactly what you did.
CAMERA SLIDES OVER TO:
[INT. CSI – A/V LAB – SCENARIO 4 (VERSION) ]
(Hodges' recording plays on the monitor. Grissom's reflection is on the monitor glass.)
Hodges: (from video) In truth, it is all of these things, and all of these things are the same.
(PULL BACK to REVEAL – Grissom is not alone. Wendy, Archie, Mandy, David and Henry gather around him to watch the snuff film. Wendy even brought a large tub of popcorn.)
Hodges: (from video) Because the only real way to catch a k*ller is to outsmart him and hope that he is not smarter than you.
(On the monitor, Hodges smiles and sits up straight.)
ON AUDIENCE
BANG!!
(Everyone bursts out laughing.)
ON MONITOR – Hodges rolls off the chair and falls to the floor with a thud.
Wendy: Do it again! ARCHIE: Do it again! DAVID PHILLIPS: One more time. One more time.
(Grissom grins.)
Hodges: (V.O.) Wait, wait, wait –
[INT. CSI – BREAKROOM]
Hodges: They all want to watch?
Grissom: (deadpans) Professional curiosity. I guess.
(Grissom's eyes sparkle as he looks at Hodges.)
[INT. CSI – A/V LAB – SCENARIO 4]
(Grissom sits ALONE in front of the monitor. The computer beeps as he replays the video.)
Hodges: (from video) In truth, it is all these things, and all these things are the same.
ON MONITOR
(Hodges' recording plays on the monitor. Grissom's reflection is on the monitor glass.)
Hodges: (from video) Because the only real way to catch a k*ller is to outsmart him and hope that he is not smarter than you.
(Hodges smiles. He sits up straight.)
BANG!
(Hodges falls backward and rolls off the chair with a THUD!)
(Grissom sees something. He rewinds the video.)
ON MONITOR
(Hodges smiles. He sits up straight.)
BANG!
(Hodges falls backward and rolls off the chair with a THUD!)
Grissom: (V.O.) You took the sh*t straight into your head, --
(The computer chair IS STILL SPINNING round and round and round.)
Grissom: (V.O.) -- but according to the video, you were not facing the hallway.
REVEAL – Grissom stands in the doorway looking at the computer at where the sh**t would have been.
Grissom: (V.O.) Which means the b*llet didn't come from there.
(Grissom turns and looks behind him. There's a shelf.)
Grissom: It must've come from here.
(He points to the shelf behind him.)
(Grissom checks the shelf --
Hodges: (V.O.) Yes, it did.
-- and finds a barrel attached to a pager.)
Grissom: A zip g*n.
Hodges: (V.O.) With an unrifled barrel.
Grissom: And a remote trigger. What model year is the pager?
Hodges: (V.O.) Pre-1990.
Grissom: So no call-back numbers. Pre-1990 pagers didn't store them.
Hodges: (V.O.) So, you're at a d*ad end?
(Grissom looks DIRECTLY at the CAMERA.)
Grissom: I'm just getting started.
CUT TO:
[INT. CSI – BALLISTICS LAB – SCENARIO 4]
(Grissom swabs the zip g*n barrel. The tip of the swab is black. He looks at the swab.)
Grissom: Do I have to walk over to the GCMS or will you just tell me?
Hodges: (V.O.) The barrel of the zip g*n contains traces of black powder.
(Grissom caps the swab.)
(He turns and looks at the b*ll*ts on the computer.)
Grissom: Okay, but the b*llet was pitted on the base, which is the result of exposure to smokeless g*n. Which means that the b*llet that k*lled you was fired twice.
CUT TO: FLASHBACK
(The k*ller fires the g*n.)
Grissom: (V.O.) The k*ller test-fires the g*n, knowing it will be destroyed, and keeps the b*llet and the casing.
(The k*ller retrieves the b*llet. The k*ller makes the zip g*n.)
Grissom: (V.O.) He puts the b*llet in a metal tube on a wad of black powder.
CGI ZOOM TO: The pager buzzes. The electrical pulses flash through the wiring and to the zip g*n barrel.)
Grissom: (V.O.) With a pager trigger, it's essentially a remote controlled musket. Call the number from any phone or through the Internet and ...
CGI THROUGH g*n BARREL – The g*n ignites and fires the b*llet.)
END CGI.
[INT. CSI – BREAKROOM]
Hodges: Impressive. Can you tell me whodunit?
Grissom: Well, Bobby Dawson is an early 19th Century firearm enthusiast. He ... uh ... loads and fires muskets for fun.
Hodges: Oh, yeah. Big g*n guy.
[INT. POLICE DEPARTMENT – HALLWAY – SCENARIO 4]
(Brass leads Bobby Dawson through the hallway, his hand holding Bobby's arm.)
Bobby Dawson: I didn't do it! I didn't do anything! I swear!
(Bobby tears out of Brass's grip and runs down the hallway to get away.)
(Officer Mitchell blocks Bobby's path.)
Bobby Dawson: Hey! OFFICER MITCHELL: Whoa. Whoa, whoa, whoa.
(Brass rolls his eyes.)
(Bobby wrestles Officer Mitchell's g*n away from him. Bobby has the g*n now. He holds it pointed up at the ceiling.)
Brass: (ho-hum) g*n.
(Bobby looks at the g*n in his hand.)
(Brass takes his out and aims at Bobby.)
BANG-BANG-BANG-BANG-BANG-BANG !!!
THUD !!!
(Whipping sound.)
(Brass holds up his g*n and blows lightly across the smoking barrel.)
[INT. CSI – BREAKROOM]
Grissom: What do you got against Bobby Dawson?
Hodges: (shakes his head) Nothing. Running gag. So, --
(Hodges holds up the figurine.)
Hodges: -- you think Bobby Dawson did it?
Grissom: (confidently) No. Bobby was framed. You drew me a map.
(Hodges puts the figurine down.)
Grissom: The path of the b*llet, if not stopped by your brain mass, would have continued straight through into Ballistics, where Bobby works. Now, Bobby's a real g*n guy, and no g*n guy would ever position himself down-range of a sh*t. You're more than a victim, Hodges.
ON VIDEO
(Hodges is on the monitor.)
Grissom: (V.O.) According to your video, you straightened up just before the fatal sh*t was fired.
(Hodges smiles and sits up straight.)
CGI sh*t
(b*llet is fired from the barrel.)
BARREL POV
(The b*llet exits the barrel.)
Grissom: (V.O.) You knew it was coming.
(The b*llet heads straight for Hodges.)
Grissom: (V.O.) And you made sure that you were in the perfect position to catch it.
THUD!!
[INT. CSI – BREAKROOM]
Hodges: I am a mere Padawan in the presence of the Jedi Master.
(Hodges puts his hands flat together and bows to Grissom.)
Grissom: True. (looks at watch) Let's play another.
Hodges: Sure.
(Hodges picks up the scenario cards and shuffles through them. He glances at Grissom.)
Hodges: You weren't ready -- to leave -- this: the challenges, the puzzles, the job.
Grissom: No.
Hodges: But Sara was.
Grissom: Yeah, she was.
Hodges: You can't stand in the way of that. When it's time for someone to move on, you just gotta let them go.
Grissom: Let's play the game, shall we?
Hodges: Okay. Oh!
(Hodges shows Grissom the tape recorder.)
Hodges: Mind if I record this? (to recorder) Scenario 12, Hodges and Grissom.
(He puts the recorder down as he starts the next scenario.)
FADE OUT.
Hodges: (V.O.) Okay, you walk into the AV Lab. You find Archie slumped over his computer with a Kn*fe in his head ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x08 - You k*ll Me"} | foreverdreaming |
COLD OPEN:
[INT. PD – INTERVIEW ROOM -- NIGHT]
(Warrick is being questioned by an IAB investigator.)
IAB Investigator: So you were at the strip club on official business earlier in the day, but then you went back on your own time later?
Warrick: I already told you, yes.
IAB Investigator: And that's when you met the victim?
Warrick: Are you guys writing any of this down? I first met Candy in the parking lot of the strip club. Later on, I talked to her inside.
FLASHBACK TO: [Scene from 8X09: Cockroaches]
[EXT. PIGALLE BOULEVARD STRIP CLUB – PARKING LOT -- NIGHT]
(Candy is giving Warrick a lap dance.)
END FLASHBACK.
IAB Investigator: Approximately how much money did you spend getting to know the victim?
Warrick: Three hundred bucks, but that was because it was part of an investigation.
IAB Investigator: And that would be the investigation the undersheriff told you to drop?
Warrick: Yes ...
IAB Investigator: You still on the modafinil and the zolpidem?
Warrick: No, I'm off them.
IAB Investigator: Did you take them yesterday?
FLASHBACK TO: Warrick grabs the pill container.
(Warrick pops a pill while waiting in the car.)
END FLASHBACK.
IAB Investigator: So, today is the first day of the rest of your life, hmm?
(Warrick rubs his eyes.)
CUT TO:
[EXT. OUTER LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. SILVERADO WASH (DIRT ROAD & BRIDGE) – NIGHT]
(Greg and Nick cross a bridge as they walk away from their parked car on the road. Officer car's lights flash along the road.)
Greg: Dispatch said body at a dump.
Nick: Yeah, this is definitely not the city dump.
(Nick and Greg come upon d*ad dogs. They share a look.)
Sam Vega: Nick? Greg?
(Nick and Greg head over toward Sam Vega, who is with David Phillips and the body.)
Sam Vega: Kids were out here drinking beer, found the d*ad dogs. Patrol unit came, responded and found the female DB.
(There's a woman in a red dress face down on a piece of cardboard.)
David Phillips: Looks like animal bites on her arms and legs.
(Nick looks at the bites on her arms. Greg snaps photos of the body.)
David Phillips: No purse or ID.
Nick: Okay, Dave, let's see what we got.
(David rolls her over. There are more bites on her legs.)
Greg: Whatever bit her must have been at it for a while.
Nick: Yeah, maybe. But I doubt they tied her up and b*at her.
(David moves aside the woman's hair to show the bruises on her face.)
Nick: Check out the contusions, ligature marks.
(He notes the bruises around her wrists.)
Greg: Disposing of animals like this is illegal. Whoever dumped the vic must have known about the site from dumping dogs.
Nick: Yup. (Nick stands up.) It looks like he's moving up the food chain.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) – DAWN]
[INT. CSI – FORENSIC AUTOPSY]
(Catherine takes a swab from the woman's body on the table. She caps it and picks up a second swab. She swabs inside wound #10.)
(She picks up the camera and photographs the wounds on the woman's face and arms. She takes photos of the wounds on the woman's legs and the white substance on her heel.)
(The door opens and David Phillips walks in.)
David Phillips: Hey.
Catherine: Hey, could you do me a favor? Um, bring me one of the swabs?
David Phillips: Sure. What's up?
(David picks up a swab and hands it to her.)
Catherine: There's some white trace on the soles of her feet. You were at the scene. Did you happen to notice any white material that might have transferred?
(Catherine takes a sample of the white substance.)
David Phillips: Maybe. I can't say for sure. I mean, there were d*ad dogs and trash all over the place.
(Catherine picks up her camera and moves to the side.)
Catherine: Hmm. Excuse me.
David Phillips: Sorry.
Catherine: Would you help me remove her dress?
David Phillips: Sure.
Catherine: Let's just roll her.
(They roll the body over. Catherine starts to remove the dress when she notices a mark on the woman's back.)
Catherine: That look like a needle mark?
David Phillips: I'll send samples to Tox.
(Catherine picks up the camera and takes a photo.)
FLASH TO:
[JOANNA "CANDY"]
Joanna "Candy": (V.O.) You like trouble, you ...
[INT. PD – INTERVIEW ROOM]
(The IAB investigator continues to question Warrick.)
IAB Investigator: So, in the course of developing this informant, you took her to a motel and had sex with her?
Warrick: That part was personal.
IAB Investigator: CSI Brown, in your mind, is there any distinction between personal and official?
Warrick: Have you guys bothered to call the motel? I checked in with a credit card. I checked out around 5:00. I called a cab. Talk to the cab driver. When I woke up, Candy was gone. When I got back to the club to pick up my car, she was d*ad.
FLASH TO:
[EXT. PIGALLE STRIP CLUB – PARKING LOT – NIGHT]
(The area around Warrick's car is taped off. It's a crime scene. Warrick sees Candy is d*ad and inside his car.)
Warrick: (shouts) No-o-o!
END OF FLASHBACK.
Warrick: Listen to me. I did not k*ll her. But I know damn well who did.
CUT TO:
[INT. PD – HALLWAY / BRASS' OFFICE]
(An officer escorts Lou Gedda to Brass' office. Brass is eating.)
ND Officer: Lou Gedda to see you, Captain.
(The officer leaves. Gedda steps into the office. Brass doesn't stand up. Gedda tosses a slip of paper on the table. It has a name and number on it:
ALICE KRUMSKY
(702) 555-0127
(Gedda sits down.)
Brass: What's this?
Lou Gedda: Candy's mother's phone number.
Brass: Her parents have already been notified.
Lou Gedda: Candy wrote it down for me last night just before she died. That's why she came back to the club after her shift. Her mother was pressuring her to quit. Candy wanted me to call her, give her the talk. It's exotic dancing, not stripping. Show business.
Brass: Did you make the call?
Lou Gedda: I don't get involved in family business, but I thought it might help your investigation.
Brass: How's this going to help me?
Lou Gedda: How should I know? I'm just trying to be a good citizen.
CUT TO:
[INT. CSI – FORENSIC AUTOPSY]
(The doors open as David Phillips and another coroner roll the gurney with the woman's body on it.)
David Phillips: Hey, Doc.
Robbins: Hey.
David Phillips: I heard your band k*lled last night.
Robbins: Really? Who'd you hear that from?
David Phillips: My wife's second cousin. Works in the mayor's office for the budget and finance director. He was at the country club. Grooved to your moldy oldies all night.
Robbins: They're classics.
David Phillips: Sorry.
Robbins: So ... uh ... people were talking about me?
(He chuckles. Then his smile fades as he looks down at the woman's face.)
David Phillips: What did I do?
Robbins: I know her.
David Phillips: Her name's Elizabeth Rodriguez. She and her husband Felix were honored last night by the Nevada Enterprise Association. Humanitarians of the Year. They opened that outreach center in the Alphabets. They were dancing right in front of me.
FLASHBACK TO:
[INT. COUNTRY CLUB – NIGHT]
(Robbins is on stage singing. Elizabeth and Felix are dancing on the floor.)
Robbins: (V.O.) She and Felix were very philanthropic. I admired both of them.
END FLASHBACK.
(Robbins is talking with Sam Vega and Catherine.)
Sam Vega: Did they leave the party together?
Robbins: No. He left first.
FLASHBACK TO:
[INT. COUNTRY CLUB – NIGHT]
(The band is playing on stage. Felix's phone rings and he checks it on the floor. He kisses her, turns and leaves her there. Robbins notes them.)
END FLASHBACK.
Sam Vega: Do you remember what time that was?
Robbins: Sometime between "Louie Louie" and "You Really Got Me."
Sam Vega: Could you be more specific, Doc?
Robbins: Well, it was just before the end of our third set. We broke at 10:00. Just before that.
Catherine: And she stayed?
Robbins: (nods) For a little while.
FLASHBACK TO:
[INT. COUNTRY CLUB – NIGHT]
(Robbins is still on stage with his band. Elizabeth Rodriguez is on the dance floor with someone when a waiter comes up to her and whispers something to her. She excuses herself and leaves.)
END FLASHBACK.
Robbins: I didn't see her after that. Guess it was around 10:30.
Sam Vega: And the kids called in the d*ad dogs around 2:00.
Catherine: So, that's a three-and-a-half-hour window.
Sam Vega: I'll talk to the husband. I'll keep you posted.
Catherine: Thank you.
(Sam Vega leaves.)
Catherine: Can you tell me anything about these bites?
Robbins: Definitely perimortem. Right around time of death.
Catherine: So, it's unlikely it's coyotes.
Robbins: No.
(He turns and looks at Elizabeth on the table.)
Catherine: Are you going to be okay with this one?
(He sighs and shakes his head.)
Robbins: I'm just not used to seeing them alive.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. PD – INTERVIEW ROOM -- NIGHT]
(Sam Vega talks with Felix Rodriguez.)
Sam Vega: You went home without your wife. Why?
Felix Rodriguez: I hate dry chicken and small talk. And more than anything, I hate dancing. So, I went home, and I passed out on the couch. Next thing I know, you guys are banging on my front door. Where's Liz?
Sam Vega: Do you always leave your wife on the dance floor?
Felix Rodriguez: Liz is out every night at some charitable function, saving the world. We have a deal. If I make an appearance, I get to duck out early.
FLASH TO:
[INT. COUNTRY CLUB – NIGHT]
(Elizabeth and Felix are dancing. Felix yawns, bored.)
Felix Rodriguez: You know what? I've done my time. I think I'm going home.
Elizabeth Rodriguez: All right, well, don't wait up for me.
(He kisses her hands.)
Felix Rodriguez: Mmm.
Elizabeth Rodriguez: And I'll miss you.
(He kisses her cheek and heads off the dance floor.)
END OF FLASHBACK.
Felix Rodriguez: Look, if you don't tell me what's going on, I'll need to talk to my lawyer.
Sam Vega: Your wife was m*rder last night.
(Felix turns and looks at him, stunned.)
Felix Rodriguez: What?
(The officer outside opens the door and Greg walks in.)
Sam Vega: Mr. Rodriguez, this is CSI Sanders. He's here to take your fingerprints and your clothes.
(Greg puts the print card down on the table.)
Greg: Please stand up.
(Felix Rodriguez is still in shock.)
Felix Rodriguez: What?
Sam Vega: Mr. Rodriguez, stand up.
Felix Rodriguez: I want to see my wife.
Sam Vega: When we're finished here, we'll talk about it. Stand up, please.
(He stands up. Greg starts to take his fingerprints.)
Felix Rodriguez: I didn't k*ll her. I loved my wife.
CUT TO:
[INT. PD – HALLWAY]
(Warrick steps out of the interview room and puts his jacket on. He rubs his tired eyes. He starts down the hallway.)
SLOW MOTION.
(At the other end of the hallway Lou Gedda turns the corner. Warrick looks up and sees him. They walk past each other. Gedda smiles as he leaves.)
(Warrick stops to watch him go. He turns and sees where Gedda came out from and finds Brass leaning against the doorframe watching him.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. PD – BRASS' OFFICE]
(Brass talks with Grissom. Brass is standing up behind his desk while Grissom is seated in front of it.)
Brass: You should have put him in your car and driven him home.
Grissom: I have to trust the people I work with, Jim.
Brass: Look, Warrick's a loose cannon. We both know that. He was in Gedda's strip club ...
Grissom: He was off the clock.
Brass: ... conducting his own police investigation.
Grissom: He's very passionate about this case.
Brass: Yeah, passionate enough to sleep with the vic who ended up d*ad in his car. Look, I know Warrick didn't have anything to do with it, but he needs to back off. Guys like Lou Gedda -- they don't skip on m*rder and extortion by being lucky.
(Brass sits down. Grissom looks at Brass.)
Grissom: What does that mean? You think Gedda's got "friends" inside the department?
Brass: (nods a little) Well, unlike Warrick, I don't make accusations until I have proof.
(Grissom is quiet.)
CUT TO:
[INT. CSI – GARAGE]
(Grissom is fuming inside Warrick's car.)
(Warrick passes by and sees Grissom working in the car. He enters the garage.)
(Grissom gets out of the car.)
Warrick: Hey, Grissom.
Grissom: Did you talk to IA yet?
Warrick: Yeah. They cleared me. They didn't seem to have much interest in Gedda.
Grissom: That's because it wasn't about Gedda. It was about you.
Warrick: It's everything to do with Gedda. Sending me a message. m*rder an innocent young girl because I got too close to them. I want this case, Gris.
Grissom: I hope you know that's not gonna happen. You're in the rotation as of tomorrow, so go home.
(Warrick leaves. Grissom pauses and watches him go.)
CUT TO:
[INT. CSI – HALLWAY]
(Hodges reports his findings to Catherine. He hands her the report.)
Hodges: The white flaky trace on your victim's feet was permethrin, an insect repellent, also used in flea dips.
Catherine: Mmm. She was found with a bunch of d*ad dogs. What about the husband's tux?
Hodges: No flea dip, no dog hairs, no blood. Just a little bit of champagne and some underarm deodorant.
Catherine: You just exonerated our only suspect.
(Catherine walks out of frame.)
CUT TO:
[INT. CSI – DNA LAB]
(Wendy is running the samples. Hodges walks in.)
Hodges: So how crazy was last night? You. Me. Dinner?
Wendy: Mm-hmm.
Hodges: I thought the Syrah was quite nice.
(Wendy turns to get another sample.)
Wendy: Yes, and thank you for offering to split the check. My date really appreciated it.
(Hodges follows her.)
Hodges: Oh, no problem. Let it be known, that I am nothing if not a gentleman.
(She turns around and finds Hodges right behind her.)
Wendy: Why were you at a restaurant like Nob Hill by yourself anyway?
Hodges: The Golden Rule. Always treat yourself the way you would like others to treat you.
Wendy: That's not exactly the rule.
Hodges: What are you working on?
(Hodges is looking at the multiple swabs Wendy is running.)
Wendy: The Elizabeth Rodriguez homicide. She had bite marks on her with saliva in them, and the saliva turned out to be canine, and anytime a dog is impounded in a criminal case, its DNA is collected and profiled.
(She turns on the CANINE CODIS.)
Wendy: It's just like CODIS.
Hodges: DODIS.
(Wendy chuckles.)
Wendy: Anyway most of the cases in the database are g*ng-related. But I figured, well, it's worth a sh*t.
Hodges: Well, that'll look good on the old Grissom point meter.
(Hodges steps around her. Wendy looks at him.)
Wendy: It's protocol.
Hodges: I'm just saying, be careful: no one likes a kiss-ass.
(Hodges leaves.)
Wendy: Really?
(Wendy puts the swab box back on the rack and flips the DNA printout to the next page as she works. She continues running searches through the CANINE CODIS.)
(She finds a match to HANNIBAL, a pit bull.)
CUT TO:
[INT. CSI -- HALLWAY]
(Nick steps out into the hallway. Wendy turns the corner and finds him.)
Wendy: Hey, Nick, have you seen Catherine?
Nick: Yeah, she got another call-out. We're a little bit shorthanded right now. What's up?
Wendy: The canine DNA database got a h*t on the saliva. It's a pit bull named Hannibal.
(She hands him the printout.)
Nick: Confiscated during a drug raid at a g*ng house three months ago.
Wendy: And then held at Del Santos Kennel until he was released to his owner, Gino Aquino.
Nick: A member of the D Street K*llers. Rodriguez Outreach Center is on D Street.
Wendy: Well, you do good work in that neighborhood, and you're bound to piss off the DSKs.
Nick: Maybe enough to want her d*ad.
CUT TO:
[EXT. COMMUNITY (STOCK) – DAY]
[EXT. GINO AQUINO'S HOUSE – FRONT YARD -- DAY]
(The D Street Crew Members lounge in the front yard. Nick and an officer walks past them on their way to the front door toward Vega.)
Nick: (to the officer) Go see everyone's ID.
(Vega is with Gino Aquino, who is looking at the warrant.)
Gino Aquino: Fine, do your cop thing and don't tell me nuthin'.
(They enter the house.)
[INT. GINO AQUINO'S HOUSE – LIVING ROOM – DAY – CONTINUJOUS]
(He motions to the house.)
Gino Aquino: Go ahead, look around all you want.
Sam Vega: (to the officer) Keep an eye on him.
(Nick walks into the house. Gino Aquino looks at the warrant.)
Gino Aquino: My dog ain't here. You arrested him with me a couple months ago. I never got him back.
Sam Vega: Well, Mr. Aquino ...
(Deena Aquino, Gino's wife, laughs as she sits on the sofa chair in front of the plasma.)
Deena Aquino: Quítese los zapatos!
Nick: Lo siento pero esta prohibido.
Sam Vega: (o.s.) Look, you or any of your homies hang out at the Rodriguez Outreach Center?
(Nick walks through the living room and exits into the kitchen.)
Gino Aquino: Yeah, right. A bunch of rich people trying to feel good about themselves. They should just give us the money.
[EXT. GINO AQUINO'S HOUSE – BACK YARD / STORAGE – DAY – CONTINUOUS]
(Nick exits out into the back yard where he finds a stake in the ground with a long chain attached to it. Further on, he sees a concrete brick with a long chain attached to it.)
(Nick pushes the curtain covering the entrance to the storage shed aside. Inside he finds a couple of treadmills, some empty dog carrying cases and a couple of water dishes. On the walls he finds leashes, chains and other items.)
(Nick puts his kit down and opens it. He takes out a camera and snaps photos of the water dishes and the chewing toy on the dog traveling case.)
(Nick notices the dog hairs on the treadmill. He photographs that as well.)
(Nick tape lifts the dog hairs off the treadmill and looks at it.)
CUT TO:
[INT. AQUINO'S HOUSE – KITCHEN – DAY]
(Nick talks with Gino Aquino who is eating.)
Nick: I thought you said your dog's been gone for a couple months now.
Gino Aquino: Yeah, check the police report.
Nick: Then why do you have a bowl of fresh water for him out in the shed?
Gino Aquino: In case he comes back.
Nick: And the leashes?
Gino Aquino: I'm still in mourning.
Nick: What about the treadmill?
Gino Aquino: You crazy? I bought that for her.
(He points to his wife, Deena, who is eating in front of the plasma.)
Deena Aquino: Eh, no me metas en esto.
Gino Aquino: Callate, ya! Do I need to tap my defender?
Sam Vega: Tell him to meet you downtown.
(Vega motions for the officer to come in. Aquino gets to his feet.)
Gino Aquino: Voy a la carcel porque estas muy ocupado comiendo y no limpias.
(Nick and Vega roll their eyes and shake their heads.)
Deena Aquino: Mm-mm, como porque tu no llenas mis necesidades emocionales, okay?
(They head outside. The officer escorts Gino outside as well.)
Deena Aquino: Ah, pegame. Vas a ver. Vete de aquí!
CUT TO:
[INT. CSI – BREAK ROOM – DAY]
(On the monitor: Felix Rodriguez is talking with the press.)
Felix Rodriguez: (from tv) So I'm offering a $100,000 reward for any information leading to the arrest and conviction of my wife's k*ller.
REVEAL: Catherine is watching the report on television as she sips out of her cup. Henry walks in.
Felix Rodriguez: (from tv) I will not rest until the m*rder is caught and brought to justice.
Henry Andrews: I know government employees aren't eligible for reward money, but I think we should at least get a small percentage.
Catherine: It's called your salary. What have you got?
Henry Andrews: Possible COD on Elizabeth Rodriguez. Overdose.
Catherine: Phenytoin and pentobarbital. An anti-epileptic and a sedative hypnotic?
Henry Andrews: In combination, they're used to euthanize animals.
Catherine: Dog bites, mass dog grave, euthanizing solution. Well, those drugs are controlled substances, so their sales should be registered.
Henry Andrews: Already put together a list of the buyers in the Las Vegas area.
(Catherine looks at the list.)
Catherine: Del Santos Kennel.
(Catherine takes her phone out and makes a call. She turns and heads out.)
Catherine: (to phone) Yeah, Nicky, where are you?
CUT TO:
[EXT. KENNEL (STOCK) – DAY]
(Dogs bark in the distance.)
[INT. DEL SANTOS KENNEL – DAY]
(Nick points to a photo of Elizabeth Rodriguez carrying two dogs.)
Nick: Elizabeth Rodriguez.
She was friends with the owner. She bankrolled the place. Her old man's rich.
(He turns and looks at Catherine and the two officers on the other side of the counter. She hands him the warrant.)
Catherine: We need to see your controlled substances; any records you have on a confiscated dog named Hannibal; and I'll have to print everyone who works here.
All right, no problem. The owner's got the key to the cabinet. His name's Steve Card. He's just down the hall.
CUT TO:
[INT. DEL SANTOS KENNEL – EXAM ROOM -- CONTINUOUS]
(Steve Card heads for the cabinet with the controlled substances.)
Catherine: Anybody else have access?
Steve Card: Uh, no, I have the only key.
(He unlocks the cabinet and steps away for Catherine to open.)
Catherine: Are you a licensed veterinarian?
Steve Card: Vet tech.
Catherine: Oh, I didn't realize that techs were allowed to perform surgeries.
Steve Card: Not on live animals, but once the dog dies I can harvest the organs. I sell the hearts to research labs doing heartworm studies.
(Catherine looks at him.)
Steve Card: (explains) It's a rescue kennel. Most the dogs who come in are problematic, aggressive. Most don't make it out.
(In the background, we hear dogs barking. Catherine examines the substances.)
Nick: Mr. Card, I'm going to have to ask you to step outside. We'll get your statement.
LATER:
(Catherine is looking at the contents of the refrigerator. She closes the door and looks inside the cabinet drawers. In the first drawer, she finds some boxes. In the second drawer, she finds a bag of scissors.)
(She looks at the cabinet and finds a screw missing on one of the hinges.)
(She opens the cabinet and pushes the bottles to one side. In the back, she finds a small camera set up inside the cabinet to record something in the other room.)
(She turns around and finds a wooden contraption with a leather dog leash attached to it.)
LATER:
(Catherine and Nick examine the wooden contraption.)
Catherine: What do you think that is?
Nick: I don't know. But the pattern on these restraints is consistent to ligature marks on the victim.
Catherine: There's a hidden camera in the medicine cabinet pointing right at it. It's an awful lot of blood.
(Nick finds a hair on the wooden contraption.)
Nick: Long red hairs. Hmm. I don't think these came from a dog.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. DEL SANTOS KENNEL – DAY]
(An officer escorts Steve Card out of the exam room area. They pass by Nick and Tommy Halpert.)
Tommy Halpert: Wait, what is he being arrested for?
Nick: m*rder.
Tommy Halpert: Who got m*rder?
Nick: Mrs. Rodriguez. Do you have any idea what that contraption's used for in the back storage room there?
Tommy Halpert: Um, I'm not allowed back there. I just pick up the poop and walk the dogs.
Nick: Mm-hmm. It says here you released the dog back to its owner, but Mr. Aquino claims he never got Hannibal back.
Tommy Halpert: That's not true. I was here when he picked Hannibal up.
Nick: How many dogs you got here?
Tommy Halpert: Like 47 right now.
Nick: I'm gonna need to collect saliva samples from all of them.
CUT TO:
[INT. DEL SANTOS KENNEL – KENNEL AREA -- DAY]
(Tommy Halpert shows Nick through the kennel area where the dogs are kept.)
Tommy Halpert: Most of these guys are pretty jacked up.
(He opens the cage in the back to show a pit bull with a bandage around its head. He kneels and pets the dog.)
Nick: Ooh, yeah, looks like he's been in a few fights.
Tommy Halpert: Yeah, most of them have.
(Nick puts his kit down and takes out a swab. Tommy continues to pet the dog.)
Tommy Halpert: You can go ahead. He's not gonna bother you.
(Nick takes a swab of the dog's mouth.)
Nick: Must get pretty tough working here, huh?
Tommy Halpert: Yeah, you try to make a difference. I spent some time in a cage, so I know what it's like.
(Nick nods. Tommy whispers to the dog.)
Tommy Halpert: Yeah, you're a good boy. You're a good boy.
(Nick turns and looks at the Chihuahua in the next cage, badly injured. He looks at the pit bull with the bandage around its head.)
Tommy Halpert: It's okay, boy. It's okay.
(Tommy really likes the dogs.)
Tommy Halpert: Oh, yeah.
CUT TO:
[INT. CSI – PRINT LAB -- DAY]
(Mandy runs a print through the database. Warrick is in the garage looking at his car, but staying outside the taped area around it.)
(The computer chirps and it finds a match: WARRICK BROWN.)
(Warrick walks into the lab.)
Warrick: You got any print results from off my car?
Mandy: Should I be talking to you?
Warrick: Yeah, I've been cleared.
Mandy: Well, no, actually all I got so far are your prints.
(Warrick sighs and heads back into the garage. The computer chirps and Mandy finds another print match.)
Mandy: Wait, I got something.
(Warrick turns around. The print matches: RICHARD DORSEY, the homeless man who lived in the alley behind the strip club.)
Warrick: I know that guy.
(Quick FLASHBACK TO: Richard Dorsey leans against the side of the building smoking a cigarette.)
(CUT TO: Richard Dorsey runs up the building steps to the roof as Warrick chases after him.)
Warrick: Hey! I just want to talk to you.
(End flashback.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE -- DAY]
(Warrick walks into Grissom's office and puts the file on his desk.)
Warrick: His name is Richard Dorsey.
(Grissom picks up the file and looks at the photo.)
Grissom: You know, you keep pursuing this, you're going to end up suspended.
Warrick: Dorsey's prints were found inside my car under the broken window.
Grissom: Well, that's consistent with him putting the body in your car.
Warrick: Grissom, he's a homeless guy. He lives in the alley behind the strip club. Don't you get it? He's Gedda's fall guy. This is a frame job.
Grissom: Okay, I'll have Brass check it out. You stay out of it, though.
(Warrick holds his hands up and backs away. He turns and leaves the office.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. PD – INTERVIEW ROOM -- DAY]
(Catherine and Sam Vega talk with Steve Card and his lawyer, Brad Lewis.)
Catherine: We've got the victim's blood and hair at your kennel. She died of an overdose of the same drugs that were found in a medicine cabinet that only you had access to.
Sam Vega: If I were you, I'd save my money and start talking.
Brad Lewis (lawyer): Are you acting as his lawyer now?
Catherine: Mr. Card, I found this hidden camera in the exam room. Where's the receiver?
(She shows him a photo of the camera.)
Steve Card: I don't know anything about this.
Sam Vega: Did you forget about the camera when you k*lled Elizabeth Rodriguez?
Steve Card: I didn't k*ll Lizzie. She was my business partner.
Brad Lewis (lawyer): I'm advising you to stop talking.
Steve Card: It's not your ass. I'm a victim here.
Catherine: How do you figure? It was on the morning news that Lizzie was d*ad. And when I came into work ...
(Quick flashback to: Steve Card walks into work and finds the place a bloody mess. He cleans up and scrubs the blood off the floor.)
END FLASHBACK.
Catherine: So instead of calling the police, you cleaned up the crime scene.
Sam Vega: That makes you an accessory.
Brad Lewis (lawyer): He was afraid for his life.
Steve Card: Nobody cheats the D Street K*llers out of 50 Gs and lives.
Catherine: You cheated them out of $50,000?
Steve Card: Not me. Lizzie.
(Quick flashback to: Steve carries out a bag of money and puts it down on the counter in front of Elizabeth. She uncaps a container.)
Steve Card: We banked 50 Gs. I bet Gino's getting sick of losing.
Elizabeth Rodriguez: It never fails.
(She pours some of the liquid in the container on the dog's back.)
Elizabeth Rodriguez: When I fight a dog, I fight to win.
(He watches her wipe the mixture into the dog's back. She looks at him.)
END OF FLASHBACK.
Steve Card: Lizzie was the #1 dog fighter in all of Vegas. That drove Gino nuts 'cause he was like this close to knocking her off the top spot.
Sam Vega: You seriously want us to believe that Mrs. Rodriguez, humanitarian of the year, was into dog fighting?
Steve Card: Oh, she was no Mother Theresa. But, see, she'd still be alive if she wasn't a dirty dog fighter. That rub, it made the other dog sick.
Catherine: Gee, I hate to see the sport tainted like that.
Steve Card: Why do you think she gave money to my rescue kennel? She didn't even like dogs, but fighting them, that was in her blood. Passed down from her daddy, who taught her the whole family business.
Catherine: Okay ... what is this?
(She shows him the photo of the wooden contraption.)
Steve Card: It's a ... it's a breeding stand. The sport has a high mortality rate, and.. uh..combative bitches won't breed without a fight. So we have to tie them down to consummate the act.
Catherine: The victim was tied to that stand.
Steve Card: That's sick.
(Steve looks at his lawyer.)
Brad Lewis (lawyer): My client's willing to give you everything.
Catherine: What's "everything"?
Brad Lewis (lawyer): My client cleaned up the scene, but he didn't dispose of the evidence.
(He puts a plastic bag on the table in front of them.)
Brad Lewis (lawyer): We can also give you Gino Aquino.
(Catherine looks at Steve Card.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[EXT. BUILDING -- NIGHT]
(Several cars are parked outside a lone building. The lights are on inside the building. A car quietly pulls up in front.)
[INT. BUILDING – NIGHT]
(A small crowd has gathered as two owners hold their growling dogs apart.)
(Gino Aquino collects the bills. Deena is there as well as other members of the D Street K*llers g*ng.)
(The black dog barks in its cage. Gino lets Hannibal go and the two dogs tear into each other as the crowd cheers.)
(The dog fight continues. Hannibal tears into his opponent's shoulder. The dog stops fighting and lays down, its neck bloodied.)
(The crowd continues as the money exchanges hands. The owner enters the ring and picks up his dog. Someone stops by and hands the owner some money.)
(Suddenly, the door bursts open. Sam Vega and officers enter the room. )
Sam Vega: LVPD! Policía! Freeze! Nadie se mueve! Manos arriba!
(Everyone stops.)
Sam Vega: Hands in the air!
(They put their hands in the air. Everything is quiet for a moment. Suddenly, someone pulls out a g*n and fires.)
(The place erupts with g*n. Gino Aquino is h*t in the shoulder.)
(An officer is h*t and falls to the ground.)
(Gino grabs his dog's leash and heads for the back door. An officer sh**t one of the g*ng members. Another g*ng member quickly puts his hands up.)
g*ng Member: I give up! I give up!
Officer: On the ground, now!
(Gino Aquino hurries toward the back. Two officers block his path.)
Officer: Freeze!
(Gino turns to run and finds Vega there behind him.)
Sam Vega: Don't even think about it. Let me guess. You found your dog.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. BUILDING -- DAY]
(Nick closes the back of the SUV and joins the animal control officer with a dog on a leash.)
Nick: Hey, what's going to happen to all these dogs now?
Animal Control Officer: They'll have to be put down. Law says they're dangerous.
Nick: And the people who turn them into K*llers, they just get away with a slap on the wrist, huh?
Animal Control Officer: It's not illegal to train them to fight.
(He puts the dog in the back of the truck and shuts the cage door.)
Nick: Well, it should be.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. HIGHWAY UNDERPASS -- DAY]
(Grissom kneels in front of a cardboard box and shines his flashlight inside. The man sleeping stirs, then looks at Grissom.)
Homeless Man: Get away from my house.
Grissom: Sorry.
(Grissom stands up and moves away.)
Officer Mitchell: Grissom. All these guys know Dorsey. This is where he lives.
(Grissom looks around at the homeless people sleeping on the ground. He finds Dorsey.)
Grissom: Hey, Mitch.
(Officer Mitchell checks, then wakes him up.)
Officer Mitchell: Richard Dorsey! Time to wake up. You're under arrest.
(Officer Mitchell picks Richard Dorsey up to his feet to handcuff him. Grissom notices the drugs.)
Officer Mitchell: Meth head. No w*apon. He's clean. All right, let's go.
(Grissom finds a pink cell phone and sees Candy's photo on it.)
(He looks around Dorsey's things and finds a bloodied Kn*fe.)
CUT TO:
[INT. DESERT PALM HOSPITAL – HALLWAY – DAY]
(Nick talks with the ER doctor, who is holding a plastic vial container with a b*llet inside.)
ER Doctor: Pulled this b*llet out of Mr. Aquino's shoulder.
(He gives it to Nick to look at.)
Nick: It looks like a like .25 caliber. That's friendly f*re. Thanks, Doc.
(Nick joins Sam Vega, who is waiting for him. They both enter –
[INT. DESERT PALM HOSPITAL – GINO'S ROOM – DAY – CONTINUOUS]
Gino Aquino: (complaining) My arm ain't never gonna work right again. I'm gonna sure all your asses.
Nick: No, no, no, it was a .25 caliber slug they pulled out of you. It means it was one of your boys.
Gino Aquino: It was probably some cop's backup.
Nick: Yeah, that's probably it.
Sam Vega: Ya basta, Gino. We have a witness who says you k*lled Elizabeth Rodriguez because she cheated you out of 50 Gs.
Gino Aquino: Let me guess: you been talking to Steve Card. Little screamer. That finger's pointing the other way. Lizzie had cojones. I loved that woman. I respected her. You never cross Lizzie, she'll cut 'em off. But Card, he thought he had that immunity idol 'cause he worked for her. (scoffs) Tonto.
(Quick flashback to: [INT. ABANDONED HOUSE – NIGHT] Steve Card is dripping the mixture on the back of a black dog. Elizabeth sees him and doesn't like it. She goes over to him and slaps him.)
Elizabeth Rodriguez: You cheating little bitch. You been doing this all night?
(She punches Steve Card in the face again.)
Elizabeth Rodriguez: If I ever catch you cheating again, I will feed your heart to that dog.
(Elizabeth turns to Gino, who is smiling big time.)
Elizabeth Rodriguez: That last fight wasn't on the up. Next dog's not right either. You forfeit.
(She gives him a stack of bills. He leaves happy.)
END FLASHBACK.
(Gino shakes his head with admiration.)
Gino Aquino: Without her, he was nobody. She was a bad bitch. That's your motive. Anything else you need help with?
Nick: Tell me about all the d*ad dogs I found down the Silverado Wash. Were you the one that tortured them? Made them fight? And when they died, were you the one that threw them out with the trash? Hmm? Was that you?
Gino Aquino: I thought this was about Lizzie.
Sam Vega: One way or another, Gino, you're not going to see the streets for quite a while.
(Sam and Nick leave the room. Just before he leaves, Nick turns back.)
Nick: You know, there are two things a jury can't stand: people who abuse kids and people who abuse animals. So buena suerte.
(Nick leaves.)
CUT TO:
[INT. CSI – HALLWAY -- DAY]
(Nick and Catherine walk down the hallway.)
Catherine: Classic he said/he said.
Nick: Steve Card was the only one with access to the drugs and he admitted to cleaning up the crime scene.
Catherine: There's no forced entry at the kennel. He has no alibi.
Nick: And why would he give us all of Elizabeth's personal effects? You know, I'm starting to get the feeling the guy's not really all that smart.
Catherine: He has a good lawyer. Realized that we were onto his client and wanted to throw us off the scent.
Nick: Well, maybe Gino's telling the truth.
Catherine: Problem is, we don't have enough evidence to convict either one of them.
CUT TO:
[INT. CSI – LAYOUT ROOM – NIGHT]
(Greg looks at Elizabeth's things on the table. He picks up the shoe.)
Greg: One pair of woman's shoes, size 7, silver. Swabbed a blood sample from the instep of the right shoe, sent it to DNA. One woman's handbag, also silver.
(He looks inside.) Contents include one tube of Superla Red lipstick #36 ... one mirrored compact ...
(He closes the compact and picks up the keys.)
Greg: ... one set of keys holding four -- no, five keys --one Mercedes key, one Schlage brass key.
(Greg looks at the drug cabinet key. He puts the keys down and looks in the file. He double-checks STEVE CARD PERSONAL PROPERTY:
1) Key ring containing:
a) Car key w/ alarm
b) Brass colored cabinet key-#6128
c) Silver colored mailbox key
d) Blue colored house key.
(Greg closes the file folder and picks up the keys. He dusts the key for prints. He finds one.)
CUT TO:
[INT. CSI – HALLWAY]
(Greg reports his findings to Nick.)
Greg: Steve Card was lying when he said he was the only one with the key to the drug cabinet. Elizabeth had one, too.
Nick: Means the k*ller could have used her key.
Greg: Got a print.
(Greg hands the file to Nick. The print belongs to TOMMY HALPERT.)
CUT TO:
[INT. PD – HALLWAY OUTSIDE / INTERVIEW ROOM -- DAY]
(Tommy Halpert is sitting in the interview room as Nick waits outside.)
DDA Jeffrey Sinclair: (o.s.) Nick.
(Nick turns and sees Jeffrey Sinclair walk up to him.)
Nick: Hey. We ... uh ... we can't really talk to him yet. He's still waiting for his lawyer.
DDA Jeffrey Sinclair: He's waiting for me.
Nick: Hmm?
DDA Jeffrey Sinclair: He's a confidential informant. The DA's investigating Steve Card, Gino Aquino, Elizabeth Rodriguez, everybody associated with the dogfighting ring.
Nick: (nods) So you knew about this?
DDA Jeffrey Sinclair: Knowing about it and proving it are two different things.
Nick: Okay. (scoffs) Okay, so what's this guy's story?
DDA Jeffrey Sinclair: Same old-- he... used to ride with the D-Streeters, sh*t his old man when he was 15, did four years in juvie, got out, tried to turn his life around. We busted him 18 months ago for possession and as*ault. He cut a deal.
Nick: So he's got a history of v*olence. You think he k*lled Mrs. Rodriguez?
DDA Jeffrey Sinclair: It took me over a year to get him inside that dogfighting ring. I'm reserving judgment.
(Nick nods. They enter the room.)
(Tommy looks up as they walk in.)
Tommy Halpert: I did the best that I could.
DDA Jeffrey Sinclair: I'm sure you did, Tommy.
Tommy Halpert: And I told you what they were doing to those dogs and I gave you all the tapes.
DDA Jeffrey Sinclair: It wasn't enough. We needed to see the dogs fighting; that's the felony.
Tommy Halpert: But they had the fights in different places. I mean, she never told me where they were, s-so ...
Nick: Tommy, did you k*ll Elizabeth Rodriguez?
(Tommy looks at Nick.)
Nick: I, I could understand if you did. A whole lot of people that would say she had it coming.
(Nick sits down.)
(Quick flashback to: Elizabeth hits one of the dogs as Tommy watches. End flashback.)
Tommy Halpert: You know, I've been on the streets ... in juvie. I've seen people do some bad things to each other, but those dogs, like ... you can b*at their brains in and, like, a minute later they come up to you just wagging their tails.
Nick: I know, man. That's how they are. I always had dogs growing up. Did you?
Tommy Halpert: No, I never had a pet. My mom was allergic.
Nick: No, but you really cared about those dogs at the kennel. Now, I know. I saw the way you treated them.
Tommy Halpert: Do you know how they train them?
(Nick shakes his head, no.)
(Quick flashback to: A dog runs on a treadmill.)
Tommy: (V.O.) They'd run them till they dropped.
(CUT TO: The dog jumps up to grab a piece of meat hanging in the air.)
Tommy: (V.O.) They'd strengthen their jaws.
(CUT TO: Elizabeth picks up a small poodle.)
Tommy: (V.O.) Then, they would feed them little dogs, sometimes cats ...
(She puts the poodle in the bigger dog's cage.)
Tommy: (V.O.) ... just to give them the taste of blood.
(End of flashback.)
Tommy: (accusing) And I showed you what she did and you did nothing to stop her.
(He's crying.)
Nick: No. No, but you did.
(He looks at Nick.)
Nick: Didn't you?
(Tommy nods.)
Tommy Halpert: She was fighting dogs. All right, she was ... she was k*lling dogs in the ring for money week after week. And the city decides to give her an award? I gave her what she really deserved.
(Quick flashback to: Tommy hits Elizabeth on the back of her head. He straps her onto the wooden contraption, then injects her.)
(She groans and passes out.)
(Tommy drags her into the kennel and opens the pit bull's cage.)
Tommy: Go on! Go on! Go on!
(The dog runs over and att*cks Elizabeth. He opens another cage)
Tommy: Go get her!
(He opens more cages.)
(Tommy watches as the dogs att*ck Elizabeth.)
END FLASHBACK.
Tommy Halpert: At least I had the decency to euthanize her before I threw her to the dogs.
(Nick is quiet.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – HALLWAY -- DAY]
(Nick and Catherine walk through the hallway.)
Catherine: Well, you don't look like a guy who just got a confession.
Nick: Oh ... something's still bugging me. If Mr. Rodriguez hadn't left the party, Elizabeth might still be alive.
Catherine: You think he would have gone to the kennel with her?
Nick: I don't know, but he received a phone call from somebody that night that made him leave his wife.
Catherine: Check the phone records.
CUT TO:
[EXT. PARKING GARAGE – DAY]
(Felix Rodriguez gets out of his car and engages the car alarm. Sam Vega and Nick walk up to him.)
Sam Vega: Mr. Rodriguez. Tienes tiempo?
Felix Rodriguez: Detective Vega, Mr. Stokes. Did you catch the man who k*lled my wife?
Sam Vega: Yes, sir. Tommy Halpert. We have him in custody now.
Nick: Hey, witnesses at the party said that you received a phone call the night of the m*rder and then you just left. We know that phone call was from Tommy Halpert.
(Quick flashback to: [INT. COUNTRY CLUB – NIGHT] Felix checks his cell phone and closes it. He kisses his wife and leaves her on the dance floor.)
END FLASHBACK.
Nick: What'd you two talk about?
Felix Rodriguez: Tommy said if I didn't speak to my wife that night, he would ...
Nick: Speak to your wife about what?
Felix Rodriguez: The dog fighting. He showed me the tapes.
(Quick flashback to: [INT. CAR] Tommy shows Felix Rodriguez the dogfighting tapes.)
END FLASHBACK.
Sam Vega: What did Elizabeth say when you confronted her?
Felix Rodriguez: I didn't.
Nick: So you just left her there, knowing that Tommy was going to come after her?
Felix Rodriguez: v*olence begets v*olence. Is that all?
Nick: You let this happen. You did.
(Nick and Sam Vega turn and walk away.)
CUT TO:
[INT. PD – INTERVIEW ROOM – DAY]
(Brass and Grissom interview Richard Dorsey. Brass snaps his fingers.)
Brass: Hey, you still with me, Richard?
(Richard lifts his head off the table.)
Richard Dorsey: Yeah, yeah, yeah.
Brass: Remember her?
(Brass shows Dorsey a photo of Candy.)
Brass: She worked at Pigalle.
Richard Dorsey: They all look the same to me.
Brass: No, they don't. There's blondes, brunettes, B-cups, D-cups.
Richard Dorsey: How about a cup of coffee, huh? Hey, you got a cigarette I could bum off you?
Brass: It's bad for your health. How about a diet soda?
Richard Dorsey: Diet? No. No diet. I need the ups.
(Grissom puts the evidence bag with the pink cell phone on the table.)
Grissom: Where did you get this?
(Dorsey looks at it.)
Richard Dorsey: Where's the soda?
(Warrick is in the observation room watching the interview.)
Brass: (filtered) Hey, it's a two-way street, Richard. You answer the questions, we'll get you a soda.
(Richard grabs the evidence bag and looks at the cell phone.)
Richard Dorsey: Yeah. Uh ... I found it. That's it. I found it.
Grissom: No, you didn't.
Richard Dorsey: I didn't?
(Grissom smiles at him and shakes his head.)
Richard Dorsey: Damn. Okay. Uh, yeah, I stole it. That's right. I stole it.
(Quick flashback to: [UNDERPASS – NIGHT] Dorsey is running with Candy's purse. She's chasing after him.)
Joanna "Candy": Hey! Give me my purse! Give me my purse!
(She catches up with him at the wire fence and tries to wrestle the purse from him. He pushes her down and runs off with the purse.)
Joanna "Candy": (screams) Help! Somebody!
END OF FLASHBACK.
Richard Dorsey: I needed money.
Brass: Then what happened?
Richard Dorsey: I got high.
Brass: Then what?
Richard Dorsey: I got high again.
Brass: Then what? Did you k*ll her?
(Dorsey looks blankly at them.)
Grissom: We found her purse and the bloody m*rder w*apon in the place where you were sleeping. We found her d*ad body inside this car.
(Grissom shows him the photos. Dorsey looks surprised to see her d*ad.)
Brass: Why'd you pick that car, Richard?
Richard Dorsey: I don't know what you mean.
Brass: We found your fingerprint inside the car.
Richard Dorsey: (scared) No, that wasn't me. Tha-tha-that w ... that was them.
Brass: Who's them?
Richard Dorsey: I c ... I can't talk no more.
(Warrick has had it. He leaves the observation room. A b*at later he opens the interview room door.)
Warrick: Come on. Tell the truth.
(Brass turns around. Grissom isn't happy to see him.)
Brass: Get him out of here.
Richard Dorsey: Not you.
Warrick: (shouts) Tell the truth.
Richard Dorsey: (shouts) This is all your fault.
(The officer pushes Warrick out of the room.)
Warrick: (shouts) We'll take care of you. We'll get you into rehab. Come on.
(Grissom gets up and follows them out.)
Richard Dorsey: (shouts) There is no truth!
Warrick: (o.s.) Tell the truth!
Richard Dorsey: (shouts) THERE IS NO TRUTH!
Brass: Get your --
[INT. PD – HALLWAY OUTSIDE INTERVIEW ROOM – CONTINUOUS]
(Grissom stops Warrick.)
Grissom: Hey! As of right now, you're suspended for two weeks.
Warrick: Grissom, you and I both know that Gedda k*lled that girl and pinned it on that bum. They gave him drugs, got him high, and planted the evidence. You just got to give me a chance to prove it.
Grissom: You've had all your chances. You take the suspension or you're fired.
(Warrick walks away.)
(He passes the bullpen on his way out.)
(Someone in the bullpen dials a cell phone.)
(The phone rings.)
ND Uniform: Hey.
INTERCUT WITH:
[INT. PIGALLE STRIP CLUB – GEDDA'S OFFICE]
ND Uniform: (filtered) I got an update for you. He got suspended.
Lou Gedda: (to phone) Good work.
(Gedda sits in the barber's chair getting a shave.)
(He takes a deep, cleansing breath and exhales.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x10 - Lying Down with Dogs"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- EVENING]
Jewel: (V.O., singing "The Star-Spangled Banner") And the rockets red glare--
[INT. CENTER -- NIGHT]
Jewel: (singing) The b*mb bursting in air, gave proof through the night that our flag was still there. Oh, say, does that star-spangled banner yet wave? For the land of the free --
(It's the opening ceremonies for the Rodeo Championships and Jewel is center stage singing the national anthem.)
Jewel: (singing) -- and the home of the brave.
(The audience whoops and applauds.)
(The lights turn on and the area comes alive.)
Voice 1: All right! Go ahead, cinch it up! VOICE 2: Let's go!
VARIOUS CUTS OF:
(The gate opens and the bull comes out kicking and bucking. He kicks the rider off.)
(The gate opens and another bull comes out kicking and bucking. He kicks the rider off. The bull goes after the rider.)
(Two bull riders run out to distract the bull and to give enough time for the others to pull the fallen rider to safety.)
(More cuts of the competition.)
INTERCUT FLASHES OF:
(Cody Latshaw is dressed for the rodeo as he makes his way through the corridor.)
(Various cuts of: Various bulls kicking and bucking their riders off.)
(Cody Latshaw steps out into the arena and heads over to the bull's cage.)
Announcer: (overhead, muffled) Welcome to PDR finals in Las Vegas! For two weekends, we have 45 riders competing in a race for the world title. The world champ? He goes home with a million bucks. If you want to talk about pressure, it's all in Las Vegas!
(Cody sits on the back of a bull in the pen and secures his right hand under the BULL ROPE.)
Announcer: (overhead) Right now, you can get ready for the starting of Coty Latshaw, Elk City, Oklahoma, riding Wintwister. This boy is a champion among champions.
Voice: Ready?
(Cody nods.)
Announcer: (overhead) There's no doubt Cody Latshaw -- he's the real deal!
(They open the gate and the bull comes out kicking and bucking. The crowd goes wild. Cody holds on, then falls off the bull. Cody falls on the ground.)
MUFFLED AUDIO
(The bull kicks him under the chin. Something goes crack. The audience groans loudly.)
AUDIO RESUMES
(The two bullfighters rush out onto the arena and chase the bull away from Cody. Cody doesn't move.)
Man: Get up. Get out. Get out! Hyah!
(Cash Dooley watches from the side.)
Voice: Hurry up, man. Get him up!
(The audience quiets down.)
Announcer: Hold off for the main event.
(More bullfighters go out onto the arena to keep the bull away from Cody.)
Voice: He's a good one.
(Cody tries to get up. Cash Dooley rushes over and kneels next to him. Cody's hand shakes on his chest.)
Cash Dooley: Hey, Cody. You all right? You okay? Get a stretcher. (louder) Get a stretcher!
Cody Latshaw: I don't need a stretcher.
Cash Dooley: Are you sure?
Cody Latshaw: I'm okay. Just give me a hand.
All right. Here we go.
(The guys help him back up to his feet. The audience applauds and whistles.)
Cody Latshaw: Re-ride!
Announcer: Oh, wait a minute! He's up. He's calling for a re-ride. I'm not sure why, but this is exactly why we call him Lazarus. (Cody waves his hat to the crowd.) Ladies and gentlemen, you knock him down, and he rises again. What an athlete! This guy's a true hero!
(They escort Cody out.)
WHITE FLASH TO:
[INT. CENTER (ARENA) -- NIGHT (LATER)]
(A body is on the ground in the arena. All we see are a pair of legs in frame. A bull rider chases a white bull around the arena trying to clear the arena. Another rider on a horse swings a lasso to catch the bull. Just outside the gate, Brass and Grissom wait.)
CUT TO:
(Brass and Grissom head toward the body.)
Grissom: So, who found him?
Brass: Security. We have a tough time finding guys to wrangle a bull. Cowboys like to party when they come to Vegas.
(Ty Murray and Dustin Lightfoot walk in and head over to join the others.)
Ty Murray: (to Dustin) Did you see anything?
Dustin Lightfoot: No, we just put the bull back in the pen.
(Ty introduces himself to Brass and Grissom.)
Ty Murray: Ty Murray, PBR president.
Dustin Lightfoot: And seven-time world champ.
Ty Murray: Okay, Dustin.
Brass: Jim Brass, Vegas PD.
Ty Murray: Nice to meet you.
(They shake hands.)
Grissom: Gil Grissom, Crime Lab.
Ty Murray: Nice to meet you.
Brass: What can you tell me about this guy?
Ty Murray: Cody Latshaw, a real institution. Most guys his age hung up their rope a long time ago.
Grissom: What about the bull?
Ty Murray: Wintwister -- he threw Cody earlier tonight, but he got up and was fine. He even asked for a re-ride.
Brass: "Re-ride"?
Ty Murray: Well, if a bull doesn't buck good enough, they can ask to get on another one. That wasn't the case. Wintwister had a good day. Cody must not have been in his right mind to think he'd get a second sh*t.
(Grissom indicates a rope on the ground.)
Grissom: Is this the rope they tie around the bull?
Ty Murray: That's one of them. That's the bull rope.
(Grissom kneels and looks at the rope.)
Grissom: Is that rosin?
Ty Murray: Yeah, it helps the rope stick to the glove so they can get a good grip.
Grissom: Do all the riders wear a glove?
Ty Murray: Yes, sir.
Grissom: He's not wearing one.
(They turn and look at Cody's bare hands.)
Grissom: Guy was living the American dream. Every kid wants to grow up to be a cowboy.
Brass: Not a d*ad cowboy.
SMASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Catherine snaps photos of Cody Latshaw on the table. Robbins walks in.)
Robbins: Catherine.
Catherine: Hi.
(Robbins goes to the computer and attaches a flash drive for accessing.)
Robbins: PBR Sports Medicine just sent this over. Taken after Cody's fall in competition.
(He scrolls through various x-rays.)
Robbins: Hmm. He was held together by every kind of hardware but roofing nails. I can relate.
Catherine: Yeah, it's a violent sport. Check out his hand. Riders live with constant injuries and pain. (She checks his pants pocket.) They always get on that next bull and try like hell to hang on for the next eight seconds.
Robbins: You sound like a fan.
Catherine: I used to date a bull rider. Cowboy up.
(David Phillips walks in and gives Robbins a flash drive.)
David Phillips: Here you go.
Robbins: Hey.
David Phillips: These are the ones I took.
Robbins: Thank you.
(Robbins attaches the second flash drive.)
Catherine: So there's just a few bills in his pockets. David, why don't you give me a hand here?
David Phillips: Oh, sure.
(Catherine and David Phillips remove Cody's boots.)
Catherine: Some guys keep valuables in their boots.
(In the right boot, they find Cody's cell phone and an open bag of chewing tobacco.)
David Phillips: Cody's little doggies are right fragrant.
Robbins: Catherine, take a look at this.
(Catherine walks over.)
Robbins: This x-ray shows he walked away from his earlier fall with a hairline fracture of the C1 vertebra.
(He points to the x-ray on the monitor.)
FLASH TO:
[INT. ARENA – FLASHBACK]
(SLOW MOTION. The gates open and the bull comes out of the pen bucking and kicking with Cody on its back.)
(CGI sh*t – an x-ray view of Cody's spine as the bull continues to kick and buck.)
Robbins: (V.O.) In bull riding, the rider's spine must sustain vertical, horizontal and diagonal thrust, together if they put tremendous force onto the spinal column.
(An x-ray view of Wintwister's spine.)
(Wintwister grunts and Cody falls of his back. He lands on the dirt. Wintwister turns and STOMPS on Cody's neck. X-ray view of Cody's spine shows the break.)
BACK TO SCENE.
[X-RAY ON MONITOR]
Catherine: That guy was a walking time b*mb. Any trauma with sufficient force would snap that vertebra and sever the spinal cord.
Robbins: It did.
(Robbins compares the rodeo x-ray with David's x-rays.)
Robbins: The film David just took shows a complete fracture. That's your COD. Consistent with getting thrown a second time.
CUT TO:
[INT. ARENA – NIGHT]
(Grissom is walking across the grounds when Nancy Twicker calls out.)
Nancy Twicker: Hey!
(He turns and sees her headed toward him.)
Nancy Twicker: You got anything to do with taking my bull off tomorrow's day sheet?
Grissom: Do you own the bull?
Nancy Twicker: Yeah, I'm Nancy Twicker. And I want my bull in the finals. The more he bucks, the more he's worth. So whatever you got to do to clear him, get it done.
(She walks with him.)
Grissom: Your bull gave Cody Latshaw a pretty brutal beating.
Nancy Twicker: It's not the bull's fault. I blame Cody for taking him out after hours.
Grissom: Is it true that some riders tie the bull's testicles to get them to buck more?
(They head over to the chute.)
Nancy Twicker: Well, sure, we always want the bulls to buck. That's why we tie a flank strap across their back. They're trying to shake it off. Think about it. If I tied a rope around your testicles, would you feel like jumping up and down?
Grissom: Could a guy get a bull out of this chute without any help?
Nancy Twicker: Well, one guy could get a bull all the way to the bucking chute, sure --
(Quick flashback to: Cody sits on Wintwister's back in the chute while another person tightens the bull rope.)
Nancy Twicker: (V.O.) -- but well, then he'd have to tie on the bull rope and the flank strap.
END OF FLASHBACK.
Nancy Twicker: Then he'd have to get on the bull.
Grissom: And open the gate.
Nancy Twicker: Not without help.
(Quick flashback to: The gate is opened and the bull comes out kicking.)
Nancy Twicker: (V.O.) The chute only opens from the outside.
END OF FLASHBACK.
Grissom: I'm going to need to process your bull.
Nancy Twicker: Can you do it in eight seconds?
CUT TO:
[INT. STALLS – CONTINUOUS]
(Wintwister is in his pen. Nancy Twicker and Grissom head over.)
Nancy Twicker: Even confined like this, these are not the most cooperative creatures. So if my flank man says get back, you jump. Hey, Cash.
(Cash Dooley is closing a pen gate.)
Cash Dooley: Howdy, Cash Dooley. (He shakes Grissom's hand.) And my name's about the only cash I got.
Grissom: And this is Wintwister? What, uh ...
(Grissom takes out his flashlight and looks at Wintwister.)
Grissom: What would be the safest way for me to handle his hooves?
Cash Dooley: There ain't one. Too dangerous.
Nancy Twicker: He's a kicker.
Grissom: Do you think I could get him to step on something?
Cash Dooley: Sure. But you better let me do the bending.
(Grissom opens his kit and takes out a print board.)
Grissom: Think you could get him to step on this?
(Cash slips the board under Wintwister.)
Nancy Twicker: Cash knows bulls like nobody. Heck, before these kids could even walk, they're out riding sheep, then calves and baby bulls. And finally these one-ton, back-jerkin' snot-slingin' monsters.
(Cash uses a wire and gets Wintwister to put his hoof down on the board.)
Nancy Twicker: Now, they get all busted up and quit ridin', but they just can't quit these animals.
(He gives the board to Grissom, who looks at it.)
CGI ZOOM in on the fiber.
[INT. CSI – LAYOUT ROOM – NIGHT]
(Hodges examines the fiber under the scope.)
Hodges: Cotton fiber. Appears to be bloodstained. I need another piece for comparison.
(Catherine has Cody's clothes out on the table while Hodges looks up from the scope.)
Catherine: Forget how to use the scissors? (She slides the scissors toward him.) Put your fingers in the holes and squeeze.
Hodges: Yes, ma'am.
(Hodges clips off a fiber sample. He puts it on the slide under scope to examine.)
(Catherine turns the ALS on as she examines the clothes.)
Catherine: This looks like semen.
Hodges: Cowboy had a roll in the hay. Either he's messy or ... uh ... we could have a Brokeback Mountain situation.
Catherine: Oh, God, that movie made me cry.
Hodges: Me, too.
(Catherine turns and looks at him.)
Hodges: You know, it takes a big man to admit that. And I am that man.
Catherine: You don't say.
Hodges: Fibers from the bull are consistent with Cody's shirt. Looks like Wintwister's a k*ller.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[EXT. STREET -- DAY]
(The SUV pulls up. Nick and Greg get out and head for the scene.)
Officer Choi: Found her body on patrol, called in the 401AB, apparent fatal. If there were any eyewitnesses, they didn't stick around.
(Nick looks at the body while Greg takes his camera out.)
Nick: Okay, thanks.
(Greg snaps photos of the woman – her t*nk top and calf-length boots.)
(Nick looks around the road. Greg takes the girl's wallet out of her bag.)
Nick: Here's the point of impact.
Greg: Threw her that far, he must have been going at least ... 45. (Takes out her driver's license.) Tiffany Rigdon, 27, local.
Officer Choi: I'll run her for you.
(Officer Choi holds out his hand for the driver's license.)
Greg: Thanks.
(Greg gives it to him and he walks away. He walks past a greenish puddle of liquid on the road.)
Nick: Radiator fluid.
(Greg continues to look through the woman's bag.)
Greg: Bunch of empty liquor miniatures. Card key from Pike's Gambling Hall.
(The officer holds the tape up for Nick, who continues to look at the road beyond the taped-off area.)
Nick: h*t-and-run. h*t back there ... ran over here.
(Greg also leaves the taped-off area as he follows Nick.)
(Nick walks over to a large truck parked on the curb.)
(Greg opens the passenger door and looks inside. Nick walks around to the driver's side and opens the door to look around.)
(Greg opens the glove compartment and looks at the registration slip. The car belongs to CODY LATSHAW.)
Greg: RO is Cody Latshaw – Elk City, Oklahoma.
Nick: Isn't that Grissom's d*ad cowboy?
Greg: Yeah. Boy, he had a hell of a night.
(Quick flashback to: [ARENA] Cody falls off the bull and the bull kicks him in the chin.)
Greg: (V.O.) He gets humiliated ...
(CUT TO: Cody is driving, turns the corner and hits the woman.)
Greg: (V.O.) ... hits a pedestrian ...
END FLASHBACK.
Greg: ... he ditches the car, walks a couple of blocks to the arena, joyrides a bull, and then ends up getting stomped to death?
(Pick picks up a Pike's card key.)
Nick: Here's another card key from Pike's Gambling Hall right here.
CUT TO:
[INT. PIKE'S LOBBY – DAY]
(CGI IMAGE of Cody Latshaw walking across the lobby.)
Manager: (V.O.) First one's for room 810, registered to Cody Latshaw.
(END IMAGE.)
(Nick and Catherine are at the front desk as the manager checks the card keys. Nick hands him the second card key.)
Nick: Here you go.
(The manager swipes the card and the following information appears on the monitor:
PIKES REGISTRATION NO: XZ192116
Guest: TIFFANY RIGDON
ROOM NO: 810
ROOM TYPE: SUITE
ROOM PREFERENCES: QUEEN BED, SMOKING
OCCUPANTS: 2
CHECK – IN DATE: 01/09/08
CHECK – OUT DATE: 01/12/08
PAYMENT: MC CREDIT CARD
CARD NO: **** **** **** 99017
EXPIRATION DATE: 07/2010
Manager: Second one's also to room 810.
(CGI IMAGE of Tiffany Rigdon walking across the lobby.)
Manager: (V.O.) It's a complimentary guest key issued to Tiffany Rigdon.
(END IMAGE.)
(Nick and Catherine look at each other.)
Nick: Cody knew the girl he ran over.
CUT TO:
[INT. PIKE'S ROOM 810 – DAY]
(The door opens. Catherine and Nick walk in with an officer. They look around.)
Nick: Lucky for us, housekeeping's a little slow on the uptake.
(Catherine looks in the bag on the floor.)
Catherine: Riding glove. So he wasn't planning on re-riding Wintwister when he left here.
Nick: Threw back a bunch of beers, some liquor. I don't see any drugs.
Catherine: Bed looks used. Maybe he partied with Tiffany.
(Catherine finds a crumpled piece of paper.)
Nick: Bet it cost him. I ran her priors. She's got a couple for solicitation.
(Catherine opens it and finds a poem.)
Catherine: (reads)
I can't help now but wonder what your brown eyes were concealing.
They just showed me reflections of all that I was feeling ...
Our bodies close together like my ride hand in my glove.
Hearts pounding with excitement and, dare I say it, love.
(Catherine looks at Nick.)
Catherine: Nobody ever wrote me a poem.
(She continues reading.)
Catherine: (reads)
I know I'll never own you.
It's your nature to run free, but I pray the Lord above that one day
you'll come back to me.
(Nick finds a note on the table.)
Catherine: (sighs) That's sweet.
Nick: (reads) "By the time you read this, I'll be married. He's a great guy. Honest, Cody, I'll always be thankful for everything you did for me. Love, Tiffany."
Catherine: Sounds like it was more than a money relationship.
Nick: Mm-hmm.
Catherine: Broken bones -- he gets up and rides again.
Nick: Broken heart and he's a k*ller.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
Grissom: (V.O., reads)
Then we'll ride off in glory until our time is done
[INT. CSI – HALLWAY – DAY]
(Grissom reads the poem as he walks with Nick.)
Grissom: (reading) "And I will be your hero, your cowboy in the sun."
Nick: It's not Shakespeare.
Grissom: I'm actually a fan of cowboy poetry.
Nick: Are you really?
Grissom: Yeah, it's just a way of organizing your thoughts and feelings so that you can make sense of them.
Nick: Well, it sounds like Cody was trying to make sense out of his girl leaving him.
Grissom: Yeah, well, poetry can help you with that, too.
(Grissom hands the evidence bag back to Nick and he continues walking. Nick watches him go.)
CUT TO:
[INT. CSI – FORENSIC AUTOPSY -- DAY]
(Robbins goes over the findings for Tiffany Rigdon's body with Catherine as they stand next to the sheet-covered body on the table.)
Robbins: Rib fractures, multiple lacerations, pulmonary contusions, lacerated aorta, lacerated liver. I could go on, but you get the idea.
Catherine: COD was multiple blunt force trauma.
Robbins: Right, but not all of it was from the h*t-and-run.
(Robbins lifts up the sheet to show Catherine Tiffany's legs.)
Robbins: You see the coloration of the bruises?
Catherine: Yellowish.
Robbins: They're from an event at least 12 hours before the accident.
Catherine: Maybe Cody had rejection issues. Could be why she was leaving him.
CUT TO:
[INT. CSI – GARAGE – DAY]
(Greg and Nick go over the SUV in the garage. Nick checks out the seats while Greg snaps photos of the back.)
Greg: Lot of tools back here.
Nick: Yeah. Bullriding's an equipment-intensive sport.
(Greg puts the camera down and picks up one of the tool kits. He takes it to the counter and opens it. He finds something.)
Greg: What have we here? (Nick watches as Greg picks it up to look at it.) Some kind of cattle prod?
Nick: They don't use those in professional bull riding.
(Wendy walks in.)
Wendy: Hey, Buckaroos. Have you seen Catherine? 'Cause I just got the results from that semen stain on Cody Latshaw's jeans.
Nick: Come up with a match?
Wendy: I did. I had to run an Ouchterlony test on it.
Greg: So not from a human donor?
Wendy: No ... no. Bovine. (off their looks) Yeah ... I took a psychobiology class once and we studied a very interesting case. Okay, there was a guy, he lived on a farm, and literally the only way that this guy could get sexually satisfied was when he was with livestock.
Nick: (interrupts) That's okay. I'm good.
Wendy: (not deterred) Well, see, apparently, the whole thing started one night because he was in the barn -- it started snowing. He got stuck in there. He couldn't make his way back to the farmhouse, so he decided that he would try and stay warm ... well, with a sheep.
(Nick looks at her.)
Wendy: But then the horses were jealous, so ...
(Greg hooks up the tool together.)
Wendy: -- and ... you know, and I think there was a cow in there as well ...
Greg: (interrupts) You know, I think we got the picture.
Nick: I wish I didn't.
(Greg turns the machine on and it starts buzzing and vibrating.)
Greg: I think I know what this is for.
(Nick gets the picture. Wendy smiles.)
CUT TO:
[INT. PD – BRASS' OFFICE -- DAY]
(OPEN ON: a photo of the electroejaculator equipment.)
Nancy Twicker: It's called an electroejaculator. It's used on bulls that have back trouble.
(She looks away and isn't happy about it at all. Brass is holding the photo.)
Brass: It looks, uh ... pretty persuasive.
Nancy Twicker: Yeah.
Brass: So ... uh ... was Cody helping you collect from Wintwister?
Nancy Twicker: Hell, no. First of all, you don't collect during competition.
Brass: Right, right, so like an athlete before a game.
Nancy Twicker: Now you're talking. And when I do collect, I bring a service out to the ranch. You know, one collection from that old boy gives you about ... two hundred breeding units. At a hundred bucks a pop, you do the math.
Brass: Well, if the stuff is so valuable, maybe Cody was doing a little moonlighting, you know, collecting on his own, making a little extra money.
Nancy Twicker: Cattle rustling? No, not Cody.
Brass: We found bull semen on his jeans.
Nancy Twicker: Cody wouldn't steal from me. Besides, it's a two-person job, no matter which method you use.
Brass: There's more than one?
Nancy Twicker: In addition to your electroejaculation, you got what's called an artificial vagina. Now, you get a teaser animal in there, like a steer. See, bulls go h*m* in captivity. You get that bull to mount that steer, then you get that AV in there right before the ...
Brass: Yeah, I get the point.
(Brass shows Nancy a MUG sh*t photo of Tiffany Rigdon.)
Brass: Do you know this girl? We think she's Cody's girlfriend.
Nancy Twicker: (scoffs) Yeah. I thought he had a new girlfriend in Vegas from the way his mood was changing. She's younger, probably ... does whatever he says.
Brass: Mm-hmm.
Nancy Twicker: Listen, if you need anything else, I'll be at the arena all day.
Brass: I thought Wintwister didn't compete tonight.
Nancy Twicker: Well, Captain, I'm not a one-bull kind of gal.
(She turns at the door, winks at him and puts her hat on as she slips out the office.)
(Just then, an officer leads a Grissley Geezer into the office.)
Officer: Here you are, sir.
(The officer leaves. Brass looks up from his desk.)
Brass: Can I help you?
Grissly Geezer: Saw a woman get k*lled last night.
(Brass stands up.)
CUT TO:
[INT. CSI – HALLWAY / PRINT LAB – DAY]
(Catherine is on the phone with Brass as she walks through the hallway.)
Brass: (filtered) Hey, Cath, listen, it's Jim. We got an eyewitness confirming that Tiffany's TOD was after 2:21 AM.
Catherine: Well, that's over an hour after Cody's body was found. Thanks, Jim.
(Catherine hangs up. She enters the print lab.)
Catherine: Hey.
(Nick is running the fingerprints through the database.)
Nick: Hey. I got prints from the truck, but half of them are Cody's.
Catherine: Well, it is his truck.
(The computer beeps: NO MATCH.)
Catherine: So ... get this. There's a witness that puts Tiffany's TOD after Cody's. He didn't k*ll her.
Nick: I think he had a partner. There's a set of unknowns both on the truck and on the ... uh ... electro-love machine.
Catherine: So ... say this partner thought Tiffany knew something about the semen rustling and he ran her over to keep her quiet.
Nick: So who's the partner?
Catherine: We've got Cody's phone. Find out who he's been talking to.
(Catherine leaves.)
CUT TO:
[INT. CSI – A/V LAB – DAY]
MONITOR SCREEN:
Phone Records for
CODY LATSHAW
(Most of the calls are for Elk City, Oklahoma – 580-555-0194, Henry Latshaw.)
Archie: Most of Cody's calls were to a number in Durant, Oklahoma.
Nick: He lived on the family ranch. He was probably letting his folks know how he was doing in the finals.
Archie: All other calls were to PBR staff and to Tiffany.
Nick: What about her records?
Archie: Well, they're a little more interesting. Check out ... last night.
(Archie pulls up TIFFANY RIGDON'S records.)
Archie: A dozen calls after midnight from Eric Hong.
(The information sheet and MUG sh*t photo appears on the monitor.)
Nick: Precious Ricky.
Archie: You know this guy?
Nick: Yeah, he's a pimp, and he quit calling her after 2:00 AM, like he knew she was already d*ad.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. PD – INTERVIEW ROOM -- DAY]
(The officer leads Eric "Precious Ricky" Hong into the room. "Precious Ricky" laughs.)
Eric "Precious Ricky" Hong: All right, I don't want nobody hitting me. All right?
(He sits down. Nick is sitting on the table in front of the mirror.)
Nick: Nobody's going to h*t you, Rick.
Eric "Precious Ricky" Hong: Good.
Nick: This is about Tiffany Rigdon.
Eric "Precious Ricky" Hong: Beautiful girl, skin like butterfly wings.
Nick: Did you b*at her up?
Eric "Precious Ricky" Hong: I'm a lover, brother.
Nick: Let me tell you something, man. You play around with me, I'm gonna throw your ass in jail. You feel me?
Eric "Precious Ricky" Hong: Yeah, I feel you.
Nick: Good. (Nick stands up.) So she said she was leaving you, going to get married, right?
(Eric shrugs.)
Nick: Oh, come on. At least admit I'm right about that.
Eric "Precious Ricky" Hong: Yeah, okay, sure.
Nick: Is that when you took her boyfriend's truck and ran her over?
Eric "Precious Ricky" Hong: Wait.
Nick: It's a good plan, Rick –
Eric "Precious Ricky" Hong: Wait.
Nick: You get the boyfriend and a little revenge to boot. I mean, it's ...
Eric "Precious Ricky" Hong: Okay, I didn't like the girl quitting on me, especially during one of my busiest freaking weeks of the year, and I wanted to talk her out of it.
Nick: Is that all you did: talk?
Eric "Precious Ricky" Hong: No, I couldn't even talk to her. She wouldn't take my calls, so I quit trying.
Nick: Where were you making all these phone calls from?
Eric "Precious Ricky" Hong: From a country-western bar. I h*t them all when the cowboys come to town.
Nick: Mm-hmm, all right, all right, I'll check it out.
Eric "Precious Ricky" Hong: Yeah, you do that, please.
Nick: I didn't take you for a country music fan. Yee-ha.
(Nick heads out, leaving Eric in the room. He starts tapping his fingers against the tabletop.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT]
[INT. COUNTRY-WESTERN BAR – NIGHT]
(The live band is on stage playing an upbeat country song. The place is packed.)
Lyrics:
This ol' wheel keeps on rollin' down the road
This ol' wheel keeps on rollin' down the road
Oh, gravel and dust fly up off of truck drivers
Down a dirt road in Nashville
In the summertime in 1996
I was listenin' to my dad and Johnny Cash doing "Chain g*ng"
And talkin' trash with Savannah and smokin' cigarettes
But it wasn't that long
Till I tasted the salt of the sea
But she was still in love with the guy she left for me so
She stood there cryin' as I packed my pack
And I knew that I was lyin' when I said that I'd be back
This ol' wheel keeps on rollin' down the road
(A girl turns to her friend and points to a man on the side. He notices her and touches the rim of his white hat. The blonde-haired friend heads over.)
(The band continues to play.)
Lyric: This ol' wheel keeps on rollin' down the road
Now fast forward to about 2003
I'm standin' on the corner
Of Hollywood and Vine, just a six-string and me
(A man in a white hat passes Coco at the billiard table on his way to the restroom.)
Lyric: And that Capitol building -- lookin' up at that thing
Wonderin' when am I gonna get my chance to sing
But faced with that kind of predicament
It'd be pretty hard not to get choked up
When every hero I had has died and every band I had broke up
(A man goes into the restroom. At the urinal, he turns and notices a body on the floor in one of the stalls.)
(He finishes and goes to the stall.)
(Inside, Eric "Precious Ricky" Hong is on the floor, d*ad from a g*n to the chest.)
FLASH TO:
[INT. COUNTRY-WESTERN BAR – MEN'S ROOM – NIGHT]
(Greg and Nick look at the body on the floor.)
Nick: g*n.
Greg: At a close range.
Nick: Would have been pretty loud, but everything is in a place like this.
Greg: Cowboys, cattle rustling, and now a sh**ting at the dance hall.
Nick: Welcome to the Wild West.
CUT TO:
[INT. COUNTRY-WESTERN BAR – MAIN ROOM – NIGHT]
(Brass talks with Coco.)
Brass: So, Coco, you didn't see anyone thr*at Precious Ricky?
Coco: I was trying to put the nine ball in the corner pocket.
Brass: Yeah, right. You know this girl?
(He shows her Tiffany Rigdon's photo.)
Coco: That's Tiffany. She got married last night. Lucky bitch.
Brass: Do you know who the groom was?
Coco: Troy? Troy something?
Brass: Know anything about him?
Coco: No. She just met him. Sweet kid. He ... uh ... took her side when that cowgirl trash got all up in her face.
(She turns to indicate a blonde-haired girl talking with an officer.)
(Quick FLASHBACK to: It's night. The band is up on stage. Tiffany is sitting with Precious Ricky in a booth. He whispers something to her. She gets up and heads over to the man at the bar.)
Tiffany Rigdon: Hey, cowboy.
Troy Birkhart: Hey.
Tiffany Rigdon: Like that hat.
Troy Birkhart: Thank you.
(She takes his hat off.)
Tiffany Rigdon: What's underneath don't look too bad, either.
(He chuckles.)
Tiffany Rigdon: I'm Tiffany.
Troy Birkhart: I'm Troy.
(Tiffany puts Troy's hat on and poses for him.)
(Two girls walk up to them.)
Buckle Bunny 1: (to Tiffany) We know what you are.
(Tiffany stops smiling and takes Troy's hat off.)
Troy Birkhart: Excuse me, Miss, but we're having a private conversation here.
Buckle Bunny 2: Why pay that cow when others would give you the milk for free?
(The girls laugh.)
Troy Birkhart: I think you owe her an apology.
Buckle Bunny 1: We don't want your kind in here.
(Tiffany pushes the BUCKLE BUNNY 1.)
Tiffany Rigdon: Oh, yeah?
(Buckle bunny 1 pushes Tiffany back.)
Buckle Bunny 1: Whore!
Tiffany Rigdon: That's it!
(They start pushing and shoving each other.)
Troy Birkhart: Hey, hey! Hey!
(Buckle Bunny 2 pushes Tiffany, who pushes her back. Troy turns to keep Buckle Bunny 1 away from Tiffany.)
Buckle Bunny 2: Come on!
Troy Birkhart: Hold-hold-hold on!
(The bouncers get involved. Tiffany punches the Buckle Bunny twice in the face. She grabs Tiffany and pushes her up against Eric's table. Eric stands up. Someone in a black hat punches him in the face. It's a full-on bar brawl.)
(Two men in black hats punch each other. The two Buckle Bunnies grab Troy Birkhart and pull him away from Tiffany.)
Troy Birkhart: Hey! Tiffany!
(The fight continues. The band continues to play.)
(Troy sees Tiffany being beaten up. He runs over to her.)
Troy Birkhart: Tiffany, come on!
(He pushes the other girl off Tiffany. He and Tiffany head for the door.)
Tiffany Rigdon: Wait. Wait.
(They kiss.)
Tiffany Rigdon: Let's go.
(They leave the bar and the fight behind them.)
END OF FLASHBACK.
(Coco smiles wistfully.)
Coco: She came back last night and said that she was going to marry the guy.
Brass: It's kind of impulsive, isn't it?
Coco: Hey, cop, somebody says they want to marry you, take care of you, pay all your bills, give you a nice place to live, why would you even wait?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
(Nick and Greg talk with Connie Dellaquilla.)
Connie Dellaquilla: It's always crazy busy with the cowboys in this town. You know, I think it's being around all these bucking bulls. Gets them all worked up. Brings out their animal instinct to mate.
(She laughs.)
Greg: According to the marriage bureau, Troy Birkhart and Tiffany Rigdon got their license just before midnight.
Nick: And then, what, Troy came over to your chapel to set up the service?
Connie Dellaquilla: Yeah. He said his girl was changing at the hotel. It's the old story, you know. She gets cold feet, he can't face the truth, keeps thinking she's running late.
Quick FLASHBACK TO:
[EXT. DELLAQUILLA WEDDING CHAPEL – NIGHT]
(Troy has a JUST MARRIED flag on his truck. He's got a spray can and shakes it. He writes on the window TROY & TIFF.)
(CUT TO: Troy is waiting next to his truck. He looks at his watch as he waits for Tiffany.)
(CUT TO: He takes his hat off as he hears a woman giggle and watches another couple exit the chapel to get into their waiting limo.)
(The limo VANISHES and time passes. And still Troy waits.)
END OF FLASHBACK.
Greg: How long did he wait?
Connie Dellaquilla: Hours. He shows me the prize buckles he's won for bull riding. Tells me he's going on the pro tour next year. The little ranch they're going to settle down on ... "Where the wind comes sweeping down the plains."
Nick: And what time did he end up leaving?
Connie Dellaquilla: A little after 3:00 AM. Frankly, if she's not going to make a go of it, I say, better now than down the road before all the lawyers and the property and all that mess.
Nick: Wedding chapel's only a couple blocks from the crime scene.
Greg: Yeah, and she was k*lled at 2:30.
Nick: Mm-hmm.
Connie Dellaquilla: k*lled?
Nick: Yeah, on the way to her own wedding. I'll get a BOLO out on Troy's vehicle.
(Nick gets up and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – NIGHT]
[INT. GARAGE -- NIGHT]
(Warrick pulls into a parking stall. He turns the rearview mirror and checks himself in the reflection.)
Dispatcher: (from radio) Attention, all officers: attempt to locate yellow two-toned Dodge Ram pickup, Texas plates Charlie Nora Baker Queen Seven Five Zero.
(Warrick turns and sees the yellow pickup next to him. Inside, Troy is struggling to put the muzzle of a g*n under his chin.)
Dispatch: (from radio) Troy Birkhart, white male adult, wanted in connection with a 415-Adam, Eric Hong homicide.
Warrick: (to radio) Dispatch, this is C-21 Brown. The pickup that you're looking for is on level 3 of the PD garage. Suspect is in the vehicle, armed and agitated.
(Troy hits the steering wheel.)
Warrick: (to radio) I repeat: suspect is armed and agitated.
(Warrick checks his g*n.)
Dispatch: (from radio) Copy, C-21. Units responding. Code Three.
(Troy is trying to put the muzzle of the g*n under his chin. In the stall over, Warrick gets out of his car.)
(Troy takes a couple of panting breaths. Warrick approaches the truck and approaches from behind.)
Warrick: Hey, buddy. Hey. You must be Troy, huh?
(Troy glances to the side.)
Warrick: Just be cool, okay?
(Off to the side, the elevator door opens and officers get out onto the floor.)
Warrick: All right?
Brass: (shouts, o.s.) Hey, Troy, listen to me.
(Brass and Nick walk over. Warrick backs up to join them.)
Brass: We don't want anyone getting hurt, okay? So put the g*n down. Come out of the truck with your hands up. Put the g*n down, Troy. Just let it fall away. Now. He moves on that g*n, don't wait.
(Nick sees the truck's license plates and gets an idea.)
Nick: Hang on, Jim. Let me ... Let me talk to him real quick.
Brass: Okay, but we're not taking any chances.
Nick: Yeah, yeah, okay.
(Nick walks over toward the truck.)
Nick: Hey, Troy, when's the last time you got down to Big Bend? Huh? You-you got the plate frame. Man, I used to go to summer camp down there.
Troy Birkhart: Stay back!
Nick: Hey, take it easy, Troy. Look, I got no w*apon on me. Okay, I just want to talk to you for a second.
Troy Birkhart: I k*lled somebody!
Nick: Yeah, I know. You came out to Vegas, and you got in over your head, but this is getting out of control. If you don't put that g*n down, these cops are going to start sh**ting, and that could turn out very bad for both of us. You know what I mean?
Troy Birkhart: I'm just ... I'm just doing the right thing. Making sure you know it was me. And I'll pay for what I did. Eye for an eye, man.
Nick: Hey.
(Nick takes a step forward.)
Troy Birkhart: Stay back! I'll do it, I swear! I'll do it, I swear!
Nick: No, Troy, just wait. Hang on now. Listen to me. I know about Tiffany. I know why she stood you up at the wedding chapel.
Troy Birkhart: (voice breaking) That Ricky. Thought he owned her.
(Quick flashback to: [RESTROOM] Troy finds Eric in the bathroom.)
Eric "Precious Ricky" Hong: Hey. Hey! Hey, what you doing, man?
(He fires.)
END OF FLASHBACK.
Troy Birkhart: He wouldn't let her come.
Nick: Hey, man, look at me. Look at me.
(Troy turns and looks at Nick.)
Nick: I know she wanted to be there for you. Come on out of there, man. I'll tell you all about it. You don't want to do this.
(Nick walks over to the open truck window.)
Nick: Give me that. Come on, give me that thing. Give it to me.
(Troy loosens his hold on the g*n. Nick reaches in through the window--
Nick: It's going to be okay.
-- and pulls the g*n away.)
(A couple of officers rush forward. Nick turns and gives the g*n to Brass.)
Brass: Nice job.
(Nick looks at Warrick.)
Warrick: You didn't go to summer camp.
(Nick chuckles.)
Nick: Missed you around here. Welcome back.
Warrick: Thanks.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI – LAYOUT ROOM -- NIGHT]
(Grissom meets with Catherine and Nick.)
Grissom: Well we know that Cody was alone when he died because he couldn't have opened the bucking chute by himself.
Catherine: And we know that someone other than Cody put the electroejaculation equipment into the truck and drove away.
Nick: k*lling Tiffany.
Grissom: Whoever that someone was knew how to get into the arena, and also how to use the equipment.
(Hodges appears in the doorway carrying two bull ropes.)
Hodges: (twang) More cowbell!
(Hodges puts the bull ropes down on the layout table.)
Hodges: I processed these for you.
Grissom: And?
Hodges: Well, as you can see, they're bull ropes. These are the kind that the riders hold in their hands. Every rider has one, and they're usually custom-made. I mean, look at that craftsmanship.
Grissom: Yeah, it's exquisite.
Catherine: Now, that's the rope that I collected from Cody's room?
Hodges: Yes, it is. Uh, you'll note that it is polynylon. Now the rope that was collected from the crime scene, though, was long sisal, a type of hemp. Very old-school, and they stopped making it years ago.
Nick: That means the rope found with Cody's body belonged to someone who's been around for a while.
(Grissom looks at Nick and smiles.)
Grissom: How'd you like to go on a roundup?
CUT TO:
[INT. ARENA – BACK PENS -- NIGHT]
(The crowd roars. Brass, Nick and an officer walk up to Nancy Twicker, talking with a couple of guys.)
Brass: Hey, Ms. Twicker, how's it going?
(The two men leave and Nancy Twicker turns to Brass.)
Nancy Twicker: It'd be going a lot better if my bull Wintwister was in there bucking.
Nick: Is Cash Dooley here?
Nancy Twicker: Cash!
(Cash looks up from his locker.)
Nancy Twicker: Cops want to talk to you.
(Cash puts his lock down and heads over.)
Brass: Hey, Mr. Dooley. So, where you staying when you're here in Vegas?
Cash Dooley: Here.
Nancy Twicker: He's got the sleeper cab up front.
Brass: Oh, right here.
Nick: Is that where you keep your clothes, the rest of your stuff?
Cash Dooley: What's this about?
Nick: I'd like to take a look in that cab.
Cash Dooley: No. It's private.
Nancy Twicker: Now hold on. I own this rig. If you guys want to search it, go ahead.
(Cash Dooley doesn't look happy about it.)
CUT TO:
[EXT. PARKING LOT / INT. SLEEPER CAB – NIGHT]
(Nick and the officer head over to the rig. Nick puts his kit down and opens the door. He climbs up and looks inside.)
(Inside the open bag, he finds a buckle: PROFESSIONAL BULL RIDERS WORLD 1997 FINALS.)
(He opens another bag and finds LATEX TUBING, a couple of tubes of LUBRICATING JELLY, and a lot of glass TEST TUBES.)
Brass: (PRE-LAP) (V.O.) Well, bull semen is property, and that property isn't yours so it's theft.
CUT TO:
[INT. PD – INTERVIEW ROOM – NIGHT]
(Brass talks with Cash Dooley.)
Brass: Now, here's what I think happened. You know Cody. He's at the end of his career. He's a little down on his luck. Never put any money aside. Wintwister's output goes for 20 grand a pop on the open market. So, you and Cody, you get together, you do the deed and ... uh ... sell it on the sly.
Cash Dooley: If you knew Cody, you'd know he'd never do anything like that.
Brass: And then when he told his girlfriend, you took his truck.
Cash Dooley: He always let me borrow his truck.
Brass: Even when it was to hunt down his girl?
(The door opens and Catherine pops her head inside the room.)
Catherine: Jim?
(Brass stands up and heads out of the room.)
[INT. PD – HALLWAY – NIGHT – CONTINUOUS]
(Brass talks with Catherine.)
Catherine: We ran his ten-card against the prints from the truck and the equipment. They don't match.
Brass: So, there is a third guy?
Catherine: Right. So now, I'm convinced that Cody Latshaw's death was not an accident.
[INT. PD – INTERVIEW ROOM – NIGHT]
(Brass enters the room and sits down.)
Brass: Okay, so who is working with you on this, Cash, huh? Who was at the wheel of Cody's truck when you ran down that girl? Was it someone in the arena?
(Cash doesn't answer.)
Brass: What's this, a cowboy code of silence? Look, you want to make me compel fingerprints from everyone working in that arena, I can do that.
CUT TO:
[INT. ARENA -- NIGHT]
(The arena is packed as the event continues.)
Announcer: (over PA) Here is Dale Wylie!
(Dale Wylie is on the bull. The gates open, the bull comes out kicking and bucking.)
[INT. ARENA – CORRIDOR -- NIGHT]
(Grissom walks up to Brass and Nancy Twicker.)
Grissom: We got a match! Dustin Lightfoot.
Nancy Twicker: Dustin? He's a bullfighter.
[DUSTIN]
(Dustin turns and looks over at Brass, Grissom and Nancy Twicker. She turns and points at him.)
Nancy Twicker: He's right there.
(Dustin jumps off the fence and runs across the grounds.)
Brass: (to radio) I got a 440 exiting the east end of the arena. Head him off.
(An officer takes off after him. Dustin runs out of the arena.)
[INT. ARENA – BACK PENS – NIGHT -- CONTINUOUS]
(Dustin runs through the back pens. The officer is right after him.)
Officer: (to radio) In the tunnel headed your way.
[INT. ARENA – BACK CORRIDOR – NIGHT -- CONTINUOUS]
(Dustin runs through the back tunnels. Two officers block his exit. He stops and raises his hands up high.)
Officer: Hold it. Freeze. Right there. OFFICER: Don't move.
(The officer comes up behind him to handcuff him.)
Officer: Hands behind your back.
(Brass walks up to him.)
Brass: Well, howdy, partner. This is a new experience for me. First time I caught me a cattle rustler.
Quick FLASHBACK TO:
[INT. ARENA – BACK PENS -- NIGHT]
(Wintwister bellows softly. Cash puts his gloves on and picks up the electroejaculator.)
Dustin Lightfoot: (V.O.) Look, Cash and me was just trying to make a little extra money.
(Cody walks in, drinking from a bottle. He empties the bottle and tosses it.)
Brass: (V.O.) Then Cody Latshaw came in drunk and itching for a fight.
(Cody finds Dustin preparing to catch the semen while Cash puts lubricant on the probe.)
Cody Latshaw: Hey! Quit that!
(Dustin stands up.)
Dustin Lightfoot: Hey, Cody.
Cody Latshaw: You hear me?
(Dustin heads over toward Cody.)
Dustin Lightfoot: Cody, relax. Ain't nobody hurtin' anybody.
Cody Latshaw: That ain't your property.
Dustin Lightfoot: Cody, Cody, ...
(Cody punches Dustin. Dustin turns and punches Cody. Cody falls to the ground. Cash stops Dustin from swinging again.)
Cash Dooley: Whoa, whoa, whoa, whoa, whoa.
(He turns Cody over and checks for a pulse.)
Cash Dooley: He ain't breathin'.
END OF FLASHBACK.
[INT. PD – INTERVIEW ROOMK]
(Brass and Grissom talk with Dustin Lightfoot.)
Dustin Lightfoot: We wasn't tryin' to k*ll him.
Grissom: He had a cervical fracture from his earlier ride. It didn't take much to snap his spine.
FLASHBACK TO:
SLOW MOTION. Dustin punches Cody. Cody's neck snaps back.
BACK TO SCENE.
Brass: Then you tried to make it look like an accident.
FLASHBACK TO:
[INT. SLEEPER CAB – NIGHT -- FLASHBACK]
(The door opens and Cash climbs up. He grabs his bull rope.)
[INT. ARENA – NIGHT – FLASHBACK]
(Cash and Dustin drag Cody's body out onto the arena. They put him on the ground and toss the bull rope to the side.)
BACK TO SCENE.
Brass: But you didn't have to run over his girlfriend.
Dustin Lightfoot: (stunned) That girl we h*t -- that was ... that was Cody's girlfriend?
Brass: Yeah, you didn't know?
Dustin Lightfoot: We was racing to get the product to our buyer. And we took Cody's truck 'cause, well, mine ain't air-conditioned and, and he wasn't gonna be usin' it.
FLASHBACK TO:
[INT. TRUCK (RACING) – NIGHT – FLASHBACK]
(Dustin is driving. Cash is in the passenger seat, clutching the cooler in his lap. They turn the corner and h*t Tiffany. Tires screech.)
BACK TO SCENE.
(Brass nods. The officer escorts Dustin out of the room.)
Catherine: (V.O.) It's kind of a lonely life, these cowboys, every weekend a different town.
CUT TO:
[INT. CSI – GRISSOM'S OFFICE – NIGHT]
(Catherine and Nick talk.)
Nick: That's part of the tradition, you know. Solitary man out there trying to find himself.
Catherine: Yeah, but no man is an island. I mean, obviously, he had feelings for Nancy or he wouldn't have written her that poem.
Nick: Nancy? I don't know about that. Tiffany's the one that broke his heart.
Grissom: (o.s.) I don't think it's about either girl.
(Grissom reads the poem.)
Grissom: (reads) "I can't help now but wonder what your brown eyes were concealing." (to Nick) Did you read Tiffany's autopsy report?
Nick: Oh. Yeah, her eyes were blue.
Grissom: So were Nancy's.
Nick: Then who did he write the poem for?
Grissom: Wintwister.
(Nick doesn't believe it. Neither does Catherine.)
Catherine: The bull?
Grissom: I think that's why he went back to the arena that night. Wordsworth once wrote, "Through love we feel we are greater than we know." My guess is, riding that bull, Cody felt like a greater man.
MONTAGE OF:
[INT. ARENA – BACK CORRIDOR -- NIGHT]
(Cody walks through the pens on his way out to the arena floor.)
Grissom: (reads, v.o.)
Our bodies close together, like my ride hand in my glove.
CLOSE ON: The bull in the pen.)
Grissom: (reads, v.o.)
Hearts pounding with excitement, and dare I say it, love.
[INT. CSI – GRISSOM'S OFFICE]
Grissom: (reads)
I know I'll never own you; it's your nature to run free.
But I pray the Lord above that one day you'll come back to me.
[INT. ARENA – NIGHT]
(Cody is on the bucking bull.)
Grissom: (reads, v.o.)
Then we'll ride off in glory until our time is done.
And I will be your hero, your cowboy in the sun.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x11 - Bull"} | foreverdreaming |
FADE IN:
[INT. GRISSOM'S PLACE – KITCHEN -- DAY]
(BLUR IN on a glassware pot on the stove.)
Madeline Klein: (V.O.) Nobody knew he was coming, Conrad. Nobody knew his name.
(Grissom is making soup.)
Madeline Klein: (V.O.) Well, if you'd stop talking for a minute, you'd understand.
CUT TO:
[INT. COURTHOUSE – JURY ROOM – DAY]
(The large jury room is empty.)
Madeline Klein: (V.O.) The investigation's been compromised. Lives are at risk.
(CUT TO: A legal pad and file are placed on the conference table. Another set of paper and file is placed on the table.)
(CUT TO: The jurors are sworn in. There's a board with crime scene photos up in the background.)
Madeline Klein: (V.O.) How many people do the right thing anymore? Have a conscience? Don Cook didn't even know what he saw.
CUT TO:
[INT. POLICE DEPARTMENT – INTERVIEW ROOM]
(Don Cook sits at the interview table.)
Madeline Klein: (V.O.) El Matocho doesn't k*ll for the thrill or because he was abused as a child.
[EXT. NIGHT]
(Emilio Alvarado walks away and under a lamppost. It's light enough to identify him. The large tattooed letters on the back of his head are easily identified: L-A-T.)
Madeline Klein: (V.O.) He kills because it's his answer to everything.
(He walks away.)
DISSOLVE TO:
[EXT. NIGHT]
(A car is on f*re, burning from the inside.)
Madeline Klein: (V.O.) I had him eyewitnessed. It was enough for an indictment. No indictment, no trial. He goes free and La Tijera gets stronger. So don't patronize me by saying this might be an accident.
DISSOLVE TO:
[EXT. NIGHT]
(f*re crew and other personnel are at the site, the car f*re is out and smolders. It's covered with foam.)
Madeline Klein: (V.O.) I'm not asking you for advice here, I'm telling you: I want Grissom.
(A black car pulls off the side of the road. The door opens and Madeline Klein steps out of the car. She's on the phone continuing her conversation with Conrad Ecklie.)
Madeline Klein: (to phone) Maybe the reception sucks out here.
(She closes the car door and heads for the site.)
Madeline Klein: (to phone) I said I want Grissom. Say I asked for him personally.
(She hangs up.)
(She walks over to the forensic techs standing near the site drinking coffee and waiting.)
Madeline Klein: I don't want anyone touching anything. Thanks for all your help, guys.
Tech: (o.s.) Yes, ma'am.
(She turns and walks over to Brass.)
Madeline Klein: Case is reassigned to Grissom.
Brass: He's home sick, Maddy.
Madeline Klein: Yeah, I heard all about it from Ecklie. Blah, blah, blah. The point that he and you seem to be missing is that I have 18 grand jurists sifting through evidence, trying to help me indict one of the deadliest gangs this city has ever ...
Robbins: (shouts, interrupts) Who's in charge of the scene?!
(Robbins, a coroner's assistant and David Phillips are with the body. David is examining the body.)
(Brass points to Maddy.)
Madeline Klein: I am. (mutters) For God's sake.
(Maddy and Brass head for the body.)
Madeline Klein: Madeleine Klein, Deputy DA.
Robbins: Albert Robbins, Clark County Coroner.
Brass: Talk to me, David.
David Phillips: Confirms it's Don Cook.
(David hands the wallet to Brass.)
Madeline Klein: This is on us.
Brass: What do you got, Doc?
Robbins: Other than the obvious burns over the better part of his body, there's this.
(David and the assistant roll the body to show the wound on the back.)
Brass: He was sh*t.
CUT TO:
[INT. GRISSOM'S PLACE – NIGHT]
(Grissom is in the kitchen cooking soup. An aria plays over the sound system. Grissom coughs and it's obvious he's sick.)
(Hank sits on the kitchen floor nearby.)
(Grissom stirs the soup cooking on the stove. He tastes it with a wooden spoon. The phone rings.)
(Grissom picks up his cell phone and looks at it.)
4:00 AM
CALL FROM
ECKLIE
702-555-0108
(Grissom turns the phone off.)
(Hank makes a sympathetic bark. Grissom turns and looks at Hank. Hank looks back at him.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN:
[EXT. ROADWAY -- DAY]
(Two police cars are parked at angles on the road and a strip of crime scene tape is tied between them to block the roadway. Catherine is doing a walk-through on the road as she talks to Grissom on the phone.)
Catherine: (to phone) Let me run it down for you. Isolated stretch of Route
2, b*rned car on the shoulder, b*rned male victim out of the car 20 feet away.
(She walks past Greg, who is busy with a clipboard. A scarf is wrapped around his neck. She continues toward Madeline Klein, who is standing near her car.)
Catherine: (to phone) Single g*n wound to the lower back. Passing motorist called it in. f*re department arrived within 12 minutes. f*re b*rned so hot, they had to use foam to put it out, which, of course, is never good for us.
Madeline Klein: Where is he?
(Maddy takes the phone from Catherine and walks as she talks. Catherine walks along with her.)
Madeline Klein: (to phone) I've been waiting over an hour for you. What, are you walking here? (pauses) How many times have I gotten out of bed in the middle of the night for you, Gil? (pause) Yeah. Yeah, well, I'd like to phone it in, too. I left an AA meeting for this. That trumps walking pneumonia.
(Maddy hands the phone back to Catherine.)
Madeline Klein: Here you go, eyes-and-ears.
(Maddy turns and leaves.)
Catherine: We'll keep in touch.
INTERCUT WITH:
[INT. GRISSOM'S PLACE – DAY]
(Grissom pours a packet of powder into his drink.)
Catherine: (from phone) So the Deputy DA got out of bed for you? Whose bed?
Grissom: (to phone) Talk to me about the road.
Catherine: (from phone) All right.
(Catherine is on the road. Warrick is there snapping photos.)
Catherine: (to phone) The debris path starts approximately 100 yards from where the vehicle came to rest.
(Warrick puts an evidence marker down on the road.)
Grissom: (from phone) Show me what you see.
(Catherine takes photos of the road around her and e-mails the photos to Grissom. She heads for the b*rned car.)
[INT. GRISSOM'S PLACE -- DAY]
(Grissom sits on the couch as he works on the laptop. Hank lies on the couch behind him.)
(He opens the first e-mail photo and looks at it.)
Gil.Grissom @ lvpd.csi.com
Catherine Willows(a)lvpd.csi.com
Case #080403 – 1916 GG Crime Scene Photos
Date: 04/03/08
Time: 8:13 AM )
(Warrick notes Greg is wrapped with his scarf around his neck.)
Warrick: What are you doing, a catalog sh**t? Where's your matching hat with your pom-pom?
Greg: Leave me alone. I have a cold. (looks at clipboard) So, based on the debris pattern, the victim was driving the car when the blaze started. Swerving all over the road. Probably because he was on f*re.
(Warrick and Greg look down the road.)
START: VISUALIZATION
(The victim's car zooms through the road. It is on f*re as it swerves this way and that, tires screeching. It heads straight through Warrick.)
(Greg turns and watches the car swerve off the side of the road and stop where the current b*rned car is.)
END: VISUALIZATION
(Greg looks at Warrick.)
Greg: What do you think?
Warrick: Sounds about right.
(Catherine approaches the b*rned car and takes a photo of the back end.)
(She moves in closer and notes a discarded shoe on the grass near the closed driver-side door. She hears a loud sneeze.)
Catherine: Gesundheit.
(Nick sniffles. He's in front of the car)
Nick: Thanks. Boy, I hope I'm not getting sick. I'm not finding any pour patterns on the exterior. The hood and the front quarter panels are down to the primer and the front tires are burnt down to the rim. Think the f*re probably started in the engine compartment.
Catherine: New car engines don't catch f*re, not by accident.
Nick: Now we'll have to get it back to the lab for a closer look.
Catherine: And guys on f*re don't stop to close doors.
(Catherine snaps a photo of the closed door.)
Nick: No, no, I talked to the battalion chief about that. He said the driver's side was open when his boys showed up, and that the pressure from the hose probably closed it.
Catherine: Probably? (mutters) Hosers.
(Catherine looks at the back of the car.)
Catherine: Nick, come here.
(Nick joins her. She points to the back of the car.)
Catherine: Um. Clear that off, would you?
(Nick wipes the foam off the bumper to reveal a tag: L-A-T.)
Nick: "L-A-T." That's La Tijera's tag.
CUT TO:
[INT. GRISSOM'S PLACE – DAY]
(Grissom is in his bathrobe as he goes to answer the front door. Maddy walks in carrying a file box.)
Madeline Klein: Boy, you look like hell. I need sugar. You got a soda?
(Grissom closes the door.)
Grissom: Nice to see you, too, Maddy.
(Maddy puts the file box down on the table. Grissom heads down the steps and toward the kitchen.)
Madeline Klein: Six months' worth of investigation; two months working with the grand jury; five low-level indictments against the LATs. Why you? (mutters)
'Cause you're the only one who won't screw it up.
Grissom: My team won't screw it up.
Madeline Klein: Oh, right. Your team. Warrick Brown got mixed up with a crooked judge. Sanders ran down a civilian while on duty. Ms. Willows lied about being at a crime scene, among other things.
(Maddy holds a disk and opens the file box.)
Madeline Klein: And who can forget Stokes, your straight arrow? Suspected of k*lling his hooker girlfriend. (Grissom returns.) How does the song go? "You call me up, I get 'em out of it"? If it weren't for me, you'd have no team.
Grissom: Are you done?
(He opens the soda can and offers it to her.)
Madeline Klein: Sorry. You have a ... ?
(She holds up the disk. Grissom takes it from her and gives her the soda.)
(Grissom goes to play the disk. Maddy sits down.)
Madeline Klein: This was recorded two weeks ago. This guy had no idea that what he saw was the key to bringing down La Tijera and their leader, El Matocho.
(Grissom picks up the remote and plays the disk as he settles on the couch. It's a video recording of Brass' interview with Don Cook date-stamped March 19, 2008, at 1:18 PM.)
Don Cook: (from dvd) Okay, I know this is my third violation, but I was not speeding. I-I blew past that light because I had a fight with my wife.
Brass: (from dvd) Listen, you're not here for a traffic violation, okay? Now, after you ran the red light, the street camera didn't pick you up at the next intersection. Where'd you go?
Don Cook: (from dvd) Okay, look, I, I cannot have my license suspended. I have a vending machine business.
Brass: (from dvd) You're not here for a traffic violation. Let's get that straight. Now, did you see anyone in particular? Do you remember that night?
Don Cook: (from dvd) Yeah, yeah, no. Um, yeah, there was, there was a guy who walked past my car.
Brass: (from dvd) Okay.
Don Cook: (from dvd) I thought I was gonna get robbed on top of everything else.
Brass: (from dvd) Can you identify him, hmm?
Don Cook: (from dvd) Sure, yeah. He walked under a streetlight. I saw him. I saw him real clear. He, um ... He was Hispanic ... uh ... I don't know, bald, scary looking.
(Maddy pauses the video and goes through the file folder.)
Madeline Klein: "LAT" carved into the cheek of the victim is the signature of El Matocho, La Tijera's number one.
(She hands Grissom a photo. On it is "LAT" carved on a man's cheek.)
Madeline Klein: He k*lled g*ng leader, Little Gordo, but he was a ghost--no face, no name.
INSERT: FLASHBACK
[INT. CAR (PARKED) -- NIGHT]
(Don Cook is in his car and parks. He looks out and sees Alvarado walking away.)
Madeline Klein: (V.O.) Until Don Cook ID'd Emilio Alvarado coming out of Little Gordo's house around the time of the m*rder.
RESUME SCENE.
(Grissom looks at the photos.)
Madeline Klein: Turns out Alvarado was caught up in a g*ng sweep day after the m*rder. Parole violation. He got 30 days. PD thought he was just another lowlife. Due to be released in 52 hours. Can't indict Alvarado with a d*ad witness. We need to prove conspiracy.
Grissom: You need to prove that Alvarado ordered a h*t on your witness.
Madeline Klein: How long do you think it'll take you to bone up on these and put a suit on?
CUT TO:
[INT. POLICE DEPARTMENT – BRASS' OFFICE – DAY]
(Cody Cook, Don Cook's wife, takes out a cigarette and looks at Brass. She sits on the couch in Brass' office.)
Cody Cook: Can I smoke in here?
Brass: Uh, no. It's a ... it's a government building.
(She toys with the unlit cigarette. Brass pulls up a chair and sits down.)
Brass: I'm very sorry for your loss. So when was the last time you saw Don?
Cody Cook: Last night. We go to my folks' house every Sunday.
Brass: Mrs. Cook, did you know that your husband was going to testify before a grand jury?
Cody Cook: We talked about it. I told him I didn't want him to do it. But he found out about this girl, what the g*ng did to her.
Brass: Did he confide in anyone else?
Cody Cook: He said it was a secret.
Brass: Did you tell anyone?
Cody Cook: No. Well ... sort of. I told my mom and dad and my best friend, Jenny. She's my hairdresser. I tell her everything.
Brass: I'm gonna need their phone numbers.
Cody Cook: Did I do something wrong?
CUT TO:
[INT. CSI – FORENSIC AUTOPSY – DAY]
(The victim's partially b*rned body is on the table as David stands above it taking photos. Robbins stands behind the body, working on it. Catherine walks in.)
Catherine: Oh, hey, Dave, nice haircut. What gives?
(David steps down from the stepladder.)
David Phillips: Oh, Mrs. Phillips. An extreme makeover.
Catherine: Mm. Oh, make sure you get those photos to Grissom.
David Phillips: I'm all over it.
(David leaves.)
Robbins: Sign of a good marriage. Wife still wants to change him. So your vic's burns are concentrated on the face, hands, knees and feet. It's consistent with an engine f*re.
(Quick flashback to: Don Cook sits in the car behind the steering wheel when the dashboard in front of him catches f*re. He puts his hand and arm up to deflect the f*re, but it doesn't work.)
(He screams.)
(He grips the steering wheel and his hands catch on f*re. He screams.)
(End flashback.)
(Robbins hands Catherine a small container with the b*llet inside. She looks at it.)
Catherine: Jacketed hollowpoint. One cannelure. Looks like a .38.
Robbins: Yeah. Entered through the right renal artery. That's COD.
CUT TO:
[INT. CSI – GARAGE – DAY]
(Nick is working under the hood of the car. He pulls out some wires. On the floor at his feet is a mat with various parts removed from the car.)
(Nick coughs. He gets back to work. He coughs again.)
(Greg walks in.)
Greg: Wow. I bet it reeks in here.
(Nick looks at him and shakes his head.)
Nick: I wouldn't know.
Greg: Thank God for stuffy noses.
Nick: Yeah.
Greg: DA Klein asked Grissom, who asked Catherine, who told me to tell you that we need to figure out if the victim was sh*t before he got in the car, while he was in the car or after he got out.
Nick: Okay ... uh ... there was no blood trail at the scene. f*re pretty much took care of that. And I doubt you're gonna find any trace of blood in that burnt-up driver seat.
Greg: Wow, I've got to give her more than that.
Nick: Be my guest.
(Greg heads over to the car. He coughs and sneezes. Nick continues working under the hood.)
(Greg looks at the front seat. Nick pulls out a piece inside the engine. He coughs.)
(Greg examines the seat belt buckle.)
Greg: Skin on a seat belt buckle. You know, if I got sh*t and I'm trying to get away, I'm not gonna take the time to put my seat belt on.
Nick: Eliminates the first scenario.
Greg: So either the sh**t kidnaps him and sh*t him while he was driving ...
Nick: I don't know. Greg, I think we would have found evidence of somebody else inside the vehicle.
Greg: Which leaves us with the last scenario.
(Quick flashback of: The car is burning. Don Cook is on f*re and screaming as he staggers outside the car. Someone else is there holding a g*n and fires. End flashback.)
Nick: I think I just found my reason for getting out of bed this morning.
(Nick pulls out a piece of b*rned cloth.)
Nick: Check it out. The same guy that tampered with the car could have followed. Made sure the job was done.
CUT TO:
[INT. COURTHOUSE – JURY ROOM – DAY]
(Madeline Klein and Grissom break the news to the grand jury.)
Marie Leahy (juror): Who k*lled him?
Juror 1 (woman): Do you have evidence that the witness was m*rder?
Random Juror (man): How did they k*ll him?
Madeline Klein: One at a time, Miss Leahy.
Marie Leahy (juror): Do you know who k*lled him?
Grissom: We don't know yet. Our investigation is still ongoing.
Juror 2 (man): What was the guy gonna tell us?
Madeline Klein: Until Dr. Grissom can corroborate Mr. Cook's testimony, I can't tell you the content.
Tim O'Shea (juror): Mr. O'Shea. We've been locked up in here ten hours a day, two months, all cloak-and-dagger. La Tijera doesn't know we're investigating them, so they couldn't know about the witness.
Grissom: Well, we found their signature at the crime scene. So it's possible they do know.
Tim O'Shea: If they got to this witness, could they get to us? I have a family.
Random Juror (man): (o.s.) So do I.
Marie Leahy: I want to know how the g*ng found out about Don Cook.
Tim O'Shea: Me, too. Or else I want off this jury.
(Grissom and Maddy exchange looks.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. GRISSOM'S PLACE]
(Grissom opens the door and finds Brass in the hallway holding some files.)
Brass: Hi. I ... uh ... brought some more files on the case.
(Grissom looks at Brass.)
Brass: Got any coffee?
Grissom: I got lots of tea.
Brass: Good.
(Brass walks in. Grissom closes the door. Brass heads inside.)
Brass: You know, when we first asked Cook to testify he said no, and ... uh ... but ... you know, I couldn't let it go.
(They stop at the counter where Grissom prepares the cup of tea as he listens.)
Brass: So I called him up about a week later and ... uh ... took him to lunch and I showed him a picture of ... uh ... of a girl that they had k*lled, you know. She was 16, innocent, beautiful. She was r*ped, sh*t, and urinated on. And when that didn't k*ll her, they slit her throat. So I had him on the hook. When I told him that ... uh ... you know, if he testified, I'd protect him and his family if the case ever came to trial. On Friday, he called Maddy, said he changed his mind, he'd testify. And on Sunday ... he was d*ad. I couldn't protect him.
(Grissom hands him the cup of tea.)
Brass: Thanks.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
[INT. CSI – GARAGE -- DAY]
(Nick is still working on the car. He picks up a heavy tray of car parts and groans. He coughs as he carries the tray to the counter. He drops the tray on the counter and quickly covers his mouth to cough. He looks at his gloved hands.)
Nick: Oh.
(He removes his gloves, tosses them aside and grabs the glove box only to find it empty.)
(Warrick walks in.)
Warrick: Hey, buddy.
Nick: (turns around) Hey.
Warrick: Oh, man, you look b*at up.
Nick: I feel b*at up.
Warrick: Why don't you ... uh ... take a break. I got this.
Nick: No, no, I'm cool. I can push through it.
Warrick: Yeah.
(Warrick chuckles.)
Warrick: You're ... uh ... breaking the lab's budget for rubber gloves here, dawg. Listen, get some rest, man. You'd do the same for me.
Nick: Yeah, okay. I processed the driver's side. I was about to get to the passenger's side glove box. (heads out) I owe you one, man.
Warrick: Yeah, you do.
(Nick sneezes as he leaves.)
Warrick: Ooh.
(Warrick opens the passenger side door and gets to work. He picks up a crowbar and pries the b*rned glove compartment open. He sticks his hand inside and pulls out the bottom of the compartment.)
(Warrick is at the worktable and chisels away at the melted hard plastic. He finds a revolver.)
(Warrick cleans the base of the revolver and finds the registration number: CC89048Z.)
(He runs the number through the A*F database:
FIREARM SERIAL NO: CC8 9048Z
MAKE: SMITH & WESSON
MODEL: MODEL 36
CALIBER: .38 SPECIAL (.38+P)
(He finds a match:
NAME: RICHARD P. O'MALLEY
ADDRESS: 26887 ROUTE 2, NORTH LAS VEGAS
FIREARM SERIAL NO: CC8 9048Z
MAKE: SMITH & WESSON
CUT TO:
[EXT. ROAD / O'MALLEY RESIDENCE – DAY]
(Brass' car turns into the O'Malley driveway. He parks.)
(Brass gets out of the car and heads for the front door.)
Cue Sound: (PRE-LAP) DOOR KNOCKING
[EXT. O'MALLEY RESIDENCE – DAY]
(Richard O'Malley opens the door.)
Brass: Mr. O'Malley? Detective Jim Brass. Can I talk to you again?
Richard O'Malley: Sure.
Brass: Ballistics has confirmed that your son-in-law was k*lled with your g*n.
Richard O'Malley: Wait a minute. You told me this morning he died in a car f*re.
Brass: I know what I told you, but why didn't you tell me about the g*n?
(Mrs. O'Malley walks past carrying a laundry basket. She pauses to listen.)
Brass: How did it end up in his car?
Richard O'Malley: (to his wife) Go inside. (She walks away.) (to Brass) I gave it to him.
Brass: Why?
Richard O'Malley: Because he asked me for it.
(Quick flashback to: Richard O'Malley shows the g*n to Don Cook.)
Richard O'Malley: All right, look, it's got five rounds in it. There's no safety on it.
(He gives the g*n to Don.)
Don Cook: So all I got to do is just point it and sh**t it?
Richard O'Malley: Yeah. Now look, if you think you're being followed, don't be a hero. Call the police.
(End flashback. Resume.)
Richard O'Malley: Hey, look, I begged Donnie not to testify. He and Cody had everything to lose. They were doing great with their vending machines. No grandkids yet, but that's probably 'cause their marriage was shaky already. Cody has her mother's temper. She loved him, though. We all did.
Brass: Look, as long as I'm out here, do you mind if I look around?
Richard O'Malley: My wife and daughter are pretty upset. I don't want you guys in here bothering them anymore.
CUT TO:
VARIOUS CUTS:
(A CSI puts filler in a b*llet casing and puts it in a Smith and Wesson.)
(He places the revolver on the heating surface and turns it on.)
(The temperature rises.)
(The g*n on the surface smokes.)
(The temperature continues to rise.)
(It reaches 400 degrees. The g*n fires.)
CUT TO:
[INT. CSI – GARAGE]
(Greg places the g*n in the glove compartment of a similar type car. He places a dummy on the driver's seat. A trajectory rod sticks out of the dummy's back. Greg has to turn the dummy toward the door to get it to line up with the g*n in the glove compartment.)
Grissom: (V.O.) CSI Sanders confirmed that the trajectory of the g*n lined up with the victim's body as he tried to exit the vehicle.
(Quick flash to: The car is on f*re. FOCUS on the glove compartment.)
(Inside the glove compartment, the g*n is heating up.)
(CGI POV of: The b*llet inside the g*n is heating up.)
Grissom: (V.O.) The engine f*re would have reached approximately 400 degrees within two minutes.
(SLOW MOTION: The b*llet fires out of the muzzle, out of the glove compartment and hits Don Cook's back.)
Grissom: (V.O.) Enough heat was transmitted to the glove box to cause the g*n inside to discharge.
(End flashback.)
[INT. CONFERENCE ROOM – DAY]
(Grissom explains what happened to Maddy and the judge.)
Grissom: Witness was k*lled by his own g*n.
Judge: Do you know who set the f*re?
Grissom: No, Your Honor, not yet.
Madeline Klein: CSI found La Tijera's tag painted on the car's rear bumper.
Judge: You can't charge the entire g*ng, counsel.
Madeline Klein: Alvarado's set to be released in just over 24 hours. If he gets out ... we lose him forever.
Grissom: We need a warrant to search his apartment.
Judge: I can't give you a warrant just because she doesn't want him to get out of jail. Where's your probable cause?
Madeline Klein: You saw the video. Cook placed Alvarado at the house at the time of the m*rder.
Judge: Mere presence. Counsel, I got to get back to my trial.
Grissom: Your Honor, Alvarado is an admitted member of La Tijera. Their initials were carved into the cheek of the m*rder victim in the house that Alvarado was seen exiting. We need the clothes that Alvarado was wearing that night.
Madeline Klein: Hopefully, he didn't have time to do his laundry.
Judge: The grand jurors are on board with this?
Madeline Klein: They will be, Your Honor.
CUT TO:
[INT. CAR (TRAVELING) – DAY]
(Warrick is driving through the neighborhood – young men hanging out on the side of the roads, graffiti on the walls.)
[EXT. ALVARADO'S APARTMENT BUILDING – DAY]
(He stops his car in front of Alvarado's apartment building. He grabs a kit and gets out.)
Warrick: Hey, Griss. Restocked your case. You were low on batteries and pheno.
(Grissom takes his kit.)
Grissom: Thank you.
Warrick: You're welcome.
(They head for the building.)
Warrick: (reading file) Apartment 5967. Alvarado's crib. Hey, Grissom, I got tickets to the Rebels tomorrow night. If you're feeling any better and you want to check it out.
Grissom: I'll be in bed.
(They head up the stairs to the second floor.)
BOOM!
(The apartments above explode, knocking Warrick off the stairs and Grissom backward.)
(Grissom and Warrick exchange looks.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. ALVARADO'S APARTMENT -- DAY]
(The inside is b*rned and the firefighters leave. Warrick and Grissom are looking around.)
Grissom: You feeling okay?
Warrick: Yeah. My ears are still ringing, though. This place reeks of sulfur.
(Warrick finds something and snaps a photo.)
Warrick: I found about ten of these butane cans so far. Any evidence that's here is gone.
(He takes more photos. Grissom looks at the walls.)
Grissom: Yeah, well, there's burn patterns all over these walls. They must have splashed butane all over everything.
(Quick flash to: Someone sprays the walls. End flash.)
Grissom: And butane dissipates quick.
Warrick: The other guy was probably watching us the whole time.
Grissom: There's nails all over the place.
Warrick: Grissom, I think I found the point of origin.
Grissom: Green plastic. Sugar, butane, and nails. Add some egg whites in a soda bottle. You got a MacGyver b*mb. Crude, but it works.
Warrick: I think they were looking to do more than just destroy evidence.
CUT TO:
[EXT. NEIGHBORHOOD WALL – DAY]
(Officer Mitchell and other officers have g*ng members lined up with their hands against the walls. The items in their pockets are on the ground behind them. Grissom and Warrick walk over to them.)
Warrick: You running for warrants, Mitch?
Officer Mitchell: Yeah.
Warrick: Impound their cars.
Officer Mitchell: You got it.
(Warrick and Grissom look at the g*ng members. Grissom smells the back of one of the men. He goes to the next g*ng member, looks at the contents on the ground and smells him.)
(He moves to the next g*ng member, looks at the contents on the ground, which includes a lighter and some cigarettes. He smells him.)
Grissom: Mitch, I want to see this guy's hands.
Donny Gomez: You ain't a cop, fool.
Warrick: He's bigger than a cop. Show him your hands, princess.
Donny Gomez: They're clean. Want to lick 'em and find out?
(Warrick grabs Gomez by his arm, twists it back and looks at his hand.)
Warrick: You think this is a game? Huh? This one's clean.
(He looks at his other hand.)
Warrick: What about this one? Clean.
Grissom: Turn his pockets.
(Officer Mitchell looks at Gomez's pockets. Sugar falls out.)
Officer Mitchell: Sugar.
Warrick: What's this? You been baking cookies?
CUT TO:
[INT. PD – OBSERVATION ROOM – DAY]
(Madeline Klein watches as Brass interviews Donny Gomez.)
Brass: So, who gave you the order to torch that apartment?
Donny Gomez: I don't know what you're talkin' about.
[INT. PD – INTERVIEW ROOM]
Brass: And why that apartment? Who do you know lives there?
Donny Gomez: Nobody. I got a mental illness. I'm a firebug. I'm loco.
(Maddy walks out of the room.)
Brass: You're loco?
Donny Gomez: Who knows?
(The door opens and Maddy walks in.)
Donny Gomez: Maybe I'll set the lawyer lady's house on f*re.
Madeline Klein: Hey, little man with the big mouth. It doesn't matter what you say, 'cause all your boys are going to hear is that you rolled on Alvarado.
(Gomez surges to his feet. His hands are cuffed behind his back. The officer grabs his shoulders. Brass stands up as well.)
Brass: Sit down.
Madeline Klein: Just bought yourself another ten years. I'm going to hand-pick your cell mate.
(Maddy leaves.)
[EXT. PD – HALLWAY – CONTINUOUS]
(Brass and Maddy exit the room and start down the hallway.)
Brass: Well, that didn't help.
Madeline Klein: That kid wouldn't roll if I gave him a night with Jessica Alba.
Brass: You're really good at making enemies, Maddy.
Madeline Klein: That's why I'm unlisted, divorced and carry a g*n.
Brass: Did you take Cook back to Little Gordo's house? You know, maybe to verify his story?
Madeline Klein: Yeah, I always take my secret witnesses on a bus tour of the
"hood."
Brass: You know, when Don Cook first refused to testify that he saw Alvarado come out of Little Gordo's house, you know what I did? I took him to an out-of-town diner and bought him a cup of coffee. What'd you do?
Madeline Klein: I went to Little Gordo's.
(Brass nods. Maddy gets it.)
Madeline Klein: Damn it. Good job, Maddy. They saw me. I can't even blame it on the booze. All they had to do was trail me back to the courthouse and watch me go into the security entrance with 18 escorted jurors. That's how they knew grand jury. Damn it!
(She sighs. Brass is quiet.)
Madeline Klein: This is where you're supposed to say, "It's okay. It could happen to anyone. It's not your fault Don Cook is d*ad."
(He looks at her.)
Madeline Klein: Like hell it isn't.
CUT TO:
[INT. CSI – HALLWAY – DAY]
(Nick turns the corner and coughs.)
Hodges: (shouts) Hey, Nick!
(Hodges is in the lab. He heads out and is holding a report.)
Hodges: You've got an artful tagger.
Nick: What?
(Hodges exits to the hallway to join Nick.)
Hodges: Don Cook's car bumper. Gangbanger blended his green with another color. Not visible to the human eye. Of course, I caught it.
Nick: You mean the GCMS caught it?
Hodges: Well, if that's a hair you want to split. Suspect used green paint with a hint of cerulean blue. Probably for impact.
(Nick coughs. Hodges turns his head away. Nick clears his throat as he leaves.)
Hodges: You know, in China people wear masks when they're sick. It's considered impolite to infect your coworkers.
Nick: (over his shoulder) Maybe you should go work in China.
Hodges: Maybe you should wear a mask.
(Hodges heads back to the lab.)
CUT TO:
[INT. JAIL – DAY]
(Warrick is at the entrance desk collecting a box of Alvarado's things from the guard.)
Warrick: Now, this is everything Alvarado had and was wearing when they arrested him?
(The guard hands him the box over the counter.)
Warrick: Thank you.
(The door buzzes. The guard lets Warrick through.)
VARIOUS sh*ts
(Warrick is in a room. He pulls out a COLLARED SHIRT from the package. It's still new, creased and has the sticker size on the front. He removes a pair of shoes and puts it on the table.)
(He turns on his portable ALS and sweeps it across the clothing. He checks the soles of the shoes, which appear to be incredibly clean. He smells it.)
CUT TO:
[INT. JAIL – ISOLATION HALLWAY – DAY]
(Warrick and SPECIAL GUARD RON PEN walk down the hallway toward Emilio Alvarado's cell.)
Guard Ron Pen: He's been in isolation for two weeks. I could tell you everything he's got in his cell. They assigned me special.
Warrick: Does he get any yard time?
Guard Ron Pen: Nope. I take him for hall walks. Not allowed any contact with anybody but me. Why do you need to see him?
Warrick: Just want to rattle his cage a bit. That cool with you?
Guard Ron Pen: Good luck.
(They arrive at the cell where Emilio Alvarado is sitting on his bed and reading a book.)
Guard Ron Pen: Hey, Alvarado, get up. (shouts) Cell check!
(Alvarado's cell door opens. Alvarado looks at Warrick. He gets up and steps out of his cell.)
Voice: (over pa) Cell block 3 is now in lockdown. Cell block 3, now in lockdown.
(Warrick pulls the sheets off the bed and snaps a photo. He continues to look through Alvarado's things. He snaps more photos.)
(Warrick picks up the book Alvarado was reading and he flips through it. He puts it down.)
Warrick: So, you always clean your boots with bleach, El Matocho?
(Alvarado laughs.)
Warrick: Something funny?
Emilio Alvarado: Matocho. Nonsense word. You know where this name comes from? There's a legend in Central America. This man, he woke up in a bad mood. k*lled eight members of his family with a machete and then went and had breakfast. Matar. To k*ll. Ocho. Eight. "To k*ll eight." El Matocho.
(Alvarado laughs at his own cleverness. Warrick doesn't find it funny at all.)
Warrick: That's great. The way I see it, you're going to have lots of time to tell all kinds of great stories.
(Warrick turns and leaves.
Emilio Alvarado: Tick-tock. Tick-tock. Tick-tock. Tick-tock.
(The guard lets Alvarado back into his cell.)
(The cell door closes.)
Greg: (PRE-LAP) (V.O.) Alvarado is a suspect in three cases.
CUT TO:
[INT. CSI – LAYOUT ROOM – DAY]
(Grissom, Nick and Greg go over the case. Greg indicates a photo with "L-A-T" carved in the victim's cheek.)
Greg: First, he allegedly kills Little Gordo.
(Greg puts a photo of Don Cool down on the table.)
Greg: Then, the only witness who could identify him is k*lled. And last, but certainly not least, he allegedly orders Raphael Gomez to blow up his apartment.
Nick: La Tijera is responsible for all three crimes. Tags at both scenes, and Gomez is an admitted member of the g*ng. According to Hodges, the tagger didn't use spray paint. He used an oil-based specialty paint.
Greg: Well, that doesn't make any sense.
Grissom: You got photos?
(Nick turns to get the photos. Grissom barely has time to take out his tissue when he coughs. Nick waits for Grissom to finish coughing.)
Nick: Here you go.
(Nick hands the photo to Grissom. Grissom examines the letters under a magnifying glass. It looks perfect. Too perfect.)
Grissom: This "L" looks like it was stenciled.
(Grissom uses a ruler and a magnifying glass to look at the photo.)
Grissom: Then, it looks like the tagger painted over it a second time, to make it look freehand.
Nick: What?
(Nick takes the magnifying glass and looks at the photo.)
Nick: Yeah, those ... uh ... those do look like brush strokes.
Greg: Well, gangs don't use paintbrushes.
Nick: I assumed the tags were authentic. We've been looking in the wrong direction.
CUT TO:
[EXT. O'MALLEY RESIDENCE – DAY]
(Brass and Nick are back at the O'Malley residence.)
Richard O'Malley: (shouts) Cody, come on out here. (to Brass) So, you think this g*ng messed with Don's car while we were having dinner?
Brass: That's what we're here to find out.
(Cody exits the house and joins them.)
Richard O'Malley: Cody, Mr. Brass wants to talk to you.
Brass: Hi, Cody.
Nick: Where was your son-in-law's car parked that night?
Richard O'Malley: (nods) Right over there.
(Nick heads over while Brass continues talking with Cody.)
Brass: Okay, tell me again about the day that Don died.)
(Nick finds a line of newly painted birdhouses lined up on the low concrete wall.)
Nick: Those are nice. Did you make those?
Richard O'Malley: Yeah, a hobby of mine after I lost my job. Forced retirement. You know how it goes. Want to buy one?
(Nick chuckles. He looks at the open garage.)
Nick: You keep the garage door closed when you're not working?
Richard O'Malley: Well, it's not like we have any neighbors.
Nick: Anything ever gone missing?
(Nick looks around inside the garage. He notices a crate of things.)
Richard O'Malley: Sure, Cody's taking stuff all the time. She'd rather spend her money on clothes. Kids.
Nick: Mind if I take this crate?
Richard O'Malley: What for?
Nick: Fingerprints.
(Nick picks up the crate and takes it out of the garage.)
Richard O'Malley: Well, you're going to find mine all over.
Nick: That's why I'm going to get yours, too, sir. So I can exclude you. Follow me.
(Nick leads Richard O'Malley to the car. They walk past Brass, who is still talking with Cody Cook.)
Brass: Now hold on. Help me out here.
Cody Cook: I already told you why I wasn't in that car. My husband and I were arguing. He was yelling at me.
(Quick flashback to: [NIGHT] Cody and Don are arguing outside the house. Her parents are there watching.)
Cody Cook: Okay, I'm having a hard time keeping it straight. You do like my dress? You don't like my dress?
Don Cook: Can we please just not talk about this now?
Cody Cook: When should we talk about it?
Don Cook: Cody, get in the car.
Cody Cook: No, I'm not going to get in the car.
Don Cook: Listen. I loved the dress till I found out it cost 300 bucks.
Cody Cook: Oh, three hun--
Don Cook: You have a closet full of dresses ... get in the car.
Cody Cook: No. Not until you apologize. Apologize to my parents!
Don Cook: I'm not apologizing.
(Don gets into the car and drives away, leaving Cody behind.)
Cody: (V.O.) I told him not to call me until the court thing was over. I needed to cool off.
(Cody heads back into the house.)
(End flashback.)
Cody Cook: My dad says I was lucky.
Nick: Ma'am, I'm going to need to get your fingerprints, too.
Cody Cook: I don't like where this is going.
Brass: It's going downtown.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) – DAY]
CU: CODY COOK'S FINGERPRINT CARD
[INT. CSI – LAB]
(Nick scans the fingerprint card into the system.)
(He scans RICHARD O'MALLEY'S fingerprint card into the system.)
(CUT TO: Nick grabs the stencils out of the crate and looks through them. He finds a stencil for an "L". There's green paint on the stencil.)
(He finds a paint brush with a similar color washed out of the tip.)
CUT TO:
[INT. PD – INTERVIEW ROOM A]
(Brass interviews Cody Cook.)
Brass: So you k*lled him. And made it look like a g*ng did it. And then you could buy all the expensive dresses you want.
Cody Cook: I loved my husband. I didn't k*ll him, okay? You don't know me. You don't know my life.
[INT. CSI – LAB]
(Nick snips a sample off the paint brush.)
(He dusts the paint brush handle.)
(He tape lifts a print off the paint brush handle and looks at it.)
[INT. PD – INTERVIEW ROOM]
(Richard O'Malley is in handcuffs. Brass and Nick are in the room with him.)
Nick: I found your fingerprints on a stencil. It was the one with green paint all over it. And the paint from one of your paintbrushes is a match to the car.
(Richard O'Malley is quiet.)
Nick: Your daughter said you disappeared into the garage right after dinner. That's when you stuck the rag in the engine between the catalytic converter and the heat shield.
(Richard O'Malley still doesn't respond.)
Nick: I think we all know what that did. Hmm?
Brass: Hey, you don't want to say anything, fine. Write him up. Process him.
(The guard escorts Richard O'Malley to the door. Through the glass, Cody Cook stands out in the hallway watching. They leave.)
(Nick and Brass head out the other door.)
Nick: You think the daughter had anything to do with it?
Brass: No.
Cody Cook: (shouts, o.s.) How could you?!
Richard O'Malley: (o.s.) How could I what?
(Brass and Nick step out into the hallway.)
Brass: (to Nick) Cook was her meal ticket.
Cody Cook: (shouts, o.s.) You son of a bitch! You were gonna k*ll your own daughter?!
Richard O'Malley: (o.s.) No, I did this for you!
(Brass rolls his eyes and heads down the hallway and turns the corner.)
Cody Cook: (shouts, o.s.) Over money so you could get our business?!
(Brass and Nick turn the corner to find two officers holding Cody and Richard apart.)
Richard O'Malley: I would never let you get in that car!
Cody Cook: Well, you didn't try to stop me! You just stood there!
Richard O'Malley: How many Sundays did you come over and bitch to your mother about that selfish, ungrateful bastard?!
Cody Cook: Don wanted to give you the money; I said no! And all those nights Mom and I stayed up talking -- it was about you!
Richard O'Malley: You owed me!
Cody Cook: I hate you!
Richard O'Malley: I did you a favor!
Cody Cook: Go to hell!
(The guard leads Richard away.)
CUT TO:
[INT. CSI – GRISSOM'S OFFICE]
(Grissom is working behind his desk. Catherine knocks on the door. Grissom looks up and she enters.)
Catherine: Never thought I'd be disappointed that we solved a case.
Grissom: Hmm.
(She looks at the files he's working on.)
Catherine: Court personnel files?
Grissom: Reading upside down is a talent.
Catherine: What are you looking for?
Grissom: The leak. Ninety minutes after the warrant was issued, Alvarado's apartment went up.
Catherine: So you're looking at the judge, his staff, the clerk that issued the warrant, court reporter, any cops who knew ...
Grissom: Yeah, but according to this, everybody cleared. The only ones left are the grand jurors ... and Maddy Klein.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN:
[INT. CSI -- HALLWAY]
(Catherine and Archie head through the hallway toward the A/V lab.)
Catherine: Thanks for coming in, Archie, I appreciate it.
Archie: Ah. No worries. Wasn't sleeping anyway.
(They enter --
[INT. CSI – A/V LAB]
(Archie grabs his lab coat and puts it on.)
Archie: Big surf movie marathon on cable right now. Yeah, Big Wednesday, Endless Summer, Local Boys.
Catherine: Dude.
Archie: Yeah.
Catherine: So we need to review some phone records, and fast.
(She shows him the warrant with the list of names:
TIMOTHY O'SHEA 702-555-0124
MARIE PEAHY 702-555-0107
CARTER HAYSON 702-555-0189
MAX LINUS 702-555-0197
DRAKE POMAN 702-555-0155
GEORGE VATCHKO 702-555-0188
ARLEN TAMMERLANE 702-555-0175
DARBY VANCE 702-555-0137
COLE ZAMPAS 702-555-0145
LOIS MANSTERS 702-555-0169
GLORIA STEEPS 702-555-0126
MARIA COLT 702-555-0171
BEVERLY SWANTON 702-555-0121
JESSICA VARGE 702-555-0119
CAREY WILKERSON 702-555-0116
TATIANA HOSS 702-555-0122
MONICA CARR 702-555-0103
702-555-0130 )
Archie: Okay. It's going to be tough to go fast with that many names.
Catherine: Oh, no. I can narrow it down. It's a 90-minute window, yesterday, at 12:00 noon to 1:30. Just cell phone calls.
Archie: Okay. Give me a name and a number.
Catherine: Timothy O'Shea. 702-555-0124
(Archie runs the search through the PHONE RECORDS DATABASE.)
(The computer beeps and the results appear.)
Archie: He called two numbers.
Catherine: Do a reverse lookup.
Archie: Looks like he called his wife and his home line. Next.
Catherine: Cole Zampas ... 702-555-0145
VARIOUS COMPUTER SCREEN OVERLAYS with CATHERINE'S VOICEOVERS
("JESSICA VARGE" is typed into the search.)
Catherine: (V.O.) Jessica Varge ...
("DARBY VANCE" is typed into the search.)
Catherine: (V.O.) Darby Vance, 555-0137.
("MARIE LEAHY" is entered into the search.)
Catherine: (V.O.) Marie Leahy.
(The computer beeps.)
Archie: Okay. Huh. "No user information". It usually means disposable cell phone.
Catherine: Has she called the number before, within the last two weeks?
Archie: Monday through Friday, both weeks, she called a different disposable cell phone. That's weird.
Catherine: Okay. Try the text messages.
Archie: Yeah.
(The computer beeps. Archie pulls up the text messages.)
Archie: See the pattern?
Catherine: Every night around 11:00 p.m., someone texts her a number, which she then calls the next day.
CUT TO:
[INT. GRAND JURY ROOM -- NIGHT]
(Grissom and Maddy Klein talk with Marie Leahy.)
Grissom: How did they contact you, Miss Leahy?
Marie Leahy: Uh ... a few weeks ago, at a gas station near my house, this ... uh ... this woman comes up to me and ... uh ... she knows everything about Peter. That's my ... uh ... little brother in Chicago. He's only 19. Got ten years for something he didn't do. And she said they'd get him out. And they did. Guy just confessed and my brother's set to go free. (crying) Did that witness die because of me?
Grissom: Can you give us a description of the woman?
(Marie shakes her head.)
Marie Leahy: She was white ... uh ... short brown hair ... I'm sorry. I only seen her once.
CUT TO:
[INT. CSI – LAYOUT ROOM – MORNING]
(Warrick joins Nick in the layout room. Photos and other file material are spread out on the table.)
Warrick: Alvarado gets out in the morning.
Nick: It is the morning.
Warrick: Exactly.
(Nick sighs.)
Nick: You know, none of these people make a move without a direct order from Alvarado, especially not torching his own place.
Warrick: What are you saying?
Nick: Well, think about it. When Marie leaked the warrant information, it had to have gone in and out through him somehow. He's the boss.
Warrick: I don't see how; the guy's in complete isolation. They even assigned him a special hand-picked guard. Look.
(Warrick puts photos of Alvarado's cell in front of Nick.)
Warrick: There's no privileges in isolation.
Nick: Things still move in and out of his cell: laundry, food.
Warrick: The only thing I saw from the outside was a book. They say he's a big reader. But I looked it over; there's nothing.
Nick: What about all the other books he's been reading?
CUT TO:
[INT. JAIL – LIBRARY – MORNING]
(Grissom puts on his gloves as he looks at the library bookshelves. Alvarado's guard, Ron Pen, stands nearby and watches.)
Grissom: How does Alvarado get his books?
Ron Pen: It's like a regular library. When a book's checked out, a trustee writes down the inmate's name, booking number and date. Gets checked back in the same way.
Grissom: I need to see every book that Alvarado checked out.
(Ron Pen opens the log and reads the book titles.)
Ron Pen: What Is the What?, The Infinite Plan, and Herzog. Oh ... and The Inferno.
Grissom: (looking at shelf) Alphabetical by author?
Ron Pen: Mm-hmm.
(Grissom goes to the shelves on the side of the room.)
Grissom: David Eggers.
(He finds the book What is the What and flips through it.)
Grissom: There's pages missing.
(Grissom looks around for the next book.)
Grissom: Allende.
(He finds The Infinite Plan. He flips through it and finds pages ripped out.)
Grissom: How many books has he read in the last 48 hours?
Ron Pen: Two. (reaches for a book on the shelf) He said he didn't like this one; returned it yesterday afternoon.
(He hands Herzog to Grissom. Grissom flips through it and finds pages ripped out. He thinks about it.)
Grissom: Where's The Inferno?
CUT TO:
[INT. JAIL – ALVARADO'S CELL]
(Alvarado's cell door opens and he steps out of the cell. Grissom and Ron Pen arrive just as the Discharge Guard is escorting Alvarado out.)
Ron Pen: Hold up a minute.
Discharge Guard: Orders to process him out.
Grissom: Just hold him.
(The Discharge Guard turns Alvarado toward the cell door.)
(Grissom walks up to the open cell door, reaches inside and picks up a copy of The Divine Comedy.)
Grissom: This is a good book, Mr. Alvarado. Which Circle of Hell would you be in?
Emilio Alvarado: The Seventh, the outer one.
Grissom: Those who commit v*olence against others.
(Alvarado smiles at Grissom.)
Emilio Alvarado: Souls plunge into a river of boiling blood.
(The guard turns Alvarado back toward the wall. Grissom flips through the book and stops on a crinkled page. He smells it.)
Grissom: (to Rob Pen) Officer, do you have a lighter? No pen, no paper ... so you used what you had, huh?
(Quick flashback to: Alvarado is in his cell and puts a cup on his bunker. He opens the book to a random page and writes with a swab.)
Grissom: (V.O.) A book for paper, and for ink, urine.
(End flashback.)
(Grissom uses the lighter and heats up the back of the page.)
Grissom: Once the urine dries, the writing becomes invisible ... until it's heated, making the acid in the urine turn brown.
(Writing appears on the page.)
Grissom: Then you..uh..put the book back in the library, another prisoner checks it out, tears out the page, gives it to a visitor, and you get your message out. Yes?
Rob Pen: Put him back in his house.
(The Discharge Guard turns Alvarado back toward the cell. Alvarado looks at Grissom.)
Emilio Alvarado: Mira, usted se va a morir.
(The cell door closes on Alvarado, back in his cell.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]
[INT. GRAND JURY ROOM]
(The book is now in an evidence bag and is open to the message:
CARVE MK FOR ME
SEND A PHOTO )
(Madeline Klein sits back, looks at Grissom and sighs.)
Madeline Klein: Well, I was right about Alvarado: he was leaving Vegas. Otherwise, he would have k*lled me himself.
Grissom: You okay?
Madeline Klein: Yeah. Guess now, I owe you one, huh?
Grissom: I don't keep score, Madeleine.
Madeline Klein: You know what, Gilbert? You're the only man I know who's never let me down. Which means that you're either a classic enabler or my soul mate.
CUT TO:
[INT. GRISSOM'S PLACE – DAY]
(The front door opens and Grissom returns with Hank on a leash. He closes the door and puts his keys down on the table nearby. He unleashes Hank and goes to sit on the couch.)
(It's quiet. Grissom sighs and puts his head down in his hand.)
(His phone rings. Grissom drops the leash on the table and picks up his cell. He looks at the number.)
(He lies back on the couch and answers the phone.)
Grissom: Hi.
(He chuckles.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "08x12 - Grissom's Divine Comedy"} | foreverdreaming |
Transcribed by: Janelle Hackbarth
--------------------------------------------------------------------------------
Note: The only characters played by the ones that also played in Something Wicca This Way Comes are Prue, Piper, Roger, Jeremy, and Chef Moore.
[Scene: A witch's apartment. She puts down a bowl of food for her cat. (Later known as Kit.)]
Woman: Here baby. Come on, baby. Good girl. (She walks over to her altar and lights the candles with just a touch of her finger. You see someone standing outside her window. She starts chanting a spell. Someone walks by the cat, scaring it away.) Ancient one of the earth so deep, master of moon and sun. I shield you in my Wiccan way, here in my circle round, asking you to protect this space, and offer your sun force down. (Someone walks up behind her as she begins to hum. She turns around and stands up.) What are you doing here?
(The man pulled out a Kn*fe and plunged it in her stomach.)
[Scene: Outside Manor. A storm is bruing. Piper walks up the steps holding an umbrella.]
[Cut to inside. Piper walks through the front door. Prue's standing on the ladder, working on the chandelier.]
Piper: Prue? (She puts her raincoat and umbrella up.)
Prue: In here, working on the chandelier.
Piper: Sorry I'm late.
Prue: Well, what else is new? Piper, I would of been here myself to meet the electrician but you know I can't leave the museum until six.
Piper: I guess I just didn't realize how long I was in China town. Has Jeremy call? (She takes a bag to the dinning room table.)
Prue: No, but he had a package and some roses delivered. Over there on the table. (Prue gets the ladder as Piper puts down the bag on the table and picks up the wine bottle from the package.) What were you doing in China town? I thought that you had an interview in a restaurant in North Beach.
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 shows her the port.)
Piper: No, but this just may get me the job tomorrow.
Prue: Jeremy sent you port?
Piper: It's the ultimate ingredient for my recipe.
Prue: What a nice boyfriend.
Piper: Mm-mmm. (She spots the spirit board.) I don't believe it. Tell me that's not our old spirit board? (She picks up the spirit board.)
Prue: Yeah, I found it in the basement when I was looking for the circuit tester.
Piper: (Reading the inscription on the back) "To my three beautiful girls. May this give you the light to find the shadows. The power of three will set you free. Love, Mom." We never did figure out what this inscription meant. (Piper puts the board down.)
Prue: Well, we should send it to Phoebe. She's so in the dark, maybe a little light will help.
Piper: You're always so hard on her. (Piper takes the bag toward the kitchen.)
Prue: Piper, she 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 goes to the ladder. The phone rings. Piper answers it.)
Piper: Hello? Jeremy? How are you? Where are you?
[Scene: Outside Witch's apartment building. Jeremy's on a cell phone. It's raining and there's a lot of commotion there with ambulances and police.]
Jeremy: I'm sorry about the bad connection, Piper. I'm in North Beach covering a story. I wanted to see if you got your package. (He pauses and listens.) Yeah, well, anything to help. (A cop car pulls up.) Well, hey, look this detective I've been waiting for has finally arrived so I'll call you later, okay? (He hangs up and goes over to the car. A young man, in his late 20s with light brown hair in a brown eyes and a leather jacket comes out.) Detective Trudeau, is it the same MO as the other victims? (He ignores Jeremy and pushes him aside. He then goes to a cop standing by the apartment building entrance.)
Andy: What have you got for me?
Cop: Another d*ad female, right? Mid to late twenties.
Andy: It's the third one in 3 weeks. Same m*rder w*apon?
Cop: Double edged steel Kn*fe.
Andy: Some sort of ceremonial tool that isn't supposed to be used for cutting purposes.
[Scene: Manor. Piper is in the living room looking out the window. Prue is on the living room, on the ladder, checking out the chandelier.]
Prue: I don't get it. I have tried everything, there's no reason why the chandelier shouldn't be working. (Piper walks up to her as Prue gets off the ladder.)
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: Well, we can rent the room at a reduce rate in exchange for some help around the house. (Prue picks up the toolbox.)
Piper: Phoebe's good with a wrench.
Prue: Phoebe lives in New York. (Prue heads toward the kitchen.)
Piper: Not anymore. (Prue stops and turns around.)
Prue: What?
Piper: She left New York. She's moving back in with us.
Prue: You've got to be kidding. (Prue goes into the kitchen. Piper follows.)
Piper: Well, I could hardly say no. I mean, it's her house too. It was willed to all of us. (Prue puts the toolbox down and begins cleaning her hands.)
Prue: Yeah, months ago and we haven't seen or spoken to her since. (Prue stops cleaning her hands and begins rubbing the with a rag.)
Piper: Well, you haven't spoken to her. (Prue turns around with the rag in hand still.)
Prue: No, Switzerland, I haven't. Maybe you've forgotten why I'm still mad at her.
Piper: 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 few days, maybe a week-or two.
Prue: Great. (Prue tosses the rag aside.) Thanks for sharing. When does she arrive? (Phoebe appears behind them in the foyer.)
Phoebe: Now. Surprise! I found the hide-a-key.
Piper: Phoebe, welcome home. (Piper goes and hugs her.) It's so good to see you. Isn't it Prue?
Prue: I'm speechless. (A car horn beeps.)
Phoebe: Oh, oh. I forgot about the cab.
Piper: I'll get it. (She grabs Prue's purse.)
Prue: Hey, that's my purse. (Piper leaves.)
Phoebe: Thanks. I'll pay you back.
Prue: It's okay. Save your pennies. (Pause) Is that all that you brought?
Phoebe: That's all that I own. That and my bike. (Pause) Look, I know that you don't want me here
Prue: We're not selling Grams' house.
Phoebe: Is that why you think I came back?
Prue: The only reason Piper and I gave up our apartment to moved back here 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 sighs.)
Phoebe: I never touched Roger.
Prue: Whoa.
Phoebe: And I know you think otherwise because that's what the Armani-wearing, Chardonnay-slugging, trust-funder told you
(Piper comes back in the house.)
Piper: Hey, I got a great idea. Why don't I make a fabulous reunion dinner?
Prue: I'm not hungry. (She walks off.)
Phoebe: I ate on the bus. (She walks off.)
Piper: We'll try the group hug later.
[Time lapse. Piper and Phoebe are sitting at the table playing with the spirit board. There is a glass of wine by each of the sisters.]
Piper: You shouldn't have called Roger those names. That was cruel.
Phoebe: So was Roger. And the more Prue hears that, the sooner she'll get over that jerk. (Piper takes a sip of wine.) I'm glad to hear that you and Jeremy are still together. Where did you meet him anyway.
Piper: We met in the hospital cafeteria the day Grams was admitted. He was covering a story and I was bawling over a bagel. He gave me a napkin.
Phoebe: How romantic.
Piper: As a matter of fact it was. The napkin had his phone number on it. (Phoebe laughs.) Now st-stop pushing the pointer.
Phoebe: I'm not even touching it.
Piper: You used to always push the pointer. (She picks up the glasses and goes into the kitchen.) Take my turn, will ya?
Phoebe: I forgot your question.
Piper: I asked if Prue would have sex with someone other than herself this year. (She puts the wine glasses down.)
Phoebe: Oh, that's disgusting. Please say yes. (The pointer moved to the letter 'A' by itself.) Piper. (It then moves to 'T'.) Piper, get in here! (Piper does.)
Piper: What? (Prue comes in.)
Prue: What did you guys do now?
Piper: Me? I didn't do anything.
Phoebe: The pointer on the spirit board. It moved on its own. (Prue and Piper stare at her.) I am serious. It spelt A' T'.
Piper: Well, did you push it?
Phoebe: No.
Prue: You used to always push the pointer.
Phoebe: I was barely even touching it. Look. (She puts her fingers on the pointer. Nothing happens. Prue and Piper turn and start to leave. The pointer moves to the top of the board, then back to the letter T'.) There, 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. Piper sees it too.) There. Look. Did you see that? (The pointer moves again.)
Piper: Prue, can you come in here a sec? (Prue comes back in the room. Phoebe writes the letters down on an envelope.)
Phoebe: I think it's trying to tell us something. A-t-t
Prue: Now what? (Phoebe turns the envelope around.)
Phoebe: Attic. (There's a loud clap of thunder and the power goes out.)
[Cut to the foyer. Piper is walking towards the door. Prue is following her with the flashlight in hand.]
Piper: I don't care what you think. I'm leaving. (Piper grabs her coat.)
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. (Piper puts her coat on.)
Prue: It is pouring rain. There's a psycho on the lose. Jeremy's not even home.
Piper: So I'll wait in the cab until he gets back from work. (Piper crosses the foyer and picks up the phone.)
Prue: Oh, that'll be cheap.
Piper: Prue, I saw that pointer move.
Prue: No, what you saw was Phoebe's fingers pushing the pointer. She's playing a joke on us. There's nothing in the attic.
Piper: We don't know that. We've lived here for months and we've never been able to get that attic door open. (Piper tries the phone.) Great, now the phone doesn't work.
Prue: Of course it doesn't work. The power's out. Just come with me to the basement.
Piper: What?
Prue: I need you to hold the flashlight while I check out the main circuit box. (Phoebe comes up behind them and goes up the stairs and stops at the first or second step.)
Piper: Phoebe will go with you. Phoebe, you'll go with her to the basement, won't you?
Phoebe: Nope, I'm going to the attic. (Phoebe goes up the stairs some more.)
Prue: No, you are not. We already agreed. (Phoebe stops.)
Phoebe: I am not going to waiting for some handyman to check out the attic and I'm certainly not waiting until tomorrow. I'm going now. (Phoebe goes up the stairs. Prue leaves.)
Piper: Prue, wait. (She follows Prue.)
[Cut to Phoebe. She goes up to the attic door and tries to open the attic door 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 walks inside. A light shines on a trunk and she walks over to it. She kneels down and opens it and there's a book inside. She picks up the book and blows the dust off. She opens it.]
Phoebe: "The Book of Shadows." (She turns the page and starts reading.) "Hear now the words of the witches, the secrets we hid in the night, the oldest of spells are invoked here, the great gift of magic is sought.
[Cut to foyer. Prue and Piper are standing there, looking up the stairs.]
Prue: Phoebe! She should be back by now.
Piper: You go first. (Prue goes up the stairs with flashlight in hand. Piper follows her.)
[Cut to Phoebe.]
Phoebe: 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."
[Cut to living room. A bright light flashes from the ceiling.]
[Cut to hall. A picture of the girls is on a table. Prue is in the middle, Piper is on the left, and Phoebe is on the right a little far apart. Piper and Phoebe magically go closer to Prue.]
[Cut to Phoebe. Prue and Piper walk up behind her.]
Prue: What are you doing?
Phoebe: Uh
reading an incantation. It was in this Book of Shadows, I found it in that trunk.
Prue: Let me see that. (Prue kneels down beside her. Phoebe stands up.)
Piper: How did you get in here? (Prue looks through the Book.)
Phoebe: The door opened.
Piper: Wait a minute, incantation? What kind of incantation?
Phoebe: Well, it said something about there being three essentials of magic. Feeling, timing, and phases of the moon. If we were ever gonna do this, now - midnight on a full moon - was the most powerful time.
Piper: This? Do what this?
Phoebe: Receive our powers.
Piper: Our powers? Wait, our powers? You included me in this?
Prue: She included all of us. (Reading from the book.) "Bring your powers to we sisters three." (She closes the book.) It's a book of witchcraft.
Piper: Let me see that. (Prue stands up and hands Piper the book.)
[Scene: The m*rder witch's apartment. Andy and the cop are there along with people. Andy looks at the tattoo on her neck. It's a full circle with three interlocking arcs inside.]
Cop: What is it?
Andy: I don't know. It's the same tattoo that we found on the other three victims.
Cop: So, the m*rder is k*lling women who belong to occult.
Andy: No, these women didn't belong to occult. They, they practiced their craft alone. These women are witches.
Cop: The m*rder is k*lling witches?
Andy: He's just not k*lling them. He's hunting them. (Kit comes to Andy's feet. She meows. Andy goes over and pats her. Andy looks at Kit's collar. It has the same symbol on it that was tattooed on the witch.)
[Cut back to Manor. Prue, Piper, and Phoebe are walking down the stairs. Piper has the flashlight.]
Prue: Spirit boards, books of witchcraft. It figures all this freaky stuff started when you arrived.
Phoebe: Hey, I wasn't the one that found the spirit board.
Prue: It wasn't my fingers sliding around on the pointer.
Piper: It doesn't matter. Because nothing happened, right Phoebe, when you did the incantation?
Phoebe: My head spun around and I vomited split-pea soup. How should I know?
Piper: Well, everything looks the same.
Phoebe: Yeah, you're right.
Prue: Yet the house still needs work. (Prue and Phoebe leave Piper alone with a flashlight.)
Piper: And everything feels the same, so nothing's changed. (She looks over to where her sisters were.) Right?
[Cut to outside. The man that was standing there slowly walks off.]
[Scene: Manor. The next morning. Piper is trimming some bushes on the side of the Manor. Phoebe comes up to her with a mug of coffee.]
Piper: You're up early.
Phoebe: I never went to sleep.
Piper: Don't tell me you put on a black conical hat and spent the night flying around the neighborhood on a broomstick?
Phoebe: The only broom I've ever owned was kept in a closet beside a mop. (Piper stops trimming the bushes.)
Piper: So what were you doing?
Phoebe: Reading. I-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, an aunt who's manic, and a father who's invisible. (Piper walks toward into the house through the front door with Phoebe following her.)
Phoebe: I am serious. She practiced powers. Three powers. She could move objects with her mind, see the future and stop time. But before Melinda b*rned at the stake, she vowed that each generation of Warren witches would grow stronger and stronger, culminating in the arrival of three sisters. (Piper puts on her purse and grabs her coat.) These sisters would be the most powerful witches the world has ever known. I think that we are those sisters.
Piper: Look, I know what happened last night was weird and unexplainable, but we are not witches and we do not have special powers besides, Grams wasn't a witch and as far as we know, neither was Mom. (She kisses Phoebe.) So take that Nancy Drew. (Piper walks out the door. Phoebe goes to the porch.)
Phoebe: We are the protectors of the innocent. We're known as the Charmed Ones.
Piper: Mm-hmm.
Phoebe: And I beg to differ about Grams. (Phoebe goes in and closes the door.)
[Scene: The Museum of Natural History. Prue and Roger are in the storage room.]
Roger: There's been change of plan.
Prue: Change of plan regarding the Beals expedition?
Roger: The extra money that you help raise through private donations has sparked significant corporate interest. The Beals artifacts will now become part of our permanent collection.
Prue: Well that's terrific.
Roger: Which is why the board wants someone a little more qualified to handle the collection from now on. You look surprised.
Prue: I don't know why. I'm furious. Not only have I been on this project since its inception, but I'm the curator who secured the entire exhibition. (Prue pauses for a moment.) You're the person a little more qualified aren't you?
Roger: I could hardly say no to the entire board of directors, could I? But I know you'll be happy for me, after all, what's good for me is definitely good for you. 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 better than the other.
Prue: Bastard! (She turns to leave.)
Roger: Prue, wait. (She stops.) I feel like I should say something if only to avoid a lawsuit. (She leaves. Roger's pen in his pocket leaks and gets a blue ink spot on his shirt. He takes the pen out of his pocket and it squirts in his face.)
[Scene: Quake. Piper is in the kitchen making her audition meal. Just as she's pouring the port wine in a measuring cup, Chef Moore enters the kitchen.]
Chef Moore: (In his French accent clapping his hands) Your time is up. Let's see. Uh. (Reading the index card.) Roast pork with gratin of fennel and penne with a port giblet sauce.
Piper: Uh, Chef Moore
Chef Moore: What?
Piper: Uh, the port
Chef Moore: Yes, without the sauce it is nothing more than a salty marinara. A recipe from a woman's magazine. Puh!
Piper: I didn't have time for
Chef Moore: Ah-ah-ah!
Piper: But, but
(He puts some on a fork and raises it to his mouth. Piper waves her hands around and he stops. He stands there like a statue.) Chef Moore? Chef Moore? (She waves her hand in front of his face.) Hello? Hello? (She picks up a baster and fills it up with some port. She dribbles some on Chef Moore's forkful of food. He unfreezes and puts it in his mouth.)
Chef Moore: Mmm
this is very good. C'est magnifique.
[Scene: On the sidewalk. Piper's in a phone booth.]
Piper: Come on, Phoebe. You've got to be there. Phoebe, answer the phone. Answer the phone. (She hangs up and walks out of the booth. Jeremy walks up to her.) 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: We 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.
Jeremy: Hamburgers, hot dogs, pizza. (They kiss.)
[Scene: On the road. Phoebe is riding her bike. All of a sudden she has a premonition. In it she sees two boys on skateboards and they skate right in front of a car which hits them. Phoebe looks around. The premonition finishes. Phoebe continues riding and then sees the car and the two boys.]
Phoebe: No! Wait! Stop! Watch out! (She rides in front of the boys stopping them from skating in front of the car. She falls over a parked car on the hill. The car honks and Phoebe falls off her bike and holds her right arm. Kit is nearby. Some guy and the boys go to her.)
[Scene: Hospital. 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: Uh, one second please. (To Andy) What was the name again?
Andy: (to nurse) Uh, Detective Andrew Trudeau. Homicide. Dr. Gordon's expecting me. (The nurse leaves.)
Prue: Detective Andy Trudeau? (He turns around.)
Andy: Prue? I haven't seen you since
Prue: High sc
Andy: We broke up.
Prue: Yeah, talk about full circle. I'm even living back at my Grams house now. So, what are you doing here?
Andy: Uh, I'm investigating a m*rder. Uh, the victim was a nurse here.
Prue: I think I read about that in the paper. It was pretty creepy.
Andy: Yeah. So, what are you doing here?
Prue: Oh, just picking up Phoebe. She has some sore of accident. (The nurse comes back.)
Nurse: (to Prue) Your sister is to the right and down the hall. (To Andy) Doctor Gordon is to the left and down the hall.
Prue: Thank you.
Andy: Thank you. (The nurse leaves.) It's great seeing you, Prue.
Prue: Yeah, you too.
Andy: Bye.
Prue: Bye. (Andy leaves. Prue turns around and Phoebe walks up, with a bandage wrapped around her right arm.) Hey.
Phoebe: We need to talk, and not about Roger.
Prue: Okay.
[Scene: Quake. Prue and Phoebe are sitting at the bar.]
Prue: The Chosen Ones? The Charmed Ones? Phoebe, this is insane. (A bartender sets their drinks in front of them.)
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. Look, Phoebe, you may think that you think you can see the future, which is pretty ironic.
Phoebe: Since you don't think I have one, that-that my vision of life is-is cloudy compared to your perfect hell? Even if you don't want to believe me, just once can't you trust me?
Prue: I do not have special powers. (The cream moves by itself.)
Phoebe: Really? (The cream fills her cup of coffee by itself.) Looks pretty special to me.
Prue: Oh my god. It just-I
I can move things with my mind?
Phoebe: With how much you hold inside, you should be a lethal w*apon by now.
Prue: I don't believe it, but it's true.
Phoebe: This mean that Piper must be able freeze time. (Prue grabs a sh*t of tequila and drinks it all.) Are you okay?
Prue: No, I am 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 it.
[Scene: In a cab. Piper is in it 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. Open your fortune cookie. (She hands him one.)
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. (She snatches the bit of paper off him.)
Jeremy: Is that a bad thing?
Piper: Of the world. Soon you will be on top of the world.
Jeremy: (to the cab driver) Can you make a left on 7th please.
Piper: 7th? I thought 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.
[Cut to outside Quake. Phoebe and Prue start walking down the sidewalk.]
Phoebe: When I was looking in the Book of Shadows, I saw these woodcarvings. They looked like something out of a bosch painting. All these terrifying images of these three women battling different incarnations of evil.
Prue: Evil fighting evil, that's a twist.
Phoebe: Actually, a true witch is a good witch. They follow this wiccan lead. 'An it harm none, do what ye will.' If a witch violets this oath, they become known as a warlock, regardless of their gender. A warlock has but one goal: to k*ll witches and obtain their powers. Unfortunately, the look like regular people. They could be anyone, anywhere. (Prue and Phoebe stop walking.)
Prue: Okay, wait a second. And this has what to do with us?
Phoebe: The women in the first wood carving were in the slumber, but in the second one, they were battling some sort of warlock. I think that as long as we were in the dark about our powers we were safe. But not anymore.
[Scene: The old Bowing building. Jeremy opens the door.]
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. (They step inside an elevator. Jeremy pressed the button and the elevator starts to go up.) You are gonna love this. I bet you tell Prue and Phoebe the moment you see them.
Piper: I never mentioned Phoebe came home.
Jeremy: Whoops. (He pulls out a Kn*fe.)
Piper: What is that?
Jeremy: That's your surprise.
Piper: Jeremy, stop it, you're scaring me. Damn it! I'm serious!
Jeremy: So am I. See, I've waited six months for this. Ever since Grams went to the hospital. You see, I've known for some quite time that the moment that old witch croaked that all your powers would 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: It was you wasn't it? You k*lled all those women.
Jeremy: Not women, witches!
Piper: Why? (He raises his hand and flames come out of his finger tips.)
Jeremy: It was the only way to get their powers. (In a demonic voice) And now I want yours. (Piper screams as Jeremy raises his arm about to s*ab Piper. She puts her hands up and he freezes. The elevator freezes as well. She pulls away from Jeremy.)
Piper: Okay, think, stay calm. Think, think, think. I gotta get outta here. Okay. Okay. (She climbs up onto the next floor. Jeremy unfreezes and he grabs her leg. He tries to pull her back into the elevator but she grabs a wooden two-by-four and hits him over the head. He falls to the floor unconscious. Piper gets up and runs away.)
[Scene: Manor. Phoebe presses play on the answering machine. She's sorting through the mail.]
Roger: Prue, it's Roger. Look, I'm sorry about what happened. Call okay? No matter how you beg. (Prue comes in holding Kit and presses a button on the answering machine.)
Prue: Well, Piper's definitely not home unless she's turned into a cat. (Prue opens the back door and the puts the cat down.)
Phoebe: Where did that cat come from?
Prue: I don't know. You must of left the window open. (Prue closed the door.) Did Piper leave a message?
Phoebe: No. She's probably out with Jeremy. Roger called.
Prue: Yeah, that's why I pressed the delete button. (The front door opens.)
Piper: Prue? Phoebe?
Phoebe: In here. (Piper comes in and locks the door.) Piper?
Prue: Oh my God, what happened to you?
Piper: Quick, check the windows and lock the doors. We don't have a much of time. In the Book Of Shadows, did it say how to get rid of a-a
Phoebe: A warlock?
[Time lapse. Prue and Piper put a dresser in front of the front door.]
Prue: I'm calling the cops. (Prue picks up the phone.)
Piper: And tell them what? That we're witches? (Piper pulls the phone away from her and puts it down.) That some freak with powers beyond comprehension is trying to k*ll us? Besides, even if the cops did come, they'd be no match for Jeremy, and we'd be next. (Phoebe comes down the stairs with the Book of Shadows in hand.)
Phoebe: I found our answer. It's our only hope. Come on. (Prue and Piper follow Phoebe up the stairs.)
[Cut to Jeremy. He is now running down an alley.]
[Cut to the attic. They are sitting in a circle on the floor around a circle of candles with a bowl in the middle. They have placed candles in a circle around them.]
Phoebe: Now we've placed the nine candles anointed with oil and spices in a circle.
Prue: Where are the roses that Jeremy gave you?
Piper: Right here. (Piper shows a rose.)
Phoebe: Okay. Then all we need is the poppet. (Piper gets the poppet.)
Piper: Okay. I'm ready. Your love with wither and depart, from my life and my heart, leave me be, Jeremy, and go away forever." (Piper pushes two roses' thorns in the poppet.)
Prue: The spell is complete.
Phoebe: Okay. Let's hope it works. (Piper places it in the pot. They watch the poppet and rose burn. It then explodes and catches on f*re. They scream and jump back.)
[Cut to Jeremy. He is walking down the street then suddenly he starts screaming in pain. Hundreds of thorns tear through his skin.]
[Cut to Manor. The sisters are walking down the stairs.]
Prue: Do you think it worked?
Phoebe: Let's hope so.
Piper: I still can't believe it was Jeremy. (Phoebe suddenly stops and gasps as she reaches the dinning room.)
Prue: What is it?
Piper: What's wrong?
Phoebe: The incantation. It didn't work.
Piper: What?
Prue: How do you know?
Phoebe: Because I just saw Jeremy. He
(Jeremy opens the door.)
Jeremy: Hello, ladies. (Prue stands in front of Phoebe and Piper. They slowly walk backwards.)
Prue: Piper, Phoebe. (She uses her power and he hits the wall.) Get out of here now! (They run upstairs.)
Jeremy: Cool parlor trick, bitch. You were always the tough one weren't you, Prue, huh? You didn't even cry at your Mommy's funeral.
Prue: And I won't be crying at yours. (She uses her powers again he hits the wall. She runs upstairs.)
[Cut to attic. The sisters are putting things at the door.]
Prue: Phoebe, I'm sorry.
Phoebe: For what?
Prue: For not trusting you? (There is an evil laugh from outside. The stuff glows red in front of a door. They back up to a standing lamp. Suddenly, a f*re surrounds them.)
Phoebe: What do we do?
Piper: We're trapped. (The f*re disappears, then a big dust snake-like thing that circles around them. It's face looks like Jeremy's. They scream. Suddenly, it blows away and creates a tornado around them. The door burst open and there stands Jeremy.)
Phoebe: Come on, let's face him together. Remember the spirit board?
Piper: The inscription on the back.
Phoebe & Piper: The power of three will set us free. The power of three will set us free. The power of three
Phoebe: (To Prue) We cannot do this without you. Say it. You have got to trust me. (Prue nods. They holds hands.)
Phoebe & Piper & Prue: The power of three will set us free. The power of three will set us free. The power of three will set us free. 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 the chant over and over.)
Jeremy: No! I am not the only one! I'm one of millions! In places you can't even imagine! In forms you would never believe! We are all around you! You won't be the last! You will never be safe! And you will never be
free! (Jeremy explodes and disappears. The dusts goes away.)
Prue: The power of three.
[Scene: Manor. Next morning. She picks up the newspaper. She's about to head back inside.]
Andy: Good morning! (Prue turns around to find Andy standing at the bottom of the stairs.)
Prue: Hey, this is a surprise.
Andy: Yeah. I heard a neighbor complain about a noise last night. I was just wondering, is everything okay? Or did you throw a party you didn't invite me to.
Prue: No. I'm fine and believe me. There was no party here last night. I don't know why anyone complained.
Andy: Some people are strange. (Phoebe and Piper come outside. Phoebe's holding the Kit.)
Piper: I told you I heard a man's voice.
Andy: Hey Piper. Phoebe.
Phoebe: Hi.
Piper: Hey stranger. (Andy notices Kit.)
Andy: It that your cat?
Phoebe: It is now.
Andy: It looks familiar. (Pause) Well, I'll see you later than. (He starts to leave and then stops and turns around.)
Prue & Piper & Phoebe: Yes?
Andy: Some other time. (Andy leaves.)
Prue: Do you think Andy knows about us?
Piper: No. (Prue looks at Kit. She purrs.)
Prue: I think he knows about us.
Phoebe: Who would ever believe him anyway?
Piper: That's true. (They start to walk back toward the house.) So, what are we going to do now?
Prue: Same thing that we've always done. Borrow each other's clothes, hog the phone. But no matter what, we'll always be sisters, right?
Phoebe: Yeah. Sister witches. (Prue stands inside the house, looks at the door and shuts it with her power.)
End | {"type": "series", "show": "Charmed", "episode": "01x00 - Pilot"} | foreverdreaming |
Written by: Constance M. Burge
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Serena Fredrick's apartment. She puts down a bowl of food for her cat. (Later known as Kit.)]
Serena Fredrick: Come on, baby. Good girl. (She walks over to her altar and lights the candles with just a touch of her finger. You see someone standing outside her window. She starts saying a spell.) Ancient one of the earth so deep, master of moon and sun. I shield you in my wiccan way, here in my circle round, asking you to protect this space, and offer your sun force down. (Someone walks up behind her. She turns around.) What are you doing here? (The man pulled out a Kn*fe and plunged it in her stomach.)
[Scene: Halliwell manor. Piper walks through the front door.]
Piper: Prue?
Prue: In here, working on the chandelier.
Piper: Sorry I'm late.
Prue: What else is new? Piper, I would of been here to meet the electrician myself but you know I can't leave the museum until six. I didn't even have time to change.
Piper: I just didn't realise how long I was in China town. Did Jeremy call?
Prue: No, but he had some roses and a package delivered. What were you doing in China town? I thought that you had an interview in North Beach.
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 then?
Piper: No, but this just may get me the job.
Prue: Jeremy sent you port?
Piper: The ultimate ingredient for my recipe. 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: (Reading the inscription on the back) "To my three beautiful girls. May this give you the light to find the shadows. The power of three will set you free. Love, Mom." 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.
Opening Credits
[Scene: The witch's apartment. Police are there.]
Darryl: Well, it's about time.
Andy: I got here as soon as I heard. Another d*ad female, right? Mid to late twenties.
Darryl: I've been paging you for over an hour, Trudeau, where have you been?
Andy: Checking out a lead.
Darryl: What lead?
Andy: One that didn't go anywhere.
Darryl: You're avoiding my question.
Andy: Because you don't want to know that I went to an occult shop.
Darryl: You hate me don't you? You wanna see me suffer.
Andy: I wanna solve these m*rder. Someone's after witches.
Darryl: Women.
Andy: That woman up there, I bet she was k*lled with an athame.
Darryl: Wrong. Double edged steel Kn*fe.
Andy: Right. That's an athame. It's a ceremonial tool. Witch's use them to direct energy.
Darryl: That woman didn't direct jack. She was s*ab. Plain and simple.
Andy: Was she found in an altar?
Darryl: Yes.
Andy: Were there carvings on that altar?
Darryl: Just do me a favour. Don't even follow a lead without checking with me first.
Andy: You wanna go to occult shops?
Darryl: Get to work okay.
Jeremy: Jeremy Burns. San Francisco Chronicle. You care to comment?
Andy: A woman was s*ab. Plain and simple.
Jeremy: Well, that's the third one in three weeks.
(Andy walks off.)
[Scene: Halliwell manor. Prue is fiddling with the circuit tester.]
Prue: I don't get it. I have checked everything, there's no reason why the chandelier should not be working.
Piper: 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: We can rent the room at a reduce rate in exchange for some help around the house.
Piper: Phoebe's good with a wrench.
Prue: Phoebe lives in New York.
Piper: Not anymore.
Prue: What?
Piper: She left New York. She's moving back in with us.
Prue: You have got to be kidding.
Piper: Well, I could hardly say no. It's her house too. Grams left it to all three of us.
Prue: Yeah, months ago and we haven't seen or spoken to her since.
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 walks in.)
Phoebe: Surprise! I found the hide-a-key.
Piper: Phoebe, welcome home.
Phoebe: Hello, Piper. (Piper and Phoebe hug.)
Piper: It's so good to see you. Isn't Prue?
Prue: I'm speechless.
(A car horn beeps.)
Phoebe: Oops. I forgot about the cab.
Piper: I'll get it. (She grabs Prue's purse.)
Prue: Piper, that's my purse.
Phoebe: Thanks. I'll pay you back.
Prue: Is that all that you brought?
Phoebe: That's all that I own and a bike. Look, I know that you don't want me here ...
Prue: We're not selling Grams' house.
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 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 ...
(Piper comes back in the house.)
Piper: Hey, I have a great idea. Why don't I make a fabulous reunion dinner.
Prue: I'm not hungry.
Phoebe: I ate on the bus.
Piper: Okay, we'll try the group hug later.
[Scene: Phoebe's room. Phoebe's stands in front of the mirror. The news is on the TV but she's not really watching it. Piper knocks on the door.]
Piper: It's me.
Phoebe: Come on in. (Piper is carrying a tray with drinks and food on it.) Thank God. I am starving.
Piper: Figured. (She sees Jeremy on TV.) 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.
Phoebe: Yeah, I should of stayed. Now, why didn't you tell her I was coming back?
Piper: And risk her changing the locks? I don't think so and besides, I think you should of 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: Yeah, yeah, yeah.
Piper: And 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 mum anymore, you know, I need a sister.
(Prue knocks on the door. She's holding a blanket.)
Prue: This was always the coldest room in the house.
Phoebe: Thanks.
(Prue leaves.)
[Scene: The m*rder witch's apartment. Andy and Darryl are there along with people. Andy looks at the tattoo on her neck. It's a full circle with three interlocking arcs inside.]
Andy: It's the same tattoo that was on the other two victims.
Darryl: So, the m*rder is k*lling occults.
Andy: No, the m*rder's on witch hunts.
Darryl: Oh, yeah, he's five to eight years old and he lives in Salem. Look around, Trudeau. Pentagrams, altars, offerings, all the tools of a freak fest.
Andy: They call them Sabbaths. Which is hardly a freak fest. She was a solitary practitioner. She practiced her craft alone.
Darryl: Mmm.
Andy: Let me ask you something, Morris. Do you believe in U.F.O.'s?
Darryl: Hell, no.
Andy: Neither do I. But do you believe that there are people out there who do believe in U.F.O.'s?
Darryl: Yes, but I think they're crazy.
Andy: Well, then why can't you believe that there are people who believe they are witches.
Darryl: Look, all I know is if you don't stop talking about witches, I'm gonna start questioning you. (Kit jumps up on the bench. She meows. Andy goes over and pats her.) I'd stay away from that cat, Trudeau. It's been clawing the crap out of everybody. See you at the car.
(He leaves. Andy looks at Kit's collar. It has the same symbol on it that was tattooed on the witch.)
Commercial Break
[Scene: Halliwell manor. Piper and Phoebe are sitting at the table playing with the spirit board.]
Phoebe: When did you meet Jeremy?
Piper: About six months ago - right before Grams died. We met in 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.) Stop pushing the pointer.
Phoebe: I'm not touching it.
Piper: You used to always push the pointer. More popcorn?
(She gets up and heads for the kitchen.)
Phoebe: Hey, I forgot your question.
Piper: (from the kitchen) 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.) Piper. (It then moves to 'T'.) Piper, get in here!
Piper: What?
(Prue comes in.)
Prue: What did you guys do now?
Piper: Me? I didn't do anything.
Phoebe: The pointer on the spirit board. It moved on its own. (Prue and Phoebe stare at her.) 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. (She 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'.) 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. Piper sees it too.) There. (She stands up.) Look. You saw that right?
Piper: I think so, yeah.
Phoebe: I told you I wasn't touching it. (The pointer moves again.)
Piper: Prue, can you come in here for a sec?
(Prue comes back in the room.)
Prue: Now what?
(Phoebe writes the letters down on an envelope.)
Phoebe: I think it's trying to tell us something. (She holds up the envelope.) Attic.
(There's a loud clap of thunder and the power goes out.)
[Cut to the foyer. Piper is walking towards the door. Prue is following her.]
Prue: Don't you think you're overreacting? We're perfectly safe here.
Piper: Don't say that. In horror movies, the person who says that is always the next to die.
Prue: It is pouring rain. There's a psycho on the lose. Jeremy's not even home.
Piper: Well I'll-I'll-I'll wait in the cab until he gets home.
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 the attic, she's playing a joke on us.
Piper: We don't know that. We've lived in this house for months and we've never been able to get that attic door open. (She crosses the foyer and picks up the phone.) Great, now the phone doesn't work.
Prue: Yeah, the power's out. Look, 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: 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'm going now.
(Phoebe walks up the stairs. Prue goes into another room.)
Piper: Prue, wait.
[Cut to Phoebe. She tries to open the attic door 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 walks inside. A light shines on a trunk and she walks over to it. She opens it and there's a book inside. She picks up the book and blows the dust off. She opens it.)
Phoebe: "The Book of Shadows." (She turns the page and starts 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."
(Prue and Piper enter the attic.)
Prue: What are you doing?
Phoebe: Uh ... reading an incantation. It was in this Book of Shadows, I found it in that trunk.
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. Uh, 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 from the book.) "Bring your powers to we sisters three." It's a book of witchcraft.
Piper: Let me see that.
[Cut to outside. A man is standing outside their house.]
[Cut back to inside. They 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.
[Cut to outside. The man that was standing there slowly walks off.]
Commercial Break
[Scene: Outside Halliwell manor. Phoebe's sitting on the stairs drinking coffee. Piper comes out.]
Piper: You're up early.
Phoebe: I never went to sleep.
Piper: Don't tell me you put on a black conical hat and spent the night flying around the neighbourhood on a broomstick?
(She sits down next to Phoebe.)
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. 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, an aunt who's manic, and a father who's invisible. (She stands up.)
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 b*rned at the stake, she vowed that each generation of Warren witches would become stronger and stronger, culminating in the arrival of three sisters. (They walk to Piper's car.) 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 mum. (Piper kisses her on the cheek.) So take that Nancy Drew. (She gets in her car.)
Phoebe: We're the protectors of the innocent. We're known as the charmed ones. (Piper drives off.)
[Scene: The Museum of Natural History.]
Roger: There's been change of plan.
Prue: Change of plan regarding the Beals expedition?
Roger: The extra money that you help raise through private donations has sparked significant corporate interest. The Beals artefacts will now become part of our permanent collection.
Prue: Well, that's terrific.
Roger: Which is why the board wants someone a little more qualified to handle the collection from now on. You look surprised.
Prue: I don't know why. I'm furious. Not only have I been on this project since its inception, but I'm the curator who secured the entire exhibition. You're the person a little more qualified aren't you?
Roger: I could hardly say no to the board of directors, could I? But I know you'll be happy for me, after all, what's good for me is definitely good for you. 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 better than the other.
Prue: Bastard! (She turns to leave.)
Roger: Prue, wait. (She stops.) I feel like I should say something if only to avoid a lawsuit. (She leaves. Roger's pen in his pocket leaks and gets a blue ink spot on his shirt. He takes the pen out of his pocket and it squirts in his face.)
[Scene: Quake. Piper is in the kitchen making her audition meal. Just as she's pouring the port wine in a measuring cup, Chef Moore enters the kitchen.]
Chef Moore: (In his French accent) Your time is up. Let's see. (Reading the index card.) Roast pork with gratin of fennel and penne with a port giblet sauce.
Piper: Chef Moore ...
Chef Moore: What?
Piper: Uh, the port ...
Chef Moore: Yes, without the sauce it is nothing more than a salty marinara. A recipe from a woman's magazine. Puh!
Piper: I didn't have time for--
Chef Moore: Ah-ah!
Piper: But, but ... (He puts some on a fork and raises it to his mouth. Piper waves her hands around and he stops. He stands there like a statue.) Chef Moore? Chef Moore? (She waves her hand in front of his face.) Hello? Hello? (She picks up a baster and fills it up with some port. She dribbles some on Chef Moore's forkful of food. He unfreezes and puts it in his mouth.)
Chef Moore: Mmm ... this is very good. C'est magnifique.
[Scene: Museum of Natural History. Roger's office. He's sitting in his chair facing the window, talking on the phone.]
Roger: It was my idea to spark corporate interest in private donations. Not only have I been with this project since its inception, (Prue walks in his office.) but we both know who really secured the entire exhibit.) He swings around on his chair and sees Prue.) 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 thr*at 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.
Prue: Excuse me?
Roger: I had to take the exhibit away from you. If I hadn't, the board would of come and 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.
(She turns and leaves towards the door.)
Roger: I hope there are no office supplies in your purse. (She stops and wraps her hands around an imaginary neck. Roger's tie tightens around his neck and starts strangling him. He opens his draw and finds a pair of scissors. He cuts the tie off.) What the hell was that?
[Scene: On the sidewalk. Piper's in a phone booth.]
Piper: Phoebe, answer the phone. Answer the phone. (She hangs up and walks out of the booth. Jeremy walks up to her.) 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.
Jeremy: Hamburgers, pizza. (They kiss.)
[Scene: On the road. 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.)
[Scene: Hospital. 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. h*m*. Dr Gordon's expecting me.
Prue: Andy?
Andy: Prue? I don't believe it. How are you?
Prue: I'm good. How are you?
Andy: 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: Is she gonna be okay?
Prue: Yeah, she'll be fine. Um, what are you doing here?
Andy: m*rder investigation.
(There's an awkward silence.)
Nurse: (to Prue) Your sisters still in x-ray's so it'll be another fifteen minutes. (to Andy) Do 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: You know, Phoebe's busy, Dr Gordon's busy. Can I buy you a black cup of coffee while we wait?
Prue: Sure. (They walk towards the coffee machine.) 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.
Prue: Your dad must be so proud.
Andy: Third generation. You bet his 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 Portland.
Andy: I'm back. You, uh, still seeing Roger?
Prue: How did you know about him?
Andy: I know people.
Prue: You checked up on me?
Andy: I wouldn't call it that.
Prue: What would you call it?
Andy: Inquiring minds want to know. What can I say? I'm a detective.
[Scene: Quake. Prue and Phoebe are sitting at the bar.]
Prue: The Chosen Ones? The Charmed Ones? Phoebe, this is insane.
Phoebe: Are you telling me that nothing strange happened to you today? You didn't freeze time or move anything?
Roger: 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?
Prue: Phoebe, I do not have special powers. Now, where is the cream?
(The cream moves by itself and fills her cup of coffee with cream.)
Phoebe: Really? That looked pretty special to me.
Prue: Oh my god. So, um, I can move things with my mind?
Phoebe: With how much you hold inside, you should be a lethal w*apon by now.
Prue: I don't believe it.
Phoebe: This must mean that Piper can freeze time. (Prue grabs a sh*t of tequila and drinks it all.) Are you okay?
Prue: 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 to deal with it.
[Cut to outside Quake. Phoebe and Prue start walking down the sidewalk.]
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.
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.' A bad witch or a warlock has but one goal: to k*ll good witches and retain their powers. Unfortunately, the look like regular people. They could be anyone, anywhere.
Prue: And this has what to do with us?
Phoebe: Well, in the first wood carving, they were in the slumber, but in the second one, they were battling some kind of warlock. I think as long as we were in the dark about our powers we were safe. Not anymore.
Commercial Break
[Scene: In a cab. Piper is in it 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 one.)
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. (She snatches the bit of paper off him.)
Jeremy: Is that a bad thing?
Piper: Of the world. Soon you will be on top of the world.
Jeremy: (to the cab driver) Can you make a left on 7th please.
Driver: 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.
[Scene: Pharmacy.]
Pharmacist: (to Phoebe) I'll be right back with your prescription.
Phoebe: Take your time.
Prue: Excuse me, where do you keep the aspirin?
Pharmacist: Aisle three.
Phoebe: Chamomile tea works great for headaches.
Prue: Not for this one it won't.
(They wander up the aisle.)
Phoebe: You know I'm not afraid of our powers. I mean, everyone inherits something from their family, right?
Prue: Yeah, money, antiques, a strong disposition. That's what normal people inherit.
Phoebe: Who wants to be normal when we can be special?
Prue: I want to be normal, I want my life to be... you know, isn't this aisle 3?
Phoebe: Well, we can't change what happened. We can't undo our destiny.
Prue: Do you see any aspirin?
Phoebe: I see chamomile tea.
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 excuse me Phoebe, but I'm not exactly in a homeopathic mood right now.
Phoebe: Then move you headache out of your mind. (She stares angrily at Phoebe and a bottle of aspirin flies off the shelf and Prue catches it.) You move things when you're upset.
Prue: This is ridiculous! I thought that you landed on your arm, not your head.
Phoebe: You don't believe me.
Prue: Of course I don't believe you.
Phoebe: Ro-ger. (A few more bottle of aspirin fly off the shelf.) Now let's talk about Dad and see what happens.
Prue: He's d*ad, 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 mum.
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. (All the medicines and bottles fly off the shelves.) Feel better?
Prue: Lots.
Phoebe: The Book of Shadows said our powers would grow.
Prue: Grow to what? (They laugh.)
[Scene: The old Bowing building. Jeremy opens the door.]
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. (They step inside an elevator. Jeremy pressed the button and the elevator starts to go up.) You are gonna love this. I bet you tell Prue and Phoebe the moment you see them.
Piper: I never mentioned Phoebe came home.
Jeremy: Whoops. (He pulls out a Kn*fe.)
Piper: What is that?
Jeremy: It's your surprise.
Piper: Jeremy, stop it, you're scaring me. Damn it! I'm serious!
Jeremy: So am I. See, I've waited six months for this. Ever since Grams went to the hospital. I've known for some quite time that the moment that old witch croaked that all your powers would 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: It was you wasn't it? You k*lled all those women.
Jeremy: Not women, witches!
Piper: Why?
(He raises his hand and flames come out of his finger tips.)
Jeremy: It was the only way to get their powers. (In a demonic voice.) And now I want yours.
(Piper screams as Jeremy raises his arm about to s*ab Piper. She puts her hands up and he freezes. The elevator freezes as well.)
Piper: Okay, think, stay calm. I gotta get outta here. Okay.
(She climbs up onto the next floor. Jeremy unfreezes and he grabs her leg. He tries to pull her back into the elevator but she grabs a wooden two-by-four and hits him over the head. He falls to the floor unconscious.)
[Scene: Halliwell manor. Phoebe presses play on the answering machine.]
Roger: Prue, it's Roger. I've decided to let you come back to work. Seriously, let's talk. Bye.
(Prue comes in holding a cat.)
Prue: Piper's definitely not home unless she's turned into a cat.
Phoebe: How'd the cat get in?
Prue: I don't know. Someone must of left the window open. Um, did Piper leave a message?
Phoebe: She's probably out with Jeremy. Roger called.
Prue: Yeah, I heard.
(The front door opens.)
Piper: Prue?
Phoebe: In here. (Piper locks the door.) Piper?
Prue: Oh my God, what is it? What's wrong?
Piper: 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: Warlock?
Prue: Oh my God.
[Cut to the elevator. Jeremy is waking up. He grabs the Kn*fe and runs outside.]
Jeremy: I'll get you, you bitch.
Commercial Break
[Scene: Halliwell manor.]
Prue: I'm calling the cops.
Piper: And tell them what? That we're witches? That some freak with powers beyond comprehension is trying to k*ll us? Even if the cops did come, they'd be no match for Jeremy, and we'd be next.
Phoebe: (At the top of the stairs) I found the answer, come on.
[Cut to the attic. They are sitting in a circle on the floor around a low table. They have placed 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. (She holds up a birthday candle.)
Piper: A birthday candle?
Phoebe: I guess Grams was a little low on witch supplies.
Prue: Alright, we need the poppet.
Piper: Got it.
(Phoebe lights the birthday candle and puts it in the pot.)
Prue: Right, we're set. Get ready to cast the spell.
Piper: Okay, first I'll make it stronger. (She gets a rose and places it on top of the poppet.) "Your love with wither and depart, from my life and my heart, let me be, Jeremy, and go away forever." (She presses the rose thorn into the poppet and places it in the pot.) Okay, the spell's complete.
Prue: Let's hope it works.
(They watch the poppet and rose burn. It then explodes and catches on f*re.)
[Cut to Jeremy. He is walking down the street then suddenly he starts screaming in pain. Hundreds of thorns tear through his skin.]
[Cut to the attic. They are cleaning up. Phoebe picks up the pot and has a premonition.]
Phoebe: Wait! It didn't work.
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 run out of the attic and down the stairs. They run to the door and Prue opens it. Jeremy is standing there. Piper and Phoebe scream.)
Jeremy: Hello, ladies. (Prue stands in front of Phoebe and Piper. They slowly walk backwards. Prue uses her power and he hits the wall.)
Prue: Piper, Phoebe, get out of here now! (They run upstairs.)
Jeremy: Cool parlor trick, bitch. You were always the tough one weren't you, Prue?
(She uses her powers again he hits the wall. She runs upstairs.)
Prue: Phoebe, you're right, our powers are growing.
Piper: Put as many things against the door as you can.
(They push a dresser against the door and puts a chair on top of it.)
Jeremy: (From outside) Take me now, Prue. My powers are stronger than yours. (He laughs.) Do you think a chair will stop me? (The chair slides off the dresser.) Do you think a dresser will stop me? (The dresser slides away from the door.) Have you witches figured it out yet? Nothing, nothing can keep us away. (He laughs again.)
Piper: What do we do? We're trapped.
(The door explodes and there stands Jeremy. Prue, Piper and Phoebe scream.)
Prue: Come on, we'll face him together. Do you remember the spirit board?
Piper: The inscription on the back.
Prue: The power of three will set us free. (A circle of f*re surrounds them. They hold hands.) Come on, we gotta say it together.
Prue/Piper/Phoebe: The power of three will set us free. (They continue the chant over and over. Then strong wind blows around them. They keep chanting.)
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 earth!
(Jeremy explodes and disappears.)
Prue: The power of three.
[Scene: Halliwell manor. It's morning. Prue walks outside and grabs the paper.]
Andy: Good morning! (He's holding a paper and a cup of coffee.)
Prue: Hey, this is a surprise.
Andy: I've been feeling really guilty about that bad cup of coffee. I just want to make it up to you.
Prue: So, you brought me a good cup of coffee?
Andy: Oh this? No, this is mine. I, uh, just wanted to ask you out to dinner. Unless of course you're afraid.
Prue: Afraid of what?
Andy: Oh, you know, having too good of time, stirring up old memories, rekindling and old flame.
Prue: Hmm, good point, better not.
Andy: Okay. Friday night, eight o'clock? You're hesitating.
Prue: Yeah, but it's not what you think. It's just that ny life has gotten a bit complicated. Can I call you?
(He gives her his card.)
Andy: Take care, Prue.
Prue: Bye, Andy.
(He walks to his car. Phoebe and Piper come outside. Phoebe's holding the cat.)
Phoebe: It's Andy. I told you I heard a man's voice.
Piper: What did he want?
Prue: He asked me out.
Piper: And you said ...?
Prue: I started to say yes and then I stopped. I wondered if I could date. I mean, do witches date?
Piper: Not only do they date but they usually get the best guys.
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: 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.
(Prue stands inside the house, looks at the door and shuts it with her power.)
End | {"type": "series", "show": "Charmed", "episode": "01x01 - Something Wicca This Way Comes"} | foreverdreaming |
Written by: Brad Kern
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Quake. Phoebe's walking through the crowd.]
Phoebe: Oops, sorry. (She walks over to Piper.)
Piper: I'm gonna k*ll him.
Phoebe: Who?
Piper: Chef Moore. He, of the phony accent, hires me and then quits to open his new place. Thank you very much.
Phoebe: I don't see any customers complaining.
Piper: Hello, I am not a restaurant tour. I'm a chef. I have no idea what I am doing. Are you wearing my dress?
(Britney comes up to them.)
Phoebe: Hey, Britney. Ooh, I love that tattoo.
Britney: Thanks.
Phoebe: I thought it was illegal to get them on your hand because of the veins.
Britney: In the States, yeah. I got it done in Tahiti. (She hands Piper some money.) Keep the change, Piper. I gotta jam.
Piper: Okay, say hi to Max.
Britney: Bye.
Piper: (to a waitress) Table nine please. (Phoebe sees a guy and has a premonition.) Now, back to my dress.
Phoebe: Okay, see that poster boy to your left? (Piper looks at him.) Just glance, don't be obvious.
Piper: I approve, who is he?
Phoebe: His name is Alec and he's about to come over and ask if he could by me a martini.
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. None of us can control our powers. That's what scares me. I could panic and freeze the entire restaurant.
Phoebe: Shh, here he comes.
(Alec walks over to Phoebe.)
Alec: I was just sitting over there wondering if I could buy you a martini or something.
Phoebe: Martini, hmm, imagine that. I would love one. It's Alec, right?
Alec: Yeah, how'd you know my name?
Phoebe: Wild guess. Do you wanna grab a table?
Alec: Yeah.
Piper: (to Phoebe) Prue is gonna be pissed.
Phoebe: News flash. Stop worrying, you'll get wrinkles.
[Cut to outside. Britney walks to her car. She gets in. She adjusts her rear vision mirror. She sees someone sitting in the back seat and she screams.]
[Scene: Andy's apartment. Andy is asleep in his bed. Prue's there sneaking around and putting her clothes on. Andy makes a noise and rolls over. His alarm clock beeps and she uses her power to throw is out the window. Prue leaves. Andy wakes up.]
Andy: Prue?
Opening Credits
[Scene: Manor. Kitchen. Piper's watching TV and whisking some eggs. Prue comes in.]
Prue: Morning.
Piper: Morning.
Prue: What are you watching?
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: Yeah, right. By the way, Andy called.
Prue: When?
Piper: While you were in the shower. Bad date?
Prue: No. No, no. Not at all. It was great. You know, dinner, movie, sex.
Piper: Excuse me? On you're first date? You sleaze.
Prue: It wasn't exactly our first date, Piper.
Piper: High school doesn't count. That was last decade. Spill it. (Prue walks in the living room.) Ooh, that bad, huh?
Prue: No, actually that good. It was... well, we were naked. But that's not the point. I told myself that things would be different. That we would take it slow. It just shouldn't of happened, that's all.
(Phoebe comes down the stairs.)
Phoebe: What shouldn't of happened?
Piper: Prue slept with Andy.
Phoebe: Hello.
Prue: Thanks a lot, mouth.
Phoebe: Wait, you were gonna tell her but not me? Family meeting.
Prue: Speaking of last night. What time did you end up rolling in?
Phoebe: No, no, no. Do not change the subject.
Prue: Don't dodge the question.
Piper: It must of been at least after three.
(They walk in the solarium. Prue sits down.)
Phoebe: I must be 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 h*t on in the restaurant.
Phoebe: Excuse me, where vision is history, he h*t on me. Remember, the whole vision thing.
Prue: Vision thing? Please tell me you didn't use your powers.
(Phoebe 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: Phoebe, our powers aren't toys. We have to be careful or they can get us k*lled.
Piper: She's right. We don't want any warlocks finding us.
Phoebe: Look, it was just a lousy premonition, that's all. Nobody died. Besides, you guys can't control control your powers any better than I can. And F.Y.I. nothing happened last night. At least nothing I'm ashamed of.
Prue: There's another reason we have to be careful. Andy thinks someone's abducting women in our area.
Phoebe: Abducting women? What do you mean?
Prue: I mean warlocks aren't the only evil we have to watch out for. And F.Y.I. I'm not ashamed of anything.
Commercial Break
[Scene: Police station. Andy's looking at a picture of Brittany. He hands it to Morris. Max is there.]
Max: She didn't come home at all last night. That's not like Brittany, believe me.
Morris: Tell me, Max. What time did she leave to go to Quake?
Max: 8:30. She called around ten, said she was coming home. But I'm really worried.
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?
Max: Yeah, thanks.
(Max leaves.)
Andy: Forth one this week.
Morris: Yeah, well, they can't just be disappearing into thin air. Do something to your hair?
Andy: At least we narrowed down his feeding pool to the area around the restaurant.
Morris: Yeah, well, better tell your sweetie to lock the door at night.
[Scene: Outside a church. Piper's sitting in her car. Someone knocks on the window. Piper gets a fright.]
Piper: Pastor Williams, you scared me.
Pastor Williams: I'm sorry. Aren't you a little early? 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.
Pastor Williams: Great. So what are you doing here now?
Piper: Nothing really. Just, uh, just thinking.
Pastor Williams: About?
Piper: Mary Esty.
Pastor Williams: Who?
Piper: It's just a stupid documentary I saw. By the way, is it true that evil beings can't go into a church without being... (She makes a noise and moved her hands to show they were h*t by lightning. They laugh.)
Pastor Williams: Evil beings? You mean, like what? Vampires?
Piper: Vampires, no. I was thinking more on the lines of witches.
Pastor Williams: Witches, huh? Let me out it to you this way. I sure wouldn't wanna risk it. I gotta go. I'll see you later?
Piper: Yeah, right, absolutely. (He leaves. Piper gets out of her car and walks over to the door. Just as she's about to grab the handle, there's a crack of thunder and she runs away.)
[Scene: Bucklands. Prue's running towards an elevator.]
Prue: Hold the door. (She runs in the elevator and drops her briefcase. Everything falls out of it.) Damn it. Rex, can you push twelve please? (He does so.)
Rex: Here let me help. (He bends down and picks up some papers.) Eighteenth century French art. Do you work in the auction house upstairs?
Prue: No, just interviewing, if I ever get there in time. Don't let me get my King Louies' mixed up. (Prue's phone rings. She answers it.) Hello? Uh, Andy, how did you get this number?
Andy: Prue, I think we should talk.
Prue: Yeah, it's just that I'm really late for this interview.
Andy: I didn't mean for what happened last night to happen, Prue. You have to know that, Prue.
Prue: Of course I'm you know, totally wrong for it anyway, stuffy old auction house. I don't even know why you called.
Andy: Come on, Prue. Listen to me. We've known each other for a long time. We just couldn't help ourselves. It's nothing to be ashamed of.
Prue: I know, Andy.
Andy: All we did was make love.
Prue: I know, Andy.
Andy: Talk to me, help me out here, Prue. Why'd you sneak out like that?
Prue: I did not sneak out. Right, you were asleep. I didn't want to wake you. And I did write, you know, I just didn't leave it. (The phone crackles.) Hello? Hello? (She hangs up. The door on the elevator starts to open but Prue uses her power to make it close.)
Guy: Hey, it missed my floor.
(Prue uses her power so it misses everyone else's floor and it goes straight to floor twelve.)
Rex: That was strange. Lucky you, huh?
(The door opens.)
Prue: Yeah, I'm charmed alright.
[Scene: Quake. Phoebe hands a menu to a guy. There's a woman sitting next to him.]
Phoebe: He you go.
Stefan: Thank you.
Phoebe: Excuse me, but aren't you Stefan?
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. Well, I'll take a compliment from a gorgeous woman.
Phoebe: I'm sure your girlfriend must appreciate that.
Stefan: (whispering) She's not my girlfriend.
Phoebe: (whispering) Then why are you whispering?
Woman: Excuse me. (She leaves.)
Phoebe: Ooh, ooh, okay. Well, it was really nice meeting you.
Stefan: You too. Listen, listen. I'm in town for a couple of days doing a Porsche sh**t. If you're interested, stop by. I would love to photograph you. You do model don't you?
Phoebe: In my dreams, yeah.
(He writes down the address and gives it to her. She smiles and walks away. Piper comes up to her.)
Piper: A driver just called in sick. Can you do a quick delivery?
Phoebe: Sure. Is that guy at the bar staring at me?
Piper: There are a lot of guys at the bar staring at you.
Phoebe: The one at the far end. Tall, dark, brooding, very New York.
Piper: Sorry, no.
(Phoebe looks over and Stefan is gone.)
[Scene: Bucklands. Prue and a woman are walking towards an office.]
Woman: He's seen your resume and is very impressed. I gotta tell you, it's already blown out six other applicants.
Prue: I still don't know why he's interested. I never even applied.
Woman: He likes what you did at the museum. Even though your ex-boss trashed you. What's Roger got against you anyway?
Prue: Hard to say. Unless shattering his ego counts for something. He's also my ex-fiancé.
Woman: Got it. You ready?
Prue: Yeah.
(They walk in the office. Rex is there.)
Woman: Rex Buckland, this is Prue Halliwell. Interviewing for the new specialist.
Rex: Actually we've already met. Welcome to my stuffy auction house.
[Scene: Stefan's photography place. There is a woman tied to a table.]
Woman: Please, don't hurt me. Let me go. Please, Stefan.
(Stefan walks up to her and you see he is really old.)
Stefan: It's Javna.
(His eyes glow and a really bright light comes out of his eyes and goes into hers. She screams and she turns into an old woman. Stefan then turns young again.)
Commercial Break
[Scene: Bucklands. Rex's office. He's interviewing Prue.]
Rex: How many divisions did you correct?
Prue: Seven, including the colonist estate. It should be on my resume.
Rex: Franklin Carlton. That's quite a coup.
Prue: Well, I tend to be on the persistent side. I usually get what I want.
Rex: A no doubter. It's a shame though that you think you're... how did you put it in the elevator? Totally wrong for the job.
Prue: That was a private phone conversation.
Rex: Hardly.
Prue: You called me, remember. Not the other way around. And while we're at it, 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 of all this. I've only just taken over the house from my father, so I'm very protective of it. But knowing that, what you did at the museum, attracting the younger market, it's totally consistent of what I want to do there. It's just when all these qualifications are signed, It's very important to me that whoever I hire, truly wants to be here. (The intercom beeps.) Yep.
Secretary's voice: Excuse me, Mr. Buckland. Your next interview is waiting. Should I reschedule him?
Rex: No, I think we're done here.
Prue: Well, thanks for your time. (She walks over to the door, stops and turns around.) My area of expertise ranges from Ming Dynasty to a Mark McGuire ricky baseball card. You name it - I can identify it. Now, I may not of solved this job originally, but I do want it. And I am definitely right for it.
[Scene: The Church. Phoebe and Piper get out of the Quake van.]
Phoebe: You would think after last night, Prue would be a lot mellower. I mean, how long had it been? Six months? Which is worse.
Piper: It's just so un-Prue like to have sex on the first date. I mean, everything's changing since we've become... you know.
(They start getting the stuff out of the back of the van.)
Phoebe: Come on, you've never had sex on the first date?
Piper: No, have you? Don't answer that.
Phoebe: Well, it's not a regular thing. Of course now that I'm a witch I can see if it's gonna be any good or not before it actually... (She notices an elderly man standing next to her. She hands him a tray.) Hi. (He 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.
Pheobe: Okay, well there's careful and then there's paranoid. Do you wanna talk about it?
Piper: Talk about what?
(Pastor Williams comes up to them.)
Pastor Williams: Hey, Phoebe, I didn't know you were back in town.
Phoebe: Hey.
(They hug.)
Pastor Williams: Say goodbye to the Big Apple did you?
Phoebe: Oh, I ate the worm. Hey, I'm gonna go get some gum. Do you guys want anything?
Pastor Williams: No thanks.
(Piper shakes her head.)
Phoebe: Okay, good to see you.
Pastor Williams: You too.
(Phoebe walks away.)
Piper: Okay, here's the deal. I got this friend. Has a little problem. Could be bad. Not quite sure what to tell her.
Pastor Williams: You wanna go inside?
Piper: No. I mean, I've gotta get going.
Pastor Williams: So what's the problem?
Piper: Well, she kinda, sort of thinks she might be a witch.
Pastor Williams: Witches again, huh?
Piper: Not a good thing is it?
Pastor Williams: Certainly not a question I get everyday. How well do you remember Sunday school lessons? I suggest 22:18. Thou shall not suffer a witch to live.
Piper: Meaning...
Pastor Williams: If you go by the old school, it means put her to death. She's evil.
[Cut to Phoebe. She's at the store. She grabs a magazine and some gum and walks up to the counter.]
Phoebe: Here you go.
Guy: $3.52.
Elderly man: Should be used on grandchildren's birthdays. (He's holding a lottery ticket. Phoebe looks over at him.) It's a ten million dollar jackpot. Who knows? I mean, today may be our lucky day. If not, we're gonna lose our house.
(Phoebe touches a lottery ticket and she has a premonition of the lottery numbers.)
Phoebe: 4, 16, 19, 30, 32 and 40. Those are the winning numbers.
Guy: Yeah, yeah, right lady. You want this stuff or don't you?
Phoebe: (to the elderly man) 4, 16, 19, 30, 32 and 40. Trust me, Mr. Today is your lucky day. I think I'll buy one of these lottery tickets too.
[Cut back to the church. Piper's waiting in the car. Phoebe gets in with a smile on her face.]
Phoebe: Ready? Let's go.
Piper: What are you smiling about?
Phoebe: Nothing.
[Scene: Outside Quake. Morris and Andy are sitting in the car.]
Andy: What do you want me to say? This does not feel right to me about this, I can't help it.
Morris: Here we go again.
Andy: I mean, where are they, alright? What's this guy doing to these poor women?
Morris: Thinking alien abduction are ya?
Andy: I'm serious, Morris.
Morris: I know, that's what scares me. Let me guess, favourite movie when growing up - Ghostbusters? Look, we got a crazy, Trudeau. Likes the pretty ladies. That's it, the end. If he goes back looking make the world a safer place. That too hard to follow?
Andy: Evil d*ad II. Favourite movie growing up. Just for the record.
(Andy sees Prue get out of her car.)
Morris: Bank across the street, I think we should grab the ATM tapes and see if... (Andy gets out of the car.) Whoa, whoa, where are going? No, no, forget it Romeo. You're not bl*wing our cover.
Andy: Come on, Morris. Cut me some slack. I have to talk to her. Please? Five minutes, that's all I need.
[Cut inside Quake. Prue walks up to Piper.]
Piper: Cindy, come on, your salmon's up. Hector, way behind. We need clean plates.
Prue: You didn't give Andy my cell phone number by any chance did you?
Piper: No, why?
Prue: Never mind.
Piper: Remind me I wanted to do this for a living, right?
Prue: Looks like you're not the only one of us who's going to be doing anything for a living. Look how bad my interview went.
Piper: I can't imagine you were less then stellar.
(Prue notices Phoebe sitting at a table with Stefan.)
Prue: What's Phoebe doing here?
Piper: Flirting.
Prue: Yeah, and she's wearing Armani. Where did she get that?
Piper: Not from my closet. I gotta go.
(She walks away. Prue walks up to Phoebe.)
Phoebe: Prue, hi. This is my other sister. Prue, this is Stefan the photographer.
Stefan: Pleasure.
Prue: Likewise. (They shake hands.) Nice dress.
Phoebe: Don't worry, it's not yours.
Prue: I know. I could never afford it.
Phoebe: Will you excuse me for one minute? I'll be right back.
(Phoebe and Prue walk away. Stefan looks at his hand and it's turning really old.)
[Cut to the kitchen. Prue and Phoebe walk in.]
Prue: How are you gonna pay for that? You're broke.
Phoebe: Not for long.
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: 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? We'll I'm getting some.
Piper: 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?
(Andy bumps into a guy holding plates.)
Piper: Watch it! (Piper freezes everyone and the plates before they h*t the ground.) Oh, no. No, no, no, no, no, not again.
Prue: Now look what you've done.
Phoebe: This is my fault?
Piper: You guys aren't freezing?
Phoebe: I guess it doesn't work on witches. Piper, how long does it last?
(Prue looks outside the kitchen and sees that no one is frozen.)
Piper: I don't know, not long.
Prue: Uh, it doesn't work out there either.
Piper: Oh, tell me this isn't happening.
[Cut to outside the kitchen. Morris walks in.]
[Cut back in the kitchen.]
Phoebe: Calm down, it's okay. It's all gonna be okay.
(Prue looks outside again and notices Morris walking towards the kitchen.)
Prue: Oh, God, Andy's partner just came in and he's headed this way.
Piper: What are we gonna do?
Phoebe: Stall him.
(Prue runs out of the kitchen.)
Prue: Hey, Inspector Morris, right?
Morris: That's right. Is Trudeau in there?
Prue: Uh, Andy? I don't know is he?
[Cut back in the kitchen. Phoebe's fanning Piper with a menu.]
Phoebe: Okay, breathe, Piper, breathe.
(Just as Morris opens the door, everyone unfreezes and the plates fall on the floor and break.)
Andy: I really think we should... (He notices Morris there.) talk. What are you doing here? I thought I had five minutes.
Morris: Yeah, I gave you ten.
Piper: Guys, you know, we're really busy in here.
Andy: Yeah, sure.
Prue: Uh, I'll call you later, I promise.
Andy: Okay.
Phoebe: Bye.
(They leave.)
Piper: I hate being a witch.
Commercial Break
[Scene: Manor. Attic. Piper's looking in the Book Of Shadows. Phoebe walks in.]
Phoebe: Hey, what are you doing?
Piper: Reading. Thinking.
Phoebe: About what?
Piper: About how totally screwed we are now that we're witches.
Phoebe: Oh, that.
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: Yeah, well, don't because it gets me in trouble sometimes. Piper, talk to me.
Piper: I don't know, it's like our whole lives have been like everybody else. Rushing off to work, going out on bad dates, buying shoes and 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.
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 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: What about Jeremy? What about all the other warlocks he said would be coming after us. How do we know we're not just like them? That is what scares me. We don't know. 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 most 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 said. Besides, if anyone is concerned of being bad, it's me, right? (Piper laughs) You've got nothing to be afraid of. I am going to get my picture taken.
(She does a little pose. Piper laughs.)
[Scene: At a restaurant. Prue and Andy are sitting at a table. A waitress places two cups of coffee on the table.]
Andy: Thanks.
Prue: (in unison with Andy) Uh, Andy.
Andy: (in unison with Prue) Look, Prue.
Prue/Andy: (in unison with Andy) You go first. (in unison with Prue) Go ahead.
Andy: I'm not sorry it happened, Prue.
Prue: Well, I have to be honest with you, Andy, I am. I mean, not because I didn't enjoy it, I did. Especially the, um...
Andy: Yeah, that was great.
Prue: And of course so was the, uh...
Andy: That was nice too.
Prue: Yeah, but, you know, that's not the point, it's... 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. I just wanna know why you left, that's all. Why can't you tell me? What's the big secret?
Prue: Believe me, you don't wanna know.
Andy: Try me.
Prue: Well, my life, it's gotten a little complicated and I just don't think that I should get involved in anything right now.
Andy: Prue, we had sex. It doesn't mean we have to elope. Okay, about this, why don't we just pretend it never happened?
Prue: Do you want me to toss you a life preserve now, or just let you sink on your own?
(Andy laughs.)
Andy: No, no, I'm serious. Why don't you just count that one as part of our old relationship and we'll slow down, we'll start another. Prue, we've been given a second chance here, I don't wanna blow it this time. (Prue's phone rings and Andy's pager beeps.) Dating in the nineties.
Prue: Excuse me. Hello? Uh, yeah, absolutely, I'm sure I can make that. Okay, thanks. (She hangs up.) Uh, just give me a little time to think things over, okay?
(She leaves.)
[Scene: Outside the church. Piper's sitting in her car.]
Piper: I have nothing to be afraid of. I have nothing to be afraid of. (She gets out of her car and walks over to the church door. She holds onto the handle and pulls it open. She pokes her foot inside to make sure nothing happens. She steps inside and smiles.) I'm good! (She walks back down the stairs and Britney's there as an old woman. Piper looks at her and then her hand and sees the tattoo on it.) Britney?
Britney: You know me? Is that my name?
[Scene: Bucklands. Outside Rex's office. Prue's there.]
Rex: Prue, thank you for coming back.
Prue: Well, thanks for having me back, although I must admit I didn't expect it.
Rex: I told you I was interested and I am. But first of all I decided to test your expertise if you don't mind. See how good you really are. (They walk down the hallway.) This is Hannah Webster, one of our assistant specialists. This is Prue Halliwell.
(They shake hands.)
Prue: Nice to meet you.
Rex: Please, tell us about this piece.
(They show her a painting.)
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: Um, what about this one?
Prue: Daygar. Actually, this was the only sculpture he exhibited himself.
(Hannah knocks a ladder and a tin of paint falls above Prue.)
Rex: Watch out! (Prue puts her hands up to block the paint and she accidentally uses her power and the paint moves and misses her.) Are you okay?
Prue: Uh, uh, yeah, yeah, I'm okay.
Rex: You sure? I'm sorry, I can't believe that happened.
Prue: It's okay.
Rex: Well, uh, I really don't know what to say, except you're hired, if you still want the job.
Prue: Are you serious?
Rex: Can you start Monday?
Prue: Yeah, absolutely.
Rex: Terrific. It's done then. Yeah, we can sort out the details when you come in. In the mean time, welcome aboard.
Prue: Thanks. Bye.
(Prue walks away.)
Rex: Well, what do you think?
Hannah: I think she's either the luckiest woman alive or she's a witch.
[Scene: Manor. Prue enters.]
Prue: Piper? Phoebe? Guess what?
(Britney walks in the foyer.)
Britney: What?
(Piper walks in holding a bowl.)
Piper: Prue, thank God you're home.
Prue: Yeah, who, uh...
Piper: Here you go, Britney. (She hands her the bowl.) Why don't you go sit down at the table, okay? There you go.
(Britney walks over to the table.)
Prue: Um, sorry, Britney?
Piper: You're not gonna believe this. I'm not sure I do. I think... no, I know, this woman is Britney Reynolds.
Prue: Yeah, right, Piper and I'm Rosey O'Donnell.
Piper: No, I mean it. Britney had a tattoo, right? An angel on her right hand, remember?
(Prue looks over at Britney and notices the tattoo.)
Prue: That can't be.
Piper: That's what I thought at first but then I started asking her some questions. Things only Britney would know. She may be senile but it was enough to convince me.
[Scene: Stefan's photography place. Phoebe arrives in the van. She gets out holding a dress. She walks over and knocks on the door.]
Phoebe: Stefan, it's me, Phoebe.
(Phoebe touches the door handle and has a premonition of herself tied to a table and Javna's there. His eyes start glowing. The premonition ends. Phoebe runs back to her car and she gets in. Someone grabs her from the backseat.)
Commercial Break
[Scene: Manor. Attic. Prue and Phoebe walk over to the Book Of Shadows.]
Prue: Piper, what are you talking about?
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.) 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 Britney.
Prue: Yeah, but there must be some kind of incantation to reverse it.
Piper: There is. "The hand of fatima." It says that the Prophet Mohammad centuries ago to banish Javna back to where ever the hell he came from.
Prue: Yeah, well, the problem is we don't know who Javna is, let alone where he is.
[Cut to downstairs. Britney sees the address of Stefan's photograph place and she faints.]
[Cut back to the attic. Prue and Piper hear her.]
Piper: Britney? (They run downstairs to Britney.) Oh my God, what happened?
Prue: Britney, 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 that the address is on.) What is it?
Piper: It's a cocktail napkin from my restaurant. With Stefan's address on the back.
Britney: Javna.
Piper: Prue, that's where Phoebe went.
[Scene: Police station. Andy and Morris are looking at security tapes.]
Morris: Look at this. ATM tape caught the first victim.
Andy: And she's leaving with that photographer, Stefan.
Morris: ----- was the last place she was seen before she disappeared. Is he on a suspect list?
Andy: Just moved to the top.
Morris: God bless ATM's.
[Scene: Stefan's photography place. Phoebe is tied to a table.]
Phoebe: Wait, Stefan or whoever you are, let me go.
Javna: It's Javna.
(Javna's eyes glow and Phoebe screams.)
[Cut to outside. Prue and Piper pull up in the car. They run up to the van.]
Prue: Do you see anything?
Piper: No. Prue...
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 work with the three of us.
(They hear Phoebe scream.)
[Cut to inside A bright light comes out of Javna's eyes into Phoebe's. Piper and Prue come in. Prue uses her power and throws Javna across the room. The bright light then goes into Prue's eyes. Piper unties Phoebe.]
Piper: Phoebe, we don't have a lot of time, okay?
Phoebe: Prue, grab the mirror.
(Prue grabs a mirror and puts it in front of her face and reflects the light back into Javna's eyes. Prue gets the spell and they start chanting.)
Prue: Now.
Prue, Piper, Phoebe: "Evil eyes look unto thee, may they soon extinguished be, bend they will to the power of three, eye of earth, evil and accursed."
(They repeat it. Javna turns into a skeleton and then into dust and disappears.)
[Cut to the manor. Britney turns young again.]
[Cut back to Prue, Piper and Phoebe.]
Phoebe: Very cool.
(They go outside and the police are there.)
Andy: Prue? What are you doing here?
Prue: Well, we were just trying to get the van started.
Piper: Yeah, Phoebe called. She was having car troubles.
Phoebe: Stefan was gonna take some pictures of me.
Andy: Do you have any idea how lucky you are? This guy's a stalker.
Morris: No sign of him inside. He's car's here so he might still be around.
Andy: Excuse me.
(Andy reaches in the car and starts it.)
Piper: Hey, how about that. You fixed it.
Andy: How about that.
Phoebe: Maybe we should go.
(Phoebe and Prue walk away.)
Prue: Uh, thanks. Call me?
Andy: Sure.
Commercial Break
[Scene: Quake. Phoebe walks in.]
Phoebe: Whoops, excuse me. (She walks up to a woman.) Hey, how are you? (The woman looks at her strangely. She goes over to Prue and Piper.)
Piper: Do you know that girl?
Phoebe: I almost was that girl. She was one of Stefan's victims. Obviously doesn't remember.
Prue: Lucky her.
Phoebe: No, lucky me. I learned my lesson. I have got to be more careful.
Prue: Excuse me, did I just hear it? 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 love lives unfortunately. Although I must admit they do come in handy once in a while.
Phoebe: Uh huh. Hypocrite. (Phoebe sees the lottery numbers come up on the TV screen.) The winning numbers. I've won. (Prue gives her a look.) Well, I did.
(She gets the ticket out of her purse and the numbers disappear.)
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. Oh, well. At least those old couples didn't lose their house.
Piper: A toast to the power of three. Whether we like it or not.
End | {"type": "series", "show": "Charmed", "episode": "01x02 - I've Got You Under My Skin"} | foreverdreaming |
Written by: Chris Levinson and Jack Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Outside the manor. Prue, Piper and Phoebe are walking down the stairs heading towards the house across the street.]
Prue: So, we're agreed? Twenty minutes?
Piper: Prue, you can't do a party in twenty minutes.
Prue: Watch me.
Phoebe: Prue's party tips - meet, greet and bail.
Prue: Hey, I'm sorry but some of us have a job.
Phoebe: And some of us have fun.
Piper: And some of us are having a really bad hair day.
Prue: You know, that is a sign. Let's turn back now before it's too late.
Piper: No.
Phoebe: Prue, it's never too late for a party.
Piper: It's never too late, Prue.
Phoebe: Remember my sweet sixteen? (You see a dog in the bushes. They walk across the street and into Fritz, Marshall and Cynda's house.) Hey, I have an idea. Why don't we throw a party and charge commission. It's a great way to make extra cash.
Prue: Hey, I have an even better idea. Why don't you just get a job.
Marshall: The sisters Halliwell. Now the party can begin.
Cynda: It's about time you chicks showed.
Fritz: Hey, Prue, I'm glad you made it.
Prue: Wouldn't miss it for the world, Fritz.
Piper: Marshall, the place looks great.
Marshall: Thank you. We're mostly just restoring it. I didn't wanna change it too much. You guys knew the old owners didn't you?
Phoebe: Oh, we basically grew up with their kids. We probably know the house better than you guys.
Marshall: (to Fritz) Oh, hey, how's the bar?
Fritz: Oh, dry. I'll take care of it.
Cynda: No, my turn.
(Cynda crushes a beer can with her bare hands. Cynda walks away.)
Marshall: Try to behave, Cynda. We have guests.
Fritz: You know... sisters.
Prue: Tell me about it.
(Piper and Phoebe look at her.)
Marshall: So listen, enjoy the party.
Phoebe: Okay.
(Fritz and Marshall walk away.)
Prue: Okay, I came, I saw, I was perky. Now I just want my head on a pillow because I have to wake up early.
Phoebe: No. I mean, not yet.
Piper: Yeah, Prue, we just got here. It, it wouldn't look good.
Prue: Alright, what's going on?
Phoebe: Going on? What do you mean? (Phoebe sees Andy.) Oh, what a coinkidink. Look, who's here.
(Prue looks over at Andy. He waves.)
Prue: Phoebe, you didn't.
Phoebe: Well, your fingers weren't doing the walking, somebody's had to.
Prue: We've been through this. Okay, cop, witch, is not a love connection.
Phoebe: Boy, girl, lighten up.
(Andy comes over to Prue.)
Piper: Hi, Andy.
(Piper and Phoebe walk away.)
Prue: We're working on their subtlety.
Andy: Then it's onto ending hunger and creating world peace, right?
Prue: Hmm, what will I do with my Saturdays?
Andy: Funny you should ask. I don't mean to push you but I was wondering if you're not doing anything, I kind of have these tickets but they're for a Warriors game and you probably wouldn't be interested, so...
Prue: Well, the team can't do any worse than they did last year. Did you see him get creamed by the Lakers?
Andy: Impressive. Is that a yes?
Prue: You know, um, I need to check my book because I might have a thing.
Andy: A thing?
(Fritz walks up to them.)
Fritz: So Prue, I hear you're friends with a cop.
Prue: Inspector actually.
Fritz: Oh, yeah. I've got these parking tickets.
Andy: My focus is mainly homicide and robbery.
Fritz: Yeah, yeah. So I have these parking tickets...
Prue: Gotta go.
(Prue walks away.)
Andy: Prue, wait.
[Cut to outside. Prue walks back over to the manor. She notices the door's open.]
Prue: Phoebe.
(She walks inside and shuts the door. There's a dog on the stairs and it starts barking at her. She runs back outside. The dog's eyes glow.)
Opening Credits
[Scene: Manor. Kitchen. Prue, Piper and Phoebe are there.]
Phoebe: How big was this dog again?
Prue: Huge. Did you see the scratches on the attic door?
Piper: What was it doing in the house?
Prue: I don't know. Someone obviously left the front door open again.
Phoebe: Why do you always assume it was me? What about Piper?
Piper: Not it.
Phoebe: Well, it's not a big deal. We checked the house and nothing is missing except my Pat Boone Christmas CD.
Piper: Now this is really creepy. If there were a dog in the house, then it had to have an owner. No dog I know can open that front door, let alone reach the top shelf.
Phoebe: Hey, maybe we should get a security system.
Prue: No, they are way too expensive. Besides after what happened, Andy will be checking in every five minutes.
Piper: Oh, you told him.
Phoebe: Convenient. So what should we do?
Prue: Well, either we could rely on our vicious guard cat to protect us or we could remember to lock the doors.
(Prue walks in the laundry.)
Phoebe: That is a really good idea, Prue.
(Phoebe walks over and locks the door. Prue wiggles the door handle. Piper and Phoebe laugh.)
Prue: Unlock the door, Phoebe.
[Scene: Bucklands. Prue's office. Prue's sitting at her desk writing on a notepad. Victor walks in. He clears his throat. Prue looks up.]
Victor: I was told that you might be able to help me. (He pulls a ring off his finger.) I'd like to have this (he puts it on the desk) appraised.
Prue: Well, you would be better off going to the ------- appraiser.
Victor: I've been there. He'd need a week. And I just... I wouldn't feel right without it. It's a family heirloom.
(She picks it up and looks at it.)
Prue: I think I've seen a ring similar to this before. The setting's quite old. At least 17th century. (She walks over to a shelf and picks up a book.) The stones looks like crystallite. Keep in mind this is just an educated guess.
Victor: Please, (he sits down) guess away.
Prue: I am not mistaken. It's a stone that the Egyptians believed would protect them against spells, curses, evil spirits. This wouldn't be a wedding band by any chance would it?
Victor: You tell me.
Prue: The stones are set in two's. The symbol of twoality. Man, woman. Like in protection.
Victor: And what does all that tell you?
Prue: Where did you get this ring? What did you say your name was?
Victor: I think you know what my name is... Prudence.
Prue: Get out, (she throws the ring on the table and stands up) and stay away from us.
(He puts on the ring.)
Victor: I'm staying at the Ballmark. What do you say you and your sisters join me for dinner? Let's say tomorrow night. We can talk.
Prue: After how you abandoned us? How dare you.
Victor: Fiery temper. I like that. It reminds me of someone I know.
Prue: I am nothing like you. I would never leave my responsibilities, my family.
Victor: I can see we have some issues to work through.
Prue: Oh, we've got the whole subscription. Now get out before I have you thrown out.
Victor: Is that anyway to talk to your father?
(He leaves.)
Commercial Break
[Scene: At a cafe. Prue, Piper and Phoebe are sitting at a table drinking coffee.]
Piper: I wonder why he went to you first? Why not Phoebe or me?
Prue: Piper, it's not like I won the lottery.
Phoebe: What was he like? Did he ask about us?
Prue: Actually, no. (Phoebe looks upset.) Phoebe, think about it. He abandoned us. He was a no show for twenty years and then what, suddenly here he is? Why now?
Piper: Maybe he just wants to be part of our lives.
Prue: After all this time? Don't get your hopes up.
Phoebe: Well, there's only one way to find out. Why wait till dinner? Let's go see him now.
Prue: Will you be rational. Don't you find it just a little suspicious that just when we find out...
(a waitress comes up to the table and picks up the dirty plates.)
Waitress: Let me get that for you.
(She walks away.)
Prue: Just when we find out we're witches he shows up. But when mum dies he's no where to be found.
Phoebe: He sent us birthday cards.
Prue: Selective memory. Grams always told us he was a thr*at to us. There's no reason to think that's changed.
Piper: Prue, it's not that I don't see your point but you knew him, we didn't. Why can't we have a chance to know now?
Prue: Because we really don't know why he's here and until we do we can't trust him.
[Scene: A hotel. Phoebe knocks on the door to Victor's room.]
Victor: Entrée.
(Phoebe opens the door and walks in. She walks down all hallway and into a room. She sees Victor getting a massage.)
Phoebe: Daddy?
Victor: Well, well. What a nice surprise.
(He stands up.)
Phoebe: I'm, uh, I'm sorry to just show up like this. I know I was supposed to wait for dinner but I...
Victor: No, nonsense. Welcome. Let me get a good look at you. This is my baby girl. Little... Piper? (Phoebe looks crushed.) Phoebe.
Phoebe: Yeah. That's okay. People confuse us all the time.
Victor: Are you kidding? I should be slapped and persecuted. Let me make it up to you. How about some room service?
(He heads towards the phone.)
Phoebe: I just ate actually.
Victor: A drink? You are legal, right?
Phoebe: Barely but no thanks.
Victor: A massage? I can call Lucy back.
Phoebe: No, really, I don't want anything. I just wanted to look at you.
Victor: It's like looking in the mirror isn't it? You've got you daddy's eyes, you know that?
Phoebe: I noticed that.
Victor: How about a hug? (They hug and Phoebe gets a premonition of Victor holding the Book Of Shadows. The premonition ends. The phone rings and they stop hugging.) They always manage to find me.
Phoebe: You know what? It's okay, I, I'll just see you at dinner, I've gotta go.
(Phoebe leaves.)
Victor: Phoebe. Phoebe, wait.
[Scene: Outside the manor. A mailman walks up the stairs to the front door. His index finger turns into a key, he unlocks the door and walks inside. He walks up the stairs and up to the attic. The attic door is locked so he breaks it down. He grabs the Book Of Shadows and runs back down the stairs. When he walks through the doorway, the book flies out of his hands. He picks it back up but it doesn't let him take it outside. He sees Prue coming up the stairs so he quickly closes the door and he throws the book in the living room. He shape shifts into Andy. Prue walks in.]
Prue: Andy, what are you doing in here?
Andy: Uh, door was open.
Prue: Again?
Andy: Yeah, I, uh, came by to check up and it was open. I looked around. Everything seems to be in order. (Prue sees the Book Of Shadows on the floor in the living room.) You want me to check upstairs?
Prue: Uh, no, no, no, that's okay really. (She uses her power and the book slides under a stand.) Oh, and, um, about tomorrow night, I've changed my mind.
Andy: Excuse me?
Prue: Well, you'll never believe who popped back into my life after twenty years. Victor, my dad.
Andy: Your dad?
Prue: Yeah, he wants to have dinner and I would really rather avoid that. Too bad the game's not tonight. (Cynda knocks on the door.) Uh, hi Cynda.
Cynda: Hey. Everything okay?
Prue: Yeah, thanks.
Cynda: Bye.
Prue: Nice party last night.
(Cynda leaves.)
Andy: I guess I'll get going too.
(He kisses her on the cheek and leaves. Prue locks the door. She walks over, picks up the Book Of Shadows and takes it back upstairs. She notices the broken door.)
Prue: What the hell?
Commercial Break
[Scene: Manor. Kitchen. Prue, Piper and Phoebe's there. Phoebe sits down at the table. Prue and Piper are looking through the drawers.]
Phoebe: You don't know for sure.
Prue: I know plenty. First someone rips off the attic door, then the Book Of Shadows is found downstairs. Isn't that enough?
(Piper gets a phone book out of a drawer.)
Piper: Why would somebody want the book? Here.
(She hands the phone book to Prue and they both sit down at the table.)
Prue: Well, for one reason, they know what it can do. They want its power, our power.
Piper: That would mean it's someone who knows us and knows that we're witches.
Prue: Yeah, someone like Victor.
Phoebe: What? Dad?
Prue: Look, just think about it. The moment he shows up someone makes two attempts to grab the book. Coincidence? I think not.
Piper: The craft is a chick thing, Prue. It's passed on down through the female line. There's a good chance dad doesn't even know we're charmed.
Prue: And there's as good of a chance he does.
(Phoebe remembers the premonition she had.)
Piper: What would he want with the book? And why would he take it from us? Phoebe, help me out here. Phoebe.
Phoebe: Okay. Let's just say for the sake of argument that he is after the it. Wouldn't he of taken it with him? He wouldn't of left it behind.
Piper: Okay, we have to call the cops and report it as break in.
Prue: And tell them what? That someone broke into our house to try steal our broomsticks? I mean, please. Besides, Andy's already been here.
Phoebe: Oh, so Andy was here again. Talk about convenient. Did you ever think about pointing the finger at him?
Prue: He's probably the one who scared Victor away. Until we find out what's going on and whether Victor's involved or not, we've got to hide the book. Either that or we can't leave the house.
Piper: Fine. Then we hide the book because I'm going to dinner tonight. I wanna see dad.
Phoebe: So do I.
Prue: I've already seen him.
[Scene: Restaurant. Piper, Phoebe and Victor are sitting at a table. Piper's nibbling on a carrot stick.]
Victor: Girls, it's so nice to see you. It's not like we don't have a lot to talk about.
Phoebe: We do. I mean, yeah, we have a few questions.
Victor: (to Piper) You know, the last time we ate dinner together, you would only eat food that was white. I'm glad to see you've out grown it.
Piper: That's right. I was four.
Victor: Phoebe, that would've made you what? One? (She nods.) You know, you couldn't walk yet but you could swim. You were a fish. (Phoebe laughs.) This feels right doesn't it? This feels natural, almost like normal.
Piper: Almost. It's just, um, well, why? I mean, after all this time, why here, why now?
Victor: Well, I heard the food is pretty good here and it is dinner time.
(Phoebe laughs. The waiter places a plate in front of Phoebe.)
Waiter: Here you are, ma'am.
Phoebe: Thank you.
Victor: Bon appetite.
[Scene: Manor. Kitchen. Prue takes a container of broccoli out of the microwave and pours them out onto a plate. The door bell rings.]
[Cut to the foyer. Prue walks in and opens the door. Andy's there.]
Andy: My plans for tonight fell through, figured I'd stop by.
(Prue opens the door wider and Andy walks in.)
[Time lapse. In the kitchen. Andy's sitting at the table. Prue carries two cups of coffee over to the table.]
Prue: And then all of a sudden there he was. He just showed up at work.
Andy: I can't believe it. How are you dealing?
Prue: Honestly, I'm not.
(She sits down.)
Andy: I don't blame you. What do you think he wants?
Prue: Dinner. Piper and Phoebe are there with him now. You know, they just don't understand. They don't know him like I do. I can't believe I let them go. I can't believe they went. He's acting like no time has passed, like I'm still his little girl and I'm not. There are things I want to tell him, I want him to know what he missed. You know, like the time I broke my arm or the day that I finally passed my drivers test, our prom.
Andy: Didn't we miss that too?
(They smile.)
Prue: I want him to know. I want him to want to know. And I'm sorry but I also want some answers, like where the hell's he been all my life. Why didn't he come back until now? He needs to know that that's not okay.
Andy: So tell him. I'll drop him off.
[Scene: Restaurant. Prue walks in and goes up to the table. Victor stands up.]
Victor: Prudence.
Prue: Did I miss much?
Phoebe: Uh, just catch up. Dad was filling us in. Memory lane.
Prue: Has he mentioned where he's been all our lives?
Piper: Prue...
Prue: I don't understand. If you can afford a spot like this, why didn't you help out when Grams died? We actually could've used it then.
Piper: Give him a chance, Prue. Dad's explained. The money, all this, it's new.
Victor: It's okay, Piper. I'm a big boy. I didn't come back earlier because I was afraid I might disappoint you.
Prue: Too late.
Piper: I wonder what's keeping that dessert?
Victor: Please, sit down. Have something to eat.
Prue: I'm not hungry.
Victor: Always in a hurry, Prue. You skipped crawling and went straight to walking.
Prue: Ah, we're sharing memories. Well, I got one of my own, you're back walking out the door.
(Just as a waiter walks past them holding a flambeau, Victor puts out his foot and trips him. Piper freezes him and the restaurant. She gets up and takes the flambeau out of the waiters hands. Everyone unfreezes and the waiter falls flat on his face.)
Piper: Who wants flambeau?
(The waiter stands back up and takes the flambeau off of Piper.)
Victor: Nice reflexes. Now let me get this straight. Piper, you freeze time. Prue, don't you move objects? And what's you specialty, Phoebe? Premonitions? Maybe we should talk about this elsewhere.
[Scene: Manor. Living room. Piper and Phoebe are sitting on the couch reading magazines. The mail man walks in. Piper jumps up.]
Piper: What are you doing here?
Mail Man: What do ya think?
(Phoebe jumps up.)
Phoebe: Get out now.
Mail Man: No, you've gotta get out.
Phoebe: We've got it under control.
Mail Man: No you don't because they're on their way back. (The mail man shape shifts into Fritz.) I thought you were in charge. Look, shape shift into yourself and we'll get back to the book later. (Phoebe shape shifts into Marshall.) Nice plan, Marshall.
Marshall: Don't piss me off, Fritz. (Piper shape shifts into Cynda.) How was I supposed to know Prue would come back with her sisters.
Cynda: That little witch was supposed to be out on a date with that cop.
Fritz: You really think you would've been able to trick Prue into getting the book out of the house?
Marshall: Well, we sure as hell can't now can we?
Fritz: So what now, genius?
(Cynda laughs and then turns into a demon-like creature.)
Cynda: We k*ll them.
[Cut to outside. Prue, Piper, Phoebe and Victor pull up.]
[Cut back inside.]
Marshall: Cynda, heal. Plenty of time for that later. Heal.
[Cut back outside. Prue unlocks the door. When she opens it she sees three crows inside. They squawk and fly outside.]
Victor: Friends of yours?
Commercial Break
[Scene: Manor. Living room. Phoebe, Piper and Victor are there laughing. Prue walks in.]
Prue: Someone left the window open which is probably how the birds got in. What is so funny?
Piper: Do you remember the day this was taken?
(Piper shows her a photograph.)
Prue: Yeah, family picnic. It rained.
Victor: And your mother packed us all up and she brought us home and we had the picnic right here in the living room. Do you remember that Prue?
Prue: Barely.
Phoebe: Prue...
(Victor picks up another photograph and slowly walks over to Prue.)
Victor: This one was at one of your piano recitals. Not a very good sh*t. My fault. I had to take the pictures that day. Your mother was too busy holding her breath. If you look closely, (he hands her the photo) you see there, that's her.
Prue: I never noticed that before.
(Victor picks up another photo.)
Victor: And this one used to be a five by seven. (It is a picture of the family but a piece is missing.) When I was still in it.
Phoebe: I think Grams cut you out.
Piper: There's a bunch of other stuff in the attic. Grams left us some things.
Phoebe: Not all she left us.
Prue: Phoebe, let's not go there.
Phoebe: What, it's not like he doesn't already know and I'm sorry but it's kind of a relief to talk to someone about it.
Piper: Um, does anybody want coffee?
Phoebe: I mean, one day I am a member of the Y generation with average hair and a thing for caffeinated beverages, and the next I am a witch.
Piper: Dad, do you take cream or, um, sugar with that?
Phoebe: I just read from the book and 'wham!' I am Tabitha. The only thing is, is I got stuck with the power to see the future. How uncool is that?
Victor: Well, from what your mother always said, it was actually considered one of the more desirable powers.
Phoebe: Unless you see things you don't desire.
Prue: So how long have you known? About us, our powers, how long?
Victor: I knew there was a possibility. That's why I came back, to find out. It must of happened when your grandmother died, right?
Phoebe: Yep, I just read an incantation from the book and...
Prue: Phoebe.
Victor: Ahh, the Book Of Shadows. Not exactly summer reading. Is it still up in the attic? You know, I haven't seen it in years. Mind if I have a look?
[Cut to Fritz, Marshall and Cynda's house. Cynda is hitting a chair against the wall.]
Cynda: Disappointed.
Marshall: Patience, my sweet.
Cynda: Patience is highly over rated. We could've destroyed them right there.
Marshall: Then we'd have three d*ad witches and no way to get the book out of the house. Where would that put us?
Cynda: Satisfied.
Fritz: I still like my idea. We just k*ll two of them and we force the third to get the book out.
Marshall: Let me explain this once again for the cerebrally impaired. These are not school girls we're dealing with. These are good witches. We can not alert them with our presence. At their full strength, battling them would be unpleasant. However, once we possess the book, we get its powers, we weaken theirs and they're easy pray.
Fritz: You know, that sounds good in theory but, um, (he raises his voice) we've already tried everything.
Marshall: We still have Victor.
[Cut back to the manor.]
Victor: What exactly are you accusing me of, Prue?
Prue: Figure it out.
Phoebe: Come on, Prue, take it easy.
Prue: Are you kidding me? Am I the only one who sees what's going on here?
Piper: Couldn't we all just take a deep breath...
Prue: Think about it, Piper. He wines and dines and now he's back in the house he hasn't set foot in for twenty years and the first thing he wants to know is where's the Book Of Shadows?
Phoebe: You're just looking for something to blame him for.
Prue: Admit it. Tell them why you're here.
Piper: Prue, stop.
Prue: For the first time in your life, Victor, tell them the truth.
Victor: Alright, fine. You're right. I am after the book. That's exactly the reason why I came back.
Phoebe: Dad.
Victor: But not for the reasons you would like to believe. It would make it easier for you, Prue, wouldn't it? If I were evil. Well, I'm sorry to disappoint you, I'm not. I'm here to protect you.
Prue: Yeah, right.
Piper: To protect us from what?
Victor: From yourselves. That's why I want that damn book. It's where the power of three started and it's where it must end.
Phoebe: It's part of us, it's part of who we are.
Victor: That's what your mother believed too. Before they k*lled her.
Piper: What are you saying?
Victor: You have no idea what evil is out there.
Prue: Oh, I think we've got a pretty good idea.
Victor: Listen to me, Prue. That book is a magnet for evil. As long as you have it, as long as you use it, you're in danger. All of you.
Prue: You're unbelievable. After all these years of being an absentee dad then you waltz back into our lives and tell us how to live.
Victor: I never wanted you to have those powers in the first place. I battled with your grandmother after your mum died. She wanted you to find out you were witches when you grew up. I didn't. I fought for you, hard. Your grandmother was too strong.
Piper: Wait, you're blaming Grams for why you disappeared. She loved us, she raised us.
Prue: What'd she do? Put a spell on you?
Victor: believe me, nothing short of that would've kept me away. You have to believe me. All I want is for what's best for you. Phoebe, you believe me don't you?
Prue: We've done fine without you.
Victor: Prue, you can't fight this. I couldn't.
Prue: I'm not you.
Victor: Are you sure? Are you sure you can protect your sisters forever?
Piper: We'll protect each other.
Victor: Then you'll die together.
Prue: No one can hurt us as bad as you.
(She uses her power and he flies across the room and he hits the door frame. He stands back.)
Victor: If you wanted me to leave, all you had to do was ask.
(He leaves.)
Phoebe: Why did you have to do that?
(Phoebe follows Victor outside.)
Piper: Did you have to throw him so hard?
Prue: Piper...
Piper: We could've just, you know, talked about it like normal people.
Prue: We're not normal.
Commercial Break
[Scene: Hotel. Victor's room. Victor walks in and sits on the couch. The light turns on and Fritz, Marshall and Cynda are standing there.]
Marshall: Hell, Victor. Where have you been?
Victor: How did you get in here?
Marshall: I think you should be a little more concerned with what we're doing in here.
Victor: I was wondering when evil would rear its ugly head.
Marshall: Consider it reared. I don't know what kind of people you're used to dealing with but ---- they aren't willing to rip you into a thousand pieces and dance on your entrails.
Victor: Ahh, so you're lawyers. And here I was assuming you were shape shifters.
Fritz: Those are clever words for a man about to be an appetizer.
Victor: Cocky words for a man who can't get a simple book out of a house. Close your mouth. I mean, it's obvious. You're gonna shape shift into me and try to get to the girls that way. Am I right? It won't work.
Cynda: Why not?
Victor: (to Marshall) You mind if I poke holes?
Marshall: Poke away.
Victor: After tonight, the girls won't let me or anything that looks like me back into their lives let alone the house. I have officially been kicked out. There is however, one sister I can reach. Phoebe.
Cynda: So why don't I just become you and I'll reach her.
Victor: Because only her real father would know what buttons to push. The ones that would get me back in. If you k*ll me, you'll never know what they are. You'll never get back into the house and you'll never get the Book Of Shadows.
[Scene: Manor. Dining room. Piper and Prue are sitting at the table looking depressed. Prue's moving her food around the plate with her fork. Phoebe walks in.]
Phoebe: Good morning, Phoebe. (They ignore her. She picks up a napkin and waves it around.) Uh, guys. Can we call it truce just for five minutes please? I have a confession. Remember when we agreed to not see dad? Yeah, well, I did.
Piper: Hello, I was with you.
Phoebe: No, by myself before dinner and I had a premonition about dad when he hugged me. He was stealing the Book Of Shadows. Yeah, you were right about him, Prue. I didn't want the premonition to be true. I was hoping, praying that there was a perfectly good explanation for it. Hoping that, that he was really here to be with us. I just wanted him back in our lives. His our dad.
(Prue stands up.)
Prue: I know, Phoebe.
(Prue hugs her. Piper notices something on the floor. She walks over and bends down.)
Piper: Hey, look. (She picks up Victor's ring.) Dad's ring. What's it doing here?
(She hands it to Prue.)
Phoebe: It must of came off when he, uh... fell.
Prue: Well, I'll take it back to the hotel.
(She puts it on the table.)
[Time lapse. Outside. Phoebe picks up the paper. She waves at Fritz and Marshall across the road who are leaning against their car. Victor stands behind Phoebe. Phoebe turns around and gasps.]
Victor: Don't be afraid.
Phoebe: What are you... you have to leave.
Victor: Phoebe, please, this is very important.
Phoebe: I can't. I don't wanna talk to you anymore.
Victor: Phoebe, you gotta get the book out of the house.
Phoebe: You have to leave.
(She tries to walk away but he grabs her arms.)
Victor: Phoebe, trust me. Look...
(Phoebe has the same premonition as before again but this time Victor shape shifts into Marshall. Marshall, Fritz and Cynda walk off with the book. The premonition ends. Marshall and Fritz walk over to them. Victor lets go of Phoebe.)
Marshall: Excuse me, hey. Is this guy bothering you?
Phoebe: Uh, no. This is my, uh... this is Victor.
Victor: We were just saying goodbye.
Phoebe: Yeah, I gotta run.
(Phoebe goes back inside.)
Victor: What's the matter? Don't you trust me?
[Cut to inside. Phoebe runs inside heading towards the stairs. Prue comes in.]
Phoebe: Dad's not after the book, it's Marshall.
Prue: What?
Phoebe: My premonition, it wasn't dad. Gotta find a spell and banish them.
Prue: Banish who?
Phoebe: The neighbours. They're shape shifters. Fritz and Marshall and the...
(Piper and Cynda walk in.)
Cynda: Cookies. Just baked.
(Fritz walks in.)
Fritz: Hey, door was unlocked.
(Phoebe starts walking up the stairs.)
Piper: We're you going, Pheebs?
Phoebe: Uh, just to get something. Will you save me a cookie? (Cynda smiles.) Okay.
(Phoebe goes upstairs. Victor walks in.)
Victor: Daddy's home.
[Cut to the attic. Phoebe runs over to a closet. She pulls the clothes across and the book is in there. She flips the pages.]
Phoebe: Come on, come on. I have no idea what I'm looking for. (The pages turn by themselves.) Okay, I can take a hint. (It stops at a page.) "When in the circle that is home, safety's gone and evils roam, rid all beings from these walls, save sisters three now heed our call." (She repeats it and runs downstairs.) Dad, you can't be here, you have to leave now.
(Another Victor walks in.)
Piper: Whoa, time out. What's going on here?
Victor #1: Don't worry about it, sweetie. Everything's gonna be fine.
Victor #2: Don't trust him.
Piper: Wait a second. Last week we had no dad and now we have two?
Victor #1: Phoebe, remember, remember when you were little and you were afraid of the dark and I would leave the hall light on and the door open just a crack.
Victor #2: Oh, that's original. What kid isn't afraid of the dark?
Victor #1: Prue, she's never afraid of anything.
Piper: He's right, Prue. You were never afraid of the dark.
Victor #2: Lucky guess. I said I came back to protect you. Now there's only one way to do it. k*ll us both.
Victor #1: You're bluffing.
Victor #2: Am I? Just do it because I wanna go out with a bang.
Prue: Do it, Phoebe.
Phoebe: The spell will k*ll everyone including dad.
Victor #2: It's the only way. Prudence...
Piper: Prue, the protection ring.
(Prue uses her power and the ring slides across the table. Victor #2 picks it up. Prue nods and he puts it on.)
Prue: Phoebe, now.
Phoebe: "In the circle that is home, safety's gone and evils roam, (Cynda turns into a creature) rid all beings from these walls, save sisters three now heed our call." (It gets windy.) "When in the circle that is home, safety's gone and evils roam..." (The shape shifters start melting. Victor #2 falls to his knees. He looks like he's in pain.) Daddy!
Victor #2: It's okay, keep it going.
Prue, Piper, Phoebe: "Rid all beings from these walls, save sisters three now heed our call."
(The shape shifters melt and disappear. Prue, Piper and Phoebe run over to Victor. Prue helps him up.)
Victor: For a moment there I wasn't sure what you would do.
Prue: For a moment there neither did I.
Phoebe: I thought you didn't want us to use our magic.
Victor: I didn't. Not as long as I still thought of you as my little girls. But you're obviously not anymore.
Piper: We're still you're little girls, we're just...
Prue: Witches.
Victor: Yeah, witches. Well, obviously you don't need your old man to protect you from anything.
Commercial Break
[Scene: Manor. Living room. Prue, Piper and Phoebe are there. Prue's on the phone.]
Prue: No, Andy, I'm fine really. Dad's gonna be here any minute, so can I take a rain check on dinner? Okay, thanks for the good advice.
(She hangs up.)
Phoebe: So he's dad now?
Prue: Yes, Phoebe, and by the way my dress looks good on you.
Phoebe: I don't have any nice clothes, Prue.
Prue: Dad said it was casual.
Phoebe: I don't care. I wanna look nice for him. Who knows how long it'll be before we see him again.
Piper: You don't think he's gonna stay around?
Phoebe: Well, let's just say I no longer have a romanticised image of him. And I'm glad about that actually. At least dad is real now.
Prue: And at least he's not a monster which is very reassuring considering we share his genes.
Piper: I'm just glad he came back no matter how long he stays. Kind of nice feeling like a normal family again. Whatever that means. (Phoebe nods. The doorbell rings.) Speak of the devil.
(Piper answers the door. Piper and Leo walk back in the living room.)
Prue: Uh, hi, you must be Mr. Wyatt.
Phoebe: The handyman?
Leo: Call me Leo.
Phoebe: Gladly.
Leo: This was on the steps. (He holds up a yellow large envelope. Prue takes it off him.) This place is, uh, you don't find many like this around anymore.
Piper: Yeah, it's kind of falling apart.
(Prue opens the envelope.)
Leo: The problem isn't the manor, it's the manner in which it was treated. I'd love to see more.
Phoebe: I would love to show it to you. The attic is right this way.
(She pushes Piper out of the way and Phoebe and Leo head towards the stairs.)
Prue: Guys.
(Phoebe turns back around.)
Phoebe: Uh, I'll be right up.
Prue: He's not coming.
Piper: Who's not coming?
Prue: Dad. He sent this. Um, (she reads the note) girls, something's come up, I hate to leave town. Can't make it to dinner. Probably best if we let the dust settle anyway. I know there's a lot you would like to forget but here's what I remember. Love dad.
(She holds up a video tape.)
[Time lapse. Prue, Piper and Phoebe are watching the video. On the video it's Christmas. Prue, Piper and Phoebe are there as kids. They are opening their presents. Victor kisses Prue on the cheek and then grabs Piper and lifts her in the air. He then asks what Phoebe got and she holds up a Barbie.]
End | {"type": "series", "show": "Charmed", "episode": "01x03 - Thank You For Not Morphing"} | foreverdreaming |
Written by: Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Foyer. Prue is walking towards the front door. She opens it and Andy's there.]
Prue: Andy, hi.
Andy: I was no where near the neighbourhood, thought I'd stop by.
Prue: Honest man, I like that. (She steps aside and Andy walks in. She closes the door.) So, um, I had a great time last night.
Andy: Yeah, me too. But I forgot to give you something very important. (He gets a little square box out of his coat pocket.) Happy birthday.
Prue: But it's not my birthday until next week.
(She reaches for the box but he pulls it away.)
Andy: Consider this a preview.
(She grabs the box off of him and opens it up. She pulls out...)
Prue: A key?
Andy: To the Calistoga Spa. We leave Friday night after work. Don't worry, I got us adjoining rooms.
Prue: Adjoining rooms?
Andy: Well, I wouldn't want to assume something I'm not supposed to be assuming. Although, it has been over a month since we... then decided to take it slow, but no pressure. I just want to be with you, away, together. Think about it.
Prue: Okay.
(He leans over and kisses her.)
Andy: Let me know. Bye.
(He leaves.)
Prue: Happy birthday to me.
[Scene: Mark Chao's mother's place. Mark and his mother are standing outside. He is holding a balloon.]
Mark: Give me a break, mum.
Mrs. Chao: There are a lot of hungry spirits out there, Mark.
Mark: You're like the Chinese Shirley Maclaine, you know that?
Mrs. Chao: Better safe than sorry.
Mark: I'll risk it.
Mrs. Chao: You should have more respect for ghosts, Mark. If your grandmother were here--
Mark: She'd warn me about all the evil spirits walking the streets in Chinatown, I know, I know.
(Mrs. Chao takes an amulet off a hook next to the door.)
Mrs. Chao: You should take this for protection.
(He hooks it back up.)
Mark: Maybe the ghosts need protection from me. (He kisses her on the cheek.) I'll be okay, mum. I'm 23 now. I can take care of myself, okay. (He hands her the balloon.) I gotta go.
Mrs. Chao: Happy Birthday, Mark.
Mark: Thanks.
(He walks off.)
[Cut to Chinatown. Mark is walking down the crowded street.]
Woman: Hi, Mark.
Mark: Hey, how are ya?
(Mark walks down an alley. A g*ng surrounds him.)
Guy: Is this the guy?
Tony: That's him. (to Mark) Is today your birthday?
Mark: Who are you? What do you want?
Tony: You. Make a wish.
(Tony gets out his g*n, points it at Mark and sh**t. Mark falls to the ground. His spirits floats out his body and stands aside. Tony kneels beside Mark's body and places a ring on his finger. Another guy pours kerosene all over Mark's body and Tony lights a match.)
Mark: What are you doing? Hey, wait. No!
(Mark's body is engulfed in flames.)
Opening Credits
[Scene: Manor. Kitchen. Piper is there putting birthday invitations inside envelopes. Phoebe walks in.]
Phoebe: Good morning. (She notices the invitations.) What are you doing? Prue's coming down. Put that away.
Piper: Phoebe, you were supposed to send these invitations last week, the party is Friday.
Phoebe: We're right on schedule. The restaurant is reserved, the menu selected, the cake has been ordered.
(They hide the invitations in a drawer.)
Piper: That's because I did all those things. At least tell me you've managed to buy Prue something other than your traditional birthday gift.
Phoebe: What's my traditional gift?
Piper: A card, three days late.
Phoebe: Yeah, well, I decided to break that tradition and start a new one.
Piper: You bought Prue a gift? Where'd you get the money to pay for it?
(Prue walks in.)
Prue: Morning.
Phoebe: Good morning. Hey, I forgot to ask; how was your date with Andy?
Prue: Great, until he asked me to spend my birthday at a spa with him.
Phoebe: (sarcastic) Oh, I hate when they do that.
Piper: For this weekend? You didn't say yes, did you?
Prue: Well, my body did... screamed it actually. But I don't know, I just have to think about it.
Phoebe: A weekend of rest, rubdowns and room service. What's to think about? (Piper bangs a notepad down on the table. Phoebe remembers about the party.) I mean, uh, you could be right. Going away with a guy, is like...
Piper: It's like bringing them home to meet the parents. It changes everything. And if you're not sure if you're ready to make a commitment or not, you know, you don't wanna send the wrong signal.
Phoebe: Plus, you need a week to prepare for a weekend away. I mean, there's lingerie shopping, waxing, manicure, pedicure. I mean, it's basically a full time job and you've already got one. So you'll never be ready, not even if you started packing this second.
Piper: Wow.
Phoebe: Bottom line, unless you're ready to put your toothbrush next to his, you shouldn't go.
Prue: You guys aren't trying to plan another surprise party for me, are you?
Piper: No, never.
Phoebe: No, we've given up on trying to surprise you, Prue.
Prue: Well, that's good because you both know how much I hate surprises.
(She leaves the room.)
Piper: Damn it, Phoebe. If you had sent Andy his invitation we wouldn't be in this mess.
Phoebe: Okay, what are you talking about? You heard Prue, she doesn't want a party. So you should be glad that I flaked, besides, you know as well as I do, she's gonna go away with Andy. Now, if you'll excuse me, I have a present to pay for. Which means I have a job interview.
(She leaves the room.)
Commercial Break
[Scene: A hotel. Phoebe and Frankie, the hotel manager, are there.]
Frankie: You know why our hotel does psychic readings at the bar, it's kind of a trademark.
Phoebe: Well, that's why I'm here. I saw your ad in the Chronicle. I am a natural born psychic.
Frankie: Yeah, right. What's your act? Tea leaves, tarot cards, crystal balls, what?
Phoebe: No, I can see the future. I mean, I can't always see it, I never actually know when it's gonna work. Usually when I touch someone or I'm in the same general area as them. It's kinda hard to explain.
Frankie: Next!
Phoebe: No. (She stops him from walking off.) Wait, Frankie, hold it. I see it. You're having dinner with a blonde woman, she's gorgeous, all over you. Then some red head shows up. You look surprised. Ooh, she looks pissed. Your wife?
Frankie: When can you start?
[Scene: Bucklands. Prue's office. She's on the phone talking to Piper.]
Piper: So have you made up your mind about Calistoga?
Prue: I don't know, I keep thinking it's a bad idea but then I think well what's the big deal? It's not like we haven't already slept together.
Piper: I think you should go... on Saturday.
Prue: On Saturday, why? Piper, you promised no surprise party.
Piper: It's not what you think. It's Phoebe. She bought you a present.
Prue: Phoebe doesn't give presents, she gives cards three days late.
Piper: No this year. Surprise. And she really wants to give it to you on Friday. So could you please just ask Andy about leaving on Saturday instead?
[Cut to Piper at the manor.]
Piper: You have no idea how much Phoebe has put herself through. She even... (Piper sees a "Psychics Wanted" ad circled in the paper.) she even got a job and everything.
Prue: Okay, I'll ask, if I decide to go. So what kind of job did Phoebe get?
Piper: Don't know. Gotta go. Ciao.
[Scene: Hotel. Phoebe is there dressed in a pink costume. She kind of looks like Jeannie from "I Dream Of Jeannie". She is telling a woman her future.]
Phoebe: You're in a large room with lots of other people. Lots of other women.
Woman: Go on.
Phoebe: You're standing on a podium, no wait, you're on a scale. (Phoebe giggles.) It's a Weight Watchers meeting. Ooh, honey, it looks like you've gained some weight.
Woman: That's impossible. I only cheated once this week.
Phoebe: No, no, I'm not judging, I'm just seeing.
Woman: You're a fraud, that's what you are. I've never been so insulted in my life. I want my $20 back.
(She reaches for the jar of money but Phoebe grabs it off the table.)
Phoebe: No way. I saw you, you know I saw you. (The woman walks away.) Hey, if you want me to lie next time just say so.
(Piper walks up to Phoebe.)
Piper: Phoebe!
Phoebe: Piper! I am so busted, aren't I?
Piper: Are you out of your mind, again?
Phoebe: No, I'm The Amazing Phoebe.
Piper: This is not funny. Our powers are supposed to be a secret, not a marketable job skill.
Phoebe: Relax. They didn't hire me because they think I'm a witch, they hired me because they think I'm a psychic.
Piper: Hair splitting. You know you can't use your powers for personal gain, not without consequences.
Phoebe: No, but it's for Prue, it's not for me, it's to pay for her present, it's completely selfless. Besides, this is the last place anyone would expect to find a real psychic, believe me.
(Mark walks up to Piper and Phoebe.)
Mark: Which one of you is the psychic?
Piper: She is.
Phoebe: Oh, I am.
Mark: You can see me? Both of you?
Piper: Of course we can see you, now back off.
Mark: Oh, thank God. I've tried communicating with every psychic in the city. You were my last chance.
(Frankie comes up to them.)
Frankie: Phoebe, what are you doing? You've got customers waiting.
Mark: Okay, listen to me, you're the only ones that can help me.
Piper: Excuse us, we are trying to have an argument here.
Frankie: (to Piper) Who are you?
Phoebe: Uh, she's just leaving. Bye. Go now.
(Piper walks away and Mark follows.)
Mark: Wait, I need your help.
Piper: Yeah, talk to the psychic.
(Piper walks outside.)
Mark: Please, I'm begging you, I was m*rder last night, I can prove it.
Piper: Stop harassing me, buddy.
Mark: Please, I'm desperate, you gotta help me.
Piper: Leave me alone or I'll call the police. (to a woman) Can you believe this guy?
(The woman looks at her strangely.)
Mark: All you have to do is come with me to Chinatown and see for yourself.
Piper: Alright, that's it. Look, either back off or... look out!
(Someone on a bike rides straight through Mark.)
Mark: Now do you believe me?
Piper: Oh my God. I can see you but no one else can?
Mark: I'm d*ad, I'm a ghost.
[Scene: Quake. Prue walks in looking for Andy. She sees him sitting at a table with a woman. She walks over to them.]
Prue: Hi.
Andy: Prue.
Prue: Um, I tried calling the station house for you, they said that you would probably be here. (to the woman) Hi.
Woman: Hi.
Andy: Oh, Prue, this is, um...
Woman: Susan. Susan Trudeau. Nice to meet you. Pleasure.
Prue: Trudeau. Sister?
Andy: No, actually...
Susan: Wife.
(Prue walks away and Andy follows.)
Andy: Ex-wife. Prue, wait, I can explain.
Prue: Don't bother.
Andy: It's not what you think...
(Prue uses her power and moves a food trolley in front of Andy. He trips over it and lands on the floor.)
[Scene: Chinatown. Piper and Mark are walking down an alley.]
Mark: Thanks for helping me.
Piper: When you wouldn't leave my doorstep, you didn't leave me much of a choice. Maybe this isn't such a good idea.
Mark: Please, I don't have much time. Somebody has to find my body before it's too late.
Piper: Too late for what?
Mark: It's a Chinese myth. At least I always thought it was a myth. It's called Thowhoi, when the gates of hell open. We're almost there.
Piper: The gates of hell? I don't understand.
Mark: If the gatekeeper, Yama, catches my soul before my body's properly buried, hell take my to hell forever.
Piper: But you said you were m*rder. How can...?
Mark: Yama doesn't care about good or evil. He just wants souls. I should've listened to my mother.
(Piper sees Mark's burnt body. She gasps and covers her eyes.)
Piper: Is that you?
(Yama appears in the distance. He's on a horse which is galloping straight towards them.)
Mark: Yama!
Piper: Yama? Run.
Mark: It's too late. You better go. Run! (Piper freezes Yama.) What happened?
Piper: I'm a good witch, remember?
Mark: But how?
Piper: I don't know. I panic, I put up both hands and bad things tend to freeze.
Mark: For how long?
Piper: Not very, let's go.
(They run down the alley and Yama unfreezes. Yama's eyes glow bright green.)
Commercial Break
[Scene: Manor. Phoebe's standing outside the bathroom door.]
Phoebe: Prue, you can't do this, Piper's gonna be crushed.
(Piper walks in.)
Piper: I'm gonna be crushed?
(Prue comes out of the bathroom wearing only a towel.)
Prue: The surprise party is off.
Piper: What party?
Phoebe: She's onto us. The restaurant called while we were out.
Piper: Oh. Is that why you were so upset earlier?
Prue: Let's just say it hasn't been a great day.
Phoebe: Does it have anything to do with why Andy's been calling all night?
(Mark walks in.)
Mark: Piper, where'd you say today's paper was?
Prue: Hey, I'm practically naked here.
(Mark looks away.)
Mark: Oops, sorry.
Phoebe: What's the drunk from the hotel doing here?
Mark: My name's Mark and I'm not a drunk.
Piper: He's a ghost.
Prue: Excuse me, a what?
Piper A ghost. He was m*rder and he obviously needs our help. Why else would we be able to see him?
(Phoebe covers Prue with her coat.)
Phoebe: Well, he can see us, that's for sure.
Prue: Hey!
Mark: (mumbles) Of all the days to be a d*ad man.
Phoebe: You sure this guys really a ghost?
(Piper throws a cup at Mark and it passes right through him.)
Piper: Positive.
[Time lapse. Prue, Piper and Phoebe are in the kitchen.]
Phoebe: So how do we know that the guy doesn't really belong in hell?
Piper: Because we can see him. He's one of the innocent we have to protect.
Prue: Protect from what? He's d*ad.
Piper: All we have to do is get Mark's family to give him a proper burial and then he can move on to wherever it is he moves onto.
Prue: Okay, so call the police and let them know where the body is.
Piper: I already did. I just wanna give them a little time to notify Mark's mum before I go talk to her.
Phoebe: Talk to her? And tell her what? That you're a witch in touch with the ghost of her d*ad son?
Piper: No, I'm just gonna try and get her to have a funeral as soon as possible before Yama gets Mark's spirit.
(The phone rings and Phoebe answers it.)
Phoebe: Hello? Oh, hi, I can't really talk right now. It's important? Okay, I'll be at the hotel in a little while. Bye. (She hangs up.) That was my new boss calling. I gotta run.
(She leaves.)
Prue: Um, okay, so, so when you called the police you didn't talk to Andy did you?
Piper: No, it was anonymous. Why, did you decide to not go away with him?
Prue: Actually, I decided to go and till I went to tell him and found him having dinner with his ex-wife.
Piper: His what?
Prue: Yeah, I mean, you would think he would've remembered to reveal that little fact before we jumped in the sack.
Piper: Well, what did he say? Why didn't he tell you?
Prue: I don't know, I didn't really hang around long enough to ask.
(Mark pokes his head through the door.)
Mark: How's it going in there? (Prue and Piper jump.) Sorry.
Prue: Don't these guys knock?
[Scene: Hotel. Phoebe and Frankie are there.]
Frankie: Look, the guy's ------ could be a --------. I'm not sure, anyway, that's why I called. Make this bozo's night, read his future, tell him something good and he'll extend his stay, guaranteed.
Phoebe: Look, like I said, I don't always know what my psychic switch is gonna be in the up position.
Frankie: I have the most confidence in you, Phoebe, I don't know how you do it. Keep it up and you'll always have work here.
(A man sitting at a table finishes his drink and walks off without his wallet. Phoebe sees and calls out to him.)
Phoebe: Uh, excuse me, sir, you forgot you're...
(She picks up the wallet and has a premonition. In the premonition, the man walks out of a building and down some stairs. He walks onto the road and drops his suitcase. He bends down to pick it up and a car heads straight for him. The car hits him. The premonition ends.)
Frankie: Are you okay? What's the matter?
Phoebe: Nothing, I, uh, nothing.
[Scene: Manor. Living room. Mark is there trying to turn on the TV but his finger passes straight through the button. Piper walks in carrying some blankets.]
Mark: It's still new to me. I keep forgetting I'm... Are those for me?
Piper: Yeah, uh, stupid question... do ghosts sleep?
Mark: I don't even get cold anymore.
Piper: Sorry.
Mark: It's okay, it's the thought that counts. I guess it's finally sinking in, what's really happened, what I've lost. Sucking down a bucket of oysters at the wharf, ----------- friends, coming home and hearing my mother's voice on the machine nagging me 'cause I haven't married a nice Chinese girl.
Piper: Your mum means a lot to you, huh?
Mark: She's a great friend... was. (Mark sits on the couch.) It was just me and her after my father died. Taught me everything I know. Especially how to cook. My mum was a great cook.
Piper: My Grams taught me how to cook. Actually, I loved it so much I became a chef.
Mark: Really? Ever make a Peking duck?
Piper: No, you?
Mark: Piece of cake. Mum told me I could've been a great chef if I hadn't sold out to the Molecular Biology program at Stanford.
Piper: So you can make a Peking duck and clone DNA?
Mark: The duck's harder.
(They laugh.)
Piper: Well, I can talk about food all night long.
Mark: Yeah? Well, I can talk about it forever.
(They laugh again.)
[Scene: Hotel. Phoebe's impatiently waiting in the hallway. The man who left his wallet behind walks around the corner.]
Phoebe: Oh, Mr. Corey, thank goodness. Uh, I need to talk to you.
Mr. Corey: Do you? Me? Hey, you're that psychic, right?
Phoebe: Yeah, right, look...
Mr. Corey: Is that how you know my name?
Phoebe: No, uh, yes... Did you get the note that I left you?
Mr. Corey: The note warning me not to go outside? That was you? Do you get your jollies out of trying to scare people or is that how you drum up business?
Phoebe: What? You don't understand, I... (Mrs. Corey walks around the corner.) Hi.
Mrs. Corey: What's she doing here?
Mr. Corey: She sent the note.
Phoebe: It's not what you think. Look, here, when I picked up your wallet--
Mr. Corey: You stole my wallet?
Phoebe: I didn't steal your wallet.
Mrs. Corey: I don't know what you want but just stay away from us, you understand. (They walk in the elevator.) But you're going to die! Uh, that didn't come out right. Look, I can't tell you how I know this but I swear if you go outside, you're gonna get run over by a pink... wait, you don't have your briefcase. That's good, that's really good. It doesn't happen without your briefcase.
Mr. Corey: Leave us alone, or I'm gonna call hotel security.
Commercial Break
[Scene: Bucklands. Prue walks into her office and notices a bunch of flowers sitting on her desk. She walks over and smells them. Andy is standing in the corner of the room. He closes the door and Prue looks up.]
Andy: Hi.
Prue: You of all people should know that bribery is a crime.
Andy: Apologising isn't, is it? Look, Prue, I'm sorry I didn't tell you I was married before, I should have. I was going to.
Prue: Really? When? Before or after the doors of our adjoining rooms swung open this weekend?
Andy: Okay, I deserved that.
Prue: I don't understand how you couldn't find the time to tell me. Unless you really were trying to hide it from me.
Andy: Come on, Prue, you know me better than that.
Prue: Do I?
Andy: Prue, it was an innocent dinner, that's all. I've got an ex-wife and I don't hate her, is that so horrible?
Prue: No, no, it's not. But not being honest, not telling me up front is.
Andy: Which I've already apologised for. Why are you trying to turn this into something it's not? What's really bugging you, Prue? Looks like I'm not the only one trying to hide a secret.
(He leaves.)
[Scene: Outside Mark's mother's house. Mark and Piper are there. Piper rings the bell.]
Piper: Are you sure this is going to work?
Mark: If you speak her language she'll trust you.
(Mrs. Chao walks outside.)
Mrs. Chao: Can I help you?
Mark: (in Chinese) Hello.
Piper: (in Chinese) Hello.
Mark: (in Chinese) My name's Piper.
Piper: (in Chinese) My name's Piper.
Mark: (in Chinese) I need to talk to you.
Piper: (in Chinese) I need to talk to you.
Mrs. Chao: (in Chinese) You speak Chinese?
(Piper looks at Mark.)
Mark: (in Chinese) Berlitz, it's about Mark.
Piper: (in Chinese) Berlitz, it's about Mark.
Mrs. Chao: (in Chinese) You know where he is?
Mark: She asked if you know where I am.
Piper: You-you don't?
Mrs. Chao: No, and I'm worried sick. I haven't heard from him since his birthday.
Mark: The police haven't notified her yet?
Piper: How's the possible... I mean, that he hasn't called yet?
Mrs. Chao: I don't know, it's not like him. When did you last see him?
Piper: Um, well...
Mark: Piper, you have to tell her. You have to tell her where my body is so she can bury me.
Piper: I can't... er, I can't remember the last time actually but if I see him or hear from him I-I'll let you know.
Mrs. Chao: Thank you, thank you.
(Piper walks down the stairs and Mrs. Chao goes back inside.)
Mar: You can't walk away, Piper, you have to tell her. Mum, no.
(He runs towards the house and smacks straight into the door.)
Piper: What happened?
Mark: She's got the house protected against ghosts. All the Chinese fairytales she told me growing up were true. And I'm gonna burn in hell.
[Scene: Manor. Kitchen. Prue is cleaning. Phoebe walks in.]
Phoebe: Man trouble?
Prue: I don't wanna talk about it. By the way, where were you last night? (Phoebe starts cleaning.) Something wrong?
Phoebe: I don't wanna talk about it.
Prue: Okay, you never clean and you'll talk about anything. What's up?
Phoebe: Nothing.
(Phoebe starts scrubbing the bench. Prue stops her.)
Prue: Phoebe.
Phoebe: Okay, I had a premonition, a really bad one too. I saw a guy getting run over buy a pink Cadillac.
Prue: A pink Cadillac?
Phoebe: I know is sounds ridiculous but it's true, I saw it and I don't know what to do about it.
Prue: Did you warn him?
Phoebe: I tried, he thought I was out of my mind, thought I was stalking him or something. I mean, how do you tell a complete stranger that you know they're gonna die?
Prue: Where is he now?
Phoebe: Hotel Neptune.
Prue: What were you doing there?
Phoebe: I knew you were going to ask that. I wanted to get you a really great birthday present to make up for all those cards, so I got a job at the hotel as their lounge psychic. Go ahead, yell at me.
Prue: Phoebe, you have to save him, you can't let him out of your sight.
Phoebe: Don't worry, I waited until he went to sleep and then I broke a key off in his door to lock him in. He's safe til morning. (Prue continues cleaning.) Hey, wait, that's it? You're not gonna get mad at me?
Prue: You were trying to do something good. And now you're gonna get to do something wonderful. I couldn't ask for a better birthday present than that.
(Piper and Mark walk in.)
Piper: Hey, guys, you have to see this.
Mark: They found my body.
(Piper turns on the TV.)
Reporter: Although police report that the body was b*rned beyond recognition...
Mark: It's finally over.
Reporter: Personal affects found at the scene, preliminarily identify him as Tony Wong, head of the Chinatown triad.
Mark: That can't be, that's the guy who k*lled me.
(Phoebe has a premonition of Tony loading b*ll*ts into a g*n.)
Phoebe: Wait, I see him. Wong, he's still alive.
Mark: Of course he's still alive, that's me they found.
Prue: Can you see where he is now?
Phoebe: I see a sign. Uh, quick, give me a pen.
(Piper hands her a pen.)
Mark: I don't understand why Wong would wanna k*ll me. I never did anything to him.
Prue: Yeah, but you look a lot like him. Maybe he used you to fake his own death.
(Phoebe holds up her palm where she has drawn two Chinese symbols.)
Phoebe: What does that mean?
Mark: Warhai Imports. It's a warehouse over in Chinatown.
[Scene: Chinatown. Mark and Piper walk into a warehouse. Piper is holding a newspaper.]
Mark: I don't know about this, Piper, I think it's too dangerous.
Piper: It's your only chance.
Mark: Piper, listen to me. You don't wanna go up there. Those men pulled the trigger on me without even thinking. They'll k*ll you.
Piper: I can freeze things, remember?
Mark: But there's three thugs in there.
(They walk up some stairs.)
Piper: Keep talking.
Mark: With g*n.
Piper: Even better.
Mark: Wait, wait, wait. They've got an amulet on the door, can't go in. (Piper unhooks it and drops it on the floor.) Never mind. Scared?
Piper: Terrified. Trust me, that's a good thing. (Piper barges in a room and freezes Tony and his g*ng.) Okay, phew. We gotta hurry.
(Piper sits the paper in Tony's hands, stands back and takes a photo.) Say cheese.
(They unfreeze.)
Mark: Run!
(They run outside and Tony and his g*ng follow. Mark and Piper jump in the car and drive off. Tony writes down the car's license plate number.)
Commercial Break
[Scene: Outside the police station. Piper walks out of the station and over to Mark, who is standing beside her car.]
Piper: Okay, all set. I snuck the photograph into Andy's inner office mail.
Mark: My after life's in the hands of a cop named Andy.
Piper: He's an Inspector and he's very good, Mark. After he sees Wong is alive, he'll know exactly what to do.
Mark: Bust Wong maybe, but that doesn't help me. They won't have anyway of identifying the body is mine.
Piper: I put your name in with the picture. Andy will get dental records or something and match it up. All we have to do is keep Yama away from you until then.
Mark: I don't know what to say.
Piper: Don't say anything. I made you a promise didn't I? (Piper opens the car door for Mark. Andy sees Piper and walks towards her.) As much as I like you, I have no intention of joining you.
Andy: Talking to yourself, huh?
(Piper quickly closes the car door.)
Piper: Andy, hi. Yeah, um, it's an old habit, I do it all the time.
Andy: My mum uses to call it interesting conversations with an interesting person.
Piper: Yeah? Interesting.
Mark: Very.
Andy: Not that it's not a pleasure but what are you doing here?
Piper: Oh, nothing, you know, just passing by.
Andy: Prue tell you what's going on?
Piper: No. Well, yeah, I mean, sort of. Kind of screwed up, huh?
Andy: Any idea what I should do?
Mark: Oh, that Andy.
Piper: Yeah... I mean, yeah, um, hmm, just give her some space, let her work it through.
Andy: Yeah, okay. (He hugs her.) Thanks. Take care.
Piper: You too. (He walks away. Piper turns to Mark.) What?
Mark: You're a really sweet person, you know that? No, I mean that. I wanna take you somewhere. Something I wanna do for you.
[Scene: Hotel. Phoebe's waiting by the elevators. Mr. Corey walks out of one.]
Phoebe: Oh, Mr. Corey.
Mr. Corey: Stay away.
Phoebe: Please, you have got to believe me.
Mr. Corey: You locked me in my room didn't you?
Phoebe: Just for your protection.
Mr. Corey: What do you want? Money? Is that what this is? A shake down?
Phoebe: No, I am trying to save your life for God's sake, listen to me.
Mr. Corey: You're crazy.
Phoebe: If you walk out that door, you're a d*ad man.
Mr. Corey: (to the doorman) Call security.
Phoebe: Mr. Corey, don't do it! (He walks outside and downstairs just like in Phoebe's premonition.) Watch out! (Phoebe chases after him. He drops his briefcase and a car heads straight for him.) Mr. Corey! (Phoebe runs on the road and pushes him out of the way. The car beeps his horn and drives past them.) That'll be $20. Tip not included.
[Scene: Mark's place. Piper and Mark walk inside.]
Piper: This is your place? It's beautiful.
Mark: Thanks.
(Piper picks up a book.)
Piper: Camoo. I'm impressed.
Mark: I wish I had a chance to finish it. Of course I can say that about almost everything, I guess.
Piper: (reading from the book) "I love this world is a d*ad world, and always there comes an hour where on is weary of prisons and all one craves for is a warm face, the warmth and wonder of a loving heart."
Mark: I like that part.
Piper: Me too.
Mark: Listen, if your cop friend comes through, maybe I'll get a chance to ask him --------- turns out. I want you to reach for something. (He points to a small box sitting on top of a bookshelf. Piper reaches up and takes it off the shelf.) Open it.
(They sit down on the couch and Piper opens the box. She pulls out some letters written in Chinese.)
Piper: What are they?
Mark: My grandfather's recipes. My dad translated them when I was born. They've been serving these in my family's restaurant for decades. They're yours.
Piper: But they belong in your family.
Mark: I want you to have them. For everything you've done for me. I just ask one favour, use them for your sisters surprise birthday party.
Piper: Prue doesn't want a party.
Mark: Birthdays are important. I know, I walked out of my last one and it never occurred to me that I wouldn't get another. She may not know it but she needs to celebrate her birthday, we all do. Don't take it for granted.
[Scene: Manor. Prue's room. Prue's flicking through channels on the TV. Phoebe walks in.]
Phoebe: Prue, what are you doing?
Prue: Just flicking through channels.
Phoebe: You don't flick, you never flick.
Prue: Well, I flick now. Are you okay? You look...
Phoebe: Awful? I know. I feel fine.
Prue: Did you warn that guy?
Phoebe: I did better than that. I saved that guy. And it was great. I knew doing it would be good for him but I had no idea what a rush it would be for me. I felt so good and not just about myself, but about everything. That even in my own little way I could make a difference. Can you believe it's me saying this?
Prue: What more can I say? It's been a week full of surprises.
Phoebe: Yeah, speaking of surprises; what are you gonna do about Andy?
Prue: I don't know. Andy kept something from me, but the truth is I keep something from him every day. And it's not like I'll ever be able to tell him about our secret, so what's the point?
Phoebe: We're the Charmed Ones, Prue, not the Doomed Ones. We have lives just like everyone else. Call him, go see him, do something. Give to get, that's the secret of life, not our powers.
[Cut to downstairs. Piper and Mark walk in the foyer.]
Piper: You okay?
Mark: I was just thinking, walking under the stars, what's really up there, what's waiting for me.
Piper: I don't know. Maybe you can give me a hint when you get there.
Mark: I don't want this night to ever end. I'm not ready to say goodbye, Piper.
(She holds her hand near his face.)
Piper: Close your eyes. Pretend you can feel my hand on your skin, that my touch gives you comfort.
Mark: No...
Piper: Just close your eyes.
(They move their lips together as close as they can so it's like they're kissing without touching. They pull apart.)
Mark: Where were you my whole life? (Suddenly, the front door flies open and two of Tony's men run in. They grab Piper and carry her outside.) No! Piper! Somebody help!
(Prue and Phoebe run down the stairs.)
Prue: What's wrong, what happened?
Mark: They took her. Wong's men took Piper.
Phoebe: Do you know where they took her? (He shakes his head.) I'm calling 911.
Prue: No, do it from the car, let's go. We've got to find her.
Mark: Even if it takes all night.
(They run outside.)
Commercial Break
[Scene: Warehouse. Tony, his g*ng and Piper are there. Piper is tied up in a chair. Tony is loading b*ll*ts into his g*n.]
Tony: The first time I saw you I thought you were a ghost.
Piper: These ropes are really tight, if you could just until my hands. Why did you k*ll Mark?
Tony: I needed his identity. (He grabs her hair.) Who else knows I'm alive? I had plans. I had a boat ready to take me to Hong Kong. I had a whole new life and you screwed it all up.
[Scene: Police station. Andy sits down at his desk. Someone puts an envelope on his desk.]
Andy: Thanks.
(He opens the envelope and pulls out the photo of Tony Wong.)
[Cut back to the warehouse. Prue and Phoebe run in. Mark runs down the stairs.]
Mark: Quick, they have her upstairs. (One of the men come out with a g*n.) Look out!
(Prue uses her power and the guy lands into a pile of boxes.)
[Cut to upstairs.]
Tony: (to his men) I'll take her. You sh**t anyone that comes through that door.
(He unties Piper's hands. Phoebe and Prue walk up the stairs. Prue uses her power on the men. Tony sh**t at Prue and Phoebe and Piper freezes the b*llet in mid-air.)
Prue: Thanks, sis.
(Prue and Phoebe untie Piper.)
Mark: How long does this last again?
Piper: Not very.
(Tony unfreezes and the b*llet hits a statue.)
Tony: Who are you people?
(Prue uses her power and Tony falls down the stairs. Tony runs outside and the police pull up.)
Andy: Police! Freeze!
(Tony fires his g*n and Andy sh**t him. Prue, Piper, Phoebe and Mark walk out onto the balcony.
Piper: I've never seen anybody k*lled before.
Prue: Jeremy.
Phoebe: Javna.
Piper: I mean human.
Prue: Come on, let's get out of here before Andy sees us.
(Tony's spirit floats out of his body. Prue, Piper, Phoebe and Mark run down an alley and Tony follows. They stop.)
Mark: Wong.
Tony: But you're d*ad.
Mark: Yeah, so are you.
(Yama appears on his horse and holding a spear.)
Piper: Mark, I think you should get outta here.
(Mark grabs Tony.)
Mark: Make a wish, you bastard.
(He pushes Tony into Yama's spear. The spear sucks him up. Yama moves closer to Mark. Piper stands in front of Mark.)
Piper: No, you can't take him. He's a good man, he doesn't belong with you.
(Yama hesitates and then disappears.)
[Scene: Mark's funeral. Mark is there watching his mother. Prue, Piper and Phoebe are standing near by.]
Minister: We are here to celebrate the joy of Mark's life and the redemption of his spiritual journey.
Mark: (to his mother) All those stories, all those legends you taught me, you saved my soul, mum. You were right. (He walks over to Prue, Piper and Phoebe.) Take it from me, Prue, don't miss your birthday. Not any of them, they're precious.
Prue: I won't.
Mark: (to Piper) I wished.
Piper: I know, me too.
(He holds his hand close to her face.)
Mark: I'm gonna miss you, Piper.
(A man appears in the distance.)
Phoebe: Who's that man?
Mark: (smiles) My dad. I guess this really is goodbye.
(Mark walks over to his dad and they disappear.)
Piper: (crying) Leave it to me to fall for a d*ad guy.
Phoebe: It's an improvement. At least he wasn't a warlock.
Piper: Yeah.
[Scene: Manor. Prue, Piper and Phoebe walk inside.]
Prue: You know what? I've changed my mind. Maybe I should have a party after all.
Phoebe: Are you serious?
Prue: Yeah, why not? I mean, Mark is right.
Piper: Well, Prue, I'm glad you said that 'cause...
(They walk in the living room and there stands a room full of people.)
Everyone: Surprise!
Piper: Did I getcha? I gotcha.
Prue: Yeah, you got me.
Piper: Yeah.
Phoebe: And an actual present too. It's paid for. (She hands Prue a present.) I hope you like it.
Prue: I'm speechless.
(They hug. Prue sees Andy standing across the room. They smile at each other.)
End | {"type": "series", "show": "Charmed", "episode": "01x04 - d*ad Man Dating"} | foreverdreaming |
Written by: Constance M. Burge
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Quake. Phoebe enters. Two guys walk up to her.]
Guy #1: Are your parents t*rrorists? Cos baby you're the b*mb.
Guy #2: Jim, Jim, ask her if it hurt when she fell.
Phoebe: Uh, excuse me?
Guy #2: When you fell from Heaven. Did it hurt. Cos I know an angel when I see one.
Phoebe: Hmm. I'm no angel. I'm a witch. But don't tell my sisters I told you. (She walks over to Prue and Piper who's sitting at a table.) Oh, I'm so glad you guys are still here. What are you staring at?
Prue: They have been going at if for almost an hour.
(You see a woman and a guy making out.)
Phoebe: Hello! Oh, I can't even look.
Piper: I know. I hate being single.
Skye: Waitress coming through. Special delivery.
Piper: Hey Skye.
Phoebe: Hey Skye.
Skye: Hi.
(She places a glass of wine in front of Prue.)
Prue: Um, I think there's been some kind of a mistake. I didn't order this.
Skye: I know. You have a secret admirer. He ordered it for you.
(She points out the Dream Sorcerer. He's sitting in a wheelchair.)
Piper: Who's that?
Skye: I have no idea. I'm just following the bartender's orders. And, apparently he's been eyeing Prue all night.
Prue: Skye, can you do me a favour? Um, tell him thank you and I'm very flattered. But I'm kind seeing someone else.
Skye: Sure.
Prue: Thanks.
Piper: This is a nice change of an attitude.
Phoebe: I'll say. Does this mean you're thinking of getting serious with Andy?
Prue: Lately I've been thinking about a lot of things.
[Cut to the Dream Sorcerer. Skye walks up to him.]
Dream Sorcerer: She didn't want the drink?
Skye: I'm sorry, no. She's flattered, she's just seeing someone else.
Dream Sorcerer: Sure she is. How about you? Maybe you'd like to have a drink with me.
Skye: Oh, um, that's really sweet of you but I'm not allowed to date the customers.
[Scene: Skye's apartment. She's asleep. The Dream Sorcerer is there.]
Dream Sorcerer: Hello, Skye.
(She wakes up.)
Skye: What the ...?
Dream Sorcerer: Shh... (He covers her mouth.) You in my world now, Skye. (Her room turns into her dream. It's all red and there's clouds in the sky. It kind of looks like they're on top of a building roof.) She's now wearing an evening dress.) You look beautiful in that dress. I knew you would.
Skye: I don't understand.
Dream Sorcerer: It's your dream, but it's my fantasy.
Skye: Where am I?
Dream Sorcerer: Hehehe. You're dreaming. I'm visiting.
Skye: You're in my dream.
Dream Sorcerer: But I can make it mine.
Skye: You can walk.
Dream Sorcerer: In dreams I can do anything. I can dance in your dreams, I can alter your dreams, (They start dancing.) and I can k*ll you in your dreams.
Skye: No, please.
Dream Sorcerer: Did you know that if you die in your dreams, you die in real life.
(He takes her to the edge of the roof. He makes her look down and you can see that it's a long way down to the bottom.)
Dream Sorcerer/Skye: Please don't hurt me!
Dream Sorcerer: Hehehe. Now Skye, you rejected me and now you gotta pay.
Dream Sorcerer/Skye: Please, don't do anything!
(He laughs.)
Dream Sorcerer Sweet dreams. (He pushes her off the edge.)
Opening Credits
[Scene: Skye's apartment. She's lying on her bed in an awkward position. She's d*ad. Morris and Andy are there.]
Morris: What do we got here? Here name is Skye Russell, early twenty's, waitress at Quake.
Andy: Every bone in her body's been crushed.
Morris: The coroner said it's as if she's fallen of a twenty story building.
Andy: But we're in a closed apartment, on the ground floor and the body hasn't been moved.
[Scene: Manor. Piper is watching an exercise video and trying to copy what they're doing. Prue is sitting in a chair.]
Piper: Uh, I give up. Two weeks and nothing strengthened but my temper.
Prue: Piper, here's the problem. You didn't read the fine print. See. It says right here. $19.95 for the video and twenty grand for the plastic surgeon.
Piper: Yeah. Well it's worked. She's the most desire female in America. What every man wants.
Prue: That woman? Of course men want her. Men are not different from women. We all want what we can't have. Which is why we need to stop thinking about what men want and start thinking about what we want in a man.
(Phoebe walks in. She's eating Froot Loops.)
Phoebe: Tons of fun, lots of heats and no strings attached. That's what I want.
Piper: I know this may not sound very P.C., but I want romance. Long, slow kisses, late-night talks, candle lights. I love love. I'd take what Prue has in a flat second.
Prue: Hmm, but then you'd have to deal with the family secret, which isn't exactly normal now, is it?
Commercial Break
[Scene: Police station. Morris and Andy are sitting at their desks.]
Andy: Did you see the coroner's report?
Morris: Mmm hmm. Skye Russell died of massive internal hemorrhaging. Her body literally imploded upon itself.
Andy: Ever seen anything like it before?
Morris: On jumpers. Their bodies were usually found on side walks.
Andy: There aren't any signs of external damage consistent with any type of fall. In fact there's not a scratch on her.
Morris: Yeah, well, maybe we were wrong. Maybe the body was moved.
Andy: From where? How? The front door was locked and bolted, each window had bars on it, none of which had been tampered with in any way. Nobody but she was in that apartment last night. It's not a su1c1de, Morris. And it's sure not death by natural causes which leaves only one thing...
Morris/Andy: m*rder.
Morris: I hate when we say that.
[Scene: Quake. Piper hands a guy his meal.]
Piper: Here you go, Mr. Manford. The chicken with rice and vegetables. Just the way you like it. Chicken well done, light oil on the vegetables and rice steamed dry.
Mr. Manford: Thanks.
Piper: Bon Appetite.
(Phoebe walks up to her.)
Phoebe: Hey, why are you doing that?
Piper: Skye didn't show up for her shift day. So we're short-handed.
Phoebe: Ooh.
(They walk in the kitchen.)
Piper: So, what's up?
Phoebe: I, uh, I found this spell. "How to attract a lover".
Piper: No, Phoebe. Forget it. We're not casting any spells.
Phoebe: Come on. There must be more to our powers than warlock wasting. I'm ready to have some fun with our magic.
Piper: No. No personal gain, remember?
Phoebe: How is it personal gain, if we're using our powers to bring happiness to another person. And in my case lots and lots of happiness.
Piper: Could you pass me that colander, please?
Phoebe: Yeah. Look, I'm not talking about marriage here. We have our 30s to freak out about that. This... this spell is about having good time.
Piper: I admit it's tempting. The dating scene can be a little frustrating. But bringing men into our life through a spell... correct me if I'm wrong but isn't that a little bit desperate.
Phoebe: No. How is asking for what you want being desperate? I say it's not. I say it's empowering. Besides, the Book of Shadows says we could reverse this spell at any time.
[Scene: Manor. Kitchen. Piper is cutting up some vegetables. Prue walks in.]
Prue: Piper? Phoebe?
Piper: Prue. You're in home. I thought you had a date with Andy.
Prue: Uh, no. He had to cancel. What are you doing?
Piper: Hmm...
Phoebe: (from the other room) Piper, I was wrong. The spell calls for cayenne pepper not black pepper. (She walks in the kitchen and sees Prue.) Ooh. Did I say spell? I ... I meant recipe. We are so busted, aren't we?
Prue: I would say yes. What spell are you casting?
Piper: I realized today that Phoebe may have stumbled onto something. Something that actually makes sense.
Prue: Now I'm worried.
Piper: All the spells are in this book for a reason, right? And I think that this spell could be a harmless opportunity for us to test our powers, you know, really get a handle on them. I mean, why else would it say we can reverse it at any time? All I want is someone special in my life and this spell provides that exactly.
Phoebe: I can translate.
[Time lapse.]
Prue: You have got to be kidding.
Piper: We were hoping you would join us.
Prue: No. I have got enough complications in my life. You two are on your own.
Phoebe: You know where to find us.
Prue: Be careful what you wish for.
[Scene: Attic. Phoebe and Piper have everything set up on the table to do the spell.]
Phoebe: Okay. You want to go first?
Piper: No. You go first.
Phoebe: Okay.
(Phoebe snatches a piece of paper off Piper.)
Piper: Hey. That's not fair.
Phoebe: You want a man who is single, smart, endowed?
Piper: Employed.
Phoebe: Oh, sorry, employed. A man who loves sleeping in on Sunday, sunset bike rides (laughs), cuddling by a roaring f*re (laughs) and late-night talks. A man who loves love as much as you do (laughs). Wow. You're a romantic.
Piper: Yep. Your turn. You want the sexy, silent type that finds you driving through town on the back of a Harley at 3:00 in the morning. A man who appreciates scented candles, body oils and Italian sheets (laughs).
Phoebe: He's about hunger and lust and danger and even know you know all this, even know you know he'll never meet your friends or share a holiday meal with your family, you still can't stay away. And he recycles.
Piper: He recycles?
Phoebe: Yeah. And I think it goes without saying we both want a man who is well... employed.
Piper: You're seriously twisted. This is the spell we have to say?
Phoebe: Yeah. We're lucky. If we were men looking for women the spell requires putting a piece of honey cake in a sweaty armpit for day.
Piper: Eww. Maybe we can say this.
Phoebe: Okay.
Phoebe/Piper: I conjure thee, I conjure thee, I am the queen, you're the bee, as I desire so shall it be. I conjure thee, I conjure thee, I am the queen, you're the bee, as I desire so shall it be.
Phoebe: You think it worked?
Piper: I don't know. The big spells usually require all three of us.
(The phone rings.)
Phoebe: Ooh.
Piper: Ooh.
(They run downstairs to the foyer. Prue is on the phone.)
Phoebe: Is it for me? Is it for me?
Prue: This is Prue. Who's this? Um, I'm sorry. Do I know you?
Dream Sorcerer Yeah. We met at Quake. Well, we didn't actually meet. I sent you a glass of Chardonnay and you sent it back. Still, you know, I was wondering, maybe you'd like to go out sometime.
Prue: Uh, oh, look, as I told the waitress I'm just not available. How did you get my number, my name?
(The Dream Sorcerer hangs up.)
Prue: Hello?
Piper: Who is it?
Prue: That guy from Quake who sent me a drink.
Piper: What did he want?
Prue: He asked me out.
(Phoebe walks over to the door and puts on her coat.)
Prue: Um, hello. Missy May where are you going?
Phoebe: I'm going to Quake see if my spell worked. Want to join me?
Piper: Pass.
Prue: No. Thanks. I'm gonna take a bath.
[Scene: Bathroom. Prue's lying in the bath. She closes her eyes and falls asleep. We go into her dream. The Dream Sorcerer is there.]
Dream Sorcerer: Hello Prue.
(Prue wakes up.)
Prue: Who the hell...
Dream Sorcerer: Am I and how did I get in? Hmm?
Prue: I don't care just get...
Dream Sorcerer: Out of the bathroom?
Dream Sorcerer/Prue: Piper, help me!
Dream Sorcerer: Scream all you want. No one can help you.
Prue: How did you know...
Dream Sorcerer: What are you thinking and know what you're going to say?
Prue: Yes.
Dream Sorcerer: I'm in your conscious. I know your every thought and desire.
Prue: Who are you?
Dream Sorcerer: I'm the man of your dreams.
Prue: You're not real. You don't exist.
Dream Sorcerer: That's what your mother used to say, isn't it? Every night, before you went to sleep?
Prue: You're not real. You don't exist.
Dream Sorcerer: As she tucked you in? She'd say if you saw any monsters to tell yourself they weren't real.
Prue: You're not real. You don't exist.
Dream Sorcerer: They didn't exist?
Prue: I can't move. Why can't I move?
Dream Sorcerer: Ha ha ha. Because I'm going to love you to death.
(The dream sorcerer gets a sponge and rubs it on her back so hard it makes her bleed. He pushes her head under the water. Piper knocks the door and Prue wakes up.)
Piper: Prue, are you okay?
Prue: Uh, yeah.
Piper: You were yelling.
Prue: Yeah. I had a... I had a really bad thing.
Piper: A thing?
Prue: Yeah. Uh, I'm okay now. I promise. Just go back to bed. (Piper leaves. Prue gets out of the bath.) Ow. (She looks at her back and sees scratch marks from the sponge.) Oh, my God.
Commercial Break
[Scene: Manor. Kitchen. Prue and Piper are there.]
Prue: Do you remember what mom used to say about nightmares?
Piper: She said if we saw any monsters to tell them to go away that they didn't exist. Always worked, too.
Prue: Yeah, well, not this time. He knew about mom. He knew what she told us and how did he know that? And what about the marks on my back. Piper, they were there and now they've disappeared. I don't know how and I don't know why but they were definitely there.
Piper: How many hours did you work this week? 60, 70? And now what are doing today, on a Saturday, no less?
Prue: Yeah, well, the auctions starts on Monday and the shipment arrives three days late. And you're changing the subject. You don't believe me.
Piper: No. I believe you think you saw marks on your back. But I'm watching you down your third cup of coffee and we're talking about a nightmare you had while you asleep in the tub. So isn't it possible that exhaustion made you see those marks and not some dream guy?
Prue: No. He was in my dream and it was real.
Piper: So why didn't you use your powers to help you out? You know, move him away.
Prue: I don't know.
(A handsome guy enters wearing no shirt.)
Hans: Morning.
Prue: Uh, excuse me but who are you?
Piper: Who cares?
(Hans gets a bottle of milk out of the fridge and drinks it all. Phoebe comes in.)
Phoebe: Hans, I found your t... (She sees Piper and Prue.) shirt.
Hans: Was it in the hammock or...
Phoebe: It doesn't matter.
Hans: Thanks.
Phoebe: Sure.
Piper: (whispering) Hammock?
Hans: I got to run.
Phoebe: Okay.
(They kiss.)
Hans: I'll meet you later for lunch.
Phoebe: Okay.
Hans: Oops. I almost forgot.
(Hans puts the empty bottle in the recycling bin. He leaves.)
Phoebe: Don't worry. We had safe sex. A lot of safe sex.
Piper: Eww.
(Prue laughs.)
[Scene: Quake. Phoebe and Piper are there.]
Phoebe: I'm telling you, Piper. The spell worked.
Piper: Shh. A little louder, Phoebes. I don't think Oakland heard.
Phoebe: Well, it did. Get this. Hans doesn't go to bars. He's never been to Quake but last night he's on his away back from his acting classes. (Piper laughs.) When... BAM! Flat tire on his motorcycle right across the street from Quake. So he comes in to use the pay phone and who should he bump into but me, exiting the ladies' room.
Piper: Phoebe, you threw his clothes all over the house. That's not a spell working, that's hormones.
Phoebe: No, that's not like that. I really like Hans. He's really cool. And he likes me too.
(Phoebe sees Hans, she runs over to him, they hug and he spins her around. Piper takes a plate of food over to a man sitting at a table.)
Piper: Mr. Manford, here you go. Chicken, rice and veggies. Just the way you like it.
Mr. Manford: Thank you. And please call me Jack. Has anybody ever told you how truly beautiful you are?
(Piper laughs.)
Piper: Have you been drinking?
(He laughs.)
Jack: A sense of humor. I love that. (She turns to leave.) Wait, Piper, don't go. I don't know why but I've got to get to know you. Have dinner with me.
Piper: Can you hang on a second?
Jack: (whispering) Yeah.
Piper: (whispering) Okay.
(Piper walks over to the phone near the bar. A guy stands behind her.)
Piper: Prue Halliwell, please. It's her sister, Piper.
Guy: You know, you shouldn't have dinner with that guy.
Piper: Why not?
Guy: Because you should fly to Paris with me.
Piper: (on the phone) Tell her it's an emergency.
[Cut to Bucklands. Prue's office. She's talking to Piper on the phone.]
Prue: So you're not actually thinking of going out with this Jack guy, are you?
(Rex enters Prue's office carrying a box.)
Rex: Have you finished the, uh, Cromwell miniatures yet?
Prue: Rex...
Prue: (to Piper) Hang on a second.
Prue: (to Rex) No, I'm still cataloging the Rembrandt sketches.
Rex: Oh, well, uh, set them aside. The, uh, letters of Ernest Hemingway are now first on the block.
(Delivery guys bring in lots more boxes of stuff.)
Prue: (to Piper) I don't believe it. I'm going to be here all night. Piper, let me call you back.
(She hangs up.)
[Scene: Manor. Foyer. Phoebe and Piper are there. Phoebe's tying up her shoes.]
Piper: Jack stayed through the entire lunch shift. Talked my ear off, had me laughing at all his stories and somehow convinced me to have coffee with him.
Phoebe: Hans and I are going dancing at Rave. You and Jack should come join us.
Piper: Well, if our dinner date last as long as our coffee break, we wouldn't make it there till closing
Phoebe: Maybe we could all meet back at the house later. (Phoebe grabs her coat.) This has worked out so great, hasn't it?
Piper: Yeah.
(Phoebe laughs and leaves with a smile on her face.)
Piper: Great.
[Scene: Dream lab. Morris, Andy and a are there.]
Morris: So this is a dream lab? They actually pay people to sleep?
Lab Technician: If you wait here, I'll tell Mr. Berman that you would like to speak with him.
(He walks away.)
Andy: Thank you.
Morris: Look, just because Berman dated the first victim...
Andy: Julie Garikson.
Morris: Doesn't make him a k*ller.
Andy: But it's a great place to start. It's our only place to start.
(They walk in a room.)
Morris: What do you know about this place anyway?
Andy: It's a privately funded research facility and Julie Garikson worked here too. She and Berman teamed together on some kind of experimental project.
(Berman arrives outside the room in his wheelchair.)
Berman: Hello, Inspectors, how may I help you?
(They walk back outside.)
Morris: You Whitaker Berman?
Berman: Yes. What's this about?
Morris: We're conducting an investigation and would like to ask you a few questions.
Berman: Regarding?
Andy: Do you know this woman?
(Andy hands him a photograph.)
Berman: That's Julie Derikson. She was my girlfriend. I was heartbroken when she... Forgive me, it's just very hard. I still miss her.
Andy: Another woman died just like her the other night. A waitress. Crushed to death in her sleep.
Berman: Oh, you're kidding?
Morris: No.
Berman: That's-that's awful.
Andy: Mr. Berman, can you tell us your whereabouts night before last.
Berman: I was here in the lab asleep. I left in the morning.
Morris: Any witnesses who can confirm that?
Berman: A nights worth of day, two scientists and a lab technician. Shall I have them paged?
Morris: No, that's okay Mr. Berman. Sorry we disturbed you. Thank you for your time.
[Scene: Quake. Piper's having dinner with Jack.]
Piper: What else can I tell you? Um, when I get stressed, I get hives... in very strange places. Which is nothing compared to what happens when I panic, believe me.
Jack: Your honesty is so refreshing.
Piper: Ah, well, it helps keep my ulcer under control
Jack: It's the nineties. I mean, is there anyone who doesn't have one?
Piper: Would you like to see my tattoo?
Jack: Would you like to see mine?
Piper: Uh, is there nothing I can say to turn you off?
Jack: There really isn't. Which is kind of strange, actually.
Piper: Not really. Jack, you're under a...
(Jack kisses Piper.)
Piper: Spell.
(Piper sees a guy sitting behind Jack smiling and giving her the eye, then she sees another guy standing near by holding a glass of wine and winking at her. She laughs nervously. She looks behind her and another guy is sitting at a table holding a white rose.)
Guy with rose: Hey, there.
(She turns back around to face Jack and lets out a freaked out laugh.)
[Scene: Dream Lab. Lab technicians are helping Mr. Berman aka The Dream Sorcerer into a chair.]
Berman: Give me 30 cc's of Vandereen.
Technician: 30 cc's? That's twice...
Berman: I'll be in rem sleep quicker and longer. Set the dream inducement system, the level twelve.
Technician: We haven't got the results back from level eight.
Berman: This is my dream. My experiment. Set the machine and give me the sh*t.
[Scene: Bucklands. Prue's office. Prue has fallen asleep at her desk. The Dream Sorcerer is in her dreams.]
Dream Sorcerer: Hello Prue. We meet again. (Prue wakes up. She grabs a letter opener off her desk.) All that work. All those hours. You fell asleep at your desk.
Prue: Someone help!
(The walls of the office turn into blue and red clouds.)
Dream Sorcerer: What do you hide from at work? Is it the pain of your past or the uncertainty of your future?
(Prue tries to get out of her chair but she's stuck.)
Prue: I don't hide from anything.
Dream Sorcerer: You can't move out of the chair, can you? (He spins her around.) Don't you want to know why? Because I don't want you to. You're powerless, Prue.
Prue: Go to hell.
Dream Sorcerer: I, on the other hand, am the all power-full. If you don't want to talk to me, that's fine. There's always Piper, Phoebe or any number of young, single women out there. It's an endless pool for the Dream Sorcerer.
Prue: No, wait. I'll stay.
Dream Sorcerer: It's too late. You're falling asleep.
Prue: No. I'm fine. I'm awake.
Dream Sorcerer: Shall I sing you a lullaby?
Prue: I don't think so.
(Prue kicks him and s*ab his hand with the letter opener. He yells in pain.)
Dream Sorcerer: Good night, Prue.
(He grabs the chair and gets ready to push her over the edge. You hear a phone ring. Prue's back in her office. She wakes up and answers the phone.)
Prue: Hello?
Andy: Hi, you're still at the office.
Prue: Yeah, um, can I call you back?
(She spins around on her chair and faces the wall.)
Andy: Sure. I'm at the station house. Everything okay?
Prue: It is now. Thanks, Andy. Thanks for calling.
Andy: I just wanted to hear your voice.
Prue: Okay, bye.
(She hangs up. Rex touches Prue on her shoulder, she gets a fright, spins back around and nearly s*ab Rex with the letter opener.)
Rex: Bloody hell.
(Prue notices blood on the tip of the letter opener.)
Commercial Break
[Scene: Police station. Andy and Morris are there.]
Morris: The man is in a wheelchair. He's got no motive and he's got an alibi. So tell me again why you think Berman is our suspect.
Andy: Dream leaping.
Morris: Dream leaping?
Andy: That's what Berman's researching at the lab. Dream leaping. The ability to project himself into someone else's dreams.
Morris: Into women's dreams and k*lling them? Now who's dreaming.
Andy: Not just any women. Women who reject him. Just like Julie Derikson did. She broke up with him when they were driving somewhere. He got into an accident. That's why he's paralyzed. It's on there in the police report. (Andy stands up and gets his coat.) The day after he went back to work at the lab, Julie Derikson died suspiciously. Six months later, two more women died in their sleep. Crushed to death. Coincidence? You tell me.
Morris: Love to. Can't. Let's go.
[Scene: Manor. The front door opens and Phoebe walks in.]
Phoebe: (calling out) I'm home!
(She walks down the foyer and notices bunches of flowers everywhere. She sees an open box of chocolates and takes one. She walks in the kitchen. More flowers are in here too. Piper's sitting at the table drinking coffee.)
Piper: You're home early.
Phoebe: Yeah. So are you. What's with all the flowers. You and Jack fighting already?
Piper: I wish. The flowers were all waiting on the doorstep when I returned. They're from men I barely know and men I've never met. All the flowers in here are for you.
(Phoebe sits down.)
Phoebe: Oh, well. I know they're not from Hans.
Piper: What happened?
Phoebe: He wouldn't leave me alone all night. He kept touching me. And practically every guy in the bar was hitting on me. Finally I couldn't take it anymore. I ditched Hans and left him at the club. So, how was your date?
Piper: Perfect. Everything was perfect. Even my faults were perfect.
Phoebe: And this is a bad thing?
Piper: It wasn't real. Everything he said, everything he felt, it was because of the spell, not because of me.
Phoebe: Piper, you don't know that. Maybe he meant every word. Maybe if it wasn't for the spell he would've never had a chance to feel those things. Let alone say them.
Piper: No, Phoebe. Love is a magic between two people that cannot be explained and cannot be conjured. What we did, it's just... it's not right.
(Kit jumps on the table.)
Phoebe: Hmm. Ever our poor cat's in hell. (You see cats outside trying to get in the window.) Go away horny tom cats.
Piper: Let's reverse the spell.
(Phoebe nods. The phone rings. Piper gets up and answers it.)
Piper: Hello? Prue, where are you?
Prue: I'm, um, still ate the office. Look, I fell asleep and that man from my dream, he tried to k*ll me again.
Piper: What?
Prue: Yeah. I don't understand why. All I know is I'm only safe if I stay awake. If I fall asleep, I'm d*ad.
Piper: Well, stay where you are. Phoebe and I will come pick you up.
Prue: No. I don't want to stay here another minute. Look, I want you to look in the Book of Shadows and see if you can find anything on this guy. He calls himself a dream sorcerer, ok?
[Cut to the attic. Phoebe's looking through the Book Of Shadows.]
Piper: Nothing?
Phoebe: Nada.
Piper: There's got to be something.
Phoebe: I'm telling you. There's no Dream Sorcerer stuff anywhere.
Piper: That's impossible. The Book of Shadows has never let us down.
Phoebe: Well, maybe he's not a demon. Maybe he's a mortal.
Piper: Then he's got one hell of a power.
Phoebe: You're not kidding.
Piper: Demon, mortal, there's got to be some way to stop him.
(The phone rings.)
Piper: It's got to be Prue.
Phoebe: Wait. What are you going to tell her? That we can't help her? That she can never go to sleep?
(They run downstairs.)
[Cut to Prue. She's in her car driving along. She's got her phone up to her ear.]
Prue: Come on, answer the phone.
[Cut back to the manor. Piper and Phoebe are running down the stairs. Piper answers the phone.]
Piper: Hello?
Prue: Hey, did you, um, find anything?
Piper: No, we didn't but don't worry. You're not in this alone. Phoebe and I will help you.
Prue: How can you help me when we don't even know what he is?
Piper: The most important thing right now is for you get home safely.
Prue: Yeah. Ok, um, look. Just keep talking. Don't let me fall asleep.
Piper: (to Phoebe) She sounds exhausted.
(Phoebe takes the phone.)
Phoebe: Okay, Prue. Blast the air conditioning, crank the stereo and roll down the windows. Wait, don't crank the stereo.
Phoebe: (to Piper) What's that song we always used to sing when we were little?
Piper: The road trip song?
Phoebe: Yeah. Let's sing that.
Phoebe: Did you hear that, Prue?
Prue: Yeah, okay.
Phoebe: Okay, don't worry. Everything's going to be fine. Nothing is going to happen.
(Hans knocks on the door. He sounds angry.)
Hans: Phoebe!
Phoebe: Hans?
Hans: Let me in. I have to see you.
Pheobe: Go away. (Hans breaks open the door.) Are you crazy? What are you doing?
Prue: Piper? Phoebe?
Hans: You left me. How could you leave me?
Phoebe: Hans, please.
Hans: Ever since I met you I can't do anything. Eat, drink, sleep. All I can do is think about you.
[Cut to Prue. She's nearly asleep.]
Prue: Piper, Phoebe.
The Dream Sorcerer appears in her dream.)
Dream Sorcerer: Time is now, Prue. We're almost there.
(Prue awakes up.)
Prue: Piper, Phoebe, where are you?
[Cut back to the manor. Piper and Phoebe stand on the stairs.]
Hans: What have you done to me?
(Hans picks up a vase of flowers and throws it at them. Piper freezes him and the vase before it can h*t them.)
Piper: Are you okay?
Phoebe: I'm fine. (Phoebe remembers Prue.) Prue.
(They run back over to the phone.)
[Cut back to Prue. She's falling asleep again. She drops the phone.]
[Cut back to the manor.]
Phoebe: Prue! Prue! She's not there.
[Cut back to Prue. She's asleep. The Dream Sorcerer appears.]
Dream Sorcerer: Say good night, Prue.
(You see her heading for a pole. He starts laughing.)
[Cut back to the manor.]
Phoebe: She's not answering.
[Cut back to Prue. She has ran into the pole. The front of her car is totally smashed. Prue has her head resting on the steering wheel.]
Prue: (whispering) I can't fall asleep. I can't fall asleep.
Commercial Break
[Scene: Hospital. Prue's on a stretcher. The doctor's are pushing her down the corridor. A nurse runs up to her.]
Doctor: (to the paramedic) What have you got?
Paramedic: I've got a 27 year old female, one on one carved into a utility pole. BPA over 44.10. Unconscious at the scene.
Doctor: Pupil's are responsive. Miss Halliwell, hang in there.
Prue: (whispering) Must stay awake, must stay awake.
(The doctor runs into a room and gives orders to a male nurse. They push Prue in the room.)
Doctor: Ready, 1, 2, 3. (They lift her on the bed and hook her up to the machines.)
Doctor #2: ---------- a thirty-five pulse, ----- is falling.
Doctor: That can't be. Give me five hundred -------. Stay with us, Miss Halliwell. Damn, she's unconscious.
(The room turns into her dream. She's still lying on the bed.)
Prue: How did I get here? I'm not...
Dream Sorcerer: Asleep? Actually you're unconscious. You fell asleep at the wheel. h*t a pole. Terrible terrible thing. Speaking of pain, you really hurt me last night.
(Prue tries call from her cell phone)
Dream Sorcerer: And not just my feelings.
Prue: Suffer.
(Prue starts dialing her phone.)
Dream Sorcerer: We're definitely out of range. (He picks up a glass of wine.) A little wine with your death?
[Cut to the dream lab. Andy and Morris are there.]
Technician: Mr. Berman insists that he's not to be disturbed during his experiments.
Andy: I don't care. We want to talk to him. Just wake him up.
Technician: It's not gonna be easy. He's highly sedated.
Andy: Just get to work.
(The technician walks in the room.)
Morris: I hope you're right about this.
Andy: I know I am. Question now is if Berman is gonna k*ll again. But who?
[Cut back to Prue's dream. Prue's wearing a really nice black evening dress.]
Dream Sorcerer: Do you like the dress?
Prue: I've worn better.
Dream Sorcerer: Hmm, yeah.
(The Dream Sorcerer picks up Prue off the bed.)
[Cut to the hospital. Piper and Phoebe walk up to reception.]
Piper: Excuse me.
Doctor #2: May I help you?
Piper: You called us a little while ago. Ah, our sister is here. Prue Halliwell.
(He looks at some files.)
Doctor #2: Oh, your sister's still in trauma one.
Phoebe: Is she okay?
Doctor #2: Well, if you go down to the waiting room, a doctor will be right with you.
Piper: Okay, thank you.
(They pretend to walk to the waiting room but when no one is looking they run down to trauma one.)
[Cut back to the Dream Lab. Andy's knocking on the glass.]
Andy: Mr. Berman! Mr. Berman, wake up! (to the technician) I don't care what it takes, just wake him up. (Andy continues to bang on the glass.) Mr. Berman, wake up!
[Cut to Prue's dream. You hear Andy's voice.]
Andy's voice: Wake up, Mr. Berman!
Prue: Andy?
[Cut to Prue in the hospital. Phoebe and Piper are there.]
Piper: We're here, Prue, right beside you.
Phoebe: Can you hear us?
[Cut back to Prue's dream.]
Piper's voice: Prue?
Prue: Piper. Phoebe.
Phoebe's voice: Prue?
Dream Sorcerer: They can't help you. You're mine, now.
[Cut to the hospital.]
Phoebe: I'm scared.
Piper: I know. Me too.
Phoebe: What do we do?
Piper: We don't let her give up.
Piper: Prue, listen to me. You've got to fight with this guy.
Phoebe: Don't leave us.
Piper: You can do it.
Phoebe: We need you.
Piper: Use your power, Prue.
Phoebe: Come back to us.
[Cut to Prue's dream.]
Piper's voice: Use your power.
Phoebe's voice: You can do it, Prue.
Prue: Where are you?
Dream Sorcerer: You're powerless.
Piper's voice: Prue, you can do it. Use your power against him. Prue?
(The Dream Sorcerer carries her over to the edge of the building.)
Dream Sorcerer: Shall I say good night, hmm?
Prue: No, let me. Good night.
(She uses her power and he flies over the edge of the building.)
[Cut to the Dream Lab. The Dream Sorcerer is yelling in his sleep. He stops and he dies.]
Andy: I don't believe it. He's d*ad.
[Cut back to the hospital. Prue wakes up.]
Piper: Prue?
Phoebe: Are you okay?
Prue: Yeah, I'm okay.
Phoebe: What about the...
Prue: He's gone.
Commercial Break
[Scene: Hospital. Piper and Phoebe are carrying bunches and bunches of flowers into Prue's room.]
Phoebe: Knock, knock.
Prue: Please, tell me you guys are here to pick me up.
Piper: Hi. No, Dr. Black said one more day. Just to be sure.
Phoebe: Yeah, and you know, it wouldn't k*ll you to get some rest.
(She realizes what she just said and covers her mouth.)
Prue: Phoebe, it's okay. Thanks for the flowers.
Piper: Yeah.
(Phoebe laughs.)
Prue: What's going on?
Phoebe: Oh, long story, not very interesting.
Prue: Does this have anything to do with your lust spell?
Phoebe: Mmm hmm. But don't worry.
Piper: We reversed the spell last night.
Phoebe: Piper called Jack.
Prue: The guy that you had dinner with?
Piper: And he didn't remember anything. And Phoebe called Hans...
Phoebe: And he didn't remember anything.
Piper: So, don't worry. Everything is back to normal.
Prue: Good.
(Andy walks in carrying a red rose and some take-away.)
Andy: Afternoon, ladies. Surprise.
Prue: Yes. It is.
(Prue looks at Phoebe.)
Phoebe: What are you looking at me for? I didn't tell him.
(Prue then looks at Piper.)
Piper: Guilty. Come on, let's go.
Phoebe: Okay, bye.
Piper: Um, we'll see you later tonight.
Phoebe: After we raid your closet.
(They leave.)
Andy: Brought your favourite.
(He hands Prue the take-away bag and she looks in it.)
Prue: Oh, cheeseburgers and fries.
Andy: Glad to see every bone in your body's not broken.
Prue: What?
Andy: The car accident. Never mind.
(Andy gives Prue the rose.)
End | {"type": "series", "show": "Charmed", "episode": "01x05 - Dream Sorcerer"} | foreverdreaming |
Written by: Greg Elliot and Michael Perricone
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Outside the Spencer's house. Allison is there. Elliot walks up to her holding a rose.]
Elliot: Mrs. Allison Spencer I presume.
(She takes the rose off of him and smells it.)
Allison: You mean Mrs. Allison Michaels Spencer don't you?
Elliot: You wanna be alone?
Allison: No.
Elliot: You're not getting cold feet are you?
Allison: No, Elliot, I am definitely not getting cold feet. I love you, you know that.
Elliot: But...
Allison: I don't know, it's just so overwhelming. I mean, after all these years of dreaming about us getting married, I just, I don't want anything bad to happen, that's all.
Elliot: I've got an idea. Let's elope.
Allison: Yeah, right, like your mum would really allow that.
(They kiss.)
Grace: Elliot?
Allison: Speak of the devil.
(Grace walks up to them.)
Elliot: Hi mum.
Grace: I have been looking all over for you. Did you get the marriage certificate yet?
Elliot: Not yet.
Grace: Well, you have to. The wedding won't be legal without it.
Allison: We're going to City Hall tomorrow before the rehearsal dinner.
Grace: But why not go today?
Elliot: Mum, relax will you. Why are you so bent about this?
(Allison sees Jade standing near by.)
Allison: Who's that?
Grace: Oh, no.
Elliot: Who is it?
Grace: Someone I haven't seen for a long time. (Mrs. Spencer walks over to Jade.) What are you doing here?
Jade: What's the matter? Forget about our little pact?
Grace: No, Jade, but I was hoping that you did. My God, you haven't aged in twenty years.
Jade: You could've asked for eternal youth, Grace, instead of wealth, power, all this. You've had a good life haven't you?
(Kirsten walks up to them.)
Kirsten: Where to?
Jade: Oh, have the butler show you to our rooms. Tell him Mrs. Spencer was expecting us.
(Kirsten leaves.)
Grace: You can't just move in here. People will be suspicious. What will I say?
Jade: Say the truth. Say your son's had a change of heart. That was our deal remember? Don't worry, Elliot won't even know what you did until it's over.
(Jade uses her power and Elliot collapses on the ground.)
Allison: Elliot! Elliot! (Allison starts screaming.) Help me! No!
[Scene: One week later at the Manor. Prue knocks on the bathroom door.]
Prue: Piper, are you still in there?
[Cut in the bathroom. Piper's in there holding up a pregnancy test.]
Piper: I'm almost done.
Prue: Define almost.
Piper: Just give me another minute... or two.
Prue: You're positive?
Piper: (whispering) I hope not.
Prue: Piper, I cannot be late today.
Piper: (whispering) I know the feeling.
Prue: My first biannual auction starts tomorrow and...
Prue, Piper: I want to do a good job.
Piper: Yes, I know.
Prue: So, can you hurry?
Piper: Just use the bathroom downstairs.
Prue: All my stuff is up here.
Piper: Well, borrow mine. It's all down there.
Prue: But then... never mind.
(Prue leaves and Phoebe walks up to the bathroom. She knocks on the door.)
Phoebe: Piper?
Piper: I'll be right out.
Phoebe: Is there any hot water left?
(Piper throws the pregnancy test box in the bin and opens the door.)
Piper: What?
Phoebe: Am I in for a cold shower? Yes or no?
Piper: At certain times in our life, a cold shower is probably a good thing.
Phoebe: Not three mornings in a row, it's not.
(Piper leaves and Phoebe walks in the bathroom. She starts brushing her teeth and notices the box in the bin. She picks it up and has a premonition of a demon being born.)
Opening Credits
[Scene: Manor. Kitchen. Piper's there cooking some food. She gets a tray of hor's d'ouevres out of the oven. Prue walks in. The phone rings and Piper answers it.]
Piper: Hello? (listens) Okay, thanks. Bye.
(She hangs up.)
Prue: The three of us definitely need to figure out some kind of a morning schedule.
Piper: I think I'm gonna be sick.
Prue: In the upstairs or downstairs bathroom?
Piper: Maybe Phoebe can help me cater the Elliot Spencer wedding tomorrow.
Prue: Shouldn't you check with the chef who hired you first?
Prue: That would be Chef Moore.
Prue: Ah.
Piper: Who is on his way to France and since technically the contract is with Quake, he is off hook and I'm on the line. Now I have to tell one of the most richest families in the city that the chef they hired can't do their wedding. They're stuck with me and I hope they go for it.
Prue: Bright side? Who else they can hire in twenty-four hours? Piper, it's not the end of the world.
(Phoebe walks in.)
Phoebe: What's not the end of the world?
Prue: Piper's problem.
Phoebe: Oh, you know too?
Prue: She just told me.
Piper: (to Phoebe) How do you know?
Phoebe: Oh, I...
Prue: Piper can definitely handle this. Frankly, I don't even think anyone will notice.
Piper: (to Phoebe) I thought maybe you could help me.
Phoebe: Me? What can I do?
Piper: Pick up some supplies. Tie some bows. Offer moral support if I panic and freeze anything. Ten bucks an hour.
Prue: Ooh, I'd take it. Good luck with the wedding.
(Prue leaves.)
Piper: So, will you do it?
Phoebe: Yeah, sure.
Piper: Okay. Here's a list of supplies I need. I'll go to the Spencer Estate and you can meet me there at 1:00.
Phoebe: You and Prue were really just talking about a wedding?
Piper: Yeah, what did you think we were talking about?
Phoebe: Jeremy and his aftermath. You know, you slept with him.
Piper: Don't ever mention that warlock's name again. It is over. He's in demon hell. End of story. Wedding yes, warlocks no. Am I clear? Good, because there is nothing in me that wants anything to do with Jeremy ever again.
(Piper walks out of the room and Phoebe picks up an hor's d'ouevres.)
Piper: (from other room) Don't touch those.
(Phoebe puts it back.)
[Scene: Outside the Spencer's house. Piper drives in the driveway and stops beside an intercom.]
Man's Voice: Yes, may I help you?
Piper: Uh, my name is Piper Halliwell, I'm the caterer.
Man's Voice: I have Chef Moore listed as the caterer.
Piper: Yeah, there's been changed.
Man's Voice: Sorry ma'am.
Piper: I've got ice sculptures melting over wedding cake. I've got to get in now.
Man's Voice: Someone will be with you in a moment.
(The gates open and two security guards walk down the driveway. A priest appears at Piper's window.)
Priest: Please, I have to get in into the compound. This is a matter of utmost importance. I must get in.
(The security guards grab the priest.)
Security Guard: Father Trask. We've been expecting you.
Piper: Hey, easy on the padre, buddy.
Security Guard: Go right ahead in, ma'am.
Priest: She is the bearer of the demon child. Beware Hecate.
Piper: (to herself) Hecate? Okay.
(She drives in.)
[Scene: Bucklands. Rex's office. Prue and Hannah are there looking at some items.]
Prue: It's a Lassa warrior fertility goddess. Very rare and very powerful. The tribe believed that its mere presence would help a woman conceive.
Hannah: Hmm. You take it. My biological clock's not the one that's ticking.
(Rex walks in.)
Rex: Prue, your, um, sister's here to see you. She's waiting in your office.
Prue: Which sister?
Rex: The one who upon seeing your office, said "Damn, I should go back to college."
Prue: Phoebe. Well, for once her timing's good. The fertility icon has been catalogued.
Rex: I'm sorry. It's, uh, no longer available. (Prue leaves.) Hannah. That was very careless of you. You should know for whom we acquired this.
Hannah: Look, her sister's catering the wedding. Prue won't even be there.
[Cut to Prue's office. Phoebe's sitting at Prue's desk talking on the phone. Prue walks in.]
Phoebe: Oh, gotta go. (She hangs up.) This place rocks. No wonder you never want to come home.
Prue: Get out of my chair.
(Phoebe stands up and picks up a notepad.)
Phoebe: I love too that you found time to scribble a morning shower schedule for we Halliwell sisters. I noticed that I'm the last.
Prue: What are you doing here? I thought that you were helping Piper with the wedding.
Phoebe: I am but I need to talk to you.
Prue: You've got, uh, five minutes. Go.
Phoebe: Okay, uh, I had a vision this morning and in this vision a thing was being born, so I started to think back, oh, six, eight weeks ago...
Prue: Oh my God, you're pregnant.
Phoebe: What?
Prue: That's why you came back from New York, isn't it?
Phoebe: No. But I shouldn't be surprised that you would think that. After all, I am the irresponsible sister, the black sheep who always screws up, the dark cloud over the Halliwell household.
Prue: Phoebe...
Phoebe: Okay, I'm not pregnant.
Prue: But then why...
Phoebe: Excuse me. I think I still have two more minutes. FYI, you have another sister who has had sex. Remember Jeremy? The guy who blew up in the attic? The warlock boyfriend? Think about it, Prue. Because it wasn't me in that vision having the demon child. It was Piper. So, if you won't believe me, you can believe my power.
[Scene: Outside the Spencer's house. Allison is there. Grace storms up to her.]
Grace: You have to stop calling here, Allison. Do you understand?
Allison: Do I understand? Are you kidding me? What the hell's going on? Why won't Elliot return any of my calls?
Grace: I can't explain right now.
Allison: You better damn well explain because I am not leaving here until you do. I have called the police, the sheriff, nobody will listen to me, nobody believes me.
Grace: I know how hard this must be...
Allison: Who is this Jade?
Grace: She's an old acquaintance of the family.
Allison: I don't believe that. Elliot would've told me about her.
Grace: There are many things about our family that you will never understand.
Allison: Then let Elliot explain it to me. If he's gonna marry somebody else I wanna hear it from him.
Grace: It is over Allison, that is all you need to know. Elliot doesn't love you anymore.
Allison: How can you say that?
Grace: I'm sorry. He's going to marry Jade D'Mon. Please don't ever call here again.
(She walks off.)
Commercial Break
[Scene: The Spencer's house. Kitchen. Piper's there.]
Piper: (to a cook) Keep that at a simmer, not a boil.
(Piper walks over to the table and buries her face in her hands. Phoebe walks in carrying two bags of groceries.)
Phoebe: Hey, sis.
Piper: Finally. Did you get everything?
Phoebe: Most of it.
Piper (to a cook) No, wait. I've got buns in the oven.
Phoebe: (to herself) You're not kidding.
Piper: Phoebe, I expected you over an hour ago. Where have you been?
Phoebe: I went to see Prue.
Piper: At the Auction House? That's all the way down... what you were doing there?
Phoebe: Adding more bricks to the wall between us.
(The butler walks in.)
Butler: Mrs. Spencer and Miss D'Mon will see you now.
Piper: Miss D'Mon?
Butler: The bride... Jade D'Mon.
Piper: But I thought the bride's name was Allison...
Butler: Does not like to be kept waiting.
Piper, Phoebe: (whispering) Okay.
[Cut to a room. Jade, Grace and a dress maker is there. Jade is wearing the wedding dress and the dress maker is pinning the bottom of it.]
Grace: Oh, my son is very lucky. You're going to be a beautiful bride, Jade.
Jade: Thank you, Grace.
(The butler, Piper and Phoebe walk in the room.)
Butler: Miss Piper Halliwell.
Phoebe: And her sister chopped liver.
Piper: Mrs. Spencer, it's so nice of you to see me. (to Jade) Um, wow, your dress, it's beautiful. I'd recognize the style anywhere. It's a Shiro, isn't it?
Jade: Is it?
Grace: How are things in the kitchen?
Piper: Um, right on schedule. The lobsters arrive tomorrow morning. The hor's d'ouevres are ready, Chef Moore is in France and the puff pastries are baking.
Jade: What?
Grace: Chef Moore's gone?
Piper: Yeah. Um, I'll be handling the catering.
Grace: Charles, get me my pill.
Jade: My wedding, it's ruined.
Piper: Oh, my, no, no, I-I would never let that happen. I know you may have made the deal with Chef Moore but I have been involved with every step of the preparation. So if you'll let me, I can guarantee a wedding that your children and your grandchildren will talk about for generations.
Phoebe: Okay, okay. We don't need to talk about children just yet. Look, you don't know me. Hell, I barely know me. (She laughs. Grace and Jade stare at her.) Okay, I do know my sister and she is the best damn chef of this city. No one, and I do mean, no one puts the love and tender care that Piper puts into her cooking. So, you should not only be grateful that Chef Moore bagged out but you should consider yourselves lucky.
Jade: If there is even the slightest hitch, I will have your head. Kidding.
(Piper laughs nervously.)
Grace: Then it's settled.
Piper: Uh, no. Actually there's just one more thing, I need to confirm the party trays for the bachelor and bachelorette parties tonight. Um, it looks like no decision has been made yet about the type of deli sandwiches for the bachelor party.
Jade: Whatever you decide is fine.
Grace: I think my son can make any decisions about his own bachelor party.
Jade: Then we'll ask him together.
Phoebe: I thought it was bad luck to see the bride before the... (Piper pinches Phoebe's arm.) Ouch.
Piper: Come on.
(Piper and Phoebe walk out of the room. The dress maker continues pinning Jade's dress. Jade moves and the pin sticks straight into her skin. Jade doesn't even feel it. The dressmaker stops and stares at it in shock. Jade looks down at her.)
Jade: Is there a problem?
Dressmaker: No, no problem at all. (She pulls the pin out.) Uh, I-I'm finished.
Jade: Then go.
[Cut to outside the Spencer's house. Security guards are there.]
Security Guard #1: Hey, Derek, get over here.
(Derek runs over near a truck where the other security guards are standing.)
Derek: What's the matter? What happened?
Security Guard #1: The priest, he got away from us.
Derek: What? Check the perimeters. Go. (They run off.) (into his radio) All sectors code three. Father Trask is on the ground. Find him.
(He leaves. You see Father Trask hiding inside the truck. He takes off his coat and puts on another coat. He then sticks the poingnard down his pants and gets out of the truck.)
[Cut back inside the house. Allison sneaks into Elliot's room. Elliot is laying on his bed reading a magazine. She sits on the bed.]
Allison: Oh, Elliot, what have they done to you. (He puts down his magazine and stares blankly at her.) Listen to me, Elliot. You can't go through with this wedding. Jade doesn't love you, she barely even knows you.
(Jade, Grace and Kirsten walks in.)
Jade: Well, if it isn't Allison.
Elliot: Allison?
Allison: Yes.
Jade: Don't just stand there, call security.
Grace: Of course.
Allison: Don't bother, I was just leaving.
(Allison stands up.)
Kirsten: Let me show you the door.
(They leave.)
[Cut to the hallway. The alarm is on. Piper and Phoebe are running down the hallway.]
Piper: Is that the alarm? What happened? (They run into the foyer. Father Trask walks past them.) Hey, that's the priest.
(Kirsten has a hold of Allison's arm and is pulling Allison down the stairs. Jade and Elliot are standing on the second looking over.)
Allison: Don't forget, Elliot. Remember what I said. It's not too late.
Elliot: Don't hurt Allison.
(Jade pulls Elliot back in his room.)
Jade: Get in here.
(Phoebe and Piper see Father Trask walking up the stairs with the poingnard in his hand. They run off.)
[Cut to Elliot's room. Jade is staring out the window. Father Trask walks in holding the poingnard up in front of him. Jade turns around.]
Jade: Father Trask.
Father Trask: I banish thee back to the underworld, Hecate.
Jade: Not today, Trask. (Kirsten appears behind him and turns into a demon. She grabs his head and snaps his neck.) Now get rid of him.
[Cut to the kitchen. Phoebe and Piper run up to a security guard.]
Piper: He's after the bride upstairs.
(They hear a smash and run outside.)
[Cut to outside. Father Trask is lying on the driveway.]
Commercial Break
[Scene: Outside Spencer's House. Police have arrived. Phoebe, Piper and Allison are standing near by. Allison is crying. Piper hands her a tissue.]
Piper: Here you go.
Allison: Thanks.
Piper: No worries. This is all kind of freaky, huh?
Allison: You have no idea.
Phoebe: What my sister meant to say was, what is up with you and Elliot?
Piper: Phoebe...
Phoebe: You love him, don't you?
Allison: With all my heart.
Phoebe: Okay, well, if that's true, then why...
Allison: I've gotta go.
(She leaves.)
Piper: This is so sad. We have to do something.
Phoebe: Yeah, but what?
Piper: I don't know. We're good witches. It's our job, right?
Phoebe: I wouldn't be worrying about Allison's problem just yet.
(Phoebe pats Piper's stomach.)
Piper: What the...?
[Cut to Andy and Morris. They are questioning Jade.]
Jade: How many times do I have to go through this?
Andy: Until I'm sure I understand. Did you say Father Trask chased you to the window?
Jade: Yes, with that big Kn*fe. He was saying the most horrific things. Crazy things. He lunged at me. I screamed and I ducked and the next thing I knew, he was d*ad. Can I go now? Have like a million things to do before my wedding tomorrow.
Morris: Sure.
(She walks away.)
Andy: Sorry the d*ad man on your your driveway is such an inconvenience.
Morris: Welcome to the lifestyles of the rich and shameless.
Andy: Look at that window, Morris. Look where Trask landed. Tell me how anyone could jump that far.
Morris: That's why we get paid medium bucks. To figure it out.
[Cut inside the house. Grace and Kirsten are on the second floor.]
Grace: Kirsten, k*lling a priest is not part of our deal.
Kirsten: Word of advice. You keep your eyes closed and your mouth shut. In twenty-four hours Jade will be pregnant and all of this will be over.
(Kirsten turns to leave but Grace grabs her arm.)
Grace: If anything happens to my son Elliot.
Kirsten: You should've thought about that before you agreed to our arrangement. And let me remind you about one more thing, Mrs. Spencer, we're still on the second floor.
(She walks off.)
[Scene: Bucklands. Prue's office. Prue's sitting at her desk. Rex walks in.]
Rex: You wanted to see me, Prue?
Prue: Yeah, I wanted to know what you wanted me to do with the fertility icon?
Rex: Uh, sorry?
Prue: Well, it's the companion piece to the female icon. The one you didn't want catalogued before.
Rex: Oh, right, yeah. Um, yeah, by all means, go ahead and tag this one for the auction. The particular client only wanted the female icon.
Prue: Okay.
Rex: It's a wedding gift, actually. Quite a exquisite one at that, for the Spencer bride.
Prue: Spencer? Really? My sister's catering that wedding.
Rex: Is she? Small world. Is that the sister that I met? Um, Phoebe?
Prue: No, I have another sister, Piper. Although Phoebe will be helping her out.
Rex: I see. And what about you then?
Prue: Me? I don't do weddings.
Rex: I was just wondering how close you and your sisters were. Anyway, carry on.
[Cut to Rex's office. Hannah's there. Rex walks in.]
Hannah: Well?
Rex: Fortunately you're right. Prue won't be in attendance.
Hannah: Hmm. Does that mean we can still go?
Rex: No, no, I'm afraid not, it's too risky. Don't pout, Hannah. I'm sure we can think of something to do. Perhaps we can go to a football match. And watch some players get injured. Huh?
[Cut back to Prue's office. She's squatting on the floor holding the fertility icon. She's peeling a sticky tag off of its... you know. Andy walks in and sees what she's doing.]
Andy: I'll come back when you're alone.
(Prue puts the icon in its box.)
Prue: Uh, no. (She stands up.) It's, it's okay, I'm finished. Somebody just put a sticky inventory tag on his... uh... on the, uh...
Andy: Artefact?
Prue: Yeah, yes. The artefact. I should know that word, shouldn't I? (She sits down at her desk.) Uh, where is your, um...
Andy: Artefact? Right here.
(He shows her a large envelope that he's holding.)
Prue: May I?
Andy: It's all yours. (He hands it to her.) It's the Kn*fe I called you about. (She opens the envelope and pulls out the poingnard. She looks at it.) Thanks for seeing me on such short notice.
Prue: Anytime. I'm happy you called. This poingnard is exquisite. 14th century. Italian. (She reads the words engraved on the blade.) "Nec prius absistit quoad protero prodigium."
Andy: My Latin's a little rusty. Uh, "He shall not..."
Prue: "I shall not. I shall not rest until the demon is vanquished". Let me see what else I can find. (She searches through some stuff on her computer.) You found this at a crime scene?
Andy: It was on the victim.
Prue: What was on the suspect? Chain mail and a coat of armour?
Andy: It belonged to a priest. He was at the Grace Spencer estate.
Prue: Spencer estate? Piper's catering a wedding there tomorrow.
Andy: I know. I saw her and Phoebe. Don't worry, they're fine.
(A picture of Hecate appears on the computer.)
Prue: This can't be a coincidence.
Andy: What?
(He leans over the table to have a look but Prue moves the computer so he can't see.)
Prue: Um, nothing. I'm just mumbling to myself. Do you mind if I keep this for a while? I would like to show it to Russell in armaments.
Andy: Sure. I checked it out so you could research it.
Prue: Right. I'll call you.
(She stands up and leaves the room. Andy walks around the desk and has a look at the computer screen.)
[Scene: Manor. Kitchen. Phoebe's looking at a picture of Hecate in a book. Piper walks in holding a box of stuff.]
Piper: I knew I wasn't crazy. Look at these matches. Look at these napkins. They all say "Allison and Elliot" not "Jade and Elliot".
Phoebe: That explains a lot.
Piper: And look at this. It's Chef Moore's contract for the wedding. Up top it says "The wedding of Allison Michaels and Elliot Spencer". Allison is supposed to marry Elliot tomorrow, not Jade.
Phoebe: That's probably why she was crying. I wonder what happened?
Piper: Me too. Can you imagine watching the man you love marry somebody else?
Phoebe: No. Poor Allison.
Piper: Now we have to help her. We're the only ones that know about this. We're the only ones who can.
Phoebe: Okay, I can't hold this in any longer. Your name isn't Piper and that's the good news. You're really Hecate, Queen of the underworld. You're pregnant with the demon child, which means, I'm afraid I have to k*ll you.
Piper: What?
Phoebe: Not to worry. You have plenty of time. I still have to find the jewelled poingnard to k*ll you with. See?
(She shows Piper a picture in the book. Prue walks in holding the poingnard.)
Prue: Are you talking about this?
Phoebe: The odds, Piper. What are the odds?
Piper: I'm not pregnant. Trust me.
Prue: Well, that's good news.
Phoebe: Are you kidding? That's great news. (She hugs Piper.) You can live. Wait. My vision...
Prue: Phoebe, what is it that you saw exactly?
Phoebe: Well, I-I saw the thing being born.
Prue: Did you see Piper?
Phoebe: Yes, I saw her legs.
Prue: Never saw her face?
Phoebe: No.
Piper: Hello, bickering sisters. I'm not pregnant but I am in the room. Phoebe, how did you know I took a pregnancy test?
Phoebe: I, uh, found the box in the bathroom.
Piper: You're supposed to take the trash out, not dig through it.
Phoebe: Piper, it's not like that.
Piper: We're making those bathroom schedules now.
Prue: We have bigger problems to deal with. Cliff notes version. The priest who was k*lled today, he belonged to a secret order pledged to stop Hecate.
Piper: Beware Hecate. That's what the Father Trask said. Then he tried to k*ll Jade.
Prue: She's a demon. She comes to earth every two hundred years. She has to find a innocent, put him under her spell, and marry him in a sanctified wedding.
Phoebe: That doesn't sound any different than most of the single women in this city.
Prue: She needs Elliot to impregnate her. That way her child would look normal on the outside but internally and ment*lly, her child would be pure demon.
Piper: This is huge. A child born into the wealth and power of the Spencer Family?
Prue: I don't think it's a coincidence that you're catering the wedding. I think it's one of those things that we can kind of look forward to as protectors of the innocent.
Phoebe: Hmm...
Piper: Well, before we ruin the wedding and my career, let's make sure we're right about Jade.
[Scene: Spencer's house. Prue, Piper and Phoebe are peeking through a window. Inside, Jade and her bridesmaids are sitting on a bed. Jade is opening presents. She holds up some lingerie.]
Jade: This should make his assets rise.
(They all giggle.)
Prue: Looks like a normal bachelorette party to me.
Piper: I don't believe it. They've barely touched my food.
Prue: Piper...
Piper: Those deli trays took hours.
(Kirsten picks up the fertility icon.)
Kirsten: And you know who this is from. They understand how important it is for you to get pregnant right away.
(She hands it to Jade.)
Prue: Hey, I know that piece, it's from the Auction House.
(Someone knocks on the door.)
Jade: Come in.
(The door opens and a stripper dressed as a pizza delivery guy walks in.)
Stripper: Hi. Pizza delivery.
Piper: They ordered Pizza? (The stripper gets a small tape player out of the pizza bag and turns it on. He starts dancing.) Oh, okay, now I feel better.
(The stripper starts removing his clothes.)
Kirsten: Mmm, he looks good enough to eat.
Jade: Good idea. (The women get off the bed and surround the stripper. They all touch him.) Girls, I'm the bride.
(She scratches the stripper on his chest with her long fingernails. He starts bleeding. He yells in pain.)
Commercial Break
[Scene: Manor. Conservatory. Prue, Piper and Phoebe are there.]
Prue: Somehow, we have to stop them.
Phoebe: So, there's only one problem with our plan. We're assuming that Allison is gonna be a willing accomplice.
Piper: She still loves Elliot. You heard what she said.
Prue: And the Book of Shadows says that the spell can be broken by a declaration of love sealed with a kiss.
Piper: It's so romantic. Just like a fairy tale. And once Elliot is out of her spell, Jade's out of luck, no wedding, no honeymoon night.
Prue: No honeymoon, no sex and no sex, no monster child spending alternate weekends with daddy.
Phoebe: I still say we rely on our Power of Three thing and ix-nay the monster bride and her carnivorous bridesmaids.
Piper: Phoebe, we're supposed to help people, not harm them.
Prue: And that's exactly what we're gonna do. You two will get Elliot, I'll get Allison, and we'll meet at the front of gate no later than 2:30. Everybody have their w*apon?
(Piper grabs her phone, Prue grabs her phone and Phoebe grabs the poingnard.)
Prue: I'll take that. (She takes the poingnard off of Phoebe.) Okay, so, it's time to shower, shampoo and go kick some Hecate butt.
(Prue leaves the room.)
Phoebe: Did she just say shower?
Piper: She did, didn't she?
Phoebe, Piper: Hot water!
(They chase after her.)
[Scene: Church. A room. Andy and Morris are there looking around. Morris is on the phone.]
Morris: Yeah, okay, thanks.
(He hangs up.)
Andy: Any reports?
Morris: Mmm hmm. It is now officially a homicide. The priests neck was broken before he went out the window..
Andy: Told you.
Morris: So, what? Are you saying that a little one hundred and twenty pound busting bride tossed him out the window? I don't think so.
Andy: The security tapes from the estate will show who did it.
Morris: Yeah, that's a good idea.
(Morris gets a little notebook out of his coat pocket.)
Andy: Already had them sent to the station.
Morris: You did, did ya?
(They leave.)
[Scene: Manor. The doorbell rings. Prue walks in the foyer and opens the door.]
Prue: Allison Michaels?
Allison: Yes. Prue Halliwell?
Prue: Thanks for coming. Come in.
Allison: You said it was important. (Allison walks in and Prue closes the door. She shows Allison the napkin.) Where did you get this?
Prue: This won't take long, I promise.
[Scene: Outside Spencer's house. People are getting everything ready for the wedding. Phoebe and Piper are there.]
Piper: (to a guy) Oh, I'll need those in the kitchen right away.
Guy: Yes, ma'am.
(A woman walks past them holding a tray of food.)
Piper: (to woman) No, no, no, no, no. Not in the sun, get an umbrella.
Phoebe: Okay, correct me if I'm wrong, but aren't we trying to stop this wedding?
Piper: You're right. I just can't help myself.
Phoebe: Forget the food. Let's go.
Piper: Okay.
[Scene: Manor. Conservatory. Prue and Allison are there.]
Allison: And everything was fine, right on schedule, until about, uh, six days ago. That's when Jade appeared out of nowhere and started working at the Spencer family business. And before I could say "I do", I was out and she was in. End of story.
Prue: Did you talk to Elliot?
Allison: They wouldn't even let me see him.
Prue: Not a big surprise.
Allison: It wouldn't make any difference anyway. The Elliot I know, the Elliot I love, isn't here anymore.
Prue: What if I told you Elliot isn't himself because this woman has put him under a spell, so to speak. Allison, Elliot loves you, not Jade.
Allison: If that were true, I would be the one walking down the aisle today.
Prue: You still can be. All you have to do is crash your wedding.
Allison: What?
Prue: Look, it's not that crazy. The man that you love is marrying somebody else. Don't you want to do everything within your power to stop him?
Allison: This isn't a fairy tale. Real life doesn't work that away.
Prue: But what if you can get him back? Do you really wanna spend the rest of your life just wondering? In your heart of hearts, you must still love him.
Allison: I do. God, I really do.
Prue: Then let me help you.
Allison: But you don't even know me. Why would you wanna help me?
Prue: Have you ever seen that television show where there's the woman who's an angel and she helps strangers every week?
Allison: I love that show.
Prue: Don't get too excited, I'm nothing like that. But, uh, my sisters and I, we have special gifts.
Allison: Gifts? What kind of gifts?
Prue: Ones you can't return. Let's just say we come from a very interesting family three. Look, if you can, if you'll trust me, we can bring you and Elliot together.
(Allison nods.)
[Scene: Spencer's house. Elliot's room. Grace and Elliot are there.]
Grace: Here we are. Finally. Your big day. (She touches his face.) Forgive me, son.
[Cut to the hallway. Phoebe and Piper are there. Kirsten comes out of a room.]
Piper: Stripper-eating bridesmaid ahead.
Phoebe: Keep walking.
Piper: Okay.
(They walk up to Kirsten.)
Phoebe: We need to talk to Mr. Spencer.
Kirsten: No ones sees the groom before the ceremony.
Piper: Actually that would be the bride. This'll only take a minute.
Kirsten: What part of no did you not understand?
Piper: The non-original part?
(Mrs. Spencer comes out of the room.)
Grace: Is there a problem?
Phoebe: Ugh, don't even get me started.
Piper: Could we talk to you for a sec? It'll... you know, in private?
Grace: Certainly.
(Phoebe, Piper and Grace walk down the hallway.)
Grace: Is everything all right?
Piper: It's about your son.
Grace: What's wrong?
Piper: Well, he, um, he's not supposed to marry Jade.
Grace: I know.
Phoebe: You do?
Mrs. Spencer: I know more than you can possibly imagine.
Piper: We can help him.
Grace: No one can help us. It's too late.
Phoebe: No, we have a plan. We can stop the wedding.
Grace: (whispering) Go to the wine cellar. Wait for me there. I'll join you in ten minutes. (Kirsten looks over at them.) (louder) I'm sorry, there's nothing I can do for you.
(Phoebe and Piper walk off.)
[Cut to the wine cellar. Piper and Phoebe walk in.]
Piper: Did you hear that?
Phoebe: Not to worry, we still have thirty minutes before the wedding.
(Piper and Phoebe walk down the stairs. Two bridesmaids walk in and turn into demons.)
Piper: This is bad.
Phoebe: Real bad. Freeze them.
(Piper tries to freeze them.)
Piper: I'm trying. It's not working.
Phoebe: Yes, it is. Look. (A fly is frozen in mid-air.) You froze the fly. You have to be closer to the object you're trying to freeze.
Piper: Forget it. Run.
Commercial Break
[Scene: Police station. A police officer puts a box of security tapes on Andy and Morris's desk.]
Police officer: Here you go, Inspector.
(Morris picks up a video tape.)
Morris: Man, the Spencer's sure go through a lot of security.
(Morris throws Andy the video tape.)
Andy: All those cameras should've picked up something around the time the priest was k*lled.
(Andy puts the tape in a VCR.)
[Scene: Outside Spencer's House. Prue and Allison are standing there.]
Allison: It's 2:40. Could we have missed them?
Prue: I hope not. Where are they?
[Cut to the wine cellar. Piper and Phoebe are sneaking around the room. Piper's phone rings. She quickly answers it.]
Piper: Hello?
Prue: Piper, where are you?
Piper: We're down in the wine cellar. Help.
(Piper and Phoebe see the demons. They run away.)
[Cut to Jade's room. Grace, Jade and Kirsten are there. Jade is dressed in her wedding dress. Kirsten hands Jade a present.]
Kirsten: This is from me. Your something borrowed.
(Jade giggles and unwraps the present. It's a book.)
Jade: Foust. I love this. I read it the last time I was here. What about my something blue? (Kirsten looks over at Grace. Grace is crying.) You're right. Nothing's bluer than the heart of a mother giving away her only son.
(They giggle.)
[Cut back to the police station. Andy and Morris are watching the security tapes on the TV.]
Morris: It's just two women talking. You can't even hear them.
Andy: What, you don't read lips? (He leans forward.) k*lling a priest wasn't part of our deal.
Morris: Man, you're good.
[Cut back to the Spencer's house. The wedding has started. Jade is walking down the aisle. She stands next to Elliot and they face the priest.]
Priest: Dearly beloved, we are gathered here today to celebrate this sacred union as we join this man and this woman in holy matrimony.
[Cut to the wine cellar. Piper and Phoebe run up the stairs. The demons follow them.]
Phoebe: Okay, they're really close now. Freeze them.
Piper: Great.
(Piper freezes the demons. Prue comes in the wine cellar.)
Prue: Piper, Phoebe, duck! (They do so and Prue uses her power on the demons. They fly into some boxes.) Are you guys okay?
Phoebe: Uh, huh. Nice timing.
Piper: Where's Allison?
Prue: Got her upstairs. Come on.
[Cut back to the wedding.]
Priest: If there's anyone here who knows of a reason these two should not be joined, speak now or forever hold your piece.
Piper: We have a reason.
Allison: I love you, Elliot
Jade: Why, you little witch.
Piper: Hey!
Jade: By asteria and percease, open sky and do your worse!
(It gets very windy and stormy. Everyone starts running. Andy and Morris pull up in their car.)
Andy: Well, this is exciting. I wonder what's going on here?
[Cut to Elliot's bedroom. Elliot and Jade are there. Jade turns into Hecate. Prue, Piper and Phoebe walk in. Three demons push them into the room.]
Prue: Alright, quick, we have to banish them back to the underworld. (Prue looks in her purse.) Uh, the poingnard is gone.
(Elliot picks the poingnard off of the floor.)
Phoebe: Elliot.
(The poingnard starts glowing.)
Piper: Prue, do something.
(Prue uses her power and the demons get sucked in the poingnard.)
Elliot: Whoever you three are, thank you.
Commercial Break
[Scene: Outside the Spencer's house. Elliot and Allison are together hugging and kissing. Prue, Piper and Phoebe are near by.]
Prue: We did that.
Phoebe: And they'll live happily ever after.
Piper: I wonder if we will.
Prue: Of course, we will. Why shouldn't we?
Piper: That's easy for you to say. You'll never greet your husband at the door with: "Honey, I think I froze the kids."
Prue: No, I've just accidentally moved them to another zip code.
Phoebe: But I will see them, find them, and bring them back safely. If I can ever learn to control my powers.
Piper: If any of us can.
Phoebe: Just think of the obstacles that Allison and Elliot have overcome. If they can do it, so can we.
Prue: I guess true love does conquer all.
Phoebe: Especially if you have separate bathrooms.
(They see Andy walking towards them.)
Piper: Speaking of true love...
Phoebe: Ooh.
Andy: Fancy seeing you here.
Prue: Yeah, isn't it? (She holds up the poingnard.) Uh, I wanted to give this back to you. I'm finished with it.
Andy: How'd you know I'd be here?
(He takes it off of her.)
Prue: I didn't. I was gonna drop it off after the wedding.
Andy: Aha, shall we talk about this in private, Prue?
(Andy puts his arm around Prue and they walk away.)
Phoebe: Do you believe in destiny?
(They giggle.)
Piper: He believes in destiny. Shh.
End | {"type": "series", "show": "Charmed", "episode": "01x06 - Wedding from Hell"} | foreverdreaming |
Written by: Edithe Swensen
Transcribed by: Janelle Hackbarth
--------------------------------------------------------------------------------
[Scene: Aviva's room. Aviva puts a small statue on the rug in front of her. She is also in front of the mirror. Aviva is dressed in black and has black candles lit around her. All but one. She lights it. She then gets into meditating position.]
Aviva: Come to me Kali. I conjure thee Kali. Come to me Kali. I conjure thee Kali.
(In the mirror, Kali appears.)
Kali: I'm here Aviva.
Aviva: It's been over a week.
Kali: I know. Be patient Aviva.
Aviva: But I've done everything that you've asked. I've followed the Halliwell sisters. I know their every move.
Kali: Which will all become valuable in good time. You must trust me. You must make them want you as badly as you want them.
(Aviva looks at the closet.)
Aviva: I talked to my mom today.
Kali: How is she?
Aviva: I don't know. She's better
I think. I miss her.
Kali: She's gonna be so proud of you.
Aviva: Yeah? I hope so.
Kali: Are you ready to receive your power?
Aviva: (giggling a little) You know I am.
Kali: Remember, it's a sacred power. If I give it to you, you must use it only as I say.
Aviva: I will. I promise.
Kali: Very well. Reach for the mirror. Put out your hands. Feel the power. (Aviva reaches her hands towards the mirror. Aviva's hands begin to glow. She receives the power. Her hands stop glowing and she puts them down.) You know what to do. Go to Phoebe, Piper, and Prue.
(Aviva grabs her coat and leaves. We see flames in the mirror. Kali appears as her evil demon self.)
[Scene: Manor. Living room. Piper is sitting in the chair holding REWARD flyers for Kit. Leo walks in. He moves the fireplace screen from the fireplace and looks in the fireplace and sticks a tool up at it.]
Leo: Uh
well I think I see
yep. There's definitely something here.
Piper: (to herself) Definitely.
(Phoebe enters the living room with a mug of coffee and makes her way around the sofa while saying this.)
Phoebe: Oh my. Santa, you've changed.
Piper: He's looking for Kit.
Phoebe: The cat. Right. Four legs and fur. I remember. (Mouthing to Piper) Oh my god!
(Leo gets up from the fireplace.)
Leo: Sorry. You know, have you tried the shelter?
Piper: Yeah. Nothing.
Leo: Well, she had her collar on right? With your number on it and everything?
Phoebe: A very distinctive collar actually.
Piper: Anyway
(She stands up.) Uh, thanks for looking. I'm sure you must be hungry after all that work.
Leo: All what work?
(Phoebe laughs a little and puts her arm around Piper.)
Phoebe: Oh, that's just Piper. She's gotta be everyone's mom. Think of her as your mom. I know I do.
(They all laugh a little.)
Piper: Isn't she a scream?
Leo: Well thanks, um
let me go put up these flyers first and I'll be right back, OK?
(He bumps into the fireplace screen.)
Phoebe: Oh careful.
Leo: Oh.
Piper: You all right?
Leo: Yeah. Yeah. I'll just
(He puts the fireplace screen back.)
Piper: Antique.
Phoebe: Grandma's.
Piper: Yeah.
(Phoebe and Piper watch Leo leave.)
Phoebe: Oh. Quite possibly the finest glouths in the city.
Piper: In the state.
Phoebe: In all the land.
Piper: I saw him first.
Phoebe: Uh-uh.
Piper: Uh-huh.
Phoebe: Oh.
[Scene: Street. Leo hangs a flyer on a sign and walks by a car. Aviva is in the car. She watches Leo leave and then turns around to look at the flyer. It burns. She smiles.]
Opening Credits
[Scene: Manor. Kitchen. Piper takes a cinnamon roll out of the microwave and puts it on a plate. She then pours a glass of milk. Leo is at the foyer on a later.]
Piper: Humph.
(She takes the plate and glass out of the kitchen.)
[Cut to foyer. Piper comes out of the kitchen with the cinnamon and milk. She goes to Leo.]
Piper: Here you go Leo. Non-fat milk right?
(She gives Leo the glass of milk and cinnamon.)
Leo: Right. Thanks.
Piper: Just don't call me mom.
(Phoebe and Prue are coming down the stairs.)
Phoebe: Trust me. One hot night is all you guys need to get back on track.
(They walk to the foyer.)
Prue: Yeah. I hope you're right.
Phoebe: Andy's a cop. You're a witch.
Piper: Ahem.
Phoebe: Except complications.
Prue: Hey, Leo. How's it going?
Leo: Good. Uh, this wall only needs two coats and then I gotta do the molding and then I'm done.
Phoebe: Ah, are you sure it doesn't need 3 coats?
Leo: Uh
Piper: Nice outfit
for 9 o'clock in the morning with no place to go.
Phoebe: Hmm. I'm glad you like it. (Leo drinks some milk.) Oh. Leo. Come here. (She wipes the milk mustache off her face.) Got milk?
Prue: Uh
Phoebe, come here. (Phoebe doesn't) Phoebe!
(She grabs Phoebe's arm and heads towards the kitchen.)
[Cut to kitchen. Prue and Phoebe come in.]
Prue: I think that Piper likes Leo.
(She goes and gets a mug and begins making coffee.)
Phoebe: What's not to like? He's a great guy.
Prue: No. I mean
really likes him.
Phoebe: Your point being?
Prue: Never mind. Classic Phoebe.
Phoebe: Wait. Define that.
Prue: I think you know.
Phoebe: Okay. Look Prue, I think we need to put some major closer on this or we're gonna be in rocking chairs slurping oatmeal out of rubber spoons and I'm still gonna hear about Roger. (Piper enters to get coffee.) Piper, am I a boyfriend thief?
Piper: Totally.
Phoebe: Besides Roger, whom again Prue, I never touched.
Piper: My boyfriend. Billy Wilson.
(Phoebe laughs a little.)
Phoebe: Billy Will
Eight grade Billy Wilson?
Piper: You kissed him at homecoming.
Phoebe: No I did not kiss him at homecoming. I was helping him find a contact lens.
Piper: Oh please. You were all over him with your breasts all
whatever.
Phoebe: I didn't even have breasts back then.
Piper: Phoebe, you've always had breasts.
Prue: So, I think I'll just let you two work this out on your own. But, um, just remember, I get the house tonight. Just Andy and me. No warlocks, no innocents to protect and especially, no sisters.
(Prue leaves.)
Piper: So you know
it's not like either one of us has a problem finding guys.
Phoebe: (Snorts) Please.
Piper: So if one of us
got Leo
it'd be OK with the other one.
Phoebe: Absolutely.
Piper: So we can just consider this a friendly competition.
Phoebe: Sibling rivalry.
Piper: w*r.
Phoebe: Exactly.
[Scene: Aviva's room. Aviva is lying on her bed writing in her diary while listening to music.]
Aviva: Dear Diary
(Aunt Jackie knocks on the door.)
Aunt Jackie: Aviva, open the door.
Aviva: Life sucks here.
Aunt Jackie: I'm gonna be late for work.
(Aunt Jackie opens the door. Aviva puts her diary under her bed and sits up.)
Aviva: So that part about this being my room, that was a lie?
Aunt Jackie: It's my apartment Aviva.
Aviva: So you keep reminding me Aunt Jackie.
Aunt Jackie: Why don't you get some light and air in here?
(She goes to open the curtain. Aviva stands up.)
Aviva: Because I like it dark and stale.
(Aunt Jackie stops and turns around.)
Aunt Jackie: Why are you so antagonistic to me?
Aviva: How come you haven't called my mom yet?
Aunt Jackie: What?
Aviva: To see how she's doing, or just to say "hello"? It would help her you know. I mean, it's not like she's got a lot of family.
Aunt Jackie: She has to take responsibility for her own actions.
Aviva: She's not in jail. She's in rehab. She didn't do anything wrong to take responsibility for. She's sick and that's it. It's nothing to be ashamed of.
Aunt Jackie: Whatever.
(She leaves. Aviva slams the door close.)
[Scene: Video store. Andy and Prue are searching for a video.]
Andy: Ah, ever see "Lethal w*apon 3"?
Prue: Not very romantic.
Andy: Right.
(He puts the video back.)
Prue: Hey. (Prue shows her the video) How about "Double Indemnity"?
Andy: (Whispering) It's black and white.
Prue: (Whispering) Right.
(She puts it back. A video store clerk comes to them.)
Video store clerk: Video prarallises.
Prue: Excuse me?
Video store clerk: You're probably two minutes away from leaving without a rental. Mind if I help? After all, I am a pro.
Andy: Sure. (Video store clerk leaves.) Doesn't matter what we pick anyway. We'll probably never get around to watching it.
Prue: Oh yeah? Pretty cocky. (Andy walks to her.)
Andy: Actually what I meant was something always seems to come up. Get in our way.
Prue: That's not true. OK, well, maybe it's sometimes true, but there's always a perfectly good reason.
Andy: Prue, there's never a perfectly good reason. As a matter of fact, there's never usually even a reason at all. Good, bad, or otherwise.
Prue: All right. (She moves closer to him.) You
me
alone
tonight. Nothing and I mean nothing will get in our way. Guaranteed.
Andy: I'll hold you to that.
Prue: (Whispering) OK.
(They kiss. The video store clerk comes up to them with a video.)
Video store clerk: I got it. (Prue and Andy stop kissing.) "Body Heat".
Prue/Andy: We'll take it.
[Scene: Aviva's room. Aviva is in front of her mirror.]
Aviva: I conjure thee Kali.
(In the mirror, Kali appears.)
Kali: I'm here Aviva.
Aviva: I'm going crazy here Kali. I can't wait any longer.
Kali: The Halliwells' don't understand our way. They don't know the full uses and joys of their powers.
Aviva: I'll show them.
Kali: You must gain their trust first. You must let them welcome you into their coven.
Aviva: I won't disappoint you. I swear.
Kali: Then it's time. (The closet door opens. Aviva goes to it and gets Kit.) Take the cat back to the Halliwells'.
[Scene: Manor. Foyer. Piper looks into the foyer from the dinning room and sees Leo sanding down something. She pretty herself up and then goes over to Leo.]
Piper: About done for the day?
Leo: Just about.
Piper: Uh
well, Prue's got a date so we kinda gotta clear out. I was thinking about catching a movie. Wanna go?
Leo: I can't do it.
(He goes to another corner of the room.)
Piper: OK.
Leo: You know
these are original to the house. I mean, they really should be sanded down, finished off with steal wool, and
and restrained. Not covered in paint.
Piper: Oh, right. Sort of like risotto with minute rice. (Leo chuckles a little.) It's a cooking analogy.
Leo: Yeah. (They both chuckle a little.) Anyway uh
I have some stain samples at home if you're interested. I can bring them by tomorrow and show them to you and your sisters.
Piper: Or better yet, why don't you just bring them by the restaurant? Say about lunchtime? Prue's so busy and Phoebe doesn't really care. She's more into stucco.
Leo: OK.
Piper: OK.
Leo: So what time's that movie?
(The doorbell rings.)
Phoebe: I got it.
[Cut to Phoebe. She opens the door. Aviva is standing there with Kit.]
Phoebe: Kit! Oh my god. Where did you find her? We were worried sick.
(She takes Kit.)
Aviva: I was just walking by and I um, saw one of your flyers and poof. There she was. Like magic.
(Phoebe laughs nervously.)
Phoebe: Wow. (She closes the door.) I can't even believe she let you hold her.
(They go in the living room. Piper enters.)
Piper: Oh. Welcome home Kitty! (Phoebe laughs a little as she hands Piper Kit. Leo enters) Oh. You must be starving.
(She sits down in the armchair.)
Aviva: (Sitting down on the couch.) I fed her.
Phoebe: (Sitting on the arm of the couch.) I thought you said you just found her.
Aviva: I did. Oh, um, a couple of hours ago. I mean.
Piper: And she didn't try to scratch you?
Aviva: Mm-mmm.
Leo: You know, I'll take the flyers down tomorrow. Let me uh, clean up before the movie.
Phoebe: Movie? What movie?
Piper: A w*r movie.
Phoebe: I love w*r movies. Mind if I tag along?
Leo: Uh sure. Why not? I'll be right back.
(He leaves.)
Aviva: You guys aren't going out are you? I mean, you just got your cat back.
Piper: Oh she'll be fine. Let me get my purse. (She puts Kit down and goes towards the table.) Uh, what's your name?
Aviva: Oh. No. No. I don't want your money.
(Prue and Andy enter from the parlor.)
Piper/Phoebe: Hey Andy!
Andy: Hey!
Prue: Hey. I thought we all had plans tonight?
Phoebe: This girl just found our cat for us.
Aviva: Aviva.
Prue: Well that's great. Um, is fifty bucks enough?
Aviva: Uh, I don't
I don't want a reward. (She stands up.) We need to talk.
Prue: About what?
Aviva: About wicca.
Prue: Uh
(Leo enters.) Andy Trudeau, this is Leo Wyatt. You guys chat. We'll be right back.
Phoebe: OK. (Piper and Phoebe get up and lead Aviva away.)
Andy: Hey. (Andy and Leo shake hands.)
Piper: Thanks again.
(They push Aviva away.)
Phoebe: Yeah. I'm sorry you can't stay.
Aviva: I'm
not leaving. Don't you understand? I'm one of you.
(She points at the popcorn Andy has and it began to rise.)
Piper: No.
(Piper stops time. Aviva doesn't freeze.)
Aviva: Very cool.
(She walks around Leo and Andy.)
Piper: Um, wait. You didn't
. she didn't
.you didn't freeze?
(Aviva walks back to them.)
Aviva: That's because I'm a witch too.
Prue: A what?
Aviva: Look, I just want to be friends.
Piper: Uh, guys, we have about 20 seconds until they unfreeze.
Phoebe: How did you find out about us?
Aviva: I'm gonna need more than 20 seconds for that.
Piper: We really need to move things along here Prue.
Prue: OK. You need to leave here now.
Aviva: What? A
why?
Prue: Because we don't know who the hell you really are, so just leave. OK? Go. Go. Go.
(She pushes Aviva.)
Aviva: No. I'm not leaving. I just saved your cat.
Prue: Leave now or else.
Aviva: Or else what.
(She looks at the tape Prue has and it burns. Prue drops it. Aviva leaves. Time unfreezes. The popcorn bursts open and popcorn is thrown all over the place.)
Andy: What the hell?
(They clean the popcorn off themselves.)
Leo: Hey, where did that girl go?
Phoebe: Uh. She just
(Prue uses her power to make the front door slam.)
Prue: Uh! Uh. Left.
Commercial Break
[Scene: Aviva's room. She's talking to Kali.]
Aviva: You said if I brought them back their cat
Kali: Was it the oldest? Was it Prue that sent you away?
Aviva: Yes.
Kali: Avoid her. She's the strongest. You must separate them. Together they're Charmed. Impenetrable.
Aviva: But what if they don't want me?
Kali: Phoebe will. In her own way. She's searching for someone to relate to. Someone to share her witchcraft with. What's the problem?
Aviva: I
I don't know.
Kali: You're the one that came to me remember? You're the one who wanted
sisters.
Aviva: I know. I want a family. I don't have anybody. What do you get out of it? I mean, you know, you never really said.
Kali: Halliwell magic is old and powerful, and I want it. And since they're new to the craft, if I'm ever going to get it, it has to be now
through you. Just do as I say Aviva. Make Phoebe convent your power, then we'll both get what we want.
[Scene: Manor. Kitchen. Next morning. Prue is on the phone with Andy as she brings a towel out from the laundry room.]
Prue: It's not what you think Andy. It's hard to explain. It's just
[Cut to Andy at the police station. He's going through some files.]
Andy: Just another one of those things you can't explain. It's a broken record Prue.
[Cut to Prue. She's sorting laundry.]
Prue: Look, I wanted you to stay. You have to believe me.
[Cut to Andy]
Andy: Then what happened? Why'd you want me to leave all of a sudden?
[Cut to Prue]
Prue: I told you. Something came up. Sister stuff. I can't really go into detail without betraying someone's secret.
[Cut to Andy]
Andy: Prue
[Cut to Prue]
Prue: Look Andy, I'm unpredictable. OK? That's just part of who I am and you have to accept that because I can't change it.
[Cut to Andy]
Andy: I don't want you to change Prue. I just
(He sits down.) I just want to have a normal date. That's all. Is that too much to ask for.
[Cut to Prue]
Prue: All right. Let's just try it again. Tonight? Uh, same time? Same place?
[Cut to Andy]
Andy: Same movie?
[Cut to Prue. She picks up the burnt movie.]
Prue: Uh, yeah. OK, so what? 8 o'clock?
[Cut to Andy]
Andy: I'll be there. Bye.
[Cut to Prue]
Prue: All right. Bye. (She hangs up and goes to the laundry room.) If I ever see that little artiest again
(Piper and Phoebe come in. Piper stands by the dryer as Prue takes close out and puts them in the laundry basket.)
Piper: Just got done dodging Leo's questions about her. That was close.
Prue: Too close. The question is, who is she?
Piper: And what does she want?
Phoebe: Let us not forget Aviva found Kit.
Prue: Yeah. She's probably the one who stole the cat in the first place.
Phoebe: Hello? Paranoia check.
Prue: Phoebe, for all we know, she's a warlock.
(She takes the laundry basket into the kitchen and puts it on the table and begin sorting through it again. Piper and Phoebe follow her.)
Piper: She can't be. She didn't freeze.
Phoebe: Beside, she said she was a witch.
Prue: OK, a bad witch maybe.
Phoebe: Yeah, a bad witch with a really cool power. Better than mine. That's for sure.
Prue: Why are you so quick to defend her?
Phoebe: Why are you so quick to condemn her?
Piper: If she is a witch, a good witch, then it might be kinda cool considering she's the first one we've run across.
Phoebe: Exactly.
Prue: Guys, we don't know anything about herhow she got her powers. How she found out about us?
Phoebe: She tried to tell us, but you kicked her out.
Prue: Yeah. She would have exposed us if I hadn't.
Phoebe: Prue, she's just a kid. Besides, if she is a witch, she probably feels just as alone as we do. Maybe she just needs some friends.
Prue: Or maybe she's out to destroy us. It wouldn't be the first time.
Phoebe: OK.
Prue: All right, until she knows who she really is, let's just steer clear. OK? (Phoebe nods.) I'm late for work.
(She leaves.)
Piper: Me too.
(She leaves. The phone rings. Phoebe answers it.)
Phoebe: Hello? Aviva?
[Scene: High School. Phoebe is waiting for Aviva. She checks her watch. Aviva comes to the bike fence where Phoebe's waiting outside.]
Aviva: I'm so glad that you came.
Phoebe: I'm glad that you called actually.
(They walk along the fence towards the door.)
Aviva: Bet you got a few questions huh?
Phoebe: A few. Uh, what time does school let out?
Aviva: Uh, now.
(She goes under the fence lock.)
Phoebe: Uh, whoa. Whoa. Hey, what are you doing?
Aviva: Oh, the same thing I'm sure you did a thousand times. Am I right?
Phoebe: Well..
Aviva: I am right. Um, you didn't tell your bitch sister about this, did you?
Phoebe: Hey, watch your mouth. Prue had every right to be upset about what you did.
Aviva: It's funny how you knew that I was talking about Prue and not Piper. Hey, come on. (She heads towards a car.) Let's go for a ride. I'll tell you everything that you want to know.
[Scene: Quake. Leo walks in and looks around for Piper. He turns around and finds her with a menu.]
Piper: Table for one sir?
Leo: Wow. You own this place?
Piper: No. I just run it. Um. (They begin to walk to a table.) Actually, I used to be the chef here.
(Piper leads him to the table and he sits down. She hands him a menu.)
Leo: I'm impressed.
Piper: Good. I mean, um, good that you came here as opposed to the house and Phoebe. (Leo takes the stain samples out of his pocket.) How about those stain samples?
(Leo hands them to Piper.)
Leo: Now I only brought the ones authentic to the era in which the manor was built.
Piper: Great. (She sits down in the chair across from Leo.) Hungry?
Leo: Uh
Piper: Oh, it's on the house.
Leo: You're big on food, aren't you?
Piper: Uh
Leo: No. That's good. You know, actually, in the Mayan culture, the cook was second in the hierarchy only to the medicine man.
Piper: Mayans? You know about Mayans? Well, you certainly are a handyman, aren't you?
Leo: Uh, so, does Phoebe work here too?
Piper: Phoebe? Work. No. No. No. No. No. No. She's probably at her gay and lesbean group right about now. So what'll it be?
[Scene: Manor. That night. Phoebe and Aviva walk into the manor through the kitchen.]
Phoebe: This is the dining room. This is the parlor. That's the conservatory, which is just another fancy name for family room.
Aviva: This is so totally cool. Oh, I love it here.
(They walk towards the parlor. Aviva opens the door.)
Phoebe: And welcome to planet Leo.
(They walk into the parlor.)
Aviva: You are liking this Leo.
Phoebe: Uh, maybe.
Aviva: Does he like you? I mean, how can he not? You are so gorgeous.
(As Phoebe talks, Aviva goes and sits down on the couch holding Kit.)
Phoebe: Well, you see, Piper and I have sort of have this little competition going over him.
(Phoebe sits in a chair.)
Aviva: So just use your powers. Cast a spell on him or something. You do have powers, don't you?
Phoebe: What makes you think I do?
Aviva: Please. You're a witch.
Phoebe: Yeah, which brings us back to how do you know that. You promised.
Aviva: I have this teacher. She's great. She's like my mom. She told me.
Phoebe: Who is she?
Aviva: Another witch. Like a high priestess or something. She said you were the coolest and I would like you the best. She was right.
Phoebe: Well I'd like to meet her sometime.
Aviva: Yeah? (Phoebe nods.) Is your room up there?
Phoebe: Mm-hmm.
Aviva: Come on. I want to share something with you. (She puts Kit down and stands up.) You're gonna love it. I promise.
[Scene: Phoebe's room. Aviva is putting on black lipstick.]
Aviva: I like mirrors. They never lie to you. (Phoebe appears behind Aviva.) They always tell you the truth whether you like it or not. It's basic black. The color of my soul. Do you want to try it?
Phoebe: You're soul's not black.
Aviva: You know the feeling that I mean. You're different, you know, you'll never want what they want. You belong on the edge. We aren't pink people Phoebe. (She turns around.) You want to see something incredible? Better yet, you want to try it?
Phoebe: Try what?
Aviva: I'll show you my power if you show me yours.
[Cut to kitchen. Prue comes in.]
Prue: Anybody home? (She puts her purse on the table.) Better not be.
[Cut back to Phoebe's room. Phoebe and Aviva are sitting on the ground Indian style. In between them is a laid out handkerchief with some candles.]
Aviva: Don't be afraid.
(She holds out the palm of her hands. Phoebe grabs them.)
Phoebe: OK. Now what?
(Aviva glances at the mirror. Kali appears slightly and then disappears. Aviva giggles a little.)
Aviva: She's giving it to you too.
Phoebe: Who is? Giving me what?
Aviva: The power. Here. (She puts a potted plant in front of Phoebe.) Touch this. (Phoebe does. The plant begins to grow.) It's the power of heat. You're hand is like the sun.
Phoebe: Whoa.
Aviva: That's pretty cool huh?
(Prue opens the door while saying this.)
Prue: Phoebe, are you
(She sees Aviva.)
Phoebe: Prue
(Phoebe and Aviva stand up.)
Prue: What are you doing?
Aviva: Get out. This is her room.
Phoebe: Aviva
Aviva: No. She treats you worse than my aunt treats me. It's not right.
Phoebe: It's OK. Relax.
(The door rings. Prue leaves. Phoebe does. Aviva kneels down and blows out the candles.)
[Cut to foyer. Prue opens the door. Andy's standing there holding a bottle.]
Andy: Chianti, Body Heat
What do you think?
Prue: Ah
Phoebe: (Running down the stairs) Prue, I can explain! (She sees Andy.) Oh no!
Andy: Oh no
Let me guess? Rain check?
Prue: Andy
Andy: Prue, this is
this is getting ridiculous.
(Aviva comes up to Phoebe.)
Prue: I know. Believe me. You have every right to be upset, and I can't talk about it right now but I will. I promise. Tomorrow? Quake? 1:00? Please?
Andy: OK. Tomorrow 1:00. (He waves to Phoebe before leaving who waves back. Prue closes the door and begins to walk away. She pasts Phoebe.)
Phoebe: I am so sorry. (She follows Prue.) I totally forgot. (They stops walking.)
Prue: What the hell is she doing here? What's a matter with you?
Aviva: This is her house too, OK? She can do whatever she wants.
Phoebe: (To Aviva) Aviva
(To Prue) She's not what you think she is.
Aviva: She doesn't understand Phoebe. She'll never understand. (She leaves.)
[Scene: Aviva's room. She's talking to Kali.]
Kali: If there were no Prue, Phoebe would be with us now.
Aviva: I hate her and wish that she were d*ad.
Aunt Jackie: (Outside the door.) Aviva? What's going on? Who's in there with you? (She open the door and comes in.) You skipped school today and I want to know why.
Aviva: Get out of my room!
Aunt Jackie: How dare you speak to me in that tone! (She notices the candles as Aviva stands up.) What's going on here?
Aviva: I said get out of my room! Leave me alone or else
(In the mirror, Kali is her demon self. She throws a fireball at Aunt Jackie. It hits the bottom of her dress. She screams and tries to put it out by slapping it with a jacket.) Aunt Jackie? (She goes out of the room while slapping and hits the wall.) Oh god. (Aunt Jackie falls down the stairs. Aviva comes out and runs downstairs.) Aunt Jackie? (She stops short and sees her aunt on the floor motionless.)
Commercial Break
[Scene: Aunt Jackie's apartment. Aviva is on the stairs. The cops and paramedics are there. They take Aunt Jackie away in a stretcher. Aviva walks up the stairs.]
[Cut to Aviva's room. She's talking to Kali. Aviva is worried.]
Kali: What did you tell the police?
Aviva: That the candle caught her dress on f*re and she fell down the stairs. Oh my god. What have I done? I didn't mean to hurt her.
Kali: You powers are growing.
Aviva: I know, but as soon as Aunt Jackie walks up, she'll tell them what really happened. I've got to get out of here.
Kali: No!
Aviva: Why not?
Kali: You must go back to the Halliwells. You must complete what you've started.
Aviva: But how?
Kali: Piper won't stop you, and Phoebe's already an ally. Only Prue stands in our way. You must use your powers. You must take Prue's place in the power of three. Don't disappoint me Aviva. You said you wanted a family. And now you'll have one.
[Scene: Manor. Kitchen. Aviva is there. Phoebe pours Aviva a cup of tea and gives it to her. Piper is on the phone in the background. Prue is also there.]
Aviva: Thanks.
Phoebe: You poor thing. You're shivering.
Aviva: I'm OK. (To Prue.) I know that you don't like me and I know that the last thing you want to do is help me. But I don't know where else to turn. I don't have anybody else.
(Piper comes to them.)
Piper: She's telling the truth. Her aunt was admitted to the hospital.
Aviva: How is she? Is she OK?
Piper: She has a broken arm and a concussion.
Prue: How did she fall again?
Aviva: I don't know. I
I heard her scream and, and then I found her on the floor and I called 911. I promise, if you just let me spend the night and get some sleep, I'll tell you everything you want to know about me tomorrow.
Piper: She can't stay alone.
Phoebe: She can sleep in my room.
Prue: No magic.
Aviva: I swear.
[Scene: Phoebe's room. Phoebe is asleep, but Aviva is awake. Kali appears in the mirror.]
Kali: Now
is the time.
(Aviva goes out into the hallway. Kali appears as her demon self.)
[Cut to by Prue's room. Aviva opens the door slightly and sees Prue asleep. She then prepares to use a fireball.]
Piper: What are you doing?
Aviva: Um
(She closes the door.) I was just looking for the bathroom.
Piper: Oh. It's down the hall to the right.
Aviva: Great. Thanks. Good night. (She goes to the bathroom. Piper looks in Prue's room. She's still asleep. Piper closes the door.)
[Scene: Dinning room. Phoebe is on the ladder putting a light bulb in the lamp. Prue is with her.]
Prue: I'm going to the hospital to see her aunt in an hour. I'll be back OK?
(Leo walks into the kitchen and opens the door. He almost hits Aviva.)
Leo: Whoa. Sorry. Didn't know you were there. (Phoebe turns on the light and steps down.)
Aviva: That's OK. (Leo leaves.)
Prue: Aviva, I'm going to go see you aunt. Let her know where you are. We'll talk when I get back OK?
Aviva: Yeah. Sure. Tell her I love her.
Prue: OK. (She leaves. Phoebe comes in the kitchen.)
Phoebe: Come on. Let's get something to eat.
[Scene: Hospital. Prue is sitting by Aunt Jackie's hospital bed. Aunt Jackie is sitting up.]
Aunt Jackie: I don't understand. Why is Aviva staying with you? I don't even know who you are.
Prue: Um, actually we just met your niece. We lost our cat and she found it for us.
Aunt Jackie: Oh. That's what she was hiding.
Prue: Hiding?
Aunt Jackie: In the closet. She wouldn't let me go anywhere near it. You're lucky she didn't sacrifice the poor thing.
Prue: I'm sorry? (Aunt Jackie leans closer.)
Aunt Jackie: She's a strange kid. Very troubled. Into all sorts of wired stuff. Black magic, voodoo. God know what else. No wonder she doesn't have any friends.
Prue: What makes you think she's into black magic?
Aunt Jackie: You should see her room. It seems like every time I walk past there she's in there
chanting or something. Sometimes, I swear, I even hear other voices. I know she's not happy there. I'm only taking care of her until her mom gets out of rehab.
Prue: Do you mind if I stop by your place and pick up some things for Aviva?
Aunt Jackie: No.
Prue: Great. Thanks. Feel better. (She leaves.)
[Scene: Quake. Piper comes out of the kitchen and goes to the table where Andy's waiting.]
Piper: Andy, I can't seem to get a hold of Prue. I know she was going to the hospital
(Andy stands up and takes the napkin off his lap.)
Andy: That's all right Piper. Thanks for trying.
(He takes some money out to pay for the drink on the table.)
Piper: I'm sure there's a perfectly good
Andy: Explanation? (He puts the money on the table.) Wanna bet? (He leaves.)
[Scene: Aviva's room. Prue walks in. She looks around. She opens the closet and sees some black candles and the other stuff Aviva uses when she calls Kali. Kali appears in the mirror behind Prue in demon form and then disappears. Prue looks over her shoulder at the mirror. She then sees Aviva's diary by the bed. She picks it up and reads one of the pages.]
Prue: "Kali says we're close to taking over the Halliwell coven. I hate lying to them."
(She puts the diary down. She then picks up her cell phone and calls home.)
Phoebe: Hello.
Prue: Uh, Phoebe. It's me.
[Cut to Manor. Parlor. Phoebe stands up out of her chair. Aviva is sitting in another chair reading a magazine.]
Phoebe: Prue, where are you? Piper called. She says you were supposed to meet Andy at Quake.
[Cut to Aviva's room.]
Prue: Um. Listen, we have a bigger problem to deal with. Call her back and tell her to come home. I'll
I'll explain it to you guys later. (She begins to leave.) And Phoebe, whatever you do, don't let Aviva out of your site. OK?
[Cut to Manor. Phoebe looks over her shoulder at Aviva.]
Phoebe: Yeah sure.
[Cut to Aviva's room.]
Prue: All right. Bye.
(She leaves. Kali appears in the mirror in demon form.)
[Cut to Manor. Phoebe hangs up and turns around.]
Phoebe: Prue's on her way home. We can have our little chat when she gets here.
Aviva: Yeah. OK. (She puts down the magazine and stands up.) Mind if I go upstairs and lay down? I'm
I'm not feeling real well.
Phoebe: Sure. Go ahead. (Aviva leaves.)
[Cut to Phoebe's room. Aviva comes in, grabs her backpack, and leaves. She goes to Prue's room and sneaks in.]
[Cut to downstairs. Foyer. Leo is sanding down a corner. Phoebe picks up something by the door.]
Leo: This last coat of stain's gotta dry. (He looks at Phoebe.) I'm uh, heading over to Filmore's in a few minutes to do an estimate.
Phoebe: Wait. You're finished already?
Leo: Yeah. I'll be back tomorrow to make sure everyone's happy with my work. (Leo stares at Phoebe.)
Phoebe: What?
Leo: Just
just out of curiosity, um
are you and Aviva
(Phoebe raises her eyebrows in confusion.) I mean, Piper said that
Phoebe: Piper said what?
Leo: Uh. Nothing
I think I need some water.
[Cut to Aviva. She gets in meditating position.]
[Cut to Kitchen. Leo comes out of the laundry room as Phoebe comes in.]
Phoebe: Wait, Leo, what did Piper say to you?
Leo: Uh, it doesn't matter, really---forget it. (Leo begins washing his hands.)
Phoebe: Well, whatever she said, you should probably take it with a grain of salt, 'cuz sometimes her medication makes her say the strangest things! But, not to worry-her shrinks are on it.
Leo: Shrinks? (Phoebe nods and chuckles behind his back)
(She sees Aviva's jacket on the chair and picks it up. She has a premonition. In it, Prue opens the door to her room and Aviva throws a fireball at her. The premonition ends.)
Phoebe: Oh my god. Aviva.
(Leo hears a car door close and looks out the window. He looks back at Phoebe.)
Leo: Prue's home.
Phoebe: Oh no. (She leaves.)
[Cut to Aviva. She puts something in the middle of the candles. She hears someone run upstairs. Phoebe opens the door as Aviva throws a fireball.]
Phoebe: Aviva? (The fireball heads towards Phoebe, who catches it with Aviva's jacket. It catches on f*re. Aviva stands up.) Aviva! (She shakes the jacket and throws it on the ground. She stomps on it.) What the hell are you doing? (She holds her arm.)
Aviva: Phoebe
I'm sorry. (She leaves.)
Commercial Break
[Scene: Manor. Kitchen. Phoebe is sitting on a stool. Piper brings her a pack of ice. Prue and Leo are also there.]
Piper: Maybe we should take you to the hospital.
Phoebe: No. It's not that bad.
Leo: Well, how did it happen anyway?
Phoebe: Uh, candles. Aviva had some candles lit and I guess the sweater got to close, and then she ran out of the house.
Leo: It sure caught f*re fast.
Prue: Um, Leo, we got this. We wouldn't want you to be late for that estimate.
Leo: Are you sure? I don't mind.
Phoebe: No. Prue's right. I'm fine. You go ahead.
Leo: OK. I'll stop by later to see how you're doing.
Piper/Phoebe: Great. (Leo leaves.)
Prue: OK. So, how did this happen?
Phoebe: I had a premonition
that Aviva was going to hurt you, so I tried to stop her. I should have listened to you Prue. You were right about Aviva. She's evil.
Prue: No. Actually, she's not, but she is being used by an evil spirit and I think I know which one, so come on. (They all leave.)
[Scene: Aviva's room. Aviva is putting stuff in her backpack. She goes to the closet. Kali appears in the mirror.]
Kali: Where are you going Aviva?
Aviva: Go away. I don't want anything to do with you. I don't want to be a witch anymore.
Kali: But you haven't finished what we've started.
Aviva: But I'm hurting people. Don't you understand? First Aunt Jackie, now Phoebe. I have to leave.
Kali: Aren't you going to say good-bye first? Touch the mirror, Aviva. It's OK. I'm not upset. Touch the mirror and I'll go away too. (She does. Kali goes into Aviva's body.) Hello
(Her voice changes to evil.)
Aviva?
[Scene: Attic. The Charmed Ones are looking through the Book of Shadows.]
Prue: Kali. Kali. Kali.
Piper: There, there. " An evil sorceress cursed into her own dimension. She appears in reflections and has the power to possess
"
Prue: "
innocents and use them as pawns to steal a witch's power."
Piper: Wait. I don't understand. So she's using Aviva to try to turn us into bad witches?
Phoebe: Does it say anything about how to get rid of her?
Prue: Uh, yeah. " To get ride of her: shatter her reflection." However the hell we do that. Here. (She gives Piper the book. The door slams open and there stands Kali in Aviva's body.)
Phoebe: Aviva?
(Kali walks towards them while saying this line and then stops)
Kali: (In Aviva's voice) Hello Phoebe. How's (Kali's voice) the arm?
Phoebe: You're not Aviva?
Kali: You're not kidding.
(She throws a fireball at them. Prue pushes her sisters to the left and she goes to the right)
Aviva: Phoebe! Help me!
Kali: Never mind. (Piper puts the book down. Kali throws a fireball at them. They duck and the fireball hits the mannequin. Kali looks at Prue) My power's greater then yours Prue. It's only a matter of time. (Phoebe and Piper are now kneeling)
Phoebe: Time? Piper, that's it! (Kali looks at them) Freeze her! (Piper looks at her)
Piper: Aviva doesn't freeze. (Kali looks at Prue.)
Phoebe: Yeah, but Kali will. (Piper freeze Kali)
Kali: No!
(Aviva's body falls to the floor. Piper looks behind her and pulls down a sheet, revealing a mirror)
Piper: Prue! The mirror! Get her to the mirror! (Prue uses her power to throw Kali in the mirror.)
Kali: No!
(Phoebe hits the mirror with a broom. Kali screams as the glass is shattered. She disappears.)
[Scene: Phoebe's room. Phoebe is there holding Kit. Aviva is standing by the mirror. Her hair is washed and she's wearing a dress that's dark red.]
Aviva: Thanks for the dress.
Phoebe: No problem. It's Prue's. (She puts Kit down on the dresser and walks to Aviva, who grabs her jacket.) All set?
Aviva: Yeah. I'm all set.
Phoebe: You OK?
Aviva: I don't think, uh, looking into a mirror is ever going to be the same. (She turns around.)
Phoebe: Yeah, well, the demon's gone Aviva, forever.
Aviva: Yeah, well, unfortunately all the other ones remain. It's so hard.
Phoebe: Oh, I know. It was hard for me too when I was your age.
Aviva: Yeah?
Phoebe: Are you kidding? (Aviva goes by the dresser and grabs on her coat.) These are the hardest years of your life. (Phoebe sits on her bed.) The one thing I learned is you just gotta be yourself. (Aviva giggles a little as she puts on her coat.)
Aviva: Easy for you to say. What if yourself sucks?
Phoebe: Well, you don't have to worry about that. No. Aviva, I'm serious. You are a great kid. I could totally see us hanging out together in school. A couple of troublemakers. (Both she and Aviva laugh a little.)
Aviva: I'm going to miss being a witch. Having powers
and having sisters.
Phoebe: Yeah, well, you've got your mom. And your aunt will be home from the hospital tomorrow. (She stands up.) OK, now remember, do not tell anyone about us Halliwell sisters right? It's just our little secret.
Aviva: I promise.
Phoebe: OK. (They leave.)
[Scene: Outside Andy's house. Prue is in her car waiting for Andy. He pulls up in his car. Prue gets out and so Andy.]
Prue: Hey.
Andy: Hey. (He walks towards his door and so does Prue.)
Prue: Uh, can we talk?
Andy: Is there really anything to talk about?
Prue: Andy
(He stops and turns around.) I'm sorry
.
Andy: So am I!
Prue: What do you mean by that?
Andy: I mean, come on Prue. Who we kidding? I mean, let's face it. One of us is obviously more interested in this relationship than the other.
Prue: That's not true.
Andy: Isn't it? Then how come I'm always the one left standing there looking like a jerk.
Prue: I can explain.
Andy: No, you can't. Or you won't. (He goes up the stairs and stops at the top. He throws the jacket on the ground.) Damn it Prue. I still love you. I'm not saying you have to explain it all to me Prue. (Prue walks up to him.) That you're prerogative. All I'm saying is
it hurts that you don't trust me enough.
Prue: I do trust you Andy. It has nothing to do with you, it's just
it's just something that I don't know if I can ever share with anybody.
Andy: Well I hope that's not true for your sake. All I know is there's nothing I can say or do to reassure you, that I'm there for you. (He grabs his coat and walks up the stairs.)
Prue: Andy
(He stops half-way and turns around.) Are you saying that you don't want to see me anymore?
Andy: I don't know what I want anymore.
End | {"type": "series", "show": "Charmed", "episode": "01x07 - The Fourth Sister"} | foreverdreaming |
Written by: Zach Estrin & Chris Levinson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Car park. Dr Mitchell is walking to his car. Gavin (the warlock) is there.]
Gavin: Excuse me, are you Dr Mitchell? Dr Oliver Mitchell?
Dr Mitchell: Yes.
Gavin: What a pleasure. I can't tell you how long I've waited for this.
Dr Mitchell: Excuse me but have we ...
Gavin: Met? I'm sorry, only in print. I've read your work. Your studies, specifically on cell degeneration are ahead of their time.
Dr Mitchell: You're very kind.
Gavin: No really. It's fascinating. You've become kind of a hobby of mine. I found your article on the mutant retina gene to be particularly intriguing.
Dr Mitchell: But I haven't even --
Gavin: Published it yet? Don't worry, you will. And you'll help to find the vaccine.
Dr Mitchell: The vaccine? Against what?
Gavin: Against this. (A laser beam comes out of Gavin's forehead and burns a hole in Dr Mitchell's forehead.)
[Scene: Movie theatre. Prue, Piper and Phoebe are waiting in line. Phoebe's holding a magic 8 ball.]
Phoebe: (Reading the 8 ball) "Ask again later." Hello, vague. How am I suppose to plan my future without a little direction?
Prue: You, who can see the future is now looking for a magic 8 ball.
Phoebe: My visions don't help me remember.
Piper: I've got an idea. Why don't we ask if Prue and Andy will get back together.
Prue: Oh, Phoebe, please don't.
(Phoebe shakes up the 8 ball.)
Phoebe: Ooh... interesting.
Piper: Very.
(Piper's pager beeps. Prue tries to look at what the ball says but Phoebe shakes it up before she can see it.)
Prue: You are cruel.
Piper: I forget what a day off feels like. That was my boss, Martin. I have to get back to the restaurant.
Prue: You're kidding?
Piper: There's a convention in town and business is just crazy.
Phoebe: But you worked a double shift yesterday and the day before that. He's working you to death, Piper.
Prue: I thought that you were gonna talk to Martin about this weeks ago.
Piper: I never got around to it.
(She gets out her cell phone and dials the number.)
Phoebe: Well, tell him to stuff it. Tell him you're taking the night off and that's that.
Piper: I know, you're right. I will. (On the phone.) Hello, Martin. No, I know what you want but ... okay, no that's not a problem. I'll be right there. (She hangs up.)
Prue: Wow, you told him.
Phoebe: Beware of the wrath of Piper.
Piper: I will talk to him... eventually. I gotta go.
(She walks off.)
Phoebe: Wait, Piper, I'll walk you to the car, it's safer.
(Phoebe follows Piper.)
Prue: (to herself) I'll wait here.
Phoebe: (Walking past the people) Excuse me, pardon me. (She bumps into Gavin and has a premonition of him burning a hole in a woman's forehead.) Oh my God, Piper.
Piper: What is it?
Phoebe: I just had a premonition. A woman's about to get m*rder.
(A police car with its sirens on drives into the car park. Phoebe, Piper and Prue run into the car park. They see Dr Mitchell lying on the ground with the hole burnt in his head.)
Prue: Oh my God.
Piper: Phoebe saw this m*rder before it even happened.
Phoebe: No, not this one. I think I saw the next one.
Opening Credits
[Scene: Halliwell manor. Kitchen. Piper's making coffee, Phoebe's pouring cereal in a bowl and Prue sits down to read the paper and drink her coffee.]
Prue: Uh, is this leaded?
Piper: Oh, yes.
(Piper knocks the cereal off the table but freezes it before it hits the ground. She places the bin underneath it. The cereal unfreezes and falls in the bin. Leo walks in the kitchen.)
Leo: Morning, ladies. Took a look at the staircase. Shouldn't be more than two days work. You mind if I get started?
Piper: Nope, not at all. I'll get you some coffee.
(Piper's pager beeps.)
Phoebe: But you're busy. I'll get it. Be right there, Leo. (Leo leaves the kitchen.)
Prue: When are you two gonna stop fighting over him and grow up?
(You see Phoebe and Piper fighting over the coffee cup.)
Piper: When Phoebe realizes that she doesn't have a chance with him.
Phoebe: Well, that doesn't matter now because I have to go protect the innocent.
Piper: So, we'll call it truce... temporarily. I'll just take this to Leo. (She does so.)
Prue: You know you're only into him because Piper is.
Phoebe: That is so not true. I'm wounded. Now, is there anything in there (the paper) about last nights m*rder?
Prue: Nothing of any use.
Phoebe: How am I suppose to figure out who the girl in my vision is?
Prue: Well, what did she look like?
Phoebe: Well, she was about 5' 3", hair was lightish.
Prue: That's it?
Phoebe: It's not on video tape. I can't just rewind it. Hey, you've got to talk to Andy.
Prue: What?
Phoebe: Well, if I can't find her, then I have to find the k*ller before he gets to her.
Prue: Well, have you checked the Book of Shadows? From the way you described your vision that sounds like it could be demonic.
Phoebe: Yeah, but for all we know, Andy's already hot on his trail. You have to go see him to find out.
Prue: I can't.
Phoebe: Won't.
Prue: Phoebe, give me a break. We just stopped seeing each other. Don't you think it might be a bit awkward?
Phoebe: Okay, then how about I go see him and you look in the Book Of Shadows.
Prue: Phoebe...
Phoebe: Prue, I had this vision for a reason. I'm supposed to save her, I know it and I have to find her.
[Cut to the attic. Prue is there looking through the Book Of Shadows.]
Prue: (to herself) I don't even know what I'm looking for. (She closes the book and heads towards the door. The book opens up the a truth spell by itself. Prue stops and walks back over to the book.) The Truth Spell. (She turns to a different page. The page turns back to the truth spell.) What the ... ? (She shuts the book and leaves the attic. The book opens back up to the spell.)
[Scene: Quake. The place is full of people. Piper's sitting at the bar talking on the phone.]
Piper: The truth is I need extra table cloths because ...
(Some guy sitting next next to her spills his drink over her paperwork. Martin comes up to Piper.)
Martin: I need this space. Can't you do this in the manager's office?
Piper: You took my desk remember, Martin?
Martin: Then go somewhere else. I've got a restaurant full of conventioners, I just ran out of white corn chowder and I need you to get hold of Protos pronto.
Piper: What about the books?
Martin: You can take them home with you. I come back after three weeks and the place is chaos.
Piper: Martin, you know what I think?
Martin: What? What do you think?
Piper: I think I'm gonna need that number for Protos.
[Scene: Bucklands. Prue's office. She's sitting at her desk staring at a photo of her and Andy together. Phoebe comes in.]
Phoebe: Hey.
Prue: Hey.
Phoebe: Can I borrow your laptop? I need to do some surfing on the web, see if I can find anything about the burns on the victims forehead. What?
Prue: Nothing. I just never thought of you being computer friendly.
Phoebe: Are you kidding? Chat rooms saved my life.
Prue: Um, so, did you talk to Andy?
(She hands Phoebe her laptop.)
Phoebe: Actually, I spoke to his partner instead.
Prue: You told Morris?
Phoebe: About the case? I didn't have to. Every inspector at the station was talking about it. The only problem is they're stumped. Did you find anything in the Book Of Shadows?
Prue: Uh, I'm not sure. So, you didn't see Andy?
Phoebe: No, I said I didn't talk to Andy. I saw him in the parking lot when I left. But, he had that look, Prue. You know the one I'm talking about. You might recognize it from the mirror. He really cares about you.
Prue: Yeah, don't you think I know that?
Phoebe: So what are you waiting for? Tell him the truth. It's the only thing that's standing between you guys.
Prue: Tell him I'm a witch? I can't do that. What if he can't handle it? It's not like I can put the genie back in the bottle.
Phoebe: He's not going to turn you into the warlock police. At least you'd know how he feels once and for all. Otherwise, you'll never know if it could of worked out or not. If I were you, I'd figure out how to tell him. Thank you for the laptop.
(She leaves. The sandwich lady stands at the door.)
Girl: Sandwich?
Prue: Hey, Tanya. Sure.
Tanya: I saved you your favourite. Turkey, no mayo.
Prue: You're a good woman.
Tanya: Bye.
[Scene: Halliwell manor. Attic. Prue is looking at the truth spell in the Book Of Shadows.]
Prue: Okay, you win.
[Cut to outside. Piper opens the door. She's holding all the paper work. Phoebe comes up to her.
Phoebe: Hey, stranger. Back from the w*r?
Piper: More like I brought the battle home with me. Inventory.
Phoebe: I'll help you with yours if you help me with mine.
(They walk inside.)
[Cut to the attic. Prue's saying the spell.]
Prue: "For those who want the truth revealed, open hearts and secrets unsealed, from now until it's now again, after which the memories end."
[Cut back to downstairs. Piper and Phoebe walk in the parlour.]
Phoebe: I guess you didn't talk to your boss.
Piper: Of course I did, just like I said I would. (They sit down on the couch.) Am I getting a zit on my chin? (Phoebe looks.)
Phoebe: Can't even see it.
[Cut back to the attic.]
Prue: "Those who now are in this house, will hear the truth from others mouths."
[Cut back to downstairs.]
Piper: You really can't see it?
Phoebe: Are you kidding? It looks like that thing has a life of its own. So you really told off Martin, huh?
Piper: No, I lied. I chickened out. (They look at each other.)
[Cut back to the attic. Prue's dialing on the phone. Andy's answering machine picks up.]
Andy's voice: "Hi, you've reached Andy Trudeau. Leave your name and number and I'll get back to you. Thanks."
Prue: Hi, Andy, it's-it's um, Prue. I was wondering if - could you just call me please, soon ... within the next twenty-four hours. I need to talk to you about something so, um, just call okay, alright, um, tonight would be fine too. Okay, bye.
[Scene: Science lab. A lab technician is working on something. Gavin enters the room.]
Gavin: Excuse me. Are you Mr. Pearson? Alex Pearson?
Alex: Yeah, yeah, can I help you?
Gavin: In so many ways. Working late tonight aren't you?
Alex: Uh, yeah. I work better at night and the soil samples are just right for the bindora planteau.
Gavin: Ahh, Zimbabwe. Their crops have been over run by disease for decades. Well, your work will put an end to that. Let's hope that's the reality.
Alex: Are you from the foundation? They usually don't check up on us this late.
Gavin: Oh, no, no. But I have studied your work and I know what it will lead to.
Alex: My work, you mean the lab's. I'm really just the technician.
Gavin: For now. But someday, someday you will help me find the vaccine.
Alex: The vaccine? For what? Who are you? What do you want?
Gavin: Your future.
(A hole opens up in Gavin's forehead.)
Alex: God, what is it?
(Gavin puts a hole in Alex's forehead with a laser beam-like coming out of the hole.)
Commercial Break
[Scene: Halliwell manor. Kitchen. Piper hands Prue a cup of coffee.]
Prue: Thanks. Is this leaded?
Piper: Nope.
Prue: It's not?
Piper: Never has been. I just say it because it's ridiculous to make two pots of coffee when you're the only one who drinks diesel.
(Phoebe enters the kitchen.)
Phoebe: Prue, don't give me grief when you get the phone bill. I was up all night on the internet and I didn't find anything. That poor girl. Oh, Piper, I'm sorry about the crack I made last night about your zit.
Piper: That's okay. So you really can't see it?
(Phoebe looks at it.)
Phoebe: Like I said, it's huge.
Piper: Something weird is going on.
(Leo enters the kitchen.)
Leo: Morning, ladies. I should be able to finish the stairs today.
Piper: Okay, um, I'll make some more coffee.
Phoebe: And I'll bring it to you.
(Leo leaves.)
Piper: Oh, here we go again, right?
Phoebe: Piper, we both know the only reason I like Leo is because you do. Okay, I have no idea why I just said that. (to Prue) What's going on?
Prue: Uh ... okay, I'm late for work, busy, gotta go. (She stands up and heads out the kitchen.)
Piper: Prue!
Prue: Yeah?
Phoebe: Spill. What's up?
Prue: I cast a truth spell.
Phoebe/Piper: What!?
Piper: You cast a truth spell?
Prue: Yes, so please no more questions.
Piper: Why?
Prue: Because I wanted to know what Andy would think of me if he knew I was a witch.
Piper: Oh.
Phoebe: I can't believe it.
Prue: Look who's talking Little Miss Spell of the week.
Phoebe: No, no. I mean it can't believe you actually took my advice. The biggest pooper at the Wicca party has finally used her power for personal gain. About time.
Piper: Personal is affecting us. Prue, what have you done?
Prue: The spell was only suppose to work on me. Okay, it said those in this house. I thought I was alone.
Phoebe: Well, obviously you weren't.
Piper: Wait, we just have to, we have to undo it right now.
Prue: Can't. Twenty-four hour time limit. Which means until eight o'clock tonight, everybody that comes in contact with us, will have no choice but to tell the truth.
Piper: What do you mean no choice?
Prue: Exactly that. Ask me a question.
Phoebe: I'm gain. Prue, what do you think of me?
Prue: Well, I admire your confidence and your fearlessness, your utter lack of responsibility frustrates me to no end. Oh God, that is so enough.
Piper: Oh my God, this could be very dangerous.
Phoebe: I'm kinda diggin' it. Piper, what do you really think of your boss?
Piper: I think he's a self serving jerk who must have a very small penis. Oh my God, I'm gonna be so fired.
Prue: No, no, no. It's okay because once the spell ends, no one will remember what they've heard. You guys, I just wanted to see how Andy would react.
Phoebe: What a way to come out of the broom closet.
Piper: Are you nuts? We just need to, we need to lock the doors, call in sick, and stay in our own bedrooms until it just goes away.
Phoebe: Hello, there's a demon on the loose and I still have to find that woman. Whoa, whoa. Wait a minute.
Piper: A premonition?
Phoebe: No. An epiphany. So you're telling me that everyone I ask a question to has to answer with the truth.
Prue: I think so, yes. But that also means if we get asked a question, we have to answer the truth.
Phoebe: I can work around that. This is cool. Very cool.
(Phoebe grabs her coat in the foyer.)
Piper: Phoebe, no, where are you going? (Phoebe leaves.) Don't even think about asking me what I think of you right now.
[Scene: Police station. Phoebe walks up to Andy's desk.]
Andy: Phoebe.
Phoebe: Hi, Andy. Have you talked to Prue?
Andy: She left a message on my machine last night. Wasn't sure if I wanted to call her back or not.
Phoebe: Believe me, trust me, definitely wanna call her back.
(Phoebe rummages around her purse looking for a pen and paper.)
Andy: Is that why you came here?
Phoebe: Hardly. What do you know about the guy they found m*rder in the movie theatre parking lot the other night.
Andy: The detective says he's not the only victim last night. They found a lab technician down in Oakland. Each of them had the same cauterized mark on their forehead and their eyes were drained with colour. They were completely white. Wait...
Phoebe: Cause of death?
Andy: Unknown. Looks like he took a b*llet to the head only there's no exit wound and no b*llet. Phoebe, this is highly...
Phoebe: Any suspects?
Andy: Not yet.
Phoebe: Any evidence that could lead to a suspect?
Andy: They found a button at the crime scene, possibly from the suspects jacket made of an alloy forensics have never seen before. What's with all these ...
Phoebe: Ah-ah! Do not ask that question. I gotta go. Thanks. Don't forget to call Prue by eight o'clock tonight.
Commercial Break
[Scene: Bucklands. Prue's office. Prue's sitting there clicking her pen. The phone rings.]
Prue: Hello? Uh, I mean, Prue Halliwell.
Andy: Hey, it's me.
Prue: Andy, hi.
Andy: Phoebe stopped by. Suggested I give you a call.
Prue: Phoebe ... yeah, but can we meet? I really don't want to talk over the phone.
Andy: Should I be looking forward to this or dreading it?
Prue: Honestly, I don't know. But what are you doing for dinner? An early dinner. Let's say now?
Andy: It's lunchtime. (She looks at the clock and it says 12.35.) But I'm gonna be interviewing a witness in your area around five. I could swing round after.
(Someone knocks on Prue's door.)
Prue: Yeah. Um, here? Uh, I guess that's fine, all right. I'll see you then. (She hangs up. Tanya the sandwich girl walks in with Hannah behind her.) Hey Tanya.
Hannah: Personal call, Prue?
Prue: Personal business, Hannah, and I swear that that's my name on the door.
Hannah: (She picks up a sandwich.) Oh, look. Less turkey, no mayo. My favourite.
Tanya: Actually I was saving that for Prue.
Hannah: Yeah, you were.
Prue: Don't you hate turkey?
Hannah: Of course I do. I just don't want you to have it.
Prue: Is there any particular reason why you're such a bitch to me?
(Rex walks up behind her.)
Hannah: Yes, because it's my mission in life to destroy you.
Rex: Well, nothing like a bit of inter-office rivalry to get those competitive juices flowing. Um, Hannah, a word. (They leave.)
[Cut to Rex's office.]
Rex: What the bloody hell do you think you're doing?
Hannah: I don't know. It-it-it came out.
Rex: No, no, no, it didn't just come out. You almost came out. Am I supposed to believe that all of a sudden you lost complete control of your faculties?
Hannah. No. God, she's just so
Prue. Forgive me.
Rex: Always. Hey
(He gets a cigar. She blows on it and it lights up.) Go on. Get back to work.
[Scene: Halliwell manor. Living room. Piper is talking on the phone.]
Piper: Martin, I can't work tonight, I have to do the books. (She listens.) Do the books and run the floor? That's impossible. (She listens.) But you don't unders-- Right now? I'm, on my way. (She hangs up.) Nice talking to you too, jerk. (Leo enters.)
Leo: Hey, I had a little bit of an accident. You mind if I borrow your washer? (You see he has spilt coffee on his shirt.)
Piper: No, not at all. Go right ahead. Can I get you some coffee?
Leo: Ah, you better not. I'll just wind up knocking it all over again. (He starts walking towards the kitchen.)
Piper: Leo, wait.
Leo: Yeah?
Piper: Can I ask you a question?
Leo: Sure.
Piper: Do you need another shirt?
Leo: No, I got one in the truck. Thanks.
Piper: Leo, wait that wasn't my question.
Leo: It wasn't.
Piper: No. I was just wondering
do you ever think of me?
Leo: Yeah.
Piper: In what way? As a friend sort of way or
Leo: You have beautiful eyes.
Piper: That's a good way.
Leo: I'm sorry. (They laugh.) That was totally inappropriate wasn't it?
Piper: No, not at all. Ah, what the hell
Leo, what do you think about women who make the first move?
Leo: I'm still waiting for it to happen. (Piper kisses him.) Ahh
how do you feel about guys who make the second move?
Piper: Love them.
(They kiss again.)
[Scene: Bucklands. Prue's waiting outside an elevator. Rex walks around the corner.]
Prue: Hi Rex.
Rex: Hello Prue. How are you? (Phoebe walks up behind Prue.)
Prue: I'm a nervous wreck because I am about to tell my boyfriend that I am a wi--
Phoebe: Ner. A winner. She is a real catch, this one is. (She laughs.) I'm Phoebe, her sister, we've met, remember?
Rex: Yeah, how could I forget.
(Prue and Phoebe walk away.)
Phoebe: Okay, the spell is really working.
Prue: Yeah, I know. So, you talked to Andy?
Phoebe: I sure did. He gave me a list of all the victims. They all died the same way. The only problem is they don't have a suspect, and I have no way of finding
her. (Tanya walks past.)
Prue: Who, her?
Phoebe: That's the girl from my premonition.
Prue: Tanya?
(Tanya gets in an elevator.)
Phoebe: Wait, hold the elevator.
(The elevator closes.)
[Cut to inside the elevator. Gavin's there.]
Gavin: (to Tanya) Excuse me. Are you Mrs. Parker? Tanya Parker?
Tanya: Yes.
Gavin You have been most difficult to find. Never in the same place, never alone.
Tanya: Excuse me?
[Cut back to Prue and Phoebe.]
Prue: Are you sure?
Phoebe: Yes. And that's the truth.
Prue: Alright, um, take the stairs. I'll call security.
[Cut to the car park. Gavin has a hold of Tanya and she's screaming. Phoebe runs out and on her way she grabs a glass bottle. Gavin starts putting a hole in Tanya's head with the laser. Phoebe hits Gavin over the head with the bottle.]
Phoebe: Run Tanya, run. (Gavin turns around to face Phoebe. She hits him with the bottle again. Tanya runs to her car and Phoebe follows. They get in and drive off. Prue runs out with security.)
Prue: Phoebe!
Commercial Break
[Scene Halliwell manor. Living room. Tanya's on the phone.]
Tanya: Honey, I'm fine. (Phoebe walks in.) There's no reason to fly back early. I'm, um, staying with friends. I'll explain it all when you get home.
Phoebe: Kids. Do you have any kids?
Tanya: Not yet.
Phoebe: Pets?
Tanya: No. (on phone.) I love you too. (She hangs up.) Um, before I can explain any of this to my husband, you're gonna have to explain it to me. What is going on?
Phoebe: Short story, you're in danger. And to keep you out of it, we're gonna have to keep you out of the obvious places, which is why you have to stay here.
Tanya: But what was that thing?
Phoebe: Truth spell. That thing was a demon.
Tanya: I'm outta here.
Phoebe: No, Tanya, he's k*lled before. Trust me. Call the cops. Check it out. That burn on your forehead, that's how he does it. I've seen it. Okay, I have visions, visions of people that I am supposed to help. I've seen his next victim. It's you. There are no coincidences. I was supposed to see you, to find you. And now I'm supposed to save you.
[Scene: Quake. Piper's on the phone.]
Piper: Romane, entrance three. (to Pheobe) Pheobe, you have her in there? At the house? No, I understand you have to protect the innocent, but couldn't you find one that makes a decent bernaise sauce. My kitchen is collapsing. I gotta go. I'll be there as soon as I can. (She hangs up) Martin, hi. Just the man I wanted to
Martin: I made a list. You better check it twice. I'll be back after the dinner rush.
Piper: Um, but I've got a family situation.
Martin: So, you'd like to take off, go home, take care of business?
Piper: Thank you Martin. Thank you for understanding.
Martin: Oh, don't thank me. Because the answer's no.
Piper: Alright Martin, what part of family situation do you not understand? Are you insane? No one person can do all of this. How do you expect me to do it all alone?
Martin: Because I know you will.
Piper: What?
Martin: Why spend money on more employees when I know you'll do it. And you won't complain. I got a bargain. All the work for half the price. Piper, I don't know why I said that.
Piper: Too late. Truths out, and so am I. You don't deserve me. I quit.
[Scene: Bucklands. Prue walks in her office. Andy's there.]
Prue: Andy, hi.
Andy: Hello, Prue.
Prue: I'm so sorry I'm late, my meeting ran over.
Andy: Your assistant said I could wait here. I hope that's okay.
Prue: Yeah, of course. Can I get you anything? Something to drink?
Andy: I'm fine. How are you?
Prue: A nervous wreck. You?
Andy: Heart's pounding like a sledge hammer.
Prue: Uh, so, Andy, how well do you think you really know me?
Andy: Well, I know about your fondness for twizzers, how you can't stand it when people talk at the previews, how you like to argue to win, and how you pick your cuticles when you're nervous. And also know I'd love to see you again. I wish you can trust me enough to tell me whatever it is you're afraid of.
Prue: Well, actually that's what I wanted to see you about except that instead of telling you I think I'll just show you, so here goes. See this? (He nods.) Watch. (She moves a pyramid thing with her powers. He jumps up out of his chair. He laughs.)
Andy: What the hell was that?
Prue: My secret. I did that with my mind.
Andy: You're telekinetic?
Prue: Yes. Well actually it's so much more than that. I'm a witch.
(Andy laughs.)
Andy: A what?
Prue: A good witch. I have powers. I never wanted them. I didn't find out about them until recently. Right around the time that I ran into you again. Okay, you know all those times that I disappeared or would show up at a crime scene with no logical explanation? This is why. And believe me, I wanted to tell you but I couldn't. I couldn't tell anyone. (Andy is speechless.) Are are you okay.
Andy: I don't know. I mean of all the things I thought you were hiding, this was actually no where on the list. Does this mean Piper and Phoebe are
.
Prue: Yeah. We inherited our powers from Mum and Grams.
Andy: So, when you have kids
Prue: If they're girls
.yes.
Andy: Wow. That's quite a secret you've hiding.
Prue: Tell me about it.
Andy: Can you change? I mean, is it something you can get rid of?
Prue: No, Andy, I can't change who I am. And that's something I've recently come to accept. The question is can you?
Andy: To tell you the truth
I don't know, Prue. I honestly don't know.
[Scene: Halliwell Manor. Living room. Tanya is looking through the Book of Shadows for the demon.]
Phoebe: Did Prue talk to Andy?
Piper: She didn't say. (to Tanya) Could you find anything in the Book of Shadows?
Tanya: Nothing I recognize.
Piper: So, Andy said the third victim was a professor at Stanford? What's the link?
Phoebe: He may think it has something to do with what they're working on. Biogenetics.
Piper: A professor, geneticist, a lab technician
Tanya: And a sandwich girl? Do you really think he's after me?
Phoebe: Uh-oh, truth spell. (She touches Tanya and has a premonition of her holding a baby.) Piper, we need more milk. Kitchen. (She goes to the kitchen.) She's carrying.
Piper: Carrying what?
Phoebe: A baby. She's pregnant.
Piper: Ohh...
Phoebe: No, no. She doesn't know yet.
Piper: What do we do? Do we tell her? I mean, we protect. We don't do prenatal.
Phoebe: No, this is not the kind of information Tanya needs right now. Especially from people she just met, who are telling her that some three-eyed demon wants to suck the life out of her. Suck the life out of her
Wait a minute, is it possible that it's not Tanya he wants? That it's her baby.
Piper: How would he know she's pregnant?
Phoebe: I don't know, maybe he sees the future too. Or else he's from it.
Piper: Excuse me?
Phoebe: The button. The police found a button by one of the last victims made out of some kind of funky metal they've never seen before.
Piper: Rewind.
Phoebe: Okay, there's a button that's not supposed to exist, a demon that the Book of Shadows says doesn't exist, and a baby no one knows exists. You got a better explanation?
Piper: Even if you're right, how do we find him?
Phoebe: Well, he wants Tanya, he'll find us.
Piper: He doesn't know where we are.
Phoebe: Well, he found Tanya at Bucklands, he saw me with Prue.
[Scene: Bucklands. Prue's office. Hannah's at the doorway.]
Hannah: Hey, last one out gets the lights. I'm, uh, going home. So, lock up when you leave. Um, Prue, about what I said earlier ...
Prue: Now's not a good time.
Hannah: I just wanted to say I'm sorry.
Prue: But you really wouldn't mean that would you?
Hannah: No! (She leaves.)
[Cut to outside Prue's office. Gavin walks around the corner heading for Prue's office.]
Commercial Break
[Scene: Buckland's. Prue's office. Gavin enters.]
Gavin: Excuse me. Are you Miss Halliwell? Prue Halliwell?
Prue: Yes. Did we have an appointment?
Gavin: No, actually I'm looking for someone and I believe you can help me.
Prue: I find objects, not people.
Gavin: Well, I think you might know her, I saw you talking to her earlier. Um, petite, brown hair, the two of you were over by the elevators.
Prue: I don't remember.
Gavin: Are you sure?
Prue: What do you want with her?
Gavin: She is hiding the woman I sent back to k*ll.
Prue: Sent back from where?
Gavin: The future. What are you doing?
Prue: Why k*ll Tanya?
Gavin: I don't want Tanya. I want what's inside her.
Prue: And the others, why k*ll them?
Gavin: Pieces of the puzzle. Pieces of the vaccine. Stop this!
(He goes for her but she uses her power to push the desk up against him. She runs outside.)
[Scene: Halliwell manor. Piper is ringing Prue.]
Piper: Answer. Come on, Prue, pick up. (The answering machine picks up. Piper hangs up.) There's no answer, it's after five, it's going straight to voice mail.
Phoebe: You have to go to Bucklands.
Piper: Okay, I'll grab my keys, you grab Tanya.
Phoebe: No, you have to go alone. If you bring Tanya with us and he's there, it's like bringing the feast to the lion and she can't stay here by herself.
Piper: But I need you, Phoebe, we need you.
Phoebe: I can't always be the power of three.
Piper: But what if we come here and you're all alone?
Phoebe: We'll be in the attic with the book.
Piper: Okay, be careful. (They hug.)
Phoebe: You too.
[Scene: Bucklands. Prue's running down the stairs and Gavin's following. She runs in a store room and hides.]
Gavin: I've got eight and a half months to find Tanya, Miss Halliwell. Plenty of time. Yours however, has run out.
[Cut to Prue's office. Piper runs in.]
Piper: Prue? (She sees the mess and Prue's purse on the floor.) Oh, no. (She runs back out of the office.)
[Cut back to the store room.]
Gavin: You can't hide from me forever.
Prue: What's the vaccine for? What does it protect against?
(He laughs.)
Gavin: Against me of course. And all other warlocks like me in the future. The parker child will be the one to bring together all the elements to create the vaccine which will destroy us. (He finds Prue.) Unless I stop him. (He picks her up by her neck and his third eye thing opens up. Piper runs in and freezes him.)
Piper: Hey, need a hand?
Prue: Yeah! (Piper grabs a crowbar and loosens Gavin's grip.)
Piper: He's not after Tanya, he's after her baby, she's pregnant.
Prue: I know.
Piper: Huh?
Prue: Truth spell, later. Where's Phoebe?
Piper: Home, protecting Tanya.
Prue: Well, what are you waiting for, Piper? Whack him.
Piper: No! Can't you move him?
Prue: Where? He's from the future.
Piper: Prue, he's gonna unfreeze soon.
Prue: Piper, just do it.
Piper: No, you do it.
Prue: No, do it! Piper!
(He unfreezes. Piper and Prue stick the crowbar in Gavin's third eye. Some big tornado thing comes and sucks him up.)
Prue: I love it when they clean up after themselves.
[Scene: Outside Andy's apartment.]
Andy: Prue.
Prue: Andy, I need to know how you feel about what I told you.
Andy: I'm gonna need a little more time.
Prue: I don't have time, Andy. I need to know before eight.
Andy: Alright, won't you come inside and we'll talk about it.
Prue: I can't.
Andy: Prue ...
Prue: Andy, no. Look, if I come inside and we'll have drinks, there'll be small talk and precious minutes will past. I need to know now. Can you or can you not accept that I am a witch?
Andy: If I had to answer right now ... I don't think so, Prue. I mean, there's nothing wrong with it I guess. It's just in my future, I have a vision of having ... (A clock chimes. It's 8:00.) What were we just talking about?
Prue: You don't remember?
Andy: Honestly, no.
Prue: You don't remember anything you've said to me in the last twenty-four hours?
Andy: No. It's really weird. You wanna come inside?
Prue: No, I have to go. (She kisses him.) Goodbye, Andy.
(She walks around the corner and starts crying.)
Commercial Break
[Scene: Quake. Piper and Phoebe are sitting at a table.]
Phoebe: (to a waiter) Excuse me, hello. What good is saving the future when I can't get a glass of water in the present?
Piper: Speaking of the future ... Where did Tanya go?
Phoebe: Oh, she went to the bathroom. Morning sickness. Only she thinks it's the Halibut.
Piper: Great, she'll probably sue the restaurant for food poisoning. Will this day ever end?
Phoebe: Actually it did. It's 8:20, the spell is over, the world is a safer place.
(Martin walks up to the table.)
Martin: Piper, I see you sitting. What is wrong with this picture?
Piper: You don't remember?
Martin: Remember what? Piper, I need you in the kitchen pronto. We're down to sue chef.
(He leaves.)
Piper: I don't believe it. I finally stand up for myself and quit and he doesn't remember. Wait a minute, everybody else's forgotten the truth, why do we still remember it?
Phoebe: Truth are consequences. Wiccan rule, right? Prue cast a spell for her own personal gain, now we have to deal with the fall out.
Piper: I'll be right back. I need to remind Martin of something.
Phoebe: Ooh, you go girl.
(Piper walks in the kitchen.)
Piper: Martin, we need to talk. (He throws her an apron.)
Martin: Excuse you.
Piper: I can not, no, I will not do everything by myself anymore. I need help. You restaurant needs help. You need another manager, sure chef, hostess and an extra bus boy on the weekends. If you will not agree to hire these people, than tell me now and I'll quit.
Martin: What took you so long? All you had to do was ask.
Piper: Really? I mean, okay. I'll see you tomorrow.
Martin: But I-I-I just ...
Piper: It's my night off. (She walks towards the door and pushes it open, hitting Leo in the face on the other side.) Oh, Leo! I'm so sorry. Are you okay?
Leo: Yeah, fine, just, uh, surprised.
Piper: Yeah, me too. What are you doing here?
Leo: Well, I wanted to see you, I just um ... I have this really strange feeling that I did something that I should apologize for. Did I?
Piper: No, no. Definitely not. Can I buy you a drink?
[Cut to Phoebe. Prue walks up to the table.]
Prue: Hey.
Phoebe: Hey. How'd it go?
Prue: Not well.
Phoebe: Oh, Prue, I'm so sorry.
Prue: Yeah, me too, but I cast the spell for an answer and I got it. Even if it wasn't the one I wanted.
(They hug.)
End | {"type": "series", "show": "Charmed", "episode": "01x08 - The Truth is Out There and It Hurts"} | foreverdreaming |
Written by: Sheryl J. Anderson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Salem, Massachusetts, 1692. A turnkey opens a cell in a jail. Matthew walks in.]
Melinda: Matthew.
Matthew: Hello, Melinda.
Melinda: Why? Why did you betray me?
Matthew: You got what you deserved.
Melinda: So you've never loved me? All the passion, all the heat?
Matthew: I had to make you trust me. It was the only way to share your powers.
Melinda: And so now you have them. So why would you turn me in? You know I'll burn.
Matthew: I had to keep my secret.
Melinda: Well, you can keep your trinkets too.
(She pulls off a locket that was around her neck and throws it at him.)
Matthew: I'll find another witch to give it to.
(He opens the locket.)
Melinda: Maybe not.
(He takes out a little piece of paper and it catches on f*re. He throws it on the ground.)
Matthew: What magic is this?
Melinda: I'm taking back the powers you stole from me. "Outside of time, outside of gain, no only sorrow, no only pain."
(It gets really windy and Matthew gets sucked into the locket.)
[Scene: Bucklands. Prue's office. Rex puts some jewellery on Prue's desk. He picks up the locket and tries to open it. Prue walks in.]
Prue: Rex?
Rex: Ah, good morning, Prue. I've, uh, left a few things for you to catalogue. A marvelous shipment from an estate back east.
Prue: I'll get right on it.
Rex: Thanks.
(Rex leaves. Prue sees the locket and picks it up. She opens it. The door slams shut and Matthew comes out of it.)
Matthew: At last, freedom. The world has changed. What time is this?
Prue: Excuse me?
Matthew: Where am I?
Prue: Who are you?
Matthew: Matthew Tate, and if you freed me from that locket you are descendant of Melinda Warren. (He walks closer to her and she uses her power and he flies across the room.) Thank you.
Prue: For what?
Matthew: I tricked you into using your power on me. Now, I have it. (He uses her power and a chair pushes her against the wall. He then disappears, she runs in the middle of the room and he appears behind her.) Behind you, witch.
Prue: How did you do that?
Matthew: I can share your power but you can't share mine.
Prue: What do you want?
Matthew: I want what Melinda took from me. I want all three powers back. (He grabs her.) Defend yourself. Stop time.
Prue: I can't.
Matthew: Ah, so you're not alone. There are others. (He disappears and appears in front of the desk.) And the family name is now Halliwell.
Rex: (from outside) Prue, are you okay in there?
(Matthew uses Prue's power to break the glass on the window. He jumps out the window and floats down to the ground, landing on his feet. He walks away.)
Opening Credits
[Scene: Outside Bucklands. Police are there where Matthew jumped out the window. Andy and Morris are questioning a man.]
Man: I was just sitting there, you know, reading the sports, having a cup of joe and 'bam', this guy comes flying out of nowhere, you know. Weird clothes, bad manners, he nearly fell right on top of me.
Morris: When you say fell...
Man: I mean fell, you know, like from way up there, I guess. I don't know.
Morris: That's a ten story drop, sir.
Andy: Twelve.
Morris: And you're telling us that he just got up, walked away without a scratch. That's what you're saying.
Andy: Got a better explanation?
Morris: Excuse us. (Andy and Morris walk away.) Alright, Trudeau. Pull out your secret ghost hunter decoder ring and let's hear it.
(Andy laughs.)
Andy: Morris, I don't know, okay. All I know is whatever happened started up there in that office.
Morris: Uh huh. So let's find out who's office that is.
Andy: I already know. It's Prue's.
[Scene: Manor. Kitchen. Leo's under the sink, fixing it. Phoebe's sitting at the table and Piper's standing up.]
Piper: So I suggested we add crab sauté to the, uh, lunch menu and it was great. Sold out. Do you like crab, Leo?
Leo: You know what I'd love, Piper?
Piper: What's that?
Leo: Is the, uh, ratchet extension. Could you hand that to me?
Piper: Sure. (Piper looks in his toolbox but doesn't know what it is. Phoebe walks over and pulls out the ratchet extension.) I knew that. (She takes it off Phoebe and gives it to Leo.) Here you go.
Leo: Thanks.
Piper (whispering to Phoebe) Stop it. Go away. (She tries to get Phoebe to leave.) Be right back, Leo.
Leo: No problem.
(Piper and Phoebe go in the dining room.)
Piper: Stop it.
Phoebe: My sentiments exactly. Stop hitting around and ask him out already. Give him some of your crabs.
Piper: Don't be disgusting.
Phoebe: Don't be so shy.
Piper: What if he says no?
Phoebe: Yeah, like that'll happen.
Piper: No, I'm serious.
Phoebe: So am I.
Piper: I'm very serious. I've never... you know...
Phoebe: You are kidding, right?
Piper: No.
Phoebe: You've never asked a guy out before?
Piper: Not on a real date, no.
Phoebe: I don't understand. Am I the only person in this family who's inherited the "take a chance" gene?
Piper: Probably. Cause if I remember my biology correctly, it's attached to the "can't mind my own business" gene.
Phoebe: Ooh. Go.
(Phoebe pushes her back in the kitchen. Leo comes out from under the sink.)
Leo: Well, part of the pipe is stuck. I'm almost finished here.
Piper: Terrific. Can I get you some tea?
Leo: Yeah, that'd be great. (Piper gets the tea out of the fridge. Phoebe walks in.)
Phoebe: What would be great?
Piper: Nothing. (Piper puts the tea on the bench and Phoebe accidentally knocks it off. Piper freezes if before it falls on the floor.) Leo?
Phoebe: Frozen. Quick, have your way with him.
Piper: Do you never stop?
(Phoebe laughs. Piper holds a bucket under the tea.)
Phoebe: Looks like a Kodak moment to me.
(She pretends to take photos.)
Piper: Phoebe, you're such a help.
Phoebe: Smile.
(Leo and the tea unfreeze. Prue walks in.)
Prue: You guys, we are in serious problems. (Phoebe points to Leo.) Uh, hi Leo.
Leo: Hey Prue.
Prue: Hey, uh, sisters. Upstairs now.
[Scene: Bucklands. Prue's office. Police are there. Andy's questioning Rex and Hannah.]
Hannah: Uh, Webster, Hannah Webster.
Andy: You said you heard some noises in here. What kind?
Hannah: Uh, it's hard to say.
Rex: It almost sounded like a, a struggle of some sort. A fight perhaps.
Hannah: Yeah, and, and then we heard a crash and I assumed that was the window breaking and we came in to check on Prue and then she just went running out.
Morris: What did she say? What happened?
Hannah: Nothing, actually, she just left.
Rex: She was quite agitated too.
Andy: She didn't say where she was going by any chance did she?
Rex: No, no, sorry.
Morris: Okay, thanks, Mr. Buckland. CSI will be done with the windows in a couple of hours and you can have them fixed.
Rex: Believe me, Inspector. I really don't care about the window. I only care about Prue.
(Rex and Hannah leave.)
Morris: Look, maybe you oughta ask the captain to assign somebody else.
Andy: Prue and I aren't dating anymore, there's no conflict okay. I'm fine with this.
Morris: Okay.
[Cut to Rex's office. Rex and Hannah are there.]
Rex: I thought that went exceedingly well. Didn't you?
Hannah: We may have proven the legend of the locket true and that the little witch is charmed but now we have a seventeenth century warlock running around. I think he'll stick out.
Rex: Yep, but then again if the legend does hold true, Matthew's got a one track mind. Just like we do. He won't be difficult to find. Stop worrying, Hannah. You'll get wrinkles on your horns.
[Scene: Attic. Prue, Piper and Phoebe are there.]
Piper: What did you say his name was?
Prue: Matthew Tate and somehow he knows that we're related to Melinda Warren.
Phoebe: The Book of Shadows Melinda? Our ancestor?
Piper: The one who b*rned at stake and started this whole mess.
Prue: Uh, he came out of the locket. And he has strong powers. Stronger than mine, I mean, he did the weirdest thing. One minute he was in front of me, the next he was behind me and then twelve stories down landed right on his feet.
Phoebe: If it walks like warlock, and talks like a warlock...
Prue: Yeah, well, he's powerful and he means business. And he wants all three of our powers.
Phoebe: Can I see the locket?
(Prue hands the locket to Phoebe.)
Prue: We have to figure out who he is before he finds the two of you.
(Phoebe opens the locket and has a premonition.)
Phoebe: You said Matthew came out of the locket? I think I just saw Melinda put him in.
Prue: You saw the past?
Piper: But you only see the future.
Phoebe: Not anymore.
Prue: We always knew that our powers would grow.
Phoebe: Yes, but somehow I thought I was gonna get to fly.
(Prue and Piper smile.)
Commercial Break
[Scene: An attorney's office. He is on the phone.]
Attorney: They want to counter sue? Fine, bring it on, I'll eat 'em alive. Plus, we can double bill and get away with it. (Matthew blinks in the room.) Excuse me. (He hangs up the phone.)
Matthew: Are you Arnold Halliwell?
Arnold: Yeah, and who are you? Robin Hood?
(Matthew uses telekinesis and Arnold flies up against the wall.)
Matthew: Tell me where your sisters are.
Arnold: Which sisters? I'm an only child. Let me go or I'll sue you...
(Matthew breaks his neck.)
Matthew: Lawyers have not changed.
[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Phoebe's looking at a photo album and Piper's reading a book.]
Phoebe: I was right. It was Melinda in my vision. Isn't she beautiful.
Prue: Hmm. She kind of looks like mum.
Piper: Listen to this. "And because the warlock had stolen her love, she cursed him into the pewter heart, where he could spend eternity knowing the sting of betrayal."
Phoebe: That must be what I saw.
Prue: And I let him out early. Great.
Piper: You're not kidding. The legend says that the warlock must never be freed or he will destroy the Warren line. That'd be us.
Phoebe: Yeah, well, he'll have to take a number and get in line behind the others warlocks.
Prue: We've never been up against anyone like him before.
Phoebe: So, what do we do?
Piper: I say we hide.
Prue: No, we have to find out exactly what we're up against. And we start with the locket and how it wound up on my desk.
[Cut to the conservatory. Leo's there watching TV. Prue, Piper and Phoebe walk in.]
Leo: Hey, Prue, your work's on the news, check it out.
Reporter: This morning witnesses claim they saw a man fall twelve stories. He got up and walked away unharmed.
Prue: We gotta find him before he hurts somebody else, especially an innocent.
Phoebe: There's that 'I' word again.
Piper: Look Andy's on TV.
Phoebe: He's here, too.
(The doorbell rings. Phoebe answers it.)
Phoebe: Andy, what a surprise. How you been?
Andy: I need to talk with Prue, Phoebe.
Phoebe: Prue, wow. How out of the loop am I? And here I thought you guys broke up.
Andy: It's not about that. It's police business.
Phoebe: Oh, well, uh, she's not home. She's at work.
Andy: No, she's not.
Phoebe: Well, then, I don't know where she is, but I'll tell her that you stopped by, okay? Ciao!
(Phoebe tries to leave but Andy grabs her arm.)
Andy: A man fell out of Prue's office window. Which is suspicious enough. But then a man matching the same description went and k*lled a lawyer down the street. A lawyer named Halliwell. Now I know she knows who he is. One more time, Phoebe, where's your sister?
Phoebe: Where's your warrant?
(Phoebe goes back inside. Andy leaves.)
[Cut to the living room.]
Prue: Great, so now I'm being hunted by a warlock and the San Francisco P.D.
Phoebe: Nobody ever said you led a boring life, Prue.
Piper: Maybe Andy can help.
Prue: Oh, yeah. You want to have that conversation with him? "Hey Andy, I hate to bother you but this seventeenth century warlock is trying to k*ll me and my sisters." Any thoughts?
Piper: Okay, it was a bad idea. But the point is we need help.
Prue: Yeah, well, unfortunately more than Andy can give.
Phoebe: What we need is someone who's done this before, someone like Melinda Warren.
Prue: Okay, so what are we supposed to do? Reach back in time, grab her and tell her that we need her help?
Phoebe: Yes. And I know exactly how to do it. As long as you both don't mind losing a little blood.
[Time lapse. In the attic. Prue, Piper and Phoebe are sitting around a table where they have placed candles, a dagger and other items.]
Piper: Am I the only one having the second thoughts?
Phoebe: Yes.
Prue: We don't really have any others options.
Piper: But aren't we, like, raising the d*ad? What if she's all...
Phoebe: I read The Book of Shadows very carefully. She will come back as a real live person, flesh and blood. She will have her powers too. Our powers.
(Phoebe picks up the Kn*fe.)
Piper: What's that for?
Phoebe: Well, the spell works by blood calling blood, so it shouldn't hurt... much.
(Phoebe s*ab her finger.)
Phoebe: I lied, I lied. Okay, come on guys. It'll be just like the summer by the lake. Remember when we made a oath blood to be friends forever, not just sisters?
(Prue takes the Kn*fe off of Phoebe.)
Piper: I remember my finger got infected.
(Prue s*ab her finger.)
Prue: Ow. Yeah, but the oath worked.
(Prue holds out the Kn*fe for Piper.)
Piper: And I couldn't go in the water for three weeks. Don't hand me that Kn*fe.
Prue: How are you gonna cut yourself?
Piper: I'm not.
Phoebe: Piper...
Piper: I can't stand the sight of blood.
Prue: Evil beings have blown up in our attic...
Phoebe: Disintegrated to dust right before our very eyes...
Prue: And you're afraid of a little drop of blood?
Piper: Okay, just cut my finger.
(She holds out her hand.)
Prue: (to Phoebe) You do it.
(She hands Phoebe the Kn*fe. Piper covers her eyes and Phoebe s*ab her finger.)
Piper: Ow!
Prue: Okay, here.
(They squeeze their fingers and the blood drips into a locket. Phoebe closes it and places it in a bowl.)
Phoebe: "Melinda Warren, blood of our blood..."
Phoebe, Prue, Piper: "Our great, great, great, great, great, great, grandmother."
Phoebe: "We summon thee."
(Stardust floats through the air and Melinda appears.)
Melinda: (smiles) Oh, blessed be.
Commercial Break
[Scene: Manor. Phoebe's room. Phoebe and Melinda are there. Phoebe unzips a dress.]
Melinda: No, don't-don't rip the dress to make it fit me.
Phoebe: Oh, no, no, I'm not ripping it. It's called a zipper, see?
(Phoebe zips up the dress.)
Melinda: Oh, a wise witch made this.
(Melinda takes the dress off of Phoebe and plays with the zipper.)
Phoebe: Yeah, and wise witches in this century keep a low profile. You slip this dress on, you'll blend right in.
(Melinda starts putting on the dress.)
Melinda: It's so odd to be here again. To breathe and feel. What sheep has wool so soft?
Phoebe: A synthetic one.
Melinda: Oh! (Phoebe zips up the dress.) So did it, did it take you long to make the dress?
Phoebe: Make it? No, no, I bought it.
Melinda: Oh, you must be rich.
(Prue and Piper walk in.)
Prue: No, she's got credit cards.
Piper: Oh, wow, Melinda, you look great.
Melinda: Thank you. Oh, but how do you keep your legs warm?
Prue: We drink coffee.
(Leo approaches the doorway.)
Leo: Oh, sorry, I let myself in and it didn't occur to me.
Piper: Leo, uh, it's okay. This is, uh...
Phoebe: Our cousin, Melinda.
Leo: Nice to meet you.
Piper: Leo's fixing our plumbing.
Melinda: What's that?
Prue: Uh, we've got to go now.
Melinda: To work with one's hands is a great gift.
Leo: Well, I am a true labourer. I earn to eat, get that I wear.
Melinda: Owe no man hate, envy no man's happiness.
Leo, Melinda: Shakespeare.
(Melinda giggles.)
Prue: Wasn't that fun? Okay, let's go now.
(They walk out of the room and Leo walks in.)
Melinda: (to Piper) He is a treasure, Piper.
Piper: Why you telling me?
[Scene: Halliwell Hardware and Appliance. The store owner is d*ad and hooked up on the wall by some garden tools. Matthew is there. Rex and Hannah walk in.]
Rex: Hello, Matthew.
Hannah: We have got to do something about his clothes.
Matthew: Who are you? How do you know me?
Rex: Well, the short answer is we're the ones who gave the witch the locket to have you freed. I suppose you could say we're partners.
Matthew: I work alone.
Rex: No, not in this century you don't. You're new in town, new in time, you need our help. Hmm, I see you've been shopping. Find what you're looking for?
Matthew: I want Melinda Warren's children.
Hannah: Ooh, talk about your coincidences.
Rex: You see, we have the means to find them for you. And you have to ability to take their powers. Come. (They turn to leave but Matthew doesn't move.) What?
Matthew: How'd you find me?
Rex: Prue Halliwell, a Halliwell attorney, now here. You are leaving a trail, my friend. And that has got to stop.
[Scene: Manor. Dining room. Prue, Piper, Phoebe and Melinda are sitting at the table. Prue is putting the locket around Melinda's neck.]
Melinda: Once Matthew had what he wanted, he told the town council I was a witch and they arrested me. Then they b*rned me at the stake.
Piper: Why didn't you save yourself?
Phoebe: Yeah, why didn't you use your powers to escape?
Melinda: I had a daughter. Her name was Prudence. She meant everything to me. If I had used my powers, I would've proven Matthew's charge and Prudence would've b*rned too. So I thought, I'll accept this and pray some kind soul will take pity on my daughter and raise her in a safe home. Only then could the Warren line continue. And it must've worked because here you are.
Phoebe: Why do Warren witches lose their mum's so early?
Melinda: Phoebe, I can't change the past but I think I can protect the future.
Prue: How? Matthew is so strong and he has this wild power. He can be at one place and then another.
Melinda: In the blink of an eye?
Prue: Exactly.
Melinda: It's called blinking. He must've copied it from another witch. I stripped him of all the powers he copied from me but who knows what others powers he still has?
Phoebe: What you mean copied from you?
Melinda: Matthew's gift is to copy the power of a good witch when it's used against him.
Prue: Then he definitely has mine.
Melinda: Once he's copied a power, it has no effect on him. Should he gain all three powers, he will be impossible to vanquish.
Prue: So what do we do?
Melinda: We curse him back in the locket.
Piper: And if we can't?
(Silence.)
[Scene: Bucklands. Rex's office. Hannah and Matthew are there. Matthew is putting on some jeans and Hannah is sitting on a chair with her back to him.]
Matthew: Are these pants meant to be so tight?
(Hannah peeks over her shoulder.)
Hannah: Absolutely.
Matthew: No wonder your men frown all the time. It's a wonder they can even walk. So, is this right?
Hannah: Oh, yeah.
Matthew: If it please you to look, look.
Hannah: I wasn't looking... much.
(He walks over to her.)
Matthew: Why the false honesty? I, I don't understand.
Hannah: Well, it's a very complex issue these days. I mean, there's political correctness, sexual harassment, um, don't get me started.
Matthew: Hmm, what a strange time this is. So open, yet so closed. Where even a warlock feels shame.
(Rex walks in.)
Rex: Hannah... what the devil?
Hannah: Rex, I told you I'd get him dressed.
Rex: Yeah, ten minutes ago.
Matthew: Well, we tried on many things. She said it is difficult to choose.
Rex: Play time's over, big boy. You've got work to do. (Matthew walks away.) (whispering) Remember, he goes back from whence he came once his task is completed.
[Scene: Manor. Prue, Piper, Phoebe and Melinda walk in the attic.]
Melinda: I can't believe I don't remember all the ingredients.
Prue: It's been a while since you cursed Matthew.
Phoebe: Yeah, like three hundred years.
Piper: Whatever you don't remember should be in the book.
(They walk over to the Book Of Shadows.)
Melinda: The Book Of Shadows. Oh, my, it's gotten so thick.
Prue: It wasn't always?
Melinda: No, no. But obviously each generation of Warren witches has added to it over the years and has made it so. Have you added anything?
Phoebe: Us? Are you kidding? We're new at this. We can't just make up our own spell... wait, can we?
Melinda: All things in time, Phoebe. The book will grow as you grow. Sometimes you add to it, sometimes it teaches you. Oh, here's the curse.
(Prue hands her a pencil and paper. Melinda looks at it confused.)
Prue: Just start writing.
Melinda: No ink?
Prue: No.
(Melinda starts writing.)
Melinda: Ha! (She smiles.)
Piper: Grams must've added this one.
(They look at the opposite page.)
Melinda: "To Increase Patience."
Phoebe: I bet she used that spell a lot raising us, huh?
Prue: We weren't all troublemakers, Phoebe.
Phoebe: I was not a troublemaker. I was just...
Piper: A pain.
Phoebe: A free spirit.
Prue: A handful.
Melinda: A Warren. The family trait. So are the short tempers, the great cheekbones, the strong wills, and of course the powers. All blessings, all signs of where you came from. This book is your connection and it began with me.
Prue: Well, let's make sure it doesn't end with us. We need to get going.
[Scene: Bucklands. Rex's office. Rex is showing Matthew pictures of Prue, Piper and Phoebe.]
Rex: Now, this is Prue, you've already met. This is Piper, and this is Phoebe.
Matthew: These are marvelous paintings. You can not feel the brush strokes.
Hannah: Remind us to take you to the movies when this is all over.
Rex: This is the address of Quake. Piper works there. May I suggest we go there next and take her power. Hannah will drive you.
[Scene: Manor. Kitchen. Everyone's there. They are making a potion and Prue is staring out the window.]
Melinda: The curse is really simple as long as you have the ingredients I need.
Piper: Phoebe can do the spices and I'll chop the scallions.
Phoebe: This is so cool. We've never done a curse before.
Melinda: Oh, I'm glad. They're not to be taken lightly.
Phoebe: I just feel like there's so much we could be learning or doing if we had the right teacher.
Melinda: I'd savor my first gift before I move on to the next one.
Phoebe: I see pictures. What's to savor?
Melinda: No, but you see visions of the future and the past. That'll allow you to protect and to heal.
Phoebe: Hmm. Did you hear that Prue?
Piper: Prue, stop looking for Andy, he should be long gone by now.
Prue: Yeah, he'll be back, probably with a warrant.
Phoebe: Yeah, like Andy would ever arrest you.
(Prue walks over to them.)
Prue: So do we have everything?
Piper: Actually there's a few herbs we don't have but I can get them at the restaurant.
Phoebe: The only problem is the feather from the spotted owl.
Melinda: Is that a problem?
Prue: Well, they're an endangered species. Um, certain animals from your time aren't really around anymore.
Melinda: Why?
Phoebe: Deforestation, pollution... it's a long story.
Piper: Do you think they have one at the zoo?
Melinda: What's a zoo?
Phoebe: In theory it's this big garden kind of place where all the animals are caged and...
Prue: You know what? I'll work on the feather. Piper, can you handle the herbs?
Piper: Uh, yeah, after I get to Quake, though I might have a problem getting out because I'm supposed to work the night shift.
Phoebe: Well, I'll come with you and bring back the stuff if you get hung up.
Melinda: No, you can't leave the house. You are the two Matthew needs.
Piper: We'll be fine. How could Matthew even know about Quake?
[Scene: Outside Quake. Hannah and Matthew are sitting in the car across the street.]
Matthew: I've waited over three hundred years for my revenge. As soon as Piper gets here I shall have it.
Commercial Break
[Scene: Quake. Piper and Phoebe walk in.]
Piper: You go ahead into the kitchen, I'm gonna cough over Martin and tell him I'm highly contagious so can I go home.
Phoebe: Love the plan.
(Phoebe goes in the kitchen. A waitress walks up to Piper.)
Waitress: Hey, Piper. Did your sweetie find you?
Piper: My What?
Waitress: That guy with the English accent. He called earlier to see if you were working today.
[Cut to the kitchen. Matthew and Phoebe are there. Phoebe is holding a rolling pin and Matthew is backing her into a corner. Phoebe goes to h*t him with the rolling pin but he grabs it and throws it on the floor. He then grabs Phoebe and she has a premonition.]
Matthew: Now I have your power. And I see Melinda's here. Good. She will die at my hand.
(He pushes her on the ground and he blinks out of the room. Piper comes in.)
Piper: Are you okay?
Phoebe: Yeah. It was Matthew. He's gone, but he copied my power.
[Scene: Outside Manor. Andy's sitting in his car that is parked across the street.]
[Cut to inside. Prue and Melinda are walking down the stairs.]
Prue: Alright, I found a spotted owl at the museum where I used to work. Stuffed.
Melinda: But we only need one feather.
Prue: Good. Maybe that'll keep it down to misdemeanor. Look, I'll be back as soon as I can.
Melinda: Okay.
(Prue leaves.)
[Cut to outside. Prue drives down the street. Andy follows her.]
[Cut back inside. Melinda walks in the kitchen. She sees a blender on the bench. She reaches over and presses a button. It turns on and she jumps back. She quickly reaches back over and turns it off. The phone rings. She looks around.]
[Cut to Quake. Piper and Phoebe are sitting at the bar. Phoebe's on the phone.]
Phoebe: Come on, answer.
[Cut back to Melinda. She walks into another room and over to the phone. The machine picks up.]
Phoebe's Voice: "Hi, we're not home. You know the drill."
Phoebe: Prue, pick up.
Melinda: Phoebe?
Phoebe: Are you guys there?
Melinda: Phoebe, I-I'm here.
Phoebe: You guys need to be really careful.
Melinda: Phoebe!
Phoebe: Matthew is here, he could be on his way.
(Melinda presses a button on the machine and turns it off.)
[Cut to Quake.]
Phoebe: The line went d*ad.
(Piper and Phoebe run out of Quake.)
[Cut back to the manor. There's a bang at the front door. Melinda runs into the foyer and Matthew's standing there.]
Melinda: Matthew.
Matthew: We meet again.
Melinda: Yes. And the site of you still makes me ill.
Matthew: Funny. The fact that I can now destroy your life forever, makes you so much more appealing.
Melinda: You think I won't stop you.
Matthew: How? You made your curse before and you still b*rned.
Melinda: And yet I'm here now, aren't I?
Matthew: You're nothing more then a d*ad witch watching over stupid girls who are about to die themselves.
Melinda: You won't touch them.
Matthew: Too late. I already have two of their powers. I just need the third. I believe her name is Piper. Unless, (he holds her up against the wall) you wanna freeze me.
Melinda: Go to hell where you belong.
(Matthew has a premonition of them adding the feather to the potion.)
Matthew: So that's why they brought you back isn't it? You think you can curse me again. Or I might just k*ll you now.
Melinda: Go ahead. I've already given them the curse.
Matthew: Lying.
Melinda: Am I?
Matthew: The one with the feather. Where is she now? Where's Prue? Tell me.
Melinda: She's at...
Matthew: Yes?
Melinda: Zoo.
Matthew: And that's where I'll k*ll her. And then I'll come back for the other two. That way you can watch them die and I can watch you suffer. (He kisses her.) And then you'll be next.
(He blinks out of the room.)
Commercial Break
[Scene: Bucklands. Rex's office. Rex is sitting on the couch. Hannah walks in.]
Rex: You lost him.
Hannah: We've had this conversation before, Rex, please stay out of my mind.
Rex: Well, did he copy Piper's power?
Hannah: Something happened in that restaurant though 'cause he just took off. And so did they.
Rex: Then why didn't you follow him?
Hannah: I tried. Why don't you just follow him right now?
Rex: I haven't mastered that ability yet unfortunately. We need Matthew to provide us with the sisters powers otherwise we don't stand a chance in hell. Find him.
[Scene: Manor. Piper and Phoebe walk in.]
Piper: Prue? Melinda?
Melinda: In here.
(They walk in the living room. Melinda's sitting on the couch.)
Phoebe: Are you okay? It was Matthew wasn't it?
Melinda: Yes. But don't worry, he's gone.
Phoebe: He found us at the restaurant and he copied my power. He said he was gonna k*ll you and I was so...
Melinda: It's alright, Phoebe. But we've got to hurry before Matthew gets back. Did you get all the herbs?
Piper: Yeah, all we need now is the feather.
Melinda: Good. Prue's taking care of that.
Phoebe: How?
[Scene: Museum. Prue walks outside holding the feather. Andy's there.]
Prue: Andy, what are you doing here?
Andy: You have to come with me, Prue.
[Cut to Bucklands. Rex's office. Rex is sitting at his desk. Hannah comes flying through the door and lands on the floor. She stands back up.]
Hannah: I found Matthew.
Rex: I can see.
(Matthew walks in.)
Matthew: I need to find Prue and stop her.
Rex: You're supposed to be after Piper and Phoebe. I don't under...
Matthew: I got the power of premonition. With it I saw the others working on the curse. Help me find her.
Rex: No, no, no. There's no time to be distracted. You must stay on track. You must obtain the last power.
Matthew: But the curse will end me. They brought Melinda Warren back from the d*ad to do it.
Hannah: They did what?
Matthew: I will not go back to oblivion.
Rex: Listen, just listen to me. If they're planning to send you back, they'll have to cast the spell at their home.
Matthew: So?
Hannah: So, Prue will have to return there to do it.
Rex: Which is where you can force her and then getting the power to freeze.
Matthew: I've already tried. They'd rather die then give me that.
(Rex gets a g*n out of his desk drawer.)
Rex: Try again.
[Cut back to the museum. Andy and Prue are sitting in the car.]
Andy: Now for the last time, Prue. Why the feather?
Prue: I told you. I already had it from before.
Andy: Before what? No, go ahead, you can say it. Before breaking and entering a museum which of course you did after you obstructed justice.
Prue: How did I obstruct justice?
Andy: Oh, come on, Prue, don't play dumb with me, I know you too well. You're in a lot of trouble here. Trouble in which I can't help you out unless you help me.
Prue: Maybe I should talk to a lawyer.
Andy: You really wanna go there? You really want me to arrest you, is that it? What's the matter with you, Prue? This isn't a game, this is very serious.
Prue: Andy, please, you have to let me go.
Andy: No, I can't look the other way anymore, Prue.
Prue: This isn't just me. It's Piper and Phoebe.
Andy: Just tell me what's going on. For once in your life can you just trust me. It's your only choice, Prue.
Prue: Andy, I'm sorry but I really have to go.
Andy: No, Prue, you can't. Prue. (Prue uses her power and the air bag blows up. Prue gets out of the car.) Prue, get back here. You don't know what you're doing.
Commercial Break
[Scene: Manor. Kitchen. Phoebe, Piper and Melinda are there. Melinda's scooping the potion into a small pouch.]
Melinda: We're ready now. All we need is the feather.
Piper: And Prue. What's keeping her? You don't think...
Phoebe: No, she should be fine. Matthew already copied her power.
Melinda: Besides, I sent him to the zoo.
Phoebe: She's probably stuck in traffic.
Melinda: When she returns, we'll add the feather and seek out Matthew.
Phoebe: Do you think he'll be hard to find?
(Matthew appears.)
Matthew: Not at all. I have waited too long for this moment, to hide.
Melinda: This is our battle, Matthew. Leave them alone.
Matthew: I will have what I came for. (He uses telekinesis and Piper moves towards him. He grabs her.) Your powers and you d*ad.
Phoebe: Piper!
Matthew: Freeze me, witch.
Piper: In your dreams.
(He gets out his g*n and points it at Piper's head.)
Matthew: I said freeze me. Save yourself. No? Then save your sister.
Piper: Phoebe!
(Prue walks in.)
Prue: Save yourself.
(He lets go of Piper and she runs back over to Phoebe and Melinda.)
Matthew: Give me that feather.
(She uses her power and the g*n flies out of hands. Then a chair flies up and hits him. She runs over and hands the feather to Melinda. She puts it in the pouch.)
Melinda: Piper, now! (Piper freezes Matthew.) "Outside of time, outside of gain, know only sorrow, know only pain." (Matthew unfreezes and wind surrounds him.) It's what you deserve.
Matthew: This is not the end!
(He gets sucked into the locket.)
Melinda: Yes it is. This is for eternity.
[Scene: Bucklands. Rex's office.]
Hannah: I followed him, he failed. What do we do now?
Rex: I don't know. We're gonna have to think of something fast though. He's gonna be none too pleased that we have failed.
Hannah: It wasn't a complete failure, right? I mean, we outted them, proved they were the Charmed Ones, that has to count.
Rex: It'll pass a little bit of time but precious little.
Hannah: You should've listened to me, Rex. We should've taken care of them ourselves.
Rex: Yeah, you're right, Hannah. We should've done.
[Scene: Police station. Morris and Andy are there.]
Morris: You're gonna wake a judge at this hour? Are you nuts?
Andy: I'm getting an arrest warrant. End of discussion.
Morris: Based on what? Stealing a feather? He will bust your rank. You will be cleaning metres for a living.
Andy: So I should just let it go, is that it? What about Prue's evading arrest? Am I suppose to let that go too?
Morris: Damn right. Unless you want to tell the judge exactly how that little lady got away from you. By the way, exactly how did she get away from you?
Andy: I don't wanna talk about it.
(He turns to leave.)
Morris: Trudeau. Let it go. Don't embarrass yourself.
[Scene: Manor. Piper runs down the stairs. Leo's there.]
Piper: Leo. You're here. Why are you here?
Leo: I thought I'd work on the plumbing in the downstairs bathroom.
Piper: Oh, now's not really a good time. We're getting our cousin Melinda ready to go away. Can you come back later? Like tomorrow?
Leo: Sure.
(He turns to leave.)
Piper: Uh, Leo? (He turns back around.) Would you like to go out sometime? With me that is.
Leo: I'd love to. Give me a call.
Piper: Okay.
(Piper goes back upstairs in the attic.)
Phoebe: Who was it?
Piper: It was Leo.
Prue: Is he gone?
Piper: We're perfectly safe.
Melinda: Then let's begin.
(Piper joins the others around the table. Melinda is dressed in her normal clothes. She hands Phoebe's dress back to her.)
Phoebe: Oh, we can't take those back.
Melinda: Why not?
Phoebe: Because that means you're leaving
Melinda: Well, I have to go
Phoebe: Why? Why can't you stay here and have the life that you should've had?
Melinda: Because this isn't my time. It's your time, and Prue's and Piper's.
Piper: We don't mind sharing.
Melinda: You three give me great joy. I've seen the Charmed Ones. Good witches. Women of strength and grace.
(Phoebe takes Melinda's hand and holds it up to her heart.)
Phoebe: Tell me what you see.
Melinda: I see the future. Many more generations of my beautiful daughters. I see my dreams fulfilled. Oh, thank you for that.
(She puts on the locket and they all join hands.)
Prue: "Melinda Warren, blood of our blood, we release you."
Melinda: Blessed be, my daughters. I love you.
(Stardust surrounds her and she disappears.)
Phoebe: I'm gonna miss her.
Piper: Me too.
Prue: We can always bring her back.
End | {"type": "series", "show": "Charmed", "episode": "01x09 - The Witch is Back"} | foreverdreaming |
Written by: Brad Kern and Sheryl J. Anderson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Foyer. Prue and Phoebe are carrying lots of shopping bags.]
Prue: I don't know Phoebe, the Betsey Johnson dress may be a bit too much for work.
Phoebe: That's what a new wardrobe's all about. Pushing the limit.
Prue: Yeah, and stretching the budget. Maybe I should just check with Piper.
(They hear Piper laughing and then Piper and Leo run in the foyer. Piper sees them.)
Piper: Oh my God, Prue.
(She freezes Leo, trips over his leg and slides across the floor and stops at Prue and Phoebe's feet. They help her up.)
Piper: I'm so embarrassed.
Phoebe: Of course, she may have other things on her mind like having her way with the handyman.
Piper: I thought you guys were supposed to be shopping.
Prue: Obviously.
(Phoebe notices Piper's shirt unbuttoned.)
Phoebe: Oh, look, front clasp bra. She means business.
Prue: Serious business.
Piper: Do you mind?
Phoebe: No, are you kidding? I think it's great. As long as he's not still on the clock.
Piper: That's what I mean. You guys have to get out of here before he unfreezes. I never know how long this things lasts. (Piper sees all the shopping bags.) How much did you guys spend?
Phoebe: Lots. Prue's new look is perfect for an SHW.
Prue: SHW?
Phoebe: Single Hot Witch.
Prue: Hmm.
Piper: Prue, are you sure this isn't depression buying, you know, post-breakup?
(Phoebe gets some red, sexy lingerie out of a bag.)
Phoebe: Does this look like something a depressed woman would wear?
Prue: (to Piper) Hmm, maybe you should borrow it.
Piper: Okay, time's up. You two gotta go. (She pushes them in the living room.) Go, go in there and be quiet.
Phoebe: We will if you will.
(Piper walks over to Leo and stands where she was standing. He unfreezes and they run up the stairs.)
[Scene: Manor. Prue's room. Kit's there. Prue walks in and unzips her sweater. Rex astral projects next to Prue. Kit growls and hisses at him.]
Prue: Kit, what is it?
Rex: You forgot to unpack your briefcase when you got home from work. You want to do it right now. (Prue walks over to her briefcase and unzips it. You see a tiara in there.) What you're about to pick up is a tiara but you really believe it's your date book. (The tiara is now a date book. She gets it out.) Now put it in your desk, just like you always do. (She puts it in the drawer.) Excellent. Now you want to continue getting ready for bed. (Prue takes off her shoes. Kit jumps up on the desk and hisses at Rex. Rex astral projects back in his body.)
[Cut to Rex's office.]
Hannah: Well?
Rex: Prue, did exactly what I told her. You know, I rather like this new power.
Hannah: Are you sure she didn't see you?
Rex: No, no, she didn't see me. I was invisible.
Hannah: But how did you get there?
Rex: I explained this to you, Hannah. It's called astral projection. With it I can transport myself psychically and implant a subliminal thought into Prue's brain. Just like I did when I tricked her into leaving the vault today with the tiara. See, I planted the thought and made her think she came out empty handed.
Hannah: I still don't understand how it works.
Rex: Watch. (He walks across the room and astral projects over to Hannah.) You want to disrobe for him... desperately. (He astral projects back in his body. Hannah stands up and unbuttons her jacket.) Understand now, Hannah?
Opening Credits
[Scene: Next morning. Manor. Prue's room. You see her try on all her clothes she bought the day before. She picks out an outfit and goes downstairs. Phoebe's at the bottom of the stairs wearing a suit.]
Phoebe: If you ran an Employment Agency, wouldn't you want me?
Prue: Maybe, but I'd definitely want my suit back.
Phoebe: No, this is part of your old wardrobe. I'm just recycling.
Prue: Well, the environment thanks you.
Phoebe: But, take it off, I know, I know.
(Piper comes down the stairs.)
Piper: Hi. Bye.
Prue: Piper, didn't you have to go in early this morning?
Piper: Right, that was the plan. I'm running a little late. Um, just took a little longer to get out of bed this morning than I planned. Okay, bye.
(She turns and heads for the door.)
Phoebe, Prue: Wait.
(They stand in Piper's way.)
Phoebe: Whoa, whoa, whoa. You, Leo, last night, dish.
Piper: Um, well, it was nice. It was... well, it was wonderful. We just had a few problems
Phoebe: Problems?
Prue: What problems?
Piper: Well, it's been a while since, you know, I-I was a little nervous, and I kinda kept freezing him.
Prue: Piper, you didn't?
Piper: I didn't mean to... the first time.
Phoebe: (making little noises) Ohh!
Prue: Okay, so, um, at what point exactly in the process exactly did you freeze him?
(Piper doesn't say a word.)
Phoebe: Hello?
Piper: I gotta go. (She walks around them and heads for the door.)
Prue: No, no Piper, we're only teasing you.
Phoebe: Yeah, the truth is we're just jealous.
Prue: Yeah, seriously, we're just happy to see you with a great guy finally.
Phoebe: I mean, between you and Leo, and Prue, the new Hot Wicca Woman, and me, soon to be employed, things are looking up.
Piper: Don't say that! The moment someone says that, everything always goes south.
Phoebe: Unless you freeze him. (Piper grabs her coat.) Oh, I couldn't help it. It was so good.
Prue: Okay, okay, come on, we're going, you're going to borrow the car.
(Leo comes down the stairs.)
Leo: Good morning.
Phoebe: Yeah, we heard.
(Piper laughs nervously. Prue and Phoebe grabs their coats.)
Prue: Ah, bye.
Phoebe: Yeah, have a magical day.
(They leave.)
Leo: Um, what does she mean by that?
Piper: Who knows. I'm late for work, bye. (She kisses him on the cheek. She goes to leave but Leo grabs her around the waist, pulls her back in and kisses her.) Bye.
Leo: Bye.
Commercial Break
[Scene: Bucklands. Prue and Phoebe walk in. There are cops everywhere.]
Prue: Hymie, hey. What's going on? What happened?
Hymie: We got robbed last night, Prue.
Prue: You're kidding? What was stolen?
Hymie: The Romanov Tiara.
Prue: Oh my God. Not the tiara.
(Rex comes up to them.)
Rex: Prue.
Prue: Rex, hi. Hymie just told me.
Rex: Yeah. Hello, Phoebe. Nice to see you again.
Phoebe: Hi, Rex. I'm sorry about what happened.
Rex: Yeah, me too. A loss of this magnitude could severely damage our reputation and who is gonna consign anything with us if...
Prue: No, no, no. We just have to get the tiara back before word gets out.
Rex: I agree. Will you take point on this then, you know, help the police? You're really the only one that I can trust.
Prue: Sure, but, what about you?
Rex: Unfortunately, I've got another commitment tonight, that I really can't get out of. It's, uh, some good friends who are giving a concert and, uh, well I promised I wouldn't miss it.
Phoebe: Oh, yeah, who?
Rex: The Verve.
Phoebe: Get out. Are you serious?
Rex: Why, you know them?
Phoebe: Know them? I worship them. Bittersweet Symphony is like the best song ever.
Rex: Really? I have an idea. Why not join me tonight? I'm sure I can rustle up another ticket. (Prue pulls a face to show she doesn't like the idea. Rex notices.) Well, you wouldn't mind, would you, Prue?
Prue: Of course not. Why would I mind?
Rex: Then it's a date. Well, figuratively speaking, of course.
Prue: Of course.
Rex: Yeah, um, pick you up at 7:00, all right?
Phoebe: Yeah, that sounds great, thanks... uh, oh, look at the time. I gotta get going. Hey, I promise I'll have the car back by noon.
Prue: Uh, huh.
Rex: Thanks for pitching in, Prue.
(Rex leaves. Andy walks around the corner.)
Andy: Prue.
Prue: Andy, uh, are you on this case?
Andy: Yep, guess fate keeps throwing us together.
(Hannah comes up to them.)
Hannah: You two know each other? Forgot.
Prue: No, you didn't.
Hannah: Well, I suggested that the Inspector speak with you since you were the last one to actually see the tiara. Um, if you need anything else, please don't hesitate to call.
(Morris arrives.)
Morris: We'd like to see the security tapes from the last night, as soon as possible.
Hannah: Oh, yeah. I'm sure Prue can arrange that. Excuse me.
(Hannah and Morris walks away.)
Prue: How are you?
Andy: Okay. It'd be better if you stopped by the station later on so we could talk about all this. 1:00?
Prue: Sure.
[Cut to Rex's office. Rex and Hannah are there.]
Hannah: I can't believe you're taking that little witch to the concert. That was my ticket.
Rex: Hannah, kitten. (He purrs.) You know I'm only doing it to upset Prue. All the better to frame her and force her sisters to relinquish their powers.
Hannah: How do you even know they even can?
Rex: They have a special spell in the Book Of Shadows. When the time comes they'll use it. Trust me.
[Scene: Police station. Prue's there. Andy's interviewing her.]
Andy: You said you put the tiara back in the vault before you left was anybody else there?
Prue: The security guard Hymie.
Andy: Did he lock up the vault?
Prue: No I did.
Andy: Ok, did you happen to taken anything out of the vault when you left?
Prue: No. Is this an interview or an interrogation?
Andy: I'm sorry. I'm just trying to get all the facts, that's all.
Morris: The problem is there were no signs of forced entry into the auction house or the vault.
Prue: So, do you think the one of the employees might have stolen it?
Morris: A strong possibility.
Prue: Someone like me?
Andy: No, don't be ridiculous.
Morris: Still, we have to check out everyone's story. Grand Larceny's big time could a person fifteen, twenty years easily.
Andy: I think we got enough for now, Prue. If we have any others questions. We'll give you a call.
Prue: Well, you know where reach me.
Andy: I think I still remember. (Prue leaves.) What was all that about?
Morris: You tell me. Last time you were ready to bust her for stealing a feather. Now you think she's Miss Innocent?
Andy: That was a whole different situation, completely unrelated.
Morris: Look, I'm not saying she did it alright. But you have to admit, a lot of the arrows are pointing in her direction. There's also this. Security tapes that Prue got hold of. One's missing. The one from the vault.
[Scene: Quake. At the bar. Piper's counting money from the cash register.]
Prue: You're glowing.
Piper: Hmm?
Prue: Your face, total afterglow.
Piper: It is not. It's just warm in here.
Prue: Mmm hmm.
Piper: So, How much was that tiara worth, anyway?
Prue: Well, I didn't get a chance to have it appraised we just got it in yesterday. But I would say well over a million dollars.
Piper: Wow. Do they have any idea who stole it?
Prue: Yeah, me.
Piper: Huh?
(Phoebe and Rex arrive.)
Phoebe: So, what's on the desert menu?
Piper: Hey, how was the concert?
Phoebe: The best. It was amazing.
Prue: Still recycling. I see.
Rex: Thanks for taking care of things tonight, Prue. I really appreciate it.
Phoebe: Mmm. Don't you just love that accent?
Rex: By the way, how'd it go with the police?
Prue: Uh, well, they think it's an inside job, actually.
Rex: Do they? How disturbing.
Phoebe: Okay, shop talk later. We're gonna grab a table, okay?
Piper: Take that one by the window. I'll send, uh, Cindy over.
Rex: Uh, you're welcome to join us, Prue.
Prue: No, thanks. I think I'll pass.
(Phoebe and Rex walk over to the table.)
Piper: She's a big girl, Prue.
Prue: Meaning?
Piper: He's rich, he's s*ab, he's handsome. You should be happy for her.
Prue: I'm thrilled.
Piper: Are you jealous?
Prue: No, no! More like territorial. Okay, I would just like to keep my work world separate from my home world, is that okay?
Piper: Good Luck.
[Scene: Manor. Living room. Prue and Piper are sitting on the couch. Piper's on the phone and Prue's reading the paper. Phoebe comes down the stairs.]
Phoebe: Good morning. Wow, roses. Who are they for?
Prue: Guess.
Piper: Leo, I need to call you back. Something's about to come up. I'll see you later, okay? Bye.
(Phoebe reads the card.)
Phoebe: Phoebe, thank you for a lovely evening, the job is on its way. Rex.
Phoebe: Oh, what a sweetheart. Wait, who opened the box?
Piper: I can't get over how beautiful these are, can you Prue?
Prue: So, it must have been quite a night, you know, after the concert.
Phoebe: Hmm.
Piper: I'll put these in some water.
(Piper goes to the kitchen.)
Phoebe: All I did was tell Rex that I was going to the employment agency. He said he'd make a few calls and help me out. So, what's the big problem?
Prue: Phoebe, really, it's none of my business. (The doorbell rings.) It's just, watch what you say to him, okay? Because there are certain things I don't want my boss to know about me? (Prue walks in the foyer and opens the door. Andy and Morris are standing there.) Andy, uh, what are you doing here?
Andy: We're here to search your house for the tiara, Prue. We've got a search warrant.
(He holds up the search warrant and walks inside.)
Commercial Break
[Scene: Prue's room. Everyone walks in.]
Phoebe: Wait, how can you guys even think that Prue stole the tiara?
Andy: We don't, Phoebe. Not necessarily.
(Andy and Morris start looking in drawers.)
Phoebe: Yeah, well, then what are you doing here? Spring cleaning?
Morris: Any idea where the vault security cam tape is?
Prue: I gave you the tapes.
Morris: Uh uh, not that one.
Andy: It wasn't there, Prue.
(Andy opens a drawer and Piper notices the tiara in there.)
Piper: Whoo!
(Piper freezes Morris and Andy.)
Prue: Why did you do that?
(Piper gets the tiara out of the drawer.)
Prue: That's why.
Prue: Uh, no no no. Wait. That is not possible. How did it get there?
Piper: I don't know but you better come up with an answer quick before they unfreeze.
Phoebe: Someone must have planted it there
Piper: Who? Somebody's been in our house?
(Rex astral projects in Prue's room.)
Prue: It doesn't matter. Just let them find it. I've nothing to hide. I'm innocent.
Phoebe: That doesn't look very innocent. Piper, hide it.
(Piper hides it under a pillow on the bed. Andy and Morris unfreeze.)
Rex: (to Andy)I think you should check under the pillows.
Andy: Morris, check under the pillows.
(Piper freezes them and gets the tiara.)
Piper: How did he know to look there?
Phoebe: Uh, put it in the dresser. He's already looked there.
(Piper puts it in the dresser. Morris and Andy unfreeze.)
Rex: (to Andy) You want to look in the dresser again.
(Andy walks over to the dresser. Piper freezes them again. Rex walks behind Piper.)
Rex: This is getting ridiculous!
Piper: This is getting ridiculous.
Prue: No, eerie is more like it.
(Phoebe gets the tiara out of the dresser.)
Phoebe: I will be right back.
(She walks out of the room.)
Piper: Don't worry. I'll just keep freezing them until they give up.
Rex: (to Piper) You're a miserable witch.
(Piper gets a funny look on her face.)
Prue: What's the matter?
Piper: I don't know. I feel like calling a shrink for some reason.
(Phoebe returns.)
Phoebe: Okay, I put it in the, uh... (Andy and Morris unfreeze.) (whispers to Prue) Attic.
(Rex disappears.)
Andy: Nothing. I think that's good enough for now, Morris. I'm sorry about all this, Prue. I really am.
Prue: Yeah, I know.
Morris: Come on, Trudeau. Let's go.
[Cut to Rex's office. He astral projects back in his body.]
Rex: Witches.
(He knocks something of his desk.)
Hannah: Well, did the police find the tiara?
Rex: No. Piper kept freezing them and then moving it.
Hannah: Well, how can we frame her if they can't even find the evidence.
Rex: Shh. We're gonna have to up the stakes.
[Scene: Manor. Living room.
Prue: Somebody is obviously trying to set me up, and they're using magic to do it.
Piper: But who? And how?
Phoebe: Pick a warlock. Any warlock.
(Leo walks in.)
Leo: Hey, uh, what were the police doing here?
Piper: Oh, nothing much, really.
Leo: Is it all right if I go upstairs and fix the bathroom sink?
Phoebe: Oh, knock yourself out, Leo.
(Leo leaves.)
Phoebe: Did anyone ever think that maybe he's a warlock?
Piper: Why is it always someone I'm dating that gets accused of being that? Don't answer that. (The phone rings.) Answer that. It's safer.
(Prue answers the phone.)
Prue: Hello? Uh, yeah, hi Rex. Look, I'm on my away in. Of course. Hold on.
Prue (to Phoebe) It's for you.
(Phoebe takes the phone off of Prue.)
Phoebe: Hello? Yes, I got the flowers. And they're beautiful. That was so sweet of you. They made quite an impression over here, too. A dinner party? Yes, I would love to. Hold on, let me get a pen.
(Phoebe walks out of the living room.)
Piper: So, what are you gonna do?
Prue: What can I do? My sister's dating my boss. I don't really have a...
Piper: I meant about who's setting you up. Do you have any idea who it could be?
Prue: It's got to be someone at the auction house. And if I had to guess, I would start with the person who said that they were out to destroy me.
Piper: Hannah?
Prue: Smart girl.
[Cut to the attic. Leo walks in. He puts his toolbox down and shuts the door. He holds out his hand and all the chests open. He walks over and looks in them. He uses his powers and they close. He then opens a drawer with his powers. He hears footsteps and quickly closes the drawer. Piper walks in.]
Piper: Leo, what are you doing? I thought you were going to fix the sink.
Leo: Yeah, I was, I-I mean, I am. I just, uh, I need to fix a light downstairs and I was hoping there'd be some old fixtures up here that I could cannibalize. Listen, uh, there's something I need to tell you. Something I don't think you're gonna like. Uh, I might have to leave here soon. I might have to go back home.
Piper: Is home far away?
Leo: Yeah, it's pretty far. I mean, I don't know for sure yet, but, uh, you know, I wanted you know, just in case.
Piper: Thanks.
Leo: Well, I, uh, better get to work.
(Leo kisses Piper on the cheek and he leaves. Piper notices a drawer open slightly, she walks over and sees that it's the one with the tiara hidden in it.)
[Scene: Rex's apartment. Phoebe rings the doorbell. Rex astral projects beside her.]
Rex: You will see a spectacular apartment. (He disappears. Rex opens the door.) Phoebe, I am so glad that you could make it. Please.
(Phoebe walks inside.)
Phoebe: Wow, this is...
Rex: Spectacular?
Phoebe: That is exactly the word I was going to use.
Rex: We must be on the same wavelength. Champagne?
Phoebe: Uh, no thank you.
Rex: No, I insist.
(Rex pours some champagne in two glasses.)
Phoebe: Um, Am I early?
Rex: No, you're right on time.
Phoebe: But I thought you said you were having a dinner party.
Rex: Yes, I am. With a very exclusive guest list. Just you and me. (Phoebe sits down on the couch.) A toast. To your interview. (He hands her the glass of champagne.)
Phoebe: Interview?
Rex: Yeah, at Zeitgeist magazine. They want to meet with you, you know, perhaps, um, hire you for the fashion section. Interested?
Phoebe: Very. But what's the catch?
Rex: You have to sleep with me. (Phoebe gets mad and she puts down her glass.) Phoebe, what sort of man do you think I am? (They laugh). Um, I hope you like sushi. Imported fresh from Kyoto. Please,
just make yourself comfortable.
(Rex walks into another room and astral projects next to Phoebe. Phoebe's holding a little mirror and is checking her make-up.)
Rex: You're having a premonition. Of Prue at work. (Phoebe has a premonition.) She's in danger. You fear the warlock's after her. You must save her.
(Rex astral projects back in his body.)
Phoebe: Prue. (Rex comes back in the room.) Uh, I, uh, I gotta go. I-I I'm really sorry and I
can't explain, but, uh, uh, I'll call you, okay? Sorry. Really sorry.
(She leaves. Rex clicks his fingers and the nice apartment turns into an empty and dark place. He gets out his cell phone and dials a number.)
Rex: 911? I'm calling from Bucklands Auction House. I think something's trying to k*ll me. Please hurry.
[Scene: Bucklands. Prue's walking down the hallway. Hymie comes up behind her.]
Hymie: Working late? (Prue gets a fright.) Sorry, didn't mean scare you.
Prue: It's okay, uh, I guess I'm just a little jumpy lately.
Hymie: Can't blame you with everything that's been going on.
Prue: Yeah, um, listen, Hymie, I was wondering. When the tiara was stolen, was anyone else still here? Like Hannah or-or-or Rex, maybe?
Hymie: No, you were the last one out. Just like tonight. Hardest working woman I've ever met. For what it's worth, Prue, I know you didn't take it. I mean, of all people, there's no way.
Prue: Thanks. (Hymie walks away.) Hannah's computer. (She walks in Hannah's office and sits at the desk. She types in Hannah's name and searches for it. It says 'no listing'. She types in Rex's name and 'no listing' comes up. Rex astral projects behind her.)
Rex: Someone's after you. Behind you. (Prue looks behind her.) You fear it's a warlock. With power greater than yours.
(Prue runs out of the office.)
[Cut to Hymie. He's in the warehouse.]
[Cut back to Prue. She presses the elevator button. Rex astral projects next to her.]
Rex: You hear a scream. An innocent to protect in the warehouse.
Prue: Hymie.
Rex: You're to grab the artifact just inside the door.
(She runs to the warehouse.)
[Cut to the warehouse. Hannah hits Hymie over the head with an artifact. He falls to the ground. She throws the security tape and the artifact that she's holding on the ground and walks away. Prue comes in and picks up the artifact. She sees Hymie.]
Prue: Hymie. Hymie.
(Phoebe runs in.)
Phoebe: Prue?
Prue: Phoebe.
Phoebe: Thank God you're all right.
Prue: He's d*ad.
Commercial Break
[Scene: Bucklands. Warehouse. Police are there.]
Morris: Tape found by the body. Security. Showing Prue exiting the vault, putting the missing tiara in her briefcase.
Prue: What? That can't be.
Morris: I just saw it for myself.
Prue (to Phoebe) Somebody must have manipulated me into taking it.
Phoebe: The same away someone manipulated me into being a witness against my own sister.
Morris (to Andy) Any idea what they're talking about?
Andy: Not a clue.
Prue: You were with Rex tonight, weren't you?
Phoebe: Yeah, Prue, but I don't think this is the time or place to get into that.
Prue: No, I just meant that don't you find it a little coincidental that right when you guys start dating, all this is going on?
Phoebe: No, I do not. And, besides, I thought you thought that Hannah was behind all this.
Prue: I do.
Morris: Excuse me. Ladies, do you mind if we ask a few questions?
Prue: I already told you what happened, okay? I-I-I was working late, I heard a noise, I came down and I found Hymie.
Andy: You didn't know he had the tape?
Prue: No, of course not.
Andy: And why exactly did you pick up the m*rder w*apon again?
Phoebe: You think she k*lled him. Is that it, Andy?
Prue: Phoebe!
Phoebe: No, I want to know how far he's gonna go with this and none of this has anything to do with the fact that she dumped you, does it?
Prue: Stop that
Andy: Look, we got Prue standing over the d*ad body of the very security guard who last saw her with the tiara.
Morris: With the missing security tape showing her taking it.
Andy: And holding the m*rder w*apon which you were there to witness. What are we supposed to think?
Prue: That I'm guilty as hell.
Phoebe: You know she didn't do this.
Morris: Then who did? Did you see anybody run past you on the way here?
Phoebe: No.
Andy: I'm sorry, Prue. Brian.
Brian: Yeah?
Andy: You're under arrest for suspicion of m*rder.
(Brian puts handcuffs on Prue.)
[Scene: Rex's apartment. Piper and Phoebe walk up to the door.]
Piper: We should hire a lawyer.
Phoebe: With what money?
Piper: I don't know but we can't let her sit in jail all night.
Phoebe: That's why we're here. To get Rex's help.
(Phoebe rings the bell and knocks on the door.)
Piper: What are you doing?
(Phoebe opens the door and sees the empty, dark apartment.)
Phoebe: This is so weird.
Piper: Are you sure this is the right place?
(Phoebe picks her lipstick off the floor.)
Phoebe: This is my lipstick, I'm positive. He couldn't have moved out that fast. It must have been an illusion, all of it. Even my premonition.
Piper: How is that possible?
Phoebe: Mind control, astral projection, throwing charms, who knows? Prue is right about Rex, which means, I'm dating a warlock.
Piper: Been there, done that.
[Scene: Police station. Prue's pacing in her jail cell and a guy in the cell next to her is making kissing noises. Prue uses her power and throws him up against the wall.]
[Cut to in the station.]
Morris: Hey.
Andy: Hey.
Morris: You wanna talk?
Andy: I'm just running background checks on all the other employees at the auction house.
Morris: That's not what I meant, Andy.
Andy: Andy? Did you just call me by my first name? I wasn't even sure you knew it.
Morris: I heard Prue say it.
Andy: She didn't do it, Morris.
Morris: You keep saying that.
Andy: It's too pat, too easy. The evidence just keeps falling in our laps.
Morris: Maybe her sister was right. Maybe your personal feelings are getting in the way.
Andy: We've had that conversation okay.
Morris: Okay. But you have to admit. You stopped seeing Prue for a reason, you thought she was hiding something from you. How do you know she wasn't hiding something like this?
Andy: A secret life of crime, I don't think so.
Morris: You got a better explanation? You wanna book her into county jail?
Andy: No, let's just keep her here for as long as we can. At least until the arraignment.
[Scene: Manor. Piper comes down the stairs holding the tiara.]
Phoebe: Piper, what are you doing?
Piper: Getting rid of the evidence. They can't bust Prue for m*rder if they don't have a motive.
Phoebe: Mouth, Leo's in the kitchen.
Piper: Oh, he is? Really?
Phoebe: Focus and think. The last thing we have to worry about is the legal system. We're up against a warlock now.
Piper: Two, if Prue's right about Hannah.
Phoebe: Exactly, which means we have to figure out what they want. It can't just be to frame Prue.
Piper: Unless is doing so, somehow they think they can't get her powers, which is what warlocks want.
Phoebe: Which means they're trying to divide us so that we don't have the power of three to stop them.
Piper: What are we gonna do?
Phoebe: We have no choice. (Phoebe hides the tiara in a closet. As she walks past the couch, you see Rex has astral projected into their house and is sitting on the couch.) Let's go.
Piper: Go? Go where? Phoebe?
Phoebe: Piper, it's gonna be all right.
[Cut to the police station. Piper and Phoebe are around the back.]
Piper: This is crazy.
Phoebe: We have to get Prue out before Rex makes his move on us.
Piper: But we can't break her out.
Phoebe: Yes, we can. We're witches. All you have to do is freeze the guards and then unlock Prue's cell.
Piper: Me? What about you?
Phoebe: Somebody's gotta to stay out here in case something goes wrong. Ready? On three.
Piper: No Phoebe.
Phoebe: Three.
(Phoebe opens the door and you see a guard standing there. Piper freezes him.
Piper: Aaah.
(Piper walks inside and Phoebe closes the door.)
Phoebe: Totally cool power. I hate you.
[Cut to inside. Piper gets the keys from a frozen guard.]
Prue: What are you doing? (Piper unlocks the gate and walks over to Prue's cell.) Are you out of your mind?
Piper: Just so we're clear. This was Phoebe's idea.
(Piper unlocks Prue's cell.)
Prue: What?
Piper: We think Rex is a warlock and he's after our powers. Phoebe's waiting outside for you to rub her nose in it. (Prue stands there.) Well, come on, Prue. Before they unfreeze.
Prue: Piper this isn't right.
Piper: Well, neither is the gas chamber. Look if we're lucky we'll vanquish them and still get you back here by morning rounds. (Prue puts pillows under the blankets on the bed to make it look like she's still there.) That's pretty lame.
Prue: Well, you got a better idea?
Piper: No.
Prue: Let's go.
(Prue walks out of the cell and closes the cell door. They walk past a guard holding a donut. Prue takes it.)
Piper: Don't touch him. Don't touch him. Don't.
Prue: Come on. (They run outside.) Come on.
(They start running and you see a camera flash. Rex has taken a picture.)
Rex: Quite photogenic. Now I should think the police will find this very interesting, to say the least.
Prue: Rex.
Phoebe: Wait, how did you know that we...
Rex: What, that you'd be here? Well, let's just say that I've been watching your every move. Without you knowing it, of course.
Prue: You bastard.
Rex: Don't get too angry, Prue. You wouldn't want to injure me with your power. I'm the only chance you have. While you were here, conducting your little prison break, Hannah was retrieving the tiara from your home. You should have gotten to rid it while you had the chance. Personally, I actually thought that was an excellent idea.
Phoebe: Astral projection.
Prue: What do you want?
Rex: Your powers, of course. That's why I hired you in the first place, you know, to see if you really were the charmed ones. Then I waited to test your strength, see how best to make my move, and here we are.
Phoebe: But why all the drama? Why didn't you just k*ll us and take our powers?
Piper: Don't give him any ideas.
Rex: No no no. I have seen exactly what you can do when you're been confronted directly. That's why I opted for blackmail. See, there is a special spell in the book of shadows that strips you of your powers forever. (He shows them the device that looks like a lantern.) And this device will capture those powers. Then you'll bring them to me.
Prue: Go to hell.
Rex: Yeah, I'd love to, darling. I miss it terribly. And this will help me return with honors. In return, I'll give you the photo and tell the police I simply misplaced the tiara. No theft, no motive for m*rder, no prison. You really don't have much time. Just until the prisons guards realize you've escaped. Well?
Commercial Break
[Scene: Manor. Living room. They have the Book Of Shadows opened up to the spell.]
Piper: It's a Relinquishment spell. If we read it aloud, it takes away all of our powers.
Phoebe: Is there any way to reverse it?
Piper: I don't know. It doesn't say.
Phoebe: Well, then I say we flip to another page and find a spell that kicks Rex's warlock ass.
Prue: We can't.
Phoebe: Why can't we?
Prue: Because for all we know he's here, right now, watching us. And if we don't do exactly as he says, he'll tell to police I've escaped.
Phoebe: But we can't give up our powers without a fight. It's like giving up who we are, who we've become.
Piper: Who we've come from.
Phoebe: Exactly. These powers are gifts. Gifts that were given to us to protect and ultimately to pass on to the next generation.
Prue: Don't you think that I know that? I mean, how do you think I feel, Phoebe? I'm the one who got us into this situation.
Piper: Prue, it's not your fault.
Phoebe: It's not.
Prue: Yeah, but I'm the one that the Rex tricked. I'm the reason why we're having this conversation.
Phoebe: There has gotta to be a way out of this.
Piper: Like what? Become fugitives? Something tells me that's not the best way to go about protecting the innocent.
Phoebe: Yeah, well, we can't protect the innocent without our powers. And, even worse, if we give them up, we'd be giving them up to evil.
Prue: No, we can't let that happen.
Piper: Well, we can't let you die in jail, either. Besides, with you behind bars, we'll be divided. Rex wins either way.
Phoebe: I don't wanna have to do this.
Piper: Neither do I, but we don't have a choice. All we can do is take the leap of faith and hope that somehow it all works out.
(You see Leo listening from the other room.)
[Cut to the attic. Prue, Piper and Phoebe are sitting around a table with the book in the middle.]
Prue: From whence they came, return them now, vanish the words, vanish our powers.
Piper: From whence they came, return them now, vanish the words, vanish our powers. (Phoebe hesitates.) Come on, Phoebe.
Phoebe: Okay. From whence they came, return them now, vanish the words, vanish our powers.
(You hear a chime and it gets really windy. All the words out of the Book disappear into the device.)
Phoebe: (Phoebe flips through the Book. The pages are blank.) Look. It was fun while it lasted.
Piper: Yep.
Prue: Let's get this over with.
[Scene: Bucklands. Rex's office. Rex and Hannah are there.]
Rex: They're coming.
Hannah: Good.
(Hannah gets on the floor and she turns into a panther.)
Rex: Love you too, darling.
[Scene: Police station. Andy's on the computer. He types in Hannah's name and the photo that shows up is an African-American woman.]
Andy: Why Hannah, you've changed. d*ad 8/20/98. (He types in Rex's name. An elderly man shows up.) Died 8/20/98. (He picks up the phone and calls Morris.) Mr. Morris, Trudeau. Get your butt over here, I think I figured out who framed Prue.
[Cut to Bucklands. Prue, Piper and Phoebe walk out of the elevator.]
Phoebe: Ok, I say as soon as we get the photo and the tiara back, we knock the lantern out of Rex's hands and stomp on it.
Prue: What will that do?
Phoebe: I don't know. Free our powers? It's better than doing anything.
Piper: How do we know this isn't just a trap?
(Rex comes out of his office.)
Rex: You don't, actually. Nevertheless, here you are. Powerless, I presume.
Prue: Where's Hannah?
Rex: Lurking. That's what she does best. The lantern, if you please. (Prue hands him the lantern.) It all feels a little anticlimactic, don't you think? Too easy, almost. It feels as if we need a more satisfying ending.
(Hannah comes out of the office as a panther.)
Phoebe: Oh, oh.
[Cut to the attic. Leo walks in and goes over to the Book Of Shadows. He holds his hands above it, light comes out of them and all the writing appears back on the pages.]
[Cut back to Bucklands. Their power starts floating out of the lantern.]
Rex: No. Hannah, now. Quickly.
(The panther jumps up in the air towards Prue, Piper and Phoebe and Piper freezes it.)
Phoebe: Wait. We have our powers back?
Piper: How?
Prue: Doesn't matter. Get outta here. Fast.
(They get out of the way and Prue moves Rex underneath Hannah. Hannah unfreezes and lands on Rex and starts attacking him. Hannah turns back into a human.)
Hannah: Rex, no. (to Prue, Piper and Phoebe.) What have you done? (Rex and Hannah start disappearing.) Wait, it wasn't my fault. I didn't fail. He did. No, please, no. (They burn and disappear.)
Piper: What the hell was that?
Phoebe: I think you just answered your own question.
Prue: Okay, we gotta get me back to jail now. Let's go.
Commercial Break
[Scene: Police station. Andy and Morris are at the jail cells.]
Andy: (to the guard) Prue Halliwell. (The guard opens the cell.) Thanks. (They walk over to Prue.) Prue?
(Prue's asleep in the bed. She wakes up.)
Prue: Andy? What is it? What's going on?
Andy: Just thought you'd like to know you're off the hook.
Morris: Turns out you were right. Rex and Hannah were setting you up, or whoever they were.
Prue: I don't understand.
Andy: Well, we think they k*lled two people, assumed their identities, and took over the auction house. Then they bilked it dry and tried to cap it off with stealing the tiara.
Morris: Which we found hidden in his office.
Prue: Wow, did you catch them?
Andy: Not yet. I don't suppose you have any idea what this was doing in his office, do you?
(Andy shows her the photo that Rex took.)
Prue: Quite photogenic.
Andy: Isn't it?
[Scene: Manor. Attic. Prue, Piper and Phoebe are looking through the Book Of Shadows.]
Piper: Spells, incantations, demons stuff. It's all here. Everything just like before.
Phoebe: Thank God.
Prue: But how? I mean, we certainly didn't reverse the spell.
Phoebe: Maybe we screwed it up. Prue and Piper look at her.) What? It's not like it would be the first time.
Prue: No, we didn't screw it up. Something or someone must have done it. It couldn't happened on its own.
Piper: Why not? It's magic.
(Leo enters the attic.)
Leo: Knock knock.
Piper: Leo.
Leo: The front door was open. I hope it's all right. I left my tool box.
Piper: That's funny. I don't remember that being there last night.
Leo: Yeah, well, you know what Freud always said about leaving things.
Piper: That you secretly wanted to come back for it.
Leo: Guilty.
Prue: Oh, don't use that word.
Phoebe: Uh, it's a long story. Never mind.
(Phoebe and Prue walks away.)
Piper: Leo, you're leaving, aren't you?
Leo: Yeah, afraid so.
Piper: Do you really have to go?
Leo: Well, I've fixed everything I came here to fix. But I'll be back. Promise. (Leo kisses Piper and Prue and Phoebe watch.) Nothing can keep me away from you too long.
(Leo grabs his toolbox and leaves.)
Piper: Well, at least he wasn't a warlock.
Phoebe: Hey, you don't suppose Leo was the, uh... (Prue rips the relinquishment spell out of the Book.) What are you doing?
Prue: Just getting rid the Relinquishment spell. Now we've got our powers back I certainly I don't want to risk losing them again.
Piper: I second that.
Phoebe: Third.
Prue: So, witches forever?
Phoebe: And Damn proud of it.
(Piper lights a match and burns the page.)
End | {"type": "series", "show": "Charmed", "episode": "01x10 - Wicca Envy"} | foreverdreaming |
Teleplay by: Michael Perricone, Greg Elliot, Chris Levinson and Zack Estrin
Story by: Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
Season 1, Episode 11
Episode Number: 11
--------------------------------------------------------------------------------
[Scene: Cairo, Egypt. Three men are at a house. One of them smashes the glass on the door, reaches inside and opens the door.]
Wesley: Told you. Piece of cake.
Clay: Let's just do this and get out of here.
Wesley: Relax, Clay. I told you no one's home, the owner is d*ad.
Palmer: Stay here and keep watch. We'll get the urn. (Wesley and Palmer walk into another room while Clay stands at the doorway.) Clay doesn't know does he?
Wesley: Why spook him? He probably believes it was the curse that k*lled the old man.
Palmer: He was stung to death by a scorpion, Wesley. In a bathroom of an aeroplane.
Wesley: Don't tell me you believe in that crap.
Palmer: You think I'd be here if I did? (He sees the urn.) Is that it?
Wesley: That's it. (They walk over to it and Wesley picks it up.) You see any scorpions around?
Palmer: No, just dollar signs. Let's go.
(A picture on the side of the urn glows and disappears. Clay comes up to them.)
Clay: Hey, man, there's a car coming. You guys must've tripped an alarm.
Wesley: Let's get outta here.
(Two guards come in. Clay, Wesley and Palmer hide behind some plants.)
Clay: Should've never let you guys talk me into this.
Wesley: Shut up. We'll split up and meet in San Francisco. Give the urn to your friend and hock it right away.
Palmer: Don't you think about ripping us off 'cause I'll find you.
(Clay leaves. Wesley starts walking away but stops when he sees magic dust floating in the air in front of him. The dust turns into a woman - the protector of the urn.)
Wesley: Whoa. What are you?
Guardian: I'm the guardian of the urn.
Wesley: The what? (She touches her ring and then Wesley's chest.) Hey, what are you doing?
(A spider appears and he starts yelling in pain and falls to the floor.)
Guardian: You are being punished for your greed. As for your friends...
[Scene: San Francisco - 3 days later. Manor. Piper and Phoebe are walking down the stairs.]
Piper: New York Clay? That Clay?
Phoebe: That's the one.
Piper: You said you never wanted to see him again.
Phoebe: Ancient history.
Piper: Six months?
Phoebe: Five. (They reach the bottom of the stairs and Prue's standing there.) He's just stopping by on his way home. It's not a big deal. He was travelling or something.
Prue: Who's Clay?
Phoebe: Nobody.
Piper: Her ex-boyfriend, the musician. She met him when she was working in the rainbow room. You remember?
Prue: No, I don't. Nobody told me. They had you at the rainbow room?
Piper: Yeah, she was the hostess until she started working at the Chelsapere.
Phoebe: Okay, can we talk about this later please? (The doorbell rings.) A lot later. We're just friends that's all. Do I have lipstick on my teeth?
(She smiles.)
Piper: Yes.
(Phoebe rubs her teeth with her finger and heads towards the door.)
Prue: That was mean.
Piper: That was not mean.
Prue: Okay.
(Phoebe opens the door.)
Clay: Phoebe.
Phoebe: Hey.
Clay: It's really good to see you. (They hug and Phoebe has a premonition of her and Clay in bed together. The premonition ends and Phoebe smiles. They stop hugging.) You okay?
Phoebe: Uh huh. Ooh.
Opening Credits
[Scene: Quake. Piper and Prue are sitting at the bar.]
Prue: What else don't I know?
Piper: Prue, don't take this personally but sometimes you can be a bit judgmental.
Prue: That is so not true. (Piper gives her a look.) Alright, so maybe it's sometimes true. I just don't understand why Phoebe never even told me about this guy.
Piper: People don't like to dwell on things that end badly.
Prue: Yeah, well, I wish my relationships ended that badly. Did you hear them last night? There was music, there was wine, there was...
Piper: Talking. And how do you know there was wine?
Prue: Okay, so I peeked. Well, you know, if nobody tells me anything, I have to get creative.
Piper: Stop worrying, she's be fine. (Shelley walks past and she and the bartender look at each other. The bartender drops a tray of glasses he was holding but Piper freezes them before they h*t the ground.) She knows what she's doing. Watch that entrance, make sure nobody comes in. (She walks around the bar and picks up the glasses out of mid-air, straightens the tray and places the glasses back on the tray. He unfreezes.) Whoa, Doug, easy.
Doug: Thanks, Piper. I hope Shelley didn't see that.
Piper: Oh, don't worry about that, you just hang in there.
(Piper sits back down.)
Prue: What was that?
Piper: What?
Prue: That. You know, the guy, the glass. Do you do that often? Freeze time in front of, ooh, I don't know, let's say everybody.
Piper: Yeah. I'm finally getting some control over the unfreezing. The poor guy he just keeps dropping everything.
Prue: Well, then maybe you should just f*re him.
Piper: Mmm, the owner wants me to. Actually thr*at to f*re me if I don't but Doug's just going through a hard time right now. Shelley the waitress just dumped him after six years of dating.
Prue: So, what, you're playing Cupid of the risk of your own job?
Piper: Well, yeah, I mean, Doug loves her. Even bought an engagement ring and everything, he just waited too long too ask. So now he's a wreck.
Prue: Still, you can't just keep, you know, freezing in order to protect him.
Piper: I know. So are you still going back to Bucklands?
Prue: Yeah, that's where I work.
Piper: I just figured after everything that happened with Rex and Hannah that you would be hitting the classifieds.
Prue: Well, if we don't save the auction house I might have to. Rex... (Doug comes out of the kitchen carrying plates. He trips and Piper freezes him.) bankrupt.
Piper: What were you saying?
Prue: Never mind, I gotta go.
(Prue leaves. Piper walks over to Doug and shakes her head.)
[Scene: Park. Clay and Phoebe are walking along.]
Clay: I wish you could've been there, Phoebe. You would've lobed Egypt. Pyramids, giant sphinx, Nile River, camel taxi's. It was amazing.
Phoebe: You rode a camel?
Clay: Hey, they're friendlier then some of the cab drivers I met, believe me.
Phoebe: Can't imagine they're faster.
(Phoebe and Clay look at each other.)
Clay: You were right to leave me.
Phoebe: Ooh, and the conversation turns.
Clay: No, I'm serious. You were the best thing that ever happened to me and I blew it, I know that.
Phoebe: Clay...
Clay: What? Too much too soon?
Phoebe: Yep. (They laugh.) Look, I hope you don't take this the wrong way but why are you here? With me now?
Clay: Why, can't a guy visit?
Phoebe: Yeah, but you're not just a guy, (she playfully hits him with her purse) you're Clay and Clay comes with strings attached.
Clay: I never could hide anything from you.
Phoebe: Actually you could. That was one of our problems, remember?
Clay: I picked up this urn at an overseas market. Thought it might be worth something.
Phoebe: So you want me to get Prue to help you because of the auction house?
Clay: Guilty.
Phoebe: Phew. For a minute there I thought you were here to win me back.
Clay: No, Phoebe. I think too much for you to still believe you're interested. Look, it's no secret. I've been in some trouble, gotten in too deep. I just thought if I could sell this urn, make some money, pay off a little debt, I can make a fresh start. Hey, think about it. Please, Phoebe.
[Scene: Bucklands. Prue's office. Claire's there looking through files. Prue walks in.]
Prue: Hi.
Claire: Oh, hi, you must be Prue.
Prue: And you must be...?
Claire: Claire. Claire Pryce. The bank assigned me to see if the business is worth salvaging. I'm looking for inventory records. The files in my predecessor's office were empty.
Prue: Yes, well, Rex and Hannah weren't exactly qualified.
Claire: Obviously why Bucklands is in such dire straights. To be honest with you, Prue, I don't know anything about art but what I do know is the bottom line. And if we don't move 1.2 million dollars worth of inventory at the auction tomorrow, I'm shutting the place down.
Prue: Excuse me, did you say tomorrow?
Claire: Did I stutter?
Prue: With all do respect, you don't just decide to throw an auction okay. You need advance notice, a catalogue, buyers.
Claire: Then it looks like you've got a lot of work ahead of you doesn't it?
(Claire heads towards the door and Phoebe and Clay walk around the corner.)
Phoebe: Sorry. (Claire leaves. Phoebe and Clay walk in. Clay is carrying the urn.) Who was that?
Prue: A new sheriff.
Clay: Hey, Prue.
Prue: Hey, Clay, what's up?
Phoebe: Uh, favour. Clay was hoping (she takes the urn off Clay) that maybe you would sell this for him.
(She puts the urn on the desk.)
Clay: Yeah, I picked it up at a market overseas.
Prue: Picked it up? Does that mean you bought it?
Phoebe: What else could it mean?
Prue: Well, it's really beautiful. Gold inlay, twenty-four carats, a lot of lapis. Looks to be from Egypt.
Clay: Exactly. That's where I was travelling.
Prue: This etching's quite interesting, very unusual.
Clay: You think it's worth something?
Prue: Oh, well, I would have to determine the urns origins, it's previous owners.
Phoebe: Oh, couldn't you just skip a step or two?
Prue: Phoebe, I can not risk this auction house's reputation with something like this without checking on it first.
Phoebe: Come on, come on, come on. I will, uh, what will I do? I will cook you dinner.
Prue: Oh, don't thr*at me. Fine, I'll see what I can do.
Clay: Hey, thanks, thanks a lot.
Phoebe: Is she the best or what? (They hug.) Thank you, thank you. Ooh, I love you.
(Phoebe and Clay link arms and leave.)
[Cut to outside. Phoebe and Clay leave Bucklands.]
Clay: Thanks for doing that, Phoebe.
Phoebe: No problem. Prue can get you a great price for it too. She's really good at her job.
Clay: Well, it would be nice if she could like me a little bit.
Phoebe: She likes you, she's just real protective of me, that's all.
Clay: I remember when that was my job.
(He puts his arm around her.)
Phoebe: Yeah, and then I quit you.
(Palmer walks up behind them.)
Palmer: Hey, Clay.
(Phoebe and Clay turn around.)
Clay: Palmer. What are you doing here?
Palmer: I'm bumping into you. Aren't you gonna introduce us?
Clay: Oh, yeah, sorry. Phoebe, this is Palmer. I met him in Cairo.
Phoebe: Hi. Oh, wow, small world, huh?.
Palmer: Yeah, yeah. Hey, what's going on with that urn?
Phoebe: Wait, you know about the urn too?
Clay: Well, actually, that's where we met. The market place where I bought it.
Palmer: Yeah, right, the market place. Right, I thought you were gonna sell it.
Clay: Well, actually, Phoebe's sister works at that auction house. She's looking for buyers as we speak.
Palmer: That's good, that's good. The sooner the better I guess, huh.
Phoebe: Hey, are you okay?
Palmer: Yeah, I'm fine, I'm fine, thank you. It's just, uh, I'm a little tired, just lag, you know. Are you staying at the Ashquaff like I suggested?
Clay: Yeah, sure.
Palmer: Me too. Uh, maybe we'll hook up later.
Clay: Mm hmm.
Palmer: (to Phoebe) It's nice to meet you.
Phoebe: Oh, yeah, you too. (He leaves.) Eww, creepy guy.
Clay: Yeah. You hungry?
(They walk off.)
Commercial Break
[Scene: Airport. Palmer walks up to a customs officer. There's a big wooden box there.]
Customs Officer: Can I help you?
Palmer: I was a friend of Wesley's. His family wanted me to make sure he got home alright.
Customs Officer: Sorry. How'd he die?
Palmer: I don't know. Spider bite I think. He's off to JFK, right?
(The customs officer checks his papers.)
Customs Officer: First flight in the morning.
(The customs officer leaves. Palmer touches the box.)
Palmer: Sorry, Wes.
(Palmer walks away. The guardian of the urn appears.)
[Scene: Bucklands. Prue's office. She's on the phone.]
Prue: What am I supposed to think, Piper? Phoebe's ex pops into town and wants me to sell something for him. You think that's a coincidence?
[Cut to Piper. She's at Quake.]
Piper: Prue, you wonder why you're outta the loop. You worry too much about Phoebe.
[Cut to Prue.]
Prue: No, I don't, I just don't wanna see her get hurt, that's all. Look, I just get this really bad feeling about Clay, I can't explain it.
[Cut to Piper.]
Piper: I can. You don't think he's good enough for her. Just like you didn't think Jeremy was good enough for me. Of course in his case you were right, but that's not the point.
[Cut to Prue.]
Prue: No, your point is that it's none of my business and you're probably right. Speaking of playing matchmaker, how's Doug?
[Cut to Piper.]
Piper: The same unfortunately. Except I'm getting a little freeze frazzled, it's draining.
[Cut to Prue.]
Prue: Don't you think you need to find a better way to deal before you get fired?
[Cut to Piper.]
Piper: I know. (Piper sees Doug coming.) Oops, I gotta go, I gotta go. (She hangs up. Shelley walks past Doug and he knocks a vase over and drops a tray of cutlery. Piper tries to freeze him.) Sorry, Doug. Too pooped to pop.
[Scene: Manor. Living room. Phoebe and Clay are there. They are eating Chinese food.]
Clay: I'm surprised you moved back here. I remember a few late nights, a few beers, a few not so pleasant conversations about your sisters. Here you are, living together again. Necessity or your choice.
Phoebe: I think a little bit of both. Anyway, things have kind of picked up at the Halliwell manor.
Clay: Like how?
Phoebe: Oh, well, let's just say, uh, San Francisco has been a lot more unusual. More rice?
Clay: No thanks. You know, Phoebe, you really haven't said much about what you've been doing.
Phoebe: Protecting the innocent from evil.
Clay: Come on, be serious. I mean, you barely had a spare minute in New York. Three jobs just to afford your social calendar.
Phoebe: Things have changed. I've changed.
Clay: I'm trying to change too. One thing that won't change is how I feel about you. (They kiss. They stop kissing and Phoebe lets out a little noise.) I'm sorry, I shouldn't...
Phoebe: No, it's-it's not that, believe me. I, uh, it took me a long time to get over you and I just wanna be careful.
Clay: I understand. But if I cleaned up my act would you consider moving back?
(Phoebe laughs.)
Phoebe: Do not go there now.
(Prue walks in.)
Prue: Oh, sorry to interrupt.
Phoebe: It's okay, it happens.
Clay: I should get back anyway.
(He stands up and starts cleaning up the Chinese containers.)
Phoebe: Clay, stop, I got it, I got it.
Clay: (to Prue) So how's it going with the urn?
Prue: It's going.
Phoebe: I think what he's trying to ask is it going, going, gone?
Prue: Well, I put it on the auction block.
Clay: Wow, great, that's great, thanks a lot.
Prue: Yeah, well, I'm still waiting for the background check to come through and I guess I'll set a reserve price.
Clay: Okay, whatever you get for it is fine with me.
Prue: As long as it sells, right, and in a hurry?
Clay: Well, from what I understand if anyone can do that it's you. (He kisses Phoebe.) So I will call you tomorrow. Then you can show me around the city. Let me see where I left my heart. (Prue pulls a face. Phoebe and Clay kiss again and then head towards the front door.) Hey, I really appreciate it, thanks again.
Prue: Anything for Pheebs.
Clay: See you later.
Phoebe: Okay. (Clay leaves. Prue looks at Phoebe.) What?
Prue: I can worry about my little sister, can't I?
Phoebe: Don't ever stop.
(They hear a small expl*si*n coming from the attic.)
[Cut to the attic. Piper's there doing a spell. Smoke has filled the air.]
Prue: Are you okay?
Piper: Nothing to see here, move along.
Phoebe: Welcome to London.
Prue: What did you do?
Phoebe: More like who did you do it too?
Piper: I put a charm on Doug but I doubled the recipe, just give love a sh*t and give me a break.
Phoebe: Go ahead, Prue, yell at her.
Piper: It's not for personal gain and it fits into the whole harm none thing we have to live by, besides Prue's the one who told me to do something.
Prue: Did not.
Piper: Yes you did. I just need Doug to stop dropping things so I can stop freezing things, I'm just exhausted.
Prue: You know, maybe he and Shelley aren't meant to be together. Not everybody's supposed to be.
Phoebe: Oh, that was, that was real subtle, Prue.
Piper: Well, we'll never know unless Doug has the guts to pop the question. All I'm doing is giving it to him.
Phoebe: It's just like the cowardly lion from the Wizard Of Oz. Well, it is.
[Scene: Bucklands. Auction room.]
Auctioneer: Ladies and gentlemen, this exquisite bronze plated carving dates back to well over one hundred and twenty years. Surely it's worth more than $2500. Do I hear $2600?
(Prue walks up to Mark.)
Prue: Mark, move the Escott Fitzgerald Pen to the next slot alright. Our buyer, Mrs. Gorinson is getting restless, go.
(He leaves. Claire walks up to Prue. She's holding a sheet of paper.)
Claire: I think you should see this, Prue.
Prue: What is it?
(She takes the paper off of Claire.)
Claire: It's the appraisal of the urn you requested. The good news is it's worth a fortune, the bad news is...
Prue: It's stolen.
Claire: Apparently. No wonder the auction house is going under. Selling stolen goods.
Prue: No, this is highly unusual and very embarrassing.
Claire: Yes it is.
(She walks away.)
Auctioneer: Yes, now 16? $16000?
Prue: Oh, no.
(Prue uses her power and swaps the number over in front of the urn with another item.)
Auctioneer: $15000 going once, going twice, sold for $15000. (Prue walks over and picks up the urn and leaves the room.) Next item up, lot number fifty-one. (The assistant picks up a painting.) This beautiful twenty-four carat gold inlay from Egypt... (He notices the painting.) Oh, obviously there's been some kind of mistake.
[Cut to Prue's office. Prue walks in. She notices Palmer there.]
Prue: Who are you?
Palmer: You must be Prue, Phoebe's sister.
Prue: Same question. Who are you?
Palmer: Me? I'm a friend of Clay's. Why didn't you sell that urn? You were supposed to sell it.
Prue: I think that you better leave.
Palmer: No, don't you understand. You have to sell it before the curse...
Prue: Curse? What curse?
Palmer: The urn. It's cursed. Never mind, forget it, I'll get rid of it myself.
(Palmer walks towards the urn and Prue uses her power to move it. She gasps and he stops.)
Prue: Oh my God, it is cursed.
Palmer: Oh, no.
(She moves it again.)
Prue: What's going on?
Palmer: It's happening. It's too late. I gotta get outta here.
(He runs out the room.)
[Scene: Phoebe and Piper are walking on the sidewalk.]
Phoebe: So do you believe in giving people second chances?
Piper: Absolutely. It's probably why I want to help out Doug so much.
Phoebe: Okay, well, Clay says he can change and I wanna believe him but...
Piper: But you're afraid of getting hurt, that's totally understandable.
Phoebe: So I keep my distance and then what? Hope that I'm wrong?
Piper: Well, you could be. That premonition of yours was definitely in the future.
Phoebe: Yeah, but the problem is I keep thinking about the past. When I moved to New York, I was so angry... alright, I was scared. And then I met Clay and he helped me out a lot and he was really good to me at a time of my life where nobody else was. (Piper gives her a look.) Sorry, you know what I mean. I didn't mean it like that.
Piper: Alright, that's fine. So why did you leave him?
Phoebe: Well, he kept living beyond his needs. He never thought of the future. Yeah, I know that sounds familiar. Let's just say he took one too many shortcuts. Got involved with some bad people, got in over his head, way over his head and finally I just couldn't take it anymore, I had to leave.
Piper: And so now his back hoping to be the man you fell in love with originally.
Phoebe: Yeah, so what do I do? What if he's the one? Like you say Doug and Shelley are. Do I just walk away?
Piper: No, but...
Phoebe: We can't live together forever. What, do we expect to be sixty years old and still be sharing clothes and a cat.
Piper: Now that you put it that way, no! I don't want to live with you anymore. (Phoebe and Piper walk in Quake. Doug is at the bar shaking up a cocktail shaker. He does a little spin on the spot. There are women standing at the bar.) Oh, boy.
Phoebe: I thought your charm was to boost his confidence, not turn him into Tom Cruise.
Piper: Maybe I shouldn't of doubled the recipe.
Phoebe: Uh, yeah.
(Phoebe and Piper walk up to the bar.)
Piper: Doug. (He walks over to them.) What's going on?
Doug: Not sure, but whatever it is I feel great.
(Shelley walks up to the bar. Doug pushes a drink down to the end of the bar.)
Woman: Thanks, Doug.
(Shelley walks away.)
Piper: Uh, Doug, what about Shelley?
Doug: Who cares about Shelley when I've got Thursday, Friday and Saturday all lined up and waiting. (to Phoebe) I don't believe I've had the pleasure.
Piper: I don't believe you will. Off limits.
(Doug walks away.)
Phoebe: Your charm worked. You turned Doug into a...
Piper: A monster.
Phoebe: Mmm hmm. Oh, I gotta go, I told Clay I'd meet him over at the house. (She kisses Piper on the cheek.) Goodbye.
(She leaves.)
[Scene: Hotel. Palmer walks in his room. He starts packing the guardian of the urn appears.]
Guardian: Leaving?
Palmer: How'd you get here?
Guardian: I came with your friend. I waited for your fear to consume you. Where's the urn?
Palmer: It's at the Buckland auction house. I tried to get it back, I was gonna return it, I swear. I tried to make things right, please. (She makes a scorpion appear and she puts it on him.) I'm sorry. No! No! No!
(The scorpion stings him.)
Guardian: You are being punished for your greed.
[Scene: Manor. Phoebe's room. Clay's sitting on the bed and Phoebe's picking out a dress.]
Phoebe: So the band goes on at 10:00 but if we get there before 9:00 there's no cover. You interested?
Clay: In anything that involves you.
(She gives him a look and he smiles. She holds up two dresses.)
Phoebe: Okay.
(He chooses one but she throws one on the ground. They laugh.)
Clay: Deja...
Phoebe: Vu.
Clay: I miss this. The day to day of us.
Phoebe: Yeah, me too. Okay, well, I'm going to change now.
Clay: Okay. Oh, you want me to leave?
Phoebe: Yes, kind of a loaded question but, uh, yeah, I think that-that would be best.
Clay: Phoebe, we did live together. It's not like I hadn't...
Phoebe: Yeah, I-I-I know but things have changed.
Clay: Come here, come sit down.
(She sits down on the bed.)
Phoebe: We're very different.
Clay: Do we have to be?
(He starts kissing her neck.)
Phoebe: Uh, well, you know, when you, uh... okay, stop, stop. (He stops.) Okay, go, go. (He continues kissing her neck.) What am I doing? Okay, you know this isn't fair because I love it when you... (He kisses her on the lips and they lay down on the bed.)
[Cut to the living room. Piper's got the Book Of Shadows and she's writing something. Prue comes in the front door.]
Piper: Ugh, Prue, you scared me.
Prue: Where's Phoebe?
Piper: Upstairs. (She heads upstairs.) But you might wanna knock.
[Cut to upstairs. Prue barges in Phoebe's room.]
Prue: Phoebe, we need to talk...
(She sees Phoebe and Clay in bed together.)
Phoebe: Yes, we do.
(Prue pulls a disgusted face and walks back outside.)
Commercial Break
[Scene: Manor. Foyer. Phoebe and Clay are standing at the doorway. Prue's standing near by.]
Phoebe: You know, you don't have to leave.
Clay: Yeah, I think I should.
(Piper stands beside Prue. Phoebe and Clay kiss.)
Phoebe: I'll call you. (Clay leaves. Phoebe closes the door and turns to Prue.) I hope you like the show.
Prue: Phoebe, I am so sorry. I had no idea.
Phoebe: What, that it was my room that you barged into? I had more privacy when I lived in New York, a tiny island crawling with eight million people.
Prue: And at least one thief.
Phoebe: I'm sorry, excuse me?
Prue: My new boss handed this to me, thankfully just before the urn could be sold. (She hands Phoebe a piece of paper.) Clay didn't buy it at some outdoor bizarre, Phoebe, he stole it.
Phoebe: This can't be right.
Piper: It looks right, Pheebs.
Prue: Seasons change, people don't.
Phoebe: I changed. Remember what you thought of me before I walked back through that door?
Prue: That's different.
Phoebe: How is that different?
Prue: You're my sister.
Phoebe: Well, there's gotta be some mistake.
Prue: It gets worse. If the background information is accurate, there's a curse attached to the urn. Anyone who steals it ends up d*ad. A victim of the guardian who protects is and she feeds off their greed.
Phoebe: Okay, even if that's true, Clay could've never known about it. Otherwise he wouldn't of brought it here.
Piper: Are you sure, Pheebs? You wouldn't be the first Halliwell to misjudge a guy.
Phoebe: No, it's not about judging, it's about knowing and I know Clay.
Prue: And I know what Clay has done. Okay, he put my job in jeopardy, he lied to me. Phoebe, he lied to you.
Phoebe: You don't know that. Look, I am not saying that he's perfect, okay, and even if he is foolish enough to risk his own life, he would never risk mine.
(She walks away.)
[Scene: Hotel. Police are in Palmer's room. The coroner is looking at the sting on Palmer's neck.]
Coroner: If I didn't know any better, I'd say this was a scorpion sting.
Andy: Scorpion sting in San Francisco?
Coroner: I know, but that's what it looks like.
Andy: Any chance he was k*lled somewhere else and then moved here?
Coroner: No. The levitities consist of where he was found.
Andy: Well, I'd buy this place had roaches, I'm not so sure about scorpions. Anything else?
Coroner: Found someone's business card in his pocket. (He reads the card.) Buckland Auction House?
Andy: Ah-ah-ah. Let me guess, Prue Halliwell?
Coroner: Yeah, how'd you know?
Andy: I'm cursed. Let me know when you get the report back on the sting. (Andy walks out in the hallway. He bumps into Clay.) Excuse me.
(He continues walking. Clay looks in the room and sees Palmer getting zipped up in a body bag.)
Clay: Palmer?
[Scene: Bucklands. Prue's office. The picture appears back on the urn. Prue and Claire walk in.]
Claire: Lot 49 - $2600, lot 50 - $15000, lot 51 - excluded. (She sees the urn.) Shouldn't that be turned into proper authorities?
Prue: I'm contacting customs as soon as we're finished here. Look, again, I just wanna assure you that I didn't have anything to do with...
Claire: Just handle it. How did we do?
Prue: $1.28 million. We did it.
Claire: The auction house lives to see another day. Congratulations. (They shake hands.) Good work.
Prue: Thanks. (Claire leaves. Andy walks in.) Andy, hi. Here to arrest me again?
Andy: Mmm, not this time. (He sees a picture of scorpion on the urn.) A scorpion? Why am I not surprised?
Prue: I'm afraid I don't...
Andy: A young man died last night of a scorpion sting. Palmer Kellogg, you know him?
Prue: I don't believe I do.
Andy: Well, he obviously knew you. I found your card on his body.
Prue: We did just have an auction, I met a lot of people.
Andy: Well, I'll bring a photo by later, see if it jogs anything.
Prue: That's fine.
Andy: Prue, listen, just because we're not dating anymore, I want you to know I still care about you. So if you're ever in a jam or you ever need anything, just know you can always call me.
Prue: I know, thanks.
[Scene: Hotel. Clay's room. He's packing. Someone knocks on the door.]
Phoebe: Are you in there?
Clay: Phoebe?
(He opens the door.)
Phoebe: You stole the urn didn't you?
Clay: Why don't you come inside?
Phoebe: No, I am not going anywhere until you answer the question.
Clay: Okay, yes.
(She walks inside.)
Phoebe: Were you planning on saying goodbye before you skipped town?
Clay: Palmer's d*ad, Phoebe.
Phoebe: What?
Clay: He died from a scorpion sting. I called Wesley to tell him, that's when his parents tell me he's d*ad too. Spider bite. I don't know how, I don't know why but I know one thing, I'm not gonna stick around.
Phoebe: You are such a liar.
Clay: Phoebe, I'm not lying.
Phoebe: You knew the urn was cursed when you stole it, you knew the legend.
Clay: What are you talking about? What legend?
Phoebe: Are you telling me that you didn't know whoever steals the urn dies?
Clay: Palmer and Wesley. I swear, I know nothing about it.
Phoebe: Yeah, right.
Clay: Come on, Phoebe, you have to believe me.
Phoebe: No, I don't. You're a liar, Clay. You will never change. You will always look for the easy way out.
(She leaves.)
[Scene: Quake. Piper's sitting at the bar. Doug is putting glasses on the shelf. He sees Shelley and drops a glass.]
Doug: Sorry. Uh, I'll go get the broom.
Piper: Good idea.
(Phoebe comes up to Piper.)
Phoebe: I see you reversed the spell.
Piper: Yeah, and I've been given until tomorrow to f*re him.
Phoebe: Maybe Prue was right. Maybe they just don't belong together. Seems like the theme of the day.
Piper: Oh, Clay?
Phoebe: Uh huh. He totally used me, Piper. He just used me to get to Prue.
Piper: I'm sorry.
Phoebe: Thanks for not saying 'I told you so'. Why didn't I see it coming? What am I? A sucker for punishment?
Piper: No, you see the good in people and that's never wrong. Besides the wrong guys are usually the most interesting. Until you get your hopes up and let your guard down and then reveal their true selves.
Phoebe: So true.
Piper: Look at Doug. Great guy, kind of boring on the surface, easy to over look but maybe in the long run we're better off with his type.
Phoebe: Maybe in the way long run. I think I'm still looking for adventure.
Piper: Then you risk paying the price.
(They hear a crash.)
Doug: I got it.
Piper: Maybe it's a price worth paying.
Phoebe: I just don't know anymore. Thanks for the ear.
[Scene: Manor. The doorbell rings. Phoebe answers it.]
Clay: Can I come in?
Phoebe: No.
Clay: Look, I made a lie about buying the urn but I swear I didn't know it was cursed.
Phoebe: Well, that still makes you a thief now doesn't it.
Clay: Well, that's why I'm here. I wanna make things right. I wanna turn myself into the police. (Phoebe rolls her eyes.) I mean it, Phoebe, honest. It's the only way I can redeem myself with you.
Phoebe: And how do I know this isn't just another one of your scams?
Clay: Well, I guess you don't. But I don't wanna take shortcuts anymore. I wanna take the urn with me to the police. There's no way Prue's just gonna give it to me, not with out you. I need your help. It's the last favour I'll ever ask, I promise.
Phoebe: I don't think so.
Clay: Please.
(He touches her arm and Phoebe has a premonition of a snake about to att*ck Clay.)
Phoebe: The curse.
Clay: What?
Phoebe: Let's go.
[Scene: Bucklands. Prue's office. Prue's there. Phoebe and Clay walk in.]
Prue: Phoebe. What is he doing here?
Phoebe: Save it till later. I have seen the future and it's not right. Oh, good, you can give the urn to the police.
Prue: Yeah, no, I thought that it might get you into trouble.
Phoebe: Yeah, well, you know that little legend we were talking about? Well... (the guardian appears) I think it's true.
Clay: What the hell is that?
Phoebe: Clay...
Prue: Get him outta here.
Phoebe: Go! (She pushes him out the door. Prue tries to use her power on the guardian but it doesn't work.)
Guardian: I don't wanna harm you. I came for the thief.
Prue: Who are you?
Guardian: I'm the guardian of the urn. You can not destroy me.
(Prue uses her power again and the guardian gets pushed back slightly.)
Prue: Uh, Phoebe, run.
(They run outside.)
Guardian: So now there are more who will die.
(She disappears.)
[Scene: Manor. Prue, Phoebe and Clay walk through the front door.]
Clay: I still don't understand.
Phoebe: You stay down here, we'll be right back.
(Piper walks in the foyer.)
Piper: What's going on?
Prue: Tell you in the attic.
(Prue and Piper head for the stairs.)
Clay: Hey, where you going?
Phoebe: Fill her in, I'll meet you guys upstairs. (to Clay) Uh, Piper is really into legends and Prue is really good with her mind, so...
Clay: Yeah, but that thing, the guardian. She's not even...
Phoebe: Human? Yeah, I know, but she's real and we have to figure out how to stop her before she gets you.
Clay: I know what you're thinking, Phoebe. I do not want you getting hurt because of me.
Phoebe: You know, I think I actually believe you. (She smiles and runs upstairs.)
[Cut to the attic. Prue and Piper are flipping through the Book Of Shadows. Phoebe comes in.]
Phoebe: Did you find anything?
Piper: Nothing about Egyptian urns or Greek demons. Zip.
Prue: Well, let's just hope that she didn't follow us here because our powers are useless against her.
Piper: How is that possible? I mean, that's never happened to us before.
Prue: Maybe we're not supposed to protect him.
Phoebe: What are you saying?
Prue: All I'm saying is maybe there's a reason. Like Piper trying to force Doug and Shelley back together again. Maybe there are just some things that we're not supposed to save.
Phoebe: No, we're saving Clay, period. There's just gotta be something we're missing.
Piper: Maybe this is something. It doesn't talk about the urn but it talks about the seven deadly sins. Greed being one of them.
Prue: Wait a minute, the guardian punishes the greedy so maybe if Clay does something selfless it'll even the score.
Piper: Good luck. (Prue and Phoebe give her a look.) Sorry.
(They go downstairs.)
Phoebe: Clay? Clay, where are you? Clay!
Piper: I think he left.
Phoebe: I don't believe it.
Piper: Sorry, Pheebs.
Phoebe: No, I mean I really don't believe it. He wouldn't just leave like that.
Prue: Well, do you have a better explanation?
Phoebe: He was worried about me, he was worried about us. I am telling you... wait, my vision, I think I know where he's gone, we've gotta stop him.
[Cut to Bucklands. Prue's office. The guardian appears. Clay walks in.]
Guardian: I knew you'd come back. Your greed concerns you.
Clay: I'm not here for the urn.
Guardian: You must be punished.
Clay: I know. When you're done with me, that's it, right? You're not gonna hurt anybody else?
Guardian: Not until somebody steals the urn again.
Clay: How do you know anybody will?
Guardian: Somebody always does.
(A snake appears in front of Clay. Prue, Piper and Phoebe run in.)
Phoebe: Clay.
Clay: Stay back, Phoebe.
Phoebe: No!
Prue: Phoebe, look out!
(The snake goes to bite Phoebe and Clay puts his arm up in front of Phoebe. The snake disappears.)
Phoebe: A selfless act. Just like the Book Of Shadows said.
(The guardian and the urn disappears.)
Piper: Where'd it go?
Prue: Who cares as long as it's not here.
Clay: Are you okay?
Phoebe: Am I okay? Who says people never change.
(Phoebe hugs Clay.)
[Scene: Quake. Prue, Piper and Phoebe are sitting at the bar.]
Piper: Good thing we didn't have to end up using our powers to vanquish her otherwise Clay would've seen her.
Prue: They didn't work anyway.
Phoebe: Not something I hope ever happens again.
(Doug walks along holding a tray of glasses. Shelley walks near him.)
Piper: Ooh, ooh, forgot about Doug.
(Doug drops the tray and Piper freezes it in mid air.)
Prue: This is getting ridiculous.
Piper: Oh, tell me about it. That engagement ring's probably stopped burning a hole in his apron. (Prue gets up and walks over to Doug.) Where are you going? What are you doing?
Prue: Saving your problem and keeping you employed.
(Prue takes a ring box out of Doug's pocket and puts it on the floor. She sits back down and they unfreeze. The tray falls on the floor.)
Doug: Sorry.
(Shelley notices the ring on the floor.)
Shelley: What's that?
(She picks it up and opens it. She gasps.)
Doug: I was carrying that around for weeks, trying to find the right time to ask you.
Shelley: Ask me what?
Doug: To, um, marry me.
Shelley: But that's why I broke up with you. I gave up on waiting.
(They smile and hug.)
Piper: This would've happened sooner if I would've keep my little wicca nose out of their business.
Phoebe: You can't change people, they have to change themselves.
Prue: Speaking of that. Yum. (Clay walks towards them.) Go, baby.
Piper: Go, girl.
Phoebe: Alright.
Piper: You go. You can do it.
(They laugh. Phoebe walks up to Clay.)
Clay: Hey.
Phoebe: Hey. I'm glad you stopped by.
Clay: Any chance you're gonna come back with me?
Phoebe: No. This is my home now.
Clay: I know I lied to you about a lot of things. But one thing I never lied to you about was how much I care about you.
Phoebe: I know, Clay.
(They kiss.)
Clay: I guess I should be going.
Phoebe: Yeah.
Clay: Um, you know, I hope the next time we cross paths, I'll be the guy you always think you see.
Phoebe: Goodbye.
(He leaves. Prue and Piper walk up to her.)
Prue: Are you okay?
Phoebe: Oh, yeah, yeah, he was just stopping by on his way home, no big deal.
Piper: Heard that before.
(Prue and Piper hug her.)
End | {"type": "series", "show": "Charmed", "episode": "01x11 - Feats of Clay"} | foreverdreaming |
Written by: Edithe Swenson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Near the park. Piper's car has broken down and she's talking to Phoebe on her phone.]
Piper: Of course I know what a jack is, Phoebe. I just don't know how to use it. It's not like I've ever got a flat tyre before. I mean, this doesn't happen to me everyday.
Phoebe: Piper, relax. I used to date a mechanic. I will walk you through it. Okay, you put the jack under the jeep and then you put the handle in the base and ratchet it up and down. Okay, it's very easy.
Piper: Handle
I don't think I've got a handle. Wait, there's a long wooden spoon in the back.
[Cut to Phoebe and Prue. They're in Quake.]
Phoebe: That's not gonna work. (to Prue) She's looking for a long wooden spoon.
[Cut back to Piper. She finds the spoon.]
Piper: Okay, okay. (She sticks it in the jack and the spoon breaks.) Oh! It didn't work.
Phoebe: Okay, stay there and we'll come get you.
Piper: No, I can do it, I can figure it out.
Phoebe: Piper, you're stranded and you're all alone and the only thing you have to protect yourself with is a wooden spoon that's broken.
Piper: And I have the power to freeze. I'm fine, it's better that mace. Okay, I gotta go before my battery dies. I gotta call the auto club. I'll meet you there in a little bit.
Phoebe: Piper, wait. (Piper hangs up.) Hello? (to Prue) She is out of her mind.
Prue: Alright, we'll give her 15 minutes, then call back.
Phoebe: Okay.
Prue: Okay.
[Cut back to Piper. She's calling the auto club.]
Operator: Directory assistance. What city please?
Piper: San Francisco. Auto club please.
(You see something lurking in the bushes.)
[Cut back to Prue and Phoebe.]
Phoebe: Now, back to what we were talking about. What do you think?
Prue: Well, I think it's a good idea.
Phoebe: Great.
Prue: And I thing it's a bad idea.
Phoebe: How? How's it a bad idea? You need extra help for the auction and I need a job.
Prue: Well, not only are we family but we live together and I don't think that my wardrobe can take the as*ault of your daily needs.
Phoebe: Okay, I'm great with phones, better with people and very computer friendly and with a pay cheque, I could purchase new clothes. So by hiring me, you'd actually be expanding your wardrobe not decreasing it. And I'd be eternally grateful.
Prue: You really wanna work at Bucklands?
Phoebe: When opportunity knocks, I answer the door.
Prue: The job is very demanding. Auctions can be stressful.
Phoebe: I love a challenge.
Prue: They're pretty long hours.
Phoebe: Overtime is my friend. Ooh, plus, I just thought of something else. With my premonitions, I might just be able to get you the straight dope without a trip to the office water cooler.
Prue: Don't push it.
Phoebe: Right. So, what do you think?
Prue: Can you start tomorrow?
Phoebe: Yes. Hey, can you give me a ride?
[Cut back to Piper. Her phone is crackling.]
Piper: Hello? Oh, great. (She looks around and sees a phone box.) No problem. For I bear the power of one. (She starts walking over to the phone. She hears some twigs break. She stops and looks around. She continues walking and hears leaves crunching. She stops again and looks around. She then sees a large, hairy creature in the bushes and she runs into the phone box. She starts dialing the phone. The creature starts hitting the phone box and Piper starts screaming. It knocks over the box and then she lays there waiting for something to happen and all of a sudden it puts its hand through the glass and scratches her on the arm. A guy with a flare g*n appears and sh**t it at the creature. It gets scared and runs back into the bushes. The guy runs over to Piper.)
Guy: Everything's gonna be okay.
Opening Credits
[Scene: The hospital. Prue and Phoebe walk up to reception.]
Phoebe: Uh, Piper Halliwell.
(Andy's there.)
Andy: Prue, Phoebe.
Prue: Andy, thanks for calling us.
Andy: Hey, she's like my sister too. She's in here.
(They walk in a room. A doctor is putting a bandage on her arm.)
Piper: Oh my God, that's a lot of blood.
Prue: Hey, sweetie.
Phoebe: Oh my God! Are you okay?
Piper: Yeah, I'm fine. (to the doctor.) If I pass out and I need a transfusion, I'm AB negative. It's very rare, it could be a problem.
Andy: Try not to look at it. Just so you know, I'm AB neg. too. Must have looked for the perfect donor.
Prue: Um, so no stitches?
Doctor: No. It's not that deep.
Piper: Ow.
Doctor: Follow up with your doctor in the morning though. Keep it dry, a little aspirin for the pain, you'll be fine.
Piper: Easy for you to say.
Doctor: You're all set. Just sign this.
Prue: Oh, I got it.
(Prue takes the forms.)
Phoebe: Come here, baby. (Everyone leaves the room. Phoebe puts her arm around Piper and they walk out the room too.) I don't understand, why didn't you just freeze him?
Piper: I was trapped in a phone booth. My power doesn't work outside the room I'm in remember.
Phoebe: Oh, right.
(Piper sees the guy that had the flare g*n there.)
Piper: Oh my God, Billy.
Billy: How are you?
Piper: Billy. This is Billy. He saved my life.
Billy: Yeah, I'm just glad I got there in time.
Andy: Yeah, I'd like to talk to you about that. Along with that flare g*n you just happened to show up with.
(Billy gets out a cigarette and goes to light it.)
Prue: Oh! Oh! (She blows out the lighter.) I don't think that you can smoke in here.
Billy: Oh, right. Look, it's no coincidence, I was there Inspector. I heard about the m*rder last night. The creature
Andy: The creature?
Billy: That's right.
Piper: Creature absolutely.
(Agent Fallon walks in.)
Agent Fallon: Describe it. Billy, what are you doing here?
Billy: Same thing you are. Hunting that thing.
Andy: Piper, Prue, Phoebe Halliwell - Special Agent Fallon of the FBI.
Phoebe: FBI. Cool.
Piper: Describe it? Oh, okay, big, scary, strong. Kind of like a cross between a werewolf and Charles Manson.
Fallon: Yellow eyes?
Piper: Yes.
Fallon: Talon-like hands?
Piper: Uh huh.
Fallon: Can I talk to you, Inspector? (Andy nods. They walk away from them.) Miss Halliwell is the first one to survive and att*ck.
Andy: One like that poor guy we found last night with his heart ripped out of his chest.
Fallon: Just like the killings in Chicago, New Orleans.
Andy: Yeah, I've sent for the Coroner's reports.
Fallon: Why? I think it's pretty obvious this case is out of your league, Inspector. On the bright side, you don't want it.
Andy: Why is that?
Fallon: This witness collaborates with every other statement. According to their descriptions, this ----- not animal or human. You didn't blink, I was expecting a response.
Andy: Just tell me what I'm looking for.
Fallon: You believe them? That it's not human?
Andy: Let's just say that recent experiences have taught me to keep an open mind.
[Cut back to Piper, Phoebe, Prue and Billy.]
Phoebe: Hmm, cozy aren't they?
Prue: Billy, how did you know to use a flare g*n?
Billy: It's afraid of f*re.
Prue: How'd you figure that out?
Billy: When it att*cked us, me and my fiancée, Laura, we were camping at Lake Michigan and I grabbed a log from the f*re, it freaked and took off. But, um, not before it ripped Laura's heart out. It might as well taken mine too. I came here to k*ll it.
[Scene: Manor. Kitchen. Piper's sitting at the table looking through the Book of Shadows. Prue's there as well.]
Piper: If that thing last night wasn't demonic, I don't know what is.
Prue: It's not your fight, Piper. Just let Andy and that FBI agent handle it, okay.
Piper: Can't. That thing tried to k*ll me. Besides, I was meant to be involved in this, I know that. It's no coincidence I got that flat.
(Oatmeal boils on the stove and Prue uses her power to turn the knob and it stops boiling. She walks over to it and puts some in a bowl. Phoebe walks in wearing a suit. She clears her throat.)
Piper: Nice outfit.
Prue: Very corporate.
Phoebe: Yeah, well, I have to impress my new boss. Hey, how's the arm?
Piper: Itches.
Prue: Piper, you have got to the doctor. It could be infected.
Piper: It's not. It's fine.
Prue: Here. (She puts the bowl on the table.)
Phoebe: Listen you, while we're at work
whoa, head rush. While we're at work. Don't even think about going after that thing alone.
Prue: Wait, there's no reason to go after it at all. The only innocent to protect here is Piper.
Piper: I thought I was gonna die last night. I was totally helpless and all I could think about is I was never gonna see you guys again. And then suddenly out of nowhere comes Billy. Saved me. Protected me. That thing took away the person he loved and he's out there all alone trying to k*ll it. I can't just do nothing.
Prue: Just don't do anything unless we're together okay. Promise?
Piper: Okay.
Prue: (to Phoebe) I'll meet you outside.
Phoebe: I'll be right there. (Prue leaves.) Okay, I'm freaking, I'm freaking.
Piper: Why are you freaking?
Phoebe: Because I convinced Prue to hire me and what if I disappoint her or what if I screw up and make her look bad. There's a reason my resume is only three sentences long, Piper.
Piper: Stop. You're one of the smartest people I know. I'm sure you'll do great.
Phoebe: You really mean that?
Piper: Yes I do.
Phoebe: That makes me feel so much better. Thank you. (Phoebe leaves and Piper finds a page in the Book of Shadows about the creature. It's called a Wendigo.)
Piper: Whoa.
Commercial Break
[Scene: Bucklands. Phoebe and Prue are in the store room looking at some auction items. Phoebe's holding a clip board.]
Phoebe: Lot number 102. Estimated value $2500. What, it doesn't need light bulbs?
Prue: It's a Stickley, an original.
Phoebe: Oh, right, a Stickley. I still can't believe none of stuff belongs to anyone.
Prue: Yeah, will, every year the city auctions off unclaimed probate items, asset seizures for revenue.
Phoebe: What about the stuff that doesn't sell?
Prue: It gets tossed. Um, what is Lot 103?
Phoebe: 103, a gold bracelet. Estimated value $375. I will take that if no one wants it.
Prue: No, but it's inscribed with the initials "T" and "L" Alright, that finishes the first grouping. I'm gonna go upstairs to Appraisals and make sure I didn't forget anything. Meet you back at my office?
Phoebe: Your made morning coffee will be ready and waiting. I think this is really gonna work with you and me.
Prue: Me too.
(Prue walks towards the door. Phoebe picks up the gold bracelet and has a premonition of a car driving off a cliff. The bracelet falls out of the car.)
Phoebe: Prue.
Prue: Yeah?
Phoebe: I just had a vision. Of the past. It was a terrible car accident and this bracelet
Prue: What about it?
Phoebe: It was thrown free. Oh, man, I bet I'm supposed to figure out who it belongs to.
Prue: Oh, no, no, no, no, no, not now.
Phoebe: I can't help it.
(Claire enters.)
Claire: Prue, just want to make sure everything's in order for today's auction.
Phoebe: Wait, the auction is today?
Prue: Yes, Claire, everything is in order.
Claire: Terrific. I'll see you later then. (She sees the bracelet.) Ooh. Ooh, nice. That should sell quickly.
(She leaves.)
Phoebe: What are we gonna do?
[Scene: Quake. Piper and Billy are there.]
Billy: It's called a what?
Piper: A Wendigo. Apparently it looks like a normal person during the day but then it transforms at night. It survives on human hearts.
Billy: What?
Piper: According to my information, the first Wendigo was a mortal who betrayed by his lover, cut out her heart and ate it. As soon as he did, his own heart turned to ice and that's how he became this monster.
Billy: So, what , it like
it takes love from others. Is that it? Or
then why did it go after you? Are you in love?
Piper: No. Unfortunately, no. It must be attracted to something else.
Billy: Like maybe beauty? (Piper gets embarrassed.) I'm sorry. It's just you remind me a lot about my fiancée.
Piper: Um, anyway, from what I gather, it strikes during the three phases of the full moon. Which means it may try again tonight.
Billy: That's what it did before, Amazing. You know I've been tracking this thing for two months and in one night you're a PHD. in Wendigo.
Piper: Well, I've read more about it. Um, I should call Andy, I mean Inspector Truedeau and tell him this.
Billy: No, Agent Fallon's better. She's been so great to me ever since Laura
And she's already a believer. I'll tell her, okay.
(Piper stands up.)
Piper: Whoa. Dizzy.
Billy: You okay?
Piper: Must have stood up too fast. Will you call me after you see her please?
Billy: Sure.
Piper: I can help, Billy. I can't tell you exactly how or why, but I just want you to know I can. You're not in this alone.
Billy: I know.
(He leaves. The phone rings. Piper answers it.)
Piper: Quake.
Andy: Piper, it's Andy. Just checking in to see how you're doing.
Piper: Oh, Andy, that's sweet. Um, I'm fine. I'm just a little tired.
Andy: Yeah, well, you should be at home relaxing.
Piper: I'm okay. Listen, Billy Waters just left. He's on his way to the Federal Building to see Agent Fallon. He has a theory on the att*cks.
Andy: I'll let her know. Rest up okay and stay out of dark, scary places for a while will ya.
Piper: Okay.
Andy: Take care. (They hang up.)
[Cut to the Police Station. Agent Fallon is sitting at a desk behind Andy. Andy turns around.]
Andy: Billy's on his way over to your office. Apparently he has some information on the att*cks.
Fallon: Really? I guess I better go. You seem pretty familiar with the witness.
Andy: Piper? Yeah, I dated her sister.
Fallon: Dated? Past tense?
Andy: It's a long story. Why?
Fallon: Just curious. Wouldn't want a love sick cop on my hands. Especially if that's what the creature was after.
Andy: What makes you think it is?
Fallon: You got a better explanation of why it rips the heart out of its victims?
Andy: Maybe. I've just gone over the coroner's report from Chicago, New Orleans. It turns out all the victims were AB negative.
Fallon: Chosen by blood type? That's a new one.
Andy: And plus they're all k*lled in threes. The night before, the night after and the night of the full moon. Piper would have been the second.
Fallon: Well, if you're right, that means the creature will try again tonight.
Andy: I'm not all together convinced that it's quote on quote creature. The blood types, the full moon, the stolen hearts. It feels like ritual. And ritual is human. It could be just one sick mind behind these crimes.
Fallon: Maybe we'll have a chance to confirm your theory tonight. You and me stake out at the park. Interested?
Andy: I'll bring my flare g*n.
[Scene: Outside the Federal Building. Billy's there.]
Fallon: Billy. Looking for me?
Billy: Yeah, listed, I think I know what that creature is.
Fallon: Really?
Billy: Yeah, well, Piper was telling me about it. It's called a Wendigo and it feeds off
Fallon: Whoa, hold on. Not here. The other agents already think I'm a little weird. Why don't I walk you to your car and we'll talk on the way. (They walk in the car park.)
Billy: It's like this Wendigo and it att*cks people in love. Or at least people with good hearts. It's sort of like and anti-cupid.
Fallon: How does it know that about its victims?
Billy: I don't know. Instinct? Maybe it just senses something. Look, I know it can take on human form. Maybe it stalks them first. Anyway, I know it's gonna att*ck tonight. I know it. Probably in the same park, just like the other cities.
Fallon: Interesting.
(Billy gets a cigarette and lighter out of his pocket.)
Billy: Yeah, well, we gotta get there, stake it out, we wait for it to show up so then we can
(He flicks the lighter on and Agent Fallon cowers.) k*ll it. Son of a bitch. (She grabs his head and breaks his neck. He falls to the ground.)
Commercial Break
[Scene: Buckland. In the hallway. Phoebe walks up to Prue.]
Phoebe: Prue, check it out. I found out who's car went off the cliff. Franklin Bates. He worked for a big P.I. firm in San Jose.
Prue: How did you do that?
Phoebe: Easy. I recognized the road. Coast highway by Carmel. I also recognized the car. '65 Lincoln. My first boyfriend, Jimmy, used to drive one just like it, remember. Anyway, so, I got on the web and started snooping around. Which means that I tied up your phone line while you were at appraisals.
Prue: Go on.
Phoebe: I searched the Chronicles databases for all articles on car accidents in the area and voila, there it was. February, 1989. Um, unfortunately it took me a while to access it and I sort of forgot to tell you that Claire was looking for you.
Prue: Phoebe!
Phoebe: I'm sorry. But here's the best part. I called the P.I. firm he worked for, lied to them, told them I was Andy's partner and they told me what the initials on the bracelet stand for. (They walk in Prue's office.) The T is for Teri, the L is for Lane.
Prue: Should I know the name?
Phoebe: Teri Lane was a five year old girl kidnapped by her father. It was the case the detective was working on when he died.
Prue: So
Phoebe: So, I think that bracelet is proof that he found her and I think the mother never got it because he died which means she never found her daughter. We can't sell that bracelet, Prue. Not until we know for sure.
Prue: So, how am I supposed to explain this to Claire? What, psychic providence?
(Claire enters.)
Claire: Psychic what?
Prue: Claire, hi.
Claire: I have been looking all over for this bracelet. What's it doing up here?
(Claire takes it off Prue.)
Prue: Um, I had it cleaned.
Claire: Fine. I'll return it downstairs. I've already got two buyers interested.
(She leaves.)
Phoebe: We can not let her sell that bracelet, Prue.
[Scene: Quake. Piper's standing near the bar, rubbing an ice cold drink on her forehead.]
Woman: Piper?
(Piper walks over to a man.)
Man: Are you the manager?
Piper: Yes.
Man: Lawrence Beck. Health Department. This is a code inspection. I would like to start with the kitchen. (They walk in the kitchen.)
Piper: The counters are scrubbed every fifteen minutes, the dishes are washed 150º Fahrenheit with anti-bacterial dergent-detergent.
Lawrence: Are you ill?
Piper: Uh, no, no. I just, um, I don't know. Fell free to look around, we have nothing to hide here at Quake.
Lawrence: Thanks.
(Piper walks over to the fridge and sticks her head in it. She gets some frozen meat and rests it on her forehead. Lawrence sees her.)
Lawrence: Excuse me, what are you doing with that meat?
Piper: Dying. (She gets out of the fridge.) Oh, uh, right. Chop that. (She hands it to a cook.)
Lawrence: You're obviously sick. I think you'd better go home, Miss, before I shut this restaurant down.
[Scene: The car park. Police are there where Billy was k*lled.]
Fallon: Andy.
Andy: What happened?
Fallon: I don't know. I came here to meet him and found him there.
Andy: How'd he die?
Fallon: Coroner hasn't said, but it's definitely homicide. Although there's no mutilation, no other physical wounds. Doesn't fit our M.O. I suppose it could be random.
Andy: Chases off a crazed k*ller last night and succumbs to a mugging today? I don't buy it.
Fallon: Maybe the creature, or whatever it is, found out Billy had some information on it. Got to him before he could get to me.
Andy: Yeah, he had been stalking it two months. It could be the k*ller who knew.
Fallon: Still, if these are ritual m*rder as you suggest, all the steps have to be followed or the k*ller doesn't get his happy feeling. So why is the heart still intact?
Andy: Two possibilities. He's not AB negative or it was trying to protect himself from being found out.
Fallon: I'd go with that theory personally.
Andy: Me too. Let's go talk to Piper. See if he told her what he wanted to tell you.
Fallon: You read my mind, Inspector.
[Scene: Bucklands. The auction has started.]
Auctioneer: And I have $400. Now $500. $500, $550, $600. $650, at $650. $700 now. $750. Now say $800. $800, gentleman's bid at $800. Any more at $850. Sold $800. Number 143 for the caristan rug. And the next item is lot 102. A Stickley lamp and bidding will start at $2000. Now say 21, $2300, $2400, $2700.
(Phoebe walks up to Prue.)
Prue: Where have you been? The auction's already started.
Phoebe: I think I found the little girl, Teri Lane. I think she's living in Oakland.
Auctioneer: Sold $2900.
Phoebe: I contacted the detectives old secretary. She helped me piece it together. She also told me that it was the little girls mother who hired him because the father had abducted Teri.
Auctioneer: And next is lot 103, a gold charm bracelet and bidding will begin at $375.
Phoebe: You've got to do something. That bracelet might be the only way to convince the mother we know where the little girl is.
Prue: What am I supposed to do?
(Phoebe squints her eyes to tell Prue to use her power.)
Auctioneer: $375. Anyone at $375. (A lady goes to hold up her number but Prue uses her power and it flies out of her hand.) $375. Anyone at $375? (Every time someone holds up their number Prue uses her power to knock it out of their hand.) At $375. Anyone at $375.
Phoebe: You go girl.
Auctioneer: Very well. $300 then. Anyone at $300? $300 then. Last call at $300. Anyone at $300? Very well. We'll move on to lot 104. The pewter flagon.
Phoebe: Thank you, thank you.
Prue: You just better be right.
[Scene: Manor. The doorbell rings. Piper answers it.]
Piper: Hi Andy.
Andy: Hi.
Piper: What are you doing here?
Andy: Just wanted to see how you're doing.
Piper: I feel great.
Andy: Where's your bandage? How'd your wound heal?
(All of a sudden, Piper turns into a Wendigo and grabs Andy. Piper then wakes up. She's on the couch in the living room. She's sweating and she looks real sick. The doorbell rings. She walks into the foyer.)
Piper: Who is it?
Andy: It's Andy.
Piper: Andy. Go away.
Andy: Sorry?
(She opens the door a little bit.)
Piper: Go away. I've got the flu.
Andy: It's okay, I had a flu sh*t. I gotta talk to you. It's about Billy. He's been k*lled.
Piper: What? (She opens the door.) That's not possible, he should have been saved. It's not even night.
Andy: It might not have been whoever att*cked you.
Piper: Who else could've it been?
(Agent Fallon arrives.)
Agent Fallon: Sorry, had to make a call. Are you okay?
Piper: No, I don't feel so well.
Andy: Maybe we should come back later.
Agent Fallon: Just a few questions. We were wondering if you knew what exactly Billy was coming to tell me.
Piper: Just that the creature is called a Wendigo and that it att*cks during the full moon.
Andy: Yeah, we know that.
Piper: He also said that it looks like a normal person during the day.
Agent Fallon: Really? That's new. Did he have any idea who it might be?
Piper: No, I don't think so.
Agent Fallon: Too bad. How's the arm?
Piper: It's fine. Well, it hurts like hell.
Agent Fallon: May I? (She looks at it.) You're the only one to survive the att*cks. Hope you didn't get infected by it. If you think of anything, anything at all, call me directly. (She hands Piper her card and leaves.)
Andy: Try and get some sleep.
Piper: I will.
(He leaves and she closes the door. She starts shaking. She takes the bandage off her arm and her arm is all hairy. She starts crying.)
Commercial Break
[Scene: Harriet Lane's apartment. Her doorbell rings and she answers it.]
Phoebe: Are you Harriet Lane?
Harriet: Who are you?
Phoebe: Oh, we've never met. I work in an auction house. Actually I just started today. My sister got me the job. Uh, well, wondering if you might recognize this.
(Phoebe holds up the bracelet.)
Harriet: I've never seen it before.
Phoebe: Are you sure? (Harriet goes to close the door but Phoebe stops her.) Uh, hi. I don't mean to intrude and I know that this must be hard for you but I know that you recognize this bracelet. It was your daughter's wasn't it?
Harriet: Why are you asking me all these questions? Why are you doing this to me?
Phoebe: Your daughter, what's her name?
Harriet: Teri. Teri Lane. Do you know where she is? (Phoebe takes Harriet out in the hallway and Prue is standing there with Teri.) Teri? Oh my goodness. Teri, Teri?
Teri: Momma.
Harriet: My baby. (They hug.) I never thought I'd see you again.
Teri: It's okay, I'm home now.
Harriet: Let me look at you.
Prue: (to Phoebe) I guess that bracelet was worth more than I thought it was.
Phoebe: Are you kidding? It's priceless. Thank God for my powers.
Prue: It wasn't just your powers that did that, Pheebs. (Prue's phone rings.) Hello? Piper, you sound terrible. What's wrong?
[Scene: The park. Andy and Agent Fallon are there.]
Fallon: Sure hope Piper's gonna be okay. She didn't look very well.
Andy: I know. Both Piper and the first victim were att*cked by the far end of those trees.
Fallon: Must have hidden in that stretch of woods waiting to att*ck. Wanna get a closer look?
Andy: Absolutely.
Fallon: You better turn your cell phone off too. Wouldn't want it to ring and scare it away. (They turn off their phones.) This is a nice spot. How'd you find this place? You and Piper's sister spend some time here?
Andy: No. Prue runs more to the high brow.
Fallon: Her loss.
Andy: I take it you're not married?
Fallon: Do you see a ring on my finger? I was engaged once. He was my world. Totally my world. Then one day, "boom", the empty dresser, the one word note "sorry". I started falling. I kept falling.
Andy: Yeah, I know how that is.
Fallon: No you don't. But I took steps. I did what I needed to make myself strong. To make it so no one could ever hurt me like that again.
Andy: I'd love to know how you do that.
Fallon: Maybe I'll show you if you're lucky. Now my life's a lot less complicated. All I'm interested in is sex. Does that shock you?
Andy: No. Just wondering where you were in college, that's all.
[Scene: Manor. Phoebe and Prue walk in.]
Prue: Piper?
(They walk in the living room and Piper's sitting on the couch sweating and shaking.)
Phoebe: Piper.
Piper: I'm miserable.
Phoebe: It's okay, honey, it's okay.
Piper: No, no, it's not. (She pulls off the bandage and shows them her hairy arm.)
Phoebe: Ohh! Prue.
Prue: Oh, um, can you get up?
Piper: Back off! What, you think I can't walk now?
Phoebe: Honey, we're just trying to help you.
Piper: Help me? You can't even hold a job.
Prue: Okay, now wait a minute, Piper.
Piper: Oh, save it. Do you always have to be in charge? I'm sorry. What's happening to me?
Prue: It's alright. We're gonna take care of you. (Phoebe sees Agent Fallon's card on the table. She picks it up and has a premonition of Agent Fallon turning into a Wendigo.)
Prue/Piper: What?
Phoebe: I just saw who the Wendigo is. Agent Fallon.
Piper: Her? I thought it had to be a him.
Phoebe: I guess not. And even worse, I saw her and Andy at the park at night, alone.
Prue: Okay, I'm gonna call him and warn him. You go upstairs to the Book of Shadows and see if you can find a way for us to help Piper.
Phoebe: Okay.
[Cut to the attic. Phoebe and Piper are looking through the Book of Shadows.]
Piper: Nothing. It's just the same old crap I've already seen.
(Prue enters.)
Prue: I tried Andy's cell phone. No answer.
Phoebe: We can't find anything about the Wendigo thing.
Prue: Well, there's got to be something. (Prue looks at the bottom of the page.) "C.F. Desiderata"
Phoebe: Yeah, like we're supposed to know what that means.
Prue: It means con fir desiderata. It's Latin for look up things that are yearned for.
Piper: Yeah, yeah, yeah. You're so very smart.
Prue: Piper.
Piper: Don't Piper me, just shut up.
Prue: No, you are going to listen to me. This is not you. Alright, it's the blood of the Wendigo and you have to fight it.
Piper: It's so strong.
Prue: You're stronger.
Phoebe: Fight it Piper.
Piper: I'm okay.
Prue: Alright, things that are yearned for. Wisdom, balance, unbecoming. That's got to be it. (She turns to another page in the book.) Alright, unbecoming a Wendigo. So we have to k*ll the Wendigo that slashed you by melting its heart of ice.
Piper: What if you can't find her?
Phoebe: We'll find her. She's gonna be in the park tonight.
Piper: What if you're wrong? What if you don't? Then you'll have to... then you'll have to k*ll me.
Prue: Don't be ridiculous, Piper, we're not gonna k*ll you.
Phoebe: We're gonna k*ll the thing that did this to you.
Prue: But we might have to confine you until we get back. So, tie you down, I guess.
Piper: No, go to hell!
Prue: (to Phoebe) Do we have any chains?
Phoebe: I actually do think I have something.
Prue: Okay. (Phoebe walks out of the attic.) Are you back?
Piper: I don't want this to happen to me, Prue. k*ll Ashley. This is me talking.
(Phoebe enters. She holds up a pair of handcuffs.)
Phoebe: Here.
Prue: Where did you get those? Never mind.
Piper: Let's just do this.
(They handcuff Piper to a pipe and she sits on a chair.)
Phoebe: We still need to take a trip to the Army-Navy store.
Prue: Why?
Phoebe: To get a flare g*n.
Piper: Screw you bitch!
Phoebe: Okay, I think we need to hurry.
Prue: Uh, yeah, just hang in there, Piper.
[Scene: The park. Andy and Ashley are there.]
Ashley: What's the matter?
Andy: I was just thinking that I'm probably not the best cop to be on the stake out with, seeing I'm AB negative.
Ashley: Don't worry. I'll protect you.
[Cut back to the attic. Piper's sweating. She screams and her eyes turn yellow. She then turns into a Wendigo. All her clothes rip off. She breaks the pipe and handcuffs.]
Commercial Break
[Scene: The park. It's night time.]
Ashley: Andy, doing okay?
Andy: A little on edge.
(You see Ashley's hand turn into a Wendigo hand.)
Ashley: Instinct of the hunt. That's why you're here. That's why you're a cop.
Andy: Does this turn you on or something, Agent Fallon?
Ashley: Or something.
Andy: Look, you are a gorgeous woman but we're on this job together. Let's just ---------.
Ashley: Let's not.
(She turns into a Wendigo. Andy gets out his g*n and tries to sh**t at her. She hits him across the head.)
[Cut to Prue and Phoebe. They pull up in Prue's car. They get out.]
Phoebe: Okay, if the moon is over there, we should go that way.
Prue: I don't see Andy's car.
Phoebe: Don't worry, we'll find him.
Prue: Alright, let's hurry.
[Cut to Andy and the Wendigo. Andy's unconscious on the ground. The Wendigo rips open his shirt and cuts him down the chest with its fingernail. It hears Prue's voice.]
Prue: Andy? Andy? (It runs away.)
Phoebe: This is definitely the place. I recognize it from my premonition.
(The Wendigo growls and starts running towards them.)
Prue: Oh, God. (She gets out the flare g*n, sh**t and misses it. It scares the Wendigo and it runs away.) Okay, give me another one.
Phoebe: If that didn't get Andy to come out, he's d*ad already.
Prue: He's d*ad when we find a body, not before. (Prue loads the flare g*n again. The Wendigo runs towards them again. Prue fires the flare g*n and scares the Wendigo.) Okay, how many more do we have?
Phoebe: Two.
Prue: Two?
Phoebe: That's all they had. Wait, I think that's him. (They see Andy on the ground. They run over to him.)
Prue: Oh God. Alright, he's alive but she's slashed him.
Phoebe: He still has his heart?
Prue: Yeah, we must've driven her off just in time.
(The Wendigo growls and appears behind them. They turn around and Prue fires the flare g*n. It runs away.)
Phoebe: Last one. My turn. This time we don't f*re until I see slobber on its face.
Prue: Okay, uh, it's over there.
Phoebe: No, wait, I think it's over here.
Prue: No, no, it's right here.
(Two Wendigo's start running towards them.)
Phoebe: Wait, how can it be in two places at once?
Prue: It can't. One of them is Piper. sh**t.
Phoebe: I can't, Prue.
Prue: Just sh**t and pray you h*t the right one.
(Phoebe sh**t at a Wendigo and the flame and the other Wendigo freezes.)
Phoebe: Piper froze it. Do something. (Prue uses her power and moves the flare and it hits the other Wendigo in the heart. It burns and disappears. Piper turns back into a person and she realizes she's naked, so she hides behind a tree.) Are you okay?
Piper: I think so. But I'm naked and freezing.
(Andy's wound heals. Prue runs over to him.)
Prue: Andy. (Andy wakes up.) Hey, are you okay?
Andy: What happened? Prue, what are you doing here? Where's the Wendigo? (He tries to get up.)
Prue: She's gone. Easy. Lie back down. Just lay back down. It's alright. I'll explain everything later.
Commercial Break
[Scene: Quake. Phoebe and Prue are sitting at a table. Piper brings them some drinks.]
Piper: On the house for saving my hide.
Phoebe: Literally, you Wendigo, you.
(Piper sits down.)
Prue: Are you okay to work?
Piper: Yeah, I'm fine. It's like nothing ever happened. Except for Billy.
Prue: No, well, there was no way that you could've known about Agent Fallon.
Piper: I know. It's just I'm not used to losing an innocent we're supposed to protect.
Phoebe: He wanted to help stop her so she couldn't hurt anybody else and that's exactly what he did.
Prue: I'm just grateful that you're safe.
Piper: And Andy. By the way, what did you tell him about why we were all there.
Prue: I told him the truth.
Phoebe: Get out.
Prue: I did. I said what he saw happened was true, that Agent Fallon really was the Wendigo and that had we not vanquished her, that both he and Piper would've been k*lled. I couldn't think of anything else to say.
Piper: Well, what did he say?
Prue: Not much. He was either too stunned to speak or he actually believed me on some level. This was as close that we've ever come to having an honest conversation.
Phoebe: So maybe Andy's more open to you being a witch than you think.
Prue: Hmm. Alright, back to work.
Phoebe: Actually, I need to talk to you about something and please don't be mad but I quit.
Prue: What?
Phoebe: It's not that I don't appreciate the opportunity because I do. It's just that every time touch something at Bucklands I risk having a premonition and it's just too emotional for me. Besides that's your world. I need to find one of my own.
Prue: You will.
Piper: Just stay out of my world or I'll k*ll you. (Prue and Phoebe look worried and confused. Piper gets up and starts to walk away. She turns around.) Kidding! It's just a joke (She walks away.)
Prue: Ooh!
End | {"type": "series", "show": "Charmed", "episode": "01x12 - The Wendigo"} | foreverdreaming |
Written by: Tony Blake and Paul Jackson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Occult shop. Prue and Phoebe are there.]
Tanjella: Excuse me, but I'm getting ready to close now.
Prue: Oh, I'm sorry. I thought that you were open until 1:00.
Tanjella: Normally I am, but not on the evil Friday the 13th. In fact, I kinda wanna be closed by midnight.
Prue: Alright, well, we won't be much longer will we, Pheebs?
Phoebe: Okay, okay. So, input?
(She holds up a necklace.)
Prue: Nice. Let's go.
Phoebe: It's nice? That's it? Maybe I should look for another one.
Prue: Phoebe, the woman wants to close.
Phoebe: I know, I know, but choosing the right good luck charm is a very big decision.
Prue: If they all bring good luck, what's the worse that can happen if you pick the wrong one?
Pheobe: Alright, you know, this is why I like shopping with Piper.
(They walk up to the counter and hands the necklace to Tanjella.)
Tanjella: Okay, you want me to put this on Piper's order?
Phoebe: Uh, no, I'll pay separately.
Tanjella: Cash or charge?
Phoebe: (to Prue) Uh, will you put it on a credit card for me? I will pay you back. And tomorrow I have a job interview and...
Prue: And the good luck charm is going to help you get the job. How much?
Tanjella: $25.50 plus tax.
Prue: Okay.
Tanjella: Oh, but you get 10% off if you sign the mailing list.
Phoebe: See? Good luck already.
(Phoebe writes down their names.)
Tanjella: If you're interested, we're having a Wicca gathering for the spring equinox.
Prue: What makes you think that we would be interested?
Tanjella: Most witches are.
Prue: We never said that we were witches.
Phoebe: (to Prue under her breath) Do you think she knows?
Prue: (under her breath) How could she?
(The clock strikes twelve.)
Tanjella: Could you please hurry?
Phoebe: Is there a problem?
Tanjella: I told you I just, I want to be closed by midnight.
Prue: Wow, you really take this Friday the 13th stuff seriously.
Tanjella: Yeah, you should too. Especially this one.
Phoebe: And why is that?
Tanjella: Because once every thirteen hundred years, there's a universal convergence of negative energy on Friday the 13th and this is the year.
Prue: Of course it is.
Tanjella: Did you hear that? The clock struck thirteen. It's starting already.
Phoebe: Good night, Tanjella.
(They grab the necklace and leave.)
[Cut to outside. Prue and Phoebe get in the car and drive off. Smoke rises out of the sewer and Barbas appears.]
[Cut back inside. Tanjella is bl*wing out the candles. She turns off the light. Barbas knocks on the door.]
Tanjella: Sorry, we're closed. (Barbas knocks on the door again.) I said we're closed.
(Barbas walks through the door like a ghost.)
Barbas: Not to me, witch.
Tanjella: Oh my God.
(Tanjella picks up an amulet.)
Barbas: Amulet's don't work with this demon. (He passes his hand in front of her face.) Your greatest fear is being buried alive in an earthquake. (The room starts shaking and things fall off the shelves. Tanjella screams. Shelves fall down around her.) Yes. You can't run, you're frozen in fear.
(Tanjella stops screaming and she falls on the floor. She is d*ad and her hair has turned white. Barbas walks over to the mailing list. He passes his hand above it and half of the names disappear.)
Opening Credits
[Scene: Manor. Piper walks in the solarium holding a small box. She pulls out some necklaces and looks at them. She chooses one.]
[Time lapse. Piper and Phoebe walk out of the kitchen into the solarium.]
Phoebe: Think about it. When has she ever said it to you?
Piper: I don't remember exactly but I'm sure she must of.
Phoebe: Yeah, okay, try to think of a time, just one. Whenever I say it to her, she says something like, 'oh me too' or 'same here'.
Piper: You know, you're right.
Phoebe: Yeah. The girl cannot say the words 'I love you'. It's like some weird...
(Prue walks in.)
Prue: Morning.
Phoebe: Oh, good morning.
(Prue and Phoebe sit down.)
Prue: Oh, that outfit looks great on you.
Phoebe: Thank you for giving it to me.
Piper: Wait, you gave her that outfit?
Prue: Yeah, it was an early birthday present.
Phoebe: For the next three years.
Piper: Are you feeling okay?
(She touches Prue's forehead.)
Prue: I am fine. In fact, I had a wonderful dream about mum.
Piper: Oh, how great. What about?
Prue: Um, I was a little kid like four or five and I was reaching up holding her hand and she was taking me some place. I don't know where but it felt so safe.
Phoebe: I wish I had dreams like that.
Piper: Mum would have to knock before she came into your dreams.
Phoebe: Ooh!
(Prue yawns and Piper covers her mouth.)
Prue: What are you doing?
Piper: You have to cover your mouth when you yawn or you might let the Devil in. (Phoebe and Prue laugh.) Especially on Friday the 13th.
Prue: Is that amulet one of the things we picked up for you last night?
Piper: Yes. And this (she holds up a stone) and these. (She holds up the other necklaces.) We're having a superstition theme fundraiser at the restaurant today. I'm going to need all the help I can get.
Prue: Don't you think that you're over doing it just a little bit?
Piper: With all the warlocks and demons we've seen. I don't think so.
Prue: Piper, those things are real. Okay, superstitions are like old wives tales invented to explain somebody's misfortune.
Piper: Statistics show more bad things happen on Friday the 13th than any other day. I met Jeremy on Friday the 13th.
Phoebe: Really?
Piper: Yeah, and he tried to k*ll me. Afterwards I find out there's a superstition. That any relationship started on Friday the 13th is doomed.
Prue: More bad things happen on Friday the 13th because people put energy in believing bad things will happen.
Piper: Pheebs.
Phoebe: Actually, I prefer the upside of superstition. Good fortune, which is what I hope this (she holds up a coin) little honey brings me in my job interview with the real estate agency. Will you give me a lift? I'm running late.
Piper: Okay. (They start heading towards the doorway.)
Phoebe: Okay, well, have a great day, Prue. I love you.
Prue: Yeah, me too.
(Phoebe and Piper stop and look back at her. They look at each other and continue walking.)
[Cut to the other room.]
Piper: I wonder if she knows she does that? (They walk in the foyer and opens the door. Andy's there who was just about to knock.) Hey, Andy.
Andy: Hey. Is Prue in?
Phoebe: (calling out) Prue, there's a policeman here to see you.
Piper: See you later, Andy, we're running late.
(They leave. Andy walks in the living room. So does Prue.)
Prue: This must be bad news.
Andy: Why would you say that?
Prue: A little early for a social call.
Andy: You're right. We've had three suspicious deaths since midnight. All single females, all under thirty, one was a book store owner. Credit card company records show you were her last customer.
Prue: Oh my God.
Andy: You remember anything out of the ordinary? Suspicious characters hanging around?
Prue: No, Phoebe and I were the only ones in there. In fact, she was locking up when we left.
Andy: Was the place in order?
Prue: Yeah, why?
Andy: When we found her, her body was half buried in debris. But the coroner said it wasn't her injuries that k*lled her, it was a heart att*ck.
Prue: A heart att*ck?
Andy: Yeah, her hair had turned chalk white, her face was contorted in terror just like all the others. If I didn't know any better, I'd say literally scared to death. Do you visit occult book stores at midnight often?
Prue: No, of course not. Phoebe needed a good luck charm for her job interview today. It was very last minute.
Andy: His killings look like some weird ritualistic thing. The victims all had ties with the occult. You might consider shopping somewhere else.
Prue: Meaning?
Andy: Just be careful.
[Scene: Later on in the attic. Prue opens the Book Of Shadows.]
Prue: Friday the 13th. Friday the 13th. (She finds a page.) "The Demon of Fear appears once every thirteen hundred years on Friday the 13th. He feeds on the fears of young witches for his survival." Mum's handwriting.
Commercial Break
[Scene: Quake. Piper's standing there staring at Lucas. Prue stands behind her.]
Prue: Who's the guy?
(Piper turns to face Prue.)
Piper: Lucas Devane. He's chairing the fundraiser for the children's hospital.
Prue: Oh, right, I saw his picture in the magazine. Wasn't he named the Bay Area's most eligible bachelor?
Piper: Don't rub it in.
Prue: Hey, you're the one who's letting a silly superstition run her life.
Piper: Is he still looking over here?
Prue: Yeah. He's undressing you with his mind. (They start walking.) And he's down to white cotton.
Piper: I haven't worn white cotton since high school. (They approach a ladder.) Whoa! (They walk around it.) You, ---- me. Sorry, I had to rush off the phone. What's with the demon of fear?
Prue: Well, I found a page about him in the Book Of Shadows in mum's handwriting.
Piper: Mum's, are you sure?
Prue: Yeah, I'm sure. I checked it against the handwriting on the back of the spirit board.
(They sit down at the bar.)
Piper: Wow, this is the first time we've found anything mum's written in the book.
Prue: Well, she must have known that this demon would appear in our lifetime and she wanted to warn us against him.
Piper: I don't like the sound of that.
Prue: Well, if he can k*ll thirteen unmarried witches by midnight, he'll be free from the underworld to wreck his terror every single day.
Piper: Unmarried. Like being single doesn't have enough problems. So how can we stop him?
Prue: I don't know but he does k*ll by turning a witch's greatest fear against her.
Piper: Meaning?
Prue: The book doesn't say. But mum wrote that in the face of our greatest fear, our powers are paralised.
Piper: Wait a minute, we're on the most wanted list and we're defenseless? Didn't mum say anything about how to get rid of him?
Prue: Just to release our fear.
Piper: How do we do that?
Prue: I don't know. That's all she wrote. Look, I know that you're afraid of flying.
Piper: That's not really a fear, I just prefer buses.
Prue: Well, as long as you stay in a crowded restaurant you'll be fine. And since Phoebe's afraid of being trapped in an elevator, I'll tell her to take the stairs.
Piper: And you'll stay away from pools. Ever since mum died you've been terrified of the water. That's why you never took swimming lessons. We've always known that was the reason, it's okay.
Prue: Yeah, well, don't worry about me, I'll be fine. I've gotta go.
Piper: Call me when you get to Bucklands.
Prue: I'm not going to Bucklands. Mum warned us but there are others.
Piper: We don't know any other witches.
Prue: No, see, Tanjella gave me this flier for a wicca gathering and there's a woman named Zoe listed as a contact, I'm hoping that she can help. So just call Pheebs and let her know what's up, okay.
Piper: Okay. (Prue starts to walk away.) I love you.
Prue: Yep.
(Prue walks under the ladder.)
[Scene: SWA Properties. Phoebe's in her interview.]
Susan: As you can see we're a small firm but we've built a very successful business.
Phoebe: Oh, well, size doesn't matter to me. What does excite me though, is the chance to work with successful women. I mean, if I want to be a success who better to learn from right?
Susan: Oh, I like that. I've heard all I need to hear. When can you start?
Phoebe: Are you serious? I got the job?
Susan: I can spot talent when I see it. Um, can you start today?
Phoebe: Uh, yeah, yes of course.
(A guy walks in.)
Susan: Hi, honey. Give me a second. (He walks back out.) Here are the keys. Louise is out of town, I've got
I'll be ----- So, all you have to do is answer the phone.
Phoebe: Making a romantic mid-week break?
Susan: Well, yeah. Um, which reminds me, there is one special task I'll need you to handle from time to time. If my husband calls, I'll need you to cover for me.
(Phoebe's eyes widen and she laughs nervously.)
Phoebe: Oh, uh, sure.
Susan: Our little secret?
Phoebe: Oh, of course.
Susan: Well, you have my pager number. Have fun.
Phoebe: Okay. (The employer leaves.) You too.
[Scene: Zoe's apartment. Barbas appears.]
Zoe: I thought you might come. But I have nothing for you here.
Barbas: Oh, you couldn't be more wrong, witch. You're all alone, that's all I need.
Zoe: You have no power over me. I have evolved powers to release all mortal fears. My inner strength will destroy you. (Barbas passes his hand across her face. Barbas makes the flame from a candle fall on the carpet. She tries to stamp it out with her foot.)
Barbas: You didn't release your fear of f*re, you only repressed it.
(The f*re spreads and flames surround her.)
Zoe: No, please.
Barbas: Save it for another life time. You're frozen in fear.
[Cut to outside. Prue knocks on the door.]
Prue: Hello? (Zoe screams and Prue uses her power to open the door. She walks inside and sees Zoe d*ad on the floor with white hair.)
Commercial Break
[Scene: Zoe's apartment. Police and photographer's are there. Andy walks up to Morris.]
Andy: Sorry I'm late. So what do we have?
Morris: The coroner said there are no burn marks on the body. She didn't die of smoke inhalation, her heart gave up just like the others. (He looks at Andy's shoes.) And I can't believe you're wearing the serial shoe again.
Andy: They're my good luck charm.
Morris: They're embarrassing.
Andy: This is the fifth woman with ties of the occult that's been found d*ad since midnight. Now tell me it's not the work of some serial nutcase.
Morris: I can't but it still doesn't mean those shoes aren't embarrassing.
Cop: (to Morris) Inspector, would you have a look at this?
(Morris goes to talk to the cop. Andy looks under the sheet that's covering the body. Morris comes back.)
Morris: Doorman, he says there was a signing log. Wanna guess who the last person was to see the victim?
Andy: I'm gonna guess the k*ller.
Morris: Prue.
[Scene: Quake. Prue, Phoebe and Piper are sitting at a table.]
Piper: What did you tell Andy?
Prue: I didn't talk to Andy. I didn't want him to know I was anywhere near there so I called 911 and I left.
Phoebe: Are you sure you're okay?
Prue: Yeah, it's just, uh, I can't get her face out of my mind, you know. There was so much fear and her hair was pure white, the terror that she must of felt. It's just...
Phoebe: Okay, I'm scared enough, thank you. So now what?
Piper: We avoid any place he can use to terrorise us.
Phoebe: And what about all the other witches?
Prue: Well, I took Zoe's day runner. Some of the names in there have got to be witches. I'll start making phone calls.
(Prue reaches for the salt and knocks the jar over spilling some salt.)
Piper: Oh, oh, quick. Throw some over your shoulder.
Prue: Don't be ridiculous.
Piper: It's bad luck. You could be att*cked by evil spirits.
Prue: Piper, we have been att*cked by plenty of evil spirits and they had nothing to do with salt. And considering our powers, I can't believe that you want to rely on this for our protection.
Piper: My feeling is, you can never be too rich or too safe.
(Phoebe sees a ladybug on the plant on the table.)
Phoebe: Oh, look, a ladybug.
Prue: Is that bad luck?
(Piper pulls a face.)
Phoebe: No, actually Grams once told me that whatever direction it flies in, you can find your ideal mate. We've gotta try it.
(Phoebe flicks the ladybug and it flies across the room and lands on Lucas.)
Piper: Oh.
Prue: So does a positive superstition cancel out a negative one?
Piper: I don't know.
Phoebe: Wait, what's going on?
Prue: That guy has been trying to talk to Piper all day and she has been avoiding him because she...
(A waiter trips and spills drinks all over Prue. Phoebe and Piper wipe her with napkins.)
Piper: You should've thrown the...
Prue: You know what? Piper, don't even say it. I'm going home to change.
Phoebe: Be careful, I love you.
Prue: Yeah.
(She leaves.)
Piper: Okay, she can't say it. Maybe she's afraid it'll make her look too vulnerable. Ever since mum dies, you know, she has to be the strong one to take care of us and everything. It's probably just all part of that.
Phoebe: Maybe. Hey, I gotta get back to work.
Piper: How's the new job?
Phoebe: Great, except my new boss wants me to lie to her husband about an affair that she's been having.
Piper: Oh, how nice. What are you gonna do?
Phoebe: I don't know. I'm just hoping it never comes up. Hey good luck.
(Phoebe leaves and Lucas walks up to Piper.)
Lucas: How's it going?
Piper: Oh, good.
Lucas: Listen, um, we've been working so well together on the fundraiser, I was, uh, wondering if you want to get dinner after it's over.
Piper: Uh, I should probably... I should probably check my schedule.
Lucas: You, uh, don't know if you're free tonight?
Piper: Well, um... (she notices the ladybug on his shoulder) dinner would be great.
Lucas: Great.
[Scene: SWA Properties. Phoebe's sitting at a desk holding a coin.]
Phoebe: Okay, heads - I tell him the truth, tails - I lie. (She flicks the coin in the air and it lands on its edge.) Oh, that helped a lot. (She picks the coin up. The phone rings. She reaches for it and knocks over a bottle of water.) Oh! Hold on please. (She picks up the bottle and has a premonition that water has filled up in the shower and Prue's stuck inside.) Prue. (in the phone) Uh, no one's in, call back later. (She hangs up and then dials another number.)
[Cut to the bathroom in the manor. Prue gets in and turns on the water. The phone rings and the answering machine picks it up.]
Phoebe's voice: Prue, it's Phoebe. Are you there? Pick up. Hello? Prue, I just had a premonition, you could be in trouble. Are you there? Prue, are you there?
[Cut to where the answering machine is. Barbas appears and passes his hand in front of it and the message disappears.]
[Cut back in the bathroom. Barbas appears. He passes his hand in front of the shower. Prue notices Barbas standing there.]
Barbas: Your greatest fear is drowning. Thank you for making it so easy. (The shower starts filling up quickly.) That's right. (Prue starts panicking and hitting on the glass. The water rises up near her neck. She turns off the water. She tries to use her power but it doesn't work.) You powers are frozen by your fear. (The water continues to rise over her head.)
[Cut to outside the manor. Andy and Morris are walking up to the door.]
Andy: I wish I could think of a logical reason to explain why Prue's involved in this.
Morris: You mean this time or every other time?
(They ring the door bell. They hear Prue scream. Morris gets out his g*n and Andy kicks open the door. They run inside.)
Andy: Prue?
[Cut to the bathroom. Barbas disappears. The door flies open and Morris and Andy run in pointing their g*n. The water has disappeared.]
Andy: Prue? You okay?
Prue: I don't know.
(Morris walks outside.)
Andy: I'll wait for you downstairs.
(Prue grabs a towel and wraps it around her. She opens the door and water that was sitting in the bottom of the shower runs out onto the floor.)
Commercial Break
[Scene: Manor. Living room. Andy, Prue and Morris are there. Prue's wearing a dressing gown and has a towel wrapped around her head.]
Prue: I told you I had soap in my eyes.
Andy: You had soap in your eyes? That's why you were screaming?
Prue: Yes.
Morris: You wanna tell us what you were doing at that woman's apartment?
Prue: I was, um, Zoe was a collector of occult items and she wanted to know if the auction house was interested in selling them for her.
Morris: When you got there was she alive or already d*ad?
Prue: d*ad.
Andy: So you called 911? Why didn't you leave your name? Why did you just duck out?
Prue: Because I wanted to avoid this. I knew that you'd suspect me of being involved and I'm not.
Andy: Prue, don't you think it's a little coincidental you being one step ahead of death twice in one day?
Prue: What exactly are you implying?
Andy: Prue, if you were in my shoes, what would you think?
(She looks at his sneakers.)
Prue: First of all, nobody should be in those shoes.
Morris: Told you.
Prue: But if I were, I would never think that you had anything to do with these deaths.
Andy: Prue, five women your age have been scared to death since midnight and we show up, we hear you screaming, we break in, find you terrified in the shower.
Prue: I told you, I had soap in my eyes.
Andy: That wasn't pain on your face, that was fear.
(You hear the front door open.)
Phoebe: Prue? (She runs in the living room.) Hi.
Andy, Morris: Hi.
Phoebe: Is everything okay?
Prue: Yeah, everything's fine. So, are we done?
Morris: Yeah, we're done.
(Andy and Morris leave.)
Prue: You will not believe what happened to me.
Phoebe: Yes, I would, I saw it. (Prue takes the towel off her head and she has a streak of white hair.) Prue, he came really close didn't he? You've got some white in you hair.
(Prue looks in the mirror.)
[Time lapse. Prue and Phoebe walk in the attic.]
Phoebe: There's gotta be something in the Book about releasing fears. Maybe it's just not obvious.
(She walks over to the Book Of Shadows.)
Prue: Phoebe, do you smell that?
Phoebe: What?
Prue: It's like Sandalwood.
Phoebe: No, I don't smell anything.
Prue: Mum used to wear a fragrance like that.
Phoebe: I was too young to remember. (Phoebe looks in the Book.) Wait, I thought you said there was nothing in here about releasing your fear. (Prue looks at the page,) "To let go of your fear, trust in the greatest of all powers."
Prue: That wasn't there this morning.
Phoebe: Well, maybe because of all the stress...
Prue: No, Phoebe, it wasn't there alright. It's in mum's handwriting, I would of remembered.
Phoebe: Okay, uh, what do you think the greatest of all powers is? Do you think that's the power of three?
Prue: I don't know.
Phoebe: What is it?
Prue: It's like I can feel her presence.
Phoebe: Okay, maybe you should get dressed and go to Bucklands.
Prue: No, um, I don't really think I'm up for that.
Phoebe: Look, Prue, you said he disappeared once Andy got there. So maybe he only att*cks when you're alone. When your fear is greatest.
Prue: Yeah, you're right.
Phoebe: Of course I am. Whatever you do, stay away from water, any water, don't even drink it.
Prue: Don't worry.
Phoebe: I love you.
Prue: You too.
Phoebe: Why do you do that?
Prue: What?
Phoebe: You never say 'I love you' to me.
Prue: I just did.
Phoebe: No, you just said 'me too' and you never say it to Piper either. Have you ever said 'I love you' to anybody?
Prue: Yeah, I said it to mum and it was the last thing I said to her right before she died.
(Phoebe hugs Prue.)
[Scene: Quake. Piper's walking to somewhere but sees Lucas and walks back the other way. She stops a woman dressed up as a black cat who's about to walk past her.)
Piper: Oh, uh, do me a favour, uh, walk behind me so you don't cross my path.
Woman: Okay.
Piper: Oh, wait... (she bends down to pick up the woman's tail off the floor and her dress rips.) Oh! You dropped your tail.
(Piper walks into the kitchen and gets a cigar out of a shoe box. A guy walks up to her.)
Guy: Are you okay?
Piper: Me?
Guy: You seem kind of, I don't know... tense.
Piper: Well, it just seems ever since I agreed to have dinner with Lucas, I've had a run of bad luck. I broke a nail, the shipment of clams is late, I had to f*re a hostess and I just ripped my dress.
Guy: Well, it is Friday the 13th.
(He walks away. Piper lights the cigar with the flames on the stove and starts waving it in the air. She then chants a spell.)
Piper: "Sage so fair, from far and wide, take my troubles and brush them aside."
(The smoke detector goes off from the cigar smoke.)
Chef #1: Is there a f*re? Where's the smoke coming from?
(Piper quickly puts out the cigar by putting it in a saucepan of boiling water. She burns her fingers.)
Piper: Ow!
Chef #2: Is it malfunctioning?
Piper: (to herself) It's just not my day.
[Scene: SWA Properties. Phoebe's sitting at a desk. A man walks in.]
Phoebe: Hi, may I help you?
Man: Hi, I was looking for Susan.
Phoebe: Oh, she's not here but I can tell her you came by. What's your name?
Richard: Richard Warner.
Phoebe: Oh, you're Susan's husband.
Richard: Unless she's got one I don't know about.
(Phoebe laughs.)
Phoebe: No, no. She doesn't have another husband.
Richard: I thought I'd surprise her and take her to dinner. Do you know where she is?
Phoebe: Uh, she went out.
Richard: Okay, well, I think we established that. Do you know where?
Phoebe: Uh, well, she... that's actually interesting, she, uh... I can't do this.
Richard: I don't understand.
Phoebe: I'm sorry, Mr. Warner, but I can't be the assistant your wife wants without compromising my beliefs and I just won't do that.
Richard: Wait a minute, slow down.
Phoebe: Don't worry about the office, I will lock up.
(She writes a note.)
Richard: Thank you.
Phoebe: For what?
Richard: For not lying to me about Susan's affair.
Phoebe: You knew?
Richard: I've tried denying it for some time now but I guess there comes a time when you have to face the truth.
Phoebe: I'm so sorry.
Richard: Don't be, you mustn't. Don't quit on my behalf.
Phoebe: I'm not. (He leaves. The phone rings.) SWA Property.
Woman on phone: Hello, may I speak to Susan?
Phoebe: Uh, no, she's not in right now. Can I take a message?
Woman on phone: I'm outside a house she was supposed to show me and she's not here.
Phoebe: Uh, well, I'm sorry but she must of forgotten. She's out for the rest of the day.
Woman on phone: Can anybody help me? I flew in from L.A. just to see this house. I'm under a terrible deadline to move from my other house.
Phoebe: Uh, no one's here. But you know, since you flew in and all, I guess I can show you the property. What's the address?
[Scene: At the property. Phoebe walks in the yard.]
Phoebe: Mrs. Juffy? Hello? Mrs. Juffy? SWA Properties.
(She hears a voice behind her.)
Woman: Hello, dear. (Phoebe turns around and it's Barbas imitating a woman's voice. Thanks so (his voice changes back) much for coming out.
(He grabs her.)
Phoebe: Let go or I'll scream.
Barbas: I could use the fix.
(He passes his hand in front of her face.)
Phoebe: I know how you k*ll. There are no elevators around here.
Barbas: Elevators? That's what you think your greatest fear is? You mortals need to look deeper. Down where the real truth lies. Your greatest fear is losing a sister and I get two for one.
[Scene: Bucklands. Prue's office. She's on the phone.]
Prue: He's only a thr*at till midnight, okay. Alright, well, take care and don't look in any closets till then. (The other line rings.) Alright, look, I gotta go, someone's calling me. Bye. (She picks up the other line.) Hello?
Phoebe: Prue, it's Phoebe. I got stuck at a house I was showing. Can you come and get me?
Prue: Yeah, sure. Where are you?
[Cut to the property. Barbas is on the phone imitating Phoebe's voice.]
Barbas/Phoebe: I'm at 3112 Napper Street.
Prue: Alright, I'm on my way.
(You see Phoebe is tied up and with tape over her mouth.)
Commercial Break
[Scene: Quake. Piper's having dinner with Lucas.]
Piper: I can't remember when I enjoyed a dinner more. I'm so glad you suggested this.
Lucas: You know, I almost didn't.
Piper: Really?
Lucas: I'm pretty sensitive to people's feelings and I got the sense this morning that you were totally turned off to me.
Piper: How odd. So what's it like being one of the city's most eligible bachelor?
(He laughs.)
Lucas: That magazine article was so lame. I'm, uh, really a very simple guy. I value home and heart, I'd like to settle down, have kids. I've got two nieces I'm crazy about, I even carry pictures of them.
(Piper freezes him.)
Piper: You sound too good to be true. (She reaches in his jacket and pulls out his wallet. She opens it up and sees a photo of them.) You are too good to be true. (He unfreezes just as she's putting his wallet back in his jacket. He wonders what she's doing.) Lint. A little lint. (She brushes his jacket.)
Lucas: Oh, thanks.
Piper: So, your instinct about me this morning was right. I was sort of sending out negative vibes.
Lucas: Why?
Piper: Well, there's this superstition that any relationship started on Friday the 13th is doomed. So I was determined to avoid you but ten there's another superstition about finding your ideal mate...
Lucas: Wait a minute. You were gonna reject me because of a superstition but then decided I was worth going out with only because of another superstition?
Piper: Yeah.
Lucas: Well, it doesn't say much for me then does it?
Piper: Oh, um, it's that...
Lucas: Piper, someone who let's things like superstitions or omens to determine their lives, well, I just had an experience like that with my last girlfriend and it was a disaster. I'm looking for someone who's just not into that stuff. I'm sorry.
[Scene: At the property. Prue walks to the gate.]
Prue: Phoebe?
(She opens the gate.)
Phoebe: I'm in the backyard. You won't believe the view from here.
(Prue walks in the yard.)
Prue: Pheebs, where are you? (She walks near the swimming pool.) Phoebe?
(Prue turns around and sees Phoebe tied up and Barbas standing there.)
Barbas: (imitating Phoebe's voice) Isn't that a great view? (Barbas pushes Prue in the pool.) That's right. (Prue sinks to the bottom. She tries to swim back up to the top but can't.) Give me your fear.
(A bright light appears in the pool.)
A voice: Prue, Prue. You must face your fears, Prue. You must trust in the greatest of all powers. Love.
Prue: Mum?
A voice: Save yourself. Save your sister. (Prue's mum holds out her hand.) Don't be afraid. (Prue reaches out and holds her mum's hand. Her mum pulls her up to the top.)
Prue: (to Barbas) It's over. (She uses her power and Barbas flies across the yard. She gets out of the pool.)
Barbas: Your fear.
Prue: I'm not afraid anymore.
Barbas: Nooo! (Barbas burns and explodes. The rope disappears off Phoebe. Prue and Phoebe hug.)
Phoebe: Oh my God, I was so scared.
Prue: I know. I'm just glad you're safe.
Phoebe: I don't know what would happen if I ever lost you. I love you.
Prue: I love you.
Commercial Break
[Scene: Manor. Living room. Piper's sitting on the floor in front of the f*re place. Phoebe and Prue walk in.]
Phoebe: Hey, what are you doing?
Piper: Kicking myself. I just lost probably the greatest catch in San Francisco.
Prue: What happened?
Piper: He doesn't like women who rely on superstitions to make decisions. And I'm not so sure he's wrong.
Phoebe: So, Prue vanquished the demon of fear.
Prue: Well, at least put him back in the bottle for another thirteen hundred years.
Piper: Wait, whoa, what? What happened?
Phoebe: Well, he pushed her into a pool and then...
Prue: And mum helped me out.
Piper: Mum?
Prue: Okay, I know it sounds crazy but I saw her. It was just like my dream. She was this incredible vision, so peaceful and she took my hand and brought me to the surface.
Piper: That doesn't sound crazy. I wish I could've seen her.
Phoebe: Me too.
Piper: I'm just glad you're alright.
(They hug.)
Prue: I love you.
(Piper breaks the hug.)
Piper: What did you just say?
Prue: I love you.
(Piper and Phoebe smile.)
Piper: I think that's the first time you've said that to me.
Prue: Yeah, I know, I wish I had of said it a long time ago. Ever since mum died I've been afraid to say it. I didn't want to lose anybody else.
Piper: Well, we're not going anywhere.
Prue: Okay. I'm exhausted. I'll se you two in the morning.
(Prue leaves the room.)
Piper: Uh, what happened to her in that pool?
Phoebe: I don't know. But whatever is was, it must of been incredible.
[Cut to the attic. Prue's sitting in a chair holding the Book Of Shadows. You see words magically appear on a page and their mother's voice saying: "Thanks for letting them in your heart."]
Prue: I miss you, mum.
End | {"type": "series", "show": "Charmed", "episode": "01x13 - From Fear to Eternity"} | foreverdreaming |
Teleplay by: Constance M. Burge and Sheryl J. Anderson
Story by: Brad Kern and Constance M. Burge
Transcribed by: Janelle Hackbarth
--------------------------------------------------------------------------------
[Scene: Mr. Franklin and Max's house. They are sitting on the couch and then thugs wearing balaclavas run in and grab Max.]
Mr. Franklin: Max!
(One of the thugs points a g*n at Mr. Franklin.)
Thug: Don't move, don't breathe! Just listen. We're gonna borrow your kid just for a day. Now, if you're smart, you will not call the cops. We will have him safe and sound, first thing Monday morning, ready for school. Do you understand?
Mr. Franklin: Yeah, yeah.
Thug: Just our little secret, right?
Mr. Franklin: Yeah.
(The thug knocks Mr. Franklin out and they drag Max outside.)
[Scene: Attic. Prue, Piper, and Phoebe are sitting at a table spring-cleaning. Piper is looking through a box of toys and Phoebe is painting her nails.]
Phoebe: Can I just say I am absolutely enjoying this?
Piper: That's because you're not doing anything.
Phoebe: Not true. I've painted my fingers and my toes.
Prue: I just hope that this doesn't fall under the personal gain category.
Piper: How could it? A good witch is a clean witch.
Phoebe: Yep. I think we should spring clean like this more often. You go girl.
(Prue uses her power to close drawers, put things in a box, clean the window, straighten toys and books on a shelf, and lift some trophies while dusting.)
Piper: Good job Prue. (Prue uses her power to put away a broom.) Oh look. More toys. I told you Grams wouldn't throw them away.
Prue: Yeah. But we will. Why don't you just put that stuff in the discard pile?
Phoebe: Wait. What's in there?
Piper: Stuffed animals without eyeballs. Dollies that look like they've been through the mill once or twice
and looky here. Miss. Phoebe's diaries.
Phoebe: The place where I kept all my secrets. Give me those. (She takes her diaries and she giggles. Prue and Piper give her a look.) What?
Prue: The place where you kept your secrets?
Phoebe: Uh-huh.
Piper: Phoebe, you could never keep a secret.
Phoebe: Oh. That is so not true.
Piper: OK. Maybe Prue's surprise birthday party.
Prue: Guess again.
Piper: You knew?
Prue: Mm-hmm.
(Piper hits Phoebe playfully.)
Piper: Phoebe, you swore you wouldn't tell her.
Phoebe: I'm sorry. OK? It was an accident. (Piper sighs) I say we keep all the toys.
Prue: Subject changer.
Phoebe: For our children, for our future.
Piper: That's a good idea.
Prue: Well, you can get rid of mine. (Piper and Phoebe give her the "what" look.) What? It's just that, you know, we live in a world with so much v*olence and then you add the evil demons and it's a pretty scary place to raise kids in. Besides, I don't really think I'm cut out to be a mom.
Piper: How can you say that?
Prue: Why don't we have this conversation later? Like say 5 years?
Piper: Good. Ooh. Ooh. I think dinner's burning. Phoebe, lend me a hand.
(She leaves)
Phoebe: Don't look in my diaries.
(She leaves.)
[Scene: Auto shop. The thugs enter with Max. Max is gagged and has his hands tied in front of him. Thug #2 pushes Max to the ground. He sits up.]
Thug #1: All right. If you try anything, you're d*ad and so is your old man. You got that kid?
(Max nods.)
Thug #2: Come on. Ease up on him Mickey. Kid's not stupid, are you Max? (Max shakes his head.) You're going to do just like we tell you and everything's gonna be fine, right?
(Max nods.)
Mickey: Yeah. You better be right or me and you got problems.
Thug #2: Look. That kid is a living, breathing winning lotto ticket. All I know is my kid brother said somehow, like magic, he turned off the arcade alarm system from across the street and got them inside.
Mickey: I don't believe in magic.
Thug #2: So we test him out, we don't like what we see, cut our loses.
(They leave. Max closes his eyes and slowly rocks back and forth.)
[Cut to attic. The spirit board is out. The pointer starts to move.]
Prue: Piper. Phoebe. Get in here.
(She begins writing down the letters. Piper and Phoebe enter.)
Phoebe: What is it?
(Prue points to the spirit board. Phoebe sighs.)
Piper: Oh no. Not again.
Phoebe: What's it saying?
(Prue shows them the notepad that says HELP MAX.)
Prue: Help Max.
Opening Credits
[Scene: Parlor the next morning. Piper is on the phone. Phoebe and Prue come in with the spirit board and sit at a table.]
Phoebe: So maybe Max is a ghost. I mean, after all, that is a spirit board.
Prue: A ghost who needs our help? I don't think so.
Phoebe: Well, it wouldn't be the first time.
Prue: What if it's just someone in trouble crying out?
Phoebe: Well, it would have to be someone with powers. That's not exactly AT&T.
Prue: "Help Max." That's not a lot to go on.
Phoebe: Yeah. I mean there's nothing really you can do unless he sends another message. What
are you on hold or something?
Piper: It's Harry, the new chef at Quake. He threw out all my Henckel knives. Apparently, he prefers Forscheners!
Phoebe: You follow any of that?
Prue: No. Look, we wouldn't have gotten the message if it wasn't important.
Phoebe: OK. So what do you wanna do?
Prue: Maybe go see Andy. See if he knows anything about a Max needing help.
Phoebe: Can you say long sh*t? (Prue gives Phoebe a look.) All right. You're obsessed. I accept that. I'll thumb through the Book of Shadows. See if there's anything in there about spirit board SOS's.
Prue: And maybe Piper can
Piper: Look. Wait. I'm the manager. If I say I want Henckel, then I want
hello? (She hangs up.) The jerk hung up on me. (She slams the phone on the table.) OK. How can I help you two?
Prue: I think we got it under control.
Piper: OK. Then I'm going to Quake before Harry does anymore damage.
(Piper leaves. Prue gives Phoebe a "what" look. Phoebe giggles.)
[Cut to foyer. Piper grabs her coat and opens the door to find Leo there.]
Leo: Ha. Ding-dong.
(They both laugh a little)
Piper: Leo. You're back. Come in. (Leo hugs Piper.) It's so good to see you. How are you?
Leo: Better now. (They stop hugging.) How are you Piper?
(In the background, Phoebe and Prue, who's carrying the spirit board and pointer, enter.)
Piper: Uh, I'm better now too.
Phoebe: Leo!
Prue: Hey stranger. Good to see you.
Phoebe: Yeah. What brings you back?
Prue: Phoebe.
Phoebe: You know, the chandelier in the living room keeps flickering.
Leo: Yeah? Well, I'll get my tools.
Phoebe: Oh no. No. Take your time.
Prue: Uh, attic. Remember? You have some reading to do.
Phoebe: Right.
Prue: Mm-hmm.
(Phoebe heads towards the attic)
Leo: Is that a spirit board?
Prue: Uh, this? Yeah it is. Um, I'm just talking it to the auction house to have it appraised. (She grabs her coat.) So, I'll call if I hear anything.
(She leaves.)
Piper: I'll be at the restaurant.
Leo: Do you have to go now?
Piper: Uh, yeah. Sort of, but I'll be back soon. I promise. Uh, can you wait?
Leo: Uh, sure.
(They kiss.)
Piper: Ooh. So glad you're back.
(She leaves.)
[Scene: Police Station. Prue is sitting by Andy's desk.]
Andy: OK. Let me get this straight. You think a guy named Max might be in some kind of trouble, but you have no idea why. You've never meet him, and you really don't have no idea who he is. Is that about right?
Prue: OK. Fine. See, I had a dream last night and uh, in my dream my sisters and I were cleaning the attic when we found this old ouija-type board and the pointer started to move until it spelled out " Help Max." (A couple of seconds pass.) That's it.
(Andy types MAX on the computer and presses ENTER.)
Andy: You know, I hear a lot of stories in my line of work, but yours are always very entertaining.
Prue: Thank you.
Andy: You're welcome. (He looks at the computer.) Sorry. Nothing on anyone named Max.
Prue: Oh. Thanks for checking.
Andy: Anytime.
(Prue and Andy stare at each other. Prue giggles.)
Prue: OK.
Andy: OK.
Prue: Bye.
Andy: Bye.
(Prue leaves.)
[Scene: Quake. Piper burst through the kitchen doors and goes to Harry, who is cooking.]
Piper: Harry!
Harry: Hey. You must be Pippy.
Piper: Piper, and
Harry: You know, your voice doesn't do justice. You're actually attractive.
Piper: You cannot come into this restaurant, throw away all of our knives, and refuse to make the house specialty. (She notices he's wearing shorts.) That is not a proper chef's uniform.
Harry: Will be. I'm a transetter. (He goes and gets a bowl of ravioli.) In fact I, uh, decide to change the menu, so I threw out all the old ones. Now my crab ravioli, there's a specialty. (He sniffs it.) Mmm. Straight from Eden.
Piper: You threw out all the menus?
Harry: Hey. Complain to your sister Phoebe. (He hands her a cell phone.) She's on line 1.
(She takes the cell phone from him.)
Piper: You're fired!
Harry: Ooh. Attractive and feisty. Um, you can't f*re me cause you're just a manager. Unless you prefer to be the executive chef.
(He laughs and begins to walk away.)
Piper: Ooh. (She freezes him. She takes the knives out of the trash and dumps the ravioli in.) Take that. (She leaves.)
[Cut to the Halliwell Manor. Phoebe is walking down the stairs with the phone in her hand.]
Phoebe: Yeah. He sounds like a real piece of work. He has a nice voice though. What's he look like?
[Cut to Quake. Piper is sitting by the bar.]
Piper: A complete and total jerk. Is Leo around?
[Cut to the Halliwell Manor.]
Phoebe: Yeah. He's working away.
[Cut to Quake. There is a commotion by the kitchen.]
Phoebe: He wants to know when you're gonna get back though.
Piper: Uh, I think it might be a while. Maybe I should talk to Leo.
[Cut to the Halliwell Manor.]
Phoebe: Sure. Hold on a second. (She walks into the living room and sees Leo floating by the chandelier with a light bulb glowing in his hands) (Into the phone) Oh my god!
(Leo looks at her)
Leo: Phoebe!
(He falls)
Phoebe: (Into the phone) Let me call you back.
(She hangs up the phone and turns it into a w*apon and points it at Leo as he gets up with the light bulb still glowing and comes towards her while saying this)
Leo: Phoebe wait. I can explain.
(She starts backing up. Leo follows her)
Phoebe: You are a warlock, aren't you?
Leo: No. (Phoebe stops at a table in the hall) Wait. Wait. Wait. (He tries to grab the phone while saying this but fails and draws his hand back when he says if) Think about it. If I was a warlock and I wanted to hurt you, don't you think I would have done it the last time I was here?
Phoebe: OK. Good point, but still most, normal handymen use ladders to fix chandeliers. (She points the phone under Leo's chin) Are you a witch?
Leo: No.
Phoebe: Then what are you?
Leo: Uh
(Leo waves the light bulb, still glowing, in front of Phoebe accidentally. Phoebe's eyes follow the light bulb. Leo makes the light bulb stop glowing and gives a goofy smile)
[Scene: Outside Microchip plant. Mickey and thug #2, known as David, are in a car with Max telling him a plan to break into the micro chip plant.]
David: These are the blueprints to the microchip plant. So the main security panel is in the room here. All you do is switch the system off. You start with zone one, ending up with zone five, OK? You got it?
Max: I can't. My mom made me promise never to use my power for bad things.
Mickey: Yeah. Well, you ever read the book when bad things happen to good people?
David: Look, I got it Mickey. You broke into the arcade, right? This isn't anything different, man. I mean, we're not gonna actually take anything. We just want to see if you can actually do it. Look I'm
I'm really sorry about what happened to your mom, OK? That's a tough break, but you want to make sure something doesn't happen to your dad, don't you?
(Max begins to slowly rock back and forth. David signal's Mickey. He gets out of the car and goes to the front door. We see the control panel, inside the microchip plant open and the controls burn out. Cut to Mickey. He is waiting at the door by the card slot to wait for it to turn green. It does. He opens the door and goes in. No alarms go off.)
Mickey: Well I'll be damned.
[Cut back to David and Max.]
David: I don't know how you did that, but I got to say, I'm very impressed.
(Mickey walks out and a cop comes up to him.)
Cop: Hey!
(Mickey pulls out a g*n and sh*ts the cop in the leg. The cop falls to the floor.)
Max: No!
David: Shut up!
(David covers Max's mouth. Mickey runs to the car.)
Commercial break
[Scene: Manor. Parlor. Leo and Phoebe are they're talking about who Leo really is. Phoebe has a mug of tea. I didn't get the first couple of words for some reason.]
Phoebe: I mean up until today, I thought you were a handyman, and now I find out that you're a
Leo: White lighter.
Phoebe: A white lighter. What exactly is a white lighter?
Leo: Well, we're really just messengers. Guides. (Phoebe is still confused.) Think of us as guardian angels for good witches. Your tea is cold.
(He leans forward and waves his hand and the tea becomes hot)
Phoebe: Ow. Well, you are handy. (Leo smiles a little.) So, all this time, you knew who we really were?
Leo: Yeah. I was sent to watch over you and your sisters when you first got your powers. You know, help out wherever I could.
Phoebe: Sent by who?
Leo: Whom. They're a group of elder white lighters. They're known as the founders. You were never supposed to find out. I screwed up and got caught.
Phoebe: So, what? You're here again to help us out with something else?
Leo: Uh, actually I'm here to help a boy named Max.
Phoebe: Max? Wait. That's the
the
Leo: The spirit board. I know. See, Max is a budding good witch new to the powers. But he's very young and vulnerable. And he's in serious trouble. Someone wants to take advantage of his gift.
Phoebe: So why don't you help him?
Leo: I did. I made sure Prue received his cry for help. That's why I was sent here. That's all I'm supposed to do for now. The rest is up to Prue.
Phoebe: Yeah, but Prue doesn't know anything about him. She doesn't even know that he's a little boy.
Leo: Well, she will. In the meantime, you must help me keep my secret or I could get into trouble. (Phoebe smiles.) Piper and Prue can never know what I really am.
Phoebe: Me? Keep a secret? Hello? Wrong Halliwell. Wait, uh, you have to tell Piper because if I know her, she's gonna think that
Leo: I know. I know. And that's where I need your help. See? (Leo gets out of his chair.) White lighters and witches aren't allowed to fall in love. It's like humans and angels aren't. But I did. I fell in love with Piper.
Phoebe: And I know how much she cares about you.
(Leo sighs.)
Leo: It isn't fair to keep her in the dark
but I have to keep this secret. (He sits back down.) So somehow I have to tell Piper that I can never see her again and I can't tell her why.
Phoebe: You don't need my help Leo. You need a miracle.
[Scene: Buckland's. Prue's office. Prue is typing on her laptop. Someone knocks on the door. The door opens and Andy comes in.]
Andy: Got a minute?
Prue: Uh, sure. (Andy closes the door. Prue puts the spirit board down so Andy can't see. Andy comes to her desk.) Why don't you just sit down here? (He sits down.) That's perfect. So, um, what's up?
Andy: I got some interesting information about a boy named Max.
Prue: A boy?
Andy: Named Max. Yes.
Prue: Whoa.
Andy: Curious huh?
Prue: Very.
(As Andy talks, the pointer on the spirit board starts spell out another message.)
Andy: Earlier today, a microchip plant was broken into but nothing was taken. (Prue sees the pointer move and begins to write down the message.) Stranger still, the alarms were turned off before the front door was opened on the outside.
Prue: Uh, what does this have to do with this boy Max?
Andy: Well, uh, security cameras picked up a car in the front parking lot with a boy in the back seat
matching this photo taken at an arcade last week
(He shows her a picture of Max and another boy.)
where a couple of kids sunk in in much the same way. Same boy. Max Franklin.
Prue: Do you know who was in the front seat?
(Andy shakes his head.)
Andy: Just that they sh*t and wounded a security guard at the scene. This boy's in serious trouble Prue. This is not a dream. (Andy leans closer.) I need to know what you know about this.
Prue: Well, I mean, why would I know anything? I think that you need to talk to his family.
Andy: (Leaning back in his chair.) I did. His father. He pretended not to know anything either. Clamed the boy was out of state visiting grandparents, will be back tomorrow, but something's wrong. He wanted to tell me something, but he was scared. He was afraid to say anything. What are you writing?
(Prue looks up after completing the message.)
Prue: Nothing. I'm just doodling.
Andy: You're not going to tell me anything are you? (Andy stands up.) One day, I'm going to figure out your secret Prue. Count on it. (He leaves. Prue looks at the message. It reads KIDNAPPED AUTO SHOP.)
[Scene: Quake. Kitchen. Piper is washing her knives. An employer brings Piper a cell phone.]
Employer: Telephone.
(Piper takes it as he leaves.)
Piper: Hello?
[Cut to Prue's office.]
Prue: Hey. Um, look, Max is a boy, Piper, and he's been kidnapped.
[Cut to Piper]
Piper: What?
[Cut to Prue]
Prue: Yeah. I got another message on the spirit board. I have to help.
[Cut to Piper]
Piper: Uh, I think we should call the police.
[Cut to Prue]
Prue: Uh, Andy's already been here and I think I have an idea what to do.
[Cut to Piper]
Piper: Uh, OK. So you've got everything under control?
(Harry comes up and grabs the phone off Piper.)
Harry: Uh, no. Everything's not under control. (He tosses the phone in the sink.) I need more crab for my ravioli because somebody threw it all away and I just got 5 more orders, Pepper.
(He tosses her the orders and she catches them.)
[Scene: Franklin's house. Prue walks up to the door and rings the bell. Mr. Franklin answers the door.]
Prue: Mr. Franklin?
Mr. Franklin: Yes.
Prue: My name's Prue Halliwell. I need to talk to you about your son.
Mr. Franklin: Sorry, um, you have to leave, OK?
Prue: Look, I know that he's been kidnapped. I know that he's in trouble.
Mr. Franklin: I don't know what you're talking about.
Prue: I think you do. What I don't understand is why you won't talk to the police.
Mr. Franklin: Please. You gotta leave. Alright? Thank you.
(He begins to close the door and Prue holds the door open.)
Prue: Unless you can't talk to the police. The kidnappers won't let you, will they? That's why you wouldn't say anything to Inspector Trudeau.
Mr. Franklin: Look, I don't know who you are, but I'm begging you
Prue: I can help.
Mr. Franklin: No. No. You can't. Alright? Good-bye.
(He begins to close the door and Prue holds the door open.)
Prue: Mr. Franklin
(Prue uses her power to send a picture flying into Mr. Franklin's hand. He catches it.)
Mr. Franklin: Dear God.
[Scene: Quake. Phoebe and Leo are in front at a table. Leo puts his hand over a glass of water and it fills up.]
Phoebe: Thank you. Oh.
(Piper comes out to them.)
Piper: Hi. I know you guys have been waiting a long time
(There is a crash in the kitchen.)
Phoebe: Hey. Have you heard from Prue?
Piper: Uh, yeah. Uh, she's got everything under control. I'll be right back.
(Piper goes to the kitchen.)
Phoebe: OK. It's actually good that we have a few more minutes. We can go over your plan. You know. What you're gonna tell Piper.
Leo: Oh, well. I thought that I'd tell her that, uh, as much as I love her and as much as I'd like to stay in San Francisco I can't. A-and I don't know how long my work will keep me away.
Phoebe: No. No. What you just said is as much as you'd like to stay and have sex with her, you've got a wife and kids in another part of the country. Try again.
Leo: Uh, Piper, um, you know how much you mean to me, and more than anything, I wish things could work out, but they can't, and no one is more sorry then I am.
Phoebe: Translation-I found someone I like even better.
Leo: I'm completely confused.
Phoebe: Uh, look Leo. Its not that complicated. OK. Um, just avoid the following. We can still hang out. I don't deserve you yet. I need more "me time" before we can have "we time". And my personal favorite, "It's not you. It's me." And whatever you do, do not start a conversation with "we need to talk". Other then that, you'll do fine.
(She takes a sip of water.)
[Scene: Franklin house. Living room. Prue is sitting on the couch. Mr. Franklin is holding a picture of Max, Mr. Franklin, and Mrs. Franklin.]
Mr. Franklin: Then they h*t me and I passed out. (He sits in an armchair and puts the picture down.) I've been going out of my mind crazy ever since last night. Should I go to the police? Should I do what they say? They promised to bring him back, but after what the police said happened this morning, I
I don't even know if he's alright.
Prue: No. I know that Max is OK right now. If he wasn't, he couldn't have sent me that last message.
Mr. Franklin: So I take it you're a
a witch too huh?
Prue: Is that what your son says he is?
Mr. Franklin: It's what Paulette, my wife, says he is. It's what she was. You know, it would have been a hell of a lot easier to handle her family secret had it been revealed a lot sooner.
Prue: Maybe she was afraid of how you would react. Maybe she was afraid that you might not accept her or love her.
Mr. Franklin: Speaking from personal experience?
Prue: Yes I am.
Mr. Franklin: Well, when Paulette, she had to tell me, she was running out of time. She passed away 3 months ago. Then suddenly, Max, he starts having this power. I don't have a clue what to tell him what it all means. And he uses it and he nearly gets busted at an arcade and now this.
Prue: I'm sure that Max
Mr. Franklin: Do you have any children?
Prue: No, but
Mr. Franklin: Then you possibly couldn't understand what I'm feeling.
Prue: Still. I'm sorry
about what happened to Max and your wife, but if you could just find a way. Forgive her.
Mr. Franklin: Forgive her. She shouldn't have told me. Maybe if she had I would have been better able to protect Max.
Prue: Do you know of anybody who owns an auto shop of any kind?
(Mr. Franklin shakes his head.)
Mr. Franklin: Why?
Prue: I think your son was trying to send me a clue.
Mr. Franklin: No I-I
although I think Max's friend, Danny, his brother work at one over in Oakland.
Prue: Is Danny the friend that broke into the arcade with Max? (Mr. Franklin's eyes widen.) Got an address?
[Scene: Auto shop. Max is trying to get free. Prue appears in the doorway.]
Prue: Max?
Max: Who there?
(As Prue talks, she goes to Max and tries to help get him free.)
Prue: My name is Prue. I'm here to take you home?
Max: But how'd you find me?
Prue: I had a little chat with your friend Danny. Look, you're dad, he's waiting for you.
Max: You know my dad?
Prue: Yeah, he
(Mickey appears in the doorway. Prue stands up.)
Mickey: Hey. Who the hell are you? (Prue uses her power to push him back.) Aah!
(He hits the tire bend. And falls to the floor. Max looks at Prue with wide eyes. David enters. Prue uses her power to push him back too. He hits the tire bend and falls to the floor. Prue helps Max up.)
Prue: Come on. We need to hurry.
Max: You have powers?
Prue: Yeah. I'll explain them to you in the car, OK?
Max: I can't leave. They'll k*ll my dad if I do.
(Mickey comes up and hits Prue in. Prue is knocked to the floor unconscious.)
Commercial break
[Scene: Auto shop. Prue is tied up next to Max. Mickey shakes Prue.]
Mickey: Hey. Naptime's over. Wake up. (Prue wakes up.) I got a little surprise for you.
Prue: Max, are you OK?
(Max shakes his head.)
Mickey: He's fine.
Prue: Look, don't worry
Mickey: (hits Prue on the shoulder.) I said he's fine! Now before you go trying to pull any of that magical, uh, hocus pocus crap again, I wanna show you something. (He pulls out a little trigger with a red button on it.)
Prue: What is it?
Mickey: All that matters is what happens when I flick that little switch. Now I flick that little switch, and Max here takes a nap. A long one.
David: Mickey, why don't
Mickey: Shut up! (Mickey goes over to Max and kneels down beside him. David leaves. Mickey show Prue a b*mb attached to Max's waist.) Plastic expl*sives. Little trick I picked up in Corcoran. Prison system's very educational.
Prue: Mickey, he's just a child. He's already proven that he's not going anywhere. If you're going to wire anyone. Wire me.
Mickey: What is it with the two of you? What are you, like magicians or freaks of natures? Aliens? What?
Prue: Witches. (Mickey laughs and leaves the room.) You OK?
Max: I'm scared.
Prue: I know. Just uh, do as they say and everything will be fine. They need you, remember?
Max: I'm sorry I got you into this. Sorry I have these stupid powers.
Prue: No Max. Don't ever be sorry about that. It's a gift. It's like being a, uh, musician or athlete.
Max: It's a pain. I'm a freak. My dad hates it too. He hates me.
Prue: No. No, he doesn't. He just doesn't understand it, that's all. It's new to him too. Don't worry Max. I won't let anything happen to you. I promise. OK?
Max: OK.
Prue: OK.
(They both smile.)
[Cut to other room inside the auto shop where David and Mickey are discussing the plan.]
David: You really think it's necessary? Wiring the kid like that?
Mickey: You saw what that chick did. Pretty cool actually. Might come in handy tonight. It's the only reason she's still breathing.
[Scene: Quake. Piper comes out of the kitchen and go towards Leo.]
Piper: Sorry. Small mutiny in the kitchen. (She sits down.) Where were we?
Leo: Piper there's something I need to tell you.
Piper: Yeah?
Leo: Uh, look. Forgive me, but I could be summoned at any moment, so I have to tell you this now. I can't
I can't, uh
I can't believe how much I missed you.
Piper: Well Leo, I missed you too, but what do you mean "summoned"? Summoned where?
(Harry comes out of the kitchen and stands by the door.)
Harry: Hey, uh
Piper. No respect I can live with, OK, but where the hell is my coriander?
(He goes back into the kitchen.)
Piper: OK. That's it. I'm ending this now.
(Piper gets up and heads towards the kitchen. Phoebe enters.)
Phoebe: Oh my gosh. You know.
Piper: Of course I know. The whole restaurant knows. Didn't you hear him scream across the room?
Phoebe: (To Leo.) I thought it was a secret.
Leo: Phoebe
Piper: I wish. It will probably be in the newspaper tomorrow.
Phoebe: No. It can't be. Look Piper, he never meant to hurt you.
Piper: Phoebe, please. You haven't even meet the manic yet. What's gotten into you?
(Piper goes into the kitchen. Phoebe looks questionably at Leo.)
Leo: She's talking about the new chef.
Phoebe: Oh, right. So does that mean she took your news well?
Leo: That means she doesn't know. I can't tell her Phoebe. I can't stand to think about it, much less, talk about it.
Phoebe: Well, here's something else you might not want to think about. Piper said that Prue had everything under control. Well, I can't find her.
[Scene: Police Station. Andy is at his desk. Darryl comes in with a picture of Mickey.]
Darryl: Say hello. Mickey Jackson. Security cameras digitally enhanced for your viewing pleasure.
(He hands Andy the photo from the security camera.)
Andy: Jackson's a convicted bank robber. What's he doing breaking into a microchip plant?
Darryl: And stealing squad. Good question.
Andy: A better one would be how he broke into the plant in the first place. (Darryl sits in a chair in front of Andy's desk.) High tech's not exactly his style.
Darryl: Mmm. Unless this was just a dry run. Maybe Mickey's looking to do big and better things.
Andy: Like another bank?
Darryl: Mmm. Like a big bank. It's a leap. I know.
Andy: Agreed. But why the kid? How's he fit into this? (Darryl shakes his head. Andy's phone rings.) Trudeau.
Phoebe: Hey Andy. It's Phoebe.
[Cut to Manor. Phoebe's on the phone and Leo is sitting on the couch.]
Phoebe: Have you seen Prue since this morning?
[Cut to Police Station.]
Andy: No. As a matter of fact, I was about to ask you the same question.
[Cut to Manor.]
Phoebe: Really? Why?
[Cut to Police Station.]
Andy: Because I think she knows something about a boy named Max.
[Cut to Manor.]
Andy: Do you?
Phoebe: Uh. Ooh. Oh. That's my call waiting. Gotta go. Could be Prue. Bye. (She hangs up and goes to Leo.) Uh
anything?
Leo: No. I can't reach either Max or Prue telepathically.
Phoebe: Does that mean they're in trouble?
(Piper enters.)
Piper: Who's in trouble?
Phoebe: Oh. The 49ers. No secondary. They need a really good draft pick next year. Well I'm gonna go into the kitchen and see if I can get in touch with Prue. (To Leo.) Carry on.
(She leaves. Piper walks towards Leo and takes off her coat and sits by Leo while saying this.)
Piper: Alone. Finally. Don't have to worry about any more interruptions from Harry. He, uh, quit. (She goes to hug Leo and he draws away from her.) OK. Not the enthusiastic response I was hopping for.
Leo: Look, uh, Piper, I've been searching all day for an easy way to tell you this.
Piper: Oh. Uh. (She freezes him.) Phoebe. Phoebe, I know you're not in the kitchen.
(Phoebe comes into the living room)
Phoebe: That is so weird. I was just on my way back.
Piper: Is Leo about to tell me he doesn't want to see me anymore?
(Phoebe sits next to Piper. She looks over at Leo and sees he's frozen.)
Phoebe: You'll have to ask him.
(She leaves. Piper turns back to Leo. Time unfreezes.)
Leo: And that's the problem. I fell in love with you and I shouldn't have.
Piper: You're married.
Leo: No.
Piper: Engaged.
Leo: Um
I'm involved. But it's not
the way you think. The truth is that I lead you on and made you believe that I was coming back.
Piper: Leo, you are back.
Leo: Yeah, but I
I have to leave again. Now, and
and it's not because I want to, though. It's because I have to. I'm sorry.
Piper: That's OK.
Leo: It is?
Piper: Yeah. I mean Leo, you're a nice guy and I like you a lot, but let's face it. You're, uh, geographically undesirable. I mean, you said you live really far away right?
Leo: Yeah. Pretty far.
Piper: Well I try never to get involved with guys I can't see regularly. So, don't feel bad. I mean, I understand. Really, I do.
(Piper kisses Leo and leaves. Phoebe enters.)
Phoebe: So how'd she take it?
Leo: Not bad. (The white lighters call Leo.) Oh. Um. Excuse me, but I have to go. (He grabs his coat and heads towards the door.)
Phoebe: Leo, whatwhwhere you going?
Leo: (Stopping at the doorway.) I uh, have to leave. Now.
(He leaves.)
[Scene: Auto shop. Mickey is in a van preparing for the robbery. David walks over to him with the blue prints.]
David: So the thing is, once Max shorts out the alarm, we got like 3 minutes till the guard realize there's a signal interruption.
Mickey: Just make sure the kid knows what he's supposed to do. And keep an eye on that girl. I don't trust her.
[Cut to Prue and Max on the other side of the room.]
Max: Has anything like this ever happened to you before?
Prue: Uh
not exactly like this. Usually the demons that I have to deal with
Max: Demons?
Prue: Your mom didn't get to tell you much about being a witch did she?
Max: No. I just found out about my power when she died.
Prue: You know, my mom died when I was young too. I know how much it hurts, and it doesn't ever really go away. I didn't even know that my power was coming. I had to figure it out all by myself, which means so can you. Especially with your dad's help.
Max: He'll never understand.
Prue: Max, you have to help him understand.
Max: You sound just like my mom.
Prue: Well, I care a lot about you too.
Max: I wish you could be my mom right now.
Prue: So, what is your power anyway?
Max: Mom called it psychokineses. It means I can move things I can't see.
(Mickey comes to them.)
Mickey: All right. Remember, just do everything I say. And uh, nobody gets hurt.
David: Let's roll.
(Mr. Franklin shows up.)
Mr. Franklin: Max?
Max: Dad. (Mickey and David point g*n at Mr. Franklin.)
Mr. Franklin: Hold it. Hold it. Don't sh**t. I'm unarmed. Nobody else knows you're here. I swear. I found you the same way she did. Through your brother.
Mickey: Your brother?
Prue: Gordan, they have him wired.
Mickey: Shut up.
Max: Dad?
Mr. Franklin: It's alright son. Look man. I'll give you anything else you want. Just
let me have my boy, please?
(Mickey lowers his g*n.)
Mickey: Alright David. Go, um, go put them in the van. Do it.
(David, Prue, and Max walk past Mr. Franklin.)
Mr. Franklin: My son. (David pushes him aside.) Max. Max. (Prue, Max, and David go in the van. As Mr. Franklin takes, Mickey loads the g*n.) Please man, let him go. I beg you. Please. He's my son. I beg you. Please.
(Mickey points the g*n at Mr. Franklin's chest.)
Mickey: Sorry. (He sh*ts him. Mr. Franklin falls down. Prue sees this. Max is burying his face in Prue's coat. Mickey closes the door. He gets in the front.) Drive.
(He looks at Prue. Prue looks at Mr. Franklin as the van drives away.)
Commercial break
[Scene: Street by bank. David parks on the side of the road. David turns around and looks at Max.]
David: Alright. It'll be just like this morning Max. (He shows Max the blueprints for the bank.) That's where the alarm panel is. You know the rest.
(Max looks at Mickey.)
Mickey: What are you looking at?
Max: What are you going to do with my dad?
Prue: Max, the sooner this is over, the sooner we can get to him. We need to hurry.
(Max looks at the map. He then uses his power to short out the alarms, open the gate, and open the vault.)
Max: OK.
Mickey: Out.
(Mickey and David pull on their bank robbers masks. They get out of the van and make Max and Prue come with them. They go in the bank and to the vault.)
David: We got 2 minutes.
Mickey: Alright. You get the cash. I'll watch them.
(David goes in the vault. Mickey watches him.)
Prue: Use your power.
(Max is confused. Prue uses her power to show him to use it on the b*mb on himself. Mickey looks at them. He grabs Max.)
Mickey: I don't want you two getting any ideas. (Max looks at Prue while Mickey looks at David. Prue nods. Max begins using his power on the b*mb.) What the hell are you doing?
(Max shorts out the b*mb. An alarm rings.)
Guard #1: At the vault!
(Two guards arrive on the scene. Mickey pushes Max away. Prue grabs him and holds him, making sure he doesn't get hurt.)
Guard #2: Hold it right there!
(David and Mickey get their g*n.)
Guard #1: Drop it!
(Prue uses her power to push the guards out of the way of the f*ring b*ll*ts. They stop.)
Mickey: Big mistake.
(Mickey pushes the button on the trigger. Nothing happens.)
Prue: Yeah. Right back at you. (She uses her power to push David and Mickey in the vault, closes it, and locks it.) Come on.
(They begin to leave.)
Max: Shouldn't we wait for the cops? Explain everything?
Prue: No. Look, we cannot explain without telling and you have to protect yourself by protecting your secret. We really need to get back to your dad, OK?
[Cut to Auto shop. Mr. Franklin is lying on the ground weakly. A light comes towards him. It begins to form a person.]
Mr. Franklin: Paulette?
(The light turns into Leo. Leo walks to him and kneels down.)
Leo: It's not time to be with your wife, Gordan. It's time to be with your son.
Mr. Franklin: But
(Leo puts his hand over Mr. Franklin's wound and heals him. He takes his hand away.)
Leo: Raise the boy well. Heed Prue's advice.
(Leo orbs away. The van comes in. Max and Prue get out.)
Max: Dad, you OK?
Mr. Franklin: Max. (Max gets up and hugs his son.) Oh. Ooh. I'm fine Max. Thank you God. Thank you. Thank you. Ooh. You're alright.
Prue: But I saw you get
you're not bleeding.
Mr. Franklin: It's a miracle. Thank you
thank you for protecting my son.
Prue: I'm just glad it all worked out. Raise the boy well. (Mr. Franklin looks at Prue strangely.) What?
Mr. Franklin: There's somewhere we need to go. (To Prue.) I'd like you to come with us.
[Scene: Cemetery. It's morning. Max and Mr. Franklin put two pink rose with ribbons by Paulette's grave. Prue is standing behind them.]
Mr. Franklin: I was so busy being angry at your mother for leaving, for not telling me her secret, your secret
it was like a
a weight on my heart. I hope you both can forgive me.
(Max hugs his dad.)
[Scene: Manor. Attic. A toy train goes across the floor. Phoebe picks it up. Piper is carrying a box of toys behind her. They go to a little table. Phoebe sits down. Piper puts the box down.]
Prue: Can you believe that? Dad's old train.
Piper: I can't believe you. You get mad at me for chasing monsters on my own.
Prue: Well, I figured I could handle it when I realized they weren't demons, but I probably should have asked for help.
Phoebe: Even though that k*lled you, and it almost did.
Prue: Live and learn.
Piper: Yeah, you didn't even get to say good-bye to Leo.
Phoebe: What is that supposed to mean?
Piper: I don't know. It's just weird. I felt like
he was holding something back form me.
Prue: Holding something back? What do you mean?
Piper: Who knows? It just seems like he wasn't telling me the whole story. Like
he had some secret he was afraid I couldn't handle.
Phoebe: Well that's his call
(Prue and Piper give her the "what" look.)
uh, assuming that he had a secret. Might not of.
Piper: What are you talking about?
Phoebe: OK. OK. You don't have to b*at it out of me. Leo is a white-lighter. They're sort of guardian angels for witches. And they're not supposed to get involved with witches. But Leo couldn't help it. He fell in love with you and that broke all the rules and got him in all sorts of trouble. And even though he'll love you forever, you will probably never see him again.
(Prue and Piper begin laughing.)
Piper: What? Phoebe, that's
that's the most ridiculous thing I've ever heard. Oh god. Don't be so silly. (Piper tosses Phoebe a doll.)
Phoebe: That's me. Silly.
Piper: I gotta go get some more tea.
(She leaves)
Prue: Yeah. You know, Pheebs. With an imagination like that, you should be writing children's books or something.
Phoebe: No. But I didn't
I didn't
even think of that. That's a really good idea Prue.
(Phoebe moves the toy train to the box of toys going.)
Prue: Oh. Oh. (Prue grabs the toy train.) That stays here.
Phoebe: Wait. I thought all of the toys were going to the salvation army.
Prue: Well, like you said. We should save some for our children.
Phoebe: Do I scene a hormonal shift here?
Prue: It's no big deal. I just had some time to think.
Phoebe: Yeah. In all that spare time of yours.
Prue: And I realize that I do want kids. I think that I'd make a great mom.
Phoebe: So, did you save Max or did Max save you?
(Prue doesn't answer. Phoebe picks up the box and leaves.)
End | {"type": "series", "show": "Charmed", "episode": "01x14 - Secrets and Guys"} | foreverdreaming |
Written by: Chris Levinson & Zack Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. There's a small earthquake. It stops and Prue, Piper and Phoebe come down the stairs.]
Phoebe: Oh god. Not another after shock.
Prue: Yeah, well, at least they're getting smaller. What was the main one? 4.3?
Piper: The radio said 4.5.
Phoebe: There you go Grams. (She straightens up a picture of Grams.) Earthquakes give me the jeebies.
Prue: Would that be the Phoebe Jeebies?
Phoebe: Oh, you know. It's the comedy stylings of Prue Halliwell.
Piper: You're the only Halliwell that actually likes earthquakes.
Prue: I don't like them, but I don't go running through the house naked screaming "run for your life" either.
Phoebe: Okay. That is such an exaggeration. I was wearing slippers.
(They walk into the kitchen.)
Prue: Okay, okay, okay. Does anybody smell that?
Piper: Yeah, uh, I caught a whiff of it first thing this morning. I think it's coming from the basement.
Prue: Gas leak?
Piper: I don't know. I called someone to come out a check. They should be here any ... (Doorbell rings) Now. I'll get it.
(She goes to get it.)
Prue: We're never gonna pull this off.
Phoebe: Everything's going to be fine.
Prue: Yeah, until the house blows up. Look, this Bucklands VIP specifically requested for the dinner party to be here. Now, Claire may have prodded me into agreeing, but the point is I did agree, and, and...
Phoebe: Nothing has changed. Piper's gonna cook a feast. I will serve with grace. And Claire will kiss your ass
(Piper clears her throat as she enters the room with the gas man) Trinomial talents.
Gas man: Morning ladies. Wow. That's the smell? (Phoebe nods.) Doesn't really smell like gas.
Prue: Yeah, but if it is, we can't light the stove. No stove. No dinner.
Piper: Relax. If we have to, I could have it cooked at the restaurant and brought here.
Gas man: Well, let me check it out and see what's up.
Piper: Great thanks. The basement is thataway.
Gas man: Okay.
(The gas man walks into the basement.)
Piper: Look Phoebe. He's going into the basement, alone.
Phoebe: Don't even start.
Prue: Yeah. What if, dare I say it, the boogyman gets him.
Piper: I believe Phoebe pronounced it Woggyman, or was that just the buckteeth?
Phoebe: Okay. I was five years old you guys.
Prue: Oh, so, what, now you're over it, which is why you haven't been down there in what? Eighteen years?
Phoebe: Okay, you guys were not there. It was real, it was ...
Piper: A story. Grams told you she got rid of the Woogyman in the basement so you could sleep better.
[Cut to the basement. The gas man is looking around. The light goes out and he turns on his flashlight. He sees a crack in the ground and kneels down to get a closer look. He grabs his screwdriver and sticks it in the crack. Black fog or smoke rises out of the crack. It's the Woogyman.]
Gas man: What the ... ?
(The Woogyman enters his body and the gas man becomes evil.)
[Cut back to the kitchen. Piper's holding the mail.]
Piper: Who's Chanda Lier?
Phoebe: Oh, there for me. I ordered some CD's.
Piper: Using a fake name to score some free CD's. Isn't that a little dishonest?
Prue: Is Phoebe's dark side rearing it's ugly head?
Phoebe: I do not have a dark side thank you very much. And just because I protect the innocent, doesn't mean I have to be innocent all the time.
Piper: Ooh, I don't know. Still believing in the Woogyman is pretty innocent. It's so cute too.
Prue: Yeah, well, you didn't think it was so cute when we were all sharing a room which kept you up all night.
Phoebe: It was scary and it was real.
(The gas man walks out of the basement.)
Piper: So? What's the verdict?
Gas man: Bad.
Prue: Bad as in destroy my entire dinner party or bad as in you can fix quickly, it'll just cost more than my entire education.
Gas man: By tonight there will be no more problems.
(He walks back in the basement.)
Prue: Okay, I'm off.
(She leaves the kitchen.)
Piper: Yeah, uh, I gotta go too. I'm going to the wine store. Here, for you. (She hands Phoebe the mail.)
Phoebe: Thanks.
[Cut to the basement.]
Gas man: (Talking to his shadow) Which one do you want?
Phoebe: (from the top of the stairs) Uh, I'll just be upstairs if you need me.
(The shadow points.)
Shadow: Phoebe.
(The gas man nods.)
Opening Credits
[Scene: Bucklands. Prue's office. She's picking things up off the floor. She straightens a picture on the wall with her powers. Claire enters.]
Claire: Little down on the left.
(Prue turns around.)
Prue: Thanks. (She walks over to it and straightens it.) Uh, so, was this your first quake?
Claire: And hopefully my last. I prefer my ceilings above me. Alright, this is the final guest list for tonight. All important clients to me, to Bucklands and therefore to you are at the top of the list.
(Claire hands her a sheet of paper.)
Prue: Professor Whittlesey, didn't she just buy the caulder?
Claire: Well, her family did and they can afford to buy much, much more. And for whatever reason she's fascinated with your house, your job is to keep her happy.
(Professor Whittlesey enters Prue's office.)
Professor Whittlesey: Excuse me Claire, I want to bring a guest if that's alright.
Claire: Of course. Prue, tonight's gonna be five plus one.
Professor: It's your home then.
Prue: Yeah.
Claire: Oh, oh, oh. Prue Halliwell, Professor Whittlesey.
Professor Whittlesey: I can't tell you how excited I am to spend and evening in a house with such history.
Prue: I understand you know a lot about the Halliwell history?
Professor Whittlesey: Well, I'm better versed in the house and structure than its inhabitants.
Claire: The Professor's tenured at Berkley.
Professor Whittlesey: Architectural history. As a matter of fact I use your house as an example in one of my lectures.
Prue: Really? Well, do you mention the leaky roof and the limited hot water?
Professor Whittlesey: Well, the original house that stood on that spot was a masterpiece. But it had to be rebuilt after the earthquake of 1906 when it was completely destroyed.
Prue: That's right around the time my Great Grandparents moved in.
Professor Whittlesey: Metaphysicists believe the land to be what they call a spiritual nexus.
Claire: But it's still standing after this mornings rumble. So, okay, gotta go, gotta go. See you at seven. Plus one.
(They leave. Prue picks up the phone and calls Piper on her cell phone.)
Piper: Hello.
Prue: Hey, how's my favourite sister?
[Cut to a wine store]
Piper: You want something, I know you do.
Prue: Look, my boss just told me it's plus one. I am so sorry.
Piper: Plus one? But I've already bought
Ohh, whatever, you owe me.
(She hangs up. She looks at her list and someone takes the last bottle of wine.) Excuse me, that's ...
Guy: Callara Jensen, '93. Last bottle.
Piper: Mine. Um, look, why don't you try this. (She picks up a different bottle of wine.) It's got a real brusque flavour, good nose, great vintage, it's probably better than the Callara.
Guy: I'm impressed. But why do you want it so bad?
Piper: Because it's got a great body. Look, I'm making Cocoa Vin and I need that bottle more than you do.
Guy: Look, I'm sorry, but I've already been to three wine stores, lunch break is long over and I was told that this was the bottle to get.
Piper: Told?
Guy: Well, the woman who recommended this grew up in a vine yard and she does know how to choose wine.
Piper: Yeah, well I grew up in a house with two sisters and I know how to do this. (She freezes him.) I can't. I can't use my powers for personal gain. But but, it's not really personal gain exactly. Uh, damn! You can keep the wine. (She leaves and the guy unfreezes.)
Commercial Break
[Scene: Halliwell Manor. Phoebe walks down the stairs.]
Gas man: (from the basement.) Help me! Help me!
(Phoebe runs to the kitchen.)
Phoebe: Where are you?
Gas man: Please help me!
Pheobe: Uh, what's wrong?
Gas man: I-I fell. I think I might of sprained something, my ankle. I could really use a hand down here.
Pheobe: (to herself.) Right, a hand. I'm, okay. (out loud) Um, I'm coming.
(Pheobe touches a picture on the wall and has a premonition. In it Grams is standing at the top of the stairs
Little Phoebe: Grams?
Grams: Go back to bed honey. Go on.
(The premonition finishes.)
Phoebe: The Woogyman. (to gas man.) Uh, you know, I think I'm gonna just call somebody for help.
Gas man: No, please. I need your help.
Phoebe: Okay. (She starts walking down the stairs.) Hello? Where are you? (He appears behind her. She quickly turns around.) I thought you said you were
(She turns around and sees the Woogyman floating out of the crack.) No. I'm a good witch. You can't take me.
(The Woogyman floats inside Phoebe and she becomes evil.)
[Cut to the doorway. Piper is trying to open the door and has a handful of groceries.]
Piper: Don't worry. I can handle it all myself. It's me, the culinary pachyderm. (As she walks inside, she gets an electric shock from the door.) Phoebe! Maybe we should call someone to check the electricity too. (Kit runs past Piper and out the door.) Kit? Hey! Pheebs? (She carries the groceries into the kitchen. The gas man stands behind Piper and when she turns around she gets a fright.) God! You scared me. Is everything okay with the house.
Gas man: It will be.
Piper: Good. Could I get E.T.A.? because I'm gonna have one very stressed out sister. Have you seen my sister? (He grabs Piper and holds her hands together.) Hey! Phoebe! (He tries to reach for a carving fork.) Pheobe! (Phoebe runs out of the basement and a baseball bat suddenly appears in her hand. She hits the guy over the head and knocks him unconscious.) Phoebe, he just
.
Phoebe: It's okay, it's okay.
Piper: I thought he was gonna k*ll me. I didn't even have a chance to freeze him. Where'd you get the bat?
Phoebe: I don't know, it just sort of appeared.
Piper: What do you mean it appeared? Like you opened a closet and found it? Or appeared like you thought bat and there it was?
Pheobe: Yeah, door number two. I can't explain it, but something weird happened to me down in the...
Piper: What? Phoebe, spill. How'd you make the bat materialize?
Phoebe: Safety first, witchcraft later. We gotta call 911.
[Scene: Later, outside manor. The police and ambulance are there]
Andy: This doesn't track.
Morris: What's that?
Andy: I just got background on the gas man. He doesn't have a record, not even a parking ticket. A family man, church volunteer, Little League coach.
Darryl: When good coaches go bad, it makes me go by.
(Prue walks up to them.)
Prue: Andy, what's going on?
Andy: Everything's fine. There was an incident a moment ago when the gas man was checking your house. Got a little rough with Piper. (Prue goes inside. She gets an electric shock when she walks through the door. She goes in the living room.)
Prue: Hey, Piper. Are you okay? Are you hurt?
Piper: No, forget it. I'm-I'm fine. He att*cked me and then Phoebe stopped him. Go on show her.
Phoebe: I told you, I can't do it now.
Prue: Do what?
Piper: Phoebe has a new power. She thinks of something and "poof" it appears.
Phoebe: I just did it once.
Piper: And it saved my life. I would think that you would be thrilled. You've always wanted am active power.
Phoebe: Whatever.
Prue: Wait a second, time out. Our powers are supposed to progress, not grow at random. And if it did grow, I would think it would be premonitionerick. I smell the Book of Shadows. Did you do something?
Phoebe: Okay, I just saved Piper's ass. Where were you?
Piper: Phoebe
Phoebe: Prue's just pissy because this time she didn't get to play Wonderwoman. I'm not in the mood to soothe your ego. (She leaves.)
Prue: Well, tonight's gonna be fun.
Piper: She'll be fine. Everything will be fine.
[Cut to the basement. Phoebe's walking down the stairs.]
Phoebe: (to the Woogyman.) Thanks for my new power.
Woogyman: You must not fail me again. You must use powers against your sisters.
Phoebe: Please don't make me do this. I don't want to hurt them.
Woogyman: Phoebe, you are not strong enough to fight me.
Commercial Break
[Scene: Halliwell Manor. Basement. Phoebe's sitting on a chair filing her nails.]
Woogyman: It is almost time. Use your powers.
[Cut to the kitchen. Piper goes to turn on the blender but gets an electric shock.]
Piper: Ahh!
(Prue enters the kitchen.)
Prue: There is larva water spewing from the shower heads. Did you turn off the water heater again?
Piper: No. No, I
(She goes to turn on the food processor and she gets an electric shock.) Ow! Alright, the earthquake must of messed up the wiring or something. Try cooking a feast when your own kitchen is attacking you.
Prue: Just relax. We still have an hour before
(The door bell rings. Piper looks at her watch.)
Piper: It's 7.00. How can that be? The-the-the clock on the microwave says
(The clock on the microwave is flashing.)
Prue: Something weird is going on.
(Phoebe walks out of the basement.)
Phoebe: Is anyone going to answer that?
Piper: Phoebe?
Prue: Wait, am seeing things? Or did you just come from the basement? Wait what about the Woogyman?
Phoebe: It's just a story remember. (to Prue) You should probably finish getting ready.
[Cut to the foyer. Phoebe opens the door. Professor Whittlesey, Claire and Josh stand there.]
Phoebe: Welcome to Halliwell Manor. My name is Phoebe. I'll be your cruise director for this evening.
[Cut back to the kitchen.]
Piper: (to herself.) Everything is fine. This is fine. (She pours flour into a measuring cup and misses.) This is utter disaster. I am a good person. What did I do to deserve this?
(She buries her face in her hands. The guy Piper met at the wine store enters.)
Josh: Prue told me to give this to the chef. (He's holding a bottle of wine.)
Piper: You!
Josh: Most people call me Josh. I uh, wow, I work for Professor Whittlesey.
Piper: You're the plus one.
Josh: Last bottle. Uh, you have flour on your
right
uh
(Piper tries to wipe the flour off her face but misses half of it.) Perfect. (Josh leaves as Phoebe enters.)
Phoebe: Are you planning on feeding the people in the living room?
Piper: Of course. Um, I've got
what have I got?
Phoebe: What's in there? (She walks over to a large roasting pan.)
Piper: Duck medallion. But no, no. That's supposed to be part of dinner. Okay, now I guess it's an appetizer. Okay, go, go. Mingle. Mingle, mingle.
[Cut to the living room.]
Professor Whittlesey: The manor's been beautiful restored, really quite magnificent. (Prue enters the living room.)
Claire: Prue, there you are.
(Phoebe enters with the duck medallion.)
Claire: Well, what do we have here?
Phoebe: Duck medallion. (She lifts the lid and a real duck is under it.) Sans medallions. (Everyone laughs.)
Prue: That's my sister, the magician. Usually it's a dove or a rabbit.
[Cut to the kitchen.]
Piper: Lightly simmering. (She turns on the stove and big flames appear.) Okay, okay. Sabotaged, I am being sabotaged. (Phoebe enters the kitchen.)
Phoebe: What seems to be the problem?
Piper: There is something terribly wrong with the house. (Brown, dirty water squirts up out of the drain in the sink.) Oh my God, oh my God, call the plumber. (When Piper turns her back, a Kn*fe appears in Phoebe's hand.) This is a complete and total disaster. (Phoebe stands right behind Piper.) Someone just k*ll me now and spare me the agony of clean up.
Phoebe: Ask and you shall receive.
(Josh enters and Phoebe's Kn*fe disappears.)
Josh: Everything alright in here? (He sees the mess.) Do people pay you to do this?
Piper: Phoebe could you please escort Mr. Congeniality out of here please, now. And get Prue, tell her it's and emergency.
[Cut to Prue and Prof. Whittlesey.]
Professsor Whittlesey: There's no other house in the city quite like yours.
Prue: Because of its architecture?
Professor Whittlesey: Because of its location.
Prue: Right, you mentioned that Something about some sort of spiritual
Professsor Whittlesey: Nexus. It's mythology really, but it's believed that when a geographical point is equal distance to the five spiritual elements, it's a place of great power. (The lights flicker on and off.)
Prue: Power failure. Um, I don't know what's going on but I apologize for any inconvenience.
(Phoebe walks up to them.)
Phoebe: Prue , Piper needs you in the kitchen. Oh, don't worry I'll take very good care of your guests. (Prue walks to the kitchen. You came to see the house. Would you like to see the grand tour.
Professor Whittlesey: Mmm, hmm.
[Cut to the kitchen. Piper is on the floor throwing a little tantrum. Prue walks in.]
Prue: Okay, aren't you the same girl who said and I quote "everything will be fine"? (Prue helps her up off the floor.)
Piper: Yep.
Prue: And?
Piper: It's hot. I don't know what it is but it's like the house is possessed.
Prue: No, no, no. It is Phoebe and her new powers.
Piper: Look, I know she's been acting really weird lately but she wanted
I would argue if I could think of another option.
(Claire enters.)
Claire: Uh, Prue? (The duck walks past her. She jumps.) Aahh! May I speak to you for a second?
Prue: Yes, I'll be out in one second, Claire. (Claire leaves.) What do we do?
Piper: I-I don't know. But I can't cook this meal, not in this kitchen. And-and it's too late to get it from Quake.
Prue: Okay, um, let's just end it now before it gets any worse. Be my wingman?
Piper: Mmm hmm.
(They walk out of the kitchen. Professsor Whittlesey and Phoebe walk in.)
Professor Whittlesey: Really, I don't need to see the basement.
Phoebe: Are you kidding? It's the best part of the house. After you.
(They walk in to the basement.)
[Cut to the foyer.]
Claire: Well, as hostess, it's sometimes helpful to be present at the party.
Prue: Uh, Claire, I am so sorry but I'm gonna have to cut this evening short.
Piper: We're experiencing some technical difficulties.
Claire: What! Do you realize what you're doing?
Prue: Yes, and I think I'm doing it just in time.
Piper: There is a table waiting for all of you at Quake, on the house.
Prue: There is?
Piper: (quietly) There will be. Where's Phoebe?
Josh: I think she's giving the professor a
(The professor appears.)
Professor Whittlesey: Tour. She showed me the bedrooms, the solarium, I found the basement particularly intriguing
Prue: Beth, are you okay?
Professor Whittlesey: Fine.
Prue: Okay, dinner has been changed. We're having it somewhere else, okay?
Claire: Oh, Professor, I'm sorry you didn't get to spend more time in the house.
Professor Whittlesey: My time was well spent.
(They walk outside.)
Claire: (to Prue.) I'm looking forward to hearing your explanation for tonight's event. Need a ride?
Prue: I just have to tie up a few loose ends here. I'll try to make it.
Claire: Try hard. (They leave.)
Piper: Now what?
Prue: Interrogation.
(Phoebe stands at the doorway.)
Phoebe: Are you looking for me?
Prue: Why are you doing this?
Phoebe: Because he asked me to.
Piper: Who asked you to?
Prue: Okay, that is it. (She walks up the stairs.) We need to
As she gets to the doorway the electricity prevents her from entering and she flies backwards when she touches it. She lands on the grass.)
Piper: Oh, Prue. Are you okay? Phoebe, what's wrong with you? Why won't you let us in.
Phoebe: No, you can't, you shouldn't. You don't live here anymore! (In a demonic voice.) She does. (She closes the door.)
Commercial Break
[Scene: Outside manor. It's morning. Prue and Piper are sitting on the step.]
Prue: (Missed a bit.) If our powers can't get us into the house, what can?
(Piper stands up and grabs a brick. She throws it at the window but the electricity prevents it from breaking.)
Piper: That helped.
Prue: You know, yesterday I got shocked when I walked through the front door.
Piper: Me too. Do you think that's when all this started.
Prue: Define this. Our house has turned against us and so has our sister.
Piper: This is more than just Phoebe. She said that he told her to do this. So, who is he and what does he want with Phoebe?
Prue: Maybe that's the problem, we've been focusing on Phoebe. Maybe that's not the point.
Piper: Than what is?
Prue: Location. Whatever has the house, has her too. And it's not letting us in for a reason.
Piper: And we can't get to the Book of Shadows to find out what it is. So we know nothing.
Prue: Yes we do. There's someone that knows the house better than we do. Come on.
[Cut to inside. Phoebe's dialing the phone and as she walks from room to room, the wallpaper falls of the walls and the window's glass break.]
Phoebe: Yes, I would like a pizza delivered to my home. Well, whenever you do open then. I don't care what you put on the thing. Just make sure someone delivers it. 1329 Prescott St. I'll be waiting.
[Scene. Outside a University. The police are taking Professor Whittlesey away.]
Piper: Hey, what happened?
Josh: Uh, I don't know. Professor Whittlesey had just g*n her seminar and she turned and started choking me. If one of her students hadn't pulled her off
Piper: Oh my God, are you okay?
Josh: Yeah, I just uh, don't know why she snapped like that.
Prue: Okay. Josh do you know anything about what she said to Claire? Something about a spiritual nexus?
Josh: She brought that up? Wow, the professor usually doesn't go in for that metaphysical mythology.
Prue: Yeah, well, you know Claire when she gets her claws into something, she can't seem to forget about it.
Josh: You know, I've met people like that. (He looks at Piper.) A spiritual nexus is a point of incredible energy.
Prue: Equal distance from the five spiritual elements.
Josh: That's right. The place or thing that can persuade either way.
Piper: Either way?
Josh: Yeah, it could be a source of undeniable good or undeniable evil. Uh, look ladies, I'm gonna follow her and make sure she's okay. Feel free to browse around our office if you think it will help.
[Cut to the office. They're looking at maps.]
Prue: Okay, to find a way back in, we have to know what we're up against. The professor said that a true spiritual nexus is equal distance from the five elements. So, that's earth, f*re, water, wood and metal.
Piper: Okey-dokey. Equal distance. Here is the manor. Alright. (Prue puts a dot on it.) Uh, the Bay-water. (Prue puts a dot there.) Natural hot spring.
Prue: f*re. What about wood? That park that mum used to take us to. Kenwood.
Piper: Named after the type of tree that grew there when it was still a forest.
Prue: Okay, three out of five. Earth.
Piper: Twin Peaks. Highest point in the city.
Prue: And last but not least, metal.
Piper: Tiffany's.
Prue: Cute. Natural metal. Okay, fourth grade field trip we panned for gold. Where was that? (She points to a place and they put a dot on it. Prue joins the dots with a pen and it turns into a star.)
Piper: Our house was built in the centre of a pentagram.
Prue: Looks like it's not in a spiritual nexus, but a wiccan one as well. Which means it's a battle ground for good and evil.
Piper: And what happens when evil gets the house?
Prue: It spreads. We'd have to check the Book of Shadows to be sure, but I bet that there's a reason why our family built the house there. To reclaim the spot for good.
Piper: And now I'm thinking evil wants it back.
Prue: And it's taking Phoebe with it.
Commercial Break
[Scene: Outside Halliwell Manor. Darryl and Andy get out of their car.]
Darryl: Why's it feel like we live here?
(Across the road they see two neighbours fighting.)
Andy: Which one do you want?
Darryl: I'll take that one.
Andy: Meet you back here.
[Cut to the doorway. Phoebe opens the door.]
Phoebe: Hello, Inspector.
Andy: Phoebe. Hey, I stopped by to
Phoebe: Just in time. I think there might be a gas leak and I'm home all alone. Do you think you could look it over?
Andy: Sure.
(He walks inside.)
Phoebe: Down in the basement.
(The door closes by itself.)
[Cut to Morris. You see Prue and Piper get out of the car and walk over to him.]
Darryl: So, he came out of his house, walked over here and started throwing things?
Neighbour: No, not out of his house, out of the Halliwell's.
Darryl: Really?
Piper: Hey, Morris. Neighbourhood watch?
Darryl: Had a woman brought into the station house today. Wasn't feeling too well, spent last night at your house. Professor Beth Whittlesey.
Prue: Is she okay?
Darryl: Not at the moment. She's under observation.
(The neighbour pushes the other neighbour.)
Neighbour: Paul, what the hell's the matter with you?
Paul: Nothin'.
Darryl: I'm occupied right now. Andy would like to ask you a few questions.
(Prue and Piper walk over to the manor.)
Piper: Wait, if Andy is in the house and Paul was in the house, there must be a way for us to get in.
Prue: We better hope so otherwise there's no way to get to the Book of Shadows. (The door opens and Andy's there. Prue and Piper hide behind a bush.) Freeze them.
Piper: No, wait.
(Piper waits till he is in the middle of the door then freezes him.)
Prue: What was that?
Piper: The house is letting him out, right? This is the only second it's guard is down.
Prue: Good point.
Piper: Thank you.
(They walk inside and see Phoebe frozen.)
Prue: Oh my. She's frozen.
Piper: Good.
Prue: No, no, no. Remember our powers don't work on good witches.
Piper: Oh, that means she's ...
Prue: We've lost her. Let's go get her back. Run. (They run up the stairs. Andy and Phoebe unfreeze.)
[Cut back to outside. The two neighbours are yelling at each other. Morris is trying to stop them from fighting. Andy walks up to them.]
Darryl: Wanna give me a hand here, partner? (Andy gets out his g*n and goes to sh**t.) Whoa, whoa, whoa, Andy! (Darryl throws him on the ground and grabs his g*n.) What the hell was that?
Andy: Huh? I have no idea.
[Scene: Manor. Attic. Prue's looking through the Book of Shadows.]
Piper: Faster would be good.
Prue: There is nothing here. We don't even know what we're fighting.
Piper: Our sister.
Prue: No, it's more than that. Alright, when in doubt, start at the beginning. What happened first?
Piper: Gas man att*cked me.
Prue: Before that.
Piper: The earthquake, which is why the gas man was here to check the leak in the basement.
Prue: And before Professor Whittlesey freaked out she took her around the house including the basement.
Piper: Ohh.
Prue: Noises don't help.
Piper: The gas man said that's where Phoebe was. And we know she's been down there.
Prue: No, Piper, it was just a story.
Piper: Are you so sure? We've seen monsters and demons from the past and future. How can you be so sure that Phoebe's childhood monster isn't real?
Prue: The Woogyman in the basement?
Piper: Phoebe swore she saw something down there. And that's when Grams started telling us the story
Prue: Of how to destroy it.
Piper: And there was an earthquake that night too, remember? So maybe that's how it gets out.
Prue: We've been looking in the wrong place. How to vanquish the demon isn't in the Book of Shadows, it's in Grams' story.
Piper: So it wasn't a story, it was a spell?
Prue: Alright, the Woogyman is a real demon, so Phoebe was right. Now how did it go?
Piper: Uh, something about a Woogyman and Grams fought it.
Prue: That's it? That's all that you remember?
Piper: Well, don't you remember anything?
Prue: I-I-I remember that it was sort of like a rhyme, sounded like a children's song.
Piper: Well, we better figure it out fast or we're gonna have a whole lot
(Piper opens the attic door and Phoebe's there. Phoebe grabs her and pushes her outside. Phoebe walks in the attic and locks the door.) Prue! Prue!
(Piper bangs on the door. A long sword appears in Phoebe's hand.)
Phoebe: Any fantasies about how you want to die?
Prue: Phoebe, listen to me. This isn't you.
Phoebe: Give the girl a prize.
Piper: Prue!
Prue: Look, whoever is doing this hasn't completely beaten you, otherwise we would be d*ad by now.
Phoebe: Really?
Piper: Phoebe?
Prue: Phoebe, you are stronger than him.
Piper: I mean it! (She continues to bang on the door.)
Phoebe: No, I wasn't. That's why he chose me. (In a demonic voice.) But now I'm stronger than you.
(She gets ready to swing the sword and Prue uses her powers. Phoebe flies across the room. Prue opens the door and they run down the stairs. Piper opens the front door.)
Prue: Piper, where are you going?
Piper: It's not just Phoebe we're fighting, it's the house, it's everything.
Prue: Piper, don't! (Piper walks through the doorway and the electricity makes her fly through the air. She hits the ground hard.) Oh, God. Are you okay?
Piper: No, and neither are you. We're locked in this house and our sister's trying to k*ll us.
Commercial Break
[Scene: Manor.]
Prue: Alright, the answer must be in Grams' Woogyman story.
Piper: Which neither one of us remembers.
Prue: Well, we have to keep trying.
[Cut to the attic. Phoebe wakes up. She goes downstairs. She stops halfway when she hears Prue and Piper talking.]
Piper: There has to be a way out of here.
Prue: We have tried everything, Piper. Besides the only way to help Phoebe is from inside.
(Phoebe smiles and walks towards the basement.)
Piper: Help her? k*ll us, maybe.
Prue: Yeah, well we have to keep trying.
Phoebe: (From the basement.) Prue! Piper! Help me!
Prue: Do you think ...
Phoebe: Please, you gotta help me. Down in the basement.
Piper: Trap.
Prue: Yeah, well, what else can we do?
Piper: We can not go to the basement. I vote for that.
Prue: Grams must of thought that this evil might come back so that's why she told us the story.
Piper: Well, how do we remember the word? I never even believed in the Woogyman.
Prue: No, but Phoebe did. She knows the story by heart.
Piper: Something tells me she's not in the mood to share it.
Prue: Alright, we know that his source of power is in the basement. So, if we can weaken him, maybe we can weaken his hold on Phoebe just long enough for her to tell us the spell.
Piper: How do we do that? We don't even know what it is or how to fight it.
Phoebe: Help! Please, I need you.
(Prue and Piper walk in the kitchen.)
Prue: Okay. We have a choice. So, we're gonna need a
.
Piper: Light. (Prue gets a torch out of a drawer.) No. The light. Grams's story, remember? She said something about using it to guide you through the shadows. Or was it to the shadow?
Prue: That doesn't make sense, using a light to find the shadows? Shadows retreat from the light and they thrive from the darkness. Kind of like this.
Piper: Or in the basement. Maybe that's what we're fighting, Prue, a shadow.
Prue: Okay, let's fight it.
(They walk down the stairs.)
Piper: Phoebe?
Prue: Oh, there, see that? (She sees the Woogyman.)
Phoebe: (From the top of the stairs.) What took you so long?
(Prue closes the door with her power.)
Prue: Come on, we don't have a lot of time. Okay, uh, freeze it. (Piper tries to freeze it but it won't.)
Piper: It's not working. Can't you, uh
?
(Prue tries to use her power on it but nothing works.)
Prue: My power's not working on it either. (Phoebe pushes the door open.) Phoebe, you've got to listen to us.
Phoebe: You're in no position to tell me what to do. (She holds up a Kn*fe.)
Prue: Remember Grams' story? The one about the Woogyman? About the light?
Piper: Come on Phoebe, try.
Phoebe: I can't Don't make me. Don't like the basement.
Woogyman: It's no use. Your sister's evil now.
Prue: Come on, Phoebe. You've got to fight it. You're good. (Phoebe touches a picture on the wall and has the same premonition as before with Grams in it.) Phoebe, please, remember the story. What did Grams say?
Piper: Hurry, Phoebe, please.
Phoebe: I am light, I am one too strong to fight, return to dark where shadows dwell, you can not have this Halliwell.
Prue: Keep it going, Phoebe.
Phoebe: Go away and leave my site, and take with you this endless night.
(The Woogyman disappears back in the crack in the floor.)
[Scene: Josh's office. Piper knocks on his door.]
Piper: Anyone home?
Josh: Office hours aren't until five. (He looks up and sees Piper.) Piper, what are you doing here?
Piper: I just came over to see how you
Professor Whittlesey is doing.
Josh: She seems better. She hasn't choked anybody lately.
Piper: Good. So she's back to normal.
Josh: Yeah, although she's been censured for her behaviour. I have to sit for the university board, and for now it looks like I'm covering the classes.
Piper: Oh, that's too bad. I mean, I don't mean you. I mean
Josh: I know what you mean. Oh, by the way, I have something for you. (He gets a bottle of wine.)
Piper: Callara Jensen '93.
Josh: Battles have been waged over this wine.
Piper: Not today, I'm too tired. It's actually very nice.
Josh: Don't sound so surprised, you know I am capable of a kind act or two.
[Scene: Manor. Attic. Prue, Piper and Phoebe are cleaning up.]
Prue: So, Morris said that it was only a two week suspension.
Piper: It doesn't seem fair, it wasn't even Andy's fault.
Prue: Well, what were we gonna do? Plead shadows?
Piper: Anyway, everyone seems to be back to normal but that doesn't erase their actions.
Prue: Yeah, well, I wish it did, it could get me off Claire's bad side, if she has a good one.
Phoebe: I'm beginning to wonder if I have a good one. (Prue and Piper stare at her.) Well, I am. I mean not any more so than anyone else.
Prue: Yeah, well the important thing is the good side won out.
Phoebe: Yeah, but I must have been more susceptible than either one of you, otherwise he wouldn't of chosen me, right? Right?
Piper: You were the only one that was born in the house, that makes you more connected to it. That spiritual nexus thing.
Phoebe: That's exactly my point. I could go either way. Good or evil. Kinda freaky. I do have to tell you I am gonna miss that cool power though.
Piper: Um, if Grams put away the shadow and it came back
Prue: Means it can come back again. Okay, it's time. Every witch before us has added to the Book of Shadows. We need to warn who comes next. It's our turn.
Phoebe: Who should do it?
(Prue hands her a pen, they find a blank page in the book and she starts writing.)
End | {"type": "series", "show": "Charmed", "episode": "01x15 - Is There A Woogy In The House?"} | foreverdreaming |
Written By: Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: At a gym. Two guys are boxing in a boxing ring. Gabriel walks in. One of the boxer's brutally punches the other and the referee stops the fight.]
[Time lapse. Luther Stubbs is putting his stuff in a bag. Gabriel walks up to him.]
Gabriel: Luther Stubbs.
Stubbs: Yeah, who wants to know?
Gabriel: I'm a fan. I saw your bout in St. Louis three years ago. Bloodiest fight I've ever seen. Hear the boxer didn't even make it to the hospital. Died in the ring.
Stubbs: Yeah, well, you know. Everybody gotta go sometime.
Gabriel: I wanna know what it felt like to take another life with your own hands.
Stubbs: The guy didn't even cut me, man. Now move.
Gabriel: Not till I get what I came for.
Stubbs: And what might that be?
Gabriel: Your k*ller instinct.
(Gabriel gets his crystal sword out s*ab him. A bright light shines out of Luther's body and into Gabriel's sword.)
[Scene: Manor. Prue and Piper walk in the house through the front door.]
Piper: And since it's time for Quake's yearly inventory, I have to count everything in the restaurant down to the last wissel stick. It's gonna take days.
Prue: I guess that's why you get paid the medium sized bucks.
Piper: And which bucks would those be exactly?
(Prue notices a statue standing in the living room.)
Prue: Okay, okay, what's wrong with this picture?
Piper: Beside from me not getting paid enough.
Prue: No. What is grams' statue still doing in the living room?
Piper: We talked about it last night remember?
Prue: Yes, I do remember, and I thought that we agreed that it was an issore and she was going back to storage.
Piper: That is before I learned that storage down town is now 90 bucks a month and storage here is free. So, I called Phoebe and decided that she can stay here and last time I checked we were still living in a democracy.
Prue: Okay, but Piper, she's ugly.
Piper: Majority rules, sis. Unless, you can move her.
(Prue tries to move her with her power. She can't.)
Prue: Oohh... okay, okay, that didn't work.
Piper: It's solid marble. It took eight of Phoebe's bouncer friends to move it. It's too heavy for you.
Prue: You know, my powers are still growing and one day...
Piper: You can move it into the basement. But until then suffer.
Phoebe: (from other room) Eeyah!
Prue: Phoebe.
[Cut to the living room. Phoebe is kicking and punching a dummy.]
Prue: Phoebe?
Phoebe: Ooh, hi. I uh... I was just, uh...
Piper: Opening up a can of whoop ass.
Prue: Yeah, those are some serious moves. Where did you learn that?
Phoebe: Okay, I'm busted, I confess. I got tired of being the one in the family with the passive power, so I started taking up self defense classes which I've been putting on my new credit card.
Piper: And, uh, this thing?
Phoebe: Oh, that's Slam-man. Got him off an infomercial.
Prue: Great, another issore.
Phoebe: It's a total and complete martial arts training system. And with their easy instalment payment plan...
Piper: Which you also put on your new credit card.
Phoebe: He's gonna pay for himself the first time I kick ass on some unsuspected gnarly beast. Come on, wanna see some moves?
(Phoebe holds up her fists.)
Piper: No.
Phoebe: Come on. Come on. (Prue uses her powers and moves the dummy so it hits Phoebe.) You know that is so unfair.
Prue: Hey, demons do not play fair. (Phoebe gets Prue in an arm lock.) Okay, okay, okay, okay.
Phoebe: I didn't hear you say it.
Prue: Pheebs, let go.
(Phoebe has a premonition. Gabriel s*ab Prue with his crystal sword.)
Piper: Phoebe, what is it?
Prue: What did you see?
Phoebe: I saw you die.
Opening Credits
[Scene: Manor. Kitchen. Phoebe is sitting at the table drawing the sword she saw in her premonition. Piper walks in.]
Piper: Hi.
Phoebe: Hi.
Piper: (Pours herself a cup of coffee.) I'm gonna need a lot more of this.
Phoebe: You couldn't sleep either, huh?
Piper: No, I was up all night. I couldn't get that image of Prue getting k*lled out of my head. Is that the sword?
Phoebe: Yeah, I drew it from memory. Unfortunately, I can't find it in the Book of Shadows yet. I wish that thing had an index.
Piper: I wish you had a closer look at the k*ller's face.
Phoebe: Well, if somebody tries to impale my sister, they're gonna have to get through me.
(Prue walks in.)
Prue: Oh, good, coffee.
(She pours some in a cup.)
Phoebe: Uh, why are you dressed up?
Prue: Because they don't have casual day at Bucklands.
Piper: Wait, you promised you would stay home so we could figure this out.
Prue: Yeah, and then Claire called and she has a client that wants to put a major collection on the block and if we get this account it will be a serious screw for Bucklands.
Piper: Can't Claire get somebody else to do it?
Prue: Piper, I have worked so hard to get Claire to trust me with something like this, why should someone else get all the glory?
Phoebe: Take the master demon that wants you d*ad for a hundred, Bob.
Piper: I can't believe you would risk your life to impress your boss. You can not leave this house.
Prue: Okay, relax. Phoebe's had premonitions before and we've affected the outcome, right?
Phoebe: That's true, but...
Prue: And in your premonition it was man who k*lled me, well, I'm going to Bucklands to meet a female client and Claire will be with me every step of the way, besides now that you've warned me, I'll watch my back. I can handle this promise.
Piper: The promise that we want from you is that you'll come straight home from Bucklands.
Prue: Will it stop you from worrying?
(They sign with their fingers to show a little bit.)
[Scene: Bucklands. Prue and Claire are walking down the hallway.]
Claire: The client's in my office. Now remember what I told you on the phone.
Prue: This woman's family has more money than God and if we land this account, it could put Bucklands in the black for years.
(They stop outside Claire's office.)
Claire: Exactly. You ready?
Prue: Of course I am.
(They walk inside. The client is waiting there.)
Claire: Helena Statler. I would like you to meet Prue Halliwell. One of our best and brightest young specialists.
Helena: Best and brightest? That's quite an introduction.
Prue: Yes it is. Maybe I should get a raise?
Claire: Let's have a seat shall we?
Helena: Miss Halliwell, my brother and I hold an extensive collection of antiquities. If we were to retain your firm, you'd be cataloguing and praising and selling the finest pieces you'd seen in your career. Maybe your life.
Prue: Just what kind of collection are we talking about exactly?
Helena: The kind that occupies three buildings at Warehouse Flats. We have art and artefacts from every period and movement in history. From Egyptian mummies to Jasper Jonce. We would want a sample appraisal of course.
Claire: Oh, Prue will be there today if you like?
Prue: At the warehouse flats?
Helena: Is that a problem?
Prue: No. No, I'm sure that I can handle it.
[Scene: Quake. Piper's talking to an employee.]
Piper: Twelve potato ricers? What kind of restaurant needs twelve potato ricers? Just put them in the back with the box with the lemon ringers.
(He leaves. Phoebe walks up to her.)
Phoebe: I just called Bucklands and they said that Prue left the office for a meeting.
Piper: What? She promised she would go straight home.
Phoebe: Wait, it gets worse. I finally found the crystal sword in the Book of Shadows...
Piper: Shh...
Phoebe: It's the symbol of the Lord's of w*r. They're a clan of super natural warriors. They've been around since time began.
Piper: What do they want?
Phoebe: To start w*r. They started most of the major wars in history and once they're done in one place, they get reincarnated in some other part of the world and start all over again.
Piper: So, is he flesh and blood?
Phoebe: Yes, but the book says as long as they have their sword they're not only protected, they're immune to the w*apon of man.
Piper: So, we have this invulnerable guy running around with a sword who wants to start a w*r?
Phoebe: Well, the Lord's of w*r may be invulnerable but they do have a code of honour and when one of them is disgraced, he has to steal his abilities back.
Piper: So, what does this have to do with Prue?
Phoebe: One of the things he has to steal back is the magic of a first born witch. They're supposed to be the strongest.
(An employee comes up to Piper.)
Employee: Uh, Piper, where...?
Piper: Not now, not now. (He walks away.) Okay, I'll call the night shift manager, see if he can cover for me, you call Prue on her cell phone. We gotta find her. Quickly.
Commercial Break
[Scene: Warehouse Flats. Prue arrives in her car. She walks inside a dark building.]
Prue: Miss Statler? Miss Statler?
(Helena walks out from a dark croner.)
Helena: Hello, Miss Halliwell. (Prue's phone rings and she turns it off.) Oh, I'm sorry, I hope I didn't scare you.
Prue: No, I don't really scare that easily.
Helena: So, what do you think of our collection?
Prue: I think you have exquisite taste.
Helena: My brother and I have been collecting our entire lives. It's our binding passion.
Prue: Is this a Roman vessel?
Helena: Why don't you tell me?
Prue: I've never seen one in such good condition. The handles represent Venus and the relief detail scenes of Roman bass and Kara Koa. It probably dates back to 210 B.C. It's very rare and priceless.
Helena: Wow, Claire was right, you really are something. What can you tell me about this item?
(Prue walks over to a table. A pillory is on it.)
Prue: It's a pillory. The markings are constiant, so I say it dates back to the inquisition. (She puts her arms in the holes.) But it's missing a piece.
Helena: The victims arms were held in place by a bolt of restraint. (Steel rods sh*t across the top of the arm holes and traps her arms inside.) Prue Halliwell, my brother Gabriel.
(Gabriel walks in the room.)
Gabriel: I'd shake your hand but it's clearly otherwise engaged.
Prue: What are you doing?
Helena: k*lling a witch.
Gabriel: Your ancestor's power animated from her hands. No doubt yours does too.
Prue: My ancestor?
Helena: A witch named Brianna. You're not the only one that's done research. (Prue frees her hands by using her power and throws Miss Statler against the wall. She grabs an axe and hits Gabriel in the chest. It doesn't harm him. Prue runs outside and drives off in her car.) How did she do that?
Gabriel: She's not like her ancestor, she channels her power through her eyes, not her hands. I won't make that mistake again.
Helena: She knows about us now. We have to move fast to att*ck her at home.
Gabriel: No, home is where she has the power of three to protect her. We'll think of another way.
[Scene: Manor. Living room. Prue and Piper are there.]
Prue: I h*t Gabriel in the chest with an axe and he didn't even wink.
Piper: As long as he has his sword, he's immune to the w*apon of man. Which we could've told you if you hadn't turned off your cell phone.
Prue: Well, I got away and I'm fine.
(Phoebe comes down the stairs with the Book of Shadows.)
Phoebe: Okay, I found our ancestor Brianna. She was our great, great, great aunt. She could move things with her mind like Prue. Now, she disgraced Gabriel during the premium w*r, she used her power to take away his sword. I guess Gabriel is trying to earn his abilities back.
Prue: Great. So, some guy couldn't keep it in his sheath and now I'm marked for death.
Piper: Well, some men are very sensitive about their w*apon.
Phoebe: Lords of w*r and their w*apon and their w*apon are supposed to be inseparable like Thor and his hammer and I guess Brianna was able to send his sword hundreds of miles away.
Prue: Alright, sword I can move, but hundreds of miles away? I'm not that powerful.
Phoebe: I thought about that and I found this incantation. To multiply your strength, recite these words at length.
(Phoebe shows Prue a page in the Book.)
Prue: Alright, so all I have to do is say this incantation and I'll be stronger.
Phoebe: Hopefully strong enough to separate Gabriel and his sword.
Prue: Sounds like a plan to me.
Piper: Uh, time out. Bad idea.
Phoebe: Why, because it's mine?
Piper: No, because there might be a power of three solution to this.
Prue: Yeah, but the Book of Shadows doesn't say that. And besides it's me he's after not you and Phoebe.
Piper: Okay, okay, maybe we should lay low for a few days, you know, use up our sick days.
Prue: And wait for Gabriel to find us? And he might hurt one of you to get to me and I will not take that risk. (She stands up.)
Piper: Okay, Prue, but wait, okay wait, at least let us vote on this.
Prue: Alright. All in favour of me saying the incantation raise their hands. (Phoebe and Prue raise their hands.) Sorry sis, majority rules. (She goes upstairs.)
Piper: But Prue...
Prue: (to herself) "Take my powers blessed be, multiply their strength by three."
(Piper gives Phoebe a look.)
Phoebe: What?
Piper: You know what.
Phoebe: I'm sorry but I really don't have a problem with Prue saying the incantation.
Piper: The problem is we're in this together and together we're supposed to solve our problems.
Phoebe: And together we rely on the the Book of Shadows when we're in trouble. Think about it, Piper, what's the worst thing that could happen? (They hear thunder coming from the attic.)
Piper: What did I tell you? (They run up the stairs.)
[Cut to the attic. Prue is kneeling on the floor. There is a light swirling around her.]
Piper: Oh my God!
Phoebe: Oh my God!
(Prue multiplies. The three Prue's stand up.)
Phoebe: Prue?
All three Prue's: What?
Phoebe: Okay. (she counts) 1, 2, 3.
Commercial Break
[Scene: Manor. Phoebe and Piper are standing in front of the bathroom door.]
Phoebe: Hello? There are other people in this house that have styling needs too.
Piper: Is there a Prue in there also?
Phoebe: One of them, yes.
Piper: I'm gonna have to wash my hair in the kitchen sink if I want to get to work on time. Do you know which is the real Prue yet?
Phoebe: Oh, I don't know. It could be the upstairs bathroom hogging Prue, or the downstairs bathroom hogging Prue, or the sitting in the kitchen drinking all the coffee Prue.
(Prue comes out of the bathroom.)
Prue: Is there a problem?
Piper: Aside from you going off and casting a spell that's kept all our bathrooms busy for the past three hours. Nothing.
Prue: Don't blame me, I didn't cast the spell.
Phoebe: Great, you're a clone.
Prue: Well, no, I'm not exactly a clone, I mean I do have all of Prue's memories up until the time she cast the spell, so, in a lot of ways I am Prue.
Piper: Then it is your fault.
Prue: No, it's not, and neither is the lack of hot water.
(Prue walks away.)
Phoebe: Oh, you didn't. Geez.
Piper: This is ridiculous. This is like, this is like the 'Parent Trap' with a B cup.
Phoebe: I think I might've just found a way to take some of the Disney out of our life.
[Cut to the foyer. All three Prue's are there.]
Prue #1: You look great.
Prue #2: No, you look great.
Prue #3: Is my skirt tight enough?
Prue #2: Yes.
Prue #1: It's perfect.
(Phoebe and Piper come down the stairs.)
Phoebe: Okay, which one of you is the real Prue?
(They all raise their hands.)
Piper: Stop that.
Prue #1: I'm the real Prue.
Phoebe: Okay, then you get the black sweater.
(Phoebe hands her a sweater.)
Prue: Phoebe, what are you doing?
Phoebe: I'm colour coding. It's the only way we're gonna be able to tell the three of you apart. Okay, clone A gets the pink sweater...
(She hands it to her.)
Pink Prue: Thank you.
Phoebe: And B gets the blue one.
Blue Prue: Thanks.
Piper: Handy with the sweaters.
Phoebe: Thanks. But it's only a temporary solution.
Piper: And what about the spell?
Pink Prue: Oh, the spell's temporary too. We're only here as long as we're needed.
Blue Prue: We were called for a reason. Once the reason's gone the spell wears out and we disappear.
Pink Prue: Once we vanquish Gabriel.
Piper: And how are we planning on doing this?
Pink Prue: Funny you should ask, see I was thinking...
Blue Prue: Tthat we could find Gabriel by tracking down the ownership records for that Roman vessel.
Pink Prue: And Bucklands antiquities data base.
Real Prue: That's why I called my assistant... (Pink Prue clears her throat) our assistant and she's already on it.
Blue Prue: Are we good or what?
Piper: So, once you know where he lives are you sure you have the power to do the job?
Real Prue: Observe. Ladies, shall we. (All three Prue's use their powers and lift up the marble statue.) Enough said.
(The doorbell rings.)
Pink Prue: I'll get that.
(The phone rings.)
Blue Prue: I'll get the phone.
Real Prue: Wait, I should...
[Cut to Pink Prue opening the door.]
Pink Prue: Andy, hi.
Andy: Hi, can I come in?
Pink Prue: Now's not really a good time. Wow, that is a nice tie.
Andy: Thanks.
Pink Prue: So, um, what did I do now?
Andy: I don't know, you tell me.
Pink Prue: What ever it is, I have an alibi.
Andy: Good thing this is a social call then.
Pink Prue: Social call? Really? Now you're starting to look suspicious.
Andy: Remember a few months ago we ordered tickets to the Bay Area Music Awards? They came in the mail. Thought you might want them.
Pink Prue: That is so sweet.
Andy: You can take anyone you want. Even an old boyfriend who's just a friend now but who loves good music.
Pink Prue: I'll take that under consideration.
Andy: He pondered that. (They smile.) I'll see ya.
(He leaves and pink Prue closes the door.)
Pink Prue: Why did we break up with him?
Real Prue: He broke up with us first, remember?
Pink Prue: Too bad.
(Blue Prue slams down the phone.)
Blue Prue: Houston, we have a problem.
Phoebe: Raging clone hormones?
Blue Prue: No. That was Claire calling. She said that if I, well, one of us, don't get to the office pronto, you'll be looking for a new job.
Real Prue: Okay, okay, we can swing this.
Piper: No, no, no, wait. You're not seriously thinking of leaving the house?
Phoebe: You can't hide three you's at the office.
Blue Prue: Two of us may not be able to separate Gabriel from his sword but we can certainly fight him off.
Pink Prue: Which means two of us can go save Prue's job and whoever's left behind can go to the Quake with Piper.
Piper: Oh, no, no, no, no. Forget it.
Real Prue: Piper, you have an acting power, and besides Phoebe, your premonition, it didn't happen at Quake, right?
Phoebe: I can't be sure.
Real Prue: Still, worst case scenario, Piper freezes Gabriel and she runs.
Piper: No, no, I don't like this idea. I don't like it at all. I think we should all stay together, all five of us.
Phoebe: I think Piper's right. The book said it requires the strength of three to take on Gabriel. It's not safe to split up.
Real Prue: Okay, all who don't like the plan? (Piper and Phoebe raise their hands.) All who do? Wow, once again majority rules.
Commercial Break
[Scene: Bucklands. The real Prue and Pink Prue are walking down the hallway. Real Prue is holding a magazine in front of her face. Pink Prue pushes Real Prue behind a wall and Pink Prue walks up to her assistant.]
Pink Prue: Hi, is Claire around?
Assistant: She's been buzzing every fifteen minutes. You want me to get her?
Pink Prue: Not yet. Did you dig up the information on the Roman vessel?
Assistant: Hot off the laser jet. (She hands her a piece of paper.)
Pink Prue: Gabriel Statler's address. Good, okay, now I need for you to get me photocopies of all my sales files for the quarter.
Assistant: That could take hours.
Pink Prue: You're right. You know what, I need you to get me copies of everyone's files.
(She guides her out of the room.)
Assistant: But that could take days.
Pink Prue: Well, you better start now. Bye, bye.
(Pink and Real Prue walk into their office.)
Real Prue: Did you have to make her to photocopy all the files?
Pink Prue: You wanted her to see us together?
Real Prue: No, but you didn't even thank her, and you were so bossy.
Pink Prue: That's why we're called bosses. Alright, well now that we have Gabriel Statler's address...
Real Prue: No. You stay here, I will talk to Claire first.
Pink Prue: Why do you get to talk to Claire?
Real Prue: Because I still have to work here when all of this is over.
Claire: (from outside) Prue, are you there?
Both: Claire!
(Pink Prue pushes real Prue behind the door.)
Pink Prue: Claire, hi.
Claire: I want an explanation for yesterday.
Pink Prue: What do you mean?
Claire: Helen Statler called to tell me that she was so offended by your behaviour that she's taking her collection to Kristy's. What happened?
Pink Prue: Claire, um, I've already made arrangements to make a personal apology and put Bucklands back in the running. As a matter of fact, I convinced Miss Statler to meet me at her estate. See, here's the address. (She looks at the paper.)
Claire: Okay, you really think you can get this account back?
Pink Prue: I'd stake my job on it.
Claire: Good, because you just did. Alright, I'll get my briefcase and we'll take my car.
Pink Prue: No!
Claire: No? Oh, yes, yes, yes. I'm not gonna leave you alone with that client again. (She leaves.)
Real Prue: What was that?
Pink Prue: Hail Mary pass.
Real Prue: Okay, alright, let us think, um, I got it. I will take Claire to the wrong address, pretend we've been stood up or something. You call the other one of us at Quake.
Pink Prue: I love it when I'm so decisive.
Real Prue: Okay, look, you go get the other Prue and take her to the manor. Okay, and we'll finish this. (She dials the phone.) Hey, yeah, Pheebs, it's me. No, the real one. I'm just checking in.
Pink Prue: We do that a lot don't we? Check in with our sisters, make sure they're okay. Don't you think if there were a problem, they would call us and let us know?
Real Prue: Phoebe, I'll call you back. I have to go yell at myself.
(She hangs up.)
Claire: (from outside) Prue?
(Real Prue pushes pink Prue behind the door.)
Real Prue: Hi, hi. Ready to go?
Claire: Wow, did you change your sweater?
Real Prue: Yeah, black's more my colour. Come on.
[Scene: Quake. The phone rings. Piper answers it.]
Piper: Thank you for calling Quake.
Pink Prue: Hi Piper, it's me.
Piper: What colour?
Pink Prue: The pink one. The real Prue just left with Claire, look, I need you to get the blue one to the manor. We're meeting Prue there before we go to Gabriel's estate.
Piper: I've been thinking, have you guys thought about what happens after you separate Gabriel from his sword?
Pink Prue: Well, the book said she took the sword away and that was it. Why?
Piper: Well, what if he still comes after you? He's a w*rlord remember?
Pink Prue: Once we get the sword we'll destroy him. He would be crazy to take us on. Piper, don't worry. We have a plan and we have powers.
Piper: I just don't want to lose you... any of you.
Pink Prue: You won't. I promise. Bye.
(Piper hangs up and walks into the kitchen.)
Piper: The pink... (Piper sees Blue Prue eating spaghetti with her fingers. Two cooks are watching her looking very turned on.) one just called and wants you to meet her. Prue, what are you doing?
Blue Prue: Trying today's special. (to a chef) I think it needs a teeny bit more parmagian.
(She licks her fingers.)
Piper: I'm sure it's fine because today's special is glazed shortbread.
Blue Prue: Forget the parmagian because if anybody knows food, it's my Piper. (to a chef) What's your speciality?
Piper: Alright, come on you guys get to work, there you go, yeah I know, it's thrilling. Alright.
Blue Prue: Yeah, I guess I shouldn't pet the help.
Piper: What has gotten into you? Who has gotten into you? Because you're nothing like the real Prue.
Blue Prue: Actually, I'm exactly like the real Prue, just the side that doesn't get to come out and play enough. I'm the flip side of the corporate, conservative clone.
Piper: Alright, that's enough, get out of my kitchen before my cooks overheat. (She offers Piper some spaghetti) I don't want that. Yuh uh.
[Scene: Bucklands car park. Pink Prue comes out of the elevator. Some sort of b*mb roles down the stairs and blows up giving off a bright light which blinds pink Prue.]
Gabriel: Blinded by the light. (Prue uses her power and moves Gabriel's sword so it cuts him.) You cut me, witch. (He s*ab her.)
[Cut to Claire's car. Real Prue holds her stomach in pain.]
Prue: Aahh!
Claire: Prue?
[Cut back to pink Prue.]
Pink Prue: Prue. (She dies.)
Gabriel: Come on. Give it to me.
(Helena comes up behind Gabriel.)
Miss Statler: Where's her soul. Where's her magic?
Gabriel: I've been trapped. She has none. Whoever this is it's not the real witch.
[Cut back to the car.]
Claire: Are you okay?
Real Prue: No, I'm not.
Commercial Break
[Scene: Coroner's office. Andy is there with the coroner.]
Coroner: Autopsy's were scheduled for first thing in the morning but the case officers said you might be able to I.D. the body now.
Andy: Homicide victim, right?
Coroner: Somebody ran it through as a bladed w*apon so I'd call it a big yes. (The coroner gets a body out of the morgue.) No I.D. on the body but those are her personal things.
(Andy looks in a plastic bag and sees the tickets to the Bay Area music awards. He looks at the body. It's Pink Prue.)
Andy: Prue.
[Scene: Manor. Phoebe is practicing her martial arts on the dummy. The doorbell rings. Phoebe answers it. Andy's there. He's been crying.]
Phoebe: Hey, Andy.
(Andy walks in.)
Andy: Phoebe, I'm sorry.
Phoebe: What did you do?
Andy: This is serious, Phoebe. God, I've done this many times before but this is the worst. Prue's d*ad. They found her body dumped in the ravine near the precitio.
Phoebe: Are you sure that it was Prue?
Andy: I saw her body. Investigating officers found a couple of drops of blood on the path to the ravine, blood that probably belonged to the m*rder.
Phoebe: What was she wearing, Andy?
Andy: Excuse me?
Phoebe: What colour was she wearing, Andy?
Andy: What colour? Phoebe did you just hear what I said?
Phoebe: Okay, Andy, now I'm serious. Do you have any idea what colour sweater she was wearing when they found her? I know it sounds strange but it's important.
Andy: I think the report said pink.
Phoebe: Thank God.
Andy: I just told you I saw your sister d*ad and you're relieved?
Phoebe: Andy, it's uh, no secret that we fought at times.
Andy: What the hell kind of answer is that, Phoebe?
(Piper and blue Prue walk down the hallway.)
Piper: (to blue Prue) If you have anymore ideas how to rearrange my business you can save it. Hi Andy.
Blue Prue: Andy, nice tie.
Andy: I was just at work... (Real Prue enters through the doorway and Piper freezes Andy.)
Phoebe: Okay, I may not be an expert, but I think this is the time when somebody hides.
Piper: Prue, what's the matter?
Real Prue: What is he doing here?
Phoebe: He saw you d*ad at the morgue, obviously a clone and he thought it would be better to break the news here.
Real Prue: One of us is d*ad, I knew it, I felt it happen.
Blue Prue: What do you mean? I didn't feel anything.
Real Prue: I was in the car with Claire and when she died it felt like it was me.
Piper: Uh, okay, but one crisis at a time. Prue you gotta go hide, go, get.
(Andy unfreezes.)
Andy: And I was in the morgue and you were on a slab.
Piper: Andy, you know what they say, everybody has a twin out there somewhere.
Andy: Not like this. There has to be a better explanation for what I saw.
Phoebe: Okay, well, why do we have to come up with it?
Andy: I know what I saw.
Blue Prue: Okay, look, Andy, it means the world to me that you came but I'm here and believe me I didn't get k*lled today. As you can see I'm very much alive. And I'm fine, I promise.
Andy: I can't argue with that. By the way, did you make up your mind about the concert?
Blue Prue: What concert?
Andy: The Bay Area Music Awards.
Blue Prue: Oh, you mean the tickets that we ordered months ago. Did those tickets finally come in?
Andy: Yeah, they came in the mail. Maybe I'll bring them over sometime.
(He leaves. They go in the living room.)
Blue Prue: Alright, we need to do something. Gabriel is going to find us and there aren't enough of us left defeat him.
Piper: How do you know he's still after you?
Real Prue: Because I'm still here.
Blue Prue: And as long as I'm needed the spell is still alive.
Phoebe: Do you think Gabriel knew he didn't get the real Prue?
Blue Prue: I bet on it. We're gonna need more us's to fight him.
Piper: More Prue's?
Real Prue: Don't worry I'm never casting that spell again, I won't risk anymore me's.
Blue Prue: What about our plan?
Real Prue: We will still use our powers to sneak into Gabriel's estate. Except we won't be alone when we find him.
Blue Prue: Prue, we're geniuses.
Phoebe: What are you people thinking?
Real Prue: Gabriel Statler is a flesh and blood person with a flesh and blood sister. The only thing that protects him, that makes him invulnerable is that sword.
Blue Prue: And Gabriel has this weird binding passion for Helena. So, if we grab her we can use her as leverage. A sword for his sister.
Phoebe: That's your plan?
Blue Prue: Do you think he won't protect his own flesh and blood?
Real Prue: Okay, look, we grab Helena and he either trades his sword for her life or we use her to buy more time until we figure out a way to separate him from his sword.
Piper: Okay, so we'll go with you.
Real Prue: No way. Today I felt my own death and when that sword went in I felt my life slipping away. I couldn't even imagine something like that happen to either of you. I'm more protective of you guys.
[Scene: Statler's estate. Gabriel and Helena are there.]
Gabriel: Anything from surveillance?
Miss Statler: I saw at least two women identical to Prue Halliwell. One was leaving the restaurant in a blue sweater, the other was entering the manor in a black sweater. We're gonna have to chance it and tackle her at home. Just wait until the hours right before dawn. When they're certain to be asleep and vunerable.
Gabriel: (moves a piece on a chess board) Check mate.
[Scene: Manor. Phoebe and Piper enter Prue's room. The two Prue's are there.]
Piper: Can we have a word with Prue?
Both Prue's: Sure.
Piper: The real Prue.
Real Prue: Yeah, what's up?
Piper: Um, in private please. If you don't mind.
Phoebe: It's important. Sister stuff. Uh, no offence.
Blue Prue: None taken. I'll wait out in the hall.
(Blue Prue leaves the room.)
Real Prue: I know what you guys are going to say and please don't talk me out of it.
Phoebe: Okay, forgive us for not wanting you d*ad.
Real Prue: No, I appreciate that. It's just that we'll be fine.
Piper: You don't know that. The warehouse was a trap. How do you know his house isn't just as dangerous?
Phoebe: The Statler's don't seem to be the white picket fence type.
Real Prue: Well, it's our only option.
Piper: No it isn't. Why go to him when you're stronger in your own home with us.
Real Prue: And wait for Gabriel to find us? I don't think so.
Phoebe: He's a strategist Prue. Every move he has made has been carefully planned, he's studied you.
Piper: And if he's learned anything about you it's how protective you are. He knows you'll risk your self in order to save others. Especially your sisters.
Phoebe: It's exactly what he wants. You only think you have the upper hand. Okay, just for a moment don't think of us as sister's that you need to protect.
Piper: Think of us as sister's that can help you defend.
Real Prue: You guys are right. You're right about Gabriel too. It's far too dangerous. Okay, I need to, we need to come up with another plan. So, you guys need to tell the other me. We might be having this conversation all over again.
Piper: I'm not talking to that clone.
Real Prue: You have to.
Phoebe: Did anybody take notes?
Piper: I'm not talking to that clone.
(They go out to the hallway.)
Phoebe: Prue?
Piper: She's gone.
Real Prue: Gabriel Statler's estate.
Phoebe: It's exactly what you would have done isn't it?
Real Prue: Yeah, she went to save all of us. Alright, we have to stop her before she does something.
[Scene: Statler's estate. Blue Prue has tied Helena up.]
Helena: Gabriel. Gabriel. Gabriel!
(Gabriel enters the room.)
Gabriel: My God, Helena.
Helena: She tied me up.
(Gabriel pulls out his sword.)
Blue Prue: Ah, ah, ah. This in w*r terms is what I believe they called reversal of fortune. I'll make it easy for you. Your sword for your sister.
Gabriel: Done. There's only one problem. You're not the real Prue Halliwell. Any woman smart enough to clone herself would not make the mistake of confronting me here. So tell me, how many of you are there? So, then you're the last clone. Let my sister go, and I'll promise to make it quick and painless for you and the real Prue.
Blue Prue: Don't make me do this. Your sword for your sister, please.
(Gabriel s*ab Helena with his sword.)
Gabriel: Who has the reversal of fortune now?
[Cut to Piper's car.]
Prue: Oohh. (Prue grabs her stomach.)
Piper: Are you alright?
Phoebe: What's going on?
Prue: He's k*lling her. Oh, God I can feel the sword. I can't breathe. It's over, she's gone.
Commercial Break
[Scene: Manor. Living room. Prue, Piper and Phoebe are there.]
Piper: Okay, now would be a good time for plan B.
Phoebe: What about the evidence that Andy talked about? The trail of blood leaving the ravine where they found the first Prue.
Piper: We can't assume it's Gabriel's. The book says he's invulnerable.
Phoebe: To the w*apon of man. That wouldn't include a crystal sword that sucks away your soul.
Prue: Right, but I've already proven that you can't take his sword away from him.
Phoebe: Why do we have to take it away? Why can't we move Gabriel and his sword even closer?
Prue: Pheebs, you are so smart.
(She hugs Phoebe and Phoebe has a premonition.)
Phoebe: Speaking of getting closer, I think Gabriel's on his way here.
[Scene: Coroner's office. Andy's there looking at Pink Prue's body.]
Andy: And these fingerprints are cross referenced?
Coroner: Okay, I fingerprinted Jane Doe myself and the reference prints you asked for Prudence Halliwell came out of her birth certificate from the archives which I took the liberty of verifying through her DNV records.
Andy: And Prue Halliwell's prints are an identical match to Jane Doe's?
Coroner: Down to the last whirl.
Andy: That's statistically impossible. Not even identical twins have a natural variation.
Coroner: Then I'd get on the horn to Ripley's Believe It Or Not because as far as forensic medicine can tell, this woman is Prue Halliwell.
Andy: You leave Ripley's out of the loop a long with everyone else who was with me.
[Scene: Manor. Prue is waiting for Gabriel. The lights turn off. Prue hears a noise and puts her sunglasses on. A b*mb flies through the window and gives off a bright light. Gabriel jumps through the window.]
Gabriel: Clever witch.
(Prue runs into another room. Gabriel follows her and sees Phoebe's martial arts dummy. He throws his sword at it. Prue, Piper and Phoebe come out from behind the the couch. Piper freezes him.)
Piper: Hey, check out G.I. Joe. (Phoebe kicks Gabriel and he flies against the wall.) It worked.
(Prue gets the crystal sword out of the dummy.)
Gabriel: My w*apon.
Prue: It's all yours. (She uses her powers and the sword flies into Gabriel. He explodes and disappears. The lights turn back on.)
Piper: Peace at last.
Prue: Well, too bad you didn't knock him back into the statue. (The doorbell rings) It's his army. Kidding, kidding. (Prue answers the door. Andy's standing there.) Andy, it's four in the morning.
Andy: This isn't a social call, Prue. I need you to come with me.
Prue: Where to?
Andy: City morgue. I'll drive.
[Scene: Coroner's office. Andy and Prue walk in.]
Prue: Are you gonna tell me what this is all about because you haven't said a word since we got in the car?
Andy: I'll show you what this is about. (He pulls out the slab. It's only got clothes on it.)
Prue: I don't get it.
Andy: I had a body on this slab. She was identical to you right down to your fingerprints.
Prue: Andy, I don't know what you want me to say.
Andy: You know, ever since you came back into my life it's been one weird coincidence after another. And you don't know what to say.
Prue: Why don't you tell me what you want to hear. Andy, I'm sorry but there is nothing but clothes on that slab, so why don't you just take me home.
[Scene: Quake. Piper and Phoebe are sitting at a table. Prue comes up and sits down. She's holding a gift basket. Phoebe is reading a newspaper.]
Phoebe: "Curiously, the only item found by the slain body of Helena Statler was a blue sweater."
Prue: That's a shame because I kinda liked that sweater.
Phoebe: What's with the gift basket?
Prue: Oh, it's a thank you for my assistant. Believe me, she earned it.
Piper: Tumbler number 345, 46 and 47. And that ladies is the end of Quake's yearly inventory.
Phoebe: And the end of crowded bathrooms, the end of no hot water and the end of three Prue's hogging all the good clothes.
Prue: You know one day you might actually hear what you sound like when you say stuff like that.
Phoebe: And I will find myself sassy and delightful.
Prue: I won't count on it. Alright, to me, myself and I, and to you guys. I couldn't have done it without you, thank you.
Phoebe: And to me for kicking some serious demon butt.
Prue: And to clones who vanished without a trace.
Piper: Poor Andy, do you think he'll ever figure it out?
Prue: I don't know but uh, I wouldn't underestimate him. After what happened this morning we're gonna have to be extra careful.
[Scene: Andy's office. He has a folder of Prue's confidential files. He's looking through newspaper clippings and finds one on witchcraft. He then picks up the Bay Area Music Awards tickets and her fingerprints chart. He puts it all back in his draw and sits back in his chair.]
End | {"type": "series", "show": "Charmed", "episode": "01x16 - Which Prue is it Anyway?"} | foreverdreaming |
Written By: Sheryl J. Anderson
Transcribed By: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Halliwell manor. Prue and Phoebe are looking through photo albums.]
Phoebe: There aren't any pictures of me growing up.
Prue: That seems impossible. I mean you weren't exactly camera shy.
Phoebe: Yeah, well neither were you and Piper, or you and Grams, or you and Dad. Oh look, there's another one of you and Piper.
Prue: Okay, there's a picture of you and Grams.
Phoebe: Oh, wasn't I cute.
Prue: Here's one of you and Mum.
Phoebe: Wow, I don't even remember that. What was I, about two? (Prue nods) She died on us a year later.
Prue: Phoebe.
(Piper enters the room.)
Piper: Okay, alright, I need a pen and paper. (She tries to open a drawer but it's stuck.) Quick, we don't have a lot of time. (Phoebe hits it twice and kicks it and the drawer opens.) I always wondered how you got into my candy drawer.
Phoebe: Yeah, too bad all the candy's gone.
Piper: I thought it would be easy for us to just write him a note.
Prue: Who him?
Piper: You know, what's his name. (The doorbell rings) Grandma's little friend comes every year, same day, same time. Says you know, the flowers are from a secret admirer when it's obvious he's the admirer. (She opens the door) Hi, come on in. (The clock chimes in the background) How are you?
Man: Flowers for Miss Penny Halliwell. (He goes to hand them to Piper but he drops them and Piper freezes him and the flowers.) Every year. What a klutz. At least this year I can freeze him so I can spare myself the clean up.
Phoebe: Why did you want to write him a note?
Piper: To tell him Grams is d*ad.
Prue: Oh, you're gonna break his heart.
(Piper gets the vase of flowers that's frozen in the air. The man unfreezes.)
Man: Five chimes.
Piper: Excuse me?
Man: I only heard five chimes. It's noon. That means you froze me. Which means you have your powers at last.
Piper: Uh, I don't know what you're talking about Mister but thanks for the flowers, okay, bye.
Nicholas: Call me Nicholas. Your mother did. (He puts on a ring and he becomes younger.) I had to appear to age over the years otherwise you would of become suspicious.
Prue: What?
Nicholas: You see, twenty-four years ago today, your mother and I made a pact to spare her life, she gave up your future powers to me. She blessed this ring. Which gave me immunity from your powers. (Piper tries to freeze him.) Immunities so that I could k*ll you and take the powers on for my own. To become invincible.
Prue: Our mother would never give away our powers.
Nicholas: She didn't have much of a choice. Your blood is boiling. Soon your lungs will sear. (He points the ring at them and they double over in agony.) Your organs will over heat and death will come.
(Phoebe kicks him in the leg and he falls over. They run upstairs to the Book of Shadows.)
Prue: Why would mum make a deal like that?
Piper: More importantly, what are we gonna do?
Phoebe: Wait, I think I found a spell. To unbind a bond.
Nicholas: (from downstairs) You can't run from me.
Prue: Okay, we have no choice.
Piper: Okay, Phoebe, hurry.
Phoebe: Okay. "The bond which was not to be done, Give us the power to see it undone, And turn back time to whence it was g*n." (Twinkling lights encircled them, they disappear for a few seconds and reappear in the same spot.) Did it work?
Prue: Nothing happened.
(A phone rings from downstairs. Phoebe opens the attic door.)
Phoebe: Who's phone is that?
Piper: Not ours.
Someone downstairs: Halliwell residence.
Piper: You go.
Phoebe: Nah-uh, you go.
Piper: Nah-uh, she goes. (They push Prue out the door.)
[Cut to the stairs. Prue sees her grandma talking on the phone.)
Grams: I beg your pardon. Well, Donna, I'm hurt just hurt that you would suspect my little angels of such a thing.
Prue: (to herself) Grams?
(Little Prue and Piper run past Grams.)
Grams: Prue. Uh, just a moment Donna. Prue, Piper, girls, don't run in the house. Yes, yes.
(Prue goes back in the attic.)
Piper: What did you see?
Phoebe: The warlock?
Prue: No. Us.
Opening Credits
[Scene: They are still in the attic. Phoebe is looking through the Book of Shadows.]
Piper: How do we know we're back in time? What if we just brought the past to us accidentally. We've done it before.
Prue: Piper, look around. What do you see?
Piper: A messy attic like always.
Prue: No. Not just like always. We have a black light, a type writer, eight track tapes and a pet rock. I mean we got rid of this stuff years ago, remember?
Piper: And you saw us? As kids?
Prue: Yeah.
Piper: This can't be happening. I'm getting a migraine.
Phoebe: Better not, I don't think Advil's been invented yet. And apparently neither has the spell. It's not in here anywhere.
Piper: But we just cast it, that's how we got back ... here.
Phoebe: Yeah, well, wherever here is , it's before the spell was written.
Prue: So, there's nothing in here about how to get back to our own time?
Phoebe: Nothing. Uh, let me be the first to say we're screwed.
Prue: No, okay, at least we're alive, I mean if we stayed in our own time Nick would of k*lled us. We barely got away as it was ... is... will be... you know I've never been good at tenses.
Piper: Well, Grams is right downstairs, maybe we should just tell her who we are.
Phoebe: And say what? Hi, we're the ghosts of grandchildren future. Come on, even Grams is going to have a little trouble with that.
Piper: Plus, she has that heart condition.
Prue: Okay, fine, so we need another plan, but first we need to get out of the house.
[Cut to Prue, Piper and Phoebe sneaking downstairs. Grams is talking on the phone.]
Grams: You're talking to fast, Patty, sweetheart, slow down.
Piper: Patty?
Prue: Mum.
Grams: What premonition? That's impossible, you don't have premonitions.
Phoebe: But I thought you said mum's power was to freeze time.
Prue: It is... was... you know what I mean.
Grams: Maybe you should go see a doctor.
(Piper picks up the other phone.)
Patty: I don't need to go to the doctor, mum.
Prue: Piper!
Patty: I need you to listen to what I'm saying.
(Phoebe and Prue listen in on the conversation too.)
Piper: She's talking to mum.
Patty: I can't explain it either mum. It just happened. I felt a twinge in my stomach and then bam! I saw it.
Grams: Saw what?
Patty: Three women. Warlocks. And one of them was taking Prue.
Phoebe: Do you really think that's mum's voice?
Piper: Yes.
Grams: Are you still nauseous? Why don't, why don't you come home from Buddies.
Patty: I can't. And it was not a daydream.
Piper: Three warlocks? She can't be talking about us can she?
(Grams hangs up the phone.)
Prue: Okay, let's get out of here.
(They walk down the stairs.)
Grams: (from another room) Prudence! Piper!
(They see two kids run through a room. Little Prue moves a couch across the doorway.)
Little Piper: No fair, using magic.
Piper: Whoa!
Prue: Wait, we had powers back then?
Phoebe: Oh, this is freaky.
(They walk into the room where little Prue and Piper are standing.)
Prue: Hey
Little Prue: Hi. (She points to Prue's freckle that's on her face.)
Prue: You got one too. Come here. (Prue gives her a big hug. Grams walks in the room.)
Grams: How many times have I told you girls... (She sees Prue, Piper and Phoebe.)
Prue: Um, Grams, we can explain.
Grams: Warlocks be gone! (Prue, Piper and Phoebe fly out of the house.)
[Cut to outside. They run down their street.]
Prue: Grams definitely had her power down.
Piper: She is one scary witch. I don't remember having powers at that age do you?
Prue: No, I thought we got them for the first time last year.
Piper: Apparently not. We must of lost them before we could remember having them.
Prue: Yeah, how weird was that seeing us as kids, how bizarre. (Phoebe picks up a newspaper.)
Phoebe: Mum was barely pregnant with me. Here, March 24, 1975. That's the day that mum made the pact with Nicholas.
Prue: So maybe that's why the spell sent us back here, to stop the pact.
Piper: Which means it could be the only way for us to get back to our own time. We've got to go see mum and warn her about Nicholas.
Prue: Yeah, but we have to do a better job of convincing mum then we did Grams. This time we have to use our powers.
Piper: The problem is she's on the lookout for three warlocks now.
Prue: Well, then maybe only two of us should approach her just in case.
Phoebe: Well, since I don't have any powers to show mum I think it should be you two. I'll just stand outside and watch for Nicholas.
Piper: That doesn't seem fair to you Phoebe, not being able to see mum.
Phoebe: I know, it's not, but I got over that a long time ago. I don't need to see her now. Really, it's okay. We better get going before we miss her.
Commercial Break
[Scene: Buddies. Prue and Piper enter.]
Prue: Whoa, scary. Buddies has not changed a bit. Wouldn't... didn't...?
Piper: Give it up, I know what you mean. I don't see mum anywhere do you?
Prue: No.
Piper: Prue. (They see Patty walking out of the kitchen.)
Prue: Mum.
Piper: She's so beautiful.
Prue: Yeah, she is.
Piper: I don't remember her working here.
Prue: Yeah, with dad gone she had to pay the bills somehow. I remember she used to come home late at night and she'd kiss me and she always smelt like burgers.
Piper: You're lucky, you have a lot more memories than I do.
Prue: At least you have some. Poor Phoebe, she doesn't have any. Here she comes.
Piper: What do we do if she recognizes us?
Prue: Um, you freeze the place and when she sees that we don't freeze either than she'll believe us when we tell her who we are.
Piper: Okay, how do I look?
Prue: Great.
Patty: Ready to order? (They just stare at her.) Take your time, I'll come back.
Piper: No, wait. We're ready aren't we Prue.
Prue: Ah, Prunes. Um, Prunes. She wants to know if you have any prunes.
Patty: Prunes, sure. Yeah, I think so. I just started here, I'll go check.
Prue: No! She can order something else.
Patty: Have we met before? You look familiar.
Prue: Yeah, so do you.
(Piper tries to freeze everyone several times but her power won't work.)
Prue: (whispering to Piper) What's the matter?
Piper: It's not working. You try.
(Prue tries to move her glass.)
Prue: Okay, how is that possible?
Woman: Patty, phone.
Patty: Oh, okay, thanks. I'll uh, be back.
Piper: Wait! We know you're pregnant.
Patty: What?
Piper: This is going to sound really weird but we're actually your...
Prue: Cousins. From outta town.
Piper: Right, cousins. And we need to tell you something about the baby that you're carrying.
Patty: Not that this is any of your business but I can't get pregnant anymore. Medically impossible. Excuse me. (She leaves.)
Piper: I panicked. I thought, you know, close family would know she was pregnant.
Prue: Yeah, well, not only does she not know that she's pregnant, she doesn't even think she can get pregnant.
Piper: Yeah, well, we got bigger problems. We have no powers which means we have no way of stopping Nicholas.
Prue: Yeah, how do we not have powers? I mean little Prue and little Piper, they have powers.
Piper: I don't know. Maybe only one set of us can have powers at the same time in the same time.
Prue: Thank you, Mr. Spock.
[Cut to Patty and Grams talking on the phone.]
Patty: I was working mother, that's why I couldn't take your call.
Grams: That premonition that you said you had. Did you see what the warlocks looked like?
Patty: No, I didn't see their faces. Why?
Grams: I'll tell you why. Because I saw them, all three of them. Here, and one of them had a hold of Prue.
Patty: Little girls okay?
Grams: For now, thanks to me.
Patty: I'm coming right home.
(Patty leaves out the door and bumps into Phoebe.)
Phoebe: Oh, oh.
Patty: I'm so sorry.
Phoebe: Oh, no, it's totally my fault.
(They bend down to pick up her stuff. Phoebe realizes it's her mother.)
Patty: I'm such a klutz sometime.
Phoebe: Really? So am I.
Patty: Yeah?
Phoebe: Yeah. Crackers?
Patty: Upset stomach.
Phoebe: (Sees a cigarette packet) Uh, you know you shouldn't be smoking these now. It's bad for your upset stomach.
Patty: You're very sweet. Thanks. I gotta go.
Phoebe: So soon?
Patty: Excuse me?
Officer: Is everything alright?
Patty: Yeah, thanks officer.
Phoebe: Oh my God, Nicholas.
Patty: I'm late. Thanks again. (She leaves.)
Phoebe: Excuse me. How do you get to Berkley?
Nicholas: Get outta my way.
(Phoebe kicks him and throws his keys on the road. She runs into Buddies.)
Prue: Phoebe, what are you doing?
Phoebe: Nicholas is here.
Piper: What? Where?
Phoebe: Run!
Commercial Break
[Scene: Prue, Piper and Phoebe are walking down their street.]
Piper: Is Nicholas wearing his ring?
Phoebe: I don't know. I don't think so.
Piper: It's a good thing you were there Pheebs, that's probably when Nicholas was gonna make his moves on mum.
Phoebe: I know I don't think so otherwise we'd be I our own time by now.
Prue: Hey, are you alright?
Phoebe: Yeah, uh, just seeing mum for the first time and talking to her, I just didn't expect to feel so...
Prue: Feel what, good?
Phoebe: No, overwhelmed.
Piper: Well, mum's car is here, at least we know where she is.
Prue: Yeah, but the question is, how do we get to her? Grams must of told her about us by now. She probably thinks we're the warlocks.
Piper: Our only option is to wait for Nicholas to show. But what are we going to do without our powers?
Phoebe: Well, technically you still have your powers. If you count little Prue and little Piper. We need our powers and they have them. Come on.
[Cut to them coming in the back door.]
Phoebe: Coast is clear.
Piper: What if Grams catches us?
Prue: She'll k*ll us before Nicholas has a chance.
Phoebe: She won't catch us. Observe.
(She opens the heating duct and they can hear Grams and Patty talking.)
Patty: You said yourself the girls are safe with you. Besides, I want to go.
Grams: You are making a big mistake Patty, Victor is not coming back.
Prue: How did you ...?
Phoebe: Heating duct to upstairs. I used to listen to you guys for hours. Especially when you used to sneak Andy up to your bedroom in high school.
Prue: Oohh... Okay, you stay here and keep tabs on them, we're gonna try and find the little girls.
[Cut to other room.]
Little Prue: That's my doll.
Little Piper: You gave it to me.
Little Prue: No I didn't. You stole it.
Prue: That's true. You did steal it.
Piper: I did not.
Prue: Yes you did.
(Little Prue uses her powers to take the doll off little Piper.)
Piper: Hey, that's not fair.
Little Prue: You came back.
Prue: Yes, we did and we're gonna keep it a secret right?
Little Prue: Okay.
Prue: Okay.
Little Prue: (to Prue) You're pretty.
Prue: So are you.
Piper: Oh, give me a break.
Little Piper: Grams said you're bad people.
Piper: No, no, no. We're good people. We're uh, just like you.
Prue: Yeah, we're family.
[Cut to Phoebe.]
Patty: He sent me a note. He asked me to stop by his hotel after my shift.
Phoebe: Dad?
Grams: You know it was doomed from the start. You never even took his last name.
Patty: You wouldn't let me.
Grams: Well, that's beside the point. Why can't you just wear your uniform to see him?
Patty: Because I don't want him to know I'm a waitress. Look, it can't hurt to talk right?
Grams: Well, let him go I say. If husbands were supposed to stay married, God would of made them live longer.
Patty: Mother!
Phoebe: (laughs) Grams.
[Cut back to Prue and Piper.]
Little Prue: We're not suppose to go places with strangers.
Prue: Yes, but we're not strangers, Prue. You're safe with us and I know that you know in your heart that you can trust us.
Little Piper: If you're really family prove it.
Piper: Prove it? How the hell are we suppose...
Prue: Piper!
Little Piper: Piper. Your name's Piper too?
Piper: Uh, yeah, and not only do we have the same name... (she hits and kicks the draw and it opens) but we also have the same secrets.
Prue: Okay, follow me.
(Little Andy runs in.)
Little Andy: Freeze!
Little Piper: Okay, Andy.
Piper: No, wait!
(Little Piper freezes Andy, Prue and Piper.)
Little Prue: I'm telling mum. You're not suppose to freeze people.
Little Piper: But he said to.
Phoebe: Prue, Piper, mum's coming down ... (she notices that they're frozen) Oh, boy.
(Patty and Grams are coming down the stairs.)
Grams: Fine, if you must go, go. I can't stop you but I also can't promise I won't teach the a new spell.
Patty: Can't you bake cookies with them like all the other grandmother's?
Grams: The recipes they learn from me don't come from Betty Crocker, dear.
Patty: Bye girls, love you.
(Everyone unfreezes.)
Little Andy: (to Phoebe) Whoa, where'd you come from?
Prue: Yeah, that's a good question.
Phoebe: Don't ask. Okay, we gotta go fast. Mum just left and Grams is ...
Grams: Prudence. Piper.
Phoebe: ... coming.
Prue: Go, go, go, go.
Piper: Shh, shh, shh. (They run towards the door.)
Little Andy: I wanna go too.
Phoebe: No, Andy, you have to stay here.
Little Andy: No!
Piper: Okay, we got it, we got it.
Phoebe: Oh, Andy is so cute.
Piper: (to little Piper) Alright, ready? Freeze him. (They close the door. Little Piper freezes Andy. They open the door again.) Okay, cool. Come on. Let's go, let's go.
Prue: Okay, maybe that's why Andy is so suspicious of us.
Piper: Okay, Grams keeps the keys in the same spot. Yes, good.
(Grams enters the room where Andy is.)
Grams: Oh, Andy. Did Piper freeze you again? Oh, you poor dear. You won't remember a thing. (He unfreezes) Do you know where the girls went?
Little Andy: I think the strange ladies took them.
[Scene: Park.]
Prue: Okay, girls. If we see a bad guy what do we do?
Little Prue: She's gonna cry.
Little Piper: Am not. I'm gonna freeze him.
Little Prue: And then I'm gonna move him.
Prue: Okay, then we'll take care of him and then we will all...
Little Prue and Piper: Run like the wind!
Prue: Exactly. Alright, so let's give it a try. Ready?
(Prue throws a ball up in the air. Little Piper freezes it and little Prue moves it.)
Little Prue: Can we do it again?
Prue: Yes, yes. Okay, go try it.
Phoebe: Those girls have major juice. They have control, they can aim.
Prue: Yeah, well, they've had their powers a lot longer than we have. I mean did. I think.
Phoebe: What do you think happened to our powers when we were kids?
Prue: Well, we lost a lot growing up. Somehow we must of lost them too. (Piper comes up to them.)
Piper: I finally found a pay phone. Mum is at work until five and Nicholas is on duty until six.
Prue: Good, at least we know where he is. The girls are ready.
Phoebe: Well, I'm not.
Prue: Why not?
Phoebe: Mum died before I could grab onto enough to keep her alive in my head. And now she's here alive, pregnant with me. If we stop Nicholas we have to go back to our own time. And there's no mum.
Piper: We don't have much of a choice Phoebe.
(A cop car pulls up.)
Cop: Ladies. Is this your car?
[Scene: Patty is walking to Victor's room. She knocks on the door.]
Victor: Come in.
Patty: Victor?
(Someone grabs her.)
Patty: Get off me.
(It's Nicholas. He handcuffs her hands together.)
Nicholas: I won't let you freeze me, Patty.
Patty: You.
Nicholas: Call me Nicholas.
Patty: Where's Victor?
Nicholas: Not here. Bait for the hook.
(Patty hits him in the stomach.)
Nicholas: Your blood is boiling, and then death will come.
Patty: What do you want?
Nicholas: What does any warlock want? I want your power Patty. At least I wanted it first. Till I realised you were the mother of the charmed ones.
Patty: No, no. You're mistaken. I only have two children.
Nicholas: Oh, but they'll be a third child. Where did that premonition of yours come from Patty? If not from the unborn child inside you. I tapped your phone. And I heard you and your old witch talking about it.
Patty: I saw three warlocks. Women.
Nicholas: I saw them too, at the diner. I got to you first.
(He gets his ring out of a drawer.)
Patty: I beg you. Don't hurt them.
Nicholas: There is another option Patty.
[Scene: Jail.]
Piper: I can't believe we got arrested for kidnapping ourselves.
Prue: Yeah, well, it should make for a pretty interesting defence.
Piper: Do you think this is funny? Prue, we're not just stuck in jail, we're stuck in the past.
Prue: Yes, I know Piper, I've been following.
Prue: Uh, bright side?
Piper: Uhh, I dare go.
Phoebe: Well, maybe we could get to know mum better. Or, in my case finally. I mean, if we really are stuck here, we may as well take advantage of it. And maybe we can keep her from dying young this time.
Officer: Five minutes, ma'am.
(Patty comes up to them.)
Patty: How'd you know I was pregnant? Who are you people?
Phoebe: Your daughters.
Commercial Break
[Scene: Outside jail.]
Patty: Okay, I bailed you out. You just better not be warlocks.
Prue: Well, we wouldn't of need you to bail us out if we were.
Patty: I've seen some magic in my life, but this is a miracle.
Phoebe: More than you know mum.
Piper: Where are the little ones?
Patty: Home with Grams. I called her before I came here. That's how I knew you were arrested.
Prue: Did you tell her about us?
Patty: No. I didn't know what to say. I didn't know who you were myself? You're all so beautiful. More than I ever would of imagined. Phoebe. Phoebe. Talk about miracles. I must of named you after my favourite aunt. But, if you don't like the name I can always change it.
Phoebe: No. I love it.
Prue: Ah, mum. We cast a spell to come back in time to help you. Stop you.
Patty: To stop me from what?
Prue: From making a pact with a warlock named Nicholas.
Patty: Then you're too late.
Piper: What?
Patty: I thought I was going to see Victor, your father. But it turned out to be a trap.
Prue: Nicholas.
Patty: He tried to k*ll me. Phoebe too. I had to give him immunity to your powers in exchange for your lives. I'd rather love you as mortal daughters, than mourn you as d*ad witches.
Piper: But he's gonna k*ll us anyway to get our powers.
Patty: Not until Phoebe's born. And all your powers are complete. I bought us some time in hope that Grams could help us. Oh, she's going to be so thrilled when she sees you. The charmed ones. (They hug.)
[Scene: Halliwell manor.]
Grams: Where was I born?
Patty: Mum.
Grams: I'm still not convinced that they're not warlocks.
Patty: We have a pact to undo. We should be looking for a spell.
Prue: Boston. In a hotel room breach.
Grams: What was my husbands name?
Prue: Which husband?
(Piper and Phoebe laugh.)
Grams: Who's Melinda Warren?
Phoebe: The beginning of our family line. She gave us our powers. Our destiny.
Grams: What's the secret ingredient in my blueberry cobbler?
Piper: Honey and a splash of rum.
Grams: What's IBM selling at in your time?
Patty: Mum!
Grams: What?
Patty: It's not the time for personal gain.
Grams: If they could just nod their heads. Okay, forget it. Well, look at you. All three of you. Oh, Patty, I always knew you'd deliver the charmed ones. Once removed of course. Prue. (She nods.) Piper. (She waves.) And ...
Phoebe: Phoebe!
Grams: Oh, another 'P'. What a surprise.
Patty: About the pact?
Grams: We must keep the girls safe until we can reverse it. I'll have to bind their powers.
Piper: Uh, bind our powers?
Grams: Strip them from the young ones. So Nicholas can't get a hold of them. It doesn't have to be done straight away. As soon as Phoebe's born. I'll cast a spell and suspend, uh, your powers.
Prue: Um, but that's exactly what you did... or do... will do... you know what I mean.
Piper: Well, that explains why we don't remember having our powers when we were younger.
Grams: What do you mean? Well, how old were you when you got your powers back?
Piper: We just got them.
Grams: What? I unbound your powers without having unbroken the pact? Why would I do that? I mean unless I died which of course automatically ... unbind your powers. I guess I'm not going to make it to the next millennium, huh?
Phoebe: Uh, speaking of that, mum ...
Grams: No. We mustn't know anymore about the future. You came back for one reason, to break the pact. You mustn't tamper with anything else. It's much too risky. Heaven knows what damage you've already done by coming back here.
Prue: We haven't done anything, we missed our chance to stop the pact.
Grams: And there's a reason for that. Destiny always gets its own way. It's not as easy to change the past as you think. If you do it incorrectly, everything will change. The evil you vanquished, the good that you've done, none of it may've ever happened.
Piper: Well, we have to change this, we can't go back and let him k*ll us.
Patty: The only way to vanquish him in your time would be for me to unless the ring and take away its immunity. It's in a drawer in his hotel room.
Phoebe: Okay, well, let's go to Nicholas' hotel room and steal back the ring. Hopefully it'll be there.
Patty: No, it's too dangerous, you don't have powers. I'll go.
Prue: If something happened to you, future history could be forever. Just like Grams said. We have to go.
Grams: Well, I'm glad you finally learned to listen to me. You better hurry. In the meantime, I'll write a new spell, so we can get you back to your own time.
Piper: Wait, you can do that?
Grams: We're witches, dear, we can do anything.
Phoebe: I wish that were true.
Prue: Okay, we need to go.
Patty: Be careful.
[Scene: Hotel. Phoebe is picking the lock.]
Prue: Why am I not surprised that you know how to do this?
Phoebe: Let's just hope Nicholas isn't inside.
Prue: The concierge says he's not and Piper's outside watching for him. (Phoebe opens the door and turns on the light.)
Phoebe: Mum says it's in a drawer.
Prue: Found it. Okay, we gotta get it back to mum.
[Scene: Attic.]
Prue: We have the ring, here it is.
Piper: Okay, now what?
Grams: Go back to where you belong.
Patty: Then I will unbless the ring and get it back to the hotel before Nicholas finds it missing.
Grams: Now remember, there is no time to lose. You will return at the exact moment you left, which means Nicholas will be there too.
(You see Phoebe writing a letter. It says, "Mom, Be careful on February 28, 1978, or a warlock will drown you.")
Piper: Hopefully without immunity to our powers.
Prue: We'll be ready. Phoebe?
Phoebe: Okay, I'm coming.
Prue: I love you, mum. (Phoebe puts her letter in the Book of Shadows.)
Piper: I'm never gonna learn to like lima beans Grams, but thanks for everything else. (They hug.)
Grams: (to Phoebe) You're going to be a handful aren't you?
Phoebe: You'll learn to love me. (She goes and hugs Patty) I'm gonna miss you.
Grams: A time for everything, And to everything its place, Return what has been moved, Through time and space. (Nothing happens.)
Patty: Let me help.
(They both repeat the spell. Twinkling lights encircle them and they disappear.)
Grams: You did well, Patty. Oh, they're fabulous.
Patty: Just hope they're safe.
(The girls reappear.)
Prue: Oops.
Grams: What happened?
Piper: We didn't go anywhere. We were just standing here and the next thing we knew ...
Phoebe: We were just standing here.
Patty: I told you to use proper buds.
Grams: It's a perfectly good spell, I mean it moved them through time.
Patty: Yeah, ten seconds.
Grams: I'm telling you, it's not the spell. It must be the power behind the spell, there's not enough power.
Piper: Maybe we need the power of three.
Phoebe: The only problem is it doesn't exist yet.
Commercial Break
[Scene: Grams is looking through the Book of Shadows.]
Grams: Nothing.
Phoebe: Maybe this is our destiny.
Grams: Not for the charmed ones.
Piper: We don't exist yet.
Patty: Yes, yes you do.
Prue: No, not with powers.
Patty: Yes, little Prue and Piper have their powers and Phoebe gave me a premonition so she must have hers. If we can teach the girls the chant, maybe the three of us can get you back to your time.
Prue: The power of three, it's worth a try.
Nicholas: (from downstairs) Where are you witches? Where's my ring?
Patty: Nicholas.
Grams: You and Piper get the girls, we'll fend him off. (Everyone goes out of the attic except Phoebe who gets the letter out of the Book of Shadows.) Come on, Phoebe.
[Cut to the stairs. Nick starts walking up the stairs but Grams uses her powers on him and he flies through the air.]
Prue: Oh, Grandma don't get too close, his power.
Grams: I know, I know.
Phoebe: We can't risk you being hurt, go upstairs and help mum start the spell.
Prue: Phoebe and I will take care of him. Come on.
(Phoebe goes and kicks Nick in the head.)
[Cut to attic.]
Patty: (to the little girls) We're gonna play a little game okay. Now give me your hands.
Piper: Okay, hurry.
Patty: Now, repeat after me. A time for everything, And to everything its place ...
Little Prue & Piper: A time for everything, And to everything its place ...
Patty: Returned what has been moved, Through time and space.
Little Prue & Piper: Return what has been moved, Through time and space.
(Prue and Phoebe enter the attic.)
Prue: Alright, we don't have much time.
Piper: What about his ring?
Grams: Don't worry about the ring now. Let's just get you back.
Prue: Well, but it is unblessed right?
Grams: Yes, but there wasn't time to test it.
(Phoebe gets a camera and takes a picture of Patty, little Prue and little Piper.)
Prue: Then how will we know it works?
Grams: You won't. Not until you get back. The time will pick up right where you left off. He won't remember. Goodbye girls. (They all hug.)
Patty, Little Prue and Piper: A time for everything, And everything its place, Return what has been moved, Through time and space.
(Twinkling lights encircle them and they disappear and reappear in their own time.)
Prue: It worked, we're back.
(Nicholas is running up the stairs.)
Phoebe: Hurry.
(They flip through the Book of Shadows to find a spell. Nicholas barges through the door.)
Nicholas: Time is up. (Prue uses her powers and Nick flies through the air.)
Prue: Fine. The rings unblessed.
(Piper freezes him.)
Piper: Phoebe, find anything?
Phoebe: How about the 'Nicholas must die' spell.
Piper: That wasn't there before.
Prue: Well, maybe it's just Grams' way of saying, you know, welcome back... or, or front.
Phoebe: Pouch included at no extra charge. (Prue gets a mortar and pestle.) Uh, "lavender, mimosa, holy thistle..."
(Piper pours powder from the pouch into the mortar. It goes up in a puff of smoke.)
Piper: Oh dear!
Phoebe: "Cleanse this evil from our midst, scatter its cells throughout time, let this Nick no more exist."
(Nick spins around very fast and turns into dust.)
Prue: Wow. I'm really glad I never got on Grams' bad side.
Commercial Break
[Scene: Prue and Phoebe are looking at photos. Piper brings in the vase of flowers.]
Phoebe: I can't stop thinking about mum. I lost her and then I found her again.
Prue: I'm just glad you finally have memories of her.
(Phoebe points to the flowers.)
Piper: What? I'm supposed to throw out perfectly good flowers 'cause they came from a creep? If that was the rule then we'd never have flowers in this house.
Prue: Well, they didn't just come from a creep, they came from a warlock who tried to k*ll us.
Phoebe: Still, if it weren't for him, I probably never would of gotten to know mum.
Piper: We all wanted to save mum, Pheebs, but both mum and Grams said we can't change destiny.
Phoebe: But, um, I still wrote her a note anyway.
Prue: You did?
Phoebe: Yes, I wrote her a note telling her to stay away from water on the day that she died. And then I put it in the Book of Shadows.
Piper: I can't believe you did that.
Phoebe: You don't understand. Every time I've made a wish, I wished for time with mum. And I believed in my heart that someday, somehow, that wish would come true and when it finally did, I didn't wanna let her go. You know, but then I realized that I had to let her go, so I took the not out and put it in my pocket.
Prue: Maturity sucks doesn't it.
Piper: So faith has its rewards. (She shows them the picture that Phoebe took in the attic.) It's a pretty good one of us, but once again, not a great one of you Pheebs.
Phoebe: Are you kidding? That is the best picture of me I've ever taken.
End | {"type": "series", "show": "Charmed", "episode": "01x17 - That Seventies Episode"} | foreverdreaming |
Written By: Edith Swensen
Transcribed By: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Church. Brendan and a priest are there.]
Brendan: I wake up at night, my heart pounding, a voice whispering in my head your a fraud, you can't fool God.
Priest: These are not new fears, Brendan. I've watched you grow, wept for you, rejoiced in you, you are not a fraud. I know your heart.
Brendan: You don't know my family, father. Generations of evil. Evil that's in my blood.
Priest: The blood of the sacrament washes it clean.
Greg: Hello, Brendan.
Paul: Long time no see.
Brendan: How'd you find me?
Greg: Yeah, good to see you too. Didn't mean to interrupt your conversation. We'll wait outside for you so we can have a family reunion.
[Scene: Outside the church. Prue, Phoebe and Piper are getting stuff out of the van.]
Prue: Hey, you know what? The next time the Quake does a food pantry why don't you call some guys.
Piper: Yeah, I'll just go through my handy guy rolodex.
Phoebe: Which I believe now stops a 'J' for Josh or is it 'B' for boyfriend.
Piper: I don't wanna talk about it.
Phoebe: Why not Piper? You know you like him and he calls you all the time. Why don't you just go out with him?
Piper: I told you because I'm too busy with work and my instincts are telling me to lay low.
Prue: Always trust your instincts.
Phoebe: Who's side are you on?
(They see some nuns.)
Piper: Now they have the right idea.
Phoebe: Who, the nuns?
Piper: Yep, nice safe environment.
Phoebe: Yeah, if you like monks.
Piper: Stress free, no need to worry about guys, no wardrobe.
Phoebe: No wardrobe? Okay, now you're scaring me.
Piper: Um, whose pen is this?
Prue: Oh, it's uh, Brendan's I think, you know the cute guy that signed for the food, remember?
Phoebe: I remember him, yes.
Piper: Good, then you can take it to him. I think he's in the church office.
Phoebe: Okay, just don't go taking any vows while I'm gone, alright? (Piper hands Phoebe the pen and Phoebe has a premonition.) Oh, oh, cute guy, I just saw him being att*cked by a warlock. I think it was here somewhere.
Prue: Alright, let's split up.
[Cut to inside the church. Brendan and his brothers are there.]
Greg: Give it up little brother. You're praying to the wrong deity. Aren't you Brendan. I mean after all, we can't deny who we are.
Brendan: You don't scare me Greg.
Greg: Sure I do. (He turns into a warlock.) We've come a long way to find you. We're not leaving until you join us.
Paul: Please Brendan, we don't want to hurt you.
(Greg hits Brendan and he falls to the floor.)
Greg: Did you really think the church could save you?
(Greg picks up Brendan up off the floor. He goes to h*t him again but Prue enters the church.)
Prue: Hey! (She uses her powers and Greg flies across the room.) Piper! Phoebe!
Greg: We'll come back for you. (They run off.)
Phoebe: Prue?
Prue: You guys over here! (to Brendan) Are you alright?
Brendan: Yeah, thanks. (He runs off.)
Prue: Wait, where ...?
Piper: Hey!
Phoebe: What happened?
Prue: I don't know, but uh, I'm gonna go find out.
Opening Credits
[Scene: In a room. Brendan's brothers are there. One brother is staring at a lizard.]
Paul: Amazing reflex's. Check it out.
Greg: Should've kept a closer watch on Brendan all these years. Shouldn't of left him alone.
Paul: Seriously, you gotta see this, watch.
Greg: I'm sick and tired of you and this freakin' lizard.
Paul: Yeah? Too bad. (Greg goes to h*t him.) No! I'm sorry, okay. Just stay away from my pet, that's all I ask. Maybe we should let Brendan go. I mean we don't really need him. It's not like we don't already have our powers.
Greg: Without his powers we can't complete our triangle, the whole prophecy of the royal coven. He must accept his heritage. He must be initiated as a warlock.
Paul: Initiated how? We can't force him to k*ll an innocent.
Greg: Well, maybe not, but we can store his inner nature. The part he thinks is suppressed. Make him wanna k*ll.
Paul: By tomorrow? Not a chance. Once he's been ordained, he's safe. He can never become a warlock.
Greg: In which case, we will have to k*ll him.
[Scene: Halliwell house. The phone rings.]
Phoebe: Hello? Oh, hello Josh, how are you?
Piper: I won't call him back.
Phoebe: Yeah, she's right here, hold on a second. Oops.
Piper: You're doomed. (She takes the phone.) Hello. No, it's alright I'm always up this early. What's that? My horoscope said that? Oh well, that's a shame 'cause I have to work Friday night. Yep, Saturday too.
Phoebe: (to Prue) Okay, I have to go change the cat litter.
Prue: Phoebe.
Phoebe: What? What is the problem? She likes him, he likes her.
Prue: The problem is it's none of our business.
Piper: I, I've got to go now, but thanks for calling though. Yeah, well, I gotta go to work. I'll be there all day and all night. Yep, gotta go, bye.
Phoebe: Okay, you know what? It's your life, if you wanna be a nun, God speed.
Piper: Thank you. Now back to our warlock crisis. Why do we think they're after, what's his name again?
Prue: Brendan, and I don't know, I couldn't find him. But I've seen him at the church before and I'm hoping that the parish priest can help.
Piper: Yeah, well, you better hope Brendan doesn't tell anybody about your powers or else we got bigger problems than just warlocks.
Prue: Yeah, but I don't think he will. There's something in his eyes, I don't know, it seemed like he wasn't surprised by it. Alright, um, I've gotta go. I'll call you guys if I find out anything.
Piper: Do you want us to go with you?
Prue: You have to work remember. (She leaves. The phone rings and Phoebe gets up to answer it.)
Piper: Don't you dare answer that. Sit down.
[Scene: Church.]
Prue: Excuse me.
Priest: Yes.
Prue: Father Austin?
Priest: Yes.
Prue: Hi. I'm Prue Halliwell. My sister helped co-ordinate the food for last night.
Priest: Piper. Of course. I'm very grateful to her, it was a wonderful evening. Except for what happened in here.
Prue: Actually, that's why I'm here. Do you know someone named Brendan, i think he was one of the volunteers?
Priest: I know Brendan very well. You don't think he had anything to do with this?
Prue: No. No, no, no, no. Um, but I did see two other men trying to hurt him. I mean he's fine, he got away alright but I don't think they're gonna stop trying.
Priest: He always said they'd come.
Prue: Excuse me?
Priest: It's just something I know Brendan's been wrestling his whole life.
Prue: Do you know where I might be able to help him?
Priest: You? How?
Prue: I can't really tell you that father, I'm sorry. It's kind of personal, I just have to ask you to trust me.
[Scene: Quake.]
Phoebe: So the lunch rush is almost over and you're closed till dinner right?
Piper: Yeah, why?
Phoebe: Just curious. Have you heard from Prue yet?
Piper: No, not yet. (Phoebe stares at her.) What? Why are you staring at me?
Phoebe: Because I'm worried about you that's why.
Piper: Oh, Phoebe don't start.
Phoebe: No, Piper something's up. You're turning down dates with a guy that you like, extolling the virtues of convent living, you've been working double shifts three times a week, this is not the Piper I know and I'm worried.
Piper: Don't be. Everything is fine.
(Josh walks up behind them.)
Josh: I would like a glass of Clara Jenson please. Ninety three if you got it.
Piper: Josh.
Josh: Good start. You recognized me.
Piper: What are you doing here? (quietly to Phoebe) Phoebe!
Phoebe: (quietly) What?
Piper: This is such a surprise.
Josh: Well, I tell ya, I'm gonna cut right to the chase here. You wanna get all hot and sweaty with me? I'm kidding, kidding. I'm on my way to the gym and thought since I can't buy you dinner, we could um, work out together.
Piper: I'll be right back.
Phoebe: Uh, so will I.
Piper: I'm gonna k*ll you.
Phoebe: Why? A little exercise, a nice steam, a trip to the juice bar, what could it hurt?
Piper: My job. I'm at work. I can't just up and leave.
Phoebe: Okay, well, I could baby-sit for you while you're gone.
Piper: The restaurant? I don't think so.
Phoebe: What, it's not like anything's gonna happen. You said it yourself, you're closed until dinner. Come on, it is just a work out. The worst case scenario, you're in better shape by the time you check into the nunnery.
Piper: Okay, fine. But only if it will get you to shut up.
Phoebe: It will.
Piper: Good.
Phoebe: Fine. (She gives Josh the thumbs up sign.)
Josh: Thank you.
Phoebe: You're welcome.
Commercial Break
[Scene: s*ab. Brendan is there with a little girl.]
Brendan: Are you sure you've never ridden a horse before?
Little girl: I've never even seen a horse before. Except on television.
Brendan: Well, you're a natural at it. Keep your grades up and maybe you could come riding
again.
Little girl: Promise? (He nods.) Ah, a spider! k*ll it.
Brendan: Oh, no. He's just trying to find his way home that's all. Besides, all life's precious to God you know. (Prue walks up behind them.) Here, don't be afraid. Trust me. (He puts the spider in her hands.) There you go. (He sees Prue.) Ah, why don't you take him in the s*ab and set him free. (She leaves.)
Prue: You're braver than me.
Brendan: How'd you find me?
Prue: Father Austin told me you would be here. We need to talk.
Brendan: Look, uh ...
Prue: Prue.
Brendan: Prue. If you're worried about me telling anyone about your secret, you don't have to. It's safe with me.
Prue: Yeah, well, that's good to know but why? I mean most people would be pretty freaked out if they saw what you saw.
Brendan: I'm not like most people.
Prue: Yes, I know. Most people aren't att*cked by warlocks.
Brendan: I don't wanna talk about that. (He gets on his horse.)
Prue: Okay. Ah, hi, just can I borrow this for a minute. (She gets on a horse.)
Man: Sure, go ahead.
(They gallop off. Prue gallops past Brendan.)
Brendan: Hey, wait up. (They slow down.) If you keep your grades up maybe you can come riding again too.
Prue: Oh, you promise?
Brendan: Who are you anyway?
Prue: Oh, well, that's not fair, I asked you first.
Brendan: I'm not quite sure I know the answer to that I'm afraid.
Prue: Well, as far as I can see you're too good to be true, I mean church volunteer, great with kids, loves horses, spiders.
Brendan: Not all spiders. Hate black widows.
Prue: That's a good thing.
Brendan: What?
Prue: Brendan, you're in danger, serious danger.
Brendan: I know.
Prue: What, how do you know? I can help you.
Brendan: No you can't. You're lucky they didn't hurt you, they could of k*lled you last night.
Prue: Who could of? Who are they?
Brendan: It doesn't matter. After tomorrow I'll be safe from them forever.
Prue: What happens tomorrow?
Brendan: I become a priest.
[Scene: Rock climbing place. Piper is half way up the wall.]
Piper: (Angrily to herself) A little sweat, a nice steam, trip to the juice bar. I will k*ll you Phoebe. (Josh comes down the wall and stops where Piper is.)
Josh: How ya doin'?
Piper: (Does a fake laugh) Great. Never better.
Josh: You're lookin' great. Come on, I can't believe you've never done this before.
Piper: Yeah, well, believe it.
Josh: You want me to keep you company on the way up?
Piper: Oh no, I'll meet you, I'll meet you down there.
Josh: Alright, I'll see you in a few.
(He goes down the wall. Piper starts to climb the wall again but slips and falls but Josh catches her before she hits the ground.)
Piper: Wow, talk about falling for a guy. (He puts her down and she freezes him. She gets out her phone and calls Phoebe.) I can't believe I said that.
Phoebe: Hello, Quake.
(You see the sink overflowing and water is everywhere.)
Piper: Phoebe.
Pheobe: Hey, Piper, how's is going?
Piper: Bad, real bad.
Phoebe: Uh, really? Why?
Piper: You wanna know why? I'll tell you why. Because we shared the look.
(You see Phoebe trying to stop the water from squirting out of the tap.)
Phoebe: The look?
Piper: You know, the look that proceeds the kiss. You look at each other the same time, you smile at each other the same time.
Phoebe: Well, that's great. I knew you'd have a good time.
Piper: No, Phoebe, this is exactly what I did not want to happen. Is that water I hear running?
Phoebe: Uh, water? I don't know, maybe just a little. Hey, you know, just out of curiosity, if you were the water shut off valve, where would you be?
(Piper hangs up and Josh unfreezes.)
Josh: Hey, uh, where'd you get the phone?
Piper: Uh, Phoebe just called, there's an emergency at the restaurant. I gotta go. (She kisses him on the cheek.) Um, I had a really great time, thanks.
Josh: You're welcome.
[Scene: Church. Father Austin is on the floor and is badly hurt. A warlock is next to him. Prue enters the church and sees what has happened. The warlock sees Prue and turns back into a human. It's Brendan.]
Brendan: Prue. (He runs off. Two nuns see what's happened.)
Nun: Dear God.
Prue: Call 911. Hurry. (She runs after Brendan.)
[Cut to outside. Prue trips Brendan by using her powers.]
Brendan: Prue, wait. You don't understand.
Prue: Don't I?
Brendan: I didn't hurt father Austin. I found him like that, I swear.
Prue: Before of after you turned into a warlock?
Brendan: After. When I saw what they did to him I was crazed. The rage turned me into a warlock. Look, don't believe me I don't care. Just at least let me call the paramedics, please. Don't let him die. I'm begging you.
Prue: They've already been called.
Brendan: Thank you.
Prue: Do you actually expect me to believe that you're a good warlock?
Brendan: No. There's no such thing. I can explain it to you if you let me. I can make you understand. I won't hurt you. I need your help.
Prue: For what?
Brendan: To stop the other warlocks. To stop my brothers.
Commercial Break
[Scene: Outside church. The paramedics are putting Father Austin in the ambulance. Andy and Morris are there.]
Morris: I got an eye witness. A nun. Saw someone she ID'd as Brendan Rowe. Apparently Mr. Rowe lives in the rectory. You alright?
Andy: No, I'm not. Father Austin's my priest. He gave me my first communion. What kind of animal would do this?
Morris: You wanna follow him to the hospital?
Andy: No. I wanna catch the scum that did this to him.
[Scene: Quake. Piper gives the man that fixed the water a cheque.]
Piper: (to a man) Thank you.
Man: Thank you.
Piper: (to Phoebe) You should of called me.
Phoebe: I know, I know. But you had a good time, right?
Piper: Unfortunately.
Phoebe: Do you confuse yourself when you do that?
Piper: I just, I don't know Phoebe, it seems like every guy I've liked lately has been a warlock, a ghost, or otherwise unavailable like Leo. I was just trying to save myself some grief with Josh.
Phoebe: But Josh is available, and human too ... I think.
Piper: I just don't want to be disappointed again. I'm tired of falling for the wrong guy, human or supernatural.
Phoebe: Well, I am sorry. If I had of known that you wanted to take a dating hiatus, I wouldn't of pushed so hard. Are you mad at me?
Piper: No, I'm grateful.
Phoebe: Yeah?
Piper: You followed my instincts. I don't know what I'd do without you.
[Scene: Prue and Brendan are taking a walk.]
Brendan: A warlock naturally comes from two warlock parents like Greg and Paul do. But they're just my half brothers, I had a different mother.
Prue: A human mother?
Brendan: Yes. A wonderfully, human mother.
Prue: So then we have something in common. My father was human.
Brendan: The only difference is he came from good. Mine came from pure evil. Descended from an ancient warlock line intent on furthering the Rowe coven. Three brothers destined to become the most powerful force of evil the world has ever known.
Prue: The evil charmed ones.
Brendan: Only I went into hiding. I wanted to break the chain. Make amends for all that my family's done.
Prue: By becoming a priest?
Brendan: Embracing God in that way is the only way to lose my power and my warlock nature forever. And with it keep the Rowe coven from ever being. I've been at w*r with myself all my life, Prue. Running from the evil inside me. I guess it finally caught up.
Prue: You can fight it. Fight them.
Brendan: No I can't. My brothers are too powerful, they're relentless. They'll keep hurting the people I care about until I give in. They'll even hurt you.
Prue: I can take care of myself. It's you I'm worried about.
Brendan: Ahh, don't worry about me. I know what I have to do. I have to k*ll my brothers before they trick me into k*lling somebody else. You'll have to follow me to their place, and then and your sisters will have to k*ll me.
[Scene: Greg and Paul's place.]
Paul: Everything's ready.
Greg: Good. He's coming. This is amazing. Just as his approach my power quickens. It's as if I'm reaching out for him. For completion, do you feel it too? (Brendan enters the room.) Brother.
Brendan: I'm here to k*ll you Greg.
Greg: Well, I'm glad. Anything less, I'd be disappointed. But first you're gonna need this. (He gets a Kn*fe.)
Paul: It's okay, Brendan, take it. (He does so.)
Brendan: I know this wasn't your doing Paul. But I'm gonna have to k*ll you too.
Greg: But me first. (Brendan and Greg start fighting.) Yes, come on, you're feeling it now. Come on, I dare ya, you're almost there. In your blood, this is us, this is your birth right.
(Brendan sees a woman tied to a table with candles around her.)
Brendan: What the hell?
Greg: Isn't the heat intoxicating? But you need to k*ll. Oh, yes, that's it.
[Cut to Prue, Piper and Phoebe.]
Phoebe: Got here as soon as we could, we just didn't have time to go to the house and get the Book of Shadows.
Prue: Yeah, I don't wanna have to k*ll Brendan too.
Piper: But you said on the phone he's a warlock.
Prue: Yeah, I know he is but if we can vanquish his brothers before he turns, we might be able to save him okay.
[Cut back to the warlocks. Brendan is holding the Kn*fe just above the woman's throat.]
Greg: One clean thrust and you're both a piece.
(Prue, Piper and Phoebe barge through the door.)
Prue: Brendan, no!
(Prue uses her powers to untie the woman. Paul flings his hand out and lightning flies out if his fingertips landing near them. They run into the other room.)
Paul: Three witches. We can't defeat them without Brendan and we haven't got him yet. (They run away. Prue, Phoebe and Piper run back into the room.)
Piper: (to woman) It's okay, you're safe.
Prue: No, don't take the blind fold off she'll see us. We'll call for help.
Phoebe: Prue, he's a warlock.
Prue: I know.
Commercial Break
[Scene: Same place. There is now police and lots of people there.]
Officer: (to Morris) I'll take that.
(A man walks past Morris.)
Morris: Minimal traffic.
Man: See if he needs the photos.
Morris: I'll give it to him. Victim's a little shaken up so give her some air okay.
[Cut to Andy and the victim.]
(He gives her some tea.)
Andy: Here you go.
Woman: Thank you.
Andy: You okay to talk a little more?
Woman: Yeah, um, I just gotten to my car and I'm loading the groceries in the back and then they just came out of nowhere.
Andy: Was this guy, Brendan Rowe, one of them? (He shows her a picture.)
Woman: No. But I remember them calling one of the other ones that. I was blind folded and I think they drugged me or something 'cause the next thing I remember I was here. I felt the tip of the Kn*fe. He was gonna k*ll me. But she made him stop.
Andy: She?
Woman: One of the women that came. Um, Prue, I think her name was Prue.
Andy: Thanks. Stay with her. (He points to a woman officer. He walks up to Morris.) The bastards painted a cult symbol on her chest as a target. She's lucky to still be alive.
Morris: Did she I.D. Brendan Rowe.
Andy: Yeah, said two others blind folded her. Brought her here for him to k*ll her. (He starts to leave but Morris stops him.)
Morris: Where you going?
Andy: I'm gonna get to the bottom of this once and for all.
[Scene: Halliwell house. Prue's room.]
Prue: Hey, um, you can sleep in my room and I'll sleep with Piper.
Brendan: Why?
Prue: Because Phoebe kicks.
Brendan: No, I mean why are you doing this, why are you so kind to me after what I almost did?
Prue: Yeah, but you didn't and that's what's important. You didn't come to your brothers will.
Brendan: Only thanks to you. They had me Prue. Right where they wanted. I could feel the evil inside taking me over. It was so strong, so powerful. If you and your sisters didn't come in when you did.
Prue: You would of stopped yourself. You wouldn't of hurt her.
Brendan: How can you be so sure when I'm not even sure myself?
Prue: Because you're a good person Brendan, I've seen it at church, Father Austin's words, at the s*ab with that little girl. Your good side is much stronger than your evil side, you just have to keep fighting it until your ordination in the morning. And then you're home free. And we are gonna make sure you get there on time.
(There's some silence and they stare into each other's eyes.)
Brendan: How many temptations do I have to endure?
(They move into a kiss.)
Prue: Uh, okay, I'm gonna go. Night.
Brendan: Night.
[Cut to downstairs.]
Piper: He was about to drive a Kn*fe in that woman's heart.
Phoebe: Yeah, you couldn't of missed that right?
Prue: I didn't. I saw Brendan NOT punch the Kn*fe in her.
Phoebe: Yeah, that's because we stopped him.
Prue: Then why isn't she d*ad?
Piper: Because we showed up.
Prue: No, because we followed him. Because last night Phoebe had a premonition of Brendan being att*cked. That makes him the innocent that we're suppose to protect.
Phoebe: Not necessarily. I mean maybe we were directed to him so that we could save the real innocent. The woman.
Piper: Which we did and now you've brought her would be k*ller, a warlock no less in our house. How do you know he won't try to k*ll us? That's what warlocks do.
Prue: He's not just a warlock, he's human too. Okay, look, Piper, remember when the wendigo turned you into a monster. The struggle that you went through and, and, and Phoebe, what about the shadow that turned you evil, what you went through to fight him off just to stay good. If anybody could relate to what Brendan is going through I would think that it would be you two. He has worked so hard for so many years to overcome his dark side and his brothers and he is so close.
Piper: What if, what if, you're wrong. What if he crosses over and joins his brothers?
Phoebe: Well, then they become the evil charmed ones and it's too late to stop them.
Prue: I know. Look, I can't explain it. I'm just following my instincts and they've never let me wrong before, at least not when I've really listened to them. Guys, if you can't believe in him, can you please at least believe in me?
Phoebe: Okay. Well, if we're gonna help Brendan get to this ordination, we have to figure out a way to stop his brothers, they're definitely gonna be there waiting.
(The doorbell rings.)
Piper: Who could that be?
Phoebe: Brendan's brothers?
Prue: Something tells me they're not exactly the ringing the bell types.
(Prue answers the door.)
Prue: Andy.
Andy: Hey, Prue. You feeling lucky? 'Cause I'm about to do ya a BIG favour. I'm gonna forget that I can place you at the scene of the crime if you can tell me where I can find Brendan Rowe.
Prue: I'm not sure I know what you're talking about.
Andy: I'm talking about justice for Father Austin. Ever hear of him? (Prue doesn't know what to say.) What's the matter? Need a little more time to work on your story?
Phoebe: Andy!
Andy: Sorry, but all bests are off on this one. A priest, my priest, was viciously att*cked at his own church who dedicated his life at doing only good. Then a young mother was kidnapped almost sacrificed in an altar. Now I can place Brendan Rowe at both scenes of the crime and the female victim hearing your name at the last one. And believe it or not I don't care why you were there, all I care about is who tried to k*ll Father Austin.
Prue: I wish that I could help you.
Andy: Piper, what about you? You wanna tell me where he is?
Piper: We're not hiding any criminals here Andy if that's what you're asking.
Andy: Fine. Father Austin's in intensive care. If he dies it's first degree m*rder and if I find out you're someway involved, I won't be able to look the other way, Prue. (He leaves.)
Phoebe: I've never seen him like that before.
Prue: Can you blame him?
Piper: I hope you're right about Brendan, Prue.
[Scene: Greg and Paul's place. They are saying a spell.]
[Cut to Prue's room. Brendan is lying in bed and he's very restless. He gets out of bed and sees a spider and squashes it.]
[Back at Greg and Paul's place.]
Paul: He should of been here by now. I told you the spell wouldn't work.
Greg: We still got time.
Paul: I'm telling you he can't be taken. His mother's blood is too strong in him.
Greg: Then we will have to k*ll him.
Paul: I won't let that happen.
Greg: And he won't have a choice.
(Brendan enters the room.)
Paul: Brendan.
Greg: The spell brought you here. But the rest you have to do on your own, brother.
Brendan: I understand.
Greg: Do you really?
Brendan: I feel only your power reaching out to yours and yours. To complete our triangle.
Paul: All it takes is the life of a mortal and then your initiation is complete.
Greg: I'm afraid it's gonna take more. We need proof that you have truly turned. To complete the Rowe coven you must sacrifice a witch. Prue.
Commercial Break
[Scene: Prue's room.]
Piper: Where'd he go?
Prue: Um, probably to the rectory to get ready.
Piper: But you're not sure.
Prue: No, I'm not.
Piper: What are you gonna do?
Prue: I'm gonna find him. Wake up Pheebs okay.
(Phoebe stands at the doorway.)
Phoebe: I'm up. Do you want to know what the Book of Shadows says about the Rowe coven?
Prue: Go.
Phoebe: It's not good. Ever since the tenth century each generation has grown stronger. Nobody can find a spell or a w*apon that can stop them.
Piper: Some days you just shouldn't get out of bed.
Prue: Let's just hope the power of three can b*at them.
Phoebe: Unless it's already three against three.
[Scene: Church. Prue, Piper and Phoebe are standing outside Brendan's room.]
Phoebe: Are you sure you don't want us to go in with you?
Piper: If he's turned he'll k*ll you.
Prue: No, he won't I can talk to him. Look, I will call for help if I need it, I just need a minute alone with him.
(She walks in the room.)
Brendan: Hello, Prue.
Prue: Hi. Is everything alright?
Brendan: Yeah, sure. Why? You worry about me?
Prue: A little. Especially since you left this morning without a word.
Brendan: Yeah, well, big day. Wanted to get a jump on it.
Prue: Yeah, shouldn't you be getting ready?
Brendan: I am ready, Prue.
Prue: They got you didn't they?
Brendan: Look at this place. Hardly furnished, dresser, crucifix, bed, will this be my life? To meditate? To shut out the world.
Prue: Have your brothers been here?
Brendan: Mortify the flesh. They put a spell on me. To make me see your mortal body only. Something to k*ll and I see it.
(Prue uses her powers and he flies across the room.)
Prue: You can fight it Brendan. (Phoebe and Piper run in the room. Piper goes to freeze him.) No! It's okay, don't. (He turns into a warlock.) So this is it? You k*ll me or I k*ll you.
Phoebe: Prue.
Prue: Everything that you worked for, all the good that you've done still couldn't do. All for nothing, all lost. I don't believe it. I don't believe that this is the real you. (He raises his arm while holding the Kn*fe.) No, Brendan, wait! You're good. You can't k*ll me. It's not who you are. Isn't that why Father Austin believes in you?
(Brendan turns back into a human.)
Brendan: Did I hurt you?
Prue: No, I'm okay.
Brendan: Forgive me.
Phoebe: (to Piper) I wasn't worried. Were you worried?
Piper: Nah-uh.
(They walk down the hallway.)
Piper: It's clear.
(Greg and Paul appear.)
Greg: You betrayed us little brother. I'm very disappointed.
Brendan: Leave them out of this, Greg.
Greg: You're protecting witches now? You make me sick.
Piper: Prue?
Prue: Now!
(Piper tries to freeze them but they have some sort of protective shield around them and Phoebe throws the Kn*fe at them but the shield blocks it. Same happens with Prue's powers.)
Greg: No, not this time. I'm ready for you but family first.
Brendan: Yeah? Come and get me.
(Greg picks up the Kn*fe and gets ready to throw it. Paul stops him.)
Paul: Greg, wait!
Prue: Brendan, don't let them turn you, don't use your powers.
Paul: Give him a chance. It's not too late Brendan, you can still join us. You are either with us or against us.
Brendan: Then I'm against you.
Greg: Then you will die. (He throws the Kn*fe gets Paul.) Damn you, Brendan.
Paul: Greg. (He pulls the Kn*fe out of his chest.) Damn you!
(He throws the Kn*fe and hits Greg in the chest. They both turn into dust.)
Prue: I'm sorry.
Brendan: I'm not.
(A clock chimes.)
Prue: It's time.
Brendan: Yeah. After all these years, after everything I've given up to get here, a sacrifice never seemed greater than it does right now.
(Prue kisses him.)
Prue: Tell me about it.
[Scene: Inside the church. Brendan is getting ordained and Phoebe, Prue and Piper are watching.]
Phoebe: (to Prue) You know if you're ever gonna lose a guy it might as well be to the big guy.
Commercial Break
[Scene: Quake.]
Bartender: What can I get you Prue?
Prue: Um, the usual, thanks.
(Andy walks up to Prue.)
Andy: Hey.
Prue: Hi. Still mad at me?
Andy: Listen Prue, I'm sorry about how I acted earlier.
Prue: Andy, please, you don't have to apologize. I know how close you are to Father Austin. I've known you a long time, remember?
Andy: I remember. Actually, I just came from the hospital, the doctor says he's gonna be okay.
Prue: I'm glad to hear that.
Andy: And he said it wasn't Brendan Rowe that att*cked him, it was his brothers. I suppose you don't know where I might be able to find them either?
Prue: No. (The bartender gives her the drink.) Thanks. But I have a feeling you're not going to find them anywhere.
Andy: Really? I wonder how you might know that? Nevermind, I think I already know. Well, better get back to work I just wanted to stop by.
Prue: I'm glad you did.
(He leaves. Prue walks over to a table where Piper and Phoebe are sitting.)
Piper: Well, you're not handcuffed, that's a good sign.
Phoebe: Depends on who's cuffing you. I'm joking.
Prue: I wonder how he knew that I would be here?
Phoebe: Are you kidding? We're always at Quake after we vanquish warlocks. Either here or at home.
(Piper sees Josh.)
Piper: Oh, there's Josh.
Phoebe: Oh man, that guy cannot take a hint. Piper, this is my fault, I'm the one that pushed you on him. So I will handle this okay.
Piper: It's okay. I called him. I decided it's time to try and work through my fears and trust my instincts.
Prue: Always a good thing to do.
Phoebe: Especially when they're that cute.
Josh: Piper. I'm a little surprised you called, I thought you were mad at me or something.
Piper: No, I just had to go to church. Table for two. Yes, you. (They sit at a table.)
Phoebe: You know, maybe I didn't do such a bad thing after all.
Prue: I'd say helping her get over falling for the wrong guy is a good thing. Now maybe you can help me with it.
Phoebe: Yeah, that's not fair, losing such a catch like Brendan to the priesthood. God's got all the studs.
Prue: Well, at least he's not a warlock anymore.
Phoebe: And at least Piper's not a nun.
Prue: Oh.
Phoebe: Right?
Prue: Right.
End | {"type": "series", "show": "Charmed", "episode": "01x18 - When Bad Warlocks Go Good"} | foreverdreaming |
Written by: Tony Blake & Paul Jackson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: The park. There is a little boy's birthday party there.]
Phoebe: So what are you so afraid of?
Piper: I'm not afraid. I'm not. I'm just not sure.
Prue: Not sure of what?
Phoebe: Josh. He wants to have the talk with Piper.
Prue: What talk?
Phoebe: Three dates, no sex. There could only be one talk he's talking about. Safe sex, prior partners, standard dating protocol.
Piper: And sex equals relationship.
Prue: And you're not sure whether you want to be a couple?
Piper: Well, it's not that I don't like him.
Phoebe: Then what's wrong with being a couple?
Piper: Well, I thought Leo and I were a couple and then we coupled and he took off.
Prue: Yeah, well, men seem to have a different definition of coupling than women do.
Phoebe: I do not think that's why Leo left.
(Dee walks up to the girls.)
Dee: Hey Prue.
Prue: Hey Dee, how are you?
Piper: (to David) Hey, how's the party going?
David: Great. We're playing squish the squash and nobody's been able to catch me. (Prue's phone rings.) Is the cake ready?
Piper: Uh, yeah, give us about five minutes.
David: Awesome. (He runs off.) Hey guys, five minutes until the cake.
Dee: Thanks for doing all this Piper. I never would of been able to afford it.
Piper: Hey, what are friends for? Besides it's worth it just to see the look on David's face.
Phoebe: He's a great kid.
Dee: Yeah, I know.
Prue: So much for my Saturday off. That was Claire. Something at the auction needs to appraised, so I gotta go. I'm so sorry.
Dee/Piper/Phoebe: Bye.
[Cut to the kids playing with a ball. One kid accidentally throws the ball in the bush.]
David: I'll get it. (He runs in the bush and throws the ball back. He hears a cat meowing in the trees. He goes to look and a grimlock jumps out of the bush and grabs him.) Help! Let go of me!
(Prue is walking along the path and sees what's happening. She runs towards David.)
Prue: David, no! (She puts her hands up and the grimlock and David fly around the air. A man just happens to see her. Prue looks at her hands and they fall to the ground. The grimlock grabs David and runs further into the bush.)
David: Help! Help! Let go of me! Help me!
(Prue runs after them. The grimlock stands in a spot and a hole in the ground appears. He jumps in and the hole closes.)
Opening Credits
[Scene: The park. The police are there. Dee is crying.]
Phoebe: What did you tell them?
Prue: That I saw a butcher with whirling eyes take David.
Phoebe: And what did he say?
Prue: What did you think he said? He thought I was nuts.
Phoebe: Yeah, well, it turns out David's not the first one to be taken. An inspector told me that another boy disappeared yesterday in the exact same spot.
Prue: A demon who steals kids. Does it get any worse?
Phoebe: Uh, yeah, apparently it also happened twenty years ago. Same park, two kids.
Prue: Did they ever find the kids?
Phoebe: I don't know.
Prue: You know, I could of saved him.
Phoebe: Prue, don't go there.
Prue: No, I was just so surprised and I looked down at my hand and ...
Phoebe: It was the first time you channelled your power through your hand. Give yourself a break. Your power's growing.
Prue: Yeah, I just hope no one saw me.
Phoebe: Okay, well, look on the bright side, you won't have to squint anemone. You were starting to get those little lines. (Piper comes up to them.) So, how's Dee doing?
Piper: Not good. It's very frustrating not being able to tell her who we are and how we can help.
Prue: Yeah, well, the sooner we get to the Book of Shadows the sooner we can get David back home.
Phoebe: An albino demon with whirling eyes sounds like a whole chapter to me.
(Prue's phone rings.)
Prue: I forgot about the appraisal.
Piper: Uh, it's okay, just go. Phoebe and I will look in the book and we'll call you if we find anything.
Prue: Are you sure?
Phoebe: Don't ya just hate cell phones? Always out of range.
(She hangs up the phone.)
Prue: Call me.
[Scene: Underground in the storm drains.]
David: Help! Help me! Let go of me! (One of the grimlocks have a hold of David. The other grimlock holds his hand in front of David's face. A blue light shines in his eyes. It looks as if they're taking his eyesight.) I can't see. Why can't I see? Mum! Mum?
[Scene: Halliwell house. Piper's looking through the Book of Shadows and Phoebe's on the computer.]
Piper: Nothing. (She closes the book and starts getting food out of the cupboards.)
Phoebe: Did you look under whirling eyes?
Piper: About an hour ago. I found demons with no eyes, demons with four eyes, eyes that grow legs, but no whirling eyes. What about you?
Phoebe: I found some newspaper clippings about the kidnapping twenty years ago. Ah, both were taken in the same place as David. And one of them were never seen again.
Piper: Oh, great.
Phoebe: But the other one was found. It's right here. His name was, uh, Brent Miller. Look, honey, I know you're upset but that's not going to help you.
Piper: It's not for me, it's for Dee, I'm taking her a care package. Keep reading.
Phoebe: Brent Miller was discovered two days after he was taken, roaming the streets. He was fine accept he'd gone blind.
Piper: Blind?
Phoebe: Yeah, he claimed that some storm drain monsters stole his eyesight and of course the authority's believed he just caught a parasite.
Piper: We can't tell Dee that her son might be blinded.
Phoebe: Well, maybe if I can find this Brent Miller guy on the web he might know something that can help us.
Piper: I hope you're right.
Phoebe: Piper, we're gonna find David.
[Scene: Bucklands. Prue's office. A reporter enters.]
Reporter: Prue Halliwell?
Prue: Yes.
Reporter: Hi. Eric Lohman. Bay Weekly alternative press. Have you heard of us?
Prue: Sorry.
Eric: Oh, well, you will. Listen, I was hoping might be able to help me with a story I'm working on.
Prue: On the auction business?
Eric: No, actually on magic.
Prue: Magic? Why would you come to me?
Eric: I don't know. Maybe because I saw you levitate two people in the park with just a wave of your hand. I take that as a no comment. So what are you anyway? Some kind of David Copperfield, Lance Burton, freak of nature? (He laughs.)
Prue: I don't know what you're talking about.
Eric: Look, Prue, friends call you Prue, right?
Prue: I would like for you to leave.
Eric: Well, tough, get over it. I had my police sources check you out. It's interesting how you name keeps popping up in all these unsolved m*rder cases.
Prue: What does that have to do with anything?
Eric: Maybe nothing. But if I wrote an article on it, it might look like something. Does your boss subscribe to my paper?
Prue: Don't thr*at me.
Eric: What are you gonna do? Make me fly into the wall? (He laughs) Come on. (He knocks a glass bowl on the floor.) How clumsy of me. I bet that took a lot of self control, huh? Not using your powers.
Prue: You're a credit to your profession.
Eric: You know that kid saw what I saw too. (She picks up the phone.) Cops get him, his all the co-operating evidence I need.
Prue: Security?
(Eric hangs up the phone.)
Eric: Prue, be smart. Work with me. I'm gonna break this story one way or another. I can either make you sound like Wonder Woman or the devil incarnate. Okay? Think about it. (He leaves.)
[Scene: Brent Miller's place.]
Housekeeper: Mr Miller will be in shortly.
Phoebe: Wow, what a great view. You can smell the ocean.
(Brent enters the room with a seeing eye dog.)
Brent: And hear the traffic.
Phoebe: Uh, Brent Miller?
Brent: That's what they tell me.
Phoebe: Hi. I'm Phoebe Halliwell.
Brent: Phoebe, allow me to introduce you to Hamlet.
Phoebe: He's beautiful. So is this place.
Brent: Yeah, well, didn't think a blind guy could live is well, huh?
Phoebe: Oh, no, that's not what I meant at all.
Brent: I know you didn't. I design software for the visually impaired. Life has been good to me. So, how can I, how can I help you Phoebe?
Pheobe: Actually, I wanted to talk to you about when you were kidnapped as a child.
Brent: I'm sorry, I'm not uh, I'm not very comfortable talking about that.
Phoebe: I understand, but I read a lot about it.
Brent: I said I'm not interested in talking about it.
Phoebe: Okay, but this just isn't for me ...
Brent: I said no!
(His dog barks and the housekeeper comes in.)
Housekeeper: Is everything alright, Mr. Miller?
Brent: Yes, Lucy please just uh, show this lady to the front door.
Phoebe: No, you know what? I'm not leaving. It's happening again. In the last twenty-four hours two little boys were kidnapped in the same park you were. Maybe by the same monsters you were.
Brent: It's alright Lucy. (she takes the dog in another room.) You believe my story about the monsters?
Phoebe: Yes, I do.
Brent: Why? When everyone else's laughed at me.
Phoebe: Well, maybe it's because I've seen my share of monster's and I haven't told anybody about them because I didn't want them to laugh at me. Mr. Miller, I know you wouldn't want what happened to you to happen to these two little boys. Please.
Brent: There were two of them. They were terrifying creatures really. They dragged me into a storm drain to a junction of some kind. They held me down, I remember blue sparks hitting my face. My eyes felt like they were on f*re and uh, that was the last thing I ever saw.
Phoebe: Why do you think they took your eyesight?
Brent: I don't know. But I remember them saying something like auras.
[Scene: People are coming out of a building. You see two grimlocks in the drain watching the people. They pick a guy and start choking him by using their powers.]
[Scene: Halliwell house. Piper is sitting on the stairs searching through the Book of Shadows. Phoebe sits down next to her.]
Piper: Auras, auras. I know I saw something in here. Here it is, auras. Grimlocks.
Phoebe: (reads from the book) Underground demons who roam city to city k*lling powerful forces of good by seeing the unique auras that surround them.
Piper: Which they're able to do by stealing the sight of innocent children.
Phoebe: So, there like h*t men for the dark side.
Piper: The stolen eyesight will only last twenty-four hours but only if the children are alive. Which means we have less than fourteen hours. To destroy a grimlock gather a chisandra root ...
Prue: (from downstairs) Piper! Phoebe! (They go downstairs.)
Phoebe: Uh oh, I know that look.
Piper: What's wrong?
Prue: A reporter saw me use my powers in the park and he's thr*at to write an article about it.
Phoebe: What? Does he have any proof?
Prue: Just what he saw.
Phoebe: So it's your word against his.
Prue: Yeah, the difference is, his word is delivered to a half a million homes each week.
Piper: Well, everything happens for a reason, maybe it's time we let the world know about us.
Prue: Piper, being outted would only make our lives worse.
Piper: We don't know that. At least I could tell Dee what we're doing and at least give her some hope.
Phoebe: No, Prue's right. If we're exposed we're gonna have every crazy hounding us day and night.
Prue: Not to mention the media circus on our front lawn. Remember E.T?
Piper: Well, we can't worry about that now, we have to find those boys. I'm gonna go see Josh and see if he has a map or something of the storm drain system.
Prue: Storm drains?
Phoebe: It's where these demons live.
Prue: Well, there's got to be at least hundreds of miles of storm drains in the city.
Phoebe: Well, I'll go talk to Brent again and see whether he can remember where the Grimlocks took him.
Prue: Brent?
Piper: Prue, the Book of Shadows said the only way to k*ll a Grimlock is to blind it with a potion made from chisandra root. Can you find some?
Prue: Yeah, I'll try. As long as that reporter isn't following me.
Phoebe: Okay, be back soon. (They open the door.) Hey, what if Josh wants to have the talk?
Piper: I'll tell him I have a headache.
[Scene: Police station. Andy walks up to Morris with two cappuccino's.]
Andy: Anything on the night sheet?
Morris: Medical examiner. (Andy gives him his cappuccino) Thanks. Sent this over. It's Jerry Cartwright. Donated millions to the city anti-drug program.
Andy: And he's saying that he was m*rder?
Morris: Unless we tell him otherwise. It's listed in the CLD as a strangulation. The problem is the man dies in a crowd of people and nobody saw anyone lay a hand on him.
(Eric enters the room.)
Eric: Inspector Trudeau.
Andy: Ohh ...
Eric: Eric Lohman. Bay Weekly.
Morris: He's all yours. (He leaves.)
Andy: I know who you are. What do you want?
Eric: Um, a cup of coffee would be great. (Andy gives him a look.) Okay. What do you say I pick your brain about Prue Halliwell. Name ring a bell? It should. Her name keeps popping up in a lot of your m*rder cases. A lot of the unsolved ones.
Andy: Is that a fact?
Eric: I've got my sources. Cops love to talk. Especially if you pay them enough.
Andy: Get the hell outta here.
Eric: So, I assume you know all about Prue's unusual powers, right?
Andy: I don't know what you're talking about.
Eric: Yeah, right, that's what she said too. Did you two rehearse your stories or what? I saw her in action in the park, Trudeau. She waved her hands and magically suspended that David Hasher kid and his kidnapper in mid air. It was, it was very cool. I just wish I had my camera. Care to comment?
Andy: No.
Eric: Okay, I'll just change my story to a police cover up instead.
Andy: I'm not covering up anything.
Eric: Really? Great. Then I guess you got nothing to worry about. Just remember, I gave you a chance to work with me. (He leaves.)
Morris: What was that about?
Andy: Nothing. You're gonna have to handle the emmy case on your own.
Morris: Why? Where you going?
Andy: I'm assigning myself to kidnappings.
[Scene: Josh's place.]
Josh: Why exactly do you need this?
Piper: Ah, ah, a client at Quake is uh, thinking of throwing an underground rave and we might cater it.
Josh: A party in a storm drain?
Piper: Yeah, he uh, runs a roder ruder type company, it's kind of a theme thing.
Josh: Yeah, well, sounds dank. Like anyway, as long as you're here. Can we talk?
Piper: Uh, maybe later. I have to go.
Josh: No, Piper. It can not wait.
Piper: Somebody's a little anxious, huh?
Josh: This is important, it could affect the rest of my life.
Piper: Well, not if we take precautions.
Josh: What?
Piper: I'm not saying I'm ready for that, in fact I'm not ready for that. But when I am ready for that, I'm just saying I will be taking precautions.
Josh: Piper, what are you talking about?
Piper: Uh, having sex. You're not talking about that are you? (He shakes his head.) What are you talking about?
Josh: My leaving.
Piper: Leaving?
Josh: Yeah, I got offered a job down in Beverly Hills. I mean it's not exactly my dream but it's a good opportunity. Look, my point is if I thought that we had a future.
Piper: Josh, this is all happening a little too fast.
Josh: Yeah, I know, I know, and I'm sorry but like it or not you're in this vote. Now if you don't want me to go, I won't.
(Piper freezes him.)
Piper: Okay, we need to talk about this, if I ask you to stay then we're a couple and I'm not sure if I'm ready to be a couple, but if I tell you to leave and we could of been a good couple then, then I'll never know. I need more time. (She gets her phone out and starts dialing. Josh unfreezes and his phone rings.)
Josh: Uh, hold that thought. (He picks up the phone.) Yeah, hello.
(Piper grabs the maps and runs out the door.)
Commercial Break
[Scene: Brent's place. Phoebe is there.]
Brent: I remember their faces. It's like a nightmare that never ends. They took me into this big area and there were a lot of pipes. I'm sorry, that's really all I remember.
Phoebe: That's okay, Brent.
Brent: You're disappointed.
Phoebe: No, no, not at all.
Brent: Someone that can see your face might believe you but your voice tells a different story.
Phoebe: Gave me away, huh?
Brent: You have a beautiful smile, Phoebe.
Phoebe: How can you tell?
Brent: I hear it in your voice, I can see it in my mind. (Phoebe touches Brent's arm and she has a premonition of a little boy in the storm drain.) What's the matter? Are you okay?
Phoebe: I'm fine. Um, Brent, when they took you were you wearing a sweat shirt with jeans and black high tops?
Brent: Yeah, I think I was. How did you ...?
Phoebe: And when you escaped were you running through water?
Brent: Yes, I remember that, in a tunnel.
Phoebe: Okay, Brent, I need you to think really hard. Do you remember anything, anything at all about that location? Did you hear anything or feel anything?
Brent: All I remember is this, uh, sound of this enormous generator and maybe some cable cars.
Phoebe: Cable cars?
Brent: Yeah.
Phoebe: Hey, do you have a map? Oh, oh! I'm so, that was so stupid.
Brent: No, I actually do have a map of that area. It's over here. What are we looking for exactly?
Phoebe: I don't know. Cable car turn around maybe. That generator that you heard could of been a power plant. (He gets a book and starts flipping through the pages.)
Brent: Right. See, on this map, okay, there are two turn arounds on this page and uh, right, here it is. There's a power plant right there on Verik.
Phoebe: How can you tell?
Brent: Well, give me your hand. Okay, feel these three horizontal bumps followed by the two vertical. On this map that's the symbol for a power plant.
Phoebe: I better go.
Brent: Phoebe, how'd you know what I was wearing and where I was running? Are you some kind of psychic?
Phoebe: Like, only different.
Brent: Right. That's how you've seen all these other monsters that you mentioned isn't it? Phoebe, you're a good person. That probably means you have a strong aura. Be careful with those monsters.
Phoebe: Don't worry, I will.
[Scene: Underground in the storm drains.]
David: Don't worry Billy. My mum's got a friend that has super natural powers. She'll get us outta here.
Grimlock: Shut up!
[Scene: Bucklands. Prue's office. She's talking on the phone.]
Prue: Did you hear on the radio about that philanthropist that got mysteriously strangled?
[Cut to Piper in her car.]
Piper: It's gotta be the grimlocks. That's how they k*ll. We're running outta time, we've got less than three hours. Did you get the chisandra root?
Prue: No, but I'm leaving now to pick it. Um, look, did Phoebe get anything out of Brent Miller that might help us?
Piper: Um, I'm not sure.
Andy: (Who's now standing at the doorway) Who's Brent Miller?
Piper: Prue?
Prue: I gotta go. (She hands up the phone.) Andy, hi, what are you doing here?
Andy: Working out the kidnapping's. Thought we should talk.
Prue: Well, I've already told the police everything I know about that.
Andy: Not according to Eric Lohman you didn't. He stopped by the station. We had an interesting chat.
Prue: Yeah, well, he's a reporter trying to make a name for himself. Can't believe anything he says.
Andy: Normally I don't. This time I do. We've been down this road too many times, Prue. I know you're hiding something. I have my suspicions about what it is. But I've come to accept the fact that you can't ell me or you don't wanna tell me. Either way, it's not just me anymore. Lohman's on you, at least he thinks he is and he's not gonna let go. Prue, if you don't level with me now I can't help you control this.
Prue: Andy, I'm just never sure if it's better for you to know or not to know.
Andy: I remember the time when we could tell each other everything. There's nothing Lohman won't do to get this story. Watch your back. (He leaves towards the door.)
Prue: Andy. Thanks.
[Scene: Phoebe is at an opening to the storm drains.]
Phoebe: Bingo.
(She runs off.)
[Scene: Piper pulls up outside their house. She runs up the stairs and Prue gets out of her car.]
Piper: Did you get it?
Prue: Yep, I got it.
Piper: What's wrong?
Prue: Andy stopped by my office after Lohman stopped by his. I think he told Andy about my powers.
Piper: Uh oh. What did you do?
Prue: Same as I always do, I danced around the truth. It just doesn't feel right anymore.
(Piper sees a pram roll down next door's driveway right in front of a truck. She freezes it just in time.)
Piper: Oh my God!
(They run down to the road.)
Prue: Where is the mother?
(They look inside the pram. It's empty.)
Piper: Oh, thank God.
Prue: Wait a second, since when did the Johnson's get a baby? That damn reporter. (They see Eric with a camera hiding behind a wall and bushes.) Look.
Piper: Okay, uh, confused.
Prue: Alright, that's Lohman. This is a setup. We need to get back to where we were before everything unfreezes. Go! (They run back in front of their house.) Okay, don't forget to put your hands up. (Everything unfreezes.) Don't look, just go inside. (They do so. Eric rewinds his camera and plays it several times.)
Eric: Purse on right shoulder. Then on left shoulder. Purse on right shoulder. Purse on left shoulder. She has another power. Gotcha! Gotcha.
Commercial Break
[Scene: Halliwell house. Phoebe runs up the stairs outside and goes into their house. You see the reporter sitting outside in his car. Cut to inside.]
Piper: Is he still out there?
Prue: Unfortunately.
Phoebe: Hey, you guys, I think I found the entrance to the storm drain. What's going on?
Prue: Didn't you see that guy parked out front in his car?
Phoebe: Yes.
Prue: Yeah, well, that's the reporter I told you about. He's staking us out.
Phoebe: What?
Piper: He tricked us into using our powers and nearly caught us.
Prue: But fortunately we figured out what he was doing before he could get any proof.
Phoebe: Oh, thank God.
Piper: The only problem is how are we gonna be out looking for David when he's camped outside. We have less than two hours.
(The doorbell rings. Prue answers the door.)
Eric: Hey, how's it going? Mind if I use your bathroom? (She tries to shut the door.) Hey, don't bother using your magical powers on me. I already hid the video tape.
Prue: What video tape?
Eric: Yeah, you know, best I could guess is somehow one of you stopped time. Or rewound it. I don't know. What I do know is I got the whole thing on tape.
Prue: You're bluffing.
Eric: Am I? How do explain your sisters purse magically jumping to her right shoulder to her left shoulder instantaneously. You screwed up. And I got the proof. Okay, now here's the deal. I already got my story ready to print. But all I really want now from you is a tell all exclusive. I'll write the book, we can share in movie rights, foreign sales, distribution ... (Prue pushes him outside and closes the door.) Okay, I'll just wait outside until you're ready to talk.
Phoebe: What are we gonna do?
Prue: Alright, look, I will stay here and finish the potions, you guys go try and find the boys. To buy us some time, keep on freezing those grimlocks, okay, until I get there.
Piper: What about Lohman?
Prue: Don't worry about him, I'll stop him from following you. (She goes outside.) Lohman. I've been thinking about what you said. Maybe we can work something out.
Eric: Yeah? Why don't I believe you?
(You see Phoebe and Piper sneaking towards the car.)
Prue: Oh, I don't know, maybe it's your reporter instincts. (You hear and see Phoebe and Piper drive off.) Oops, busted.
Eric: Nice try. (He runs towards his car and Prue uses her powers and a garden tool gets shoved in his car tyre which flattens it.) Whoa! You did that didn't you. I know you did that.
Prue: Really? Prove it.
[Scene: In the storm drains. Piper steps in a puddle.]
Piper: Eww, I'm not wearing the right shoes for this. Okay, talk about all roads leading to hell.
(Phoebe gets out her map.)
Phoebe: Ah, light, light. (Piper turns on a torch.) Brent said he remembered a big area with pipes. Oh, wait, here's a pipe junction. That way. (They keep walking.) So, I guess this isn't a good time to ask how it went with Josh and the talk?
Piper: You're right, it's not.
[Scene: Brent's place.]
Brent: Inspector Trudeau.
Andy: Yes, Mr. Miller.
Brent: My housekeeper said you wanted to talk to me. Is it about the kidnappings?
Andy: Maybe. Has a Prue Halliwell come to talk to you by any chance?
Brent: No. But I have spoken to a Phoebe Halliwell.
Andy: Really?
Brent: I think I know where she went if that'll help you.
[Scene: In the storm drains.]
Piper: I never knew anything could smell so bad.
Phoebe: Now there's a good sign. (She sees a sign.)
Piper: Meaning?
Phoebe: I saw it in a vision that I had of Brent.
(They see a rat.)
Phoebe/Piper: Eww, eww!
(Piper falls into a big hole in the ground and is knocked unconscious.)
Phoebe: Piper! Piper! Piper! Are you okay? Oh my God. Oh God. (She covers the hole with a piece of board.) Piper, I'll get help.
[Scene: Prue is in the kitchen making the potion.]
Prue: I feel like I should be cackling. (The phone rings.) Hello.
Phoebe: Prue. Uh, Piper's hurt and I can't get to her.
Prue: Uh, okay, where are you?
Phoebe: At the end of Verik street. Hurry okay, and don't forget the potion.
Prue: I'm on my way.
(She grabs the potion and goes outside. The reporter has done something to the engine of the car.)
Eric: Didn't want you to leave me behind like your sisters did.
Prue: Fix it now.
Eric: Or what? You're gonna hurt me? Go ahead, just let me get you in focus.
Prue: Look, I don't have time for this, alright. Piper is hurt and two boys' lives are at stake.
Eric: Do you know where they are?
Prue: Yes. Alright, you win.
Eric: What's my prize?
Prue: I'm a witch with magical powers.
Eric: A witch? Witch? (He laughs) Great, great. Let's go.
Commercial Break
[Scene: Outside the storm drains. Phoebe is waiting for Prue. Prue's car pulls up and they get out of the car.]
Phoebe: What is he doing here?
Eric: Making my career.
Prue: I didn't have a choice. Where's Piper?
Phoebe: She's in here, this way, come on.
Prue: You just stay here alright, it's too dangerous.
Eric: No, no, no. I'm coming with ya.
Prue: No! Look, there is too many lives at stake here including my sisters. I will not have you risking them.
Eric: Okay, I'll just wait out here.
(The girls go in and Eric follows.)
[Cut to inside the storm drains. A grimlock is walking around near Piper.]
Piper: (from the hole) Phoebe, is that you? (The grimlock hears her and moves the piece of board.) Phoebe?
(He starts choking her with his powers. Phoebe and Prue come running in.)
Phoebe: Prue! (Prue uses her powers to h*t him with a bit of pipe. He runs away.) Nice.
[Cut to outside. Andy pulls up in his car and goes inside.]
Eric: This is Eric Lohman reporting live. I'm in a storm drain underground following three sisters, all of them witches. As they look for children who may have been abducted. My strange ...
(A grimlock appears and strangles Eric.)
[Cut to Prue, Piper and Phoebe. Prue is using her powers to lift Piper out of the hole.]
Piper: Ow, ow, ow!
Prue: We'll get you outta here.
Piper: No, no.
Prue: Look, Piper, just up to the street. Okay, Phoebe and I will come right back with the boys.
Phoebe: Come on, lean on me, honey.
(They start walking back to the street.)
[Cut to Andy. He is looking around the drains. He sees Eric lying on the ground. A grimlock walks up behind them. He sees it and sh**t it but it doesn't do anything. The grimlock grabs Andy and Prue gets there just in time.]
Prue: Andy! (She uses her powers and the grimlock flies through the air.) You okay?
Andy: Yeah, thanks. So what Lohman saw you do was true?
(Phoebe and Piper appear.)
Phoebe: Andy, what are you doing here?
Andy: Confirming my suspicions.
Prue: He knows. A grimlock tried to k*ll him.
Andy: What the hell's a grimlock?
Prue: It's a demon.
Andy: A demon.
Prue: Yeah, um, look, Andy, I need you to get Piper upon the street, okay?
Piper: No, Prue, I want to stay, I need to help.
Prue: No, you are far too weak to use your powers.
Andy: Her too?
Prue: Look, Andy, will you please just get her out of here.
Andy: Prue, I'm not leaving the two of you alone.
Prue: Do I have to use my power on you?
Andy: I'll meet you up on the street.
(Andy helps Piper to the street.)
Prue: (to Piper) You'll be okay. (Prue sees the video tape for the camera next to Eric on the ground. She picks it up and puts it in her pocket.) Okay, we should be coming up on a feeder drain right about now.
(A grimlock stands in front of them and they scream. Phoebe opens one of the jars of potion and throws it on the grimlock. It melts away.)
Prue: Great, just what we need. More toxic waste in our sewers. That went well.
Phoebe: Yeah. (They keep walking.) David!
(They split off into different directions.)
David: Please help me.
Phoebe: David. Oh God. Prue! I found them. (The other grimlock sees Prue and starts choking her. She drops the bottle of potion.) Prue!
(Phoebe hits the grimlock over the head with a piece of pipe. He then starts choking Phoebe. Prue uses her powers to splash the potion onto the grimlock. He melts away.)
Prue: Are you okay?
Phoebe: Are you okay?
Prue: Yeah, where's David.
Phoebe: Over there.
David: I can see. I can see you. I knew you had magic powers.
Prue: Come on, get your friend and let's get out of here, okay.
Commercial Break
[Scene: Police station.]
Morris: Exactly how did you know the kids were down there again?
Andy: Anonymous tip.
Morris: And what about the kidnappers?
Andy: Kidnappers? There weren't any kidnappers. Kids followed a kitten into the storm drain. Got lost.
Morris: Really? How do you explain finding Lohman down there with a broken neck?
Andy: Must of slipped when he went down there after them. Anything for a story. That's too bad.
Morris: Yeah, real shame. You don't really expect me to believe all this do you?
Andy: For now.
Phoebe: Have they said anything?
Prue: No, they just got back from the hospital but who knows what they'll say once the police start questioning them.
Phoebe: So much for our secret. (to Piper) Hey, you okay?
Piper: Yeah, I was just thinking when I was in the storm drain I was kinda out of it and I kept thinking about Leo. That's weird.
Phoebe: Maybe you miss him.
Piper: Maybe.
Prue: What are you gonna do about Josh?
Piper: I'm gonna call him and tell him I think he should take the job in Beverly Hills.
Phoebe: But sweetie, you can't hold out for Leo, I mean, who knows of he's ever gonna come back.
Piper: I know. He may not. But if I'm thinking about Leo, than I'm definitely not thinking about Josh.
Phoebe: That's too bad, he had really nice glutes. There's Brent. Hey Brent! Ah, over here. Hi.
Brent: Hi.
Phoebe: Where's your dog?
Brent: (He takes off his sunglasses.) He's retired.
Phoebe: You can see? But how did that ...?
Brent: I don't know, I mean you tell me. I mean someone must of slayed those monsters. Do you know anything about it? (Phoebe pretends to zip her mouth closed.) That's alright. If anyone knows the danger of telling amazing stories, I sure do. I was right, you do have a beautiful smile. Are those the boys?
Pheobe: Yeah.
Brent: Maybe I should have a little talk with them.
Phoebe: That would be so great. Thank you.
Brent: No. Thank you.
(Andy walks up to Prue.)
Prue: So, now you know.
Andy: Yeah. It's still sinking in.
Prue: Where do we go from here?
Andy: That's a good question.
(Lots of reporters come up to Andy with cameras wanting to ask him questions.)
End | {"type": "series", "show": "Charmed", "episode": "01x19 - Blind Sided"} | foreverdreaming |
Written by: Brad Kern
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Halliwell house. Phoebe is sitting on the furniture meditating trying to call a premonition. Prue and Piper are running around looking for stuff.]
Piper: Prue, have you seen my purse?
Prue: In the kitchen. Have you seen my keys?
Piper: They're by the T.V. I can't find my plane ticket. Did I give it to you?
Prue: Maybe you packed it.
Piper: I didn't just pack it, I just saw it.
(Phoebe holds Piper's plane ticket and tries to have a premonition. It works.)
Phoebe: I can't believe it.
Prue: Found it. (She snatches Piper's plane ticket off Phoebe.)
Piper: Thank God. Didn't you hear me looking for this? What are you doing on the furniture?
Phoebe: No, you don't understand. I've been practicing how to call a premonition and I did it. I saw a future event. Oh, and that's the good news, the bad news is I saw you missing your flight.
Piper: Oh, great. If I don't get to Honolulu for the convention, my boss will f*re me.
Prue: Well, we can't let that happen especially since my job is hanging by a thread as it is.
Phoebe: Since when?
Prue: Oh, since all the demon hunting time off I've been taking lately.
Piper: I am so behind. I didn't go shopping, or pay the bills, or call the cable guy, or cancel my hair appointment.
Phoebe: Don't worry, sweetie, I'll do it.
Piper: You sure?
Prue: Yeah, I mean, you've got time right? Okay, so listen, we have stopped Phoebe's premonitions from coming true before, hopefully we can do it again. Let's go.
Piper: Okay, but wait, whoa, whoa! I just realised the two of you haven't really ever been alone together.
Phoebe: Piper, we're big girls now. I don't think we need you as a buffer anymore.
Piper: Alright, what about demon stuff, what if something happens and you need the power of three.
Prue: Well, then the power of two will just have to do.
Phoebe: Good one.
Prue: Alright, let's go. Um, hey Phoebe, will you pick up my dry cleaning on the way back from the market please.
Piper: And talk to the gardeners about the weeds.
Prue: Oh, and light bulbs, we need light bulbs.
Phoebe: Sure, I'll just add it to my list.
Piper: Great, thanks, bye.
Prue: Go, go, go.
(They leave.)
Phoebe: I'm not even married and already I'm a house wife. (The phone rings.) Hello. Hey, Mary-Anne. Oh, geez, I completely forgot about Alcatraz. I can't go, I have a million errands to run. You know, I, I'll be right over.
(She scrunches up the list and throws it away.)
[Scene: Alcatraz.]
Soul collector: You don't seriously plan on spending the rest of eternity around here do you?
Jackson: I'll find a way off this rock on my own, don't worry.
Soul collector: Who are you kidding, Jackson? You've been stuck here ever since they ex*cuted you. Thirty-six years trapped between life and death.
Jackson: Big deal. I've learned how to do things in that time. Break the physical plane. Prepare for my revenge.
Soul collector: Revenge. How mortal.
Jackson: Go to hell.
Soul collector: That's what I do. Only never alone. I ferry souls there. Everyone I can get my little hands on so to speak.
Jackson: Yeah, well, you're not going to get your little hands on this one lady so just forget it.
Soul collector: Don't worry Jackson, I don't want your soul. I want a witch's. They're prize catches. Trophies.
Jackson: So what's that got to do with me?
Soul collector: If you let me get you off the island, get your revenge, witches will try to stop you. And the only way to do that is to become vulnerable to me. Then I'll have them right where I want them. Speaking of witches ...
(A group of people including Phoebe are coming.)
Tour Guide: Twenty-eight inmates died here, nine by attempting to escape, four by execution. Legend has it, that one of them still haunts this prison to this very day. The ghost of Alcatraz. Believed to reside in this very cell.
Man: The ghost ... oh, geez. (He laughs.)
Tour Guide: Let's see if his in shall we? (He opens the cell and goes inside and closes the door.) Now if you listen closely, you can actually hear the ghost cries. Shh. There. Here him?
Jackson: What an idiot.
Ghost: Look at him as you get off jail free card. (She does something and the tour guide drops d*ad.)
Mary-Anne: Oh my God.
Pheobe: Mary-Anne call 911, quick! What did you do? Who are you?
Jackson: You can see me?
Soul collector: Forget her now. There's your ride off the island. Hop in.
Phoebe: Oh, no. No!
(Jackson goes in the tour guide.)
Soul collector: Hope you enjoy the tour. See ya.
Opening Credits
[Scene: Bucklands.]
Claire: In all honesty, Prue, if it weren't for you, I'm not sure the auction house would of been able to stay above bankruptcy.
Prue: Thank you.
Claire: No, don't thank me yet. I've tolerated your unexplained absences and the endless family emergencies but no more. Buyers interested in purchasing Bucklands will be visiting in the next two days and it's important that we make a big impression. It's important that you make a big impression if you expect to keep your job. Do I make myself clear?
Prue: Perfectly.
(Monique opens the door.)
Monique: I'm sorry, Prue, but your sister's on the phone.
Prue: Ah, I'll call her back.
Monique: She says it's an emergency.
(Prue gets the phone.)
Phoebe: Hey, have you ever heard of the ghost of Alcatraz?
Prue: Are you kidding? This is why you pulled me out of a meeting?
Phoebe: No, Prue, you don't understand. I think the ghost really exists.
Prue: Did you see it?
Phoebe: Ah, of course not, I mean how could I? I wasn't at Alcatraz. I had way too much work around here to do.
Prue: So, then what makes you think there was a ghost?
Phoebe: Uh, my friend saw it. Mary-Anne. You know Mary-Anne. Actually, she thinks she saw two ghosts or the other one may be something else. She's not really sure.
Prue: Phoebe.
Phoebe: What? Witches aren't the only people that can see ghosts. Normal people can too. Anyway, I did some research and found out that some evil spirits need a d*ad body to transport them across water.
(Claire impatiently stands at the doorway.)
Prue: Okay, look, I am really sorry that the furnace exploded but you are just gonna have to handle it on your own. Okay?
Phoebe: Okay, Prue, if this ghost is on the mainland ...
Prue: (Quietly and quickly) Don't forget to buy tampons at the market. (She hangs up.)
Phoebe: Hello?
Prue: (to Claire) Just, uh, ... (she makes an exploding noise) Singed eyebrows.
[Scene: Police station.]
Morris: Did you take some of the old case files home by any chance, Andy?
Andy: No, why?
Morris: We're missing a couple. Hope the captain's already been in them. You wanna talk about it?
Andy: Talk about what?
Morris: About why you've been walking around here like a zombie lately. Like, ever since you ran into Prue again. Come on, what's up?
Andy: I wish I could tell you, I really do. I just have to work things out on my own first.
Inspector Blakely: Okay, you guys are the experts on the freaky cases, figure this one out. A victim was s*ab thirteen times in the chest. Circular pattern. CSI combed the scene and other than the Kn*fe, found no evidence. Check this out.
(She shows the a photo of the Kn*fe.)
Andy: Solid thumbprint.
Inspector Blakely: Yeah, but we didn't get it from dusting. We got it from florascoping.
Morris: Ultra violet fingerprint. Never heard of that.
Inspector Blakely: We ran the print. This is where it gets freaky. It matches up to Jackson Ward, the serial k*ller that was ex*cuted in Alcatraz thirty-six years ago.
Andy: Are you sure about this?
Inspector Blakely: Checked it twice.
Morris: d*ad guy's print on a m*rder w*apon. It's gotta be a mistake.
Andy: Can I borrow this?
Inspector Blakely: Whoa, where you going?
[Scene: Halliwell house.]
Prue: Phoebe, I'm home. (She sees all the dirty dishes still in the sink and looks in the fridge. It's empty.) Phoebe, you didn't go to the market yet?
Phoebe: Uh, no, I sort of got side tracked with this ghost research. Besides, there isn't enough money in the house hold account.
Prue: Well, you should of told me and I would of got some transferred in. What about the dry cleaning?
Phoebe: I will do it tomorrow, I swear.
Prue: I wanted to wear that suit to work tomorrow.
Phoebe: Look, I know that I promised but this just seemed more important. We're not gonna get into a fight already are we? I mean, I wouldn't want to prove Piper right.
(The doorbell rings. Prue answers it.)
Prue: Andy, hi.
Andy: Hi.
Prue: I was wondering whether I'd see you again. I thought you might be mad at me.
Andy: No, I just needed some space. It's one thing suspect what your secret was, it's another thing to actually see it with my own eyes.
Prue: So does that mean that you're okay with it?
Andy: Actually, I'm here on a case, a kind of case where frankly before, I probably would've been looking for a more logical explanation.
Prue: Well, come on in. (They go inside.) What's the case?
Andy: The son of a former D.A. was brutally m*rder. The only quote on quote evidence points to the last man ex*cuted on Alcatraz before it was closed down.
Phoebe: Jackson Ward.
Andy: How did you know that?
Prue: Yeah, how did you know that?
Phoebe: I told you, I was trying to figure out who the ghost of Alcatraz was, remember? Jackson Ward was at the top of the list.
Andy: Ghost?
Phoebe: Yeah. Hey, what's that? (She points to the picture of the Kn*fe.)
Andy: Ultra violet finger print. Although technically there's no such thing.
Phoebe: Could be the ghosts ectoplasm. It's outside the visual spectrum. Book of Shadows.
Andy: Ectoplasm.
Phoebe: Yeah. It's the ghosts skin. Hey, do you have a picture of this Ward guy? (He shows her the picture.) Yep, that's him. Exactly how Mary-Anne described him to be. Amazing.
Prue: (a little suspicious) Very.
Phoebe: And what about this former D.A. son. Did Ward know him?
Andy: Ward knew his father. He's the prosecutor that convicted him.
Phoebe: Coincidence? I think not. It's got to be the ghost that got off Alcatraz.
Prue: You know, speaking of coincidence's. Don't you think it's an awfully big one that your friend saw this ghost?
Phoebe: Prue, if we've learned anything by now, it's that there aren't any coincidences, right?
Prue: Right. (Andy's staring out the window.) Andy, are you alright?
Andy: I don't know. Just getting used to the idea of demons and witches. I don't know if I'm ready for ghosts too.
Phoebe: You ain't seen nothing yet.
Prue: Pheebs.
Andy: But if you're right, if it is the ghost of Jackson Ward that is the k*ller, how do I stop him from k*lling again?
[Scene: Court house. Judge Renault's office. Jackson walks through the door. He turns off the light and Judge Renault turns on his desk lamp.]
Jackson: Judge Renault. Long time, no see. You could of shown me some mercy giving me life in prison. You wanted me put to death. (Jackson picks up the name plate.)
Judge: What's going on? Who's there? (Jackson pulls his tie so it chokes him.)
Jackson: Do you have any idea how long it takes, how much you suffer, what a cruel life of immoral damage?
(He gets a letter opener and s*ab the judge. The woman ghost appears.)
Soul collector: I helped you get your revenge. Now it's your turn to help me get a witch.
Jackson: Are you kidding lady? I'm just getting started.
Commercial Break
[Scene: Judge Renault's office. All the police are there.]
Morris: Thirteen s*ab in a circular pattern just like the other victim.
Andy: Matches Jackson's M.O. too.
Morris: Must be a complicated k*ller.
Andy: I wouldn't know, the M.O. was never released to the public. Can I see that? (the letter opener)
CSI detective: I've already dusted for prints and nothing.
Andy: Did you florascope it?
CSI detective: What? (Andy gets a florascoper, holds it above the letter opener and the ultra violet finger print shows up.) What the hell is that?
Andy: Don't ask. (to Morris) Ten bucks says it matches Ward's.
Morris: Don't go jumping off the deep end on me okay. Jackson Ward is d*ad. Been like that a long way now.
Andy: Well, someone's going around k*lling people or the descendants people that put him away.
Morris: Where you going?
Andy: Look, have someone put together a list of potential victims or anyone that had to do with his conviction.
Morris: Andy, wait!
[Scene: Bucklands. The clients are there waiting. They look at their watches.]
Claire: I'm sure Prue will be here shortly. She has a lot of family emergencies.
(Prue enters the room.)
Prue: Oh, Claire, I am so sorry.
Claire: Prue, let me introduce you. This is Mr. Yakihama, head of requisitions, Mr Yakihama this is Prue Halliwell, one of our top specialists.
Prue: Hi. Nice to meet you sir.
Mr Yakihama: Nice to meet you too. I trust that everything is alright with your family.
(Monique enters with Andy behind her.)
Monique: Excuse me, Prue.
Prue: Not now, Monique.
Claire: May I help you?
Andy: Yeah, I need to see Miss Halliwell. Police business.
Prue: Excuse me. (They walk outside the room.) Are you trying to get me fired?
Andy: I think Jackson Ward is k*lling again, Prue.
Prue: Great. Just great. You wait here a second. I'll take care of everything. (She walks back in the room.) Hi.
[Scene: Halliwell house. Phoebe's in the attic looking through the Book of Shadows.]
Prue: (from downstairs) Phoebe?
Phoebe: Yeah, I'm in the attic.
(Prue enters with Andy behind her.)
Andy: I always wondered what was up here.
Phoebe: Prue, the Book of Shad-a-ba-bows. (She tries to hide it.)
Prue: No, no, no. It's okay, I already told him about it. Look, Jackson Ward has k*lled again, we have to figure out a way to stop them. Have you found anything?
Phoebe: Not really, I mean, there is so many references in here. There's ghosts, poltergeists, evil spirits, phantasms. We are not dealing with a typical demon.
Prue: Yeah, well, there has to be something in here about vanquishing an evil spirit.
Phoebe: Well, actually there is one spell but I don't think we're gonna want to use it.
Prue: Why not? I mean, if it needs the power of three we an always call Piper, right?
Phoebe: No, that's not the problem. The problem is an evil spirit can't be vanquished on the physical plane. Only the astral plane . His plane.
Prue: Okay, so then how do we say the spell?
Phoebe: Our spirits would have to say it. Meaning one of us would have to die for it to work.
Prue: Keep looking.
Phoebe: Right.
Andy: I always believed there was a world behind or beyond this one, you can sort of believe in demons. But I would never in my wildest dreams, I would of never imagined that this existed.
Prue: Yeah, neither did we. But we've come to believe that there's a reason why that world opened up to us. Which means there's probably a good reason why it opened up to you.
Phoebe: Welcome, to our little shop of horrors.
(The Book of Shadows starts flipping pages.)
Andy: Are you doing that?
Prue: No, it just sometimes does it on its own. (It opens up to the truth spell. Andy looks at it.)
Andy: The truth spell?
Phoebe: That's weird that it would opened up to that page with Andy standing right here.
Prue: There has to be a mistake. (She turns the pages.)
Phoebe: Or maybe there's a reason, Prue. (She turns the pages back to the truth spell.)
[They are now going down the stairs.]
Andy: You did what last year?
Prue: Look, I just wanted to see how you would react to finding out I was a witch.
Andy: So you cast a truth spell on me. Why didn't you just ask?
Prue: Oh, because I was afraid you'd freak out on me. Which is exactly what you did by the way you just don't remember.
Andy: Wait a minute. My reaction to you being a witch isn't the reason why we stopped seeing each other is it?
Prue: You're the one who wanted to stop seeing me first.
Andy: Because you wouldn't tell me what your secret was.
Prue: Yeah, which turned out to be a good thing considering how you reacted.
Andy: Freaked out.
Prue: Exactly. Kinda like what you're doing right now.
Andy: You haven't answered my question. Did that have anything to do with why we stopped seeing each other?
Prue: Sorta. Okay, yeah it did.
Andy: And just out of curiosity. How much time did you give me to react anyway?
Prue: A minute ... or two.
Andy: A minute?!
Prue: Or two, it, it was a twenty-four hour spell alright, I was against the clock.
Andy: And that's what you based your entire decision about us on? Prue, I've had a week to react to you this time. Is still don't know how I feel. You should of given me more time, I think I deserve that, I think we deserve that.
(Phoebe comes down the stairs.)
Phoebe: Hey, you guys, since we don't know how to vanquish the ghost we have to stop him from k*lling his next ... am I interrupting something?
Andy: No, we're done. What do you mean stop him k*lling his next victim? How do we do that?
Phoebe: I have a power too, you know.
[Scene: Police station.]
Andy: Excuse me. Inspector Andrew Trudeau. I need the m*rder w*apon for case R13658.
Officer: Sign that. I'll got get it.
(He gets it.)
Andy: Thanks. (He leaves. The officer calls someone on the phone.)
Officer: Yeah, you told me to call if Trudeau showed. Yeah, he just left.
[Cut to office.]
Andy: Get the list of potential victims yet?
Morris: Still working on it. It's a lot of names. Especially when you add in the descendants. Where you been?
Andy: You don't wanna know.
Morris: Really? Try me.
Andy: Maybe later okay. I'll take what you got so far, I'll check back later.
Morris: We're partners, Andy. That means we work together.
Andy: I know. This is an exception.
(He leaves.)
Inspector Rodriguez: Inspector Morris. Inspector Rodriguez and Anderson, internal affairs. We need to talk to you about your partner.
[Cut to the car. Andy gets in.]
Andy: Okay, I got it. That's what Ward used to k*ll the judge. (He hands Phoebe the letter opener.) How exactly is this goind to work again?
Phoebe: Well, I've been practicing calling my power and if the psychic energy is strong enough on this. I should be able to see a future event.
Prue: Hopefully Jackson Ward's next victim.
Phoebe: Hopefully. It doesn't always work. (She holds the letter opener and has a premonition.) Oh my God.
Prue: Are you alright?
Phoebe: I uh, I didn't just see it Prue, I felt it, her pain, her terror.
Andy: Anyone of these look familiar? (He hands her some pictures. She looks through them and picks one out.) Iris Beiderman. The fourth person on the jury that convicted him.
[Scene: Iris Beiderman's place. Jackson is just about to s*ab her when Andy kicks open the door. Phoebe kicks the Kn*fe out of Jackson's hand.]
Jackson: You again.
Prue: You again? What you two have met?
Andy: Where is he? Is he still here?
Prue: Yeah, he's right there. Point him out Prue.
Jackson: You can't keep saving her forever.
Andy: Prue, what's going on?
Jackson: Or the others. Or yourselves.
Andy: Prue. (Jackson leaves.)
Commercial Break
[Scene: Halliwell house.]
Prue: I can not believe you lied to me and I can not believe I had to hear about it from a ghost.
Phoebe: I already apologised for that okay.
Prue: I just don't understand why you couldn't tell me the truth, especially about something as stupid as going to Alcatraz.
Phoebe: I didn't tell you the truth because I knew you'd go ballistic and I thought I'd save myself the drama.
Prue: Why would I go ballistic over that?
Phoebe: Come on, Prue, give me a break. Just admit it. Why are you really mad at me?
Prue: Because you lied to me.
Phoebe: No. You're really mad at me because as far as your concerned I was slacking off yesterday. Which is pretty much what I do everyday, right?
Prue: Where is this coming from?
Phoebe: It's coming from the fact that I know you're really pissed because I didn't do the grocery shopping or pick up your dry cleaning, or whatever else that you put on that stupid list.
Prue: I am sorry that I asked you to do things around the house because I have to work.
Phoebe: See? Time it ladies and gentlemen it took a whole sixty seconds before the 'W' word reared its ugly head.
Prue: What are you talking about?
Phoebe: I'm talking about how you and Piper just automatically assume that I'll take care of the house because I don't have a real job.
Prue: Now that's not true.
Phoebe: Oh no? Prue, when was the last time you went grocery shopping, or vacuumed the house, or waited for the cable guy to show up, which by the way if I were paid by the hour I'd be a millionaire by now.
Prue: I can not believe how you're turning this around.
Phoebe: I can not believe you're pretending that you don't have a problem.
Prue: I don't.
Phoebe: Okay, well, you know what? You just proved my point ... my other point which is I get absolutely no credit for all that I do around here. It's just assumed that I'll do it. Like that crack that you made to Piper yesterday morning. "Don't worry Piper, Phoebe'll do it she's got time."
Prue: You do.
Phoebe: Yes, and that's exactly my point my main point. You are mad at me because I don't work.
Prue: Okay, maybe you're right.
Phoebe: And that's why I lied. (The phone rings.) Hello.
Piper: Hey, Phoebe, how's it going?
Phoebe: Hey, Piper, how's Hawaii?
Piper: I don't know, I haven't stopped working since I got off the plane.
Phoebe: Sure, rub it in.
Piper: Excuse me?
Phoebe: Nothing. Hey, can I call you back? I'm sort of in the middle of something right now.
Piper: Sure, I just wanted to make sure you guys were alright. Do you miss me?
Phoebe: More than you know, sweetie.
Piper: Good. I love you.
Phoebe: I love you too.
Piper: Bye.
Phoebe: Bye. (She hangs up.)
Prue: Why didn't you tell her about Jackson Ward?
Phoebe: Why worry her? The power of three can't vanquish him. It's up to us.
Prue: Look, Phoebe, obviously we have some issues to deal with and they're not gonna be resolved over night. So, in the mean time we need to figure out a way to stop Jackson Ward before he hurts anymore innocent people, okay?
Phoebe: I agree.
Prue: So, did we actually just reach a compromise? (Phoebe rolls her eyes.)
[Scene: Police station.]
Andy: We're gonna put you up in a hotel for a while Mrs. Beiderman on a police protection. At least until we catch who was trying to hurt you.
Mrs. Beiderman: I'm not crazy am I? You saw it too didn't you?
Andy: Yeah, I did. Let's just keep it our little secret for now, okay?
Morris: Who was that?
Andy: Someone who got att*cked.
Morris: att*cked? By who? Why? (He sees the sheet of paper with Iris Beiderman's information on it.) Iris Beiderman. Jury four person who helped convict Ward. Now how about that.
Andy: Look, Morris.
Morris: Don't 'look Morris' me man. You go flying out of here with that file and you just happened to come back with somebody in that file that just happened to be att*cked. Tell me what's going on.
Andy: I told you I can't. I'm sorry.
Morris: Well, fine, whatever, it's your funeral.
Andy: What's that suppose to mean?
Morris: He told me not to say anything to you.
Andy: Who did?
Morris: Internal Affairs. They got you in their crosshairs. Interviewed me for over two hours. Wouldn't tell me what it's about. Asked a lot of questions about you. Watch your back, bro.
[Scene: Halliwell house. Phoebe and Prue are looking through the Book of Shadows.]
Phoebe: It's the same story. One of us would have to literally die on order to vanquish the evil spirit. Any volunteers?
Prue: Actually maybe. But before that we need to figure out a way to find Ward first. I mean, we can't count on you saying it's his next victim even though Andy left us the letter opener to try.
Phoebe: Wait a minute. I think that there's something in here about luring evil spirits. A potion. (She finds the page.) To lure an evil spirit. Mix equal parts of mercury and acid with the blood of one of the spirit's victims, pour it over his grave. Okay, that's disgusting.
Prue: Yeah, alright, we can get the blood from the letter opener but how are we gonna find Ward's grave?
Phoebe: You know what? I read on the web, his ashes were interred at his family mausoleum in Palo Alto.
Prue: Right, just might work.
Phoebe: Yeah, if it does work, he'll be coming after us.
[Scene: Cemetery.]
Prue: Oh, I hate cemetery's at night.
Phoebe: I hate cemetery's at day. (They hear a noise.) What was that?
Prue: Ah, probably a zombie or vampire.
Phoebe: Great, where's Buffy when you need her?
Prue: Okay, perfect, there it is, Jackson Ward. Do you have the picture? (Prue looks at the picture and Phoebe's written on it.) Hey, Jackson, let's party?
Phoebe: Okay, well, I couldn't think of anything else to write. Can we just do this and hurry?
Prue: Okay. (Prue throws the potion on and the plaque starts to melt.) Okay, okay, alright, let's go.
[Cut to Jackson. He's in pain. He looks at his chest and it looks as if his skin is melting. The soul collector appears.]
Jackson: What's happening?
Soul collector: Witchcraft. Sucks doesn't it? You should've helped me get to them before when I asked.
Jackson: How do I get to them now?
Soul collector: Visit your grave.
[Scene: Police station. Andy is at his desk. He's getting Prue's file and puts it in his bag. He goes outside and rings their house. The answering machine is on.]
Andy: Prue, it's Andy. I gotta give you something and you gotta get it outta there. I'll explain when I get there. (The two I.A. guys show up.)
Inspector Rodriguez: Inspector Trudeau. Internal Affairs. Let's talk.
Commercial Break
[Scene: Internal Affairs and Andy are in the office.]
Inspector Rodriguez: Series of women m*rder with an occult Kn*fe, prime suspect missing. Series of victims with curious holes b*rned in their foreheads, prime suspect missing. Victims found in a locked room with every bone in their body broken. Victims literally scared to death. The list goes on and on. You know what they all have in common?
Andy: We've been through this already.
Inspector Rodriguez: They're all unsolved cases, Trudeau. They're all yours and Morris'.
Andy: We've solved plenty of other cases.
Inspector Anderson: But you haven't solved these.
Inspector Rodriguez: So the question is why? What are you hiding?
Andy: I'm not hiding anything. (They show him a picture of him getting the letter opener.) You guys spy on your wives too.
Inspector Rodriguez: Why'd you check the m*rder w*apon out, Inspector?
Andy: I was following a hunch.
Inspector Rodriguez: Really? Or were you following a ghost? Word's out Trudeau. You specialise in the ... what did Inspector Blakely call it?
Inspector Anderson: The freaky cases.
Inspector Rodriguez: The freaky cases. You're a good cop. I've seen your jacket. Up until last year you were headed for captain. Now you got all these weird unsolved cases. What happened to you, man? What changed? Are covering for someone, is that it? Morris maybe?
Andy: Don't hang this on Morris.
Inspector Rodriguez: Then who do we hang it on?
Andy: Look, I told you my story, you don't believe me you take my hard wear right now and you charge me. Otherwise, drop d*ad. (He storms out the room.)
[Scene: Halliwell house. Prue's making a potion.]
Phoebe: Maybe it didn't work, maybe he's not coming.
Prue: Well, at least if he is coming, we are definitely ready for him.
Phoebe: What exactly is that?
Prue: One k*ller cocktail. Literally. Little bit of oleander, St Jensen weed, bloodwort, among with other things. Stops the heart immediately.
Phoebe: Okay, now you're scaring me. Where did you learn to do that?
Prue: Book of Shadows.
Phoebe: Where? Under Dr. Kavorkian?
Prue: Whoever takes it can be revived by C.P.R. The only catch is it has to be done within four minutes to avoid brain damage.
Phoebe: Okay, Prue, that's a pretty big catch.
Prue: Yeah, well, it's the only way to say the spell. It's the only chance we have of setting Ward where he belongs.
Phoebe: But who does it? How do we decide that?
Prue: I'll do it.
Phoebe: No. (She gets a coin.) Call it heads or tails and no fair using your power.
Prue: Tails. (The coin lands on tails.) I win.
Phoebe: You mean you lose.
Prue: Oh, well, only if you don't revive me.
Phoebe: No pressure.
Prue: Phoebe, I have total confidence in you.
Phoebe: I'm scared Prue. I mean, I'm really scared. I think we've gone too far this time.
Prue: We're doing what we have to do.
Phoebe: I wish Piper were here. The swing vote, the voice of reason.
Prue: Phoebe, I never realised how much I probably do take you for granted and not just for what you do around the house either.
Phoebe: You're just saying that 'cause you're about to die.
Prue: No, you were right about last night, I was upset because I thought you were slacking off but the truth is you weren't. You were trying to find out who the ghost was and thank God you did.
Phoebe: Yeah, but I totally over reacted. I mean, I'm the one that's upset with myself for not working for a living.
Prue: You do work.
Phoebe: I know Prue, I work around the house, but I want a job, a real job.
Prue: And you will find one. When you're ready.
Phoebe: I can't remember the last time we talked liked this. (They hug. The phone rings.)
Claire: Prue, it's Claire, you're late, you're fired. (Jackson walks through the wall and smashes something. He throws it.)
Prue: Phoebe, duck!
Phoebe: Okay, Prue, I got him, you just hurry.
(Prue drinks the cocktail while Phoebe fights Jackson. Jackson hits Phoebe over the head and is knocked unconscious. Prue collapses to the floor.)
Jackson: You're making this too easy, lady. (He gets a metal cake server. Prue's spirit floats out of her body.) What the hell's going on?
Prue: Ashes to ashes, spirit to spirit, take his soul, banish this evil.
Jackson: No!
[Cut to the door.]
Andy: Prue, you home? (He sees Phoebe lying on the floor.)
Prue: Ashes to ashes, spirit to spirit, take his soul, banish this evil.
(Jackson starts fading away.)
Jackson: No! No!
(Andy goes in the kitchen.)
Andy: Prue! (He starts giving her C.P.R.)
Prue: Andy, don't. Not yet.
Jackson: It's even better, I get to k*ll a cop too.
Prue: Andy, behind you. (Andy looks behind him and grabs the cake server.) Ashes to ashes, spirit to spirit, take his soul, banish this evil. (Jackson yells and disappears. The soul collector appears.) Who are you?
Soul collector: I was hoping to take you or your sister. But it looks like you soul is safe. For now. (She disappears. Andy is still doing C.P.R. Prue's spirit enters back in her body. She wakes up.)
Andy: Slow breaths.
Prue: Am I alive?
Andy: Yeah, you are. Thank God. (Phoebe wakes up.)
Phoebe: What happened? Is the ghost toast?
[Scene: Bucklands.]
Claire: I'm sorry, Prue, but I've made up my mind.
Prue: Claire, you can not f*re me. I love this job, I need this job.
Claire: I told you I wouldn't tolerate anymore unexplained absences.
(Andy barges in.)
Andy: Excuse me Miss Price, I'm sorry to interrupt but I just wanted to stop by and say thank you.
Claire: Thank you, Inspector?
Andy: For letting me borrow Miss Halliwell. See, an Asian g*ng went smuggling exotic jewellery and antiques. She helped us set up a sting plus the operation.
Claire: Really? Prue never mentioned any of this before.
Andy: Well, she couldn't compromise her cover. You welcome to call my superior Inspector Morris and file for a reimbursement claim if you like.
Claire: No, that won't be necessary.
Andy: (to Prue) As soon as you're done here we need to talk.
Prue: I think I'm more than done here. (They walk towards the door.)
Claire: Oh, ah, Prue. Don't forget our lunch with the investor's. Wouldn't want you to be late.
Prue: I won't be. Thanks. (They go into Prue's office.) I can not believe you did that.
Andy: It's the least I can do. After all, you did help us bust someone. Sure, he was already d*ad, but still.
Prue: Well, thank you.
Andy: You're welcome. Listen, Prue, I've done some thinking about the truth spell and well, I'm still trying to work my feelings out but I've kinda come to the conclusion that no matter whether I had a minute, a month, or a year to think about it, it wouldn't change the truth. It may sound boring but I know someday I want a normal life to come home to. With a white picket fence, a two car garage, a screaming kid, but no demons. Maybe it's because of all the evil I deal with everyday on the job.
Prue: You don't have to explain, I understand. Believe me I wouldn't want to come home to it either if I could avoid it but I can't. You can. (They hug.)
[Scene: Halliwell house. Phoebe and Prue are bringing the groceries in the kitchen.]
Phoebe: So did you burn Andy's file like he suggested?
Prue: Yeah, you should of seen it. It turns out he knew a lot more about us then he's letting on.
Phoebe: Still doesn't explain how he could hear a ghost.
Prue: What do you mean?
Phoebe: Well, when you were a spirit you said you yelled out to him and that's what made him turn around in time. How could he hear you?
Prue: I don't know.
(Piper enters the room.)
Piper: Hi.
Phoebe: Piper, yay, I thought you weren't coming back until tomorrow.
Piper: I took an earlier flight. I had this terrible feeling you guys were um ...
Prue: What?
Piper: Oh, I don't know, at each other's throats maybe.
Prue: Us?
Phoebe: Are you kidding?
Piper: So nothing happened while I was gone?
Phoebe: No, just the same old boring stuff. Hey, you need a hand?
Prue: Uh, yeah, that would be great, thanks Pheebs. (They start putting the groceries away.)
End | {"type": "series", "show": "Charmed", "episode": "01x20 - The Power of Two"} | foreverdreaming |
Written by: Chris Levinson, Zack Estrin, and Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: A woman is walking really fast to a car and keeps looking over her shoulder. A car horn beeps and she drops her groceries. She picks the stuff up but cuts herself.]
Daisy: Ow, damn it!
Leo: It's alright, Daisy.
Daisy: Oh, Leo, thank God it's you. I have been so scared.
Leo: Look, you just have to stay strong a little longer and then you'll be safe.
Daisy: He's out there, Leo. He's going to find me. I've seen what he can do, his powers. (Leo holds her hand and heals it.) How did you do that? Who are you people?
Leo: You just have to trust me, Daisy.
Daisy: Why me, Leo? I still don't understand.
Leo: You have a very special future ahead of you. That's why I wanted you to come to San Francisco. I have powerful friends who can help you.
Daisy: What if Alec finds me first?
Leo: He won't be able to. I made you invisible to him.
(Alec appears.)
Alec: Hello, Leo. I've been looking all over for you. Figured you could only be here for one reason. Where are you Daisy? I know you're close by.
Leo: (to Daisy) Don't worry, Daisy. He can't see you. Don't say a word, just leave quickly.
Alec: Don't listen to him sweetie, don't do it.
(She runs off.)
Leo: She's already gone.
Alec: I love her, Leo. Much like you love your little witch. What's her name? Piper?
Leo: Dark lighters aren't capable of love, Alec.
Alec: This one is. I love Daisy and you are keeping me from her. It's only a couple of days ago all I had to do was think about her and bang! I'd be there with her. Then suddenly she vanishes from my radar. Cloaked by a white lighter. By you.
Leo: Then if you know I cloaked her, then you also know that you won't find her as long as I live.
Alec: Yes, well, I have a solution for that.
(He gets out his crossbow and sh**t Leo.)
[Scene: Halliwell house.]
Phoebe: I can not believe you're wearing you bikini on the plane.
Prue: Time saver. We have all of forty-eight hours in Cabo. The minute we land I'm on the beach getting all golden-brown.
Phoebe: I know, but you're making me look frumpy, it's like the sign of the apocalypse.
Prue: I practically had to beg the guy in accounting to lend us his condo. There are no warlocks in sight, Andy finally found out our big secret, I'm going to get crazy.
Phoebe: It's about time. How long have I been after you to find some new male blood? Preferably tan and buff.
Prue: And limited verbal skills.
Phoebe: And ...
Phoebe/Prue: No strings attached.
Phoebe: Stella, we are getting our grove back. (They high five but miss.) Okay, so, speaking of which, where is Piper?
Prue: I think Piper's gonna be in a grove free kina mood for a while.
Phoebe: She's not seriously ...
Prue: Taking a vacation from men, yep. Afraid of falling in love again I think.
Phoebe: So, while we're partying all weekend, what is she gonna be doing?
Prue: I don't know. The last time I checked she was in the attic looking for a suitcase she put her books in.
Phoebe: Books, what kind of books?
Prue: Kind they make into Kevin Costner movies.
Phoebe: Oh, we've got to stop the insanity.
Prue: Maybe we should let her be, I mean we're not the ones who fell in love with a warlock, a ghost, a geographically undesirable handyman, and a very dorky grad student.
Phoebe: Maybe she's done a slump. (Prue looks at her.) Alright, it happens to Piper a lot, but celibacy is not the answer.
Prue: A couple of dates not picking up the cheque, that's a slump, this is more of a sucking void.
(They here a thump and a little scream coming from the attic.)
Piper: (from the attic) Prue! Prue, Phoebe!
(They go up into the attic and see Leo lying on the floor in pain with the arrow stuck in his shoulder.)
Prue: Leo?
Opening Credits
[Scene: Halliwell house. Prue is getting bandages and stuff out of the bathroom. Cut to the attic. Phoebe and Piper are carrying Leo to a chair.]
Piper: Be careful.
Phoebe: I am being careful.
Piper: I can't believe you knew and the fact that our handyman, the man I was dating was supernatural just happened to slip your mind?
Phoebe: There was no slipping, okay, I told you but you didn't want to believe me.
Leo: Piper, I wanted to.
Piper: But you didn't.
Phoebe: Okay, we gotta, we gotta get your legs up.
Leo: Don't worry about me. There's someone, ahh ...!
Phoebe: We have to get the arrow out.
Leo: No, don't touch it, it's tipped with poison.
Phoebe: How are we suppose to get it out if we can't touch it?
(Prue enters the attic.)
Prue: You came to the right girl. You ready? (Prue uses her powers to push the arrow out.) Okay, I brought everything that I could find, I just didn't know what to use on a ... what is he again?
Piper: A White Lighter.
Phoebe: Yeah, they're sorta like, you know how Peter Pan has Tinkerbell? They're sorta like that minus the tutu and the wings. He guides witches.
Leo: Future White Lighters. That's why I came to you.
Piper: (to Phoebe) You should of told me.
Leo: I should of told you. (Piper gets a bandage and pushes down on his wound.) Ahh!
Piper: Oh, did that hurt? Good.
Leo: There's a woman, Daisy. You have to protect her from the Dark Lighter.
Prue: The Dark Lighter. Is that what sh*t you?
Leo: Yeah, they seduce innocent women. Their goal is to create evil through reproduction.
Phoebe: Great. Generation 666.
Leo: He broke the rules, he fell in love with one of his victims, a human. And she loved him back.
Piper: Until she found out who he really was, right?
Leo: Piper, you have every right to be mad at me.
Piper: Thanks for the permission. I'll get some more gauze.
Leo: Please, you have to find Daisy before he does otherwise she won't be able to do the good that she's destined to. She won't be able to become a white lighter.
Prue: Okay, where is she?
Leo: I don't know. The last time I saw her she was at a mini-mart and the castrol headed for a rental car. If he finds her first he'll never let her go ever.
Phoebe: Any tips on how to vanquish a Dark Lighter in case we run into him?
Leo: Just don't let him touch you. His power is in his hands and when he chooses you he has the touch of death.
Prue: And we have the power of three. Alright, call the airline, cancel our tickets, I'll call Andy see if he can help me locate her, and Piper should ...
Phoebe: I'll talk to her, somebody's gotta stay with Leo.
[Scene: Police station.]
Morris: You enjoying this as much as I am?
Andy: What's that?
Morris: The silent treatment and the cold shoulder.
Andy: I know, it's been a week since Internal Affairs has made a move. What are they waiting for?
Morris: I'm not talking about I.A., I'm talking about you and me.
Andy: I got no problems.
Morris: That makes one of us. I.A. is on our ass and I still don't know why but I'm pretty sure you do. You feel like sharing?
(The phone rings.)
Andy: Homicide, Trudeau.
Prue: Hey, Franklin. How are things in Forensics?
Prue: You can't talk.
Andy: No actually. Why don't you have it checked out by the F.B.I. lab?
Prue: Andy, I really need your help, it's important. Quake?
Andy: Okay, I'll be there.
Morris: Franklin's wife had a baby girl yesterday. Took a week off. Did he call you from the maternity ward? You don't wanna tell me what's going on, fine. Just don't lie to me partner.
[Scene: Quake. Prue and Andy are sitting at a table.]
Prue: Andy, what's going on?
Andy: Internal Affairs are looking into all my unsolved cases. All the cases that involve the supernatural.
Prue: All the ones that involve me. Do you think that they followed you here?
Andy: I wouldn't put it past them.
Prue: Andy, if we ... if I, put you in this situation.
Andy: I put me here, Prue.
Prue: Yeah, but you had help. Can they force you to tell them?
Andy: About you? I won't. But we have to be careful about being seen together. It has to look like we're still friends.
Prue: Andy, we are still friends. We always will be.
Andy: Are you sure I'm not just someone that's keeping your secret, Prue.
Prue: You know me better than that. I'm glad I told you, I am.
Andy: So am I. Now when you need me all you have to do is ask.
Prue: Well, I'm asking. I need to find someone, she's in danger and we have to get to her before he does.
Andy: He? You know what, I don't need to know. Specifics always get me in trouble. Where was the last time she was seen?
Prue: Headed for a rental car outside a mini-mart.
Andy: Well, we can get the security camera from the mini-mart and surrounding businesses. See if we can get the car's license plates and see if it leads us to where she's staying.
Prue: Thanks.
Commercial Break
[Scene: Attic.]
Phoebe: Leo, I brought you some food in case you're ... you do eat right?
Leo: Yes, Phoebe, I eat. How's Piper?
Phoebe: Oh, you know, she's dealing. I mean, it's not everyday that you find out that the guy you're seeing isn't human. Although, in Piper's case.
Leo: I wish she didn't have to find out about me like this. Being with her broke the rules but not being with her breaks my heart.
Phoebe: You know, Leo, it's not like we rushed to tell you we were witches. I think Piper understands about those little secrets that we have to keep.
Leo: Any word on Daisy?
Phoebe: Yes and no. Prue called. Andy thinks he found out where Daisy's staying. They're on their way now. (She pulls off his bandage.) Oh, I'm sorry, I'm sorry.
Leo: It's okay, I know it's bad.
Phoebe: I guess I need to work on my poke-a-face a little bit, huh. You know Leo, didn't you tell me that White Lighters have the ability to heal? Why can't you just ...
Leo: No, my powers are for others, I can't use it on myself.
(He coughs.)
Phoebe: Ah, you know, we just gotta get you better. Then you and Piper will have lots of time to talk about stuff when you're well.
Leo: Phoebe, I'm not going to get better.
Phoebe: That's ridiculous, Leo, of course you will, we're just gonna have to find something in the Book of Shadows.
Leo: No, the Dark Lighter's poison can't be reversed. It's about to k*ll White Lighters. That's what it's doing, it's working it's way through my system. It's just a matter of time.
Phoebe: How much time?
Leo: Not much. I'm gonna die and there's nothing you can do about it. My powers ebbing. With it, my ability to cloak Daisy.
Phoebe: We're gonna save you both, Leo.
[Cut to downstairs. Piper is looking through the Book of Shadows. Phoebe comes downstairs.]
Piper: I have looked everywhere in this damn book for something, anything to help Leo and I can't. What's that face? What's the matter?
Phoebe: Leo's in pretty bad shape, Piper. And he's getting worse.
Piper: I know, that's why I need to find an ointment or a cure or something.
Phoebe: You need to listen. This is really hard to say but you really need to hear it. I think that you need to learn the possibility, maybe we're not suppose to save Leo. Maybe he's not our innocent. Maybe we're only meant to save Daisy.
Piper: We have to save him whether we're meant to or not.
[Scene: Hotel. Daisy's room. She sees some flowers. Alec appears.]
Alec: I got you your favourite. I thought you'd be happy to see me. I miss this. Us.
Daisy: There is no us, Alec. Please stop.
Alec: You're the one Daisy. You're mine. Indian summer, do you remember that Daisy? When it got so hot in the city you could barely breathe. And we sat in the f*re escape drinking turns, running ice cubes down each others necks.
Daisy: Stop!
Alec: That's when you first said you loved me. "Forever, Alec. I love you forever." (She throws the vase of flowers at him but missed.) Now, is that anyway to treat the man who loves you?
Daisy: You're not a man. You're not even human.
Alec: Don't make me regret telling you who I really am. Don't you get it Daisy? I love you and now no one can stop us from being together. Think about it. I found you. What do you think that means? Yeah, that's right, I've clipped Leo's wings and soon he'll be gone so I can find you whenever I want.
(The manager knocks on the door.)
Manager: Hello, Manager, is everything okay in there?
Alec: I win.
Daisy: No, you only win if I come willingly and I never will.
Alec: Then I'll never go away.
Manager: Hey, I'm coming in.
Daisy: No, don't! (The manager goes in the room and Alec grabs him.)
Alec: Nobody can keep us apart now, Daisy.
Daisy: Please, stop!
(Alec's touch of death kills the manager. She climbs out the window. Prue and Andy come running in.
Alec: You can't run from me.
Prue: Daisy?!
(Prue uses her powers on Alec and flies across the room. Alec turns into some sort of dust and flies out the window.)
Andy: What the hell was that?
Prue: Welcome to my world.
[Scene: Halliwell house. Phoebe enters the attic.]
Phoebe: Hey, Prue's home, she just ... (Piper is reading a spell out of the Book of Shadows) I hear rhyming, what are you doing?
Piper: Everything I can. Look, we know Leo can't heal himself but maybe with his powers I can.
Phoebe: What are you talking about?
Piper: It's a power switching spell. If Leo and I exchange powers then I'll have the healing touch and maybe I can fix him.
(Prue comes in.)
Prue: Hey, what's going on?
Phoebe: Ah, you know, the usual, made some coffee, read the newspaper, walked in on Piper switching powers with Leo. You know.
Piper: I have to save him, Prue.
Prue: Okay, is it safe?
Piper: To tell you the truth I don't really care. He's slipping away and if either one of you have a better idea then I'm all ears, if not then I'm casting the spell and I would like to do it with the support of my sisters.
Prue: Cast away.
Piper: What's mine is yours, what's yours is mine, let our powers cross the line, I offer up this gift to share, switch our powers through the air.
Phoebe: Did it work?
Piper: I don't know. (Kit runs in and Piper tries to freeze him.) I can't freeze.
Prue: This is a good sign. The spell must of worked. That means Phoebe and ... (She touches Phoebe and has a premonition.) Oh, I think I just had one of Phoebe's premonition thingies.
Phoebe: Really? What did you see?
Prue: (She points to a lamp.) That shattering. (Kit jumps on the table where the lamp is.)
Phoebe: Kit, no! (Phoebe puts her hand up and she makes the lamp fly against the wall and smash.) Did I just do that?
Prue: Uh huh, and I saw it. So, okay, you're moving things, I'm having premonitions and Piper can't freeze which means ...
Piper: Am I gonna get yelled at?
Prue: It switched all of our powers?
Phoebe: It's a supernatural freaky Friday. (The phone rings.) Oh, you know what? I'm going to get that and I'm sure you guys will have all this worked out by the time I get back.
Piper: Okay, I can do this. Now, heal. Come on, heal. Why aren't these working?
Prue: Okay, okay, okay. Piper, relax. Remember when we first got our own powers, it took us a while to learn how to trigger them.
Piper: Well, I'm doing what I always do.
Prue: Yes, but maybe you have to find his trigger not yours.
(Phoebe comes back in the attic.)
Phoebe: Hey, that was Andy. A new charge came up on Daisy's credit card report. She bought a bus ticket twenty minutes ago. She's running again.
Prue: If she leaves town we'll never be able to find her. Let's go.
Phoebe: Wait, we have to switch our powers back.
Piper: Not until I heal Leo.
Phoebe: Piper, we have to get Daisy.
Piper: And I have to heal him, I'm not losing him again.
Prue: Okay, you know what, you stay here. We have to find Daisy before the Dark Lighter does. We'll just have to do it using each other's powers. Come on.
[Scene: Police station.]
Andy: You wanted to see me?
Inspector Anderson: Sit down.
Inspector Rodriguez: You make a habit out of showing up at the scene before the crime is reported, Inspector.
Andy: I don't know what you're talking about.
Inspector Anderson: Motel capree, no one called the manager's m*rder in, Trudeau. Not until you did.
Andy: I got a tip.
Inspector Rodriguez: You're lying. Witnesses placed you at the scene with a woman. 5"3' or 4', brunette, attractive. Ring any bells?
Andy: Last time I checked I didn't have to reveal my informers to you, Rodriguez.
Inspector Rodriguez: Maybe not in a court of law but the last time I checked we weren't in one. This is an I.A. investigation, you don't have the same rights. You have no idea how much I can hurt you.
Inspector Anderson: Just tell us who you're covering for, Inspector.
(Andy stands up and puts his g*n and badge on the table.)
Andy: Screw you. (He walks out the room.)
[Scene: Bus depot.]
Daisy: Excuse me. Where can I find bus 24?
(The guy turns around and it's Alec.)
Alec: I told you I'd always be there for you, Daisy.
(She walks off quickly and bumps into a man.)
Daisy: I'm sorry. (The man turns around and it's Alec again.)
Alec: It's quite alright. I'm in no hurry. You care to join me?
[Cut to Phoebe and Prue entering the depot. Prue keeps poking Phoebe.]
Phoebe: Okay, are you trying to piss me off?
Prue: That's exactly what I'm trying to do only it's not working.
Phoebe: How do you know?
Prue: Because I don't see anything flying across the room. Look, you're gonna need to know how to use my power in case the Dark Lighter shows up, remember. When I first got my power it was anger that triggered it, so I need to push your buttons.
Phoebe: Okay, it's not that easy to break me.
Prue: What was it in high school that the guys started calling you after they caught you making out with someone under the bleachers.
Phoebe: It's not gonna work.
Prue: What was that? Oh yeah, Freebie! (The magazines on a rack spin around and fall off.) Well, class over.
Phoebe: You know that was just a rumour, right? Okay, now it's your turn. We need a premonition, where's Daisy?
Prue: Oh, do I have to? The last time I got all woozy and, and ...
(She touches a chair and nothing happens.)
Phoebe: Okay, you know, you guys take for granted that I'm your innocent yellow pages. Okay, this takes work.
Prue: It is useless, okay, I'm never going to get ... (she has a premonition) Do your ears ring when you do that?
(She nods.)
Phoebe: What did you see?
Prue: I can't be sure 'cause it went by so fast but if I was playing odds I would say it was Daisy.
Phoebe: Where is she?
Prue: Bathroom.
[Cut to bathroom.]
Daisy: (to herself) I'm gonna be okay, I can handle this.
Alec appears.)
Alec: You can't run from me, Daisy.
Daisy: Why won't you leave me alone?
Alec: Because we can be happy together. We were once, remember? All you have to do is come with me willingly.
Daisy: And what? Watch while you k*ll more innocent people?
Alec: He made me do that. That man would still be alive if he had just come with me. That's all I ask and the k*lling'll stop. We can have eternity together. (Daisy knees him in the stomach. Prue and Phoebe enter the bathroom.)
Prue: I believe this is the ladies room.
Alec: And this is a private conversation. (His crossbow appears.)
Prue: Oh, oh, Phoebe. (Phoebe puts her hand up and all the soap squirts out of the soap dispensers and the water comes out of the taps. Alec laughs.) Okay, now would be a very good time to get angry.
Alec: I've never used this on a witch before.
Prue: Oh, grandma's car, fender dented, you got blamed for it, I did it. (Alec flies into a cubicle.)
Phoebe: I got grounded for that, Prue.
(Prue picks up the crossbow.)
Prue: I've never used this on a Dark Lighter before.
(She sh**t the arrow at him but he turns into dust and floats away.)
Daisy: Oh God, is he ...?
Phoebe: Daisy, Leo sent us, we have to take you to him. Come on.
[Scene: Halliwell house. Piper is still trying to heal Leo.]
Piper: Oh God, please work. Come on. Work.
Leo: When I die ...
Piper: You're not going to die.
Leo: And when it happens this where I wanna be. I love you.
[Cut to downstairs. Prue, Phoebe, and Daisy enter the house. There are flowers sitting on a table.]
Daisy: Oh God, he found me again.
Phoebe: How do you know?
Daisy: That's what he does, he sends me flowers so I know he's watching.
(Phoebe reads the note.)
Phoebe: No, honey, these are for Prue.
Prue: They're from Andy, he needs to see me right away.
Phoebe: Something wrong with his phone?
Prue: It's a long story but I can't leave you guys.
Phoebe: No, Prue, we'll go up and check on Leo and remember I'm the one with the active power now. Go.
Prue: Are you sure?
Phoebe: Yes, absolutely, we'll be fine. Let's go check on Leo.
[Cut to the attic. Piper is sitting on the floor.]
Phoebe: Piper, we found Daisy ...
Piper: I tried. He's gone.
Commercial Break
[Scene: Halliwell house. Daisy and Phoebe are running down the stairs.]
Phoebe: I don't think this is the best time for you to be alone.
Daisy: Without Leo it's just a matter of time before Alec finds me again. I have to get away.
Phoebe: No. My sister's and I can take care of Alec.
Daisy: I don't want you to try. Too many people are d*ad now because of me and now Leo.
Phoebe: Honey, that's not your fault.
Daisy: I doesn't matter. When Alec finds me again he's not gonna let you get in the way either. It's better off that I leave. Trust me. I have to go.
Piper: Don't you dare. Leo gave up his life to bring you here. If you leave, Alec will find you for sure. And Leo's death will mean nothing. You're not going anywhere.
[Scene: A park. Andy is sitting on a seat swing. Prue walks up to him and sits down.]
Prue: So I take it we're not here for the same reason we used in high school.
Andy: Unfortunately, no.
Prue: Makes me kinda wish for the good old days.
Andy: We tried that already. Prue, I did everything that I could to keep Internal Affairs from finding out about you. There's not much more I can do after today.
Prue: Why? What happened?
Andy: I wouldn't tell them what they wanted to know. I turned in my shield. a*t*matic suspension. I gotta hand it to Rodriguez he's a pit bull. But when he connects you to all those unsolved cases he can put the heat on you to get to me. Unless you're careful. He's gonna figure out that it's you and your sister's that he really wants.
Prue: Wait, you just got suspended and you're telling me to watch my back?
Andy: Until I.A.'s off my case, it's better if we're not even seen together. You don't want them to connect the dots believe me.
Prue: I can't believe you're worried about me when you're about to lose everything that you've worked for.
Andy: Well, everyone of those unsolved cases that Rodriguez is tracking down, there's an innocent life that you and your sister's helped to save. What you're doing is the reason I became a cop. I guess that's how I do it.
Prue: I'm sorry.
Andy: No, don't be. Everything happens for a reason. Remember, you taught me that.
(Prue kisses him on the cheek.)
Prue: Thanks.
(She gets up and starts to walk away.)
Andy: Take care, Prue.
[Scene: Attic. Piper is watching Leo from the doorway. Phoebe walks up to Piper.]
Phoebe: I thought you might like to talk.
Piper: He could of stayed with us, he could of fought harder.
Phoebe: He was in pain, he had to let go.
Piper: He didn't have to, our magic's never failed before. I cast the spell, I took his power, all he had to do was show me how to do it and he never did.
Phoebe: How can you be mad at him?
Piper: Because it should of worked. Prue's having premonitions, and you figured out how to use her power, why couldn't I find a trigger? Why couldn't he just help me, give me his power?
Phoebe: He wanted to live, he didn't want to leave you. It's hard to lose someone you love.
[Scene: Later on. Piper's in the attic with Leo.]
Piper: I love you, Leo. (She's crying and a tear drop lands on her hand and her hand started glowing.) I found it. Leo, I love you. (She holds her glowing hand over Leo and she heals him.) Can you hear me? I love you, Leo, please hear me. (Leo wakes up.)
Leo: Piper. (They hug.)
Piper: Oh, thank God. I tried so hard and I couldn't make it work before. Why didn't you tell me?
Leo: That love was the trigger? You had to find that out on your own. Why couldn't you tell me?
Piper: I don't know. I was afraid, I was afraid if I admitted how I really felt it would hurt more if I lost you. I'm so sorry, I should of said it before.
Leo: It's better late then never.
[Cut to the stairs. Piper is helping Leo down them.]
Phoebe: Leo. Oh my God, how did you ...?
Piper: There's no time to explain.
Leo: You've been out of the cloak too long. Alec can find her.
Piper: Where's Prue? We need to get her back here and we need to find a spell to vanquish the Dark Lighter.
Leo: A power of three spell.
Phoebe: Okay, I think she has her cell phone on. (Alec appears. Phoebe tries to use Prue's power.) No! (The light bulbs smash above him. He grabs Piper.)
Alec: Alright, no more tricks, ladies.
Leo: Let her go, Alec.
Alec: I don't think so. I have what you love, you've got what I love. Care to trade? (Phoebe puts her hand up.) Don't do that. (His hand starts glowing.) I will k*ll her if I have too. You still think I'm incapable of love, Leo? You wanna see far I'm willing to go?
Daisy: Alec, no!
Piper: Daisy, stay back.
Alec: You shut up!
(Prue opens the door and Alec pushes Piper into Phoebe and grabs Daisy.)
Leo: No!
Prue: Phoebe, stop him!
(Alec disappears with Daisy.)
Commercial Break
[Scene: Piper is using Leo's power to try and find Daisy.]
Piper: I can't do it.
Leo: Yes you can. You have everyone of my powers including the power to find Daisy.
Prue: Leo, wouldn't it be faster for you guys just to switch you powers back?
Leo: No, I'm still too weak. It's up to Piper. Trust me, Piper. Okay, look deep inside yourself, peace, place where you find love.
Piper: Right, I can hear her.
Leo: Listen to her, let her tell you where she is.
Piper: She's screaming, she's afraid, he's pushing her past some trees.
Leo: Can you recognize the place, can you tell where they're at?
Piper: Hero's Grove, Golden Gate park.
Prue: Let's go.
Piper: What about Leo?
Leo: I'm fine. Save Daisy.
Prue: Piper, we really need the power of three to do this.
Phoebe: Actually, I don't think we do. I think there's a better way. Piper, you stay with Leo. Prue, you drive, I'll talk.
[Scene: Golden Gate Park.]
Daisy: Why are taking me here?
Alec: You could of been my mate, Daisy, my equal.
Daisy: I don't understand.
Alec: And now you've made this place your death bed. It's your won fault you won't live.
Daisy: Please don't k*ll me. If you ever loved me.
Alec: If I ever loved you what? You think I could just get over you? Move on, find somebody else? You're the only woman I've ever loved, Daisy and now I'm the last man you'll ever leave.
(His hand glows red hot. Prue and Phoebe run over to them.)
Prue: Let her go!
Alec: She's mine.
Phoebe: Son of a ... (She uses Prue's powers and he flies through the air.) Do it Prue, now!
Prue: What's mine is yours, what yours is mine, let our powers cross the line.
Alec: You really should of stayed out of this.
Prue: I offer up this gift to share, switch our powers through the air.
(Alec's hand stops glowing and Prue's hand starts glowing.)
Alec: What? Where's my power?
Prue: It's hate. Hate is his trigger.
Phoebe: Then hate him.
Prue: No problem. Bring him to me, Phoebe. (Prue puts her glowing hand on his chest and burns him to death.) What's mine is yours, what yours is mine, let our powers cross the line.
Daisy: His gone. You did it.
Phoebe: You okay?
Prue: I can't believe how much hate that took. I never wanna feel like that again.
Daisy: You just gave me my life back.
Phoebe: Now, when we get home, you're gonna give me my power back, right?
[Scene: Attic. Leo and Piper are laying on the couch together.]
Piper: I almost wish I didn't give you your powers back. Then you wouldn't be able to leave.
Leo: Me too.
Piper: So if Daisy's a White Lighter to be, doesn't that mean you used to be ...
Leo: Human? Yes it does. I was actually born right here in San Francisco. I had lived here all the way up till I went after the w*r.
Piper: You mean like Vietnam?
Leo: No. World w*r II. I had left med school and enlisted as a medic. I wanted to help save people not sh**t them. The last thing I remember I was bandaging a soldiers head wound and I felt a sharp pain and the next thing I know I was floating surrounded by White Lighters. They offered me immortality and the chance to help special people like you. I never once doubted that I didn't make the right choice. Till I met you. Ever since all I can think is how I'd give it up and have a mortal life again to have a family, grow old with you.
Piper: Is that possible?
Leo: Yea, I can become human again, Piper, if you want me to.
Piper: Are you kidding? I want that more than anything I don't want to lose you again.
Leo: But ...
Piper: But then you wouldn't be able to help other witches or other future White Lighters would you? You couldn't save the next Daisy.
(There's silence.)
Leo: I better go. (They kiss.) I love you.
(He disappears.)
Piper: I love you too.
[Scene: Construction site. Andy is meeting Morris there. The two I.A. guys are there in their car trying to hear what they're saying.]
Morris: How ya doing?
Andy: Been better. How about you?
Morris: Those I.A.'s son of a bitch made me work more.
Andy: Yeah. So you wearing one?
Morris: What do you think?
Andy: You in any kind of trouble?
Morris: Less than you.
Andy: I just want you to know I'm doing it for a good cause.
Morris: Andy, I'm your partner. More importantly I'm your friend. I wanna believe you're on our side. It would really help me if I knew why you were doing this. I'm not asking you for I.A. I'm asking you for me. I think you owe me one.
Inspector Rodriguez: I told you they would didn't I?
Inspector Anderson: Doesn't do us any good if we can't hear them over the noise. I sure wish I could read lips.
Morris: Who you covering for?
Andy: It's Prue. And all I can tell you is she's connected to all our unsolved cases.
Morris: Prue huh? I was so hoping you weren't gonna say that.
Inspector Anderson: I can't hear a thing.
Inspector Rodriguez: He's covering up for Prue Halliwell.
Inspector Anderson: What? How the hell did you know ... Oh my God.
(Inspector Rodriguez's eyes turn red and made the earphones that Anderson was wearing make a deafening sound.)
[Scene: Halliwell house. Piper is in the attic. She finds Leo's dog tags and puts them around her neck.]
Piper: Leo.
[Cut to downstairs.]
Phoebe: Is it just me or can you draw a chalk outline around this place?
Prue: Well, I don't know what you could possibly mean, Phoebe, I mean the weekend's almost over, we never made it to Cabo, I'm never gonna see Andy again, and Piper just lost the love of her life.
Phoebe: The glass is way more than half way full here, Prue, Piper saved the love of her life, Alec is long gone and Daisy's on her way back to her family. And we even managed to straighten out our powers thank God.
(She gets two pineapples out of the fridge.)
Prue: Thank God? I thought that you always wanted an active power.
Phoebe: Maybe, but I never thought I'd actually miss my premonitions. Your power was like wearing a dress that was too tight. Not that would ever happen.
Prue: Remember when I said you had no vision.
Phoebe: Which time?
Prue: Well, you would never hear it again. It takes a lot of strength to see what you see.
Phoebe: I'll drink to that. We can't go to Cabo, we might as well bring Cabo to us.
Prue: I don't know, Pheebs, we still have some serious problems.
(She plays some reggae music on the CD player.)
Phoebe: Problems are for Monday mornings. What do you say?
Prue: It's gonna be hell of a Monday morning but until then ...
(They toast their drinks.)
End | {"type": "series", "show": "Charmed", "episode": "01x21 - Love Hurts"} | foreverdreaming |
Written by: Brad Kern and Constance M. Burge
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Rodriguez's place. He's looking at pictures of Prue, Piper and Phoebe. Tempus appears in a ball of flame.]
Rodriguez: Tempus...
Tempus: I never expected to see me. Of course not. You are not worthy before now. What is the name you are using?
Rodriguez: Rodriguez.
Tempus: Ah, yes. I have been sent to you, Rodriguez. As a gift.
Rodriguez: Sent? By who?
Tempus: I think you know who and why.
Rodriguez: I can defeat the Charmed Ones on my own. I don't need any help.
Tempus: Really. What makes you think you have actually found the Charmed Ones?
Rodriguez: Are you kidding? After so many of my colleagues have mysteriously vanished in San Francisco this year. It can only be one reason why. I posed as a cop as I believed that one was covering for them. I was right, he was. That's how I found them. Of course, you already know all that don't you. That's what makes me so worthy now, right?
Tempus: Watch your tongue, Rodriguez, lest I split it for you. It's one thing to have found the Charmed Ones, it's quite another to defeat them as those who have gone before you have already discovered. Tomorrow is Wednesday. I want you to get all three witches together in one place by midnight and give it your best sh*t. But if you fail ...
Rodriguez: I will not fail.
Tempus: Well, if you do, I'll be there to help you learn by you failures. Trust me. Now, how do you expect to get them together?
Rodriguez: Trudeau.
[Scene: A paperboy rides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside the manor.]
Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautiful Wednesday.
Phoebe: (on the phone) Piper, what are you doing at Quake? It's 8:00 in the morning.
(Prue enters the kitchen.)
Prue: Morning.
Phoebe: Morning. (to Piper) Yes, alright, I'll be there in an hour.
(You can see Kit on the bench and he knocks over a pepper shaker.)
Prue: You'll be where in an hour?
Phoebe: Ah, Quake. Piper's doing that thing for the food network and she needs me to bring her another dress because she spilt marinara sauce over the one she's wearing.
Prue: Just stay out of my closet.
Phoebe: Oh, don't worry, I don't think she'd want to ruin another one of yours.
Prue: (Reading the paper) I don't believe this.
Phoebe: I'm kidding. Don't have an aneurysm.
Prue: No, I'm talking about the paper. Did you see the front page? (Phoebe shakes her head. They hear a crash outside.) Where did you park my car last night?
Phoebe: In the driveway ... I think.
(They run to the window.)
Prue: Mrs. Henderson's car.
Phoebe: Oh, thank God. I mean, that your car's in the driveway and I'm not in the dog house. Is she okay?
Prue: Yeah, just a little fender bender, no big deal. Phoebe, Andy's in trouble.
Phoebe: What? Why? (Prue shows her the paper. Written on the front page is "Inspector Suspected In I.A. m*rder.") They think that he k*lled that Internal Affairs cop? No way.
Prue: Maybe it's a setup, trying to force him to reveal our secret.
Phoebe: Let me see that. (She takes the paper off Prue and has a premonition.)
Prue: What is it?
Phoebe: I saw Andy, Prue. He was d*ad.
Opening Credits
[Scene: Halliwell Manor. Continued from before.]
Prue: Wait, you said that you didn't see a demon or a warlock in your premonition, right?
Phoebe: No, but the way he was hurled across the room, there had to of been one.
Prue: This room here.
Phoebe: Right here, yeah.
Prue: Okay, and you're positive that it was Andy.
Phoebe: Prue.
Prue: I just want to be sure, alright, this isn't just anybody that we're talking about, you know.
Phoebe: I know, and I care about him too.
Prue: I know you do. I'm sorry. Um, right, why don't you fill in Piper and I'm gonna go warn Andy.
Phoebe: How? He said it was too risky for you to be seen with him.
Prue: Yeah, well, I don't care. Let Internal Affairs find out that we're witches. Andy's life is a lot more important.
Phoebe: Okay, just please be careful. You don't know what kind of demon we're up against.
[Scene: Police station. Andy is in a room with Darryl.]
Darryl: If you ask me, I wouldn't be surprised if Rodriguez was the one who whacked his own partner.
Andy: I.A. already cleared him.
Darryl: I.A. cleared an I.A. Go figure.
Andy: Yeah.
(Rodriguez enters the room.)
Rodriguez: What are you doing here, Morris?
Darryl: Backing my partner, Rodriguez, something you wouldn't know anything about.
Rodriguez: This is between him and me.
Andy: It's okay, Darryl. (Darryl leaves the room.) Just for the record, I'm not saying anything without my lawyer present.
Rodriguez: You don't need a lawyer, that's if you're willing to help me.
Andy: You want me to help you? (He laughs.) What, you can't frame yourself, Rodriguez?
Rodriguez: Look, Andy ...
Andy: Oh, it's Andy now.
Rodriguez: I don't think you had anything to do with my partner's m*rder. That's right. But what I do think is completely off the record. And I think you'll understand why. (Rodriguez shows Andy a photo.) That's my partner. Or at least what's left of him. No human could of done that to him. I think he was k*lled by something supernatural. And I think you can help me figure out who or what it is.
Andy: Really. What makes you think that?
Rodriguez: Come on, I know all about those unsolved cases of yours, and I know who's behind them too. Who you've been covering for. It's very noble. You must care about her very much to give up your career for her. Prue Halliwell ... is a witch.
Andy: A witch, huh? You wait here, I'll go warn the Wizard of Oz. (He stands up.)
Rodriguez: I don't have time to screw around, Trudeau. I want you to arrange a meeting between her and me. It has to be tonight. She can help me find who k*lled my partner, I'll drop all charges against you. I won't tell anyone about her. You think about it, but not too long. (He leaves and Darryl enters.)
Darryl: You alright?
Andy: I'm not sure. I gotta go see Prue.
Darryl: That's funny. She called and said she had to see you too.
[Scene: In the street outside a clock shop. Tempus is waiting there. Rodriguez walks up to him.]
Tempus: Well?
Rodriguez: I'm sure I made Trudeau suspicious of me. She'll have no choice but to meet with me.
Tempus: But you have to get all three of them together.
Rodriguez: Trudeau cares about her. He won't let her risk meeting me alone. He'll insist she have the power of three there with her for protection.
Tempus: And you think you have the power to defeat them all.
Rodriguez: You don't think I do, do you? You think I'll fail.
Tempus: Time will tell.
Commercial Break
[Scene: Quake. Phoebe has another dress for Piper.]
Piper: Phoebe, over here. (She gives Piper the dress.) Thank God. The segment producer's gonna be here any minute and I am a complete and total wreck.
Phoebe: Piper ...
Piper: I thought I was gonna have to pull a Celine Dion and wear my dress backwards.
Phoebe: Piper, you have gotta listen to me. I had a premonition of Andy dying.
Piper: When?
Phoebe: This morning. Don't you check your voice mail? I called and said it was important.
Piper: Oh, know. Where's Prue?
Phoebe: She's warning him. But in the mean time we have to figure out who the demon is.
(A woman enters Quake. Piper stands behind Phoebe to cover the marinara stain.)
Woman: Piper? Piper Halliwell? I would recognize you anywhere, you have not changed a bit. You don't recognize me do you? It's Joanne. Joanne Hurts, Baker High, class of '92.
Piper: Oh, sure, of course. Joanne, what are you doing here?
Joanne: I'm the segment producer.
Piper: You're the segment producer? (to Phoebe) She's the segment producer.
Phoebe: I heard.
Piper: Wow, what a small world. I thought you moved to New York.
Joanne: I did. And that's where I met my fabulous husband who had this crazy idea of starting this little cable show and putting me in charge of everything. And here we are, the food networks most popular show. Talk about dreams coming true. Anyway, enough about me, what have you been doing?
(Piper freezes Joanne.)
Phoebe: Why'd you do that?
Piper: What am I suppose to say? That I'm a cash strapped, single restaurant manager, who still lives in the same house I grew up in with my sisters?
Phoebe: And the cat, don't forget our cat.
Piper: Phoebe, this isn't funny.
Phoebe: Look, I don't know why you're getting so upset. She is a freak. I'm sorry, but no one is that successful at the age 26. Besides, you are successful, you're talented, you're creative, and the food network is here to see you. Not me, not her, you. Feel better now?
Piper: Very little.
Phoebe: Good. Unfreeze that bitch in heels, you've got a segment to sh**t and we've got a demon to find.
[Scene: Park. Andy and Prue are there.]
Andy: Has Phoebe ever been wrong about her premonitions before?
Prue: No. But the good news is every other time we've been able to affect the outcome. Stop the demon or warlock before ...
Andy: Before I get k*lled. Can I get that in writing?
Prue: Andy, you just have to be extra careful until we figure out who this demon is, okay? (Silence.) Andy.
Andy: I was just thinking ... what if the demon was Rodriguez.
Prue: Why would you say that?
Andy: He pulled me in the station house this morning. I thought he was gonna arrest me. What he really wanted was a meeting with you.
Prue: Meet with me? Why?
Andy: Because he thinks his partner was k*lled by a supernatural being and somehow, I don't know how he knows you're a witch.
Prue: How would he know that unless ...
Andy: Unless he was the demon.
Prue: Alright, uh, tell Rodriguez to meet me at the manor at 6:00.
Andy: It's too dangerous, Prue.
Prue: I don't have a choice. If I don't meet with him, he'll try to frame you and try to expose me.
Andy: But if he is a demon and it turns out to be a trap.
Prue: And I'll have Piper and Phoebe there to back me up, the power of three.
Andy: Plus one.
Prue: No. You can't be there, Andy. That's where you were in Phoebe's premonition when ... just promise me you'll stay away.
Andy: I can't do that, Prue.
Prue: I mean it. Don't make me use my magic on you. (They smile.) I don't want anything to happen to you, Andy. You know how much I care for you.
Andy: Okay, I promise.
[Scene: Outside the manor. Andy's sitting in his car. Rodriguez arrives in front of the manor. Andy ducks. Kit growls at Rodriguez. Inside the manor.]
Prue: Alright, let's go over the plan again.
Phoebe: Yeah, let's, because I wanna know why I'm the one answering the door.
Prue: 'Cause you're the one who knows martial arts, alright, that way if Rodriguez shows up and tries something right off the bat, you can knock him down.
Piper: And then I can come in from the living room and freeze him.
Prue: And then I can come down the stairs and send him flying.
Phoebe: I still feel like cannon fodder.
(The doorbell rings.)
Prue: What time is it?
Piper: Just before six. (He rings the doorbell a couple more times.) That's a little too anxious, that's not a good sign.
Phoebe: Which means if he doesn't want to k*ll Prue, he wants to date her.
(Prue and Piper stare at here.)
Prue: Come on, let's get this day over with.
Phoebe: Okay. (She walks towards the door.) Alright already. (She opens it.)
Rodriguez: Inspector Rodriguez. I'm here to see Prue Halliwell.
Phoebe: Yeah, no kidding. Prue! Piper! Company!
(Rodriguez's eyes glow red and his power throw's Phoebe against the wall and she rolls down the stairs. Piper enters the room.)
Piper: Phoebe!
(Lightning stuff comes out of Rodriguez's hand towards Piper but she freezes it just in time.)
Prue: (Running down the stairs.) Phoebe! (Prue uses her power and the lightening stuff hits Rodriguez adn he explodes and vanishes.)
Piper: Oh my God.
Prue: Oh, God.
Piper: Prue, is she okay?
Prue: She's d*ad.
Piper: What? Phoebe. Phoebe!
[Scene: Rodriguez's place. Tempus is there holding an hour glass. He pours the sand out into a saucepan. You see out the window that it goes from night to day in seconds. Rodriguez appears.]
Tempus: Hurts to die, doesn't it? Especially at the hands of a witch.
Rodriguez: What happened? Where am I?
Tempus: Exactly where you were when you first met me. Time has been reset, or other I have reset time.
Rodriguez: But they k*lled me.
Tempus: That was Wednesday night. This is Wednesday morning all over again. This is why I have been sent to you, to keep resetting time until you learn from your failures. Only you will carry with you the memory of what has happened before. And each time you fail, you will learn more until ultimately you will k*ll all of them.
[Scene: A paper boy rides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside the manor.]
Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautiful Wednesday.
Phoebe: (on the phone) Piper, what are you doing at Quake? It's 8:00 in ... the morning.
(Prue enters the kitchen.)
Prue: Morning.
Phoebe: Morning. Wait a minute. (Kit knocks over the pepper and meows.) Whoa. I am freaking out. (Into the phone) Okay. I'll be there in an hour (She hangs up.)
Prue: Be where in an hour?
(Phoebe pauses a little.)
Phoebe: Okay. Pinch me.
Prue: What?
Phoebe: No. I mean it. Pinch me. I want to make sure I'm awake because if I am, I am having one k*ller déjà vu.
Prue: So it's just a déjà vu. Everybody gets them.
Phoebe: Not like this they don't. Look Prue ... something weird is going on here.
(Prue sees the front page)
Prue: I don't believe this.
Phoebe: No. I'm...trust me. This has happened before. Everything.
Prue: I'm talking about the paper. Did you see the front page?
Phoebe: See. Like that. Right there. You said that before. I know it. (Car crashes.) And that has happened before too.
Prue: Where did you park my car last night?
Phoebe: In the driveway and I told you that already the last time you asked me. (Prue leaves. Phoebe sighs. Then whispers the next line.) I think I'm having an aneurysm.
[Cut to Prue looking out the window in the living room.]
Prue: Mrs. Henderson's car. Just a little fender bender, no big deal.
Phoebe: Prue, I am not nuts. Okay, maybe just a little but that's irrelevant here.
Prue: Phoebe, Andy's in trouble.
Phoebe: What? (Prue shows her the paper.) Let me see that. (She takes the paper off Prue and has a premonition.) You know, that was the premonition which I had before.
Prue: Of what?
Phoebe: Of Andy, here, being k*lled by a demon.
Commercial Break
[Scene: Police station. Rodriguez barges in the room where Andy and Darryl are.]
Rodriguez: What the hell are you doing here?
Darryl: I'm backing my partner, you got a problem with that?
Rodriguez: Get out now!
Andy: It's okay, Darryl, I got it. (Darryl leaves.) Just for the record, I'm not saying anything without my lawyer present.
Rodriguez: Forget your lawyer, Trudeau. I'm not screwing around this time.
Andy: This time? What are you talking about?
Rodriguez: Bottom line, I know my partner was k*lled by a supernatural being and I think Prue Halliwell can help me figure out who did it.
Andy: Really? Well, I'll just get the commissioner to signal Batman and then I'll get right on it.
Rodriguez: Do you think I'm joking? I know everything, Trudeau, everything including the fact that Prue Halliwell is a witch. Now you're gonna arrange a meeting with her tonight, you understand, or else I'm gonna bust you ass and expose hers. (He leaves the room and Darryl enters.)
Darryl: What was that about?
Andy: I'm not sure.
[Scene: In the street outside a clock shop. Tempus is waiting there. Rodriguez walks up to him.]
Tempus: Well ...
Rodriguez: Trudeau is sent to meet. But what I need to know is how to avoid the pain of getting vanquished again.
Tempus: It depends on whether you learned enough to vanquish them first. What do you remember?
Rodriguez: Last time I k*lled the youngest one, Phoebe, without a fight. But then when I turned to k*ll Piper, I think she's the one who has the power to freeze.
Tempus: Adjust, simply anticipate where she's coming from earlier before she has a chance to freeze you. Then k*ll Prue.
[Scene: Quake.]
Piper: Andy dies? Are you sure that's what you saw?
Phoebe: Even worse, I know that I've had that premonition before. I mean, before I had it earlier today.
Piper: You mean like yesterday?
Phoebe: Yes ... I mean, no. It's not just the premonition that I've seen before, it's everything. And don't tell me that it's just deja vu because I know it's not.
Piper: Alright, then what is it?
(Joanne enters Quake.)
Joanne: Piper? Piper Halliwell, I would recognize you anywhere. You have not changed one bit. You don't recognise me do you?
Phoebe: It's Joanne. Joanne ... Hertz, right? I'm right aren't I?
Joanne: I'm sorry, have we met?
Phoebe: Yes ... sort of before. Uh, Baker High, class of '92. Although I wasn't in that class.
Piper: Oh, sure, of course, Joanne. Phoebe, how did you ...
Phoebe: (Whispering) That's what I've been trying to tell you. I think we're in some funky time loop here.
Piper: (Whispering) Phoebe ...
Phoebe: (Whispering) Freeze her. I'll show you. (Piper freezes Joanne.) Okay, Joanne here, is the food networks segment producer. She's about to brag how she's happily married to some rich guy, how she's following her dream, how she's had a really bad nose job. Okay, I added the last part, but this is all gonna make you feel like you're wasting your life away in comparison. Unfreeze her, go ahead, see for yourself.
(She unfreezes Joanne.)
Piper: Are you the segment producer?
Joanne: Why, yes, I am.
Piper: Following your dreams are you? Happily married? Stinkin' rich?
Joanne: Well, I don't mean to brag, but ...
(Piper freezes her again.)
Piper: Alright Phoebe, spill it.
Phoebe: Okay, the best I could figure is some demon has cast a spell, and I'm the only one who could sort of see it because my power let's me see things that have happened in different times. Do you have a better explanation?
Piper: No. Alright, so if you're right, do you think this has something to do with Andy be k*lled?
Phoebe: I don't know, but we're never gonna find who the demon is unless we get to ...
Piper: Book of Shadows, I'm right behind you.
[Scene: Park.]
Andy: What if he is a demon and it turns out to be a trap?
Prue: I'll have Piper and Phoebe there to back me up. The power of three.
Andy: Plus one. Me. (Andy sees Prue thinking about something.) What is it?
Prue: This seems a little familiar to me that's all, kinda like deja vu. Never mind. Um, Andy, you can't be at the meeting and Phoebe's premonition that's where you were when ... Just promise me that you'll stay away.
Andy: Prue, I can't do that.
Prue: I mean it. Don't make me use my magic on you. (They smile.) Andy, I don't want anything to happen to you. You know how much I still love you.
Andy: No, I didn't.
(They hug.)
[Scene: Outside Halliwell manor. Andy's sitting in his car. Rodriguez arrives in front of the manor. Andy ducks. Kit growls at Rodriguez. Inside the manor. Prue, Piper and Phoebe are looking at the Book of Shadows.]
Piper: Is there anything in there about time loops?
Phoebe: There's a spell to accelerate time but that's about it. I'm telling you, this is all part of his evil plan. I just haven't had enough time to figure it out yet.
(The doorbell rings.)
Prue: What time is it?
Piper: Just before six.
Phoebe: I'll get it. (The doorbell rings a couple more times.) Alright already. (The door flies open and the lightening out of Rodriguez's hand hits Phoebe and she hits the wall.)
Piper: Phoebe!
(The lightning then hits Piper and she crashes through the glass door. He then tries to get Prue but her power makes the lightning fly back into him. He explodes and vanishes.)
Prue: Oh my God, no. (She runs over to Piper.) Piper. (She's crying.)
[Scene: Rodriguez's place. Tempus turns back time again. Rodriguez appears.]
Rodriguez: Son of a bitch!
Tempus: Failed again, I see.
Rodriguez: Yeah, but I learned. This time I got two of 'em. Third time is the charm.
Commercial Break
[Scene: Wednesday morning. A paperboy rides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside the manor.]
Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautiful Wednesday in the Bay area.
(Phoebe's on the phone. She turns off the TV.)
Phoebe: Don't tell me. I already know. You spilt marinara sauce on your dress, right? Am I right? Think Piper, think. Doesn't all of this seem awfully familiar to you?
Prue: (Entering the kitchen.) Morning.
Phoebe: Freeze. No, not you, Piper. (Kit's on the bench.) Kit knocks over pepper. Meows. (Kit does so. Prue looks at Phoebe as if to say "how'd you know that?") Hold that thought. Okay, Piper, you need to get home as soon as you can, okay, we've got major demon hunting to do. Oh, and if you run into someone named Joanne from high school, just tell her to go stick it. I will explain later, just hurry.
Prue: Okay, what's going on?
Phoebe: Quick, follow me. (They go to the window.) 5, 4, 3, 2, 1. Car honks ... (a car honks) skids ... (a car skids) crashes ... (a car crashes) Mrs. Henderson's car. A little fender bender. Good thing I parked your car in the driveway last night, huh?
Prue: How did you know that?
Phoebe: Because this has all happened once before, Prue, maybe even more than once. The day keeps repeating itself. I know it and every time it happens I think I figure it out just a little faster. It must be my power of premonition. Premonition ... I'm supposed to be having a premonition right about now.
Prue: Supposed to? What do you mean?
Phoebe: The paper. Look at the front page. (She does so.)
Prue: Andy.
Phoebe: Is in trouble. More than you know, Prue. If I touch that paper, I will have a premonition . The same one that I've had before. Where Andy gets k*lled here by a demon. You have got to believe me.
Prue: No, I believe you. The question is what do we do about it?
Phoebe: Well, you've got to go warn Andy. Keep him away from our house at all costs. Meanwhile, I've got to dig through the Book Of Shadows, find a way to vanquish this time demon before he can k*ll Andy.
[Scene: In the street outside the clock shop. A cuckoo clock chimes and Rodriguez sh**t it with his g*n.]
Tempus: You really shouldn't of done that. You shouldn't do anything differently if you want to succeed tonight.
Rodriguez: I will succeed tonight, old man. There'll be no more time loops. This time I'll k*ll Prue first and then the other two and when they die, they're gonna feel every ounce of pain they've given me and then some.
[Scene: Quake.]
Piper: Uh, Joanne, I'm so sorry, but I can't do this segment right now. Um, something's happened, something bad, I have to go.
Joanne: What? Run out of marinara sauce?
Piper: Look, I know I don't have the flashy job or the flashy ring or the flashy designer suit but that doesn't make me less than you or anybody else. And just because I may not have realized my dreams yet like you think you have, doesn't mean I won't find a way to do exactly that. And when I do, you can be damn sure I'll be doing it with my own nose and not the one some discount doctor gave me.
[Scene: Park.]
Andy: A time loop? You mean demons can actually do that sort of thing?
Prue: None that I've ever seen before but if it is a demon, it's the most powerful one we've ever come up against.
Andy: He's going through all this just to k*ll me. No way, Prue. If he's as powerful as you say, then he's gotta be after you.
Prue: Andy, please just let us handle this. Whatever you do you have to promise me that you'll stay away from the manor.
Andy: I can't promise you that, Prue. If you're right and Rodriguez is the demon then it's a trap.
Prue: Yeah, then I'll have Piper and Phoebe there to back me up, alright, the power of three.
Andy: What if that's what he wants, all three of you together. What if that's the reason he set the time loop?
Prue: We'll just have to take our chances.
Andy: You could get k*lled, Prue.
Prue: I mean it. This is not your fight. Don't make me use my magic on you. Andy, I would die if anything happened to you. I love you.
Andy: I love you too, Prue.
(They hug.)
[Scene: Outside manor. Andy's in his car. Rodriguez walks past Kit and Kit growls. Rodriguez's eyes glow red and Kit runs away. Andy sees it and grabs his g*n.]
Andy: Oh my God, Prue.
[Inside manor. Phoebe's reading the Book of Shadows.]
Phoebe: The devil's sorcerer, Tempus. He can manipulate time anyway he chooses.
Piper: Does it say how to vanquish him?
Phoebe: Uh, take him out of the time that he's in. What ever that means.
[Rodriguez kicks open the door and throws the lightning stuff at Prue, but Piper pushes her out of the way just in time and they fall to the floor. Andy runs in.]
Andy: No!
(He sh**t at Rodriguez and Rodriguez throws lightning stuff at him.)
Phoebe: Andy!
(Andy flies through the air and hits a glass cabinet. Piper freezes Rodriguez.)
Piper: Are you okay?
Phoebe: Yeah, is Prue okay?
Piper: Yeah, she's out cold. (They see Andy and run over to him. Piper feels his pulse.) Oh my God. He's d*ad.
Commercial Break
[Scene: Manor. It's 6:15pm. Rodriguez is tied to a chair.]
Phoebe: The only reason you're still alive is because I haven't worked out how to k*ll you yet.
Rodriguez: Go ahead. k*ll me witch. I don't care.
Piper: Phoebe, what are you doing?
Phoebe: I'm trying to save Andy.
Piper: Andy, Andy's d*ad, you can't save him, Phoebe.
Phoebe: No? We're in a time loop aren't we? All we have to do is start the day over and Andy lives. And I'm willing to bet that his death somehow triggers the time loop?
Rodriguez: I'm impressed. I was told you wouldn't know that.
Phoebe: Really? By who? Tempus? Yeah, we know about him too. And we also know you're not him otherwise you would of started the day by now. So, where do we find him?
Rodriguez: In your nightmares. k*ll me. I dare you.
(Piper pulls Phoebe away.)
Piper: Why is he so willing to let us k*ll him?
Phoebe: Who cares. If he dies, Andy lives. End of story.
Piper: What if that's exactly his plan? To reset the day and he can k*ll us all next.
Rodriguez: It doesn't matter. The day's gonna reset itself anyway, there's not a damn thing to do about
Piper: Shut up. Come on, we have to wake Prue.
(They bend now next to Prue.)
Phoebe: Prue. Prue. Come on, we need your help.
Andy's voice: Prue. Prue. Come to me, Prue.
(We enter Prue's dream. She and Andy are there. There's a seat swing surrounded by fog.)
Prue: Andy? What's going on? Where are we?
Andy: I'm not quite sure really. I hoped I'd end up here, but not so soon. One thing I do know is that I'm staying. You're not.
Prue: I don't understand.
Andy: I broke your promise, Prue. I came to your house tonight. Turns out Phoebe's premonition was one you couldn't stop after all. Weren't suppose to stop.
Prue: Wait a minute, Andy, no.
Andy: It's okay, Prue, really, trust me. This is my destiny. I know that now. Yours is to continue on. Everything happens for a reason, remember you taught me that.
Prue: This isn't fair.
Andy: You need to go back. You need to keep the time loop from being reset again or you and your sisters will be k*lled. And I will have died in vein.
Prue: I'll k*ll Rodriguez for this.
Andy: No you won't. You're not a m*rder, Prue, you're a good person who does good things.
Prue: I don't wanna lose you.
Andy: Don't worry. You won't. (They kiss.) I'll always be there for you, Prue. (He disappears.)
Phoebe's voice: Prue, come one, honey. Prue. Prue.
[Back at the manor.]
Piper: Prue, come on, wake up, sweetie.
(She wakes up. They help her off the floor.)
Phoebe: Easy, easy.
Prue: Where is Andy?
Phoebe: Prue, something terrible has happened.
(She sees Andy lying on the floor with a blanket covering him.)
Prue: Oh my God.
Piper: It all happened so fast, Prue. He ran in the door when Rodriguez att*cked. He was trying to save us.
Prue: And he'll succeed. Where's the Book of Shadows?
Phoebe: It's right here. Why?
Prue: Where's the spell that you saw to accelerate time?
Rodriguez: What are you doing?
Phoebe: There.
Rodriguez: What's going on?
Piper: But we don't want to accelerate time, we want to reverse it.
Prue: No we don't, trust me. The only chance that we have to get rid of Tempus is to do this by breaking the time loop, okay.
Phoebe: But if we break the time loop we won't be able to save Andy.
Prue: I know.
Piper: Prue, are you sure?
Prue: No I'm not. (She starts reading the spell.) "Winds of time gather 'round, Give me wings to speed my way ..."
Rodriguez: Wait a minute ...
Prue: "Rush me on my journey forward, let tomorrow be today."
Rodriguez: What's happening?
(The hands on the clock speed around the clock face. Tempus turns into f*re and disappears.)
Piper: Prue ...
Prue: You know what, just untie him get him outta here.
Phoebe: What?
Piper: He'll k*ll us.
Prue: No he won't. He doesn't have the power to k*ll us, otherwise he wouldn't of needed Tempus.
Phoebe: I will not untie him, Prue.
(Prue uses her power and the ropes untie.)
Prue: Get outta here before I change my mind.
Rodriguez: You stupid witch.
(He walks towards the door but stops. He turns around, his eyes glow red, he throws lightning stuff and Prue uses her powers and the lightning goes back to him. He explodes and turns into dust.0
Prue: We may not be m*rder but we're no angels either.
(She walks over to Andy, kneels next to him and starts crying.)
[Scene: Cemetery. Prue, Piper, Phoebe and Morris are there. Prue lays a rose on top of Andy's coffin.]
Commercial Break
[Scene: Manor. Kitchen.]
Weather Girl: Good morning, San Francisco, well it looks like it's going to be a gorgeous Monday morning here in the Bay area. (Phoebe turns off the TV.)
Phoebe: She really needs another shtick. That one's getting boring.
Piper: Maybe she should hire Joanne Hertz, boost the ratings.
Phoebe: Speaking of the she devil herself, did you ever call to reschedule your segment?
Piper: No, I'm not going to.
Phoebe: Why?
Piper: I've decided to quit my job.
Phoebe: What?
Piper: And actually, I owe it all to Joanne. She made me realize that somehow I had forgotten what my dreams were, still are. I always wanted to be a chef and have my own restaurant not manage one. It's a good job and it pays okay but it's not my dream job.
Phoebe: I think that's great. I really do. And don't worry, if you need any help trilling the classifieds I am an expert.
(They walk outside where Prue is sitting on the steps.)
Piper: Prue, are you alright?
Prue: Actually I am. Andy's been exonerated, they are now looking for Rodriguez.
Piper: Good luck.
Phoebe: Hey, are you sure you're alright?
Prue: Yeah. I was just thinking all that we've been through since we became witches.
Rodriguez: Give you a headache?
Prue: No actually, it gave me a good feeling. I mean, look, it's hassle and can sometimes screw up our personal lives.
Piper: Amen to that.
Prue: And we do good things together. Helps offset the bad things.
Phoebe: I'm gonna really miss Andy.
Piper: It's gonna be very sad without him.
Prue: Something tells me that he'll always be with us. We better get ready for work.
Piper: I'll tell her later.
Prue: Tell me what?
Piper: Nothing. It's not important.
Phoebe: Nothing. Nothing. (They walk inside and Prue points at the door and it swings shut.)
End | {"type": "series", "show": "Charmed", "episode": "01x22 - Deja Vu All Over Again"} | foreverdreaming |
Written by: Brad Kern
Transcribed by: Shay Fitzpatrick
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[Scene: Manor. It's night time. Phoebe walks in. All the lights are turned off.]
Phoebe: Hello? Anybody home? Sister witches, guess what?
(Phoebe walks in the living room and turns on the light. Piper is there making out with a guy on the couch. She jumps up.)
Piper: Oh, oh. Are you nuts?
Phoebe: What are you doing?
Guy: Hi.
Phoebe: Hi.
(Piper freezes the guy and walks over to Phoebe.)
Piper: Ooh.
Phoebe: Hi.
Piper: Sister witches? I can't believe you said that. What's the matter with you?
Phoebe: How was I supposed to know that you were gonna be here with anybody? Last I heard that you were meeting a banker friend about the loan. (She looks at the guy and then back at Piper.) Is this the credit check?
Piper: It's not what you think. We were just... we-we... were just kissing, that's all.
Phoebe: Piper, you don't have to justify it. You're single. You're responsible. You're way overdue in the sex department. I say go for it.
Piper: I'm not way overdue. Alright, maybe a little, but that's besides the point. I would never just sleep with a guy to get something. You know that
Phoebe: Piper, give yourself a break. You're going through a lot right now. No job, straining to buy the club, you haven't heard from Leo in weeks.
(Prue walks in through the front door. She's on her phone.)
Prue: Alright, well, the preview is at five and the auction Sunday at eleven.
Piper: Oh no, Prue. Go back outside. Go on. Hurry!
(Prue looks at them for a second, then goes back outside. Piper stands back next to the guy and he unfreezes.)
Guy: So, you must be Prue.
(He stands up.)
Phoebe: Uh, no. Actually...
(Prue comes back inside, still on the phone.)
Prue: (on phone) Alright, great, yeah, I'll see you then.
(Prue hangs up.)
Phoebe: She's Prue. I'm Phoebe.
Piper: Rob, can we take a rain check on the rest of the evening? It's getting kind of crowded in here.
Rob: Okay, sure.
(Rob grabs his coat and heads for the door.)
Piper: Yeah. Okay, um, so I'll meet you tomorrow at the club at noon. Great. Thanks for dinner.
Rob: Okay, alright. (They kiss.) Bye.
Piper: Bye.
(Rob leaves. Piper closes the door and turns to her sisters, who are grinning.)
Prue: So, did you get the loan?
Piper: Hopefully. I'll find out tomorrow.
Prue: Well, my fingers are crossed.
(Prue and Piper start to leave the room.)
Phoebe: Wait, you guys. Where are you going?
Prue: Well, I have an auction coming up. I have clients to call.
Phoebe: Wait, you guys. Don't you even know what tomorrow is? It's our one year anniversary of becoming witches. Hello?
Piper: Tomorrow is? Really?
Prue: So...
Phoebe: So? So? It's a day to celebrate. And not just because it's our anniversary but because it falls on one of the most powerful wiccan days of the year. The autumnal equinox. Now, according to this witch that I met today at bookstore...
Piper: Hold it. A witch?
Prue: You didn't tell her about us, did you?
Phoebe: Well, yeah, sure I did. Why not? I mean, I didn't tell her that we're magical witches, obviously. Look, I'm sorry but I think after everything we've been through it's important to learn as much as we can about who we are. Forewarned is forearmed.
Prue: And I think that we should leave well enough alone. I mean, we've been demon-free for over a month now, I'd like to keep it that away.
Piper: Amen to that.
(Prue and Piper walk out of the room.)
[Scene: Manor. Attic. The next morning. The Book Of Shadows opens up by itself and the pages start to flip. Phoebe races in.]
Phoebe: Prue! Piper!
(Prue and Piper come in.)
Prue: What's going on?
Phoebe: Uh, I don't know!
Piper: Why does the book do that? How does the book do that?
(They go over to the Book and look at the page it opens up to.)
Phoebe: "Rite of passage. Fight it with the Power of one or else..."
(A vortex opens in the wall and a gust of wind blows through the attic. A demon is sitting in the vortex. Prue hesitates to use her power and the demon steals the Book. The vortex closes.)
Piper: What the hell was that?
Phoebe: The Book Of Shadows? Where's the Book of Shadows?
Piper: So much for being demon-free.
Opening Credits
[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Prue and Piper are picking up pieces of paper that blew across the room. Phoebe is knocking on the wall where the vortex opened.]
Piper: Did you find anything?
Phoebe: Nothing. But whatever it was literally came out of nowhere and disappeared into nowhere.
Piper: Well, it took the Book of Shadows somewhere. And he's powerful too. No other demons been able to steal the book.
Prue: But if he's so powerful, why didn't he k*ll us?
Phoebe: He probably didn't want to go up against you.
Prue: Me? What do you mean?
Phoebe: That's what the Book of Shadows says. Fight it with The Power of One. That's gotta mean your power. It's the strongest.
Prue: Says who?
Phoebe: Says every demon or warlock we've ever gone up against.
Piper: She's right, Prue. The power of one's gotta mean you, otherwise it would've said the Power of Three. The only question is how are we gonna find this demon. We don't know anything about him.
Phoebe: Well, we better think of something fast because without the Book of Shadows, we're not the Charmed Ones anymore.
(The doorbell rings.)
[Cut to downstairs. Phoebe is coming down the stairs.]
Phoebe: Coming. (She walks into the foyer and opens the door. A 16-year old girls stands there.) Uh, hi...
Jenny: Can I use your phone, please?
Phoebe: Uh, well, actually, we're...
Jenny: Please? It's an emergency. Please?
Phoebe: Okay. Come on in. It's right around that corner.
(The girl walks in and picks up the phone. Prue and Piper walk in the foyer.)
Piper: (to Phoebe) Are you out of your mind?
Phoebe: What was I supposed to do? Say no? Look at that poor girl.
(They look at her.)
Dan: (outside) Jenny? Jenny, come on. Talk to me.
(A cute guy in his late 20's let's himself inside.)
Prue, Piper and Phoebe: Whoa!
Jenny: (on phone) International Operator please. Saudi Arabia.
Prue: Saudi Arabia?
Dan: I'm sorry. We're moving in next door. Or at least we're trying to. Our phone's not hooked up yet.
Phoebe: So, you're our new neighbours?
Dan: Name's Dan. Uh, Dan Gordon.
Jenny: (on phone) I don't care if the circuits are busy. I have to talk to my mum.
Dan: And that's my niece Jenny. Who's obviously not talking to me. Jenny, sweetie, come on.
(Jenny hangs up and storms outside.)
Dan: I'm sorry. It's nice meeting you.
Phoebe: You too. (Dan leaves.) I saw him first!
Piper: Demons now, drooling later.
Prue: Look, I have to meet my client before the preview.
(Prue starts to leave.)
Phoebe: Oh, wait a minute. The scariest demon we've ever run across opens up some portal in our attic, and steals the Book of Shadows and you want to go into the office?
(Prue nods and walks away.)
Phoebe: Wh- (She turns to Piper) What's the matter with her?
Piper: It's the first demon she's faced since Andy died. Maybe it's bringing up some bad memories.
[Scene: On another plane. The demon that stole the Book of Shadows turns to the back of the Book and reads a spell backwards.]
[Scene: Park. Witches have gathered for the Equinox celebration. Piper and Phoebe are also there.]
Piper: What are we doing here?
Phoebe: Celebrating the Equinox. Can't you just feel it? The energy in this place? It's a convergence.
Piper: It's a crock. I thought we were supposed to meet your witch friend.
Phoebe: We are. This is where she told us to meet her. Now, please just relax.
Piper: Relax? My life was a mess before our little wake up call this morning, remember?
(Stevie arrives.)
Phoebe: Oh, Stevie!
(They go over to her.)
Stevie: Hey, Phoebe. I'm so glad you could make it.
Phoebe: Um, actually, we are not here for this. We needed to talk to you about something. This is my sister, Piper.
Piper: Hi.
Stevie: Hey, Piper, it's very nice to meet you. Are you witch too?
Piper: Uh, sorta... maybe... I don't know. Uh, is everybody here one, also?
Stevie: Oh, no. No, no, no... It's just a group of believers, women who know of this special place and who've come to celebrate. By the way, happy anniversary.
Phoebe: That's what we wanted to talk to you about. Why did you say that today was gonna be a powerful day for us?
Stevie: Because your anniversary falls on the Equinox. Which is a powerful day in and of itself for you, this convergence of powers is even stronger. The potential greater. All you have to do is connect. You wanna try it?
Phoebe: Try it? How?
Stevie: Let us begin.
(Stevie joins the other women.)
Piper: I don't wanna connect.
Phoebe: We have to connect.
Piper: I don't wanna try it.
Phoebe: Okay, but we have to because...
Piper: Why?
Phoebe: What have we got to lose, okay?
(Piper and Phoebe turns around and notice all the women have taken off their clothes.)
Piper: Well, apparently we've got our clothes to lose.
Phoebe: I see that.
(Phoebe pulls Piper behind a rock wall and Phoebe starts taking off her clothes.)
Piper: No. Whoa, Whoa. Wait. What are you doing?
Phoebe: When in Rome.
Piper: No-no-no! We're not in Rome, Phoebe. We're in California. And it's illegal here.
Phoebe: It's totally natural, okay? Go for it. Come on.
Piper: God. This is ridiculous. Can I keep my shoes on?
Phoebe: Yeah, but that's it.
Piper: We've got absolutely zero, zero information.
Phoebe: Everybody's naked, not just you.
Piper: And now we're naked.
Phoebe: Shh, okay? Shh.
Grams' voice: The Power of Three.
Phoebe: Did you just hear that?
Piper: Hear what?
Grams' voice: The Power of Three.
Phoebe: That. Grams?
Piper: Grams? (Piper looks around and tries to cover herself up.) What? Where? I don't hear anything.
Commercial Break
[Scene: Bucklands. Mrs. Milton is looking at some items up for auction. Prue walks in the room.]
Prue: Mrs. Milton. Hi. I'm sorry to keep you waiting.
Mrs. Milton: Oh, no problem. I was just looking around.
Prue: Well, I think that we'll have a great turnout for the preview. We've been getting an excellent response to your husband's collection.
Mrs. Milton: I'm not surprised.
Prue: Now, the opening bid prices may look a little low, but don't worry. It should attract a lot of buyers, which should result in a bidding w*r. It's the best way to sell inventory like this at top dollar. Is that all right with you?
Mrs. Milton: I guess I'm having a little more trouble letting go of John's things than I thought.
Prue: That's only natural. It's not easy.
Mrs. Milton: I suppose that you deal with death quite a bit in your line of work, don't you? I mean, like this, auctioning off some poor widows inheritance.
Prue: This? Unfortunately, yes.
Mrs. Milton: I just keep going over and over in my mind the last time I saw him before the accident. And I keep thinking if only I'd done something or said something to stop him from getting in the car, maybe he'd still be alive.
[Scene: Outside a large building that's up for sale. Piper pulls up in her car. She gets out and walks inside.]
[Cut to inside. Rob is there looking around. Piper comes down the stairs.]
Piper: Oh, god, Rob. I'm so sorry I'm late. Uh, I got stuck at this thing and then my sister needed a ride, and I'm so totally screwed on the loan now, aren't I?
Rob: Don't be ridiculous. I'm just looking around, checking things out.
Piper: It needs a lot of work, uh, I know that. But that's not a problem and just because the last two owners went bankrupt, doesn't mean it can't work. I've done three separate marketing studies and found a 68% interest in the target clientele.
Rob: Piper...
Piper: Plus, running a restaurant is very similar to running a club.
Rob: You've already shown me all this. I've got it. I've got everything, except for an understanding of why you wanna put yourself in a position to fail like this.
Piper: Uhh...
Rob: Clubs are an extremely high risk business, Piper. You could lose your shirt.
Piper: Well, it wouldn't be the first time today. Look, I know what I'm getting myself into. I know the risks and actually it's a lot less risk and a lot a less expensive than starting my own restaurant, which is what I really wanted to do. The point is, I'm tired of working for somebody else and helping them realizing their dreams. I wanna run my own place. This place. And I can do it, too. But not without your help.
Rob: Well, at the risk of you never wanting to go out with me again... Congratulations.
Piper: I got it?
Rob: You go it
Piper: Yay!
(Piper hugs him and they kiss.)
Rob: Hmm.
Piper: Oh.
(They start making out.)
[Cut to Abraxas. He says another spell backwards. Jeremy appears wielding a Kn*fe.]
Abraxas: Were you vanquished by the Charmed Ones?
Jeremy: Yeah. Why?
Abraxas: I'm giving you a second chance.
[Cut back to Piper and Rob. They are still kissing.]
Grams' Voice: The Power of Three.
(Piper pulls away.)
Piper: Did you hear that?
Grams' Voice: The Power of Three.
Rob: Hear what?
(Piper looks around.)
Piper: Grams?
(Jeremy appears and knocks Rob unconscious. Piper screams and backs away.)
Jeremy: You're d*ad, witch.
(Piper freezes him.)
Piper: Oh my God. Jeremy?
[Cut to Prue's office. Prue's sitting at her desk. The phone rings.]
Prue: Hello?
Piper: Prue, thank god you're there. Jeremy...
Prue: Piper, calm down...
Piper: Just att*cked me.
Prue: Jeremy? That is impossible. We vanquished him a year ago.
[Cut back to Piper.]
Piper: Well, apparently he got unvanquished somehow. And since we don't have the Book of Shadows, we're gonna have to remember the spell together. I'm conferencing Phoebe. (She presses a button on the phone.) Phoebe, are you there?
Phoebe: AT&T, the Power of Three.
[Cut to Prue.]
Prue: Okay, wait. Wasn't that it? The Power of Three will set us free.
Piper: Grams...
(Jeremy unfreezes.)
Piper: Whoa!
(She freezes him again.)
Prue: What's the matter?
Piper: He's...
(Jeremy unfreezes and Piper freezes him again.)
Piper: He's fighting through my freezes. He's adjusting or something.
Phoebe: Uh, okay, put us on the speakerphone. We have to say it together.
(Jeremy unfreezes.)
Jeremy: (laughs) You're not getting away from me this time.
(Jeremy att*cks her with his dagger. She ducks and tries to get out of the way.)
Piper: Whoa! Whoa!
Phoebe: Piper!
Piper: Hurry! Now! Hurry, now, now, now!
Prue, Piper and Phoebe: "The Power of Three will set us free." (They repeat it another three times.)
Prue: Piper?
Phoebe: Piper?
Piper: Ow. Ow.
Prue: Piper?
Piper: It's okay. He's gone. Again.
Commercial Break
[Scene: Building. Rob is on a stretcher. Piper is crouching down beside him.]
Rob: How can you not have seen who att*cked me? How is that possible?
Piper: I don't know. I guess I was blocked or something and then he just sort of disappeared, you know?
Rob: I'm starting to understand why this place keeps going under.
Piper: Oh, no. It's not a bad crime area. Not at all.
Rob: Well, it's something I'm going to be checking into. I can assure you of that.
Paramedic: Excuse me, ma'am.
(The paramedics carry Rob up the stairs. Prue walks past and looks at him.)
Rob: Yeah, hi, how ya doin'?
(Prue goes over to Piper.)
Prue: Are you okay?
Piper: Physically, yeah. I think my loan's on shaky ground. I couldn't exactly tell Rob, "It was just a warlock. Don't worry about it".
Prue: Oh, it would be a shame if the loan didn't work out, I mean, this place is great. I used to come here. It has a lot of potential.
Piper: Yeah? You think so?
Prue: Mmm hmm.
Piper: Care to loan me sixty grand?
Prue: Hmm. Any ideas on where Jeremy came from?
Piper: No, but I don't want to run into any of the other demons we've already vanquished.
Prue: Well, hopefully Phoebe can find some answers in those new books of hers.
Piper: I sure wish she had our book to look it at. Feels kind of lost without it. Although...
Prue: Although what?
Piper: It was weird but right before Jeremy appeared, I swore I heard Grams.
Prue: Grams?
Piper: I was positive it was her. She said "The Power of Three". And Phoebe said she heard her say it this morning. Maybe Grams was trying to warn me, warn us.
[Scene: Manor. Living room. Phoebe is typing something on the laptop computer. She hears Kit meow and looks out the window. She sees Jenny sitting on the stairs holding Kit. Phoebe continues to type on her computer but changes her mind and goes outside.]
[Cut to Jenny. Phoebe walks over to her and sits down.]
Phoebe: Hey there. It's Jenny, right?
Jenny: Yeah.
Phoebe: We didn't really get to say hello before. My name is Phoebe. Phoebe Halliwell. And this is Kit the cat. Get it? Kit Kat. Little play on words. So, shouldn't you be in school?
Jenny: I'm taking a week off.
Phoebe: Really?
Jenny: For the move, you know.
Phoebe: So you're moving in with your uncle?
Jenny: Well, just for the school year. Until my mom and dad come back.
Phoebe: From Saudi Arabia?
Jenny: My dad's with the state department. So, he gets transferred a lot.
Phoebe: That sucks. So, did you ever get in touch with your mum?
Jenny: It doesn't matter.
Phoebe: If it matters to you, it matters. Your secret is safe with me.
Jenny: Well, it's almost that time of the month, you know? And, well, I need some...
Phoebe: Tampons?
Jenny: Right, yeah.
Phoebe: And you don't want talk to your uncle about it?
Jenny: But I did. But he went out and bought sanitary napkins...
Phoebe: Ugh.
Jenny: Like that's gonna work. This is so embarrassing.
(Phoebe looks at Kit's collar, which has the triquetra symbol hanging from it.)
Jenny: So, do you think maybe you could get some for me instead?
Phoebe: Uh... sure... but... a connection.
Jenny: But what?
(Piper pulls up in the driveway next door.)
Phoebe: Uh, I'm really sorry, Jenny, but I have to go.
(Phoebe picks up Kit.)
Jenny: Fine.
Phoebe: Look. I would love to help you out but I gotta believe that your parents wouldn't have left you with your uncle if they didn't think you could trust him at stuff like this. Ask him again. And if he still screws it up, remember, we're open 24 hours, 7 days a week, right next door, okay?
(Jenny smiles. Phoebe goes back over to the manor.)
Phoebe: Piper, wait up. I think I figured out how to find who the demon is. All we have to do is ask the Book of Shadows.
Piper: What?
Phoebe: It's been right in front of us the whole time.
(She shows Kit's collar.)
Piper: Kit's collar?
Phoebe: No, the triquetra. The symbol of the Power of Three. Our symbol. Maybe that's what Grams has been trying to tell us.
Piper: Phoebe, you're rambling.
Phoebe: No, Stevie said all we would have to do is find our connection, right? That if we did, we'd be able to tap into the Power of the Equinox. Well, this has got to be it, the Triquetra. It's us. It's on the cover of the Book of Shadows.
Piper: I still don't understand how can we ask the Book of Shadows for help when we don't have the book.
(Phoebe pulls Piper inside.)
Piper: Ugh!
[Cut to inside the manor. Conservatory. Piper and Phoebe are standing in front of the spirit board.]
Piper: The spirit board?
Phoebe: It told us how to find the Book of Shadows, didn't it? It can do it again. All you have to do is believe. Now come on. We're stronger together.
Piper: (sighs) Okay
Phoebe: Come on. Okay. Close your eyes and feel it.
(They touch the pointer.)
Gram's Voice: The Power of Three.
Phoebe: Did you hear that?
Piper: Grams?
(Piper looks around. The pointer moves.)
Phoebe: A.
Piper: B-R-A-X-A-S.
Phoebe: Abraxas?
(They look at each other.)
[Cut to Abraxas. He turns to another spell in the Book of Shadows and starts to read it backwards.]
[Cut back to the manor. Piper is sitting on the couch in the living room. Phoebe walks in, reading from a book.]
Phoebe: Okay, I found it. "Abraxas - A demon of the astral plane who destroy witches by demonising their powers." Okay, but what does that have to do with the Book of Shadows?
Piper: Well, that's where our powers come from, isn't it? Maybe Abraxas it turning it evil somehow.
Phoebe: That would definitely undo our spells. And explain why Jeremy all of a sudden became unvanquished.
Piper: And the Woogyman.
Phoebe: When did the Woogyman become unvanquished?
Piper: A couple of seconds ago.
(Phoebe looks behind her and sees the Woogyman. They jump up.)
Phoebe: Freeze it.
Piper: It doesn't freeze, remember? The spell. What's the spell? Spell, spell...
Phoebe: "I am light. I am one too strong to fight." I can't remember the rest.
Piper: Yes you can. Okay, we can. Uh, "Return to dark, where the shadows dwell. You cannot have this Halliwell".
Piper and Phoebe: "Go away and leave my sight. And take with you this endless night".
(The Woogyman is vanquished.)
Piper: That wasn't so hard.
Phoebe: It's a good thing we were together.
Piper: Abraxas must be reading the book backwards. That's how he's turning it evil.
Phoebe: How do you figure?
Piper: The spell to vanquish Jeremy was at the back of the book. And the spell to vanquish the Woogyman was right before that.
Phoebe: Which means more are on their way.
Piper: Uh-huh.
Phoebe: We gotta warn Prue.
Piper: Uh-huh. (They walk into the foyer and Phoebe touches a photoframe. She gets a premonition. In the premonition, Nicholas the warlock, is attacking Prue at Bucklands.) What? What happened?
Phoebe: I saw the warlock Nicholas, k*lling Prue.
[Scene: Bucklands. Prue is walking down the corridor. She stops when she sees Mrs. Milton. Prue's assistant approaches her.]
Guy: Prue, your sister Phoebe's on the phone.
Prue: Oh, uh, tell her that I'll call her back.
Guy: She said it's important.
Prue: She always says that it's important. Just tell her I'll call her back. It's okay. Thanks. (Prue goes over to Mrs. Milton.) Mrs. Milton.
Mrs. Milton: Oh, hi.
Prue: I'm sorry. I didn't mean to startle you.
Mrs. Milton: I had no idea there'd be this many people interested. You're obviously very good at your job.
Prue: Actually, I think it says more your husband's collection than it does about me. How long has it been since the accident?
Mrs. Milton: Eight and a half months. How long has it been for you?
Prue: Not very long. (Nicholas appears out of nowhere. He spots Prue.) Nicholas.
(Prue walks off. Nicholas follows her.)
Mrs. Milton: Prue?
[Cut to Prue's office. Prue races in. Nicholas stands at the doorway and points his ring at her.]
Nicholas: You remember the feeling, don't you?
(Prue falls to the floor.)
Prue: "Lavender, mimosa, holy thistle, cleanse this evil from our midst scatter..."
Nicholas: You're overheating. Your brain cells are frying. It's over.
Prue: "Scatter its cells throughout time. Let this Nick no more exist."
(Nicholas is vanquished. Prue collapses on the floor.)
Commercial Break
[Scene: Hospital. Prue is lying on a bed. Piper and Phoebe are standing beside her. The doctor finishes taking her blood pressure.]
Doctor: Well, your blood pressure's back to normal. So is your temperature, your electrolytes. If I didn't know any better, I'd say you were perfectly healthy young woman.
Prue: Does that mean I can go home now?
Doctor: Well, I'd like to run a few more tests. Find out what caused your body temperature to rise spontaneously like that. Has that ever happened to you before?
Phoebe: It's happened to us all before. (She laughs.)
Prue: Doctor, it's okay. Really. I think I know how to keep it from happening again.
Doctor: All right. I'll see to your discharge papers.
Prue: Thanks.
(The doctor leaves and Prue gets up.)
Piper: That was close.
Prue: Too close.
Piper: No, I don't mean her. I mean you. The paramedics said you almost died.
Prue: Yeah, well, what else is new?
Phoebe: We better figure out a way to get the book back from Abraxas because if we don't, we're all d*ad.
Piper: But how? We don't know where the astral plane is.
Phoebe: Yes, we do. It coexists within our own plane. Remember, that's what Stevie said.
Prue: Still doesn't help to find the demon.
Phoebe: Maybe, maybe not. I was thinking... You know how we always thought that nobody could take the Book of Shadows out of the house but us? Maybe nobody did. Maybe it's still in the house. Just on different plane. The astral plane.
Piper: That would mean Abraxas is still in the house too.
Phoebe: Right. So, we would need to find a doorway or a window to get to his like he used to get to ours and we need to do this before the end of the Equinox, by sunrise tomorrow. And then Prue can kick some astral ass with the Power of One.
(Prue grabs her stuff and leaves the room. Piper and Phoebe follow.)
Piper: Prue, what's the matter?
Prue: Nothing. I just think that it's a long sh*t, that's all.
Phoebe: Well, at least it's a sh*t.
Piper: I agree, I mean, who knows how many other demons and warlocks he's let loose that we just don't know about yet.
Phoebe: Or even worse. If Abraxas gets to the first page of the book before we get to him, we're toast.
Prue: Why?
Phoebe: Because it's the incantation that gave us our powers, remember? If Abraxas says that backwards too, then we'll lose them and the book forever.
Prue: So we go back to leading normal lives again. That doesn't sound so bad.
Phoebe: What? Are you joking?
Prue: No, Phoebe, I'm not joking. Look, we always said that things happen to us for a reason, right? So, maybe the reason this time is to give to us an out.
Piper: Prue, there's no out. Abraxas will k*ll us.
Prue: Not if all he wants is the book. After all, that's the real power, not us.
Piper: If all he wanted was the book, he wouldn't keep sending demons and warlocks after us.
Prue: Yeah, well, we won't have to worry about anymore if he gets to the first page.
Phoebe: What are you saying, Prue? Look, if we don't get to him, we stop being witches.
Prue: Exactly. Which means we stop risking our lives all the time. Which means we stop watching the people we love lose theirs.
(Prue walks away.)
Phoebe: Prue...
(Piper stops her from following.)
Piper: Let her be.
[Scene: Manor. Kitchen. Piper and Phoebe are there. Phoebe's sitting at the table and Piper is looking in the fridge.]
Phoebe: We're screwed, you know.
Piper: No, we're not. There's a window, we'll find it.
Phoebe: That's not what I meant.
Piper: She'll come around.
Phoebe: By sunrise? You know how Prue is when she makes up her mind about something. That's it. We're screwed.
Piper: And we're out of wine.
(The doorbell rings.)
Phoebe: I'll get it. You keep dreaming. (Phoebe gets up and walks out to the foyer. She opens he door and Dan is there, holding a bottle of wine.) Oh, hi...
Dan: Dan.
Phoebe: Dan, right.
Dan: You're Phoebe. Jenny told me. I hope it's okay to stop by.
Phoebe: Of course, uh, we were just doing some reading.
Dan: Well, I just wanted to give you this. (He hands her the wine.) To say thanks. You know, for talking to Jenny. Or better yet, for getting her to talk to me.
Phoebe: That's really sweet. And timely too. But it's not necessary
Dan: Well, to be honest, I was sort of hoping to get something out of it. I mean, you know, for Jenny. Just in case she needs a woman to talk to again.
Phoebe: Ah, of course. Any time. She seems like a great kid. So, did she tell you what the problem was?
(They laugh.)
Dan: Any idea what size I'm supposed to get. There's like... five.
Phoebe: Uh, junior is probably a safe bet.
Dan: Right. Thanks.
Phoebe: Hm.
(The phone rings.)
Dan: Well, uh, see ya around.
Phoebe: Hopefully. 'Night.
Dan: 'Night.
(Dan leaves. Phoebe checks out his butt as he walks away.)
[Cut to the kitchen. Piper's on the phone.]
Piper: No, I understand. Okay, bye.
(She hangs up. Phoebe walks in.)
Phoebe: Who was that?
Piper: Rob, the banker. Or rather, his assistant. Telling me that my loan has been denied.
Phoebe: Oh, honey, I'm so sorry.
Piper: That's okay. Just wasn't meant to be, I guess. Really glad I never slept with him, though. What was I thinking?
Phoebe: About Leo, maybe?
Piper: Ugh.
Phoebe: Wine?
(She holds up the bottle of wine.)
[Scene: Police station. Prue walks up to Darryl.]
Darryl: Hey.
Prue: Hi.
Darryl: You wanna sit down?
Prue: Sure.
(Prue sees Andy's empty desk.)
Darryl: They haven't assigned me a new partner yet since Andy died. Here.
(He takes her into a room.)
Prue: Listen, I'm sorry I haven't come by to see you.
Darryl: Yeah, me too. I'm just glad you're here now, Prue. I've been worried about you.
Prue: I'm alright.
Darryl: Really? Then how come you've been avoiding me? And don't give me back that crap about being too busy cause I know better. I know what you're going through, Prue. I lost him too, you know?
Prue: I know. It's just been so hard, to, uh ...
Darryl: What?
Prue: To face you after what happened.
Darryl: Now, see, that's exactly what I want to talk to you about...
Prue: Darryl, um, I need to know what Andy told you about me and my sisters... about who we really are.
Darryl: Just that you were involved in some of our unsolved cases, and that you somehow helped stop the K*llers.
Prue: That's it? Nothing else?
Darryl: He was my partner, Prue. I didn't need to know anything else.
Prue: So, then, um... why did you cover for us when Andy died at the house?
Darryl: Cause he asked me to. That's why I've been trying to get a hold of you. To give you a message from him. That morning, after he saw you, Andy told me to tell you that if anything were to happen to him, that it wouldn't be your fault. He didn't want you to blame yourself.
Prue: Too late.
(They hug.)
[Cut to the manor. Attic. Piper and Phoebe are there. Piper has drawn the triquetra symbol on the wall with chalk.]
Phoebe: You really think that's the window?
Piper: You said yourself the triquetra's the key, our connection. And besides, we keep hearing grams say "The Power of Three". This is what that stands for. Either that or I just screwed up this wall for no reason.
Phoebe: Well, even if it is the window, if Prue doesn't show up...
(Prue walks in.)
Prue: She'll show. Better late then never, right? Look, I know that I haven't exactly been myself lately and I know that I'm going through... something. And that I have some things to work through. But I don't wanna let you down because of it. Right now, it's not about me. It's about us.
Phoebe: Attagirl, Prue. I knew you'd come around.
Piper: Excuse me?
Phoebe: Well, I did deep down.
Piper: Are you sure you're up for this?
(Prue uses her power to move a chair across the room.)
Prue: I'm sure.
Phoebe: Okay, so when the window opens, Prue, you'll knock Abraxas away from the Book, so Piper and I can reach in and grab it. And then, while you're holding him back...
Prue: You'll find some spell to vanquish him I got it.
Phoebe: Okay.
(They walk towards the wall.)
Piper: Okay. We have to create a circle. (They join hands.) Three, two, one.
(Piper and Phoebe touch the wall and it opens up. Abraxas appears.)
Phoebe: Hold on. Now, Prue, now!
Abraxas: First the book, then you.
Phoebe: What's the matter with you?
Piper: Prue, use your power.
Phoebe: Prue!
(Abraxas pushes them away and they slide across the floor. The portal closes. Phoebe and Piper look angrily at Prue.)
Commercial Break
[Scene: Manor. Prue, Piper and Phoebe are walking down the stairs.]
Piper: Prue, what happened up there?
Prue: Nothing.
Phoebe: Yeah, nothing is exactly the problem.
Prue: I never said that I had the power to go against him. You did, remember?
Phoebe: No, the Book of Shadows did.
Prue: Well, maybe it was wrong. Maybe Abraxas is just too strong.
Piper: Maybe, but that doesn't explain why you hesitated.
Prue: I didn't hesitate.
Phoebe: The hell you didn't Prue. I saw you.
Piper: We both saw you.
Prue: So, what are you saying? This is my fault, is that it? Because I can't defeat Abraxas?
Phoebe: No, Prue, you can. You just won't. Okay, something is holding you back. Something big time and instead of facing it, you're running from it.
Piper: Phoebe...
Phoebe: But you can't keep running, Prue. Because you have got to figure out what your problem is, otherwise we're all d*ad.
(Prue starts to cry.)
Prue: That's right, Phoebe. It's my responsibility, isn't it? The oldest sister, always supposed to be able to figure things out. Well, if that's the case, then how come I couldn't save Andy? If I'm supposed to be so powerful, how come I couldn't save him? I mean, my god, don't you understand? Andy died because of me, it doesn't matter what he said, it was my fault. How could it be good to be witches if all it does is get the people we love k*lled?
(She cries.)
Phoebe: Oh, sweetie.
Piper: Prue, it's not your fault. You tried to keep Andy from coming here that night, remember? You tried to warn him but he came anyway. He came because he wanted to.
Phoebe: And there was nothing that you could have done to stop him, Prue. He chose to walk through that door, not because of who you are, honey, but because of who he was.
Piper: Protector of the innocent, just like us.
Prue: I just don't know if I believe in it anymore.
Phoebe: Honey, we've done a lot of good as witches too. You know that. But that doesn't mean that bad things still aren't gonna happen. But just because we can't help that, doesn't mean that is our fault.
Piper: Or yours.
Phoebe: Come here.
(They all hug.)
Grams' Voice: The Power of Three.
(They look around.)
Phoebe: Okay, did you guys hear that?
Piper: Mm-hmm.
Prue: Grams?
Grams' Voice: The Power of Three.
Prue: How is that possible?
Phoebe: I don't know but it's gotta to be a good thing if we're all hearing it.
Piper: Maybe it means we're connected.
Phoebe: To be as one. Maybe that's what the Book meant by the Power of One.
Piper: The three of us working as one.
Prue: Which is what the triquetra represents.
(Phoebe looks at her watch.)
Phoebe: Almost sunrise. Do you think you're ready to try the window again?
Prue: Yeah, yeah, but Abraxas will be ready for us here. We have to take him by surprise, go where we're most powerful, where we're most connected.
[Cut to the park. Prue, Piper and Phoebe have joined hands around a stone.]
Prue, Piper and Phoebe: "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."
[Cut to Abraxas undoing the spell that gave them their powers.]
[Cut back to the girls.]
Prue, Piper, Phoebe: "In this night, and in this hour we call upon the ancient power."
[Cut back to Abraxas. The pages of the Book of Shadows turn over. He turns back to the spell and continues to read it backwards.]
[Cut back to the girls.]
Prue, Piper, Phoebe: "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."
[Cut back to Abraxas. The Book disappears.]
[Cut back to the girls. The Book drops out from the sky and lands on the rock.]
Phoebe: Prue, Piper...
Prue: Keep chanting.
Prue, Piper, Phoebe: Hear now the words of the witches, the secrets we hid in the night..." (Abraxas appears above them)
Abraxas: What are you doing? How'd you bring me here?
Prue, Piper, Phoebe: "The oldest of Gods are invoked here, the great work of magic is sought. In this night, and in this hour we call upon the ancient power. In this night, and in this hour we call upon the ancient power. In this night, and in this hour we call upon the ancient power."
(Abraxas is vanquished. Phoebe grabs the Book.)
Phoebe: And we didn't even have to get naked.
Commercial Break
[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Prue places the Book of Shadows back on its stand.]
Prue: That's more like it.
(She flips through the Book.)
Piper: I'll feel better when we erase that window. I don't want any more demons coming through it.
Phoebe: They can't. It's our window, not theirs.
Piper: Still, better safe than sorry. Especially if we can expect any more demons like Abraxas coming.
(She goes over to the wall.)
Prue: Well, apparently we can. "Rite of Passage. Fight it with the Power of one, or else... a more powerful evil that awaits will destroy you".
Phoebe: Wow. I'm glad I didn't finish reading that yesterday. I might have changed my mind about not wanting to give up our powers.
Prue: No, you wouldn't have. You like being a witch too much, Phoebe. And you help remind me that I like being one too.
Phoebe: Hmm.
Piper: Hey, me three. Too bad it doesn't pay the bills, though.
Phoebe: (to Prue) Did you get it?
Prue: Mm-hmm.
(They happily go over to Piper.)
Piper: Get what? (They hand Piper an envelope.) What's this? (She looks at it.) $60,000? Where did you get this?
Prue: Home equity loan. Phoebe and I took a second out on the house. To help you buy your club.
Phoebe: Actually, our club technically.
Prue: Right, as long as you don't mind being partners with your sisters.
Piper: Thank you!
(They all hug.)
Grams' Voice: The Power of Three.
(They pages turn on the Book of Shadows and Grams' spirit appears.)
Prue: Grams?
Grams: Hello, my darlings. Oh, it's nice to see you, or rather, it's nice being seen by you.
Piper: But-but-but how is this...
Grams: Possible? All things are possible, my dear. It's just simply a matter of your being able to do them.
Phoebe: Wait, so you're the one that keeps turning the pages in the book?
Grams: Just my way of looking after you. As best I can, anyway. Don't try to understand this. You're not ready yet. But the fact that you could hear me before, can see me now, means that someday you might be. Be good to each other. I love you.
(Grams disappears. The book turns to a page.)
Piper: Is it just me, or is this attic getting awfully crowded lately?
(They go over and look at the page.)
Prue: Look.
(Grams has written "Happy Anniversary, My Darlings" on the page.)
End | {"type": "series", "show": "Charmed", "episode": "02x01 - Witch Trial"} | foreverdreaming |
Written by: Chris Levinson and Zach Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Halliwell manor. Kitchen. Piper brings in the groceries. She's holding her shoe. Prue and Phoebe smell something.]
Phoebe: What did you buy?
Piper: Doody.
Prue: We weren't out of that.
Piper: No, I stepped in it again. That man has turned our front walk into a puppy mine field.
Phoebe: I can not believe that guy still let's his dog do his business right in front of our house.
Prue: Yeah, well, we've left notes.
Piper: And gotten no where.
Phoebe: Yeah, well, I've had it. The next time I catch him in the act, I'm gonna give him a piece of my mind.
(A dog barks.)
Piper: That couldn't be.
Phoebe: Oh, I hope it is.
(They run to the window.)
Piper: That's them. That's the guy and his dog. I can't believe it.
Prue: That is so rude. He's just gonna walk away.
Phoebe: Then don't let him. Use your magic. Well, if you can't teach the dog new tricks, how about the owner. Just think the money we'd save on carpet cleaning alone.
Prue: Phoebe, we can't use our magic just to teach him or anybody else a lesson.
Phoebe: Why not? It's for the greater good, I mean, I mean, that's our job, right? Think of it as community service. We'd be doing our whole block a favour. Come on. (She opens a window.) Okay, Piper.
Piper: I hope he's not out of my range. (She freezes the guy.)
Phoebe: Prue ... (Prue flicks the poo on his shoe.) Nice sh*t. (He unfreezes.) An eye for an eye, a shoe for a shoe. (The guy sees the poo on his shoe and tries to wipe it off. He looks around.)
Prue, Piper, Phoebe: Ooh! (They duck.)
Prue: Did he see you?
Phoebe: So what if he did? What's he gonna do? Cry witch? (The guy walks off.) Well, we've done our good deed for the day. I think I deserve fifteen minutes of channel surfing.
Piper: Who wants coffee?
Prue: I'll grind.
(Prue and Piper go to the kitchen. Phoebe sits on the couch and turns on the TV. A news report about Cal Greene shows up. Phoebe has a premonition. She makes a noise and Prue and Piper come in.)
Prue: Phoebe, are you okay?
Piper: Take a deep breath, honey, it's alright.
Phoebe: No, it's not. I saw my future. I was being ex*cuted. Burnt alive.
Opening Credits
[Scene: Halliwell manor. Continued from before.]
Piper: Why would a report about a baseball player trigger a premonition like that?
Phoebe: I don't know. All I know is I could feel it, I could feel the f*re.
Piper: And we were just standing there? That can't be right.
Phoebe: That's what I saw.
Prue: There's no way that we would let that happen, not in the past, present or future.
Phoebe: What did I do? Or what is it that I'm going to do?
(The doorbell rings.)
Piper: That's Leo. I'll get that. (She opens the door.) Hey, stranger.
Leo: Is that what I am now?
Piper: Playing hooky?
Leo: No, they're making me work tonight so I've got the afternoon off. (They hug.)
Piper: The old 'I gotta save the world' excuse again?
Leo: Like you've never had to use it.
Piper: Ahh...
Leo: You're about to use it.
Piper: Well, there's just something I have to do. Maybe you could ... (The whitelighters make a noise to call Leo.)
Leo: Now?
Piper: Uh ... Leo?
Leo: It's okay, uh, you go. There's actually something I have to take care of.
Piper: Well, we really need to talk about things, you know, where we stand.
Leo: Yeah, we do. Rain check?
Piper: That's what we do best. (They kiss. Leo orbs out in the middle of the kiss.) I hate when he does that.
[Cut to the attic. Leo appears. He starts flipping through the pages in the Book of Shadows. He hears Piper, Prue and Phoebe coming up the stairs.]
Prue: So, what did he want?
(Leo disappears. The pages on the book keep turning.)
Piper: He cancelled our date. He's working again.
Phoebe: You didn't ask him what to do?
Piper: He had to fly ... literally. The pages were doing that flipping thing on their own again.
(They look at what the page says.)
Prue: It's a spell to take us to the future.
Piper: Two actually. One to send us, one to bring us home. But apparently we only get one sh*t. Once we use it they disappear.
Phoebe: Wait a minute, you guys. We almost died going back to the past. This is not something that you just do.
Prue: We're talking about your life, Phoebe.
Phoebe: And I'm talking about yours, Prue. I'm just saying I think we should think this over a little bit.
Prue: Look, you had that premonition today for a reason. It must mean that we're supposed to do something about it. And going to the future might be the only way to find out what you did to put you on that pyre.
Phoebe: How do you know it's something that I did? I mean, it might be a demon or a warlock that puts me there.
Prue: Do you really want to wait to find out? Okay, pack your bags, we go, try to figure out what happened and hopefully come back with enough information to stop it. We're gonna need a date, Phoebe.
Phoebe: February 12, 2009. That's two weeks before the date I saw in my premonition.
Prue: Alright, that should give us more than enough time to figure out what put you there.
Piper: I wonder how I look?
Phoebe: Piper, you look great but this is hardly the time ...
Piper: Not now. In the future. When we went back to the seventies we saw ourselves as kids and now we'll be seeing ourselves walk around ten years older. All that vanquishing. Think of the wear and tear.
Prue: Okay. (She lights a match and burns the paper.) "Hear these words, hear the rhyme."
Piper: "We send to you this burning sign."
Phoebe: "Then our future selves will find."
Prue: "In another place and time."
(They disappear. Piper wakes up on the couch in the manor. A little girl runs in.)
Girl: Mummy, mummy, mummy.
Piper: Uh, I think you have the wrong house. Certainly the wrong mummy.
Girl: Stop fooling. (She hugs Piper. A car honks.) Car pool. (She runs off. Piper looks in the mirror.)
Piper: Ooh. (She sees a wedding ring on her finger.) Ooh! (A report about Phoebe shows up on the TV.) Phoebe. Where's the volume? (She looks around for a remote. The sound gets louder by itself.)
Reporter: More news on the execution of Phoebe Halliwell coming up in just a moment. Now back to your regular scheduled programming MTV's real world eighteen on the moon.
Girl: Mum, I'm gonna be late.
Piper: Okay, uh, TV shut up. Mute. Something.
(She walks to the door.)
Neighbour: Morning, Piper. You alright?
Piper: I guess.
Neighbour: Yeah, with your sister, it's rough, I know. So, don't worry about your little one. I'll get her to school like you asked but uh, are you sure you want me to take her to your ex's?
Piper: Ex? As in husband? As in mine? Yes, if that is what I told you, then yes.
Neighbour: So, you and him are getting along better now?
Piper: Maybe. Prue? Prue?
Neighbour: Okay, let's h*t the road.
(The girl whispers to Piper.)
Girl: Don't worry, mummy. I promise I'll do what you ask. I won't use my magic again ever.
(Piper goes outside and watches them drive off. A limo pulls up. Prue and her assistants get out of the limo. They fuss over her by brushing and touching her.)
Prue: Hey, hey. Okay, enough! People stop touching me. Stay, stay, stay.
Piper: Prue, what's going on?
Prue: I don't know, but I could really get used to this. Check me out. I don't just work at Bucklands, I own it. And three more. Paris, Tokyo and London.
Piper: And you're blonde.
Prue: Yeah, strange.
Piper: Wait, you had time to go to work already?
Prue: Well, actually, I woke up there but it was amazing. I had all these assistants and this huge office and I have a chauffeur and he's so totally hot. How'd you do? (Piper laughs.) Is that a good thing or ...?
(They walk inside.)
Piper: Well, if you ignore my apparently failed marriage and the fact that I still live in the manor.
Prue: You are married?
Piper: Was. My daughter is on her way ...
Prue: Wait. Stop right there. You have a daughter?
Piper: Yeah, and, and, and she's beautiful.
(Piper shows her a photo.)
Prue: Of course she is. What's her name?
Piper: Oh God. I don't know. But she has powers. But for some reason I told her not to use them. Why would I do that?
Prue: Speaking of why ... Why are we in our future bodies? I mean, I thought we were supposed to come here and see them.
Piper: Well, apparently going to the past isn't the same as going to the future. I just wish that since we are in our future bodies that we could have some memory of what's happened in the last ten years, like how I got a daughter.
Prue: Okay, wait a second, if I'm in my future body and you are in your future body then that means that Phoebe ...
Piper: TV ... louder, louder.
(The volume on the TV gets louder.)
Reporter: ... execution is less than eight hours away until the burning of Phoebe Halliwell. The witch accused of m*rder Cal Greene six months ago.
Piper: Eight hours? We were supposed to be here two weeks before.
Prue: Shh ...
Reporter: Let's go there now live where Sierra Stone is standing by. Sierra ...
Sierra: San Francisco district attorney, Nathaniel Pratt, who's discovery of the witch last August, has made an early favour for the governor's seat, just came out to make a statement. Let's listen in.
Nathaniel: This is a reflection of our citizens resolved to fair it out, the hidden evil. To turn fear into fight, and to band together as one. To cleanse our city of its greatest thr*at. Tonight, Phoebe Halliwell will burn for her crime. In which she does, let that be a warning to other witches out there. You're next.
Commercial Break
[Scene: Halliwell manor. Attic.]
Prue: Oh, surprise. Here we go, up the stairs, into the attic, grabbing the Book of Shadows, please tell me we're not gonna be doing this in ten years.
(The book's not there.)
Piper: Apparently not.
Prue: What?
Piper: The book is gone.
Prue: It's got to be here, we need it to find the return spell.
Piper: Prue ...
Prue: Piper, just help me look for it.
Piper: Okay, relax, we'll find it.
Prue: You don't know that. I mean, what if it's lost, what if we can't find it? Then we're stuck in our future bodies with no way of getting out of them and no way of saving Phoebe. (She flicks her arm and her power destroys the attic.)
Piper: Ooh! Been working out?
Prue: I guess that's a little sample of what ten years does to our powers.
Piper: And to our attic. (Piper sees a key underneath a turned over table.) A key. (She picks it up.)
Prue: It's the key to my wall safe at Bucklands.
Piper: Do you think that means it's there? We've never taken the book out of the house before.
Prue: Yeah, we haven't but maybe our future selves have. The question is why?
Piper: We don't even know what we're like in this time, Prue, let alone what we think. But if the book is at Bucklands, maybe it'll give us some answers.
Prue: Alright, then we'll go there first, then to Phoebe to see if she's alright. (They walk towards the door.) Sorry about the mess.
Piper: Mmm hmm.
[Scene: Hobart State Penitentiary. Phoebe's in a prison cell.]
Phoebe: Hello? Hello? Could somebody please answer me. I really need to talk to someone. Okay, how about a snack? Maybe some crackers, peanuts, something? (A guy slides a tray full of slop in the room.) A tray full of goo? Hey, wait a minute. (She touches the glass and gives her a shock.) Don't I even get a phone call?
Some guy: (From other room.) Shut up, witch!
[Scene: Outside Bucklands.]
Piper: I can't believe you get a limo and a driver and I've still got my same old car.
Prue: You have a husband.
Piper: Had a husband. I'm getting divorced remember. And how do you know you don't have a guy in this time? I mean, after all, I have a kid and an ex, you could have several.
Prue: Ex's?
Piper: No, kids. I mean, we're in the future but with no memory of the past ten years. I don't even know who my ex-husband ...
(A guy holding a cup of coffee bumps into someone and Piper freezes him before it spills. They look around and notice everything is frozen.)
Prue: Okay, apparently my power isn't the only one that's grown. You just froze ...
Piper: Everything. What a difference a decade makes.
(Leo shows up.)
Leo: What the hell are you doing?
Piper: Leo, I'm so glad you're here. I have so many ... (She goes to hug him but he backs away.) Uh ... what's wrong?
Leo: You know, I knew you'd do something stupid like this. You used you magic in public. What's the matter with you? Are you insane?
Piper: Uh, Leo ...
Prue: Remember he thinks we know what's going on.
Leo: You wanna end up like your sister? Huh? We had an agreement. No using magic for Melinda's sake.
Piper: Melinda?
Leo: Our daughter. What's wrong with you?
Piper: Our daughter?
Prue: Wait a second, you're Piper's ex?
(A woman walks around the corner and sees everything frozen.)
Woman: Witch!
Prue: Okay, what's going on here?
Piper: Prue ...
(They see posters saying "Rid the evil. Turn in witches".)
Woman: Over there! Witch!
(Everyone unfreezes.)
Leo: Alright, hurry, we gotta get outta here before they see you.
Piper: They?
Leo: The witch hunters.
[Scene: Penitentiary. Phoebe hears a door open.]
Phoebe: Prue? Piper?
Nathaniel: They haven't come to visit you before. Why would they come now? They're gonna be as happy to get rid of you than I am.
Phoebe: Who are you?
Nathaniel: I'm sorry. It's been so long since our last visit. Executions are a bitch to plan. Logistics, alerting the media, gathering the kindling.
Phoebe: Uh, you know, I've had a lot of time to do some thinking about why I'm here.
Nathaniel: No amount of thinking will affect the outcome. Just as well been served for the crime.
Phoebe: Wasn't really a big crime was it?
Nathaniel: You are truly evil. What bigger crime is there than taking a man's life?
Phoebe: I k*lled someone?
Nathaniel: Phoebe, what is this? An attempt to stay your execution? Plead insanity? It won't work. You have five hours to live. Tick tock.
Phoebe: What? Five hours? But that's not possible.
Nathaniel: Well, I'm happy to see the seriousness of this crime has finally h*t you. See, you represent everything I appoar. You're a thr*at. A danger to everything that is good and pure in our world.
Phoebe: You're talking out of fear. Just because you don't understand something, doesn't make it evil.
Nathaniel: No, it's you who doesn't understand. You k*lled a man using your power and now you're gonna die because of it. I only wish I could burn all of your kind with you. But don't worry, in time I will. This is only the beginning.
Commercial Break
[Scene: Underground. A lot of people are living there.]
Prue: Leo, listen to me. The two of us, the Prue and Piper that you see before you are from the past. From ten years ago.
Piper: So, we have no idea what is going on.
Leo: Don't even lie to me. Right, Phoebe is set to die today and I only hope that this madness dies with her. Right, these people are in danger because of the witch trials she started.
Prue: How? How did she start them?
Leo: You know, I don't know what you hope to accomplish by pretending not to know ... (Piper kisses him passionately.) You haven't kissed me like that since ...
Piper: Since this morning. 1999, remember? We were supposed to meet, you had to leave, I went up to the attic and this is where I came, the future. If you don't believe me, at least believe what you feel, trust that.
Leo: I remember that was the day they sent me up to the attic to open the Book of Shadows, the future spell.
Prue: Wait, that was you? We just assumed it was Grams.
Leo: No, it was me. They didn't tell me why. What, you don't know what's happened the last ten years? (Prue shakes her head.) These people, they're here underground because they've been accused of practicing witchcraft.
Prue: They're witches?
Leo: Some of them. Most of them have been falsely accused. They're safe here for now.
Prue: What did Phoebe do?
Leo: Six months ago she k*lled a man. Cal Greene.
Piper: The baseball player?
Prue: This is crazy. I mean, Phoebe would never hurt anyone.
Leo: She hurt him because he m*rder someone. Someone Phoebe cared about very much. A dear friend who he brutalized. But a technicality set him free. Phoebe was furious, outraged. And that's when she crossed the line from protecting the innocent to punishing the guilty. She used her power to k*ll Greene, got caught, and her magic exposed by Nathaniel Pratt.
Piper: And this is the result modern day witch trials with Pratt at the helm?
Prue: And Phoebe at the stake. I don't buy it. Her power can't k*ll.
Leo: Well, it can now. It's been ten years. All your powers have grown.
Piper: We have to get to Phoebe and explain.
Leo: You can't. Alright, as it stands, you and Prue are safe. Pratt checked you out and he doesn't suspect you're witches. To get to Phoebe you'd have to use your powers and then they'll catch you then k*ll you.
Piper: Leo, she's our sister. We're not gonna let her die.
Leo: Wait, I'll go.
Prue: Leo, this is our sister. We have to.
Leo: No. I'm still your guide. I can orb in and keep you out of danger.
Piper: Fine. Then we'll go back to Buckland's and get the book and get the spell to get us home.
Prue: We'll meet you at the manor.
Piper: Leo, um, we got married? (Leo smiles.)
Prue: Piper, later. We'll have plenty of time later.
[Scene: Bucklands. Prue and Phoebe walk out of the elevator and all these people crowd around them.]
Woman: Miss Halliwell, can you sign the P.O ...
(Everyone starts talking at once.)
Prue's assistant: Give the woman some air. She will meet with all of you after lunch. Thankyou. (They go into Prue's office.) Okay, good news first. The requisition paper work was approved and ... (Piper enters her office.) Yes?
Piper: I'm with her.
(Prue's assistant looks at Prue confused.)
Prue: It's Piper. My sister.
Assistant: Oh, right, sorry. Almost forgot you had another one, I mean other than ...
Piper: That's okay, I forgot your name too.
Anne: Anne. Miss Halliwell's personal assistant.
Prue: Anne, right, my personal assistant. By the way Anne, um, do you know if my husband called by any chance?
(Anne laughs.)
Anne: Husband, good one. Very funny. Like you have the time. Okay, I just need to get your final okay on the acquisition. Your sister was amazing. I mean, at first the board was a little resistant, what with the lay off it would entail, but Prue pushed it through.
Prue: I did?
Anne: I thought to hell with the little people part was particularly persuasive.
Prue: Okay, Anne, sweetie, I really need some private time with my sister, so if you can just ...
Anne: Oh, no problem, just buzz me.
(Anne leaves.)
Prue: Look at me. Alright, I am booked with work, I'm about to lay off countless people with a flick of my pen, no man to speak of.
Piper: Maybe you're just picky.
Prue: What's happened to me? Okay, well, I could dwell on the nightmare that my life has become, but we have work to do. At least some things around here haven't changed. (She opens the wall safe and gets out the Book of Shadows.)
Piper: Okay, it should be after the demon with the tusk and before the spell to discourage a lover. (They look for it in the book but it's not there.) Where is it? It was here in 1999.
Prue: Yeah, and now it's gone. So, if the spell can only been used once, that must mean that our future selves have already used it. Which means ...
Piper: We have no way of getting home.
[Scene: Penitentiary. Leo orbs in.]
Phoebe: Leo, oh, thank God. Look, I know what they think I did and if you just ...
Leo: Shh ... they'll hear you.
Phoebe: Where's the rest of the cavalry?
Leo: They're not coming.
Piper: So, what, you'll grab me and we'll just orb and we'll meet them back at the ...
Leo: Phoebe ... I'm sorry.
Phoebe: For what? Did something happen to my sisters?
Leo: Nobody's gonna rescue you.
(Phoebe laughs.)
Phoebe: If that is some kind of whitelighter humour, let me be the first to tell you, you are not a very funny race of people.
Leo: I wish you remembered what you'd done. It'd make this so much easier. Your future self used witchcraft for vengeance, Phoebe. Pratt is using that as a plan for him.
Phoebe: Why does everyone think I k*lled someone? I wouldn't. I mean, I couldn't. What did I do? Premonition the man to death? My power is passive.
Leo: Not in the future. It's grown. As have you. Which means unfortunately you have to suffer to consequences.
Phoebe: I don't believe it.
Leo: Then believe what you see. (He hands her a newspaper clipping. Phoebe has a premonition. In it she held her hands either side of Cal Greene's head without touching and electricity-like power came out of her hands and k*lled him.)
Phoebe: Oh my God. What have I done? (Leo orbs out.) Help me!
Commercial Break
[Scene: Halliwell manor.]
Piper: You wanna tell me how screwed we are?
Prue: Pretty screwed.
Piper: Thanks. I wonder what's taking Leo so long?
Prue: (Looking through the B.O.S.) Some of the pages are marked. The top corners are turned down and all of them are new spells.
Piper: Such as?
Prue: Like, here's a spell to create a door, one to induce slumber, a glamour to change ones appearance. Some of them have these baggies attached.
Piper: This must be potions of some kind.
Prue: But what about these? Okay, one to create money, to bend someone's will, to erase a memory, a binding spell.
Piper: Binding? What are all these marked for?
Prue: This must of been our future selves plan to break Phoebe out. But something is bothering me. Clearly some of these spells are for personal gain.
Piper: Which would break the most basic of wiccan rules. We wouldn't do that.
Prue: We wouldn't. But maybe in ten years our future selves would.
(Leo walks in.)
Piper: Perfect timing. We found the book but we can't ... Where's Phoebe?
Prue: Where is she?
Leo: She's in prison where she belongs.
Prue: Leo, you were supposed to bring her back here.
Leo: No, I said I'd go to her. And I did. To explain to her why she has to pay for her crime.
Piper: You're our guide, you're supposed to protect us and you're just gonna let her die.
Prue: You're signing her death warrant.
Leo: I'm to protect the greater good. If Phoebe lives, if you use your magic to save her, then the persecutions will continue. And our daughter will grow into a world where her powers punishable by death. Do you want that?
Piper: Of course not.
Leo: Well, then it has to end with Phoebe. She has to die.
Prue: Like hell.
(Piper freezes Leo.)
Piper: Relax. We've seen what your new powers can do when you're angry.
Prue: He's gonna stay frozen right?
Piper: If he knows what's good for him, he'll stay frozen.
Prue: Alright, let's get the spell.
[Scene: Penitentiary.]
Nathaniel: (on TV) Now, some people say this is a victory for me. But I say here's a victory for us all. For today the blight on everything that is good in our world, will be extinguished. Tonight, the witch will burn!
[Scene: Leo's house. Piper and Prue are in the car.]
Prue: Piper, if you're gonna do this, you'd better hurry. Leo can unfreeze and be home any second. Besides, Phoebe has less than an hour.
(She gets out of the car. She looks through a window and sees Melinda playing. Piper is holding a bind spell. Leo appears.)
Leo: You can't do it can you?
Piper: No. Our grandmother did it to us for protection.
Leo: You don't have to bind her powers, Piper. We agreed that I'd take care of her and I will, I promise.
Piper: I know you will. So we were together. Does that mean you clipped your wings for me?
Leo: No. You wouldn't let me. We tried to make it work with her powers, and it didn't, and all this happened.
Piper: Were we happy? Just for a little while were we happy?
Leo: Very.
Piper: Are you gonna try and stop us?
Leo: I can't do that.
Piper: I hope you understand why I have to do what I'm doing.
Leo: Yeah.
Piper: What are we gonna do?
Leo: What we always do.
Piper: Talk about it later. (Piper gets back in the car. Prue looks upset.) What is it? What's wrong?
Prue: I have no one to say goodbye to. My life, they didn't even know who you were at the office., my own sister. If we die tonight, my tombstone will read "Here lies Prue, she worked hard".
Piper: We're not gonna die. We're gonna find a way back to the present and we'll create a new future.
Prue: What if we can't. What if we can never get home. According to Phoebe's premonition we fail.
Piper: Our future selves fail. We still got a sh*t.
Prue: You're right, you're right. Let's go get Phoebe.
[Scene: Outside the penitentiary next to a big wall.]
Prue: So far so good.
Piper: Normal people usually break out of prison.
Prue: Nothing about this is normal.
Piper: To create a door, okay.
Prue: No place like here.
Piper: Okay. (She draws an imaginary door on the wall with her finger.)
Prue: Kinda small for us dontcha think? When you find your path is blocked, all you have to do is knock. (Piper knocks. The door opens and they walk inside.)
[Cut to Phoebe. Two guards put handcuffs on her.]
[Cut back to Prue and Piper.]
Guard: Freeze!
Piper: Good idea. (She freezes him.)
Prue: Alright, um, the cell should be up those stairs, come on. She'll be guarded, are you ready for this?
Piper: Do we have a choice?
(Phoebe's cell is empty.)
Prue: We're too late.
Commercial Break
[Scene: Penitentiary. In a room where Phoebe is tied to a pole and below her feet are holes where the f*re comes out.]
Nathaniel: I love the smell of burnt witch in the morning.
Phoebe: At least I'm paying for my crime. There'll come a day where you have to pay for yours too.
Nathaniel: Remorseless to the end, huh. (To the people watching.) Let today be a lesson to all those who would seek to defy human nature with their way of life. Let today serve notice that black magic will not be tolerated in our society and let today be remembered as the day we b*rned the witch.
(Prue and Piper enter the room.)
Prue: Piper, freeze them.
Phoebe: Prue, Piper.
Piper: We're getting you outta here.
(Prue unties her.)
Phoebe: No, wait. You can't Prue, I'm serious.
Prue: What are you talking about?
Phoebe: You guys have to leave. I deserve to be here. Or my future self does.
Piper: You k*lled a k*ller. Don't be ridiculous.
Prue: Look, this is Pratt's personal crusade. This isn't about us, this is about him. Where ever we go, he will follow us. He will hunt us. He will hunt our families. If anybody should be punished, it should be him.
(Prue gets ready to use her power.)
Phoebe: Prue, what are you doing?
Prue: Saving the future good witches and our future.
Phoebe: Prue, wait! Don't become a m*rder too. It has to end with me.
Piper: Phoebe, he was evil, he deserved what you ...
Phoebe: (She starts to cry.) Wrong things done for the right reasons still the wrong thing. Our job is to protect the innocent, not punish the guilty. And I crossed that line, I know that. And now you guys have to know that too.
(They all start crying.)
Prue: We are not leaving here without you.
Phoebe: Prue, we were sent here for a reason. Maybe not to stop this like we thought. But maybe to understand why this has to happen. Why you have to let this happen. I don't want to die. But I don't want you to die because of me. (They hug.) I love you.
(She stands back next to the pole. Everyone unfreezes. They turn on the flames and Phoebe burns to death.)
[Phoebe and Prue end up back in the manor.]
Piper: Prue ...
Prue: What are we doing here?
Piper: Phoebe? You don't think she was ... we saw ...
Prue: I know. Oh, please God, don't let it be true. Phoebe! (Phoebe walks in the room. They hug.) We thought that we lost you.
Phoebe: You did. I was b*rned. And I could, I could fell the flames on my skin. And then I was here. I don't know what happened.
Prue: It's okay, you're safe now, you're home.
Piper: You're home, but when? (She turns on the TV. The report about Cal Greene comes on.)
Phoebe: Wait, that's the baseball player. That's what triggered my premonition. We're right back where we started. The day we cast a spell.
Piper: Why?
Prue: Maybe because it worked. We were sent into the future to find out what Phoebe did. We came back to stop it from happening.
Piper: But we didn't cast a spell to come back. We didn't even have one.
Phoebe: Maybe they sent us back.
Piper: But who? And why today? If we were sent back to keep the future from happening, shouldn't we be sent back to the day Phoebe k*lled Cal Greene instead?
(They hear a dog bark. They go to the window.)
Prue: Not again. (The guy's dog squats on their path.)
Piper: This guy still hasn't learnt his lesson.
Phoebe: Apparently neither have we. I think this is why we were sent back here to this moment and time. This is where it all started. The first time we used our magic for revenge.
Piper: But it's just a little thing, it's harmless.
Phoebe: Yeah, but once you break the small rules, it's only a matter of time before the big ones are next.
Prue: A very smart girl once told me that we were supposed to protect the innocent not punish the guilty.
Phoebe: I haven't told you yet.
Piper: Maybe you won't have to. (Prue sees the face of the guy.)
Prue: Pratt.
(Pratt walks away.)
Piper: Do you think we should follow?
Phoebe: No. Our little act of revenge might of been what sent Pratt on his path to seek us all.
Prue: Which might of let him to start the future witch trials.
Phoebe: Hopefully now he won't.
Piper: I still think we should keep an eye on him just in case.
Prue: Absolutely.
Commercial Break
[Scene: Manor. Prue picks up the phone.]
Phoebe: Hey, what's up?
Prue: Not work. There is no way I am going to the office tonight. I'm going out with you guys. We all have a lot of changes to make if we want to avoid ending up where we just came from.
Piper: I had a future that wasn't all bad. You were like Miss Fortune five hundred and I had a beautiful little girl.
Phoebe: What?
Piper: Details later.
Prue: You know, we can still make the good things happen, Piper. We just have to make the right choices.
Piper: So maybe Leo and I will end up together.
Phoebe: Wait, you and Leo?
(The doorbell rings.)
Piper: Speak of the angel. I'll get that. (She answers the door.) Hey, stranger. (She grabs him and gives him a passionate kiss.)
Leo: I would of settled for a nice hello.
Piper: Didn't anyone tell you not to settle?
Leo: That's a good lesson.
Piper: I've been learning a lot of them lately.
Leo: So I've heard. Look, honestly, I didn't know you were gonna get sent to the future. I don't even know what happened when you got there. All I was told was apparently you had something to learn.
Piper: So, that's why you're here.
Leo: No. That's why you're here. You were given a glimpse of your future to learn a valuable lesson. And I'm glad you learned it too because I know they wouldn't of brought you back if you didn't. Speaking of which, they're making me work tonight, so I can't really ...
Piper: This is always gonna be a problem for us isn't it?
Leo: I'm willing to work on it.
Piper: Good. Because I'll never forget you said that.
(They kiss passionately.)
End | {"type": "series", "show": "Charmed", "episode": "02x02 - Morality Bites"} | foreverdreaming |
Written by: Constance M. Burge
Transcribed by: Cintia Bueno
--------------------------------------------------------------------------------
[Scene: Bucklands. Prue's office. She's talking into a tape recorder. A client is there with her.]
Prue: Painting of a gothic castle, artist unknown, circa 1920s, oil on canvas, 20x28. Miss Franklin, where did you say you got this?
Miss Franklin: Oh, I... I inherited it. A few months ago but it's been in my family for generations.
Prue: The composition is so unusual. The artists used pure colors, straight from the tube and then varnished each layer over and ...
Miss Franklin: Uh, I'm sorry for interrupting. But do I really need to be here.
Prue: No, of course not. It's just that most people prefer to be at an appraisal, especially when they on selling the piece.
Miss Franklin: It's just, I'm kind of in a hurry.
Prue: Say no more. Just sign at the bottom and you're free to go.
Miss Franklin: Thankyou. (She signs it.) So, how long do you think it will take to sell it?
Prue: Well, I'll need to see ownership records before I can do anything.
Miss Franklin: I'll send you everything I have. So, is that all, then?
Prue: Uh, no, since you definitely want to sell the piece, I'll need to confirm its authenticity, its physical condition, so if you'll just sign at the bottom, that will let us go ahead and X-ray the piece.
Miss Franklin: Done. (She signs it.) Anything else?
Prue: Uh, well, yes, Miss Franklin, I would really like the time to research this. That way I can get you the best price.
Miss Franklin: Look, I... I appreciate your professionalism... I really do, but I'm not interested in getting the best price... I just want you to sell that painting, as soon as you can, right? Good night, Miss Halliwell.
(They shake hands.)
Prue: Good night.
(Miss Franklin leaves.)
[Scene: Piper is in the club and Phoebe is in Web San Francisco. Phoebe and Piper are on the phone.]
Phoebe: Piper it was an accident. It's not like I borrowed Prue's car, so I could drive it into a pole.
Piper: How bad's the damage?
Phoebe: Not bad but maybe expensive. Which is why I need a favor.
Piper: If you're calling to borrow money, I don't have any.
Phoebe: No, it's not about money. It's just I don't want you to tell Prue. She's been so supportive and I don't want to lose her trust again.
Piper: You mean, you haven't told her?
Phoebe: Well, not yet. But I-I have a plan.
Piper: Phoebe, you have to tell her. It's her car and you don't have money to fix it.
Phoebe: But I will have the money to fix it. I'm at this company called Web San Francisco, it's an interactive network on the internet, and I faxed them my résumé this morning, and they want to meet with me, tonight.
Piper: I've got to go, but Phoebe, I don't want to be in the middle of this, just tell her, okay?
Phoebe: If I don't get the job, I will tell her.
(They hang up the phone. Phoebe sees a room with a lot of people trying the job.)
Phoebe: Hello, I'm Phoebe Halliwell. I have an appointment. (the secretary hands her an aptitude test) thanks. All these people... they're here for the interview, too, aren't they?
Secretary: Well, you won't have any trouble with this if you figured that out. It's an aptitude test. You can finish it at home.
Phoebe: Great. Great.
(Phoebe sits down and hears two people talking.)
Applicant #1: So, you won a fellowship from the National Science Foundation.
Applicant #2 When I was at Harvard, yeah. How'd you know?
Applicant #1: Saw it on your résumé. I was cum laude also, except I was a Ford Foundation Scholar.
Applicant #2: So, then, you must have gone to... Stanford?
Secretary: Stanford? I went to Stanford.
Applicant #3: (to Phoebe) Intimidating, isn't it?
Phoebe: The Good Will Hunting or this aptitude test?
Applicant #3: Who cares about linear algebra or differential. And that test is a snap. I mean, in this day and age, who can't write in the HTML numeric languages, right?
Phoebe: Right. (laughing nervously) Yeah. That's for you. (Phoebe leaves.)
[Scene: Bucklands. Prue's office. Prue sees a light in the painting.]
Prue: What? (She gets a magnifying glass and looks closer at the painting. She sees a man and a fireball.) Ooh!
Opening Credits
[Scene: Halliwell manor. Kitchen.]
Prue: At first I just thought that it was a reflection off of something in the room but then when I moved closer, I saw a man... inside the painting... in the castle. Right, but the moment I saw him, he backed away from the window, and then there was this... strange glow that went past the window.. it was so... (She looks at Piper who is looking some papers.) Piper!
Piper: What?
Prue: We were talking?
Piper: I know. About a man in a painting.. listen to this one. "Hallway near club entrance too narrow"?
Prue: I thought that we had discussed your code violations.
Piper: Well, I keep finding more. The plumbing, the electrical, the heating, it... none of it is up code.
Prue: Stop. You're obsessing.
Piper: Well, it runs in the family.
Prue: I don't obsess. I think... intensely... anyway, I can't really help it. I mean, we've seen so many bizarre things, why not a man in a painting.
Piper: Well, at least he's safe from Building Inspector. I can't imagine that castle's up to code.
Phoebe: I'm sorry but I couldn't find anything in the Book of Shadows about people who may be trapped inside painting. I looked everywhere.
Piper: Hey, You were asleep by the time I got home. How did your interview do?
Phoebe: It went fine. Uh, actually, it's still going. I have to finish this take-home aptitude test which I actually think I will start right now. So I will see you guys later.
(Piper gives her "the look".)
Prue: Uh, Phoebe?
Phoebe: What?
Prue: Aren't you forgetting something? My car keys?
Phoebe: They'd be with your car... which is at the body shop having an estimate.
Prue: An estimate?
(Piper pretends to be reading her code violations.)
Phoebe: Yeah, uh, I... bumped... No, actually I backed your car into a pole last night.
Prue: (smiling) A pole? You h*t a pole?
Phoebe: Yeah, you don't even have to say it. I know what you're thinking. How could I be so irresponsible? How could I be so stupid?
Prue: Okay, irresponsible, yes. Stupid, no way. Where's that coming from?
Phoebe: It's coming from the fact that I'm the youngest sister, the one who always makes mistakes... (Prue looks at Piper) The one who always causes problems. I mean, if anybody were gonna back your car into a pole and not tell you right away, it'd be me, right?
(Prue looks at her, tenderly.)
Piper: I think I'll just be going now.
Phoebe: See? Even the middle sister. The one that's supposed to stay neutral when it comes to family checks out on this one.
Piper: Yes, you're right. You're on your own.
Prue: Well, leave me out of it, too. I don't want to argue with you. I just want to find a cab.
Phoebe: Well, whatever it costs, I will pay for the damages... and whatever the cab costs, I will pay for that too.
(Phoebe leaves.)
Prue: (laughing) Uh, what just happened here?
Piper: I don't know anything about anything.
Prue: Piper! Just forget about the car. What about the man in the painting?
Piper: Well, unless he's real and screaming for help, forget about him. We shouldn't go looking for trouble. We have enough around here. I'm going next door.
[Cut to outside Dan's house. Piper picks up his paper off the stairs. Dan opens the door before she can knock.]
Piper: Dan!
Dan: Good Morning!
Piper: I'm sorry to bother you.
Dan: No, you're not bothering me. Unless you refuse to hand over my paper.
(She hands it to him.)
Piper: Oh, uh, all yours.
Dan: Thanks. Uh, you wanna... come in?
Piper: No, no really, I just stopped by to ask a quick favour. My club received a visit from a D.B.I. last night.
Dan: And you've got code violations.
Piper: I have the w*r and peace of code violations.
(Piper hands him the code violations.)
Dan: And you were thinking, what? Neighbor Dan, he's in construction, maybe he could help, huh?
Piper: Of course I'll pay you... something.
Jenny: Uncle D., I'm late. Hey, Piper.
Piper: Hi Jenny.
Jenny: See you later, Uncle Dan. And don't forget your promise.
(Jenny leaves.)
Dan: Ok, then, um, I'll tell you what I can do. I'll check out the code violations. See how serious they really are. If you'll help me with the promise I made Jenny.
Piper: Deal. Wait... Uh, what's the promise?
Dan: She needs help with a paper. It's for her Bio class, you know, something about within the human reproductive system...
Piper: Oh, ha... you mean, Sex...
Dan: It's just way to awkward for me to talk to my niece about.
Piper: Yeah, ha... sure, not to worry. I have plenty of experience.
Dan: Really... with with Sex?
Piper: No... I mean, uh... talking about it. (Dan laughs. Smiling nervous.) Yeah!
[Scene: Bucklands.]
Miss Franklin: So, uh, was there a problem with any of the ownership records that I sent over?
Prue: No, uh... everything's in order.
Miss Franklin: Then I'm not sure why you wanted meet with me.
Prue: Look. Ms. Franklin, I know that you don't really want to be here, so I'll be perfectly honest. There's something... strange about that painting
Miss Franklin: Have you seen him?
Prue: Him?
Miss Franklin: That's how it all starts, you know?
Prue: What do you mean?
Miss Franklin: At first, you see him. The man inside the painting. At least, you think you see him. But he just... he disappears so fast. And you start to think about it. But it does't make any sense. I mean, how could a man be inside a painting? Then you see him again. This time longer. And now you're sure.
Prue: So, you think that the painting is haunted by a ghost?
Miss Franklin: Oh, no no. I think he's definitely alive. I think he's trapped inside.
Prue: Do you know who he is?
Miss Franklin: No, I have no idea. Nobody does. Look, all I know is if I don't get rid of that painting, I'm gonna end up just like everybody else in my family who's ever owned it,. I'm gonna be completely insane.
Prue: Ms. Franklin.
Miss Franklin: No, you've only seen the beginning, Ms. Halliwell. Just trust me when I tell you. It's only gonna get worse.
(She leaves.)
[Scene: Phoebe's bedroom. Phoebe is writing a spell.]
Phoebe: "Spirits... send... the.. words... from all..."
(Piper knocks the door)
Piper: It's me. Can I come in?
Phoebe: Uh, Piper, I really just wanna be alone right now.
Piper: I won't stay long, I promise.
Phoebe: All right, just give me a sec. (she hides the Book of Shadows) ok, you can come in now?
(Piper opens the door)
Piper: I just wanted to tell you, uh... the body shop called
Phoebe: Yeah, I know, I heard the message. 1200 bucks
Piper: Did you tell Prue?
Phoebe: I didn't have to. She already knew. She called the body shop herself. That's why I have got to get this job, Piper. It's the only way I can pay for the damages. It's the only way that I can make things right.
Piper: All the more reason you should've told her.
Phoebe: (upset) Okay, well. Maybe a smarter person would have figured that out. Than again a smart person wouldn't of backed a car into a pole. A smart person would have realized that it was a $1200 pole. That's because smart people don't do stupid things, only stupid people do.
Piper: Phoebe, I didn't mean to upset you.
Phoebe: I know. Maybe we should just talk later.
Piper: Ok. You're sure you're gonna be ok?
Phoebe: Yeah, why?
Piper: Phoebe, I know you think getting this job is the answer, but please just don't do anything...
Phoebe: What? Stupid?
Piper: No... just don't do anything I wouldn't do.
Phoebe: Don't worry. I won't. (Piper leaves the room) You would never cast a smart spell. (Reading quick the spell) 24 hours, from 7 to 7, I will understand... all meaning... from here... to heaven. (casting the spell) "Spirits, send the words from all across the land. Allow me to absorb them through the touch of either hand. For 24 hours, from 7 to 7, I will understand all meaning of the words, from here to heaven... Oh, and P.S. there will be no personal gain. (Phoebe put a dictionary on the bed and starts to absorb the words.) "Abaca: Stronger fiber obtained from a banana leaf. Zygote: A cell formed by the union of two gametes"... Cool!
[Scene: Bucklands.]
Prue: Hey, Joe. That was fast.
Joe: No line at the X-Ray machine.
Prue: So, did the X-Ray confirm its authenticity?
Joe: It did a lot more than that. Check out the X-Ray. It's got definitive underwriting on the canvas.
Prue: It has a pentimento?
Joe: Yeah, I couldn't believe it either. But you can see it on the X-Ray. The text is in Latin. I've never seen anything like it before.
Prue: "Absolvo Amitto Amplus Brevis" to free what is lost say these words.
Joe: Wow... You speak Latin?
Prue: Yes. Good night, Joe.
Joe: Okay, well, uh, why don't I just return the painting to the vault... say tomorrow?
Prue: Good idea.
Joe: Okay.
(Joe leaves. Prue moves closer to the painting and sees the word 'HELP' written on a window.)
Prue: HELP... okay... "SEMPER MEA" Mine forever. (Prue cast the whole spell.) "Absolvo Amitto Amplus Brevis Semper Mea" (She gets sucked into the painting.) Oh, no. Oh!
[Cut to inside the castle. Prue falls on the floor.]
Commercial Break
[Scene: Castle.]
Prue: Who's there?
(A big fireball flies across the room. Prue ducks.)
Malcolm: Quick! Follow me!
Prue: What?
Malcolm: This way. Ladies first. I see you read Latin too.
Prue: What has happened? Where am I?
Malcolm: Virden Castle.
Prue: Where is that?
Malcolm: Inside the painting
Prue: I'm trapped inside the painting?
Malcolm: Yes and if you don't get to that bookcase, you're d*ad.
Prue: Who are you?
Malcolm: My name's Malcolm and you were supposed to help me, not join me. Who are you, anyway?
Prue: Oh, my name's Prue and I was helping you. You were supposed to come out.
Malcolm: Great. Now we're both trapped. Hurry.
(They run to the bookcase. A fireball heads for them but Prue moves it with her powers.)
Malcolm: What the hell? What are you? How'd you do that?
Prue: Oh, never mind. We're gonna get k*lled. Will you hurry up?
(Malcolm opens the bookcase. They go inside.)
[Scene: Halliwell manor. Kitchen. It's morning.]
Piper: Hi Phoebe. You're up early. What's up?
Phoebe: Oh, the Dow Jones, housing prices and space shuttle discovery.
Piper: Huh?
Phoebe: Read the paper.
Piper: Oh. Uh, have you seen Prue this morning?
Phoebe: Not yet. Oh, uh, Dan just called. Said he'd meet you at the club at noon.
Piper: Okay, uh, did you hear her come in last night?
Phoebe: Nope.
Piper: This is really... strange. Cat hasn't been fed. No coffee's been made. And Prue definitely didn't pack a lunch.
Phoebe: Maybe she's still asleep.
Piper: No, I checked her room. Her bed hasn't been slept in.
Phoebe: Maybe she didn't come home from the office last night.
(Piper is on the phone)
Piper: No, it's her voice mail. What if Prue's right about the painting? What if something's happened?
Phoebe: First off, 63% of all adults believed to be missing show up within 24 hours. An auto accident is unlikey 1.2% even less likely for work related accident. Factor in her good health, a life expectancy of 78.5 years, add her defensive powers of telekinesis, and we are looking at the odds of... less than 4.1%... No, actually make less than 3.3%. I forgot that the Book of Shadows had zip on evil artwork
Piper: What's wrong with you?
Phoebe: Nothing
Piper: No, you're like "ask rainman.com". You haven't been in the Book of Shadows, have you?
Phoebe: No, why would I do that?
Piper: All right, I don't have time for this. Uh, I'm gonna go to Bucklands.
Phoebe: What about Dan? You're supposed to meet him at the club
Piper: Damn it.
Phoebe: Do you like him? Is that the vibe that I'm getting right now?
Piper: No. Don't be ridiculous.
Phoebe: Mmm.
Piper: Just do me a favor and go in my place. And then you can give me all the details later.
Phoebe: Like what he was wearing?
(Piper is leaving.)
Piper: No!
[Scene: Castle. In the bookcase.]
Prue: You can't just stand there another 12 hours and not let me help you. You're hurt.
Malcolm: Stay where you are. I hate witches.
Prue: How many times do I have to tell you that I'm a good witch? Although, if you make me say that again, I just may hurt you. Look, I was trying to save you.
Malcolm: Well, you did a great job.
Prue: The last thing that I expected was to get stuck here.
Malcolm: So I guess your powers can't get us out then, huh?
Prue: No. I can't just lift us from another world. So, if we're gonna get out we're gonna have to work together. Just let me help you. I won't turn you into a toad. I promise. Thank you. May I? (She looks at his wound.) Doesn't look too bad. At least the bleeding is...
Malcolm: Ouch!
Prue: So, why do you hate witches so much.
Malcolm: It's how I got trapped in here. The artist that painted this was a witch. She was my girlfriend.
Prue: You dated a witch?
Malcolm: What, you've never dated a mortal?
Prue: Huh, I wonder...
Malcolm: Ow!
Prue: Ah, sorry. Go on!
Malcolm: Fine. Nell and I... we broke up. She wrote a curse in Latin.
Prue: To free what is lost.
Malcolm: Right. And she painted the castle over it, made sure I got the painting. It was the only way she could trick me and trap me inside. It worked.
Prue: So how did you see the underwriting?
Malcolm: Same way as you, probably?
Prue: X-Ray... you must have really of pissed Nell off.
Malcolm: Well, that would explain why I haven't aged since I got here and the fireballs.
Prue: How long have you been running from them?
Malcolm: What year is it?
Prue: 1999.
Malcolm: It's been 70 years.
Prue: Oh, wait a second. You've been stuck here trying to get help for 70 years.
Malcolm: It's not the typical life of an art historian, isn't it?
Prue: Well, I won't be here that long. I mean, I have 2 sisters and we all have powers. If anybody can find a way out, it's us.
[Scene: P3. Phoebe is there with Dan.]
Phoebe: Dan, sorry to keep you waiting
Dan: I didn't realize you were late.
Phoebe: Oh, 11 minutes, 23.4 seconds to be exact. Those the code violations?
Dan: That and the D.B.I.s book of minimum safety requirements.
Phoebe: Ok, then we're all set. I think you'll find me pretty knowledgeable about all areas of construction.
Dan: What about Piper?
Phoebe: Oh, something came up. She can't be here. Sorry buddy.
Dan: Oh.
Commercial Break
[Scene: Bucklands. Piper walks in Prue's office.]
Piper: Prue? (She sees Prue's purse and then the X-ray.) Absolvo Amitto Amplus Brevis.
(Joe enters.)
Joe: Oh, hey Piper. Joe Lyons. We met at a wine auction a few months ago.
Piper: Oh...
Joe: Uh, Prue around?
Piper: Uh, she's... she's somewhere.
Joe: Ah, I won't get in your way. I just need to pick up the painting
Piper: Oh, forgive me, Joe.
Joe: For what?
(She freezes him.)
Piper: For that.
[Cut to the castle.]
Malcolm: That's your plan? Are you outta your mind?
Prue: My sisters are gonna realize I'm missing, soon. I have to let them know where I am and warn them.
Malcolm: It's too dangerous. You'll die.
Prue: I don't have any another choice. Alright, my sisters could make the same mistake I did and get suck into the painting. Ok, corner, now.
Malcolm: And how will seeing your name...
Prue: And the name Nell..
Malcolm: Yes, written on a window, prevent that from happening?
Prue: Ok, because my sisters will think that it's a clue, so they'll look up the name Nell in our Book of Shadows and hopefully they'll find a solution. Are you ready? Go! Ok, tell me how you write HELP on the window without getting creamed by the fireball
Malcolm: You mean you don't know how you're gonna do it?
Prue: You're the expert
Malcolm: Are you crazy? It took me years to get those messages written on the window. I've got the scars to prove it. What about your powers?
Prue: All right, fine. I'll deflect the fireballs. You write the names
Malcolm: Be careful near the window
Prue: Why? What's wrong with the window? (We see Piper carrying the painting and the castle starts to shake.) Oh, okay... what's happening?
Malcolm: The painting. It's being moved. And it's moving fast. Get back to the chamber.
Prue: No way. I'm going to that window.
Malcolm: It's too dangerous. We gotta to get out of here.
[Cut to Piper. She's carrying the painting to the elevator.]
Piper: Hold the elevator, please.
[Cut to the castle. Prue and Malcolm hide under a table.]
Prue: I really just wanted to get my name and Nell's on that window.
Malcolm: And you can, as soon as the painting stops moving. Just stay low.
(Malcolm stares at her.)
Prue: What?
Malcolm: Nothing. I was... never mind.
Prue: No, what?
Malcolm: I always hoped someone would get my SOS. I just never thought it would be a woman.
Prue: What, a woman can't rescue a man?
Malcolm: I'm still waiting.
Prue: Yeah, well, keep waiting, pal. Bookcase!
(They run into the bookcase.)
[Scene: Manor. Phoebe is watching TV and is on the phone.]
Phoebe: Hello, this is Phoebe Halliwell. I'd like to set up an appointment to return my aptitude test. (Piper comes in.) By 5 tomorrow? Great. Bye (to Piper) Oh, Piper. Good news. I spoke Dan. He will have your estimate ready by tomorrow.
Piper: We got bigger problems than code violations
Phoebe: Prue wasn't at Bucklands?
Piper: No, but it was clearly the last place she was before she disappeared. I take it you haven't heard from her?
Phoebe: Not a word. Okay, now I'm worried.
Piper: Check out this X-Ray. I found at her office. I think it may have something to do with her disappearing. (Phoebe is looking at the TV Show) We don't have a lot of time, either. It won't be long before everyone at Bucklands realizes that she's gone and the painting is gone.
Phoebe: Oh, the final match.
Tv Host: Primarily concerned with blood and blood-forming organs.
Phoebe: Hematology.
Guy: Hematology
Tv Host: Yes. Oona Chaplin, the wife of Charles Chaplin, was the daughter of what famous?
Phoebe: Eugene O'Neil.
Tv Host: American playwright.
Guy: O'Neil.
Tv Host: What country now occupies the Peninsula once known as Asia Minor?
Phoebe: Turkey.
Guy: Uh... Turkey.
(Piper turns the TV off.)
Piper: How is that you know all the answers?
Phoebe: What? I could know about medicine, Americans playwrights and that Asia Minor is now called Turkey.
Piper: No, you couldn't... you have cast a spell, haven't you?
Phoebe: I wanted to be able to get Prue's car fixed and this job was the only way that I could do it.
Piper: Phoebe, what kind of spell?
Phoebe: All I had to do was ace an aptitude test which, by the way, I'm sure I have.
Piper: Phoebe?
Phoebe: Okay. It's a smart spell. And before you freak out, it's out temporary. It'll be over by 7 o'clock tonight.
Piper: It doesn't matter when it ends. We're not allowed to cast personal gain spells. You know that.
Phoebe: Yeah. I do know that. But it's not. I even put that in myself. "no personal gain".
Piper: There will be consequences. There always are.
Phoebe: I don't care. It's worth it. Piper you were not at that job interview surrounded by those college graduates. You don't know how good it feels to be really smart. Smart people are respected, taken seriously. And really smart women? Forget about it! Then again, you probably do know what I'm talking about. You have a 4-years degree.
Piper: So, what? Phoebe, I will never have the kind of smarts you have no matters what I do. But you... you can go back to collage. Say you did get this job. What would happen to it the moment your smart spell ended?
Phoebe: I thought I'd worry about that later.
(Phoebe's going upstairs.)
Piper: Wait. What does this mean? "Absolvo Amitto Amplus Brevis Semper Mea". (She starts to get sucked into the painting.) Phoebe. Help!
Phoebe: Piper, no!
Piper: Phoebeeeee.
Phoebe: Piper?
[Cut to the castle.]
Piper: Aaaaaaaaaaaaaaaaaah!
(A fireball flies past her.)
Prue: Piper?
Piper: What the hell is happening? Where are we?
Prue: All right, hurry. Just get to the bookcase fast.
Piper: Whahhhhhhh!
Prue: Watch out.
Piper: Uhh! (Piper freezes a fireball) Whoa! Whoa! Wow!
(They run into the bookcase)
Malcolm: Don't tell me she's the sister witch who was gonna save us.
Commercial Break
[Scene: In the castle.]
Piper: I don't want to live forever. I don't want to spend the rest of my time trapped in a painting, hanging on some wall, wearing a broken shoe.
Prue: Well, neither do I but there is a solution.
Piper: You call that a solution? Braving endless fireballs to get a message to Phoebe?
Prue: Okay, so, it doesn't take a rocket scientist to figure out that the situation is pretty bad.
Piper: No. But it may just take a rocket scientist to get us out of here. Phoebe.
Malcolm: Another witch sister?
Piper: Not any witch. A super witch. She's a genius.
Prue: Piper, I don't really think that you're helping the situation.
Piper: No, I mean it. She's a walking brain trust. An Einstein with cleavage. She cast a spell on herself, Prue. A smart spell.
Prue: What?
Malcolm: Can she save us?
Piper: Forget the details, Prue. Just know that if anybody can get us out of here, it's Phoebe. We need to get back to that living room, get Nell's name on the window...
Prue: Piper, wait.
Piper: No no no no no. We can't wait. It's only temporary. The spell ends at 7 tonight.
Prue: Ooh!
[Scene: Manor. 6:15pm. Phoebe carry's the Book of Shadows downstairs.]
Phoebe: Come on. Come on. There's got to be something. (Doorbell rings) Who is it?
Jenny: It's Jenny.
Phoebe: Uh ... unless it's a huge 911, sweetie, you're gonna have to come back later.
(Doorbell rings again and Phoebe hides the book.)
[Scene: Castle.]
Piper: If we get out of here alive, you own me a new pair of shoes.
Prue: If we get out of here alive, I'll buy you a purse to match. Piper, left.
(Piper freezes a fireball.)
Piper: Forget the shoes. The next time you get a supernatural SOS.
Prue: I'll take your advice and just ignore it.
Malcolm: Be careful near the window.
Prue: What's wrong with the window?
(Some blades appear when Piper get closer the window.)
Piper: Wha! Whaaa! Blades!
Prue: Are you okay?
Piper: Uh, for now. But I can't reach the window because if I lean forward, I'm sliced and diced.
(Prue used her power to let Piper reaches the window)
Prue: Okay, Piper. Hurry! (Piper is writing NELL on the window.) Don't forget to write her name backwards. So Phoebe can read from outside. Come on.
(Prue moves a frozen fireball in front of the window.)
Piper: Good thing she had a short name. (They run into the bookcase.) Let's go, let's go, let's go.
[Cut to the manor.]
Phoebe: The human reproductive system? Wait, and your uncle wanted Piper to help you out with this?
Jenny: Yeah, but I was too embarrassed to tell him I already know about sex. So I figure we can just hang out and watch some television. (Jenny sees the light on the painting.) Hey, what's that?
Phoebe: Uh, Jenny, will you go in there and grab me a pen, please? (She does so. Phoebe gets a magnifying glass and looks at the painting.) Nell?
(Jenny comes back in.)
Jenny: Is something wrong?
Phoebe: Uh, I'm not sure (writing something) okay. The 23 chromosomes that make up the human genome system within the cell ... (Jenny looks at her.) It's too complicated. (She starts to draw something.) Okey-Dokey. You're all set.
Jenny: But ...
Phoebe: Bye Jenny. (Jenny leaves. Phoebe holds her hands above the book and the pages turn by themselves.) Nell, Nell, find me Nell. Whoa! I am one super smart witch. Okay, what do we have here? Latin. "In the 1920s a witch named Nell tricked a powerful warlock into a painting with a hidden spell that only his power of X-Ray vision could see." Okay, I'm getting tired of talking to myself. How do I get my sisters out? Oh! "VERVA OMNES LIBERANT". Words free us all. "These words will free anyone trapped inside the painting" okay. But how do I get the words inside without getting trapped inside the painting MYSELF?
(She sees kit.)
Kit: Meow.
Phoebe: No, I couldn't.
[Cut to the castle.]
Prue: So, maybe we should take shifts waiting for Phoebe outside the bookcase. I mean, we've been pretty safe there so far.
Malcolm: I'll take the first shift.
Prue: I had a feeling you would.
(Malcolm leaves the bookcase)
Piper: What? What is it? What's wrong?
Prue: I've been thinking about that witch who cursed Malcolm into the painting. It takes a lot of time and a high level of magic to create this world. Seems like an awfully big spell just to get revenge over a bad breakup.
Piper: I agree.
Prue: And it was almost impossible for us, the Charmed Ones no less, to get that message on the window. Yet Malcolm, an art historian with absolutely no powers, who was able to escape fireballs and those blades, to get his message on the window. I mean, I don't know Piper. It's just... something weird about all of this.
(They hear a noise and a cat.)
Malcolm: Here kitty kitty. (Kit hisses at him.) Here kitty kitty. What do we have here?
(He sees the message on Kit's collar.)
Piper: It is Kit.
Prue: What is she doing here?
Piper: Prue, look.
Malcolm: "VERVA OMNES"...
Prue: Piper, freeze him.
(She tries to freeze him but he blinks before she could.)
Malcolm: You're too late. But you were right. Your sister Phoebe's one smart witch. Blinking allow me to be one place, one moment, and another the next
Prue: Piper, look out
(Piper freezes a fireball.)
Malcolm: "LIBERANT"
(He disappears)
Prue: I thought he was an innocent. I thought he needed help.
Piper: I'm not talking to you... forever
[Cut to the manor. Malcolm appears in living room.]
Malcolm: Thanks for freeing me, witch. 70 years is a long time
Phoebe: 70 years? You're a warlock, aren't you?
Malcolm: Your sisters were right. You are a smart witch.
Phoebe: Where are they?
Malcolm: With the cat. The one with no collar. That was interesting... that was smart. Too smart for your own good.
Phoebe: So, that woman who brought Prue the painting... she's a warlock too?
Malcolm: Jane's my lover. She's been trying to get me out for years. She needed to find the Charmed Ones, you. It took her 70 years to do that.
Phoebe: We haven't been around that long.
(she kicks him)
Phoebe: I read "jeet-kune-do" manual earlier today. I think that makes me a black belt. (he blinks and appears behind her... she kicks him again) Actually, make that a seventh degree black belt. I'm a master.
Malcolm: Not for long. You're not. We'll see how powerful you are, how smart you are when your spell ends at 7.
Phoebe: How do you know about that?
Malcolm: Tick Tock, Phoebe. Tick Tock.
(He blinks and appears outside the house. Then meets Jane.)
Jane or Miss Franklin: Malcolm.
Malcolm: Jane.
(They kiss.)
Jane: I thought I'd never seen you again. Come on. Let's get out of here.
Malcolm: Not yet. Not yet. I have a little present for you.
Jane: Oh, you do? Where is it?
Malcolm: It's inside the house... Something you've always wanted.
Jane: And what would that be?
Malcolm: The power of Premonition.
Jane: And what would you get?
Malcolm: Revenge... and 2 more powers.
Commercial Break
[Scene: Castle.]
Prue: Even if Phoebe is alive, she may not be for long.
Phoebe: Maybe she can figure out a way to save herself before he finds her.
Prue: Yeah, well, she better do it quick, it's almost 7. Although if anybody can do it, Phoebe can.
Piper: Yeah, even without the smart spell. I mean, putting that message on Kit's collar, that's very Phoebe. I would've never thought of it.
Prue: Neither would I. It was a great plan.
Piper: If we get out of here, I'm gonna buy here a new pair of shoes.
Prue: I'll buy her a purse to match.
[Cut to the manor.]
Phoebe: The spell... 3 words in Latin... the question is... which 3?
(7 o'clock)
Phoebe: Oh, no. (She holds her hands above the book but the pages won't flip.) Come on come on... they're on the tip of my tongue. Uh ... "Verve omnes" something... "Verve omnes... liber... liber... liberace!" No, it can't be liberace ... (She finds the page.) Oh, oh no. It's in Latin... the spell is over and I don't understand Latin anymore.
(Malcolm blinks inside the house.)
Malcolm: I told you I'd be back.
(He opens the door for Jane.)
Jane: Hello, Phoebe. Say goodbye to your family.
(Jane strikes a match and sets the painting on f*re.)
Phoebe: No! ABSOLVO AMITTO AMPLUS BREVIS.
Malcolm: The curse.
Phoebe: SEMPER ME.
(The three of them get sucked into the painting.)
[Castle.]
Piper: The house is on f*re?
Prue: Not the house, the painting... it's gotta be Malcolm's doing. He must be at the Manor
(Phoebe appears.)
Piper: Phoebe, you're alive!
Phoebe: Yeah. Let's keep it that way.
(Malcolm and Jane appears.)
Prue: Malcolm ... and Jane.
Phoebe: She's a warlock.
Malcolm: Stupid witch. Now you and your sisters are gonna end up burning to death.
Phoebe: Looking for this? (about the collar) Freeze them.
(Piper freezes them.)
Phoebe: Where's Kit?
Prue: Uh ...
Piper: There she is. There she is.
Prue: I can't believe we almost forgot her.
Phoebe: VERVE OMNES LIBERANT.
Commercial Break
[Scene: Manor. They're putting out the f*re with the f*re extinguisher.]
Prue: You know, I didn't want them to die. I just wanted them trapped in that house forever.
Phoebe: Bright side? You won't have to worry about any complaints from the owner of the painting.
Piper: And you'll never have to worry about anyone else getting a supernatural mayday from it.
Phoebe:: Yeah, well, thanks for getting ours, Phoebe.
(They look at each other.)
Piper: Hey, how did you get the collar from Malcolm?
Phoebe: Oh, I used the very complex, very different kind of smarts.
Prue: You picked his pocket.
Phoebe: I picked his pocket.
Piper: Phoebe!
Phoebe: What, he was a warlock... smartest thing I've ever done.
[Scene: P3.]
Piper: "A new heating and cooling system, retrofitting, imported prestressed I-Beams, architectural flooring". Your estimate requires a $¼ million and a crew of 75. I gotta tell you, Dan. I'm not feeling real guilty about not helping Jenny with that paper.
Dan: Well, actually, those were Phoebe's suggestions.
Piper: Phoebe?! Hah! Can you fix it cheap and fix it quick?
Dan: In a couple of days, sure.
Piper: Great. You're hired. You can take that with you (about the estimate)
(we see Phoebe and Prue talking... Dan comes there)
Dan: Hey Prue.
Prue: Hi.
Dan: Phoebe...
Phoebe: Hey.
Dan: You got a minute?
Phoebe: Uh, yeah!. Is it about Piper?
Dan: No, it's actually about Jenny's paper
Phoebe: You know, I wasn't really myself that day. Is there a problem?
(Dan hands Phoebe the paper.)
Dan: No, it's not due till Friday. But I really appreciate your help...I think.
Phoebe: Uh... Yeah, okay.
(She hides the paper)
Dan: I'd really appreciate if Jenny could do her own work in her handwriting using her own smarts... if you know what I mean.
Phoebe: I certainly do! (He laughs and leaves.) All right... (to Prue) You don't wanna know.
Prue: Uh huh!
Phoebe: You know, this whole smart spell thing, it really just made me realize that there's a lot of cool information out there.
Prue: I agree.
Phoebe: And who knows? Maybe I'll go back to college, take some night classes. I'm a smart girl, I'll figure it out.
Prue: Yes, you will. Just don't lose that common sense. We may need it to save the day again.
(Piper comes in.)
Piper: What are we talking about?
Phoebe: Right now, the job that I will not be getting.
(She rips up the aptitude test.)
Piper: Smart move, Pheebs. Now, open your present.
Phoebe: Oh! Wait... you guys got me shoes and a purse?
Prue: Very smart looking, wouldn't say, Piper?
Piper: Pure genius, Prue.
Phoebe: Enough with that already.
(Prue grabs Jenny's paper.)
Prue: Okay, you wanna explain this?
Phoebe: Okay.. Well, that's Piper
Prue: Ooh, sure!
Phoebe: And that's Dan.
Prue: I see!
Piper: That's not funny.
End | {"type": "series", "show": "Charmed", "episode": "02x03 - The Painted World"} | foreverdreaming |
Written by: David Simkins
Transcribed by: Cintia Bueno
--------------------------------------------------------------------------------
[Scene: P3. Prue and Phoebe are sitting at a table.]
Phoebe: This place couldn't be more d*ad if I was embalmed.
Prue: Yeah, I think that we're gonna have to take that offer.
Phoebe: What's this guy's name again?
Prue: Chris Barker.
Phoebe: And he's not a loan shark or anything, is he?
Prue: No. He's a collector, an investor. And it's a no-interest loan that we can pay back any time. Trust me, he's not gonna miss the money.
Phoebe: Mmm. Must be nice. When do we tell Piper?
Prue: Not until the club is in the black.
(Piper comes up to them.)
Piper: So, you guys, you do like the name of the club, right? P3. Little nod to the Power of Three, to us, partners.
Phoebe: Yeah, it's very clever. Uh, Piper, it's a little, uh, quiet in here. Don't you think?
Piper: It'll pick up once word of mouth kicks in.
Phoebe: And when will that be, exactly?
Piper: Well, you can't predict these things exactly. It's not like starting a restaurant. Besides the bank's not gonna call the loan. It's not like we're gonna lose the house.
(She leaves.)
Phoebe: Who said anything about losing house? We're not gonna lose the house, are we?
Prue: No, because we're gonna take that offer and trust Piper to this place with people.
Phoebe: What people? Where is everybody?
[Scene: Another club. Dishwalla is playing there. You see Leo walking around.]
[Cut to a room out the back.]
Girl: So, you, like, produce their records or what?
Jeff: No, no, nothing that creative. I'm their new manager. I take care of things, whatever needs to be done, I do.
Girl: Man, I can't believe this. This is like the most unbelievable thing that has ever happened to me.
Jeff: Ah, the night's young.
Girl: I can't believe you picked me.
Jeff: Well, you seemed like a good ... soul. Plus, you said the magic words. You said you'd do anything, remember?
Girl: Yes, yes. I do.
Jeff: All right, just wait inside. The band should be down any minute.
Girl: Thank you, thank you so much.
Jeff: Don't thank me yet.
(She walks in some room.)
Girl: Hello? Is somebody there? Hello?
(Masselin appears and she screams. The manager walks in.)
Jeff: Okay, that's it. No more. I can't keep doing this. It's got to stop.
Masselin: We have a pact, you get what you want and I get what I want.
Opening Credits
[Scene: KJCH-FM.]
DJ: Good morning, San Francisco. This is Ralph Garmend and that was Dishwalla's h*t counting Blue Car's. Dishwalla and their manager, Jeff Carlton, are my in studio guests this morning talking about club dates and we'll let you know when you can see them.
Jeff: Excuse me. (Leo shows up.) Jerk. (to Leo) You know where the bathroom is?
Leo: Yeah, it's, uh, right over ... (Leo pushes him up against the wall.)
Jeff: Hey what is this?
Leo: An intervention.
(He blows magic dust all over Jeff.)
[Scene: P3. Piper's looking at the expenditures ... pretty bad ... more than -$20,000)
Piper: This is bad.
(Jenny walks in.)
Jenny: You should keep that door locked, you know? Anyone could just walk in.
Piper: Jenny? What are you doing here?
Jenny: Am I breaking the law, right now? Being underage and all?
Piper: No, we're not open. Actually, I don't know. Uh, what's your point, Jenny?
Jenny: If you were open for business and I was here, would you have me arrested? Because I think friendship counts for something. Even though we're not really friends yet, but at least we're neighbors and neighbors do favors for each other, right?
Piper: What kind of favors?
Jenny: I need a ticket to the show
Piper: What show?
Jenny: It's all over the radio. I have to see them. If I don't, I'll die
Piper: Not a clue what you're talking about
(Jeff walks in.)
Jeff: She's talking about passion. Piper Halliwell?
Piper: Yeah. Can I help you with something?
Jeff: Jeff Carlton. And I have to tell you when I heard about P-cubed, it was if the fate had smiles upon me.
Piper: P three.
Jeff: Whatever. I manage Dishwalla.
Piper: Dishwalla? The Dishwalla?
Jeff: I've been looking for the right place, something small, new intimate. The boys want the reacquaint themselves with the personal side of performing. They want to connect again. And I think your little hole in the wall here, is just what the doctor ordered.
Piper: Dishwalla wants to play my little hole in the wall?
Jeff: I want them to. Don't you?
Piper: Uh... yeah.
Jeff: Let's cross some T's and dot some I's.
(He hands her the contract, I think.)
Jenny: Uh, Mr. Carlton, sir? Do you think it will be possible for me to meet the band? I'd do almost anything.
Jeff: Be careful what you wish for, sweet heart.
Commercial Break
[Scene: Manor. Kitchen. Prue's on the phone with Barker.)
Barker: Prue, don't fell awkward.
Prue: Well, it's a big deal.
Barker: I know. Starting a business with that bank loan breathing down your neck can make things kind of scary.
Prue: Yeah. On top of your loan.
Barker: Hey, Listen. I have no doubt I'll be seeing my money again after your sister gets her club off the ground.
Prue: And the terms are still the same?
Barker: Absolutely. No interest.
Prue: Uh, no, we'll, we'll pay you interest.
Barker: Ok, fine. A quarter percent whatever. Now, speaking of getting off the ground, the plane trip to Paris is still open for discussion, isn't it?
Prue: Mr. Barker ...
Barker: I mean, come on ... hasn't that rain check b*rned a hole in your pocket by now?
Prue: Look, I really appreciate your offer ...
Barker: It's not an offer, Prue, it's a dinner request
Prue: In Paris?
Barker: You know what they call French bread in France?
Prue: Bread.
Barker: Exactly. Dinner in Paris is where it all begins.
Prue: Okay, you know, why don't we just start with your loan, followed with us paying you back as soon as possible?
Barker: Oh, you're a hard bargainer.
Prue: So are you.
Barker: Oh, I haven't even g*n to fight.
Prue: Uh huh.
Barker: Paris?
Prue: Stop it.
Barker: Never. I'll see you at the club, with the money.
Prue: Okay, bye
(She hangs up the phone.)
Prue: (to Phoebe) Well, it's all set. Mr. Barker's gonna meet us at the club, hand over the cheque and that'll be that.
Phoebe: We're doing the right thing, aren't we?
Prue: Well, we're helping out our sister. That's always the right thing, right?
(Piper walks in the kitchen.)
Piper: (excited) Guess what I did? Guess what I did? All by myself?
Phoebe: What?
Piper: You ready?
Phoebe: What?
Piper: Get this... Dish...walla... my club... playing there... tonight.
Prue: What?
Piper: I networked. Sent out feelers, sent off press releases and wouldn't you know it. Dishwalla decided to put P3 on their schedule. How's about that? P3 has officially been validated as the place to be. We're on the map (then, she hugs her sisters) I couldn't have done it without you, you patient (she kisses Prue) most generous (kisses Phoebe) sisters in the whole wide world. (Doorbells rings.) I'll get it. (She answers the door.) Leo... this day just keeping getting better. Hi.
Leo: Hi, uh, Piper, we have to talk.
Piper: Yeah...okay, uh... are you free tonight? Better be, cause you're my date. We have backstage passes, all access, baby, to see Dishwalla at P3. I made it happen.
Leo: Uh, no, actually, I made it happen.
Piper: What?
(Prue and Phoebe walk in.)
Leo: Yeah, look, I want to tell you sooner, but I didn't have time. I had to move fast. There's a demon involved.
Piper: A demon?
Leo: Yeah, he'll be at your club, tonight.
Piper: But, no, their manager, Jeff Carlton, came to me and-and booked them himself.
Leo: I know. I cast a spell on him
Piper: You what?
Leo: I sort of cribbed it from one of the other witches I look after. I suggested to Carlton that he get Dishwalla into your club
Prue: Why didn't you just come to us?
Piper: Because he knows I would have been pissed off. What are you doing?
Leo: My job.
Piper: Your job? What are we, like, Leo's witches now? We're supposed to k*ll a demon during sold-out concert? Are you nuts?
Phoebe: Piper...
Piper: No, Leo. Anywhere else but not there... not my place.
(He just looks at her.)
Leo: The band's manager made a bargain with Masselin.
Prue: That's the demon?
Leo: Yeah. In exchange for human sacrifice, Masselin will make Carlton rich and powerful by attracting successful bands to him.
Phoebe: Are you telling me that Dishwalla is hooked up with a demon?
Leo: No, they don't know anything about the demon.
Prue: So, these innocent ... what happens to them?
Leo: They're devoured by Masselin. Consumed for their souls.
Phoebe: Eww!
Leo: The more souls Masselin collects, more successful Carlton becomes. You can't destroy the demon without first freeing those trapped within him.
Piper: All this freeing and destroying, is this in between sets or during the encore?
Leo: Look, I know you're upset.
Piper: No...no... I skated past upset just after you came in the door. Right now, I'm at furious.
Leo: We have to talk.
Piper: You bet your white-lighter ass, we do.
Leo: Later. I have to go. (He orbs out.)
Phoebe: See, now this is exactly why you should never date a co-worker. It was a joke. Oh, honey, I'm sorry.
Piper: How could he do this?
Phoebe: Well, it sounds like he didn't have a choice and quiet frankly, I don't think we do either.
Prue: Well, I have to get to the office and call this investor. (to Phoebe) Barker... gotta talk to Barker.
[Scene: Outside some club. People are putting the band's instruments in a truck. Inspector Morris is there talking to Jeff.]
Darryl: It's Tina Hitchens. She's been missing since last night when she came to this club.
Jeff: (to some guy) Yo... the address is on the front seat. P3!
Darryl: You're playing P3? Piper Halliwell's place?
Jeff: Yeah, so I don't have a lot of time.
Darryl: Oh, you've got time for this.
(He shows Jeff a picture of Tina.)
Jeff: I answered your question.
Darryl: I didn't ask one.
Jeff: You asked me if I saw Tina whoever.
Darryl: I don't believe I did. Did you?
Jeff: What?
Darryl: See her?
Jeff: I didn't see anybody, inspector.
Darryl: Look again.
Jeff: Listen.. you have any idea how many girls like that show up to something like this? Hundreds of them. Thousands. And they all look the same. Short skirt, tight tops. Like sexy little peas in a pod.
Darryl: So what difference does it make if one of them disappears?!
Jeff: I didn't say that.
Darryl: You didn't have to.
Jeff: Why aren't you out hassling her boyfriend?
Darryl: Did that already. Now, I'm hassling you.
Jeff: I haven't seen her. What's with the Gestapo routine?
Darryl: It tends to follow the acting like a suspect routine.
Jeff: Am I under arrest?
Darryl: Not yet. Melanie Jenkins?
(He shows Jeff a picture of Melanie.)
Jeff: No.
Darryl: Brittany Tyler?
(Shows him a picture.)
Jeff: None of them. Never saw them
Darryl: They all disappeared from clubs all around the country. Clubs that your band played in. That doesn't concern you?
Jeff: Not in the slightest. If we're done here, see ya around.
(Jeff leaves.)
Darryl: Count on it
[Scene: Manor. Attic. They've found Masselin in the Book Of Shadows.]
Piper: There's Leo's problem.
Phoebe: It's our problem.
Piper: You want to know what the real problem is?
Phoebe: Oh, do tell.
Piper: Never mind.
Phoebe: Thank you.
Piper: So, how do we vanquish this creep?
Phoebe: Let's find out. Shall we?
Piper: And what was with that attitude?
Phoebe: What attitude?
Piper: Leo... it was like he was angry that I was angry. I have right to be angry, don't I? I don't want talk about it?
Phoebe: Then don't.
Piper: Whoa.
Phoebe: What?
Piper: Look at Masselin's victims.
Phoebe: Yeah... (reading the book of shadows) "Trapped within the demon. The unfortunates one kept alive, their souls tortured for the pleasure he gets from their suffering" (to Piper) We got to get them out of there.
Piper: With what? Demonic Ipecac?
Phoebe: Actually, yeah. That seems to be the idea (reading again) "The demons seeks willing, trusting souls, delivered by the one who sealed the pact"
Piper: The manager.
Phoebe: So we have to get close to Carlton.
Piper: Well, I'm already close. And as far as we know, I'm a willing, trusting soul... a sucker. Someone who falls for a quick line from a pretty face.
Phoebe: Will you please stop that?
Piper: You're right. Fine. Leo is the least of my worries.
Phoebe: Right. We'll worry about that tomorrow.
Piper: I don't think I can wait that long.
Phoebe: You're gonna have to. Because tonight we have some major demon-ass-kicking to do.
[Scene: Some club. In a room. Masselin appears.]
JEFF: Cops are asking me questions. And you know what? They're not gonna catch you, no, sir. They're gonna catch me. All right, okay! I'm out. I'm done with it. No more souls. The pact, the agreement is now officially null and void.
(Masselin sets Jeff on f*re. Jeff starts screaming in pain. Masselin stops the f*re.)
MASSELIN: You will honor your agreement, Mr. Carlton. You'll bring me more souls.
JEFF: Okay, okay.
[Scene: Bucklands. Prue's office. Chris Barker is there.]
BARKER: So, what you're telling me is that you no longer need a white-knight to rescue you and your sisters from debt.
Prue: No!
BARKER: But we have a deal.
Prue: Well, what we had was an agreement to make a deal and I no longer agree.
BARKER: I see. This wouldn't have anything to do with a certain band choosing to play at P3 tonight, would it? Word travels fast.
Prue: Yeah, well, Piper pulled us out of the f*re.
BARKER: Yes, in a doing so, revealed to me quite a diamond in the rough.
Prue: Meaning what?
BARKER: Well, meaning, I understand you're showing me the door, but I think I rather like this party. I think your sister's little venture is on its way to great success. Which is why I've already gone to your bank and made an offer to pick up your loan.
Prue: You didn't?
BARKER: Did!
Prue: Ok, Mr. Barker... we have a relationship...
BARKER: Yes and you've brought so many valuable items into my field of view. I just have this feeling that you sister's club is gonna be the best one yet. Could you put me on the guest list for tonight? Me plus one. I'd like to see what I'm buying.
Prue: Ok, I am asking, nicely, for your own sake, not to go through with this.
BARKER: Is that a thr*at, Ms. Halliwell? Be careful. You could be jeopardizing a very profitable relationship. 2 passes. I'd like a booth, too, close to the stage.
[Scene: Manor. Kitchen. Piper and Phoebe are making a potion.]
Piper: How is this gonna work?
Phoebe: We're just slip Masselin a little extra-strength antacid. And if the Book of Shadows is right, the should disappear like a demonic gas bubble, freeing his victims, leaving them safe and sound
Piper: Phoebe, we can't even give our cat a vitamin. How are we gonna get this down a demon's throat?
Phoebe: In this?
(She holds up a balloon.)
Piper: What is that?
Phoebe: It's a balloon.
Piper: Okay, where is it?
Phoebe: Where is what?
Piper: The spoonful of sugar big enough to hide that thing?
Phoebe: You're looking at her
Piper: Excuse me?
Phoebe: Well, the only way to get to Masselin, is through Carlton, right? So all I'll have to do is get close to Carlton, pretend I'm some choice tidbit. Then we get Masselin to swallow this.
Piper: Right before he swallows you, Phoebe. No, it's too dangerous.
Phoebe: Well, unless you have a better idea, it's our only choice. You and Prue will back me up. I'll be fine.
Piper: I hate him.
(Piper puts something in the blender.)
Phoebe: Of course you hate him. He's a demon. Wait, we are talking about the demon, right?
Piper: He didn't even have the decency to ask me first. He at least could have discussed it with me.
Phoebe: Oh, Leo!
Piper: I mean, can you believe him? He acted as if we've never has a relationship before. Like it was just business. (She turns on the blender without putting the lid on. Food flies everywhere.) Oh! Oh!
Phoebe: Got to put the lid on, honey!
Piper: And I saw the future too, you know. Leo and I get married. A marriage in the future imply some sort of relationship in the present ... the question is: where's the relationship
Phoebe: Somewhere between confusing and complicated? Just talk to him, honey? It'll be okay.
Piper: I'd rather just freeze him and kick him in the ... (doorbell rings) That better not be him.
Phoebe: In the shins?
Piper: Not exactly.
(Piper answers the door.)
DAN: Piper?
Piper: Dan, hi.
DAN: Can I talk to you for a second?
Piper: Sure! What's up?
DAN: Jenny... Did you tell her she could go see Dishwalla tonight?
Piper: No, no! She can't go!
DAN: She said you said it was all right.
Piper: Well, I didn't exactly tell her it wasn't. But the things were happening kind of fast.
DAN: Well, she's in her room right now, picking out her clothes.
Piper: Oh God! Okay... I'll go talk to her.
(As she opens the door, she sees Leo.)
Leo: Hi.
Piper: Hello!
Leo: Listen, I was hoping that we could uh... talk
Piper: Sure... Leo this is...
Leo: Dan Gordon!
Piper: Wait. You know him?
Leo: What? Are you kidding? He used to play second base for the Mariners. Ha had an all-star season going till he blew out his knee sliding into home. I still think you were safe.
DAN: So do I.
Leo: I'm Leo.
DAN: Nice meeting you.
Piper: No, it's not. You follow baseball?
Leo: Yeah!
Piper: You have time for baseball, but you don't have time to tell me about you-know-what, before you-know-who shows up you-know-where?
DAN: Uh, Listen. If you two need to talk or something, I can...
Piper: No, no no. We don't need to talk. Leo stops by occasionally to fix things. Phoebe can show him around. (Phoebe shows up.) Ahem! Let's go talk to Jenny.
DAN: It was nice meeting you.
Leo: Yeah, you too.
(Dan and Piper leave.)
Phoebe: She's just a little upset.
Leo: Yeah... I don't blame her.
[Scene: Bucklands. Prue walks past Darryl.]
Darryl: Right... and this is where you say "Darryl", I say "Prue"and then you say something like "what are you doing here?"
Prue: What are you talking about?
Darryl: Andy didn't have time to teach me all the steps to this dance but I'm a quick study.
Prue: I have to go.
Darryl: To P3? As usual, I barely know what's going on. And I don't like it.
Prue: Look, I will explain everything to you later.
Darryl: But you never do. I know it's all about keeping me safe and I respect that. What do you know about Jeff Carlton?
Prue: I can't.
Darryl: This is about my job. Andy is gone but I'm not Andy. I'm not saying that you have to tell me about everything. But whenever you and your sisters get involved, the whole playing field gets little crazy
Prue: Yeah. And a lot more dangerous.
Darryl: I'm a cop. Stop protecting me, Prue.
Prue: You have absolutely no idea.
Darryl: I'm an imaginative guy. I have plenty of ideas. I even had you three working for the CIA for while. what matters is you and I work out some kind of relationship. We're gonna need to communicate or I'm gonna become a very unsociable.
Prue: Okay.
Darryl: The missing girls... and Jeff Carlton.
Prue: We're working on it.
Darryl: I figured.
Prue: Look, Darryl, just trust us, okay? We're got this one for right now.
Darryl: Sure.
Prue: I have to go.
(She leaves.)
Darryl: Be careful
[Scene: Dan's place. Jenny's room. Jenny's picking out her clothes.]
Piper: Jenny, the state can shut me down.
Jenny: How are they gonna find out? Are you gonna tell 'em? cause I'm not gonna tell 'em. Do you like the read or denim?
DAN: Jenny ...
Jenny: Yeah! Sure. Let's hear from uncle Dan. Who never in his life faked an I.D. or snuck into a bar. Who never did anything wrong. Ever.
DAN: We're talking about you.
Jenny: No, we're talking about Piper and she said I could go see the show.
Piper: I never said that... Jenny, I'm sorry, but I can't let you in the club.
DAN: Your man and dad, they put me in charge.
Jenny: Right.. everybody's in charge... but not me. Not ever. Why is that?
(Jenny starts to cry and leaves.)
DAN: I'm sorry. She's just feeling, you know, a little...
Piper: Betrayed... it's okay. I know the feeling.
[Scene: P3.]
Phoebe: You didn't leave any passes for that investor guy, did you?
Prue: No way. The bouncer has his order. Chris Barker is not allowed. The last we need is for Piper to find out she's gonna lose her club.
Phoebe: If the bank accepts his offer...
Prue: One hellish complication at a time. Okay, do you have the poison pill?
Phoebe: Armed and dangerous.
Prue: Good! cause here comes demon boy.
Phoebe: Mmm.
Prue: Positions.
Piper: Mr. Carlton
JEFF: Nice crowd. Is the band here?
Piper: Yep. They came in the back way. They're right over there. Everything's ready.
JEFF: Better be. I don't want any problems.
(He walks away.)
Piper: That's too bad.
Leo: Talking to yourself again?
Piper: What are you doing here?
Leo: I'm watching over things. It's what I do, remember?
Piper: I remember when it didn't use to be a job.
Leo: Look! This isn't easy for me either, Piper, you know.
Piper; Leo, I really can't talk about this right now... Excuse me.
(She walks away from him.)
[Cut to Prue and Phoebe.]
Prue: Okay, Pheebs. Go get him.
Phoebe: Keep an eye on me.
Prue: You're kind of hard to miss in that outfit.
(They smile and she goes to talk to Jeff.)
Phoebe: Excuse me? Aren't you Jeff Carlton?
JEFF: Yes.
Phoebe: Yeah! I recognized you from that MTV top 10 video things last month.
JEFF: Somebody actually saw that?
Phoebe: It was really good.
JEFF: Taped that almost 2 months ago.
Phoebe: I didn't even know there was such a thing as a music manager. Let alone what they did until you came on the scene. I mean, who knew? I'm now taking a class in music management at the learning Annex. You're my inspiration.
JEFF: Really?
Phoebe: Cross my heart. Hey, do you have any pointers? I would do...just about anything to get the inside the scoop.
JEFF: Anything, huh? Wanna meet the band?
Phoebe: Yeah.
JEFF: This way.
(Prue and Piper are watching over her.)
Prue: Where is he taking her?
Piper: In the back.
Prue: All right, let's go.
[Cut to a room in the back. Jeff locks the door.]
Phoebe: What's the rush?
JEFF: No time to waste.
(He pushes her into a room.)
[Cut to Prue and Piper. Piper tries to open the door.]
Piper: Oops.
(Prue uses her power to open the door. Then they see Jeff Carlton and Piper freezes him.)
[Cut inside the room. Masselin appears but he sees the poison and disappears again. Prue and Piper come in.]
Piper: Are you all right?
Prue: Did you get him?
Phoebe: No.
Piper: What?
Phoebe: I think we need a bigger balloon
Prue: Ok. We're gonna have to regroup. Come on, let's go.
Commercial Break
[Scene: P3.]
Phoebe: He's huge, and ugly and I really think we need a bigger balloon.
Piper: Maybe we just came in too soon.
Phoebe: Maybe he saw the poison.
Piper: Well, in any case, the spook's spooked.
Phoebe: And took the trapped souls with him. The ones that we have to save.
Prue: Look, we don't know for sure if the demon is gone, is he is still here, then he's gonna feed again and Carlton's the one to feed him. Do you still have the poison pill?
Phoebe: Yes, but I don't think it's gonna be enough.
Prue: Phoebe, stop. All right, uh, we need to cover the exits, look for Carlton, if we see him grab anybody, Piper, you freeze the room and we'll get into positions.
Piper: I wish we could just stuff his head in a toilet and make him cough up the demon.
Phoebe: Oh, honey, still upset with Leo?
Piper: I'm talking about Carlton.
Phoebe: I can't keep up.
[Cut back to the room.]
MASSELIN: You brought witches to destroy me.
JEFF: What are you talking about? No, I didn't. I swear.
MASSELIN: To whom do you swear?
JEFF: To you. Just you. I didn't know about witches.
MASSELIN: Your most recent selection, she holds the key to my destruction. Take it from her.
JEFF: But why? They know about you, they know about me.
MASSELIN: Take it from her and bring the witches for me.
JEFF: All right, all right. But how am I gonna get 'em back here? I mean, they're gonna be a little suspicious.
MASSELIN: Tempt them with an innocent soul.
[Cut outside P3. Jenny's sneaking into P3.]
Jenny: Excuse me, I'm sorry... Pardon me... Excuse me.
[Cut inside P3.]
Bouncer: (to Barker) I'm sorry but if you don't have a ticket and your name isn't in the guest list, I can't let you in.
Barker: Try looking under "G" for "Grant"
(He gives him a $50 note. Jenny finally sneaks into P3.)
Bouncer: Oh, here you are, Mr. Grant.
BARKER: Thank you so much.
(The bouncer let's him in. Dishwalla starts playing. Leo appears behind Piper.]
Piper: I wish you'd quit doing that.
Leo: What's happening?
Piper: We're on it, Leo. We're just waiting for Carlton to do his thing.
Leo: Look, you think I like this?
Piper: Leo...
Leo: Do you think I like to not being with you?
Piper: Ok, can we cut the crap? I know what you have to do. I always have. The question is: What do you want? What do you wanna do? With me? With us? Do you ever think about that?
Leo: All the time.
Piper: You ever want to discuss it with me?
Leo: Yes. It's just the timing always seems.
(Piper sees Darryl)
Piper: Seems to suck. Okay, hold that thought. Don't let go. Just hold it. (She goes where Prue is.) Morris is here?
Prue: What? (Prue sees Mr. Barker.) Whoa! Oh, boy!
Piper: What are you looking at? He's over there.
Prue: Huh, yeah, okay.
(Prue grabs Piper and run.)
[Cut to Jeff. He sees Phoebe.]
Jeff: (to security) See that honey by the stage in the silver thing. She's got something in her purse.
SECURITY: Something illegal?
JEFF: Extremely. Get it out of here
Security: You got it.
(The security goes where Phoebe is and grabs her purse)
Phoebe: Hey, what are you doing?
SECURITY: w*apon check.
Phoebe: There's nothing in this.
(He finds the balloon. The both grab it and the balloon pops.)
SECURITY: Oh! What the hell is that?
(The poison is all over Phoebe's wrap or something that she's wearing.)
Phoebe: That is a $75 dry-cleaning bill.
[Cut to Jenny. Jeff walks up to her.]
Jeff: Hey there, Jenny. Hello, I remember you. You're friend of Piper Halliwell's, right?
Jenny: And Phoebe and Prue. We're like sisters.
Jeff: Listen. Would you like to meet the band?
Jenny: Are you serious? Man, I'd do anything to meet them.
Jeff: Follow me.
(Phoebe sees Jeff with Jenny.)
[Cut to Prue and Piper. Barker comes up to them.]
Barker: Hello, Prue.
Prue: Hi, Mr. Barker.
Piper: Where's Phoebe?
Barker: Let me guess. Piper Halliwell, right?
Piper: Yeah! Who are you? Who's he?
Barker: The name's Chris Barker and I'm gonna taking over everything from here on out.
Piper: Wait! What?
(Morris shows up)
Darryl: Piper, we've gotta talk.
Piper: Not now.
Barker: I'd be willing to discuss you staying on. However, in a dimished capacity, of course.
(Phoebe comes up to them.)
Phoebe: Jenny's here with Carlton.
Prue: What?
Piper: Jenny's here?
Phoebe: And I lost the potion.
Darryl: Piper, it's important.
Barker: Yeah, wait in line, pal.
(Morris shows Barker his badge.)
Darryl: Hey, why don't you step to the back.
Piper: Okay, everybody hold it.
(She freezes everybody.)
Phoebe: Look. (They look at Jenny and Jeff.)
Prue: Oh my God.
Piper: Oh my God.
Phoebe: Oh my ... God.
(They run to follow Jeff and Jenny and the place unfreezes.)
Phoebe: Freeze them again.
Piper: They're through the door.
[Cut to the room. Jeff pushes Jenny into the room.]
Jenny: Hello?
(Masselin appears and she screams.)
Commercial Break
[Scene: The run to the room.]
Piper: Move it! Move it!
Prue: Wait. Hold it. Stop.
Piper: Jenny's in there.
Prue: Yeah, but we can't k*ll Masselin without the potion.
Piper: Well, we can't just stand here. She's gonna die.
(Jeff opens the door and Prue uses her power against him and makes him fly.)
Prue: (to Jeff) Help us.
Jeff: He'll k*ll me. He'll burn the flesh off my bones for eternity.
Piper: Listen up, skid mark. You tell us how to save Jenny and get Elvis out of the building, or spending an eternity in hell is gonna be the least of your worries.
Jeff: There's nothing you can do.
Piper: We can break the pact and free you from Masselin.
Jeff: Believe me, if I could help you, I would. But if you go in there, he's gonna swallow you whole and you'll still be alive.
Piper: That's not a bad idea.
Prue: What?
Piper: Where's the demon?
Jeff: Through that door.
Piper: I got a plan. We get eaten.
Phoebe: I'm sorry, we get what?
Piper: And once we're inside, Prue, you use your power to blow him up.
Prue: From the inside?
Piper: Mmm hmm.
Phoebe: Who's to say that we won't lose our powers once we get in there. Maybe that's exactly what he wants.
Prue: Yeah, well, we don't really have a choice, Phoebe. The poison pill is gone.
Phoebe: Is it? (She shows her wrap with the poison.) Back up.
Piper: Phoebe, what are you...
(She kicks the door open. Masselin appears.)
MASSELIN: It's time to join your friends, witches.
(Prue, with her powers, make the wrap with the poison flies against Masselin. Mr. Barker comes in.)
BARKER: What is going on back here?
(Masselin blows up and green stuff splats all over Barker. We see all victims on the floor.)
Piper: Jenny! We gotta get her home.
(Morris comes in.)
Darryl: Prue, what's going on here? Someone wanna clue me in?
Prue: You're arresting a kidnapper.
Phoebe: And rescuing his victims. Good job.
Prue: Trust me. That's all what you wanna know.
Darryl: I guess that's all I need to know.
(He arrests Carlton.)
Prue: Mr. Barker... here's what you need to know. This place is ours. The ups, the downs, the good and especially the bad. It's all ours. Now if you ever bother us again, you won't have to ask if I'm thr*at you. Are we clear?
Barker: Yeah!
Prue: Good.
[Cut to outside. Dishwalla is playing.]
Commercial Break
[Scene: Manor.]
Prue: (to Piper) Paying bills?
Piper: Every last one. For this month, at least.
Phoebe: Thanks to Leo. (Piper gives Phoebe her "evil look".) Well, technically if it wasn't for him, you would've never landed Dishwalla.
Piper: I suppose. And technically if we hadn't vanquished a demon, you client, Chris Barker, wouldn't have abandoned his hostile takeover. The bank called... and told me Mr. Barker didn't have the stomach for gruesome stage theatrics. He's withdrawing his offer.
Prue: I'm sorry.
Phoebe: He was just supposed to help. We didn't expect a double cross.
Piper: It's okay. I mean, I understand why you didn't want to hurt my feelings but you could have told me the truth.
Prue: (with a puppy face and cute voice) I said I was sorry.
Phoebe: We're sorry.
Piper: It's just dawning on me that personal relationships and business don't mix well at all. (Doorbell rings.) I got it.
Prue: (to Phoebe) Why are you trying to blame it all on me?
(Piper answers the door.)
Leo: Hi.
Piper: Hi.
Leo: Uh, thanks. For everything.
Piper: Just doing my job. Do you wanna come in, sit down?
Leo: I'd love to...
Piper: But you can't. We got Jenny home safe. Dan doesn't know she was at the club. But are you sure she won't remember anything?
Leo: I took care of it with a little Hocus-Pocus.
Piper: So you erase memories now?
Leo: No, I make pain go away. When I can... sometimes, I can't, no matter how hard I try.
Piper: And Masselin's others victims?
Leo: They'll be fine. No memories of Masselin or Carlton.
Piper: Good.
Leo: Piper, did you mean what you said?
Piper: When?
Leo: Couple of months ago, when I almost died and you saved my life. I left and you said... that you loved me.
Piper: I thought you were gone.
Leo: Well, sometimes I linger... Did you mean it?
Piper: Yeah, I meant it... You... you linger?
Leo: What about now?
Piper: I still mean it.
Leo: But...
Piper: But we can't keep doing this. I can't keep doing this. I feel like all I do is wait around for you to show up and then when you do, it's just not... quite right.
Leo: Well, I'm just... I'm doing what I thought you wanted me to do, Piper. You're the one who didn't want me to clip my wings.
Piper: And you shouldn't. Not for me. But that doesn't make it any easier for us.
Leo: What are we gonna do?
Piper: I don't know, Leo.
(He hears that White-Lighter thing)
Piper: Go. It's ok. I understand.
(He kisses her.)
Leo: I'll see you.
(He orbs out.)
[Cut to outside manor. Piper sees Dan. He smiles her and she smiles him back.]
End | {"type": "series", "show": "Charmed", "episode": "02x04 - The Devil's Music"} | foreverdreaming |
Written by: Javier Grillo-Marxuach
Transcribed by: Cintia Bueno
With adjustments by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: P3.]
Phoebe: Oh, I cannot believe this heat wave. It's 2 a.m. How can it be so hot when there's no sun.
Piper: Tell me about it. (Phoebe gets an ice cube and rubs it it on her neck.) The Cranberries are playing an animal right benefit here on Saturday and it's gonna be a million degrees in here. (Piper notices Phoebe with the ice.) Uh, Phoebe... you keep making like you're on red shoes diaries and I'm gonna have to bust out a can of man repellent. (Two guys are staring at Phoebe.) All right, people, move a long. Nothing to see here. Goodness. Am I going to have to hose you down?
Phoebe: I can't help it. It's not my fault. I'm in a highly excited state right now. Not that I'd mind being hosed down with water. I feel like I'm on f*re. Feel my forehead.
(Piper touches Phoebe's forehead.)
Piper: Phoebe, you're burning up.
Phoebe: I know, tell me about it. (Piper gets a wet towel.) Something's happening to me, Piper. Something really freaky.
Piper: Sweetie, Uh, I think you need to call a Doctor.
Phoebe: But I... I... I don't feel sick. (Piper hands the towel to Phoebe.) I just... I feel... I feel... hot, aroused. Uh... I've been having this dream, Piper. This... Sex dream. It's not like I haven't dreamt about sex before, because I have, you know. But this... this is different. This feel real. Swank penthouse love den, candles, satin sheets...
Piper: Okey-Dokey. I get the point.
Phoebe: But every night it's with a different man... telling me that I'm irresistible and then we... lets just say we could win the golden medal in the hugh hefner Olympics.
Piper: And this is a bad thing?
Piper: No. It's a good thing. It's... it's a very good thing. Until I k*ll them.
Piper: That's how your dream ends? You k*ll the guy?
Phoebe: Each and every night, Piper. I told you, something is wrong with me.
Piper: There's nothing wrong with you. It's a dream. A metaphor for a extreme sexual frustration. Trust me, I should know.
(Prue comes in.)
Prue: Oh, good. We're decoding men.
Piper: Prue, what are you doing here?
Prue: I can tell you what I'm not doing. I'm not lighting candles. I'm not getting a back rub and I'm not running a hot bubble bath for two.
Phoebe: Hmm. Things didn't go well with Alan?
Prue: Well, see, that's the thing. I'm not really sure. I mean, third date, hot night, romantic dinner, and then he drops me off with barely even a kiss good night. I'm a little confuse.
Piper: Well, that's not necessarily an officially rejection. I mean, when they say "I'll call you" that's the kiss of death. Maybe he just got nervous.
Prue: Yeah or maybe he's just not interested. I mean, I gave out all the signals for him to move forward and he ran away. Men don't just run away when you give them all the signals, right? So, what gives?
Phoebe: Okay. That's enough talk about men for me! I need to go home and take a long, cold shower and have a good night's sleep. I hope.
Piper: Sweet dreams. Don't k*ll anyone (to Prue) Don't ask.
(Phoebe leaves.)
[Scene: Manor. Phoebe's bedroom. Phoebe's asleep. We see her dream. We can see a guy laying on the bed.]
Guy: I can't believe we're doing this. You've gotta be the most beautiful woman I've ever laid eyes on. Either I'm dreaming or I'm falling in love. Oh, man, I'm definitely falling in love. Where have you been my entire life. You're irresistible.
(As he says that, the woman's tongue goes down the man's mouth. Phoebe awakes and she screams.)
Opening Credits
[Scene: Bucklands. Prue walks in her office. She gets a little mirror out of her purse and checks her hair and make-up. She walks back outside and looks at an auction item. She sees Alan.]
Prue: Ooh, Alan, hi!
Alan: Hi. Man, it's hot, huh? Bad day for the a/c to be on the fritz.
Prue: Yeah, bad day. Uh, listen, Alan.
Alan: Hey, Davis, can you hold the elevator, please? Thanks. Sorry, I'm late for meeting.
Prue: Okay, uh, Alan, just out of curiosity. Did something happen on our date last night to upset you... or something?
Alan: Upset? No, no, not at all. Actually, I had a great time. We should do it again. I'll call you.
(He leaves.)
Prue: The kiss of death.
(Morris comes in.)
Morris: Speaking of deadly kisses, I need to speak to you, Prue.
Prue: Sure, Darryl.
Morris: Everything okay?
Prue: You know, you're a guy. Maybe you can explain this to me. Why is it that one moment guys are sending out all these signals and then, the next, they just turn them off like a switch? What do you men want anyway? (They stand outside Prue's office.) Well, it's nice to see that while romance may be d*ad, chivalry isn't. So, what's up, Morris?
Morris: Four men have been k*lled over the last four nights ever since this heat wave started. I think the m*rder are gonna continue but I don't have any suspects.
Prue: Oh, I'm sorry to hear that.
Morris: Look. You and I have got this game we play, right? You know that I know you've got a secret. You also know I don't wanna know what it is. But if any way it can help stop this ...
(He shows her the pictures of the victims.)
Prue: Oh my god. What happened to them?
Morris: Severe cerebral trauma. Although the medical examiner can't figure out exactly how. He also can't figure out how of the men were drained of all their testosterone. That's not something you find everyday. I need help on this one, Prue. The kind of help I think only you can provide.
Prue: Do the victims have anything else in common?
Morris: They were each members of a dating service called "Fine Romance". I've already got the place staked out. But they've got too many clients for me to watch and too many potential and too many potential suspects for me to track. If the pattern continues, somebody's gonna die tonight. I know it and I can't stop it.
Prue: I'll see what I can do.
Morris: I don't want you to get hurt. Find out what you can, slip it to me. The brass is watching me on this one. This can't turn out to be another unexplained case.
[Scene: Manor. Living room. Phoebe's lying on the couch with the fan going. Piper brings Phoebe some juice.]
Phoebe: I'm telling you, Piper. Last night's dream was no dream. Or premonition even. It was real. I felt it. I was so turned on and then.. and then... I k*lled him. (she drinks the juice)
Piper: Phoebe, you didn't k*ll anyone.
Phoebe: I could feel his body shake uncontrollably beneath mine.
Piper: And now you're making me sick.
Phoebe: How do you think I feel? I'm living it. I can still taste his blood.
(Piper puts the thermometer in Phoebe's mouth.)
Piper: Okay!
(Prue walks in.)
Prue: Is anybody home?
Piper: In here. It's not lunch yet. What are you doing home?
Prue: Morris came to visit (She sees Phoebe with the thermometer). Pheebs, are you ok?
Phoebe: I'm so hot. (Prue touches her forehead.) 100.5 degrees hot.
Piper: But she won't go see a Doctor. What did, uh, Morris want?
Prue: Help.
(She hands Piper the files with the victims' pictures.)
Piper: Oh.
(Phoebe recognizes the men in her dreams.)
Phoebe: Oh my God. It's the guys. All of them.
Piper: Phoebe, you were dreaming.
Phoebe: Of each and every one of the victims? I don't think so. I could see them through my own eyes. Feel every touch, smell every smell.
Prue: How long have you had this feeling?
Phoebe: The last four nights.
Prue: Since the m*rder began.
Phoebe: Coincidence? I think not.
Piper: Well, maybe your powers are growing. Maybe you can get premonitions in your sleep now.
Prue: Or maybe you're just psychically linked to the demon on its wavelength or something.
Phoebe: Or maybe I'm the k*ller. Come on you guys. It's not like there's no precedent. Piper turned into a werewolf once, remember?
Piper: A Wendigo.
Phoebe: Whatever.
Prue: Look, if you are psychically connected, maybe you can go to the dating service, touch some of the tapes of the potential suspects, see if you can get a psychic flash.
Piper: It's worth to sh*t. Then I'll stay here and see if I can find anything in the Book of Shadows
Phoebe: I'm sorry. Wait a minute. I tell you that maybe I'm some kind of man-k*lling demon and you want me to go to the bachelor central?
Prue: Phoebe, we have to do something. Otherwise someone else is going to die tonight.
Commercial Break
[Scene: Outside Fine Romance. Morris and his partner, Smith, are watching some suspects in the car. They see Prue and Phoebe and Smith starts taking photos of them.]
Smith: Oh, man. Look the racks on those babes, huh?
Morris: Just do your job, Smith, okay?
Smith: I am doing my job, Morris. I'm taking pictures of potential suspects. And if you ask me, those two suspects got a lot of potential.
[Cut to inside Fine Romance.]
Darla: Hi, welcome to Fine Romance. I'm Darla. How can I help you?
Phoebe: My sister Prue would like to sign up.
Prue: I would?
Phoebe: Yes you would while I look around.
Prue: Right.
(Phoebe walks away from her.)
Darla: Well, Prue, today is your lucky day. Because we are running a special. One year, unlimited access to our internet and video library, with a money-back guarantee, for only $3,500.
Prue: 3,500 bucks? Okay, I could buy a man for that.
Darla: Oh, I can always tell the frustrated ones. You've been having man troubles lately, haven't you?
[Cut to Phoebe. She bumps into a guy.]
Phoebe: Oh... oh.
Owen: I'm sorry. I'm so sorry.
Phoebe: I'm sorry. I didn't... I didn't see you.
Owen: Oh.. it's not a problem... it's not a problem at all.
Phoebe: Uh... uh... do you work here?
Owen: No, actually I just, uh, I just signed up.
(She laughs.)
Phoebe: Really?
Owen: Yeah.
Phoebe: I mean, it's just that... you don't seem like the type that needs help finding date.
Owen: Ditto. Oh, um, I'm Owen. Owen Grant.
Phoebe: Phoebe .
(As she touches his hand, she gets a premonition of him been k*lled.)
Phoebe: Uh, uh... I have to... I have to go. Okay, I'm sorry. Excuse me.
Owen: But, Phoebe.
Phoebe: Sorry.
[Cut back to Prue.]
Darla: Congratulations, Prue. Your days of having trouble with men are over. See you at tonight's mixer?
Prue: Okay, you know, for your information, I do not have man troubles. Financial ones, now, yes. But definitely not man troubles.
(Phoebe comes in.)
Phoebe: We're out of here.
Prue: She... you.
Phoebe: Okay.. it's okay... it's all right.
Prue: I don't. Honestly. (to Phoebe) Tell her.
Phoebe: She doesn't.
(They leave.)
[Scene: Manor. Piper is watching Dan washing his car through the window. Prue and Phoebe walk inside.]
Prue: Piper?
Piper: You're back.
Phoebe: Did you find anything in the Book?
Piper: The book?
Prue: Or were you too busy looking at something else?
Piper: Uh, I was looking. You should see what I found.
(Prue and Phoebe look out the window.)
Prue: Oh, I see what you found, all right. Great tan, nice body.
Piper: (reading the Book of Shadows) "When a witch renounces all human emotions and makes a pact with darkness to protect herself from heartbreak, she becomes a Succubus... a sexual predator."
Phoebe: Let me see that (reading the book) "She seeks out powerful men who become helpless against her magic, then feeds on their testosterone with her razor-sharp tongue." So, this monster is an evil sexually-charged witch?
Prue: Yeah, but it's not you, Phoebe. Because you didn't make a pact with Darkness, right?
Piper: And as far as we know, you don't have a razor-sharp tongue. Here's a spell to attract the Succubus and destroy it with f*re.
Phoebe: (reading the book) "A flaming death for yours truly"? I don't think so.
Prue: Well, we have to catch this thing, right? So, what if I cast a spell to attract it and if it turns out to be you who's attracted to me, then Piper will freeze the room and we'll go from there. Fair enough?
[Cut to the attic. Drawn on the floor with chalk is the symbol for male. There's lit candles around it and Prue's sitting inside with the Book Of Shadows.]
Prue: "By the forces of heaven and hell, draw to us this woman fell, rend from her foul desire, that she may perish as a moth of f*re".
(f*re burns around Piper.)
Piper: See? I knew it wasn't you.
Phoebe: I didn't burn. I'm okay.
Prue: (with a man's voice) I'm not.
(They turn and see Prue as a man.)
Phoebe, Piper: Oh! Oh my God.
Piper: I don't believe it.
Prue: We have a new problem.
Commercial Break
[Scene: Manor. Outside Prue's bedroom.]
Piper: Prue, please come out.
Prue: Not until you reverse this spell.
Phoebe: Come on. It's been over an hour already. (to Piper) Do you think she's touching herself?
Piper: The book doesn't say anything about a reversal. Maybe you're supposed to stay a man until you attract the Succubus.
Prue: Well, I'm not going anywhere.
Phoebe: See?
Piper: Shh... (to Prue) You don't really have a choice. I'm thinking we need to get you to the dating service since that's where the Succubus picks her victims.
Phoebe: That's actually a really good idea. She could... he can sign up like the rest of the guys.
Prue: Hey, I'm not signing up for anything.
Piper: Lives are at stake, Prue. Innocent men are going to die... we're your sisters, Prue. You don't have to be embarrassed. We're not gonna laugh.
(She/he opens the door.)
Prue: How can I save anyone? Okay, I look ridiculous. I'm wearing clothes from the ex-boyfriend's pile. (Phoebe starts to laugh.) I have hair in strange places and I have penis. (to Phoebe) This is not funny.
(She/he closes the door again.)
Piper: What's matter with you?
Phoebe: I'm sorry. I couldn't help it.
Piper: Prue, you don't have actually to date anyone. All you have to do is make yourself seen and available.
Phoebe: You know, Prue, the sooner you trap the Succubus, the sooner you'll become a woman again.
(She opens the door.)
Prue: It's easier said than done.
[Cut to downstairs.]
Piper: Okay, confidence. The walk, the talk, the handshake. It's all about confidence.
Phoebe: Sports. Men like sports.
Piper: And sincerity... that's the key.
Phoebe: But what really makes a man is the clothes he wears, the car he drives and the money he earns... according to Cosmo.
Prue: Okay, helping, you're supposed to be helping.
Phoebe: Okay. Let's work on your walk.
Piper: All you have to do is visualize a man that you admire and then you emulate him. You know, the walk will follow.
Prue: A man that I admire... all right... I got that.
Piper: Okay.
(She/he walks and then does a girlie turn at the end.)
Piper: The man you admire is Richard Simmons?
(Piper and Phoebe laugh. Doorbell rings.)
Phoebe: Okay, I'll get Morris' files. Try to put together a list of attributes the Succubus is attracted to. You two get the door.
Prue: What?
Phoebe: Well, think of it as a practice run for the dating service. Oh, oh... I know. Tom Hanks... everybody loves Tom Hanks. Think of him.
Prue: Tom Hanks.
Phoebe: Everybody loves him.
(Prue and Piper answer the door.)
Piper: Dan.
Dan: Hi, I didn't mean to interrupt but my freezer broke and I wanted to see if I could get some ice from you... guys.
Piper: Uh, oh, Dan, this is... this is... this is Manny. Manny Hanks. He's my... uh... he's my friend.
Dan: Well, it's nice to meet you.
(Dan shakes Prue's hand.)
Phoebe: (screaming from the kitchen) Piper, come in here, quick.
Piper: Okay, coming. I'll be right back with that ice.
Prue: (to Piper) Oh, wait, no.
Piper: (whispering to Prue/Manny) He's a good man.
(Piper goes to the kitchen.)
Dan: Have we met before? You look familiar.
Prue: Hmm.
Dan: So, have you known the sisters long?
Prue: I'm, uh, the brother they never had.
[Cut to the kitchen.]
Piper: What happened?
Phoebe: Oh, I just... I had one of those hot flashes, the Succubus visions. Piper, I think I really am psychically connected to that thing. I see what she sees, feel what she feels. I felt excited.
Piper: Excited happy or excited aroused?
Phoebe: Piper, she's in heat, okay. And so am I.
Piper: Well, that explains why you are burning up. Your libido must be connected to the succubus'
Phoebe: Yeah, it's like I have no control over.
(She gets a new flash.)
Phoebe: It just happened again. I saw egg sacs. Oh my God. I think she's pregnant or ready to hatch.
Piper: You mean, there's gonna be a whole brood of them k*lling men?
Phoebe: Unless we stop her, I think that's exactly her plan.
[Cut back to the foyer.]
Dan: So, Piper isn't seeing anyone?
(Prue tries to copy Dan's moves.)
Prue: No, not really.
Dan: So Piper is seeing someone?
Manny/Prue: No, not really...God. I would just hate to see her with a guy who, oh, lets say on the third date just runs away. Don't you just hate men like that?
Dan: I don't know any men like that.
Manny/Prue: Oh... ha... How about those "niners"?
(Piper and Phoebe walks in)
Piper: Ok, here's your ice.
Dan: Thanks.
Phoebe: Oh, you're welcome. Ok, bye bye. Take care. Tell Jenny we said "hi", ok? All right, good.
(He leaves)
Piper: So?
Manny/Prue: We're in big problems... huge.
[Scene: Fine Romance. Video area. Prue/Manny is doing her videotape.]
Manny/Prue: You know, I think that it's the smaller things that I look for in a relationship, you know, like... listen to your partner, kindness, respect, I mean, as far as I'm concerned there's nothing sexier, nothing hotter than someone who respects him... herself, because, you know, if she respects herself, then she respects others.
Jan: Can I just say that you are really in touch with your feminine side.
Manny/Prue: You have no idea
[Fine romance. Reception desk.]
Phoebe: His name is Owen. He signed up earlier today.
Darla: Hm. Dr. Owen Grant.
Phoebe: Doctor? Hmm.. yeah. I guess that's him. Do you have any way I could get in touch with him? It's really important.
Darla: Well, you could join for $3,500 and view his tape
Phoebe: Hmm... huh! Piper?
Piper: Hmm? Hmm!
(Piper freezes the room. Phoebe gets Dr. Owen's file. Then she sees Dan's files.)
Phoebe: I do not believe it.
Piper: What?
Phoebe: Looks like neighbor Dan signed up, too... interested?
(Piper smiles. Phoebe hands her Dan's file.)
Phoebe: Let's go.
(They leave)
[Outside Fine Romance.]
Smith: Boy, a guy could do some serious damage in there, you know? Just drop all the pretense and go all caveman.
Morris: You're really something, you know that, Smith?
Smith: I know it. That's what ladies tell me... Man, it's boiling.
Morris: Yes, it is.
Smith: I think I'll do a little investigating inside.
Morris: Oh, Whoa! No. You're not going anywhere.
Smith: Come on. It's a mixer, right? I want to go inside and mix it up.
[Inside Fine Romance.]
Phoebe: Do you think the Succubus already got the Owen? I mean, what if we're too late?
(Piper is looking at Dan's file)
Piper: You would have had a psychic flash if we were and since you haven't, we're not.
Phoebe: Oh, there he is... hey, you know... maybe I should take him back to the manor to keep him safe.
Piper: You and him? At the Manor? Alone?
Phoebe: Well, I'm just gonna talk to him
Piper: Well, we can just talk to him here. I'm gonna go back to the video area and, uh, check up on Prue.
Phoebe: Uh, huh... don't forget Dan's tape. (Piper grabs Dan's tape and leaves.) Hi
Owen: Hi
[Video area.]
Prue: So, what are you saying is my video will now be available to all of your clients. So what with internet acess, I should be able to meet women as soon as when?
Jan: Mr. Hanks. Something tells me that you could be dating as soon as tomorrow. This is one great tape.
[Scene: Later. Video area.]
(Piper is watching Dan's tape.)
Dan: I'm sorry.. I.. I.. I just... I can't do this.
Jan: Oh, come on. Your sister paid for this, Mr. Gordon. You can do it.
Dan: Oh.. this just isn't me.
Jan: Give it a try. Just speak from your heart. What are you looking for in a woman?
Dan: What do I look for? I don't know. I'm an old-fashioned, I guess. I look for the girl-next-door. Someone with a good heart, good personality, and looks to match. The kind of girl that... when I leave for work in the morning... I wait just... a little bit... till she leaves for work too. Just to catch a glimpse of that long dark hair, that great smile, hoping that maybe, one day... she'll notice that I'm watching her. Then she'll smile back at me.
(Piper just smiles.)
[Scene: Mixer.]
Owen: Do you, huh, do you wanna get out of here and take a walk or something
Phoebe: Uh, I...I...I... would... I would love to. Really. But... but I can't
Owen: You can't. Why?
Phoebe: Uh, it's it's hard, I mean, to explain, you know? Is it really hot in here?
Owen: You know what? I'm gonna get you something to drink. I'll be right back
Phoebe: Ok
(She gets a new flash)
Phoebe: Oh, no... she's here... Piper!
Owen: Hey, what's going on? Are you ok?
Phoebe: Yeah. We need to get you out of here, fast. Okay? Follow me. Uh, if you could just stand here for a minute and just stay in my sight, ok?
Owen: Okay.
Phoebe: Uh (Piper) She's here. I felt her.
Piper: What? Where is she?
Phoebe: I don't know but she's in the room, somewhere. She could be after Owen.
Piper: Well, then get him out of here. Fast!
Phoebe: Ok.
(Smith grabs Phoebe's wrist)
Smith: Oh, where are you going, honey?
Phoebe: Excuse me.
Smith: I'd like to have a little talk with you... in private.
(She gets a new flash)
Morris: What the hell's the matter with you, Smith? Let her go.
Phoebe: Manny, it's Owen... take him out. Fast
(Manny/Prue punches Owen)
Piper: What are you doing? Your... Your powers
Smith: Hey hey, that's enough, all right. You're under arrest
(Manny/Prue punches him too)
Morris: That's it. You're under arrest, pal. Get up and cuff the other, Smith.
Piper: This is... this is bad. This is really bad.
(Phoebe gets a flash.)
Phoebe: It's getting worse.
Piper: Huh?
Phoebe: The Succubus isn't attract to Owen, anymore. She's attracted to Prue.
Piper: Perfect.
[Scene: Police station.]
Morris: Wanna me to release him? Your friend punched a cop.
Phoebe: Four men have died in last four nights, but none so far tonight. Why do you think that is?
Piper: Because of Manny, that's why.
Phoebe: And if he stays in jail, another innocent man might get k*lled.
Morris: I suppose you want me to release this, uh... this Dr. Owen Grant, too, huh?
Phoebe: Uh, no, actually. He's still a potential victim. As long as he's here, he's safe. You can't let him out.
Morris: This is going to bite me in the ass. I know it is.
[Scene: Next morning. Manor.]
Manny/Prue: You know, I'm surprised we men ever get anything done, you know. All I seem to think about is sex. It's like it's nonstop. Really debilitating.
(Phoebe is with the thermometer in her mouth again.)
Phoebe: Tell me about it. Hey, did you fix the air conditioning.
Manny/Prue: Yeah, I just had to clean the filter. Air flow clog must have thrown the breaker.
(Phoebe looks at her/him)
Phoebe: Hmm.
(Piper walks in)
Piper: Guess who that was? Alan, from Bucklands.
Manny/Prue: Alan... wait? He actually called.
Piper: Yeah and he wants to go out with you again. So much for our rejection theory.
Manny/Prue: Well, what did you tell him?
Piper: I went out on a limb and told him you were feeling a bit hormonal.
Phoebe: 102.5 degrees. Probably normal for Succubus.
Piper: But not so good for you. I really think you should call a Doctor.
Phoebe: Piper, there's nothing he can do. It's the connection with Succubus. It's getting stronger. Probably because she missed her nightly feeding. She didn't get Owen or Prue. She needs to k*ll. I can feel it.
Piper: Ok, what are we gonna do?
Manny/Prue: All right, I got a plan. The dating service called. Turns out my video broke some kind of house record. 20 hits this morning. One of them might to be Succubus. So I lined up dates with all of them.
Piper: What?
Manny/Prue: Yep! At your club. Starting at 6.
Piper: Oh, no no no no. Not tonight. The Cranberries are coming in for a sound check before the benefit tomorrow. I can't risk scaring them away.
Manny/Prue: That's no problem. I'll just nail the Succubus before they get there.
Piper: Oh, you're gonna nail her, are you? Oh, so this whole man thing, this sort of short-circuits the old "maybe I should consult my sisters" wiring, now, doesn't it? Just step right in and take over.
Phoebe: Didn't start happening until she sucker-punched Owen.
Manny/Prue: You had a problem, I fixed it.
Phoebe: Oh, you bet your butt, you did. You nearly broke his jaw
Manny/Prue: I saved his life. Look, you're the one who told me I had to practice being a man, right? So I acted on instinct. And tell you the truth, the moment that I h*t him, I felt powerful and strong. Like somehow that made me a man.
Piper: You wanna know how to be a real man? Look at Dan. Honest, kind, good heart. The type of guy who would risk being late to work just to make you smile. Not some bully who walks around thinking one punch is gonna change anything.
(She leaves)
Manny/Prue: She learned all that, just from looking out a window?
(Manny/Prue and Phoebe look out a window and see Dan)
Phoebe: Oh, yeah! Nice body, great tan.
Manny/Prue: Awesome truck.
Phoebe: You know, I think you really are becoming a man
[Scene: Outside P3.]
Smith: Ow, Man... look at that. Look at that. I can hardly even see out of that and you let him walk.
Morris: Try looking at the club for a while. sooner we catch the perp, sooner I can have you reassigned.
Smith: Fine.
[Scene: P3.]
Phoebe: I just hope that the Succubus gets here fast because I'm dying.
Piper: Okay, focus on the plan. Manny lures the Succubus into the alley and then I freeze her and...
Phoebe: And then he uses his testosterone-charged powers to fend her off until she burst into flames. I got it.
(Phoebe sees Manny/Prue)
Phoebe: Uh, did Manny just check out that girl's butt?
Piper: Oh, God. This is starting to get wierd.
Phoebe: It's Starting to get wierd? Where ya been?
[P3.]
Alan: Hey
Manny/Prue: Hey... You don't recognize me, do you?
Alan: No, sorry. Should I?
Manny/Prue: Uh, I work at Bucklands with Prue Halliwell. Manny, Manny Hanks.
Alan: Alan Stanton. Nice to meet you. So, you know Prue, huh?
Manny/Prue: Yeah, we go way back.
Alan: Huh, Prue and I actually dated. Few times. When it comes to dating these days, I just can't figure out what they want. It's a real confusing time to be a man.
Manny/Prue: You mean, like in... huh, what way?
Alan: Like every way. Even opening doors or pulling out chairs. Some women expect it. Other women hate it. You never know which camp they're in until it's too late.
Manny/Prue: Which camp do you think Prue's in?
Alan: Prue? The good one. The one that likes it. She's cool.
Manny/Prue: I had no idea... I mean, I bet she had no idea. Have you told her?
Alan: Are you kidding? Probably scare her away if I haven't already.
[P3.]
Piper: Where's Prue? I lost her... him
Phoebe: She's over there talking with A...
(Phoebe gets a flash)
Piper: What?
Phoebe: The Succubus. She's here. I'm seeing what she's seeing.
Piper: What? Where is she?
Phoebe: She's here somewhere. She just spotted Prue. Wait... isn't that the woman from the dating service? The one that videotaped Prue?
[P3.]
Alan: I mean, you know, Prue. She's on the rebound. And I respect her too much to force the issue. I didn't want to move too fast. Although I think about it now, maybe I went too slow and got her mad at me. Some damn confusing rules, you know what I mean.
Manny/Prue: Yeah, I'm beginning to.
(Manny/Prue's cell phone rings)
Manny/Prue: Yeah.
Piper: Prue, she's here. Get to the alley, quick. It's Jan from the dating service. The one on the red dress
Manny/Prue: Right on my way (to Alan) Sorry, Alan, Gotta go.
[Scene: P3.]
Phoebe: Hi hi hi hi... Jan. Right? From a Fine Romance?
Jan: Yes... have we met?
(Phoebe gets a new flash and realizes that it's not Jan)
Phoebe: It's not you.
[Scene: Alley.]
Darla/Succubus: Hello, Manny.
(Manny/Prue tries to use her/him power but he/she can't)
Manny/Prue: What's happening to me?
Darla/Succubus: You're falling in love. You want me. You need me. Tell me I'm irresistible. Tell me.
Manny/Prue: You're irresistible.
(Succubus is about to use her razor-sharp tongue when Piper and Phoebe show up and Piper freezes her.)
Piper: Whoa! What happened? Why didn't you use your power?
Manny/Prue: I don't know. I was trying to use it and it wouldn't work. And then I felt like I was... huh.
Phoebe: Impotent?
Manny/Prue: You know, a little advice about men, Phoebe. When we fail at something, generally we don't like to hear that we're...
Phoebe: Impotent?
Manny/Prue: Yeah!
(Darla/Succubus unfreezes)
Piper: Oh, no
(Smith and Morris show up)
Smith: Freeze right there
(She knocks him out)
Morris: Stop or I'll sh**t. Stop
(He sees her razor-sharp tongue and sh**t her)
Morris: She's d*ad. But I don't know what was? You guys ok?
Piper: I think so.
Manny/Prue: (to Phoebe) Okay, how come I'm still a man?
[Scene: Coroner's office.]
Doctor: Toxicology won't be back for a week but the preliminary blood panel did show something odd. This woman's endocrine system showed high level of testosterone
Smith: Testosterone? How's that even possible?
Doctor: Won't know for certain until the autopsy but if it turns out to be accurate, you've definitely got the k*ller you've been looking for.
Smith: I'm telling you, there's something really weird about this. It's a real shame. She's a babe.
(The Doctor leaves and Succubus kills Smith.)
[Scene: Attic.]
Piper: I don't understand. It says to attract and destroy the Succubus. She will come to us and burst into flames.
Manny/Prue: Well, it came all right but it certainly didn't burst. And worse, I'm still a man. What I don't understand is why wasn't I able to use my powers?
Piper: I don't know.
(She looks out the window)
Manny/Prue: You know, men are just as afraid of being rejected as women are. Trust me. That's probably why Dan hasn't asked you out. He's afraid you'll say no.
Piper: Like you'd know. Do you?
Manny/Prue: I'm a guy, aren't I?
(Phoebe walks in)
Phoebe: Guys, the Succubus. She's still alive. I felt her k*ll again
Piper: Oh, no!
Manny/Prue: Why wasn't I able to destroy her?
Phoebe: We can still finish this.
Manny/Prue: How? I mean, she knocked me out, guys. I mean, really. It was like I was in a trance. I was weak in the knees and for a moment I felt her need not to be reject as though it would devastate her.
Phoebe: Great. We're dealing with a sensitive man-k*lling demon.
Manny/Prue: Well, we gotta be missing something. You two keep looking. I gotta go take a leak.
Piper, Phoebe: Don't forget to put the seat back down.
Manny/Prue: Yeah, Yeah, Yeah.
(Manny/Prue walks out)
Piper: Anything there?
Phoebe: No. Nothing at all.
(Phoebe gets a new flash)
Piper: Phoebe!
Phoebe: She's here. The Succubus... She's in the house.
(They hear a noise like something broking.)
Piper: Prue!
[Bathroom.]
Piper: Prue? Where'd she go?
(They she the broken window)
[Darla/Succubus' place.]
Darla/Succubus: I watched your tape over and over again. The things you said, I...
(Prue/Manny is on the bed)
Darla/Succubus: You can't resist me
[Scene: Manor. Attic.]
Piper: We have to find Prue, Phoebe. Or she's d*ad
Phoebe: I'm connected again. I'm seeing Prue. She's alive
Piper: Where is she?
Phoebe: The same place the others victims were but I don't know where that is. God. I'm gonna watch her k*ll Prue end there's nothing I can do about it.
Piper: Wait. Listen to me. I have an idea. If you're connected to the Succubus, then the Succubus is connected to you, right?
Phoebe: What are you talking about?
Piper: You have to reverse the psychic connection. You have to use your power to project back to the Succubus to help Prue resist her. What's the Succubus saying?
Phoebe's flash.
Darla/Succubus: Tell me you want me.
Manny/Prue: I want you.
Phoebe: She wants Prue to want her.
Piper: Ok, talk through the Succubus. Tell Prue that she doesn't want her. She'll never want her. Tell her.
Phoebe's flash.
Darla/Succubus: Tell me you need me.
Manny/Prue: I need you.
Piper: Talk to Prue like she's right in front of you, Phoebe. Um, tell her that she is not a man. She's a woman.
Phoebe's flash.
Darla/Succubus: Tell me.
Phoebe: You're not a man. You're a woman.
Phoebe's flash
Darla/Succubus: You're a woman.
Manny/Prue: I'm a woman.
Darla/Succubus: What?
Phoebe: You can resist Prue. Only a man is powerless against me.
*Phoebe's flash.
Darla/Succubus: You can resist Prue. Only a man is powerless against me.
Manny/Prue: I can resist you. In fact, I'm rejecting you.
[Scene: Darla/Succubus' place.]
Darla/Succubus: What? You can't resist me. I'm irresistible.
Manny/Prue: Not to me, you're not, you bitch.
(Prue/Manny uses her/him power against Succubus and she starts to burst into flame)
Darla/Succubus: Nooooooo!
(Manny/Prue turns into a woman again.)
[Scene: Manor.]
Piper: Are you ok?
Phoebe: I'm fine. And so is Prue.
Piper: What about the Succubus?
Phoebe: She's d*ad
[Scene: P3. Prue is wearing a very sexy outfit.]
Phoebe: Oh.. Well, well. And I thought the heat wave was over.
Piper: Yeah, Prue. You look hot.
Prue: I'm just grateful to be back in heels.
Phoebe: Let me see. Oh, yeah. You definitely have that walk down.
Prue: Well, we'll see if Alan agrees with that.
Phoebe: Alan? I thought you thought he wasn't interested.
Prue: Yeah, I was wrong. Just a little gender confusion.
Piper: Looks like you learned a few things about being a woman by being a man.
Prue: Actually, I did. I mean, we're different, which I'm glad about that. But we're also similar in many ways. You know, we all feel the same emotions. It's just that if we don't communicate honestly, then we read between the lines and tend to get everything screwed up.
Piper: And sometimes it's just up to us to open the door first... take a chance
(They see Dan)
Prue: Oh, you finally called him, huh?
Piper: I got some good advice from the brother I never had. Excuse me.
Prue: You're welcome.
(She goes to meet Dan.)
Prue: So, what about you, Pheebs?
Phoebe: Me, Uh? (She sees Owen) I actually have an appointment with a Doctor I've been dying to see. I'm still running a little bit hot.
Prue: I see that. He winked at you
(Phoebe goes to meet Owen. Cranberries starts to play.)
Piper: Glad you could make it.
Dan: Are you kidding? I'm just glad you called. Truth is I've been waiting to call you for some time now.
Piper: Really? I never would guess.
Dan: You wanna dance?
Piper: Sure.
(They join Phoebe and Owen and start to dance.)
Prue: Alan, Hey... Good to see you.
Alan: I'm glad you called back, Prue. I have to admit. I didn't think you would
Prue: Well, I wasn't going to at first. But then I met this really nice guy who encouraged me to go ahead
Alan: Yeah? Who is he? I wanna thank him.
Prue: Oh, no. I'll thank him... Cranberries.
Alan: Let's go.
(They join Piper and Dan and Phoebe and Owen. Then we see the girls dancing with their guys)
End | {"type": "series", "show": "Charmed", "episode": "02x05 - She's a Man, Baby, A Man!"} | foreverdreaming |
Written by: Vivian Mayhew and Valerie Mayhew
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Somewhere in the bush. Two guys see a cave. One guy is holding a map.]
Guy #1: There. That's gotta be it.
Guy #2: I don't know. It looks kinda small to be a mine shaft doesn't it?
Guy #1: Maybe it was bigger in the 1800's. X marks the spot. Let's check it out.
(They walk inside. They see a skeleton on the ground.)
Guy #2: Definitely not a good sign.
Guy #1: You're such a wimp.
(Bats fly past them and scares guy #1.)
Guy #2: You were saying?
(They see writing on the cave.)
Guy #1: Ten bucks say this is where the gold is hidden.
Guy #2: Ryan, I think these are all warning signs.
Ryan: Stop worrying about it.
(Ryan gets out a hammer and chisel and starts chiseling at the rock. The rock cracks and dust blows out of it. It explodes and there stands Tuatha a bad witch with a snake around her neck.)
Tuatha: I'm free. What year is this?
Ryan: 1999.
Tuatha: Two hundred years? My wand. Where is my wand?
Ryan: Your what?
Tuatha: My wand! Where is it?
Guy #2: We don't know what you're talking about.
(Tuatha throws magical dust on them and they shrink.)
Tuatha: Too bad.
Ryan: What the hell just happened?
Guy #2: I don't know. She shrunk us.
(Tuatha places her snake on a bucket.)
Ryan: What do you think she wants?
Guy #2: How should I know? (Tuatha starts walking towards them.) Uh-oh. Here she comes. I told you this was too dangerous.
Ryan: Fine! But what are we gonna do now?
(Tuatha kneels down.)
Ryan/Guy: Run!
(Tuatha picks them up and feeds them to her snake.)
Tuatha: You're welcome. Now, find my wand. (She puts magical dust on it.)
[Scene: Bucklands. Prue's on the phone talking to Phoebe.]
Prue: Phoebe, we are televising this live. Can't it wait?
[Cut to the manor. Phoebe's looking out the living room window.]
Phoebe: Prue, Dan's truck just pulled up outside.
Prue: Dan's truck? So?
Phoebe: So, Piper is with him and they're kissing. And I'm not talking about 'thanks for lunch' peck on the cheek kinda kiss. They mean business. (Phoebe turns away disgusted.)
Prue: Okay, what is the problem? They like each other, this is a good thing.
Phoebe: No, I know, I'm just worried that she's moving too fast. Like she's too in a hurry to get involved with someone else.
[Cut back to Prue. She walks in a room where there's lots of people, cameras, and a table with auction items on it.]
Prue: Look, Piper's a big girl and really, I mean, it's none of our business. Right? Right?
[Cut back to Phoebe. Piper and Dan are still kissing.]
Phoebe: Isn't it sort of our business?
Prue: Okay, Phoebe, Piper can not just sit around for the rest of her life waiting for Leo. She's trying to move on.
[Cut back to Prue. She picks up a wand off the table.]
Prue: Besides, Dan's a great guy.
Director: Okay, we're on in five, Miss Halliwell.
Prue: Uh, gotta go, okay, bye. (She hangs up.)
[Cut back to Phoebe. She looks out the window and see Dan and Piper walking towards the door.]
Phoebe: It's about freakin' time. (Leo orbs in.) Oh! Leo, whatever happened to knocking?
Leo: I'm sorry, Phoebe, but there's no time. Where's Prue and Piper? We have to talk.
Phoebe: Uh, you know, now's not really a good time. Okay, I know, how about you orb back in say an hour. Okay, that would be great, bye, bye.
Leo: I can't. The worst thing imaginable just happened.
(The door opens and Dan and Piper walk in laughing. They see Leo. Leo looks upset.)
Opening Credits
[Scene: Manor. Piper and Leo walk in the solarium.]
Piper: It's not that it isn't great to see you, Leo, because it is. But you can't just orb in whenever it's convenient.
Leo: It's never been a problem before.
Piper: Yeah, well, things have changed.
Leo: I can see that.
Piper: Leo ...
Leo: Sorry, wasn't fair. Where's Prue?
Piper: At work.
Leo: Fine. Then we'll have to start without her and your friend Dan has to leave now.
Piper: Oh, really? Why?
Leo: Because you and your sisters have a very big problem. A magical problem. Look, this isn't personal, it's business.
Piper: What else is new?
[Cut to Dan and Phoebe.]
Dan: You know, that handyman guy sure does hang around here a lot.
Phoebe: Well, it's an old house. Lots of things need fixing.
Dan: Then why does Piper look so upset?
Phoebe: Because there are some things he can't fix the way she wants it.
(Dan looks at his watch.)
Dan: You know, I'm late for a job. If you could just have her call me.
Phoebe: Oh-oh, oops. (She wipes lipstick off his face.) Lipstick.
Dan: Thanks. (He opens the door.) Are Piper and Leo ... ?
Phoebe: You're late. (He leaves.)
(Piper walks back in the foyer.)
Piper: Dan, wait. Well, I wouldn't know where to begin anyway.
Phoebe: Everything okay, sweetie?
Piper: Oh, no.
(Leo walks back in the foyer.)
Leo: Come on, we gotta get going.
Phoebe: Going? Where are we going?
Leo: I'll explain on the way.
Piper: No Leo, you'll explain now. We're not going anywhere.
Leo: Two hundreds years ago, a good witch turned evil, and started using her craft against innocents. Fortunately she was tricked in a cave and entombed. But unfortunately this morning Tuatha escaped.
Phoebe: Tuatha? Who wouldn't go bad with a name like that?
Piper: So, you want us to find her and vanquish her. What's the big deal?
Leo: The big deal is you can't vanquish her. No witch can. She kills good witches.
Piper: Leo, if we can't defeat her, than who can?
Leo: There's only one person. He's known as the Chosen One.
Phoebe: The Chosen One. Is he a witch?
Leo: No, he's a normal person. Other than the fact that he was born to use Tuatha's wand against her.
Piper: So, what do you want from us? Why don't you just go get him?
Leo: I need you to protect him from Tuatha until the wand comes to him. It shouldn't be long. Look, law has it that once the witch is free, the wand will find him. But is she finds it first ...
Phoebe: She'll k*ll the Chosen One.
Leo: And then she'll come after you too.
[Scene: Bucklands. Prue's doing her thing on TV. She's talking to a woman about the wand.]
Prue: The design of inlaid garnets with pewter and ebony is distinctly eighteenth century European.
Woman: Eighteenth century? I had no idea it was that old.
Prue: The facet cut amber headpiece surrounded by the symbolic snakes suggested that it was an ornamental staff or a ritual wand.
Woman: And I bought it at a flea market for fifteen dollars.
Prue: Betty, you will be very pleased to hear that at auction you could easily get five thousand dollars.
Betty: Good Lord.
(Jack Sheridan walks up to them.)
Jack: Of course an item is only worth as much as some is willing to pay for it. Isn't that right?
Prue: I'm sorry, who are you?
Jack: Jack Sheridan from Sheridan Internet auctions. If you own it, we can sell it.
Prue: Oh, okay, how nice for you, but this is my appraisal.
Jack: And it's a very impressive one too. But can you guarantee this nice lady that someone will actually pay five thousand dollars for this at auction?
Prue: Well, there are no guarantees but ...
Director: (quietly) Thirty seconds.
Jack: Betty, I'm willing to give you one thousand dollars cash today.
Prue: Yeah, well, than you'd be robbing her of four thousand dollars.
Jack: But you said yourself you can't guarantee that.
Prue: Well, I suppose you just have one thousand dollars cash in your pocket.
Jack: Would you like to find out yourself?
Prue: No need. I can tell there's not much there just by looking.
Jack: Betty, I can have one thousand dollars cash for you this afternoon. What do you say?
Betty: I say sold. (She writes her address down on some paper.) Here's my address and I'll see you there this afternoon.
Jack: It's a deal.
(She hands him the paper and she leaves.)
Director: Cut. And that's a wrap. Excellent folks. Very entertaining.
Prue: Yeah, for you.
Jack: Look, forgive me. I just wanted to be on the same stage as Prue Halliwell.
Prue: Why?
Jack: Because it gives my start up company instant credibility, that's why. You know, if the other specialists at Bucklands have your expertise and talents, I might reconsider the standing job offer. I turned them down last year.
Prue: You wouldn't like it here, Mr. Sheridan. We don't lie or cheat.
Jack: But I don't lie. You know what, I better get to the bank. I have a wand to buy.
(He starts to leave.)
Prue: (to herself) Wanna bet? (She uses her power and the piece of paper flies out of his pocket and Prue catches it.)
[Scene: Outside a school. Piper, Phoebe and Leo are walking down the pathway.]
Piper: I don't know, an evil witch who gets her jolly's k*lling good witches? Maybe we should of waited for Prue to get home.
Leo: There's no time.
Phoebe: Okay, please tell me we're here because the Chosen One is a big burly football coach.
Leo: No, but he is the seventh son of the seventh son. We've been watching him since he was a young boy.
Piper: Okay, so how old is he now?
Leo: See, over there. (Leo points and you see a teenage boy getting picked on.)
Piper: He's a high school student?
Phoebe: And he's a nerd.
Leo: Hey, I didn't choose him, they did. If he can help save your lives, that's all I care about.
Piper: Leo, he's a teenager. How can we let him go up against Tuatha? She'll destroy him.
Leo: Not if he finds the wand and learns how to use it. Besides, she knows he's the Chosen One. If we don't help him, she'll find him and destroy him anyway.
Phoebe: Doesn't sound like we have much of a choice.
Piper: This is wrong. He should be battling acne at his age, not evil witches.
(You see Kyle doing some magic tricks.)
Phoebe: Yeah, but look at us. Do we look like we should be the all powerful Charmed Ones?
Piper: What's his name?
Leo: Kyle. Kyle Gwydien.
Phoebe: Does he know yet?
Leo: No.
Piper: Any idea on how we're suppose to get him to come with us?
Phoebe: I have an idea. He likes magic, right? Let's show him ours.
(Kyle starts walking down the footpath. Piper and Phoebe go up to him.)
Phoebe: Hey, it's Kyle, right?
Kyle: Do I know you?
Phoebe: Not yet, but you will. You'll know the both of us.
Kyle: I think you might have me confused with somebody else.
Piper: Nope, you're the one.
Phoebe: The Chosen One.
Piper: That was real subtle.
Phoebe: You heard what Leo said, clocks are ticking. Hey, Kyle, do you believe in magic? Real magic?
Kyle: I gotta go. (He walks off.)
Phoebe: Piper, we have to show him before someone sees.
Piper: Kyle. (He turns around and Piper freezes him.) Now what?
Phoebe: You wait here. (Phoebe stands behind him. He unfreezes and looks around for Phoebe.) Behind you.
Kyle: How'd you do that?
Phoebe: Magic. Wanna know more?
[Scene: Betty's house. She places some cups of tea on a table. Tuatha's snake appears.]
Betty: Oh! Oh! Help me! Somebody! (She picks up the wand.) Help me! (Tuatha appears.)
Tuatha: (to the snake) Well done. (to Betty) That's my wand. (The wand flies over to Tuatha. The amber at the top of the wand starts glowing.)
Betty: My God, who are you?
Tuatha: The last being you will ever see.
(Betty screams.)
[Cut to the hallway. Prue's there. She hears Betty scream.]
Prue: Betty.
(She uses her power to open the door. You see Tuatha using her wand and Betty disappears. Prue uses her power and Tuatha flies across the room and she drops the wand. Prue picks it up and runs outside. Tuatha stands up.)
Tuatha: No, it's alright. We don't have to follow her. (She picks up her snake.) She's a good witch. She'll come back to us.
Commercial Break
[Scene: Manor. Piper, Phoebe, Leo and Kyle are sitting at a table.]
Kyle: So, you're witches?
Piper: Right.
Kyle: And I'm the Chosen One?
Phoebe: Correct.
Kyle: And-and-and why exactly am I the Chosen One again?
Leo: Because you're the only one who can defeat Tuatha.
Piper: Leo, please.
Leo: Look, I'm sorry, we don't have a lot of time here.
Piper: All the more reason not to freak Kyle out.
Kyle: Too late.
Phoebe: Look, Kyle, I know that this is a lot for you to take in and your first instinct is probably to resist it. I mean, I know that's how we felt when we first found out we were witches.
Piper: Still do sometimes.
Phoebe: But we've learned that you can not fight your destiny. It's like fighting who you are, who you're meant to be.
Leo: And your destiny is to vanquish the evil witch, Tuatha.
Kyle: I bet one of my brothers put you up to this, right? What, sean? No, no, I bet, I bet it was Ian. I'm always the butt of their jokes.
Phoebe: Kyle, listen.
Kyle: No, you listen. This is a joke. I'm not the Chosen One. I'm no one. You made a mistake.
(He starts to leave.)
Leo: Kyle, wait.
Phoebe: What do we do? What do we do?
Piper: Stop him.
[Cut to the foyer. Prue enters with the wand.]
Prue: (to Kyle) Whoa, who are you? (The wand glows.) It glowed.
Leo: That's the wand. It has to be. It recognizes you, Kyle.
Prue: Recognizes? What do you mean?
Piper: Where did you get that?
Prue: From someone I think I should tell you about in private.
Phoebe: Someone named Tuatha?
Prue: Tuatha?
Pheobe: Let Kyle hold the wand.
Leo: Go ahead, it won't hurt you.
(Prue hands Kyle the wand and it glows.)
Prue: Oh!
Leo: It found you, just like it's suppose to.
Prue: Okay, time out. Attic anyone? (She goes upstairs.)
Piper: Kyle, won't you go in the kitchen and help yourself to anything you want. That is if you're staying.
Kyle: I'm staying. I don't know for how long though.
(Phoebe and Piper go upstairs.)
Leo: I'll be right back.
[Cut to the attic.]
Prue: Leo, he is just a kid. Besides, you haven't seen Tuatha's power. I mean, she made a woman disappear literally.
Leo: It's his destiny to defeat Tuatha, Prue.
Prue: Then why did I get the wand?
Leo: To make sure it got to him. It's part of the law. If you guys were meant to defeat Tuatha there would be a spell in the Book Of Shadows and there isn't.
Piper: He's right, we checked.
Leo: Which means we need to spend what little time we have teaching Kyle how to use the wand.
Prue: Look, Leo, I know that you've never guided us down the wrong path before, but please at least let us try to defeat Tuatha. If we fail, then fine, we'll help you with Kyle.
Leo: She'll k*ll you.
Prue: Don't bet on it. Alright, we need to start by finding out where Tuatha is before she finds us. (Phoebe and Prue start walking towards the door.) Piper, are you with us?
(Piper stares at Leo.)
Piper: Yep.
[Cut to the kitchen. Kyle is looking at the wand. Jenny enters.]
Jenny: Hey, it's me.
Kyle: Hi.
Jenny: Who are you?
Kyle: Apparently I'm the Chosen One.
Jenny: I haven't seen you around before. What's you name?
Kyle: Kyle.
Jenny: Jenny. You a friend of theirs?
Kyle: No, no, I'm just helping them out with something. Maybe ... I don't know.
Jenny: Well, what's that?
Kyle: It's magic.
Jenny: I don't believe in magic.
Kyle: You kidding? Everybody believes in magic.
Jenny: Not me. (Kyle puts the wand on the tip of his finger and it starts spinning around.) That is so cool. How are you doing that?
Kyle: I have no idea.
(Leo enters.)
Leo: What the hell do you think you're doing?
(Kyle stops it from spinning.)
Kyle: I-I was just ...
Leo: Telling your friend goodbye.
Jenny: Fine, I can take a hint. Just tell Piper that my Uncle Dan needs to talk to her okay.
Kyle: Sure.
Jenny: Bye.
Leo: Bye. (She leaves.) So, you still think you're not the Chosen One?
Commercial Break
[Scene: Cave. Tuatha moves a rock and a book is there. She picks it up.]
Tuatha: There you are. (She opens it up and you can see spells written in it. She turns to a spell.) "To disempower a witch." Fresh, human heart.
[Scene: Manor. Attic. Prue, Piper and Phoebe has found a spell in the Book Of Shadows.]
Phoebe: Here it is. A scrying spell.
Piper: Scrying? What's that?
Phoebe: It's what witches use to magically find something or someone. It says that we need a map, a piece of string and a crystal. Okay.
[Scene: In the bush. A guy is walking along talking to a camera.]
Guy: Day three. I'm definitely lost in the woods. Separated from the other two. Running out of food, water, a little scared.
(He sees Tuatha.)
Tuatha: Sorry, did I scare you?
Guy: Oh, yeah, you did.
Tuatha: Are you lost?
Guy: Yeah, totally. Just walking around in circles. A couple of friends and me were making a documentary on the Blair Witch.
(Tuatha stands closer to him and throws some magical dust on his chest. She reaches in his chest and grabs his heart.)
Tuatha: Did you know it takes fifteen to twenty seconds for a person to die after their heart has been damaged? And since that time is almost up, from the bottom of my heart I thank you.
(The guy falls to the ground and Tuatha walks off holding his heart.)
[Scene: Manor. Attic. Phoebe is holding the crystal above a map. The crystal moves to a place on the map.]
Phoebe: Okay, we found her. Lost caves, Mura woods.
[Cut to downstairs. Kyle is trying to make the wand spin on his finger again.]
Kyle: Yeah, I can't make it do it again.
Leo: You did it before.
Kyle: I don't know how. I mean, I was just trying to impress Jenny, that's all.
Leo: Well, that's how. It came from your heart, from inside of you. You willed it.
Kyle: So what? So, I'm supposed to will some evil witch d*ad? Why me? You know, I don't understand, out of all people.
Leo: Don't sell yourself short, Kyle. You saw what you did before. Now, that was you. All you have to do is believe in yourself. Now try it again.
(Prue, Piper and Phoebe walk in.)
Phoebe: Leo, we found her.
Prue: So, we're gonna go pay her a little visit.
Leo: No, wait don't. please.
Piper: It's nothing personal, Leo. It's just business.
(They walk to the door. Prue opens it and there stands Jack.)
Prue: You.
Jack: Ah, thrilled to see me, I see. You know, this is a really nice house, Prue. Bucklands obviously pays better than I thought.
Prue: What do you want and how did you find me?
Jack: I followed your scent. That musk. The Cartier, right? Now, that is a classy perfume, though I'm hardly surprised. Can I have my wand back please? See, Betty never called and I couldn't contact her because her address mysteriously fell out of my pocket somehow. You wouldn't know anything about that would you?
Prue: You're blaming me for something that you lost? Isn't that a little juvenile? I mean what's next? A shoving match under the jungle gym or w*r over juice cups?
Piper: Prue, we really need to get going.
Jack: The wand is mine, Prue, and you know it. All is fair in love and w*r.
(Dan appears behind Jack.)
Dan: Piper?
Piper: Hi, Dan.
(Leo walks in the foyer.)
Leo: Piper, wait.
Dan: Is he still here?
Leo: Never left actually.
Jack: Prue, I'm kind of in a hurry here, so if I could just get my wand.
Phoebe: You know what? Dan, Piper will call you back later, you, whoever you are, sorry no wand, Leo, keep working with Kyle just in case, us, out the back door, out the back door.
(They go out the back door.)
Dan: (to Leo) Don't you have some other house to repair?
Leo: No.
[Scene: In the bush. Prue, Piper and Phoebe ar there.]
Phoebe: We should be getting close. Hey, there it is.
(They walk up to the cave.)
Piper: Kinda creepy in there and dark.
Prue: Alright, I'll go in first since she only knows about me. You guys just wait a couple of seconds then follow.
(Prue walks inside the cave.)
[Cut to inside the cave. Bats fly past her and scares her. She then sees the skeleton.]
Prue: (whispering) Okay, okay, okay, okay. (She sees bones and a heart sitting on a rock. Tuatha stands behind her.)
Tuatha: Thank you for not keeping me waiting long.
(Prue turns around.)
Prue: How did you know that
Tuatha: You witches are always so predictable. (Prue tries to use her power but it doesn't work.)
Like I said, I cast a spell to remove your powers. Obviously you didn't count on that, witch.
(Piper and Phoebe walk in the cave.)
Phoebe: And obviously you didn't count on her sister witches.
(Tuatha throws a small b*mb-like thing near them and they fall to the ground. Prue runs over to them.)
Prue: Are you guys okay?
Tuatha: Three witches. I'll be ready for that next time. (She disappears.)
Phoebe: Cool. (Prue and Piper look at her.) Well, it was.
Commercial Break
[Scene: Manor. Living room. Kyle is trying to work the wand.)
Leo: Both hands. Alright, you have to use both hands.
Kyle: But I didn't need both hands when I made it spin before.
Leo: Well, you'll need both hands against Tuatha. If she gets the wand from you, she becomes invincible and you will not be able to vanquish her. Now, just do as I say. Pretend I'm evil, alright, you connect to your destiny by connecting to yourself. Will me away. (He tries to but nothing happens.)
Kyle: Look, give it up, Obe One, alright, you got the wrong guy.
Leo: No, I don't. Alright, you are not just the seventh son, you are the seventh generation of chosen ones. It's in your blood, you just have to believe.
Kyle: Believe in what? Myself? Forget it.
Leo: Innocent people are going to die, are you wiling to live with that?
Kyle: No, no, don't you lay that crap on me.
Leo: Oh, does that make you mad? Good. At least that means finally you're being a real you.
Kyle: Screw you.
Leo: That's right, get pissed at me. Show me your anger. Maybe you'll figure out what you're really angry about, huh. (He throws him the wand.) You don't think you're the chosen one, you think you're the forgotten one. Sick and tired of it too aren't you. Well, aren't you? (Kyle gets mad, the wand glows and Leo flies through the glass window.)
Kyle: Leo?
(Leo orbs in behind him.)
Leo: Not bad.
(Prue, Piper and Phoebe run in.)
Phoebe: What was that crash? What happened in here?
Leo: A little training, that's all.
Prue: That's all? Do you have any idea how much that's gonna cost to fix?
Piper: Well, I know who's gonna be fixing it. Leo, what if somebody saw you?
Leo: Someone like neighbour Dan? Hey, you're bleeding. (You see a cut on Piper's forehead.)
Piper: It's nothing.
Kyle: So, did you guys kick some butt or what?
Phoebe: Or what.
Prue: Tuatha was ready for us, or at least for me. She stripped away my power.
Piper: And then literally disappeared before I had the chance to freeze her. And it's a good thing she wasn't expecting all three of us otherwise we wouldn't have gotten out of there.
Leo: You're lucky you did. Now, will you help me with Kyle?
Prue: Why are you so ready to send a teenager up against an evil that we can't even defeat?
Leo: Because he can. At least he can with the wand. And he's getting better at it too.
Kyle: Uh-uh. I'm outta here.
Leo: Kyle, wait.
Kyle: No, what the hell is the matter with you? They're even scared of her. I told you, you have made a huge mistake. I can't do this. (He throws the wand on the couch and leaves.)
Piper: Leo, you can't make him. Even if it is his destiny.
Phoebe: I hope he doesn't tell anyone we're witches.
Prue: Won't matter much if we're d*ad. Okay, nobody knows the Book of Shadows better than you. So, if black magic can strip away powers, then surely white magic can do the same, right? (Phoebe nods.) Let's go.
[Scene: In the bush. A girl and a guy is there.]
Heather: Joshua?
Michael: I'm telling you Hez, he's d*ad.
Heather: He's not d*ad, Michael. Joshua!
(Tuatha appears.)
Tuatha: Looking for the Blair witch?
(They scream.)
[Scene: Later on in the cave, Tuatha is saying a spell.]
Tuatha: "Before the passing of this hour, take away all of their powers." (She puts some magical dust on her snake.) Find my wand.
[Scene: Manor. Kitchen. Piper's dabbing her cut on her forehead with a wet towel. Leo comes in.]
Leo: Want me to heal that for you?
Piper: I'm fine.
Leo: Come on.
Piper: No. It's gets all confusing when we're close and when you touch me. I don't wanna be confused anymore.
Leo: Hey.
Piper: Look, Leo, you just do your job and I'll do mine, okay.
Leo: This is my job, Piper.
(He heals Piper's cut.)
Piper: Thanks.
Leo: He'll never understand you, you know. Your secret, what you're all about. Not like I can.
Piper: Maybe not, but at least I can count on him being there when I need him.
[Scene: The street. Kyle is walking along the pathway. Dan's car drives past.]
Jenny: Kyle! Uncle Dan, stop.
Dan: Who's he?
Jenny: Just some friend of Pipers. He's cool. I'll be home soon.
Dan: Soon when?
Jenny: An hour.
Dan: It's a school night.
Jenny: Half and hour. (She gets out of the car.) Hey, where you going?
Kyle: Just outta here.
Jenny: Where's your magic wand?
Kyle: It's not mine. It never was.
Jenny: Sure could of fooled me. Are you okay?
Kyle: How long have you known the Halliwells?
Jenny: A couple of months. Why?
Kyle: They have this screwed up idea that I'm
that I'm somebody I'm not. Never mind, it-it doesn't matter.
Jenny: Phoebe once told me that if it matters to you it matters. If they think you're something Kyle, than you probably are.
Kyle: Thanks.
[Scene: Manor. Living room. Piper's there. Tuatha's snake appears. Prue and Phoebe walk in.]
Piper: Any luck?
Phoebe: Well, I did find one spell but it requires a human heart and unfortunately we're still using ours.
Piper: Well, take mine. All it does is get me in trouble anyway.
(Leo comes in.)
Leo: Snake!
Piper: Oh, I'm the snake, but you're the one who
Leo: Snake!
(Piper sees the snake and runs over to the other side of the room. Prue gets a fireplace tool and cuts it in half. The two halves then turn into two snakes.)
Piper: Look out.
Prue: Oh, oh, Piper, freeze them.
Piper: I'm trying, it's not working. Prue
Phoebe: Prue
[Cut to outside. Kyle is at the doorway.]
Piper's voice: Prue, what should we do?
(Kyle hears her and he runs inside.)
Phoebe: Kyle.
Piper: Leo, do something.
(Leo grabs the wand and throws it to Kyle.)
Leo: Kyle, catch.
Kyle: Die! (The snakes disappear.)
Prue: Thanks.
Commercial Break
[Scene: Manor. Dining room. There are potions on the table.]
Phoebe: Okay, this is the potion to induce sleep, this one is to repel an evil thr*at and that one puts out a f*re
Prue: What kind of potion does that?
Phoebe: That's water. I didn't have a lot of time, it was the best I could do, okay.
Piper: But what about the potion to give Kyle more courage?
Phoebe I remembered wrong. There isn't one.
Piper: Well that's disappointing.
Phoebe: You guys. I'm scared. And not just for him but for us. I don't like feeling so powerless.
Piper: Maybe that's our lesson for the day. Not taking our powers for granted.
Prue: But if we're gonna get our powers back, then we're gonna have to help Kyle defeat Tuatha. And we're just gonna have to find a way to make Kyle feel more courageous without magic, that's all. (She picks up the bottle that has water in it.) Come on. (They walk in the living room.) How's it going?
Leo: Good. I think he's ready.
Kyle: I'm ready. I'm as ready as I can be. You know, it's funny, uh, I always wanted to be somebody special. You should be careful what you wish for.
Piper: Believe me, we can relate.
(Tuatha appears.)
Prue: Phoebe, the sleeping potion.
(Phoebe throws a bottle at her feet. She does a fake yawn.)
Tuatha: So young, so new to the craft. Now, this is a sleeping potion. (She throws something at Phoebe's feet and Phoebe falls to the ground. Leo goes over to Phoebe and he falls asleep too. She then throws something at Prue and Piper and their feet turn to water.)
Piper: Hey, what the
?
Tuatha: Now, the wand if you please. (The wand floats through the air to Tuatha.) Not much of a chosen one are you? At least the last one was able to entomb me. And I will now entomb you.
Piper: Prue, the courage potion.
(Prue throws the bottle of water at Kyle's feet.)
Tuatha: What? There is no courage potion.
Prue: No? Now look who's teaching who. Kyle, get the wand, you can do it.
Kyle: I wish for the wand.
(The wand starts floating to Kyle.)
Tuatha: My wand!
(The wand stops and starts floating back to her. It hovers in the middle as they try to get the wand to go to them.)
Piper: Don't give up Kyle. Believe.
(The wand finally floats over to Kyle.)
Kyle: I wish you gone forever.
Tuatha: Noooo!
(Tuatha disappears.)
Piper: Leo. (She walks over to him and helps him up in the chair.) You're hurt.
Leo: I'm okay.
(Phoebe, still asleep on the floor, makes some little noises and rolls over.)
Piper: Let me get you some ice.
Leo: Really, I'm fine.
Piper: Are you getting even?
Leo: Just finally getting it. What you deserve. A normal life or at least a normal life as you can get, which means a normal relationship, which I can't give you. I guess we know now why witches and white lighters aren't supposed to fall in love, huh.
(He orbs out. Prue walks up to Kyle. He's looking at the wand.)
Kyle: It's broken.
Prue: It served its purpose.
Kyle: Yeah. Thanks to your magical boost of courage.
Prue: Kyle. Tuatha was right. There was no courage potion. We made it up. You defeated her all by yourself.
Kyle: Well, still it doesn't change anything. No one would believe me even if I told them what I did.
Prue: Yeah, but you know what you did. And as long as you keep believing in that, you can change what ever you want. Who knows what you're still destined for.
Commercial Break
[Scene: P3. Prue, Piper and Phoebe are walking down the stairs.]
Piper: What are you going to tell him about what happened to the poor lady who owned the wand?
Prue: Well, what can I tell him? Look, I called him because I just wanna get rid of this thing, that's all.
Phoebe: Are you sure it's just not an excuse to see him again?
Prue: Phoebe, don't be ridiculous. This is business, it's not personal.
Phoebe: Where have I heard that before?
Piper: Oh, gotta date, gotta go.
Phoebe: Well, for what it's worth, I think Jack is pretty cute.
Prue: Yeah, well, he's a jerk. How do I look?
Phoebe: Fab.
Prue: Thanks. (She walks over to Jack who's at the bar.) Hey, um, I just thought that you might want to have this back. I mean, after all it is rightfully yours. (She gives him the wand and starts to leave.)
Jack: Uh, hold it. What's wrong with this picture?
Prue: Look's like it broke.
Jack: Keen eye, Prue. It kinda lowers the value of the wand, don't you think?
Prue: Bright side. At least it's worth what you were going to buy it for now.
Jack: Come on. Have a drink. You can brag to me how you out-smarted me with the wand. I do like to learn from the best.
Prue: Okay, I'll brag a little. (She sits down.)
Jack: Bartender.
[Cut to Piper. Dan walks up to her.]
Piper: Hi.
Dan: Hi. After you.(Piper sits down and then Dan does.)
Piper: Thanks for coming. I hope late, late dinner is okay with you.
Dan: Look, I'm gonna make this easier for you. I know that you and that handyman, Leon
Piper: Leo.
Dan: Right, Leo. I know you guys were more than just friends. I'm not dumb. I mean, he's always around the house.
Piper: Dan, it's over. (Dan looks upset.) Oh, no, I don't mean you and me, I meant him and me. That's why I wanted to see you tonight. I didn't want there to be anymore confusion.
Dan: Are you sure?
Piper: Yeah, I'm sure. (They kiss.)
End | {"type": "series", "show": "Charmed", "episode": "02x06 - That OId Black Magic"} | foreverdreaming |
Written by: Sheryl J. Anderson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: A museum. A tour guide is there talking to a bunch of people.]
Tour Guide: Legends hold it buried somewhere near a rocky desert, is a fable book, penned by ancient mystics, known as the Akashic Records. Believed to be a written account of all significant events throughout time. Powerful stuff. If someone were to get their hands on that, they could win the lottery or at least get tender. To know the future brings, obviously, ultimate power. Which is why everyone from Hera to h*tler has been looking for the records. But to find them, to find them, one needs a map. This tablet found in the Ivory Colls last year, is believed to be the very map. Although the engravings are of a lost language so far and undecipherable, even for scholars like myself but we're close. Whoever can decipher them first will know the exact latitude and longitude of the Akashic Records.
(You see a guy standing in front of it, writing something down on a notepad.)
Guy: Oh my God, that's it.
Tour Guide: Uh, excuse me?
Guy: Uh, no, no. Excuse me.
(He leaves.)
Tour Guide: If you follow me this way, I'll show you the next exhibit which is quite interesting.
[Scene: Bay Ridge Convalescent Hospital. The guy that was at the museum is there talking to his father.]
Guy: I cracked it, dad. The rest of the map. It was a transposition sequence just like you said and it's all in here. (He points to his head.) The location of the Akashic Records. Now, they're gonna come after me, just like they came after you, and I'm gonna be ready for them, dad.
(Phoebe enters holding a vase of flowers.)
Phoebe: Hey.
Guy: Hey.
(She puts the flowers on a table.)
Phoebe: How's he doing today?
Guy: The same. Thanks for always keeping his room so cheerful, Phoebe. I really appreciate it.
Phoebe: Oh, don't mention it. I mean, for all we know he knows they're here too, right? Isn't that why you keep talking to him?
(A doctor enters.)
Doctor: Eric, can I speak to you alone please?
Phoebe: Oh, uh, yeah. (She goes outside.)
Eric: I'm not moving him, Dr. Stone.
Dr. Stone: Eric, it's been six weeks. This faculty is not designed for long term maintenance.
Eric: Maintenance? This is my father we're talking about and he's gonna get better and he's gonna stay here.
[Cut to the hallway. Eric bumps into Phoebe.]
Eric: Sorry. (Phoebe has a premonition.)
Phoebe: Eric, wait.
[Scene: Manor. Piper's bedroom. She's putting clothes in a bag. Prue runs in.]
Prue: Ooh, ooh, ooh! I think Jack's a warlock.
Piper: Who?
Prue: Jack, uh, Jack Sheridan. The internet auction guy I met remember. I went to go get coffee, he was standing in front of me and then I went straight to the news stand and 'wham!' he was right there reading a magazine.
Piper: So he went from one place to another in a blink of an eye. So, you think he blinked?
Prue: Well, yeah, that's what warlocks do, right? Where's Phoebe?
Piper: She's volunteering at the convalescent hospital.
Prue: Great. Wait, you have to know if there's a warlock test.
Piper: How would I know?
Prue: I mean, well, you are a warlock magnet.
Piper: Am I never gonna live Jeremy down? You know, you had that Rex and Hannah thing at work.
Prue: Okay, fine. You get them in your love life, I've got them at the water cooler. What's up with the suitcase?
Piper: A little overnighter. Dan's friend is getting married in Tahowan. Dan invited me to come along.
Prue: In the same hotel, in the same bed type of thing?
Piper: That is yet to be decided.
Prue: Oh, so then this is just ... Tennis?
(She gets lingerie out of Piper's bag.)
Piper: Give it. (Prue gives it back.) Thank you.
Prue: I mean, you did test him though, right? You know, he's not a warlock?
Piper: He's not a warlock. No cats have hissed at him, he has not blinked, he has not tried to k*ll me or my sisters and steal our powers as which you know is a key indicator.
Prue: I need the Book Of Shadows.
(She grabs Piper's lingerie and runs out of her room giggling.)
Piper: Aahh. (The doorbell rings.) Oh, I'll get it.
[Cut to downstairs. Piper opens the door.]
Piper: Hello, you.
Dan: Hi, um, I was wondering if maybe we could get an early start. You know, miss traffic, get there quicker so we have enough time to ...
Piper: Relax?
Dan: Relax is a good word. (They laugh.) Any chance you could be ready in an hour?
Piper: Yes, every chance.
(Kit growls and hisses at Dan.)
Dan: I wonder what her problem is?
Piper: I gotta go now. Bye. (She closes the door and walks over to the bottom of the stairs.) Prue, did you find that warlock test yet?
Opening Credits
[Scene: Manor. Living room. Prue and Phoebe are sitting on the couch looking through the Book of Shadows.]
Prue: Nineteen warlock specific death spells and not one test.
Piper: What if it's a conspiracy? Jack and Dan working together, sweet talking and the whole time they're figuring out how to k*ll us.
Prue: Okay, now you're being paranoid.
Piper: Well, how can we not, with warlocks and demons coming out of the woodwork all the time, it's a wonder we trust anybody.
Prue: We don't. (They find a spell.) Here it is.
Piper: To hear secret thoughts?
Prue: Yeah, we can hear Jack and Dan's thoughts just long enough to confirm and deny our suspicions.
Piper: No personal gain.
Prue: Purely for protection. (Prue lights two candles.) Okay.
Prue/Piper: "As flame lights shadow as truth ends fear, open locked thoughts to my minds willing ear, may the smoke from this candle into everywhere creep, bring inner most voices to my mind in speech."
Piper: (thinking) Hey, she's wearing my lipstick.
Prue: What, I can't borrow your lipstick?
Piper: I didn't say that, Prue, I thought it.
Prue: (thinking) Whatever, just learn to share.
Piper: I heard that. This could be dangerous.
(Phoebe enters.)
Phoebe: (thinking) Stay calm, calm down. Book of Shadows, needles and warlocks, and Eric's in trouble, find out who, find out what.
Piper: The hospital hottie?
Phoebe: What?
Prue: Uh, how's Eric? Did you see him today?
Phoebe: Why's the Book of Shadows down here, girls?
Prue: Jack blinked.
Piper: And Kit hissed at Dan.
Prue: Right, and we think that they may be warlocks, so we were looking for a test so we could test them.
Phoebe: Hello, paranoid.
Piper: We are not.
Prue: Able to find a spell in the Book of Shadows.
Phoebe: Well, just prick him. Warlocks don't bleed, so if there's no blood you've got your answer.
Piper: (thinking) Who knew?
Prue: (thinking) Phoebe did. The spell, don't tell her.
Piper: Shouldn't we reverse it?
Prue: Not until we really
Phoebe: Are you two okay?
Piper: So how's Eric? Has he asked you out yet?
Phoebe: No, but he's in trouble. I had a premonition today. A demon or warlock maybe, with a needle thingy on his finger and he was sticking it into Eric's head. So, I came home to see what we were up against. You guys go deal with Jack and Dan, and I'll go look on the Internet. I'll tell you if I find anything.
Prue: (thinking) Great, we're surrounded by warlocks.
Piper: (thinking) Yeah, next time get your own damn lip stick.
Prue: I heard that.
Piper: I love you.
Prue: (thinking) Bite me.
[Scene: Bucklands. Prue's office. Jack enters wearing a bright shirt.]
Jack: Prue!
Prue: Jack, you actually wear that to work?
Jack: (thinking) Ohh, feisty, feisty. (Out loud.) Well, when work puts me in front of an online server, handling 5 million online awesome hits a day, yeah I do. What's the emergency?
Prue: Fersuang.
Jack: (thinking) My what?
Prue: Fersuang Publications, the German conglomerate. You handled their C.E.O. Bronze ----- Collection for the internet auction, right?
Jack: (thinking) Be careful, she suspects. (out loud) Yeah, of course.
Prue: Well, I need some bronzes checked out. Who did your validation?
Jack: Validation?
Prue: You do have people's collections validated don't you?
Jack: (thinking) Mostly I put people in graves or incinerate them. (out loud) Oh, yeah. It was Walt Potarg at Berkley School and design. He was the best. (thinking) If she finds out that I'm lying, she's gonna die. (out loud) Well, you know what? I'm a little late, gotta go. Good to see you again. (He leaves.)
Prue: Your dying first.
[Scene: Manor. The doorbell rings. Piper answers it.]
Dan: You ready?
Piper: Um, can you come in?
(He comes in and Piper closes the door.)
Dan: Where's your suitcase?
Piper: Upstairs.
Dan: I see. (thinking) Uh-oh, cold feet, she's backing out. It's okay, don't push it, don't push it.
Piper: Look, don't move. (She freezes him.) Okay, um, this is gonna hurt me a lot more than it gonna hurt you. (She pricks his arm with a needle. Phoebe runs down the stairs)
Phoebe: Piper, we have to get to Eric. What's the matter?
Piper: He didn't bleed, he's not bleeding, there's no blood, there's nothing.
Phoebe: Yeah, of course he's not bleeding, he's frozen.
Piper: Yeah, right. Okay go back upstairs.
(Phoebe runs back up the stairs.)
Piper: Okay. (Dan unfreezes and he bleeds.)
Dan: Ow! What the hell was that?
Piper: You're bleeding. (She touches his hand.)
Dan: Just a little bit. (thinking) Love her touch. If she doesn't wanna go, it's okay, don't force it.
Piper: Dan, I really want to go.
Dan: But
(Phoebe comes down the stairs.)
Piper: He's bleeding.
Phoebe: He's lucky. Hi, listen Dan, I have to borrow Piper for just a little while but I'll have her back soon, okay. (Phoebe stares at his butt.) (thinking) Nice butt.
Piper: Hey! Hey, you hang in there and I'll be back in time.
Dan: Yeah, I hope so. (Piper opens the door and Kit growls.) Oh, that's what's scaring Kit. You got hornets. That's probably what stung me too.
Piper: Yeah, um, probably. Okay, gotta go, don't leave without me. (Dan leaves.)
Phoebe: Okay, gotta go, gotta go.
(They put on their coats.)
Piper: Uh huh, uh huh.
[Scene: Eric's apartment building. Phoebe and Piper are walking down the hallway.]
Phoebe: They're called Collectors. They're a warlock
(Someone walks past them.) They are a warlock breed that drains knowledge out of peoples brains with that weird finger I saw.
Piper: The book didn't say how to vanquish them?
Phoebe: No, it just said their hunger for knowledge is your all.
Piper: Okay, whatever that means. Are you sure this is where he lives?
Phoebe: The hospital record said 5D.Here it is.
[Cut to inside Eric's room. Two Collectors are there and are holding Eric down on a table. One Collector's finger turns into a needle. Piper and Phoebe walk in and Piper freezes them.]
Piper: Okey-dokey.
Phoebe: Oh my God, that is Dr. Stone. Eric's dad's doctor.
Piper: Alright, let's get him outta here. We'll figure out what they want later. Are you ready? Do your little thingy.
Phoebe: Okay.
(They unfreeze and Phoebe starts doing karate on them. Eric gets a g*n out of a drawer.)
Eric: Get back.
(Eric sh**t them.)
Phoebe: Oh my God. (They stand back up.) Okay, let's go, let's go. (They run outside.)
Commercial Break
[Scene: Manor. Kitchen.]
Eric: They're the one's who put my father in the hospital. They took his mind.
Piper: Who do you think they are?
Eric: (thinking) NCA, CIA, who knows? (out loud) Somebody in b*llet proof vests. The question is- who are you?
Phoebe: Friends.
Eric: (thinking) Yeah, right. They're after the Akashic Records too.
Piper: What are the Akashic Records?
Eric: I knew it.
Phoebe: Wait, what did you just say.
Piper: The Akashic Records, what are they?
Eric: You tell me.
Phoebe: I'll tell you. They're a book of ancient prophecies. The future of the world down to the smallest detail hidden away and lost for centuries. But it's just a legend. How did you
Eric: You're well informed.
Phoebe: I read a lot. Piper, how did you know that?
Piper: I'll tell you later. So, they want those records and they want Eric because he knows how to find them, right?
Eric: Who are you people?
Piper: What if it's not a legend? Say they're real. What happens if the bad guys get these records
Phoebe: And they use the future against us? No more us. The bad guys win.
Eric: I gotta get my father outta there.
Phoebe: No, wait, Eric.
Eric: He's stuck in the hospital and Dr. Stone's in on it.
Phoebe: Eric, it is not about your father anymore. It's about you. Especially if they think you know how to find the Akashic Records.
Eric: Try and stop me. (Phoebe grabs his arm and she flips him and he lands on his back on the floor. She sits on top of him.) How?
(Prue enters.)
Prue: Entertaining guests I see.
Phoebe: Hi! (Eric tries to get up.) Piper, could you help me out a little?
(Piper freezes Eric.)
Prue: Who's the cute boy?
Phoebe: He's Eric, from the hospital. Two warlocks called Collectors wants what's in his brain. The location of the Akashic Records. (Phoebe gets off Eric.)
Piper: (thinking) The lost text that predicts all future events. Collectors get it, the world's a goner.
Phoebe: It's a
Prue: It's a lost text that predicts all future events. The collectors get it, the worlds a goner. I know.
Phoebe: Okay, does someone wanna tell me what's going on here?
Piper: (thinking) Have to tell her now.
Prue: Okay, um, Phoebe. See Piper and I didn't really know about the whole pricking thing to expose a warlock. So, we sort of cast a little hearing thoughts spell, just to find things out.
Phoebe: Oh, a hearing thoughts spell.
Piper: (thinking) Dan's clean by the way.
Prue: (thinking) Glad to hear it. Jack's not.
Phoebe: Wait, are you guys thinking something about me right now?
Prue: No. Does Eric know witches and warlocks?
Piper: No, he thinks it's a government conspiracy. How do you know Jack's a warlock?
Prue: I heard his thoughts and they are bad, really bad. You know graves, d*ad people, burnt bodies.
Phoebe: Did you prick him?
Prue: No, that's why I need Piper. Freeze him, prick him and then vanquish him if necessary.
(Piper sees a dagger on the table.)
Piper: Where'd you get that?
Prue: Oh, remember the troubled priest with the warlock brothers? Well, they left this behind and I've sort of hung on to it just in case we needed it for future warlock use.
Phoebe: Wow, it's been a while but it seems like they're everywhere. Okay, you two go to it, I'll stay here.
Piper: What if the collector's show up?
Phoebe: Well, just get back before they do. Don't lose that dagger.
(Phoebe sits back on Eric.)
Prue: (thinking) We have to go k*ll a warlock while she gets to sit on some guys
Phoebe: Hey, hey, hey.
Prue: You heard that?
Phoebe: Like I need a hearing thoughts spell to know what you're thinking. (Piper unfreezes Eric.) Now, are you gonna behave?
Eric: Do I have a choice?
[Scene: Outside the museum. Dr Stone is there. The other Collector walks up to him.]
Dr. Stone: Did you find Eric.
Collector: No.
Dr. Stone: Not good. He's been protected by a time freezing witch.
Collector: And Bruce Lee's little sister.
Dr. Stone: The Akashic Records are within our reach.
Collector: It's going to be very difficult to drain his brain if they know what we're after.
Dr. Stone: Not to worry. We'll get in his mind. To his heart.
Collector: Oh, very nice.
(Dr. Stone blinks and he disappears.)
Commercial Break
[Scene: Bucklands. Prue's office. Jack stands at the doorway.]
Jack: Ah, there she is. Hard at work. Look, I'm glad you called. Can I come in?
Prue: Sure.
Jack: (thinking) Stay focused, get it over with.
(Piper enters.)
Prue: (thinking) Freeze him.
(Piper freezes him.)
Piper: The dagger, his hand. Just cut him, poke him.
(Prue gets the dagger and cuts him.)
Prue: He's not bleeding.
Piper: He's frozen.
Prue: Ugh, yeah, okay, okay, okay. Wait a minute. (She hides the dagger.) Okay.
(The door opens and hits Piper.)
Piper: Oh!
(Another Jack enters.)
Jack #2: Hey! Any survivors?
(Jack #2 walks next to Jack #1. Piper freezes him.)
Prue: Okay, there's two of them.
Piper: Twin warlocks?
Prue: Or, maybe they're just twins. Okay you unfreeze them, if that prick doesn't bleed, then that one's d*ad too.
Piper: Alright.
Prue: Right, let them go.
(Piper unfreezes them.)
Jack #1: Ow!
Jack #2: What's the matter? She bite you?
Jack #1: Your shouldn't be here.
Jack #2: Come on man. I couldn't let you take all the blame.
Piper: He's bleeding.
Prue: Alright, this is my sister, Piper, which one of you jerks is Jack?
Jack #1: Uh, I'm the jerk. This is my twin brother, Jeff.
Jeff: Nice to meet you. Look, sorry for the little tap dance earlier.
Prue: So, what exactly was it that you guys were trying to prove?
Jack: It's just a little something we used to do growing Up.
Jeff: Yeah, so, you know when one of us would take an interest in someone
Jack: Don't get the wrong idea.
Piper: So, you'd send the other one to check out the merchandise, sort of kick the tyres?
Jeff: Crude but accurate.
Prue: (thinking) Still doesn't explain why he wanted to k*ll me.
Piper: So, uh, Jeff, what is it that you do for a living?
Jack: Oh, great, this should be a conversation stopper.
Jeff: I own a mortuary. Actually, a whole chain of them.
Piper: (to Prue) Mortuaries.
Prue: (to Piper) Put them in graves, set them on f*re.
Piper: Mmm hmm.
Prue: You know, you two should be ashamed of yourselves. (She walks up to Jack and slaps him across the face.) That's for thinking you could get away with it. (Jeff laughs. Prue slaps him too.) And that's for thinking you wouldn't get slapped. Piper. (They leave.)
Jeff: I approve.
[Scene: Manor. Eric is sitting at a table. Phoebe brings out some tea and pours it in two cups.]
Eric: How did you know to be there to help me.
Phoebe: Uh, it's a long story.
Eric: Shorten it.
Phoebe: I have this gift. I sort of know when things are gonna happen. If there's gonna be trouble.
Eric: How?
Phoebe: Just something I was born with.
Eric: So, you don't work for some government agency?
Phoebe: No, I'm just a girl. Now, let me ask you a question. This thing that you did, translating this ancient code or whatever. Why did you do it?
Eric: I did it for my father.
Phoebe: To finish his work?
Eric: People hurt him and I wanted to find out who and I want to get even.
Phoebe: Even out the risk of them hurting you?
Eric: He's my dad. I love him and if I can't have him back, I want justice.
Phoebe: I envy you.
Eric: You're not close to your folks?
Phoebe: My mum is d*ad.
Eric: I'm sorry.
Phoebe: And my dad is gone.
Eric: You don't know where he is?
Phoebe: I'm not really that interested.
Eric: I don't understand that.
Phoebe: You don't know my dad.
Eric: Do you?
Phoebe: No, I never got the chance to unfortunately. Okay, I'm a sucker for family. Follow me.
(They walk out the room.)
[Cut to the foyer. Prue and Piper enter.]
Piper: (Calling out to Phoebe) Jack's not a warlock.
Prue: He's a jerk.
(Phoebe and Eric enter the foyer.)
Phoebe: We're going to the hospital. We've got to get Eric's dad out of there and keep him someplace safe. Come on.
[Scene: Hospital. Prue, Piper and Phoebe enter it. The place is deserted. The phone rings at the reception desk.]
Piper: Where is everybody? Did you bring that dagger?
Prue: Yep.
(Eric walks up to the desk and sees the receptionist lying on the floor. Eric runs down the hallway.)
Phoebe: Eric, wait.
[Cut to Eric's dad's room.]
Eric: Dad, we gotta get you outta here.
(Prue, Piper and Phoebe enter.)
Phoebe: Eric
Eric: I'm getting him outta here, Phoebe. (Dr. Stone and the collector blink in the room. Prue uses her power and they fly up against the wall. The two collectors disappear.) What's going on?
Prue: Later.
Phoebe: Get him. We gotta get outta here.
Eric: Where'd they go.
Dr. Stone: Looking for that? (He holds up the dagger. He disappears.)
Prue: He's got the dagger.
[Cut back in the room. Prue walks outside and gets a wheelchair Dr. Stone appears behind Piper, grabs her hair and puts the dagger near her neck. The other Collector appears behind Eric and grabs him.]
Phoebe: Piper!
(Prue comes back in the room.)
Dr. Stone: Move and she dies.
(Phoebe grabs a vase of flowers and hits Dr. Stone over the head. He lets go of Piper and falls to the ground. Prue uses her powers and releases Eric from the Collectors grip. Dr. Stone blinks and appears next to Eric's dad. Prue gets ready to throw the dagger at them and they hold onto Eric's dad and blinks out of the room.)
Eric: Dad?
Commercial Break
[Scene: Outside the Hospital. Eric's running down the stairs. Prue, Piper and Phoebe are chasing him.]
Phoebe: Eric! Eric, we still want to help you. Nothing has changed. (Eric stops running.)
Eric: No, everything has changed. Some kind of monster's just took my dad.
Phoebe: They're called warlocks.
Eric: Warlocks? What does that make the three of you?
Phoebe: Witches.
Eric: Forgive me, but what you're saying is insane.
Prue: Eric, you believe in the Akashic Records and all the power they represent, right?
Eric: Yeah, I guess.
Piper: Well, most people think that's a myth.
Prue: But you now know that it isn't, so isn't it possible that other things like witches and warlocks actually do exist?
Eric: Maybe, but why would warlocks want my dad?
Prue: They're probably gonna offer you a trade. Your dad for what's in your head.
Piper: And they can appear anytime, any place, which is why we need to get you back to the manor and you'll be safer than anywhere else.
Phoebe: Okay, look, Eric. I am the same girl you met at the hospital a few weeks ago. The only thing that's changed is now you know our secret.
Eric: It's one hell of a secret.
Phoebe: Yeah, and I trust you with it. So please, trust me in return. Look, if we're gonna save your father, we have to keep you safe until we figure out what we're gonna do.
Eric: You do that. I have another idea.
(He walks off.)
Phoebe: Okay, I'm gonna go get him, you two get home.
(She runs off.)
Prue: Do we have to protect him?
Piper: He is pissing me off.
[Cut to the museum. Eric is getting a f*re extinguisher.]
Phoebe: Eric, what are you doing?
Eric: You'll see.
(They start walking through the museum.)
Phoebe: We shouldn't be out in the open like this. It's not safe.
Eric: Then go. I have something I have to do.
Phoebe: What? What do you have to do? Get busted, Eric. (They walk up to the map stone.) Wow, that's the map stone isn't it?
Eric: You know, my father thought it would be so wonderful translating it. A gift of knowledge, to usher the world into the new millennium.
(He gets ready to break the glass. Phoebe stops him.)
Phoebe: Whoa, whoa, whoa. What are you doing?
Eric: If the Akashic Records are everything you say they are, they're not a gift. I mean, the Warlocks shouldn't have that knowledge and neither should the rest of us. With all the knowledge revealed, we could have no free will.
Phoebe: And no world as we know it.
Eric: Maybe no world at all. (Eric smashes the glass cabinet with the f*re extinguisher. The alarm goes off. Eric gets the map stone out and throws it on the ground. It smashes. Everyone stands there shocked.) Now no one else will ever be able to translate the map. The only place of longitude as this is in my head. (They run off.)
A Guy: I'll get security.
[Scene: Manor. Prue and Piper are walking up the stairs.]
Piper: Poor Eric.
Prue: He'll be okay, we'll figure this out.
Piper: Yeah, in the meantime warlocks have his father, I can't imagine how helpless he must feel.
Prue: I can.
(They walk in the attic.)
Piper: Prue, a warlock didn't take our father.
Prue: No, he left on his own.
Piper: Do you miss him?
Prue: I didn't say that.
Piper: Do you think about him?
Prue: Why? (Prue starts looking through the Book of Shadows.)
Piper: Because I'm wondering if I'm the only one who does.
Prue: No, you're not.
Piper: So you miss him.
Prue: I miss who he should've been and I miss who he never was but I don't miss him.
Piper: I do.
Prue: Right, can we get to work.
Piper: Okay, let's save someone else's father instead.
Prue: The only way to protect Eric is to take the information out of his brain forever. The spell is right here.
Piper: Ah, but if we do that, Eric won't have anything to offer the warlock and they'll be furious and they'll k*ll his dad.
Prue: Eric is innocent. Our priority is him.
Piper: Yeah, but they're both innocents.
Prue: Piper, I hope it doesn't come to this but we may have to make a choice.
Piper: Why? I mean, there's gotta be another way with all the hocus pocus we have.
Prue: Still may not be enough. I mean, we're talking about the future, everyone's future.
Piper: So we have to sacrifice Eric's dad?
Prue: For the greater food.
Piper: Man, you can dress it up anyway you want, it still stinks.
Prue: You know what? It sucks.
(The doorbell rings.)
Piper: Oh, that's Dan. I gotta deal with him. You gotta figure out what we're gonna say to Phoebe.
[Cut to the foyer. Piper opens the door.]
Dan: You ready to go? (thinking) Oh man, she's not coming.
Piper: Dan, look, I wanna go, I really do, I'm just not quite ready yet!
(Phoebe enters the foyer.)
Phoebe: Piper, any word from the
(She sees Dan.) pizza guy? Hi Dan, we ordered pizza, would you like to stay for pizza?
Dan: (thinking) No, I wanna go with her. But what's the point?
Piper: Okay, okay, I know what you're thinking
Phoebe: (thinking) Piper!
Piper: But I can be ready on time.
Dan: Okay, well, I have to leave in an hour or I'm gonna be late for the wedding rehearsals so the car's gonna leave the driveway at six. Hope to see you then.
Piper: Okay. (She closed the door.)
Dan: (thinking) Someday, someway, somehow, I'm gonna make it through that damn door.
[Cut back to inside.]
Eric: Have the warlocks made contact yet?
Piper: Uh, no. Not yet. (Prue enters the foyer.) Where have you guys been?
Phoebe: Well, Eric destroyed the map stone so we're covered there. Did you guys find anything in the book?
Piper: (thinking) You tell her. I've broken enough hearts this afternoon.
Prue: We'll both tell her.
Piper: Uh, why don't you check your messages at home. Maybe they've tried to contact you there.
Eric: Okay.
(He goes in the other room.)
Phoebe: What's going on?
Piper: Can we talk?
[Cut to the living room. Eric's checking his messages.]
Operator: You have no new messages.
[Cut to the kitchen.]
Phoebe: Wait, you're willing to let Eric's father die?
Piper: We can't risk losing Eric and allow the warlocks to gain future knowledge.
Phoebe: But not at the expense of his father. We have to save him.
Prue: Phoebe, we have to save everyone's dad. We have to protect the whole world from these warlocks and we can't do it if they have the records.
Phoebe: So, what am I supposed to tell Eric? That we might have to sacrifice his father? I can't do that, I promised him that we would save him.
(She starts to leave.)
Piper: Phoebe
Phoebe: (thinking) You don't even care. (She turns around.) I'm sorry, I didn't mean that. I don't know why I even thought it.
Prue: Do you want us to tell him?
Phoebe: No, it's something I have to do.
[Cut to the living room. Eric's phone rings. He answers it.]
Eric: Hello?
Dr. Stone: Eric, I assume you know who this is?
Eric: Where's my father?
Dr. Stone: Oh, so you do know. Good.
[Cut to the collectors. Eric's dad is in a wheelchair.]
Dr. Stone: Say hello to Eric, Ben.
(He puts the phone up to Ben's ear.)
Ben: Son?
Eric: Dad?
Ben: I feel so odd.
Eric: Dad.
(The collector puts his needle finger in Ben's head.)
Dr. Stone: Oh, he's gone, Eric. But I can bring him back and give him to you. All I want in exchange is what's in ;your head.
Eric: Where can I find you?
Dr. Stone: The Oak Grove, the west end of Golden Gate Park. Half an hour. Alone. Without the witches.
(Phoebe comes in.)
Phoebe: Eric? (Eric hangs up.) Any messages?
Eric: Uh, no, not yet.
Phoebe: Eric
Eric: Listen, before you say another word, I just want to say thank you for everything that you've done for my father. For everything you'd tried to do. Are you sure you're not an angel?
Phoebe: No, I'm no angel. I could probably introduce you to one though.
Eric: It's a shame your father is not a part of your life. He would be so proud of you.
Phoebe: Uh, Eric, I-I need to talk to you about you and your dad.
Eric: Okay. Maybe we should have another cup of tea first.
Phoebe: Okay, I'll go get it.
Eric: Thanks.
(She goes in the kitchen. Eric starts walking towards the door. Prue and Piper come in.)
Piper: Eric, where are you going?
Eric: Uh, I'm just gonna go out and get some air. (thinking) The Oak Grove, Golden Gate Park.
Prue: Phoebe!
(Eric leaves. Phoebe comes in.)
Phoebe: Where is he going?
Piper: He was thinking Golden Gate Park.
Phoebe: Oh my God, the warlocks must of contacted him.
Commercial Break
[Scene: Golden Gate park. Prue, Piper and Phoebe get out of the car.]
Prue: Alright, there are oak trees everywhere.
Phoebe: (thinking) What if we're too late?
Piper: Phoebe, stop thinking that.
Phoebe: Will you get out of my head please.
Prue: Alright, the Book Of Shadows said that their hunger is their all, so there must be a way to use the knowledge that they require against them.
Piper: Or use their greed to trap them.
Prue: Yeah, well, if all else fails, then we'll freeze them and move them long along for Eric to get away.
Phoebe: And save his father. Right? Look, it just seems to me that we should do everything we possibly can to reunite Eric with his father. I mean, imagine a dad who actually wants to be with his father.
Prue: Pheebs, we'll do our best.
Phoebe: Okay, then we should split up. The first one that sees him hollers.
(They all walk of in different directions.)
[Cut to Prue. She's walking along and then a peacock makes a noise and runs past her. It scares her, she screams and puts her fists up. She calms herself down and continues walking.]
[Cut to Eric. He sees the collectors with his dad.]
Eric: Dad!
Dr. Stone: That's close enough, Eric. I can restore him or I can k*ll him, Eric. That choice is mine.
Eric: Restore him or you don't get what you want. That choice is mine.
Dr. Stone: No, no, no. You can't bargain, Eric. We're in control here.
Eric: Let's check again. (He lifts up his shirt and there's a g*n in his pants.) Who's got the upper hand?
Collector: Haven't you been paying attention? That g*n won't do anything to us.
Eric: No, but it'll blow my head off and if I do that, you won't get the second half of the map. Restore him. (He holds the g*n up to his head.) Now! (The Collector puts his needle finger in Eric's dad's head and restores him.) Dad?
Ben: Son? Eric, what are you doing?
Eric: Dad. (Eric starts walking towards him. Dr. Stone disappears and reappears behind Eric. He grabs Eric and sticks the needle finger in Eric's head.)
Dr. Stone: Goodbye now, Eric. Like I said, we're in control.
(Phoebe sees them, runs up to Dr. Stone and kicks him. He falls to the ground. The other Collector walks up behind Phoebe and sticks his needle finger in her head. Prue finds them, uses her power and the Collector goes flying and hits the ground. Prue runs over to Phoebe.)
Prue: Phoebe. (Piper finds them. Dr. Stone disappears and the Collector stands up.)
Piper: Prue, watch out.
Collector: That's right, witches, come and get me. (thinking) Don't blink. Keep them focused on me. Let him surprise them from behind.
Prue: (thinking) Don't freeze him.
Piper: (thinking) Why not?
Prue: (thinking) Didn't you hear his thoughts? He's playing decoy. Let him think that it's working. (Dr. Stone appears behind Prue. Piper freezes them. Prue moves them closer together with their fingers near their heads. Piper unfreezes them and the Collectors' fingers go inside each other's heads. They disappear.)
Prue: You know, they really shouldn't of given us the finger.
Piper: You read my mind.
(Phoebe wakes up. Prue and Piper walk over to her.)
Phoebe: Prue. Piper.
Piper: Are you okay?
Phoebe: I think so. What are we doing in the park? (Eric and his dad start waking up.) Who are those people?
Prue: You don't recognise Eric?
Phoebe: No. Why? Should I? Should I?
Piper: What's the last thing you remember?
Phoebe: The Halloween party.
(They help her up.)
Piper: That was three weeks ago.
Phoebe: Oh.
Prue: (to Eric) Are you alright?
(She helps him up.)
Eric: Yeah, I'm fine. I'm just a little confused. What am I doing here?
Piper: You don't recognize her?
Eric: No (to Phoebe) I think I've seen you at the hospital.
Phoebe: Who's the cute guy?
Piper: Shh
(Prue helps his dad up.)
Eric: Dad?
Ben: Eric.
Eric: Oh my God, you're better.
Ben: What's going on? What's happening?
Eric: I don't know.
Phoebe: Did we do something good?
Prue: You did something incredible.
(Eric and his dad hug.)
[Scene: Manor. Prue and Piper are running down the stairs. Piper's carrying a bag.]
Prue: Okay, what am I thinking?
Piper: That Dan's gonna leave without me.
Prue: Nope. Good, the spell's reversed.
Piper: What a relief. (They walk in the foyer.) I think we've proven beyond a shadow of a doubt, that man and especially woman, aren't meant to hear each others thoughts. (She puts on her coat.)
Prue: Definitely. Too much knowledge whether it comes from the Akashic Records or other peoples heads is just dangerous stuff.
Piper: So, what were you thinking?
Prue: I was thinking what a shame it was that Phoebe finally met a nice guy and she's not even gonna remember it.
(The door opens and Phoebe walks in carrying a bunch of flowers.)
Phoebe: Hi!
Prue: Hi. Ah, they're gorgeous.
Phoebe: They're for you. The florist left them on the porch but there's no card.
Prue: They're huge.
Piper: They're expensive.
(A phone rings.)
Prue: And they're ringing. (She finds a phone in the flowers.) Hello? (She walks into the living room.)
Piper: Dan! He's leaving without me.
Phoebe: Well, don't just stand there. Freeze him.
Piper: Oh, right. (Piper freezes him.) I gotta go. (She leaves.)
Phoebe: That's such a nifty little power.
(She walks into the living room. Prue's there trying to answer the phone. Phoebe sits on the same couch as Prue.) Oh, honey. (She takes the phone and flips it open. Prue laughs.)
Prue: Hello?
(Phoebe puts her ear up against the phone as well to try and listen.)
Jack: At last. I've been calling you every twenty minutes for the last hour. Do you like the flowers?
Prue: Jack, what do you want?
Jack: You know, you are a very suspicious woman.
Prue: No, I just like to think of it as careful.
Jack: Oh, come on, Prue. Are you saying you've been totally honest with me?
(Phoebe starts making noises into the phone.)
Prue: Jack, I can't hear you. The phones breaking up.
Jack: I just, I wanted to apologize. Can I take you to dinner?
(Phoebe shakes her head.)
Prue: I don't think so.
Jack: Come on, let me buy you a drink.
(Phoebe shakes her head.)
Prue: I don't think so.
Jack: Well, can I at least get my phone back?
(Prue and Phoebe look at each other.)
Prue: I don't think so. (Prue hangs up. They start laughing.)
Phoebe: Ooh, I like it.
(Phoebe takes the phone and starts dialing a number.)
Prue: What are you doing?
Phoebe: I'm calling Tokyo. Konnichi wa.
Commercial Break
[Scene: Hospital. A room. Phoebe's there putting magazines and flowers on a table. Eric enters.]
Eric: Excuse me. I'm looking for a doctor Swinsley. I need him to sigh some insurance papers. I was told he would be in here.
Phoebe: Uh, yeah, he actually just took Mrs. Bruhn to the sun room. You could probably catch him there.
Eric: Great. Thanks. You're Phoebe, right? I'm Eric Bragg. I think I saw you the other day at the park.
Phoebe: Right, right, how's your father?
Eric: Oh, he's better thanks. He's almost back to his old self. I remember, you were really sweet to him when he was in here. Not many people would of bothered. You must be an angel.
Phoebe: No, I'm no angel. But I could probably introduce you to one if you like.
(They smile.)
Eric: You know, I just realized I have no idea where the sun room is.
Phoebe: Uh, it's kind of complicated, maybe I should draw you a map.
(They look at each other as though the word map, rings a bell.)
End | {"type": "series", "show": "Charmed", "episode": "02x07 - They're Everywhere"} | foreverdreaming |
Written by: Chris Levinson and Zack Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Camp Skylark. Prue is standing there looking out at the lake. She starts remembering about her mother's death.]
[In the flashback: It's at Camp Skylark. You hear sirens. There's police cars and an ambulance there. You see Patty lying on the dock in a body bag with three people kneeled down next to her.
Medic: Third drowning this year.
Policeman: Anyone see it happen?
Some guy: Is that her little girl? Get her away from here. We don't want her to see her mum like this.
(You see little Prue standing on the dock.)
Little Prue: Mummy!
(A guy runs up to her.)
Guy: Are you Prue? Your Grams said we'd find you. Why don't you come back inside with me, okay?
(They guy picks her up and carries her off the dock.)
Little Prue: Mummy! Mummy!]
[The flashback finishes. Tears are running down Prue's face. Her phone rings and she answers it.]
Prue: Hello?
Piper: Prue, are you still on the road?
Prue: Oh, yeah, traffic's insane.
Piper: Some guy called from Bucklands. I thought you'd be back from the estate sale already. I was just calling to see if you and my car were okay.
Prue: Yeah, we're fine.
(The phone beeps.)
Piper: Oh, that's um, that's probably Dan.
Prue: You know, he does live like twenty feet away. You guys could get walkie talkies, two cans, a string.
Piper: Point taken, mum.
Prue: Um, alright, go talk to your boy, I'll see you later.
(Prue hangs up. She starts walking towards the dock. She stands on the edge of it. She sees a guy in a canoe and the water starts bubbling next to it. He falls out and Prue runs along the edge of the water. The guy tries to get out of the water but can't. Another guy runs up to Prue.)
Man: No, it's too late. It's already taken him.
Prue: Just call 911.
Opening Credits
[Scene: Manor. Piper's on the phone talking to Dan. She runs down the stairs into the kitchen. Phoebe's there reading the paper. Piper sits down at the table and pours cereal into a bowl.]
Piper: Pouring.
[Cut to Dan. He's eating Froot Loops.]
Dan: Uh, chewing.
[Cut back to Piper.]
Piper: I can't believe you eat that stuff.
Phoebe: You guys are k*lling me with cuteness over here.
Piper: (to Phoebe) Don't you have somewhere to be, somewhere very far away. (Phoebe moves closer.)
Dan: What do you say tomorrow, when Jenny's at school, we have breakfast for real?
Piper: I'll take what I can get.
Phoebe: Nausea. (Prue walks in.) Prue, what are you doing home? You told Piper that you were heading into the office.
Prue: Yeah, things changed.
Piper: Uh, Dan, I have to call you back, okay.
Dan: Okay.
(She hangs up.)
Prue: Okay, I saw something or someone drown and it was anything but natural.
Piper: On the freeway?
Prue: No, up at the lake.
Phoebe: Oh, wait a minute. The lake as in the lake, where mum was k*lled?
Piper: You said you were stuck in traffic.
Prue: Yeah, I was after the lake. I just go there sometimes to think.
Phoebe: You never told us that.
(They walk past the dining room and up the stairs.)
Prue: Because I didn't want to make a big deal about it. Anyway, this isn't about mum, alright. I saw someone get pulled under, I tried to help him but this man stopped me and said "Its already taken him."
Piper: Do you think he knows what happened?
Prue: Could. (They walk in Prue's room.) Which means I need to get to Bucklands to drop stuff off and get back to that lake.
Phoebe: Wait a minute, Prue, aren't you kind of missing the point? How can you think that what ever you saw didn't have something to do with how mum died?
Prue: Look, we need to stop worrying about the past and start dealing with the present. They're re-opening camp.
Phoebe: I thought they closed it the summer that mum
Prue: Exactly. And no one has been allowed in the lake since and if there's something in it, k*lling, then the last thing we need is a lake full of kids.
Phoebe: Well, how do we find the guy that stopped you?
Piper: What about the woman who used to run the camp? Mrs. Johnson. If she's still up there, she'll probably know who he is.
Prue: She's still there, same cabin.
Phoebe: I guess you go up there to think a lot.
Prue: I'll meet you guys up at the lake. I should be there in an hour. (She leaves.)
Phoebe: Do you really think the things she saw has nothing to do with how mum died?
Piper: Nope. You?
Phoebe: Not a chance.
[Scene: Bucklands. Prue walks in her office and Jack's sitting at her desk.]
Prue: What are you doing here?
Jack: Pondering the possibilities.
Prue: Of?
Jack: Redecoration. Where's your flair in this place? Panache? The Prue?
Prue: What? Well, I don't think that's any of your business, Jack. Now, if you don't mind, I have a lot of work to do, so perhaps you could go annoy somebody down the hall.
Jack: Actually already did. Signed the dotted line, they sent me to my office.
Prue: Your office?
Jack: Well, it's only temporarily of course until mine is ready.
Prue: Wait, you think that you're working here?
Jack: Well, you said we couldn't date and work together so since you won't date me, one out of the two will have to do.
(She notices him wearing tight red shorts.)
Prue: And you consider that proper work attire?
Jack: Hey, if you can get away with wearing that, I can certainly get away with wearing this. And no wonder no one gets any work done around here, you look wooow!
Prue: Flattery will get you nowhere.
Jack: Well, got me this job.
Prue: Okay, look, I have to go take care of some personal things, so until I get back let's just employ a hands off policy, meaning don't touch anything.
Jack: Tell you what. Take your time, I'll sit back here and make myself comfy. (He leans back in the chair and falls backwards on the floor.)
Prue: Really nice form, but the dismount could use a little work.
Jack: Meant to do that.
(She leaves.)
[Scene: The lake. Mrs. Johnson's place. Phoebe's looking at a photo and Mrs. Johnson brings in some cookies.]
Mrs. Johnson: Well, I'm finding it hard to believe enough times gone by for you to of grown up so much. Here. (She hands Piper the plate of cookies.)
Phoebe: Aww, look at little Prue. Nice pigtails Piper. (She laughs.)
Piper: Not fair.
Phoebe: No, what's not fair is that I never got to go to camp with you guys.
(She grabs the plate off Piper and starts eating a cookie.)
Piper: Um, we heard you were thinking of opening up the camp again.
Mrs. Johnson: Oh, was. I thought it was over and then today another drowning. I can't ask the campers to go swimming in the lake when
Piper: Um, we were wondering if you might help us with something. Prue was up here the other day and she mentioned a man, um, older, a bit off.
Phoebe: I think the word that she used was crazy.
Piper: We were wondering if you might know who he is.
Mrs. Johnson: Oh, Sam. Only one it could be. The man's not wired together properly. He showed up when the drownings started. He just stayed here, no friends, no life of his own. You know, with someone like that, you have to wonder what he's capable of. (Piper and Phoebe look at each other.
[Cut to outside. Prue pulls up in Piper's car. She gets out and stares out at the lake. Piper, Phoebe and Mrs. Johnson walk up to her.]
Piper: Mrs. J., you remember my sister, Prue.
Mrs. Johnson: Oh, Prue, of course I do. It's good to see you. (They hug.) Wow! You're looking more and more like your mother everyday.
Prue: Um, actually it's Piper who resembles her the most.
(There's an awkward silence.)
Phoebe: People see a little of her in each of us, I think.
Mrs. Johnson: Of course. Will you come see me again? The old broad gets lonely up here. I love to see my campers.
Piper: Sure.
Mrs. Johnson: Bye.
Piper: Bye.
Phoebe: Bye. Thank you.
Prue: Bye.
(She goes back up to her house.)
Piper She's not opening the camp, Prue.
Prue: Really, so that means it's just between us and whatever's hiding in that lake. Any word on that crazy guy?
Phoebe: His name is Sam and he lives right
(Prue's phone rings. She answers it.)
Prue: Hello, this is Prue.
Jack: Hey, how's my favourite auctionette?
Prue: Fine, how's my favourite auction-ass?
Jack: Ooh, nice one. Hey, listen, I just wanted to let you know that since you're not here, I'm gonna take your twelve o'clock lunch with Mr. Fugimotto.
Prue: Ah, no, no, no. Wait, Mr. Fugimotto is very particular.
Jack: Prue, would your relax. I will take great care of your client okay. Later. (He hangs up.)
Prue: I just can not figure out what this guy's deal is.
Piper: That's funny, we were just gonna ask you the same thing.
Prue: Excuse me?
Phoebe: Every time someone compares you to mum you flinch. It's a compliment, not a curse.
Prue: Is it? Because every single day, I feel like I'm becoming more and more like her and everyday it terrifies me.
Piper: Prue.
Prue: I mean, don't you guys see it? Look at what happened to her and then look what's happening to me. No successful relationship with guys, being responsible for a family, now because of being this charmed thing, the very real possibility of dying young, it's like history is repeating itself.
Piper: Prue, that's all just...
Prue: Coincidence? I thought that we had figured out that nothing is a coincidence in our lives. Like me being here when that thing att*cked, it's like I was meant to be here.
Piper: Well, you're not exactly meant to be here when you're here every week.
Prue: Alright, look, I just wanna find this Sam guy, see what he knows about the demon, vanquish it and get on with our lives.
[Scene: Later on at the entrance to the camp. Mrs. Johnson is taking down a "Welcome Campers" sign. She hears a boat hitting the dock. She walks on the dock, and over to the boat. She notices it's not tied up and kneels down to tie it up. The water starts bubbling and a man jumps out of the water, grabs Mrs. Johnson and he jumps back in the water.]
[Cut to Sam's place. Prue, Piper and Phoebe enter.]
Phoebe: Sam? Be vewy, vewy quiet. We're hunting demons.
Piper: I guess he's not home.
(Prue looks through some sheets of paper and finds a picture of their mother.)
Prue: Oh my.
Piper: What? What is it?
Prue: What is he doing with a picture of her?
Piper: Who is this guy?
Phoebe: Or what?
(Prue finds some newspapers.)
Prue: Okay, he has articles on every single drowning at the lake.
(Piper finds a certificate.)
Piper: "New York teacher of the year, Sam Wylder." In 1872?
Phoebe: Okay, so this guy is either 127 years old or
Piper: A demon.
Prue: Named Sam? A demon named Sam? I mean, can't it be his grandfather's certificate? After all, he did save me.
(Piper opens a drawer and finds some letters.)
Piper: What are these? I found... (Leo orbs in and scares Piper.) Whoa! Leo, hi, what are you doing here?
Leo: Come on, we gotta get outta here. Sam could be back at any minute.
Prue: Wait, you know Sam?
Leo: Come on, we gotta
Prue: We are not going anywhere until you tell us what you know. Who is Sam?
Leo: Sam was your mum's Whitelighter.
Commercial Break
[Scene: The lake.]
Piper: Sam was mum's whitelighter?
Leo: Emphasis on was. When your mum died, Sam clipped his wings. He's mortal now, but once, yeah he was a whitelighter. He looked after your mother.
Phoebe: Then he lost our mum.
Leo: To the same demon you're fighting now.
Piper: And you knew? This whole time he's been living up here while
Leo: I couldn't tell you. And what would it change? It would only distract you, maybe even gotten you k*lled. I mean, you guys were gonna have to face this thing sooner or later. And I'm here to make sure you do it with a clear head. Emotions will get the best of you if you let them.
Piper: Well, can you really blame us?
Phoebe: Leo, he let our mother die.
Prue: Leo's right, this isn't about mum and it's not about Sam for that matter. It's about a demon who's waiting until tomorrow for brunch to be served.
Piper: Mrs. J's not opening the camp.
Prue: That doesn't end it, it just stalls it.
Leo: You guys are behind and need to catch up. Book of Shadows, get a working knowledge of this demon before you face him.
Phoebe: Hmmm, said like an unfeeling professional. This is personal for us, Leo.
Piper: Leo doesn't do personal anymore, he just does his job.
Leo: Now that I've done it, I guess there's no reason for me to hang around.
(Leo orbs out.)
Phoebe: Okay, he's gone. Now you can explain.
Prue: Explain what?
Phoebe: Why you're acting like all of this doesn't phase you, Prue. We are talking about how our mother was k*lled.
(They hear Mrs. Johnson screaming for help.)
Piper: Is that Mrs. Johnson?
(Piper and Phoebe run on to the dock. Prue stands on the edge.)
Phoebe: Your hand, give me your hand! Prue, what are you doing? We need you. (Prue starts thinking about the day her mother died and when she's in the bodybag.)
Sam: Get off the dock! It's her! It's taken her over!
(Mrs. Johnson goes under the water.)
Phoebe: Oh my God
Sam: Get off the dock now! (Water squirts up in the air and they run off the dock.) Why didn't you listen to me? I told you to stay away from the lake. It only kills in the water. Why didn't you listen to me? Nobody ever listens.
Prue: We know who you are.
Sam: You shouldn't listen to people in town, they'll just tell you I'm crazy but I'm not.
Piper: We know you worked with our mother.
Phoebe: And lost her.
Sam: I knew you'd come. I knew it. And then when I saw you (Prue) it's in your eyes, your mother.
Phoebe: You have no right talking about her. You lost that right when you lost her. Why are we dealing with him?
Piper: Because we need to know what he knows. Sam, you have to tell us about the demon.
Sam: No, no, you can't fight this thing. It's under water but it has a
it-it thinks. You never know where it's gonna be, who it's gonna be. Sometimes it takes over its victim's bodies to lure you to the water. Sometimes it doesn't. Leave now, please! Forget you ever came here. Forget you ever knew.
Prue: How can we do that? I mean, it's out there k*lling. We can't just walk away.
Sam: You really wanna know what I know? I know you're not strong enough or well versed enough in your powers to take this thing on. (to Piper) I know that you have the same power as your mother. The power to freeze. And you know what happened when she tried to use it. (to Prue) And I know you'll let your emotions get in the way, you'll lose focus and you'll lose your life. That's what I know.
Prue: Well, you obviously don't know us that well because we're not leaving.
Sam: Strong, willful, just like Patty.
Prue: I'm nothing like my mother.
Sam: But you're here. Just like she was.
Prue: But we'll b*at it. Now, you have one choice. You can either get on board or get the hell out of the way.
Sam: The power of three. Okay, okay. If you're gonna do this then you're gonna need me to help you.
Phoebe: Alright, enough of this. How do we k*ll it?
Sam: You don't. (He blows magical dust at them.) Now, you're gonna go home and you're gonna go directly to bed. Then when you wake up tomorrow you will not remember coming to the lake, or discovering the demon, or meeting me. I can't let it happen again.
[Scene: Manor. It's morning. Prue, Piper and Phoebe walk out of their rooms.]
Prue: I fell asleep, woke up, and suddenly it's Thursday.
Phoebe: I don't feel so good.
(Piper's scratching her arms.)
Prue: Oh! What's that?
Piper: I don't know. I itch everywhere.
Phoebe: It looks like the time Prue got poison ivy.
Piper: But Prue got poison ivy at camp and
(The doorbell rings.)
[Cut to downstairs. Piper answers the door. Dan's standing there holding a tray with bowls of cereal on it. Piper looks confused.]
Dan: You don't look hungry, you look confused, and you're contagious.
Piper: Dan, what are you
?
Dan: Breakfast. Me, you, here, remember?
Piper: Uh, everything's a little hazy this morning.
Dan: Well, is there anything I can do?
(Leo orbs in behind the door.)
Piper: You can hold that thought. (She freezes him and closes the door.)
Leo: What are you doing here?
Piper: What are you doing here? I live here. What, are you checking up on me and Dan? I thought we talked about this.
Leo: It has nothing to do with him. Why aren't you up at the lake?
(Prue and Phoebe walk in the foyer.)
Phoebe: What lake?
Leo: Look, nobody has shut down the camp, so the kids are on their way there now. (Prue, Piper and Phoebe look confused.) He did it didn't he?
Prue: Did what?
Phoebe: Who did what? Who is he?
Leo: Sam, used a power, sort of like a supernatural mickey. He must of gotten it from...
Prue: Mum.
Leo: Good, it's fading. Now, concentrate. It's sort of like remembering a dream. Okay, the lake, the kids, the demon, Sam.
Piper: Sam? Why would he do this to us?
Leo: To keep history from repeating itself.
Piper: Oh, just a sec, you guys scoot. Go, go, go. (Prue and Phoebe walk in the living room. Piper opens the door. Dan unfreezes.) Dan, I know we were supposed to do this this morning, but I'm really not feeling up to it.
Dan: Well, I'll cook while you scratch.
Piper: I can't, there's just some stuff, family stuff going on.
Dan: Say no more. I completely understand.
Piper: I'd kiss you but
Dan: But you're contagious. Tomorrow. I'm just glad you can tell me things.
Piper: Well, I feel like I can tell you anything. (Dan leaves. Piper closes the door.) Except that there's a demon.
Leo: And that you're a witch. (Piper looks at him.) Sorry, that was
Piper: The truth.
(Prue and Phoebe come back in.)
Phoebe: We should go get dressed.
Prue: The only place you will be going, contagious girl, is back to bed.
Piper: But
Prue: But nothing. You just look in the Book of Shadows for this things Achilles heel.
Piper: But what if there isn't one?
Phoebe: Then we're screwed.
Commercial Break
[Scene: The lake. Prue and Phoebe pull up in the car. They get out.]
Phoebe: How are we doing in the plan part?
Prue: I think that I just got one.
Phoebe: I love when you take charge.
Prue: Okay, you know that powder that Sam used on us? Maybe we should use it on the kids. Make them temporarily forget that they want to go in the water.
Phoebe: And that'll keep them safe until we find out how to dehydrate this bastard.
Prue: Perfect.
Phoebe: Oh! (They see the kids playing near the water.) Pre-pubescent demon food.
Prue: Okay, go keep them out of the water. Tell them anything. I'll deal with Sam.
(Phoebe runs over to them.)
[Cut to Sam's place. Prue enters. Sam's sharpening an axe.]
Sam: I knew I should've given you a stronger dose.
Prue: Not only did you put my sisters and me in danger but you risked innocents lives. How could you?
Sam: I did what I had to do to protect you and your sisters.
Prue: Not that. This. All these years. How could you just sit here and watch them die? People that you were meant to protect.
Sam: Well, in case you didn't get the memo, I'm not one of the good guys anymore.
Prue: Part of you is. Part of you always will be.
Sam: I've done nothing but make your life difficult. What makes you so sure?
Prue: Because you saved me. You still have Whitelighter instincts Sam. You may have clipped your wings but this still gets you, it matters.
Sam: What matters most was taken from me twenty years ago.
Prue: Then we have something in common.
Sam: You think I choose to stay here, to watch? That, that I'd get my kicks this way? I've been waiting for you.
Prue: Why?
Sam: I knew you'd come, and I had to be here to stop you. To, to save you.
Prue: Because you couldn't save mum. Sam, I need the powder and then I'm gonna need for you to tell me how mum was gonna vanquish this thing. If you're gonna defeat your demon, Sam, then you're gonna have to help us defeat the one out there. We need your help.
(Sam opens a drawer and gets out the powder.)
Sam: I'll try to face mine. The question is can you face yours?
[Scene: Manor. Kitchen. Leo's got his hands above the Book of Shadows and the pages are flipping by themselves. He gives up and Piper enters carrying a washing basket.]
Leo: I can't find anything.
Piper: Well, then you don't have to stay with me. Looks of sympathy are not part of your job description.
Leo: No.
Piper: Um, why didn't your healing touch work? I mean, what, you can save a life but you can't cure poison ivy?
Leo: It's not really up to me. I can only heal when they allow me to, when I'm meant to.
Piper: Well, why weren't you meant to help me? Why wouldn't I be meant to help my sisters?
Leo: There's always a reason. Maybe you're meant to be here.
(Piper searches through the washing and finds some letters.)
Piper: Dear Sam? Leo.
Leo: What is it?
Piper: Letters that my mum wrote to Sam. I must've forgotten about them because of the powder. "Dear Sam, Where are you? It's been two weeks since you were last here and I wonder are you alright. Do they have you off guiding someone? And I wonder when they will send you back to San Francisco. To me.
Leo: Is this a
Piper: A love letter?
[Scene: The lake. Phoebe and the kids are in some room.]
Phoebe: Okay, how about Red Rover?
Kids: Boo!
Phoebe: Alright, alright, how about Thumbs Up, Seven Up?
Kids: Boo!
Phoebe: Ooh, ooh! Lanyards.
Kid #1: This sucks. We wanna go swimming
Kids: Yeah!
(Prue enters.)
Prue: Oh, shh, shh.
(They stop cheering.)
Phoebe: Oh, you know, I could've done that. Did you get the powder?
Prue: Oh, I got rather more. (Sam enters.)
Phoebe: Your didn't have to bring him.
Prue: Yes I did.
(Prue's phone rings.)
Phoebe: Okay, you go deal with that, I'll take care of this.
Prue: Okay. (She walks outside and answers it.) Piper.
Jack: Piper? I hardly know her.
Prue: Jack, I'm sort of in the middle of something.
Jack: Yada, yada, yada. Look, I'm gonna conference Mr. Fugimotto about the carousel horse okay. Hold on.
Prue: Uh, no, no, no, wait.
Mr. Fugimotto: Hello?
Prue: Mr. Fugimotto, hi.
Mr. Fugimotto: Miss Halliwell, have you seen it?
Prue: I'm looking at the object right now.
Mr. Fujimotto: How is it?
Prue: Um, well, yeah, you can tell by the jewel choker that it's an original carousel horse from the 1939 World Fair in New York City and
Jack: Oh, and Mr. Fugimotto, there's another thing you should probably know about the piece. (He starts talking in Japanese. Then Mr. Fujimotto talks in Japanese.) Okay, good. I'll have the paperwork sent over today. Alright, bye.
Prue: So, who are you crediting as the sales agent, Jack?
Jack: Prue, do you not trust me?
(Prue hangs up.)
[Cut to inside. Phoebe blows the powder on to the kids.]
Phoebe: Okay, now remember kids, on your way to bed, water bad, land good, water bad, land good.
Commercial Break
[Scene: Manor. Piper and Leo are sitting in the cane chairs. They're reading the letters.]
Piper: "Sam, yes you were clear. My eyes were open to the difficulties, the risks, but my answer is the same as it was when you were still here with me. No one understands me the way you do, no one can."
Leo: "What I wouldn't do for what other people consider ordinary. A conversation that gets finished, a night spent uninterrupted. A night with you."
Piper: It's like I could've written these.
Leo: I wish you had.
Piper: What would it have changed? Looks like this one is about our water demon. "You can't be with me up at the lake. This demon is too strong and I can't risk losing you, not for myself or the others you protect. They must as always come first. You know I'd never face this demon if I didn't think I'd be home in time for dinner to see my girls, to see you." She never came home. When did this happen? Where was dad?
Leo: Your sisters need to know about Sam, your mum, Piper.
Piper: And if this demon is as strong as she thought, then they're going to need me but how do we get there in time to
Can you? I mean, is that breaking the rules?
Leo: What rules haven't we already broken? I'll have to hold you.
(Leo holds Piper and they orb out.)
[Cut to the lake.]
Prue: It's time Sam. We need to know. How was mum gonna vanquish it?
Sam: I don't know. I failed, I lost her, isn't that enough?
(Leo and Piper appear.)
Piper: Whoa, that felt really
alright, oh, laying down now. (She sits down on a chair.)
Prue: What are you doing here?
Piper: He loved her.
Prue: What? Who loved who? What is she talking about?
Leo: Sam. Found the letters, Sam.
Sam: Patty and I
Piper: Fell in love.
Leo: In the letters she told you to stay away. Not to go to the lake.
Sam: But I did. I wouldn't have for anyone else. But I should've followed the rules, not fallen in love. I never would've been there. I never would've distracted her and she never would've died.
Phoebe: You loved her and you blame yourself.
Sam: Do you blame me? Everyday I wake up and for just a second, just a second I think maybe it didn't happen. Yes I blame myself.
Prue: We have to see past our emotions to deal with this, Sam. So do you.
Sam: Even so, it doesn't change the fact that I didn't see it happen. I tried to warn her and she froze me.
Leo: Why?
Piper: Because she was trying to protect him.
Sam: Protecting was supposed to be my job. I couldn't help her, I don't know how I can help you, I didn't see what happened.
Prue: I know somebody who can see anything.
Phoebe: Oh, no. Wait a minute. You tiptoe around the subject of mum, you deny looking like her, you can't even go to the end of that dock because you're afraid to walk in her footsteps and now you want me to relive her last moments? How is that fair?
Prue: It's not. None of this is. Mum's death, Sam's guilt. But I'm asking you to help me end it.
(Phoebe walks over and holds Sam's hands. She has a premonition. In the premonition: Patty's on the dock. She grabs a power cable. Sam comes running towards her.)
Sam: Patty, look out!
(Patty freezes him. The water demon raises up and a whole heap of water falls on top of her. The premonition ends and Phoebe starts coughing.)
Piper: Did you see her?
Phoebe: It entered her and it drowned her from the inside.
Prue: Phoebe, in your vision, what was mum doing?
Phoebe: She was using something on the dock. Some... a wire?
Leo: Power cable?
Piper: Makes sense. Electricity is the only thing that separates water particles.
Phoebe: So, what do we do differently?
Prue: Maybe nothing. Sam, would mum's plan have worked if she had finished it?
Sam: Absolutely.
Piper: But you said her power, my power, doesn't work against this demon.
Phoebe: So that's it. We use mum's plan with one difference. The witch at the end of the dock is not gonna be the one with the power to freeze.
Prue: It's gonna be me.
Commercial Break
[Scene: The lake.]
Piper: Are you ready?
Prue: Yeah.
Sam: You don't have to do this.
Prue: Yes, I do.
Phoebe: Just focus on the demon, not what this is about.
Prue: Right.
Sam: Forgot how good this feels.
(She starts walking to the dock.)
Leo: Really? How's it feel to be mortal?
Sam: Why would you want to know? (Prue's standing on the start of the dock. Sam walks up to her.) Let's go face our demons. (They walk onto the dock. Prue picks up the power cables.)
Prue: Okay, you in the water. I know that you've been waiting for this. For me. Well, here I am, so come and get me. You took what matters most to me and as long as I live, you will never k*ll again.
(The water starts bubbling.)
Piper: Prue, behind you!
(Phoebe and Piper start running towards the dock.)
Leo: Piper, wait! (Piper freezes Leo.)
(The water demon rises out from under the water.)
Sam: No! Not her! Take me! (It then sweeps over Sam like a wave and enters his body.) Stay back!
(Sam picks up the power cables.) Now! (The power turns on and Sam gets electrocuted. He falls to the ground.)
Prue: No, Sam.
(Phoebe and Piper run up to them. Leo unfreezes.)
Sam: It's gone, it's gone.
Phoebe: Leo, do something.
(Leo tries to heal Sam.)
Prue: What? Why isn't anything happening?
Piper: Because it's not meant to.
Sam: It's okay, it's time to go.
Prue: No.
Sam: I did what I've been waiting to do, I kept it from happening. History won't repeat itself.
Phoebe: But you're going.
Sam: I'm gonna see Patty again. (to Leo) Don't lose her. (Patty's spirit appears.) Patty? Patty?
Prue: Say hi for me, for us.
(Sam's spirit appears next to Patty. They disappear.)
[Scene: Bucklands. Prue enters her office. Jack's there.]
Prue: Um, I have something to say, okay. I have worked at Bucklands for a year and a half and in that time I have survived take overs, near bankruptcy, and superiors from hell who have tried to k*ll me. So, whatever it is that you're planning to do or already done, nothing and I mean nothing will surprise me.
Jack: I just need you to sign this. It's the confirmation sheet on the Fugimotto sale.
(He shows her a sheet of paper.)
Prue: You listed me as the sales agent.
Jack: It was your deal wasn't it?
Prue: You covered for me, I'm surprised. So, um, what do you say as a thank you, I take you to dinner?
Jack: But wouldn't that be breaking one of Prue Halliwell's rules of etiquette?
Prue: I've decided that even though mixing business with pleasure can have its very nasty consequences, it can also bear some fruitful rewards.
Jack: Um, so, what's it gonna be? Nasty or fruitful?
Prue: Well, that depends on how you do at dinner.
Commercial Break
[Scene: Manor. Living room. Phoebe's sticking Patty's letters in a photo album. Piper's sitting on the couch putting stuff on her poison ivy.]
Phoebe: At least fighting this demon came with a consolation prize. I mean, it didn't bring mum back but these brought her closer.
Piper: It's a good idea, Pheebs. Making a journal out of mum's letters.
Phoebe: Yeah, not as good as the real thing though.
Piper: Nothing is. (Leo orbs in near the kitchen. Piper sees him but Phoebe doesn't. He gestures with his head for her to go over there.) Um, tea. You want some tea? I'm gonna go get some.
Phoebe: Sure.
(Piper goes in the kitchen.)
Leo: I don't want to interrupt.
Piper: I think I can steep and talk at the same time. Do you want any?
Leo: It's just this, this whole situation you know, Sam, your mum, those letters. He loved her. Like I love you.
Piper: Leo, we've been through this before, we both know how we feel, but there are things, people involved now.
Leo: Can you tell Dan the truth, Piper?
Piper: That's between him and me. You and I have a job to do and I thought that we agreed to try and put that first.
Leo: So did Sam and your mum. Look at the outcome.
Piper: You're leaving aren't you? For good this time.
Leo: I don't know. But I do know we have to stop working together because I can't stop loving you. Which means I can't do my job.
Piper: And I can't do mine. I don't know how to say goodbye.
Leo: Don't.
(He orbs out. Someone knocks on the back door. Piper opens it. Dan's standing there holding a tray with bowls of cereal on it.)
Piper: Dan, what are you doing at the back door?
Dan: Well, when I knock on the front door I never seem to make it through the thresh hold. Hungry? Are you okay?
Piper: I am just
, I'm fine.
Dan: Are you sure? I mean, you can tell me.
Piper: I know, I'm just not very hungry.
Dan: Come on, give it a try.
(He eats a Froot Loop.)
Piper: Okay, I'll give it a try.
End | {"type": "series", "show": "Charmed", "episode": "02x08 - P3 H2O"} | foreverdreaming |
Teleplay by: Constance M. Burge & Sheryl J. Anderson
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Solarium. Prue's on the phone. Phoebe's sitting at the table eating her breakfast.]
Prue: Alright, I can meet with the Curson Foundation at noon but then well have move my 1:00 lunch regarding the Low estate. That will affect slide presentation and my 4:30 meeting with the new printers. Have you confirmed Mrs. Swansen yet?
Phoebe: The last Tai Kwan class is at seven.
Prue: Okay. I can meet the printers at their office, walk to the Royal Hotel afterwards for my 5:30 with Mrs. Swansen. (to Phoebe) Just have enough time to make it to kick boxing class. (to Moni) Plane doesn't arrive till six?
(Prue's cell/mobile phone rings.)
Phoebe: So much for timo. Oh, that's your phone, I will get it for you.
Prue: Thanks, it's probably Jack.
Phoebe: You don't have time for Jack, literally. (She answers it.) Prue Halliwell's phone. (to Prue) It's Mr. Cauldwell's office.
Prue: The new V.P. Monique, why is Mr. Cauldwell calling me at home? What? Emergency staff meeting. When this morning?
Phoebe: 9:30. Be there or be fired.
Prue: I'm on my way.
Phoebe: Bye. (They hang up.) I am very tired and now I need a nap.
Prue: Yeah, well, I need another me. I don't even have time to have fun anymore.
(Piper enters carrying a bag.)
Phoebe: Oh, look who it is.
Piper: Morning.
Phoebe: Hi. Do you recognize that person?
Prue: I don't know, she looks vaguely familiar. Kind of like a sister we used to have. What was her name? Pi
P
Phoebe: Pi
Pippy?
Prue: Pipper?
Phoebe: Whatever happened to her?
Prue: I don't know. She fell in lust with the next door neighbour, started spending all her time there.
Piper: That's because she could, for the first time in months, her life was nice and calm and normal. I don't even care that it's Friday
Phoebe: Shh! Don't even say it.
Piper: The 13th. See, I said it and nothing happened.
(Suddenly someone starts sh**ting through the windows of the house. They scream and run past the dining room, into the living room. Prue and Phoebe dive behind the couch and Piper stays on the other side of the room.)
Phoebe: I told you not to say it!
Piper: Oh, so this is my fault?
Prue: Run!
Piper: No!
Phoebe: Get your butt over here right
(She runs past the table and freezes the b*ll*ts and glass that's coming towards her. She hides behind the couch. The person stops sh**ting and they peek over the top of the couch and the person starts sh**ting again. They duck behind the couch.)
Prue: Oh, like I need this today. (The person stops sh**ting.)
Phoebe: Since when do demons use b*ll*ts?
Piper: Maybe it's not a demon.
Prue: Who else would want to k*ll us?
Phoebe: Well, you know, you were a little sharp to the mailman yesterday, we all know how testy they can be.
(They hear the door knob on the front door rattling.)
Piper: Freeze.
Phoebe: Kick.
Prue: Send flying.
Phoebe: Okay.
(They wait for the door to open but then a woman comes out of the dining room. She sh**t, Prue uses her power, the b*ll*ts stop in front of them and then flies back to the woman and kills her. Prue, Piper and Phoebe run over to her. The woman is bleeding.)
Prue: Oh, my God, she's not a demon.
Opening Credits
[Scene: Manor. They are looking at all the things that were in the woman's purse.]
Phoebe: Multiple aliases.
Piper: Foreign currency and throwing stars.
(Prue winds up the lipstick and a blade pops up.)
Prue: Not exactly Avon calling.
(Piper finds a key to an apartment.)
Piper: "Sutro Heights Apartments." That's a lit scary. She didn't live too far from here.
Phoebe: What's even scarier is that we've never been att*cked by a mortal before.
Prue: Yeah, I've never k*lled a mortal before either.
Phoebe: Prue, you had no choice.
Prue: Still doesn't make it any easier.
Piper: Does it make it easier if the mortal was a h*t woman?
(Piper's looking at the woman's planner.)
Prue: A list of names. So?
Piper: Yeah, look closer. We're on it. Or at least one of us is. "P. Halliwell" and other that a "M. Steadwell" we're the only other name not crossed off.
Prue: A h*t woman. Someone obviously hired her. (Prue flips through the planner.) Someone who knew we have powers. I mean, look.
Piper: Prue Telekinesis, Piper Power to freeze, Phoebe Negligible.
Phoebe: What? Negligible?
Piper: Well, that explains why she drove us to the front door and surprised us from behind.
Prue: So, why would a demon hire a mortal to k*ll us. It doesn't make sense.
Piper: I just wish we knew about that part of the equation before we called
(Darryl knocks on the door and walks in.)
Prue: Darryl, hi, thanks for coming.
Darryl: To tell you the truth, I'm not sure if I actually want to be here. Depends on whether or not you tell me the truth this time.
Phoebe: Someone tried to k*ll us.
Darryl: Did you see who it was?
Prue: She's in there.
Darryl: She?
(Darryl walks over to her.)
Piper: We were just sorta standing here talking when suddenly she started sh**ting up the place.
Phoebe: A h*t woman we think.
Prue: She obviously wanted us d*ad, we were on her list.
Darryl: And that's why you're standing here alive and she's in here riddled with b*ll*ts.
Prue: It was self defense. You can check her g*n if you don't believe us. The only finger prints you're gonna find on it are hers.
Darryl: Begs the same question. How come she's got the b*ll*ts in her body if you didn't f*re the g*n?
Phoebe: Do you really wanna know, Darryl?
Darryl: Tell me.
Phoebe: We're witches. We have powers.
Piper: And we think that there's a
how do I put this? A demon behind this.
Prue: The only way for us to find out who it is, is if you can keep all of this quiet for as long as possible.
Darryl: Let me see the book.
(Piper hands him the planner.)
Phoebe: There are nine names that are crossed out. Besides us there is only one name that's not crossed out.
Darryl: "Plastique, 10 a.m." Plastique expl*sives. For all we know she's probably got some place already rigged to blow.
Prue: Maybe it's some place M. Steadwell is supposed to be at ten.
(Phoebe looks at Piper's watch.)
Phoebe: Okay, it's after nine already.
Darryl: I'll check the ------, see if I can get an address.
Phoebe: Im gonna go with you.
Piper: Prue and I can go to her apartment and see if we can find anything there.
Prue: After we make a quick stop at Bucklands.
Piper: Are you kidding?
Prue: Can't lose my job.
Phoebe: What do we do with the
Darryl: I can call in a favour and put the body on ice but it's not gonna buy you much time. One day max.
[Scene: Bucklands. In an office. There's a staff meeting there.]
V.P.: As the new regional V.P. of Bucklands auction houses, I'll be implementing a new course of action for the new millennium. (Prue sneaks in and sits down.) The problem is I don't know any of you well enough to know who's worth keeping and who's not.
Jack: (whispering to Prue) You're late, partner.
Prue: (whispering) We are not partners.
Jack: Do you wanna bet?
V.P.: Dark hair. Yeah, the one who tried to sneak in late. What's your name?
Prue: My name? Uh, Prue, Prue-Prue Halliwell.
V.P.: Yeah, right, okay, you'll be partnered with Sheridan there. Every employee in this room and their partner, has until tomorrow night to scour through the obits. Do whatever you have to do to raise $100,000 of auction material. (Prue raises her hand.) Yes.
Prue: By tomorrow?
V.P.: If you want to keep your job. Welcome to the new Bucklands. (He leaves.)
Jack: Whoa. I guess we better clear the decks, huh? You know, Prue, we might even have to work over dinner.
(Piper's standing outside impatiently.)
Prue: Dinner, no.
Jack: Come on, we're in this together aren't we?
Prue: Yeah, but
(Suddenly Prue astral projects outside where Piper's standing.)
Piper: Prue?
(The Prue inside the office is just sitting still with her eyes closed.)
Jack: Prue? (Prue astral projects back into her body.) Prue, have you even heard a word I've said?
Prue: No, I'm feeling a little weird. I'll be, uh
ooh. (She gets up and walks over to Piper.)
Piper: What the hell just happened?
Prue: I don't know. I think it was some sort of astral projection.
Piper: How did you do it?
Prue: I don't know. I just had this desperate need for there to be two of me and all of a sudden there was.
Piper: Do you think this is part of your powers growing?
Prue: Maybe. I mean, if I can move things with my mind, why not my body.
Piper: Well, let's just get out of here before it happens again.
Commercial Break
[Scene: In Darryl's car. Phoebe and Darryl are on their way to M. Steadwell's place. The sirens are on and Darryl's driving really fast.]
Phoebe: Hey, you know, you can ask me anything you want about being a witch.
Darryl: No thanks.
Phoebe: It's actually really cool. We have this book. It's called the Book of Shadows.
Darryl: Too much information, Phoebe.
Phoebe: No, but it's
Darryl: Nothing I want to know about. I'm serious. I don't want anything.
Phoebe: Come on, you don't even know if we can fly or anything like that?
Darryl: I don't even wanna know if you own a damn broom, a skillet, a cauldron, a dust buster, I don't give a damn.
(He speeds around a corner.)
Phoebe: Whoa! Whoa! Whoa!
Darryl: Phoebe, I stare down death everyday, but I'm trained to handle it and that's in this world. I don't know if I want to be dragged into another one.
Phoebe: You know, I think it's too late, Darryl. But we won't let anything happen to you, I promise. Are you sure this is the right address?
Darryl: Better hope so. It's the only M. Steadwell registered. Damn, it's almost 10:00.
[Cut to M. Steadwell's shop. She puts the key in the lock. You can see a b*mb attached to the door in the inside.]
[Cut back to the car.]
Phoebe: Oh, is that her?
(They pull up outside the shop. Darryl gets out. M. Steadwell turns the door handle.)
Darryl: No! Don't! No!
(Darryl runs over to her and pushes her away from the door. The door opens and the place blows up.)
Phoebe: Darryl?! Oh my God, is everyone okay?
Darryl: Yeah. You okay, Miss Steadwell?
Miss. Steadwell: It worked. I can't believe it. I cast a protection spell and it actually worked. My first spell. (She starts laughing.)
Darryl: Don't tell me she's a witch too.
[Scene: The h*t woman's apartment. Prue and Piper walk in.]
Prue: Look at this place. ------ pictures, silk woven rugs, I could get used to living here in a hurry.
Piper: Yeah, you just have to know who to k*ll. I'm gonna check the kitchen.
Prue: Alright, I got the bedroom. (She walks in the bedroom.) Wow! (She sees fur coats and leather clothes in the wardrobe.) Oh! Oh! Oh my! Oh, nice. Ooh.
[Cut to Piper. She looks in the fridge and the cupboards. They're both empty.]
[Cut back to Prue. She opens a cupboard and sees wigs and jewellery.]
[Cut back to Piper. She looks at the mail and "current resident" is written on it.]
[Cut back to Prue. She's now wearing a leather dress and coat. She looks in the mirror and starts twirling. Piper enters.]
Piper: She must not have lived here long, all the mail is marked resident. Were you twirling?
Prue: No but opportunity knocked and I did it... answered. Check out this wardrobe.
Piper: Um, Prue, honey, focus.
Prue: I can't. It's not just the clothes. Wigs, make-up kits, prosthetic enhancements.
Piper: I wonder if anyone really knew what she looked like?
Prue: I doubt it.
Piper: If it weren't for the roses, we wouldn't even know what to call her.
Prue: What roses?
Piper: They're in the living room addressed to Ms. Hellfire.
Prue: Really?
Piper: Mmm hmm.
(Prue walks in the living room and reads the card on the roses.)
Prue: "Until we meet at last, Bane."
(Three guys enter the apartment holding g*n.)
DJ: Don't move. Don't even flinch or you're d*ad. That's it, now slowly turn around. Watch her hands, she can k*ll within a second. Ms. Hellfire, I assume.
Prue: You Bane?
DJ: I'm his right hand man, DJ. Bane is very unhappy with you. He'd like to see you now.
(Piper freezes them.)
Piper: Okay, sorry to disappoint you boys. Let's go, get outta here, come on.
Prue: Um, you know, they think I'm Hellfire.
Piper: So
Prue: So maybe I should go with them. I mean, maybe the best way to find out who hired her is to pretend to be her.
Piper: Okay, that's very funny, let's go.
Prue: Piper, I'm serious. I mean, you said yourself, nobody knows what she looks like, certainly not this Bane guy.
Piper: Prue, somebody might know what she looks like.
Prue: Yeah, but I can protect myself. I mean, I have something that they don't have. Something g*n can't compete with.
Piper: Today may not be the best day to boast about your powers.
Prue: Okay, look, if this h*t woman was hired by a demon, then it's only a matter of time that he finds out that P. Halliwell is still alive and send someone else. So we have to do something. I mean, if you've got any other ideas then I'm certainly game.
Piper: I know, and unfortunately I don't.
Prue: Okay, so unfreeze them.
Piper: Is it just me or are you a little too eager to play this role.
Prue: It's not a bad role to play.
Piper: True. If you wanna get yourself
Prue: I'll be fine.
(Piper goes in the other room and unfreezes them.)
DJ: Are you gonna make this easy or not?
Prue: Put that thing away before you hurt yourself.
(Prue and the guys leave.)
Commercial Break
[Scene: Bane's place. Bane and a guy is there.]
Guy: I swear to God, Bane. I tried to get the money for you but
I messed up, I messed up. I was scared, I didn't know how you were gonna react.
Bane: You lied to me.
Guy: I didn't know, I didn't know.
Bane: You made a mistake and you're sorry for it, right?
(Bane sees Prue walk in.)
Guy: Yeah.
Bane: Well, lesson learned alright. Just never lie to me again. Understood?
Guy: Thank you.
(Bane walks up to Prue.)
Bane: Wow, you are more beautiful than I imagined.
Prue: So we finally meet.
Bane: Did you like the roses?
Prue: I would have preferred orchids.
Bane: Beautiful and honest. Let's take a walk. (to DJ) You know what to bring. (Prue and Bane walk up the stairs.) What do I call you?
Prue: What you always call me.
Bane: Ms. Hellfire seems so cold in person. Unless your emails to me has been a tease.
Prue: I think you know me better than that.
(They sit down.)
Bane: Do I? You didn't confirm the Halliwell's this morning.
Prue: Uh, I didn't have a clean sh*t.
Bane: That's disappointing. What about the last one on the list?
Prue: Steadwell? It was a blast.
Bane: Like your style. Always have. The problem is you still got the Halliwell's but you've only got until midnight to take them out.
Prue: Um, don't worry about the Halliwells, I know their every move.
Bane: I'm getting a lot of pressure, you know.
Prue: From who?
Bane: You know.
Prue: Of course.
(DJ pours champagne in two glasses. Prue's phone rings.)
DJ: Aren't you gonna answer that?
Prue: Yeah. (She answers it.) Hello?
Jack: Hey, what happened to you this morning, you completely disappeared.
Prue: I'm with a client.
Jack: Well, they'd better be a rich client. Time is money.
Bane: Champagne? (Bane hands Prue a glass.)
Jack: Champagne at this hour? Where are you?
Prue: Me?
Bane: To us. (They clink their glasses.)
Jack: Hey, Prue, you know me, I'm all for having a good time but we're under serious pressure here.
Prue: Yeah, I know
(Prue astral projects to her office.)
Jack: Are you there?
Prue: Oh God.
Jack: Prue?
(She astral projects back in her body.)
Bane: Are you alright? What happened?
Jack: Prue, what the hell's going on?
Prue: I'll call you back. (She hangs up.) Sorry.
Bane: Maybe you better hold off on this one. At least until the job is completed.
Prue: Guess I better be going.
Bane: You're not going anywhere. Not without my driving ya.
(Prue starts walking down the stairs.)
Bane: (to DJ) Tell him, I'm on it.
DJ: Hey, man, why me? I don't even know the guy.
Bane: You will. Just go to my office, he'll show. Okay.
[Cut to Bane's office. DJ walks in. Barbas appears.]
Barbas: Looking for me?
DJ: Where the hell did you come from?
Barbas: You really don't wanna know. Trust me. Why aren't the witches d*ad?
DJ: Witches?
Barbas: Answer me.
DJ: How'd you know they weren't d*ad?
Barbas: One develops a sixth sense about such things when you've been in purgatory for as long as I have. I made a deal. It gives me a twenty-four hour window to break free but you people, you gotta k*ll those witches if I'm gonna be successful.
DJ: Who are you?
Barbas: A demon. A demon who has the power to turn the innermost fear of a mortal into reality and there's nothing you can do about it. Want to see? (He passes his hand in front of DJ's face.) Your greatest fear is that your boss is being doubled crossed and when he finds out he's gonna k*ll you for not protecting him. (A pretend Bane appears and starts sh**ting at DJ. DJ starts yelling. Bane then disappears.) Pretty cool, huh?
[Scene: Manor. Dan's looking at the broken window. Piper's there holding the phone.]
Dan: I can have my crew install some temporary windows some time by tonight.
Piper: Great, thanks.
Dan: You waiting for a call?
Piper: Yeah, I'm just a little worried about Prue.
Dan: I wouldn't blame you after what happened. What makes you think it was a drive by?
Piper: Um, I don't know. A wild guess, I guess.
Dan: I want you to move in with me.
Piper: Huh?
Dan: At least until the permanent windows are installed. If it's your sisters you're worried about, they can move in too. Since Jenny moved back with her folks there's just plenty of room.
Piper: Uh, I don't know if that's such a great idea. Some of us don't wear pajamas.
Dan: I'm serious. Because if things worked out, maybe you could stay permanently. If you wanted to.
(Phoebe and Miss Steadwell enter the house.)
Phoebe: Piper?
Piper: In here. (to Dan) I don't know what to say.
Dan: Say you'll think about it.
Marcy: Oh, is he a w*r-- (Piper freezes her and Dan.)
Piper: Who's she?
Phoebe: Would you believe M. Steadwell. How's Dan?
Piper: Just asked me to move in. Where's Morris?
Phoebe: Uh, he's at the morgue putting the h*t woman's body under Marcy's name. Where's Prue?
Piper: Way overdue. She's assuming the identity of the h*t woman.
Phoebe: What?
Piper: Yeah, and guess what. She's got a new power, she can astral project now.
Phoebe: Are you kidding me?
Piper: Nope.
Phoebe: Are you kidding me?
Piper: Nope.
Phoebe: I hate her.
Piper: I know. Alright, I'm gonna send Dan home, you keep Marcy in the house until this is all over.
Phoebe: Yeah, alright, then we'll talk.
Piper: Yeah.
[Scene: The h*t woman's apartment. Prue and Bane walk inside.]
Prue: Well, thanks for the
(She sees orchids all around the room.) ride.
Bane: You said you preferred orchids.
Prue: I'm impressed.
Bane: I'm glad. Now close your eyes. Trust me. (Prue closes them. He gets a jewellery case out of his pocket.) Alright, open them. (She does so.) And open this when I leave okay? Now remember, three Halliwell's by midnight. On second thought, make it by ten. It gives me more time to take care of them myself in case you fail.
(He kisses Prue then leaves. She opens up the case and an expensive diamond necklace is in it.)
[Scene: Coroner's office. A coroner is there. DJ and Barbas walk in.]
Coroner: Wait a minute, you can't come in here. (DJ pushes him on to a table.) What do you want?
Barbas: Why, your greatest fear of course. Which
(He passes his hand in front of the coroner's face.) is being autopsied yourself.
(An implement turns on and flies up in the air ready to att*ck the coroner. The coroner yells. DJ and Barbas open up a cold room and pull out a body. They unzip the body bag and the h*t woman's in it.)
Barbos: Doesn't look much like an expl*si*n victim to me. (DJ shakes his head.) I think your fears of a double crosser are justified.
Commercial Break
[Scene: Manor. Kitchen. Marcy is looking in the cupboard.]
Marcy: Oh my stars!
(Phoebe and Piper walk in.)
Piper: What is it? What's wrong?
Marcy: You can't keep wolfsbane and holy thistle on the same shelf. Their harmonics are in complete opposition. I mean I don't want to second guess a sister witch but this is all wrong. I don't see how you can cast a spell that's worth a darn.
Piper: Now wait just a minute, Missy.
(A car door slams from outside. Phoebe looks out the window.)
Phoebe: Oh my God. Prue's home
I think.
Piper: That's Prue alright.
(They walk out of the kitchen. Prue comes in.)
Phoebe: Wow.
Piper: Gee, Prue, it looks like being a hired k*ller agrees with you.
Prue: I don't want to risk anyone seeing me out of uniform.
Piper: We've been worried sick about you.
Prue: I'm sorry, I just didn't want to jeopardise my cover.
Piper: And nice porsche. A gift from Bane?
Prue: No, Bane prefers
never mind. Look, I need to get back before they get suspicious. Tell me what you know.
Phoebe: We know M. Steadwell is safe.
Piper: Can't say the same for the kitchen.
Prue: And idea why she was on the list?
Phoebe: Could be because she's a witch. I mean, not a magical witch but a witch practitioner, none the less.
Piper: A hyperactive witch practitioner.
Prue: I wonder if all the names were witches? How many were on the list?
Piper: Eleven. Except 'P. Halliwell' was only down once, so if you count us individually, thirteen.
Prue: Thirteen d*ad witches by midnight on Friday the thirteenth. Ring any bells?
Piper: Barbas.
Prue: Gotta be.
Phoebe: It can't be. I mean, we eighty-sixed him already.
Prue: He must have found some kind of loop hole. I gotta get back to Bane, try and flush Barbas out.
Piper: Prue, you can't go back there.
Prue: Piper, it's almost eight. I have got to get to Barbas fast otherwise Bane's gonna want to see three bodies - our bodies.
Phoebe: Have fun.
Prue: Phoebe, I'm working.
Piper: More like you're working it. Come on, Prue. I've taken a walk on the dark side. I know all the signs.
Prue: Okay, so it's a little different.
Phoebe: And dangerous.
Prue: I can handle it.
Piper: Prue, Barbas can paralyze you and use your greatest fear against you. You don't want to face that alone.
Prue: How? I've already conquered my fear of drowning. What else can he do?
Phoebe: Maybe tap into some other fear. You can't defeat him alone, Prue.
Prue: I know that. But for now I'll be okay. I'll call you guys and check in in an hour.
(She leaves.)
[Scene: A night club. Prue walks in wearing leather pants, a small leather top and a long fur coat. Bane sees her. He walks up to her.]
Bane: You look like you're ready to celebrate. Are the Halliwell's d*ad?
(Prue takes off her coat.)
Prue: The night's young. We have a little bit of business to discuss.
Bane: What, all work and no play?
Prue: Oh we'll play. Right after I get my money.
Bane: Oh you'll get paid after their d*ad.
Prue: You know, the boss has a nasty habit of disappearing in the middle of night. I'd hate for my money to disappear with it. Can I trust you? And Barbas?
Bane: I'm disappointed you doubted even one of us.
Prue: I wanna talk to him.
Bane: Well, like you said, the night is young. (They walk over to where everyone is dancing. They start dancing really close together and they smile at each other. They start kissing. DJ walks up to them and taps Bane on the shoulder. They stop kissing.) DJ, what's your problem?
DJ: I need to talk to you.
Bane: Better be life and death. Excuse me. (He kisses the top of Prue's hand and walks over to the bar.)
Prue: I'll just amuse myself. (to some guy) Hi.
Guy: Hey.
(They start dancing.)
[Cut to Bane and DJ.]
Bane: Make it fast.
DJ: I just came from the morgue.
Bane: Looking for a date?
DJ: No, checking on yours. She's a fraud.
Bane: What are you talking about?
DJ: Marcy Steadwell isn't in the morgue and I think they real Hellfire is.
Bane: I don't believe it.
DJ: Barbas believes it.
[Scene: Manor. Marcy is running through the house waving a smoking cigar-shaped object. Piper's on the phone.]
Phoebe: Marcy, please.
Marcy: (singing) Save your sisters moon with your protective beans.
Piper: Oh, please stop.
Marcy: (singing) Give all who dwell within this spell, sweet days and sweet dreams.
Piper: Okay, that's all folks.
(She freezes Marcy.)
Phoebe: Who knew perky could be so annoying?
Piper: How long do you think we can keep her like this?
Phoebe: Your power, your call. Hey, did you reach Prue?
Piper: No, she's still not answering her cell. She really should've checked in by now.
(The doorbell rings.)
Phoebe: Ooh, maybe that's her.
Piper: Ringing the bell?
Phoebe: Well, maybe she lost her keys. Right, Marcy?
(Piper opens her the door. Dan's standing there holding a piece of board.)
Piper: Dan.
Dan: Hey, Piper.
(Dan walks inside.)
Piper: Uh, Dan, wait.
Dan: I wanted to bring this over than leave it with my crew. I'm having trouble finding enough fly wood. (Phoebe walks in the foyer.) Hey, Phoebe.
Phoebe: Hey, Dan. Piper, don't forget about the ... (She mumbles something.)
Piper: Mmm hmm.
Dan: Is this not a good time?
Piper: Never. I mean, always. Why don't you come in? Here, let me help you.
Dan: No, I got it. (Piper helps Dan carry the board in another room.) Piper, I got it. Piper!
(Phoebe goes back in the room where a frozen Marcy is standing. She has a blanket on her. Phoebe takes off the blanket and waits for her to unfreeze.)
Marcy: (singing) Put those who dwell underneath this room.
Phoebe: Okay, you know, Marcy, there's lots of rooms that need protecting upstairs.
Marcy: Wait a minute, where did Piper go?
Phoebe: Oh, she just cast a little spell of her own.
Marcy: Ohh!
Phoebe: Yes, lots of rooms upstairs, honey. Quietly, quietly.
[Cut to the living room.]
Dan: So, how you doing?
Piper: Fine. It wasn't that heavy.
Dan: No, I'm talking about everything.
Piper: Oh, I'm fine with that too. I'm just actually a little stressed. But everything's gonna be okay.
Dan: So have you thought anymore about my offer? (Piper doesn't know what to say.) Hey, you know what? I don't wanna push you.
Piper: I know. It's just everytime I think I have something figured out, things tend to shift.
Dan: What things? Hey, you just let me know when you're ready.
(They kiss.)
[Scene: The h*t woman's apartment. Prue and Bane walk in.]
Prue: You know, it's not midnight yet, we still have time. Lots of time.
Bane: Do you think you could fool me? Get away with it? You k*lled the woman I loved.
Prue: What are you talking about?
Bane: You k*lled Hellfire.
Prue: I am Hellfire.
Bane: Liar!
(He pushes her. Barbas appears.)
Barbas: So very nice to see you again, Miss Halliwell.
(He passes his hand in front of Prue's face.)
Bane: Halliwell? From the list?
Barbas: Well, well, well. Can't say that I'm surprised. You greatest fear is that someone will k*ll your sisters.
Prue: No.
Barbas: Oh, yes. the demons are after them. Even as we speak. They have assumed your sisters identities in order to k*ll them. But you must k*ll the imposters first by midnight.
Prue: k*ll the imposters.
Barbas: Yes.
Bane: Then I get to deal with her.
Commercial Break
[Scene: Manor. The doorbell rings. Phoebe answers it.]
Phoebe: Hey, Darryl.
Darryl: Phoebe.
Phoebe: Come on in. Thanks for coming so fast. We need you to baby-sit.
Darryl: Is this one breathing?
Phoebe: Yes, this one is breathing.
Darryl: Good. Where you headed?
Phoebe: To find Prue. She's impersonating the h*t woman.
Darryl: What?
Phoebe: It's a long story and you wouldn't like it but she was supposed to check in by now.
Darryl: I'm going with you.
Phoebe: No, no, you can't. I appreciate but you can't come with us.
Darryl: You don't have to hide anything from me anymore.
Phoebe: I know that, Darryl, but believe me you don't wanna be anywhere near us right now. We would never forgive ourselves if anything happened to you.
Darryl: What, wind up like Andy?
Phoebe: We won't let that happen.
(Piper and Marcy come down the stairs.)
Marcy: Which cleanses the aura of the house and makes it strong.
(She quirts potion stuff in the air.)
Piper: Give me strength. Hi, Darryl.
Darryl: Piper. You're gonna have to come with me, Miss Steadwell.
Piper: Okay, thanks for everything, Marcy. Bye, bye.
Marcy: Oh, is this about the expl*si*n at my shop?
Darryl: Yes. Until we close the case, you'll be safer with me.
Marcy: Oh, I think you have that backwards, Inspector. The protection spell I cast has been doing such a bang up job for these girls, just think what it could do for you.
Phoebe: Okay, well, we thank you for that protection spell. Thank you so much and now we have to go now.
Marcy: Come Inspector, my work here is done.
(She squirts the potion in the air.)
Darryl: Why don't we leave this here.
(He gives Phoebe the potion. They leave.)
[Scene: The h*t woman's apartment. Piper and Phoebe walk in.]
Phoebe: Are you sure that was the porsche parked out front?
Piper: Positive. Prue's here somewhere.
Phoebe: Let's just hope she's alone. (Prue walks in the room.) Prue.
Piper: We've been so worried.
(Prue uses her power and Piper falls to the ground.)
Phoebe: Prue? (Prue then uses her power on Phoebe and she falls on the ground. Phoebe crawls over to Piper.) You right?
Piper: No, I'm not. (They stand up and walk quickly outside in the hallway.) What is going on?
Phoebe: I think you need to freeze her fast.
Piper: Good witches don't freeze remember.
Phoebe: She doesn't look so good now.
(Prue walks in the hallway.)
Prue: I won't let you k*ll my sisters.
(There's a plate on a stand in the hallway. Prue uses her power and it flies towards Phoebe and Piper. They duck and it smashes against the wall.)
Piper: She's flipped out.
Phoebe: The patio. Fast. Come on. (They run onto the patio and hide behind lattice.) Oh, no. Oh, no. Oh, no.
(She's about to sneeze.)
Piper: Don't, don't, don't, don't.
(Phoebe sneezes. Prue sees them.)
Phoebe: She doesn't know we're her sisters.
Piper: Okay, we gotta make her choose. We've gotta try and convince astral Prue. Make her wanna be in two places at once. You ready?
Phoebe: Yeah.
Piper: Go, go.
(They run in two different directions. Prue stands there. She doesn't know which way to go.)
Phoebe: Hi!
Piper: Come on, Prue. Come get me.
Phoebe: Uh, no, it's me you want. Over here.
Piper: No, Prudence. Come on, me.
Phoebe: No, me.
(Prue astral projects.)
Piper: Phoebe. Phoebe, we need to hurry before she becomes one again. Phoebe.
Phoebe: Prue, Barbas has brainwashed you.
Prue: You're going to hurt my sisters.
Piper: Prue, we're your sisters. Listen to me. You gave me the chicken pox.
Phoebe: Remember, I taught you how to French kiss.
Piper: You broke your ankle when you were seven. Come on, Prue. We went to Duran Duran together. You stretched out my leg warmers.
Phoebe: And then you gave them to me.
Prue: How do you know all this?
Phoebe: Because we're your sisters, Prue.
Prue: Sisters.
(She hugs Phoebe and astral projects back in her body.)
Phoebe: Prue, are you with us?
Prue: I want Barbas.
Piper: All we have to do is lay low until midnight and then he'll disappear and go back to wherever the hell it is he came from.
Prue: No, he's back early. He knows what rules apply or don't. I don't wanna take any chances. Let's go show him what his greatest fear is.
[Cut to the apartment. The clock reads 11:57.]
Barbas: If she's not back in one minute, then I'm gonna spend my last two minutes k*lling you.
Bane: Hey, I didn't come to you. You came to me remember.
Barbas: If you hadn't been blinded by your passion, then I would be minutes away from freedom right now. (Prue walks in.) Are they d*ad?
Prue: They're right where they belong.
(Phoebe and Piper walk in.)
Barbas: k*ll them.
(Bane gets out his g*n and Piper freezes them.)
Phoebe: Ooh, I'm beginning to see your attraction to the dark side.
Prue: It wasn't just his dark side I was attracted to. Do you think you can just unfreeze him?
Piper: I don't know, I've never tried.
(Phoebe takes the g*n out of Bane's hand. Piper unfreezes Bane.)
Phoebe: Looking for this?
Bane: What's going on?
Prue: Witchcraft at its best.
(Prue uses her power and Bane flies across the room. Barbas unfreezes. The clock chimes.)
Barbas: No! No! Nooo!
(Barbas spins in a circle and disappears.)
Phoebe: I never get tired of kicking his butt.
(Prue walks over to Bane.)
Prue: Just a little something to think about in jail.
Bane: It won't be the only thing I think about, I promise.
Prue: Is that a thr*at?
Bane: No. It's a compliment.
Commercial Break
[Scene: Manor. Living room. Phoebe and Piper are cleaning the windows.]
Phoebe: Dan did a really good job with these windows. He is obviously very good with his hands.
Piper: Hey, hands off those hands.
Phoebe: So, did you decide whether or not you're gonna move in with him?
Piper: I have to admit it's very tempting.
Phoebe: Yeah, well, you gotta do what you gotta do. And you deserve to be happy. And don't worry about us, we'll be fine. Especially if I get your room.
Piper: Yes, you could have my room. That is if I was moving out.
Phoebe: Oh, you're not gonna move out? Oh, that is so good because you need to be with your sisters just a little while longer.
Piper: I adore Dan but it's just way too soon for me to move in with him. There's just a few things I need to figure out first. Are you happy now?
Phoebe: I'm delirious. Thank you.
(Prue comes in. She's talking on the phone.)
Prue: Well, just tell Marcy that she can sell the ring and use the money to rebuild the bookstore. It's a thank you for protecting us. No Darryl, the ring is not hot. I'll talk to you later. (She hangs up.)
Phoebe: So, what else did Hellfire get from Bane?
Prue: Diamond necklaces, bracelets, mahogany, a Salvador dolly.
Piper: You can't really keep all that stuff can you?
Prue: No. (Piper shakes her head.) No. It wouldn't really be right but maybe I can figure out a way to use it for some good and save my job. And if not, I can always astral project and job hunt twice as fast.
Phoebe: Sure, just rub it in. I would love to be in two places at once.
Prue: As long as one of those places is fun, I'll be happy. I think I may have learned a few things from Ms. Hellfire. (The doorbell rings.) You know, change my routine, shake things up a little bit. (Phoebe and Piper laugh. Prue goes and answers the door.) Jack.
Jack: You know, Prue, it is bad enough that you don't answer your phone, come into the office or otherwise appear to be doing your job but now you're gonna take me down with you. What do you got to say for yourself?
Prue: $275,000.
Jack: Excuse me?
Prue: The market value of the anonymous estate donation I've been out acquiring. The one request is that all proceeds go to Stop the v*olence foundation. Not bad for a days worth of work now is it?
Jack: No, it certainly isn't. And you know, I never doubted you for a moment, partner.
Prue: Liar. Let's go celebrate, partner.
Jack: Okay.
End | {"type": "series", "show": "Charmed", "episode": "02x09 - Ms. Hellfire"} | foreverdreaming |
Written by: David Simkins
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: The building where Max and Cindy work. Cupid is there leaning against a pole.]
Max: Cindy.
Cindy: Max.
Max: Hi.
Cindy: Hi.
Max: Working late, huh?
Cindy: Yeah, so what else is new, right?
(They walk down the stairs. Cupid's ring glows.)
Cupid: It's a match.
Max: Did you guys survive Y2K alright?
Cindy: Sure. If you ask me it's all just a bunch of hype.
Max: Exactly.
Cindy: I guess I'll see you around?
Max: Okay. Take care.
Cindy: :Yeah, you too.
(Cupid's ring glows and Cindy and Max walk in slow motion.)
Cupid: Cindy, I know those last few loves of yours didn't work out. You've been hurt and you're scared. But you've gotta take a risk if you wanna find the real thing. And Max is real. Open up to him. And Max, Cindy's love and compassion awaits you, but she's afraid that you're still in love with your ex-wife. You've got to reassure her. Life's short you two. So, have a better one together, okay?
(Cupid's ring glows and they stop moving in slow motion.)
Max: Listen, you wanna grab a cup of coffee or something?
Cindy: Yeah, sure, I'd like that.
Max: Great.
[Scene: Cupid is walking along in an alley. Drazi, the demon of hate, grabs Cupid and holds him up against a dumpster.]
Drazi: Hello, friend. I've been looking everywhere for you.
Cupid: Drazi.
Drazi: I knew I'd find ya.
Cupid: Yeah, listen Drazi.
(Drazi throws Cupid into some wooden boxes.)
Drazi: Couldn't leave it alone could ya? You just had to get in the way.
Cupid: You crossed the line.
Drazi: Crossed the line? I am the line. You're the one that went too far and now you're gonna pay.
Cupid: No, wait.
(Drazi reaches into Cupid's chest and squeezes his heart.)
Cupid: Ahh, you're k*lling me.
Drazi: I could do a lot more than that. A lot more. How does it feel, huh? I can tell ya, I know. Thanks to you, I know what it feels like to have your heart ripped out. You don't want to feel that pain do you? (He throws Cupid on the ground and stands on his arm.) No, I gotta better idea and you're gonna just hate it. (Drazi takes Cupid's ring.) Your little magic ring you use to slip in there between the heart beats, plant your little thoughts of love and I'm gonna borrow it. I'm gonna use it to tear apart some of your more recent unions.
Cupid: No, Drazi, no.
Drazi: I'm gonna turn love into hate and that hate is going to slowly and painfully k*ll you. And in the end, you're gonna wish I had ripped your heart out.
(He walks away.)
Cupid: Drazi!
[Scene: Outside the movie theatre. Prue, Jack, Piper, Dan and Phoebe walk onto the sidewalk. Prue and Jack are holding hands and Dan has his arm around Piper.]
Phoebe: Fifth wheel cutting in.
Piper: Oh, would you stop that.
Phoebe: Well, it is a double date.
Prue: It would have been a triple date if Kevin hadn't cancelled.
Phoebe: I know. It seems to be an epidemic lately. Guys canceling on me.
Piper: You know what happens when they cancel.
Prue: Ooh, back to square one.
Piper: Do not pass go.
Phoebe: And all accrued nookie credits are thrown out.
Jack: There's a penalty?
Prue, Piper, Phoebe: Oh yeah!
Jack: You know this glimpse into feminine mystery frightens me to no end so allow me to change the subject. What did you think of the movie?
Piper: I liked it.
Prue: Loved it except for the bellbottoms.
Dan: It was okay, I guess.
Piper: Who are you kidding? I heard you sniffle.
Dan: Fighting a cold.
Piper: Liar.
Prue: Jack?
Jack: As far as classics go, it was no Dirty Dozen.
Phoebe: I slept through it.
Jack: You slept through Dirty Dozen?
Phoebe: No, Love Story. The last thing I remember is the hockey game.
Piper: That was the very beginning.
Phoebe: Okay, let me guess. Boy meets girl, grim reaper swipes girl, and boy's left with his hockey skates?
Jack: That's the review.
Dan: Anybody want a coffee?
Jack: I hope so because I am buying.
(Prue, Jack, Piper and Dan walk into a coffee shop laughing and giggling. Phoebe walks in and stops, feeling left out. Prue notices her standing there.)
Prue: Hey, you're gonna come get coffee, right?
Phoebe: I'm just gonna get a cab, call it a night. I'm pooped.
Prue: I'm sorry that Kevin backed out on you.
Phoebe: His loss.
Prue: It is so his loss because you are beautiful, my sister.
(Prue hugs her.)
Phoebe: You're so beautiful. Alright, go see your man. Have some coffee.
Prue: Okay. I love you.
Phoebe: I love you too.
(Prue walks over to the others. Cupid comes up to Phoebe.)
Cupid: I need your help.
(He grabs her.)
Phoebe: Let go of me.
Cupid: Hate will destroy me and everything else if you don't help me.
Phoebe: I am warning you, buddy.
Cupid: Phoebe, you gotta believe me. I know why you can't find love.
Dan: Hey, you, let go of her.
(Cupid runs away. Prue and Piper run up to Phoebe.)
Piper: Are you okay?
Phoebe: Uh, yeah.
Prue: What was that about?
Phoebe: I'm not sure.
Opening Credits
[Scene: Manor. Phoebe walks out of her bedroom and walks over to Piper's room. She knocks on the door.]
Phoebe: Piper, you still asleep? (She opens the door and walks in. She notices Piper's bed hasn't been slept in. She walks out and over to Prue's room.) Hey, Prue, guess who got lucky last night? (She opens the door and notices Prue's bed hasn't been slept in either. She walks downstairs and the phone rings.) I'll get it. (She picks up the phone.) Hello?
Prue: Morning.
Phoebe: Hey, Prue. Did that coffee keep someone up all night?
Prue: Believe it or not, all we did was talk.
Phoebe: Yeah, right.
Prue: No, I swear. We just talked about everything, it was really great.
Phoebe: Really? How's he react to the witch part?
Prue: Cute. Alright, where's Piper?
Phoebe: Oh, she's still at Dan's. Hey, if only I'd bagged Mr. Creepy, we could have scored a Halliwell hat trick last night.
Prue: Don't be mad.
Phoebe: No, I'm not mad. I'm thrilled for you both. I mean, it's been a long time. You deserve to be happy.
(Cupid walks up behind Phoebe.)
Cupid: You're gonna need a new lock on that back door.
(Phoebe drops the phone, turns around and kicks Cupid in the mouth. He falls onto the stairs.)
[Cut to Prue.]
Prue: Phoebe? (Prue hangs up and runs out of Jack's place.)
[Cut back to the manor.]
Cupid: I'm getting rather used to you kicking love in the teeth.
Phoebe: Okay, who are you and what do you want?
Cupid: More importantly I know who you are Phoebe. And that's why I'm here. I need your help. Charmed Ones kind of help.
Phoebe: I will ask again. Who are you?
Cupid: You wouldn't believe me if I told you.
Phoebe: Try me.
Cupid: Well, for lack of a better name, Cupid.
Commercial Break
[Scene: Dan's house. Piper's laying on Dan's bed. Dan comes in carrying a tray with breakfast on it.]
Piper: Oh, my.
Dan: All eggs over, bacon crisps, a box of jewellery and dried toast.
Piper: A box of what?
Dan: Would you like the morning paper with that?
Piper: What did you do?
Dan: It's not a big deal. It's not a ring or anything. But just because it's jewellery, I don't want you to feel like you gotta keep it. If you wanna take it back, you can.
Piper: I get it, I get it.
(Piper picks up the box.)
Dan: You gonna open it?
(Piper opens it and there's a diamond necklace in it)
Piper: Oh.
Dan: Cos if you want to you can take it back. (Piper kisses Dan passionately. Phoebe looks around the corner and tries to get Piper's attention. Piper opens her eyes and sees Phoebe. She stops kissing Dan.) Hey, is something- (Piper freezes Dan.)
Piper: Phoebe, what are you doing in here? How did you get in here?
Phoebe: We have got a very big problem. (Phoebe pulls Cupid into the room.) Piper, Cupid. Cupid, Piper.
Cupid: Hi, sorry to interrupt. Glad to see things are working out for you and Dan.
Piper: What?
Phoebe: You have to come home really fast.
Cupid: Yeah, a demon of hate stole my ring and he's gonna use it to find all the loves that I've put together so he can destroy them, which will in turn destroy me.
Piper: Wait a minute.
Phoebe: He's telling the truth. The demon's name is Drazi. He's in the Book of Shadows.
Cupid: Yeah, Phoebe's already started working on the potion that will vanquish it.
Phoebe: And Prue's on her way home.
Piper: From where?
Phoebe: From Jack's. Okay, hurry. Kiss very fast.
(Cupid and Phoebe leave. Piper sits back on the bed in front of Dan.)
Piper: Okey dokey.
(Dan unfreezes.)
Dan: -the matter?
Piper: Yes. Um, there is but not with you. There is absolutely nothing the matter with you. But I do have to go. (She gets off the bed.)
Dan: Hold it. What happened? I don't understand.
Piper: It has nothing to do with you.
Dan: Then what does it have to do with?
Piper: It's, uh, complicated. (She picks up her clothes.) Thank you for this and you'll see it on me tonight at the club. (She kisses him and leaves.)
[Scene: A cafe. Max and Cindy are sitting at a table drinking coffee. Drazi is standing nearby watching them. The ring on his finger glows.]
Drazi: Hello, young lovers.
[Scene: Manor. Living room. Prue, Piper, Phoebe and Cupid are there.]
Prue: So we're actually supposed to believe that you're Cupid?
Cupid: You believe in warlocks and demons but you can't believe in me?
Piper: Where's the chubby baby?
Phoebe: Guys.
Prue: And the bow and arrow?
Cupid: Where's the warty chins, hooked noses and pointy hats?
Prue: Alright, show us something supernatural.
Cupid: Drazi took my ring. It's my powers, how I get in.
Prue:; Get in?
Cupid: People's hearts, to waken love. See, but Drazi's all about hate and he's gonna use the ring to get in the same way.
Piper: You're still gonna have to back up the Cupid claim.
Cupid: Okay, fine. (He points to Piper.) Dan, (points to Prue) Jack, (points to Phoebe) Clay (points to Prue) Andy. My sincerest condolences. Eric in London, Alec in college, (points to Piper) Not Jeremy the Warlock, Joe in college, Barry in high school, Tim in eighth grade, (points to Phoebe) Ken, Kyle, Steve, Mike, Ken again, Brian, Joel, Martin, Peter, Paul, Tony.
Phoebe: Okay, you know I didn't love all those guys, right?
Cupid: Yeah, well, they wanted to love you but you're closed hearted. That's what sent them away.
Phoebe: My closed heart? I do not have a closed heart.
Cupid: Look, if people get the feeling that there's nothing there, then eventually it's hasta la vista, Phoebe. That explains the recent rush of cancelled dates.
Prue: Okay, so wait, our past relationships, you made those happen?
Cupid: Well, actually, my assignment here's only two years old. I helped you two meet Jack and Dan but most of your prior loves were work from fellow agents.
Piper: Agents?
Cupid: Oh, yeah. I'm just one of many. We work in secret all over the world making connections
Piper: Did you connect me and Leo?
Cupid: Uh, no. That was the work of you two. Those connections were forbidden to make for obvious reasons.
Phoebe: Um, can we go back to the hasta la vista remark please?.
Cupid: We don't have time right now to debate the topic of your closed heart, Phoebe. We gotta finish the potion so we can vanquish Drazi before it's too late.
Prue: Okay, so how are we supposed to find him?
Cupid: The same way he can find me. We can sense each other. We're connected in a cosmic way. There's a fine line between love and hate.
Piper: Oh, brother.
Cupid: Hey, don't take Drazi lightly. You guys are in danger as well you know.
Phoebe: We're in danger every day. We're used to it.
Cupid: Look, if Drazi succeeds, eventually he'll k*ll the ability to love. And believe me, it's a fate worse than death.
[Scene: At the markets. Max is buying some flowers for Cindy. He walks over to her.]
Max: Sorry, they didn't have any roses.
Cindy: You're too good to be true. I still can't believe this is all happening.
Max: Believe it.
(They kiss. Drazi appears.)
Drazi: Touching. Really touching. Cindy, could you be a bigger fool? He's still sleeping with his ex-wife. He looks at you as a desperate, lonely woman. Easy sex. Max, she's nothing but a gold digging tramp, who wants to h*t your big fat wallet, just as soon marry ya and k*ll you for the insurance. Bye bye. (He disappears.)
Cindy: You pathetic...
Max: Bitch!
Cindy: Take your damn flowers. Give them to your ex-wife.
Max: The bank's closed, baby. You're not laying one finger on this guy's money.
Cindy: Screw you.
(Max walks on the road.)
Max: Up yours!
(A car horn beeps and a car hits Max.)
[Cut to the manor. Cupid clutches his chest in pain. Piper walks in the foyer.]
Piper: Prue, Phoebe.
(Prue and Phoebe walk in.)
Prue: What's the matter?
Piper: I don't know.
Phoebe: What's wrong?
Cupid: It's Drazi. He's k*lling love.
Commercial Break
[Scene: On the street where Max got h*t. Max is on a stretcher and a policeman is talking to Cindy.]
Cindy: He just walked into the traffic. Dumb ass. Is he gonna die?
Policeman: I can't answer that.
Cindy: Because he should you know. I don't think I've known anyone who deserves to be h*t by a car more than that guy.
(Prue, Piper, Phoebe and Cupid pull up in the car. They get out and walk over to Max.)
Cupid: It's Max.
Piper: Is he one of yours?
Cupid: Yeah, I matched him up with Cindy last night. She was afraid to risk love too.
Phoebe: Are you picking on me?
Cupid: Phoebe, I'm...
Phoebe: Do you think it's easy finding love with all the demon hunting we have to do?
Cupid: Well, your sisters don't seem to be having any problem.
Phoebe: Alright, you know, let's stay focused. We have things to do.
Prue: Are you sure Drazi did this?
Cupid: Positive. He's still here too. I can feel him?
Phoebe: Where?
Cupid: There. (Cupid points to him and you can see him standing near by.)
Prue: Do you think he knows who we are?
(Drazi walks off.)
Piper: Apparently.
Cupid: He's getting away. Do you have the potion?
Phoebe: Yes. (They all start running after him.) We're not gonna catch him.
Prue: Piper, freeze him.
Piper: He's too far away.
Cupid: Well, someone better do something fast.
(They approach some steps and Prue sits down. She astral projects.)
[Cut to Drazi. Astral Prue appears in front of him.]
Drazi: What?
Prue: Surprise. (She tries to use her power but it doesn't work.) Uh, whoops, that didn't work. (She grabs a piece of wood and hits him. He falls to the ground. Prue astral projects back into her body.) Ah, ah.
Phoebe: Are you back with us?
Prue: I think so. Wow, I really gotta get a handle on that.
Cupid: I don't understand.
Piper: She astral projected.
Phoebe: Did you get him?
Prue: No, I just slowed him down but you guys go get him, hurry. (They run off while Prue sits on the step recovering from astral projecting.) God, I love this new power.
[Cut to Drazi. Phoebe, Piper and Cupid run up to him. Drazi stands up.]
Drazi: Hiding behind witches skirts?
Piper: Stealing things that don't belong to you? (She freezes him.) Okay, go.
(Phoebe throws the potion on Drazi and he unfreezes.)
Drazi: What the...?
(He starts melting and turns into black stuff. Prue arrives.)
Prue: Did you get him?
Piper: Did we?
Cupid: Sure looks like it. Though, I don't know what happened to my ring. It shouldn't have been affected by what we did to Drazi.
Phoebe: So that's it right? We're done? You can just move on.
Cupid: In a hurry to get rid of me, Phoebe?
Phoebe: Look, Cupid. I know you're just trying to help but did you ever think that I may not be ready for love right now?
Cupid: No, you're more than ready.
Phoebe: Don't start. Just go.
Cupid: Well, I need the ring to get back. I mean, unless you can get me another one but the problem is I need it to get back to them.
Prue: Wait, you're stuck here?
Cupid: No, actually, you can help me get back home. One more potion, some well-chosen words from the Charmed Ones and I'm on my way. (to Phoebe) Care to help me with that potion?
Phoebe: Me? Why me?
Cupid: Because you're free tonight, they have dates.
Piper: Hey, how'd you know... never mind, scratch that.
(Prue and Piper walk off. Cupid stands there smiling at Phoebe.)
Phoebe: What are you smiling at?
Cupid: You.
(They walk off. The black stuff on the ground turns back into Drazi.)
Drazi: Well, it looks like you can't k*ll love after all. But you sure can screw with it.
[Scene: P3. Dan, Piper, Prue and Jack are at the bar. Prue's looking at Piper's necklace.]
Prue: Very nice. So you like it?
Piper: I love it.
Dan: Well, thank your sister. She helped me pick it out.
Prue: Hey. Okay, guilty.
Piper: Well, thank you both and (to Dan) I'll thank you again later.
Jack: Wow, if that's all it takes, when can I buy one?
(Dan and Piper laugh.)
Prue: Okay. (She walks away.)
Jack: You know what? Why don't we find a table and get some food.
[Scene: Manor. Kitchen. Phoebe and Cupid are making the potion.]
Phoebe: So this will send you back?
Cupid: When I drink this, you and your sisters say the magic words and I'm gone.
Phoebe: I can not believe I am stuck here doing the grunt work while they're...
Cupid: Twisting the night away? Don't blame them.
Phoebe: No, I'm not blaming anybody. It's just... I'm here...
Cupid: Stuck with me.
Phoebe: Um, I'm sorry, but did you do something specific to tick Drazi off? Or did he also find your honesty to be a complete and total pain in the ass?
Cupid: Drazi fell in love with a mortal woman. I redirected her love towards a mortal man away from Drazi. She's married now, very happy. But Drazi blames me for denying him love. (Phoebe starts stirring some stuff in a bowl really fast.) A hundred slow strokes there.
Phoebe: So are you telling me that demons love?
Cupid: Uh huh. Frightening stuff. Love of evil, love of fear, sometimes love are the very things they hate. In this case a human being. You know, if a demon can open his heart, there's hope in you too, Phoebe.
Phoebe: Okay, you know, my heart is not closed. Okay, it's open, just not to everybody.
Cupid: Your heart is closed.
Phoebe: I'm picky.
Cupid: No, you're terrified.
Phoebe: Of what? What am I terrified of?
Cupid: You tell me.
Phoebe: I don't want to play this game.
Cupid: Well, then at least stir correctly. (He stands behind her, puts his arms around her and stirs the stuff in the bowl.) Like that.
Phoebe: So, how does this work?
Cupid: It's a travel potion with an aphrodisiac.
Phoebe: Really? An aphrodisiac?
Cupid: Lavender, oysters, rosemary and chocolate and basic caris compound. The key ingredient is desire.
Phoebe: Desire?
Cupid: Desire to go home. 'Cos home...
Phoebe: Is where your heart is.
Cupid: Are you afraid of loss?
Phoebe: No, I swear if you barf up, it's better to have loved and loss than never to have loved at all, I might just have to... (She smells the potion.) Mmm, it smells really good.
Cupid: So tell me, what has not loving gotten you?
Phoebe: It's kept me safe.
Cupid: Safe from what?
Phoebe: From people leaving.
Cupid: Your mother?
Phoebe: Yeah.
Cupid: And your father?
Phoebe: And you.
Cupid: Are you falling for me?
(She walks away from him.)
Phoebe: No, I am not falling for you, thank you very much.
Cupid: Ladies and gentleman, Phoebe Halliwell - running away from love.
Phoebe: You are, Cupid. You're the one that's leaving me.
Cupid: Look, Phoebe, what I am is the potential for true love. That's all. Because once you've let love in, it'll never leave. Don't confuse the message with the messenger, Phoebe. It's what you're always done. See, messengers make mistakes, they get lost, they run away, they even die. But the message, open your heart, it comes from life itself. Hear it. For my sake and yours.
[Scene: P3. Prue, Piper, Jack and Dan are sitting at a table.]
Jack: Having an in with the owners of one of the hottest clubs in town does have its benefits.
Dan: Free chicken wings.
Jack: Name one.
Piper: In pleasure of our company.
Dan: And to name two more.
Piper: Thank you.
(Dan kisses her forehead.)
Prue: Bathroom break. Piper.
Piper: Alright, yes ma'am. See you boys in a minute.
Jack: Alright.
[Cut to outside the bathroom. Piper and Prue arrive there.]
Prue: God, I have to pee. (Prue looks at Piper's necklace.) You're okay with that aren't you?
Piper: Okay with what?
Prue: This. I don't really want you mad at me.
Piper: Why would I be mad at you?
Prue: Because I let Dan buy it for you.
Piper: No, Prue, it's okay. It's great.
Prue: And you don't wish that it came from Leo?
Piper: No, I don't. Really.
Prue: I feel strange.
Piper: What do you mean?
Prue: Well, I mean we have these guys out there waiting for us, who care about us. Correct me if I'm wrong but things are going pretty well right now, right?
Piper: Yeah, nothing like a night on the town after a hard day of demon k*lling.
Prue: Yeah, I'm serious. I mean, you know, think about it. I mean, we did great today and now tonight it's like we're just...
Piper: Finding a balance in our lives?
Prue: Exactly.
Piper: I do feel pretty good.
Prue: Yeah, I think we're gonna be okay.
Piper: Except there's still our little secret.
Prue: Oh, Piper, everybody has little secrets including Jack and Dan.
Piper: Yeah, unless they're tr*nsv*stite, n*zi, w*r criminals with great face lifts, then I think we've got them b*at.
Prue: Okay, so we're never gonna have normal lives.
Piper: Not ever.
Prue: That doesn't mean we can't try sometimes.
Piper: With someone like Dan perhaps?
Prue: With whoever, sweet girl, I just want you loved.
Piper: Thanks.
Prue: You're welcome.
(Someone comes out of the bathroom.)
Piper: About time.
(They run inside.)
[Cut back to Jack and Dan.]
Jack: Dan, I will never understand the tandem pit stop thing that women do.
Dan: Yeah. Hey, Jack, speaking of mysteries...
Jack: Yeah.
Dan: You know, Piper has this strange habit of sometimes just sort of...
Jack: Vanishing?
Dan: Yeah!
Jack: Prue does it too.
Dan: I figured that. Does it bug you?
Jack: A little, but I'm not gonna give her the third degree about it.
Dan: No, it's like time just stands still for seconds and when it starts up again she's like a total different person.
Jack: Ask her about it.
Dan: I know, I have. She gives me the run around.
Jack: Then don't ask.
(Phoebe and Cupid arrive.)
Phoebe: Hey guys, are Prue and Piper around?
Jack: Yeah, they're in the ladies room. (to Cupid) Excuse me, have we met?
Dan: Yeah, you look really familiar.
Cupid: I've been around.
Phoebe: Yeah, okay, come on.
(Phoebe and Cupid walk away.)
Dan: And see that's another thing. There are strange people that always show up at their place. They pop in, they pop out. Who the hell are they?
(You see Drazi enter P3.)
Jack: It sounds like someone is falling in love.
Dan: Yeah, maybe.
(Drazi sees Jack and Dan and the ring glows.)
Commercial Break
[Scene: P3. Prue and Piper walk out of the bathroom. They see Cupid and Phoebe.]
Phoebe: Hey.
Prue: Hey yourself.
Piper: Cupid.
Cupid: Evening ladies. I trust everything's going well?
Piper: Very well.
Cupid: Prue?
Prue: Well, it's a little early to tell but all the signs are pointing to maybe.
Piper: Did you get everything we need to send him home?
Phoebe: Uh, yeah. He drinks this... (she holds up a bottle) while we say this... (she holds up a piece of paper) and he's gone. Any idea where you wanna do this?
Piper: In there. The stock room.
Prue: Um, is this gonna take very long 'cos you know?
Phoebe: Go tell your boys you'll be back in a few minutes.
Piper: Okay.
Phoebe: And don't dawdle.
(Prue and Piper run out to Jack and Dan.)
Cupid: Ain't love grand?
[Cut to Jack and Dan. Prue and Piper walk up to them and sit down.]
Dan: Welcome back. I was starting to get a little worried there.
(Drazi walks over to them.)
Drazi: Dan, Piper still loves Leo. Always has, always will. You are nothing more than geographically undesirable. After all, a girl can't get much closer than the stud next door. Jack, Jack, Jack. Does the term transmission man meaning anything to you? You are everything she always knew she never wanted. And now for you, Piper.
[Cut back to Phoebe and Cupid. Cupid grabs his chest in pain.]
Phoebe: What's the matter?
Cupid: I can't believe it.
Phoebe: Is it Drazi?
Cupid: He's alive.
[Cut back to the others. Drazi walks away.]
Dan: You know, why don't you just admit it. You're using me to make Leo jealous, aren't you?
Piper: Oh, can you just leave him out of this?
(Phoebe sees them fighting.)
Dan: I'd love to. What about you?
Jack: Rebound guy? Is that it? What makes you think I'm gonna take this crap?
Prue: What, you think I'm just gonna jump in the sack with you on the second date? Why don't you just drop d*ad.
Piper: I can't believe you're still thr*at by him.
Dan: You think I'm an idiot? You think I don't know?
Phoebe: Uh, you guys.
Jack, Dan, Piper, Prue: Shut up!
Prue: Fine. Why don't we just end it?
Jack: You know what? Fine.
Dan: We are dating aren't we?
Piper: No, we're not. Not anymore. And you can have that back. (She pulls off the necklace and throws it at him.)
Dan: I'm sure Leo can replace it with something that means more anyway.
Piper: Probably.
Prue: I'm just glad that nothing ever happened.
Jack: Yeah, well, you and me both.
Prue: Yeah, well, I'm really glad. I mean, I learnt a valuable lesson. Never go out with a jerk.
Jack: Thanks for the evening Prue.
Prue: Alright, bye.
(They start leaving.)
Phoebe: Whoa, whoa, wait.
Cupid: It's not them, Phoebe. They're caught in Drazi's spell.
Phoebe: If he did this, why didn't you sense him?
Cupid: Because I thought he was d*ad.
(Prue and Piper turn back around.)
Prue: (to Cupid) You're still here?
Piper: You know what? None of this would have happened if you would've just left us alone. Now get out. Get out of my club.
(Cupid starts to leave.)
Phoebe: Where are you going?
Cupid: There's nothing I can do. They're trapped.
Prue: Oh, we are not trapped. For the first time in my life I see things how they really are. Now whoever you are, whatever you're selling, just get out.
Phoebe: No, no. Listen to me. You guys are under a spell. Okay, this is not you. Listen to me.
Piper: If you're with him, why don't you go too?
Phoebe: What? (Prue and Piper walk away.) No, you guys. (to Cupid) We vanquished Drazi. How is this happening?
Cupid: The ring must have saved him.
Phoebe: What, so he's invincible now?
Cupid: Maybe not. Maybe if destroying the loves that I put together is k*lling me. Maybe the reverse is true. Patching everything up with everybody just might k*ll him.
Phoebe: But you can't do that without the ring.
Cupid: Well, I've got you.
Phoebe: I'm sorry. What?
Cupid: Your heart is as big and true as anyone I've ever seen, Phoebe. You'll be my ring.
Phoebe: I'm flattered, I think. But I have no idea what you're talking about.
Cupid: You will. Come on, we've got to start with the first couple Drazi tore apart.
Phoebe: Okay.
[Scene: Manor. Piper and Prue walk in the living room.]
Prue: I can not believe Jack. Who the hell does he think he is?
Piper: Jack? What about Dan? We're out on a date and he accuses me of being in love with someone
else.
Prue: Totally out of line.
(They sit on the couch.)
Piper: We're better off without them.
Prue: Certainly not worth crying over.
Piper: I have never hated someone so much in my entire life.
Prue: Me either.
Piper: Although I have to admit some of the things Dan said were kind of true. I do think about Leo
sometimes.
Prue: Jack wasn't wrong when he said I was on the rebound.
Piper: Still it's all so weird. One minute the four of us are laughing and having a great time
Prue: And the next we're acting like we hate each other. Uhh
Piper: What?
Prue: I was just thinking about Drazi.
Piper: No way. He couldn't have had anything to do with this. We vanquished him.
Prue: Jack's scum.
Piper: So is Dan.
Prue: Are you scum?
Piper: No, I'm not scum.
Prue: I knew you weren't. (They giggle.)
[Scene: A building. Phoebe and Cupid are there. They see Cindy.]
Cupid: There she is. We've got to hurry.
Phoebe: But wait, I'm still not exactly sure what the plan is.
Cupid: It's simple. Just talk to her.
Phoebe: About what?
Cupid: She's just the same as you. Her fears are your fears. Just pretend you're talking to yourself.
Here she comes. Hi.
Cindy: Do I know you?
Cupid: No, but we know you and we know about Max. How is he?
Cindy: I don't know. Look, I'm really sorry about what happened. I'm not even sure how it happened
but I'm sorry.
(She starts to walk away.)
Phoebe: Uh, Cindy, Cindy. Look, sooner or later Max's pain will go away. But yours won't.
Cindy: Excuse me?
Phoebe: I mean, it hasn't yet has it? The pain of love loss deepens if you don't deal with it. Look, I
know, I know what it's like, believe me. I close myself off to love too because I was afraid. But you know what? Fear and love can not live in the same house.
Cupid: You're getting to her.
Phoebe: It's because the people that we love eventually leave us. So, we've given up on love.
Cindy: You mean love's given up on me.
Phoebe: No, it hasn't. It can't Your fear of loss has lift you paralyzed. Believe me, I know. But you can change that. You can take the risk and love again. I mean, hey, they don't call it lovers leap for nothing, right?
Cindy: What?
Cupid: Actually, lovers leap is a reference to su1c1de.
Phoebe: Oh. Let me rephrase that. Go to Max. Push through what ever hate or fear or doubt you think might exist between both of you. Just tell him what's in your heart.
Cindy: I love him.
Phoebe: Then tell him that. Now. Before it's too late.
Cindy: Who are you?
Phoebe: Messengers.
Cindy: Thank you.
(She leaves.)
Cupid: I'm starting to fell better already. You were good.
Phoebe: I was good wasn't I?
Cupid: Yes ma'am.
Phoebe: So why do I feel that was more for my sake than for Cindy's?
Cupid: Because in order to let love in, you have to overcome the obstacles within yourself.
Phoebe: You know, we have to go reconnect Prue and Piper's love connection before it's too late.
Cupid: You know the more couples we put back together, the more Drazi's gonna come looking for me wherever I am.
Phoebe: Isn't that the plan?
Cupid: Yeah. I just wanted to make sure you knew what you're getting yourself into.
[Scene. Hospital. A doctor is wheeling Max down the hallway in a wheelchair. Cindy comes up to him holding a bunch of flowers.]
Cindy: They didn't have any roses.
Max: Cindy.
Cindy: I am so sorry for whatever happened today. I don't know what came over me.
Max: It's okay. It doesn't matter. I didn't mean it either. None of it.
Cindy: Really?
Max: Really.
[Cut to Drazi. He doubles over in pain.]
Draze: Cupid. Do you think you can undo what I've done? You're d*ad.
Commercial Break
[Scene: Manor. The doorbell rings. Piper opens the door.]
Jack: This better be good.
Piper: Am I supposed to know what you're talking about?
Dan: Don't buy the innocent act. She pulls it all the time.
Piper: I beg your pardon?
Jack: Just cut to the chase, Piper. Why did you call?
Piper: What? I didn't.
(Jack stands at the bottom of the stairs and calls out to Prue.)
Jack: Prue, I wanna talk to you.
Dan: Isn't this your number? "Come to my house a.s.a.p."
Piper: That's really pathetic. Paging yourself?
Dan: Pathetic?
Jack: Prue!
Piper: I'm sorry, I meant moronic.
(Prue comes down the stairs.)
Dan: What?
Prue: Why are you here?
Jack: You called.
Prue: Oh, you wish.
Piper: What is going on?
(Phoebe and Cupid enter.)
Phoebe: Hate and it's gotta stop. I asked Jack and Dan to come over her.
Piper: And what is he still doing here?
Cupid: Trying to help you.
Prue: No reason to hang around here, that's for sure.
Phoebe: Oh, on the contrary. Everyone on the couch now.
Jack: Phoebe, just mind your own business.
Prue: Hey, don't talk to my sister like that.
Cupid: Please.
Phoebe: Okay, everyone on the couch now. Come on.
[Cut to Drazi. He's in a car park. He's still in pain.]
[Cut back to the manor.]
Piper: Phoebe, I don't understand.
Phoebe: Okay, well be quiet and you will.
(Dan and Piper sit on the couch next to Prue and Jack.)
Dan: (to Cupid) You don't look okay. Are you alright.
Cupid: I'm having a rough day.
Phoebe: But we can change that. You are all acting like you are under some kind of spell.
Prue, Piper: Phoebe.
Phoebe: Would you stop thinking and just feel. Look, I know that some ugly things were said tonight but you can get past that.
Prue: Assuming that we want to.
Phoebe: You know you want to.
Cupid: Remember how you felt the first time you saw Jack?
Jack: How would you know?
Prue: Yeah, I hated him.
Cupid: My point exactly. Opposites attract. But after a while he started to make you smile didn't he? He made you laugh. Look at him again. Remember that. (Prue and Jack look at each other and Prue smiles slightly.)
Phoebe: And Piper, I watch you when you talk to Dan and I see light and warmth and hope and I know you feel that way. And Dan, you don't need someone whispering in your ear telling you not to trust Piper. Trust yourself.
Dan: (to Piper) I'm not saying you have to tell me everything but when you deliberately keep secrets from me I...
Piper: It's not because I want to, I told you it has nothing to do with you.
Dan: But does it have anything to do with Leo?
Piper: No, it has to do with you and me and what I would like us to become.
Cupid: It's working.
Phoebe: Where is he?
Cupid: He's close.
Phoebe: Okay, okay, here's the plan. Jack, Dan, you go down to the corner market and get whatever you want. If the food of love is Cheetos and soda, then play on. Um, can you pick up a couple of frozen pizzas?
Jack: (sarcastic) So you can talk.
Phoebe: Yes, that's very good, Jack. Very good, you're quick.
Dan: I'll drive.
Phoebe: Yeah, okay, take your time. Bye, bye.
(Jack and Dan leave.)
Prue: Hey, what the hell is going on?
Phoebe: Okay, think you guys. Do you remember Drazi? Well, he's still alive and if Cupid's right, he's on his way here as we speak. Whatever bad feelings you had for Dan and Jack, Drazi did it. He's twisted your relationships with hate.
Piper: So what do we do now?
Phoebe: Exactly what you're doing right now. You let Dan and Jack into your hearts.
Prue: Okay, hold on. I don't love Jack.
Cupid: No, but you like him a lot. And it's helped you open to love.
(Drazi walks around the corner and grabs Cupid.)
Drazi: Hello, lover boy. (Drazi reaches in Cupid's chest and grabs his heart.) I should of finished you off the first time.
(Piper freezes them.)
Piper: Okay, so much for loving him to death. What do we do with him now?
Phoebe: Same thing, only different.
Prue: Been there, blew that.
Phoebe: Yeah, the only difference is the ring won't be protecting him... (she takes the ring off Drazi's finger) it will be protecting him. (She puts the ring on Cupid's finger.)
Piper: How can you be sure?
Phoebe: I can't. (She grabs a bowl full of the potion off the table.) But love is a risk. If he's taught me anything it's that.
(She throws the potion on Drazi and they unfreeze.)
Drazi: No, no. No, not again!
(He starts melting and he turns into black stuff and disappears.)
Piper: Is he gone this time?
Cupid: Yeah, he's definitely gone.
Piper: How do you know?
Cupid: Because I've never felt better. (to Phoebe) I knew you could do it. And now I have to go.
Phoebe: I know.
Cupid: I won't be far. Don't mourn me, Phoebe. Remember me, celebrate me and seek me out.
(He kisses Phoebe and disappears.)
Phoebe: Now that boy can kiss.
Commercial Break
[Scene: Outside the movie theatre. Jack, Dan, Prue and Piper are there. They just saw "The Dirty Dozen".]
Dan: You gotta remember though the mission was successful. Bronson made it home.
Jack: Just in time to make death wish.
Prue: Oh, no.
Jack: You'll love it, I promise.
(Phoebe's walking behind them. Kevin walks up to Phoebe.)
Kevin: Sorry, Phoebe. I almost forgot to get our parking validated.
Phoebe: No problem, Kevin.
Kevin: Hey, I just wanted to say I'm really sorry that I cancelled on you the other day.
Phoebe: Love means never having to say you're sorry.
Kevin: What?
Phoebe: It's nothing. We saw "Love Story" here the other night and... never mind.
Kevin: I love that movie.
Phoebe: Really?
Kevin: Yeah.
Phoebe: Me too... now.
(They catch up to the others who is waiting for them.)
Prue: Hi.
Phoebe: Hello.
Jack: Let's grab some coffee. I am buying.
End | {"type": "series", "show": "Charmed", "episode": "02x10 - Heartbreak City"} | foreverdreaming |
Written by: Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Solarium. Piper's putting baby things in a basket. Prue comes in.]
Prue: Piper, have you seen slides anywhere?
Piper: By the TV.
Prue: Thank God. I thought that I lost them. Jack would've k*lled me.
(She gets the slides off the TV.)
Piper: Jack?
Prue: The boss is sending two employees with the best presentation to New York for a conference, all expenses paid and Jack and I are hoping he picks us.
Piper: Are you gonna sleep with him?
Prue: Piper, it is just a business trip, that is all. Who's the present for?
Piper: Lisa Kreegers baby shower.
Prue: I forgot.
Piper: I know. So did Phoebe. But I'm making it from all of us.
Prue: What's all in here?
Piper: Stuff, and I just knitted her a little baby blanket, that's all.
Prue: You knit? I didn't know that you knit.
Piper: Yeah, and I even had some extra yarn left over and I made her a little bear to match. Kinda cute, huh?
(Piper holds up a cute little blue bear.)
Prue: Oh, hi, ooh, he's adorable. (She takes the bear off Piper.) I guess this is really good practice for you, huh?
Piper: What are you talking about?
Prue: You, Dan, little Dan.
Piper: Whoa, slow down. Dan is the one that has our relationship on the fast track, not me. But don't get me wrong, he's great, but that doesn't mean I'm ready to move in with him or anything else of that nature.
Prue: (Sarcastically) You know, I just hate guys who aren't afraid to commit, they are so atypical.
Piper: It's not funny, Prue, it's a problem.
Prue: Piper, I don't really see what the problem is. I mean, you and Dan are great together and you think that you love him, right?
Piper: I think so, it's just every time I feel I'm ready to commit to him, I flash back to our little trip to the future and seeing me with Leo and
Prue: Piper, Dan is here now in the present. That's all that matters.
Piper: I know, I know. But I'm not ready for a baby shower either.
[Scene: Police station. A policeman brings in a baby. Phoebe is there talking to Morris.]
Phoebe: Come on, Morris, open your mind. This could so work.
Morris: Look, Phoebe, it's not that I don't appreciate your offer, it's just my stock in this precinct is not exactly blue chip. The last thing I need is for word to get out that I'm using psychic to solve my cases.
Phoebe: So no one needs to know. You just give me the evidence, I touch it and if I get a flash then we're in business. (She picks up a butter Kn*fe and pretends to have a premonition.) Oh my God. I see blood, flesh. You had the sausage for breakfast didn't you?
Morris: I hate sausage.
Phoebe: Little joke.
Morris: (to the other cops who are watching) Alright, people, moving along.
(Phoebe sees the baby. It's crying and three policemen are jiggling things above it.)
Phoebe: Who would bring a baby to a police station?
Morris: It was abandoned. Now, look, Phoebe
Phoebe: Abandoned? That's awful.
Morris: That's what they call a crime. Now, Phoebe
Phoebe: You know, they're really scaring him waving that rattle in this face like that. (She walks over to them.) Excuse me, officers.
(She takes the rattle off an officer and sits down in front of the baby.)
Morris: Thanks, we got it from here. (They walk away.)
Phoebe: It's okay, sweetie. It's okay. (The baby stops crying. She notices "Matthew" embroidered on the blanket.) There you go, you're okay. (to Morris) See, I told you I could help you. All babies need is love. (She takes him out of his capsule and holds him.) Oh, yeah. Big boy, huh? (Phoebe has a premonition of someone taking Matthew and then a ghost appears and zaps the guy.)
Morris: Phoebe, are you okay?
Opening Credits
[Scene: Manor. Living room. Phoebe, Piper and the baby are there. Piper's holding Matthew.]
Phoebe: So I can't figure out if the premonition was the future or the past. If it was the past, it would make sense that they would abandon him to try to save him.
Piper: Uh, you know, I'm not really good with these things.
Phoebe: They're called babies. Just do the rocking walk. He loves the rocking walk.
Piper: Are you sure it was a ghost?
Phoebe: Yeah, I think I know ghosts by now. I just can't figure out why a mean ghost would want to hurt that cute little baby.
Piper: And how did you talk Darryl into letting you take him home?
Phoebe: I just told him about the premonition. The only problem is, he said we have twenty-four hours before Social Services start asking questions.
Piper: So what are we supposed to do with him now? Raise him in the ways of witchcraft? Teach him how to fight ghosts? (Matthew starts crying.) Okay, maybe you should take him. (She gives Matthew to Phoebe.)
Phoebe: That's a good baby. A very good little baby. Okay.
(She puts Matthew in his baby capsule.)
Piper: Wow, you really are a natural at this.
Phoebe: Yeah, I can't wait to have a baby of my own some day.
Piper: I'm beginning to think Dan fell in love with the wrong sister. (Phoebe looks at her.) Nothing. Never mind. (Piper picks up the bear she made and waves it in front of him.) Hi, sweetie, do you like bears? (Matthew throws up on the bear.)
Phoebe: Yeah, he doesn't like things being waved in his face.
Piper: Obviously.
(Piper gets a towel and starts wiping Phoebe.)
Phoebe: Well, let's do him.
(The front door opens and Prue walks in.)
Prue: This better be good because my New York trip is at stake.
Phoebe/Piper: Shh!
(Prue notices Matthew.)
Prue: We have a baby?
Piper: Phoebe picked it up at the police station.
Prue: Okay, I-I-I thought that you were going to ask about a job, not a kid.
Phoebe: I was and I was trying and then this abandoned baby came in.
Prue: Abandoned?
Phoebe: Yes.
Prue: In an Eddie Bauer car seat and a blanket lined in silk?
Piper: You guys, I think he's finally falling asleep.
Prue: Okay, I don't get it. If the parents could afford such expensive stuff, then how come they couldn't keep the kid?
Phoebe: I don't think that's why he was abandoned.
Piper: Oh no. (Matthew starts making noises.) He's like a car alarm. Any sudden vibration just sets him off and there's nothing you can do to stop it.
Phoebe: She's got baby issues.
Prue: Mmm, I know.
Piper: Look, Phoebe had a vision of ghost chasing the baby.
Phoebe: And a man carrying the baby. Probably his father. Darryl said I could drop by at lunch and he could get a sketch artist to help me ID him.
Prue: Good, because the only way to find out why the ghost is after the baby by finding out who he belongs to.
Phoebe: I gotta go.
Piper: What?
Prue: Yeah, I gotta get back to work. Just keep me posted.
(Prue and Phoebe grab their coats and bags.)
Piper: Whoa, whoa, wait. You can't leave me here alone with him.
Phoebe: Piper, you're gonna be fine. Don't be afraid.
Prue: Yeah, just think of it as a test run.
Piper: I don't need a test run. I remember when Phoebe was a baby and it was hard on mum and endless and with you dropping her all the time.
Phoebe: What?
Prue: Oh, moving on, what's the point?
Piper: The point is we need things like diapers and bottles and formulas and a million other things.
Prue: I'll go shopping.
Phoebe: And I'm gonna go see Morris. You're gonna be fine okay. Just do the rocking walk. Okay? You're gonna be fine.
(Prue and Phoebe leave.)
[Scene: In a baby store. Prue has a trolley full of baby stuff. She pushes it down a diaper aisle.]
Prue: Right. (She can't reach them as they're on the top shelf. She looks around to make sure no one is around. She uses her power and two packets of diapers fly off the shelf and she catches them. You see Jack and a kid riding a scooter around the store. Jack sees Prue.)
Jack: Prue.
Prue: Jack. Hey, what are you doing here?
Jack: Getting my ass kicked by a five year old. Hey, you little rugrat, best two out of three. Come on.
Prue: So, um, how'd you find me?
Jack: Your assistant told me. But what she didn't tell me is what the hell are you doing here?
Prue: Oh, just a little bit of a family emergency.
Jack: And you needed diapers?
Prue: Yeah, they're for my cousin. My baby cousin. Matthew. Just staying with us for a day or so.
Jack: And you'd by coming back to work when?
Prue: Right after I drop this stuff off and believe me, there'll be no more interruptions after today.
Jack: Good. For a second there I thought maybe you'd changed your mind about going to New York.
Prue: Okay, wait a second. Who has been working late for the past three nights to get our presentation done?
Jack: Yeah, well, that's before I thought we had a chance to win. So when you disappeared, I figured maybe you had second thoughts.
Prue: No, I want to go to New York. And believe me, I would much rather be at work right now then trying to figure out whether to get aloe lined or-or-or velcro tabbed or elastic leg cuff thingy diapers. You wouldn't happen to know anything about diapers would?
Jack: Me? Noo. That would involve knowing something about babies which I know absolutely zero about. But what I do know something about is the Big Apple. Specifically romantic restaurants, hip clubs, secret getaways. Presentation's today at three. Plane leaves tomorrow at nine. I gotta kid to catch.
(He gets back on the scooter and rides away.)
Commercial Break
[Scene: Manor. Kitchen. Piper's sitting on a stool watching Dan with the baby.]
Dan: This is called the jiggle. It gives the babies a nice warm moving around in the womb feeling.
Piper: You are absolutely amazing. I tried everything and nothing worked.
Dan: Well, it helps to come from a big family. Once you've mastered the jiggle, you'll be able to do the wave. You wanna give it a try?
Piper: No, let's not mess with a good thing.
(Piper watches Dan doing the sway on Matthew.)
Dan: You're staring.
Piper: I like seeing you this way.
(Prue comes in the back door carrying bags.)
Prue: You have no idea how expensive having a baby is. So I'll tell you. $312.46 to be exact.
Piper: No way.
Dan: Well, your timing's perfect. Cousin Matthew needs to change.
Prue: Okay. (Prue gets a blanket out of one of the bags and lays it out on the table.) Alright, there we go. (Dan puts Matthew on the blanket and Prue starts taking his diaper off.) Oh!
Piper: Ohh, that is ripe!
Prue: What does this kid live on? Wheat grass?
Dan: I can change him.
Piper: No, no. We got it.
Prue: Alright, I got hyper-allergenic wipes, diaper rash cream and super absorbent diapers.
Piper: What are we supposed to do with the...
Prue: Just toss it.
Piper: Alright.
Dan: Hey, don't forget to clean up under his
(Matthew pees. It squirts up and Piper freezes it just in time before it hits them. Dan freezes too.)
Prue: Okay, so maybe only one of us should change him.
Piper: Be my guest.
Prue: On the count of three. Ready? One, two, three. (Piper unfreezes it and Prue uses her power to move it and it misses them.)
Dan: Boys will be boys.
(They continue changing Matthew. Prue tries to put the diaper on but it's too small.)
Prue: Oh, it doesn't fit, it doesn't fit.
Dan: Probably the wrong size.
Prue: How was I supposed to know what size to get?
(Dan grabs a tea towel.)
Dan: Look, I got it.
Prue: Oh, how nice.
Dan: There we go. (He turns the towel into a diaper.) How's that?
Piper: Wow, you're like MacGyver with estrogen.
Dan: Thanks... I think. Actually, cloth diapers are more environmentally friendly but harder to use. There, such a good boy.
Prue: (to Piper) Yes he is.
Piper: Alright.
Dan: If you want, I can pick up the right size on the way home.
Piper: Thanks, that'd be great.
Dan: Not a problem.
(Dan hands Matthew to Prue.)
Prue: Oh, hi.
Dan: (to Piper) See you tonight. (He leaves.)
Prue: You know what is so weird?
(She hands Matthew to Piper.)
Piper: What?
Prue: Is that, um...
Piper: Why are you giving him to me?
Prue: 'Cos I gotta go.
(She runs out the room.)
Piper: That's twice, I'm counting.
[Scene: Police station. Phoebe, Morris and a sketch artist are there. Phoebe's telling the sketch artist what the guy in her premonition looked like.]
Phoebe: I think his brows should be a little more arched and his hair a little lighter. (The sketch artist lightens his hair and arches his brows on the computer.) Yeah, that's better. Um, and his nose is bigger, wider.
Sketch Artist: So we looking for a m*rder suspect?
Morris: Just do me a favour, Hernandez. No questions.
Sketch Artist: I still need to know what to do with him when I'm done with the sketch. I mean, what? Do I put it on the wire, put out on APD or ship it to the psychic hotline?
Phoebe: Oh, wait, that's it, that's him.
Morris: Are you sure?
Phoebe: Positive.
Morris: Print us up a copy, run it through the data base, try to get us a name. (He looks at Morris.) Just do it.
[Cut to Prue in her office. She's receiving the fax of the man. She's on the phone with Phoebe, who's still at the station.]
Prue: Gilbert Van Lewen.
Phoebe: You know him?
Prue: Well, I know the name. His family has a huge art collection, part of which they wanted to sell when his father mysteriously died last summer. Wait, I just read somewhere that his brother died a couple of days ago too.
Phoebe: So it sounds like the ghost isn't just after baby Matthew. Hey, you wanna meet me and Morris down at the Van Lewen estate? Have a little chat with Gilbert? (Prue sees Jack and a delivery guy outside her office.) It would help to have an active power there just in case the ghost shows up.
Prue: Sure. Who wants to go to New York anyway?
Phoebe: Bye.
(They hang up. Jack comes in holding some take-away.)
Jack: Lunch is served.
[Scene: The Van Lewen's house.]
Gilbert: Alexandra, for God's sake, keep your voice down please.
Alexandra: Where's Matthew, Gilbert? What did you with him?
Gilbert: You have got to believe me. I did this for this for his own good.
Alexandra: You can't just abandon our baby. You can't just do that.
Gilbert: I had to. He would of gotten to him tomorrow at the christening, I know it. That's when he strikes. At the moment of greatest joy.
Alexandra: Okay, Gilbert, listen to me. I know that you've been under a lot of strain because of what happened to your brother, but this whole ghost thing has got to stop. Don't you understand, it's crazy. There's no such as a...
Gilbert: It's him.
(Martha comes in.)
Martha: Gilbert, you've got to get out of here now.
(The ghost appears.)
Ghost: Too late, Martha. He's next.
Martha: No, not again. I have suffered enough. Please, spare my last son.
Ghost: If he brings the baby back, perhaps.
Gilbert: Never.
(The ghost zaps Gilbert and he falls over the banister.)
Ghost: You're stuck here, Martha. I won't let you leave. Until you have watched me k*ll every last male in your family.
Commercial Break
[Scene: Outside the Van Lewen's house. There's police and paramedics there. Prue pulls up in her car and walks over to Phoebe and Morris.]
Prue: Hey, what's going on?
Morris: Apparently Gilbert Van Lewen fell over the banister. I think the medical examiner is going to list the cause of death as accidental.
Phoebe: Sure have been a lot of accidents around here lately.
Morris: Yeah, well, welcome to homicide.
Prue: Poor Matthew.
Morris: We don't know for sure that Gilbert was his father.
Phoebe: Well, we have to find out for sure.
Morris: Whoa, hold it. Number one - this isn't my crime scene, number two - you ain't cops, remember?
Phoebe: Darryl, we can not just walk away from this.
Prue: We have to find out whether this is Matthew's home or not.
(They walk inside. There's a cop standing at the doorway.)
Morris: They're with me.
Cop: Let me guess. Your psychic friends?
Morris: Let me guess. You wanna be a metre man? Who called it in?
Cop: The victims mother. Martha Van Lewen. She's around the corner.
Morris: (to Prue and Phoebe) I'll do all the talkin to Mrs. Van Lewen. Are we clear?
Prue: Perfectly.
(Morris walks up to Martha.)
Morris: Mrs. Van Lewen, I'm Inspector Morris. I'm terribly sorry for your loss.
Martha: Thank you.
Morris: I just have a couple of questions for you and your daughter in law.
Martha: Well, Alexandra's off resting. She's in a great deal of pain.
Morris: Of course. She's with her baby then?
Martha: No, my grandson's staying at his aunts. I'm sorry, Inspector. I really don't feel like talking.
(Phoebe and Prue walk upstairs.)
Morris: I understand and again, my sincerest condolences.
[Cut to upstairs. Prue and Phoebe walk into a baby's room. Phoebe sees a pillow with "Matthew" embroided on it.]
Phoebe: Yep, no question about it.
Prue: They must love him dearly. I can't imagine how painful it must of been to let him go.
Phoebe: We probably shouldn't mention where the baby is in case Casper's still around.
Alexandra: What are you doing in here?
Phoebe: Hi, uh, sorry. Alexandra?
Alexandra: Who are you?
Phoebe: I'm Phoebe and this is my sister Prue and we're...
Prue: Uh, grief councilors with the police department.
Alexandra: I don't need any counseling. I just need to be alone.
Prue: We understand.
Phoebe: More than you know. We can help you, Alexandra.
Alexandra: Oh yeah? Can you bring back my husband?
Prue: No, but maybe someone else.
Alexandra: Please leave. Just go.
[Scene: Manor. Kitchen. Phoebe and Prue are sitting at the table. Prue's working on her presentation and Phoebe's looking for stuff on the computer. Piper walks in holding Matthew who is crying.]
Piper: Okay, isn't it anybody else's turn? I'm dying here.
Phoebe: Just a bit longer. I had no idea there was so much information about the Van Lewen's on the internet.
Prue: Yeah, and Jack's postponed the presentation which means I've got until morning to salvage it.
Piper: I don't understand why you just didn't come out and tell them we had Matthew.
Prue: Because we couldn't risk the ghost following us home and finding him.
Phoebe: Alright, we have to figure out how to vanquish the ghost.
Prue: Yeah, in less than twelve hours before Darryl comes and takes him away.
Phoebe: The thing about ghosts is they always haunt for a specific reason and it's always personal. So I know the Van Lewen's know this ghost and I'm going to find him.
Piper: No. I'm going to find him. Okay, times up. He's all yours.
(Piper gives Phoebe Matthew. Phoebe stands up and Piper sits down.)
Phoebe: I know. It's okay, baby, it's okay. (Matthew continues to cry.) Why isn't he stopping, he's not stopping. Why isn't he stopping?
Piper: Maybe it's a hungry cry.
Phoebe: We just fed him.
Prue: Maybe it's a sleepy cry.
Piper: If it is a sleepy cry, then why doesn't he just fall asleep?
Phoebe: Maybe it's a burpy cry. (Phoebe pats Matthew on his back and he throws up all over Prue's presentation.)
Piper: Something tells me it's going to be a very long night.
[Time lapse. Manor. Living room. It's now 2:00 in the morning. Piper's reading a book, Prue's holding Matthew and Phoebe's on the computer.]
Prue: I thought that babies slept a lot.
Phoebe: Yeah, obviously one of those lies they'll tell you so you wanna get pregnant.
Piper: So much for being the natural.
Phoebe: Hey, everyone has their limits. Anything in Dr. Spock?
Piper: Nothing that we haven't already tried. How's the search going?
Phoebe: Not so good. The Van Lewen's are seriously loaded. There could be hundreds of d*ad people that could be holding a grudge against them.
Prue: Why don't you just focus on the time of Martha's husband's death. I mean, that was the first
(Matthew starts whimpering.)
Phoebe: What did you do?
Prue: I didn't do anything.
Piper: Well, do something.
(Prue lays him down on his blanket and tips all her stuff out of her purse. She then uses her power and all the stuff floats above him.)
Piper: Doesn't that fall under the personal gain category?
Prue: Oh, who cares. We're desperate and it's working. He likes it, that is so sweet. (He passes wind and dirties his diaper.)
Phoebe: Oh, no, not again.
[Time lapse. Prue's holding up Matthew near the kitchen sink in his baby bath and she's using her power to hold up the shower spray and the water is rinsing him. She finishes rinsing him and wraps him up in a blanket. Piper's sitting at the table looking for information on the computer.]
Piper: Here, this might be something. The Van Lewen's chauffeur, Elias Lundy, disappeared suddenly before Martha's husband died.
Prue: Disappeared doesn't mean d*ad. Maybe it just means he took off. (Prue puts Matthew in the baby capsule.)
Piper: Well, if he did, he took off without anything he owned including his saving account and his car.
Prue: Well, it's definitely something we should ask Martha Van Lewen about.
Piper: Yeah, if she'll talk to us.
Prue: Well, if she ever wants to get her grandson back safe, she will.
(Phoebe enters carrying the Book of Shadows.)
`Phoebe: Okay, forget Dr. Spock, this is the only book we need.
Piper: The Book of Shadows? I don't think so.
Phoebe: Well, mum wrote spells in it, right? And with three girls there has to be something in here about, you know, how to do
(She finds a page in the Book.) Oh, here it is. "Sometimes a baby just has to cry".
Prue: Thanks Mum.
Phoebe: I don't understand why this is so hard. We're women, this should be in our DNA.
(Matthew starts crying. Piper freezes him.)
Piper: I can't keep doing this all night.
[Time lapse. It's morning. Prue, Piper and Phoebe are asleep at the table. Dan is there holding Matthew. Piper wakes up and stares at Dan.]
Dan: What?
Piper: Just wondering if you're too good to be true.
Dan: Maybe some day you'll find out through personal experience. (Piper stands up.) I have to go to work. (He hands Matthew to her.)
Piper: Thanks for that.
Dan: It was my pleasure. He really is beautiful. Just like his cousin. (He kisses Piper.) Bye. (He leaves. Piper puts Matthew in his baby capsule. Prue and Phoebe wake up.)
Prue: What time is it? (She looks at the clock.) Quarter to eight, I'm late. (Prue leaves the room.)
Phoebe: I've gotta go to Martha Van Lewen. Piper, will you come with me?
Piper: Yeah, right behind you.
(They leave the room but then remember Matthew. Prue, Piper and Phoebe walk back into the kitchen.)
Prue: I think we forgot something.
Phoebe: What are we gonna do with him?
[Scene: Bucklands. Prue's office. Jack enters.]
Jack: Hey. You ready to wow Cauldwell?
Prue: Well, uh, actually
(You hear a baby and then see Matthew beside Prue.)
Jack: Do you get that through office supplies?
Prue: Okay, I had to bring him. There was nowhere else to put him and I really think that we should talk to Cauldwell about a daycare centre. I mean, I'm not the only one with a child around here.
Jack: Prue, unless you have a really big surprise for me, you don't have a kid.
Prue: I know that. But I'm going to one day. (Matthew starts whimpering.) Oh, it's okay. (She puts her pinky finger near his mouth and he sucks on it.) He only likes this finger and it took me all night to figure that out. You should see me at diapering. I'm really good at it.
Jack: Okay, you know, this mothering instinct is really something but me, I've got my own inner child and right now he's thinking about New York.
Prue: Right, um, Jack, I didn't really finish the presentation.
Jack: You know, I figured you were probably still in your family crisis, especially after your tenth non answered call. So I hope you don't mind that I took the liberty of finishing the presentation myself. Anything to get you to New York.
(Prue runs around her desk over to Jack and she jumps in his arms.)
Prue: You are the best.
(They kiss. Mr. Cauldwell walks up to the doorway.)
Mr. Cauldwell: He certainly is. And since I need my best and brightest in New York, I'm taking you out of the running, Halliwell.
Jack: Uh, Mr. Cauldwell, you know, I finished the presentation based on her file. She had a family emergency.
Mr. Cauldwell: She has a lot of those doesn't she. You'll show your presentation to the client at noon, Sheridan.
[Scene: The Van Lewen's house. Phoebe and Piper knock on the door. Martha answers it.]
Martha: Yes?
Phoebe: We need to talk to you.
Martha: Are you with the police?
Phoebe: No, not really.
Piper: But we are here to help.
Martha: I don't understand.
Phoebe: Does the name Alias Lundy mean anything to you?
Alexandra: Martha, the funeral home called and they wanted to know if... (She sees Phoebe and Piper.) What are you doing here?
Phoebe: I'm here because I really need to talk to you and I think you know what about.
Martha: Who are you people? What do you want?
(Phoebe shows them a piece of cloth that has "Matthew" embroided on it.)
Alexandra: Please tell me he's okay.
Piper: Please come with us some place safe where we can talk about this.
(They hear the ghost coming.)
Martha: Oh no.
(The piece of cloth floats through the air. The ghost appears and he catches the cloth.)
Ghost: Where is the child?
Alexandra: No, please, don't tell him.
(The ghost goes to zap them but Piper freezes the lightening stuff that comes out of his hand. The ghost doesn't freeze but Martha and Alexandra does.)
Piper: He didn't freeze. Why didn't he freeze?
Ghost: What are you? Witches?
Piper: I've frozen ghosts before haven't I?
Phoebe: Okay, Piper, now is not the time. Just unfreeze them so we can get them out of here. (Piper unfreezes them.) Duck!
(They all duck and the lightening stuff fly above them.)
Piper: Let's go.
(They run through the ghost towards the door. The ghost turns around and zaps Martha. Phoebe, Piper and Alexandra run outside. The ghost tries to go outside but the house won't let him.)
Ghost: Bring me the child or she's d*ad.
(The door slams shut.)
Martha: Looks like I'm not the only one stuck here.
Commercial Break
[Scene: P3. Phoebe and Alexandra are sitting at the bar. Piper's standing behind the bar pouring coffee in their cups.]
Piper: You know, you'd be a lot more comfortable at our place with your baby.
Alexandra: It's too much of a risk. As much as I am dying to see him and to hold him, I just can't.
Phoebe: I don't think the ghost can follow you or us. I mean, he couldn't chase us out of the house. I don't think he can leave the house.
Alexandra: But you're not positive. You don't know that for sure do you? I've seen what he can do. I've watched him k*ll my husband. I won't watch him k*ll my son.
Piper: It's okay. Everything's gonna be okay.
Phoebe: Now, what did your husband tell you about Elias Lundy?
Alexandra: He was their chauffeur but he was obsessed with Martha. Even carved his and Martha's initials on the largest oak. I've seen it. But one day, apparently his obsession got out of hand and Lundy att*cked Martha. My father in law lured him out to that same tree and sh*t him in the back. Buried him on the grounds and covered it up.
Phoebe: That would explain why he suddenly disappeared.
Alexandra: A week later my father in law mysteriously died.
Piper: At the house too.
Alexandra: And then Gilberts brother, his uncle and then... They all just looked like accidents, you know, bad luck. Martha knew but she just couldn't convince anybody.
Phoebe: I don't understand why you stayed in that house. Why didn't Gilbert get you outta there?
Alexandra: Until Gilbert's brother died, he didn't believe the story either. Martha tried to sell the house once but I guess Lundy wouldn't let her. He wants her to suffer for what her husband did to him. But he's not gonna quit until he gets Matthew too.
Phoebe: Yeah, well, we won't quit until we get him. Now, do you have any idea where on the grounds Lundy's body was buried?
Alexandra: Supposedly by that tree. Underneath the initials.
[Scene: Bucklands. Outside and elevator. Prue's holding Matthew and trying to push the button. Jack runs up to her.]
Jack: Whoa, Prue. Don't touch that dial. I just came back from Cauldwell's office and I told him I couldn't of finished the presentation without the work you did and I couldn't do the job to his level without my beautiful partner. (He holds up two plane tickets.) Plane leaves in two hours. Sorry, squirt, only got two.
Prue: Kids under two fly free.
Jack: Afraid you were gonna say that. You know what? Whatever, I'm game.
Prue: Jack, that's sweet. Thank you so much for sticking up for me but I can't. I gotta get home. Sorry.
Jack: Yeah, me too. (The elevator opens and Prue walks in.) Hey, you two make a nice couple.
Prue: Thanks.
[Scene: Manor. Kitchen. Phoebe's making a potion. Piper walks in.]
Piper: Prue's on her way home. Whoa! That stuff could melt your nostrils.
Phoebe: Yeah, like all the diaper changing didn't melt them already. Okay, the mandrate root. (She puts some in a saucepan.) You know, I could of swarn that I'd be good at this whole baby thing. I mean, I love kids, I'm giving, I'm a good person.
Piper: Phoebe, I don't think Matthew was rejecting you personally. At least no more than the rest of us.
Phoebe: Then why do I feel like sucj a failure? Everytime I get close to the little guy, he either opens his mouth or his bowels. Call me kooky but that feels like rejection to me.
Piper: It takes a lot of time to figure out how to take care of babies properly. It's a lot of work.
Phoebe: A lot more than I thought actually.
Piper: We should be grateful we have a little time off.
Phoebe: Absolutely. (Silence.) I miss him.
Piper: It is a little quiet around here. Okay, let's just focus.
Phoebe: Okay, do you wanna get the shovels?
Piper: Uh, shovels? I thought we were vanquishing Lundy with the potion. What do we need shovels for?
Phoebe: Because the only way it works if you spread it over his bones which happen to be buried.
Piper: We have to dig him up?
Phoebe: I'm afraid so.
Piper: Is that it? Or is there some other disgusting detail you're just waiting to spring on me?
Phoebe: No. The only other way to vanquish him is to destroy the object of the curse. Which is Martha and we're supposed to save Martha. So get the shovels.
(Prue enters with Matthew.)
Piper: Hi Matthew, how's the little man?
(Phoebe and Piper start fussing over him and talk baby talk.)
Prue: Okay, I'm home too. Okay, guys are we ready?
Phoebe: Yes, we're ready. Um, I really think someone should stay here with Matthew.
Prue, Piper, Phoebe: I'll stay.
Prue: Looks like we all fell for the same guy.
(The doorbell rings. Phoebe answers it. Prue and Phoebe follow her into the foyer.)
Morris: Time's up, ladies. Social services called. They wanna know where the baby is.
Phoebe: Tell them he's with us.
Morris: Three witches and a baby. I don't think that's gonna fly.
Piper: But you can't take him now. I mean, we're this close to vanquishing...
Morris: I don't wanna hear another ghost story. In the real world that baby was abandoned which means if I don't account for him, I could lose my shield.
Prue: Not if you can offer a plausable explanation, right? I mean, what if he was kidnapped and then abandoned. You would be a hero.You would be the one reuniting him with his mum. Look, just hold off for a few hours, okay. If we're not back then do what you have to do. (She hands Matthew to Morris.) And take this. He really likes it. (She hands him a pacifier.)
Phoebe: And don't wave things in his dace because he does not like that.
Piper: But he does like the jiggle. Do you know the jiggle?
Morris: Of course I know the jiggle, I'm a father.
Prue: And if he starts to cry, just hold him really close because it comforts him. Okay, bye. (She kisses Matthew.)
Phoebe: Uh, Prue, you're not gonna wear that are you? Didn't think so. We'll meet you in the car, alright?
[Scene: The Van Lewen's house. The ghost appears.]
Ghost: You can't keep hiding from me, Martha. I'll always find you.
(He tries to zap her and she ducks.)
Martha: You can punish me all you like, Elias, it doesn't matter. I don't know where Matthew is and even if I did I wouldn't tell you. (He zaps near her again.)
[Cut to outside. Prue, Piper and Phoebe pull up in the car. They get out with the shovels and potion.]
Prue: Did she say where the oak tree was?
Phoebe: I assume around back.
Piper: Okay, you two go dig him up and I'll protect Martha for as long as I can.
Prue: Alright.
[Cut to the backyard. Prue and Phoebe are searching for the tree. Phoebe finds it.]
Phoebe: Prue, over here. (They then look at the ground.) This has gotta be it. Okay, hold this. (She hands Prue a torch/flashlight. She starts digging.)
Prue: Uh, Pheebs, I think I have a much quicker way of doing that.
Phoebe: Oh, yeah, you do don't you. Okay.
Prue: You ready?
Phoebe: Uh huh. (Prue uses her power and the dirt and Elias' skeleton lifts up out of the ground.) Hello, Elias.
[Cut back in the house. The ghost is zapping Martha.]
Ghost: There are many things worst than death, Martha. You taught me that. (He stops zapping her.) I can keep doing this forever. (He starts zapping her again. Piper enters the room and freezes it.)
Piper: I don't think so.
Ghost: Bring me the child and I'll spare you.
Piper: Actually I think it's a little late for that.
[Cut back to Prue and Phoebe. Prue's hitting Elias' bones with the shovel.]
[Cut back inside. The ghost yells in pain.]
Ghost: My bones. My grave! (He disappears.)
[Cut back to outside. Prue takes the off the lid of the bottle of potion.]
Prue: Alright, here goes.
(The ghost appears near a window and he zaps near Prue and Phoebe. They scream and fall to the ground. Elias' bones go back into the ground.)
Ghost: Can't vanquish me without my bones can you?
Phoebe: Oops, busted.
Prue: Run!
(They get up and run away.)
Commercial Break
[Scene: The Van Lewen's house. Prue and Phoebe run through the front door.]
Prue: Piper, where are you?
Piper: Upstairs.
(They run upstairs.)
Prue: Have you seen Lundy?
Piper: What do you mean? Didn't you vanquish him?
Phoebe: Uh, no, and it doesn't look like we'll ever be able to. He's hidden his bones some place that we'll never be able to find them.
Martha: Then you have to get out of here now.
Piper: No, we're not going anywhere.
Martha: You haven't got a choice if there's no other way to stop him.
(Prue, Piper and Phoebe look at each other.)
Piper: It's not an option.
Prue: Agreed.
Martha: What? What is it? I think I have a right to know.
Phoebe: It's just that there is one other way to vanquish a ghost. And that is to destroy the object of its wrath.
Martha: Meaning me? Are you saying that if I die he dies too?
Piper: No. Our job is to protect the innocent and that would be you.
Martha: No, it isn't. It wasn't my husband who sh*t Elias in the back. It was me, I did it. He wanted me for himself. He said he was going to k*ll my husband.
(The ghost appears.)
Ghost: Yet I did didn't I. How could you, Martha? I loved you.
Martha: I didn't love you.
Ghost: They can't protect you forever.
Martha: You're absolutely right. But I can protect Matthew.
(Martha runs out of the room and falls over the banister.)
Prue: Martha, no!
Ghost: No! (Martha's spirit floats out of her body up to where Elias is.) Martha, what have you done?
Martha: k*lled us both. Go to hell, Elias. (A hole opens up in the floor and flames come out of it. Elias starts burning and he disappears in the hole. The hole closes up.)
Piper: Uh, what do we do?
Martha: Don't do anything. This is where I belong. This is where I belong. This is the only way to save my grandchild. Thank you for protecting him. (She disappears.)
[Scene: Manor. Kitchen. The song "I Love You" by Martina McBride is playing while you watch Prue, Piper and Phoebe washing Matthew in his baby bath. Then you see them drying him and dressing him.]
[Scene: Police station. Alexandra and Morris are waiting for Prue, Piper and Phoebe to arrive.]
Morris: There they are.
(They walk in. Phoebe's holding Matthew. Alexandra walks over to them and takes Matthew off Phoebe.)
Piper: Here, we wanted you to have this but we couldn't get all the throw up off of it.
(She hands her a blanket and the bear she knitted.)
Alexandra: Oh, that's okay. You're all so sweet. How can I thank you?
Phoebe: Just let us baby sit every once in a while.
Prue: Take good care of him.
(They kiss Matthew goodbye and leave.)
Commercial Break
[Scene: P3. Prue, Piper and Phoebe are at the bar.]
Phoebe: So how many kids do you think I'm going to have one day?
Prue: I'd say five.
Piper: More. At least six.
Phoebe: Ow. What makes you say that?
Piper: Oh, please Pheebs, you were born to be a mum.
Prue: No doubt about it.
Phoebe: Yeah, you think? I miss that little guy already. Although being a surrogate mum for the last twenty-four hours has taught me I have a long way to go before I'm ready for it full time. I gotta get my life together first.
Prue: Yeah, find a guy maybe?
Phoebe: That might help, huh? Unlike Piper's guy who is like Mr. Mum.
Prue: Yeah, Dan was really great with Matthew wasn't he?
Phoebe: More like a godsend.
Piper: Yeah, I think that's what scares me. He's like, flawless. He's great at everything. He's great looking, fun, he's great with babies.
Prue: But...
Piper: But I don't know. He's just a little too perfect. I feel a little imperfect around him.
Phoebe: Well, maybe that's why you were uncomfortable with Matthew. Maybe because of Dan you were resisting your own maternal instincts.
Prue: Where did that come from?
Phoebe: Cosmo, where else? Look over there, there's Jack.
Prue: Jack?
Phoebe: Yeah, Jack.
Piper: Jack who?
(Piper and Phoebe make noises at Prue. Prue walks over to Jack.)
Prue: Why aren't you in New York?
Jack: I didn't wanna go without my partner. I don't want you to think this gesture of mine is in any way of a sign of you involving maturity, in case having your cousin Matthew around given you any ideas.
Prue: No, the only idea I have is that one day, maybe sooner, maybe later, I'm gonna make a great mum. And you know, hopefully I'll find the right guy.
Jack: Well, I think you should know that being as I'm still a kid myself, I don't think I'd be doing anyone any favours by pretending to be the right guy.
Prue: Well, I didn't say I was looking for the right guy tonight. You'll do. Let's dance.
(They walk on the dance floor and start dancing.)
End | {"type": "series", "show": "Charmed", "episode": "02x11 - Reckless Abandon"} | foreverdreaming |
Written by: Vivian Mayhew and Valerie Mayhew
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: P3. Piper's at the bar cutting up some yellow spiky fruit. She coughs and gets a glass of water and takes a sip. Phoebe comes up to the bar.]
Piper: Oh, I am so glad to see you.
Phoebe: Is that because I can work tonight or is it because I am now "Phoebe Halliwell, college student."
Piper: Okay, neat, thin slices please. Wait, you enrolled? (Phoebe nods.) Phoebe, this is huge.
Phoebe: Hugest thing I've done since I came back home. I mean, aside from vanquishing demons and saving the world from evil of course. Okay, so I signed up for two general courses. (Phoebe gets a piece of paper out of her bag and hands it to Piper.)
Piper: And seven electives. Seven, Phoebe?
Phoebe: Alright, so I'm a little confused. I could use some advice. What do you think I should take? (Piper coughs.) Honey, are you okay?
Piper: Yeah, its just a little cough.
Phoebe: I bet Prue made you have soup at lunch today after she heard that little cough.
Piper: I had to cancel actually. Last night's paper work took a bit longer than expected.
Phoebe: So I guess you missed your massage today also.
Piper: A reporter from the San Francisco called and had a ton of questions about the club.
Phoebe: Piper, you have got to take care of yourself. You've been feeling funky since yesterday.
Piper: It's probably just a bug.
Phoebe: Even more reason for you not to push it.
Piper: I'm fine, besides it's all paying off, the club is finally doing well, we're making money, now would you slice. (Phoebe picks up the Kn*fe and a piece of fruit.)
Phoebe: What kind of fruit is this anyway?
Piper: Kewano. It's from South America. It's great for Mai Tai's. Just got them in yesterday actually. The bartender has a connection at the docks.
Phoebe: Wait, you smuggled it in?
Piper: Oh, it's fruit, Phoebe, not drugs.
Phoebe: Look, just because we're witches, does not mean you're invincible. Okay, you need to start taking care of yourself.
Piper: Thank you, Doctor.
Phoebe: Hey, "Doctor Phoebe Halliwell". I like it.
[Scene: Bucklands. Prue's office. She's looking at a painting. Jack's standing behind her.]
Prue: It's late. Let's just get this done. Well, it certainly appears to be a Monet. Has the same style that he enjoyed in Paris after the Exposition de Verselle. The same delicate powdery interpretation combined with great vigour and expressiveness.
Jack: Great vigour? Randy little painter was he?
Prue: The brush strokes around this smoke stack are somewhat unusual for Monet. They seem almost individual although beautifully rendered.
Jack: Yeah, no complaints about my view either.
Prue: Okay, you know what? Is everything with you sexual?
Jack: No
Okay, you've never thought about me?
Prue: Jack, come on, we don't have very much time to authenticate this painting
Jack: And I was good wasn't I? Come on, Prue, I'm not pushing this. I just, I know where you stand, I just wanna know where I stand with you.
(Mr. Cauldwell enters.)
Mr. Cauldwell: How are you two doing?
Prue: Oh, uh, we're fine. Exactly where we should be at the moment.
Mr. Cauldwell: As long as it's authenticated by the auction. I've got eight buyers on the block interested in that piece.
Prue: You don't have to worry about us, Mr. Cauldwell.
Mr. Cauldwell: Good.
(He leaves.)
Jack: Do I have to worry about us?
[Scene: P3. Piper's walking through the crowd. Phoebe comes up to her.]
Phoebe: Piper, you need to go home.
Piper: Phoebe, I'm fine, I'm just
Phoebe you're right.
(Piper faints.)
Phoebe: Oh my God. Call 911.
Opening Credits
[Scene: Hospital. Piper's lying in a bed hooked up to some machines. Prue's standing there. Piper wakes up.]
Prue: Hey.
Piper: Prue?
Prue: You're awake.
Piper: What happened?
Prue: You don't remember?
Piper: I remember being in the club and talking to Phoebe and then I gotta admit, it's a little fuzzy.
Prue: You collapsed and we called an ambulance.
Piper: Oh, that must have been great for business. So what's wrong with me?
Prue: Um, they don't really know. We're just sort of waiting for blood test results.
Piper: I'm sure it's nothing too exciting. It's probably something trendy like mono or Epstein Barr.
Prue: Yeah, well, whatever it is you're gonna take the time to get better.
Piper: You sound like Phoebe. Where is she anyway?
[Cut to outside. Phoebe walks up to the receptionists desk. The nurse has her back facing Phoebe.]
Phoebe: Uh, hi. Nurse person. (The nurse turns around.) Can you tell me where Dr. Wallis is. He said that my sister's test results should be in by eight and it's twenty past eight now.
Nurse: What's your sister's name?
Phoebe: Piper. Piper Halliwell. Thank you. Piper Halliwell.
Nurse: Piper Halliwell has been transferred to Dr. Williams care. If you have a seat in the waiting area, I'll page him.
Phoebe: What happened to Dr. Wallis?
Nurse: I'm sure that Dr. Williamson will be able to answer all of your questions. Please, have a seat in the waiting room.
Phoebe: Okay.
(Phoebe sits down. A boy in a wheelchair comes up to her.)
Boy: Are you sick too?
Phoebe: No, I'm not sick.
Boy: Then why do you look so sad?
Phoebe: My sister's here and they don't know what's wrong with her.
Boy: The doctor's don't know what's wrong with me either. Maybe your sister and I have the same thing.
Phoebe: What is your name?
Boy: Nathan.
Phoebe: Well, hello, Nathan. I'm Phoebe. And who is that?
(She points to a Ninja doll sitting on his lap.)
Boy: Ninja doll. I found him in the children's ward.
Phoebe: You know, I don't think that's a ninja doll. If I know my ninja dolls, I think that one's really a magical wi
zard.
Nathan: Really? How can you tell?
Phoebe: Well, let me see him. (She takes the ninja off of him.) I've seen what his type can do. He's got powers. He can move things and freeze things and can kick box too. And the really cool thing about him is he can do all this to the demon
to the bad guys inside your body without anyone even knowing about it.
Nathan: Really? He can freeze the bad guys and move them?
Phoebe: And kick box them too. Don't forget that. Right out of your body. All you have to do is when you feel bad, you close your eyes and just picture him fighting them for you. Do you think you can do that?
Nathan: Yeah.
(Dr. Williamson and some other Doctors walk up to Phoebe.)
Dr. Williamson: Phoebe Halliwell? (Phoebe stands up.)
Phoebe: Yes.
Dr. Williamson: I'm Dr. Williamson.
Phoebe: Hi. (to Nathan) Bye, it was nice to meet you.
Nathan: See ya.
Phoebe: And who are they?
Dr. Williamson: Medical interns. They'll be viewing my work with your sister.
Phoebe: Because
Dr. Williamson: Because they're studying the same field that I did. I'm an infectious disease specialist.
(Dr. Williamson and the other doctors walk into the room where Piper is.)
Phoebe: Specialist? Wait.
Dr. Williamson: Miss Halliwell, I'm Dr. Williamson.
Phoebe: Um, he's a specialist.
Piper: Where's Dr. Wallis?
Dr. Williamson: I'll be keeping him posted. How are you feeling?
Piper: Okay. A little hot.
(Dr. Williamsons pager beeps.)
Dr. Williamson: Have you been out of the country recently? Africa, South America, Caribbean?
Piper: I wish. No. I haven't been out of the city.
Dr. Williamson: Well apparently you've attracted a blood disease rarely seen in the United States, Arroyo fever.
Prue: How is that possible?
Dr. Williamson: Well, Arroyo fever's transmitted through a bite of sand fly which dies right after the bite. Have you had anything imported brought into your home recently.
Piper: No.
Phoebe: But you have in the club. What was the name of that weird fruit?
Piper: Kewano.
Dr. Williamson: That's a possible carrier. Sometimes the fly's been known to live long enough in the crate to make the trip but rarely survives the quarantine period.
Piper: I think I have a bite on my shoulder.
(She shows him the bite.)
Dr. Williamson: When did you get this?
Piper: Just after I opened the fruit.
Dr. Williamson: (to a doctor) Tell the nurse I need ten cc's of penildron.
Doctor: Right away.
Dr. Williamson: It's a high grade antibiotic which will be most effective when it administered through an I.V. Should bring your fever down. (His pager beeps again.) I gotta run some more tests. I'll be back shortly.
Phoebe: Excuse me, she's gonna be okay, right? I mean, it's not life thr*at.
Dr. Williamson: Well, I'll know better after I run more tests. Excuse me.
(He leaves. Phoebe sits on the bed. Prue and Phoebe stare at her smiling.)
Piper: I'll be okay.
Prue: Yeah, I mean he didn't seem too worried. Just prescribed antibiotics.
Piper: The tests are just to confirm his diagnosis I'm sure.
Prue: Yeah, don't you agree, Phoebe?
Phoebe: I think we should call Leo.
Piper: Why?
Phoebe: Why not? He can heal you.
Piper: No. He's out of our lives. He's not even our white lighter anymore. Besides with Dan in my life.
Phoebe: But if Leo knew you were sick.
Piper: No, and that's final. No demon or warlock did this to me. Just let the doctors do their magic.
Phoebe: I just wanted you to get well soon.
(Phoebe rests her head on Piper's stomach.)
Piper: I know and I will. Now you get outta here. Prue, go to Bucklands, Phoebe, go to wherever it is you got to and someone please call Dan so he doesn't worry.
Prue: Okay. Bye. Love you.
(They leave.)
[Scene: Bucklands. Prue's office. Prue walks in. Jack's there.]
Prue: Hey. Have you had a chance to look at the thread density results on the Monet?
Jack: Yeah, and you were right. There are some unexplained thread markings in the area around the station, as the signature.
Prue: Have you told Cauldwell yet?
Jack: Not yet. I was hoping to talk you into going home first. Prue, you're exhausted.
Prue: Yeah, I know, but I prefer to stay here, you know, keep busy. How long can tests take anyway?
Jack: Piper is gonna be fine.
Prue: I know, it's just that after everything I've seen in my life and believe me I've seen a lot of weird stuff. It takes a lot to scare me. But this time I'm really scared. (Jack hugs Prue.)
Jack: You know, I'm not really good at this, saying the right thing stuff. You know what? Why don't you go back to the hospital and I'll stay here and handle everything. Okay?
(Prue's cell phone rings. She answers it.)
Prue: Hello?
[Scene: Manor. Phoebe and Dan walk into the living room.]
Dan: Is she gonna be okay?
Phoebe: You know, that's what's so frustrating. They won't tell us anything. Damn doctors.
Dan: Can I see her? Where is she?
Phoebe: San Francisco Memorial.
(Dan hugs Phoebe.)
Dan: Nothing's gonna happen to her okay? Piper's strong and healthy and she's a fighter.
Phoebe: You've noticed too have you? (The phone rings. Phoebe answers it.) Hello?
Prue: Yeah, Pheebs, the hospital just called. They need for us to get down there right away.
Phoebe: Why? What happened?
[Cut to the hospital. Phoebe and Dan run down the corridor to Piper's room. Prue's standing at the doorway.]
Phoebe: Prue, what's going on?
Prue: I don't know. All they said was that her condition has worsened.
Phoebe: What is that supposed to mean?
Dan: We're not gonna leave the door until we find out.
Prue: Dr. Williamson.
Dr. Williamson: Unfortunately your sister's immune system isn't as strong as we thought it would be and antibiotics are having no effect on the disease.
Phoebe: So what do we
what do you do now?
Dr. Williamson: Well there's nothing more we can do.
Prue: What do you mean by that? What are you saying?
Dr. Williamson: Well, either Piper pulls out of the coma on her own or I'm afraid your sister's not going to survive.
(Phoebe starts crying.)
Commercial Break
{Scene: Manor. Attic. Prue and Phoebe walk over to the Book of Shadows.]
Prue: Okay, we can't let Piper die.
Phoebe: No, we can't but Prue, this isn't a demon or a warlock that we're up against.
Prue: Alright, there are spells in here to vanquish demons, then there's gotta be a spell in here to vanquish a lousy bug.
Phoebe: Okay, but even if there is a spell, how do we get past the personal gain issue, the consequences?
Prue: What consequences? The power of three remains unbroken, innocents are saved. I don't really see a down side to that, do you?
Phoebe: Prue, if good witches could really vanquish diseases, do you think there'd be one sick person in the world?
Prue: We have to save Piper.
Phoebe: I agree. All I am saying is before we resort to the Book of Shadows, maybe we should call Leo.
Prue: No. She told us not to.
Phoebe: So, let her be pissed at us, at least she'll be alive.
Prue: We don't even know how to contact him. He's always just sorta been around.
(Prue and Phoebe start calling him.)
Prue/Phoebe: Leo? Leo?
(Leo orbs in and startles Prue and Phoebe.)
Phoebe: Whoa, it worked.
Prue: Alright, Leo, look Piper is very
Leo: Very sick, I know. That's why I could hear you calling. I've been near by watching.
Phoebe: Wait, you've been watching her this whole time and you haven't healed her?
Leo: I can't. They know about Piper too and they won't let me interfere. I'm not even supposed to be here right now.
Prue: Leo, you can't just let Piper die.
Leo: Don't you think I would do something about it if I could.
Phoebe: But you love her.
Leo: I know. But I'm not her Whitelighter any more. And besides, even if I could help her my powers probably wouldn't even work because she wasn't fighting evil. (You hear the Whitelighters calling him.) I have to go, they know I'm here. I'm sorry. Tell Piper I love her. (He orbs out.)
Phoebe: Screw the consequences.
(They start searching through the Book of Shadows.)
[Cut to the hospital. Prue and Phoebe are walking down the corridor.]
Phoebe: Do you really think the awakening spell's gonna work?
Prue: Better. Alright, Look, I'll get Piper's blood. Are you sure that you can get a poppet?
Phoebe: Positive. I'll meet you in her room.
Prue: Alright.
[Cut to Piper's room. A nurse is drawing blood from Piper's arm. Dan's there. Prue walks in.]
Prue: How is she?
(The nurse puts a small container full of Piper's blood on a tray. Prue uses her power and it floats over to her and she puts it in her pocket.)
Dan: No change. It just looks like she's sleeping but I can't wake her up.
Prue: She'll wake up, I promise.
[Cut to Nathan's room. He's playing with the Ninja doll. Phoebe walks in.]
Phoebe: Hey, Nathan. Remember me?
Nathan: Phoebe, I was hoping you'd come back.
Phoebe: Really? Why?
Nathan: You were right. The wizard did it. I feel great. Just like I used to.
Phoebe: The power of positive thinking.
Nathan: The power of magic. The doctors are letting me go home in a couple of days.
Phoebe: Oh, that's great, Nathan. I'm so happy for you. You know, I was wondering if you would let me borrow the wizard for a while. My sister could use a little magic right about now.
Nathan: She can keep him. I don't need him anymore.
Phoebe: Thank you.
[Cut to Piper's room. Phoebe enters.]
Phoebe: Hey. (She notices Dan there.) I was gonna bring back some sodas but the machine down the hall was busted and I didn't know where to find another one.
Dan: I'll find it.
Phoebe: Really? You don't mind?
Dan: No, it's no trouble. I'll be back in a minute. (He leaves.)
Phoebe: I got him. Let's do this. (Phoebe puts the ninja on Piper's stomach. Prue puts a drop of Piper's blood on the ninja. They touch the ninja and Piper and start saying the spell.)
Prue/Phoebe: "Troubled blood with sleeps unease, remove the cause of this disease."
(Dr. Williamson opens the door.)
Phoebe: Prue!
(Prue uses her power and shuts the door. She keeps her hand held out to keep the door closed.)
Dr. Williamson: Hey! (He tries to open the door.)
Prue/Phoebe: "Sleep eternal never more, and shift this source of illness borne, to this poppet whom none shall mourn."
Phoebe: Prue, it's not working.
(Suddenly, Piper springs up into a sitting position. Phoebe hugs her.)
Dr. Williamson: Come on, open the door! (The door opens.) Who's blocking the damn door?
Prue: What's up, Doc?
Dr. Williamson: (He sees Piper awake.) When did this happen? Miss Halliwell, are you feeling alright?
(You see Phoebe put the ninja in the bin. The camera zooms into the bin and you see the ninja's eyes open.)
[Cut to outside the room. Dan and two other nurses go into the room.]
Dan: Piper!
(She sees the cans of soda.)
Piper: Are those for me?
(He hugs her.)
Dan: You're okay.
Piper: Yes I am okay.
Dr. Williamson: This doesn't make any sense. Fever's gone, vitals are normal. I've never seen anything like it. The infection's gone too.
Piper: So can I go home now?
Dr. Williamson: (to the nurses) Draw some blood. I wanna run comparatives.
Nurse: Yes, Doctor.
Piper: Um, then can I go home? Because no offence, but I hate hospitals.
(Prue, Phoebe and Dan laugh. They climb on the bed and lay all over Piper.)
Piper: Get off me.
[Cut to inside the bin. The ninja sits up. A nurse walks over and puts something in the bin. The ninja pushes his sword through the plastic and it pokes the nurse on the leg.)
Nurse: Ow!
(She walks away. The ninja then cuts through the plastic and jumps out.)
Commercial Break
[Scene: P3. There's no one in there except Prue, Piper, Phoebe, Dan and a bartender. They have music on.]
Piper: Turn it up. (Prue turns the music up. Piper walks over to the bartender.) Alright, you can go home. I'll clean up.
(He leaves. Phoebe runs over to Dan who's sitting down.)
Phoebe: Dance with me, Dan.
Dan: It's almost two in the morning.
(She pulls him out of the chair.)
Phoebe: So what. Come on, you're young.
Dan: Stop the music, stop that music.
(Phoebe goes over to Prue. Dan puts his arms around Piper.)
Piper: Somebody need a nap?
Dan: You know what? That's not fair. You've been asleep for almost twenty-four hours .
Piper: And I know you've been up for almost twenty-four hours by my side. I can't tell you how much that means to me, being there for me. Hangin' tough.
Dan: It wasn't that tough.
(They kiss.)
Piper: Now go home. I'll see you tomorrow. (He leaves. Piper walks over to Prue and Phoebe who are playing patty-cake with their hands.) Okay, spill.
(They stop clapping.)
Phoebe: What are you talking about?
Piper: You guys cast a spell didn't you?
Prue: (innocently) Who, us?
Piper: Yeah, you. Not that I'm not grateful to be cured because I am, but what about that little personal gain problem?
Phoebe: Okay, but don't you think we would have seen any consequences by now? It's been hours.
Prue: Yeah, maybe saving a protector of the innocent isn't really personal gain.
Piper: Maybe. Like I said, I'm not complaining. I'm just glad you didn't call Leo. Strange though with all the demons we've faced, this bug, this thing was the scariest of them all.
Prue: Yeah, you don't have to convince us.
Piper: I love you guys.
Phoebe: We love you too.
(They hug.)
Prue: Hey, just don't ever scare us like that again.
Piper: Don't worry.
Prue: Ooh, ooh! Oh, God, I almost forgot. I have to get that Monet authenticated by tomorrow.
Phoebe: At this hour?
Prue: Why not? I'm wide awake.
(Prue leaves.)
Piper: I guess I should clean up.
(Piper starts cleaning up. Phoebe stands there dancing and then she notices Piper is moving very quickly. She gets faster and faster.)
Phoebe: Uh, Piper. Piper!
(She stops in front of Phoebe.)
Piper: What?
Phoebe: I think I found a consequence.
[Scene: Hospital. The nurse that was poked by the ninja is lying on the bed breathing heavily. Another nurse rings someone up on the phone.]
Nurse: Get me Dr. Williamson.
[Cut to Dr. Williamson. His phone rings.]
Dr. Williamson: Yeah? Okay, put them both on penildron though I doubt it'll do them any good. Call me if there's any changes.
(He hangs up. A guy walks up to him.)
Guy: And what can Centre from Disease Control do for you this fine middle of the night, Dr. Williamson?
Dr. Williamson: I've really got something for you this time, Seiger. I wouldn't have called you if I didn't.
Dr. Seiger: You know, it's not very ethical to try and get the government to validate your findings just so you can get published.
Dr. Williamson: This'll get me more than published. I've got an outbreak of Arroyo fever in this hospital.
Dr. Seiger: That's impossible. Arroyo fever isn't contagious.
Dr. Williamson: It is now. I've got three patients with the disease in isolation.
Dr. Seiger: How'd they get it?
Dr. Williamson: I don't know. But however they did has something to do with the first person who came down with it. Piper Halliwell.
[Scene: Bucklands. Prue's office. She's looking at the painting. Jack walks in.]
Jack: Morning.
Prue: Hi.
Jack: So how's Piper doing?
Prue: Fully recovered.
Jack: What? That's great.
Prue: Yeah, I just came in early to confirm a few suspicions.
Jack: Whoa, wait, back up. Piper's okay?
Prue: Yes, she's home, she's healthy, everything's back to normal. Jack, we've got to talk seriously.
Jack: Okay, sh**t.
Prue: We can't keep on fooling ourselves. This thing isn't real. I know that it looks perfect from the outside and it makes sense to just ignore the truth and pretend that there's nothing wrong but I can't do that.
Jack: Look, Prue, come on, I know we've had our difficulties and maybe our relationship isn't everything you hoped for
Prue: Jack, I'm talking about the painting. It's not real. I mean, yeah, it's from his school but Monet didn't paint it. One of his students did.
Jack: Are you sure?
Prue: Positive.
Jack: So what.
Prue: So what?
Jack: Prue, if someone wants to believe in something that may not be altogether true but it's true enough for them, then what's the harm in letting it be?
Prue: Jack?
Jack: Prue, the world is made up of almost perfect. It's nothing but near misses and necessary compromises. In this case, I think we got a little bit of both. That's okay, I know how you feel. I'm just asking you not to look so close. Nothing bears up under that kind of scrutiny.
Prue: Are you talking about the Monet?
Jack: Yeah, that too. Just trust me. Go with it. Everything's gonna be fine.
[Scene: P3. Disease Control people pull up in their trucks and go inside. Dr. Seiger walks up to Phoebe and Piper.]
Dr. Seiger: Piper Halliwell?
Piper: Whoa, what's going on?
Dr. Seiger: I'm Dr. Seiger from the Centre from Disease Control. We have a court order to take you and your sister into custody and to quarantine your club until further notice.
Commercial Break
[Scene: Hospital. There are lots of reporters and cameras there asking Dr. Williamson questions.]
Dr. Williamson: No, I would not classify this as an epidemic at this stage. Although that's for Dr. Seiger from the C.D.C. to determine, not me. All I can tell you is an outbreak has occurred in the hospital and we've contained it.
Reporter: Dr. Williamson, how do you know it's contained? How can you be sure?
Dr. Williamson: Because we've identified the initial carrier.
Reporter #2: Who is it? What's his name? Is it a patient?
Dr. Williamson: We've identified the initial carrier and we brought her and anyone she may have affected down in the isolation ward.
[Cut to Dan's house. He's watching the news.]
Reporter #2: Is it true they closed down the night club called P3 because of the outbreak?
Dr. Williamson: That is a question that can be answered by Dr. Seiger.
Dr. Seiger: Yes, I can confirm that an establishment by the name of P3 has been quarantined. But only as a precautionary method.
(Dan grabs his keys and coat and leaves.)
[Cut back to the hospital. Phoebe and Piper are locked in a room in the isolation ward. Phoebe's knocking on the door.]
Phoebe: Hello? Remember us?
(A nurse talks into an intercom outside the room.)
Nurse: I'm sorry, we can't hear you. What is it you want?
Phoebe: We wanna get the hell outta here. That's what we want.
Nurse: Dr. Williamson will be right in to discuss the situation.
Piper: Discuss what? I feel fine.
Nurse: Dr. Williamson will be right in. (She leaves.)
Phoebe: This is ridiculous. Why won't they tell us anything?
Piper: They're lucky they're in the other room, I'd freeze their butts.
(A doctor opens the door and Prue walks in.)
Phoebe: Oh, Prue, thank God.
Piper: You're obviously not here to get us out.
Prue: When I got home, someone from the C.D.C. was waiting for me and they took like a quart of blood.
Phoebe: Ditto.
Piper: Well, they might as well have taken all of mine, they've shut down the club, they'll ruin it. I'll lose everything.
Phoebe: No, you won't. Once this whole thing gets straightened out.
Prue: I have a feeling it's not gonna be that easy. Look, I overheard some doctors talking. There's others here that are infected with the disease.
Phoebe: But I thought that it wasn't contagious.
Prue: Yeah, so did I. (She sees the intercom.) So, can they hear us?
Piper: No.
Prue: Did either of you sleep by any chance?
Phoebe: Sleep? Piper was bouncing off the walls last night.
Piper: It's gotta be a consequence of the awakening spell you guys cast.
Prue: I have a bad feeling that's not the only consequence.
[Cut to Nathan's room. He's asleep. The ninja walks in.]
[Cut back to Prue, Piper, and Phoebe. Dr. Williamson walks in.]
Dr. Williamson: Sorry to keep you waiting.
Phoebe: What, no mask?
Dr. Williamson: No, I don't need it. None of us do. However the disease is being spread, it's not airborne. I just ruled that out.
Piper: Great, then we're free to go.
Dr. Williamson: Afraid not.
Phoebe: You can't keep us here.
Dr. Williamson: Actually, I can, by law. Not just because your sister circumvented it by opening the uninspected fruit, but because shes carrying a rare disease that has every possibility of spreading to epidemic proportions.
Prue: I thought that you said it wasn't contagious.
Dr. Williamson: Arroyo fever isn't supposed to be contagious.
Phoebe: Well, then maybe you misdiagnosed it.
Dr. Williamson: I didn't and aside from the fact that I had no idea how this disease is being spread there's another little mystery that's concerning me. Your recovery makes no clinical sense. Your blood has no antibodies which means your immune system has never fought it off. By all medical standards, you should be d*ad by now, Miss Halliwell.
Piper: What's the matter, Doctor? You don't believe in miracles?
Dr. Williamson: Not the kind that don't leave traces, no. I've got six people infected and there's nothing I can do to save them unless I figure out how it is you survived. Im gonna run a series of tests on all three of your blood work. Even DNA sampling. Maybe it's a genetic marker, I don't know. But I'm gonna find out and you're not leaving until I do.
(He leaves.)
Phoebe: Well, his bedside manners sure could us a little work.
Piper: Six people? How's that possible?
Prue: When we did the spell, we must have awakened everything in the room including the disease.
Phoebe: So, do you think there's anything different about our blood because we're witches?
Prue: I don't know but our first priority is to figure out how to help save these people.
Phoebe: Yeah, but even if we can find a spell to save them, how do we prevent it from spreading to other people.
Piper: You have to reverse the spell.
Phoebe: No, Piper, we can't reverse the spell because
Prue: You could go back into a coma, you could die.
Piper: I'm not gonna die. Just reverse the spell and call Leo so he can heal me.
Phoebe: Leo? I thought you didn't want us to call Leo.
Piper: Well, yeah, that's when I thought I was sick, not dying.
Prue: Piper, um, we already talked to Leo, he's not allowed to help.
Phoebe: They won't let him.
Piper: Oh. Great. Well thanks for doing something I specifically asked you not to do.
Phoebe: Piper, you just said
Prue: Phoebe, give it a rest. Um, look, Piper, we don't know the reversal spell anyway.
Phoebe: Yeah, and they won't let us outta here to get it.
Piper: Prue can get it.
Prue: No, I can't. Okay, I can not just astral project on command. I can't control it like that.
Piper: You can learn to control it just like you learned to control your other power. Just concentrate.
Prue: Piper, I can't and I won't.
Piper: Prue, you have to try. We can't let anybody else die.
(Prue shuts her eyes and tries to astral project. She appears in the attic. A nurse looks in the room and sees Prue standing still with her eyes closed.)
Nurse: (through the intercom) What's wrong with her?
Phoebe: Nothing. She's fine.
[Cut to the attic. Prue finds the spell and tries to remember it. She astral projects back into her body.]
Prue: Whoa.
Piper: Did you see it?
Prue: Yeah, Piper, I don't
Piper: Prue, we've already discussed this. For some reason there's no magical out for me but there is for the others. Please.
Prue: "What was awakened from it's sleep, was once again slumbered deep."
(Prue and Phoebe touch Piper.)
Prue/Phoebe: "What was awakened from it's sleep, was once again slumbered deep."
(They repeat it.)
[Cut to Nathan's room. The ninja is on the bed. He raises his arms while holding his sword, ready to s*ab Nathan. Then the ninja turns back into a doll and falls on the floor.]
[Cut to Prue, Piper and Phoebe. Piper collapses on the floor.]
Phoebe: Prue, Prue, get help.
(Prue bangs on the door.)
Prue: Help!
(Dr. Williamson and some other doctors run in.)
Dr. Williamson: Help me get her on the bed. (They pick her up and put her on the bed.) You girls wanna tell me what the hell is going on? Get her on the monitor. Miss Halliwell, Miss Halliwell, can you hear me? Assist in respiration. Starting CPR.
(Phoebe and Prue start crying.)
Commercial Break
[Scene: Hospital. Dan runs up to reception.]
Dan: Piper Halliwell, what room is she in? What room is she in, damn it. I'm family.
[Cut to Piper. Dan enters the room.]
Dr. Williamson: (He gives the nurse instructions and she races off.) She's not responding to CPR. Come on, Miss Halliwell.
(Piper's spirit rises out of her body. You see a bright light. She appears in a place that's bright and golden. Someone is walking towards her. It's Leo.)
Piper: Leo?
Leo: Hurry, take my hands. We don't have much time.
Piper: Am I d*ad?
Leo: No, not yet. Not if you take my hands.
Piper: I don't understand.
Leo: It's the only way, I can heal you. The only chance I have of them not finding out. Hurry.
[Cut back to the room.]
Dr. Williamson: Give me the paddles.
Nurse: Charging.
(He gets the paddles and applies them to her body.)
Dr. Wiliamson: Clear.
Nurse: No response. I'm not getting anything.
Dr. Williamson: Again.
Nurse: Charging,
Dr. Williamson: Clear.
[Cut back to Leo and Piper.]
Leo: I don't wanna lose you.
(He holds his hands above her hands.)
[Cut back to the room. Piper's d*ad.]
Nurse: Time of death, 9:40am.
[Cut back to Piper and Leo. Leo heals her. Cut back to the room. She floats back in her body.]
Prue: Wait, I think she's responding. There's a heartbeat.
(Piper starts coughing.)
Dr. Williamson: Piper? What the hell? This is incredible.
Piper: Leo.
(Dan hears her. Phoebe and Prue goes over to her and kiss and hug her.)
Phoebe: Are you okay?
Nurse: B.P. 105 over 60. Pulse is strong.
Nurse #2: I don't understand. What happened?
Dr. Williamson: I don't know but I'm gonna find out.
[Scene: Bucklands. Prue's office. Prue's putting all her stuff in a box. Jack walks in.]
Jack: Hey, I just heard. Are you out of your mind?
Prue: I don't know, maybe.
Jack: Come on, Prue. You can't be serious. You can't just quit.
Prue: I already did. I turned in my resignation and Cauldwell accepted it.
Jack: Why? Just because he doesn't agree with you about selling the Monet?
Prue: It's not authentic, Jack.
Jack: You know what? Buyer's think it is and they've been thinking that way for over a hundred years.
Prue: So it's worth whatever people is willing to pay for it, right?
Jack: Yeah, right.
Prue: No, it's wrong. Or at least in my book it is and that's
the way it used to be here before the take over. Before everyone cared more about the sell than what they're selling.
Jack: Including me, right?
Prue: Jack. It's not about the painting or Bucklands new philosophy. I've been thinking about this for a while. A lot has happened to me in the past year and a half. I've seen, I've seen things I never imagined existed and it's changed me. It's made me wanna make changes.
Jack: So what are you gonna do?
Prue: I don't know. Just take some time. Figure it out. Look, I had a little wake up call and I realize that life is too short to be wasting my time doing something I really don't wanna be doing.
Jack: Or being with someone you don't really wanna be with.
Prue: Jack, you have been great. You've opened me up to so many things, made me feel wanted again.
Jack: But...
Prue: But I need to be alone for a while, no strings.
(She kisses him. grabs her box and leaves.)
Commercial Break
[Scene: P3. Piper gives a box of fruit to a guy.]
Piper: These haven't been inspected yet. Put them in the back. We're returning them to the supplier.
(She walks up to Prue and Phoebe.)
Phoebe: Looks like someone learnt their lesson.
Piper: Yeah, the hard way unfortunately.
Prue: Still, the clubs doing okay. Doesn't look like quarantine ruined business too much.
Piper: Thanks to no cover charge and free drinks. Have you guys seen Dan around?
Prue, Phoebe: No, why?
Piper: No reason I guess. I thought he might stop by.
Phoebe: Uh, you know, Piper, Dan heard you call Leo's name when you were coming around at the hospital.
Piper: He did? That wasn't me thinking about Leo, that was just...
Phoebe: Him saving you, I know.
Prue: Still, how are you gonna explain that to Dan?
Phoebe: Well, at least you're alive to try. That's what's important.
Prue: Yeah, I mean, just because we're witches, doesn't mean we're above the laws of nature.
Phoebe: Or the Wiccan ones.
Piper: I know, you don't have to tell me twice. I'm not taking anything for granted anymore.
Prue: Ditto.
Phoebe: Yeah, Prue, welcome to the ranks of the unemployed. I'm proud of you. I think what you did was very brave.
Prue: Thank you. (Leo walks in.) Ooh, Piper. (She points to Leo.) Leo.
Phoebe: Tell him thanks for us too.
(Piper walks over to him.)
Piper: Hey.
Leo: Hey. How are you feeling?
Piper: Okay. A little tired. Which is actually a good thing. Leo, thank you for everything you...
Leo: Couldn't let you die, Piper.
Piper: I'm very glad you couldn't. Did you get in trouble?
Leo: Yeah, actually, a lot. They found out what I did. They clipped my wings.
Piper: What?
Leo: It's not permanent. It's more like a suspension... I hope.
Piper: Leo, I-I-I don't know what to say.
Leo: You don't have to say anything. You didn't do anything, I did. I guess in the back I always hoped someday, somehow you and I would get a second chance.
Piper: I'm with Dan now.
Leo: I know. But I also know now that I'm a mortal, I'm gonna fight for you. May the best man win.
End | {"type": "series", "show": "Charmed", "episode": "02x12 - Awakened"} | foreverdreaming |
Written by: Chris Levinson and Jack Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: College. Phoebe's in class.]
Professor: The lions observed in the Ingoro goro crater of Tanzania, mated on average once an hour for a week straight. Before I lose half the room to that thought, answer me this. Where does it begin? And the purpose of all animals is that the proliferation of the species, right? (Phoebe sees a guy staring at her. She smiles.) But it isn't as easy as your nest or mine. It starts with a series of mating rituals. First, the animal must get the attention of the object it desires. (Phoebe looks at the guy again and she brushes her hair back.) Next, there must be a sign that the interest is mutual. (Three of Phoebe's friends are sitting behind her. One of them shows another something in a book. They giggle. Phoebe turns around.)
Phoebe: What's up with my study group having fun without me?
Andrea: Sorry, Phoebe, you looked busy.
Professor: Use your time in section tomorrow, tail line your group's thesis, be specific. Better yet, just spell check. See you next week.
(Everyone starts packing up. Phoebe turns around and looks at the cover of the book that Andrea is holding.)
Phoebe: Is that a book of love spells?
Andrea: Yeah, found it in the valentine display over at the campus bookstore.
(She hands it to Phoebe.)
Tessa: It's stupid.
Brooke: Is not.
Andrea: We just figured, you know, since we're dateless this year, maybe it'll give us some laughs.
(Phoebe laughs to herself while reading the book.)
Brooke: What?
Phoebe: Oh, nothing. It's just they've got it backwards. You'd never say it in that order. First you say what's lacking and then what's needed. Here, try this. "From strike of twelve count twenty-four, that's how long the spell is for, if to abate my lonely heart, enchant these gifts I thee impart." See? (They stare at her shocked.) Um, I'm doing a paper on the growing popularity of witchcraft. Hey, if you guys want something fun to do tomorrow night, you should check out my sister's club.
(She hands them a flier.)
Tessa, Brooke: Cool.
Phoebe: No dates required.
Andrea: Okay.
Tessa: We'll be there.
Phoebe: See you at the section tomorrow. (Phoebe stands up. Ethan, the guy that was staring at her, walks over to her.) Hey, there's a party tomorrow night. (She gets a flier out of her bag.) You should come.
Ethan: Why?
Phoebe: Because I'll be there.
[Scene: College. The dorm. Andrea, Tessa and Brooke are about to do the love spell. A pig, a rabbit and a snake are on the floor.]
Tessa: Okay, I'm freaked. Can we turn some lights on?
Brooke: No, we can't. Can we?
Andrea: It'll spoil the mood. Come on, it says to join hands.
(They join hands.)
Tessa: We're not gonna hurt them are we? Because I promised Ben that I would get his pig back to him tomorrow.
Brooke: It's a joke spell, Tessa. This is just supposed to be fun. I mean, you can choose any animal to turn into a man and you chose a pig.
Tessa: Well, it's frankly known that pigs are the most intelligent species, that's why.
Brooke: Well, then we all know why Andrea chose the rabbit.
Andrea: Just keep your fingers clear. He scratches.
Brooke: Kinky. Exactly why I brought a snake.
Andrea: Okay, let's do this. Say it with me.
Andrea, Tessa, Brooke: "From strike of twelve count twenty-four, that's how long the spell is for, turn these gifts into a mate, and then my lonely heart abate."
(Nothing happens.)
Tessa: Okay, that was fun. Can I go now?
Andrea: Wait, didn't Phoebe say some of the words were wrong?
Brooke: Why don't you call her?
Andrea: I don't have to. The power of technology.
(She gets her tape recorder and plays it.)
Phoebe's voice: No dates required. (Andrea rewinds the tape.) From strike of twelve count twenty-four, that's how long the spell is for, if to abate my lonely heart, enchant these gifts I thee impart.
(A bright light and smoke fill the room. Then the animals turn into three naked men.)
Opening Credits
[Scene: Manor. Kitchen. Piper's there. Prue comes in looking like she just woke up.]
Piper: What's wrong with this picture?
Prue: Okay, is that rhetorical or do I actually have to open my eyes to look at something?
Piper: Well, it's a weekday and Phoebe Halliwell is already at campus, while Prue Halliwell, master of the morning meetings, sultan of scheduling and queen of...
Prue: Cut it.
Piper: How's it feel to be footloose and office free?
Prue: Amazing. You know what I'm gonna do today?
Piper: What?
Prue: Absolutely nothing.
Piper: Really? Really, Prue? Nothing entails physically doing nothing, thinking about nothing and worrying about nothing, as suppose to your sister here who's so in the middle of something.
Prue: Okay, sweetie, what is wrong?
Piper: Well, for starters there is tomorrow. (Prue doesn't know what she's talking about.) Valentines Day.
Prue: Wow, I completely forgot. See? I'm doing nothing already.
Piper: And Dan wants me to have a V-day dinner with him.
Prue: Oh, that's good.
Piper: Yeah, except for the fact that there's...
Prue: Leo. I mean, he is mortal now, doesn't that change things? Piper, you're my sister and I'm with you whatever and whoever you choose.
[Scene: College. The dorm.]
Pig guy: I need to eat.
(The rabbit guy comes out of Andrea's room.)
Rabbit guy: Another satisfied customer.
Tessa: (to the pig) You've already eaten everything in our fridge. Brooke will be back with food any minute. Just wait, okay?
Rabbit guy: Whoa, what are we supposed to do until then?
Snake guy: Fine question. What should we do? You two are acting like nothing's changed. Like you're still trapped in the confines of your cages. Behaving like animals.
Tessa: That's what you are.
Snake guy: Not anymore, thanks to you. You've been given a gift. It's time to take it out for a test drive. What it looks like from up here.
Tessa: You can't. I mean, you have to stay here. (They walks towards the door.) Wait.
(They walk outside in the hallway and they are still naked.)
Girl: (pleased with what she sees) Ohh!
(They walk down the hallway. Ethan walks around the corner holding a basket full of his clothes. He stops in front of them.)
Snake: Is there a problem?
Ethan: Uh, yeah, try covering up, dude.
(They look down and notice they're naked.)
Snake: Remedy the situation.
(The rabbit pushes Ethan against the wall and takes his basket.)
Ethan: Hey! Hey, man.
(The rabbit pushes him and scratches him and he falls to the floor.)
[Scene: P3. Piper carries a huge heart made out of flowers over to the bar. She notices a small bunch of flowers lying on the bar.]
Piper: Who are these for?
(Leo pops up from behind the bar.)
Leo: They're for you. I know they're not much.
Piper: They're beautiful. Um, but Leo...
Leo: But it's, you know, the best I could do. You know, no I.D., no transportation, no money. I just wanted you to have something to mark the day.
Piper: Thank you. I have something for you too. Although not nearly as romantic but still a good thing. (She holds up some money.) Your first pay cheque, or cash rather. I thought it would be easier.
(She hands it to him.)
Leo: So did I. Anyway, thanks. Looks like after everything, I'm still working for the Charmed Ones.
Piper: Is all this... you doing okay with it?
Leo: Yeah, I gotta make it up as I go. Piper, if me being here is awkward for you...
Piper: No, um, what's there to be awkward about?
Leo: These go in the back, right?
(He picks up a tray of glasses and takes them to the store room.)
Piper: Mmm hmm. (Dan comes down the stairs carrying a big bunch of flowers. He walks over to Piper.) What are those? I thought that we were gonna wait until tonight.
(He puts them on the bar covering up Leo's flowers.)
Dan: You're right. (He picks them back up.) I should take them back.
Piper: Don't you dare. Give them to me. (He gives them to her.) They're beautiful. Thank you. (They hug. Dan sees Leo walk out of the store room.)
Dan: Uh, Piper.
Piper: Mmm hmm.
Dan: Is there something you wanted to tell me?
Piper: Not that I know of.
Dan: You sure?
(Leo walks up to them.)
Leo: Dan.
Dan: Leo. (Leo walks between them and picks up the huge heart made of flowers. He walks away with it.) You never mentioned he was here.
Piper: Leo's here. You're right. I meant to and then things got busy, so, um, I didn't and I'm sorry. He's just helping out.
Dan: With what exactly?
Piper: Um, you know, handy man, busboy, bar back, security type stuff. He needed a place to and it's really not a big deal, Dan.
Dan: That's just the point, it is. When you were sick, you called out his name, not mine and I was right there with you. When he's around, you're, I don't know, different. We're different. How do you want me to handler that?
Piper: And to tell you truth, if the situation were reversed, I don't know how I would feel. But I do know how I feel right now.
Dan: How do you feel?
Piper: Like for the first time in a very long time I'm actually looking forward to a valentines day dinner and you're the the reason.
(He hugs her and Leo watches them from the other side of the room.)
Commercial Break
[Scene: Manor. Living room. Prue's sitting on the couch. She's on the phone.]
Prue: Uh, is Brianna there? Of course she's at work. Um, yeah, hi, this is Prue calling. No, you can actually just erase that number. She can reach me at home. Home, I'll be home. Okay, bye. (She hangs up. She sees a vase of flowers on the dresser. She tries to centre it using her power but it keeps sliding over too far. She sits there looking bored. The phone rings and she answers it.) Prue Hall... hello?
Phoebe: Hello, yourself. How is the life of leisure going?
Prue: It's great. I don't know why you ever gave it up.
Phoebe: Yeah, because that house is only big enough for one home bound Halliwell. Hey, I'm just on my way to class but I wanted to know if Brooke or Andrea or Tessa called.
Prue: No, no one called. Nobody. Zip. Nada. Zilch.
[Cut to Phoebe.]
Phoebe: That is so weird. They never showed up for our section today.
(Pig guy sees a barbeque with sausages on it and a sign with a pig holding a hot dog. He grabs the guy cooking the sausages.)
Pig guy: How could you do this to them? (He throws the guy on the ground and picks up the sausages.) Run, run my brothers! Run free! (He throws them up in the air.)
Prue: Um, so hey, Phoebe, I was wondering if maybe we could meet for lunch and if you're pressed for time, then I can just come to campus.
Phoebe: Actually I was gonna pick up a sandwich on the way to class.
Prue: Okay, so what about after class? We could go to the gym. (Phoebe sees the rabbit guy hurting a girl.) Pheebs?
Phoebe: I gotta go, Prue. (She hangs up.)
Girl: You're hurting me. Stop! Get off!
(Phoebe walks over to them and taps the rabbit guy on the shoulder.
Phoebe: Hey, is there a problem? (Phoebe has a premonition of the rabbit guy biting someone. The premonition ends and the rabbit guy turns around and Phoebe trips him. He runs off.) Are you okay?
Girl: Yeah.
(Phoebe runs after the rabbit guy. She sees him jump over a wall with one leap.)
Commercial Break
[Scene: P3. Prue walks in. Piper's wrapping Dan's present.]
Prue: Oh, we so have to cancel your Martha Stewart subscription.
(She sits down.)
Piper: When I start making flower boxes out of milk cartons, then you can sh**t me.
Prue: So, um, do you need help with anything?
Piper: What happened to doing nothing?
Prue: I'm finished.
Piper: You can't finish doing nothing.
Prue: So then how do you know when you're done?
Piper: Put your finger on this. (Prue puts her finger on a ribbon.) It's for Dan.
Prue: What did you get him?
Piper: A book on San Francisco architecture. I know, I know, it's a little too impersonal for valentines day but...
Prue: No, no. Show's that you know him. It's perfect for him. Uh, what did you get Leo?
Piper: Leo? But should I? Tonight?
Prue: Yeah.
(Phoebe enters.)
Phoebe: Hi.
Prue: Hey.
Phoebe: Okay, guess what I saw on Pheeb TV.
Piper: No, not a premonition. It's valentines day. Can't there be some kind of supernatural day off?
Prue: What did you see?
Phoebe: There was a guy on campus harassing this girl, so I tried to stop him and wham! it was really weird. Like a guy biting a girl.
Piper: Biting? Or kissing? It is that time of year, it could've been kissing.
Phoebe: Hmm, maybe, it could of been I guess.
Piper: Most people kiss on valentines day, except of course for witches. No, witches don't get to kiss on valentines day because something always comes up.
Prue: Okay, so maybe it was just some drunk frat guy and his chick of the moment.
Phoebe: Yeah, maybe. It just, it wasn't very clear. And then I followed him and I think he jumped over this wall.
Prue: He jumped over a wall?
Phoebe: Yeah, well, there was a ladder pretty close.
Piper: Phoebe, come on. Doesn't anybody care that I have dinner plans tonight with Dan?
(Piper holds up the book.)
Phoebe: Oh, honey, is that what he got you? I mean, it's nice and all just a little impersonal. (Piper groans, crosses her arms on the table and buries her head in them.) What'd you get for Leo? What'd you get Leo?
[Scene: College. The dorm corridor.]
Tessa: But we missed section.
Andrea: It's valentines day. I wanna find my date.
Tessa: Are you sure? I mean, this isn't natural. You said it was just a joke and now they are human beings.
Andrea: Pretty cool, huh?
Tessa: No, no it's not. I think we should turn them back.
Brooke: Just chill. We'll just until midnight and they'll turn back on their own.
Andrea: Yeah.
(They walk in their room. The rabbit, pig and snake guy are there. The snake's holding the spell book.)
Snake guy: What does this mean?
Andrea: It's a spell. That's what made you human.
Rabbit guy: Yes, but for how long?
(You see his fingers are starting to turn back into rabbit claws.)
Snake Guy: He asked you a question.
Brooke: Twenty-four hours. Actually now it's more like twelve.
Snake Guy: Well, fix it. We've decided we would like to stay this way.
Rabbit Guy: Yeah, we're having fun.
Andrea: Yeah, sure looks like it. Am I wrong here but aren't you supposed to be mine?
Snake Guy: Aren't you having fun, Andrea? You know, you can have much more fun if we had more time.
Brooke: I might know how.
Tessa: No.
Brooke: Okay, we can't but I might know someone who might. Phoebe. She'll be at the party tonight.
Andrea: Wait, I have the class roster. I know where she lives.
Snake Guy: Show us the way.
Pig Guy: Uh, we're gonna eat though, right?
Tessa: Guys, I really don't think we should
Snake Guy: Why don't you go on ahead. We'll catch up. (Brooke and Andrea leave.) Now why do you have to be such a little trouble maker?
Commercial Break
[Scene: Book store. Phoebe and Piper are picking out a card for Leo.]
Piper: Thanks for keeping me company.
Phoebe: Better here than at the club with Prue. Her boredom has turned her into the demon of declaration.
Piper: Why don't they make a card that says "You used to be my Whitelighter and now your wings are clipped and now you're sleeping in my club."
Phoebe: Or how about "you snooze, you lose and now I'm getting naked with the neighbour." (Piper hits her on the arm.) Ow, hey. (Phoebe picks up a card.) How about this one? (She reads it.) Oh, yeah, yeah, very sweet. Ta assussa sasa.
Piper: And what is that supposed to say?
Phoebe: That says something in Portuguese but at least you won't have to worry about him taking it the wrong way.
Piper: Thank you. (Phoebe notices the spell book in the shop.) "To the special person who lights up my day. I'll treasure you always."
Phoebe: Ohh, of course.
Piper: And then I'll spit up on myself.
(Phoebe laughs.)
Phoebe: Ooh, the girls in school are reading this. (She picks up the spell book.) The ones in my class. We are so in right now.
Piper: We are not in. Love is and this stuff gives people hope that they can find it.
Phoebe: Yeah, the problem is people think they can get into magic without dealing with the consequences.
Piper: But this stuff, none of it's like in the Book of Shadows. For one thing, it doesn't really work. I mean, normal people can't make this work. (Phoebe remembers something.) Right? Pheebs?
Phoebe: Not without a little help. Um, I have to go call Prue. I think I need her help with something.
(Phoebe runs off.)
Piper: Something to do? She'll be thrilled. (Piper picks up another card.) Okey dokey. (All it says on it is "For you always.") Now that's a card. (She puts it back and picks up another one.) This'll do.
(She leaves. You see Leo standing in the next aisle. He's holding the "For you always" card.)
[Scene: P3. Piper walks down the stairs.]
Piper: Hello? Worker bees? Anyone? (She notices petals on the floor leading to somewhere. She follows them into the alcove. She opens the curtains and sees wine and glasses on the table. Dan's there holding a tulip.)
Dan: I'm sure this'll ruin the dinner that I'm gonna buy you tonight but
Piper: You are so sweet. (She looks at the bottle of wine.) Piper red label?
Dan: Well, with a name like that, I figured it would be the best. I mean, this is our first holiday. The holiday invented by Hallmark. But it's just the same. (Piper's still holding the card for Leo and she hides it behind her back so Dan doesn't see.)
Dan: Is that for me?
Piper: Uh
(He takes the card and reads it.)
Dan: "To a dear friend on Valentines Day." Piper, it's nice to know that you're deeply in like with me. It isn't for me, it's for Leo, isn't it?
Piper: What do you want me to say?
Dan: How about no.
Piper: Dan, you read it. Read it again. It says to a friend. And I'm sorry but I'm not interested in ending that particular friendship.
Dan: I'm not sure that's all he sees it as.
Piper: I come with a past. We all do. It's a package. One I would like to share with you but you can't pick and choose. You get all of me.
Dan: Do I?
Piper: Okay, um, I've gotta work, so why don't I just see you tonight.
Dan: Fine.
(He walks away.)
Piper: Fine. Oh, I just love Valentines Day.
[Scene: Manor. The rabbit guy smashes the glass on the front door and puts his hand in to open the door.]
Brooke: You can't do this.
Andrea: This is going too far.
(They walk inside.)
Snake Guy: Rules like cages, were meant to be broken.
Brooke: Okay, since leaving campus, you guys have beaten a pedestrian to a pulp and played chicken with a car. Are you on something?
Andrea: Or just your average crazy? Look, Tessa seemed fine but if she's really not feeling well like you said, we should go home. Or at least call her.
Snake Guy: We need Phoebe.
(The pig guy pulls some skin off the back of the snake guys neck and there's snake skin underneath.)
Andrea: Oh, my God.
Pig Guy: What's happening?
Rabbit Guy: We're changing back.
Brooke: The spell said this would happen. Look, Phoebe's not here and there's nothing we can do to change things. It's not like we made up the rules.
Andrea: God, Tessa was right. We shouldn't have done this.
(The snake grabs Andrea. She screams and he bites her on the neck. She falls to the floor.)
Snake Guy: She talked too much.
(The rabbit guy grabs Brooke.)
Brooke: Don't touch me.
Pig guy: Guys stop! This isn't fun anymore.
Rabbit guy: Yes it is.
Snake guy: Next time you want a dangerous man, you might wanna make sure he's not poisonous.
(She screams and he bites her on the neck. She falls on the floor.)
Pig guy: Why'd you do that?
Snake guy: Paper. Give me the paper.
(The rabbit gets Phoebe's flier out of his pocket and gives it to him.)
Pig guy: Are they...?
Snake guy: They will be.
Rabbit guy: Don't we need both of them and Phoebe for the spell? That's how it worked before.
Snake guy: Four hours until we turn back. Four hours until they die from the poison. I think that information might motivate this Phoebe to help us. (His snake tongue sticks out.) Her scent, it's everywhere. She's not here right now.
Pig guy: Let's go home, okay guys. I've had enough. We're not meant to be like this. (He starts crying. They walk up to him.) What? Come on, guys, what? No. Not me.
(They both squeeze him really hard and he starts squealing like a pig. He falls to the floor.)
Snake guy: I didn't think he'd ever shut up.
[Scene: College. The dorms. Phoebe and Prue are walking down the hallway.]
Prue: Since when do mortals cast spells that actually work?
Phoebe: Look, I know that book is probably a total cheese fest, but what if? The spell called for living objects, my premonition and that guy who could leap tall buildings in a single bounce. Something is wrong, I know it.
(A guy walks past them wearing only a towel.)
Prue: Oh, hire education. Maybe, I need to come back to college to study something.
(They walk up to Tessa, Brooke, and Andrea's room. Ethan's there.)
Phoebe: Oh, Ethan.
Ethan: Hey.
Phoebe: What happened, honey?
(She notices the cut on his forehead.)
Ethan: Oh, it's nothing. Just some drunk frat guy.
Prue: Yeah, seems to be a lot of that going around.
Phoebe: Uh, this is my sister Prue.
Ethan: Hey.
Prue: Hey.
Ethan: Well, I just knocked buy nobody was in. I thought I'd give them some hell for missing section today but, I mean, Andrea and Brooke would totally bail out but it doesn't really seem like Tessa, you know. Then again, it is valentines day, maybe they had something better to do.
(Phoebe stares dreamily at Ethan.)
Phoebe: Do you?
Prue: Okay, gotta go, busy, busy. Nice meeting you, Ethan.
(They shake hands.)
Ethan: Nice to meet you and I'll see you tonight.
Phoebe: Okay.
(Ethan walks past them and Phoebe goes to follow but Prue stops her.)
Prue: I'm sorry, okay.
Phoebe: Oh, you're right. Love needs a backseat to duty.
Prue: What's that about love in a backseat? (She uses her power and unlocks the door. They walk in.) Because mum, dad, your birth. That's how you were. God, this place is a mess. I mean, boys are bad but this is a pig sty.
Phoebe: I don't think they did this.
Prue: Hey, is this the spell book?
(The book's on the floor.)
Phoebe: Yeah.
(They hear noises in the closet.)
Prue: What was that?
Phoebe: It's in the closet.
(They walk over and open the closet. Tessa is in there locked in a cage.)
Commercial Break
[Scene: Manor. Living room. Prue, Phoebe and Tessa are there.]
Phoebe: Look Tessa, I know what you've been through has been really hard but the only way that we can help you is if you tell us what happened.
Tessa: There's no way that you'd understand.
Prue: You won't find two more understanding people in this particular instincts.
Tessa: It just sounds crazy and you'll think that I'm...
Phoebe: Very brave for facing whatever it is.
Tessa: You remember that spell that we showed you in class? Well, it worked. Not liked it helped us meet guys, it helped us make guys out of animals.
Phoebe: And you did this from the spell in that book?
Tessa: Yeah, and we even played back the tape that we were recording in class so we could here your corrections for the spell. (Phoebe and Prue look at each other.) But before we had a chance to chant the new version, there they were.
Prue: Alright, so what is it you think these men want with you?
Tessa: I don't know. Maybe it's our fault because we tried to make them into something they're not.
Phoebe: No, you can't blame yourself for the action of other people. We're gonna fix this. First we have to fix you. I'll be right back. (She walks in the kitchen and looks in a cupboard.) If I were hydrogen peroxide, where would I be? (She hears a noise in a closet.)
[Cut back to Prue and Tessa. Prue notices the broken glass on the door.]
Prue: Phoebe!
[Cut back to Phoebe.]
Phoebe: Prue, where do we keep the hydrogen peroxide?
(Phoebe opens a closet and the pig guy falls out on top of her. Prue and Tessa run in the kitchen. Phoebe pushes the pig off her.)
Tessa: Oh my gosh. He was one of them, except he didn't look like that.
Prue: The spell must be wearing off.
Phoebe: They're starting to look and act more like animals.
Prue: Alright, look, they have k*lled one of their own, there's no telling what they're gonna do or what they already have done to your friends.
Phoebe: Do you know what they want?
Tessa: You.
Phoebe: What?
Tessa: They're having fun and they wanna stay this way and Andrea told them that you'd be able to help them.
Phoebe: Where are they now?
Tessa: There. (She gets the flier off the fridge.) That's where I think they'll be.
[Scene: Side of the road. The snake guy and rabbit guy are there with a broken down car. A car drives past and they wave him to stop.]
Man: You guys need some help?
Snake guy: You could say that. I think we're outta gas.
Man: What can I do for you?
(The snake guy's eyes turn into snake eyes.)
Snake guy: You could not scream.
(The rabbit guy jumps on the bonnet of the car. Then the snake guy jumps on the roof, runs across it, leans over the edge and strangles the guy. Rabbit guy opens the boot of the other car and Andrea and Brooke are in there.)
Rabbit guy: Okay, ladies, papa's gotta brand new set of wheels.
[Scene: P3. Piper's talking on her cell phone.]
Piper: Prue, the place is full of snakes. How am I suppose to pick out the right one? Did I mention I have dinner plans with Dan? Okay, you're five minutes away? Okay, as fast as you can would be good.
(She hangs up.)
Leo: Everything okay?
Piper: Of course not. Prue and Phoebe have found a problem. Two of them actually and they're bringing their dates here.
Leo: On the night when you have a date of your own, huh?
Piper: Just ear mark anyone looking for Phoebe.
(Ethan walks up to Piper and Leo.)
Ethan: Excuse me, you wouldn't happen to know if Phoebe Halliwell is anywhere around here, would you?
Piper: She should be here any minute and if you'd sit down over there and don't move you'd have a perfect view.
(Ethan goes over and sits at the bar.)
Leo: You think he's...
Piper: Could be.
Leo: Let me help.
Piper: No, Leo, thank you, but now that you've lost your wings, I'm... I don't want you to get hurt.
(Leo sees Dan walk down the stairs and he walks away. Dan comes up to Piper.)
Dan: Hey. Will you be my valentine?
Piper: I hope so. Especially after...
Dan: Today. Well, tonight's tonight. So let's get started.
Piper: Um, about that.
Dan: You're kidding. Just tell me you're kidding.
Piper: What?
Dan: Wait, let me guess, It's something with your sisters, or maybe you'll be vague and just say something important's come up, or my favourite of all time - it's a matter of life and death.
Piper; Actually, what I was going to say, if you would let me, is that I'm running a little late and could you please wait for me at the bar.
(She walks away. The rabbit and snake guy enter the club. They walk around looking for Phoebe. Prue, Phoebe and Tessa enter the club. Phoebe's holding a pen and paper.)
Leo: Hi guys.
Prue: Hey.
Leo: Piper's stressing in the alcove.
Prue: Tessa, Leo, Leo, Tessa. Can you watch her for us for a little while please?
Leo: Yeah, sure.
Prue: Phoebe, how's the spell coming?
Phoebe: It'd be coming a lot better if I could get my hands on a pinch of the salt of life.
Leo: We got the salt of margaritas.
Phoebe: I will take it.
(Prue and Phoebe go in the alcove.)
Tessa: So, who are you?
Leo: I'm, uh, just a friend.
[Cut to the alcove.]
Prue: Hey, how's my stressed out sister and her something?
Piper: Well, we've moved past something and straight into everything. The view sucks, I don't recommend it. How goes the battle plan?
Prue: Well, we didn't find anything in the Book Of Shadows.
Phoebe: Which makes sense because the animen or whatever were created by careless magic, not supernatural evil.
Piper: So where does that leave us?
Prue: In the hands of our spellbinding sister who's writing a little hocus pocus to turn these men back into animals before they get completely out of control.
Phoebe: Easier said than done. I do not work well under pressure.
Prue: Any sign of him?
Piper: Well, I've been watching that one who came in looking for Phoebe but he doesn't seem so creepy.
(They look at Ethan.)
Prue: Yeah, the only magic Phoebe wants to work on him is personal. That's her date.
Piper: Oh. Why do we seem to have a habit of gathering our men at the scene of the supernatural smack down?
Phoebe: It's part of our charm.
(Morris arrives.)
Morris: Hey, ladies.
Piper: Hey, Darryl. Please tell me you're here for a nice romantic evening with your wife.
Darryl: No, that'd be what I'm late for.
Piper: Join the club.
Morris: I'm here as a friend. It's not my case -------. string of violent crimes in the campus, to your neighbourhood, all the way here to the parking lot. Stolen blue and grey --------- were driving - parked outside. A couple of units are on their way, so...
Prue: Thanks for the heads up.
Piper: I'll warn security.
(Leo comes in and hands the salt to Phoebe.)
Phoebe: Oh, thanks Leo.
Leo: Uh, Tessa says Andrea and Brooke aren't here.
Tessa: But they are.
(They see snake guy and rabbit guy coming towards them.)
Snake guy: Phoebe, so nice to smell you.
Phoebe: He just spotted me.
(The snake peels some skin off his face and snake skin is underneath.)
Prue: Okay, how are we doing on that spell?
Phoebe: You know, you keep throwing this 'we' word around and I don't see you doing anything.
(Morris gets out his g*n.)
Morris: Wait.
Prue: Darryl, no! (Morris goes up to the snake and rabbit. Prue astral projects in front of him.) Darryl, wait.
Phoebe: Okay, I got it.
Snake guy: (to Prue) Make us human. By the time we find your friends, they'll be d*ad.
Phoebe: Okay. "Something wicked in our midst, in human form these spirits dwell..."
Prue: Phoebe, no!
(Prue astral projects back in her body.)
Phoebe: "Make them animals sayth the spell."
Prue: Phoebe, they hid the girls. Okay, we need to keep them human until we find out where they are.
(Phoebe looks out of the alcove and sees everyone in the club has turned into animals.)
Phoebe: Ohh!
Prue: Okay, what's going on?
Phoebe: Uh, the good news is the spell worked.
Prue: And the bad news?
Phoebe: The spell worked on everyone.
(Prue and Piper look out of the alcove.)
Piper: I don't have a permit for this kind of party.
Commercial Break
[Scene: P3. Prue and Piper are putting the rabbit and snake in boxes.]
Piper: (singing) Old McPiper had a farm... (They hear a cow moo.) Was that a moo? Phoebe, fix this.
Phoebe: Rome was not built in a day, Piper.
Piper: Yeah, but my club was ruined in a blink of an eye.
Prue: At least we don't have to try and figure out what species our innocence are.
Phoebe: Yeah, but if Tessa's right and they're not here, then what?
Prue: Well, right before you cast the spell, the snake said something about if we don't make them human, then the girls will die.
Piper: Okay, so how much time do we have?
Phoebe: Tessa said the spell lasts for twenty-four hours and they cast it at midnight, so...
Piper: That's in thirty-five minutes.
Prue: Didn't Morris say something about the man's stolen car parked somewhere outside?
Piper: Yeah, followed by the police who are on their way here right now.
Phoebe: Okay, you know, I made this mess, let me clean it up. You guys have to find Brooke and Andrea because if my premonition was right...
Piper: As they always are.
Phoebe: And they probably were both bitten by that snake, which means that if they don't get medical attention they could die.
Prue: Alright, we'll go try find something in the car, a hint that will lead us to them.
Piper: Okay, Phoebe, you try and turn this room back and we will try to find the girls and...
(A monkey kisses Phoebe on the cheek.)
Phoebe: Um, uh...
Piper: Go kiss someone else.
Prue: Let's take these guys with us, make sure they don't turn human.
(They pick up the boxes.)
Piper: Are you sure we've got the right ones?
Prue: Well, yeah, it was the only rabbit and snake next to each other.
Phoebe: And the only two that put up a fight. (Prue and Piper start walking towards the door.) Whoa, they're fleeing. Piper, how about a little supernatural choral? (Piper freezes all the animals.) Thank you. (Prue and Piper leave.) Okay, I would like you all to know that I'm vegetarian, okay. I have never eaten any of you.
[Cut to outside. Prue and Phoebe are carrying the boxes out to the car park.]
Prue: Why do I have to carry the poisonous snake?
Piper: Because you're the oldest.
Prue: So?
Piper: So you've lived a full life.
Prue: Wait, you think that's the car over there?
Piper: What, you want me to ask him?
(She shakes the box.)
Prue: You know what? You're a smart ass. Come on, we don't have much time.
(They walk over to the car and puts the boxes on the ground.)
[Cut back to Phoebe. The animals unfreeze. A dog starts eating Phoebe's herbs.]
Phoebe: No! Bad dog. Icksnay on icklingay. Alright, you know what? Nobody bothers the witch, okay. If we all remain calm, I will have everything under control and back to normal, alright?
[Cut back to Prue and Piper. They'd just finished looking in the car.]
Piper: Nothing. Now what?
Prue: Trunk. (Prue uses her power and opens the trunk. They see Brooke and Andrea there.) Oh my God.
(Piper feels their pulse.)
Piper: They have a pulse. It's still there but it's faint and we need to get them to the hospital now.
Prue: Alright.
[Cut back to Phoebe.]
Phoebe: "Undo the magic acted here, reverse the spell so all is clear."
(All the animals turn back into humans.)
[Cut back to outside. The rabbit and snake turn back into humans as well. The snake grabs Piper. The rabbit goes over to Prue.]
Prue: Piss off, Thumper! (She uses her power and he crashes into wooden boxes. The snake tries to bite Piper.) Oh, oh!
Piper: What's happening?
Prue: Phoebe reversed the spell. It must of worked on all the animals. Piper, hold on.
(Prue uses her power and Piper and the snake fly through the air and h*t the wall. The rabbit jumps on and she kicks him off. Piper grabs a long piece of wood and hits him between the legs.)
Piper: How's it feel to be a man now? (She punches him in the face and knocks him out. The rabbit gets ready to scratch Prue and Piper freezes him.) What do you say we wake up Dr. Poison here and move him... move, uh, Thumper there right into his fangs.
Prue: I've got a better idea. Come on.
[Time lapse. A policeman is putting snake guy and the rabbit guy in the car.]
Rabbit guy: At least we're human for good now.
Snake guy: Shut up.
(The car drives off. Prue, Piper and Phoebe are standing there.)
Prue: So it looks like they got what they wanted. They get to be treated like humans.
Phoebe: And caged like them too.
(Morris comes up to them.)
Morris: You three sure are re-writing my book on public service.
Piper: So the girls are gonna be okay?
Morris: Yeah. They're on their way to the hospital. I think you found them just in time. How did... I'm not even gonna ask.
Prue: Remember when our biggest concern on valentines day was who to spent it with?
Piper: Still is.
Prue: Yeah, maybe for you. I was dateless tonight.
Phoebe: Speaking of dates - don't I have one in there?
[Cut to inside. Phoebe is dancing with Ethan and Prue and Piper are sitting at the bar.]
Prue: You know, I never knew how exhausting not having a job could be.
Piper: Table four needs to be bust.
Prue: Okay, I'm serious. No, it's like having a job just sort of made this whole charmed thing less stressful. It gave me something else to worry about.
Piper: So the Prue of old wins out after all.
Prue: I like being busy.
Piper: And why mess with a good thing?
Prue: Yeah, I just need to find something that I love getting busy at.
Piper: Speaking of getting busy, check out our little sister.
(They watch Phoebe dancing with Ethan.)
Prue: Oh, my. Just hope she doesn't do eighties dancing. I'm ready to go home. Bye.
(She leaves.)
[Cut to Phoebe and Ethan.]
Ethan: Phoebe, there's something...
Phoebe: Oh, no, in my teeth? (You see a feather in her hair. He takes it out.) Oh! That's, uh, that's-that's-that's really strange.
Commercial Break
[Scene: P3. Dan and Piper are sitting at the bar.]
Dan: You're not a beck and call kind of girl, I get that.
Piper: I have a job that takes time, a family that takes time and making you and me work is gonna take time. I need to know that you're willing to deal with it with me.
Dan: You know I am. As long as you realize who I am. Sometimes I get jealous. I wonder where you are, who you're with and that's me. You can't make me something I'm not. Work with me, yes but change me. (He shakes his head.)
Piper: Relationships are hard work.
Dan: Especially on an empty stomach. Do you think we can talk about this over dinner?
Piper: Magic words. (They start walking towards the stairs.) Oh, I forgot my purse. I'll meet you outside.
(She walks in the alcove and picks up her purse. A card is sticking out of it. She starts reading it.)
Leo's voice: Piper, when we first met you thought I was just a handyman. Well, I'm just a handyman again. The sane guy you fell in love with. The same guy who fell in love with you. For who you are, not who I think you are. Remember that and know that I'm, not giving up.
(Piper and Leo look at each other from across the room. They start walking towards each other. They meet up and start kissing. Then you see her standing there in the alcove. It was only a daydream. She looks over at Leo, they smile and she walks outside.)
End | {"type": "series", "show": "Charmed", "episode": "02x13 - Animal Pragmatism"} | foreverdreaming |
Written by: Michael Gleason
Transcribed by: Janelle Hackbarth
--------------------------------------------------------------------------------
[Scene: Halliwell Manor. A party is happening. We see Piper serving drinks. Prue shows a couple to the door. Loud music is playing.]
Woman #1: Great party.
Prue: Drive carefully.
Man #1: Good night.
(Piper puts the tray on the table in the hall. Prue comes to her.)
Prue: Great party. Maybe we should do this more often.
(Piper's attention is directed towards Dan and Leo, who are drinking beer and talking in the living room.)
Piper: Yeah. Maybe next time we can trim the guest list by one.
Prue: Piper. I had to invite Leo. He was at the club when I went to go pick up the supplies. He knew that we were throwing a party.
Piper: Well didn't you think maybe he'd feel a little awkward being here because of Dan?
Prue: It doesn't look like he feels too awkward to me. Look, Piper, he's been mortal for what? A couple of weeks now? I mean, I felt bad for him. He doesn't know anybody and it's not like there's a fallen-white-lighters-support group to join or anything.
Piper: Prue, I'm not upset with you. I'm just
I'm
I'm, upset with the whole situation.
Prue: Well, Leo's just going to have to accept the fact that you're with Dan now. You are still with Dan, right?
Piper: Yes. Of course.
(We see Leo and Dan laughing.)
Piper: What do you think they're talking about?
Prue: You
Piper: Great.
(Phoebe comes out of her room by the stairs.)
Phoebe: Hey you guys. (Prue and Piper look at her.) Give me a break. It's after midnight. I have midterms tomorrow.
Piper: Sorry. Pheebes. We didn't realize we were being so loud.
Prue: Why don't you take a study break? Clear your head. Come on down.
Phoebe: I can't. I have too many phobias. (Prue and Piper give her the "what" look) To learn about for my psych exam. I had no idea there were so many. "Claustrophobia. Arachnophobia." (Reading from the cards in her hand) Um. "Kleptophobia, Phallusphobia."
Prue: "Relax-a-phobia".
Phoebe: Cute.
Prue: Just trying to help.
Phoebe: You can help by keeping it down. Did I mention it's after midnight?
Piper: Twice.
Prue: Party's breaking up anyway.
Phoebe: Thank you.
(Phoebe kisses her hands, throws them at her sisters, and then goes into her room. Piper and Prue look back at Leo and Dan, who are laughing)
Piper: What the hell are they talking about?
[Cut to Leo and Dan.]
Leo: My favorite ball player? Joe DiMaggio. Hands down.
Dan: DiMaggio. No. I meant when you were growing up.
Leo: DiMaggio was
my grandfather's favorite. That's why he's mine too.
Dan: You know Leo, this is just an observation, but uh, you don't like to talk about your past that much. Do you?
Leo: It's just not all that interesting, really.
Dan: Not that interesting? I mean, being in the army sounds pretty interesting. How, I mean, how long have you been out?
(Piper enters.)
Leo: Piper.
Piper: Hi guys. Having fun? Not talking about me too much I hope.
Dan: No. No. Not at all.
Piper: No?
Dan: Actually. Leo was about to fill me in on his army experience.
Piper: The army? (Leo smiles) Huh. Whoops. Look at the time. Gotta call it a night. Party's over.
[Scene: Phoebe's room. Phoebe has some papers, books, and laptop is scattered on her bed. Phoebe is writing something.]
Piper: (from downstairs) Good night everybody.
Phoebe: Finally.
(Phoebe takes her Chinese style clips out of her hair.)
[Cut to outside of manor. Prue, Piper, Leo, and Dan are showing the rest of the quests' out ]
[Cut back to Phoebe's room. She's studying until she hears music. It sounds like the party is still going on. (Later it's the sounds from the party in 1924.) She goes to the stairs and begins walking downstairs.]
Phoebe: OK. I asked you guys once to keep it down.
(She looks and sees no one around. As she walks downstairs, she still hears the party noises. She goes into the dinning room. Something pushes her against the wall. She is forced to have her hands up against the wall. Something pulls her shirt off, then slips her bra strap off. Something then pulls her skirt up. She falls to the ground. A lamp off the table and breaks.)
[Cut to outside. Piper, Prue, Leo, and Dan look towards the sound.]
Piper: Phoebe?
(They go inside and see Phoebe on the ground.)
Prue: Phoebe? (They go to her. Prue and Piper kneel down by her) Hey. Are you all right?
(Phoebe sits up and pulls her bra strap up and puts her shirt back on)
Phoebe: Uh
yeah. I think so.
Piper: What happened?
Phoebe: I don't know, but I'd sure like to find out.
Opening Credits
[Scene: Living room. Prue and Phoebe are sitting on the couch. Phoebe is laying on Prue. Leo and Dan are standing behind the table behind the couch. Piper brings Phoebe a glass of water. She then sits on the coffee table.]
Phoebe: Thanks.
Dan: You sure you're all right?
Phoebe: I'm fine really.
Dan: You're lucky. Falling down like that, you really could have hurt yourself.
Prue: Maybe we should call it a night, huh? Let her get some rest.
Piper: Oh. OK. (She looks at Dan) I'll walk you out.
Dan: OK. (Piper begins to show Dan out. Leo begins to walk around. Dan stops in the doorway with Piper and looks at Leo) Hey, uh, Leo. (Leo stops) You coming?
Phoebe: Uh no. He has to stay here and
Prue: Um, take glasses back to P3.
Dan: Now? At this hour?
Piper: I'm a tough boss. Ready?
(They begin to leave.)
Leo: Nice chatting with you.
(Piper and Dan stop.)
Dan: Yeah. You too.
(Piper and Dan go by the door and kiss. Leo sees this. Dan leaves. Piper comes back into the living room.)
Leo: Well, I thought he'd never leave.
Piper: What the hell were you two chatting about all night.
Prue: Piper do you mind? (Piper sits on the coffee table.) Phoebe, so what really happened?
Phoebe: Uh
OK. I heard what I thought were party noises, so I came downstairs to check and to yell at you guys and
I was att*cked by something invisible.
Prue: So what? Like a ghost?
Phoebe: Uh, I didn't sense another being. It was more uh
I don't know, like a, like a daydream, I guess.
Piper: A daydream? Since when do daydreams att*ck people?
Phoebe: It wasn't really an att*ck, it was more of... a seduction.
Leo: Interesting daydream.
Phoebe: Yeah.
Prue: So I guess the question is what was it?
(Phoebe looks at Leo.)
Phoebe: Have you ever run across anything like this? I mean, as a white lighter?
Leo: Not really.
Piper: Which means we have no idea if it's going to strike again or not.
[Scene: Next morning. Phoebe's school. Prue is walking Phoebe to her class]
Phoebe: This is so embarrassing. I haven't needed my big sister to walk me to school since the first grade.
Prue: Yeah, well, get used to it. Until we figure out what happened, we're your bodyguards.
Phoebe: How do you know that you don't need the bodyguard? How do you know that he won't come after you next?
Prue: Because from your description. It sounded very, uh, intimate. It makes me think that yours is the only body it's interested in. Hey, you know, are you sure you're up for taking this exam?
Phoebe: I can't let stuff like this keep me from living my life otherwise I'd never leave the house, you know?
Prue: True.
Phoebe: Oh! (Phoebe stops by her class in the doorway and looks at Prue.) You're not going to sit beside me while I take this test.
Prue: I'm not?
Phoebe: No! You are not! You're going to wait patiently out here until I'm done, please?
Prue: All right, but if anything weird happens, yell.
Phoebe: OK.
(Phoebe goes into class. Prue looks behind her and sees a photograph display she goes to it)
[Cut to P3. Piper is sitting at the counter looking through some papers and Leo is behind the counter opening a new box of glasses and putting them away.]
Leo: How's Phoebe?
Piper: Fine so far. She should be taking her midterms as we speak.
Leo: So no more att*cks after I left?
Piper: Prue and I took turns watching her all night. Nothing happened.
Leo: Really? That's uh
that's good.
Piper: Wait a minute. I know that tone. What's up? What do you know?
Leo: Nothing, just
Piper: Just what? Come on Leo. If this has anything to do with what happened
Leo: It may not. I don't know. It's just
look, I was up all night trying to recall a similar situation another white lighter had with one of his charges. It had something to do with uh
a past life coming back to haunt her present one.
Piper: What?
Leo: Look, it's obviously very rare. It doesn't happen to most people. But if I remember right, in this particular case, her past life was trying to warn her present one.
Piper: Warn her? About what?
Leo: I don't know. And that's what's so frustrating. Cause I don't have any way of finding out either.
Piper: You miss being a white-lighter, don't you?
Leo: Yeah. Times like this I do, when I know I can help. And also when
I think that I'm never going to be with you.
(Leo and Piper look at each other. Dan enters the club.)
Dan: Hope I'm not interrupting anything.
Piper: Dan. Hi. No. Don't be silly. We were just
Leo: Finished.
(Dan goes to Piper and kisses her. He looks at Leo. Leo begins to leave.)
Piper: What are you doing here? I thought you, uh, had a job to bid?
(Dan sits on the stool next to Piper)
Dan: Well, I was on my way back to the office. You know, crunch some numbers. (Piper looks at Leo and so does Dan. We see Leo go in the storage room and close the door. Dan and Piper look back at each other.) If I ask you a question, promise me you won't get mad at me?
Piper: Depends on the question.
Dan: How well do you really know Leo? About where he's from I mean?
Piper: Why do you ask?
Dan: Believe me. This is not a jealousy thing. I just want to make sure you know who's working for you. That's all. Just call me overprotective.
(They giggle a little.)
Piper: That's very sweet Dan, but um, trust me. You don't have to worry about Leo at all. He's an angel.
[Scene: Phoebe's classroom. Phoebe is taking the exam until something chokes her. She drops her papers and is thrown out of her chair. One girl screams. Prue hears it.]
Prue: Phoebe. (She goes into the class. There is a crowd around Phoebe, who is still choking.) Excuse me. (She kneels down by Phoebe.) Phoebe. Phoebe. (Phoebe stops choking and sits up.) Are you OK?
[Scene: Halliwell Manor. Piper and Prue are sitting on the couch. Leo is sitting in the armchair. Phoebe is standing behind the couch. Piper is looking through the Book of Shadows.]
Piper: What am I looking for?
Leo: Anything to do with past lives. Potions, spells, incantations. If I'm right, there should be something in the Book of Shadows about it.
Prue: You really think this has something to do with Phoebe's past life?
Leo: Well that's how our souls involve, how we grow as invidious. From one lifetime to the next.
Phoebe: OK. Then why is my past life trying to k*ll me?
Leo: I don't think it is. I
I think it's trying to warn you. Give you a chance to do something about it. Maybe it's because you get premonitions.
Prue: Wait. Do something about what?
Leo: About w
w
whatever happened before that's endangering her now.
Phoebe: Where's Shirley McLaine when you need her?
(Piper finds a spell)
Piper: Don't need her. We've got this. Leo's right. There's a spell that will take you to that past life.
(Phoebe goes and sits between Prue and Piper while Prue says this.)
Prue: Wait. We're not doing this.
(Piper slides Phoebe the Book of Shadows.)
Phoebe: Looks like you don't have to. It's written in first person. I can do it alone.
Prue: Phoebe (She flips through some pages looking for a return spell) There's absolutely no spell to bring you back.
(She flips back to the spell.)
Leo: Which means she can probably come back whenever she wants to.
Prue: Probably? That's not good enough. What if she can't? She could be trapped in her past life where something awful may have happened to her.
Phoebe: But if I don't go back, the same awful thing could happen to me in this life.
Prue: Fine. Then we're going with you.
Piper: We can't. Not according to the way the spell is written. Only Phoebe can.
Phoebe: I've just started to turn my life around. I really don't want my past life to ruin it for me now. (She pauses for a minute and sighs.) Remove the chains of time and space and make my spirit sore. Let these mortal arms embrace the life that haunts before.
(Phoebe falls asleep in Piper's lap. We see through the eyes of someone riding in an old car in the 1920s. It honks and stops. Someone in a tuxedo opens the door and we see the Halliwell Manor and people leaving. The person is walking up the stairs.)
Woman #2: Thanks for the love potion. Worked wonders.
(The person goes up the stairs where a man is standing.)
Man #2: Welcome back.
(He opens the door. There is a party going on. The 1924 music is playing. Some people smile at the person. Some look hateful. We see that the person is Past Phoebe.)
[Cut to the present]
Piper: You think she's all right?
Leo: She looks all right so far.
[Cut to 1924]
(Past Phoebe is walking into the living room. We see Past Dan playing the piano. He sees her and she looks mad at him. He looks away. She goes by the stairs by the bar. A woman approaches her.)
Woman #3: Well, I was wondering where you went off to.
(Past Phoebe holds up a bag.)
Past Phoebe: I had to get some herbs. I can't very well make my potions without them. Would you like me to curse anyone for you?
(Woman #3 looks at a guy who looks at her.)
Woman #3: Maybe later.
(They both give an impish giggle. The woman goes. Past Piper goes to the bar.)
Past Piper: Hurry up with that giggle water Jake. We have thirsty people waiting.
(The bartender nods. Past Phoebe looks at her disguised. She goes to the bar.)
Past Phoebe: What's a matter dear cousin? You're not afraid of me are you?
Past Piper: Should I be?
Past Phoebe: (to Jake) My usual and bring it to my booth. (To Past Piper) Would you tell your husband to play something different? (She looks at Past Dan) I'm board with this old song.
(Past Piper goes to Past Dan)
Past Piper: Don't worry about her, baby. Just keep playing.
Past Dan: Anything for you.
(She looks mad Past Phoebe. Past Phoebe looks mad at her and goes into the parlor. Past Piper grabs a make-up case with no make-up in it off the piano and leaves. We see Past Prue take a picture of an old couple with an old camera and smiles after. Past Phoebe walks to her. Past Prue looks mad at her.)
Past Phoebe: Hello cousin.
Past Prue: We have to talk
soon.
Past Phoebe: We're done talking.
(She begins to walk away. Past Piper goes to Past Prue.)
Past Prue: Did you find the spell?
(Past Piper holds up the make-up case and opens it without taking her eyes off Past Phoebe. Past Prue takes out a piece of paper. Past Phoebe looks back at them. They look mad at her. She begins leaving again. We see a little girl sitting by a crystal ball and a woman sitting across from her.)
Little girl: " Say these words. Heed the
"
(Past Phoebe walks to her.)
Past Phoebe: Christina Larson. What in the devil are you doing? (to woman) And you get out of here. (the woman leave) I told you to watch my things. That's all. (She takes a proscenia doll and throws it on the ground, breaking it's head.)
Christina: My dolly!
(She goes to pick it up and begins to cry.)
Past Phoebe: Spells and charms are not toys Christina. Do you understand me?
(She leaves. Christina hugs her doll and cries. Phoebe goes to a doorway. A man comes up behind her. He grabs her stomach. He pushes her outside and pushes her against the wall, suspending her hands against the wall.)
Man #3: I've been looking all over for you.
(They kiss sexually. He slips off a strap from her dress. He then begin to slip up her dress, then stop.)
Past Phoebe: Why must you tease me Anton?
Anton: Come with me. (He goes to the back of the house. We see a guy take a package inside through the back door. When then see Anton and Past Phoebe come. They stop by the back door.) Drink this.
Past Phoebe: What is it?
Anton: A potion to triple your power. In case your cousins' are ready for us. It's the only way for us to succeed. You do want that, don't you? (She hesitates for a minute and then smiles.) That's my girl. (She drinks the potion.) Go ahead. Test it. (She looks around to make sure no one's watching. She then sh**t a fireball through her fingers and sets a box of wine on f*re.)
[Cut to present]
(Phoebe wakes up and sits up with a jolt.)
Piper: OK. OK.
Phoebe: Where am I?
Prue: Your home, honey. Your home. Your OK. What happened?
Phoebe: I was bad
very, very
bad
Commercial Break
[Scene: Attic. Phoebe enters looking for the family tree. Piper, Prue, and Leo follow her.)
Phoebe: Family tree. I know I saw one somewhere.
Piper: Uh, I still don't understand.
Phoebe: We were all related. Cousins. And we lived here at the manor back in the twenties.
(She begins looking for the family tree)
Piper: Together? Here? (She looks at Prue) So much for evaluation.
Prue: Wait. So you saw us in our past lives? I mean, did we look the same?
(Phoebe looks up from the trunk)
Phoebe: Uh, yeah. You did, actually. Kind of.
(She opens the trunk, kneels down, and begins to look through it)
Leo: Well, they probably looked the same to you because your soul recognized their souls. I mean, we all tend to travel in the same circle of family, friends, even enemies throughout our various lives. And that's why our souls recognize each other. So we can keep finding each other. That's what soul mates mean.
Phoebe: It was really weird being back like that because it wasn't like I had any control over my actions. It was more like I was a visitor. Watching. Feeling.
Piper: Feeling bad?
Phoebe: Feeling very, very bad. (Prue and Piper give her a look) OK. I admit it. I liked it. It felt good to be respected and powerful. (She looks at Leo) Hey! Speaking of powers. (She stands up) How come I didn't get to keep that kick ass power I had back then?
Leo: Well, if you screw up your regrets. Your past self must have abused the power. That's why it was taken away from you.
Phoebe: That's too bad because it was hot. (She looks at Prue and Piper) Literally.
Prue: Yeah. Apparently that wasn't the only thing that was really hot.
Phoebe: Ooh. Yeah. Anton was hot too. Ooh. (She kisses her hands) And he was such a good kisser. (She puts her hands down and looks through the desk behind her) And so good with his hands.
Piper: Hands that very well may have k*lled you.
Phoebe: Maybe. But, you know, it could have also been Past Dan.
Piper: Dan? As in my Dan?
Phoebe: Uh-huh.
Piper: You saw him too?
Phoebe: He was your husband. Sorry Leo.
Leo: That's OK. I'm hoping Piper learns from her past mistakes.
(Piper looks at Leo.)
Piper: Huh.
(Prue looks at Piper and smiles.)
Prue: Huh.
(Piper nudges Prue.)
Phoebe: Prue, this was the camera that you used in your past life.
Prue: Wait. I
(Prue goes over to Phoebe to see the camera while saying this)
I was a photographer?
Phoebe: Yeah, and apparently a really good one because people were lining up to get their portraits taken.
Prue: Really? (Phoebe begins looking through a drawer.) So um, any idea what kind of power I had?
(Phoebe stops for a minute.)
Phoebe: Uh, I don't know, but whatever it was, it must've been pretty powerful because Anton had to triple mine. (She pulls up a rolled up family tree.) I found it. The family tree.
(They all go to a box and Phoebe unrolls the family tree while they all kneel down. Leo puts his hand on the top to make sure it doesn't roll up on its own.)
Piper: Well there we are at the bottom.
(We see Piper and Phoebe's names and birth dates.)
Prue: Right. There's mom and Grams.
(We see Prue's finger slide by her parents' and grandparents' names and birth dates.)
Phoebe: OK. This must be us again. 3 cousins.
(She slides her fingers across the names P. Bowen [Prue], P. Bexter [Piper] and P. Russell [Phoebe])
Prue: Yeah, well, which one's which?
Phoebe: Wait a minute. What's the date today?
Piper: Uh, February 17th.
(Phoebe sighs.)
Phoebe: I think that this one is me. (She points to P. Russell) She died February 17th, 1924. The same age I am also.
Prue: Certainly explains why the warnings are happening today.
(Phoebe looks at Leo.)
Phoebe: So, it doesn't mean that I'm going to die today too, right?
(Leo's face says " I don't know".)
Prue: We have to figure out what happened
fast.
Phoebe: Wait. Wh
what was that little girl's name? Christina
Christina
Christina Larson. Christina Larson. Maybe she can remember what happened.
Prue: Can you say long sh*t?
Phoebe: Well, it's the only sh*t I got, Prue. I will call Darryl and maybe the police can track her down. I just hope she's forgotten what I did to her doll.
[Scene: Retirement home. Phoebe, Piper, Prue, and Leo are there talking to Christina, who's in a wheelchair. We see Christina pointing at Phoebe while saying this.]
Christina: My dolly! You broke my dolly!
Phoebe: No. No. That wasn't me. It was just someone that looked like me. Sort of. It's
it's hard to explain.
Leo: But she recognizes your soul. That's a good sign.
Prue: Just let her know that you're the good Phoebe, not the bad one.
Phoebe: Uh
(She goes by Christina.) You don't have to be afraid of me anymore. I'm not going to hurt you. I promise.
Piper: Ms. Larson, we need your help.
(Phoebe kneels down.)
Phoebe: Do you remember when you were a little girl back in 1924? You used to go to a speakeasy that was run by three cousins. Do you remember that?
(Christina nodded happily.)
Christina: Daddy was the bartender. He used to pick me up after school and take me there. (She giggles a little.) I liked the piano. (She sings this next line.) If you were the only girl in the world, and I
(Phoebe touches her hand.)
Phoebe: The girl that looked like me, do you remember her?
(Christina takes her hand away.)
Christina: She was an evil witch. (She looks at Leo, Prue, and Piper.) I used to hide upstairs by the landing. (She looks at Phoebe.) I saw everything.
Piper: Did you see anything bad happen to the evil witch?
Christina: Oh. It was scary. f*re and screaming. (She turns to Phoebe.) And then
you were m*rder.
Phoebe: Do you remember who m*rder me?
Prue: Was it a man named Anton?
Christina: It was such a pretty necklace. Just ripped it off of the bad witch and then strangled her.
Leo: Who strangled the evil witch?
(Christina cries.)
Christina: That was my favorite dolly.
Phoebe: I'm so sorry. (They walk outside. Phoebe looks at the elders and then at Piper, Prue, and Leo, who are following her.) Well, bright side, at least I don't have to worry about ending up in a place like this in my golden years.
Prue: Hey, at least we have time to figure out what happened.
Phoebe: Not much time. By midnight, I'll be d*ad again.
Piper: By midnight? How do you know that?
Phoebe: Midnight, a full moon, what's the difference? It's always one or the other, right? I know I won't make it to February 18th unless
Leo: You go back to the past again and find some answers.
[Scene: Manor. Prue is sitting on the couch. Leo and Piper are standing behind the couch. Leo is pacing. We see Phoebe bring the Book of Shadows as she sits on the couch. She begins to open the book to the future spell.]
Leo: Whatever you do, make sure you get back before your past life gets k*lled. Otherwise we may not be able to wake you up.
Phoebe: Don't worry. Dying is one experience I don't plan on reliving.
Prue: Are you sure that you want to do this?
Phoebe: No
but here it goes. Remove the chains of time and space and make my spirit sore. Let these mortal arms embrace the life that haunts before.
(She falls asleep. Prue lays her head down on the pillow.)
[Back to just after Past Phoebe threw her f*re ball. We see the boxes blow up.]
Anton: Feels good to be bad, doesn't it?
Past Phoebe: Sometimes.
(She turns around.)
Anton: Second thoughts.
Past Phoebe: They're my cousins, Anton.
Anton: They're good witches, my love, which is why I gave you this amulet to wear. (He points to the necklace.) It protects you from their witch craft so they can never harm you. (She looks like she's think about not doing it.) Hey, k*lling them is the only way for me to get their powers, and once I have them
together
we will be unstoppable. (They kiss passionately.) First thing's first. Are you ready? (She nods.) Good. Now remember, wait until after I lure your cousin away from her piano man before you make your move.
Past Phoebe: How you gonna do that?
Anton: Easy, by posing as her former lover
(He waves his hand over his dace and changes into past Leo)
and fighting through your power. Shall we?
Past Phoebe: Let's.
(They go inside. A man is singing "If you were the only girl in the world and I were the only boy". Past Piper is watching Past Dan playing the piano. She spots Anton as Past Leo. He smiles. She looks at Past Dan to make sure he isn't watching. She goes to Anton.)
Past Piper: What are you doing here?
(He draws her to the corner)
Anton: Just missing you baby.
(He starts grabbing her sexually.)
Past Piper: Stop it. We can't do this anymore. What is the matter with you? This isn't like you.
Anton: You're right. It's not.
(He waves his hand in front of his face and turns back into Anton. She tries to scream, but Anton covers her mouth. He signals to Past Phoebe. She goes to Past Prue, who is getting a couple ready. She begins to go back to the camera and then sees Past Phoebe. She stops.)
Past Phoebe: Do you wanna talk now? Upstairs?
(Cut to Past Piper. She gets free from Anton's grip, but falls to the floor. Everyone focuses their attention on her. Past Phoebe throws a fireball at Past Prue. Past Prue blocks it by bl*wing at it. Icy breathe, literally, comes out of her mouth and destroys it. People get up and start to run. In the process, Past Phoebe and Past Prue get knocked down. Past Piper is being chocked by Anton. Past Dan gets a rake and hits Anton in the back. Past Prue gets up. Anton turns around and hits Past Dan, who is flown to the f*re place and knocked out. He turns to Past Piper. She tries to freeze him, but he fights through it and begins to choke her again.)
Anton: Oh, I'm gonna like having that power.
(Christina runs upstairs and hides at the landing. Everyone flees from the house Past Dan, Past Phoebe, who is standing, Past Piper, Past Prue, and Christina Past Prue tries to use her power on Past Phoebe. It goes into her necklace.)
Past Phoebe: How does it feel to be powerless against me?
(Past Prue pulls a trigger on her camera and a little f*re comes out, blinding Past Phoebe for a moment. We see Past Prue kick Past Phoebe down. Past Phoebe tries to get up, but Past Prue holds her hands back. Cut to Past Piper, who is almost near death. She kicks him in the balls. He lets her go and she stands up. She pushes a grandfather clock on Anton. Cut to Past Prue and Past Phoebe. Past Piper enters the room. She grabs a rope off a curtain. She goes behind Past Phoebe and begins to strangling her. Past Prue takes her amulet off and throws it. Christina witnesses this.)
Past Piper: We know Anton's a warlock.
(Past Prue takes a slip of paper off her leg.)
Past Prue: And that he's fallen in love with you
Past Piper: And turned you evil.
Past Prue: We can't have you guys join forces. Not in this life. Not in any life.
Past Piper: God forgive us.
(Past Prue holds the paper where Past Piper and her can see it.)
Past Prue: Evil witch in my sight.
Past Prue/Past Piper: Vanquish thyself. Vanquish thy might. In this and every future life.
[Cut to present. Phoebe walks up with a gasp. She looks at Prue and Piper and backs away. Prue gets up and follows her.]
Prue: Phoebe what?
Phoebe: You! You were the ones that we're trying to k*ll me.
Commercial Break
[Scene: Manor. Upstairs. Phoebe is going to her room. Piper, Prue, and Leo are following her.]
Piper: Don't be ridiculous. You know we'd never hurt you.
Phoebe: No? Tell that to past Phoebe. You cursed her.
(Prue goes to grab Phoebe's arm)
Prue: Phoebe. Come on.
(Phoebe draws her hand back)
Leo: Hey! You know they didn't try to k*ll you Phoebe. You know that it was their past selves.
Phoebe: I know, and it was my past self that tried to k*ll them first.
(Phoebe goes to her room)
Piper: Huh? (Phoebe slams her bedroom door close. Piper, Prue, and Leo follow her. Piper opens the door. Phoebe is sitting on her bed looking out the window.) Phoebe, whatever happened, you can't blame yourself. It wasn't really you.
Phoebe: But that's the thing. It was me, or at least a part of me that I can relate to. (She looks over her shoulder at Prue and Piper.) And I don't mean hurting you guys. I can't even imagine that, but being in my past life, that powerful, evil feeling, it was
it was seductive. (She looks back at the window.) And that's what scares me. I mean, what if that's who I really am.
(Prue goes and sits by Phoebe.)
Prue: But that's not who you are Phoebe. Not in this life. I mean, you-you've evolved. You've grown. You're good now.
Phoebe: I was good then too. Before I
before she turned. Before she fell in love with Anton. (She looks over at Piper.) Who, surprise, was a warlock. (She looks at Prue.) Oh. And that's not the only surprise. Anton could glamour into looking like anyone he wanted to. (She looks at Piper.) That's how he lured Past Piper. He glamoured into her former lover.
Piper: Her former lover? Who was that?
Leo: It was me.
(Piper turns around.)
Piper: Wh
Leo: Or, rather, past me.
(Piper looks at Leo.)
Piper: Him?
Phoebe: Yeah. Hey, how did you know that?
Prue: Yeah. How did you know that?
(Piper looks at Leo.)
Leo: When you become a white lighter, they let you see your past lives for perspective.
(Phoebe looks at Prue.)
Phoebe: No wonder he knows so much stuff about this.
Piper: Hold it. Wait a minute. You knew that we were lovers before and you didn't tell me?
Leo: No. I just
Piper: You just what? I'm getting a migraine.
Leo: Look Piper, I didn't want to tell you because I didn't want it to influence you in the present. I wanted you to decide whether or not you wanted me in this life.
Piper: I need an aspirin.
Phoebe: OK. (She stands up.) Can we get back to my problem. Since, at best, I only have till midnight to live?
Piper: Right. Sorry. (She turns to Leo.) We will talk later.
Prue: I
I
I understand how Past Phoebe was k*lled, but not why k*lling her is going to k*ll you.
Phoebe: Because of the curse. The cousins didn't want to risk Past Phoebe and Anton getting back together in any lifetime. Anton was
is immortal. And I guess that they thought he and Phoebe were soul mates.
Piper: So he's still alive? Running around out there somewhere?
(Phoebe shrugs.)
Leo: You know, the more immediate question is how do we protect Phoebe from her past life?
Phoebe: The amulet could protect me.
Prue: What amulet?
Phoebe: The one that Anton gave Phoebe. I wonder if Christina knows where it is.
Piper: 76 years later? I don't think so.
Prue: We probably have a better chance of looking in the Book of Shadows under Anton and, uh, seeing where he got the amulet in the first place.
(Prue goes to Piper.)
Phoebe: Yeah. Good. You guys go check that out and I'm going to run downstairs and grab something to eat. I'm starving.
Piper: OK. We'll meet you downstairs.
(Prue and Piper leave. Piper looks angrily at Leo.)
Phoebe: Leo. Wait. (He looks at her.) I want you to come with me to the retirement home.
Leo: What about your sisters'?
Phoebe: (She shakes her head.) I don't want them there. If I don't find the amulet, I'm going to die, Leo. And I don't want them to see that. (She grabs her bag and leaves with Leo.)
[Cut to attic. Piper and Prue go to the Book of Shadows.]
Piper: If Anton is still around and truly in love with Phoebe, he's going to be looking for her.
(Prue opens the Book of Shadows and begins looking for it.)
Prue: Yeah. I know, but right now that is the least of our problems. We need to find something, anything to save Phoebe.
(The front door slams.)
Piper: Where's Leo?
[Scene: Retirement center. Christina is sitting in a wheelchair looking out the window. Phoebe comes through the door with Leo behind her.]
Phoebe: Christina? Hi. It's Phoebe. I'm sorry to bother you again, but I need your help with something. It's really important. (She kneels down.) I need you to try to remember back to the day that the bad witch died, and the pretty necklace was torn off her neck. Do you remember that day?
(Christina doesn't response.)
Leo: Christina. I
I know this is difficult, but please try. Phoebe's life depends on it.
Phoebe: Do you remember what happened to the necklace Christina?
(Christina looks at Phoebe.)
Christina: I was up on the landing watching the whole scary thing.
Phoebe: And the necklace?
Christina: It
It
it just slid across the floor into the foyer.
(Phoebe sighs and gets up. She begins to leave.)
Leo: Oh. Damn it. Now we're never going to find it this way.
(Phoebe stops and turns around.)
Phoebe: Maybe, or maybe not. Leo, do you think that I can write a spell that can not only send me back to the past but give me complete control over my actions as well?
Leo: I don't know. Why?
Phoebe: Because if I can, I could go back to the past and find the amulet and hide it someplace safe so I know where to find it when I come back to the present.
Leo: The only way for you to do that would be to switch life forces with Past Phoebe. (She gives him the "what" look.) In other words you would be in 1924 and evil Phoebe would be right here in your body.
Phoebe: But just long enough for me to find the amulet and then switch back.
Leo: Yeah, but if something goes wrong, we risk unleashing a powerful evil witch in the present and losing you in the past.
Phoebe: But if we don't do anything Leo, we're going to lose me anyway. I have to find the amulet. It's my only hope.
(She looks around for a pad and a pen then and finds them on the night table. She goes there and begins to write a spell.)
Leo: You do realize you won't look any different to them? They'll still think you're evil Phoebe and try to k*ll you.
Phoebe: Leo. Don't worry so much. (She touches his chin.) You're mortal now. You'll get wrinkles. (They smile. Phoebe lies down on the bed, looks at the paper, then closes her eyes.) In this time and in this place, take the spirit I displace. Bring it fourth while I go back, to inhabit a soul so black. (Her face flashes purple.)
[Scene: 1924. Take off from Past Prue and Past Piper trying to k*ll Past Phoebe.]
Past Phoebe: I'll
k*ll
you.
(Her face flashes purple.)
Phoebe: No, uh, wait. It's
I'm not. Grrr.
(She kicks Past Prue.)
Past Prue: Aaah!
(Phoebe flips over Past Piper. Phoebe then turns over and gets up.)
Past Piper: Where'd she learn that?
Past Prue: I don't know.
(Phoebe goes to a bar and looks over the counter.)
Phoebe: OK. The amulet. Where is the amulet?
(She sees Past Prue and Past Piper get up and runs upstairs.)
Past Prue: Why is she running from us? Why isn't she just using her power?
Past Piper: She's probably trying to lure us into another trap.
[Cut to Retirement Center. Just after Phoebe cast the spell.]
Leo: Phoebe are you all right? (He leans closer to her and whispers the next line.) Are you there?
(Christina gets up and goes to her jewelry box while saying this.)
Christina: Here
there
everywhere.
(She takes the amulet out of her jewelry box.)
Leo: What?
(He goes to her. She waves her hand in front of her face and changes into Anton, who his him. He crashes into the bathroom door and knocks him out. The real Christina is in the bathroom gagged and tied to a wheelchair. Anton goes to Phoebe, who is Past Phoebe, while saying this, he sings.)
Anton: If you were the only girl in the world, and I were the only boy. (He puts the amulet on her and then kisses her.) Wake up my sweet.
(She does and looks around and sees she's someplace new.)
Past Phoebe: Anton? What's going on?
(He helps her stand up while saying this.)
Anton: It's OK.
(She stands up.)
Past Phoebe: Where am I?
Anton: You've been reincarnated
reborn
to me.
Commercial Break
[Scene: 1924 Manor. Past Piper and Past Prue are coming towards the stairs and Phoebe is on the lading.]
Phoebe: Uh, I'm not who you think I am. I'm a different me. A me from another lifetime where we've involved into sisters'. Good sisters'. H-happy sisters'.
Past Piper: (to Past Prue) Must have cut off too much blood to her brain.
Past Prue: Must have.
Phoebe: Screw this. (She sits against the wall.) In this time and in this place, take the spirit I displace. Bring me forth while she goes back to her soul so black. (It doesn't work and she stands up.) Uh-oh.
(Past Prue tries to use her power against Phoebe, but misses and her icy breath hits the wall.)
[Scene: Retirement Center. Prue and Piper are there. Prue brings Christina a glass of water. Leo is by the door rubbing his chin.]
Prue: Here you go. Try taking a little sip.
(Prue helps Christina, who's in bed, take a sip of water.)
Christina: Oh, thank you my dear.
(Piper enters and stands by Leo.)
Piper: The nurse will be right in. Is she OK?
Leo: Yeah. I'll be fine. Thanks for asking.
Piper: You're not getting any sympathy out of me. You should never have let Phoebe cast that spell.
Prue: Ms. Larson, can I get you anything else?
Christina: Some JELL-O would be nice.
Prue: Some JELL-O. Uh, OK. I'll see what I can do. Would you excuse me for a second? (She goes to Piper and Leo.) I don't think she has any idea what happened.
Piper: Well, that makes two of us. Do we really believe that Anton knew all along that Phoebe was going to come here looking for Christina?
Leo: Well Christina is the only living link. It was his only hope.
Prue: Who cares how he knew? We need to get our Phoebe back and fast. The problem is she's the only one that can say the spell.
Piper: And also with evil Phoebe wearing the amulet, she's protected from it.
Prue: We've got to get the amulet off of her.
Leo: Yeah, but only long enough for our Phoebe to switch lives. She has to be wearing the amulet in the present to protect her from the past live curse.
Prue: OK. So bottom line, get evil Phoebe, get the amulet. Any questions? OK. Good. Let's hurry.
(She begins to leave.)
Leo: Hurry where?
(Prue stops and turns around.)
Prue: Back to the manor. If Anton and evil Phoebe reunited then I have a feeling they're going to want to pick up right where we left offtrying to k*ll us.
[Scene: 1924. Past Prue and Past Piper are upstairs looking for Phoebe. She sneaks to the stairs. She walks downstairs, looking behind her to see if her "cousins" are following her.]
Phoebe: In this time and in this place
(She backs into Anton.)
Anton: Oh, there you are. (He kisses her. Her against her will.) You are too good to be true.
Phoebe: Thanks for reminding me. Hyah!
(She kicks him and he files to the pool table. It breaks from under him. Past Prue and Past Piper come up behind her.)
Past Prue: Got her.
(Past Prue clamps Phoebe's hands together and Past Piper begins to strangle her.)
[Scene: 2000 manor. Piper, Prue, and Leo are looking for Anton and Past Phoebe.]
Piper: Maybe they're not here.
Prue: Oh. They're here. Somewhere.
(We see Past Phoebe in the living room. She's sitting in the chair and holding Anton's hand.)
Anton: Didn't I tell you they'd come?
(Prue, Piper, and Leo look at them.)
Past Phoebe: Hello cousins'. Or is it sisters' now?
(Prue tries to use her power against Past Phoebe, but the amulet protects her and Anton.)
Leo: The amulet's protecting both of them.
(Past Phoebe and Anton walk towards them.)
Past Phoebe: It's your turn to die this time.
(She throws a fireball at them. Piper gasps and freeze it. Prue and Leo duck behind the couch. Prue pulls Piper down.)
Prue: All right. We have to figure out a way to get that amulet off of her.
Piper: Yeah. Great. Any idea how? (The fireball unfreezes.) Uh! (It hits the wall.) Uhh!
[Cut to 1924. From before.]
Phoebe: In this time and in this place
[Cut to 200. Past Phoebe and Anton are walking towards the couch. Anton lets go of Past Phoebe's hand. Piper walks up to Past Phoebe]
Piper: Hey. How's it going?
(Leo pops out from behind a couch behind them)
Leo: Behind ya!
(Prue pops up behind the couch. Past Phoebe sh*ts a fireball at her. Prue uses her power to make the fireball go to Anton. Anton and Past Phoebe look at each other sadly. Anton screams and turns into dust. Piper comes and bats Past Phoebe over the head. Past Phoebe falls to the ground)
Piper: Sorry Pheebes.
Leo: Get the amulet.
(They do.)
[Cut to 1924. Phoebe is near death.]
Phoebe: While she goes back to her soul so black. (Her face flashes purple and then she collapses.)
[Cut to 2000. Phoebe's face flashes purple. She sits up with a gasp.]
Phoebe: (Whispering.) Piper
Prue.
Piper: OK. It's her. Put it back on fast.
(Prue puts the amulet on Phoebe. It glows and Phoebe caught her breath. It stops glowing and Phoebe is OK.)
Prue: It's OK.
Piper: You're safe.
Phoebe: Thank you guys
for saving my life. All of them.
[Scene: Manor. It's morning. Piper is showing Leo to the door.]
Leo: So I, uh, hope you're not still upset with me. You know, for not telling you about our past lives together.
Piper: I'm not letting you off the hook for that just yet. I'm still not quite sure what it even means.
Leo: Well, I'd like to think it means, uh, we're destined to be together. (The doorbell rings) Saved by the bell. (He opens the door and sees Dan) Or not.
Dan: Leo, what are you doing here?
Piper: Leo was just leaving. Bye.
Leo: OK. I'll see you at work. (to Dan.) Dan.
(Leo leaves. Dan closes the door.)
Dan: You know, I'm just going to come right out and say this. Even if you get mad at me, but I know in my gut that something's not right with him. He worries me. I mean, just for you.
Piper: Uh, are you talking about Leo?
Dan: If Leo is his real name. You know, I had my brother-in-law who works for the state department check out his army records. But the only Leo Wyatt they came up with died almost 60 years ago in World w*r II.
Piper: Well, there must be some kind of mistake.
Dan: Piper. There is no record of him anywhere. Nothing. It's almost as if he didn't have any past at all. I'm sorry. It's
just
just do me favor and watch your back when you're around him OK. At least until I figure out who he really is.
(Piper nods.)
Piper: OK.
Dan: Well, gotta go. (He kisses her on the check.) Bye.
(He leaves.)
[Cut to Phoebe's room. Phoebe is sitting on her bed with the Book of Shadows. Prue walks in.]
Prue: Hey, you all right?
Phoebe: Yeah. I think so. I'm just writing a little warning in the book about Anton.
Prue: Why? You don't think that we actually vanquished him?
Phoebe: I don't want to take any chances. I just hope my future me is somewhere near this book if he ever strikes again,
Prue: Something tells me that we're always going to be near it. Always have been. Always wll be.
Phoebe: Yeah. You're probably right. Of course the warning won't do much good if the future me turns out to be bad.
(Prue sits on the bed while saying this.)
Prue: It's not just you, you know. I mean, we all have a little bad in us. It's just that when you turn bad things tend to catch on f*re.
(Phoebe laughs.)
Phoebe: And this is supposed to be making me feel better?
Prue: What I mean is that it's just as natural to be bad as it is to be good. That's how we know what good is. That's how we're able to make the choice to be good. Remember, Anton wouldn't have needed evil Past Phoebe if you hadn't evolved into good Phoebe.
Phoebe: Still, it's okay to be bad every once in a while isn't it?
(Prue nods.)
Prue: Oh yeah. A lot.
(They laugh.)
End | {"type": "series", "show": "Charmed", "episode": "02x14 - Pardon My Past"} | foreverdreaming |
Written by: Sheryl J. Anderson
Transcribed by: Incarnadine Smith
--------------------------------------------------------------------------------
[Scene: The scene opens up with a key entering a lock. A deputy sheriff is unlocking the gate to the jailhouse. The gate swings open, and Deputy Sheriff #1 enters. Deputy Sheriff #2 removes the key from the keyhole, and follows.]
[Cut to a sh*t of a long jailhouse corridor. Deputy Sheriff #1, who is taller than Deputy Sheriff #2, has broader shoulders, with curly brown hair and Deputy Sheriff #2, who has dark brown hair, with a mustache, go-tee, and arched and drawn-together eyebrows walk side by side. They stop at a cell.]
Deputy Sheriff #2: All right Jessup, let's go.
(The camera pans down to a sh*t of Bane Jessup sitting on the jail floor, shirtless, and wearing orange prison attire.)
Bane: (suspicious) Where?
(He gets up from off the floor.)
Deputy Sheriff #2: Downtown. Evidence shows you've got a hearing.
Bane: My hearing? It's not suppose to be until next week.
Deputy Sheriff #2: It got moved up.
(We see a sh*t of Bane in his cell, looking confused. Deputy Sheriff #2 yells to the other deputies in the corridor.)
Deputy Sherif f#2: Open up Bane Jessup!
(Voices are heard in the background.)
Deputy Sheriff #3: (in the background) Opening Jessup.
(The cell door slides open, and Bane steps closer to the entrance.)
Bane: I've never seen you guys before.
Deputy Sheriff #1: Well, look! It's your hearing. If you don't want to go, fine.
(Deputy Sheriff #1 reaches behind his belt and pulls out a pair of handcuffs. He puts them in Bane's face.)
[Cut to Bane being led out of the prison by Deputy Sheriff #1 and Deputy Sheriff #2. He is handcuffed, and wearing an orange prison t-shirt. Next to him, an inmate with long brown hair tied into a ponytail is being led in by a tall, African American Deputy Sheriff, and Deputy Sheriff #4.]
African American Deputy Sheriff: Garbage in, garbage out, huh?!
(The Black Deputy Sheriff and Deputy Sheriff #4 enter the prison while Deputy Sheriff #1, Deputy Sheriff #2, and Bane continue walking.)
Bane: Litvack sent you, didn't he?
(Bane looks at Deputy Sheriff#1 and elbows him in the chest. Deputy Sheriff#1 falls back towards a big van. Deputy Sheriff#2 pulls an object out of his back pocket, and shines a blue laser light at Bane. Bane steps out of the way, and instead, Deputy Sheriff#1 is h*t. Deputy Sheriff#1 is h*t in the heart with the blue laser, and quickly disappears in a small sphere of f*re. Bane steps into Deputy Sheriff#2, and kicks him with his right foot, square in the chest. Deputy Sheriff#2 grunts, and doubles over, dropping the laser onto the ground. It rolls underneath a van.)
[Cut to Bane. He hits Deputy Sheriff#2's head with handcuffs still around his wrist, leaving an ugly gash on his right cheek. He backs into a car, and charges at Bane again. Bane grabs him by the arms, and throws him onto the ground. Bane moves onto him, and grabs him by the shirt. Deputy Sheriff#2 grabs Bane by the collar with his left hand, and gets up. Bane is still grabbing his shirt, but lets go in terror when the Deputy gets up. Deputy Sheriff#2 is standing up while holding Bane by the collar on his shirt. His feet are about six inches off the ground. With his left hand, the deputy heaves Bane into the air. Bane goes flying, and hits a sheriff van with the passenger door open. He slides down the side, and when he looks up, the gash on Deputy Sheriff #2's face heals magically. Deputy Sheriff #2 turns away, to retrieve his w*apon, and during that split second, Bane hops into the van, and starts to drive away. Deputy Sheriff #2 quickly turns around and runs after the van. He reaches for the door handle, and manages to pull himself halfway up the van. The van continues moving, and he falls, closing the door of the van at the same time. The van drives towards a gate and Deputy Sheriff #5, who is right in front of the gate. He yells.]
Deputy Sheriff #5: Stop!
(He motions for Bane to halt. When it is clear that the van will not stop, the deputy dives to safety. The van bursts through the prison gates, while Deputy Sheriff #2 runs back to the van where he lost his w*apon. He gets down on the ground and reaches for it, but is unable to grasp it. Meanwhile, Deputy Sheriff #6 enters the scene through the doors. He gives a brief scan of the situation, and sees Deputy Sheriff #2 on the ground.)
Deputy Sheriff #6: Hey. What's going on here?!
(Deputy Sheriff #2 turns around to look at him, gets up, and runs off. The camera focuses on the w*apon underneath the van.)
[Scene: Halliwell manor. Kitchen. Piper dressed in a black and white t*nk top with purple sweats, walks in with the morning newspaper in her right hand. Behind her, Phoebe dressed in a yellow and black t*nk top with a white headband walks in with her hands on her hips.]
Piper: Leo's mortal now and everything, butfor how long, I mean how, how do I know he won't want his (walks towards the cabinet to the left of the sink and reaches to get a glass cup) wings back someday? (Phoebe opens the refrigerator to get a bottle of orange juice.) And then there's Dan, who is still greatand normal, (walks to the breakfast table where Phoebe is pouring a glass of orange juice) which is good considering I'm not.
(Phoebe looks at her watch.)
Phoebe: 28 minutes, 33 seconds.
(Piper looks at her.)
Piper: Really? We ran that long?
Phoebe: No. I've been timing how long you've been comparing Leo and Dan.
Piper: I haven't been *comparing*I've just been...talking.
Phoebe: Nonstop.
(Phoebe puts the bottle of orange juice back into the refrigerator.)
Piper: Well, so, you're my sister. I have a problem. The least you could be is more understanding.
Phoebe: Piper, I am understanding. You're in love with two guys, who both love you. (Piper rolls her eyes) I get it. Totally! But what I don't get, is why you won't let me help you.
Piper: Help me? (Phoebe drinks some orange juice) What are you going to do? Take one of them off my hands? (Phoebe pretends to consider the offer, and smiles.) That's not an option.
Phoebe: Look, you're stuck. You don't want to string them along, but you can't make a choice. You need help... assistance...a sign
Piper: a *sign*
Phoebe: ...a spell. One that will point the magical arrow in the direction of your true love, and end the great debate once and for all.
(Piper smirks, and sighs.)
Piper: Like that doesn't have personal gain' tattooed across its forehead.
Phoebe: Not necessarily. I've been working on my spells. I think I can write one for you that's consequence free. It's all in the wording.
(Piper sighs.)
Piper: No! I can't.
(She walks away. Phoebe turns her head.)
Phoebe: Why not?!
Piper: Because... I can't expect magic to solve my personal problems.
Phoebe: But that's the beauty, you don't have to, I'll do it for you.
[Cut to Prue in another room, holding a small camera. She is wearing jeans and a fuzzy pink sweater.]
Prue: Hey, when did my camera equipment get here?
(Piper and Phoebe both walk to Prue.)
Piper: Oh, about an hour ago. I didn't want to wake you. Is everything there?
Prue: Yeah, it looks like it.
Phoebe: Jeez! Prue! (picks up a box, and put it back down) Think you bought enough stuff?
Prue: Yeah, I know it's a lot. But so much of photography has gone digital now, that if I want to seriously pursue it, I have to have the right equipment.
(She picks up a larger Nikon camera.)
Phoebe: Whe...You're thinking of becoming a professional photographer?
Prue: Yeah Why? You don't think that I should?
Phoebe: No, no I mean, I think it's great if that's what you want to do, it's just...
Prue: It's just what?
Phoebe: Well, I-uh... isn't photography just a really dicey profession money wise? (Piper pinches her.) Ow, ow!
Phoebe: You know, all I'm saying is that how many women professional photographers do you know?
Prue: I know, and that's a totally fair question, one that I've been wrestling with a lot lately, like (sigh) ever since I quit my job.
Piper: Prue, you dreamt of winning the Pulitzer in photography back in college! You never wanted to work in a museum, or at the auction house. That's something you did for us, so we could keep the house. So now, it is your turn to follow your dreams.
(Prue smiles.)
Phoebe: Hey! Maybe finding out you were a photographer in your last life is some kind of sign. Speaking of signs... (eyes Piper)
(Phoebe walks off to write Piper a spell.)
Piper: No... Wait! No...
(She runs after Phoebe. Prue looks at the Nikon, and walks to the mirror, camera in hand. She takes a photo of herself, holding a camera in the mirror. She holds the camera down by her waist, and smiles briefly.)
Prue: Portrait of a dreamer.
[Cut to Piper waiting outside the bathroom.]
Piper: Phoebe, you're not in there writing a spell for me, are you?
[Cut to the inside of the bathroom, where Phoebe is indeed writing a spell for Piper.]
Phoebe: UhhhNo... I'm in the bathroom. Who writes spells in the bathroom? I'll be right out. (Phoebe sprinkles the leaves of a d*ad rose over the paper on which she wrote the spell.) "I beseech all powers above, send a sign to free my sisters heart, one that will lead her to her love."
(A charm is heard in the background.)
[Cut to Prue. She is still in front of the mirror. She is looking at the camera by her waist, when Bane's reflection is seen in the mirror.]
Bane: Hello Prue.
(She looks up at him in surprise. The sound of broken glass is heard.)
Prue: Huh...Ba...
(Bane presses a cloth to her nose and mouth. She passes out temporarily.)
Bane: Shhhhh.
Opening Credits
Lyrics: Don't wanna be scared / Don't wanna be weak / Don't wanna be last to speak no / I'm gonna be brave / I'm gonna be strong / I'm ready to take it all on / Making it up as I go along / Making it up as I go along
[Scene: Halliwell manor. Phoebe's holding Prue's Nikon in both hands, with her eyes closed, trying to get a premonition. Piper is standing near the table. Phoebe opens her eyes.]
Piper: Well?
Phoebe: Nothing.
(She puts her left hand on her hip, holding the Nikon in her right.)
Piper: Okay. We have to keep trying until you do get a premonition. We have to figure out what happened to Prue.
Phoebe: Piper, that crack that I made about her becoming a photographerI don't want that to be the last thing I ever say to her.
Piper: Phoebe, you're overreacting. That is my department. All you have to do is relax and concentrate. (The doorbell rings.) Here. Try the rag again.
(Piper walks to the front door, and opens it. She opens the door to reveal Detective Morris. He walks in, and she closes the door behind him.)
Detective Morris: I've got bad news, I've got worse news. Which do you want first?
Piper: Phoebe... (to Detective Morris) Uh... does this have anything to do with Prue?
Detective Morris: Unless she helped Bane Jessup escape from county jailno.
(Phoebe walks into the room. She sits on the edge of the couch, and folds her arms across her chest.)
Piper: Bane Jessup. Why does that name sound familiar?
Phoebe: Because he is the guy our favorite demon hired to 86 us, remember?
Piper: The one we thought Prue liked?
Phoebe: Yes.
Piper: (to Detective Morris) When did he escape?
Detective Morris: This morning. We've already launched a full-scale manhunt. (Piper and Phoebe look at each other with concerned expressions on their faces.) What is it? What's wrong?
Piper: Prue is missingWe think she may have been kidnapped.
Phoebe: And I found this by the back door.
(She hands him the rag. He sniffs it.)
Detective Morris: Chloroform.
Piper: We would have called you, but we didn't know who, orwhat had taken her.
Detective Morris: It'd be a pretty big coincidence if it wasn't Baneespecially since you guys are responsible for putting him in jail.
Piper: Yeah, but why just take Prue? Why not all of us?
Phoebe: Well maybe he's trying to lure us. Maybe another demon hired him to trap us.
Detective Morris: Which might explain this. (He pulls a bag out of his inner coat pocket, and hands it to piper.) I found it when we swept the prison lock this morning. It's actually the reason why I came over. I wanted to see if itlooked familiar to you.
[Cut to Piper holding the object in her hands. It is a small silver object, with a light on one side. It has carvings on it and is intricately designed.]
Phoebe: Well, it's definitely demonic.
Piper: Do you mind if we keep this so we can figure out what demon we're dealing with?
Detective Morris: I can't exactly turn that in to...evidence inventory. (Piper and Phoebe both shake their heads.) Look, I gotta go Let me know if you find out anything. I think that your chances of finding out Bane are bigger than ours now.
Piper: Uh, yeah, and could you maybe keep this quiet, because the bigger this thing gets, the more danger she's...
Detective Morris: I know. Look, I'll keep it as quiet as I can for as long as I can.
Phoebe: Thanks.
(Detective Morris opens the front door, and is about to leave, when the deliveryman walks up to the door.)
Deliveryman: Hi there. Gotta sign. It's for Piper, Piper Halliwell.
(Detective Morris leaves.)
Piper: Hmm...
Phoebe: Hmm... Can I see that? (She takes the package, and examines it. While Piper is signing.) Leonardo's Boutique...Bodega Bay, California.
Piper: Yeah, uh Dan and I were thereordered some earrings. (to the deliveryman) Thank you.
(She closes the door. She snatches the package from Phoebe.)
Phoebe: Mmm.
Piper: The deliveryman said he got a sign.
Phoebe: Mmm.
(Phoebe looks around, and backs up, embarrassed to have been caught red-handed. Piper advances forward.)
Piper: Leonardo's Boutique and Bodega Bay. Leo, short for Leonardo, Bodega Bay, where Dan is from.
(Phoebe scratches the side of her head, and looks at the floor.)
Piper: (hunches over to look Phoebe in the eye) Don't egg blond. You cast that spell, didn't you.
Phoebe: Yes I did!
Piper: When I specifically asked you not to. (lightly taps the package against Phoebe's forehead) and at a time like this.
Phoebe: I was just trying to help Piper, and it was before Prue disappeared.
(She takes the demon object and waves it in Phoebe's face.)
Piper: You. This. Book of Shadows. Go! (Phoebe takes the object in hand, and instantly gets a premonitionPrue sitting in a chair with her feet and hands tied. Bane is behind her, blindfolding and gagging her.) What did you see?
Phoebe: Prue, bound and gagged, and with Bane.
[Bane's dream house in Mariner's Bluff. The camera focuses in on a sign that says: G.C. Construction. Mariner's Bluff. Lot-827.]
[Cut to Bane, dressed in a dress shirt, dress pants, and dress shoes. He walks into a barren and half-painted room. He walks behind Prue, who is bound and gagged to a chair, and unties her gag, but hesitates before removing it.]
Bane: Don't scream.
(She signs in relief.)
Prue: Why not?
(He walks to the right of her.)
Bane: (sighs) Cuz if you do, we won't be able to talk. Besides, it won't help. The nearest neighbor is about six miles away.
Prue: Then why not take off the blind fold. What are you afraid of?
Bane: Are you kidding? I've seen you use your powers beforeOn me! (He considers the thought for a moment.) All right, if you try anything, the blindfold goes back on.
(He walks behind her and takes the blindfold off. She breathes hard in relief.)
Prue: What do you want?
(He walks to the front of her.)
Bane: (puts his hands in his pockets) Your help, to save my life.
Prue: Yeah, well most people ask for it, they don't kidnap for it.
Bane: I'm not most people. Neither are you.
Prue: What makes you think that I'll help you?
Bane: I don't. (shrugs) But without you and your sisters, I don't stand a chance against this particular demon.
Prue: Yeah, well, from where I'm sitting, that's a good thing.
Bane: He tried to have me k*lled today Prue. I got lucky and barely escaped. And he's gonna keep trying.
Prue: Why would he bother? You're a mortal.
Bane: I'm a mortal that knows about demons. (crosses his arms in front of his chest) He doesn't like that. Litvackthat's what they call him.
(She takes a cursory glance of the place.)
Prue: Where are we? (Bane looks up through the window.) Is this yours?
Bane: Was going to bebefore you came along, and cut me off from my dreams. (gives an accusing smile)
Prue: Because you tried to k*ll me.
Bane: Now, that was before I got to know you. (smiles)
Prue: You don't strike me as a dreamer.
Bane: There's a lot about me you don't know.
Prue: Few things that you need to learn about me too. (The camera focuses in on her eyes, and her power sends him flying into the back wall. The wall paint comes off, and he slides to the floor.) Like how I will never put my sisters in danger. (He gets up and walks around Prue.) So you can forget about any of us helping you.
(He puts the blindfold back on.)
Bane: (putting both hands on her shoulders) Sooner or later, you're gonna have to trust me Prue.
(He walks away.)
[Cut to the cemetery. An undertaker is raking the leaves.]
[Cut to inside a mausoleum. The demon Litvack is standing in front of a large rotating triangular sphere of f*re. His hands surround the sphere, but don't touch it. His eyes are closed. Nearby, his servant sits on a stone as Deputy Sheriff #2 walks in.]
Servant: About freakin' time! What took you so long?!
Deputy Sheriff#2: We uh had a little problem.
Servant: Problem? What problem?! Where's your partner? (goes to look out the door) Do not tell me that you screwed this up. Do not tell me that Bane Jessup is still alive. (sighs) How is that even possible? He's a lousy mortal. How hard can it be?
Deputy Sheriff#2: He's smart. He wasn't surprised we were coming for him.
Servant: Well of course not, you idiot! That's why we wanted him off-ed. Because he knows about us.
(Litvack opens his eyes, and the sphere of f*re disappears.)
Servant: Oh jeez! Think, think, think. What are we going to tell Litvack?
(Litvack walks towards his two demon servants.)
Litvack: He's gonna tell me how you plan to rectify, this little problem, is how I believe he phrased it.
Servant: (to Deputy Sheriff #2) On your knees!
(He kicks him in the gut. Deputy Sheriff #2 grunts. Litvack puts his hand on his head, and he reads his mind.)
(Flash to Deputy Sheriff #2 missing Bane with the blue beam and accidentally zapping Deputy Sheriff #1. Bane knocks the w*apon out of his hand, which rolls underneath a van. The van breaks the gate, and Deputy Sheriff #2 has to leave before he can retrieve it. Litvack removes his hand, and Deputy Sheriff #2 groans.)
Litvack: I saw what you saw. (Deputy Sheriff #2 looks up at him) How he used you to k*ll the other. How he got away, how you lost the w*apon...
Servant: Wait, wait, wait. What?! You lost the w*apon?
Deputy Sheriff #2: The guards wereI had to run.
Servant: To find a mortal?
Litvack: All you need to do is follow his dreams. That's where they always escape to. You understand me?
Servant: He'll find Jessup. I swear.
Litvack: No. (Litvack puts his hand above Deputy Sheriff #2's head, and f*re appears beneath him. Deputy Sheriff#2 screams as the f*re consumes him, and he disappears in a puff of f*re.) (smiling) You will, and then you'll find the w*apon. No loose ends.
(Litvack walks away.)
[Scene: Halliwell manor. Piper hands Leo, who is dressed in a blue sweater, the silver object.]
Piper: We couldn't find it in the Book of Shadows anywhere.
(He looks it over, turning it around and around in his hands.)
Leo: It's a w*apon.
(Phoebe, who has a red sweater on, walks towards Piper.)
Phoebe: Are you kidding me, it's a w*apon?
Leo: One that can only be activated by a demon. From what I remember, it's handed out by a specific upper level demon to those who work for him.
Phoebe: What do you mean upper level?
Leo: There's a hierarchy of demons. They try to work their way up by destroying good, promoting evil. Whoever issued this particular w*apon is very important.
Piper: You mean dangerous... Any idea who?
Leo: No.
(Leo hands the w*apon to Phoebe.)
Phoebe: All right, well this w*apon may be the only way to find Prue, I'm back to the book.
(Phoebe walks up the stairs to the attic.)
Piper: (to Phoebe) I'll be right there. (to Leo) Thanks for coming over so quickly Leo, and your offer to take care of the club.
Leo: Is there anything else you need?
Piper: I don't know, I can't do anything but think about Prue right now.
Leo: Remember, you know the most important thing. Phoebe's premonition proves that Prue is still alive.
Piper: I know, but for how long, I mean, what if we can't get to her. What if she's hurt?
(Piper sighs. Piper and Leo embrace.)
Leo: I wish I could do moreBecause I can't help, I remember all the times that I could.
(He leaves through the front door. When the door closes, she leans against it, frustrated about the current situation. On the other side of the door, Leo reaches out, as if he knew she was there. He leaves his hand out for a brief moment, and walks away.)
[Cut to Bane and Prue. Bane sighs in frustration. He sits down on a wooden crate.]
Bane: I don't think you understand. As long as you're here with me, your life is on the line too you know.
Prue: I can take care of myself.
Bane: Not against Litvack. You have a fighting chance with your sisters, but as long as you're alone, you're as powerless as I am. Even if you can't trust me, you can trust that.
Prue: I told you, I'm not getting my sisters involved.
Bane: All right fine. Your sisters came looking for you once before, they'll come looking again.
(He walks to the window, and looks at the view.)
Prue: Not if I can help it.
(Prue lowers her head onto her chest, and closes her eyes. She astral projects herself to Piper and Phoebe.)
[Cut to the attic. Piper and Phoebe are researching the w*apon and demon.]
Phoebe: (reading from the Book of Shadows) A w*apon issued by level two demons?
(She flips the page, and the camera zooms in on a close-up of the page. On the page, there are sketches of the demons, including small captions of each one.)
Piper: But it doesn't say which demon.
(The camera pans down to a demon looking much like a vampire, when suddenly, The Book of Shadows flips pages. It stops at a page titled Mariners'. It is a spell, and includes colorful drawings.)
Phoebe: I love it when it does that. Mariners? (points at the page) Well, they're not demons, they're sea fairies.
Piper: (looks at Phoebe and closes the book) That's because it has nothing to do with Prue, Phoebe. It's a sign. (Phoebe looks down in embarrassment, and starts to fiddle with the silver demon w*apon in her hands) Dan was a baseball player, for the Seattle Mariners!
Phoebe: (still looking down and fiddling) No one feels worse than I do right now.
Piper: Mm hmmm.
(Magical lights sprinkle in the air, and suddenly, Prue appears in the attic.)
Phoebe: Prue! You're okay! Thank God.
Prue: Yeah, but uh Bane Jessuphe kidnapped me.
Piper: We know! Where are you?
Prue: You can't find me.
Phoebe: What do you mean?
Piper: Huh?!
Prue: It's a trap, so just stay away. Don't look for me.
Piper: What?
Phoebe: Prue?
Piper: Wait, wait.
Phoebe: Wait, wait. Hello?!
(Prue is gone.)
[Cut back to Prue and Bane. She gasps as she returns. Bane turns around, and unties her blindfold. He seems genuinely concerned.]
Bane: You all right? I thought you passed out or something.
(He sits beside her.)
Prue: Feeling guilty? That's a good sign. It means you have a conscience.
(Bane gets up to untie Prue's hands and feet.)
Prue: What are you doing?
Bane: I'm letting you go.
Prue: Just like that?
Bane: I never wanted to hurt you Prue, I only wanted your help. But you can't help me if you don't trust me. And you're in danger as long as you're here. (He helps her to her feet.) There's a market a mile down the road. You'll never see me again. I promise.
(Suddenly, Litvack's servant appears at the doorway. He aims the w*apon at Bane and Prue, but Bane ducks, and grabs Prue, pulling her down with him. They land on a pile of broken furniture. Litvack's servant aims the w*apon again, but Prue sees it coming, and holds out her hand, to send the beam back his way. It hits the wall, and Litvack's servant looks away for a moment. Then, she sends him flying out the window. Glass flies everywhere, as he lands on his hands and knees. He scrambles away, not sure of what had just happened. Bane starts to pant, causing Prue to look at him. She sees that while protecting her, he fell onto a Kn*fe. He has an ugly gash on his left waist.)
Bane: Told you I never wanted to hurt you.
Prue: And you just saved my life.
Bane: You think you can trust me now?
[Scene: Halliwell Manor.]
Detective Morris: Tell me you're kidding.
(Piper and Detective Morris walk into the living room.)
Piper: It's all over the news.
(Piper sits down, as Phoebe turns the television on.)
Phoebe: We called as soon as we saw the first broadcast. Look.
Reporter: I'm reporting live from the county jail, where an inmate escaped earlier this morning.
Detective Morris: Unbelievable.
Reporter: A massive manhunt has be launched to find the escapee. A man by the name of Bane Jessup, who was awaiting trial for racketeering, money laundering, and embezzlement.
Detective Morris: So much for keeping things quiet. This is a nightmare.
Piper: Welcome to our world.
Phoebe: You want some aspirin?
Detective Morris: What I want is Prue safe, Bane put in jail, and nobody hurt by any... (He sees the w*apon on the table. He walks forward.) Do you know what that is yet?
Phoebe: We're still looking. We do know that Bane definitely kidnapped Prue.
Detective Morris: What, has he made contact with you?
Phoebe: No, but she has.
Piper: It's a long story, but she's okay.
Phoebe: She said not to come looking for. She said it was a trap.
Detective Morris: Did she say what kind? (He reaches inside a brown sac and pulls out a thick file of paper. He places on their table.) Maybe this will help. The DA's file on Bane. That's all the information they pulled together for his trials. It's everything I copied before I got your phone call.
(The phone rings. Phoebe picks it up.)
Phoebe: Hello? Really! (speaking to Piper) It's someone calling for a Leonora Watkins. (She leans into Piper.) Leo-nora (Piper motions for the phone) Watkins. Isn't that weird.
(Phoebe hands Piper the telephone.)
Piper: (into the phone) You have the wrong number.
Detective Morris: Anyway, we believe that Bane has a holdup somewhere. Maybe there's something in there that can tell you where.
Piper: So what the hell is he doing? Oh God I hope he's not hurting her.
[Cut to Bane and Prue. Bane is sitting on a piece of furniture with his shirt open, while Prue is kneeling on the floor, tending his wounds. Bane groans as Prue tries to clean the gash.]
Bane: (in pain) P-P-Prue.
(He groans and winces.)
Prue: If I'm going to clean the wound, then I have to stop the bleedingI'm sorry.
Bane: Do you even know what you're doin'?
Prue: No. Not really, but right now I'm the only choice that you've got. So, just try and hold still.
Bane: That's easy for you to say. You don't have a set of fingernails clawing into your body.
Prue: Yeah, well I'm almost done. (hands him a white rag) Put this in your mouth or something.
Bane: Forget about me. Go home. Before Litvack's man comes back.
Prue: I told youhe's gone. Probably ran right back to Litvack.
Bane: So now he knows about you too. All the more reason to leave.
Prue: Well, as much as I would like to, I can't. (She looks up at him.) Not until I know that you're okay. Besides, it's probably better just to stay put, you know, I mean now that we've been sighted, they'll expect for us to take off. Speaking of things that need to be taken off (hands him the towel)...you're um, pants. (stands up and takes two steps back)
Bane: Excuse me?!
Prue: Well, I need to get to the, um, wound.
(She looks at him, completely embarrassed by the situation.)
Bane: Forget it!
Prue: (laughs) Okay, you know what? It's just going to get infected. So you can either take off your pants on your own, or I can always do it by force.
(Bane stands up and grumbles. Prue smiles in triumph.)
[Cut to Piper and Phoebe. Phoebe walks in and places The Book of Shadows onto the table. Piper sits in a white chair, and she is looking through Bane's records.]
Phoebe: I am getting nowhere and everywhere. How about you? Any luck?
Piper: Well, I'll give Bane this. He works hardtax evasion, racketeering, pick a crime, any crime.
Phoebe: I feel like we're looking right at the answer, we're just not seeing it.
Piper: He's got good taste too. There's a whole money laundering indictment here based on a real estate development. Exclusive custom homesthey're (looks at the front page) really gorgeous. Check out the brochure.
(She hands Phoebe the brochure. Phoebe takes it, and opens up the first page.)
Phoebe: Mariner's Bluff. Oh! I'm sure the sea fairies will be very happy here.
Piper: What did you say? (Phoebe looks at her) Phoebe, what exactly did your spell say?
Phoebe: I beseech all powers above, send a sign to free my sisters heart, one that will lead her to her love. What?!
Piper: Because the Book of Shadows specifically opened to the Mariners section. What if the signs we're getting have nothing to do with Dan and Leo, and everything to do with Prue? Where is Mariner's Bluff?
(Phoebe opens up the brochure, and looks at a map. She points to Bodega Bay.)
Phoebe: Bodega Bay.
Piper: Leonardo's Boutique of Bodega Bay.
Phoebe: Piper, I think you're right.
Piper: Okay, so what were the clues? Mariners, Bodega Bay, Lenora Watkins?
Phoebe: Watkins Road Exit.
Piper: So we've almost found her. All we need is an address.
Phoebe: What's this? (flips through various papers and brochures) Let's see.
(She opens up a map of the lots in Mariner's Bluff.)
Piper: Are the lots numbered?
(Phoebe sits down on the chair adjacent to Piper and accidentally hits the power button on the television remote control.)
Sports Broadcaster: In an exhibition game last night, the Mariners lost to the Angels, 8 to 7. In other news, Sami Sosa...
Phoebe: Okaynow we're back to Dan and Leo. Mariners, Angels.
Piper: No Phoebe, 8 to 7. Lot 827?
(Phoebe looks at the map of the different lots.)
Phoebe: Yes, there is an 827 at the top of the hill.
Piper: I'll drive, you navigate.
[Cut to Prue and Bane.]
Bane: Prue, why are you still here?
Prue: Because umm, I believe you.
Bane: Well thank you. It's been a long time since someone believed in me.
Prue: Maybe that's because you stopped believing in yourself.
Bane: You known, I haven't always been like this. Wrong side of the law, always looking over my shoulder, I had dreams once. Big dreams.
Prue: It's not too late to change now.
Bane: Nah, it's too late for me, but not for you. So, you should definitely go, so you can still have your dreams.
Prue: (smiles) Easier said than done.
Bane: What do you mean?
Prue: I don't know. I've just been thinking lately, that maybe dreams are justthat. Dreams.
Bane: I don't believe that. (They look at each other and Bane moves in closer to kiss Prue. Prue puts her left hand around his neck.) Oww.
(They both laugh.)
Prue: I'm sorry. (laughs)
Bane: I'm not.
(They both smile at each other and continue on kissing.)
[Cut to Litvack's mausoleum. His servant is kneeling on the ground before him. His hand is on his servant's head, and reads his mind.]
(Flash to his servant aiming the beam, Bane and Prue avoiding it, and him getting thrown out the window by Prue.)
Litvack: Interesting. (paces)
Servant: I know, I screwed up. A Bolivian right?
Litvack: This is different. You weren't just up against a mortal. From what I saw, you were also up against a witch.
Servant: (shakes his head) No excuse. Hundreds of witches out there, I should be able to handle one by myself.
Litvack: This was different. Powerful, very powerful. Take me to this mortal's dream house.
Servant: What? They gotta be long gone by now.
Litvack: But their essence remains. I'll need to tap into it if I expect to reach their minds.
Servant: Reach their minds? (stands up) To what end?
Litvack: Theirs. The source likes it when I feed them witches. That's how I got to where I am.
[The scene opens up with clothes scattered all over the floor. The camera pans up a bed, we see Bane sleeping, covered from his chest down by a blanket. He stirs, and looks around him.]
Bane: Prue? (He looks up and sees Prue standing in front of the window, gazing at the view. She is wearing a white t*nk top and his black boxers. He gets up, holding his blanket.) Prue? (He walks over to her.) (softly) Prue?
Prue: The view is amazing.
Bane: It's not as good as mine. (She smiles, but keeps her vision on the view before her.) I thought maybe you left.
(He draws the blanket around his shoulders.)
Prue: No, I just couldn't really find all of my clothes. (Bane laughs, and Prue does likewise.) I'll help youwith Litvack. You just have to promise me that you'll turn yourself back in when it's all over. (Bane looks down at his feet) Bane
Bane: You know, I was thinking maybe thisus doesn't have to end. Maybe we can go somewhere where we can be together. Get away from all thisWhat do you say?
Prue: I would say that you're beginning to strike me as a dreamer. (Bane moves in closer to kiss Prue. They kiss, and just as Prue is about to wrap her arm around Bane, he suddenly freezes. Prue looks at him, and takes a step back.) Bane
(Piper and Phoebe walk down some stairs, and find Prue and Bane.)
Piper: Oh... my... God!
(They both look at the situation in shock.)
Prue: Uh... (looks at them in disbelief and in embarrassment) what are you guys doing here?
Phoebe: We're rescuing youfrom the tall dark, and naked man.
Prue: I told you to stay away.
(She puts her hands on her hips.)
Phoebe: Yeah, now I know why. He is yummy. (clears her throat)
Piper: I don't believe this! We've been frantic, worried sick about you thinking you've been kidnapped...
Prue: Yeah, I was...
Piper: (points to the side of the bed) Panties.
Prue: Oh, oh! (She rushes to the bedside and picks them up.) Huh, thanks. Look, uh, you guys have really got this all uh(looks at her underwear in her hand) wrong. (hides it behind her back)
Piper: Yeah, we know. It's a *trap*. (frowns)
Phoebe: A tall, dark, and naked trap.
Prue: All right, how did you two find me anyway? (walks away to pick up the rest of her clothing)
Piper: We'll explain that later. We really need to be going now because there's a demon behind this.
Prue: Yeah, Litvackwait, how did you know?
Phoebe: We have the w*apon he used to break Bane out of jail.
Prue: No, no, no, h-he, he, he tried to k*ll Bane in jail, not break him out.
Piper: Or so Bane says.
Prue: Well, I believe him, because one of the guys came here and tried to k*ll me.
Piper: All the more reason we should be going now.
Prue: Fine, then just unfreeze him.
Piper: What?! You want us to bring him along?
Prue: Well, yeah, I mean, I told him that I would help him. And I can't leave him here when everything I have to do is clearly at the manor.
(Piper sighs, and although not agreeing with Prue, she unfreezes Bane. Bane unfreezes, and straightens up when Prue is not there. He pulls the blanket further over his shoulders as he turns around to see Piper and Phoebe looking at him.)
Bane: Well, Hello.
Phoebe: Hello.
Piper: Nice to see you again.
Phoebe: Mmm hmm.
Piper: Would you put some clothes on.
(Bane goes to put on his clothes. Phoebe continues to look at him. Piper clears her throat and turns Phoebe around, while covering her eyes.)
[Cut to the Halliwell Manor. Bane, Prue, Phoebe, and Piper walk into the room. Bane has on his shirt, and the front is stained with dried blood from his wound.]
Bane: Listen, do you guys have any peroxide and stuff? I think I should clean this up.
Prue: Uh, yeah. Upstairs bathroom, medicine cabinet.
Bane: Thanks.
(He looks up at the stairs, and proceeds. Prue starts to walk to another room. Piper and Phoebe follow closely behind her.)
Piper: First I'd like to tell you how relieved I am you're okay.
Phoebe: Me too.
Piper: And second, I'd like to tell you that you have completely lost your mind.
Phoebe: Completely lost your mind!
Prue: Okay, we have a demon to vanquish. (sits down)
Piper: You really want to help him?
Prue: Piper, past aside, I know an innocent when I see one. And, I trust him.
Phoebe: Prue
Prue: Phoebe, I'm going to help him.
Piper: Think about thishow well do you really know him?
Prue: Regardless, Litvack has to be vanquished, whether Bane is on our side or not.
Phoebe: It would be nice to know that ahead of time. Minimize the surprises.
Prue: You really want to minimize them? Help me find Litvack in The Book of Shadows.
(Prue begins to flip through the book.)
[Cut to Mariner's Bluff, lot 827. Litvack and his servant are inside Bane's dream house. Litvack has his eyes closed.]
[Cut to Bane in the bathroom. He opens the cabinet, and takes the bottle of peroxide out. He closes the cabinet door, when he sees Litvack's reflection in the mirror.]
Litvack: Hello Bane. (Bane turns around in surprise. He looks around the room, but no one else is in it.) It's a telepathic image. I'm only in your mind.
Bane: How did you find me?
Litvack: The essencethis dream house of yours reeks of it. It's a beautiful place. Too bad you won't live long enough to enjoy it.
Bane: You don't scare me.
Litvack: Sure I do. I scare everybody. For good reason.
[Cut to Litvack at the dream house. We see him standing still with his eyes closed.]
Litvack: By the way, (cut back to Bane in the bathroom) your essence isn't the only one I sense here. You bedded a witch. And not just any witch, one of the Charmed ones. My offer is simple. Your life in exchange for theirs.
Bane: Screw you Litvack.
Litvack: (laughs) You can't hide from me. I can keep sending demons after you for an eternity, till one of them finally gets you. (Bane punches Litvack's image and breaks the glass.) You know everything, better than you wish you did. I'm evil, just like you are. And you can't change that no matter what you do, or who you sleep with. It's who you are. Bring me the witches, and then bring me back my w*apon. And I'll give you all your dreams.
[Cut to Prue walking to the bathroom. She knocks on the bathroom door.]
Prue: Bane, are you in there?
Bane: Yeah, yeah, I'll be right out. (buttons up his shirt)
Prue: Hi! (laughs) I thought that you had skipped out on me or something.
Bane: No I was uh washing up.
(He closes the door and walks away. Prue stares after him. Then, after a moment of hesitation, she follows him downstairs.)
[Cut to Litvack and his servant at Bane's dream house.]
Servant: (walks up to Litvack) So, is he going to do it or not?
Litvack: (holds up his hand to silence his servant) Shhhhhh
Phoebe: I found Litvack in the book. (Bane and Prue both walk in from the staircase, hand in hand) But there's nothing in here about how to vanquish him. Maybe that means there isn't a way.
Piper: Where there's a demon, there's a way. (Prue and Bane sit down.) (turning to Bane) Our jewelry better be where it's suppose to be.
Prue: We need to focus on Litvack.
Piper: Do we? I mean aside from the fact there's nothing in the book to help us maybe we should just let bad enough alone.
Phoebe: What are you talking about?
Piper: I'm talking about our lives, Phoebe, as in saving them. This demon has powers we don't know about. Why go up against him unprepared, what's the rush? He doesn't know about us or anything
Bane: Sure he does. (Everyone turns to look at him.) I mean the demon he sent after us saw Prue's power right? You know he told Litvack.
Prue: Yeah, but that doesn't mean that he knows about all three of us.
Bane: Look, all I'm saying is he knows enough. I mean, *you* don't go after him, he comes after you.
Phoebe: How can you be sure?
Bane: Because I know him
that's why. Better than I wish I did.
Phoebe: Mmmm.
Piper: Okay, still doesn't help us vanquish him.
Phoebe: I just wish we knew what his other powers were.
Prue: You don't know what they are?
Bane: No idea. (Moment of silence. Prue, Piper, and Phoebe look at each other. Bane senses that they don't believe him.) Still have that w*apon right?
Piper: What?!
Bane: Might be your only hope.
Piper: I thought only another demon could activate it.
Bane: I got one to activate before, maybe I can do it again.
Prue: Yeah, he's right. That's how he took out the demon guard.
Phoebe: So he says
Bane: What! You think I'm lyin'
Phoebe: What do you think?
Bane: I think I don't (stands up) like your implications lady! I'm in this mess because Litvack tried to off me, remember? If you don't trust me, that's fine! I really don't care. But trust this! I've had it with all this supernatural crap, and I'll do anything I have to get out from underneath it.
Phoebe: That's what worries me.
Prue: Okay, you know what? I trust him. And please, I'm just asking you guys to trust me. If we're going to get Litvack, then we're gonna have to work togetherwith Bane. Otherwise, we're all gonna be d*ad.
Piper: Okay Phoebe, let's go get that w*apon
come on.
(Piper grabs Phoebe's red sweater as she pulls her along. They walk off.)
Bane: I don't really know what to say.
Prue: You don't have to say anything. I'll be right back.
(She gives him a kiss on cheek. She walks off. Litvack suddenly appears in a mirror. Bane looks around to make sure none of the sisters are there.)
Bane: (to Litvack) We're on our way.
[Scene: Cemetery.]
Prue: He lives in a cemetery? How cliché.
[Cut to all four of them walking side by side.]
Phoebe: Well, at least it's not a warehouse again
Piper: Ah do we really think this is a good idea? We don't really have a plan.
Prue: Um yeah! Sure we do. Bane goes in, we follow, you freeze Litvack, you get the w*apon in his hand, turn it on him, I mean it's pretty simple.
Piper: Still
Bane: Maybe you should give me that w*apon.
Phoebe: Oh, I don't think so!
Bane: Listen, the guy wants me d*ad remember? The only way for me to stay alive long enough for our plan to work is to show him good faith.
Phoebe: Double crossing us shows some pretty good faith too don'tcha think?
Prue: (sighs in exasperation) Pheebz, we've been through this.
Phoebe: Yeah, well, it doesn't change my mind Prue
Piper: All right, give it to him, we're either doing this or not.
(Piper hands Bane the w*apon. He takes it.)
Bane: Thank you. (He walks up to a tomb with the engravings: Bowen (William) 1889-1979. He flips down the 9' in 1889, and it turns into a 6'. He flips down the first 9' in 1979, turning it into a 6', and lastly flips down the last 9' in 1979, turning it into another 6'. He opens the door to Litvack's lair.) You guys wait at the base of the step for my signal. (He walks to Prue.) Trust me.
(He turns away, and enters Litvack's lair.)
Phoebe: I hope we're not making a huge mistake.
(Prue looks at her, and then turns to follow Bane. Phoebe and Piper follow close behind.)
[Cut to Litvack sitting on a chair, flipping through a very old, and thick book. The room is very dark, and the entrance is lit by a few torches placed in holes in the wall. His servant paces in front of him, fiddling with the w*apon. Bane enters Litvack's room. Litvack's servant looks up.]
Bane: Hello Litvack.
Litvack: Well, well. (closes the book he is flipping through) I was wondering when you were gonna show.
(Litvack puts a lock on the book he had just been reading. Bane looks back at the entrance, and then at the w*apon in his hands. Prue, Piper, and Phoebe sneak past them in the background. They hide behind a wall.)
Bane: Before you k*ll me
(Litvack's servant starts to shine the blue beam at Bane. Litvack looks at him.)
Litvack: It's all right.
Bane: I wanted to give you something. Hopin' that --you'd spare me.
Litvack: Hmm... I'm afraid it's gonna take much more than this.
(He laughs.)
Bane: Now!
(Piper sticks her hand out, and she freezes the whole room. She peeks behind the wall.)
Prue: That was easy!
(They all come out from hiding.)
Phoebe: A little too easy.
Piper: Let's just get this over with.
(She walks cautiously towards Litvack, and is about to take the w*apon from his hand, when he moves his hand away. She gasps, and he smiles. She quickly retreats to where Prue and Phoebe are. All three of them take a couple of steps back.)
Piper: Wh... he didn't freezehe wh... he didn't freeze.
(Litvack chuckles.)
Litvack: I'm immune to the parlor tricks of witches. What's the matter? Bane didn't tell you about that power?
Prue: He said he didn't know.
Litvack: (stands up) He knew. He just didn't tell ya. He showed his true colors. His true evil colors.
(He reaches his left hand out to his side, and a rotating triangular sphere of f*re appears.)
Phoebe: Prue, I just want you to know I am really pissed at you.
Prue: No, no, no wait. Something isn't right.
Litvack: This is going to please the source.
Prue: Piper, unfreeze Bane!
Piper: Huh?
Prue: Hurry.
Piper: Wha... What?
(Piper unfreezes Bane. He looks back at them, and at Litvack's servant, whose w*apon is ready to be aimed. He goes behind him, takes the w*apon in hand, and aims at Litvack. Prue sees him and smiles.)
Prue: Tell the source that we said hi'!
(Litvack turns around, only to find a beam of bluish purple light flash towards him. He is h*t in the chest, and his own w*apon sets off, hitting his servant.)
Litvack: Traitor! (screams)
(Bane lets go of the w*apon, and hits the back wall. Litvack and his servant exchange a few beams before they both disappear in a puff of f*re. Prue runs to help Bane up.)
Prue: Are you okay?
Bane: Yeah.
Piper: What just happened here?
Prue: Bane just saved our lives is what happened.
Phoebe: Wait, are you saying that this all part of the plan? To make it look like you were double-crossing us?
Bane: I had to. If I had told you about his power, you would have come up with a different plan of att*ck. Litvack would have known it. He's telepathic, remember? So, he had to believe I double-crossed you. So you had to believe.
Piper: How did you Prue would figure it out in time?
Bane: We uh trust each other.
(They smile at each other.)
Piper: Hmmm.
Phoebe: Hmmm.
(Prue looks back at them with a triumphant smile.)
Prue: Hmmm.
[Cut to the Halliwell Manor. Prue and Bane are sitting on a white sofa.]
Prue: Strange, isn't it? Being back where we started?
Bane: Stranger to me is that I'm still here. (laughs)
Prue: It was really good of you to call Morris.
Bane: I have to go backit's the right thing to do. As much as I prefer not to. Listen, I don't know how much time I have so uh I really want to apologize.
Prue: Don't. I'm not sorry at all.
(Bane moves to kiss Prue.)
Bane: So we're in an awkward part, you know?
Prue: Tell me about it.
Bane: Well, next time, I'll call first huh? (smiles)
Prue: Thank you for saving my life.
Bane: Thank you for changing mine.
(Prue moves onto Bane's lap, and gives him a hug.)
[Cut to P3. Beth Hart's Just A Little Hole' from Screamin For My Supper' is playing in the background.]
Lyrics: Just a little heartache / Just a little hole / Just an itchy finger / And nobody knows / Just a little heartache / Somethin' for the soul / Fingers on the trigger / And nobody knows / What she knows
[Cut to a sh*t of Leo serving some customers.]
[Cut to Phoebe and Piper sitting on a sofa.]
Phoebe: So who do you think is the source? That Litvack was talking about.
Piper: I don't want to know. And boy did we read Bane wrong.
Phoebe: Not surprising. We read *all* the signs wrong.
Phoebe: Hey!
Prue: Hey!
Piper: How'd it go?
(Prue sits down.)
Prue: Um, well, the cops came and took him away a little while ago. So, everything's back as it should be.
Phoebe: Are you okay?
Prue: I'm fine. He thanked me for changing his life.
Phoebe: Wow! You must have been a really good uh (raises her eyebrows)
Piper: Influence on him.
Prue: (smiles) I'm sure the influence was mutual. So, umm how did you guys find me anyway?
Phoebe: Umm I uh cast a little spell to help Piper find her love. It was suppose to help her decide between Dan and Leo, but it led us to you. NakedI might add.
Piper: I want you to know I tried to stop her.
Phoebe: Yeah, and you probably would have too. If you weren't busy getting kidnapped.
Prue: Yeah. Umm So, what was the outcome, Dan or Leo?
Piper: I never needed a sign to tell me where my heart lies.
(She looks at Leo, and smiles. He looks back at her and smiles also. Piper looks back at Phoebe and Prue.)
Lyrics: If I only loved you better / I'd see you smile again / But what's done is done / Just a little heartache / Just a little hole / Just an itchy finger / And nobody knows / Just a little heartache.
End | {"type": "series", "show": "Charmed", "episode": "02x15 - Give me a Sign"} | foreverdreaming |
Written by: David Simkins
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Photographic Studio. A photographer is looking through Prue's portfolio.]
Mr. Corso: Everything is sh*t in digital now, you know.
Prue: Yeah, I'm equipped.
Mr. Corso: Nice stuff. Oh, I like this one. What lens did you use?
Prue: 24f8
Mr. Corso: What shutter speed?
Prue: 125.
(A photographer shows Mr. Corso a photo.)
Mr. Corso: Okay, lose the kicker, let the shuttle play there. (to Prue) Hmm, impressive.
Prue: So does that mean I got the job?
Mr. Corso: Based on your portfolio, yes. Based on your resume, no. Took a detour shutter bugging did you?
Prue: Mr. Corso, I've changed careers, I'm not hiding that. But with all due respect, if you like my work that should be enough. I mean, you're hiring me, not my resume.
Mr. Corso: You wanna sh*t? Get me a better one of Maggie Murphy. She's gonna be featured in our St. Paddy's day issue. (He hands her a picture of Maggie.) Something about being the unluckiest woman in San Francisco. And she's Irish. Down the hall where they do the writing, they call that irony. Address is on the back. Up until three months ago, she was like a saint. Helping the homeless, volunteering, charity. Then like overnight everything started going bad for her. Real bad. I want what you have in here, Prue. Artistic, soulful, point. I wanna see the inner Maggie in your photograph and I wanna see it by five o'clock today or don't bother coming back.
Prue: Thank you.
(She walks away.)
[Scene: Rooftop of a building. Maggie is there. She walks over to the edge. The Darklighter appears.]
Maggie: What am I doing? This isn't me.
Darklighter: Yes it is. It's all my fault. The car accident, the f*re, my brother's death. I hurt the ones I love.
Maggie: I hurt the ones I love.
Darklighter: I have to stop it.
Maggie: Has to stop. I don't deserve to live.
Darklighter: This is who I really am. Cursed.
Maggie: I'm cursed.
(People start gathering around on the ground looking up at Maggie. The Darklighter disappears. Prue turns up in her car. She gets out and notices Maggie on the roof.)
Prue: Maggie? Maggie, no. (Prue astral projects on to the roof.) Maggie. (Maggie turns around.) Just wait, don't.
Maggie: Where did you come from? How do you know me?
Prue: It doesn't matter, just step away from the ledge and take my hand.
Maggie: Stay away from me.
Prue: Maggie, Please, I can help you.
Maggie: Nobody can help me.
Prue: Maggie, this isn't the answer.
Maggie: All I wanted to do was help people. Now all I do is hurt them.
(Maggie loses her balance and falls off the ledge. Prue grabs her arm before she can fall any further.)
Prue: Maggie.
Maggie: Let me go, please.
Prue: I can't hold on much longer. (You see Maggie's arm slipping. She slips and falls. Prue astral projects back into her body.) No! (Prue uses her power and moves Maggie so she lands on the canopy and she rolls off onto the ground. Everyone crowds around her. She sees Prue.)
Maggie: Wait, wait.
(The Darklighter is there.)
Darklighter: Well, of all the luck.
Commercial Break
[Scene: Manor. Kitchen. Piper's there writing a letter. Phoebe comes in the back door.]
Phoebe: Hey, I thought you had inventory at the club.
Piper: I do.
Phoebe: So then what are you doing here?
Piper: Trying to figure out what to tell Dan.
Phoebe: About what, honey?
Piper: Leo.
Phoebe: Oh, that. You're not actually writing him a dear John letter are you?
Piper: No, of course not. He deserves more than that. A lot more but it's just hard. I don't wanna hurt him. Dan's a great guy and he's been really good to me and we've never really had any huge problems.
Phoebe: No, I mean the only huge problem is that you really love Leo and he loves you and he gave up his mortality for you.
Piper: I know. Which is obviously good for us but I don't know, lately he's just seems a bit restless.
Phoebe: You're thinking too much again. Stop trying to predict the future, alright. That's my job. Just follow your heart, honey. Good things'll happen.
Piper: What would I do without you?
Phoebe: Oh, suffer endlessly, no doubt.
Piper: Thank you. Alright, I'm going to the club. (She grabs her purse and coat.) Love you.
Phoebe: Love you too. (Piper leaves out the back door.)
[Scene: Police station. Morris is taking Maggie into a room. She stops at the doorway.]
Morris: Miss Murphy?
Maggie: I-I can't go in there.
Morris: You don't really have a choice.
Maggie: Am I being arrested?
Morris: No, but there's some paper work we have to get started.
Maggie: Are there g*n in there?
Morris: It's a police station.
Maggie: They might go off. I mean, things like that happen around me and I don't want anybody to get hurt.
Morris: I'm more concerned about you hurting yourself. Come on, nothing's gonna happen.
(They walk into the room.)
Maggie: You don't understand.
Morris: Trust me.
Maggie: You can't help me. Nobody can.
(They sit down.)
Morris: We're gonna find somebody who can. First you have to answer a few questions about what happened this morning.
Maggie: I don't know what happened. It was like a bad dream, only it wasn't. Voices in my head. Everything spinning.
Morris: Is there somebody you want to call? Family, friends.
Maggie: No, no, no. Keep them away from me, they're safer there. I shouldn't even be here. I shouldn't be alive and if it hadn't have been for that angel.
Morris: Excuse me?
Maggie: She just appeared out of thin air when I was on the rooftop. She reached out her hand and then when I was falling it was like something slowed me down, like she guided me on that awning.
Morris: The angel?
Maggie: Yes, she saved me.
Morris: Help me out here. What exactly did this woman look like?
[Scene: Manor. Prue comes in the front door. Phoebe walks into the foyer.]
Phoebe: So, how'd it go?
Prue: What?
Phoebe: The interview. Did you get the job?
Prue: Yeah, I did.
Phoebe: Prue, are you okay?
Prue: The woman that I am supposed to photograph, when I got to her apartment she was on the roof ready to jump.
Phoebe: Oh my God, she didn't
Prue: Yeah, actually she did. Luckily I was able to break her fall with my powers but just barely.
Phoebe: So lucky you got there in time.
Prue: I keep on thinking that even if I had've been a minute later it would've been too late.
Phoebe: But you weren't. You were supposed to be there in time. You were supposed to save that girls life, I believe that.
(The phone rings. Prue answers it.)
Prue: Hello?
Morris: Hi, Prue. You weren't by any chance outside 413 North Fergus Ave this morning were you?
Prue: Uh, why?
Morris: We got a Maggie Murphy here. She claims she was saved by some angel this morning. An angel that by her description bears no resemblance to Della Reese.
Prue: But does resemble me.
Morris: Yeah, bingo. Of course everyone around here thinks she's nuts.
(Phoebe holds up a roll of film.)
Phoebe: Hey, what's on this roll?
Prue: Uh, just some old photographs. Um, Darryl, is Maggie alright?
[Cut to the police station.]
Morris: That's not for me to say. We have to send her over to psyche -------.
(Maggie knocks over a coat stand, it lands on a bench and plastic cups fall on the floor.)
Maggie: I am so sorry.
Morris: Poor woman. It's like she's snake bit or something. Listen, Prue, you better stay clear of here so she doesn't ID you. I'll keep you posted, okay? Bye.
[Cut back to the manor. Prue hangs up. She gets her bag.]
Phoebe: Where are you going?
Prue: I'm gonna go see Maggie. Something tells me that I may have stopped her but I certainly didn't save her.
Phoebe: Well, I'll come with you. Maybe something from my psyche class could be of use.
Commercial Break
[Scene: P3. Piper is standing up at the bar and Leo's sitting on the floor staring at her legs.]
Piper: That can't be right. How many swizzle sticks?
Leo: Who's counting? (Piper looks down at him.) Uh, I don't know, a lot. You think you might of over ordered?
Piper: No, um, they over shipped. (Leo hands her a box of swizzle sticks and the bottom falls out and they land on the floor.) Ohh.
Leo: It's my fault.
(Piper kneels down and starts picking them up. Leo looks at her.)
Piper: What?
Leo: (laughs) Nothing. (silence) Piper, are you mad at me?
Piper: No, don't be ridiculous. Why would I be mad at you?
Leo: I don't know, that's why I'm asking. What is it?
Piper: It's just, um, Dan.
Leo: Oh. Never mind, sorry I asked.
(Leo stands up.)
Piper: Um, he's-he's going to be... (Piper stands up.) he's going to be very upset when he finds out... (pause) you're the one that I really love.
Leo: Yeah?
Piper: Yeah. (They kiss.) Mmm, no wait, um, we can't do this.
Leo: You just said...
Piper: I-I-I know, but I really need to talk to Dan first. So count. Count.
[Scene: Police station. The Darklighter walks in. He sees Maggie. He then magically changes into police officer clothes and stays near a corner of the room. Morris walks up to Maggie holding a cup of coffee.]
Morris: I brought you some coffee.
Maggie: Thanks.
Morris: (to a police woman sitting next to Maggie) I'll take it from here thanks.
Policewoman: Okay.
(She walks away. Morris sits down next to Maggie.)
Maggie: I saw her, you know. The angel, she saved me.
Morris: I believe you, really I do.
(She goes to take the cup of coffee out of his hand but knocks it and spills it on him. He jumps out of the chair.)
Maggie: I'm sorry, I'm sorry.
Morris: I'm okay. I'm just gonna go wipe this off.
Maggie: Maybe you should just stay away from me. People get hurt.
(Morris walks into another room. Prue and Phoebe enter. Prue sees Maggie.)
Prue: Alright, that's her.
Phoebe: Any idea what you're gonna say to her about the whole angel thing?
Prue: I'm not really worried about that, I'm more worried about her. I've been thinking. Maybe I could write a spell.
Phoebe: A spell for what?
Prue: Help put a little good luck in her life.
Phoebe: That's really sweet but you can't keep using your powers to save her.
Prue: I know, but maybe it'll help her turn things around, make her see that life's worth living.
(A police officer walks past Maggie and she accidentally trips him. He knocks over the water cooler and water goes into all the cords and plugs.)
Police officer: Thanks a lot.
Prue: Okay, you see? Alright, I'm gonna need your help. How do I do this?
Phoebe: You don't need my help. It's your connection. It just has to come from the heart.
Prue: Alright, here goes. "From this moment on your pain is erased, your bad luck as well, enjoy your good luck Maggie, you're free from this hell."
(Stardust comes out of Prue's hand and floats over to Maggie.)
Phoebe: Whoa.
(The Darklighter sees this. Morris walks in and slips on the water. Maggie stops him from falling.)
Morris: Thanks.
Maggie: Did I just do that? I mean, help you?
Phoebe: Looks like her luck's changing already.
Morris: Yeah, have a seat. You okay?
Maggie: Yeah.
Prue: Let's get outta here.
(They walk towards the door.)
Darklighter: (to himself) Not so fast.
(Magic dust comes out of his hand and hits Prue. Prue stops.)
Phoebe: Are you okay?
Prue: Yeah, just a chill.
(They walks outside to Prue's car.)
Phoebe: I gotta tell you, for your first spell you packed quite a punch.
Prue: You told me to speak from the heart, I did.
Phoebe: Still, it took me a few times before my spell actually worked.
Prue: Really?
Phoebe: Mmm hmm.
Prue: Well, it must be my lucky day. (Prue backs out of the parking space. A police car runs straight into the back of them. Phoebe hits her head on the dash board and gets knocked out.) Phoebe? Phoebe?
(You see the Darklighter near by.)
Darklighter: Your turn to be cursed, witch.
Commercial Break
[Scene: P3. Piper and Leo are at the bar.]
Leo: Piper, I'm going crazy here.
Piper: We're almost done.
Leo: That's not what I mean. Look, you can't come in here and tell me what you just told me and act like nothing's changed. I mean, everything's changed.
Piper: I know, believe me, I know. But Dan is out of town and until he comes back...
Leo: When, when's he coming back?
Piper: Next Thursday.
Leo: A week? Can you call him or something? It's just, you know, I-I've been waiting for this, for us, for so long. I don't wanna wait any longer.
Prue: (from outside) Piper, are you there?
Piper: Prue? (Prue and Phoebe walk in. Prue has her arm around Phoebe.) What-what happened?
Prue: Oh, we got into a car accident. I wasn't looking.
Leo: You guys okay?
Phoebe: Yeah, we're fine.
Prue: Phoebe's got a concussion.
Phoebe: A mild one.
Prue: Still, the doctor said that, you know, you should...
Piper: The doctor? You went to the hospital? Phoebe, you...
Phoebe: I'm fine, really. I just have a little headache.
Leo: Oh, we got some aspirin around here somewhere.
Prue: Phoebe, I am so sorry.
Phoebe: Prue, it's okay, it was an accident, it wasn't your fault.
Prue: Yeah, but you know, I should've been looking. I mean, I-I-I always look first. At least I didn't put you in the hospital this time.
Phoebe: (to Piper) You lipstick's smeared.
Piper: It is?
(Leo holds up the aspirin and when Prue takes it off him, she knocks a box of swizzle sticks on the floor.)
Leo: Uh, don't worry about it. I got it.
Prue: Okay, I'm such a klutz. I can't seem to do anything right all of a sudden. Do you think that that spell backfired on me?
Phoebe: Not possible, no personal gain.
Piper: What spell?
(Prue's phone rings. She answers it.)
Prue: Hello? Yeah, Mr. Corso, there was a problem with the, uh, photograph.
(She walks away.)
Phoebe: She got this gig photographing this girl named Maggie Murphy.
Leo: The unlucky Maggie Murphy? (Piper looks at him.) I saw a piece on her on TV.
Phoebe: She's not unlucky anymore. Prue cast a spell to turn her luck around after she saved her from jumping off a roof.
Piper: What?
Phoebe: Yeah, pretty scary, huh?
Piper: That's more than scary.
Phoebe: It got to Prue too, big time.
(Prue walks back over to them.)
Prue: Alright, Mr. Corso said that if I don't get that photograph of Maggie, I can kiss my career goodbye. Like that's what I wanna do right now.
Phoebe: Well, it's a good excuse to go check up on her.
Prue: Yeah, I'm just gonna stop by the house
(She moves backwards and knocks over a table of glasses. Piper freezes them before they all h*t the ground.)
Piper: It's okay.
Phoebe: I'll drive. Because you didn't get collision on the rental.
Prue: Here, do you want the keys?
Phoebe: Yes. (Prue gives her the keys.) Thank you.
(They leave.)
Piper: Uh
ugh. (She unfreezes the glasses, they fall on the floor and smash. Leo looks at the broken glass on the floor.) What? I'll clean it up.
Leo: No, it's not that, I was just thinking about Maggie Murphy.
Piper: What about her?
Leo: It's just that she was doing all these good things in her life and then all of a sudden her own life goes to hell.
Piper: So, what
Leo: I don't know. What if, you know, all these accidents in her life weren't actually accidents. I mean, what if something was trying to make her jump.
Piper: Something like
Leo: Like a Darklighter maybe.
[Scene: Mental Home. Maggie is with a woman. She's helping her down the corridor.]
Maggie: It's okay Mrs. Idleman. Let's just get you out in the sunlight and let you see what's going on in the world. That's it, you're doing fine.
[Cut to Prue and Phoebe. They're in the mental home talking to the Darklighter who is dressed as a doctor.]
Darklighter: Maggie has made a remarkable turn around. Severely depressed this morning, now suddenly, she's smiling, laughing, helping others. However, I'm afraid her recovery is only temporary.
Prue: Why do you say that?
Darklighter: Once you've been on that ledge, Miss Halliwell you can never forget it. That deep dark place never goes away. It haunts you, beckons you back.
Phoebe: That's not true.
Darklighter: Oh, are you a psychiatrist?
Phoebe: No, but I still don't think that that's true. Lots of people recover from depression.
Darklighter: Not people in Maggie's rather unique situation. She still feels responsible for all the tragedies in her family's life. That pain doesn't just magically go away.
Prue: Um, may we see her?
Darklighter: Of course.
(They walk down the corridor, magic dust comes out of the Darklighter's hand and hits Prue's camera bag. The Darklighter disappears. Prue and Phoebe walk up to Maggie.)
Maggie: I hoped you'd come so I could thank you and ask you. I have so many questions.
Prue: Maggie, I-I-I think you may have the wrong idea about me.
Maggie: You saved my life.
Prue: Yeah, but there was so much going on this morning. I mean, it was really confusing, there were so many people.
Maggie: That doesn't change what you did. Who are you?
Prue: My name is Prue. This is my sister, Phoebe.
Phoebe: Hi, Maggie.
Maggie: Two angels.
Phoebe: Oh, no, I'm just a student.
Prue: Maggie, how are you feeling? Better I hope.
Maggie: Honestly, I feel great. I couldn't be happier.
Phoebe: Even though you're here?
Maggie: I'm alive and more importantly I feel alive again. I'm able to give, I'm able to help people. I haven't been able to do that for a while.
Phoebe: That's really sweet.
(Maggie notices Prue's camera bag.)
Maggie: Are you a photographer?
Prue: Yeah, sort of.
Phoebe: Yes, she is. She's working for Four One Five magazine.
Maggie: Oh, yeah. They're doing an article on me. Is that why you were at my place this morning, to take my picture?
Prue: Yeah, but believe me, that was the last thing on my mind.
Maggie: No, no, no, it's fine. Maybe the article will help others. Help them realize not to give up either. Where do you want me?
Prue: Oh, uh, I guess here is fine. (She gets a chair and Maggie sits on it.)
Maggie: I just can't get over how everything's changed suddenly. I mean, I know I'm stuck here for a while but I feel like a thousand pound weight's been lifted off me. (Prue gets her camera and starts taking pictures.) I feel like my own self again.
Phoebe: Um, Maggie, I'm taking a psychology class in school and I was wondering if I could ask you a question.
Maggie: Sure, anything.
Phoebe: I was wondering why you
how you
Maggie: How did I get on the ledge?
Phoebe: Yeah.
Maggie: I really don't know. All I know is I just wanted it all to stop.
Phoebe: Wanted what to stop?
Maggie: The voice in my head that kept telling me that I was hurting people not helping them. That I was causing pain and trouble wherever I went. That it was all my fault. It was like I was cursed.
Phoebe: Maybe you were cursed.
Maggie: I'm sorry, what was
.
Phoebe: Prue.
Prue: Um, I have to go get these to the magazine right away.
Phoebe: Did you just hear what she said?
Prue: Yeah, look, uh, can you take a cab and take that home for me
Phoebe: Why don't I drive you?
Prue: No, it's fine. Bye Maggie.
Maggie: Bye.
Commercial Break
[Scene: Manor. Attic. Leo and Piper are there looking through the Book of Shadows.]
Piper: There's a whole section in here on Darklighters somewhere.
Leo: Someone should really index this thing.
Piper: Are you sure about this?
Leo: Piper, I've been a Whitelighter for over 50 years.
Piper: Okay.
Leo: Prue's in trouble. (The phone rings.) Maybe that's her. (Piper answers it.)
Piper: Hello? Prue?
Dan: No, it's me, Dan.
Piper: Dan, hi.
Dan: You miss me?
(Leo motions to Piper if she wants him to leave the room.)
Piper: (to Leo) No.
Dan: Really?
Piper: Uh, I was talking to the cat. Are you in New York?
Dan: Yeah, I'm in my hotel room. So what are you doing?
Piper: Uh, just reading. How was your flight?
Dan: It was fine. Hey, listen, maybe it's my imagination but I sensed a little
something going on. Or not going on at all, if that makes any sense.
Piper: Um, everything's fine.
Dan: So that feeling that you had something important to tell me but didn't wanna ruin my trip, that's just all in my head? (Piper gets distracted by Leo.) Piper?
Piper: Huh? Um, I'm sorry, I'm just a little distracted here. Um, can we talk when you get home?
Dan: Right. Um, hey, listen, you know what? You don't have to worry about picking me up at the airport. I'll, um, I'll just catch a cab back to my place and maybe we can go out to dinner.
Piper: Great.
Dan: Okay, I'll see you soon.
Piper: Okay, bye.
Dan: Bye.
(Piper hangs up.)
Piper: I'm sorry. It's just, it's difficult. I am going to break up with him but I can't do it when he's 3000 miles away. I have to be fair to him.
Leo: I understand that, totally. I really do. I'm glad that you're the kind of person that would give him that kind of respect.
Piper: Thank you.
Leo: Now, here's what I'm really worried about. (He shows her a page in the book.) Read this.
(The page says: Darklighter - Forces good souls into su1c1de through telepathic suggestion. Very dangerous.)
Piper: You gotta be kidding.
[Scene: Photographic studio. Mr. Corso is looking at Prue's pictures of Maggie. They are all blurry.)
Prue: I-I don't understand. I checked it in my camera myself, it was fine.
Mr. Corso: What am I supposed to print with the article. What am I supposed to do, huh?
Prue: I'm sorry.
Mr. Corso: You're sorry? I gave you a chance. I believed in you and this is what I get? You're a fraud.
Prue: Wait a second, look
Mr. Corso: No, you look. Lady, you're fired. No, you're worse than fired. I will make sure nobody hires you again. Now go on, get out, go screw up somebody else's life.
(Prue goes outside into the hallway. She stops.)
Prue: Alright, I can handle this. Everything's gonna be fine.
(The Darklighter appears.)
Darklighter: No, it's not. He's right, I'm a fraud. I only hurt people. It's all my fault. I'm responsible.
(Prue keeps walking.)
[Scene: Manor. Phoebe comes through the front. Piper and Leo come down the stairs.]
Phoebe: Hi.
Piper: Phoebe, where's Prue?
Phoebe: Uh, probable at the magazine. Why?
Leo: There may be a Darklighter after her. We need to find her fast.
Phoebe: What?
Leo: Yeah, when you got in that car wreck, was it right after Prue cast that spell on Maggie?
Phoebe: Yeah, why?
(Piper picks up the phone and dials a number.)
Leo: The Darklighter must have seen her cast it.
Piper: Why isn't this going through?
Phoebe: Maggie thought that she was cursed.
Leo: She probably was until Prue turned her luck around. See, there's a certain type of Darklighter that drives future Whitelighters to commit su1c1de.
Phoebe: What do you mean?
Leo: Well, the only way to keep a Whitelighter from becoming one is to have them take their own life. To lose their souls forever.
Piper: They curse them . They bring their victims self doubt, bad luck, the kind that hurts other people.
Leo: And then reinforce that by praying on their thoughts, make them think that they are responsible for all the pain when they're actually not.
Phoebe: Well, that's not su1c1de, that's m*rder.
Leo: Not technically. They never actually push their victims, they just always compel them to jump.
Phoebe: So Prue didn't save Maggie from herself, Prue saved Maggie from him.
Piper: What is wrong with her phone?
Leo: And that's why the Darklighter's after Prue. If he destroys Prue, he destroys the good luck spell and leaves Maggie unprotected.
Phoebe: Well, he's not gonna get to Prue. I don't care what he tries.
(Phoebe puts Prue's camera bag in a cupboard.)
Piper: Phoebe, he knows her thoughts, he can make her think anything he wants her to think.
Phoebe: Piper, this is Prue that we're talking about, okay. She is so... (A roll of film falls out of the cupboard. Phoebe bends down and picks it up.) She wouldn't even think of... (she has a premonition of Prue when she was younger, on the bridge crying.)
Piper: What?
Phoebe: You guys are right. We have to get to Prue.
Commercial Break
[Scene: Manor. Phoebe's trying to call Prue.]
Phoebe: The cellular subscriber is two in the calling area. Damn it.
Piper: Try calling the magazine.
Phoebe: I already did, they said she left a half an hour ago.
Piper: Okay, then keep trying her cell. Are you sure your vision was of the past and not the future?
Phoebe: Positive.
Piper: Could you tell how old she was?
Phoebe: Around twenty. It was the same time that we had that other accident.
Leo: What happened?
Phoebe: Oh, Prue was driving and she ran a red light. We didn't even hear the other car honk.
Piper: Phoebe was the only one hurt. She was in the hospital for over a week. It scared the hell out of us.
Phoebe: Prue never forgave herself.
Piper: It was a really rough time for her. For all of us actually.
Leo: Why?
Piper: Well, Phoebe and I were teenagers and Grams was extremely over protective.
Phoebe: But she was hardest on Prue. She kind of made Prue take care of us. She didn't let Prue go away to school. She wanted to go back east to be a photo journalist.
Piper: But Grams knew that we were gonna become witches and she wasn't gonna let anything jeopardize that.
Phoebe: Still, you know what? I don't care what was happening, Prue would never even consider...
Piper: I know, but you saw her.
Phoebe: Okay, what I saw was Prue taking picture and she was very sad but that doesn't mean she was actually gonna jump.
Leo: Yeah, but the Darklighter will make her think that she was going to. He'll mess with her head and try and take her back to that same dark place. And he'll say whatever he has to and make her do something she would never otherwise do.
Piper: Okay, so if we can't find Prue, how do we find the Darklighter?
Leo: You can't without a Whitelighter. We sense each other.
(The phone rings. Phoebe answers it.)
Phoebe: Prue?
Prue: Hey, Pheebs.
Piper: Is it her?
Phoebe: Yeah. Where are you?
Prue: I don't really know but I can't start my car and-and this stage just really sucks.
Phoebe: None of what's happening today has anything to do...
(The phone starts crackling.)
Prue: Hello?
Phoebe: Prue, can you hear me?
Prue: Um, look I-I lost my job and can you guys please come and get me?
Leo: You have to tell her about the Darklighter.
Phoebe: I'm trying.
[Cut to Prue. You see the Darklighter standing behind the car.]
Prue: Phoebe, I can't hear you.
(Magic dust comes out of the Darklighter's hand, hits the phone and the phone goes d*ad.)
Phoebe: Hello? Damn it. I lost her.
(Prue gets out of the car and walks down the road. The Darklighter follows her.)
[Cut back to the manor.]
Piper: Okay, what do we do? We have to find her.
Phoebe: Where do we start?
Piper: We start at the magazine. Back track from the magazine. That's where she was last.
Phoebe: She could be anywhere.
Leo: How about the Book Of Shadows? You could try scrying.
Phoebe: I don't think we have the time for that.
Piper: Well, maybe we need a little luck. A little good luck.
Phoebe: Maggie?
Piper: We need a map.
Phoebe: Okay, I'll check the car. (Phoebe leaves the room.)
Leo: I'm going with you.
Piper: No, no, no. Somebody has to stay here in case she comes back or...
Leo: Piper.
Piper: If we find her, the Darklighter will be too. And if he recognizes you...
Leo: Piper, I hate this. Alright, I hate not being able to look after you guys.
Piper: I know, I'm sorry.
[Scene: Prue's walking down the street. The Darklighter is following her.]
Darklighter: What's happening to me, what's the matter with me? I gotta keep moving, keep walking. I've been this dark place before, I remember. No one can help me. I'm all alone. Keep walking, yes, keep walking.
Prue: Okay, Prue, keep it together. This isn't me. I'm a good person, I do good things. (A skateboarder is skateboarding down the pathway. Magic dust comes out of the Darklighter's hand and hits the skateboarder. The skateboarder loses control, Prue sees he's about to h*t a woman and a baby and she uses her power and he rolls on the road straight in front of a car.) Oh God.
Darklighter: I almost got him k*lled. Just like I almost got Phoebe k*lled. Run. Run!
(Prue runs off.)
[Cut to the mental home. Maggie's playing Gin with a woman. Piper and Phoebe walk in the room.]
Phoebe: Maggie, hi. Remember me?
Maggie: Of course.
Phoebe: We need your help finding Prue.
Maggie: Prue?
Phoebe: Your angel.
Piper: She's in trouble. Big trouble.
(They take her outside the room.)
Phoebe: The kind of trouble you can relate to.
Maggie: What can I do?
(Phoebe unfolds a map and holds it up.)
Phoebe: We need you to point anywhere on this map.
Piper: We need a little of your luck.
Maggie: But I don't understand how...
Phoebe: Please, it'll help, trust me.
(Maggie closes her eyes and points to the map._
Maggie: Here.
(Piper and Phoebe look at the spot on the map.)
Piper: It's close by.
Phoebe: Thank you.
(They walk away.)
[Cut to the manor. Leo's walking around. He sits on the stairs looking frustrated.]
[Cut to Prue. She's looking up at the bridge.]
Darklighter: It's okay, no need to be afraid. I know what needs to be done. It's the best thing. The best thing for everyone. It's something I should've done a long time ago. Jump.
Commercial Break
[Scene: On the bridge. Prue walks over to the side.]
Darklighter: That's it. It's the only way. It's the only way to save the one's I love. I should've done it before. Eight years ago.
Prue: I didn't want to.
Darklighter: But if I had, loved ones would still be alive today. Like Andy. I'm responsible for Andy.
(Prue starts crying.)
Prue: Andy.
Darklighter: It's all my fault. Jump. Jump.
[Cut to the attic. Leo's searching through the Book Of Shadows.]
Leo: There's gotta be something in here. Damn it! I can't just sit back and do nothing. Think, think! (He looks up.) Give me my powers back. I want my powers back. I want my powers back, I want them back now! I can't keep being mortal if this is the cost. I don't wanna lose Piper. Not at the expense of losing one of her sisters. This is my calling. You have to let me help. You have to give me my wings back.
(Leo's hand starts glowing.)
[Cut to Phoebe and Piper. They get out of the car.]
Piper: Are you sure this is right?
Phoebe: This is where Maggie pointed to.
Piper: But she's not here.
Phoebe: She's gotta be here somewhere.
(They look up at the bridge.)
Piper: Oh my God, Phoebe.
Phoebe: Prue! (Piper starts running up the hill.) Wait, wait, we'll drive there.
Piper: No, there's no time. Come on. (They run up the hill.) Prue!
Phoebe: Get away from the railing. Prue! Prue, this isn't you. The Darklighter is making you do this.
Darklighter: I'm all alone.
Prue: Alone.
Piper: He tried to k*ll Maggie and he's trying to k*ll you.
Phoebe: He put a spell on you just like he did with Maggie.
Darklighter: There is no Darklighter. It's only me.
Prue: Just me.
Darklighter: I have to do this.
Piper, Phoebe: Prue.
Phoebe: You're stronger than he is.
Darklighter: Jump damn it. Hurry up. End it before I hurt them again.
Piper: Prue, you have to believe us.
Phoebe: He's there, turn around, Prue.
(Prue turns around.)
Prue: It's true.
Darklighter: How did you...
Prue: You bastard. How dare you hurt people this way. (She uses her power and he hits the railing.)
Darklighter: It's a gift. You'll jump for me sooner or later. I haven't lost anyone yet.
Prue: You lost two today.
Darklighter: But remember, you can't stop me.
(Leo appears and tackles the Darklighter.)
Piper: Leo?
Leo: You alright?
Prue: Yeah, I think so.
(Phoebe and Piper run over to Prue and hug her.)
Leo: I gotta go.
(Leo orbs out with the Darklighter.)
[Scene: Manor. Living room. Prue, Piper and Phoebe are looking at an old picture of the bridge that Prue took.]
Prue: Well, the bridge hasn't changed much has it?
Piper: But you sure have.
Prue: Well, we all have, for the better.
Piper: Prue, Phoebe and I were wondering...
Prue: What? Why I was on this bridge eight years ago. Why I took this picture?
Piper: Well, yeah.
Prue: I don't know. I guess I was just in a really bad place then. Anyway, I was out scouting for a sh*t and I found myself on the bridge and I just wanted to take the picture of it to remind myself of that particular moment and how I was feeling.
Piper: But you weren't gonna...
Prue: No. No, I would never ever do that.
Phoebe: But why didn't you develop it?
Prue: I guess I just wasn't ready to relive that pain. But now I am. Especially since a demon tried to take advantage of it. But that was then... (she puts the photo in the fireplace and it burns ) and this... (she opens a magazine up to the article on Maggie.) this is now.
Piper: What's this?
Prue: Hi, it's me, I'm a professional photographer. Look.
(She points to her name under the photo.)
Phoebe: Yay.
(The doorbell rings.)
Piper: I'll get it.
Phoebe: Wait, what is it's Dan? What if he's back from his trip early?
Piper: Well, then I have to tell him the truth. Just because Leo has his wings back, doesn't change anything.
(Piper goes to answer the door. Phoebe looks at Prue's photo.)
Phoebe: Awesome.
Prue: I know.
Phoebe: I'm so proud of you.
Prue: Thank you.
[Cut to the foyer. Piper opens the door.]
Piper: Leo, you rang the bell?
Leo: Yeah, I wasn't sure how you'd feel about me orbing in.
(Leo walks inside.)
Piper: I'd feel okay.
Leo: Look, I just wanted to let you know that this wasn't their idea. It was mine and it's-it's not something I wanted to do, it's just...
Piper: Leo, I meant what I said and I thought about this a lot. Whitelighter or not, we can find a way to make this work. Somehow, someway.
Leo: I'm gonna hold you to that.
Piper: You do that.
(They hug.)
End | {"type": "series", "show": "Charmed", "episode": "02x16 - Murphy's Luck"} | foreverdreaming |
Teleplay by: Javier Grillo-Marxuach and Robert Masello
Story by: Javier Grillo-Marxuach
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Gail's house. Gail, Amanda and Helen are chanting a spell. They are standing in a circle holding hands.]
Gail, Amanda, Helen: "We call on the demon Cryto, reach back throughout the ages, humbled by his power, we invite him into our circle."
(Gail coughs.)
Helen: Are you alright?
Gail: Just keep chanting.
Amanda: We've been chanting for fifteen minutes.
Gail: It's a séance, Amanda, not AT&T. He'll come, he has to. Come on.
Gail, Amanda, Helen: "We call on the demon Cryto, reach back throughout the ages, humbled by his power, we invite him into our circle."
(Smoke rises in the middle of them and forms a face.)
Cryto: Who dare summon me?
Gail: Three, who are humbled by your presence, Cryto.
Cryto: What do you want?
Gail: That which only you can give. Youth, beauty, health.
Cryto: What can you give me?
Gail: We can make you whole again, we can bring you back.
Cryto: But I want more. I want powers. Great powers. Don't ever summon me again.
(He starts to disappear.)
Gail: We can get you great powers. The powers to move things with your mind, to stop time, to see into the future.
Cryto: Do so and you'll get your youth.
(He disappears.)
Helen: Ah.
Gail: I had to do something, we were losing him.
Helen: You lost him already, Gail. Why would you promise him something we can't get. What if it makes him angry?
Gail: I can get the powers, Helen. I have to. I'm not ready to die. I'll be back. Just be sure you have the quilt finished by tomorrow night.
[Scene: Manor. Phoebe's room. Phoebe's sitting on her bed. She squints her eyes while trying to read a book. She puts on a pair of glasses and looks in the mirror.]
Phoebe: Ugh.
(Someone knocks on the door. She hides the glasses under a pillow. Prue walks in.)
Prue: Hey.
Phoebe: Hey.
Prue: Have you, um, made an appointment to see the optometrist yet?
Phoebe: Prue, I keep telling you I do not need glasses.
Prue: Oh, well, then... (she turns the book around the right way) this might help.
Phoebe: Unrelated.
Prue: Mmm hmm. Look, I really need you help. Piper's throwing our her boots. The tan ones.
[Cut to the kitchen. Piper's putting her boots in a paper bag. Prue and Phoebe walk in.]
Phoebe: Piper, what are you doing? Those are your favourite boots.
Piper: I know. Demon blood from one of our vanquishing and I can't get it out and I can't exactly explain it to the shoe repair guy now can I? It's the third damn pair this month.
Phoebe: What's the matter, honey?
Piper: Nothing. I've gotta get to the club. Dan's waiting for me.
Prue: Are you really gonna break up with him?
Piper: Well, I have to. I mean, I love him but I love Leo more. Not that I'm any closer to figuring out how that's gonna work either. Sometimes being a witch sucks.
(She leaves out the back door.)
Phoebe: Wicca PMS?
Prue: I have a feeling it's a lot more than that. (The doorbell rings. They walk into the foyer and opens the door.) Aunt Gail.
Gail: My beautiful girls.
(They hug.)
Opening Credits
[Scene: Manor. Phoebe finds a photo in a closet and takes it in the living room.]
Phoebe: I knew we had an old picture of you and Grams somewhere.
Gail: Oh my God, look how young we were. I remember when this was taken. Right outside our sorority house. We'd just met.
Phoebe: A couple of hotties.
Gail: That was then. This is now.
Prue: Hey, now looks pretty good.
Gail: Believe me, the golden years are anything but. Mostly it's regret. I miss your Grams. I still can't believe she is gone. You just never know when it's your time, do you? Anyway, you both sound like you are doing very well. You and Piper and your careers and (to Phoebe) you back at school. Good for you.
Prue: Yeah, we're doing alright.
Gail: What about men? Anyone special in your lives?
Phoebe: Nope.
Prue: Well, I mean, Piper's got someone, sort of.
Phoebe: I think we're just picky. We don't wanna go through all the husbands that Grams went through.
Gail: Don't be too picky. You don't wanna end up like an old spinster like me.
(She coughs.)
Prue: Are you okay?
Phoebe: Here, have some of this.
(Phoebe hands her a drink and she takes a sip.)
Gail: Oh, thank you. Damn allergies.
Prue: So what brings you to San Francisco?
Gail: Well, my dears, you do. Do you remember the Bridge clubs your Grams hosted here every other Saturday?
Prue: Mmm hmm.
Gail: Did you actually see any of us play any cards?
Phoebe: No. Grams always sent us outside to play.
Gail: That's because it wasn't a Bridge club. It was her coven. Your Grams was the most skillful witch any of us ever knew.
Phoebe: Witch?
Gail: I still practice craft myself every now and then. I don't have any real powers, mostly I just play around with it.
Prue: Wow. You and Grams, witches, who knew?
Gail: You don't have to pretend with me. Your Grams told me everything. Including what you'd become when she died. The Charmed Ones.
[Scene: P3. Piper's at the bar. Dan walks in.]
Dan: Hey.
Piper: Hi. You're um, you're late.
Dan: Sorry, a little jet lag.
(He leans over the bar and kisses Piper on the cheek. He then puts a small box on the bar.)
Piper: Uhh...
Dan: I was walking by a store window on Fifth Avenue and I couldn't resist.
Piper: Oh, no. (Piper freezes him. She opens the box.) Please don't be a ring. (In it is a pair of earrings.) Okay. (She closes the box and unfreezes him.)
Dan: I hope you like them.
(She opens the box.)
Piper: They're beautiful. Thank you.
Dan: You're welcome. If you don't like them...
Piper: It's not that Dan, it's...
Dan: Did you think it was a ring?
Piper: No, of course not. Don't be silly. Um, it's just that... (the phone rings)
Dan: Don't you need to answer that?
Piper: No, um, the machine will pick it up. Dan we have to talk.
Prue's voice: Piper, it's me, pick up.
Dan: Talk about what?
Piper: Well, to be honest...
Prue's voice: Aunt Gail's in town and guess what? She knows we're, you know what's.
(Piper picks up the phone.)
Piper: Whoa, I'm not alone here, remember.
Prue: I thought that that would get your attention.
Piper: Prue, this is a really bad time.
Prue: Well, I'm sorry but it's important.
Piper: Wait, how does Aunt Gail know that we're... you know what? Never mind, you can tell me later. I have to go, Dan is here.
Prue: Look, Aunt Gail needs our help. She's in trouble.
Piper: What do you mean? What kind of trouble?
Prue: The kind of trouble you can't talk about with Dan right there, demon trouble.
Piper: Of course, why not. Alright, I'll just put my life on hold one more time and I'll be right there.
(Piper hangs up.)
Dan: More trouble at home?
Piper: When isn't there.
Dan: Well, you wanna talk about it on the way to your car?
Piper: Um, no, I don't. Uh, how about dinner tonight? Actually, let's make it tomorrow night just to be safe. I don't wanna have to cancel on you.
Dan: It's a date.
(He kisses her on the cheek and she leaves. He notices she left the earrings behind.)
Commercial Break
[Scene: Manor. Solarium. Prue, Piper, Phoebe and Gail are there.]
Prue: Have you contacted the police yet?
Gail: And tell them what? That I think there's a demon running loose in our streets? They'd think I was crazy.
Piper: Try getting your boots cleaned.
Gail: Huh?
Phoebe: Don't ask.
Prue: Still, you said that corpses have been found dug up and skinned. I mean, what'd the police think about that?
Gail: I don't know.
Phoebe: Maybe it's just some sicko grave robber.
Gail: Well, it's, uh, it's-it's more than that. I may be wrong but I think I remember seeing in your Book Of Shadows that...
Prue: Oh. Wait, you know about that too?
Gail: And when your Grams was showing it to me, I think that I remember seeing something about a skinned demon or something, who made people young again.
Piper: Young again? Why, what's so bad about that?
Phoebe: There's gotta be a catch. There's always a catch. Are you sure the book said it was skinned?
Gail: I think so, but maybe we better go look.
[Scene: Gail's place. Helen and Amanda are sewing pieces of skin together.]
Helen: You ready?
Amanda: All set.
(They put the skin on a dummy.)
Helen: Do you think Gail will really be able to get their powers?
Amanda: Well, she better and soon, the skin quilt is almost done.
[Cut back to the manor. Prue, Piper, Phoebe and Gail are in the attic looking in the Book Of Shadows.]
Phoebe: Here's something. Cryto, the demon of vanity.
Gail: Cryto, that sounds vaguely familiar. What does it say?
(Phoebe squints while reading the Book.)
Phoebe: Um, in the 16th century, Cryto traveled from dukedom to dukedom, praying on people's vanity, bestowing youth and and beauty in exchange for their souls.
Prue: Youth for souls? Why would anybody make that trade?
Gail: Believe me, I know a lot of people who'd consider it. Age, disease. Uh, that's why I'm so worried. I know so many potential victims in Santa Costa. Friends.
(Phoebe squints again.)
Piper: Are you squinting?
Phoebe: No. (She continues reading.) Cryto was found out and skinned alive by a group of witches who believed it would keep his spirit from ever being resurrected again. You were right.
Prue: Yeah, but those witches obviously weren't right, otherwise there wouldn't be a vanquishing spell in the book.
Piper: So someone is skinning people to give him a new skin?
Prue: Well, giving their bodies somebody's spirit makes sense.
Phoebe: Well, at least it's an easy vanquishing spell. I mean, if Cryto really does exist, it shouldn't be a problem getting rid of him.
Gail: Goodness, you must be very powerful witches.
Piper: Ah, rub it in.
Gail: Uh, how soon can you come to Santa Costa?
Piper: Prue, Phoebe, can I talk to you for a sec? Out here.
Gail: Take your time.
(Prue, Piper and Phoebe walk out of the room. Gail starts flipping through the Book.)
[Cut to outside.]
Phoebe: Piper, Gail is like family. You love her, we all do.
Prue: She was like a second Grams to us.
Phoebe: Yeah, only a nice one. One that never said no.
Piper: I know that, but something about her story, it's just, it's not right. I mean, bodies are being dug up all over town and she's the only one who's noticing?
Phoebe: I admit, it's funky but what are we supposed to do? Tell her that we're not gonna help her?
Piper: No, of course not. It's just, it's never ending. I mean, we have no lives. I don't even have time to break up with Dan properly.
[Cut to the attic. Gail finds a spell in the book to separate a witch from her powers. She then rips the page out and puts it in her purse.]
[Cut back outside.]
Prue: Look, honey, Santa Costa's right over the bridge. Alright, we'll leave early, go check things out, be back by tomorrow night. (Gail comes down the stairs.) Hi. So, we'll be there at 9:00 tomorrow morning, okay?
(She nods.)
Phoebe: Would you like to stay here? We have plenty of room.
Gail: Oh, no, thank you. I have to get home. Cats to feed, you know. Thank you. You'll never know how much this means to me.
[Scene: Gail's house. Gail, Amanda and Helen are doing the séance. They are in a circle, holding hands with the skin covered dummy in the middle.]
Gail, Amanda, Helen: "We call on the demon Cryto, reach back throughout the ages, humbled by his power, we invite him into our circle."
(Smoke surrounds the dummy and it turns into Cryto.)
Cryto: Well done, ladies.
Amanda: Now, make us young.
Cryto: First the powers you promised.
Gail: They'll-they'll be here. Soon.
Commercial Break
[Scene: Gas station. Prue, Piper and Phoebe drive in. They get out of the car. Phoebe's holding a map.]
Piper: Nice work, Pheebs, only a couple of hours late.
Prue: Yeah, next time I'll navigate.
Phoebe: It's this map. It's messed up. There is no connector road at highway twenty-eight.
Prue: No? What is that?
(Prue points to it on the map.)
Phoebe: That little squiggle?
Prue: Yeah.
Phoebe: I didn't see that. And don't tell me I need glasses, okay, because anybody could've missed that.
Prue: Phoebe, there is absolutely nothing wrong with wearing glasses. I mean, I wear them.
Phoebe: I know, but you're older. (Piper laughs.) Well you are.
Prue: Right, well, you know, I really hope that demon of vanity is after you because your soul would be toast.
Phoebe: I'm just gonna ignore that comment and go ask for directions.
Prue: Okay.
(Phoebe walks away. Piper notices two elderly people walk past them holding hands.)
Piper: Cute, huh? Still holding hands.
Prue: That could be you and Leo in like fifty years.
Piper: Me maybe but not Leo. Whitelighters don't age, remember? Of course they're not supposed to date witches either so maybe I don't have to worry about that.
Prue: Piper.
Piper: I know, I'm sorry, I've been a drag lately but I've just been confused and frustrated. I mean, nothing's changed really since Leo and I met except that I'm two years older and still have no idea what we're doing. Sometimes I worry we're all gonna end up like Aunt Gail.
[Cut to Phoebe. Tow elderly men are giving Phoebe directions and she's writing them down.]
Elderly man #1: Then you take Hotsmen to the lights, you turn right past the f*re station to Sycamore.
Elderly man #2: Yeah-yeah, then straight up the hill and there's a big Victorian on the left. Well, you can't miss it, it's not far.
Phoebe: Okay, straight up the hill, great, thanks.
Prue: (who's now in the car) Pheebs, come on.
Phoebe: Okay, okay.
(Phoebe puts the pen and paper in her bag and her glasses fall out.)
Elderly man #1: Oh, excuse me, honey. Are these your glasses?
Phoebe: Uh... (She sees Prue and Piper staring at her.) no, no, those aren't mine. (She walks to the car.) We are all set. All words, no squigglies. (She gets in.)
[Scene: Gail's house. Kitchen. Gail's making a potion.]
[Cut to outside. Prue, Piper and Phoebe arrive.]
[Cut back to the kitchen. Helen comes in.]
Helen: They're here.
Amanda: Finally.
Helen: How long after the drink the potion before we can call their powers to Cryto?
Gail: It doesn't say. IT shouldn't be long.
(She pours the potion in a pitcher of iced-tea.)
[Scene: Later on in the living room. Prue, Piper and Phoebe are sitting on the couch.]
Amanda: More tea, girls?
Phoebe: No, thanks. (Amanda pours the tea anyway.) I'd love some, thank you.
Amanda: How about you?
(Piper shakes her head.)
Gail: It's better to humour her, Piper. She won't take no for an answer.
Piper: Well, then, by all means, fill her up.
Prue: So, Aunt Gail, who else knows about Cryto than us?
(Amanda goes to pour more tea in Prue's cup but Prue quickly covers it with her hand.)
Gail: Well, I hope you won't be too upset, I had to tell Amanda and Helen. Actually, they were the first to tell me about the dug up corpses.
Prue: Really?
Helen: Don't worry. We won't tell a soul about you being witches and all. Our little secret.
Prue: That's good to know.
(Piper pulls a face and looks in her cup.)
Amanda: Is something the matter?
Piper: Uh, it's just... what kind of tea is this? It's... different.
Gail: It's a special blend. Uh, listen, maybe you had better get going to start to look for whoever might be trying to summon Cryto.
Amanda: Gail...
Gail: Two of the corpses were found in that old furniture warehouse at route ten, weren't they Helen?
Helen: Yes, I think so.
Phoebe: That's not really a lot to go on.
Gail: Well, you have to start somewhere. Uh, you just go out route ten and then turn up Willow and it will be right there.
(They start leaving towards the door.)
Prue: Okay, so, um, I guess we'll be back later.
Gail: Yeah, we'll, we'll be here.
(They leave.)
Helen: Cryto said they weren't supposed to leave.
Gail: I know but they were getting suspicious.
Amanda: Are you sure you're not trying to protect them?
Gail: Of course I'm trying to protect them. I feel bad enough about stealing their powers but they're family and no demon is going to hurt them. Come on. We just have to keep calling for their powers until the potion takes effect.
[Cut to the warehouse. Prue, Piper and Phoebe arrive. They get out of the car.]
Prue: Do you guys see anything?
Piper: Are you sure this is the right place?
Phoebe: Don't look at me, I didn't navigate this time.
Prue: Are either of you's thinking what I am thinking?
Phoebe: Wild goose chase?
Piper: Why would Aunt Gail send us out here for no reason?
Prue: I don't know but she seemed in an awful hurry to get us outta th... Whoa.
Piper: Are you okay?
Prue: No, I'm kind of feeling light headed all of a sudden.
Phoebe: I'm not feeling so hot myself.
[Cut back to Gail's house. They are chanting the spell. They are standing in a circle with Cryto in the middle.]
Gail, Helen, Amanda: "Powers of the witches rise, course unseen across the skies, come to us who call you near, come to us and settle here."
Cryto: It's not working.
Gail: It will.
Gail, Helen, Amanda: "Powers of the witches rise, course unseen across the skies, come to us who call you near, come to us and settle here."
[Cut to Prue, Piper and Phoebe. You see their powers rise out of their bodies and float over to the house.]
[Cut back to the house. They repeat the spell and the powers float into Cryto. He looks at his hands. He sees a vase and uses Prue's power to make it fly across the room and h*t the wall.]
Gail: Time for you to hold up your end of the bargain.
(Cryto passes his hand in front of Gail's face and she turns young again.)
Helen: Oh my God, Gail. It worked.
(Gail touches her face and smiles.)
Amanda: Now us. It's our turn.
Cryto: Yes it is.
(He passes his hand across her face and she turns into dust, leaving a pile of clothes on the floor.)
Gail: What are you doing?
(He does the same to Helen.)
Cryto: You see, I can take youth away as quickly as I can grant it.
Gail: But why?
Cryto: It takes three witches to summon me and three to banish me. You do the math. I wanted more powers to protect myself. Now, I want you to introduce me to other willing souls who want to be young again, unless you want to end up like your friends. Beauty has its price.
[Cut to outside. Prue, Piper and Phoebe pull up in the car. They get out and go inside.]
Prue: Aunt Gail?
Piper: Anybody home?
Phoebe: I don't understand what the hell is going on.
Piper: I told you something wasn't right.
Prue: Yeah, well, what's not right is I have the feeling it's Gail and her friends who summoned this demon.
Phoebe: Yeah, but if that were true, then why would Aunt Gail want us to come to Santa Costa?
(They walk in the kitchen.)
Prue: It stinks.
Piper: This is what I'm saying.
Prue: I think it's coming from here.
(They walk down into the basement.)
Piper: What is that smell?
(They see the clothes on the floor.)
Phoebe: Wait a minute, what are those?
Prue: Oh, I would say by the looks of things, that's Amanda and that would be Helen.
Piper: Oh God.
Phoebe: I hope that didn't happen from drinking the tea.
Prue: Yeah, that must of happened when they tried to summon Cryto. Although, I don't see Aunt Gail here. That's a good sign I hope.
(A rat runs past them. Piper gets a fright and when she tries to freeze it, nothing happens.)
Phoebe: What's the matter?
Piper: I don't know but I can't freeze that rat thing.
Prue: What?
Piper: You try move it.
(Prue tries to move it but it doesn't work.)
Prue: Okay, what the hell is going on with our powers?
Phoebe: Maybe we oughta ask Aunt Gail.
Commercial Break
[Scene: Gail's place. Piper's looking at a photo and Prue's looking at pieces of paper. Phoebe walks in holding a hemlock root.]
Phoebe: Well, they were definitely making a potion. Hemlock root.
Piper: No wonder the tea tasted funny. How did we let her do this to us?
Prue: Because we trusted her.
Phoebe: Yeah, well, she just got crossed off my Christmas list.
Piper: Aunt Gail was grams' best friend. She used to bake us cookies.
Phoebe: And now she's spiking our tea.
Piper: But why? Just to be young again? I mean, she had to know she'd be giving up her soul in exchange.
Prue: Maybe it wasn't just for youth. Maybe it was for health. These are all doctor bills. Recent ones. Radiation treatment, chemo therapy. I don't think she has very long to live.
Phoebe: That still doesn't excuse what she did. What she did to us. I mean, you can't use magic to save yourself.
Prue: No, not without consequences and there's no bigger one than giving up your soul.
Phoebe: I just don't understand. Why steal our powers?
Prue: Cryto must of wanted more out of the bargain. Aunt Gail was desperate enough to give it to him.
Piper: We shouldn't of left her alone in the attic.
Phoebe: Okay, well, we have the potion, if we can find the spell then we should be able to transfer our powers back.
Piper: Are you kidding? We won't be able to get near him.
Phoebe: Well, he has our powers but that doesn't necessarily mean he knows how to use them. Besides, do you have a better idea?
Piper: Go home and call it a day?
Prue: Funny. Come on.
[Scene: Gas station. The two elderly men that were giving Phoebe directions, are now young and they jump in their car and drive off. Cryto and young Gail are there.]
Cryto: See? You're not the only one, Gail. Everyone wants to be young and attractive.
Gail: The difference is I knew what I was giving up. They don't.
Cryto: Oh, they will. One day. Their last. (Another elderly man walks past.) Do you know that one? Introduce me.
Gail: No.
Cryto: Tired of being young again already?
[Cut to Prue, Piper and Phoebe. They're in the car and they stop at a stop sign. The elderly men, that are now young, pull up beside them.]
Man #1: Hiya, toots.
(They drive off.)
Phoebe: Wait a minute.
Piper: Tell me those aren't the same guys you asked for directions.
Prue: Uh, okay, Cryto's close. Let's drive.
[Cut back to the gas station. Cryto's talking to the other elderly man.]
Cryto: The only catch is that you have to keep it a secret. You can't ever tell a soul. I'm sure you understand why.
Elderly Man #3: What, is this some kind of joke?
Cryto: If you think it is, then why are you still here? Because some part of you is hoping beyond hope that I just might be telling you the truth. That I can restore your youth. Just like I did for Gail Altman.
Elderly Man #3: Gail?
Gail: Yes, Frank, it's really me.
(Frank nods his head. Cryto turns Frank young. Frank starts to walk away. Phoebe's glasses are sitting on the counter.)
Cryto: You forgot your...
(He picks up the glasses and he has a premonition of Prue, Piper and Phoebe vanquishing him.)
Gail: What?
Cryto: Three witches. You said you took care of them.
Gail: What are you talking about?
Cryto: You lied to me.
(Prue, Piper and Phoebe pull up in the car. Gail sees them and runs outside.)
Gail: Prue, run, hurry!
(They get out of the car.)
Prue: Aunt Gail?
(Cryto makes a crow bar fly towards them, they duck and it hits the window of Piper's car.)
Piper: So much for him not knowing how to use our powers.)
(Cryto pushes Gail on the ground.)
Phoebe: I've got one power he doesn't have.
(Cryto makes Phoebe fly through the air.)
Piper: Phoebe.
(Prue pulls Piper behind a petrol bowser.)
Prue: No, no, okay, wait. It's just way too dangerous.
Cryto: Nobody's sending me back in.
Piper: But we can't just sit here.
Prue: No, we have to think. Alright, what do we know about our powers that he doesn't?
(Gail runs behind a car where Phoebe is.)
Gail: Oh, thank God.
Phoebe: Stay away from me.
(Phoebe looks above the car over at Prue and Piper, she puts her hands up and nods.)
Prue: Alright, Phoebe's thinking what we're thinking.
Piper: Great, what are we thinking?
Cryto: You can't hide from me.
Gail: (to Phoebe) I didn't want to die. It was wrong. Here, you'll need this.
(She gives Phoebe the spell.)
Phoebe: The spell.
Prue: (to Piper) Just follow my lead. You ready?
Piper: Uh huh.
(They come out from behind the petrol bowser.)
Prue: Alright, we give up.
Piper: Excuse me?
(Phoebe sneaks up behind Cryto.)
Prue: No, no, no, Phoebe, wait, he'll freeze us.
(Cryto turns around and freezes Phoebe. You can see she hasn't froze.)
Cryto: That's a marvellous power.
(He turns back around and Phoebe kicks him.)
Phoebe: Good witches don't freeze.
(They run away. Gail tries to too but Cryto sends her flying through the glass.)
Cryto: I'll k*ll you.
Gail: No!
[Cut to Prue, Piper and Phoebe. They run behind a different building.]
Phoebe: Okay, what do we do about Gail?
Prue: Well, without our powers there's nothing much that we can do.
Phoebe: Okay, so we have to get back our powers and then find Cryto before he finds us.
Prue: Agreed. Alright, let's go.
(Prue and Phoebe start to leave but Piper just stands there.)
Phoebe: Piper, come on.
(Piper shakes her head.)
Prue: Piper, what's the matter?
Piper: I've had it.
Phoebe: What do you mean you've had it? Had it with what?
Piper: With being a witch.
[Cut back to the gas station. Cryto walks over to Gail.]
Cryto: You betrayed me.
Gail: At least they got away so they can destroy you.
Cryto: No they won't. I know where they're going, remember? I saw it.
(Cryto makes Gail turn into dust.)
[Cut to Prue, Piper and Phoebe. They are walking towards Gail's house.]
Phoebe: We can't just leave your car.
Piper: We'll call a cab.
Phoebe: That'll cost a hundred bucks.
Piper: I'm not going back to town. I'm through with demon hunting.
Prue: Piper, come on.
Piper: There's really nothing more to say.
Phoebe: Well, if it's getting back our powers that you're worried about, I can do that, I have a spell that can do that.
Piper: I don't want my powers back.
Phoebe: You don't mean that.
Piper: Don't I? I think it may be my solution to all of my problems.
Prue: Piper, wait a second. I know exactly what you're going through. Remember when Andy died? I didn't want to be a witch anymore either.
Piper: That's different.
Prue: How?
Piper: Because not wanting to be a witch isn't a symptom of something else like it is for you, Prue. For me it's the problem. It's the cause, it's the problem of everything. I just, I want a life that hasn't got a lot of death in it. I don't think that's too much to ask.
Phoebe: You can't do this.
Piper: Phoebe, we're all gonna do it sooner or later. I'm just doing it first.
Commercial Break
[Scene: Gail's house. Piper's dialing a number on the phone. Phoebe hangs it up.]
Piper: What are you doing?
Phoebe: Piper, you can't do this. It effects all of us.
Piper: Phoebe, I love you, you are one of my two most favourite sisters but I don't wanna give up having a life.
Phoebe: I'm not asking you to.
Piper: Yes you are. Just by asking me to be a witch.
Phoebe: Piper, you were born a witch. It's not a choice, it's a fact.
Piper: Says who? Up until two years ago I didn't know I was born a witch. Neither did you guys and we were perfectly happy then with perfectly normal lives. I miss that, don't you?
Phoebe: No.
Prue: Yeah, well, sometimes. But look, I've accepted the fact that I can't just turn back the clock and pretend that it never happened and neither can you.
Piper: I don't wanna end up like Aunt Gail, old and alone and wishing I was young again so I can do all the things I missed out on.
(Prue hugs Piper.)
Prue: We won't let that happen to you.
(Phoebe joins the hug.)
Phoebe: Just help us get our powers back. Please? We can't do it without you.
Prue: We won't do it without you.
(They go down to the basement.)
Piper: How do we know Cryto will even come here?
Prue: If he's gonna look for us, he's gonna start here.
(Piper puts the iced-tea on the table.)
Phoebe: Well, we can try summoning like Gail and her friends did.
Prue: I think that only works with spirits, Pheebs.
Piper: I still don't understand how we're gonna get him to drink this without having any powers.
Prue: We have to get him to use one of the powers he doesn't know how to use yet.
Piper: Astral projection?
Prue: Exactly. If we can distract him long enough to be in two places at the same time...
Phoebe: We might be able to trick him into thinking that I'm still looking for the potion.
Piper: Alright, I'm only doing this for you guys and if I get k*lled, I'm gonna haunt the both of you forever.
Prue: Yeah, yeah. Got the spell?
Phoebe: Yes. I got it.
(She hands it to Prue.)
Cryto: (from outside) Anybody home? I know you're here and I know where you are.
(Cryto walks in and Phoebe kicks him and he falls down the stairs. Prue and Piper push shelves on top of him.)
Prue: Phoebe, the potion.
(Phoebe goes out of the basement.)
Cryto: No!
(He crawls out from under the shelves and makes Prue and Piper fly across the room and they land on the ground hard.)
Piper: Ow.
Prue: Ohh.
[Cut to Phoebe.]
Phoebe: I got it! (to herself) Come on, come on.
[Cut back to the basement.]
Prue: Pheebs, get the potion.
Phoebe: Start chanting the spell.
Piper: We need the potion first.
Cryto: It won't work.
Phoebe: Just start, I've got a plan.
Prue, Piper: "Powers of the witches rise, course unseen across the skies, come to us..."
(Cryto astral projects into the other room and his body falls to the ground.)
Prue: Get the potion.
[Cut to the other room. Cryto appears.]
Phoebe: Pretty nifty power, huh? (She hits him in the throat and kicks him) (to Prue and Piper) Do it!
[Cut to the basement. Prue opens Cryto's mouth and Piper gets ready to pour in the potion.]
Prue: Give him all of it.
(Piper pours the potion in his mouth.)
[Cut back to Phoebe. Cryto astral projects back in his body.]
Phoebe: He's coming back.
[Cut back to the basement. Phoebe comes down the stairs.]
Prue, Piper, Phoebe: "Powers of the witches rise, course unseen across the skies, come to us who call you near, come to us and settle here."
(Their powers float out of Cryto back into them.)
Piper: Wanna see what does freeze?
(She freezes him.)
Prue: Pheebs.
Phoebe: "What witches done and them undone, return this spirit and back within, and separate him from his skin." (Cryto unfreezes and he gets separated from his skin and he explodes.) Ouch. That look liked it hurt.
Prue: Yeah, well, I hope so for Aunt Gail's sake.
Piper: And Helen and Amanda's.
[Scene: Manor. Piper opens a box and brand new boots are in there.]
Piper: Very nice.
Prue: Well, we thought you might appreciate a pair without demon blood.
Piper: I do, very much. Thank you.
Prue: So Piper, uh, Phoebe and I were kind of wondering...
Phoebe: Because we want you to be happy.
Prue: Very happy.
Phoebe: But we were wondering if we should be budgeting for more shoes or not.
Piper: Well, I wish I could tell you getting my powers back made me appreciate what I lost...
Phoebe: But...
Piper: But I feel like I'm back we're I started. I mean, I understand what you guys are saying and everything but I can't change the way I feel.
Phoebe: So you really are quitting?
Piper: I want to for all the reasons we already talked about but, um, I'm only gonna do that if and when you guys want to also.
Phoebe: Well, I'm always gonna wanna be a witch. That's for sure.
Prue: She's young.
Phoebe: Oh, give me a break.
Piper: Alright, I gotta go.
Phoebe: Good luck. (Piper leaves.) Oh, poor Dan. So do you think we should worry?
Prue: No, he'll be alright.
Phoebe: I mean, about Piper quitting.
Prue: Oh, maybe. (Phoebe shows Prue her glasses.) You little liar. You did go see the optometrist.
Phoebe: Yeah, well, let's just say I'm not as concerned with my vanity anymore.
(She puts on her glasses.)
Commercial Break
[Scene: P3. Piper and Dan are sitting on the couch in the corner of the room.]
Dan: You hungry?
Piper: Um, no, unless you are.
Dan: No, I'm fine. What?
Piper: I was thinking that it just seemed like yesterday you moved in next door and we... you know.
Dan: Piper, you don't have to do this.
Piper: Do what?
Dan: Go through this big explanation. I think I know what you wanted to talk to me about. You're breaking up with me aren't you? Is it because of Leo? I'm sorry. It's really none of my business.
Piper: Dan, I will always love you, this doesn't change that. You've been really good to me and treated me incredibly well but I need to try and make this work with Leo and it may not, I don't know. We've never really given it a sh*t and I want to, I have to. I'm so sorry.
Dan: You don't have to be. You're just being honest with me. We're still gonna be neighbours though, right?
Piper: We better be more than that.
(Dan kisses her on the forehead.)
Dan: Well, I guess I better go.
(Dan grabs his coat and walks away.)
End | {"type": "series", "show": "Charmed", "episode": "02x17 - How to Make a Quilt Out Of Americans"} | foreverdreaming |
Written by: Chris Levinson and Zack Estrin
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Living room. Prue's kneeling on the floor holding her camera and taking photos of Piper, who's looking out the window.]
Prue: Hmm, so I think I'll call this "woman not pretending to look out the window."
Piper: How about "girl about the pour hot tea on sisters head." Let me see. (Prue shows her the photo.) Either I'm that transparent or you're that good.
Prue: Well, I don't think I'll comment since you do have hot liquid over my head.
Piper: I'm sorry, I just, I was watching Dan come home alone and I think a more appropriate title for that photo would be " witch with a severe case of the guilt's." And he was a nice guy who did nothing wrong and...
Prue: Piper, you had to end the relationship, alright. Your heart wasn't in it and it was the only way not to break his.
Piper: I know, I just feel like Dan got the short end of the stick.
Prue: There are so many ways that I can go with that but I think I'll just...
Piper: Thank you.
Prue: Besides, you shouldn't be worried about your past when your future is in town tonight for dinner and a movie.
Piper: I know, I know, I know. My first real date with Leo as a normal couple. And normal couples usually shower before their dates, so I'll see you later.
Prue: Okay.
(Piper walks out of the living room and Phoebe walks in.)
Phoebe: Hi doody.
Piper: Hi doody.
Prue: Hey. (Phoebe sits down on the couch. She has a smile on her face.) Someone's in a good mood. What's his name?
Phoebe: Billy.
Prue: Phoebe, you didn't?
Phoebe: What?
Prue: You went to go see "k*ll It Before It Dies" at the revival house didn't you?
Phoebe: No, why would you think that I... (Prue raises her eyebrows.) Okay, I did. But you know what? It was research.
Prue: Okay, what kind of class sends you to the movies?
Phoebe: No, not for school, for me. I mean, if I', supposed to figure out what I want from a guy, I might as well start with the first guy I fell for, don't you think? Billy is the ideal man.
Prue: He's a character in a movie. One that I might add you weren't even supposed to watch.
Phoebe: When I was twelve. I think after a year and a half of battling monsters I can handle a scary movie. Did I mention that Billy is the perfect man?
Prue: Once or twice.
(The doorbell rings.)
Phoebe: I will get that. (Phoebe gets up and answers the door. The camera stays focused on Prue.) Can I help you?
Prue: Pheebs, who is it?
(Suddenly Phoebe goes flying through the foyer.)
Phoebe: Aaahhh!
(The demon of Illusion walks in the foyer.)
Demon: Get up you miserable witch.
Prue: Hey, if you don't have anything nice to say.
(Prue uses her powers and the demon crashes into the grandfather clock.)
Demon: And then there were two.
(He runs outside.)
Phoebe: Ow, ow.
(Prue helps her up.)
Prue: You okay?
Phoebe: Oh, sure.
Prue: Come on, come on, come on.
(They run outside. Piper comes down the stairs.)
Piper: Alright, who took my l...
(She notices the mess on the floor.)
[Cut to the movie theatre. Prue and Phoebe walk in. The movie "k*ll It Before It Dies" is playing. The seats are empty except for one guy who's sitting in an aisle seat eating popcorn.]
Prue: I ca not believe they made us pay.
Guy: Shh.
Phoebe: Sorry.
Prue: He's gotta be hiding in here somewhere.
Guy: Excuse me, but do you think you might keep it down. This is my favourite part.
Phoebe: Ooh, mine too. This is when Billy comes on and then th...
Prue: Pheebs, we need a spell.
Phoebe: Okay, but we know nothing about this guy. I can't just whip one up.
(They see him near the front row.)
Prue: Oh, he's making a break for it.
Phoebe: Um, "evil that has traveled near, I call on you to disappear, elementals hear my call, remove this creature from these walls."
(The demon disappears in a puff of smoke.)
Guy: That was the most coolest thing I have ever seen.
Phoebe: It's all part of the show, sir. (to Prue) I can not believe that that just worked. It seemed too easy.
Prue: Wow, we are getting way too tough for these guys. (They start walking out of the cinema and Phoebe keeps watching the movie.) No, no.
(They leave. The demon appears on the screen. He laughs evilly.)
Opening Credits
[Scene: Manor. Foyer. Prue, Piper and Phoebe are cleaning up the mess.]
Phoebe: How am I supposed to know what his deal is? He likes moonlit walks, thinks holding hands is under rated, and enjoys in his spare time k*lling witches.
Piper: It was a question for the room, Pheebs. When a demon makes a house call, my curiosity gets peaked.
Prue: Yeah, well, the house is a mess again. I mean, how come we can't fight the demon of cleanliness or the demon of housekeeping, or even that really big bald guy, Mr. Clean? I would so totally take him on.
Piper: But I don't get is the order of things. Don't we usually start some place dark and dreary and then end up at the manor for the big old vanquish?
Phoebe: Wait a minute. He followed me home. I knew I recognised him from somewhere. He was at the movies and then he followed me home.
Prue: Well, he had a reason to att*ck us, so he would of found us sooner or later.
Piper: But the question is why? I mean, we usually don't vanquish someone without knowing who, what, where, when...
Prue: Well, what about the how? How did you know how to vanquish him?
Phoebe: Well, remember the spell that we used for the bunyip? Well, I just combined that with the one for the demon with the horn coming out of his...
Piper: Forehead?
Phoebe: Yep.
Piper: Nice work. I wish they all went this smoothly. Oh my God, I'm late, I'm so late, I have to get ready. (She gives Prue a broom.) Hold this, here take this. I'll help when I come back but Leo...
Prue, Phoebe: Go.
[Scene: Restaurant. Leo's sitting at a table looking bored. Piper walks up to the table.]
Piper: How's the date so far?
Leo: It just got better.
Piper: You can do your homework, pick the right restaurant, the perfect wine waiting and chilled but it helps if you show up. I'm sorry.
Leo: It's alright, you're here now. (Piper looks down.) What?
Piper: Nothing. It's just this guy, warlock or demon or something burst into the house and somehow Phoebe managed to vanquish him but we still don't know who he was. Something just feels off. I'm sorry, no work talk, we promised.
Leo: It's alright, you're the one who wanted to keep tonight magic free. I'm okay with it.
Piper: Wanna start over?
Leo: Okay.
(They lean over the table and kiss.)
Waiter: Pardon me.
Leo: Oh, I hope you don't mind, I got the munchies.
Piper: No, not at all. (The waiter places something on the table.) Thank you. (The waiter walks away.) Uh, there's no salt. Could you ask that table for theirs?
Leo: Sure, um, excuse me, may we borrow your salt?
(The guy turns around and it's Dan.)
Dan: Leo. Piper.
Piper: Hi Dan... and Dan's date.
Dan: Amelia, this is Leo and Piper.
Piper: Amelia as in someone I just work with Amelia?
Dan: Um, here's your salt.
Piper: Thanks.
Leo: Well, at least he's not pining away.
(An accordion player is playing the accordion fairly close to them. Piper gets fed up and freezes the whole restaurant.)
Piper: Is this some kind of test? (She unfreezes Leo.) Okay, so I'd like everything to be normal but there's only so much a girl can take. Here's to our first real date. (They are just about to clink their glasses and the Whitelighters call Leo.) What are you doing? They need you? Okay, well, I guess it would be the same thing if I was dating a doctor, right? I just wanted tonight to be perfect.
Leo: Well, it was. I was with you.
(Leo starts to orb out.)
Piper: Wait a minute.
(He stops orbing.)
Leo: What's wrong?
Piper: If we can't have a normal date, can we at least have a normal exit? Enough with the disappearing guy stuff.
Leo: Okay.
Piper: Okay. (She unfreezes the restaurant. Leo stands up and kisses Piper. He walks away. Dan turns around and looks at Piper.) Check!
Commercial Break
[Scene: 415 magazine. Prue and Mr. Corso are walking down the corridor. Mr. Corso is talking on his cell phone.]
Mr. Corso: Talk to anyone who was in the movie theatre at the time. Well, find out what happened before the fight broke out. No, but I got a location which is where you should of been fifteen minutes ago.
Prue: Are you talking about the revival house on Larkon?
Mr. Corso: Not unless you know something I don't. Do you?
Prue: Well, maybe not about this.
Mr. Corso: Okay, you're gonna be working with one of our staff writers. Finley's running late to the interview so you're gonna have to sh**t him...
Prue: Finley? Finley, as in in Finley Beck? (They walk in a room.) Finley Beck?
Mr. Corso: You know him. And here I thought you were just a beginner.
Prue: Okay, he is the whole reason why this beginner got started. He is amazing. Have you met him?
Mr. Corso: Not in person. I just know him through his press.
Prue: Alright, well, (she grabs his book off the table) I mean, the pro's in this is mediocre at best. They didn't even cover his-his period in Germany. Not only is he a gifted photographer but he just seems so, so giving and warm.
Mr. Corso: A fan?
(The door opens and Finley is there yelling at someone.)
Finley: And you can tell him I said so. (He walks in.) Can we get started? I'm on a schedule.
Prue: Hi, I'm, um, Mr. Beck, I'm-I'm Prue Halliwell.
Finley: So when's this photographer blessing us with his presence?
Prue: That would be me.
Finley: You're twelve.
Prue: Oh, I'm good.
Finley: I'll decide that. Oh, please tell me you're not planning on sh**ting me in digital. Oh, no, no, no, not now, not tomorrow, not ever. Digital is for amateurs. Careful dear, your true colours are showing. Why don't you do something useful and get me some tea.
[Scene: Manor. Kitchen. Piper's there. Phoebe walks in the back door.]
Piper: Hey, honey, how was school?
Phoebe: Will someone please tell me what is up with guys?
Piper: You don't really expect me to have an answer for that do you?
Phoebe: Okay, so I have lunch with this guy from lab, right? He is totally melotonan boy.
Piper: That bad?
Phoebe: I'm keeping his number in case I have trouble sleeping.
Piper: That bad.
Phoebe: So I'm sitting there trying desperately not to fall asleep and all I kept thinking about was yesterday.
Piper: I know, we still have no idea who he was or how you vanquished him.
Phoebe: No, not that. Billy. The guy from the movie and I know that this is reality but why can't a guy like that exist in my reality? (Leo orbs in.) Here I am talking about the shortage of perfect men and in orbs yours.
Piper: I found one of the good guys.
(Piper and Leo kiss.)
Leo: Unfortunately, I'm here to talk about the bad guys.
Piper: No shortage of those.
Leo: Yeah, they sent for me last night so I could warn you.
Piper: Okay, fill in a blank. It's the demon of...?
Leo: Illusion. Apparently he uses magic somehow to create v*olence in society. They told me he's here to make San Francisco his trade. He's got a scar below his eye.
Phoebe: And a goatee? Not a problem, we vanquished him last night.
Leo: Are you sure? 'Cause they wouldn't of sent me.
Piper: Unless the demon isn't gone.
Phoebe: Okay, you call Prue, I'll go to the Book Of Shadows. We gotta get back to that revival house.
[Scene: In the movie theatre. Prue, Piper and Phoebe walk in. Piper freezes the audience.]
Piper: Alright, now what?
Phoebe: Well, when we last saw the demon, we vanquished him at 9:06...
(The demon appears on the screen.)
Prue: And now his in act three.
Demon: Actually I was just leaving. I should've known the disappearing demon routine wouldn't of fooled you for long.
Prue: Yeah, all you really did was piss us off.
(She tries to use her power on him but it doesn't work.)
Demon: Silly wiccan. Tricks are for kids.
Prue: Piper.
(Piper tries to freeze him.)
Demon: This is the world of Illusion and you girls are reality. You powers, unlike mine, can not cross between the two.
(Billy comes on the screen.)
Billy: Sally Mae? Sally Mae, where are you? It's getting dark an... (He notices the demon.) I thought you said you weren't gonna cause anymore-
Demon: Shut up!
Phoebe: Hey! (Billy looks at Phoebe.) Oh my God, I think he's looking at me.
Billy: Hi.
Phoebe: Hi.
Prue: Okay, I hate to put a dampener on your little love connection here, sis, but we need to kick some ass.
Demon: Oh, is that what you're gonna do? How cute. How clever of you. (Phoebe smiles and winks at Billy.) Any idea on how you intend to do that? Or are you just gonna flirt me to death like your little tardy sister.
Billy: Watch your language in front of the ladies. Consider that a warning.
Demon: I'm sorry, was it the word 'sister' that bothered you? How about bitch. Does that go down easier?
(Billy jumps on the demon and they both come out of the screen and they roll around on the floor.)
Phoebe: Prue, stop him.
(Prue uses her power and the demon is thrown through the air. Billy stands up and he's still in black and white.)
Demon: You're off the screen. How did you...? Thanks for the inspiration, sport.
(He runs outside.)
Commercial Break
[Scene: Manor. Attic. Prue, Piper, Phoebe, Leo and Billy are there. Prue puts the Book Of Shadows on a table.]
Piper: So what does he want?
Prue: Well, it doesn't matter, right? Let's just get rid of him.
Billy: I don't mean to interrupt but is there a point in this scene where someone explains this part to me?
Piper: Phoebe, you brought this fictitious character back for a play date, you tell him.
Phoebe: You're right, we should of left him at the movie theatre, he would've really blended in there. Um, Billy, this isn't a movie. Uh, this is reality as in we're all real and you... I haven't quite figured that part out yet.
Billy: But you...
Leo: They're the good guys.
Prue: Right, okay, um, we know that the demon can go from the real world to the world of Illusion and now he can bring a buddy along for the ride. The question is what does he want?
Piper: Leo, they told you that his goal was to create v*olence in society.
Leo: Yeah, but they left out the how part.
Billy: He goes into movies. That's where he does it.
Prue: Does what?
Billy: First he... Where's the music?
Phoebe: Music? What music?
Billy: This is around the second act, right? When everything's about to be explained. Where's the music we're supposed to talk over, to build suspense and hide the exposition? Don't you just hate exposition?
Phoebe: Don't even get me started.
Prue: Alright, you said that he does something in the movie. Like, what, to the story?
Billy: No, to the audience. When they leave they're different, angry.
Piper: So that's his shtick? He casts a spell in the movies?
Leo: Must be how this demon spreads his particular brand of v*olence.
Phoebe: Wait, that's why he looked so familiar. He wasn't at the movie, he was in the movie.
Piper: So if he can use Billy's movie, then he can use other movies.
Leo: If he's gonna spread v*olence, he's gonna pray on people that are already open to it.
Prue: Alright, so he'll be in horror movies. I'll grab a paper, head out to the theatres that are playing those.
Piper: Okay, Leo and I will go with you.
Phoebe: I'll call Morris, give him a heads up.
Prue: Uh, Phoebe, maybe you should do something with Billy. You know, add a little techni-colour to him.
[Cut to the foyer. Leo, Piper and Prue are walking down the stairs. Prue's cell phone rings. She answers it.]
Prue: Hello?
Finley: Miss Halliwell.
Prue: Mr. Beck. (They walk towards the door.) Uh, how did you...
Finley: I realized I have photo approval.
(Piper puts on her coat.)
Prue: Yes, I'm totally aware that you have photo approval.
Finley: I want to see you.
Prue: Now?
Finley: Yes.
Prue: Well, no, see actually I'm not at home right now. (Piper helps Prue puts her coat on.) So maybe we can meet at the magazine later.
Finley: That won't work for me.
Prue: Later's not good for you?
Finley: No.
Prue: Well, when would be good for you?
Finley: (from outside) Now. (They all stand still.) Little late don't you think? I can see you moving. (Prue hangs up and opens the door.) Dark room would be where?
(He walks in.)
Piper: So that's Finley?
Prue: My hero. Well, I guess the plans has sort of changed.
Piper: Alright, we'll call you later.
(Piper and Leo leave.)
Finley: (from another room) Don't mind me. I'm just wandering through your house.
[Scene: Movie theatre. "Axe Husband" is playing. The axe m*rder finishes m*rder someone and the demon comes on the screen.]
Demon: How would you like to do that for real? I can get you out of here. Take you to a place where the movie never ends. (The audience start talking and wonders what's going on.) Simmer down. (Dust comes out of his hand and floats over the audience.) I'll get back to you in a moment. (to the axe m*rder) So, interested? (He nods.) Uh, as with most things, there is one catch. I get to pick three victims. They're choice little morsels and I think you'll find them quite powerless against your charms. Feel free to k*ll anyone you like on the way. Just get me those girls. (The axe m*rder walks out of the screen.) Now, ladies and gentlemen. Let's make your PG lives rated R. Who needs v*olence when you can make it yourself.
(The audience start fighting and yelling at each other.)
Commercial Break
[Scene: Manor. Attic. Phoebe's putting make-up on Billy. He's all colour now except for a little spot on his forehead.]
Phoebe: Sally Mae gets her hair caught in the car door right when the monster's about to get her. I love that part. Oh, I'm sorry. Not only have you seen it, you've lived it.
Billy: It's alright. I love to here what you think.
Phoebe: Okay, now you have to be careful not to say that because every girl will know you're not for real. (Billy smiles at her.) You make me feel like a kid again. I mean, I-I must of seen you... well, the movie a thousand times.
Billy: I'm glad you liked it.
Phoebe: Yeah, and even that ridiculous dialogue and that predictable story, you just... you made your character seem really real, you know.
Billy: Phoebe, I am those lines. That's how I was written. I don't exist outside that movie.
Phoebe: Until now.
Billy: I never minded. I always knew what scenes to show or form or what to say. But then he comes into the movie and I'm getting to write my own lines. Be more like you. I think you're swell, Phoebe.
Phoebe: Thank you, Billy.
Billy: But I don't know how this happened or how I'm supposed to be. Everything I've ever known, understood, touched, it's all been scripted. I had no choice but here you have options. Where to go, what to say, what to do.
Phoebe: Well, you're in my world now. What do you want to do?
(Billy takes off Phoebe's glasses and they kiss passionately. When they end the kiss, Phoebe notices his lips have turned back to black and white.) I almost forgot. (She starts putting the make-up back on his lips. The phone rings and Phoebe answers it.) Hello?
Morris: Hi Phoebe. Thanks for the heads up on the movie theatre thing.
Phoebe: What happened?
Morris: Mission multiplex. One d*ad, four injured, six in custody. Can you believe that?
Phoebe: You know what? At this point I think I would believe anything. Okay, thank you for calling but keep your eyes open. I think this day's gonna get worse before it gets better, okay? Alright.
Morris: Bye.
Phoebe: Bye. (She hangs up and then dials a number.) Piper, we found our demon.
[Cut to downstairs in the dark room. Prue and Finley are developing the photos.]
Prue: Um, you know, maybe you'd like to take those home. Relax, ponder, choose which one you'd like.
Finley: Maybe you'd like to be quiet while I see if I can save these things.
Phoebe: (from upstairs) Prue, is it okay to come down?
Prue: Not really a good time.
Phoebe: Okay, well I really need to demon-strate something for you.
Prue: Okay, what is it?
(Phoebe pokes her head around the curtain.)
Phoebe: Uh, once you finish your thing and I finish my thing, then we really need to go meet Piper and Leo to fix the thing that we saw at the...
Prue: Thing.
Phoebe: Exact... I love you. I'll be back upstairs.
Prue: Okay. (Phoebe leaves. Prue notices Finley looking at her.) Sisters.
Finley: Here. Print this one again. You need to flag a gradual fade on the wall behind the me and burn in the key under my chin. Would you like me to hold your hand this time? (Prue turns on the light. She puts a photo under a magnifying glass.) I figured out what's wrong with your photos, Miss Halliwell. Absolutely no depth.
Prue: Really? Now would that be the technique or the subject?
Finley: Excuse me?
Prue: I wish I could. Your work meant more to me then you will ever know and because of that, I have carried around this illusion of what it would mean to me to meet you and to learn from you and how that would make me appreciate your work even more, but now it is so hard for me to even look at your pictures because I think of the man who took them. And it is devastating to me to realise that the brilliance of your eye is completely destroyed by the ignorance of your mouth.
(The photo under the magnifying glass catches on f*re.)
Finley: See that's the thing about art, Miss Halliwell. If you leave your subject under the light too long, it burns.
(Finley leaves and starts to walk up the stairs. Prue grabs her camera.)
Prue: Mr. Beck. (He turns his head and she takes a photo.) Thank you.
Finley: You're welcome.
[Scene: Movie theatre. The movie with Bloody Mary in it is playing. Piper and Leo walk in.]
Piper: It wasn't much of a date last night. You wanna find a couple of seats in the back and make out before demon hunting? (The demon appears on the screen and dust comes out of his hands and floats onto the audience.) Okay, well, I'm okay, you're okay. Magic perk.
Demon: Didn't you hear the management? Please refrain from talking. Oh, well, I guess I'll have to k*ll you. Better yet. Mary, oh Bloody Mary. (Mary walks on the screen.) There's one of the girls that's been getting in my way. Don't s*ab her all in one place.
(Bloody Mary come out of the screen and heads for Piper and Leo. Piper tries freezing her.)
Piper: Okay, uh, that didn't work but my legs still do. Okay let's go.
Commercial Break
[Scene: Manor. Attic. Phoebe and Billy are making out.]
[Cut to the dark room. Prue's putting things away.]
Prue: I'll be right there, Pheebs. (The axe m*rder chops down the curtain and then aims for Prue. She screams and ducks. She tries to use her power on him and starts to run up the stairs. He trips her and he raises his axe. Prue stands back up and he chops the stair. Prue kicks him in the face and runs out of the basement.) Phoebe! (She runs up the stairs.)
[Cut to the attic. Phoebe and Billy are still making out. Prue runs in.]
Phoebe: Hello, privacy.
Prue: Hello, axe m*rder. (Prue uses her power and moves a table in front of the door. The axe m*rder chops his way through the door. Phoebe and Prue stand behind Billy. Then they run towards the back of the room and Prue moves a dresser in front of them with her power. The axe m*rder continues to chop things with his axe. He rips off a dress that was hanging on a stand with his axe.) Oh, that was an antique, you assho- (Billy covers her mouth.)
Phoebe: He's very sensitive about the language.
[Cut to the foyer. Piper runs in and locks the door.]
Piper: (She wanders through the house while saying this.) (Panicking) Okay, d*ad woman with a Kn*fe on her way. Leo stayed behind to calm down the
Where is everybody?
(She hears screams from upstairs and runs up the stairs.)
[Cut back to the attic. The axe m*rder is still chopping through things. Prue grabs a chair and holds it up but the axe m*rder chops it. Then all of sudden he stops and falls to the floor. You see a piece of wood sticking in his back and Piper standing there.]
Phoebe: Pretty sneaky, sis.
(Prue goes over to Piper.)
Prue: Phoebe, does this guy look familiar to you?
Phoebe: Uh, yeah, kinda.
Piper: When Leo and I tracked down the demon, he sent some white pasty hag literally off the screen to k*ll us. I think he called her Bloody Mary.
Phoebe: Wait a minute, this Paul Bunyin with a labotomy, he's from "Axe Husband", I saw that last week.
Prue: We so have to monitor your viewing habits.
(The axe m*rder moves and they all scream and run down the stairs.)
Piper: We can't k*ll them, they're not real, they're fiction.
Prue: We can't k*ll something that doesn't exist.
(Bloody Mary appears from around the corner and they all scream. Billy grabs her and she s*ab him.)
Phoebe: Billy!
Billy: I have something in common with the bad guys. Run!
(Bloody Mary pulls the Kn*fe out. Everyone runs in different directions.)
[Cut to the bathroom. Piper runs in and shuts the door. She looks around for a place to hide. She gets in the shower and pulls the shower curtain across.]
Piper: I am being stalked by psycho K*llers and I hide in the shower.
(She hears the door open and she stands still. Then she hears footsteps getting closer and closer to the shower. She crouches down and you see a shadow through the shower curtain and an arm reaches up and pulls the shower curtain across. Piper screams. It's Prue and she screams too. They calm down and Piper gets out of the shower.)
Prue: Okay, okay, oh, oh, at least they're not in the bathroom with us, that's-that's kinda good.
(The door opens and Bloody Mary walks in.)
Bloody Mary: Pretty little girls.
(They scream again and run out the other door. They run around the corner and run into Phoebe and Billy. They all scream. They calm down.)
Phoebe: I think I figured out how to k*ll these guys. (You see the axe m*rder's shadow coming around the corner. He walks around the corner and Billy pounces on him.) Billy!
Billy: He can't hurt me. You run. I'll see if I can hold this one off.
(They run back upstairs into the attic.)
Phoebe: Okay, okay, so Billy said that the only thing he knows is what's written for him in those movies, so maybe this is the only way the psycho's know how to die is how they were k*lled on screen.
Piper: Well, how am I supposed to know that? I'm a romantic-comedy girl. Why go to the horror movies when they come to us?
Prue: Alright, that leaves you, Pheebs.
(Bloody Mary enters the attic.)
Bloody Mary: Miss me?
Phoebe: Okay, that's Bloody Mary and she was, uh, thrown out of a window. And that axe guy, he was, uh, he was, he was electrocuted. So go tell Billy and...
Prue: And see it ---- will stick his finger in a socket, sure.
(Prue walks around Bloody Mary and leaves the attic. Bloody Mary walks towards Phoebe and Piper.)
Piper: Okay, get her, get her.
Phoebe: We have got to do something about that complexion.
(Phoebe grabs her and flips her over her head. Phoebe then holds onto a beam above her and kicks Bloody Mary and she crashes through the window. Piper and Phoebe look outside and she disappears.)
Piper: One down and one to go.
(Suddenly, Prue comes flying through the doorway and lands on the ground.)
Phoebe: Prue.
Prue: He wasn't real receptive to the plan.
(She stands up.)
Piper: Does anybody else get tired of cleaning up after these guys? (The axe m*rder walks in. Piper sees a bucket of water and pulls it close to her. Prue then sees a heater on. Billy comes in.)
Billy: It's okay, (he rolls up his sleeves) the man is here to save the day. (He holds his fists up.)
Prue: Billy, it's the 21st century, it's the woman's job to save the day.
(Prue uses her power and the heater flies up over to the axe m*rder catches it. Phoebe throws the bucket of water on him and electrocutes him. He disappears.)
Piper: It's over.
Phoebe: Don't ever say that. Every time someone says that in the movies, something always...
(The doorbell rings.)
[Cut to downstairs. They all cautiously walk through the foyer up to the door. Piper slowly reaches out to grab the door knob.]
Morris: It's Darryl.
(They all jump. Piper opens the door.)
Piper: Hi. (Prue, Phoebe and Billy go in the living room.) Serious face. It's okay, we're too tired for pleasantries. Just tell us.
(Morris and Piper walk in the living room. Everyone sits down except for Morris. He looks at Billy confused.)
Phoebe: He's okay.
Morris: It wasn't just an outbreak at one theatre. I've got stuff going down on multiple locations. And on top of that, I got a series of m*rder like straight out of the movies. I think we're looking at a copycat.
Phoebe: Only there's more than one cat.
Prue: How much do you want?
Morris: Only what I need.
Prue: It's not someone imitating what happens on the screen. It's someone from the screen doing what comes naturally.
Phoebe: k*lling without scripts. So we, um... so let's just say we rewrote them.
Morris: So is it over?
Piper: Not even close. We don't know how many more are out there and we have no way of stopping the demon from tampering with the audiences, so...
Morris: You used the 'd' word again.
Piper: Sorry.
(Morris' pager beeps.)
Morris: I gotta get back to the station. Call me.
Phoebe: Thanks Darryl.
(He leaves.)
Piper: We have to find this guy before it gets any worse.
Prue: Yeah, only we don't know where he is.
Billy: I know where he's gonna be tonight.
Phoebe: Don't ya just love it when he does that?
Billy: The demon didn't just show up at my movie today. He's been there before. Every time we leave for a new city, he goes there too.
Piper: You mean he's traveling in print?
Phoebe: And tonight's the last night in this city. That's where he's gonna be.
Prue: Right, so the midnight show will be his final performance. We can't k*ll him in our world so we'll have to do it in his.
Piper: You mean, go into the movie? Can we even right a spell for that?
Phoebe: I could probably whip up a potion or something.
Piper: Well, how about two. One to make sure we can get in and one to make sure we can get out.
Prue: Phoebe's pharmaceuticals.
Phoebe: (to Billy) That means I'm gonna have to leave you there.
Billy: So, you'll always know where to find me.
Prue: So let's go to the movies.
[Scene: Movie theatre. Prue, Piper, Phoebe and Billy walk in. Sally Mae's on the screen. The same guy as before is asleep in the front row.]
Sally Mae: Billy, you're back. Just in time. Well, this is the part where we're supposed to be... You brought company. Oh, Billy, how could you? We were going steady. And you... you pinned me.
Billy: That's because the writers told me to, Sally Mae. I mean, you're a nice girl and all but... (he looks at Phoebe) Anyway, these people, they're here to help us.
Piper: Phoebe, do you have the potion?
Phoebe: Mmm hmm.
(She hands them little jars of green potion.)
Prue: Oh, couldn't you at least of made it look like it tasted good?
(Billy and Phoebe take the lids off the jars and clink them together. They drink it and throw the jars behind them. Billy walks in the movie and holds out his hand for Phoebe. Phoebe walks in the movie and looks at herself. She laughs.)
Phoebe: Check me out. I'm retro.
(Piper drinks her potion.)
Piper: Ugh, it tastes like an ass... (Billy gives her a look.) phalt.
(Piper goes in the movie. The demon walks on the screen.)
Demon: And now for the final climax.
(The guy in the seat wakes up and pushes Prue on the floor. He goes to jump on her but she kicks him in the stomach.)
Piper: He's under a spell.
Prue: Piper, behind you. (Piper turns around and punches the demon in the face.) Deep down I know that you're an innocent so I can't really k*ll you but I can... (Prue uses her power and throws him across the room.) Sleep tight, film boy.
Demon: You're outta your league. In fact, you're outta your world. Didn't anybody ever tell you what happens once the movie ends if you're still in it? No? Well, I'd love to explain it to you but we're out of time.
Piper: Prue?
Prue: Piper, Phoebe, get out of there quick.
(Phoebe and Piper run towards the screen but smack straight into it.)
Piper: Oh!
Phoebe: Ouch.
(The movie starts getting dark.)
Piper: Prue, why is it getting dark? Prue, what's going on?
("The End" shows up on the screen.)
Commercial Break
[Scene: Movie theatre. Continued from before.]
Prue: Where are you? What can I do? (Prue astral projects in the projector room. The projectionist is asleep in his chair. She walks over to the projector.) Where the hell is reverse?
(She pushes a button on the wall and the movie rewinds.)
Phoebe: Prue?
(Prue astral projects back in her body.)
Prue: Are you guys okay?
Phoebe: Yeah.
Piper: Yeah.
Prue: Get outta there quick.
(Phoebe and Piper drink the other potion and walk out of the screen. They hug Prue.)
Demon: That's right. Run away you little witches. These are the mighty Charmed Ones. Ooh, why don't we run in fear.
Piper: Prue, I don't know what else we can do.
Demon: And you're supposed to be the perky one. You should really try not to be so negative. How does it feel to finally know someone you can't defeat?
Prue: I don't know, you tell me. (Prue uses her power and turns to picture head monitor off.) You know, if you leave a subject under the light for too long it burns.
(The film starts melting.)
Demon: No!
(The film melts.)
[Scene: Later on in the projector room.]
Projectionist: Thanks for waking me up to warn me about the film burning. I could've lost my job.
Piper: (to Prue) I guess you learnt something from Finley after all.
Prue: Yeah, I guess he did come in handy. You can love the work but not the man.
Piper: What if you love them both?
[Cut to Phoebe. She's talking to Billy. Billy's in the screen.]
Phoebe: I guess it's only fair. I got my first glimpse of romance from watching you on the big screen. Other girls deserve that same view. Thank you for restoring my faith in the male species.
Billy: Now all you have to do is hold our for one that's three dimensional. (Billy holds his hand up against the screen. Phoebe does the same. They start walking away and then look back at each other. They walk away.]
[Scene: Manor. Living room. Piper and Leo are cuddled up on the couch.]
Piper: You've gotta be kidding, the date was a disaster.
Leo: I had a great time. I especially liked the look on your face when the accordion player broke out in that song.
(Piper hits him playfully.)
Piper: Are you making fun of me?
Leo: No.
Piper: Yes. (They kiss.) It was our first date, I wanted it to be, I wanted us to be...
Leo: A normal couple?
Piper: Yes.
Leo: Well, you're a witch and I'm a Whitelighter. You know, busy, being called away are probably the only normal things in our lives.
Piper: Hmm.
(They kiss.)
[Cut to the doorway. The door is open slightly and Dan walks in.]
Dan: Hello, door's open.
[Cut back to the living room. Leo and Piper stop kissing. Dan walks in the foyer.]
Dan: Is anybody, uh...
(He sees Leo and Piper.)
Piper: I, uh... (Dan walks back outside.) No, Dan, wait. (Piper walks in the foyer. She notices he's holding a small box of stuff.) What's this?
Dan: This is yours. Some of the things you left over at my house.
Piper: Oh.
Dan: I kept them around because part of me was hoping that maybe... maybe that you'd come back. After last night I realised that I have to move on too.
Piper: Um, thanks.
(Prue comes barging through the door.)
Prue: Hey. (She sees Dan.) Dan, hi, um, are you...
Dan: Just leaving. I, uh...
Piper: Yeah. (Dan leaves.) Does it never get any easier? Okay, talk to me of something else. What happened at the magazine?
Prue: Oh, I had another run in with Finley. (They walk in the living room. Prue sees Leo.) Hey, you. (They sit down. Phoebe comes in.) Anyway, it all worked out.
(Phoebe sits on the same chair as Prue.)
Phoebe: Did you get to tell off the demon of crankiness again?
Prue: No, once was enough but my editor did love this sh*t that I chose of him. (She shows them the photo she took when he was on the stairs.) Said that it captured the real man. Speaking of, I will never see another horror movie again but I ran across this and thought...
(She gives Phoebe the video of "k*ll It Before It Dies".)
Phoebe: Prue, oh, Prue. I love it, I love it. I'm gonna go watch it right now.
(She runs out of the living room and up the stairs.)
Piper: Should we worry?
Prue: I-I think she's just saying goodbye.
[Cut to Phoebe's room. She's lying on her bed watching the movie. She's miming the words they're saying in the movie.]
End | {"type": "series", "show": "Charmed", "episode": "02x18 - Chick Flick"} | foreverdreaming |
Teleplay by: Brad Kern
Story by: Peter Chomsky
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Living room. Piper is lighting candles. There is a bottle of wine in an ice bucket on the coffee table. Music is playing.]
Prue: (from the other room) Piper? (She walks in and notices all the candles.) Oh. Expecting company?
Piper: You think? Prue, what are you doing here? I'm supposed to have the house to myself tonight.
Prue: Oh, God, I-I-I thought that that was tomorrow night.
Piper: No, no, no. I put it on the kitchen calendar way in advance, that's why Phoebe's at the library studying and you're supposed to be out on an assignment.
Prue: Yeah, well, I was all day and I was just downstairs in the basement developing these sh*ts that I took and actually was hoping to get your opinion on them. I guess now wouldn't really be a good time would it? (Piper shakes her head.) Although, Leo's not really here yet.
Piper: Alright, make it fast.
(Prue shows her the photos.)
Prue: Alright, so, so, the magazine asked me to capture faces in the city. So I went to the haight and I took these sh*ts but look at this man.
(She points to him.)
Piper: Yeah, so?
Prue: So he is in every single one of my pictures. I-I-I mean, I didn't really focus on him, I didn't even notice him until I got home but there he is in all of them just hanging out.
Piper: Well, maybe he's homeless.
Prue: But handing out fliers? I don't think so. And look at his face. He looks so sad and determined. (Leo orbs in.) Oh.
Piper: Okay, bye, bye.
Prue: Oh, oh. Alright, so, uh, I'm gonna go now and I'll be downstairs and work all night long an I'll be really quiet and you won't have to worry about me.
Piper: Okay.
(Prue hugs her and whispers in her ear.)
Prue: So, no sex without safe sex.
Piper: Thanks. (Prue starts to leave.) Oh, by the way, on the kitchen counter there's a birthday card for dad if you want to sign it.
Prue: Um, I don't. 'Night Leo.
Leo: Goodnight.
(Prue leaves.)
Piper: That's weird. I wonder why she doesn't want to sign d...
Leo: Hi. (He walks over and kisses Piper.) You wanna sit down?
Piper: Oh, why don't we go upstairs, since she's downstairs.
Leo: Okay, I know a faster way.
Piper: You do?
(They orb out.)
[Scene: Library. Phoebe's sitting at a desk highlighting pages in a book. She looks around, reaches in her bag and pulls out some potato chips. She eats them and a girl sitting a desk beside her hears her crunching. She looks over at Phoebe.]
Phoebe: Oh, I'm sorry.
Charlene: I won't tell if you won't.
(She shows Phoebe a packet of chips.)
Phoebe: Hey, hi, I'm Phoebe.
Charlene: I'm Charlene. Actually we've met. We even carpooled. Metaphysics 301, remember?
Phoebe: Oh, that's right and your dad is the professor of that class, right?
Charlene: Yeah, dirty rat, he gave me a C. We don't get along in anything. Even metaphysics. But I'm, hoping that'll change when I finish my thesis, get published, he'll finally have to take me seriously. I'll quit before I start telling you about my mother.
Phoebe: No, it's okay. I've been studying here for so long it's nice to have someone to talk to. So what's your thesis about?
Charlene: It's about the existence of demons in our world.
Phoebe: Demons?
Charlene: Yeah, I've been researching for five years to prove that they're not just myths like my dad thinks, that they actually really do exist. I've got proof right here.
Phoebe: It's very interesting.
Charlene: But you believe in them too don't you? I mean, you seem to in class. Certainly know a lot about them.
Phoebe: Uh, it's really late, um, and I really gotta go. Okay. (She packs up her books.) It was really nice talking to you, Charlene. Take care okay.
Charlene: Okay, see you around.
Phoebe: Bye.
Charlene: Bye, bye. (Phoebe leaves. Charlene stands up and walks over to the book shelves. She walks down the aisle and picks the 'Encyclopedia of Demons' off the shelf. A face of a demon is there.) Sorry, you scared me.
(She starts to walk away.)
Demon: Wait.
(He grabs her and she gets sucked in the bookshelf.)
Opening Credits
[Scene: Manor. Prue walks in the bathroom. Someone's in the shower. She walks over to the sink and wipes the fog off the mirror.]
Prue: Hey, Piper, will you do me a favour and feed the cat? I want to get down to the haight. (She gets her toothbrush and toothpaste.) You know, I wanna see if that guy is still on that bus bench. You know, I just couldn't stop thinking about him all night. I mean, there's no guarantee that he'll actually be there but if he is I wanna get a better sh*t. (She starts brushing her teeth and then Piper walks in.)
Piper: Prue, wh-what are you doing in here?
Leo: Piper, can you hand me a towel? (Leo pulls across the shower curtain and sees Prue.) Prue!
(Prue's eyes widen.)
Prue: Leo. (Piper throws him a towel.) Nice orbs.
Piper: Bye. (Prue continues to look at Leo.) Bye.
(Prue walks backwards into the door.)
Prue: Ow.
Piper: Let me help you, let me help you. (Piper opens the door and Prue walks outside.) Alright, go on, sicko.
[Cut to the kitchen. Phoebe is asleep at the table with her head resting on her books and highlighter still in hand. Her mouth is open and glasses are on crooked. Piper and Leo walk in.]
Piper: Phoebe.
(She blows in Phoebe's ear and Phoebe jumps. She looks at the clock.)
Phoebe: (panicking) It's 8:00, it's 8:00, I'm late for my finals.
Piper: Phoebe, whoa, relax, it's Thursday. Your finals are tomorrow.
Phoebe: It's Thursday?
Piper: Yes.
Phoebe: Today is Thursday. You sure? (Piper nods.) Okay, that's really good news.
Piper: Please tell me you didn't do another all-nighter.
Phoebe: I can't.
Piper: Phoebe.
Phoebe: What? Piper, what am I supposed to do? Hi, Leo.
Leo: Hey.
Phoebe: If I don't ace this final, I'm gonna flunk outta school because of all the demon hunting interruptions.
Piper: Still Phoebe, you have to take care of yourself. You have to get some rest.
Phoebe: After. Piper, I did not go back to college to fail at it, okay. So what do I have to do? Okay, I'm gonna go change and then I'm gonna go to the library. Now, if any demon or warlock att*cks, please just fend them off till Saturday. (to Leo) I have a question for you. Is it possible for someone to find proof that demons really do exist?
Leo: Mmm, I don't know, maybe. But even if anybody did, nobody would ever know about it anyway.
Phoebe: What do you mean?
Leo: Well, evil doesn't want anybody to know. It has a system for covering its tracks, protecting its identity. That's why demons disappear when you guys vanquish them.
Piper: Why do you ask?
Phoebe: Just curious. Okay, adios.
(Phoebe starts to leave.)
Piper: Wait, wait, Phoebe. Um, don't you wanna sign dad's birthday card?
Phoebe: Why? He never sends me one.
(She leaves.)
Piper: She's right, he doesn't to any of us. So why do I keep trying? Am I just a sucker for punishment?
Leo: No. You keep trying because you never give up hope. (He puts his arms around her.) That's one of the things I love about you. You never give up on us.
Piper: Were you close to you dad?
Leo: Uhh, well, that was long time ago. A different life time. I prefer to focus on the present.
Piper: So do I, which means I have to go, I have a dentist appointment. How long can you stay?
Leo: Uh, until they call.
Piper: Well, if they don't call before lunch, why don't you meet me at the club. I'll buy.
Leo: Well, you'll have to. Whitelighter pay sucks.
(They kiss and Piper leaves.)
Commercial Break
[Scene: Street. The man in Prue's photos is sitting on the bus bench. Prue walks up to him.]
Prue: Hi, uh, my name's Prue Halliwell.
(They shake hands.)
Cleavant: Cleavant Wilson.
(Prue gets her business card out of her pocket and hands it to him.)
Prue: I'm a photographer with 415 magazine and I'd just like to know if it's okay if I take your picture.
Cleavant: Why?
Prue: We're doing a feature called faces in the city and I would love to include yours.
Cleavant: Not interested. Although I would appreciate it if you would include this one.
(He hands her a flier.)
Prue: Tyra L. Wilson?
Cleavant: My daughter. She was m*rder six and a half months ago right here waiting for a bus. I'm looking for a witness.
Prue: That's why you were here all day yesterday.
Cleavant: That's why I', here every day. I have been since the police quit on us. I'm not leaving until I find somebody who saw what happened.
Prue: How can you be sure that you will?
Cleavant: I will. I have to be sure. So you gonna print that or not?
Prue: Actually it's not really up to me.
(A bus pulls up in front of the bench. Cliff stands up and starts handing the fliers to people getting off the bus.)
Cleavant: I'm looking for a witness, just looking for a witness. (He sits back down.) What?
Prue: You two must've been very close.
Cleavant: She was my daughter. It doesn't get any closer.
Prue: You know, I have a, um, a friend, a really good friend who's an Inspector, you know, maybe I can call him, see if they have any ideas who did it.
Cleavant: I know who did it. The punk who owns that pawn shop across the street, Gibbs. He k*lled my little girl.
Prue: Why?
Cleavant: Wrong place, wrong time. Everybody knows he did it. The problem is he's got everyone too afraid to talk.
[Scene: P3. Dan and Leo are punching each other up. Piper comes down the stairs.]
Piper: Hey! Hey! Hey! (Dan pushes Leo up against the wall. Dan gets ready to punch Leo in the face but Piper freezes them before he can.) Alright, you first. (She unfreezes Leo. Leo moves out of the way.) What the hell is going on here?
Leo: Don't ask me, he just came in here punching.
Piper: Dan did? Well, what did you do to him?
Leo: What did I do? Nothing.
Piper: Oh, come on, Leo, he had to have a reason.
Leo: Like losing you isn't an enough reason.
Piper: Alright, back to your position. Go on.
Leo: Are you kidding me? He's about to clock me.
Piper: I'm sorry, I can't help you with that. Let's go, let's go.
(Leo stands back where he was. Piper unfreezes Dan, Leo moves his head and Dan hits the wall instead.)
Dan: Ow! (He holds his hand in pain.) Piper, where'd you come from?
Piper: I'll be the one asking the questions. What the hell is going on?
Dan: I don't know, why don't you ask him.
Piper: I did, I mean, I will. I'm asking you first.
Dan: You know, what? I just gotta go.
(He leaves.)
Piper: Dan, wait. (The Whitelighters call Leo.) Oh, no you don't. They can wait.
Leo: I'm sorry, I have to go.
Piper: Leo! (He orbs out.)
[Scene: Outside the college. Phoebe ties up her bike. She starts walking and notices the police near by. She goes over to them. There's a crowd of people around.]
Phoebe: Excuse me. (She sees Morris kneeled down next to a covered body.) Darryl! (Morris walks over to her.)
Morris: Don't tell me. Demons right? Or is it warlocks this time?
Phoebe: What are you talking about, Darryl?
Morris: You're not here because of this?
Phoebe: No, Darryl. Contrary to popular belief, not every crime in this city is demonically related or Halliwell related for that matter. I was on my way to the library. What happened?
Morris: A college student. She was decapitated and her body was dumped here.
Phoebe: A college student? Any idea who?
Morris: Charlene Hughes.
Phoebe: Charlene.
Morris: You know her?
Phoebe: I saw her last night in the library.
[Scene: Late on in the library. Phoebe puts her bag on a desk and gets her books out.]
Charlene: Hey, Phoebe. (Phoebe's eyes widen.) Do you have an aspirin? I have a splitting headache.
Phoebe: Charlene. Uh, you're supposed to be, uh...
Charlene: Supposed to be what?
(A person walks straight through her.)
Commercial Break
[Scene: P3. Piper's cleaning up broken glass and talking on the phone.]
Piper: Okay, just tell Dan that I called again, okay. No believe me, he knows what it's about. Thank you. (Piper hangs up. Phoebe comes down the stairs.) They're both ducking me.
Phoebe: Who both? What happened in here?
Piper: Dan and Leo. I found them in here beating the crap out of each other and neither of them will tell me why.
Phoebe: Whoa. Well, I hate to top that but I am dealing with a ghost who doesn't know she's a ghost. She thinks she's still alive.
Piper: Huh?
Phoebe: Charlene. She's a student that I know... or knew. The police found her body behind the library. About twenty feet away from her head.
Piper: Eww.
Phoebe: So I went back to the library and I saw her ghost. You know, I tried to tell her but I-I just couldn't.
Piper: You're right, yours tops mine.
Phoebe: I just don't get it. How could someone not know that they're d*ad?
Piper: Uh, well, it takes them a while to accept, to get over the shock.
Phoebe: Why today of all days? I have got to study. Hey, I know, maybe you could help me out with this one and then I can take the next two ghosts, k?
Piper: Nice try, Pheebs, but you know how this works. That ghost came to you for a reason and more than likely it's to get justice for her m*rder so she can move on.
Phoebe: The other thing, I think a demon actually k*lled her.
Piper: Oh, and you were gonna pawn this off on me.
Phoebe: Well, no, I was gonna tell you about the demon part sooner or later. Remember what Leo said about evil covering up its tracks? I think that's what happened to Charlene. She was convinced that she found proof that demons really do exist.
Piper: Well, then you have to tell her that she's d*ad.
Phoebe: I know, that's the problem. How do you tell someone that their life is over?
[Scene: Police station. Prue walks up to Morris.]
Prue: Darryl.
Morris: Oh, see, I knew I was right the first time. You guys don't give me nearly as much credit.
Prue: Credit?
Morris: First Phoebe, now you. I've learned by now if it looks like a duck, quacks like a duck.
Prue: Alright, Darryl. What are you talking about?
Morris: Demons. You're here to tell me what got Charlene, right?
Prue: Okay, number one - I have no idea who Charlene is, number two - I'm here to talk about Cleavant Wilson's daughter, Tyra.
Morris: Tyra? She wasn't k*lled by demons.
Prue: No, but you guys have an idea of who k*lled her, right?
Morris: We've got a pretty good idea.
Prue: Just a pretty good idea?
Morris: Alright, a very good idea. Why are you so interested?
Prue: Honestly, I'm not really sure. I just, I'm drawn to him for some reason and usually that means to help.
Morris: Unless you can magically turn up a witness, I doubt there's anything you can do. You can't, right? Magically?
Prue: No, if I could do that, Darryl, Cleavant wouldn't be out there giving up his life trying to find one.
Morris: You really wanna help? Convince him to give up trying, help him to move on. No one is ever going to testify against Gibbs. We've been down that road.
Prue: He is never gonna give up trying, Darryl. Alright, his daughter was his entire life and why are you guys so okay with giving up?
Morris: Look, Gibbs owns that street, okay. Tyra was probably g*n down because she saw something he didn't want her to see. And short of us finding a witness or him walking up on the street and confessing, there's nothing we can do.
Prue: Maybe there's something I can do.
[Scene: Outside P3. Piper is hanging up a poster on the window. Dan pulls up in his car and gets out. He's carrying some files and he walks over to Piper.]
Dan: I got your messages, all eight of them.
Piper: So you wanna tell me what the fight was about?
Dan: Actually, I was hoping Leo would but I gather he hasn't.
Piper: He's, uh, unreachable apparently.
Dan: You know, this is very awkward for me. I don't want to come across as the jealous ex but that's not what this is about. That's why I went to Leo first. See, I started it. I came at him very hard with this and...
Piper: What?
Dan: Do you remember my brother in-law who works for the state department, when I asked him about Leo? Well, he found something that wasn't right with Leo's army records.
Piper: Dan...
Dan: I know, I asked him not to go in any deeper than this, okay but he did and he sent me this anyway. Something very unusual. (He hands her the files.) Leo isn't who he says he is. What you do with it is all up to you. You know I'm still here for you. I'm still your friend.
[Time lapse. Piper and Prue are on their cell phones.]
Prue: What? Leo's married?
Piper: Yeah, there's a picture of her in his army file, being presented his purple heart after he died. She's pretty. Her name is Lillian. Prue, why didn't he tell me about her? Why would he hide that from me?
Prue: I don't know, sweetie, you have to ask him.
Piper: Well, I'd love to but he's conveniently out of the calling area at the moment. Leave it to me to fall in love with an angel who happens to be married. Prue, maybe he didn't tell me about her because he's still in love with her.
Prue: No, come on. How do you know she's even still alive?
Piper: Well, I sorta did a little internet search. I was thinking maybe I should go have a chat with her.
Prue: No, Piper, I don't think that that's a very good idea but, um, speaking of chats, I need to go talk to this pawn shop guy before he closes, okay. So we'll talk later?
Piper: Yeah, okay.
[Cut to the pawn shop. Prue walks in.]
Gibbs: We're closed.
Prue: Well, it's only a quarter...
Gibbs: I said we're closed. Get the hell outta here.
Prue: You know, you don't scare me.
Gibbs: Well, then you're stupid, lady. And stupid people don't last long in this neighbourhood. Ask around.
Prue: Are you thr*at me?
Gibbs: What are you? A reporter? Do you work for the D.A.'s office? What? I've seen you over there talking to that d*ad kids old man. I know what you want.
Prue: Is that right?
Gibbs: Yeah, and you ain't getting it. Nobody's gonna mouth on me. Nobody. You're just wasting your time. And you're trespassing.
Prue: You know, it must be something living off other people's pain. I hope it doesn't come back to haunt you.
(She uses her power and an accordion hits Gibbs. She walks outside and sees Cleavant handing out fliers. He sees her and he sits down on the bench.)
[Scene: Library. Phoebe walks over to a desk with books on it. Charlene appears.]
Charlene: Phoebe. (Phoebe gets a fright.) Sorry. Didn't mean to spook ya.
Phoebe: So to speak. Uh, Charlene, how are you feeling? Do you feel any different?
Charlene: Oh, my headache. Oh, I guess, yeah, I mean, I just feel kinda weird in general.
Phoebe: I think that's to be expected. (The librarian looks at Phoebe strangely as she can't see Charlene.) Oh, I-I think she's mad at us. Why don't we go over here so we can talk and not disturb anybody.
(They walk over near the shelves.)
Charlene: Is something wrong, Phoebe?
Phoebe: Um, yes, Charlene, actually there is something wrong. I-I think the reason that you've been feeling so weird lately is because you're, you're a ghost.
Charlene: Excuse me?
Phoebe: Yeah, I know that this sounds crazy and it's probably really hard for you to accept but think about it, Charlene. When was the last time you ate something, or were hungry for that matter, or slept? I mean, are you tired right now, Charlene? Are you even tired?
Charlene: What are you saying?
Phoebe: I am saying that I think a demon k*lled you last night. That's what I am trying to say. The only reason I can see you is because I'm a witch and I'm supposed to help you.
Charlene: I think you're the one who needs help. Not me.
Phoebe: Look, you don't believe me, try picking something up. Now, you know as well as I do that neophyte ghosts can not channel their anger into moving material objects. Try picking up a book. See for yourself.
(Charlene walks closer to the book shelf and raises her arm. She hesitates. She puts her arm back down.)
Charlene: This is ridiculous. I am not d*ad. I have a full life ahead of me and I will finish my thesis and I will be published.
(She storms off.)
Phoebe: Charlene. Charlene, wait. (Phoebe looks at Charlene's notes on the desk. She turns the page and has a premonition of a demon attacking her with a sickle. The premonition ends and Phoebe gasps for air.)
Librarian: Shh!
Commercial Break
[Scene: Manor. Conservatory. Phoebe's on the chair reading the Book Of Shadows.]
Prue: (from the other room) Anybody here?
Phoebe: In here. (Prue walks in.)
Prue: Hey. Oh, good, I was looking for that. Wait, what are you doing with the book?
Phoebe: Oh, I'm looking for the demon that's gonna k*ll me. I just love getting those premonitions.
Prue: Oh, okay, what premonition? When?
Phoebe: About an hour ago. Right after I was trying to tell Charlene that she's d*ad.
Prue: I'm lost.
(Prue sits down.)
Phoebe: Oh, sorry, (laughs) wrong sister. Okay, clef notes version. She is a student who found proof that demons really do exist and this demon right here, Libris, chopped off her head and dumped her body behind the library because of it.
(Prue reads the page.)
Prue: There are a whole bunch of Libris demons out there. "Wherever humans have the potential to find unequivocal proof of the existence of demons."
Phoebe: Yeah, talk about your conspiracy theories.
Prue: Well, I mean, you just have to stop doing whatever it is you're doing, Pheebs.
Phoebe: I can't. Charlene's spirit can't move on unless I get justice for her m*rder.
Prue: So, what, by getting m*rder yourself?
Phoebe: Well, hopefully not. On the bright side I won't have to suffer through flunking out of college. So how was your day?
Prue: Not as bad as yours but it's gonna get a hell of a lot better as soon as I find the truth spell.
Phoebe: What do you need that for?
Prue: Well, to catch a m*rder who thinks he can get away with it.
Phoebe: So you're gonna use the truth spell to make him confess?
Prue: Exactly.
Phoebe: Not exactly. Prue, you can't do that. We can't use our powers to punish the guilty. We learnt that lesson the hard way, remember?
Prue: Yeah, but it's not the same thing, Pheebs. I mean, I'm helping a father with his grieving. I'm helping him to move on. It's more like protecting the innocent.
Phoebe: No, it's not, honey.
Prue: Phoebe, I see this man on the bus bench every single day and he's just waiting there hoping. Why was I drawn to him if I can't help him nail his daughter's k*ller?
Phoebe: Why were you drawn to him?
Prue: The look on his face, the pain.
Phoebe: The pain of a father's loss?
Prue: Maybe. I mean, I can't help thinking about dad and wondering if it hurts him as much not having his daughter's in his life.
Phoebe: I think it does.
Prue: Yeah, I wish I thought so too but you know, I keep bumping up against this whole theory that if it hurt him so much, where is he?
(Charlene walks through the wall.)
Charlene: Phoebe.
(Prue and Phoebe get a fright.)
Phoebe: Charlene. That's Charlene.
Charlene: You were right about me. I went home, I saw the folks crying, then I knew it was true. I've never seen my dad cry before. Not over me anyway. Then I got pissed. The demon did this to me. I wanna prove he doesn't exist anymore.
Prue: (to Phoebe) Your friend obviously.
Phoebe: Yeah, the d*ad one.
[Scene: Lillian's apartment. She gets a medal out of a small wooden box and shows Piper.]
Lillian: Leo's purple heart. He was a special man. He always went out of his way to try and help somebody, even before he shipped out. He was studying to be a doctor, you know.
Piper: Yes, I know.
Lillian: He would of been a great one too. You know, he had the most marvelous touch. It was gentle, sensitive.
Piper: Healing.
Lillian: Yes, exactly. A healing touch. That was Leo and they said that he was doctoring a wounded soldier when it happened. I'll never forget when they came to give me that news.
Piper: It sounds like you still love him.
Lillian: I'll always love Leo, in a certain way, for so many things. Including helping me to move on.
Piper: Move on? How'd he do that?
Lillian: Well, one night not long after he died, Leo came to me in a dream and he was bathed in the most brilliant white light that you could ever imagine. He said I was not to worry about him. That he was in a good place. He also said that I was to let him go, that there was another love out there for me to find.
Piper: Another love?
Lillian: Yes. Another doctor as it turned out. A wonderful man. He gave me two wonderful children, grandchildren, even a great grandchild. Leo was right.
Piper: Well, I think I've taken up enough of your time.
Lillian: But you haven't found what you came for yet.
Piper: Actually, I think I have. It's very nice to meet you, Lillian.
Lillian: You too, Piper.
[Scene: Manor. Living room. Prue, Phoebe and Charlene are there.]
Charlene: So I was walking down the aisle and I heard strange voices, whispers. It sounded like Latin. And then I went to pull out a book and... I don't know. It all went dark until I was back in the library again with that terrible headache.
Phoebe: And you didn't get a chance to see the demon?
Charlene: Don't remember.
Prue: Alright, well, if it was Libris, he must of grabbed her in the aisle and taken her somewhere else to, you know... (She motions with her hand to show that her head was cut off. Charlene's eyes widen.) Sorry.
Charlene: That's okay. I'm over the shock.
Phoebe: The question is how did he grab her? And this vanquishing spell isn't gonna do us much good is we can't catch him first.
Prue: Well, we're gonna have to do it in the library if we're gonna keep that premonition of yours from coming true.
Phoebe: Maybe I can retrace Charlene's steps and that'll bring him our into the open.
Prue: Phoebe...
Phoebe: And then just before he grabs me, you and Piper can use your powers to stop him and then we can vanquish him, easy as that.
Prue: No, that is way too risky.
Phoebe: How is it risky with two witches and a ghost to back me up? Prue, help me get my demon and I promise I'll do everything I can to help you get yours.
(The door opens and Piper walks in.)
Piper: I'm home.
(Prue, Phoebe and Charlene walk into the foyer.)
Prue: Come on.
Piper: Where are we going?
Phoebe: We'll explain on the way there. Let's go, let's go.
Piper: Who's that?
Phoebe: That's my d*ad friend.
[Scene: Library. Charlene's showing Phoebe her notes and Prue and Piper are sitting at another desk.]
Charlene: The last thing I wrote was under demonic acts. There.
Phoebe: You know, this is pretty accurate. You were really onto something here.
Charlene: Obviously.
Phoebe: Sorry. Okay, what was next.
Charlene: I went to find the encyclopedia. (Phoebe and Charlene walk over to the aisle and Prue and Piper follow.) There's the book.
Phoebe: I don't hear any voices. Okay, here goes.
(Phoebe raises her hand and pulls the book off the shelf. Nothing happens.)
Charlene: Maybe demons can see ghosts.
(The demon appears and pulls Phoebe into a portal-like thing and she disappears in the bookshelf. Charlene jumps in after her. The portal closes.)
Prue: Where is she, where did she go?
[Cut to the basement. Phoebe, Charlene and the demon come out of the portal. A sickle appears in the demon's hand. He gets ready to swing the sickle at Phoebe.]
Charlene: No!
(The demon turns around but can't see Charlene. The demon gets ready to swing the sickle again but Charlene grabs it.)
[Cut back to Prue and Piper. They hear noises through the vent.]
Prue: They're in the basement?
Piper: Uh, worth a try.
(Prue astral projects in the basement.)
[Cut to the basement. Prue appears.]
Prue: "Demon hide your evil face, (Libris swings his sickle and it gets stuck on an electricity wire.) Libris die and leave no trace."
(Libris pulls the wire and gets electrocuted. He disappears and his sickle drops on the floor. Prue astral projects back in her body.)
Charlene: That was close.
Phoebe: Yeah, thank God you were a quick study.
Charlene: At least justice was served. So guess that means I'm moving on. Bye Phoebe. Thank you for this. Thank you for helping me.
Phoebe: You're welcome.
(Charlene closes her eyes. She waits and nothing happens. She opens her eyes and they look at each other confused.)
Charlene: Why am I not moving on?
Phoebe: I have no idea.
Commercial Break
[Scene: Manor. Kitchen. Prue, Piper and Phoebe are there.]
Phoebe: I thought you said all we have to do is get justice for Charlene's m*rder.
Piper: I said maybe that is all you had to do.
Phoebe: You did not say maybe.
Piper: Yes I did.
Phoebe: I did not hear the word maybe.
Prue: Shh, shh. (Charlene floats in the kitchen.) You guys aren't helping.
Charlene: Are you sure that vanquishing spell really worked? I mean, maybe Libris isn't really gone.
Prue: You know, you're really getting good at that.
(Charlene floats to the ground._
Charlene: I'm just frustrated, that's all.
Phoebe: I told you she was a quick study.
Piper: Well, maybe Charlene's right. Maybe you didn't really vanquish him like the demon of Illusion.
Phoebe: No, no, he is definitely gone. I mean, the spell was specifically written for Libris.
Prue: Yeah, and he wouldn't of left his sickle behind if he were still alive.
Piper: But the question still remains. If justice was served, then what is she still doing here?
Charlene: Damn it! (She pushes plates off the table and they crash on the floor.) Sorry.
(The flier about Tyra Wilson falls on the floor.)
Prue: Wait a minute. (Prue picks up the flier.) That's it.
Piper: What? What is it?
Prue: Maybe she has to get justice for somebody else.
[Scene: Pawn shop. Gibbs opens the door and walks in. He pulls up the blind and flips over the open sign. He pulls out fliers about Tyra out of the mail slot and throws it in the bin. Charlene walks through the door. She locks the door.]
Gibbs: Who's there?
(She flips over the open sign. Gibbs gets his g*n.)
Charlene: Gibbs.
(She picks up a guitar and strums some strings. He sh**t at the guitar and she drops it. She then types 'Tyra' over and over on the typewriter.)
Gibbs: Tyra. (She knocks his g*n out of his hand and then pulls the blinds up and down.) What the hell's going on?
Charlene: You know what's going on.
Gibbs: Who are you?
Charlene: Who do you think I am? (She pushes him on the floor.) How does it feel to be pushed around? (She takes the flier out of the bin.) m*rder. (She scrunches it up and puts it in his mouth.) I'm the woman you m*rder.
Gibbs: Leave me alone!
(He gets up and runs through the door. Glass flies everywhere.)
Charlene: Admit it. Admit you k*lled me or I will haunt every minute of every day of the rest of your miserable life.
Gibbs: Okay, okay. Okay, I did it. I k*lled you.
Charlene: Say it, say my name, damn it.
(Prue, Piper, Phoebe, Morris, Cleavant and two other policeman walk up to them.)
Gibbs: Tyra Wilson. Tyra Wilson. I k*lled Trya Wilson. I admit it.
Cleavant: I've been waiting a long time to hear you say that, Gibbs.
Prue: (to Morris) Did you get that?
Morris: I got every word.
(Morris grabs Gibbs.)
Gibbs: What the hell is this?
Phoebe: Justice.
Piper: What's the matter, Gibbs? You look like you've seen a ghost.
Cleavant: (to Gibbs) I hope you rot in hell.
(The police take him away.)
Morris: How's this connected to Charlene again?
Prue: It's a cosmic thing, Darryl. Don't worry about it.
(Morris walks away. Cleavant picks up a scrunched up flier of Tyra.)
Phoebe: Are you okay, Mr. Wilson?
Cleavant: Yeah, I guess. It's an empty feeling though, you know. This doesn't bring her back, it doesn't take away the hurt.
Prue: No, but at least you can move on with your life. Tyra would've wanted that.
Cleavant: I wish I could tell her how much I love her just one more time.
Piper: I think she'll get the message.
Cleavant: Thank you for however you made this happen. (Prue hugs Cleavant.) Thank you.
(He walks away.)
Charlene: Well, even though I could never seem to please my own father, at least I could please someone else's.
Prue: I know what you mean.
Charlene: I think it's time.
(Charlene disappears.)
Commercial Break
[Scene: P3. The Goo Goo Dolls are playing. Phoebe walks up to Prue and Piper.]
Phoebe: Hey. Ask me how I did on my finals.
Prue: How did you do on your finals?
Phoebe: Oh, thanks for asking. I aced it. They just posted the grades.
Prue: Yay, good for you.
Phoebe: Thanks, although I did get some perspective in the test. After what happened to Charlene, I just didn't seem important anymore. Um, speaking of perspective, (She holds up their dad's birthday card.) I signed dad's card.
Piper: Really?
Phoebe: Yes. Just in case he thinks of us too.
(Piper holds out the card for Prue.)
Prue: No, I definitely don't need to sign that. I mean, I realise that dad is never gonna be the father that Cleavant is and I just need to accept that and stop thinking that magically somehow he'll change.
(Leo walks down the stairs.)
Piper: Excuse me. (She goes over to Leo.) How'd you get in? I thought Whitelighter pay sucked.
Leo: I, uh, sorta didn't tell the bouncer I don't work here anymore.
Piper: Hmm, imagine that. Like you sorta didn't tell me you were married.
Leo: Uh, look, Piper, I didn't tell you because I didn't want you to get upset. It was literally a different life for me, one that has nothing to do with this one, with us.
Piper: I know that and I'm not mad. But you can't not tell me stuff because you think it might hurt. If we're gonna have a normal relationship, at least as normal as possible, then you need to be honest with me.
Leo: You're right. Sorry. Forgive me?
Piper: I'll think about it.
(They smile.)
Leo: So, uh, how much do you think Dan really knows?
Piper: I don't know. We'll worry about it later.
(They join Prue and Phoebe and watch the Goo Goo Dolls play.)
End | {"type": "series", "show": "Charmed", "episode": "02x19 - Ex Libris"} | foreverdreaming |
Teleplay by: Constance M. Burge and David Simkims
Story by: Constance M. Burge
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Kitchen. Piper's there reading some mail. Phoebe walks in still in her pyjamas.]
Phoebe: Morning.
Piper: Hey, Pheebs.
Phoebe: Uh, did you get the postcard from Dan?
Piper: Yeah, it sounds like he's having a great time.
Phoebe: What's the matter? Is something wrong?
(Phoebe looks in the cupboard.)
Piper: I got another letter from Dr. Williamson.
Phoebe: Williamson? Isn't he the specialist that treated you for Arroyo fever?
Piper: That would be him.
(Phoebe opens the pantry.)
Phoebe: Oh that was months ago. What does he want?
Piper: He wants me to come in for blood work so he can make sure I'm cured.
Phoebe: An angel brought you back to life. Trust me, you're cured.
Piper: I know, but I can't exactly tell him that.
Phoebe: So just throw the letter away.
Piper: I have been. He keeps sending more.
(Phoebe looks in the bin.)
Phoebe: Here's my Granola. (She pulls out an empty box of Granola.) What's it doing in the trash? I just bought this two days ago. Who eats this besides me?
Piper: Leo, but I'll replace it, I promise.
(Phoebe throws the box back in the bin.)
Phoebe: Um, Piper, um, I don't want you to think I mind because I don't but if Leo's gonna be living here then I think we should probably set some ground rules, you know.
Piper: Leo doesn't live here.
Phoebe: He eats breakfast here.
Piper: Uh huh.
Phoebe: A lot.
Piper: Maybe he just likes cereal. You really think he's here that much?
Phoebe: He's like the big brother I never wanted. (Piper gives her a look.) I mean, had.
(Prue walks in.)
Prue: Morning. Pheebs, um, Evan Stone, ever hear of him?
Phoebe: Hello. Red Death. I've only seen that movie like five times.
Prue: Yes, I know, I'm doing a photo sh**t with him today.
Phoebe: How much do I hate you right now? Unless of course the tabloid rumours are true. In which case I really hate you. He is supposed to be...
Prue: Shh! I do not want to know anything about him. I just wanna take his picture and leave. And I need to go get ready.
Piper: Uh, Prue, you don't think Leo lives here do you?
Prue: I mean, yeah, of course he does but, I mean, it's fine as long as you're happy, that's all I really care about, not that I was unhappy when I saw Leo all naked in the shower and just all wet.
Piper: Okay, so you guys just need to make up some ground rules, you know, what's acceptable and not acceptable and... (Phoebe and Prue leave the room.) I'm serious.
(She picks up the letter from Dr. Williamson and puts it in the bin.)
[Scene: Hospital. Dr. Williamson's in a lab talking on the phone. There are three monkeys in cages which are named 'Prue', 'Piper' and 'Phoebe'.]
Dr. Williamson: Of course I got your memo, you can't be serious. Have you read my report? Ninety days ago, Piper Halliwell was admitted here with Arroyo fever. Within twenty-four hours she was completely free of the virus even though she failed to respond to any of the treatments.
Dr. Jeffries: Dr. Williamson, I may be new to San Francisco Memorial but I am very aware of the project.
Dr. Williamson: And you're also aware of the fact that her recovery makes no clinical sense.
Dr. Jeffries: True. But your subsequent test failed to reveal anything out of the ordinary.
Dr. Williamson: Look, I just need more time. I've only injected the primate samples of the Halliwell's blood this morning.
Dr. Jeffries: Piper Halliwell is fine. I want you to forget about her and concentrate on people who are sick.
Dr. Williamson: I am. Somewhere in this blood could be the key to unlocking the universal antibody.
Dr. Jeffries: And if I agreed with you we wouldn't be having this conversation.
Dr. Williamson: You will not terminate this project.
Dr. Jeffries: I believe I already have.
(Dr. Williamson hangs up.)
Dr. Williamson: I'm not giving up. (He uses an eye dropper to put Prue, Piper and Phoebe's blood in a small jar. He then puts it in a syringe and places it on the table. He picks up a key and unlocks a cage.) Alright, group, let's see how this affects you.
(One of the monkeys, with Prue's power, makes the syringe fly and the blood gets injected in Dr. Williamson's neck. He quickly pulls it out the monkeys start jumping up and down in their cages.)
Opening Credits
[Scene: Hospital. Laboratory. Dr. Williamson is putting a band aid on his neck. The monkeys are still chattering and rattling the cages.]
Dr. Williamson: I said be quiet!
(As he says that, he turns around and points his finger. Bottles of blood fly up and smash against the wall. He looks his hand. Dr. Jeffries walks in.)
Dr. Jeffries: I have some time between appointments-
Dr. Williamson: Wait. (He puts his hand up and freezes him.) Dr. Jeffries?
(He walks over to the other side of Dr. Jeffries and unfreezes him.)
Dr. Jeffries: So I thought we might discuss... How did you get over there? (He notices the blood on the wall.) What happened in here?
Dr. Williamson: I had an accident.
Dr. Jeffries: Are you okay?
Dr. Williamson: I'm fine.
Dr. Jeffries: What happened to you neck?
Dr. Williamson: Nothing. Listen I need to get a hold of the Halliwell's immediately.
Dr. Jeffries: I told you that project's been terminated. Maybe you should take some time off. You've been under a lot of pressure and I understand your sister's been sick.
Dr. Williamson: And I (he grabs Dr. Jeffries coat with two hands) told you I need to get a hold of the Halliwell's immediately.
(He lets go of his coat.)
Dr. Jeffries: I want you cleared out of this lab by the end of the day.
(Dr Jeffries leaves. One of the monkeys uses Prue's power and makes a banana float over to it.)
[Scene: At a studio. Prue pulls up in her car. She gets out holding her camera bag and walks inside. A make-up artist is applying make-up to Evan Stone's face. Prue walks up to him.]
Prue: Evan Stone?
Evan: Yes.
Prue: Hi, uh, we have a date. I'm Prue Halliwell, 415 magazine.
(They shake hands.)
Lucy: Bring security, I think I found another tabloid photographer.
Prue: Me? Uh, no, no, no. I am not with a tabloid. (She tips out her purse.) I am with 415. (She finds her pass and shows it to her.) I have an appointment.
Lucy: Sorry. We've just had photographers sneaking in here all week. That's why I'm here. I'm Lucy. Evan's publicist.
Prue: Hi.
Lucy: And this is a temporary ID. This could be a problem.
Prue: Yeah, well, that's because I'm a new employee at the magazine. I mean, you can call Gil Corso, I'm sure he'll be happy to confirm it.
Evan: I'll keep an eye on her while you do that. Okay?
(Lucy walks away.)
Prue: So what happens if Mr. Corso's in a meeting? What, you send me flying with nagi kick?
Evan: I -----. You know aikido.
Prue: Yeah, well, it comes in, uh, handy with my line of work.
Evan: Photography business must be rougher than I thought.
Prue: Only when publicists don't trust temporary ID's.
Evan: Lucy's a really cool person. Newly promoted. Just struggling to control her new power, that's all.
Prue: I can certainly relate to that.
Commercial Break
[Scene: Manor. Piper's room. Phoebe's kneeling down with her head in the closet throwing clothes out on the floor. Leo orbs in and kneels down really close to Phoebe.]
Leo: (thinking it's Piper) Ever done it on a cloud?
Phoebe: I don't know, does a feather bed count?
(Leo quickly stands up.)
Leo: Uh, Phoebe. I thought you were Piper.
Phoebe: Well, it is her room.
Leo: I-I am so sorry.
Phoebe: No, no worries. I mean it could happen to anyone. Especially someone that doesn't have to knock to come in.
Leo: You're so right. This will never happen again, you have my word.
Phoebe: Okay, and you have my word that I won't tell Piper.
Leo: Good idea. I'm, uh, just leaving now.
Phoebe: Uh, she's in the kitchen.
Leo: Thanks.
Phoebe: Uh huh. (Leo walks out of the room. Phoebe gets a pen and paper out of her pocket and starts writing.) Item number two - orbing in unannounced.
[Cut to the kitchen. Piper's on the phone.]
Piper: You're calling me at home?
Dr. Williamson: Yes, Miss Halliwell. I would like you to meet me in my lab as soon as possible.
Piper: I'm not going anywhere.
Dr. Williamson: Look, you don't understand, this is very important.
Piper: Goodbye, Doctor.
Dr. Williamson: Look, I need your- (Piper hangs up.)
[Cut to the lab. Dr. Williamson uses Prue's power and the computer smashes against the wall.]
[Cut back to the kitchen. Leo walks in.]
Leo: Piper?
Piper: Leo, hi.
Leo: Everything okay?
Piper: I don't know, that was Dr. Williamson. He's been sending me letters, trying to get me back to the hospital for follow up tests and I'm not going. What are you doing here? Please don't tell me there's a demon running around.
Leo: No, I just figured since it was your day off, maybe you could spend it with me.
Piper: Oh, did you now.
(They hug.)
Leo: Yes, I did. Are you sure you're alright?
Pier: Yeah, I mean, it's not like he's ever gonna figure out that you were the one who saved me so I'm not gonna worry about it because there is nothing to worry about.
[Scene: Hospital. Lab. The phone rings. Dr. Williamson answers it.]
Dr. Williamson: Miss Halliwell?
Nurse: No, this is Nurse Jordan, your sister's nurse. I was wondering if you could...
Dr. Williamson: Is she okay?
Nurse: You need to get to your sister's room as soon as possible.
Dr. Williamson: I'll be right there.
[Scene: Studio. Prue's taking pictures of Evan.]
Prue: Uh, can you just lift your chin a little bit because there's a shadow. (He does so.) Thanks. (All of a sudden a monkey appears behind Evan.) What a cute monkey.
Evan: Monkey?
Prue: Yeah, he's right behind you.
(The monkey astral projects back in its body. Evan turns around.)
Evan: What are you talking about?
Prue: Okay, thanks.
Evan: You're leaving?
Prue: Uh, yeah, I'm finished.
Evan: We just got started.
Prue: Right, and, uh, I got a great sh*t, it was perfect.
(She walks outside. Evan follows her.)
Evan: Miss Halliwell. (She stops and turns around.) Your car keys.
(He holds them up.)
Prue: Oh.
(She goes to take them but he drops them. They both bend down. He picks them up, holds her hand and places them in her hand. A photographer is sitting in a car near by taking photos of them. They stand up and Evan leans close to Prue.)
Evan: You can take my picture anytime, Miss Halliwell.
Prue: Thank you.
[Scene: Manor. Kitchen. Phoebe's there. Prue walks in from the back door.]
Prue: Hey, you are never going to believe what happened today.
Phoebe: Yes I will. I saw Notting Hill.
Prue: What are you talking about?
(She points to card in a bunch of flowers that is on the table. Prue picks up the card.)
Phoebe: They're from Evan. I hope you're happy, you're stealing away my dream man. "Prue, what really happened? Evan." Something happened?
Prue: Yes, but not with Evan Stone. Is Piper here?
Phoebe: Yeah, she's in the living room with Leo, again.
Prue: (calling out) Piper. Leo.
Phoebe: So are you gonna tell me why he sent you flowers?
Prue: You know, I just have no idea.
Phoebe: And they say the youngest is the most naive.
(Prue leans over to smell the flowers but Phoebe stops her. Piper and Leo walk in.)
Piper: Prue, you're back early.
Prue: Yes, I am, that's because a monkey astral projected to me on the set today.
Phoebe: A monkey?
Piper: Astral projected?
Prue: Yeah, and, and it waved at me, okay, like it knew me or something. I think it wanted my help.
Phoebe: I think you're working way too hard.
Prue: You know, Phoebe, I saw it. Okay, and-and-and it had like an ID bracelet from a hospital on its arm.
Piper: Prue, honey, I don't think monkeys can astral project. (to Leo) Can they?
Leo: Not without powers. And it would have to have your power too, you know, to find you, magic to magic.
Prue: My power? How can it have my power? I have my powers. Alright, wait, so, so, you're saying that a monkey is sharing my powers?
Phoebe: Is that even possible?
Leo: After all you've seen and done over the last two years, you tell me what's impossible.
Piper: You said something about a hospital wristband?
Prue: Yeah, it had a rose on it.
(Piper gets the letter from Dr. Williamson out of the bin.)
Piper: Did it look anything like this?
(She shows her the rose on the letter.)
Prue: Yeah. Exactly like this. Wait, is this the same Dr. Williamson?
Piper: Yeah, he's been sending me requests for weeks and he called this morning and said he wanted to see me.
Prue: What?
Phoebe: Wait, you didn't tell me he called you.
Piper: Well, there was nothing to say. I hung up on him. Do you think he found out about our powers?
Prue: B.O.S.
Phoebe: B.O.S.? Oh, Book Of Shadows.
(Phoebe and Prue leave the kitchen. The Whitelighters call Leo.)
Leo: They say it's important.
Piper: Okay, um, come back soon.
Leo: Okay.
(They kiss and Leo orbs out.)
[Scene: Hospital. In a room. Dr. Williamson's sister is lying in bed. Her husband and Dr. Williamson is there.]
Larry: My wife is dying. She's 33rd on the waiting list, Curtis. She's not gonna live long enough to get a kidney.
Dr. Williamson: There's nothing I can do, Larry. I'm sorry.
Larry: No, no, let me tell you what's sorry, okay. I come here every day and for every minute that I'm with her, some, some scumbag criminal is freed. At least on a technicality. Curtis, listen to me. She is your sister, isn't there anything you can do?
(Larry starts to leave.)
Dr. Williamson: Larry, wait. (He touches Larry's shoulder and has a premonition.) Oh my God. (to the nurse) Get the crash team, get a gurney in here, this man's gonna have a heart att*ck. (the nurse looks at him) I said the crash team.
Nurse: Yes, sir.
(She runs outside.)
Larry: If anyone looks like they're gonna collapse it's you...
(Larry grabs his chest in pain. Doctors come running in.)
Doctor #1: Come on, let's go. Let's get in here. Get his leg. (They pull him up on the bed.) Okay, give me two cc's of adrenalin right now.
Nurse: (to Dr Williamson) How did you know?
Dr. Williamson: (ignoring her) He's gone into full arrest.
Doctor #2: Check his airway. Bag him. What's his pulse?
Nurse: Ninety over sixty, doctor.
Doctor #2: Let's start compressions.
(Dr. Williamson leans over and whispers in Larry's ear.)
Dr. Williamson: Listen, I'll ----- too, I promise. (He goes in the secretary's office.) I need a list of all the criminals who were admitted and released from the hospital jail ward.
Commercial Break
[Scene: Hospital. Prue, Piper and Phoebe walk in the lab. They see the mess.]
Phoebe: Wow, what a mess.
(They see the monkeys.)
Piper: Well, too bad we can't ask them where Williamson is.
Prue: That's the same monkey.
Phoebe: It looks like it knows you.
(They monkeys chatter at them.)
Prue: Okay, it looks like they know all of us. Come on.
(They walk over to the cages.)
Piper: He named them after us.
Phoebe: That's really scary.
PrueL Alright, we need to, uh, take a look around and make sure there's nothing else here that could expose us.
Phoebe: Well, maybe that's why the monkey projected to you, Prue. Maybe she was trying to warn you.
(They look through all the files on the table.)
Piper: All of these files say Halliwell.
Prue: Yeah, well, look at all these tests that he took. Okay, not just on blood that he took from you but blood that he took from Phoebe and me.
Piper: He has spent months trying to figure out how I survived the Arroyo fever.
Prue: This grant request says that he is looking for a universal antibody.
(Phoebe takes their blood out of a fridge.)
Phoebe: Maybe he thought it was in your blood.
(The monkey uses Prue's power and a banana floats through the air. The other monkey freezes it.)
Prue: Piper. Phoebe. Okay, so, um, I think it's safe to say that Dr. Williamson probably knows about us.
Phoebe: Do you think he's been injecting out blood into those monkeys?
Prue: I don't know but we need to get them outta here before somebody walks in, sees something flying and everybody finds out about us.
(They unlock the cages and Phoebe picks up a monkey. She has a premonition of Dr. Williamson with their powers.)
Phoebe: Okay, not only does Williamson know about our powers, but he's got one of them, telekinesis.
Piper: Wait a minute, you remember what he was like when I was sick. He had the CDC here, the media. If we don't stop him, the monkeys aren't going to be the only one's in cages.
[Scene: A drug dealer's apartment. The dealer is on the phone.]
Drug Dealer: You know what? Let me tell you something/ I don't touch the stuff alright. I do...
(All of a sudden the door flies off its hinges and Dr. Williamson is standing there. The dealer jumps up and drops the phone.)
Dr. Williamson: You Benny Ritter?
Benny: What are you doing? That's my door, man. (He grabs his g*n and Dr. Williamson makes him fly across the room. Dr. Williamson walks over to him.) What the hell is this?
Dr. Williamson: House calling.
(Dr. Williamson kneels beside him and gets out a syringe.)
Benny: No, don't.
(He injects the needle in Benny's arm and Benny instantly falls asleep. Dr. Williamson rolls him over on his stomach and lifts up his shirt. He's holding a scalpel in his hand.)
[Cut back to the hospital. In the corridor. You see Piper's hand appear from around the corner and she freezes a doctor pushing someone in a wheelchair. Prue, Piper and Phoebe walk around the corner pulling a laundry hamper. The monkeys are inside it. They approach the next corner and look around it to check if the coast is clear.]
Phoebe: Okay, Piper, now.
(Prue notices her and Evan on the TV.)
Prue: Wait.
(She uses her power to turn up the volume.)
Reporter: Who is this mystery woman in Evan Stone's life? Why did he send her flowers? Tune in tonight and fins out.
Phoebe: I thought you said nothing happened.
Prue: Yeah, he was just returning my car keys.
Piper: Hi, hello, bigger problem.
Nurse #2: It was more than a miracle. It was as if he was clairvoyant. He said his brother in-law was going to have a heart att*ck and ten seconds later he collapsed.
Nurse #3: And he could tell that just by looking at him?
Nurse #2: No, he touched him first.
Phoebe: I'd say premonitions for 500, Alex.
(Piper walks over to them.)
Piper: Excuse me. I'm a patient of Dr. Williamson. Do you know where I might find him?
Nurse #2: He was heading towards the records room.
Piper: Okay, thank you.
(She walks back over to Prue and Phoebe.)
Prue: So he's using our powers in public.
Phoebe: At least he's not hurting anyone.
Prue: Yet.
(They walk in the records room. Piper freezes the secretary.)
Phoebe: Dr. Williamson's long gone.
(Prue and Phoebe start to leave.)
Piper: Wait, wait, wait. He came in here for a reason. (They walk over to the computer.) It's a list of names and addresses of people who were admitted in the jail ward in the hospital. Benny Ritter is highlighted. (She prints out the page.) Access by Dr. C. Williamson.
[Cut to Dr. Williamson's sister's room. Dr. Williamson is there.]
Dr. Williamson: I've taken care of everything. You are going to be okay. A lot of people are going to be okay. (He picks up a small cooler off the side table and takes it out to reception.) Get my sister prepped and ready for a kidney transplant. Tissue typing and cross matching are confirmed. Unrelated living donor but an exact match. No questions, do it now.
(She does so.)
[Scene: Outside Benny Ritter's place. Paramedics are taking Benny to the ambulance on a stretcher. Police are there. Prue, Piper and Phoebe arrive. Morris sees them and walks over to them.]
Morris: Should I be afraid to ask what you guys are doing in this part of town?
Piper: We're not sure. What happened?
Morris: Some low life named Benny Ritter had a kidney removed, not that he could tell us that, he was found sedated.
Phoebe: Who is he?
Morris: A drug dealer. Busted last week out on a technicality.
Piper: Any idea who did it?
Morris: Med-techs said whoever gutted him, stitched him up, left a note, something about internal sutures secure, morphine for the pain.
Prue: He left a note?
Morris: Yeah, we'll definitely be looking for somebody with medical training.
Piper: You can't.
Morris: I had a feeling you were gonna say something like that. Wanna tell me why?
Prue: Only that it's supernatural.
Morris: I can't really tell them that.
Phoebe: It's the best we can do for now, Darryl. You're the one that said you didn't wanna know what we were into.
Morris: But I suppose you want me to keep you posted.
Prue: Yes, but more importantly just be careful.
(Morris walks away.)
Phoebe: So much for not hurting anybody.
Prue: Well, we have to find him before the cops do. Piper?
Piper: I keep thinking if I'd answered one of his letters...
Commercial Break
[Scene: Manor. Living room. Prue's on the phone. The monkeys are there.]
Prue: Mr. Corso, you know that I am not Evan Stone's girlfriend. Are you laughing at me?
(Phoebe runs in and grabs a monkey.)
Phoebe: Can somebody please help me?
(Piper comes in holding the Book Of Shadows.)
Piper: Okay, there is nothing in here about mortals or animals having powers, let alone how to get the powers out of them.
Phoebe: We'll find something, Piper.
(Piper picks up a monkey.)
Piper: Okay, um, when? Because Dr. Williamson has already stole somebody's kidney and what's gonna be next?
Prue: (in the phone) I'll explain everything just not now. Okay, bye.
(She hangs up.)
Phoebe: Except for the magic monkey part, right?
Prue: No, I thought I'd leave that part out.
(They hear voices and see camera flashes from outside.)
Piper: What's that?
Phoebe: Oh my God. Oh my God. Oh my God. It's photographers. (She looks out the window.) They're everywhere on the lawn.
Prue: Okay, close-close the curtain.
(Phoebe pulls down all the blinds. The doorbell rings several times.)
Phoebe: There are more coming. (to the monkey) I'll be right there. More are coming.
Prue: Do you think they saw anything?
Piper: Yeah, like stolen monkeys.
Phoebe: Who knows but at least they didn't see any magic. (She picks up a monkey. Leo orbs in.) Never mind.
(A monkey jumps in Leo's arms.)
Leo: Sorry.
Phoebe: Uh huh.
Leo: I'll ask later. Right now I've got some bad news about Dr. Williamson.
(Leo hears the reporters outside.)
Piper: That's the press, they're after Prue.
(They all walk in the kitchen. Piper hands Prue a monkey.)
Prue: Thanks.
Piper: So what's the bad news?
Leo: Well, simply put, Dr. Williamson is cosmically screwed. He's got your powers in his mortal body. It took generations to prepare you for that, you can handle it, he can't.
(Piper takes the monkey off of Leo.)
Piper: So what's going to happen to him?
Leo: He'll go mad.
Prue: Just from our powers?
Leo: Yes.
Phoebe: Wait, are you saying that out powers are in our blood and he injected himself with it?
Leo: That blood, yeah. See, the spell that you cast to cure Piper changed everything and now it's changing Dr. Williamson. See, your magic is meant for doing good but in the wrong person, somebody not ready for it, that need to do good things...
Piper: Could go bad?
Leo: Real bad. Piper, it's nobody's fault. Dr. Williamson chose his own path. This is not the consequence of anybody's actions except his own. Still, you have to find a way to stop him before things get worse.
Piper: If they haven't already.
(Piper hands the monkey back to Leo.)
Phoebe: Okay, I'm gonna make a potion to separate powers from witches.
Piper: They're monkeys.
Phoebe: With witches blood. I don't know what else to do. Maybe if it works on them it will work on Williamson.
Prue: Alright, I-I gotta figure out a way to get rid of these reporters otherwise we can't do anything and figure out a way to go talk to Evan.
Piper: I'm gonna go call Morris. He needs to know what he's up against.
Leo: If only to keep yourself from being exposed as witches.
Piper: Yeah, that too.
Prue: Alright, Piper, uh, I'm gonna need your help.
[Cut to the foyer. Piper opens the door. The reporters run towards them an start taking photos. Piper freezes them and Prue walks outside.]
Prue: Thank you.
(Leo walks up to Piper.)
Leo: You okay?
Piper: Well, considering our powers have combined to drive a man crazy and put who knows how many other people in danger, (she unfreezes the reporters) I'm terrific.
[Scene: Studio. Evan is on set with two other guys practicing a scene.]
Director: And cut! Terrific guys, print that.
(Evan walks over to Prue who's waiting near by.)
Prue: Hi. (He puts his fists up and playfully pretends to fight her.) Okay, I might hurt you. Evan, my front yard is filled with photographers. Okay, they are watching my every move.
Evan: Oh, come on, it'll blow over. You're a normal red blooded American girl with nothing to hide, right?
Prue: Right, but, uh, I can't really do my job with flash bulbs going off in my face every single second.
Evan: You can't fight back. That's like struggling in quicksand. Don't play. Look, whatever energy they're throwing at you just pass right on by. Because eventually that energy comes back around leads to someone else.
Prue: Yeah, uh, okay, I-I-I really appreciate the whole wax on wax off approach but couldn't your people just issue some kind of statement?
Evan: What, are you kidding me? You're working the bad boy image.
Prue: Evan, please.
Evan: You got a cell phone?
Prue: Course I do. (She hands it to him.) Who are you calling?
Evan: Celebrity peep shows. They use tipsters to tell them what's going on, who's doing who. I'm the tipster. (He dials a number.) Copnec Julius. Shh. (in a weird voice) Hello, this is Julius. Evan Stone and his new girlfriend are at the baby sound stage. They're going off to dinner. Hurry down there if you want to catch them. (He hangs up and gives the phone back to Prue.) I say you've got about fifteen minutes to get out of here.
Prue: You know you're going to get trampled.
Evan: I'll handle it. I'll just tell them I dumped you. I'm a bad boy, remember.
Prue: Sure you are. Thanks for the flowers.
Evan: You deserve them. Along with that quiet normal life you seem to want so badly.
Prue: Thanks.
(She leaves.)
Commercial Break
[Scene: Some guys apartment. Dr. Williamson is there cutting out his kidney.]
Dr. Williamson: You've been a very bad man, Mr. Mackinera. Selling g*n to children. How very heartless of you.
[Scene: Manor. Kitchen. Piper's looking out the window. Phoebe's making a potion.]
Piper: Prue must of done something to light a f*re under those idiots, they're leaving.
Phoebe: Good.
(Phoebe pours some potion in a baby bottle.)
Piper: Which one is that?
Phoebe: Number eight. I combined two separation of power spells with a human from animal extraction spell.
Piper: Okay, I have no idea what you just said.
Phoebe: I'm getting the us out of them. And if it works, then hopefully we'll find Dr. Williamson.
Leo: Well, first things first.
Phoebe: Right.
(Leo puts a bottle up to one of the monkeys and it drinks from it. Phoebe picks up a banana.)
Piper: Okay, Prue monkey, look. (The monkey sees the banana and it uses Prue's power and the banana starts floating towards it. Stardust rises out of the monkey and the banana drops to the ground.) What was that?
Leo: Delayed reaction.
Piper: Phoebe, I think you did it.
Phoebe: I did do it.
(The doorbell rings.)
Piper: Okay, here.
(Phoebe takes the monkey off of Piper. Piper answers the door.)
Morris: Tell me again I'm not hunting down some demonic son of a bitch.
Piper: No, I told you when I called. He's a human being.
Morris: With supernatural talent for butchery. In the past four hours, this Dr. Williamson has dropped off two more coolers at hospitals and he's not bothering to stitch up his victims anymore.
Piper: He's k*lling people?
Morris: Yes. Tell me where to find him.
Piper: I don't know.
Morris: We staked out all the hospitals but somehow he's getting in, dropping off his gifts and getting out without anybody seeing him. He's using your powers isn't he?
Piper: Yes, but we found a way to stop him.
Morris: Not if I stop him first.
Piper: Darryl, don't k*ll him.
Morris: Have you been listening to me? He may not give me a choice. The two people he k*lled, Frank McNamara and Arlen Jackson, they're criminals. But nobody deserves to die like that.
Piper: If you try to stop him he will k*ll you. (Morris leaves.) McNamara. (She gets the jail ward list out of a coat pocket.) Phoebe, Leo. (Leo and Phoebe walk in.) We have to call Prue. I know where Williamson is.
[Scene: Sally Dopler's place. She's fixing up computer parts.]
Sally: Bobby, been busy while I was gone. You got a buyer for these? 'Cause I've got somebody in county that might be able to move them for ya. Bobby!
(Dr. Williamson walks in holding a cooler.)
Dr. Williamson: Was that his name?
(Dr. Williamson puts down the cooler and gets ready to use Prue's power. Suddenly, he flies across the room and Prue, Piper and Phoene run in.)
Prue: (to Sally) Get out of here now.
(She grabs some computer parts and runs outside.)
Piper: Dr. Williamson...
Dr. Williamson: Piper.
Piper: Listen to me, you're sick. You're doing terrible things.
Dr. Williamson: I'm saving lives.
Piper: No, you're hurting people.
(She walks towards Dr. Williamson.)
Prue: Piper, be careful.
Piper: We have medicine for you. We think it might help.
Dr. Williamson: You know, I really have you to thank for all this. I couldn't do it without you.
Piper: Don't say that. Here, take this, it will make you better.
(She holds the potion out for him and he makes her fly across the room.)
Prue: Piper.
(He does the same to Prue. Phoebe kneels down beside Piper. He walks over near Phoebe. Phoebe stands up.)
Phoebe: We wanna help you.
Dr. Williamson: I don't want your help. I'm doing great things, I'm saving lives. And I got a lot of work to do.
Phoebe: Okay, uh, well, this is for the monkeys. (She punches him in the face.) And this is for my sisters. (She goes to kick him but he makes her fly across the room. She gets knocked unconscious. He steps on the potion and breaks the jar.)
Commercial Break
[Scene: Manor. Conservatory. Phoebe and Piper are there. A map is on the table and Phoebe is holding a crystal above it. Prue walks in.]
Prue: Any luck?
Phoebe: No, and I can't figure out another way to find him. All I have to do is locate him through his powers.
Prue: Yeah, but his powers are our powers.
Phoebe: Right, exactly, so the crystal keeps circling our street. And I keep finding us.
Piper: Okay, keep trying.
Prue: Guys, we need to talk about what we're gonna do.
Piper: What do you mean? I thought we already had a plan, I mean, we have the elixir.
Phoebe: No, not anymore, he trashed it.
Piper: So we'll make more.
Phoebe: With what? I have nothing else to use and the only shop that carries what I need closed four hours ago. And even if I made more elixir, Piper, we'd never get it into him. He's much stronger than we are.
Piper: Guys, he was my doctor. He tried to save my life, remember.
Prue: He could of k*lled us, Piper.
Piper: But he didn't.
Prue: No, but he might be out there right now trying to k*ll someone else. Look, we need to face the fact that he's one innocent that we might not be able to save.
Piper: But he needs help.
Prue: I know that, honey.
Piper: Okay, then, so what are you suggesting? (Prue and Phoebe look at each other.) You guys wanna vanquish him? You can't be serious, he's, he's not a demon, he's a human being.
Prue: Not anymore.
Piper: But, okay, we can't use our powers to punish anyway you know that.
Prue: Piper, we're not punishing, alright, we're saving lives. All you have to do is freeze him.
Piper: And then what? You're gonna move him in the path of an oncoming bus, drop a building on him, k*ll him? (Leo walks in.) Leo, tell me you found something, anything.
Leo: Sorry. I don't think there's anyway out of this one.
Piper: I don't believe this.
(The crystal points to a different place on the map.)
Phoebe: I found him.
[Scene: An abandoned building. Homeless people are sleeping there. Dr. Williamson is there. Prue, Piper and Phoebe arrive.]
Piper: Dr. Williamson, we can help you but you have to stop hurting people.
Dr. Williamson: If you say so. (He goes to throw the scalpel but Prue uses her power and it flies out of his hand. All the homeless people run outside.) You should of stayed away.
(He uses Prue's power and a circular saw blade flies straight towards them. Piper freezes it.)
Phoebe: Okay, Piper, freeze him, him, him.
(She freezes him but he fights through it.)
Piper: It's not working.
Prue: Whatever you do, do not unfreeze that thing.
(Dr. Williamson makes another one fly towards them and Prue uses her power to stop it and it continues to spin in one spot. They both use their powers to try and push it back towards each other.)
Dr. Williamson: You know, I'm getting pretty good at this.
Prue: Okay, he's really, really strong.
Piper: I don't know how much longer I can hold this.
Phoebe: Piper, you do not let that go, okay, you do not let that go!
Piper: Okay, yelling does not help.
Prue: Piper, when I tell you to, just let go.
Phoebe: What?
Piper: But...
Prue: We're done playing around. h*t the deck now.
(Prue makes the blade fly in a different direction. They all duck and the other blade unfreezes. The blade rebounds off the wall and flies straight towards Dr. Williamson and hitts him in the chest. Dr. Williamson pulls the blade out and collapses on the floor.)
Piper: No! (She runs over to him.) Oh, God. Please don't die. (She starts to cry.) Come on. Look at me, come on, come on. Please don't die.
Phoebe: Piper, honey.
Piper: I'm sorry.
[Scene: Manor. Living room. Phoebe's putting their files in the fireplace.]
Phoebe: Bye, bye, files.
Prue: Well, at least everything's back to normal... (she looks over at the monkeys who are sitting on the couch eating stuff out of a bowl.) for us.
Phoebe: At least we're safe.
Prue: Yeah, what about them?
Phoebe: Oh, they'll be safe tomorrow when I drop them off at the wild life conservatory. Hey, watch this. You guys, what do you think of evil?
(One monkey covers its eyes, the other puts his fingers in its ears and the other covers its mouth. Prue and Phoebe laugh.)
Prue: You're gonna miss them aren't you?
Phoebe: Yeah.
(Piper walks in holding her files.)
Prue: Hey, we've been wondering where you've been.
Phoebe: Oh, you know what? I have something for you.
(She gets a piece of paper out of her pocket and hands it to Piper.)
Piper: What is this?
Phoebe: Uh, ground rules for me.
(Piper reads the note.)
Piper: "I want a man who hates my brand of cereal so there'll always be some for me. A man who's love will catch me by surprise." What is this?
Phoebe: It's a wish list. I hope I find someone as great as Leo. You deserve the best and I think you found it.
Piper: So you guys don't mind of he's hanging around a lot?
Prue: We just want you to be happy, honey. (Piper walks over to the fireplace and puts her files in.) Piper.
Phoebe: Are you okay?
Piper: His name was Curtis.
Phoebe: Who's name was Curtis?
Piper: Dr. Williamson. I read it in his medical bio. His first name was Curtis. He never married because he was working all the time. Saving lives was more important to him than having a life of his own. Now his life is over and I can't help but feel responsible for that.
Phoebe: We tried to save him.
Piper: But we didn't.
Prue: Because we couldn't.
Piper: I couldn't.
(She leaves the room.)
Phoebe: Should we, uh...?
Prue: No, not this time.
[Cut to Piper's room. She walks in and closes the door. She sits on her bed and starts crying. Leo orbs in and sits down next to her. He puts his arm around her and pulls her close to him.]
End | {"type": "series", "show": "Charmed", "episode": "02x20 - Astral Monkey"} | foreverdreaming |
Teleplay by: Sheryl J. Anderson
Story by: Sanford Golden
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: Manor. Prue, Piper and Phoebe walk in the kitchen carrying shopping bags.]
Piper: Any day that brings new shoes is a good day.
Phoebe: Are you kidding? This was a great day. Yoga, pedicures, shopping, lunch. When have we had more fun?
Prue: It's nice to bond through something other than vanquishing for a change.
Phoebe: Yeah, but I gotta hand it to those pesky little demons. They sure have brought us closer together.
Prue: Maybe you should write them a thank you note.
(Prue turns on the TV.)
Reporter: Early this morning when an argument between neighbours at a block party turned into a street parole, residents of several apartment buildings...
Prue: Ugh.
(She turns off the TV.)
Piper: Some people are just crazy.
Prue: Doesn't it seem like this kind of stuff has been happening a lot here lately?
Phoebe: Random social v*olence is encouraged by a general D clan and ethical thinking. Well, according to my sociology professor. He said that we don't think about the big questions enough.
Prue: The big question is how did you stay awake through his class?
Phoebe: Not only did I stay awake but I actually enjoyed it. Which is why I bought this book. (She gets a book out of a bag.) It's filled with really deep profound questions, which would actually make a good bar game at P3.
Piper: Oh, great, solve the problems of the world while doing Jell-O sh*ts.
Phoebe: Okay, let's see if I can find a really good one. (She puts on her glasses and opens up to a page in the book.) Okay, what if a building was on f*re? Do you save five strangers or one sibling?
Prue: I thought that you said that these were hard questions. That's easy, sibling.
Piper: Of course.
Phoebe: Ditto. Okay, my turn, my turn.
(Phoebe hands Prue the book. The doorbell rings.)
Piper: Okay, don't answer anything until I answer that.
Phoebe: Okay, faster though, faster.
(Piper answers the door.)
Piper: Hi.
Leo: Hi.
(They kiss.)
Piper: Since when do you ring instead of orb?
Leo: Well, I'm just trying to respect everybody's space since the three of you have been so, uh...
(Prue and Phoebe walk in.)
Phoebe: Hey, Leo.
Leo: Tight these days.
Prue: So, um, are you here for all of us?
Leo: No, this isn't business. I was just about to invite Piper to an early dinner before her Paula Cole show.
Piper: Oh.
Leo: Oh, do you have other plans?
Piper: Uh, not exactly. We've just been hanging out all day spending some quality non-magic time.
Leo: Oh, alright, no problem. Rain check?
Prue: Um, Piper, why don't you go with Leo? I mean, we're totally cool with it. Pheebs and I will go to the club early, keep an eye on things.
Piper: I have a new assistant manager and she's all checked out so she can take care of things.
Phoebe: Still, we'll go and make sure everything's okay. We'll bring the book, maybe stir up some trouble.
Prue: How about stirring up some margaritas?
Phoebe: Ooh, that's good.
(They link arms and walk back in the kitchen.)
Piper: So it's a date.
Leo: Alright.
[Scene: On the street. Leo and Piper are in Piper's car. They pull up at a stop sign.]
Piper: I didn't mean that I didn't enjoy being with you, all I meant was that Phoebe and Prue would've enjoyed the restaurant too.
(A guy in a car pulls up behind them and starts honking his horn and yelling.)
Leo: I wish you were normal sisters, they're never this close.
Piper: And it's a problem that we are?
Leo: No. It just seems that sometimes I'm breaking up a great party when I wanna be alone with you.
(They guy behind them continues honking the horn.)
Piper: Leo, I have room for all of you in my life and in my heart.
Leo: I still need to know which room's mine because... (The guy drives around them and speeds around the corner.) Okay.
[Cut to the guy. He crashes into a Ute with crates of fruit in the back and the fruit flies out of it onto the road. Piper and Leo pull up.]
Piper: Oh, no. (The man that was driving the Ute gets out and storms over to the other guy driving the car. He pulls him out of the car and they start fighting. Other people try to break up the fight. One guy picks up a watermelon and throws it at Piper's car. It smashes all over the windshield. Piper and Leo get out.) What on earth? (They walk over near the fighting men. The guy throws another watermelon towards Piper and Leo but Piper freezes it before it can h*t them. Everyone else freezes except Leo and one of the four horseman is standing near by. The horseman looks around confused. He then sees Piper and Leo and starts running.) Leo?
Leo: I see him. (Piper runs after him.) Wait, Piper, you don't know what he is. (Leo runs after Piper.)
[Cut to the horseman. He runs around the corner of a building and suddenly a horse appears. He jumps on the horse and they disappear. Piper and Leo run around the corner and wonder where he went.]
[Cut to a field. The four horsemen on horses suddenly appear, galloping along.]
Opening Credits
[Scene: P3. Paula Cole is singing. Prue and Phoebe are sitting at the bar watching her. The bartender hands back the book to Prue. Paula Cole finishes her song.]
Paula: Thank you, P3, you've been great. Thank you.
(Piper and Leo walk up to Prue and Phoebe.)
Phoebe: Hey, I can't believe you guys missed Paula Cole, she was awesome.
Piper: We saw a pretty awesome show ourselves.
Prue: I thought that you guys went to dinner.
Piper: We did and then for dessert we did a little demon hunting.
Prue: What happened?
Piper: Well, there was this road rage thing and it was completely out of control, so I froze the entire street except for this a guy in a suit.
Leo: And he takes off. Your sister doesn't listen to me so we chase him down into an alley. Nothing, he vanished into thin air.
Phoebe: Wait, a demon that causes road rage?
Piper: I don't know if he caused it or was attracted by it.
Prue: Well, the kind of creature that gets off in that kind of thing would certainly explain why the city's been such a mess lately. He's probably some lower level mischief maker.
Leo: As soon as we figure out who he is and what he wants will be better for everyone.
Piper: Yeah, except for those of us who have to get rid of him.
Phoebe: Okay, we can sit around here being pessimistic or we can go to the house and check the Book of Shadows.
[Scene: A field. The four horsemen are there.]
w*r: What happened?
Strife: First of all I wanna let you all know that I was out on the field and things are looking good. The public is really responding.
w*r: But...
Strife: We might have a problem.
w*r: Did you screw up?
Strife: No, why would you assume that?
Famine: Please don't fight.
Death: It's all they know how to do.
Strife: A freezing witch saw me. Caught me working.
w*r: A good witch?
Strife: I would say so. She chased me, I think she thought she could stop me.
w*r: That is a problem.
Strife: Fixable. I think we can still move forward with our plan and still make our deadline.
Famine: But the deadline's 7:00 tomorrow night. The source is gonna...
w*r: Find her and k*ll her.
Famine: How are we gonna find her?
w*r: Set a trap. If she's a good witch she'll want to stop us. All we have to do is give her something she'll want to stop.
[Scene: Manor. Attic. Phoebe and Piper are there. Phoebe's flipping through the Book Of Shadows.]
Piper: Wait, stop right there.
Phoebe: The demon of cruelty.
Piper: Hardens the heart, corrodes the soul...
Phoebe: And is a woman.
Piper: Oh, oops.
(Prue and Leo walk in.)
Prue: Hey, so how is it going?
Piper: In big fat circles. We've been reading all night and there's no one in here that matches the guy I saw.
Phoebe: We do have a list of six potential matches though.
Piper: But there's no picture so we're sort of sh**ting in the dark. My best guess is the demon of anarchy.
Leo: Hey, you can't just guess. Alright, you have to be sure. It's very dangerous to engage an enemy unless you know who he is and what he wants.
Piper: Leo, honey, we have done this a couple of times.
Leo: No, I didn't mean...
Prue: You know, Leo, it would be great to know every single thing about our enemies but that's not always the case.
Leo: I know, but...
Phoebe: And if this guy is causing riots we can't just hang out and wait for inspiration, you know.
Leo: Okay, three against one. I-I just, I was working that's all.
Phoebe: Okay, so no offense to the Whitelighter but we're going with the Demon of Anarchy, right?
Prue: Yes, the Demon of Anarchy.
Piper: Okay, so this potion doesn't even require a double boiler.
Phoebe: And it's your basic iambic pentameter chant. It's a very nice simple vanquish.
Piper: Okay, so all we have to do now is figure out where this guys gonna show up next.
Prue: Alright, well, who do we know that would be keeping track of anarchy?
[Time lapse. Prue is on the phone with Morris.]
Morris: Yeah, Prue, but the department has all sorts of v*olence and the captain is calling in civil disturbances. In my professional opinion the whole city's lost its friggin' mind. We got street riots, looting, arson. We're two crimes away from being placed on tactical alert. You're not calling to tell me that all this trouble's because of you know what, are you?
Prue: Yeah, well, possibly. We're actually researching that right now. We were kinda calling for your help.
Morris: Look, I really can't leave right now.
Prue: No, no, no, I-I understand and we're not quite there yet but it would really help to know where the latest hotspot is.
[Scene: In a street. Police cars are there with emergency lights flashing. People are rioting. Prue, Piper and Phoebe get out of the car.]
Prue: Don't freeze them yet. Don't let him know that we're here.
Piper: Alright, alright.
Phoebe: What the hell is wrong with these people?
(They start walking through the crowd.)
Piper: I can not wait to kick this guys butt all the way back to... (Phoebe and Piper get split up from Prue.) Alright, alright, this way, this way. (Piper spots Strife standing near by.) That's him, that's him.
Phoebe: Well, let's go introduce ourselves.
Piper: Prue!
(She points to Strife. He sees them and runs off. Prue runs after him and Phoebe and Piper follow behind. Strife runs in an alley and around the corner where the other three horseman are.)
Strife: There are three of them.
(Prue runs around the corner.)
Prue: There's four of you?
(w*r walks towards her. She tries to use her power but it doesn't work. He grabs her. Piper and Phoebe come around the corner.)
Phoebe: Prue!
w*r: Stop or I'll snap her neck. (to Strife) Start the chant.
(Strife starts a chant in a weird language.)
Prue: (to Piper and Phoebe) Start the damn chant.
(Phoebe and Piper get a piece of paper out of their pockets and starts the chant.)
Phoebe, Piper: "Sower of discord, your works now must cease, I vanquish thee now, with these words of peace."
(Piper throws a potion at Prue and w*r's feet and smoke rises around them. A bright light appears and then Prue and w*r disappear into a vortex.)
Piper: Prue?
Death: What the hell?
(The horseman disappear.)
Phoebe: What just happened?
Piper: I think we just vanquished our sister.
Commercial Break
[Scene: Continued from before.]
Piper: She's gone.
Phoebe: We don't know that.
Piper: Phoebe, we k*lled Prue.
Phoebe: Piper, stop it okay. I don't wanna hear that.
Piper: You think I wanna say it? I'm the one who made the potion, Phoebe, it's my fault.
Phoebe: Okay, how about having a little faith. Alright, our magic has never let us down before.
Piper: Well, there's a first time for everything isn't there.
Phoebe: She's not d*ad.
Piper: How do you know that?
Phoebe: Because, Piper, I have no choice but to believe in us and in our magic. Come here. (She puts her arm around her.) Okay, look, if she were d*ad, we would see her spirit, right? So maybe because we brought the wrong spell something weird happened. Maybe it just sent them some place.
Piper: Where?
Phoebe: I don't know but I believe that we can figure it out and I need you to believe that too. We have Leo and we have the book and we have each other. We can save Prue. There's gotta be a way.
[Scene: Horsemen's Headquarters. The three horsemen are there.]
Famine: There's no way, he's d*ad and so are we.
Strife: He's not d*ad, he can't be d*ad. Maybe shifted to another plane but he can not be d*ad. Only the source can k*ll us. We are the anointed ones. The four horsemen of the apocalypse.
Death: The source won't hesitate to k*ll us of we miss our deadline.
Famine: We were so close. How did this happen?
Death: Somebody got sloppy and attracted a witch.
Strife: We will not fail.
Death: Other teams have failed. They blew it and they paid the price.
Famine: Which we will too if we miss our deadline. And then he'll k*ll us and take four willing souls from in there and anoint them. They'll be the next four horsemen.
Strife: Glad to see you two aren't giving up.
Death: We need w*r. He's the big g*n. He's the one who's gonna set nation against nation and do all the heavy work.
Strife: Then we'll get him back.
Famine: By 7:00?
Strife: We have to. Now just listen to me, alright.
Death: Who got vanquished and left you boss?
Strife: I have a plan. Do you have a plan? Oh, of course you have a plan, the same plan you always have. k*ll them all.
Death: You looking for a fight?
Strife: It's my specialty.
Famine: We don't have much time. Hear him out.
Strife: All we have to do is find out where he is. Let's pull out the old books, do some research. Alright, he has to be somewhere, we will bring him back. There's gotta be a way.
[Apocalypse - 3 hours to go]
[Scene: Manor. Attic. Leo's there. Phoebe and Piper walk in.]
Phoebe: Maybe if we break down the spell and the potion.
(Piper walks over to Leo and they hug.)
Leo: I am so sorry.
Phoebe: Did you find anything?
Leo: I've been looking.
Piper: And? Tell us you've found something.
Leo: Look, I have been through the whole book and I can not find anything that matches the four beings you described.
Phoebe: What about disappearances?
Leo: Nothing.
Phoebe: Okay, we have to look under botched vanquishes.
Leo: Phoebe, I checked it all. I have been through the whole book. There is no explanation for what happened to Prue.
Piper: But you agree she's not d*ad. (silence) I don't understand. Wait-wait, I, wait a minute, I-I can't do this. Phoebe tells me to have hope and you're telling me that there isn't any? I just need to know.
(A breeze blows through the room. Piper gasps.)
Leo: Are you okay?
Piper: She's here.
Phoebe: Who's here?
Piper: Prue. She went right through me, I felt her presence. It's hard to describe but didn't you see her in the wind?
Phoebe: She's in the wind?
Piper: No, Phoebe, it's like she-she spoke to me, she's alive.
Phoebe: Okay, are you sure because if she's in the wind doesn't that mean that she's a spirit?
Piper: No.
Leo: No, she could be on another plane trying to break through.
Phoebe: Okay, well, then we have to help her. (calling out) Uh, Prue? Prue, honey, are you still here? Help us find you, Prue. (The pointer on the spirit board moves.) H, E, L, P. Honey, how can we help you? (Phoebe gasps.)
Piper: What was that? Did she do it to you too?
Phoebe: No, it was something else. Or someone else. Evil. Cult.
(A bubble-like figure appears and lands on the spirit board. You see Prue's face in it for a second and it disappears.)
Piper: What is that? Prue?
(Then a red bubble-like figure appears and chases the other around the room.)
Leo: She's alive but she's in trouble.
Piper: Okay, so she's alive and if she can find us then we can find her.
Phoebe: So it must be the four suit that's after her. Maybe the combination of our magic did this to them.
Leo: Which means we need to figure out who those suits are.
Piper: Okay, Leo, you go ask your bosses whoever they are, whatever they are, who those guys are and how to get our sister back. Now orb faster.
(Leo orbs out. Phoebe walks over to the Book Of Shadows.)
Phoebe: Wind.
Piper: Wind?
Phoebe: What else? Can you think of anything else?
Piper: Mist.
[Scene: Horsemen's headquarters.]
Famine: I've checked everywhere. I can't figure out what happened.
Strife: I'm telling you it is the witches. They did this, they must know.
(A guy walks up to Death.)
Death: What?
Guy: You should know we're losing momentum across the board especially in w*r. Peace has broken out in several areas this afternoon.
(They guy leaves.)
Death: Damn it. If we're going down, we're not going alone. Let's find those damn witches and take them down too.
(w*r shows up on the TV.)
Famine: w*r. It's him, he's alive.
Death: Hang in there, partner. We'll get you back then we'll punish those witches.
w*r: No, cease f*re. Cooperation.
Strife: Wait, you want us to work with the witches?
w*r: Get them to free me.
Famine: How are we supposed to find them?
w*r: Ask the source.
[Scene: Manor. Conservatory. Phoebe and Piper are there. Piper's staring at the spirit board and Phoebe's taking notes from the Book Of Shadows.]
Phoebe: I still haven't found her ---- but I think I have an idea of where Prue might be.
Piper: And how to get her back? Because we have to do that before this thing hurts her.
Phoebe: Well, remember when Leo said that Prue might be on another plane? Well, maybe we banished her somehow. Now, there are eleven planes of existence.
Piper: Eleven planes? We don't have time to search eleven planes. Prue's been quiet for a really long time, maybe we're too late.
Phoebe: Piper, stay with me, okay. We can not give up.
(Leo orbs in.)
Piper: Did you find out where she is?
Leo: No, but I have a message from them.
Piper: She's not...?
Leo: No, no. While I was there they was contacted by their counter parts on the other side.
Phoebe: Are you telling me evil called good and good answered?
Leo: These suits that you're dealing with have the highest possible connections. Their bosses talk to my bosses.
Piper: About Prue?
Leo: About the whole situation. They wanna have a meeting with you.
Piper: Uh, what could they possibly want from us? They already have Prue.
Leo: Prue and their partner are trapped in another world between good and evil. And the only way to release them is for good and evil to cooperate. You have to work with the suits.
Piper: Are we allowed to do that?
Leo: Look, all they told me was to give you the message and to let you decide whether you wanted to do it.
Phoebe: Did they mention what they think we should do?
Leo: Free will. It's a big thing with them.
Phoebe: Wonderful. So where's the meeting?
Leo: You're gonna do it?
Phoebe: I'm sorry, Leo, did you show up to the party late? Of course we're gonna do it.
Leo: Phoebe, you can never get into bed with evil, you know that. It could be a trap.
Piper: Leo, thank you for your opinion but your bosses did say that they were leaving the decision up to us so maybe you should too.
Leo: Look, I can't. Alright, the last time that you went up against this evil you lost Prue. Alright, now you're gonna go up against it again? Both of you could be lost this time.
Phoebe: But we're not gonna go up against them, we're gonna work with them, right?
Leo: But they'll betray you. Alright, this is how evil works. This is why evil loves free will so much. Because humans use it to follow their heart. And evil takes advantage of that.
Piper: So Leo, what are our options?
Leo: You have to try and save her by yourselves.
Phoebe: But Leo, we don't know how. We have to work with them.
Leo: But you don't even know who they are.
Phoebe: We tried to find them but they weren't in the book.
Leo: Which means they probably aren't even demons or warlocks anyway.
Phoebe: Okay, then what are they?
Leo: In the hierarchy of demons. Ferocious, impossible to vanquish. And these went to extraordinary lengths to ask for this meeting. Who knows what'll happen when the four of them are reunited.
Piper: I don't care what happens, we just want Prue back.
Leo: So do I but this is not the way.
Phoebe: Leo, it's the only way we know. We have to save Prue.
[Scene: A field. Piper and Phoebe are waiting there.]
Piper: This is where we were supposed to come, right?
Phoebe: Right.
Piper: And it's not a trap, right, please tell me we're doing the right thing.
(The horsemen appear.)
Phoebe: Or we're making the biggest mistake in the world.
Strife: Thank you for coming. And you are?
Piper: Anxious to get this over with, let's go.
Strife: Are you in a hurry?
Phoebe: You stalling?
Strife: You want your sister back?
Piper: Do you want your friend back?
Strife: Let's do business.
(He holds out his hand. Piper hesitates for a moment but then shakes his hand. You hear a crack of thunder.)
Commercial Break
[Scene: Manor. Conservatory. Phoebe, Leo and the three horsemen are there. Phoebe picks up a plant off the table and the horsemen step back in alarm.]
Horsemen: Whoa, hey, what are you doing?
Phoebe: Just making room.
Strife: Of course. (Strife reaches in his coat and Phoebe gasps.) Taking notes. (He pulls out a pen.)
Phoebe: Of course.
Strife: Old habits are hard to break. I'm sure we can put that all aside and get this done.
Famine: Or die trying.
(Piper walks in.)
Leo: (whispers to Piper) You know, it's bad enough working with them but to bring them here.
Piper: To the manor where we're the strongest and safest or maybe we should've gone to their place not that they offered.
Leo: And why not? Hmm? Why give up home field advantage unless they're hiding something.
Piper: Of course they're hiding something, they're evil.
Phoebe: Okay, if we can reconstruct exactly what happened in the alley, we might be able to figure out what sent them away and undo that.
(Phoebe has placed some items on the table. Death moves one.)
Death: I was standing there.
Piper: No, actually, I was there, you were here.
(She moves them back.)
Famine: No, he's right. It was more like this.
(He moves them back.)
Phoebe: Okay, you know what? If we can't agree on this, we're not gonna get anything done.
Strife: Okay, it was more like this. I was here, (he moves one) here, (he moves another) and our missing friends were here.
(When he finishes moving them, there are five on the outside in a circle and one in the middle.)
Piper: Phoebe.
Phoebe: I see it, Piper.
Famine: What? What do you see?
(Piper and Phoebe take some long stemmed flowers out of a vase and place them on the table in the shape of a pentagram.)
Death: Pentagram, our lucky sign.
Phoebe: Actually, a pentagram is a sign of good energy until your side stole it.
Piper: Okay, is it possible that the five of us by forming a pentagram somehow created some weird magical energy field?
Phoebe: With Prue and your friend in the middle. There must of been a vortex. Okay, if we can figure out how we opened it, then maybe we can figure out how to open it again.
Strife: And release them.
Leo: And who knows what else.
Death: This is good, keep it up. I'll check things back at the office. Page me when you have the answer. Ladies.
(He leaves.)
Leo: I'm leaving too.
(Piper walks over to Leo.)
Piper: Where are you going?
Leo: (whispering) I'm gonna follow this guy back and find out who he is.
(Leo orbs out.)
Famine: What is he?
Piper: He is none of your business. Okay, since this is supposed to be a joint effort, what is your contribution?
Strife: Perhaps it was the combination of our chants that opened this vortex.
Phoebe: What language were you chanting in?
Strife: Actually it's a d*ad language that we sometimes use for ceremonial purposes.
Piper: How festive.
Strife: I'll tell you mine if you tell me yours.
Piper: Okay, while you two do that, I'll go remake the potion 'cause we're probably going to need it.
Famine: Mind if I watch?
Piper: Yes I do.
(Piper goes in the kitchen and Famine follows.)
[Scene: Horsemen's headquarters. Death walks down the corridor. Leo orbs in. Someone walks out of a room and sees Leo.]
Guy: Who the hell are you and what the...
(Leo punches him in the face.)
[Scene: Manor. Living room. Phoebe and Strife are sitting on the couch.]
Strife: It's your standard chant to destroy the common witch. Clearly you're no common witch though.
Phoebe: Thank you.
Strife: Okay, first line. I'll interpret. I call you servants of the unholy and then...
Phoebe: Now, being a bad guy and all, you wouldn't happen to be lying to me would you?
Strife: Being a bad guy and all, would you believe me if I told you no?
[Cut back to the Horsemen's headquarters. Leo's walking down the corridor wearing a suit and tie.]
[Cut to a room.]
Death: I don't like these numbers at all. I gave specific instructions to spread cholera. Especially in central Asia. What happened? I'm asking you a question. If somebody is vaccinating these people I wanna know about it. (Leo stands at the doorway.) Find out now. Small pox outbreak in Venezuela. Let it spread.
[Cut back to the manor. Kitchen. Piper notices Famine rubbing his neck. He has a tattoo there.]
Piper: What is that? Tattoo?
Famine: Yes.
Piper: What does it mean?
Famine: Nothing. Goes with the job. What are you doing?
Piper: I am recreating the potion I made for our first meeting. I think it might help get Prue and...
Famine: Our friend.
Piper: Back. So what are you four up to?
Famine: You really expect me to answer that?
Piper: Well, we're supposed to be working together and we don't know anything about each other.
Famine: I know you are a witch.
Piper: And you are...?
Famine: Not. Look, we just want our partner back, that's all you need to know. It's all business, just like it is for you.
Piper: No, she's our sister, it's completely personal.
Famine: Every mortal's weakness. That's why you always lose.
Piper: Hmm.
Commercial Break
[Scene: Manor. Living room. Strife and Phoebe are sitting on the couch.]
Phoebe: Well, this is great, we both did spells the same time but we did it on the wrong people. So I think that we... (she notices Strife staring at her) Am I the only one that's working here?
Strife: Have you always been a witch?
Phoebe: What? Why?
Strife: I don't know, there's something about you. You ever been a demon?
Phoebe: I think we need to get back to our chants.
Strife: Meaning yes?
Phoebe: No. I have never been a demon.
Strife: You know, we're not that different.
Phoebe: No, we're both trying to undo the other side.
Strife: I wanted the challenge.
Phoebe: I think I figured out how good and evil mix together.
Strife: To such powerful results.
Phoebe: I know how to undo that.
(The bubble-like figure appears and floats past Phoebe. She gasps.)
Strife: You alright?
Phoebe: No, uh, I'm a bit queasy.
(Phoebe notices the bubble-like figure and it floats over to the spirit board. The pointer moves to 4 then to H then to O. The red bubble-like figure appears and knocks the pointer on the floor. They both jump up.)
Strife: What's going on?
Phoebe: I don't know.
(The bubble-like figures fly around the room and knock a picture off the wall. They disappear.)
Strife: What did you do?
Phoebe: I didn't do anything, what did you do?
(Piper and Famine come in.)
Famine: What happened?
Strife: Hard to say.
Piper: Are you alright?
Phoebe: I'm not sure.
Famine: So do you have an answer yet?
Phoebe: Reverse polarity.
Famine: In the pentagram.
Phoebe: And in the chants. If we stand in opposite points and say the opposite words in chant, save instead of vanquish and so on...
Strife: It will reopen the vortex and get them back and we can get back to business.
Phoebe: And we can get on with our lives.
Strife: It's 6:00 now so why don't we go back to the office, get organised and we can all meet up at 6:30 sharp. We, uh, have an appointment at 7:00.
(They leave.)
Piper: Okay, what really happened?
Phoebe: It was Prue. She was trying to spell something out on the spirit board but all I got was 4 H O.
Piper: 4HO... Four hours? Maybe she feels that's all the time she has left.
[Apocalypse - 49 minutes to go]
[Scene: Headquarters. Leo's in a room looking around. He looks on the wall and notices the four horsemen's faces with their names underneath and numbers underneath that.]
Leo: It can't be.
(A guy storms down the corridor.)
Guy: Security bridge. Grab him.
(Leo orbs out.)
Death: Never mind him, keep working, we're running out of time.
[Scene: Manor. Kitchen. Piper and Phoebe are there. Piper's still making the potion.]
Piper: Are you sure they're willing to do their half?
Phoebe: They seem to want this as badly as we do. (Leo orbs in.) Great, you're here. We're done, we have everything figured out.
Leo: You sure?
Piper: Leo, what are you wearing? Where have you been?
Leo: I just followed the black tie back to his office.
Piper: Leo, they'll think we don't trust them.
Leo: And you shouldn't trust them, Piper. You wanna know who they are? They are the four horsemen of the apocalypse.
Piper: The four-four... That's what Prue was trying to tell us.
Leo: Don't you understand what's at stake here? If you save Prue, you will release the fourth horseman and bring about the end of the world.
Commercial Break
[Scene: Manor. Conservatory. Phoebe, Piper and Leo are there.]
Leo: I don't believe you.
Piper: Leo, it doesn't change anything, we would help the source himself if we thought we could get Prue back.
Leo: Listen, they wear the mark of the anointed ones. The omega. It means the end.
Piper: The tattoo on the neck?
Leo: Yes. Look, the missing horseman is w*r. You've been dealing with Strife, Famine and Death. They're gonna begin the apocalypse as soon as they're reunited.
Phoebe: I thought dodging the Y2K b*llet bought us more time on the whole apocalypse thing.
Leo: You know why nothing happened on New Years Eve? Because it wasn't the real millennium. The monks who converted the Julian calendar to the Gregorian calendar made some critical errors.
Piper: So when does the new millennium start?
Leo: Tonight. Approximately...
Phoebe: 7:00. Which is probably why they wanna meet us at 6:30.
Leo: Right, then all four horsemen can be in place to begin the apocalypse. You can not let that happen.
Piper: Leo, we know what we're doing.
Leo: No, you don't. You're thinking like sisters, mortal sisters.
Piper: Well, what are we supposed to think like?
Leo: Like the Charmed Ones. You have a duty.
Piper: To save our sister.
Phoebe: Look, Leo, we've made up our mind. We're gonna save Prue. It's not like we can b*at them without her.
Leo: Only the source can vanquish them, Phoebe. For failing. Think of the times the world has been on the brink. h*tler, the Cuban m*ssile crisis. Each time a team of horsemen has almost succeeded and then failed and been destroyed and replaced by a new team.
Piper: So then we'll make sure that they'll fail too.
Leo: They are closer than any team has ever been.
Piper: Then we obviously need Prue to b*at them.
Leo: Oh my God, you have not heard a thing I've said. Look, I love Prue too, you know that. But just like when you went to the future you saw that sometimes there are more important things than saving your sister.
[Apocalypse - 2 minutes to go]
[Scene: Alley. The horsemen are there.]
Famine: Give it up. If w*r's not back soon we're history. The source is going to burn us off the map.
Strife: We are not going down alone. Instead of just standing here, let's go hunt those witches down and k*ll them.
Death: I told you they'd double cross us. That's why they sent their man in to spy on us.
(Piper and Phoebe walk around the corner.)
Piper: We were doing research, it's just good business.
Death: Let's just k*ll them now.
Phoebe: Oh, but you need us. You can't end the world without us.
Strife: So you know who we are.
Phoebe: Yeah, and we came anyway. See, on our side of things we call that good faith.
Famine: Call it whatever you want. Let's just do it. Hurry. You ready?
Phoebe: Bring it on.
(Phoebe and Strife shake hands. Phoebe has a premonition of the apocalypse.)
Strife: Battle stations.
(They stand in their places.)
Piper: What did you see?
Phoebe: Let's just get this over with.
(Strife starts the chant. Piper then starts their chant.)
Piper: "Sower of discord, your help we implore..." Phoebe.
Phoebe: Leo's right. I saw what's gonna happen, Piper. We can't do this, we can't be selfish.
Death: Why aren't you two chanting? (to Strife) You keep going. (to Phoebe and Piper) Why did you stop?
Famine: We're running out of time.
Death: Do you know what you're doing? You're k*lling your own sister.
Phoebe: There's more at stake here then sisterhood.
Strife: Finished. Did they finish?
Piper: No, and we're not going to.
Strife: We had a deal. We shook on it.
Piper: That was a mistake in more ways than one.
Phoebe: We know what you want. And we're gonna make sure you don't get it.
Piper: Even if it means losing our sister forever.
(The vortex opens.)
Famine: Look, they didn't finish their chant, how can the vortex open?
Strife: The source is opening it.
(The horsemen start getting sucked into the vortex. Phoebe gets the chant our of her pocket.)
Piper: What are you doing?
Phoebe: Well, the vortex is open. If we can finish this before they're destroyed, maybe we can pull Prue out.
Phoebe, Piper: "I summon thee now, with these words of truce."
(Piper throws the potion in the vortex and Prue comes out. The horsemen disintegrate and the vortex closes.)
Piper: Prue, are you alright?
Phoebe: It's okay now, everything's gonna be okay now.
Prue: Thanks for saving my life.
Commercial Break
[Scene: P3. Prue, Piper and Phoebe are sitting in the alcove. They're watching everyone dance.]
Phoebe: Look at them. They'll all live to dance another day and what do we get? We saved the whole darn world. The least we can get is a thank you, you know.
(Leo comes up to them.)
Leo: Ladies.
Phoebe: Hey, Leo.
Leo: I know this has been hard on all of you.
Phoebe: Yeah, well, we sort of made it hard on you too.
Piper: Leo, it's just...
Leo: It's okay, Piper, we were doing our job.
Phoebe: Okay, the master of understatement, is there anything else?
Leo: No, I was just at a meeting and they told me that it was your act of complete selflessness that stopped the source's plan from going forward.
Prue: So the four horsemen were destroyed because Piper and Phoebe were willing to sacrifice me?
Leo: The horsemen's bosses said that it was a sign that there were still too much good in the world to make the apocalypse successful.
Piper: So are they giving up?
Leo: No, in fact they'll probably try harder from now on.
Phoebe: Do you wanna have a drink with us Leo?
Leo: No, you need time together. Just you three. I'll see you.
(He leaves.)
Prue: You know, you two faced an incredibly hard thing and, um, you made the right decision. Through your own free will.
Phoebe: I am so, so, so sorry, Prue.
Piper: So am I.
Prue: There's no apologies necessary. You were all just doing our jobs, I just have to deal with that.
(The bartender comes up to them holding Phoebe's book.)
Bartender: Everyone has to vote on this. What if a building was on f*re? Do you save five strangers or one sibling?
Prue, Piper, Phoebe: Five strangers.
End | {"type": "series", "show": "Charmed", "episode": "02x21 - Apocalypse, Not"} | foreverdreaming |
Teleplay by: Brad Kern, Zack Estrin and Chris Levinson
Story by: Brad Kern
Directed by: Shannen Doherty
Transcribed by: Shay Fitzpatrick
--------------------------------------------------------------------------------
[Scene: The Council. It is dark and foggy. There are five hooded men standing in a circle and a dragon warlock standing in the middle. There is a genie bottle on the ground next to him.]
Council #1: Council will remind you of the heavy losses emanating from this San Francisco. From what we have learned all of the witches there have been turned.
Dragon Warlock: I descend from a long line of Dragon Warlocks. When my father died, he left me two things. The power of flight and the passion and hatred of those who k*lled him witches. And I will not rest until I put all witches to rest.
Council #2: The council is intrigued. However, all who have used force of these witches before have failed.
Council #3: There is another way.
(The man clicks his fingers and smoke blows out of the bottle. A male genie appears.)
Dragon Warlock: A genie? You can't be serious.
Council #3: Tell them what you told me.
Genie: Well, actually that was kind of a just between you and me kind of thing.
Council #3: Tell it!
Genie: Right. Well, personally I think that the best way to destroy witches is not to treat them like witches at all. You treat them like humans. Most of your evil doers, naughty types, think it's best to deprive humans of what they desire. No. You wanna get them, you give them exactly what they desire. You grant them their wishes, it'll lead to their undoing.
Council #2: We don't know that. He's a genie.
Council #3: If council agrees how do we proceed?
Genie: Just make sure that the bottle cross paths with the witches and let el Genie grande, take it from there.
Dragon Warlock: With all due respect, Genie's only work for themselves. If he grants them three wishes, he goes free. How do you know that he won't betray you?
Councillor#1: Remember, getting your freedom does not make you free from us.
Councillor # 2: As long as you are a Genie we can find you anytime, anywhere.
[Scene: Manor. Conservatory. Phoebe, Piper and Leo are there. Phoebe is groaning while Piper is bandaging up her ankle.]
Phoebe: Check my to do list. It says bank, dry cleaners, pedicure. No where on the list does it say kick box a beast. Just walking along, minding my own business and wham!' it was like a random att*ck, a demonic drive-by.
Piper: Nothing in our lives is random anymore.
Phoebe: You know, we keep saying that but what does it really mean? Is there some kind of cosmic order to all this? Are we on some kind of list? And if so, how many points are we worth?
Leo: Phoebe
Phoebe: What? We've had a great year, we've wiped out a tonne of nasties. I just wanna know if we've tripped some supernatural alarm or anything. Owie! And are we ever gonna learn what it really means?
Leo: Well, not to sound all whitelightery but everything happens in its own time. You can't rush what's to be.
Piper: Okay, how about what already is. Dan is back in town.
Leo: So?
Piper: So what am I gonna tell him? The last time I saw him he handed me proof that you were k*lled in 1942. He's gonna expect a reaction from me.
Phoebe: How about "Hey Dan, you're right, I am a necrophiliac."
Piper: Phoebe.
Phoebe: Ow! Why does everyone always Phoebe me?
(Prue walks in.)
Prue: Hey.
Piper: Where are you off to?
Prue: Lunch date with Dick.
Phoebe: Dull Dick? Prue, you are too hot to have to duty date.
Prue: Yeah, well, all demon hunting and no play has made me a lot less picky. I gotta figure out a way to put some more balance in my life.
Piper: Yeah, but you don't need Dick. (Prue, Phoebe and Leo smile.) What I mean is you should be excited to see the guy you're dating. You look like you're off to the inquisition.
Prue: It's not that bad.
Piper: Okay, I have to go open the club. Are you gonna be alright, Pheebs? (Piper stands up.)
Phoebe: Yes. (Leo helps Phoebe up.) Thanks Leo. I'm gonna take a walk and try to loosen up my ankle. (They walk into the foyer and open the door. There is a box sitting on the doorstep. Prue picks it up.) What is that?
Prue: I don't know. (Prue opens the lid.)
Piper: Somebody got a secret admirer?
(Piper takes a bottle out of the box.)
Phoebe: Eww, it's so dusty. Who would send us something so dusty?
(Phoebe rubs the bottle, the lid flies off and the genie appears.)
Genie: Your wish is my command.
(They stand there in awe.)
Opening Credits
[Scene: Manor. Living room. Everyone's there including the Genie.]
Phoebe: I don't get it. You've been stuck in that bottle for 200 years, someone finally sends you to us and you have no idea who licked the stamp? I kinda find that hard to believe.
Prue: What, and a genie man standing in our living room wearing that offering to each grant a wish isn't?
Genie: Well, I don't get it. You win the lotto and you're asking for explanations?
Piper: Actually, we'd just like to know who to send the thank you note to.
Genie: All I know is that you rubbed and now I serve. Oh, look at that. Mmm. Snacks. (He walks over to the table and picks up a peanut.) What I wouldn't give to taste food just once. Smell it even.
Leo: I don't trust him. Genie's are tricksters by nature. They can and will do anything just to be freed.
Genie: What are you the butler? Come on, everybody's got wishes. I mean, most people spend their entire lives with their wishes never coming true. Here's your chance.
Phoebe: No way is this legit.
Genie: Oh, you don't think so? Well, I'll tell you what is. I stay until I grant three wishes. One from each of you, those are the rules. No wishes, permanent house guest. And I snore, I make house calls I can't even pay for, you think I'm gonna be putting the CD's back in the right case? No. Alright, talk amongst5 yourselves, I'll be over here, alright. I have a hunch that I'm going to be here for a while. It's a nice house.
(He walks into another room.)
Prue: He's enjoying this.
Piper: Alright, Leo, what else do you know about Genies?
Leo: Well, the good thing is they're not evil by nature, they can't harm you unless you wish for something.
(The genie is in the other room throwing a vase up in the air.)
Prue: Well, I mean, what is so dangerous about a wish?
Leo: Well, with genie's there's always a catch, an unseen consequence. For example, say a man wishes for a car, the next day his dad'll die and he'll inherit a car.
Piper: So as long as we don't wish...
Leo: You're free and clear.
Prue: Clear enough to make a lunch date?
Phoebe: If what Leo says goes, you two go on ahead. Leave the genie with the cripple, I'm not really in a wishing mood.
(Prue kisses her on the cheek.)
Prue: Thank you gimp.
(She leaves.)
Piper: You sure?
Phoebe: Yeah, I'll look through the Book and see if we can UPS him back to wherever he came from.
Piper: Alright.
(Leo and Piper leave the room. The genie comes back in.)
Genie: So, uh, what's it gonna be, master?
[Scene: Cafe Le Blue. Prue is there with Dick. They are looking at menus.]
Prue: So, um, have you been here before?
Dick: Oh, it's close to the office. I don't like to take long lunches.
Prue: What's good?
Dick: Caesar's fine, pasta's fine, fish is fine, steak is...
Prue: Fine.
Dick: Yeah, actually, how'd you know?
Prue: Wild guess. (mumbles behind the menu) What have I gotten myself into?
(The genie appears really tiny and stands on the top of Dick's menu.)
Genie: Hey, Dick.
(The genie jumps in Dick's mouth and goes down his throat. Dick then starts acting like the genie. Dick dips his fingers in the butter.)
Dick: Don't you just love butter? Oh, creamy goodness, to your health.
(He licks off the butter.)
Prue: Ah, Dick, are you...
Dick: Sick and tired of trying to pass myself off of being half way worthy of dating you. You betcha. Look, you and I both know I'm dull as mud. I can't help it. I know who I am. I know I'm not the guy you're looking for.
Prue: I...
Dick: The question is what are you looking for? I mean come on, how did we make it to date three and you really know I'm not the guy.
Prue: I don't know, you know, I mean, at this point I feel like dating's kind of a job, you know. I mean, you get none but you feel like it's your duty to stay out there. I just want to feel excited by love again. I wish it was like it the first time.
Dick: Your wish is my command.
(He clicks his fingers and you hear a chime.)
[Scene: Manor. Attic. Phoebe's flipping through the Book Of Shadows. Genie appears.]
Genie: Hi. How about great fortune? You want that?
Phoebe: After taxes, not worth it.
Genie: No? Land, power, beauty?
Phoebe: Nope.
Genie: Okay, who am I kidding?
Phoebe: Why are you not in this book?
Genie: Because the only way to get rid of me is to make three wishes. Come on, large or small. I do all kinds. Only no world peace, I can't do that.
Phoebe: The fine print of wishing. Your job has its limitations.
Genie: Yeah, well, so does yours.
(He looks at her foot.)
Phoebe: Occupational hazard.
Genie: Mmm hmm. Doesn't have to be. You could wish to be as powerful as you want.
(She thinks about it for a second.)
Phoebe: Nope, nope, I-I am not interested in that.
Genie: Oh, not interested, not interested in absolute power. You're a rocket scientist.
Commercial Break
[Scene: P3. Piper and Leo are sitting at a table.]
Piper: I mean, poor Dan. It would be so much easier if I could be honest with him but other than saying 'Leo is a whitelighter' what am I gonna tell him?
Leo: What more does he need to know?
Piper: Well, maybe it's about what I need to know. I mean, you've been watching me my whole life and I don't even know where you spend yours.
Leo: If there's anything you wanna know...
Piper: It's not exactly about knowing, it's more about experiencing and experiencing it with you. I mean, I have no idea where you go when you orb out. Do you have a house? Friends? A CD player?
(Leo smiles.)
Leo: It's not really like that.
(Dan walks in.)
Piper: Dan.
Dan: You have got to be kidding me.
(He starts to leave.)
Piper: Uh, uh, wait. (She stands up and walks over to him.) I think it's time we talked.
Dan: I don't think there's anything to talk about, Piper. (The genie appears near by.) It's your life.
Piper: Uh, Leo, can you give us a second please?
Leo: Yeah, yeah.
(Leo walks away.)
Dan: What do you expect from me? I really like to know because at this point I really don't know what to expect from you. I mean, how can you be with this guy after everything I found out about him. He's a fraud.
Piper: Dan, I know who Leo is. I always have.
Dan: What?
Piper: It's not that I don't appreciate everything you...
Dan: Wait, I've spent all this time worrying about you, worrying about who he is and you've known all along?
Piper: Well, uh, it's very complicated.
Dan: Complicated. Complicated.
(He leaves. Leo comes back.)
Piper: He's right, he deserves to know but what am I gonna tell him, what am I gonna do? I wish there was somehow he could just move on with his life.
Genie: Your wish is my command.
(He clicks his fingers and disappears.)
[Cut to the attic. Phoebe's sitting in a chair reading a book. The genie appears right next to Phoebe and scares her.]
Phoebe: Do not do that.
Genie: Is that a wish?
Phoebe: No, it is not a wish.
Genie: So, figure out how to get rid of me yet?
Phoebe: Yeah, all I have to do is get you back in the bottle. I have no idea how to do that but I will figure it out.
Genie: Well, wish and it will be so. Otherwise your only sh*t is if I volunteered to leave willingly and, uh, news flash, (he sits on the footstool where Phoebe's foot is resting and he hits her ankle) that's not gonna happen.
Phoebe: Oww!
Genie: I'm sorry. Look, could you stop trying to banish me just long enough for me to try a little something on you. It's-it's-it's wish free.
(The genie starts massaging her foot.)
Phoebe: Ow, ow, ow. Wow, ooh, oh. How'd you learn how to do that?
Genie: Little something a Sultan taught me.
Phoebe: Um, just out of curiosity, what would you wish for yourself? I mean, you must of heard them all, right? So what would be your wish?
Genie: That's easy. I wish for the little things, you know. Things people take for granted. I mean, the feeling of a sun tan, taste of ice cream, preferably chocolate. Sex. That looks like that could be a little bit of fun. To be human. Yeah, that's what I'd wish for. So what did you do to yourself here?
Phoebe: I was demon dueling. One of my kicks was a little off centre.
Genie: So, uh, did you finish them off with your scary witchy power?
Phoebe: No, that, that is my power.
Genie: That's it?
Phoebe: That and premonitions.
Genie: You're a witch with no real powers? I mean, no, you know, premonitions, those are, those are great but...
Phoebe: I know, I know. I mean, I would love an active power but what can you do?
(The genie stands up.)
Genie: You just done it. (Phoebe throws down the book, stands up and covers her mouth.) And I know exactly where to get one.
Phoebe: Was that a...?
Genie: A wish? Yeah, yeah it was. (He clicks his fingers and a choker disappears from around his neck.) And that's three and I'm free.
Phoebe: Three? That wasn't even one.
Genie: That's three. I'm gone.
(He starts leaving.)
Phoebe: Okay, if you're free then where's my power? (He leaves.) Hello? Ge...
[Cut to outside. Piper and Leo pull up in the car. Next door, Dan is talking to a real estate guy. He has a for sale sign on his lawn. Piper and Leo get out of the car.]
Piper: Um, I'll be right back.
(She walks next door.)
Dan: Well, thank you very much for your time. I appreciate it.
(They shake hands and the real estate guy leaves.)
Piper: What's going on?
Dan: I, uh, I got a job offer in Portland. I just thought I'd take it.
Piper: Just like that?
Dan: I just think it's time that I move on with my life, don't you? Look, I, uh, I really gotta go.
Piper: Right. (Dan goes inside. Piper walks back over to Leo.) Something's not right.
Leo: Well, it's probably for the best.
Piper: No, something he said when I asked...
(You hear Prue's car screeching down the street. Prue slams on the brakes and stops in front of the house. Prue gets out. She has a fringe and is wearing braces.)
Prue: Hey. (She runs up the stairs.) Piper, check it out. So the valet guy said that this cool ride is mine. Can you believe it? Ooh, who's the cute boy?
Piper: Prue?
Prue: Hey, are you okay? I mean, don't take this the wrong way but you're looking kinda... old.
Piper: And and you're back in braces.
(Piper and Leo look at each other.)
Phoebe: (from upstairs) Help! Is anyone home? Prue? Piper?
[Cut to the attic. Piper, Leo and Prue walk in.]
Leo: Phoebe?
Phoebe: I'm up here. (Phoebe is floating up in the air.) I can't get down. I don't know how I got up.
Commercial Break
[Scene: Manor. Attic. Leo's floating in the air and helping Phoebe down.]
Leo: I've got you.
Phoebe: Thank you, Leo.
Leo: No problem.
(They land on the ground.)
Prue: That is so totally cool. So do I get that power when I get old too?
Piper: Alright, let's get something straight. We are not old, we are just older than you are right now for some reason.
Phoebe: Wait a minute. Exactly how old are you?
Prue: Seventeen.
Piper: Seventeen? Prue was a nightmare at that age. Why would she wish for that?
Leo: She probably didn't. She probably only wished for something she could only get by being seventeen. Which explains why she has no memory of being older.
Phoebe: Yeah, but how is that even possible? I mean, it's so... (She starts floating again and Leo holds her arms.)
Leo: Alright, you know what? How about you just keep your arms down until you learn how to work the controls.
Phoebe: Got it. Good idea.
Piper: (to Prue) Are you sure you don't remember anything about witches? Genies? Dick?
Prue: No, but it sounds totally bitchin'. This is such a cool book. What is it?
(She starts flipping the pages.)
Piper: I'll tell you when you're older. Let go of it. Stop it. Stop it.
Leo: You guys have another problem. At seventeen, Prue didn't have her powers yet which makes you guys more vulnerable.
Phoebe: Yeah, especially if whoever sent the genie is a demon or something.
(You hear the front door fly open from downstairs.)
Dragon Warlock: Where's my power? I want it back.
Phoebe: Who is that?
Piper: A demon or something. (to Prue) You stay here.
Phoebe: You stay.
(Leo, Piper and Phoebe walk half way down the stairs.)
Leo: Remember what I told you about wishes and strings attached? That genie gave you a power but he must of stolen it from him.
Piper: So are we thinking demon or warlock?
Phoebe: I don't know.
(Prue comes down the stairs.)
Prue: Oh my God, who's the hottie?
Piper: Oh my God, get her out of here now. Go. (Leo takes her back upstairs. The dragon warlock breathes f*re at them and Piper freezes it and him.) Okay.
Phoebe: Okay, okay, alright.
(Phoebe hops down the stairs with Piper's help.)
Piper: Easy.
Phoebe: Okay, now what?
Piper: Well, we can't vanquish him if we don't know what he is.
Phoebe: So why don't I just fly him outta here and dump him somewhere.
Piper: I don't know, can you do that?
Phoebe: I have no idea but I can try to do that. I mean, I've always wanted an active power, right?
Piper: Uh huh.
Phoebe: So let's see what it can do.
Piper: Alright.
Phoebe: Alright.
(Phoebe raises her arms and she starts flying. She grabs the dragon warlock, he unfreezes and she flies outside.)
Piper: Phoebe?
(Phoebe flies above a park and drops him.)
[Cut to the attic. Piper's there looking in the book. Leo walks in.]
Leo: Your new little sister's in the bedroom checking out the clothes.
Piper: Nice to see some things never change. Uh, I think I found our f*re breather.
(Phoebe flies past the window.)
Phoebe: Uh, guys?
Leo: (reading from the book) Dragon Warlock... (Piper looks behind her but is not sure where the noise is coming from.) Most feared witch k*ller there is. He can fly, breathe f*re, (Phoebe flies past another window. Piper looks outside again but sees nothing.) has supernatural strength. You're gonna need the power of three to vanquish him.
Piper: Which we don't have right now. (She starts walking towards the window.) If I ever find that genie again, I'm gonna wish him into oblivion. (Phoebe flies past the window again yelling.) Did you hear that?
Leo: Hear what?
(Suddenly, Phoebe flies straight towards the window and crashes through it. She slides across the floor. Her hair is all messed up.)
Piper: Oh my God, are you alright?
Phoebe: Uh huh.
(Piper helps her up.)
Piper: Alright.
Phoebe: I'm great.
Piper: Okay, alright, oh, oh, alright.
Phoebe: Flying's awesome, it's the landing part that's a bitch.
Piper: Yeah. Alright, Leo, how do we fix this?
Phoebe: Oh, I know how to fix it. According to the book we've gotta get the genie back into the bottle. It's the only way to undo the wishes and make everything back to normal.
Leo: Yeah, but first we gotta find him and we don't even known where to start.
Phoebe: Well, he's really got a thing for food. Maybe he went back to that cafe where he found Prue.
Leo: It's worth a try.
[Scene: Cafe. The genie is there sitting at a table and shoving food in his mouth. Leo and Piper are near by. Piper freezes him and the restaurant and they walk over to him.]
Piper: This guy's not a genie, he's a pig. (She unfreezes him.) Hi. Wanna know what I'm wishing for now?
Genie: Look, uh, you're probably a little bit upset, huh?
Piper: No, I've moved past upset and straight to pissed off. You tricked us and now there's a warlock that's trying to turn us into witch kebabs.
Genie: Warlock? What warlock?
Leo: A dragon warlock. The one you stole the flying power from. You remember him?
Genie: Wow, he came already? Wait a second. How did he know where to look for it?
Piper: I don't know, you tell us.
Genie: Well, I didn't tell him. Look, they probably just tracked it somehow, that's all, I don't know. We're not partners. I got this gig on my own.
Leo: Wait, wait, wait, wait. Gig? So somebody did send you. Who was it?
Genie: Well, you see that's it, that's part of the genie client privilege thing. I couldn't possibly tell. Yeah, plus that and they'll k*ll me.
Piper: They're gonna have to wait in line. Alright, let's go. (He picks up some food.) Put that down.
Genie: Alright, just one more.
Piper: Let's go. No. Put that down.
Genie: You know, you are a real k*ll joy.
Piper: You know what? You're going right back in that bottle, buddy. (The genie disappears.) What happened? Where did he go? I thought you said free genie's don't have powers.
Leo: They don't. It's somebody who does must of wanted him badly.
[Scene: At the Council. The Council, the dragon warlock and the genie are there.]
Council #3: It has come to our attention that you have violated our pact. You accuser will speak.
Dragon Warlock: He used the Halliwells' wishes not to destroy them but to free himself from his bottle.
Council #1: What do you say to this charge?
Genie: It was all part of the master plan, alright. And those witches would be d*ad right now if puff over here hadn't screwed everything up.
Dragon Warlock: Screwed everything up? (He grabs the genie's clothes.) You stole a power from me.
Genie: Borrowed, okay, the term is borrowed. And I knew (the dragon warlock lets go of his shirt) that it would, that it would piss you off so bad that you would be that that mush more motivated to get out there and k*ll you some witches, right?
Council #2: But you plan failed. The dragon's att*ck was thwarted.
Genie: Look, you don't go after the witches with powers, you go after the one without.
[Scene: Manor. Prue's room. Prue's there sitting on the bed. She's wearing a black low-cut blouse and a mini silver skirt. She opens up her purse and pulls out some money. She gets all excited, grabs her bag and coat and climbs out the window.]
[Cut to downstairs. The phone's ringing. Phoebe answers it.]
Phoebe: Hello?
Morris: When I first got the call, I naturally dismissed as a crank. But I realised it was Deputy Marrow on the other end.
Phoebe: Okay, Darryl, can you speed this up because I'm kinda busy right now.
Morris: What, flying? (There's silence.) Now, see I've learned to interpret those pauses as admission.
Phoebe: What did he see?
Morris: Actually it was his wife. She swore she saw a brown hair, young woman fly over the house earlier... without a plane.
Phoebe: How about a broomstick?
Morris: Phoebe, this isn't funny. Just the fact that a call like that got brought up to me gives you some idea of the pressure that I'm under here.
Piper: (from other room) Phoebe?
Phoebe: In here. (to Morris) Okay, Darryl, I'm really sorry okay, it won't happen again but I gotta go, bye, bye, bye. (Piper and Leo walk in.) You didn't find the genie?
Piper: We did but then we lost him. Where's Prue?
Phoebe: Upstairs, reminding me what a pain she was at seventeen.
Piper: Now you know why she was lucky to make it to eighteen.
Leo: Why? What do you mean?
Phoebe: Well, you remember it better than I do.
Piper: It was Prue's rebellious stage. She thought everything bad was good, especially the guy she thought she was in love with.
Phoebe: Until he att*cked her.
Leo: What?
Piper: And Grams went crazy when she found out. Come to think of it, that guy disappeared not too long after that. You don't suppose Grams... (the doorbell rings) I'll get it. You go watch Prue. (Phoebe goes upstairs. Piper opens the door and a really old man is standing there.) Can I help you?
Man: Piper, why the hell is this happening to me?
(Phoebe comes back downstairs.)
Phoebe: Prue snuck out of her window, we have to go find her.
Piper: Phoebe, that's Dan.
[Scene: Prue's driving along in her car. She has the radio on. She checks herself out in the mirror and then sees the dragon warlock standing in the middle of the road. She slams on the breaks. He walks up to the car.]
Dragon Warlock: How about a lift?
(She smiles.)
Commercial Break
[Scene: Manor. Prue's room. Piper's trying to call Prue. Phoebe's touching things trying to get a premonition.]
Piper: She's not answering.
Phoebe: Well, maybe she doesn't know how. Were there even cell phones ten years ago?
Piper: She knows what a ringing phone sounds like doesn't she?
Phoebe: Maybe I should fly around and see if I can spot her car.
Piper: You'll never be able to find it. You have a hard enough time controlling your power in the day time let alone at night.
Phoebe: Why can't I get a premonition when I want to? If I had one wish right now, that's what it would be.
Piper: At least your wish isn't hurting anyone. Look what mine did.
Phoebe: That's not your fault.
Piper: How can it not be? Dan is aging because I wished for him to move on with his life. He would be fine if it wasn't for me. It's not fair, he doesn't deserve this. It's bad enough the wishes are biting us in the ass but not him. This shouldn't be happening to him.
Phoebe: We have to find the genie. It's the only way to save Dan... and Prue.
[Scene: Golden Gate Park. Prue is parked there. Prue and the dragon warlock are sitting in the car. Music is playing softly on the radio.]
Prue: So, um, what you, you don't have a name?
Dragon Warlock: I go by a lot of names. Depends where I am.
Prue: So why are my sisters scared of you? Why did you come to our house tonight?
Dragon Warlock: Because they have something that I want. Something's that mine. Are you scared of me?
(Prue laughs.)
Prue: No. (They kiss. The phone rings and Prue picks it up of the dashboard.) God, it's ringing again. How do you turn it off? (The dragon warlock presses a button. They continue kissing and he gets a bit rough.) Easy. Okay, hey, hey, hey. Easy.
(He grabs her around the neck and his eyes glow red.)
Dragon Warlock: (In a demonic voice) Are you scared of me now? (She screams and opens the car door. She runs away. The dragon warlock gets out of the car and the genie walks up to him.) Won't be too long before she calls her sisters to come rescue her. It's the perfect trap.
Genie: You didn't hurt her did ya? Because I thought I heard screams.
Dragon Warlock: You've spent too much time with humans already. Developing a conscience. (He grabs the genie around the neck.) If you want your freedom, you do exactly as I say. You understand?
Genie: Absolutely.
Dragon Warlock: Hmm mmm.
(He lets go of the genie and walks off.)
[Scene: Manor. Living room. Dan's on the couch. Piper and Leo walk in. Leo sits on the end of the couch and kneels on the floor.]
Piper: Dan, I'm so sorry.
Dan: I don't understand.
Piper: This is going to be hard for me to explain and even harder for you to believe. We're witches. Prue, Phoebe and myself. And not your everyday kind of witches. We have supernatural powers that we use to fight off... (she pauses and looks at Leo) demons and warlocks. You know all the family emergencies that I used to have? Um, I never told you before because I didn't want you to be hurt because of it. I didn't want something like this to happen to you.
Leo: And I'm the same Leo Wyatt that died in 1942. I'm a Whitelighter, a guardian angel for witches.
Dan: Yeah, right.
(Leo stands up and orbs out and then back in. Piper touches Dan's hand but he pulls it away.)
[Cut to Prue's room. Phoebe's there. She picks up Prue's purse off the bed and has a premonition of the genie's bottle falling under the chair.]
[Cut to the foyer. Phoebe comes down the stairs.]
Phoebe: Piper! (Piper and Leo walk out of the living room.) I just had a premonition. I have no idea what it means...
(The phone rings. Piper answers it.)
Piper: Hello?
[Cut to Prue. She's hiding in the bushes, talking on her cell phone. She's breathing heavily and crying.]
Prue: Piper, thank God, you have to help me.
[Cut back to the manor.]
Piper: Prue?
Phoebe: Where is she?
[Cut back to Prue.]
Prue: Piper, he's trying to k*ll me... dragon... he's trying to k*ll me and I don't think he's human.
Piper: Okay, calm down. Uh, where is he now?
Prue: I don't know. I think he's, he's following me. You have to come quick.
Piper: Okay, Prue, where are you?
Prue: Golden Gate Park.
Piper: Okay, listen to me. Go to the lake where dad used to take us fishing, remember? And hide under the bridge until we get there, okay.
Prue: I think he's coming.
[Cut back to the manor.]
Piper: Prue? Prue?
(The phone goes d*ad.)
Phoebe: What?
Piper: The dragon's after her.
(Piper and Phoebe grab their coats.)
Leo: It's a trap, you know it's a trap.
Phoebe: It doesn't matter, Leo, we have to go anyway.
Leo: Alright, well, at least go with a plan. Try using your new power, fly over head, spot him before he spots you.
Piper: Alright. (She kisses Leo in the cheek.) Uh, stay with Dan. We'll be back.
Leo: You better be.
Piper: We gotta hurry, it's gonna be light soon.
(They leave.)
[Scene: Golden Gate Park. It's daylight. Phoebe and Piper pull up in the car. They get out.]
Piper: Okay, you think you can control the power this time?
Phoebe: I'll have to, I have no choice. Alright, I'll spot the dragon, you freeze him.
Piper: Then we find Prue and get the hell outta here. Alright, go, fly.
(Phoebe raises her arms and she flies up into the air. Prue comes running towards Piper.)
Prue: Piper! Piper! Piper!
Piper: Prue!
(Piper starts running towards her.)
Prue: Piper!
Piper: No, Prue, shh. Go back! Go, go! (The genie runs out from behind a tree and grabs Piper. The dragon warlock also runs out from behind a tree and grabs Prue.) What are you doing? Let go of me.
Genie: I'm sorry.
Piper: Let her go! Let go of her damn it!
(The dragon warlock pulls out a Kn*fe.)
Prue: Piper.
Piper: No.
(The dragon warlock sees Phoebe flying.)
Dragon Warlock: Come on. Keep coming. Come and save your little sister.
Phoebe: No.
Piper: No, no, no, no. (The dragon warlock plunges the Kn*fe into Prue's back.) Nooo!
(Phoebe flies towards the ground.)
Phoebe: Prue!
(She lands flat on her stomach on the ground.)
Dragon Warlock: Time to get my power back.
(He throws Prue on the ground and heads over to Phoebe.)
Piper: Let go. (The genie lets go of her, she freezes the dragon warlock and runs over to Prue.) Prue!
(Phoebe gets up and runs towards Prue. Piper kneels down next to Prue.)
Phoebe: (crying and panicking) Oh my God, oh my God, what do we do, what do we do?
Piper: Leo can heal her. I know he can. We just need to get her home. Go get the car, Phoebe, go get the car.
Phoebe: Oh my God.
(Phoebe runs off.)
Genie: Oh my God, what have I done?
[Cut to the manor. Phoebe and Piper are carrying Prue through the back door into the kitchen.]
Phoebe: Leo! Leo!
(Leo comes in. Phoebe and Piper lay Prue on the floor.)
Leo: What happened?
Piper: Never mind, just heal her. Quickly, come on. (Leo kneels down beside Prue and holds his hands above Prue. His hands glow but doesn't heal Prue.) What's the matter? Why isn't it working?
Phoebe: Leo.
Leo: I can't heal the d*ad.
(Phoebe and Piper cry harder.)
Piper: Yes you can.
Commercial Break
[Scene: Conservatory. Piper and Phoebe are sitting on the chair crying and holding each other. Leo and the genie walk in. Piper and Phoebe stand up.]
Phoebe: What the hell is he doing here?
Leo: Wait, wait, just hear him out, he may have an idea.
Genie: Listen, I'm so sorry. All I ever wanted was my freedom, that's it, that's all that I was thinking about. I'm just a genie...
Piper: Get to the point!
Leo: He's willing to give up his freedom. Go back in the bottle and return everything to the way it was.
Phoebe: Even Prue?
Genie: It should. I mean, technically teenage Prue is the one who got k*lled, not adult Prue.
Piper: How do we know this isn't just another trick?
Leo: Well, if it gets Prue back you'll have the power of three to vanquish the dragon. What have you got to lose?
(Piper and Phoebe look at each other and then Phoebe takes the lid off the genie's bottle.)
Phoebe: After you.
(The genie claps his hands once and rubs them together. He disappears into the bottle.)
Piper: Try to fly.
(Phoebe lifts her arms and nothing happens. Phoebe runs in the kitchen and Leo and Piper run in the living room.)
[Cut to the kitchen. Prue changes back to an adult.]
[Cut to the living room. Dan changes back also.]
Piper: Prue.
(Leo and Piper head towards the kitchen.)
[Cut to the kitchen. Phoebe has Prue's head resting on her lap. Piper and Leo walk in.]
Piper: It worked. Dan's...
Phoebe: No it didn't.
Dan: All it did was turn her back into her adult self, it didn't save her.
Piper: Wait, the genie's back in the bottle, so if we can get him out, then we have three more wishes, right?
Phoebe: All we need is one.
[Cut to the conservatory. Piper comes running in heading towards the bottle. The dragon warlock crashes through the window and pushes Piper on the floor. The bottle gets knocked under a chair like in Phoebe's premonition. Phoebe and Leo come in. Dan comes in from the other room.]
Dan: Piper?
Phoebe: Dan get down!
(The dragon warlock turns around and blows f*re at Dan. Dan dives on the floor. Phoebe kicks the dragon warlock in the stomach and he blows f*re at her. Leo pulls her out of the way and they crouch around the corner.)
Leo: You see where the bottle went?
Piper: No, I have no idea. Wait, yeah, in my premonition. You distract him.
Leo: Right.
(Leo orbs out.)
Dragon Warlock: Too bad you don't have my power anymore.
(Leo orbs in behind the dragon warlock.)
Leo: Hey, dragon breath, over here.
(The dragon warlock turns around. Phoebe runs over to the chair and gets the bottle. The dragon warlock blows f*re at Leo and he dives out of the way. Phoebe rubs the bottle and the genie appears.)
Phoebe: I wish Prue were alive. (The genie clicks his fingers.) Piper, go check on Prue.
(Piper goes in kitchen.)
Dragon Warlock: Where the hell did you come from?
Genie: Oh, no, no, that's where you came from.
(Piper and Prue walk in.)
Piper, Prue: "The power of three will set us free, the power of three will set us free."
(They repeat it two more times. The genie starts flying and heads for the window. He explodes.)
[Scene: Outside Dan's house. Piper walks up the stairs and rings the doorbell. Dan answers the door.]
Piper: Hi.
Dan: Piper, I really don't feel like talking right now.
(He starts to close the door.)
Piper: Wait, wait, wait. We're gonna have to talk sometime.
Dan: No, we don't. I don't know how you expect me to react to your secret but I don't... I'm really sorry you told me. I wish you never did, I wish I never saw what I saw. I never imagined things like that even existed.
Piper: Dan...
Dan: Please, just go away. I don't wanna know anymore and I don't wanna know anymore about you.
(Dan closes the door.)
Commercial Break
[Scene: Manor. Living room. Prue, Phoebe, Leo and the genie are there.]
Genie: They call themselves the council and they're scary dudes. Very high up on the evil food chain. It's only gonna be a matter of time before they send somebody looking for you.
Prue: Just means we're doing something right if we got their attention.
Phoebe: Plus it means that there's some method to this wiccan madness, some greater purpose. It's nice to finally know.
Leo: Be careful what you wish for.
Phoebe: Oh, I am a reformed wish-a-holic, believe me. I'm in no hurry to get any new powers.
Prue: Yeah, besides, the power that you already have is the one that saved the day anyway.
Phoebe: I know and I love it. I just have to work on controlling it better.
Prue: Yeah, and I'm gonna concentrate on finding Mr. Right, not settling for Dick.
(Prue and Phoebe smile.)
Genie: Well, speaking of wishes, you still got two left, you know.
Prue: Yes, we know and we already know what one of them is if you're up to it that is. We want to make you mortal. Keep you off of the councils radar once and for all.
Leo: True freedom. And not just from the bottle although mortality is the consequence.
Phoebe: And feelings too. Even the painful ones.
Genie: That's okay. I think I'm ready, I'm feeling very sensitive these days. (Piper walks in.) Let me ask you something. Why would you do that for me? I mean especially after I helped k*ll you.
Prue: Yeah, well, you also helped bring me back. And besides, once you're human, we don't have to worry about you tricking us again.
Piper: But there's one wish you have to grant first. One that I need. I want Dan to have peace of mind, to forget about all the horrible things that have happened in the last couple of days. About who we all really are. I wish that Dan could truly move on with his life without consequences.
Genie: Your wish is my command.
(He clicks his fingers and the choker around his neck disappears. Piper walks outside and sees Dan in his front yard picking up the paper. He looks over at Piper and she waves. He waves back and goes inside. The genie comes outside.)
Piper: No tricks, right?
Genie: No tricks. I promise. I've got no powers.
(The genie leaves. Piper walks back inside and Leo, Phoebe and Prue are standing in the foyer.)
Prue: Well, that was an interesting couple of days.
Phoebe: Interesting couple of years.
(The Whitelighters call Leo.)
Leo: They're calling me, I've gotta go.
Piper: Not so fast. If we're ever gonna make this work I think I deserve to know a little bit more about you, don't you think?
Leo: What do you mean?
Piper: I mean, I'm going with you, Leo. I'd like to meet 'them'.
Leo: Are you sure?
Piper: Positive. (Piper puts her arms around him.) Take me to your leader.
Phoebe: Uh, Piper? Wh-wh-whatta?
Piper: Don't worry, I'll be back.
(They orb out.)
Phoebe: Worried? I'm not worried, I mean of course they'll be back, right?
Prue: Of course, I mean why would we worry?
(Prue and Phoebe look at each other, obviously worried. Phoebe walks away. Prue looks at the door, raises her hand and uses her power to close it.)
End | {"type": "series", "show": "Charmed", "episode": "02x22 - Be Careful What You Witch For"} | foreverdreaming |
[Scene: Attic. Prue is sitting on the floor looking through the Book of Shadows. The camera looks at a dolls, and a teddy bear. The cuckoo clock cuckoo's. Prue gasps. It's 2 in the morning. She looks back at the book. The door behind Prue slams open and it's Phoebe. Prue uses her power to send Phoebe (not knowing it's her) flying on an old bed.]
Phoebe: Ahhh. (The old bed tumbles over.) Oh.
Prue: Oh. Oh god. (She goes to help Phoebe stand up.) Phoebe, I didn't realize you were home. Are you OK?
Phoebe: Yes.
Prue: I'm sorry. Are you alright?
Phoebe: I'm fine. (Phoebe stands up.) Uh, feeling a little jumpy are we?
Prue: Well, yeah. Especially now that we know the evil triad is behind all those att*cks.
Phoebe: Um, yeah. I don't need a recap, but what I do need... is some heat. Is it freezing in here? Did you forget to pay the gas bill?
Prue: I
thought that you were supposed to pay the gas bill.
Phoebe: No, Prue. I was going to take care of the club and you were going to take care of the house. Remember? When school started back up for me?
Prue: Oh, right. Uh, I'll call the gas company first thing. I will be so glad when Piper gets back.
Phoebe: What if she doesn't? (A phone rings.)
Prue: Uh, that's my fax. (She goes to get it.) Doesn't what? (Phoebe puts her purse on.)
Phoebe: Wh-what if she doesn't come back? (Prue picks up the Book of Shadows.) I mean, what if when her and Leo orbed out, it was for good?
Prue: Phoebe, that is ridiculous. (Prue leaves. Phoebe follows.)
Phoebe: No Prue. It's not ridiculous. Think about it. We have not heard from her in a month. And that's not like her.
Prue: All right. Look, Piper is not going to just ditch us, okay? We're her sisters and neither is Leo. He's our white-lighter too.
(They get to the second floor.)
Phoebe: Then why hasn't she contacted us? I mean, she has to know that we're worried about her. She also has to know that she's left us one sister short in the power of three. (They walk downstairs.) So, while she is up romping around the clouds with Leo, we've got our wiccan butts flapping around in the wind here. I mean, we are very lucky, Prue, that we have not been att*cked yet.
(Prue stops at the end of the stairs.)
Prue: No. It has absolutely nothing to do with luck. The triad is up to something. We just don't know what it is yet.
Phoebe: That's exactly my point. Piper knows this. So where the hell is she?
Prue: Well, that's why I've been studying the book.
Phoebe: Prue, studying the book is not going to do it. We're screwed without Piper and you know this. Why aren't you worried?
Prue: I am worried. Alright? I am scared that you're right, that we're never going to see her again, and not because she doesn't want to come back, but because they won't let her. Because she broke one too many rules. (The phone rings.)
Phoebe: Who's calling us at 2 in the morning? (Prue goes to answer it as Phoebe follows.)
Prue: Probably Darryl. (She answers it.) Hello?
Darryl: Did you get the fax I sent?
Prue: Yeah. I was just about to check it. (She heads for the conservatory with Phoebe following her.) Hold on.
Phoebe: What's going on?
Prue: Darryl's tracking a m*rder suspect who he thinks is in league with a demon.
Phoebe: Based on what?
Prue: Based on the fact that the k*ller carves a demonic symbol into its victim's forehead. (She gives Phoebe a piece of paper with a photograph of a victim.) An inverted triangle. That and the fact that he magically seems to be invading arrest. (Prue begins looking through the book.)
Phoebe: Looks like a rune to me.
Prue: Yeah. I saw it in here somewhere. (Into the phone) Darryl, is he still at the pier street rave?
[Cut to Darryl. He's in a club with people dancing. He's talking on a cell phone. Loud soft music is playing (not love songs). Darryl is looking at a man (Later known as Emilio.)]
Darryl: Yeah, but I think he's on the move. I don't think he spotted me yet. He's heading out the back.
[Cut to Manor. Prue turns a page and sees the same symbol on the forehead of the demon drawn in the book. They're Guardians. Prue points to him.]
Prue: There.
Phoebe: (Reading from the book.) An opening by which demons known as the guardians steal an innocent soul.
(Prue looks at her.)
Prue: (Into the phone.) Stay away from him Darryl.
[Cut to Darryl.]
Darryl: And let him kills somebody else? (Emilio goes outside.) I don't think so.
Prue: No. Listen to me.
[Cut to Manor.]
Prue: These guardians protect they're mortal K*llers in exchange for their victim's souls.
[Cut to Darryl. He leaves the building.]
Prue: You cannot stop him.
Darryl: Listen Prue. I can take care of myself. I gotta call you back. I'm not sure where this guy is.
(Emilio swings down from the top of a pole and knocks Darryl out.)
[Cut to Manor.]
Prue: Darryl?
[Cut to Darryl. Emilio picks up the phone.]
Prue: Darryl? (He hangs it up.)
[Cut to Manor. Prue hangs up and walks in the kitchen with Phoebe following.]
Prue: Alright. We're only uh, 3 minutes away.
Phoebe: What do we do once we get there?
Prue: How about save Darryl's life? (Prue goes to get her purse.)
Phoebe: No. I mean about the guardian. We don't even know how to vanquish it.
Prue: Well, the book says you k*ll it just like you would a vampire, with a stake. (Prue leaves.)
Phoebe: Oh. Okay. (To the ceiling.) Piper, where are you? (She follows Prue.)
[Cut to Darryl. Emilio is kneeling by him. We hear soft chanting. He's about to strike him. A girl in her early 20s walks by and sees this. She gasps. Emilio sees her and she runs away. He follows her. She bangs on the door. He tries to stake on her, but she ducks and runs the other way. She tries to climb up, but he pulls her down.]
Woman: Please don't hurt me. (She screams and he kills her. He lies her on the floor.)
[Scene: Inside the building. Prue, wearing a coat, and Phoebe are walking through the crowd.]
[Cut to outside. Emilio carves the triangle into the woman's forehead as soft chanting is heard. The triangle glows. The guardian is a spirit and rises from Emilio. A dark blue light goes into him. The guardian goes back into Emilio. He walks to Darryl.]
[Cut to Prue and Phoebe. They walk outside and see the woman d*ad. They then turn around to see Emilio trying to do the same thing to Darryl.]
Phoebe: Darryl. Prue! (Prue uses her power to send Emilio flying on top of a dumpster. They run to check Darryl. The guardian arises from Emilio.) He's alive.
Prue: Uh, I think I've found the guardian. (Phoebe and Prue stand up.)
Phoebe: Okay. Get rid of it.
Prue: Uh, oh.
(Prue uses her power to send a stick into the guardian, but it goes right through him.)
Phoebe: Wait. Didn't the book say they were just like vampires?
Prue: I might have mis-read that part.
Phoebe: I'm sorry? (The guardian picks up the Kn*fe.) Okay. The rune. Aim for the rune. (Prue uses her power to send a stick flying into the guardian's triangle on his forehead. He gets electrocuted and disappears.) Okay, if Piper ever comes back, I am going to k*ll her.
Opening Credits
[Scene: From before. The police put the woman in a body bag. Phoebe and Prue are with Darryl, who's awake and being checked by a medical.]
Phoebe: Poor girl.
Medical: Do you feel dizzy at all? Nauseous?
Darryl: No.
Medical: Trouble focusing? Headache?
Darryl: I'm telling you I'm fine. Only thing wounded is my pride.
Prue: Is he fine?
Medical: Yeah. Thanks to you guys.
Prue: What do you mean thanks to us?
Medical: Well, you fought off the attacker didn't you? (Emilio walks towards the police car, staring at Prue and Phoebe with an evil grin on his face.) Isn't that what happened?
Prue: Uh, yeah, you know, it wasn't really that big of a deal.
Medical: Well, you saved his life. I think that's a pretty big deal. You're a lucky man, Inspector. Take care.
Darryl: Thanks.
(The medical grabs his bag and walks away.)
Phoebe: Okay, can we go now?
Darryl: No. You have to get witness statements.
Prue: Uh, Darryl...
Darryl: Prue, you're witnesses to a crime. In this case the only witnesses.
Phoebe: No, Darryl, we can't be witnesses. We used our powers to stop the k*ller, what are we supposed to say?
Prue: And he saw us use them too.
Darryl: Nobody's gonna believe anything that sleaze ball has to say. All you have to do is get your story straight.
Phoebe: You mean get our lies straight.
Darryl: Phoebe, listen to me, without your testimony, Emilio walks.
(Prue looks over at Emilio and he is still grinning at them.)
Prue: What is he smiling at anyway? It's not like he has his guardian demon to protect him anymore.
Phoebe: Yeah, and unfortunately our guardian angel is no where to be found. (She looks up.) We sure could use some cosmic help right now. What are we supposed to do? We've never been in this situation before.
Darryl: You better decide fast. Here comes the ADA.
(A really cute ADA approaches them.)
Cole: Ladies. My name is Cole Turner and I'm the Assistant District Attorney assigned to this case. I was wondering if either of you saw what happened here.
(Phoebe raises her hand.)
Phoebe: I did!
Commercial Break
[Scene: Court Room. Prue and Phoebe are sitting on one the benches. Cole is standing in front of them.]
Cole: I think we're in good shape except for the, what'd you call the m*rder w*apon? A-a athamee?
Phoebe: Athame. It's a ceremonial Kn*fe used by
(Prue looks at her.) Um, lots of different crazy people.
Cole: And are you sure you didn't see who took it?
Phoebe: No, we were there to check up on Darryl and...
Prue: Probably just some lunatic from the rave. Will it hurt the case?
Cole: The P.D. will try to focus on it but this is just an arraignment, unless there's something I don't know about, we should have more than enough for the judge to hold him over for trial. Don't worry, I'm good at what I do.
(The judge enters the room.)
Bailiff: All rise. Court is now in session. The Honorable Judge William Hamilton now presiding. Please be seated.
Phoebe: (to Prue) I'm nervous.
Prue: Oh, you know. Witches and trials. It's that whole Salem thing.
Phoebe: No. I mean about lying. It just doesn't feel right, Prue.
Prue: Would it feel more right to just let him go?
Court Clerk: Case number B684400. The state of California versus Emilio Smith. One count of m*rder in the first degree, one count attempted m*rder.
(Cole stands up.)
Cole: Assistant District Attorney Cole Turner for the state.
(The P.D. stands up.)
Alan: Public Defender Alan Sloan for the defense.
Judge: How does the defendant plead?
Alan: Not guilty, your Honor.
Judge: So noted. Mr. Turner, I have read your brief, do you have anything to add?
Cole: No, your Honor. The state stands by the arrest report and the eye witness testimonies.
Judge: Mr. Sloan?
Alan: Well, uh, it seems to me, your honor, you can't very well hold for a m*rder trial without a m*rder w*apon.
Cole: The State has already stipulated that the alleged m*rder w*apon is still outstanding. We have two eyewitnesses who--
Alan: Saw what, exactly? My client bent over the Inspector? That's how they justify the att*ck? How do they know he didn't just happen to cross the scene, and was trying to revive the inspector.
Phoebe: Oh, please!
(The judge bangs his mallet.)
Judge: Order!
(Cole looks at Phoebe and she mouths 'sorry'.)
Alan: And why, if they were able to so easily able to subdue him, don't they know exactly what happened to the alleged w*apon? I mean, what? Did it just poof! magically disappear?
Cole: Objection!
Phoebe: Oh God, he knows.
Prue: Easy.
Cole: Your honor, the witnesses aren't on trial here.
Alan: Why? Isn't perjury legal?
Cole: Objection, your honor!
Judge: Mr. Turner, unless you have something else or can produce the alleged m*rder w*apon, I'm inclined to agree with Mr. Sloan.
Cole: You're what?
Judge: Do you or don't you have any additional evidence?
Cole: You mean asside the fact that he's the prime suspect in three other m*rder but no less then five people saw him leave the rave just before the att*cks and that everything other than the missing m*rder w*apon makes this in any other courtroom a slam dunk?
Judge: The charges are dropped, the defendant is released.
(He bangs his mallet.)
Cole: I don't believe this.
Bailiff: Next case.
(Emilio and Alan stand up. Emilio grins at Prue and Phoebe as they walk past them.)
Cole: Yeah, you keep smiling, punk. (Cole grabs his jacket.) I'm not giving up until I see you fry.
Darryl: Come on, Turner, this isn't gonna solve anything.
Alan: (to Emilio) Let's go. Let's go.
(They leave the room.)
Phoebe: (to Cole) I'm so sorry, I wish that there was more that we could do.
Cole: If there's something you're not telling me, anything, if your afraid of him we can protect you. I can re-file.
Prue: Um, we have to go. Sorry.
(They walk away.)
[Scene: Manor. Living room. Prue and Phoebe are there. Prue's looking in the Book Of Shadows.]
Phoebe: We shouldn't have lied.
Prue: Phoebe...
Phoebe: We shouldn't have. We should've told the truth. We should've done whatever we had to do to keep that jerk from walking.
Prue: Like what? Say what really happened to that Kn*fe? Tell the court that we're witches?
Phoebe: Why not, Prue? Isn't it more important to keep a k*ller off the streets then to protect our secret?
Prue: Phoebe, the Judge would've thought that we were nuts and you know it.
Phoebe: Not if you proved it to them and showed them your power.
Prue: No, that wouldn't have put Emilio away, that would've put us away, and then we would never have the chance of catching him again.
Phoebe: And would that be before or after he kills somebody else? I'm sorry, you know I'm just really frustrated about all this. What about that public defender? I mean, if Emilio really did tell that P.D. about us, then why didn't he spill the magic beans?
Prue: Same reason as us, credibility. What I'm curious about is, is he mortal or is he demon?
Phoebe: All I know is Cole is an angel. He was awesome in that court room yesterday.
Prue: See something you like, sis?
Phoebe: Maybe, or maybe it's just nice to run into someone that's not a college boy. More years, less hormones.
Prue: Yeah, not a bad butt either.
(Piper and Leo orb in.)
Piper: We've been through this, Leo. I don't care if they are. It's not right and it's not fair.
Leo: I know that, but it's their rules.
Piper: Screw their rules. They're wrong.
Prue: Piper
Piper: Just a second. Leo, you better do something about this because this is not acceptable.
Leo: Piper, come on.
Piper: Oh. (She freezes him.) I'm gonna go to the club. Do not tell him.
(She leaves.)
Prue: Hi, welcome home!
Phoebe: Okay, what was that all about? I didn't even get to bitch at her.
Prue: Yeah, neither did I.
(Leo unfreezes.)
Leo: We have to talk about it.
Prue: Leo, she left.
Phoebe: Yeah, so now I get to bitch at you. Listen, the next time you take my sister some place, please, call and let us know that you got their safely, okay. I don't care if it's up there--
Prue: Okay, oh, shh. Leo, uh, can you do me a favour and just go find out everything you can on guardians. They are demons. Okay, thank you, bye.
(Leo orbs out.)
Phoebe: Excuse me, but I have issues.
Prue: Yes, I know, so do I, but Leo looked pretty beaten up already.
Phoebe: Yeah, you're right, which is why I'm now gonna go kick Piper's ass.
(She grabs the car keys and heads towards the door.)
Prue: Oh, oh!
(Prue closes the front door using her powers.)
Phoebe: Okay, we have had this conversation. You are not allowed to use your active power on me until I have an active power to use on you, remember?
Prue: I know, and I'm sorry, alright. But if anybody's gonna talk to Piper it should be me, okay. Cool our heads and all. Besides, shouldn't you be at class?
(Prue takes the keys off of Phoebe and leaves.)
[Scene: P3. Prue is walking down the stairs.]
Prue: Piper?
(Piper walks in holding a notebook.)
Piper: This is really weird. My supplies are, like, gone. There's no booze, there's no mineral water and we're even out of pretzels. Plus the books are all messed up. How did this happen in one lousy day?
Prue: One day? You're kidding, right? Piper, you have been gone for one month.
Piper: What are you talking about?
Prue: Here. (She picks up a newspaper off of the bench.) Check the date. (She does so.)
Piper: October? It's October? How is this possible? I guess time moves a little bit differently up there.
Prue: Yeah, well, it doesn't keep your head from being bitten off down here.
Piper: Are you talking about demons?
Prue: Oh, no, something so much worse than demons. Sisters. Especially Phoebe. We thought that you had abandoned us.
Piper: That's ridiculous. I would never abandon you guys. If I had known I was gone this long I would've called or orbed or somehow let you know I was okay.
Prue: Okay, why didn't Leo?
Piper: Leo was battling demons of his own. Wait a minute, what's today? There's a band. The-the-the Barenaked Ladies are playing here tomorrow. Didn't anybody bother to call them?
Prue: I-I don't really think that Phoebe knew. (Piper picks up the phone but Prue puts it back on its cradle.) Hey, you know what? Piper, can we just talk about what happened up there first?
Piper: Sure, uh, unfortunately the longer I'm back, the fuzzier it all seems to get. I think they do that on purpose, they're very big on mystery.
Prue: Okay, do you remember anything?
Piper: Just feelings mostly. Good ones. Peaceful and whole and then it all went to crap when they said Leo and I had to stop seeing each other or else.
Prue: Or else what?
Piper: Or else they'd reassign him and we'd never see each other again. Just because it didn't work out with mum and her Whitelighter, I don't understand why I'm being punished.
Prue: I'm sure that you guys will figure out a way around this. Come here. (They hug.) Leo would never let you go without a fight, you know that.
Piper: But what if he doesn't have a choice?
[Scene: College grounds. Phoebe's walking along the path. Cole sneaks up behind her and taps her on the shoulder. Phoebe spins around a does a high kick.]
Phoebe: Hi-yah! (Cole grabs her leg before it hits him.) Cole!
Cole: Hi, how's it going?
Phoebe: (embarrassed) Oh, (laughs) wow, is this embarrassing. Uh, I-I-I'm...
Cole: It's okay, I'm okay. Nice calf.
Phoebe: Oh, thanks. Can I have it back?
Cole: Sure. Sure.
(He lets go of her leg.)
Phoebe: Okay. (She laughs.) Uh, how did you find me?
Cole: Told you I was good at what I do. Although you probably wouldn't think so after my performance in court.
Phoebe: No, I thought you were amazing. It's just you were up against a, uh, an unfair Judge.
Cole: Free Willy, he's got that reputation. Still, I know I didn't put on my best case, that's why I'm here to see if you can help me do a better job.
Phoebe: How?
Cole: I don't know, you tell me. Look, Phoebe, I may not be the greatest prosecutor but I've got good instincts, I can sense things about people, things they might not even want me to know.
Phoebe: And what do you sense about me?
Cole: That you're struggling with the truth. That you're a good person who wants to do the right thing here but for whatever reason you can't. How am I doing so far?
Phoebe: Hung jury, mistrial.
Cole: If you think of anything, (he sticks his card in between the pages of a book she's holding) please call me. Home number's on the back. Bye.
(He turns and walks away. Phoebe checks out his butt. She pulls his card out of the book and has a premonition. In the premonition, Emilio has carved an inverted triangle on Cole's forehead.)
Phoebe: Oh no.
Commercial Break
[Scene: P3. Phoebe is running down the stairs.]
Phoebe: (to herself) I have got to get a cell phone. Prue, I had a premonition of Emilio carving that rune into Cole's forehead.
Prue: Did you see where it happens?
Phoebe: No, just some parking lot somewhere.
Piper: Who's Cole? Wh-what did you do to your hair?
Phoebe: I'm sorry, do I know you?
Prue: Okay, Phoebe, now is not the time. Are you sure?
Phoebe: Yeah, positive. Although, now that I think about it, it does seem weird because we vanquished the guardian.
Prue: Yeah, well, maybe he got another one.
(Piper opens her mouth ready to speak.)
Phoebe: What's a guardian you ask? Well, if you'd been around at all then you'd probably know, huh?
Prue: Alright, we'll fill you in on the phone and Leo's checking on them so you should get together with him and find out everything.
Phoebe: And no orbing.
(Prue and Phoebe leave the club.)
[Scene: Courthouse. Emilio walks into the judge's chambers.]
Emilio: I need another guardian.
Judge: What you need is to be more careful. I won't protect you again.
Emilio: I won't get caught again. I can take care of the witches, judge.
Judge: No, you can't, your mortal. But you can take care of the prosecutor. (A dagger magically appears in the judge's hand.) I don't want him to find out about you or me, understand?
[Scene: Police station. Cole is there talking to Darryl.]
Darryl: I wish I could help you, Turner, but I told you everything I can.
Cole: Call me Cole. After all, we're on the same side, aren't we?
Darryl: As often as cops and D.A's are, I guess.
Cole: Look Inspector, I'm just trying to do my job, okay. I let a m*rder go free today and that doesn't sit well with me.
Darryl: Me neither.
Cole: Then help me do something about it. Help me find out what it is that I'm missing here.
Darryl: What your missing is a suspect, and if you let me do my job, then maybe I can help you find him, again. Now if you'll excuse me.
Cole: Why'd you call the Halliwell's last night?
Darryl: What?
Cole: While you were on stake out at 2:17am according to the phone company.
Darryl: You checked up on me?
Cole: Standard procedure, Inspector.
Darryl: Gee, and here I thought we were on the same side. I called because the sisters own a club. I thought they'd be interested in checking out the rave.
Cole: That was very nice of you.
Darryl: I'm a nice guy.
Cole: Yeah. (Cole's phone rings.) Turner.
Secretary: It's Phoebe Halliwell.
Cole: Oh, speak of the devil.
Secretary: Can I take a message?
Cole: No, please, put her through. Phoebe?
Phoebe: Cole, I've been trying to reach you.
Cole: Sorry, I was in a meeting with Inspector Morris actually. Wanna say hello?
[Cut to Prue and Phoebe in the car.]
Phoebe: Uh, no. (to Prue) He's at the police station.
Prue: 10-15 minutes at least.
Phoebe: Listen, Cole, I need to talk to you, it's really, really important.
(The phone begins to break up.)
Cole: Say again, I didn't catch that.
Phoebe: Cole? Uh, just-just stay where you are and I'll meet you there, okay?
Cole: We've got a bad line. Look, I'm running late for court, I'll call you from my car.
Phoebe: Cole? (She hangs up.) Damn it.
[Cut to the car park at the police station. Cole is walking towards his car. Emilio is hiding behind a pole, holding the dagger. He runs to another pole. Cole hears his footsteps and looks behind. Emilio hides behind a pole in front of him. Cole continues walking. As he walks past the pole, Emilio jumps out and s*ab him in the back with the dagger. Cole falls to the ground. Prue and Phoebe arrive in the car and drives straight towards Emilio. He jumps out of the way. Prue and Phoebe get of out the car. Phoebe runs over to Emilio and he tries to s*ab her. She jumps up to dodge the att*ck and flies straight up into the air.]
Phoebe: Whoaaa! (She levitates in the air. Phoebe is in shock. Prue uses her power and Emilio lands on a car. Phoebe falls back onto the ground.) An active power. (The guardian rises out of Emilio.) Not that active. Prue!
Prue: Hey, catch.
(Prue uses her power ad the dagger flies straight into the Guardian's rune. The Guardian explodes in a ball of flame. Phoebe runs over to Cole.)
Phoebe: Cole, cole.
(Cole wakes up.)
Cole: Phoebe? What are you doing here? What happened?
Phoebe: I think I'm gonna plead the fifth on that one.
(They smile.)
[Scene: Manor. Piper is walking down the hallway. She hears Leo talking to himself in the bathroom. She stands next to the door and listens.]
Leo: I look at you and I think how lucky I am. I mean, I can't stop looking at you. You're my dream come true. You're my raison Dettra.
[Cut to the bathroom. Leo is looking in the mirror.]
Leo: Every time I see you, I love you even more. You're so beautiful. You're so special. I can't imagine my life without you. (Piper walks in.) Piper!
Piper: Leo, who are you talking to?
Leo: Me? Uh, nobody, just myself, you know.
Piper: Yourself? You were telling yourself how much you love you?
Leo: No, of course not. Uh, I mean, it's, it's not like that at all. Um, let's go downstairs and I'll explain.
Piper: Actually, no, we don't have time. Uh, did you find out anything about the guardians?
Leo: Uh, no, I forgot.
Piper: You forgot? Leo, what's the matter? Why are you acting so weird?
Leo: Can we go downstairs please?
Piper: No, why?
Leo: Okay, fine, um, here's good. Um, I've been thinking a lot actually about our situation.
Piper: Leo...
Leo: No, no, just let me finish. Um, I think I've come up with a solution, a way for us to be together no matter what they say. (Leo gets down on one knee and Piper's eyes widen. He takes Piper's hand.) Will you marry me?
Commercial Break
[Scene: Manor. Continued from before. Piper is running down the stairs and Leo is following.]
Piper: This is so not happening.
Leo: Listen to me, Piper, I told you, I thought this whole thing through.
Piper: Uh huh. Is that why you asked me to marry you in a toilet?
Leo: I tried to get you downstairs.
Piper: Well, I'm downstairs now and I still don't believe you're serious.
Leo: I am serious, Piper, d*ad serious.
Piper: Right. d*ad is exactly what we're gonna be if they ever find out.
(Piper walks in the living room. Leo follows.)
Leo: Piper, would you... would you stop running away from me for just one minute and let me explain. (She stops and faces him.) If we got married... (she sighs) look, will you just hear me out please? If we got married, it would be a holy union, something I don't even think my bosses could break apart.
Piper: I don't understand.
Leo: It's really hard to explain. I-I don't really understand how it all works myself, but I know that there are different levels up there, a hierarchy. What I'm trying to say is that I think a holy union goes above their heads. It'd be like running an end run to my bosses bosses.
Piper: And end run?
Leo: Yeah. The only catch is that we would have to get married in secret because I think they only way they could hurt us if they found out before, so we just have to keep it quiet.
Piper: Elope?
Leo: Right.
Piper: So that they don't find out.
Leo: Exactly. (Pause) You hate the idea.
Piper: Well, it's not exactly Cinderella is it? Leo, look, how do we know they don't know already? How do we know they're not listening right now?
Leo: They're not, believe me, they don't do that.
Piper: So then why does it have to be a secret?
Leo: Because if they ever did find out...
Piper: Leo, this isn't supposed to be this way. Marriage shouldn't be a solution to a problem or a band aid, it's supposed to be about love and about two people who love each other so much they want to spend the rest of their lives together.
Leo: That's what I want.
Piper: But that's not where this is coming from. It's a fix-it, I guess, but it's not about us or love or whether or not we're even ready to be married.
Leo: I came up with this whole idea because we love each other. It's all about our love. You know, we're meant to be together, Piper, you know that. You went to the future and you saw that we were married in it. That means that somehow they didn't stop us, somehow we found a way to be together and I think this is the way.
Piper: I don't know. Leo, I love you and I never wanna be without you, but getting married in secret. It doesn't feel like a holy union to me. I'm sorry.
(Prue and Phoebe come home.)
Prue: Piper, Leo? (They walk in the living room.) Oh, hey, Leo, good. Uh, did you find out anything about the guardian?
Leo: Not yet.
Phoebe: Not yet? What do you mean not yet? (Piper leaves the room.) Piper.
Leo: I'll go see what I can find out.
(He orbs out.)
[Scene: Police station. In a room. Emilio and Darryl are there. Cole walks in.]
Cole: You get anything out of him?
Darryl: Nope, he's not talking.
Cole: Yeah? It seems to be an epidemic.
(Cole begins to walk over to Emilio but Darryl stops him.)
Darryl: Don't do anything stupid, Turner. You don't want to compromise the case.
Cole: What case? He's already gotten away with m*rder. You really think they're gonna nail him for hitting me over the head? (He walks over and sits on the end of the table.) How's it going? I'm gonna make you a deal, Emilio. One that, if you're smart you'll jump at. Obviously whoever's protecting you isn't gonna keep doing it for much longer. Especially since you keep screwing up and getting caught. So, you might wanna pay attention. I want you to give a message to your friend. Tell him I know he sent you after me and because of that I'm gonna personally bring him down.
Emilio: You don't scare me.
Cole: No? (He shakes his head. Cole bangs Emilio's head on the table and grabs his throat.) You have no idea who you're dealing with.
Darryl: What are you doing? Let him go.
(Darryl splits them up.)
Cole: See you in court.
(He leaves.)
[Scene: Manor. Piper's room. Piper is laying on the bed. Prue and Phoebe enter.]
Prue: Hey.
(They lay all over Piper.)
Phoebe: Do you want to be alone?
Piper: No. But it looks like I'm gonna be. Leo asked me to marry him.
Prue: That's great!
Piper: Yeah, except that I can't do it.
Phoebe: Oh, what do you mean you can't do it, Piper? You love him.
Piper: Of course I do, with all my heart but why's it got to be so complicated? Why can't I just be a normal person in love with a normal guy?
Prue: Does Leo think that getting married is the only way around them?
Piper: Yeah, but he's not even sure it's gonna work.
Phoebe: Yeah, but it might work. Piper, you and Leo are destined to be together. You guys have the kind of love that girls dream about. I know I dream about it, how about you?
Prue: All the time.
Phoebe: And it understand the risks but if you don't go for it, isn't it an even bigger risk?
(Leo orbs in.)
Prue: That was fast.
Phoebe: A little too fast.
Leo: Sorry, but they were very interested when I told them about the guardians. Apparently guardians help mortal criminals spread evil.
Prue: Yeah, we already know that. Skip ahead.
Leo: Well, they think that you've stumbled across some evil conspiracy in that court room. One where an upper level demon somehow assigns guardians to the criminals who are set free.
Phoebe: That makes sense. It explains why Emilio has two.
Prue: Yeah, the question is, who's the demon?
Piper: Didn't you say the public defender seems suspicious?
Prue: Yeah, but he's not exactly in his best position to be setting criminals free.
Phoebe: Yeah, but Free Willy is.
Piper: Who?
Phoebe: The judge. That would explain why he's got the highest release rate of anyone on the bench.
Leo: Still, you can't very well go vanquishing the judge without knowing for sure he's demonic.
Phoebe: Well, we better come up with a plan because Emilio gets arraigned in night court in, oh, an hour.
Prue: I've got an idea.
[Scene: Courthouse. Prue, Piper, Phoebe and Leo are walking down the corridor.]
Piper: Can't we just come up with a spell or something?
Prue: No, a spell could backfire on us.
Piper: So could this.
Prue: No, the worst that could happen is that it just doesn't work, but we have to flush the demon out somehow.
Phoebe: And since you can selectively freeze things, why not just the innocents?
Piper: Oh, maybe because I've never done it before.
Phoebe: Yeah, well, I've never levitated before.
Piper: You never what?
Prue: Look, Piper, just focus all of your energy on freezing the innocents, okay?
Piper: Okay. (to Phoebe) So why did you do that to your hair?
Phoebe: Because I wanted to change my luck.
Piper: Oh.
Phoebe: Scoot.
[Cut to inside the court room. Prue, Piper, Phoebe and Leo walk in.]
Alan: How many times is the prosecutor gonna keep harassing my client, you honor? I mean, as far as I'm concerned, this has turned into nothing but a witch hunt.
Cole: If I may please court, have a minute to confer with the witnesses?
(Prue, Piper, Phoebe and Leo sit down next to Darryl.)
Judge: It's late, Mr. Turner. Either you have a case or you don't.
Cole: Very well. Uh, why would the defendant att*ck me if he was innocent of the prior charges?
Alan: There's no proof he's the one responsible for the att*ck.
Prue: (whispers) Now, Piper.
Cole: Then what was he doing in the police parking lot? And why did myself and two eye witnesses...
Alan: You mean, the same two eye witnesses that were here before?
Phoebe: Piper...
Piper: Alright.
Alan: And what were they doing there? (Piper tries to freeze the room but nothing happens.) I mean, how is it that they just magically be at every crime scene?
Prue: Try it again.
Piper: I am trying.
Cole: Objection, your hon--
(Piper freezes the room and only Cole, Leo and Darryl freeze.)
Phoebe: It worked.
Judge: Overruled.
Prue: It's the judge.
Alan: You honor, I move for this case to be dismissed.
Phoebe: And the P.D.
(They look around and Emilio and the security guards haven't freezed.)
Piper: It's everybody.
Prue: Oh!
Judge: k*ll them.
Prue: Oh!
Phoebe: What do we do?
Prue: Oh! Oh! We run.
(They run into another room. The judge turns into a demon.)
Commercial Break
[Scene: Continued from before. Prue, Piper and Phoebe run into a room and lock the door.]
Phoebe: Okay, does anybody have any brilliant ideas?
Prue: Ah, can't you just freeze them?
Piper: No, once they're immune to it they stay that way. That's why it's called immunity.
Phoebe: Great. (Everyone outside tries to bang down the door.) Okay, this was all your idea, you know.
Prue: Okay, well, so sue me.
[Cut to outside.]
Judge: Stand back.
(Everyone moves out of the way. A fireball flies out of the judge's hand and hits the door.)
[Cut back to the room.]
Prue: Ah, any mass vanquishing spells?
Phoebe: You're the one that's been studying the book.
Prue: Why are you picking on me?
Phoebe: Because I'm scared and we're outnumbered.
Piper: Okay, but we can't stay in this room for the rest of our lives.
(The judge throws another fireball.)
Prue: Oh! (Everyone outside continues to bang on the door.) Alright, the best defense is a good offense. Are you ready?
Piper: No.
Prue: Yeah, you're ready.
Piper: No, no.
Prue: On three. One, two, (to Phoebe) don't hold my hand. One, two, three.
(Prue uses her power and the door flies open knocking everyone behind it out of the way. Alan points a g*n at Prue and she uses her power on him. A security guard grabs her from behind. Phoebe does some of her karate moves on some woman. Emilio heads straight for Piper holding a Kn*fe and she continually tries to freeze him. She picks up a baton off of the floor and blocks his att*ck. Prue breaks away from the guards grip and kicks one in the stomach. The judge throws a fireball straight at Prue and her power reflects it. They continue fighting everyone until they are all unconscious.)
Prue: Okay, nicely done.
Phoebe: You too.
Piper: Wait a minute, if they're demons where are they're powers?
Judge: Come to me.
(The guardians rise out of the people and follow the judge into the chambers.)
Prue: Guardians. They're not demons, they're just protected by them. Come on.
(They run towards the chambers. Cole moves. He wasn't frozen. He disappears.)
[Cut to the judge's chambers. The judge is there. Cole appears.]
Judge: What the hell?
Cole: Thanks, I'll take it from here.
(Cole flicks his hand and the judge is engulfed in flames. Cole disappear and reappears back outside. He gets back into his frozen position. Prue, Piper and Phoebe walk into the chambers. The judge burns and disappears.)
Piper: Okay, how did that happen?
Prue: Good question, but we're not alone.
Phoebe: We better get back before Cole unfreezes.
(They walk back outside.)
Piper: How are we gonna explain all this to him?
Phoebe: Uhh... (Phoebe picks up a baton and stands behind Cole.) I am so sorry. (She hits him over the head and he falls down. Piper unfreezes Leo and Darryl.) Oh, Cole, Cole. (He sits up.) Are you okay?
Cole: Uh, yeah, I think so. (He rubs his head.) What happened?
Phoebe: Aren't you getting tired of asking me that? (He stares at her.) Um, well, Emilio went nuts and he tried to escape and then all the court room people tried to help him...
Prue: Yeah, thank God for Darryl.
Piper: Yep, saved the day.
Cole: (confused) What?
Phoebe: Something good happened. Can't you just accept that?
Cole: It's not in my nature.
[Scene: P3. The Barenaked Ladies are playing. Piper's at the bar serving drinks. Prue and Phoebe walk up.]
Phoebe: You've been gone for two days and you get the Barenaked Ladies? How?
Piper: Oh, actually, I just made a couple of phone calls.
Phoebe: And I can't even get Barry Manilow on the phone. I'm sorry I screwed up your club.
Piper: Oh, Phoebe, don't. I owe you guys and apology and thanks for covering my butt.
Phoebe: Ah, not a problem. I didn't even really notice that you were gone actually.
Prue: Liar.
Phoebe: Yeah, I've been doing a lot of that lately. Unfortunately, especially to Cole. But hopefully I won't have to lie to him anymore.
Prue: Yeah, well, something tells me he's not going anywhere anytime soon.
Phoebe: No complaints here.
Piper: Uh, one over here. Hottie that he is, he is an Assistant D.A., which makes him somewhat a thr*at to us.
Phoebe: Yeah, but at least he's one of the good guys.
(Leo walks in.)
Prue: Speaking of the good guys...
Phoebe: Uh, so have you had a change of heart?
Piper: Actually, no. (She walks over to Leo.) Hi.
Leo: Hi. Piper, maybe it was a mistake...
Piper: Wait, Leo, me first. I've been thinking a lot about our situation and you asking me and I didn't want to just dismiss it without thinking it through. Um, last night in the court room, I was actually scared. For a minute there I thought I wasn't gonna make it, that that was it, and that's where I realised that I don't wanna die without ever having being married to you. The answer is yes, Leo, I would love to marry you.
Leo: Yeah?
Piper: Yeah.
Leo: Yeah?
(They laugh.)
Piper: Yeah.
(They hug. They kiss and the scene fades out.)
End | {"type": "series", "show": "Charmed", "episode": "03x01 - The Honeymoon's Over"} | foreverdreaming |
[Scene: Hairdressing salon. Piper is sitting in a chair. She looks over and sees other women reading bridal magazines. She rolls her eyes. She picks up a bridal magazine off of a table and looks at it. She puts it back face down on the table. She stands up and heads for the door. She changes her mind, picks up the bridal magazine and walks outside. She walks into an elevator and two women follow. They happily show each other their engagement rings and Piper pulls a face.]
[Cut to outside the manor. Piper pulls up in her car. She gets out and a just married couple drive past in a convertible. She slams her car door shut.]
[Cut to inside the manor. Phoebe is standing next to the table making 3D glasses. Prue is watching.]
Prue: She's gonna choose you.
Phoebe: Is not.
Prue: You get to hang out with her a lot more.
Phoebe: You've known her longer. I mean, there was that whole bonding time before I was even born.
Prue: Okay, she was one and I was three. (Phoebe puts on the 3D glasses.) What did we bond over? Diapers and drooling? What are those?
Phoebe: They're glasses so we can watch the eclipse.
Prue: They're very cool.
Phoebe: I made you a pair too.
Prue: Yay, thank you.
(Piper walks in.)
Phoebe: Oh, good, you're home.
Prue: Hey, so, um, we were sorta hoping that you could settle something for us.
Piper: Sure, anything to get my mind off weddings. (Prue and Phoebe look at each other.) What?
Prue: Nothing.
Piper: No, come on. What?
Prue: Okay, uh, well, we were kind of wondering who you were going to have as your maid of honor.
Piper: Oh, well, let me think about it. I'm not allowed to invite anybody or have a cake or a band or flowers, so what makes you think I'll be able to have a maid of honor?
Phoebe: It's not that bad.
(They walk into the living room and sit down on the couch.)
Piper: It's not like I'm some girly-girl and wants like a fairytale wedding, but I just thought there would be some things that would be givens.
Phoebe: Like fighting with the caterer and agonizing over who makes the final cut on the guest list?
Piper: Even those. I just, just wanna be able to celebrate a little.
Prue: Alright, maybe you're not getting your dream wedding but you are getting your dream guy.
(Piper sighs. Leo orbs in.)
Phoebe: Leo!
Leo: Shh!
Phoebe: (whispering) Leo.
Leo: I hate to bearer of bad news.
Piper: Could you possibly be the bearer of a big hunk?
Leo: No after what I just found out. (He sits on the coffee table in front of Piper.) They want an answer, Piper, about us. Either there isn't any us or you guys get a new Lighter. We have till tomorrow night to decide.
Piper: Tomorrow night? That's insane.
Leo: Look, there is door number three. We can try and pull this off tomorrow night, if we do it's binding. They can't even break that apart.
Piper: Yeah, but if they find out they can break us apart into a thousand little pieces.
Phoebe: Excuse me?
Piper: I believe the term he used was unspeakable wrath, the lengths of which you can't even imagine.
Leo: Look, I'm not gonna lie to you, we would be taking a huge risk and until they get an answer they are going to be listening very closely, so any talk of 'it' any use of the W word...
Prue: I hate to be the detail police but how are we gonna hide it from them when we're on their supernatural redial? They're always gonna be tuning in. Phoebe, did you find anything in the Book Of Shadows about how to hide this?
Phoebe: No, nothing. I'm sorry, I'm still on the unspeakable wrath part. I mean, is that just the bride and groom or does it also include bridesmaids?
Prue: Phoebe...
Phoebe: What? I mean, there must be some real reason that this merging is so forbidden, their hardcore against it.
Prue: Yeah, well, rules are meant to be broken.
Phoebe: Bodies weren't.
Piper: And neither are hearts. Leo, are you sure there's a way we can do this without getting caught?
Leo: If there is we'll find it. Just be extra careful. Speak in code and especially avoid using words like, you know.
Piper: Hmm.
Leo: Dum, dum, da-dum.
Piper: Mmm hmm. Alright, you should go. (They stand up and stand close to each other.) The less time you spend here is probably better. (They move in to kiss but stop.) And we probably shouldn't do that either.
Leo: Soon.
Piper: Yeah.
(Leo orbs out. Prue gets up and hugs Piper.)
Prue: Why are they so hell vent on seeing each one of us so very very alone. (Kit growls from outside.) Kit?
[Cut to the porch. An owl is there and Kit has her claw up ready to att*ck it. Phoebe opens the door.]
Piper: Kit, leave that alone.
Phoebe: Bad kitty!
(The owl suddenly turns into a naked man.)
Prue: Good kitty.
Opening Credits
[Scene: Manor. Living room. Everyone is there including the guy (Chris). He has wrapped a towel around his waste.]
Chris: Are you afraid of me?
Prue: No, are you planning on sprouting horns, growing fangs and eating us?
Guy: If you work for him he'll do worse than that.
Prue: Which him are you referring to?
Piper: Okay, hi, not that I don't enjoy the verbal ping pong here but we do have that other thing we need to figure out kind of quickly, so let's cut to the chase. Are we helping or fighting?
Chris: What you saw happen to me didn't scare you?
Phoebe: If I had a dollar for every time an owl turned into a hot guy on our porch, I'd be rrr-- (Piper covers Phoebe's mouth.)
Piper: We've seen worse.
Prue: If you're not here to k*ll us, apparently we're supposed to help you.
Chris: The only help you can give me is to allow me to leave.
(You see a wolf lurking outside.)
Prue: I think it's pretty obvious, don't you, that uh, pretty familiar with the world of magic. We're sort of on the same team here.
Chris: But the last thing I need in my life right now is more magic.
Piper: I don't think you understand.
Chris: No, you're right, I don't understand, because I stopped understanding when he cursed me and took my life away from me. The only thing I do understand is lost. The only think I want is revenge.
Phoebe: Who did this to you? Was it a magician, a sorcerer?
Chris: It was my boss.
Prue: Just give us some time, I'm sure we can figure out--
Chris: I've lost enough time already when your cat dragged me here. Look, I only have twelve hours and at sunrise tomorrow I am airborne again. I won't, no, I can't last another day repeating the same cycle. Tonight, this thing ends. His life and I hope the curse that goes along with it.
Prue: Just give us 30 seconds, please.
Chris: Starts now.
Piper: Okay, uh, there are some of my boyfriend's clothes over there. Why don't you dress while we huddle.
(He walks over to the pile of clothes.)
Phoebe: Well, he definitely has that whole tortured innocent thing going on.
Piper: Yeah, but we're kind of busy and he doesn't seem to want our help.
Prue: Been there, saved that, it wouldn't be the first time. Alright, you get ready just incase he decides to bolt. Alright, here's what we're gonna... (The guy has snuck out.)
Piper: Oh, well, he's gone. That's too bad.
Phoebe: Uh, Piper, we can't just ignore this. He was brought to us for a reason.
Piper: Yes, but we have to find a way to hide the rudabaga before they catch on.
Prue: The rudabaga?
Piper: It's a code word for the thing we're not supposed to talk about. (Hums the wedding song.)
Prue: Oh, the rudabaga.
Piper: Yes, so let's do the dividing conquer thing, okay? (Kit is playing with the owl feather.) Great.
Prue: I'll look in the Book Of Shadows and try to scry what this owl feather is. (She picks up the feather.) You guys see what you can come up with for Piper's rudabaga.
(Piper walks in the foyer.)
Phoebe: Uh, maybe I should stay here and help you.
Prue: Phoebe, Piper needs your help just as much as the innocent does, maybe more.
Phoebe: I'm fully aware that we're supposed to protect the innocent, these are the rules that we live by now. I'm just not so sure we should be helping Piper break them.
[Scene: Bookstore. Piper and Phoebe are standing in line holding some books.]
Phoebe: I don't get it. If our ancient compilation of spells, witchcrafts and rituals can't help us, what makes you think Martha Stewart can?
Piper: You know what I don't get? Is why you're giving me such a hard time about this. Weren't you the same girl that was pushing me to say yes? If you didn't think I should have a rudabaga then you should've said so maybe, like a long time ago.
(Cole walks up to them.)
Cole: Ding-ding, back to your corners.
Phoebe: Hi!
Cole: Phoebe... and...
Phoebe: Uh...
Piper: Piper.
Phoebe: Piper.
Cole: Right.
Phoebe: Assistant District Attorney, we have to stop meeting like this.
Cole: You better be careful or a guy might think he's been followed.
(Phoebe laughs.)
Piper: You better be careful or a girl might think her sister's getting a really cheesy pick up line.
Phoebe: Um, so what brings you all the way across town?
Cole: I needed some source material on a forensics psychology case.
Phoebe: Well, I can see you're making a lot of progress.
(He looks at his empty hands.)
Cole: Yeah. (They laugh. Piper's not impressed. A bookstore employee hands him some books.)
Bookstore Employee: He's the info on forensics psychology you requested.
Cole: Thanks.
Phoebe: Oh, embarrassed pretty one.
(They walk up to the counter and put their books down. Cole sees Piper's book "How To Keep Your Marriage".)
Cole: So who's the lucky guy or more importantly, who's the lucky sister?
(The bookstore employee puts the books in two bags.)
Piper: Me... me, me. Mimi, our cousin. (Cole wiggles his fingers and Piper's books swap over with his.) Our cousin Mimi.
Phoebe: Good old cousin Mimi.
Piper: Lover.
Cole: Well, I should probably get going. I've sort of got plans to accidentally bump into another eye witness over at the Gas and Sips.
(Phoebe laughs.)
Phoebe: Cute.
Cole: I get cuter.
Piper: Can we go now?
(Piper grabs the bag with Cole's books in it and Phoebe follows. Cole pulls out Piper's books and looks at the covers. They are called "How To Keep You Marriage" and "The Secret Of Eloping".)
[Scene: The sorcerer's office. He and his assistant walk into a room.]
Assistant: I made another k*lling today. When you told the traders to buy fifty-four and a quarter, they were a little sketchy. Thirty minutes later everybody's rich and they're worshipping you like a God.
Boss: Magic does take a bit of the risk out of playing the market. Unfortunately none of my risks have paid out like they're supposed to.
Assistant: You've heard it too?
Boss: He's screech reeks of despair, he's in the air circling, he longs for her like I do.
Assistant: Give it time.
Boss: I sought the magic so I wouldn't have to. It's been two months, the curse should've broken them by now. All this means nothing if I can't have what I want. I want her. Dismissed.
(The assistant disappears in a puff of smoke. Chris appears behind the boss and holds a Kn*fe up against his chest.)
Chris: I am going to cut out your heart like you cut out mine.
Boss: Christopher, I'm impressed. In our time apart you've gone and discovered courage.
Chris: Wouldn't you like to borrow some?
Boss: No, thanks, I'm trying to cut down. I have to say I'm a bit surprised to see you've managed to come so close. Note to self, chat with security..
Chris: A birds eye view gives a man a different perspective, different strategies.
Boss: Uh, yes, the curse. So tell me, does absence make the heart grow fonder? (Chris jabs the Kn*fe in his chest.) Aaahhh! Do you really think that k*lling me will ease your pain? All that will do is ensure that the curse lasts forever.
(Boss flicks his hand and a man appears holding a crossbow.)
Man: You rang?
Boss: What's it gonna be, Chris? You've got the wrong plan. The only way your curse ends it she gives herself to me but, ah, is he telling the truth? I'll let you know a little secret, I never bluff and he rarely misses. (The man sh**t the crossbow and Chris jumps out of the way. He runs away.) Find him and k*ll him and if you don't by sunrise, k*ll every owl you see.
[Scene: Manor. Attic. Prue's looking through the Book Of Shadows. Piper and Phoebe walk in.]
Prue: Hey, I hope you guys had better luck than I did.
(Piper walks over to the BOS and starts flipping the pages.)
Piper: Not really. I ended up with the wrong books and, uh, well, Phoebe almost got lucky right there in the store.
Phoebe: Ha ha. So you didn't find anything?
Prue: Yeah, it's just the pieces don't really seem to fit, you know, I mean, I-I can understand cursing someone to be an animal but why for only half of the day?
Phoebe: And we don't know where he went, right?
Prue: No, I tried scrying with the owl feather but it must not work while he's human.
Piper: I found something.
Prue: On the curse?
Piper: Um, no, about the, um, rudabaga. It's a ritual that's like a rudabaga but it's called a, um... (she writes down "Handfasting" on a small blackboard.)
Phoebe: Oh, yeah, hand...
Prue/Piper: Shh shh shh.
Piper: The reason we write the bad words is so that we don't say the bad words. Wait a minute, I thought you said you looked in the book and couldn't find anything to help me.
Phoebe: Uh, yeah, well, it said that we needed a high priestess and since we don't have one of those I just sort of figured why even mention it. Besides, I couldn't find anything in there about how to hide it from them and thinks that's the really most important part so that we don't have to feel the, um... (she writes "unspeakable wrath" on the blackboard and shows it to them.)
Piper: I think you can say those words.
Phoebe: Uh, I was hoping writing them down would help us remember them. Um, I'm just worried that if you go through with it, it's going to be too dangerous and that maybe, um, this is really hard for me to say, but maybe you're being a little selfish.
Piper: Selfish?
Phoebe: Yeah, because what if your rudabaga keeps us from doing our job, keeps us from saving innocent people? What happens then?
Piper: Uh, yeah, but what about me? I mean, maybe you're right, maybe I'm being selfish but what's wrong with that? I mean, when do we get to do something for ourselves? Haven't you ever wondered that, or wanted that?
Phoebe: Yeah, absolutely, but not at the expense of hurting other people or each other.
Piper: Is that what you're afraid of? Getting hurt?
Phoebe: No, Piper, I'm afraid that you're not afraid of getting hurt.
Piper: I've been through more pain in the past two years that you can imagine and this is the only way to stop that. Now, I'd like to do the right thing but I also want to be with him.
(Piper closes the Book Of Shadows and the owl feather falls on the floor. Phoebe picks it up and has a premonition of Chris being att*cked by a wolf.)
Prue: What is it?
Phoebe: Our innocent and I think he was being att*cked by a coyote or a wolf.
[Scene: Forest. Prue, Piper and Phoebe are there looking for Chris.]
Phoebe: Alright, wait a minute, I think that this looks like the place... sorta.
Piper: That's funny, I remember it looking like the right place sorta three hours ago.
Phoebe: Okay, look, if you wanted a supernatural low jack, you came to the wrong witch. Oh, wait, look, that is where Christopher was standing in my premonition.
(A wolf is lurking in the bushes.)
Piper: Shh, shh, what was that?
(They see Chris.)
Prue: There he is.
Phoebe: Hey!
(The wolf runs out and barks at the girls.)
Chris: No!
(The wolf runs over to Chris.)
Phoebe: Okay, Piper, you have to freeze him.
Prue: Wait.
Chris: (to the wolf) We don't have much time, my love, someone's coming.
Prue: He's not attacking.
(They run into an old house and face each other. Prue, Piper and Phoebe watch from outside. As the sun rises the wolf turns into a naked woman and Chris turns into an owl.)
Commercial Break
[Scene: Continued from before. The woman (Brooke), now dressed, runs out of the house. Prue, Piper and Phoebe follow.]
Prue: Wait. Christopher want us to talk to you.
Phoebe: He does?
Prue: I'm vamping. It's the only was to get her to stop. Look, we met him last night, right before he went after the sorcerer. We tried to stop him but without your help he'll do it again and we both know what will happen if he does.
Brooke: He'll die. How do I know that you're not working for him?
Prue: You don't. You guys can't do it alone so you're just gonna have to trust us.
Brooke: Trust is earned.
Phoebe: Okay, I hate to break up the whole getting to know you portion of the program but what did Christopher mean when he said someone was coming?
Brooke: If Christopher went after him, then he must've sent someone after us.
Piper: Why?
Brooke: Because he fell in love with me. This, this curse is my punishment for not returning that love.
Piper: So woman by day and wolf by night?
(The owl flies past them.)
Brooke: He's warning me, we have to go.
Piper: Huh? Oh, alright.
(They start running. The sorcerer's assistant appears with a crossbow and sh**t arrows at them.)
Assistant: Where is he?
Prue: That's the least of your problems.
(Prue uses her power and he goes flying. He runs away.)
Phoebe: Have we earned your trust yet? Come on.
[Scene: Manor. Prue, Piper, Phoebe and Brooke walk inside.]
Piper: I swear to God I've seen this in a movie somewhere.
Prue: Uh, Pheebs?
Phoebe: Upstairs, Book Of Shadows, curse search, way ahead of ya.
Prue: (to Brooke) Uh, okay, you and I are gonna go to the kitchen.
Brooke: I'm fine, really, let me help.
Prue: Look, you are tired and hungry, please, just let me help.
(They walk in the kitchen.)
Phoebe: (to Piper) Wanna take a wiccan time out and do the crossword puzzle? (Piper gives her a look.) Piper, uh, about what I said before, I didn't mean...
Piper: Yes, you did. You never say anything you don't mean.
Phoebe: You keep saying that it isn't like what you'd have imagined and I do understand your side of it, I mean, I have never seen anyone look at you the way Leo does and that is beautiful and you deserve that but I still, I, um, I can't say that it's right. And I wish that I were wrong and it's important that you know that.
Piper: The problem is you're not. There's truth to it to what you said, I can't deny that. So unless both you and Prue approve it I won't go through with it..
(Piper walks in the kitchen and Phoebe goes upstairs.)
[Cut to the kitchen. Brooke is reading a note left on the fridge.]
Brooke: We used to leave each other notes. When this, when this first happened I'd find them at sunrise and I'd know, I'd remember all the reasons why I loved him. And then...
Prue: The letters stopped.
Brooke: There's a limit, you know, to how much any person can take. (She looks out the window.) You keep wondering... (The owl lands on the back of a chair outside.) You keep asking yourself...
Piper: Shouldn't love conquer all?
Prue: You know this isn't fair. I mean, it's hard enough to find somebody that you can spend the rest of your life with but when you constantly have magic medalling, I am so sick of it. I mean, I've been through it, you're going through it and now Brooke? What love can't conquer we will.
Piper: For everybody but ourselves.
Prue: Honey, the day's not over yet.
Piper: We're gonna need your help if you want this to end happily ever after. I know I could use a happy ending.
[Scene: Sorcerer's office. The sorcerer and his assistant are there. The assistant is holding a blood soaked bag.]
Sorcerer: You come bearing gifts?
Assistant: I come bearing victory.
Sorcerer: That's an awfully small bag for such an awfully large prey. If you'd k*lled the right bird we'd be looking at a d*ad human bleeding on my floor right now. You're foolish. Or deceitful. Either way, you failed.
Assistant: He had help.
Sorcerer: By whom? A pigeon perhaps? Maybe a penguin to the rescue.
Assistant: Witches, and now they're with her.
Sorcerer: Their choice in competence is not relevant. The fact that he still lives is. I wanted blood on my hands. I don't have his so I guess I'll have to take yours. (The assistant is engulfed in flames and turns into a pile of ash on the floor. The sorcerer talks into the speaker phone.) Clean up aisle two. (Another assistant appears.) Congratulations, you've just been promoted.
[Scene: Manor. In the backyard. Prue, Piper and Brooke are there. Brooke walks over to the owl.]
Brooke: I took a job. It was an established firm with the reputation for promoting within. (She picks up the owl.) My boss was this odd man. I've worked for nightmares before but nothing like this. He made moves, I made things clear, he made me this.
Piper: To keep you away from Christopher?
Brooke: He said if he couldn't have me, no one would. Until there was a night within a day or until I give in. I never thought... magic was for kids parties, it wasn't real. I didn't know.
Piper: We're still kind of getting used to it ourselves.
Brooke: But this, this is my fault.
Prue: No, you said yes to a job, not to a man.
Brooke: But Christopher is being punished because of me. I did this to him.
Prue: That's not what he said. He doesn't blame you for anything and he said...
Piper: How strong you are.
Brooke: He said that?
(Piper nods.)
Prue: He said that it's your strength that he first fell in love with. And he just needs to know that you're not gonna give that up.
[Cut to the attic. Phoebe is looking through the Book Of Shadows.]
Phoebe: Anything, anything. I curse you, you curse me, get together and do a little cursing. (The pages star flipping by themselves.) Whoa! (The pages stop on the "Handfasting" spell.) Okay, alright, you know, I specifically asked for a...
Grams' Voice: You asked for an answer. There it is.
Phoebe: I know that voice.
(Grams' spirit appears.)
Grams: Well, I should hope so. Yours came through loud and clear so, here I am.
Phoebe: Grams. (She walks over to her.) Oh, I would hug you but...
Grams: I know. It's just good to be here.
Phoebe: Yeah, and not that I'm not thrilled by that fact but I'm a little fuzzy on the why.
Grams: You need guidance, some advice on a certain sister situation. Am I getting warm?
Phoebe: Red hot. But wait a minute, if you know, that means that they know, and if they know then we are f--
Grams: Fine. Anyway, I'm beyond them now. Secrets safe with me. But what about you, Phoebe? Do you want to tell me about that nagging concern you have in your gut?
Phoebe: That's no fair you have after life advantage.
Grams: I also know you, Phoebe. Talk to me.
Phoebe: Okay. (She sits down on a chair.) Um, I wanna be able to support Piper in this. I want to look at her and I wanna say go for it but what if her and Leo get rudabaga-ed and they find out and then something horrible happens to them. I mean, look what happened to mum and her... special friend. And I hate to go skipping down selfish road but what if by association...
Grams: You and Prue get hurt.
Phoebe: Yeah. I wanna be supportive to her, Grams, I really do but everything in my heart is telling me that it's wrong.
Grams: All valid points but logic and reason go out the window when love gets involved.
Phoebe: Yes, I know that but...
Grams: The Charmed Ones are destined for greatness. But that fact doesn't keep a girl warm on a cold winters night.
Phoebe: So add a blanket. Grams, I can't believe you're saying this.
Grams: I'm saying what I know. I remember the loneliness all too well.
Phoebe: You were married four times.
Grams: Well, that's because I never found true love but maybe Piper has and when the time comes within to make it official, they'll feel it, they'll know.
Prue: (from downstairs) Phoebe?
Phoebe: Coming. (Grams disappears.) Thank you.
[Cut to downstairs. Assistant #2 is chasing them around the house with a crossbow. Piper gets stuck against the wall with two arrows stuck on her sleeves. Phoebe walks downstairs and he sh**t an arrow near her. Phoebe gasps. Prue uses her power and he crashes into a cupboard.]
Piper: Pheebs, a little help here please. (Prue and Phoebe pull out the arrows.) Okay, he could've k*lled me.
Phoebe: Us.
Prue: The question is why didn't he?
Assistant #2: Because I don't want you. I want the bird, where is he hiding?
(Brooke walks into the room and the assistant points the crossbow at her. The owl flies in front of her and he sh**t getting the owl.)
Brooke: No!
(Prue uses her power and an arrow flies into the assistant. He disappears in a puff of smoke. Prue, Piper and Phoebe run over to the Brooke. Brooke is crying. She picks up the owl.)
Commercial Break
[Scene: Manor. Living room. Everyone's there sitting on the couch. Brooke is holding the owl.]
Prue: He'll be alright.
Brooke: I know that's the right thing for you to say but you don't know that. Now all I can do is watch him die.
Prue: No, we can do a lot more than that.
Piper: You know I can't, not now, not while they're watching.
Prue: Piper, this has absolutely nothing to do with us and everything to do with an innocent. (Piper closes her eyes and Leo orbs in.) Leo, we, uh...
Leo: I know, they told me about the bad guys. The vanquishing talk caught their ears not the other thing.
Prue: Leo's a healer.
(Leo walks over to Brooke and the owl.)
Leo: I can't heal animals.
Phoebe: Well, we can't take him to the vet.
Piper: He's not exactly an animal.
(Leo tries to heal the owl.)
Prue: He is until sunset.
Phoebe: So you're saying we have to wait?
Leo: I'm sorry.
(The doorbell rings. Phoebe answers it.)
Cole: 1329 Prescott St. (He holds out the bag of books. Phoebe looks confused.) On the receipt. In the bag. (He looks for it.) It was there. That sounded much better in my head.
(Phoebe laughs.)
Phoebe: They gave you our books and you thought you'd drop them by.
Cole: That wasn't so hard when you said it. I actually need the ones I bought, so if you don't mind I...
Phoebe: Of course you do, okay. (Phoebe goes to get the books. Cole starts to follow but she stops him.) Oh, actually, uh, you know, my sister sort of got into it today so the place is a disaster, it's like a b*mb went off. So if you don't mind just waiting here that would be great. (She closes the door, gets the books and opens the door back up.) Hi! (She hands the to him.) So, you going back to the office?
Cole: Justice must be served, right?
Phoebe: Tell me about it.
(Leo walks into the foyer.)
Leo: Phoebe, everything okay? I was starting to get worried. Hey.
Phoebe: Um, Cole, Leo. Leo, Cole.
Leo: Nice to meet you.
(They shake hands and some of Leo's Whitelighter dust rubs off onto Cole's hand.)
Cole: Pleasure.
Leo: Sorry to, uh...
Cole: No, no, I was just leaving. I really need to take care of some business. (Leo and Phoebe go back inside. Cole walks down the stairs. He puts his suitcase down and gets a handkerchief out of this jacket pocket. He wipes his hand.) Whitelighters always were messy. (to his shadow) Report this. (His shadow floats down the stairs and goes down a drain.)
[Cut back to the living room.]
Piper: Did you ever think, did you ever consider that maybe it wasn't meant to be? (Phoebe and Leo walk in.) Things happen for a reason, right? Maybe it's not worth the risk to be together.
Brooke: If you don't take the risk for love, then what do you take it for?
(Phoebe clears her throat. Leo walks outside.)
Piper: Leo, wait.
(She goes after him.)
[Cut to outside. Leo is walking down the stairs. Piper follows.]
Piper: Leo, wait, you can't do that. You can not come into the end a conversation and assume everything.
Leo: Alright, let's pretend that I don't know anything. Then explain it to me.
Piper: I wasn't questioning you, I was questioning our decision.
Leo: Then ask me your questions.
Piper: Don't you think I would like to?
Leo: Honestly, I don't know what you're thinking.
Piper: Well, what I'm thinking is maybe Phoebe is right. Maybe we're being selfish, our decision affects other people, other people that I happen to love.
Leo: I love them too, Piper.
Piper: I know, I know that. Look, you are the last person I wanna be fighting with right now.
Leo: Then let's stop.
Piper: Leo, if we get... if you and... Okay, let me try that again. Brooke and Christopher love each other very much but in the end that didn't matter.
Leo: We haven't reached the end yet. Have a little faith. Don't you think this scares me too? Don't you think that I have my doubts?
Piper: Do you?
Leo: Of course I do. What I'm trying to say is I know what Christopher must feel. You know, always worried about the timing, about how he has to live his life, knowing what his true feelings are but unable to share those with the one person that he has them for.
Piper: She knows but it doesn't fix everything.
Phoebe: (off camera) You've gotta give it a chance. (Phoebe is standing on the lawn holding a small blackboard.) Logic and reason go out the window when love gets involved.
(She holds up the blackboard and "You have my blessing" is written on it.)
Piper: Wait a minute, I thought you said that...
Phoebe: Yeah, well, I got a long distance call with some really good advice.
Piper: But we still haven't figured out how to pull it off.
Phoebe: When the time's right, you'll know.
[Cut back to the living room. Brooke is there still holding the owl.]
Brooke: I'm sorry. I'm sorry, I can't let you die. Please forgive me, please forgive me.
(She puts him on the couch.)
[Cut back outside. Phoebe is looking up at the sky.]
Piper: That's quite a turnaround for you, sis. Who's your new confidant?
Phoebe: Huh?
Leo: I think she means your advice giver.
phoebe: Uh, it was just... oh my God.
(She blocks her face with the blackboard.)
Piper: Nice try, Pheebs, but the distraction technique stopped working in third grade.
Phoebe: No, it's not a technique, it's an eclipse. Look at it. (They do so.) No, wait, don't look at it. Trust me. I totally forgot that the eclipse was t... day. A night within a day.
Piper: I'm sorry, please repeat.
Phoebe: The curse, the eclipse. Until a night within a day. Isn't that what Brooke said? That's what gonna break the curse. (She runs inside.) Prue, it's happening.
[Cut to the living room. The owl s has turned back into a Chris. Everyone walks in.]
Prue: Leo, it just happened. Please help him.
Phoebe: This proves the theory. It's the eclipse.
(Chris tries to sit up.)
Leo: Whoa, whoa, you're not going anywhere.
Chris: Brooke.
Prue: Just rest, okay, we'll tell her.
Chris: You can't, she's gone.
Phoebe: What do you mean she's gone? She was in the kitchen when I left.
Prue: She's gone to him hasn't she? Alright, we'll handle it while Leo works on you.
(Leo walks over to Chris. He pulls out the arrow and heals him.)
Chirs: Thank you.
Piper: I don't understand. Why would Brooke go to him?
Chris: She didn't trust that you would be able to save me but she knows that she can.
Phoebe: How?
Chris: The curse. If at anytime she agrees to be with him, seals the pledge with a kiss...
Piper: She'll be forever bound.
Phoebe: But the eclipse changes that.
Prue: Yeah, but she doesn't know that.
[Scene: Sorcerer's office. The sorcerer and three men are there.]
Sorcerer: He's off the radar then he's more then failed, which leaves a space open for one of you to fill and you do that by k*lling the owl.
(Brooke walks in.)
Brooke: I was hoping you would take me instead.
Commercial Break
[Scene: Continued from before. Brooke and the sorcerer are now facing each other.]
Brooke: Aren't you going to kiss me?
Sorcerer: Brooke, I may be cheap but I'm not easy. No, wait, yes I am. You're only doing this to save him aren't you? That's okay, it's quite obvious. You know what? I don't care. You'll grow to love me.
Brooke: I have your insurance that Chris will not be harmed again?
Sorcerer: You have my love. Isn't that enough?
[Cut to outside. Prue, Piper, Phoebe and Chris walk in the building. Piper freezes everyone. They start walking up the corridor.]
Phoebe: T minus and counting.
Piper: Then we get to break into attica.
Phoebe: Well, we do have other choices. We can climb the roof or see if there's a convenient and unguarded side entrance or we could use the wonder twin powers.
(Piper stops.)
Piper: Ugh. I don't feel so...
Prue: What is it?
Piper: I don't know, I don't have a good feeling about this. Wait a minute, I take that back. I do have a good feeling about it, about something. I feel all warm and fuzzy.
Prue: Is it your stomach?
Piper: No, it's here. (She pats her chest.)
Phoebe: When the time is right you'll know. Oh my God, the time is right.
Prue: The time for what?
Phoebe: The, uh, the wed... the rudabaga. It's gotta be the eclipse. If we can't look up, that must mean that they can't look down.
(Prue gets all excited.)
Prue: Oh! Oh! Oh! Ooh, this is it, this is it. Okay, all we have to do is get home and...
Phoebe: And do the ritual and let Leo know and call the florist and we gotta d-d... (Piper stops her.) What's, what?
Piper: We've gotta get to Brooke.
Phoebe: Right, we've gotta get to Brooke and then we gotta get home.
Piper: No, we only got time for one. So we either save Brooke...
Chris: Piper, go home. Of all people I understand this, alright, and so would Brooke. I can handle this on my own.
Piper: No. Alright, we'll go in the front.
[Cut back to the sorcerer's office. He and Brooke are leaning in ready to kiss. The door flies open.]
Sorcerer: Oh, look, it's the girl scouts. Set your thin mints down on the table and leave before you get yourselves hurt.
Prue: Let her go.
Sorcerer: I have no fear of witches.
Prue: Maybe not but how do you feel about true love?
(Brooke sees Chris and they smile.)
Sorcerer: That's not possible. (Chris and Brooke walk over to each other.) If I can't have her, no one will.
(A crossbow appears in the sorcerer's hand.)
Piper: Whoa. (She freezes them.)
Phoebe: Anyone got a vanquish in their pocket?
Prue: Oh, let's not get rid of him just yet. I want him to watch this for a little bit. (She uses her power and the crossbow flies out of his hand.) Okay, go ahead.
(Piper unfreezes them and Chris and Brooke kiss. The sorcerer starts to burn and disappears. Chris and Brooke hug.)
Brooke: I don't know what to say.
Chris: How can we thank you?
Prue: You already have.
Phoebe: Oh, Piper, I think I have a solution to the whole maid of honor thing.
Prue: Oh, me too.
Piper: Is that our distinct lack of a high priestess?
Phoebe: Would you please just let me worry about that.
[Scene: Manor. Living room. Grams and Leo are standing there. Leo is dressed in a suit.]
Grams: Girls, your high priestess is waiting, unfortunately the eclipse is not. Now let's move it. (She uses her power and wedding music plays in the CD player.) That would be your queue, maids of honor.
(Prue and Phoebe, who are all dressed up, walk down the stairs. The stand at the bottom of the stairs. Piper walks down wearing a light blue dress and holding a bouquet. Leo smiles. She stops at the bottom of the stairs.)
Prue: You look beautiful. I know it's not exactly how you wanted it.
Piper: But it's exactly what I wanted. (She looks over at Leo and they smile. Prue, Piper and Phoebe walk into the living room. Piper stands in front of Leo. They smile again. All of a sudden Leo starts jerking. He yells, is surrounded by light and orbs out.) Grams, how can this happen? What did we do? (She starts to panic.)
Grams: Listen to me, darling, it's going to be okay. We will fix this.
(Piper starts crying.)
Piper: We, we have to. (Prue and Phoebe hold her arms.) This, this is all my fault. (She kneels on the floor and so do Prue and Phoebe.) He didn't deserve to be... I don't, I don't think I can do this.
(She cries harder and Prue and Phoebe comfort her.)
[Scene: A dark place. Three hooded men are standing in a circle with Cole in the middle.]
Hooded Man #1: You do good work.
Hooded Man #2: To get close to the Halliwell's with no suspicion... splendid.
Hooded Man #3: And we were pleased that you informed us of the witch's nuptials.
Cole: The pleasure was mine.
Hooded Man #2: And the pleasure was theirs when the information was shared.
Hooded Man #1: You get useful knowledge of the Charmed Ones, now you must gain their trust. Others have failed.
Cole: Others weren't me.
Hooded Man #3: So, what is next?
Cole: The wedding was child's play, a perk if you will. I'm focusing my attentions on Phoebe, she's my way in. You sent me up to find out how to destroy them, I'd say we're well on our way.
End | {"type": "series", "show": "Charmed", "episode": "03x02 - Magic Hour"} | foreverdreaming |
[Scene: P3. The club is full of people. Piper is at the bar. Leo walks up to her. She smiles.]
Piper: I knew you'd come back.
Leo: Piper...
Piper: Phoebe was worried, Prue was a wreck, but I knew you'd find a way.
Leo: We need to talk.
Piper: Leo, you haven't kissed me in over a week. Don't you think maybe that takes priority?
(She walks around the bar and kisses Leo.)
Leo: I came to say goodbye.
Piper: What?
Leo: They told us to break up. They caught us trying to get married.
Piper: So we won't get married, we'll wait.
Leo: (his voice echoing) It's too late, we broke the rules and now they won't let us see each other again.
Piper: Wait a minute, they won't what?
Leo: I don't care what they do to me but I couldn't bare anything happening to you. I shouldn't even be here right now.
(He starts backing away.)
Piper: Wait a minute, Leo, I can't here you. What are you saying?
Leo: You have to forget about me.
Piper: No. (Leo mouths "I love you" to her. He orbs out and everyone dancing stops and looks at Piper.) Leo. Leo!
(Prue runs over to Piper and shakes her.)
Prue: Piper. Piper, wake up. Piper.
[Cut to Piper's bedroom. Prue's there trying to wake Piper up. Piper sits up.)
Piper: Leo's not coming back.
Prue: Honey, it was just a bad dream.
(Piper starts crying.)
Piper: No, it wasn't, it was real. I don't understand why they are doing this to us? It's like destroying lives is how they amuse themselves.
Prue: Piper, watch what you say.
Piper: Why? What are they gonna do to me? They couldn't hurt me more then they already have.
(They hug.)
[Cut to Phoebe in Prue's car. She has the stereo up loud. Her phone rings and she answers it.]
Phoebe: Don't you just love cell phones?
Prue: Hey, uh, it's me.
Phoebe: It's amazing how much stress you can project with so few words, Prue. I will have your precious car home momentarily.
Prue: Phoebe, I am not calling about the car, I'm calling about Piper. Look, um, she had this dream about Leo and maybe I'm overreacting but I've never seen her like this. It-it's like she's completely given up.
Phoebe: What kind of dream about Leoooo! (She slams on the brakes to avoid a little girl standing on the road.) I'm fine, car's fine. I'll see you later. Bye. (She hangs up, gets out of the car and runs over to the girl. She is clutching onto a small box.) Hi, are you okay?
Girl: You can't have it, leave me alone, I won't give it to you, leave me alone!
(Phoebe looks to see what she is yelling at but sees nothing. The girl runs away and Phoebe runs after her. The girl trips over. She hears voices and something invisible scratches her arm. She screams. Phoebe kneels down next to her and holds her.)
Phoebe: It's okay, it's okay. You're safe.
Opening Credits
[Scene: Manor. Kitchen. Phoebe and the girl (Kate) are there. Kate's sitting at the table still holding the box. Phoebe places a cup hot chocolate and a plate of cookies on the table.]
Phoebe: Okay, you just have to be very careful because it's hot, so blow on it, okay?
(Prue and Piper stand at the doorway.)
Prue: Hey, did you find out anything more from her?
Phoebe: Name rank and serial number.
Piper: Uh, her parents are on their way, they live up the street. (to Kate) They were very worried about you.
Phoebe: I gotta go to the car and get her jacket. (She walks over to the key hook.) Uh, keys?
Prue: What?
Phoebe: You know, silver shiny things that go jingle jingle.
Prue: I don't have them.
Phoebe: That's so weird. I put them up here.
Kate: The fairies probably hid them.
Phoebe: What was that?
Kate: Sorry, I'm not supposed to talk about fairies.
Phoebe: Um, you know what? In this house you can talk about anything you want. Sometimes we talk about weird things too.
Kate: Well, that's what fairies do. Hide your keys and things. They're tricky like that.
Phoebe: Um, is that what's in that box? Is it a fairy? Is that who you're protecting?
(The doorbell rings. Prue goes to answer it.)
Piper: That's probably your mum and your dad.
Kate: He's not my dad. He's just my mum's new husband.
[Cut to the foyer. Prue opens the door.]
Kate's Mum: Hi, we're Kate's parents.
Kate's Step dad: Is she alright?
Prue: Yeah, she's fine. I mean, she scraped her arm a little bit but mostly she's just scared.
(Piper, Phoebe and Kate walk in the foyer.)
Kate's Step Dad: Kate.
Kate: Get out of the doorway.
Kate's Mum: Kate...
Kate: It stays in the tween, get out of the in between.
Phoebe: What's an in between?
Kate: It's where the trolls are.
Kate's Mum: Honey, we've had this conversation before. You're a big girl and it's time to stop believing in things like that. She's had some problems since her father and I divorced. Regressed sort of back to the imaginary friend stage.
Kate's Step Dad: Look, uh, we should go, it's late. Thank you again for everything.
Kate: They'll get us.
Kate's Step Dad: I won't let them. It's okay.
(He picks up Kate and she sees a troll hanging onto the door frame.)
Kate: Look, there it is.
(Kate's step dad carries her outside.)
Kate's Mum: Thank you.
Prue: Your welcome.
(She leaves.)
[Time lapse. Prue, Piper and Phoebe are in the kitchen. Piper's making some coffee.]
Piper: Come on, Phoebe, trolls and fairies? You don't believe that stuff.
Phoebe: Sure, why not?
Piper: Well, maybe it's time we tell her about Santa.
Phoebe: All I know is something was definitely after her.
Piper: But you didn't see anything?
Phoebe: No, but how else did she get hurt?
Piper: How about she fell down and scratched herself.
Phoebe: No, Piper, they weren't scratches, they were claw marks.
Piper: If they were, you would've seen what had clawed her. Why are you being so stubborn about this?
Phoebe: Because I'm a Scorpio. What's your excuse?
Prue: Okay, so it's kind of late and, um, we're all a bit tired so how about we finish up tomorrow?
Phoebe: Now look what you did. You went and turned Prue into the middle child.
Piper: Okay, Phoebe, even if fairies and trolls do exist, you heard what her mum said, the problems started when her father left. That's psychology not magic.
Phoebe: I know. But you know what? I'm gonna check the Book Of Shadows just incase. 'Cause I don't wanna be out stubborned by a Gemini.
[Scene: Kate's house. Kate's room. Kate's mum kisses her goodnight. She goes to turn off the light but Kate stops her.]
Kate: No, don't! The tweens, they come out of the shadows.
Kate's Mum: Honey, just go to sleep, okay.
(She turns off the light and closes the door. Kate sits on her bed still holding onto the box.)
Kate: Please, go away. (She hears noises.) Leave us alone.
(Things move around in her bedroom. The door opens and she screams.)
Commercial Break
[Scene: Manor. Attic. Phoebe's sitting on the floor reading a book. Prue walks in.]
Prue: Hey.
(Phoebe picks up some drawings.)
Phoebe: Check this out. (Prue looks at the drawings. They are drawings of fairies and trolls.) We each drew one.
Prue: Lily.
Phoebe: Do you remember her? She was our little imaginary friend we had when we were kids.
Prue: I have not thought about Lily in years.
Phoebe: That's because you grew up and you stopped seeing her. Okay... (She reads from the book.) Fairies, elves and trolls are mystical creatures that live in a realm parallel to ours but separated by a thin vell.
(Prue looks at the cover of the book.)
Prue: "The Enchanted Realm"?
Phoebe: A thin vell which lives only in tween places. Tween places, Prue. That's like a realm in between two things. Like doorways and windows, um, shadows.
Prue: Shadows?
Phoebe: In between light and dark. And it's exactly what Kate said. Trolls live in the in between.
Prue: Right, but when you found Kate she wasn't in an in between.
Phoebe: Actually, she was in the biggest in between of all. Midnight. In the hour between night and day, the world itself becomes a tween.
Prue: Okay, so why isn't there anything in the Book Of Shadows?
Phoebe: Because the Book Of Shadows was written by adults. And I'm assuming that scary dude in your picture is a troll.
Prue: So then why is he trying to hurt Kate?
Phoebe: I don't know, we have to ask Kate. And we will fill Piper in on the way.
(The phone rings.)
Prue: You know, maybe we should do this one on our own. You know, I mean, Piper's kind of out of it.
Phoebe: Even more reason to drag her along. Take her mind off of Leo.
Piper: (from downstairs) Phoebe, phone. (Phoebe runs downstairs holding onto the drawings.) It's your little lawyer boyfriend.
(Phoebe hands her the drawings and Piper hands her the phone.)
Phoebe: So there. And he is not my boyfriend.
Piper: Weird.
(Piper walks away.)
Phoebe: (into the phone) Hello?
Cole: Who's not your boyfriend?
Phoebe: Um... the mailman. Uh, yeah, sometimes Piper likes to tease me because I like to get the mail a lot. So, how are you?
Cole: Well, it's a beautiful morning and I got a beautiful woman on the phone, so things could be worse. God, I sound like Billy Appleby.
Phoebe: What?
Cole: Nothing.
Phoebe: No, wait, what did you just say?
[Cut to Cole in his office. He has some information about Phoebe written on a sheet of paper.]
Cole: Billy Appleby's just this guy from this old movie I watched too much when I was a kid.
(He points to a highlighted sentence on the sheet of paper.)
Phoebe/Cole: "k*ll It Before It Dies".
Cole: You've seen it?
Phoebe: Once or twice.
Cole: Really? Too bad it's not playing, I'd take you to see it.
[Cut back to Phoebe. She mouths "I love you" to the phone.]
Cole: Of course we could always have dinner instead.
Phoebe: Are you asking me out, Councilor?
[Cut back to Cole.]
Cole: Guilty. (He turns the page to show a map of the manor and where the Book Of Shadows is.) How about tonight? I could stop by your place.
[Cut back to Phoebe. Prue comes down the stairs.]
Phoebe: Uh, really, uh, well... (Piper puts on her coat. Prue motions Phoebe to hurry.) Um, actually tonight's not good because Piper's going through something but I will call you and maybe we can meet at the club. (Prue snatches the phone off of Phoebe.) Sorry, bye. (Piper grabs her keys and Prue and Phoebe stand in front of her.) Did you not look at those drawings?
Piper: They're cute, yes.
Phoebe: Cute? Cute? We all had the same invisible fairy friend, Piper. That is proof that fairies exist.
(Piper tries to walk around them but they don't let her.)
Piper: Or it proves that one of us had a really fertile imagination and the other two were really big copycats.
Prue: Okay, Piper, honey, just listen to me, okay. Um, we think that Kate is in trouble, our kind of trouble.
Piper: Okay, well, I don't. And after what they did to Leo, I'm not really all that motivated to go dig up demons.
Phoebe: Trolls.
Piper: Whatever. Look, you guys can do whatever you want but I've had it and I'm done.
Prue: What does that mean?
Piper: It means that the "powers that be" haven't done anything but ruin my life so therefore I'm not gonna do anything for them anymore, okay. I'm going now, excuse me, I'm going now.
(She pushes past them and leaves.)
Phoebe: I think she's on strike.
[Scene: Kate's house. Kate's room. She is drawing pictures of the trolls. There is a knock on the door and her step dad walks in.]
Kate's Step Dad: Kate, someone's here to see you.
(Prue and Phoebe walk in. Prue's holding the drawings.)
Prue: Hey, so, um, we brought you your jacket. We had to use the spare key to get into the car though. I guess the fairies hid them after all.
Kate: Told you.
Phoebe: What are you drawing? That looks like a very scary cave.
Prue: You know, that looks a lot like mine.
(She shows her the drawing.)
Kate: That's a fairy and a troll. My mum says I'm making them up but I'm not.
Prue: Well, we believe you. Okay, we just need you to tell us everything you know so that we can help.
Kate: I don't know that much. Thistle's kind of hard to understand. Fairies don't talk the same way people do.
Phoebe: Thistle?
Kate: I saved her. See, the fairies are the bosses of the enchanted kingdom but the trolls thought they were the bosses, so they kidnapped Thistle from the king and queen of the fairies.
Phoebe: So Thistle is a princess?
Kate: Mmm hmm. But the trolls are gonna k*ll her unless her parents hand over the kingdom.
Phoebe: It's a miniature kudatar.
Kate: But I found her tied up in the cave and I saved her.
Prue: That was very brave of you.
Kate: But now the trolls hate me because I won't give her back. Most of the times I can stay out of the in betweens but at midnight...
Phoebe: There's no place to hide. Yeah, I know.
Prue: Can we see her?
Kate: No, only children can see fairies.
Phoebe: Well, I don't know if this is gonna help but Prue and I are very in touch with our inner children.
Prue: Can we at least try?
Kate: We'll have to go into an in between. Watch out for trolls.
Prue: Okay.
(Kate unlocks the box with a key hanging around her neck. She sits the box on the window sill, looks around and then opens the lid of the box. They don't see her and Prue shakes her head. Kate shuts the lid.)
Kate: I can't help if you can't see her. (She holds the box close to her ear and listens.) Thistle says that if you really believe in fairies, there's something that'll make you innocent again so you can see them. (Kate opens the lid, grabs a handful of fairy dust and throws it on Prue and Phoebe. Phoebe bursts out laughing.) I think it worked.
Prue: (in a childish voice) I wanna see the fairy.
(Kate opens the lid again and a little pink fairy flies out of the box. They stare at it with their eyes wide and mouths open.)
Commercial Break
[Scene: P3. The place is nearly empty. People are leaving. Prue and Phoebe, acting like children, are on stage singing songs. Piper walks down the stairs and is shocked by what she sees.]
Piper: Oh my God.
Prue/Phoebe: (singing) "If you're happy and you know it clap your hands. If you're happy and you know it pat your knee. (They pat their knee) If you're happy and you know it pat your knee."
Phoebe: (to the people watching) You guys have got to do it.
(Prue and Phoebe continue singing. Piper walks up to Abby.)
Piper: What the hell is going on?
Abby: You think this is bad? You should've been here for Frere Jacque. They've been acting like kids since they got here. I didn't serve them, I swear.
Piper: Alright, put on some music, any music and k*ll that microphone.
(Piper walks over to Prue and Phoebe.)
Phoebe: Hi.
Piper: Hi. Lost your minds?
Prue: Piper, we have been waiting and waiting and waiting...
Phoebe: Yeah, and you know what we did? We saw a fairy and she was very cute and she was sparkly and she was really, really pretty.
(Piper freezes everyone.)
Piper: Okay, what ass-backward spell did you guys cast?
Prue: We-we-we didn't cast a spell.
Phoebe: No, it is true, we did not use a spell but we did use fairy dust.
Piper: Fairy dust?
Phoebe: Yep.
Piper: Okay, great, so you can go home now and reverse it, Tinkerbell.
Phoebe: No, no, no. No, I am not a fairy. She thought I was a... We have to show her. Okay.
(Phoebe pulls a small pouch out of her pocket and they get a pinch of fairy dust out of it.)
Prue: Ready? Okay, go.
Phoebe: One, two, three.
(They throw the fairy dust in Piper's face and she sneezes.)
Piper: What the hell did you do that for?
Phoebe: Dat did not work.
Piper: No. Work, that's a very good idea. I'm gonna get back to work now.
(She unfreezes everyone and walks away. Prue and Phoebe follow her.)
Phoebe: Oh, you know what? You are being a big, big, big, extra, extra, extra, double big jerk right now. (A strand of hair is on Prue's face and she tries to grab it with her tongue.) Because now I have the key, (she shows her the key hanging around her neck) so Thistle is safe and we have to be back with Kate at midnight so when the trolls att*ck...
Piper: No. You guys are going home and you're not driving either 'cause someone will think you're drunk or something. So go outside and wait there and I will call a cab.
Prue: Oh...
Piper: Shh shh, no.
(Phoebe plays with the zipper on her jacket. Prue starts whining.)
Prue: Why are you being so meeeaan?
Piper: Because I don't want you to... (Phoebe hugs her.) Stop it. (Phoebe kisses her on the cheek.) You're trying to trick me into ending my strike. (Prue hugs her as well.) And it's not gonna work. You guys go home. Scoot. Go home. Scoot. And you go home and you reverse this ridiculous behaviour.
(They let go of her and walk towards the door. They turn around and stick their tongues out at Piper. They walk through the doorway and Phoebe dodges a troll. They jump on the ground.)
Prue: Are you okay?
Phoebe: Yeah. Trolls. They must know that we have to key now.
Prue: Okay, they're very scary but they're gonna come after us instead of Kate at midnight so alls we have to do is go home and wait for them.
Phoebe: Okay.
[Cut back inside P3. Piper finds Leo's Valentines Day card from the episode "Animal Pragmatism" under the cash register. She looks at it and then puts it back under the register.]
[Scene: Manor. Prue and Phoebe are running through the house.]
Phoebe: Geez, Louise, there are too many doorways in this house.
Prue: Okay, we have to call Kate on the walkie-talkies, okay? (They start up the stairs but stop when the doorbell rings.) Oh, do you think the trolls know about doorbells?
Phoebe: I don't know. (They cautiously walk up to the door. Phoebe opens it and Cole's there bent over at the waist.) Cooooole!
(He stands up.)
Cole: Hey, you're home.
Phoebe: Yes.
(Phoebe leans forward near the doorway.)
Prue: Ooh, ooh, tween!
Phoebe: Um, excuse me, but you were not supposed to meet me here, you were supposed to meet me at the club, 'member?
Cole: Was that the plan?
Phoebe: Yes, that was the plan.
Cole: Sorry, long day.
Prue: 'Kay, bye, close the door behind you.
Phoebe: Bye.
Prue: Bye.
(They run off.)
Cole: Um... (They stop and back into each other.) It's a long drive home. Do you think I could use your rest room?
Phoebe: Number 1 or number 2?
(Prue laughs.)
Prue: He has to go tootie.
Cole: Excuse me?
Phoebe: Okay, you can come in but you have to do it very fast whatever it is.
[Time lapse. Cole walks in the bathroom. He locks the door. He disappears and reappears in the attic. He sees the Book Of Shadows.]
[Cut back to Phoebe and Prue. They are standing in the hallway. Prue is holding a walkie-talkie.]
Prue: Kate, Kate, come in, it's Pwue.
[Cut to Kate's. She is standing in her room clutching onto the box looking very frightened. She can hear the trolls.]
Phoebe: Kate, are you there?
Kate: Prue, where are you?
Prue: We're at home. The dust didn't work on Piper.
Kate: Then she doesn't believe. What are we gonna do? I'm scared, there's shadows everywhere and it's almost midnight.
Phoebe: Okay, listen, Kate, okay, you don't have to worry, that's what we called to tell you because the trolls know that we have the key now, so they're not after you anymore, they're after us.
Kate: No, they're here too, I can hear them.
Prue: As long as we have the key, Thistle is safe. So, just stay there, and-and-and turn on all the lights [Cut back to Prue and Phoebe] and it'll disappear the shadows.
Phoebe: Yeah, yeah.
[Cut back to the attic. Cole reaches for the Book Of Shadows but it flies off its stand and onto the floor. Cole turns into a demon. (Soon known as Belthazor.) He reaches for the book again and it moves along the floor. He groans.]
[Cut back to Prue and Phoebe. They hear the groan.]
Phoebe: Trolls.
Prue: Let's go get 'em.
[Cut to the attic. Prue and Phoebe barge in.]
Prue/Phoebe: Hiiiyahh!
(Phoebe turns on the light and they see the demon. He disappears.)
Phoebe: Pwue, that was a very, very big troll.
Prue: That wasn't a troll, that was a demon.
Phoebe: Okay, well, where does that fit into this story?
Prue: He was after the Book Of Shadows.
Phoebe: Alright, well, you know we can't really worry about him now 'cause we have to get to Kate.
(Phoebe stands in the doorway and a troll's there.)
Prue: Oh, Phoebe! (The troll jumps down Phoebe's shirt.) Phoebe!
(Prue tackles Phoebe. The troll jumps out of Phoebe's shirt. Prue and Phoebe fall down the stairs and land on the second floor.)
Phoebe: (now an adult) Prue, they got the key.
(Cole walks out of the bathroom.)
Cole: Phoebe... Are you two okay?
Commercial Break
[Scene: Manor. Prue, Phoebe and Cole are walking down the stairs.]
Prue: You know what? Can you just go? I'm really sorry to rush you out but we have something very important to be taken care of.
(They head towards the door.)
Cole: But you sure you're okay? I mean, that sounded like a pretty nasty fall.
Phoebe: Yeah, Cole, we're fine really.
Cole: You two seem different.
Phoebe: Different?
Cole: I mean, I thought you were, I don't know, drunk or something before but now you seem...
Prue: Sober. Stairs can be sobering.
Phoebe: Right. Okay, um, I'm really sorry about plans there, Cole, I really am.
(She opens the door.)
Cole: No worries. I'll keep trying.
(He leaves and Phoebe closes the door.)
Phoebe: Stairs can be sobering?
Prue: Okay, what was I supposed to say? That some unknown demon came in to try and steal our magic book and then little trolls came and pushed us down the stairs?
Phoebe: Right, okay, but why are we thinking like grown ups all of a sudden?
Prue: I don't know, it must've been from the trauma of the att*ck. Which is probably a really good thing because I don't really think our inner children would've had much luck protecting Kate.
Phoebe: And now that the trolls have the key we really need to go protect Kate. (Phoebe opens the door and Prue heads upstairs.) Uh, hello, Prue?
(She shuts the door and follows Prue.)
[Cut to the attic. Prue and Phoebe walk in.]
Phoebe: Okay, I don't understand why we just don't get to Kate.
Prue: Because with the dust warn off we won't be able to see the trolls.
(Prue walks over to the Book Of Shadows and flips through the pages.)
Phoebe: Okay, well, I already looked in the Book Of Shadows and there's nothing in there about trolls.
Prue: I know, I'm thinking of piecing together a make shift spell like here. (She finds a spell in the book.) Um, to see what can't be seen. If we combine that one with the one to cultivate innocence and the power of three spell it just might work.
Phoebe: That's why you're the oldest sister, you are always thinking.
Prue: Thank you. Alright, uh, I'll work on the spell, why don't you go call Piper.
Phoebe: Okay. Um, what's the point of that? Isn't she still on the picket line?
Prue: Yeah, but we can't fight the trolls without her, I mean, they're just too fast, we need her to freeze them. You know, maybe we wanted her to be with us before but now we actually need her.
Phoebe: Okay.
(She heads towards the door.)
Prue: Uh, hey, watch out for doorways and stuff because now that the trolls know that we're helping Kate, they'll do everything they can to stop all three of us.
Phoebe: Mmm hmm.
(Phoebe runs through the doorway quickly.)
[Scene: P3. Piper places some wine glasses on a tray and walks towards the bar. The trolls trip Piper who drops the tray. She bends down and picks up the glass. Piper cuts her finger on the glass.]
Piper: Ow!
(Abby walks up to Piper holding the phone.)
Abby: Hey, Piper, your sister's... (she sees the mess) on the phone.
Piper: Perfect. (She takes the phone. Abby helps clean up the mess.) It's okay, I'll get it, I'll get it, it's alright. (Piper walks up to the bar and wraps a napkin around her finger.) (in the phone) You need a diaper change?
Phoebe: Very funny. Look, we need you to come home right away by midnight or else...
Piper: The tooth fairy's gonna come and harass us all for not flossing?
Phoebe: Alright, I know you don't believe in fairy's and I'm not asking you to...
Piper: Then what are you asking?
Phoebe: We were trying to distract you before, we were trying to take your mind off of Leo, okay. And it was wrong and I'm sorry for that but it's not about that anymore, Piper. We are up against something that we can not fight without you.
Piper: Trolls.
Phoebe: Believe it or don't but they are sneaky and mean and they are trying to hurt a seven year old girl. (Piper looks around the club.) Hello?
Piper: Any chance they may have been here?
Phoebe: Yeah, one att*cked me there earlier. Why?
Piper: Nothing.
Phoebe: Alright, look, they know that we're witches and they will do anything to stop us from helping Kate.
Piper: Alright, I'm on my way.
Phoebe: Okay, well, don't forget to stay out of the... (Piper hangs up.) [Cut to Phoebe] Tween places.
[Cut back to Piper. She grabs her purse and looks for her keys.]
Piper: Abby, have you seen my keys?
Abby: Aren't they on the hook?
Piper: No, if they were on the hook I wouldn't be asking.
(Piper swings around and knocks over some bottles.)
Abby: I got it, I got it.
Piper: Oh, damn it. (She continues looking for the keys.) Spare key, spare key. Register. (She opens the cash register and the trolls close it on her fingers.) Son of a...
Abby: Oh, are you okay?
Piper: Uh, could you just do me a favour and close up for me?
Abby: Oh, yeah, sure.
Piper: Thank you.
[Cut to outside. The trolls push Piper out the door. She walks towards her car and the trolls trip her. She falls on the ground and all her stuff falls out of her purse.]
Piper: You better run while you can, you little rodents. (She stands up and looks up at the sky.) I bet you guys think this is real funny don't ya? Haven't you taken enough from me? You have to send trolls to kick me while I'm down. (She picks up her stuff and puts them back in her purse.) I had a nice normal life once and you took that from me. You took my boyfriend, you took my life, the least you could do is leave me... (a couple walk past) my freakin' car keys. I am a good person, I am a good witch and damn it I would've made a great wife. And how dare you take that from me. I deserve... no, you know what? I demand that you send him back to me. You hear me? Right now. I am going to stand in this very spot until you send Leo back to me.
(Nothing happens.)
[Scene: Manor. 11:54pm. Prue and Phoebe are waiting for Piper.]
Prue: She said that she was coming, right?
Phoebe: What'd you think I just made that part up?
Prue: No, but it's almost 12:00 and we still have to go over to Kate's.
Phoebe: Well, maybe we should do it with out her. Do the best we can.
Prue: No, I used the power of three spell, it won't work without her.
Phoebe: We can rewrite it.
Prue: In six minutes.
Phoebe: Do you have a better idea?
(Piper walks in.)
Piper: Sorry I'm late.
Phoebe: Hey, are you okay?
Piper: I thought this wasn't about me.
Prue: Well, it just... you don't really seem like you're very open.
Piper: I'm as open as I'm gonna get in the next five minutes so let's just do the damn spell.
(They read from a piece of paper.)
Prue/Piper/Phoebe: "In this tween time this darkest hour, we call upon the sacred power. Three together stand alone, command the unseen to be shown. In innocence we search the skies, enchanted are our new found eyes."
Phoebe: You've really gotta lay off the rhyming, Prue.
Prue: Alright, well, let's just go ring the doorbell, Piper, you freeze Kate's parents so that we can get past them, okay?
Piper: Fine, whatever.
(She walks off.)
Prue: Fine, whatever.
[Scene: Kate's house. Kate's room. She is standing in the middle of the room clutching onto the box and holding the walkie-talkie.]
Kate: (into the walkie-talkie) Prue? Hello? Phoebe? Please answer me. Hello? (The clock hits 12:00 and the trolls appear. They fly around Kate. Prue, Piper and Phoebe walk in. The trolls fly around them, pushes them outside into the hallway and shuts the door. They knock the box out of Kate's hands.) Thistle! (The box falls under the bed.) Phoebe, they're taking Thistle.
[Cut to the hallway.]
Phoebe: Okay, why can't we see them?
Prue: Obviously the spell didn't work.
(Prue uses her power and opens the door. The trolls drag Kate under the bed.)
Kate: Help me!
(The trolls knock down a shelf of toys.)
[Cut to under the bed. The troll throws dust on Kate and she turns into a fairy. They take her away. Prue, Piper and Phoebe look under the bed.]
Phoebe: Where'd she go?
Commercial Break
[Scene: Kate's house. Continued from before.]
Prue: There's nothing here.
Piper: Well, she's gotta be here somewhere, she couldn't have just disappeared.
Phoebe: Unless the trolls turned her into a fairy.
Prue: A fairy? Why would they do that?
Phoebe: I have no idea. Maybe to punish her for taking Thistle. (She picks up the box.) But we have to find Kate. Okay, come on, give me a premonition.
Prue: I don't understand. I mean, why couldn't we see the trolls? We've had spells backfire on us before but never the power of three.
Piper: It didn't backfire. The spell didn't work because of me.
Prue: Piper...
Piper: No, it's-it's true. This is all my fault. I just, I wanted to save Kate and never meant to hurt her, I never meant for this...
Prue: Don't blame yourself, okay? You have every right to be angry.
Piper: But not at the expense of a little girl. I just don't understand how I'm supposed to believe in anything anymore. I just want him back, Prue.
Prue: I know. But right now we have to get Kate back, okay, and we're gonna need your help to do that.
Phoebe: Damn it, damn it, damn it. I don't understand. What good is this power if I can't use it when I need it?
Prue: Phoebe, you have to focus.
Phoebe: Prue, I am focusing, believe me.
Prue: You're too upset, so take a deep breath...
Piper: Guys...
Phoebe: I can't levitate when I want to, I can't premonition when I want to...
Piper: Guys!
Phoebe: What?
Piper: I think the spell is working. (She points to a fairy flying near the window.) Do you see it?
Phoebe: What's it doing?
Prue: I think it wants us to follow it.
[Time lapse. Outside in a garden. Prue, Piper and Phoebe are following the fairy. They approach a cave and it flies away.]
Prue: I think he got scared away.
Phoebe: Yeah, and I can see why. This looks like the cave from Kate's drawing.
Piper: The first troll I see is in really big trouble. Let's go.
(They walk into the cave and hide behind a rock. Kate and Thistle are locked in a cage.)
Phoebe: Troll central.
(The troll's place a branch underneath the cage. One troll is banging two rocks together trying to make a f*re.)
Piper: What are they doing?
Prue: It looks like they're trying to start a f*re, although I don't really think that it's for roasting marshmallows.
Phoebe: Kate and Thistle.
(The trolls get the f*re started.)
Prue: Alright, Piper, do you think that you can freeze them from here?
Piper: I can try.
(Some trolls att*ck them and they walk further into the cave.)
Prue: Piper, freeze them.
Piper: They're too fast.
(One heads straight for Piper and she freezes it. Prue moves it into the f*re and it burns.)
Prue: One down.
Phoebe: Okay... (Phoebe jumps up and levitates.) Prue, a little help here.
(Prue uses her power and Phoebe flies over to the cage. She unhooks it and lands back on the ground.)
Prue: Piper, run.
Piper: Run? Run where?
Prue: Just run, Piper, run!
(Prue drags Piper towards the f*re.)
Piper: Are you out of your mind?
Prue: Freeze the flames! (Piper freezes the f*re and they jump through it. The trolls head towards them.) Unfreeze, now. (Piper unfreezes the f*re and burns all of the trolls.) Now that is just the way I like my trolls, medium-well.
(Phoebe laughs. She lets Kate and Thistle of the cage.)
Phoebe: Here you guys go. It's okay, there you go. (They start to fly away.) Um, hey, hey, hey, you guys, wait up.
(They stop.)
Prue: Thistle, don't you know how to turn Kate back into a person?
(Kate looks at Thistle and shakes her head.)
Phoebe: Kate, you know, you can't stay a fairy because if you do, your mum will be very sad.
Piper: Um, you know what? I think I kinda know how you're feeling. When someone you love goes away it doesn't make any sense and it feels like the whole world is out to get you. But you know what? Your mum and dad didn't split up to hurt you. Things just happen. Things that you may never understand. But you just have to believe that it's for the best. Even if it doesn't always seem that way. You remember how sad you were when your daddy left? (She nods.) Well, that's how sad everybody's gonna be if you don't come home.
(Kate looks at Thistle and nods. Thistle turns her back into a human. Phoebe goes over and hugs Kate.)
Prue: (to Piper) Nicely done.
Commercial Break
[Scene: Manor. Prue, Piper and Phoebe walk through the front door. They look very sore and tied.]
Phoebe: Ow.
Piper: Yep.
Prue: Ice?
Phoebe: Bed. (Just as Prue closes the door the doorbell rings. Prue opens the door back up and there are flowers on the porch.) Who delivers at this hour?
(Prue bends down and picks up her keys.)
Prue: Hmm, I think this is somebody's way of saying thank you. Here. (She hands them the flowers.)
Piper: Well, you're welcome.
(They carry them inside.)
Phoebe: Oh, they're so pretty.
(Piper puts on a wreath of flowers on her head. Prue and Phoebe look at her.)
Prue: Piper, um, we...
(She takes it back off.)
Phoebe: We, um, we just...
Piper: I know, it's okay. I'm actually beginning to understand why they don't want witches and Whitelighters to be together. (They walk into the living room and sit down.) Marriage is, um, hard enough, you know. But marriage to a Whitelighter... He's gotta orb out at all times of the night and sometimes he's gone for weeks at a time. But honestly if I'm gonna have a meltdown every time I have no idea where he is, the none of us are gonna be able to do our jobs. (Tears fill her eyes.) And if we had lost that little girl tonight...
Phoebe: But we didn't.
Piper: But we could've. And I don't think I could live with that. If that means that I have to give up Leo, then I guess that's a sacrifice I'm willing to make. (She walks out of the room. Leo orbs in on the stairs. Piper gets a fright.) Am I dreaming?
Leo: No.
(They hug.)
Piper: I had a dream that you weren't coming back. That wasn't a dream either, was it?
Leo: No, it wasn't. They had forbidden me from ever seeing you again. (Phoebe and Prue walk in.) But now, I don't know what you said or did but they said you showed great courage and great faith, enough to make them reconsider.
Phoebe: Does that mean you guys can get married now?
Prue: Ugh...
Phoebe: What? I wanna know.
Leo: Not yet. It means they're giving us a chance to prove we can make it work.
Phoebe: What do you mean? Like probation?
(Piper gives Phoebe a look.)
Leo: If we can show them that our relationship won't get in the way of our work...
Piper: Then we can stay together?
Leo: But if anything goes wrong, we're distracted by each other...
Piper: We won't be.
(Piper and Leo go upstairs.)
Phoebe: Are you worried?
Prue: When are you going to learn? I am always worried. I'm relieved that he's back though, not only for Piper but...
Phoebe: I know. Unknown, unattractive demon on the loose.
Prue: Yeah, let's not tell them until tomorrow. I think that the least that they deserve is one night worry free romance don't you?
Phoebe: Mmm, romance, uhh.
[Time lapse. Phoebe is calling Cole's office.]
Cole: Turner.
Phoebe: Uh, hi, Cole, what are you doing in the office at two in the morning?
Cole: What are you doing calling the office at two in the morning?
Phoebe: Um, I-I was just gonna leave you a message. Save you the trouble of having to talk to me.
Cole: Why would I ever not want to talk to you?
Phoebe: I don't know, you know, just incase you thought I was a drunk or a lunatic or a drunk lunatic.
Cole: I think I'm gonna go with mystery. One I'm looking forward to figuring out.
Phoebe: Okay, um, I'm going to go then and, uh, be mysterious.
Cole: I'll call you.
Phoebe: I will answer.
(She hangs up and falls back onto the couch.)
[Cut to Cole's office.]
Cole: Yes! (to his shadow) Tell them I'm getting closer.
(His shadows disappears into and air vent.)
End | {"type": "series", "show": "Charmed", "episode": "03x03 - Once Upon A time"} | foreverdreaming |
[Scene: Manor. Foyer. Phoebe is there checking her makeup in a compact mirror. Prue walks in holding a bowl of candy. She places it on the foyer table. Piper and Leo walk down the stairs. They are all dressed up in costumes for Halloween. Phoebe is Elvira, the mistress of the dark, wearing a black dress and a black wig. Prue is wearing a black dress and a long black wig with butterflies pinned to it. And Piper is dressed a Glenda, the good witch from the Wizard of Oz, wearing a blonde wig and a pink fluffy dress. Leo is dressed in his old World w*r II army uniform.]
Piper: Alright, people, let's go. I was supposed to be at the club a half an hour ago.
Prue: (to Piper) Hey, are you a good witch or a bad witch?
Piper: I'm going to be a very good witch from now on.
Prue: And you picked a role model that wears lots and lots of pink?
Piper: Yes.
Leo: Glenda helped innocents didn't she?
Piper: Yes.
Phoebe: You had the answer all along? That's not help, that's mind games.
Piper: I'm not gonna let you spoil my new attitude, I'm gonna celebrate witches holiday with enthusiasm.
Phoebe: The only problem is you never really know what you're celebrating when you celebrate Halloween.
Piper: Details. Where's Darryl?
Prue: He is in the kitchen on the phone.
(Piper and Leo head for the kitchen but stop when Phoebe starts talking.)
Phoebe: (holding up a cardboard cutout) Hooked nosed hags riding broomsticks. That's what we're celebrating. Personally I am offended by the representation of witches and popular culture.
Piper: Right, which is why you're dressed as the mistress of the dark.
Phoebe: This costume happens to be a protest statement.
Prue: I am so impressed that you can make a protest statement and show cleavage all at the same time.
Phoebe: Thanks.
Prue: Amazing.
Piper: Let's go.
[Cut to the kitchen. Darryl is there talking on the phone. He is wearing his police academy uniform. Everyone walks in.]
Piper: Alright, Inspector, put down the phone and nobody gets hurt.
Darryl: (into the phone) Yeah, sweetie, I gotta go. Give your folks my love, okay? I miss you guys.
(He hangs up.)
Piper: Nice costume.
(Piper scoops some popcorn into a bowl.)
Darryl: Yeah, it's from my rookie days. Still fits.
Leo: Yeah, mine too.
(Darryl look at Leo.)
Darryl: You're not from World w*r II. (silence) Who are you?
Prue: Uh, I will explain on the way. (She eats some popcorn.) So in the meantime we can just stick together since we are both dateless.
Piper: He's not dateless, he's married, you're dateless 'cause you're picky.
Prue: No, I'm not settling, alright, the perfect guy is out there, a real man, and I will find him, trust me.
Piper: Mmm hmm. And they're gonna love the popcorn and caramel in your teeth too. (Prue picks her teeth with her fingernail.) Alright, Darryl, let's go, somebody get something.
(They all grab plates of food.)
Phoebe: Um, we can't leave yet we have to wait for Cole.
Darryl: Cole Turner? The ADA? You're dating him?
Phoebe: Uh, no, I just sort of invited him to go along with us. It wasn't set in stone or anything so something must've come up.
[Scene: In the streets. Children are trick or treating. Two grimlocks walk past a kid. He runs after them.]
Kid: Hey, hey, cool costumes, dudes.
(The grimlock holds out his hand and a blue swirling light surrounds the kid's eyes. Cole appears.)
Cole: What the hell are you doing?
Grimlock #1: Belthazor?
Cole: Ah-ah-ah-ah. I use the name Cole here. Let him go.
(He does so and the kid runs off.)
Grimlock #1: We don't need him, not to get the Charmed Ones.
Cole: My next question, didn't they already get you two years ago?
Grimlock #2: Yeah, but it's Halloween. When the veil between worlds thin. When the demons that know how can return to seek their revenge.
Cole: I know. Which is why I have a different plan for the witches. One that doesn't include you. One that's been approved by the triad.
Grimlock #1: We don't answer to anyone anymore. We're d*ad.
Cole: There's d*ad... and there's d*ad. Fine, I'll just move up my timetable.
(He disappears.)
Grimlock #1: I've always hated that demon.
Grimlock #2: Nice costume though.
[Scene: Manor. Prue, Piper and Phoebe walk into the foyer.]
Prue: Ooh-ooh, I wanna picture of all of us first but I have to get my broomstick.
Phoebe: Cliché!
(Prue goes into the other room. The doorbell rings.)
Piper: Come on, guys, hurry up.
(Phoebe answers the door. The grimlocks are standing there.)
Grimlock #1: Trick or treat?
Phoebe: Oh my god, that is so weird. They look just like the grim-- whoa!
(Phoebe and Piper run but stop when the grimlocks start to strangle them.)
[Cut to the kitchen. The Whitelighters call Leo.]
Leo: Uh-oh.
Darryl: Uh-oh, what?
Leo: Piper? (He and Darryl run into the foyer.) Prue? Phoebe?
(Prue runs in.)
Prue: Oh!
(Prue uses her power and the grimlocks fly into the living room.)
Phoebe: Didn't we vanquish them already?
Leo: I don't know, but that's not what I wanted to warn you about.
Prue: What do you mean? (A vortex opens behind them.)
Leo: That's what I wanted to warn you about.
Prue: Oh.
(The grimlocks come back into the foyer.)
Phoebe: Oh, look out.
(Piper freezes them.)
Piper: Leo, what the hell is...
(Prue, Piper and Phoebe get sucked into the vortex. It closes and their wigs fall to the ground.)
Leo: Wait! They don't know what's happening.
Darryl: This isn't good, right?
Opening Credits
[Scene: 1670. The vortex opens in a field and Prue, Piper and Phoebe appear. They are standing near a witch's altar.]
Prue: Is everybody okay?
Phoebe: Too soon to tell.
Piper: Did the grimlocks do this?
Prue: Uh, unless we're d*ad and this is the here after, I don't think so.
Phoebe: Eternally Elvira, yecch.
Prue: Alright, uh, so this sorta looks like an altar.
Piper: A witch's altar. What's going on?
(About 10-15 witch hunters on horses and foot run towards them.)
Man #1: There they are!
Man #2: k*ll the witches!
Phoebe: Oh, you had to ask.
Piper: Not good, not good, not good. (They run into the bushes.) Flee! We're not in Kansas anymore.
Man #3: Come on!
(Prue, Piper and Phoebe hide behind a bush and watch the witch hunters search around for them.)
Piper: Don't tell me we've time traveled again. I hate time traveling.
Phoebe: You do? I was burnt at the stake last time, remember?
Prue: Alright, let's try and make sure that doesn't happen again. From what they're wearing it looks to be, what, 16-1700's?
Phoebe: Where the life expectancy of the average witch is, what, fifteen minutes?
(Someone rustles a bush behind them. They gasp and turn around to see a witch hunter standing there.)
Man #4: Find anything, Micah?
(He stares at Prue. Piper gets ready to freeze him but Prue grabs her wrist.)
Micah: No, nothing here. Ride on.
Man #4: Ride on, men.
(He puts his index finger to his lips.)
Micah: Shh...
(He runs off.)
Piper: Hi. Why didn't you let me freeze him?
Prue: I don't know, there was just something...
(Once the witch hunters have gone, they walk out of the bushes.)
Piper: You know what? I don't care why we're here or how we got here, I just wanna get home. I've got a life to live and decorations to hang, so where's the damn vortex?
Prue: I don't know where the...
(Someone puts bags over their heads. They scream.)
[Scene: 2000. Manor. The grimlocks are still frozen. Darryl is looking at them. Leo is looking around where the vortex appeared.]
Darryl: First demons I've ever seen. Actually, except for that blonde with the funky snake tongue thingy. What are they?
Leo: I don't know.
Darryl: Then how do you know they didn't make the girls disappear?
Leo: Because this is different. This is a time portal that my bosses sent them through, which is closed now, damn it.
Darryl: Who are you?
Leo: I'm their... never mind, it's too complicated. I gotta get you out of here before they unfreeze.
Darryl: Whoa, whoa, whoa, hold it. I'm not going anywhere.
Leo: Look, I don't have time to argue. I've gotta figure out a way to get rid of these demons before the girls return, otherwise they're gonna be sitting ducks.
Darryl: Are you sure they're coming back?
Leo: They better be. They've gotta do it before Halloween ends too, which means...
Darryl: Which means you're gonna need my help.
Leo: You don't know what you're up against here.
Darryl: The problem is neither do you, which means you're gonna need a cop around to help you figure it out. They're like sisters to me, Leo.
Leo: Alright. Phoebe said that she thought they had vanquished these demons before, so the first thing we have to do is... (The grimlocks unfreeze.) Run. (Darryl and Leo run up the stairs. Darryl stops and sh**t them with his g*n. Green goo oozes out of them and they fall on the ground.) Come on, let's go.
Grimlock #1: At least we can't die.
Grimlock #2: They can.
Grimlock #1: We have to figure out where the witches went.
Grimlock #2: We know where they went. Cole got them. But if he fails, they'll be back and they'll be in our way.
Commercial Break
[Scene: 1670. In a cave. Prue, Piper, Phoebe and some women are there. The women pull the bags off their heads. A woman (Eva) curtseys in front of them.]
Eva: Blessed be. (The girls look confused.) Our powers have been answered. We need your help.
Prue: Excuse me?
Eva: Forgive me for the manner in which you were brought here, but we had to make sure you were who we has sent for. This doorway would've told us if you were evil.
(She points to any opening in the cave.)
Piper: Huh, where can we get one of those?
Prue: Alright, wait, uh, who do you think we are?
Eva: The most powerful witches of all time, of course.
Phoebe: Okay, lucky guess.
Prue: And you are?
Eva: I am Eva. A midwife, a witch, a free citizen of the colony of Virginia. These good women are my coven. (to the women) Come. Now we don't have much time. (The women hand Prue, Piper and Phoebe a dress each.) No one can suspect that you've come to us from the future. Witches must not have to hide in your time. What year are you from?
Piper: Uh, 2000.
Phoebe: What year is it now?
Eva: 1670.
Phoebe: Oh.
Prue: Uh, alright, so why do you need our help?
Eva: To save a magical baby who's prophesied to be born tonight.
Piper: Save it from who?
Eva: A dark practitioner. She kidnapped the baby's mother in hopes of raising the child evil. If that happens, good magic will never flourish in the new world. You must rescue Charlotte so that you can bring her here and we can deliver her baby with our own protective circle.
Piper: Wait a minute, you have the power to bring us through time but you don't have the power to set her free yourself?
Eva: Well, we cast spells to prepare your way of course, but we know it was the power of All Hallows Eve that brought you here. Not us.
Prue: All Hallows Eve?
Eva: A witch's most sacred day. The day when the source of all magic can be tapped into. How can you not know about All Hallows Eve?
Phoebe: It isn't what it used to be.
Piper: Wait a minute, uh, you can tap into that power to send us home, right?
Eva: W-we assumed you could.
Piper: They assumed you could.
Prue: Um, okay, well, uh, Piper, I have an idea. So what time is it?
(She looks at her watch.)
Piper: It's 2:15.
(Eva looks at her watch.)
Eva: Oh, you've made a big clock so small. You must possess great magic.
Piper: Just a good credit card.
Prue: Okay, um, excuse us for a minute. Talk. (They walk away.) Alright, I think that I have this figured out. I think that they sent us here and that's what Leo was trying to tell us.
Piper: Oh, leave it to them to zap first and give instructions never.
Prue: Alright, but if I'm right, the only way that they are going to let us go home is if we bring that baby back here by midnight. Alright, uh, Eva, do you have a plan?
Eva: Yes. (She holds up a small bottle.) This vial holds a potion which will put the men who guard the house to sleep. (She hands it to Piper.) Then you'll use your powers to bring the mother back here.
Piper: Ha, easy for her to say.
(Piper gives the potion to Prue.)
[Scene: At a village. Prue, Piper, Phoebe and Eva walk out of the bush. They are wearing dresses and a cape.]
Eva: We must be careful.
Phoebe: It looks like they're having a party.
Eva: It's the kidnapper, Ruth Cobb. She's doing it, pretending to mock All Hallow's Eve but I know better. She's really doing it to tap into the powers of dark magic.
(They see witch hunters near by.)
Piper: Looks like our welcoming committee.
Phoebe: Witch hunters.
Eva: Hunters of good witches maybe. If they work for Ruth, they're after us.
(Prue sees Micah nearby.)
Prue: Not all of them.
(Phoebe looks at Prue.)
Phoebe: Hmm.
(They walk closer to the village.)
Eva: Beware the talismans. (She points to the talismans hanging on the tree.) They've barred our way each time we try to rescue Charlotte.
Phoebe: Oh, honey, those don't really pack much of a punch where we come from.
(They walk forward.)
Eva: No, you don't realize
(A bright light shines out of the talisman and they fly backwards. A bell rings and the village people start yelling and running around.)
Phoebe: Ooh, what the hell was that?
(Eva helps them up.)
Piper: Talismans?
Prue: No way talisman's have that much power.
Eva: They never have before. Ruth's using the magic of All Hallow's Eve. (Guards gallop towards them on their horses.) Guards!
Prue: Alright, I've got him. I've got him. (She uses her power but nothing happens.) Uh
Phoebe: What just happened? What's the matter?
Prue: I don't know. (She tries again.) Piper?
(Piper tries to freeze them but it doesn't work. The guard sh**t at them and they scream. Piper continues to try and freeze them but it still doesn't work.)
Eva: Use your powers.
Prue: We don't have any.
Eva: What?
Phoebe: Run!
(A guard sh**t at them again and hits Eva in the arm. She yells in pain. They run into the bushes.)
[Cut to inside Ruth's house. Ruth is looking out the window watching. She walks over to Charlotte who's in bed and is in pain.]
Ruth: It appears that your witch friend has brought others to try and rescue you again. Unfortunately, she's been wounded. (Charlotte groans in pain.) Oh, easy now, Charlotte. We wouldn't want anything bad to happen to your baby now, would we?
Charlotte: I won't let you have my baby.
Ruth: Oh, you won't have a choice. Especially since somebody very special has recently arrived to ensure it.
(She walks into another room. There is a man standing in a dark corner.)
Man: How much longer, Ruth?
Ruth: Soon. By nightfall perhaps. You imbued the talismans with great power. Care to share your secrets? Who are you? Where'd you come from? Pray tell.
(The man walks into the light. It's Cole but with shoulder-length hair.)
Cole: I come from the future
to change it.
Commercial Break
[Scene: A cave. Eva is holding a cloth against her would.]
Prue: Eva, we're sorry, we didn't know that our powers
Eva: Just leave us. Just go back to wherever it is you came from. We asked for the most powerful witches of all time and instead, we get powerless frauds.
Phoebe: Um, okay, I know you're a little disappointed but frauds is a little harsh don't you think?
Piper: We do have powers, we just, or at least, we had them. We just can't access them right now.
Prue: Maybe that's because technically we don't really exist yet, so neither do our powers.
Eva: Protecting this baby is my destiny. How can we come this far just to fail?
Phoebe: We're asking ourselves the same thing.
(A woman walks over to Eva and hands her a folded piece of paper.)
Woman: Bite down.
(Eva puts the paper between her teeth. Another woman gets a poker out of the f*re. Piper stops her.)
Piper: Oh, whoa, whoa, whoa. What are you doing?
Woman: Cauterizing her wound.
Piper: No, no, no, no, no. We may not have powers but we do have basics. Just get some hot water and some soap and some clean cloths. (Eva nods.) Hurry.
(The women walk away.)
Prue: Eva, don't give up on us yet, alright, I know that we can help.
Phoebe: Yeah. We have been through tougher jams than this before.
Piper: We have?
Phoebe: Haven't we?
Prue: We were born witches. That makes us innately magical. Maybe you can just teach us how to tap into it.
Eva: There's not enough time.
Phoebe: We're quick studies.
[Scene: 2000. Manor. Leo is looking through the Book Of Shadows. Darryl is walking around holding his g*n.]
Leo: I keep telling you that thing's not gonna work on them.
Darryl: Maybe not, but it makes them think twice about it. Otherwise they would've blasted in on us by now. That, plus it's the only thing we got.
Leo: Well, maybe not. I think I found out who they are. (reading from the book) Grimlocks - Underground demons who are sensitive to light and steal children's sight so they can see the aura that surrounds good people and strangle them with it.
Darryl: That snake tongued blonde's looking better and better.
Leo: At least there's a vanquishing potion here.
(Darryl walks near the door and the Grimlocks start strangling him through the key hole.)
[Cut inside the attic. Darryl drops his g*n and starts to cough.]
Leo: Darryl.
(The Grimlocks barge in. Leo orbs out and orbs back in beside Darryl. He grabs Darryl and they orb out.)
[Cut to the kitchen. Leo and Darryl orb in. Darryl continues coughing.]
Leo: Told you you didn't know what you're up against.
Darryl: Who are you?
Leo: Come on, we've got a potion to cook up.
[Scene: 1670. Ruth's house. Ruth is laying out tarot cards in front of her. Charlotte groans in pain.]
Ruth: Her contractions are coming closer together. (Cole soaks a cloth is a bowl of water.) It won't be long now.
(Cole walks over to Charlotte with the wet cloth and reaches out to her.)
Charlotte: Don't touch me.
Cole: There's no need for you to be anymore uncomfortable then you have to be.
Charlotte: Really? Then let me go. I beg you.
Cole: Even if I could, it wouldn't help. Another would be sent to take you right back. (Ruth gasps.) What? What do you see?
(He walks back over to her.)
Ruth: A force of great good, from your time. Here, for the baby as well.
Cole: Three of them. I'm not surprised my traveling here undoubtedly alerted the other side.
Ruth: But this new force...
Cole: If, it's who I think it is, I can handle them. You just make sure she stays here through midnight.
[Scene: Cave. Eva hands Prue, Piper and Phoebe some small dolls made out of wheat.]
Eva: Here.
Piper: Dolls? We tap into our powers with dolls?
Eva: It's not just a doll. It's a totem. Reminds us of the wisdom and the power of women.
Phoebe: Okay, but what does is have to do with...
Eva: The witch's journey is a walk of wisdom collected over the years, Phoebe. (She cuts an apple in half.) Wisdom gives us power. Power frightens the fearful and the ignorant.
Prue: Well, that would certainly explain why in out time witches are made to look silly on Halloween.
Eva: And this magic, this knowledge is forgotten?
Phoebe: We could get it back if you teach us.
Eva: Here. (She picks up a witch's hat.) The conical hat is a spiritual point. (She places it on Phoebe's head.) It helps us to channel our magic. Keeps us centered, focused. The apple holds a pentacle in its heart. (She holds up half an apple.) Add a laurel leaf, you will block the path of evil.
(She places a leaf over the centre of the apple.)
Prue: A simple laurel leaf?
Eva: Simple, but powerful. Remember, there is magic all around you, especially on this night.
Piper: Uh, what's with the masks?
Eva: Demons walk freely on All Hallows Eve, so a mask allows you to hide your identity. (She hands a mask to Piper.) Walk amongst them.
Phoebe: (to a woman holding a broom) Can I see that? (The woman hands her the broom.) Okay, now don't tell me we ride around on this thing.
Eva: Anything's possible. Here. The broom's traditional purpose is to sweep evil from your path. Sweep east to west. (Phoebe sweeps east to west.) Same path as the sun travels. Like anything else in magic, it's how you do it, with knowledge and reverence.
Phoebe: Wow, do I feel silly. (She giggles. She gets a shock from the broom.) Ah!
Piper: What happened?
Phoebe: Nothing. Must have been just a spark.
Eva: No, you felt the power. Alright, Sally will go with you to Ruth's house. She'll give you the last few things you'll need. I wish I could go with you.
Prue: We'll do great. You've armed us well.
Eva: Remember, connect with the power of this day.
[Scene: Village. Cole is at the party. Ruth walks up to him.]
Ruth: Will you know what they look like?
Cole: What are you doing here? I told you to stay at the house.
Ruth: The house is guarded by men and magic. Charlotte's not going anywhere.
Cole: I've seen the future, Ruth. Your ignorance is your destiny.
(He puts on a mask.)
[Cut to Prue, Piper, Phoebe and Sally. They are walking to the village. Sally is giving them some witch tools.]
Sally: Charlotte should be in the first bedroom at the top of the stairs. Be careful, Ruth's guards are everywhere. If they see you with these tools, they'll know you as witches.
Prue: Don't worry, we won't fail this time.
Sally: I know you won't. Which of you will be standing guard for the others?
Piper: Phoebe.
Sally: If need be, this will turn away evil spirits. (She hands Phoebe a small pumpkin with a star carved out of it.) Perhaps even a demon you think Ruth's summoned.
Phoebe: Um, you're kidding, right? (Sally stares at her.) Okay, you're not kidding.
(She puts the pumpkin in her cape pocket.)
Sally: Blessed be. Good luck.
(She walks away.)
Prue: Alright. (They put on their masks.) Trick or treat.
Piper: Oh boy.
(They walk into the village. Phoebe heads in a different direction from Prue and Piper.)
Man: Care to know your future, milady?
Phoebe: Oh, no thanks, I'm pretty familiar with it already.
Man: Are you certain? I can show you the first initial of your true love's name.
Phoebe: Really? You can do that?
Man: With a simple peel of the apple.
Cole: Prove it.
(Cole walks up to them.)
Phoebe: And why would you be interested, sir?
Cole: And why wouldn't you be?
(Silence.)
Phoebe: Okay, how do I do it?
Man: First, (he peels an apple) you must fill your heart, only thoughts of love. Then close your eyes and blow on the peel. (She does so.) Drop the peel into the water and watch.
(He drops the peel into a bucket of water.)
Phoebe: And how is it that apple knows this big secret?
Cole: It's simple, milady. Apples are the fruit of knowledge.
(The apple forms a C shape.)
Man: It is C. The name of your true love begins with a C.
Phoebe: Cole.
(Cole looks at her. Someone walks past Phoebe and bumps her. She drops the pumpkin. Ruth, who is standing near by, sees it. She points at Phoebe.)
Ruth: Witch!
Cole: No.
(Micah runs over to Phoebe and searches her pockets.)
Piper: Uh-oh.
Prue: Phoebe.
(They run over to her.)
Ruth: Those two as well.
(Witch hunters grab Prue and Piper.)
Ruth: (to Cole) There's your three. (Village people yell "hang the witches".) Hang them! Hang them all!
Micah: My pleasure.
(Micah stares at Prue. Cole watches them get taken away.)
[Scene: Field. Prue, Piper and Phoebe are sitting on three horses under a tree with a noose around their neck. The witch hunters are there watching.]
Piper: Tell me this isn't happening.
(Micah rides up next to Prue. Cole is near by on his horse.)
Micah: Hang witch. Hyah! (The horses run out from underneath them and they are hung.) Onward.
(The witch hunters quickly ride away.)
Commercial Break
[Scene: Continued from before. Prue, Piper and Phoebe are still hanging there. Micah rides back, looks around and cuts the rope with his Kn*fe. They fall to the ground and groan in pain.]
Micah: My apologies. (He cuts the ropes around their hands.) A trick I learned from the French. Run the noose line to the waist.
Phoebe: Yeah, well, it's a really good thing the other guards didn't see you do that.
(They stand up.)
Piper: Wait a minute, I don't understand. How did you know you could trust him?
Prue: By the look in his eyes.
Piper: Oh.
Phoebe: Uh huh.
Prue: So that would be (she removes his mask) the second time that you've saved our necks.
Micah: And what beautiful necks they are. (He kisses her hand.) I'm Micah.
Prue: I'm charmed.
Phoebe: Alright, I hate to bust up the balcony scene, Romeo, but why do you keep saving us and why are you running with the witch hunters?
Micah: So I can undo their work whenever possible. I've seen what dark magic can do. If you're fighting that, I'm on your side. And I should get back before anyone gets suspicious.
(Prue kisses him on the cheek.)
Prue: Thank you.
Micah: Another time.
(He rides off.)
Prue: Who was that masked man?
Phoebe: Okay, you finally found a real man. Too bad he lives in Colonial Virginia, Prue.
Piper: We need to get out of here. Pay attention.
Phoebe: Okay, any idea how we're going to save the baby?
Piper: Well, they think we're d*ad now. They certainly aren't expecting us.
Prue: I mean, besides you guys, we're witches and it's All Hallows Eve, so...
Piper: Alright, glow elsewhere.
Prue: Alright.
[Scene: 2000. Manor. Kitchen. Leo's making the vanquishing potion. He takes the wooden spoon out of the saucepan and smells it.]
Leo: We need more thyme.
(Darryl looks at his watch.)
Darryl: Can't help you there, buddy, it's almost nightfall.
Leo: No, I'm talking about an herb. It's for the potion. It's, uh, over there.
(Darryl picks up a plate.)
Darryl: Thyme, right?
Leo: Yeah.
(He hands it to Leo.)
Darryl: You think they know what we're doing in here?
Leo: Probably. It explains why they haven't burst in on us yet.
(The doorbell rings.)
Darryl: Trick or treaters.
Leo: Or a trap.
Darryl: Didn't you say those things steal kids sight?
(He nods. Darryl starts to leave.)
Leo: No, I should go, I can orb.
Darryl: Which might be exactly what they're waiting for. Stay here, finish that potion. No matter what happens, you make sure you bring the girls home safe. Whoever you are.
(He walks out of the kitchen.)
[Cut to the porch. There are three trick or treaters there. Darryl opens the door.]
Trick or Treaters: Trick or treat.
Darryl: Spread the word. (He gives them a bowl of candy.) We're out of candy.
(He shuts the door.)
[Cut to inside. Darryl peeks into the living room and looks around. He turns around and a Grimlock is standing there. It punches him and he falls to the floor. Grimlock #2 steals his sight. He feels around the floor and finds the button for Prue's camera. He pushes it and the flash goes off. He runs out of the room.]
[Scene: 1670. Outside the village. Piper and Phoebe are near the bush. Prue walks up to them.]
Prue: I don't see Ruth or the guards. What time is it?
(Piper gets her watch out of her pocket.)
Piper: It's-it's 6:00. And we're running our of time and magic.
Prue: Well, it doesn't change what we have to do.
Phoebe: How are we gonna get past the talismans?
Prue: Do you remember what Eva said?
Phoebe: The powerless frauds part?
Prue: No, the magic is all around us part. Well, it's time we learned how to access that. (Prue picks up a broom and hands it to Phoebe.) Just sweep away evil.
Phoebe: What? No funny hat?
(Piper picks the flowers off a lavender bush.)
Piper: Lavender. Didn't she say that was a protection herb?
(Prue picks some wheat and starts making a doll.)
Prue: And the wisdom of the women before us will guide us again.
Piper: Okay, get sweeping.
Phoebe: Ugh...
(They walk near a house.)
Phoebe: Okay, which way is east?
Piper: Uh, that way.
(She points to east. Phoebe sweeps east to west and the broom lets off some sparks. The broomstick glows.)
Phoebe: Whoa, did you see that?
Prue: Yeah, keep going.
(She continues to sweep and the talismans glow and falls off the trees.)
Phoebe: It's working.
Prue: Alright, good. (Near by, some witch hunters grab Micah.) Micah.
(She starts to walk.)
Phoebe: Prue, you can't.
Prue: They found him out.
Phoebe: We have to get to Charlotte. What would he want you to do?
(Prue and Piper go inside the house. They walk over to Charlotte.)
Piper: Hi.
Charlotte: Who are you?
Prue: Eva sent us. Charlotte, we're here to take you back.
Charlotte: You're lying. I-I don't believe...
(She yells in pain.)
Prue: Oh, okay, okay, uh, uh, how does Lamaze breathing go?
Piper: Uh...
(Piper breathes like they do in Lamaze class.)
Prue: Oh, that's it.
(Prue does it too. Charlotte yells in pain.)
Piper: Okay, okay, okay, um, try this. We can do this.
(Piper presses a spot on Charlotte's back with her fingers.)
Charlotte: How are you making the pain go away?
Piper: Uh, uh, good magic. Just keep breathing.
Prue: Good magic?
Piper: Acupressure.
Prue: Oh, good idea. Alright, uh, we need to get you out of here. Come on, honey, it's okay. (They help Charlotte sit up and she yells in pain. Her water breaks. Prue and Piper jump back.) Oh, oh, her water just broke.
Piper: I see that.
[Cut to outside. Micah falls on the ground. Cole is standing there holding a dagger. He has just s*ab Micah with it. Ruth runs over to him.]
Ruth: Quickly, check the house.
Cole: No, I know these witches. (He drops the dagger on the ground.) They've already got Charlotte. Follow me, I know we're they're going.
[Cut to the witch's altar. Prue and Piper have a hold of Charlotte's arms, helping her walk.]
Phoebe: The altar.
Piper: Okay, just a little while longer, we're almost there.
Charlotte: I can't.
Prue: Yes, you...
Charlotte: I'm sorry.
Prue: You can do this.
Charlotte: No!
Prue: Charlotte.
Charlotte: The baby's coming now!
(She kneels on the ground.)
Prue: Oh god.
Commercial Break
[Scene: Altar. It's dark. Charlotte's laying on the ground with a blanket over her.]
Piper: Um, it's almost 11:00. Do you think they gave up on us?
Phoebe: Uh... (She sees the f*re from the witch hunter's torches in the distance.) No, I don't think so.
Prue: Alright, what do we have?
Piper: We've got big problems, a little time and a little magic.
Prue: Alright, didn't Eva say something about, uh, Charlotte giving birth in a protective circle?
Phoebe: Can we make one of those?
Piper: I don't know, we've got lavender and uh...
Phoebe: Isn't rosemary supposed to be good for protection?
Prue: Right, and apples and laurel leaves block the path of evil.
Phoebe: Right.
Prue: Put it all together, it may just work.
(Charlotte screams in pain.)
Piper: Who's gonna deliver the baby?
Phoebe: Personally, I think you should considering we know that you're gonna have one in the future.
Prue: I second that.
Piper: Wait a minute.
Prue: Go. Bye.
Piper: I always get the messy jobs.
(Piper walks over to Charlotte.)
Prue: Alright, if ever there was a time that we were going to connect it needs to be now. So, Phoebe, form a circle, I'll work on the apples.
(Phoebe throws things around them in a large circle.)
Piper: (to Charlotte) Okay, you're gonna have to try and be kinda quiet. Okay, I know, I'm sorry, okay, um, don't worry everything's under control. (She lifts up the blanket.) Oh my god, I see it, I see it.
(Phoebe runs over to them.)
Phoebe: Really?
Prue: Phoebe, the circle.
Phoebe: The circle.
(She gets back to the circle.)
Piper: Okay, um, just, just try not to push. Okay, uh, this baby is coming!
Prue: Yeah, well, so are they.
Piper: Okay, we can do this. Yes, we can do this.
Phoebe: We have to do this.
(Phoebe goes back over to Prue.)
Prue: Alright, here. (She hands Phoebe an apple.) Knowledge and reverence. (They face each other.)
Prue/Phoebe: Knowledge and reverence, knowledge and reverence, knowledge and reverence, knowledge and reverence.
[Cut to Cole and Ruth on their horses. Cole stops riding.]
Ruth: What are you doing?
Cole: Seeing what they've learned.
[Cut back to the girls. The witch hunters get closer.]
Phoebe: Here they come.
Piper: Prue.
Prue: Alright, put it all together, it's gonna work.
(They throw the apples in different directions. A protective circle forms around them. One witch hunter hits it like he's h*t a wall.)
[Cut to Cole and Ruth.]
Cole: They've connected. It's over.
Ruth: No, not yet.
[Cut back to the girls}
Phoebe: How cool is that? It actually worked. (The witch hunters f*re their g*n at them.) Or not!
Piper: It doesn't stop b*ll*ts.
Prue: We are running out of a*mo.
Phoebe: Prue, it's not like an apple's gonna stop them anyway.
(The witch hunters continue sh**ting.)
Piper: It's a girl!
(Piper wraps the baby in a blanket.)
Prue: Piper, get Charlotte and the baby outta her.
Piper: Huh?
Phoebe: Okay, I think I have an idea of what might really scare them. (She puts on a witches hat and grabs a broom.)
Piper: What are you gonna do?
Phoebe: I'm going to embrace the cliché. (She sweeps east to west and then sits on the broom. The broom rises up into the air.)
Piper: There's something you don't see everyday.
(Phoebe flies over the witch hunters and cackles. They quickly run off. Phoebe giggles.)
[Cut to Cole and Ruth.]
Cole: You've gotta give them credit. They're awfully good. (He gets off his horse.) It's alright. Time's on my side. (A portal opens in the ground and he jumps in it. It closes.)
[Cut back to the girls. Prue and Piper watch Phoebe fly over the moon.]
[Scene: Cave. Eva is holding the baby. She walks over to Charlotte and hands her back to her.]
Eva: (to Prue, Piper and Phoebe) Blessed be.
Prue: Isn't the future beautiful?
Eva: It is, thanks to you. You found the power.
Phoebe: You showed us where to look.
Prue: Yeah, I guess we know when all that flying hag stuff started. You only have yourself to blame, right Pheebs?
Phoebe: I know it and I love it. Now if I can just figure out how to take it back with me. Hey, what are "they" waiting for? Why haven't they sent us home yet?
Prue: Maybe we haven't learned everything that we're supposed to yet.
(Piper looks at her watch.)
Piper: Well, it's almost midnight, so if we're gonna learn anything more we'd better hurry.
Charlotte: I promise my daughter will know of you. Of the three powerful witches who came to bring her into this world. And we'll always be grateful, won't we Melinda?
Piper: Melinda?
Charlotte: Yes, Melinda. Melinda Warren.
Phoebe: Oh.
Charlotte: What is it?
Phoebe: I uh... I think we're related.
(The vortex opens and the girls get sucked into it.)
[Scene: 2000. Manor. The vortex opens. The Grimlocks are waiting there.]
Grimlock #1: I told you they'd come.
(Leo orbs in behind them.)
Leo: Hey.
(He splashes the potion on Grimlock #1 and he disappears. Grimlock #2 starts strangling him. He drops the potion. Prue, Piper and Phoebe come out of the vortex.)
Prue: Hey, haven't I vanquished you somewhere before?
(She uses her power and flicks the puddle onto the Grimlock. He disappears. Piper runs over to Leo.)
Leo: Are you guys alright?
(Piper helps him up.)
Piper: Are we alright? Are you alright?
Leo: It's been a long day.
Phoebe: Yeah, tell us about it.
(Darryl stumbles down the stairs.)
Prue: Darryl?
Darryl: Prue?
Leo: I got it. (He walks over to Darryl.) Open your eyes. (He does so. Leo restores his sight.) Happy Halloween.
Commercial Break
[Scene: P3. Snake River Conspiracy are playing there. Prue, Piper and Leo are standing at the bar. Phoebe, holding a pumpkin, walks past a guy holding a broom.]
Phoebe: Use that broom with reverence. (She walks up to them.) Hey, Halloween is now officially my favourite holiday.
(She puts the pumpkin on the bar.)
Piper: Who knew?
Phoebe: We didn't, but we should have. So much knowledge, so much power that we lost. But we'll get it back.
Prue: Okay, well, one crash course at a time.
Phoebe: Yeah, it's too bad Darryl didn't feel up to celebrating with us.
Leo: He saw a lot today. I think he needs some time to sort it all out.
Prue: Yeah, well, so do we. I mean, it's bad enough that the triad wants us d*ad, but to send someone back to wipe out our whole line. Do your bosses have any clue who it is?
Leo: None that they're sharing.
Piper: I think it was that guy who was hitting on Phoebe at the party.
Phoebe: Hang on, not every guy I meet wants to k*ll me. Maybe he just liked me.
Leo: Well, you saved Melinda. That's all that matters.
Piper: And I helped to deliver our great, great, great, great, whatever, great grandmother.
Phoebe: Too bad we couldn't save her from moving from Virginia to Salem. That would've been nice.
Prue: Yeah, well, you can't change history for better or worse.
(A guy that looks like Micah walks up to Prue.)
Guy: Excuse me. Hi.
Prue: Micah?
Guy: Mitch, actually. Forgive my directness but I've been watching you from across the room. Have we met?
Prue: You know, that's funny, I was gonna ask you the same thing. Um...
(She looks at Phoebe and she and Mitch walk away. Phoebe laughs. Cole walks down the stairs dressed as an angel.)
Phoebe: Oh... my turn. (She walks over to him.) Hey.
Cole: Hey.
Phoebe: I was beginning to think I got stood up.
Cole: Yeah, sorry, work, you know. I guess I just lost track of time.
Phoebe: That's okay. I got kind of hung up myself. (silence) So you're an angel?
Cole: Oh, uh, this? (Phoebe laughs.) No, not really.
(Phoebe moves closer to him.)
Phoebe: That's okay. Neither am I.
End | {"type": "series", "show": "Charmed", "episode": "03x04 - All Halliwell's Eve"} | foreverdreaming |
[Scene: P3. Phoebe is at the bar. She looks at her watch.]
Phoebe: Abbey, maybe you should get Sean another drink.
(She looks over at a guy sitting at the other end of the bar.)
Abbey: Okay, but that's over the club limit.
Phoebe: Yeah, it's okay. We'll get him a cab home.
(Piper approaches the bar.)
Piper: Prue still hasn't called?
Phoebe: Nope. Look at that poor guy.
Piper: You think she stood him up?
Phoebe: Not deliberately. I just think that since we've been back from pilgrim times, she's been on a demon vender.
Piper: You think? You mean, because that's all she ever talks about?
Phoebe: Yeah, well, how do we explain this to him?
Piper: Abby, better make that a double. I'm gonna coat for him.
(She picks up the phone.)
Phoebe: Well, speaking of a big chill, is Leo keeping you warm?
Piper: Nope.
Phoebe: Honey, are you still afraid that they're watching you?
(Phoebe giggles.)
Piper: What am I supposed to think? The last two times they orbed him out was right in the middle of it.
Phoebe: So what does he say?
Piper: He swears they're not watching but he's a guy, he'll say anything. The point is I think they're watching and when I think, I can't, I can't, I can't concentrate.
Phoebe: Hmm, well, at least you have the option to concentrate. (Piper dials a number on the phone.) If Cole and I continue this flirting tango thing, I'm gonna have to start concentrating on myself.
Prue: (in the phone) Hello?
Piper: Prue, hey, where are you?
Prue: Hey, I'm on my way home from work. Hey, you will never guess what I found on the internet. Remember Micah?
Piper: The 17th century hottie? Wow, it's hard to forget.
Phoebe: Okay, enough about the past, tell her about the present.
Prue: Well, I traced his ancestors and found an entire history of the village that we visited. I figured it might give us a clue to the identity of the demon that the triad sent to k*ll us.
Piper: Prue, honey, aren't you forgetting something?
Prue: No, my photo sh**t's not until tomorrow.
Piper: No, I mean something else. Like, uh, your date.
Prue: Oh, oh, Sean, oh. Alright, uh, just give him a drink.
Piper: If we give him anymore we're gonna have to send him to an A.A. meeting.
Prue: How long's he been there?
Piper: I'd say about an hour and 327 peanuts.
Prue: Alright, so what do I do?
Piper: Well, remorse is good and attendance is better.
Prue: Piper, I'm half way across town, besides, I've gotta go home and-and look up all this demon stuff.
Piper: Well, can't it wait?
Prue: What, and you think the triad will? Right, we have to get them before they get to us. Just tell him that I got hung up at work and that I'll make it up to him.
Piper: Alrighty then.
(She hangs up.)
Phoebe: Is she okay?
Piper: Mmm hmm, I guess. (Piper walks over to Sean.) Uh, Sean? Hi, there's been a slight glitch. Uh, sometimes my sister gets hung up and work and she sorta has a one track mind.
Sean: It's not a problem, I understand. Tell her just to give me a call.
(He leaves.)
Piper: Not a problem. (to Phoebe) He took that well.
Phoebe: Well, he's had three drinks.
Piper: So when does one track spell over into total obsession?
Phoebe: When you start forgetting about guys like Sean.
[Scene: Manor. Porch. Prue is there. She notices the front door is open. She walks inside. All the mirrors are broken. She steps on some broken glass. She walks into the living room. Someone att*cks her from behind and they roll over the couch. Prue uses her power and the attacker crashes through the window.]
Opening Credits
[Scene: Manor. Living room. Prue is sitting on the couch and Piper is sweeping up the glass. Phoebe comes in carrying an ice pack.]
Phoebe: Here, sweetie. (She hands Prue the ice pack and she places it on her shoulder.) Are you feeling any better?
Prue: Yeah, I think I was more stunned then hurt. You know, it just happened so fast.
Piper: It's eerie knowing somebody went through every room in the house smashing mirrors. Touching who knows what.
Phoebe: Fondling who knows what.
Piper: It's just so creepy. At least nothing seems to be missing.
Prue: How do you know it wasn't a demon?
Phoebe: Mmm, demons don't usually fondle.
Piper: And besides, the only demon that we know who used mirrors was Kali and we vanquished her sorry ass.
Prue: Yeah, by smashing her reflection in the mirror. (Darryl comes down the stairs.) I mean, I know she's supposed to be d*ad but so were the Grimlocks.
Darryl: Please don't remind me about them.
Piper: Did you find anything?
Darryl: Just a bunch of fingerprints that don't match your samples. I'm gonna run it through the computer to see if any names pop up.
Prue: They won't. I mean, hello, guys. Book of Shadows, 101 mirrors. The portals through which evil enters.
Phoebe: Yeah, but there are finger prints. Demons don't even usually have fingers.
Darryl: Well, on the human side of things, I need you guys to put together a grudge list of any enemies you have past or present.
(Prue hands him a piece of paper.)
Prue: Already done.
Darryl: (reading from the list) Abraxas, Barbas, Yama... What did you do? Date the united nations?
Prue: It's the demons, warlocks and various evil forces that we've faced in the last two years.
Darryl: That's not exactly what I meant.
Prue: Okay, um, I'm gonna go get the Book of Shadows and see if I can find anything about mirrors.
(Prue goes upstairs.)
Phoebe: Prue's been a little fixated lately.
Piper: Do you think it was a human bad guy?
Darryl: In another house, yeah. Around here, you never know.
Prue: (from upstairs) Piper? Phoebe?
[Cut to the attic. Prue's there. Piper, Phoebe and Darryl walk in.]
Piper: What, what is it?
Prue: That door was unlocked.
Darryl: So?
Prue: So ever since a demon tried to steal the Book of Shadows a couple of weeks ago I've been locking it.
Darryl: You lock this door but you don't lock the front door?
Piper: I lock the front door.
Phoebe: Me too. Mostly.
Prue: I don't. Why bother?
Darryl: Because you're three young women. In fact, your whole attitude about security baffles me. You have no alarm system, no d*ad bolts, no dog.
Prue: Darryl, we're three witches. I think we can handle it.
Darryl: (about the door) It wasn't jammed.
Phoebe: So what, you're thinking we're dealing with a lock picking demon, Prue?
Piper: It doesn't look like anything's missing from up here either.
Phoebe: i just think it's ludicrous to rule out that a human could've done this.
Prue: Yes, well, I think it's ludicrous to think that the triad has gotten nothing to do with it.
Piper: Um, Darryl, why don't you go check on those fingerprints. We need to have a little conference here.
Darryl: Okay. 'Night.
Phoebe: 'Night.
(Darryl leaves.)
Prue: Leo?
Piper: Uh, Prue? Maybe a little perspective here for a second.
Prue: Leo!
(Leo orbs in.)
Leo: What? What is it? What is the problem?
Prue: I need to know everything that you know about the triad.
Leo: You what?
(Piper giggles and grins at Leo.)
Piper: Hi.
Leo: Hi.
Prue: Okay, well, this really can't wait. You know, the triad sent somebody back in time and nearly wiped out our entire line. And I am willing to bet that it's the same demon that we found up here a couple of weeks ago. (She picks up the Book of Shadows.) Now, if you guys don't wanna take that seriously that's your business. Me, I'm on a mission.
(Prue leaves.)
Leo: Oh.
Phoebe: We really need to get her laid, huh?
(Piper and Leo grin at each other.)
Leo: Hi.
(Piper giggles. Leo and Piper stand close together.)
Phoebe: I think I'm gonna go see what Prue's up to.
(She leaves.)
Piper: So...
[Scene: Triad. Three triad members are standing in a circle. Cole appears.]
Triad #1: We've grown patient, Belthazor. We did not expect it to take this long.
Cole: You had two years by their time without success. I've had a month.
Triad #2: A month with two years worth of information. Information collected by the blood of demons before you.
Cole: The young one, Phoebe, is almost within my grasp.
Triad #3: That's not why we summoned you. We're assigning another.
Cole: You're replacing me? We had a bargain. I get the Charmed Ones for you, you give me back--
Triad #2: That bargain is in your best interests, not ours.
Triad #1: Don't look at it as replacement, Belthazor. Look at it as assistance.
Triad #2: However, if either of you should be caught, the same maxims supply, we can't risk either of you leading the Charmed Ones to us.
Cole: May I know who you're sending?
Triad #1: Troxa has already started.
[Scene: Manor. Porch. Troxa is there. He turns invisible, opens the door and walks inside.]
[Cut to Piper's room. Leo and Piper stumble in. They are kissing.]
Piper: Leo?
Leo: Piper?
Piper: We can't.
Leo: Yes we can.
(He continues to kiss her. Piper stops him.)
Piper: No, I can't. I feel like I'm being watched.
Leo: Piper, you have to get past this.
Piper: Yeah... (They continue kissing and lay down on the bed. Someone opens the door slightly.) Okay, um, how about you tell them to look the other way?
Leo: They're not looking. How many times do we have to have this conversation?
Piper: Well, how do you know? How can you be sure?
Leo: Because I told you, that's not what they do.
Piper: Okay, then how do you explain the last two times, count two.
Leo: That's shear coincidence. I'm telling you. Look, come on, Piper, we need to get past this.
Piper: Yeah, and I need to feel like it's just you and me and not the whole universe watching. (The door closes.) I'm sorry.
Leo: It's okay. I guess I better go find Prue some answers.
Piper: Yeah. (They kiss and Leo orbs out in the middle.) Oohh!
[Cut to the attic. Prue is asleep in a chair. Invisible Troxa walks over to Prue. He picks up a pillow and holds it above her face. Prue wakes up and uses her power. He flies across the room. She stands up and looks around.]
[Cut to the foyer. Phoebe is answering the door.]
Phoebe: Cole, what are you doing here?
Cole: Are you alright? I just heard.
Phoebe: Heard what?
(Prue and Piper come down the stairs.)
Cole: Uh, about what happened, the break in. You guys okay?
Phoebe: You came all the way over her for me? I mean, for w-we? For us?
Cole: Did you get a look of who it was?
Prue: No.
Cole: I'm gonna make a call. Get a patrol car to watch the place.
Prue: That's alright, actually. I think that we can handle it.
Cole: No you can't. I mean, you have no idea what kind of evil you're dealing with here.
Piper: Yes, well, we were actually just discussing that, weren't we, Prue?
(The door opens and Cole sees it. It quickly closes.)
Phoebe: Um, do you want anything, Cole? Do you want some coffee or something?
Prue: Actually, Phoebe, that's not really a good idea. We have something very important that we have to discuss.
Cole: That's alright. I-I really should get going anyway. It's late, I, um... Call me anytime.
Phoebe: Yeah, I-I-I will. Thanks. (He leaves.) Okay, this better be good.
Prue: Yeah, well, I was up in the attic and when I woke up there was a pillow hovering above my face about to smother me.
Piper: A pillow?
Phoebe: Hovering? (Prue nods.) Well, that must be the infamous pillow smothering demon.
Piper: Maybe is was just a nightmare.
Prue: It wasn't a nightmare and it certainly wasn't a joke. There's a demon after me or us, I know it.
(Prue goes upstairs.)
Phoebe: Okay.
[Cut to the porch. Cole is there.]
Cole: Come out, come out wherever you are.
(Invisible Troxa grabs Cole around the neck and pushes him against the wall. Troxa turns visible.)
Troxa: What do you think the triad will say when I tell them you saved the witches?
Cole: That I didn't want you to get them first.
(Troxa lets go of his neck.)
Troxa: You had your chances, Belthazor. Don't screw up mine again. I strike tomorrow night, you better not be there.
Cole: You don't scare me, Troxa. You never did.
Troxa: And you don't know how to defeat me, Belthazor, you never could. After all, (he turns invisible) you can't fight what you can't see.
(Troxa pins him against the wall again. He lets go and Cole coughs. He hears someone coming and disappears. Phoebe opens the front door and looks around.)
Commercial Break
[Scene: Manor. Kitchen. Phoebe and Piper are there. Piper's drinking some coffee.]
Phoebe: Can you hand me that? Actually, no, just pour it down my throat.
Piper: You didn't sleep either?
Phoebe: Not a wink. Thank god for make-up. (Piper pours her some coffee.) Hey, maybe we should get an alarm system.
(Prue walks in.)
Prue: Hey, Pheebs, did you borrow Grams' necklace again?
Phoebe: No.
Prue: Are you sure?
Phoebe: Yeah, I'm positive. Why?
Piper: What about my good luck blouse? Have you guys seen it?
Phoebe: The fuchsia paisley one? (Phoebe shakes her head.)
Piper: Is anything else missing?
Prue: Not that I know of.
Phoebe: Prue, this is important. Maybe the guy who broke into the house took them.
Prue: Yeah, or maybe it was a demon who took them for some weird ritualistic ceremony?
Piper: Ohh...
Phoebe: Now would that be the, um, pillow smothering or the lock picking demon?
(Leo orbs in.)
Leo: They called me ----- something else, Piper. I swear, it's total coincidence.
Piper: Mmm hmm.
Leo: As far as the triad's concerned, they don't know much, they don't even know what it really is.
Prue: Wow, six thousand years of conflict and that's it? These guys are serious underachievers.
Leo: What they do know through, is that the triad is at the highest level of the other side.
Phoebe: Okay, that's a biggy.
Piper: Yeah, well, that's why we need to get to them before they get to us.
(Prue hands Piper and Phoebe a bag.)
Piper: What is this?
Prue: A way to always be prepared.
Phoebe: These are very big contraceptives, Prue.
Prue: They are sneakers, alright. You know, we're always wearing inappropriate footwear when demons att*ck. Now we will be prepared. Keep them with you at all times.
Phoebe: I am gonna be so fast in these.
(The doorbell rings.)
[Cut to the foyer. Everyone walks in and Piper opens the door.]
Darryl: Hi.
Piper: Hi.
Darryl: We're making progress. (He walks inside.) The same set of fingerprints were found on all the broken mirrors.
Leo: Whose are they?
Darryl: Unfortunately FBI computer came up with a blank. Which just means the perp had no criminal record.
Piper: So what does that mean? That it's some weird crazy person?
Darryl: I can't say, I don't have enough to go on. I mean, we've got broken mirrors and nothing's missing.
Phoebe: Actually there is stuff missing. Our grandmother's necklace and Prue's favourite shirt.
Darryl: It's funny it's the only thing he took. You know, there is another possibility. Could be a stalker.
Leo: A stalker?
Piper: Who would want to stalk us?
Darryl: Could be anybody. I need you to get a human grudge list together. Old classmates, people you work with or for, old boyfriends...
Phoebe: Hey, what about Sean?
Prue: A guy I stood up once? I don't think so.
Darryl: The smallest things can set these guys off.
Prue: Alright, well, if it's a stalker, it's a demonic stalker.
Darryl: In any case, I'm gonna check out this Sean guy. I need that grudge list ASAP. Stalkers will do anything to obtain the object of their desire. You could be in real danger.
Prue: Thanks.
Darryl: Bye.
(He leaves.)
Phoebe: You need to listen to him, Prue.
Prue: Why? No one listens to me. Here. (She hands Piper her shoes.) I gotta go. If the demon doesn't k*ll me, my editor will.
[Scene: Outside Cole's office. An invisible Troxa walks out of the elevator and down the hall. He walks into Cole's office. Cole is there standing by the window. Troxa walks over and picks up a letter opener. Cole turns around holding a f*re extinguisher and sprays Troxa. Troxa turns visible.]
Cole: I did some research, Troxa. (He hits Troxa over the head with the f*re extinguisher and he falls over Cole's desk.) I found your Achilles heal. Cold is very revealing for you. Although, worse because since you can't feel, you don't even know when it's cold.
Troxa: First them, then you.
(Troxa leaves.)
[Scene: Studio. Prue is there with a snake hunter. She is going to take photos of him. He has an Australian accent. (Transcriber's note: This accent is totally fake. We do not talk like that at all. This accent was so bad that it was hard to transcribe. This guy made us look and sound like total idiots. Sorry, I just had to clear that up.)]
Prue: Just do what you normally do on your TV show. Okay, just pretend that I'm the audience.
Snake Hunter: Okay, right, jillaroo. Now, the Australian Black Snake won't just run out of the bush and strike at ya for no good reason. They strike as a defense mechanism. That's the only way they can protect themselves. Now, you may wonder how we enticed this little beaut out of the wild to join us today. Over here, the only humane way to catch a snake, (He walks over to a cage. Someone is standing behind the bushes taking photos of Prue.) is to use a snake trap. You lure them in with a ripping snake snack. Like a tiny Mickey mouse or a froggie.
Prue: Uh, what did you say the cage was for again?
Man: Trapping snakes. Or any other varmints you might want to get rid of.
Prue: Really?
Snake Hunter: Yeah. Go on, beaut. (He puts the snake back in the cage.) There you go.
Commercial Break
[Scene: P3. Phoebe walks up to the bar.]
Phoebe: Abbey, Abbey, hi.
Abbey: Hi.
Phoebe: Have you seen Cole?
Abbey: Who?
Phoebe: Tall, dark, good looking, district attorney? (Abbey shakes her head.) Okay, no good. How about an easy one - where's Piper?
Abbey: Oh, she's in the back, in the office.
Phoebe: Okay, thanks.
[Cut to the office. Piper and Leo are there making out. Leo has his shirt off. Phoebe walks in.]
Phoebe: Whoaaaaa! I should've knocked, I'm sorry.
(Phoebe walks back out and closes the door.)
Piper: It's okay. (Phoebe pokes her head back in the room.) I can't do it anyway.
Phoebe: I am so sorry to hear that
Leo: I guess I better go.
Piper: Yeah. (Leo orbs out.) I'm so tired of living under this scrutiny.
(Piper walks out of the room. They head towards the bar.)
Phoebe: Well, I told you I didn't see anything.
Piper: Not you, them. I thought doing it somewhere else might take the pressure off.
Phoebe: Mmm, I'm bummed for you, Piper, I really am. But I gotta tell you, Leo is looking fine.
Piper: I thought you didn't see anything.
Phoebe: Well, nothing good. (Phoebe takes some pieces of paper out of her purse.) Okay, here is my stalker list. It's mostly guys that I knew in New York.
Piper: Wow, you were busy in New York.
Phoebe: Yeah, um, so now that we have mine and yours, all we need is... (Prue walks up to them. She is all dressed up.) Wow, you look different.
Piper: Relaxed.
Phoebe: What happened?
Prue: I'm not just as worried about demons as much anymore. Have you guys seen Sean around?
Piper: No, I haven't, but how do you know he's not your stalker?
Prue: Oh, don't be ridiculous.
Phoebe: What happened to "there's a demon on my ass" Prue?
Prue: Well, um, I set a trap.
Piper: A trap?
Prue: Mmm hmm. We are going to catch this demon and instead of vanquishing him like we normally do, we're gonna make him talk about the triad.
Phoebe: So is this like a bear trap with big claws?
Prue: I cast a spell over a series of cydarite crystals, (she holds up a crystal) sort of creating a power grid with the Book Of Shadows as bait.
Piper: And how does that work?
Prue: Well, the minute the demon steps into the grid, this glows and he's zapped.
Piper: So whatever it is, is electrocuted.
Prue: Yeah, well, whatever demon.
Phoebe: Mmm hmm, and what about human? Or feline? You're gonna fry Kit.
Prue: Well, Kit can't get in 'cause I locked the attic door.
Piper: So, Prue, you've booby trapped our house.
Prue: Mmm hmm.
Phoebe: And again, what if it's human?
Prue: It's not. (She sees Sean.) Oh, alright, if you guys will excuse me, I have a life to try and go give.
(Prue walks away.)
Piper: This is not good.
Phoebe: No, if she keeps this up we're gonna have to do a demon intervention.
[Cut to Sean. Prue walks up to him.]
Prue: Hey.
Sean: Hey.
Prue: Thanks for coming. (Abbey walks past.) Um, oh, Abbey, whatever Sean wants to drink, can you just...
Sean: No thanks. I've had more then my share of free drinks.
Prue: Alright, well, I guess I deserve that. Um, look, Sean, there is so much going on in my life that I can't really explain but if you're interested I'd like to make it up to you.
Sean: I'm definitely interested but I just ask that you be honest with me, okay. One thing I can't handle is games. It drives me crazy.
Prue: Psycho freaky crazy?
Sean: What?
Prue: Never mind.
[Scene: Manor. Cole opens the front door.]
Cole: Phoebe? Anybody home?
(He walks in and closes the door. He turns up the air conditioning. He walks into the living room, picks up a lamp and drops it on the floor. He opens all the windows and then disappears.)
[Cut to the attic. Cole appears. He opens the attic door and the windows. He picks up Prue's notepad and looks at it. He sees the Book Of Shadows and walks over to it. He steps into the trap and gets zapped. He falls to the floor.]
[Cut to P3. The crystal glows.]
Sean: What the hell is that?
Prue: Oh, oh, it worked.
Sean: What worked?
(Prue runs over to Piper and Phoebe.)
Prue: Alright, it worked, it worked, we caught our demon, so let's go.
Commercial Break
[Scene: Manor. Prue, Piper and Phoebe walk in.]
Prue: Alright, we don't really know what kind of demon this is, so we have to go in attacking. Piper, you freeze him and I will tie him up.
Piper: Speaking of freezing... it's freezing in here.
Phoebe: That's because every window in the house is open. What kind of demon would do that?
Prue: Oh, who cares. Has everybody got their sneakers on?
(They run upstairs.)
Pier: Yeah, yeah.
Prue: Alright.
[Cut to the attic. They run in. Prue turns on the light. They see Cole lying there.]
Piper: Cole?
Phoebe: What?
Prue: Wait, it could be dangerous.
Phoebe: For god sakes, Prue, he looks really hurt.
Prue: Phoebe, it's a trap for demons. You do the math. (Phoebe kneels down beside Cole and rests his head on her knees.) What are you doing here?
Cole: I came by to see how you're doing.
Phoebe: Are you okay?
Prue: So how did you get in and what are you doing up here?
Cole: Front door was unlocked and when I saw the windows were open...
Phoebe: You thought that someone broke into the house again. (Cole stands up.) Third degree over now?
Cole: What happened? What's that?
Piper: Uhh...
Prue: It's a trap.
Cole: A what?
[Time lapse. Everyone is coming down the stairs.]
Phoebe: Cole, I am so sorry. Please forgive us.
Cole: I'll take that under advisement.
Phoebe: Prue just panicked, she wasn't thinking straight.
Prue: The hell I wasn't.
Cole: Do you know that your trap is the equivalent of having a loaded sh*t g*n with a trip wire behind your front door? That's illegal. I'm an ADA, an officer of the court. I could have you arrested.
Piper: Somebody turned on the air conditioning. Why would they do that?
Cole: I'm outta here.
(He walks outside and Phoebe follows.)
Phoebe: Cole, Cole. I am so sorry. It's just we've been under so much pressure lately.
Cole: I'm just glad it wasn't you who did this to me.
(He leaves. Phoebe picks up a parcel that is sitting on the porch and takes it inside.)
Phoebe: How could you? How far are you gonna let this obsession go, Prue?
Prue: Phoebe, listen...
Phoebe: No, I'm not gonna listen, Prue. You didn't nearly catch a demon, you nearly k*lled a district attorney. My district attorney.
Prue: How do you know we didn't catch a demon? I mean, think about it, Phoebe. He is always around when something is going on. I mean, look at tonight.
Phoebe: You're right, he's a plant. Trying to get close to me so he can k*ll us. Now is everyone a demon, Prue? You are crazy right now.
Piper: Prue? You have a lovely package from Sean. It looks like flowers. Pretty nice for a guy you've blown off twice.
(Prue opens the package. The flowers are covered in worms.)
Prue: Oh!
Piper: Oh, that's disgusting. Look out, look out.
(Piper takes it outside.)
Phoebe: There's your demon, Prue. I'm going to call Morris.
(She leaves.)
Prue: Piper, that doesn't really make any sense. I mean, I can not believe I hurt that guy that badly.
Piper: Darryl said it only takes a small thing to set them off. Maybe Phoebe's right, maybe you're just not seeing the reality.
Prue: Piper, my instincts are almost always right, I have to trust them.
Piper: You have to trust them. And I'm not saying that you shouldn't but, Prue, there are other evils in the world and some of them are even human.
[Cut to outside. Cole's there leaning against his car. Troxa walks up to him.]
Troxa: I warned you, Belthazor.
Cole: Hold it, Troxa. Cool your jets. I came to apologise.
Troxa: Apologise? For what?
Cole: Pissing you off for one thing. I don't wanna be always looking over my shoulder for the rest of eternity. You want the Charmed Ones, they're all yours.
Troxa: I don't trust you.
Cole: Fine, don't. Just don't blame your failure on me or the triad. (Troxa starts to walk off and turns invisible.) Oh, by the way, the key to getting them is in the Book of Shadows. It's up in the attic.
[Cut back inside. Phoebe and Piper are in the living room. Phoebe is slamming shut all the windows.]
Piper: Be careful.
Phoebe: Oh, you know what? I don't care, I'm just so mad at Prue. I mean, it's one thing to be obsessed, you know, but it's another thing to hurt innocent people.
Piper: Okay, but she is trying to look out for us, but there is a triad demon on the loose.
Phoebe: I understand that, Piper, but it is not Cole.
(Leo orbs in holding a large Hershey's Kiss.)
Piper: Oh, honey, that's sweet but not tonight. We all have headaches.
Leo: Okay.
Phoebe: But feel free to help us close some windows.
[Cut to the foyer. Invisible Troxa opens the door and walks up the stairs.]
[Cut to the attic. Prue's there closing the windows. Troxa walks in. Prue steps on some glass and then sees Troxa's reflection in the mirror. She uses her power and he flies into the wall. He turns fully visible and pounces on Prue. She pushes him into the trap and he gets zapped. She pulls one of the crystal out of the grid and stops zapping him.
Prue: I want you to tell me everything that you know about the triad. Who they are, what their plans are. Answer me.
(Piper, Phoebe and Leo walk in.)
Troxa: You'll get nothing from me, witch. (She puts the crystal back in the grid and zaps him. She pulls it away.) I am Troxa. I'm not the only agent the triad has sent after you. There is another. His name is Belthazor.
(Troxa is engulfed in flames and he disappears in a hole in the floor.)
Prue: Alright, what the hell happened?
Leo: The triad.
Phoebe: Wait, so they know where we live now?
Piper: No, they know where he is, or was. All that matters is he's gone.
Phoebe: You were right, Prue. I owe you a big apology.
Piper: I'm sorry I doubted you but I was worried...
Prue: It's alright. Let's just, uh, let's look him up.
(They go over to the Book Of Shadows and flip through the pages.)
Piper: Troxa, an invisible demon. His weakness is that his ectoplasmic biochemistry is sensitive to cold, may become partially visible.
Prue: Wait a second, so if someone hadn't turned on the a/c, opened up all the windows and made it freezing in here, I never would've seen him. Leo?
Leo: I don't know anything about it at all.
Phoebe: Does that mean we have another guardian angel?
Leo: Well, I hope so. From what I've heard about Belthazor, we're gonna need all the help we can get.
Piper: What do you mean?
Leo: Well, he's infamous. He's a demonic soldier of fortune. He's one of the most evil vile creatures there is.
(They flip the pages and find Belthazor.)
Phoebe: Wait, that's the demon we say try to take the Book Of Shadows a couple of weeks ago.
Piper: So Troxa's right. There's somebody else out there to get us.
Prue: Well, at least now we know who he is.
Piper: But we're safe for now. So I'm gonna take this rare opportunity to get a good night sleep.
Leo: I'll go see what I can find out about Belthazor. (Piper walks over to him.) And enjoy your candy.
Piper: Thank you.
(They kiss.)
Leo: Sure.
(She leaves the room and Leo orbs out.)
Phoebe: Are you gonna be able to get some rest now?
Prue: No, I am way too wired ad also my photo assignment is due tomorrow.
(Phoebe picks up Prue's notebook and sees Cole's name written on it.)
Phoebe: Cole?
Prue: Right, uh, well, I had to fill in something.
Phoebe: Do you think maybe tomorrow you could call Cole and apologise to him?
Prue: Yeah.
[Time lapse. Prue is in the basement developing her photos. The photos turn out to be pictures of herself. Somebody appears behind her and pushes her head in the photo water.]
Commercial Break
[Scene: Manor. Kitchen. Piper and Phoebe are there.]
Piper: I've gotta meet Marvelous 3 this afternoon, so I need to get some stuff ready. Can I drop you off? Hello? Anybody home?
Phoebe: Uh, yeah, I-I was just thinking there are still so many loose ends. I mean, the broken mirrors, the a/c, the open windows, the d*ad flowers, the stuff that's missing.
Piper: Are you obsessing now? It's over, we were wrong.
Phoebe: I know, but those aren't demonic things, they're things that a stalker might do. Like what Morris said.
Piper: Well, you told him about Sean, he'll figure it out.
Phoebe: Yeah, Sean. Um, where's our copy of the grudge list that we made for Morris?
Piper: I left it at the club. Why?
Phoebe: I just wanna look it over again.
Piper: Okay, well, let's go. Is Prue still sleeping?
Phoebe: Her bed is made and her car is not here.
Piper: Well, maybe she took her pictures to 415.
Phoebe: It's really early. I mean, is 415 even open yet? I'm gonna call her.
(Phoebe dials Prue's number.)
[Cut to the basement. Prue is tied up in a chair. Abbey is there. Prue's phone rings and Abbey answers it.]
Phoebe: It's me, I'm just checking in. Where are you?
Abbey: I'm in my car.
(The phone starts breaking up.)
Phoebe: Hello? Prue, I can barely hear you.
Abbey: Yeah, I'm fine, I'll see you later, honey, bye.
(She hangs up.)
[Cut back to the kitchen.]
Phoebe: She sounds fine.
Piper: Okay.
Phoebe: Okay, let's go.
[Cut back to the basement. Abbey hears them leave.]
Abbey: Bye bye. It's just you and me now, Prue. Your sisters are gone.
(Prue's eyes are red and her vision is blurred.)
Prue: What do you want?
(Abbey takes off her shirt.)
Abbey: Oh, Prue, isn't it obvious what I want, huh? (She puts on one of Prue's shirt.) I wanna be you. What, no way to come back? No confident "I'm the queen of the world" retort?
Prue: Abbey?
Abbey: No, you're wrong, Abbey's gone forever. She's a loser and you're a winner. And now I'm gonna be a winner too. As soon as I take care of you. (She puts on a black wig.) Did you like the d*ad roses I sent you? Huh? Do you even know I was the one who broke into your house. I have to be you. Oh, I love wearing your clothes, your things. Makes me wanna be you even more. Beautiful, successful, loved by men.
Prue: I have just as much trouble with men as anyone.
Abbey: What, you mean Sean? Oh, please. He's not good enough for us. Uh-uh, no, no, I can do better. (She picks up a g*n.) Without you around. Now I just have one last question. Last night when I was here, (Prue unties her hands with her power) when I was running away from you, how the hell did you throw me through that door, huh?
Prue: Like this.
(Prue uses her power and Abbey flies across the room. She uses her power again and pushes furniture on top of her. Prue stumbles up the stairs.)
[Scene: P3. The phone is ringing. Phoebe and Piper run in. Piper answers it.]
Piper: P3.
Darryl: Piper, hey, hey, where's Prue? I can't reach her anywhere. At the manor, on her cell.
Piper: That's weird, we just talked to her on her cell. Why? What's going on?
Darryl: I've got a match up with the finger prints I got at your house.
Piper: Sean?
Darryl: No, no, no, no, not Sean. Abbey, your bartender. The one off of your list.
Piper: What? Abbey? Why would Abbey wanna hurt Prue?
Phoebe: Abbey's hurt Prue?
Piper: Hold on.
(Phoebe and Piper go into the locker room and opens Abbey's locker. Piper pulls out some photos and a book.)
Phoebe: Okay, and that's the kind of perfume Prue wears and the cosmetics that she uses.
(Piper flips through the photos. They are all pictures of Prue.)
Piper: (reading from the notebook) October 27th, 8:01. Prue leaves the house, gets into car. I love the way she walks so confident, in control.
Phoebe: Enters dry cleaners, smiling, the sun catches her hair. So beautiful.
Piper: Pages and pictures... (Phoebe touches a photo and has a premonition of Abbey sh**ting Prue.) What?
Phoebe: Abbey, k*lling Prue at the manor.
[Cut back to the manor. Prue is hiding in a closet. Abbey walks in the dining room holding her g*n. She walks into the foyer and near the closet Prue is hiding in. Prue astral projects behind her.]
Prue: Hey, over here. (Abbey screams and sh**t five times at astral Prue. Astral Prue disappears and reappears somewhere else.) Hey, freak, I'm over here now.
(Abbey sh**t at astral Prue another four times. Prue astral projects back into her body. Prue runs out of the closet and tackles Abbey. Prue tries to escape but Abbey pushes her against a wall. Prue hits her and pushes her on the floor. Prue finds her way into the kitchen and Abbey follows. She points her g*n and Prue and sh**t. The b*llet freezes in mid-air. Phoebe and Piper walk in. Piper grabs the b*llet out of the air.)
Phoebe: Okay, we're here.
Piper: Everything's gonna be okay. Everything's gonna be great as soon as I f*re her.
(Prue uses her power and Abbey flies into a cupboard.)
Phoebe: Nice. Feel better now?
Prue: Yeah, I'm getting there.
Piper: Alright, shake it off.
Commercial Break
[Scene: P3. Marvelous 3 are playing. Prue and Phoebe are at the bar. The new bartender serves them a drink.]
Prue: Thanks. Um, Rachel. Can I ask you a question?
Rachel: Yeah.
Prue: Are you happy?
Rachel: Extremely.
Prue: Boyfriend? Any career goals?
Rachel: Engaged. I'm only doing this until I get my masters in education. I'm gonna be a teacher.
Prue: Oh, that's just so excellent. (Prue gives her a tip.) Thank you.
Rachel: Thanks.
(She walks away.)
Prue: You know, you can never be too careful with demons or mortals.
Phoebe: So rumour has it Leo is installing an alarm system in the house.
Prue: Yeah, I know, and we're gonna have to lock the doors and do all that responsible stuff women should do in the big city.
Phoebe: I agree. And we're gonna have to watch out for Belthazor.
Prue: Yes, I agree. (Prue sees Cole walk down the stairs.) But first I think you should watch out for him.
(Phoebe turns around and sees Cole.)
Phoebe: You don't like him do you?
Prue: No, I don't... really know him. Do you?
Phoebe: No, um, not as well as I'd like to. Actually, you know, I think I'm gonna go see what I can do about that.
Prue: Be careful. (Phoebe walks over to Cole. Prue sees Sean across the room and goes over to him.) Hey.
Sean: Why do I get the feeling that you're a high maintenance kind of gal?
Prue: Oh, I don't know. Maybe because I am. Dance?
(Sean accepts and they walk on the dance floor.)
[Cut to Phoebe and Cole.]
Phoebe: So, still friends?
Cole: I hope we're more than that.
Phoebe: Do you? Prove it.
(Cole pulls her closer and they kiss.)
[Cut to the manor. Piper's room. A hot and sweaty Piper and Leo are laying in bed.]
Leo: Wow. You are amazing when you concentrate.
Piper: And stopped worrying about them. (Piper looks up.) I hope you enjoyed the show.
(They giggle and cuddle up to each other.)
End | {"type": "series", "show": "Charmed", "episode": "03x05 - Sight Unseen"} | foreverdreaming |
[Scene: Manor. Kitchen. Prue is there. She is trying to move a fork using her power but it's not moving. Phoebe comes in.]
Phoebe: Look at me. I am a fashion blunder. A mademoiselle don't. Oh my god, you lost your powers?
Prue: Can't lose what you never had.
(Prue astral projects out of the room.)
Phoebe: I hate when she plays astral games. Marco.
Prue: (from the attic) Polo.
[Cut to the attic. Prue is sitting in a chair reading a book on telekinesis. Phoebe walks in.]
Phoebe: What were you doing down there?
Prue: Practicing. Trying to use telekinesis in astral mode.
Phoebe: Hmm, witch exercises. Since when?
Prue: Since I studied up on Belthazor. The triad couldn't have sent us a worst demon.
Phoebe: Or one with worse skin. I would hate to find myself alone with this guy.
Prue: Yeah, well, you wouldn't last long. None of us would. That's why I'm trying to teach my astral self how to fight.
(Phoebe flops down into a chair.)
Phoebe: I have a date wit Cole.
Prue: You say that like it's a bad thing.
Phoebe: It's a lunch date.
Prue: So?
Phoebe: So, it's not a good sign. Lunch is a cheap imitation of dinner. That's why it has it's own special menu. And, you know, we kissed last week. We should be onto dinner and candle light by now.
Prue: Well, may-- ohh!
(She holds her hand against her jaw.)
Phoebe: I can't believe you haven't taken care of that tooth.
Prue: Yeah, well, I have a dentist appointment in an hour.
Phoebe: Good. I hate to see you so miserable.
Prue: Me too.
[Scene: Prue is driving in her car. She approaches road construction.]
Construction Worker: Stop right there please. (Prue stops her car. Cole appears near by.) Come ahead. (A bus drives past Prue's car. A "save the innocent" sign is painted on the side of it. An arrow lights up pointing left. Cole flicks his hand it points to right.) That way.
(The construction worker points and Prue drives on to the right. Cole disappears.)
[Time lapse. Prue is in her car calling Phoebe from her cell phone.]
Phoebe: Hello?
Prue: Hey, did you cast any give me a sign spells lately?
Phoebe: No, why?
Prue: I don't know, it just seems like somebody's dropping signs right in front of me... literally.
Phoebe: Prue, you need to ignore the signs and get yourself into a dentist.
Prue: Yeah, I know.
(Prue approaches a construction worker holding a stop sign.)
Phoebe: Uh, hello, Prue?
Prue: Uh, I'll call you back.
(She hangs up. She notices "Final Stop" painted on a building.)
[Time lapse. Prue walks up to a construction worker.]
Prue: Excuse me.
Construction Worker #2: You're with social services, right?
Prue: No, why?
Construction Worker #2: The guy won't come out of his loft up there and we're supposed to start demolition today.
Prue: Someone still lives here?
Construction Worker #2: Well, if you can call it that. Poor guy says he hasn't stepped outside in four years.
(He walks away. Prue goes inside the building. She walks up some stairs and approaches a door. She knocks on it.)
Prue: Hello?
(She opens the door but there is a door chain on it.)
Guy's voice: Close the door. G-go away.
Prue: I just wanna talk.
Guy's voice: Please, go away.
(Prue closes the door and uses her power to remove the chain. She opens the door. She sees a guy crouched down across the room. He sees her and runs to the other side of the room.)
Guy: No! Don't, don't, don't come any closer.
Prue: Are you hurt?
Guy: My head, it's exploding. The pain, you're letting it in.
Prue: What pain?
Guy: Everyone's pain, from the city, the streets. I feel it, I feel all of it.
Prue: I won't hurt you.
Guy: You are hurting me. Your pity. It's like razors inside.
Prue: Please... (She walks closer and he grabs his jaw.) I can...
Guy: Ohh, your tooth. I feel your tooth. All your pain. I can't stand it. Why didn't you just go when I asked?
Opening Credits
[Scene: Manor. Living room. Leo and Piper are there.]
Leo: I-I just can't believe you introduced me as a friend.
Piper: Okay, social malfunction. I hadn't seen the woman in years. I'm sorry.
Leo: I lost my wings for you, I've hurled my body in the path of oncoming demons, you wanted heaven, I took you there literally. I'm more than a friend.
Piper: I know, but if I had introduced you as my fiancé, she would've asked how we met, when are we getting married, where the hell my ring is. Questions that I can't answer now can I?
Leo: I suppose that's how I became a doctor too.
Piper: Leo, that's what you were. Look, what am I supposed to tell people? That's I'm engaged to a Whitelighter? Sometimes being magical kind of takes the magic right out of things.
Leo: I'm sorry you feel that way.
Piper: Oh, come on. Don't you sometimes? Every now and then I just wanna feel what it's like to live in the real world.
(Prue and Cole walk in the living room.)
Prue: Hey.
Piper: What are you two doing together?
Prue: Uh, Cole pulled up behind me.
Cole: Good timing.
(Phoebe walks in.)
Phoebe: Hey, look, my lunch date.
Cole: Sorry I'm late but I got held up on the case. You look amazing.
Phoebe: It's all part of my master plan.
Prue: Uh, Phoebe, I wanted to talk to you about the signs... uh, the assignment that we were talking about on the phone.
Phoebe: Where did it lead?
Prue: To this incredibly tragic guy who's scared to leave his own home, which might be okay if it weren't about to be torn down.
Cole: Was there a social worker there?
Prue: No, but I was told that a deputy was going over there this afternoon to evict him and he has no place to go.
Cole: Let me, um, make a call, see what I can do.
Piper: Kitchen.
Cole: Thank you.
[Cut to the kitchen. Cole walks in and picks up the phone. He dials a number. His shadow moves away from him.]
Cole: Whoa, whoa, whoa. Where you going? (His shadow puts his hands on his hips.) We agreed no more triad reports, not until my plan succeeds. I can't be associated with anymore failed attempts. (Phoebe walks in.) Phoebe.
Phoebe: Hey. (She walks past the shadow.) I just need some aspirin. Prue has a toothache. (She gets the aspirin out of the cupboard.) Water. (She gets a bottle of water out of the fridge. She walks over to Cole.) You okay?
(She kisses him.)
Cole: Yeah, yeah, I just got disconnected. (Phoebe leaves the room.) Prue followed my signs. The plan will work. If it doesn't, then you can rat me out to the triad.
(His shadow bows his head and walks back in place.)
[Cut back to the living room.]
Leo: Based on everything you said, Prue, it sounds like your shut-in's a future empath.
Piper: An empath? And me without my dictionary.
Leo: They're mortals who can actually feel what other people feel. It's a rare gift. When they die they often return to earth as empaths. Where they blend into society as councilors, elders, teachers. They use their sensitivity to guide mortals, ease their pain, even heal them.
Prue: No, I don't think this guy would look at it as a gift. He's one big wrong nerve ending. You should've seen how he reacted to my toothache.
Leo: Well, it could be he's rejecting his gift. Fighting the emotions he feels instead of embracing them.
Piper: Well, he sure sounds like an innocent to me.
Leo: It'd be a shame to lose a future empath and all the good it'll do.
Prue: I couldn't care less about his after life then his current one. I know what it's like to receive a power that you just do not understand.
Phoebe: What I don't understand is who sent the signs that you followed.
Leo: It's hard to say. Could be them, could be...
Piper: Cole.
(Cole walks in.)
Cole: I got a guy at housing authority who will relocate your shut-in, if he leaves voluntarily. (He writes a number on a card and hands it to Prue.) Here's my card. Have him page me.
Prue: Thanks. Alright.
Piper: Uh, Prue, do you want us to go with you?
Prue: No, this guy can barely deal with one person let alone three, but thank you.
(Prue leaves.)
Cole: Okay then, ready for lunch?
Phoebe: Mmm.
Leo: Lunch would be great. Would you mind if we join you? I mean, it'd be great. Two couples, on the town, in the real world. What could be greater?
Cole: (to Phoebe) It's up to you.
Phoebe: Why not.
Commercial Break
[Scene: Crest Hills Psychiatric Hospital. An elderly man is sitting in a chair reading the newspaper. Father Thomas is standing next to him looking out the window. He glances over the man's shoulder and sees an article on the newspaper.]
Father Thomas: No. (He runs over to the nurse.) I have to get out.
Nurse: It's okay, Father Thomas, relax.
Father Thomas: No, you don't understand, they're tearing it down, I have to get there.
Nurse: Hold on now.
(A male nurse grabs Father Thomas.)
Father Thomas: No, please, let me go. I have to get to the building. I must protect the innocent.
Nurse: A little help here.
[Scene: At the building. Prue is there. A deputy won't let her back in.]
Deputy: I'm sorry, ma'am. I know he's scared but I personally handed him a final eviction notice two weeks ago.
Prue: Officer, please. Cole Turner, assistant district attorney, he knows the case and he wants to help but only if I can keep this guy out of jail.
Deputy: You've got three minutes.
Prue: Thank you.
(She walks inside.)
[Cut to inside. Prue uses her power and removes the door chain. She walks in.]
Prue: Hello? (The guy is sitting on a mattress on the floor.) Hey. It's me again, Prue. Took a pain reliever for my tooth. The deputy downstairs told me that your name's Vince. What's your last name?
Vince: Misery.
Prue: Well, in that case would you like some company?
Vince: That's not funny.
Prue: Yeah, neither is your situation. Vince, you know that deputy's here to arrest you for civil disobedience.
Vince: I'll die. If they put me in jail.
Prue: I believe you. That's why I came back, to find you a new home. But you have to leave here with me now.
Vince: I can't, I can't go outside.
Prue: Vince, I know what it's like. I know what it's like to have a gift that you can't control, that you never asked for. And living with that is hard, really hard.
Vince: Tell me what's hard. You avoided your pain and I feel it.
Prue: Right, then let's talk about the blessings, three words that come with having that gift. I mean, you can't even begin to...
Vince: Words, just empty words. You don't feel them in your heart, I know. You feel fear, panic, 'cause something's coming for you, something you're afraid you can't stop. Are these the blessings you want me to be thankful for?
Prue: I'm sorry.
Vince: Yes, you are. You are sorry. And confused and afraid and it's drowning me alive.
(The deputy bangs on the door.)
Deputy: Deputy, time's up, open the door.
Vince: Can't you see this is not a gift. This is a curse, I am cursed. To feel everything all the time from everyone. I can't go outside that door. Not now, not ever.
Deputy: I'm coming in. (Prue holds the door closed with her power.) Hey!
Vince: How'd you do that?
Prue: I was sent here to help you and that's what I'm gonna do. "Free the empath release his gift, (he holds her hand) let his pain be cast adrift."
(She stops using her power and the door opens.)
Deputy: What's the matter with you people?
Prue: Sorry deputy, that door stuck on me too. He's ready now.
Vince: But how?
Prue: We'll talk later. Um, this is the DA. (She hands him the card.) Page him. He'll find a place for you to go.
Vince: Thank you, You don't know what you just did for me.
(Prue leaves.)
Deputy: Let's get you out of this dump. (Vince walks over to the deputy.) What's the matter with you?
Vince: Just wondering what you're feeling right now.
Deptuy: Yeah, why's that?
(Vince grabs him around the neck and the deputy's face starts to burn.)
Vince: Because I can't feel a thing.
Commercial Break
[Scene: Restaurant. Piper, Leo, Phoebe and Cole are sitting at a table. They have finished lunch. No one is talking.]
Phoebe: So how about those Niners?
Cole: What?
Phoebe: The Niners. The Forty Niners. The football team? You don't follow football? (Cole takes a mouthful of his drink.) He isn't human. (Cole chokes on his drink.) You okay?
Cole: Cheque!
(Piper and Phoebe look at each other.)
Phoebe: Um, we're gonna be right back.
(They walk away.)
Piper: Phoebe, I know you're upset Leo crashed you're lunch date but...
Phoebe: No, it's not that. Cole is pulling away from me again, I can see it.
Piper: Premonition?
Phoebe: Intuition.
Piper: Oh...
[Cut back to the guys.]
Leo: Look, Cole, before the girls get back, I need to tell you something.
Cole: Do I have spinach in my teeth?
Leo: Huh? Oh, no, no, it has to do with Phoebe. Um, I just feel very protective of her, we all do. You know, she's a sweet... she's been through a lot, a lot of loss.
Cole: I sensed that.
Leo: Well, she's into you, I can tell. Whatever your intentions are I just want you to be straight with her, okay. I don't wanna see her get hurt.
Cole: Heaven forbid.
(Phoebe and Piper come back over to the table.)
Phoebe: What did we miss?
Cole: Leo was just giving me investment advice.
Piper: He was?
Cole: Yeah.
Piper: Really?
(The waitress hands Cole the cheque.)
Cole: Oh. (to Leo) Why don't we split this?
(Leo reaches into his pocket.)
Piper: Oh, honey, did you forget your wallet again?
Leo: I guess so.
Piper: I got it.
(Piper gets out her credit card and hands it to the waitress. Cole's pager beeps. He looks at it.)
Cole: I have to take this. Forgive me.
(He leaves the table.)
[Cut to Vince's building. Cole appears.]
Vince: Belthazor.
Cole: I got your page.
Vince: I owe you for sending me the witch. It went down just like you said. Thanks.
Cole: You made physical contact during the spell.
Vince: I could feel the empathic cancer passed out of me and right into her. How did you know that would happen?
Cole: That's how you got it isn't it? How long does she have?
Vince: She's mortal. She won't be able to fight it like a demon can. I give her a day until the weight of human emotion crushes her. You'll enjoy watching it.
Cole: I'll be out of town. I don't need to see the other two suffer the loss of their sister.
Vince: Compassion. From you, Belthazor? I think maybe you've been undercover a little too long.
Cole: Not your concern.
Vince: True. My only concern is the empath who cursed me, Father Thomas. And I know just where to track him down.
(Cole grabs Vince and pushes him against the wall.)
Cole: No, I can't risk the witches finding you and reversing their magic.
Vince: You've forget who I was before I was an empath, Belthazor. I'm immune to their powers.
Cole: Maybe, but you're not immune to mine.
Vince: Understood.
[Scene: Dentist surgery. Prue is there talking to the receptionist. There is a couple standing behind her cuddling and making googly eyes at each other.]
Prue: Look, I am really sorry that I missed my appointment this morning, okay, but-but I-I couldn't get out of work. Is there any way that Dr. Timmons can fit me in?
Receptionist: We are pretty booked up.
Prue: Alright, but my tooth kills. I really need to--
(The guy pinches the girls butt and Prue feels it. She gasps and turns around.)
Receptionist: Are you okay, Miss Halliwell?
Prue: Yeah, uh, that was my tooth. I'm having a really, really bad day because it hurts a lot.
Receptionist: Let me see if I can do anything.
Prue: Thanks. I mean, I really appreciate it. (Prue starts to laugh.) I'm so sorry, I don't... My tooth has been hurting for a long... (she bursts out laughing.) Why aren't you guys laughing?
(Another receptionist opens the door to a room and a woman is in there laughing her head off.)
Dentist: That's just the nitrisoxide, Mrs. Freeman.
Prue: Nitrisoxide, laughing gas? Uhh.
Receptionist: The best I could do is fit you in at 4:15.
Prue: No, no, no, no, that's okay. I have to go.
(She walks past the guy and pinches his butt. The girl pushes him.)
[Scene: Manor. Foyer. Phoebe and Cole are there. Phoebe opens the door but then closes it.]
Phoebe: Uh, you know what? Is there something wrong?
Cole: No.
Phoebe: It's just you haven't said anything since we left the restaurant.
Cole: A lot on my mind, I guess.
Phoebe: Work?
Cole: Yeah, sort of. I don't know how to say this.
Phoebe: Uh-oh. Don't ever start a sentence like that with a girl. You don't wanna see me anymore do you? Right, I'll never accept a lunch date.
Cole: It's got nothing to do with you. I mean, you know how I feel about you.
Phoebe: I don't understand. I think that I deserve to know.
Cole: I promise you'll understand soon. Maybe more then you'll want to.
(He opens the door. Prue walks up the stairs. Cole walks past her and she stops.)
Prue: Ohh...
(Prue closes the door.)
Phoebe: Are you okay?
Prue: Whoa, I haven't felt anything like that since Andy was alive.
Phoebe: Anything like what?
Prue: Spinning into infinity. You know, that head long spiral that steals your breath and stops your heart.
Phoebe: Prue, what the hell are you talking about?
Prue: Falling in love.
Phoebe: Falling in love? Prue, I just got dumped, okay, I'm trying to experience a break up here. Who's falling in love?
Prue: Cole.
Phoebe: Okay, you're so off track.
Prue: Oh! Oh! Wait, I felt that too. Your heart just jumped and I felt it. You're falling in love too.
(Prue grins. Phoebe and Prue walk into the kitchen where Leo and Piper are.)
Phoebe: We've got a problem. Prue cast a spell to remove Vince's pain.
Piper: Who's Vince?
Phoebe: The shut-in. But I think, and call it a hunch, that it backfired and made Prue an empath.
Leo: What kind of hunch?
(Phoebe pinches Piper and Prue feels it too.)
Prue/Piper: Ow!
(Piper pinches Phoebe.)
Prue/Phoebe: Ooh!
Piper: Uh-oh.
Prue: Oh, okay, I don't really know how it happened. Alright, all I was trying to do was help an innocent. What is that I'm feeling? (to Leo) You. You're feeling fear. Spill it.
Leo: I-I'm afraid that you're in danger. You weren't meant to receive this gift, you can't handle it.
Prue: No, okay, you're looking at it all wrong. Okay, I was guided to Vince, remember? Maybe I was meant to have this gift.
Piper: But Prue, you're not an empath, you're just a witch.
Prue: Right, A witch who's power comes from her emotions. Alright, look. I-I-I was looking for a power boost to fight Belthazor, maybe this is it. Will you guys please stop being so negative?
Phoebe: We didn't say anything.
Prue: Yeah, but I can feel all of your--
(The TV in the kitchen blows up. Piper screams.)
Leo: What was that?
Prue: I think I did it. It's just all your doubts are screaming in my head. I-I've gotta get control of this.
Phoebe: In the Book Of Shadows, maybe there's something about empaths.
(Phoebe starts to leave.)
Prue: Where are you going?
Phoebe: To help you.
Prue: Yeah, but you're dying to see Cole.
Phoebe: Stop that. I did not say that.
Prue: Phoebe, go to him. Alright, tell him what's in your heart. I think you'll find him receptive.
Phoebe: Prue, I can't, I need to stay here with you. Do you really think he'll be receptive?
Prue: Yes. Now go get your man. He wants you.
(Phoebe hugs her and leaves. Prue, Piper and Leo walk out of the kitchen.)
Leo: We'll help you out.
Prue: No, no, no, I'll get the book alone. You guys' couple issues are really starting to hurt my head.
Piper: Wait, we have couple issues?
Prue: (points to Leo) Resentment, (points to Piper) denial. Be nice.
(She goes upstairs.)
Piper: Uh, Leo, what is it exactly that you resent?
Leo: Well, I tried to step out in the real world today like you wanted.
Piper: Yes, and I appreciated your subtle yet effective lunch invitation.
Leo: I-I was humiliated.
Piper: When?
Leo: When? When the bill came. You know, Piper, in my time men opened doors for women when they walked in and they stood up when they left and they always, always paid for meals.
Piper: I just assumed that you were okay with it.
Leo: I'm not.
Piper: Well, then you should've said something.
(They walk in the living room.)
Leo: Piper, you want me in the real world but I'm not of this world.
Piper: I know, and I'm, I see your point. I'm sorry I didn't understand. (They sit on the couch.) I know this must be very difficult for you.
Leo: It is.
Piper: Leo, you have to understand I am very proud to be with you. And so proud that I need to share you with the rest of the world, my world. And you know, the other stuff we'll figure out.
(They kiss.)
Prue: (from upstairs) Not now, I have a headache.
(They stop and look at each other.)
[Scene: Cole's apartment. Cole's there packing a suitcase. There's a knock on the door. He answers it.]
Cole: Phoebe, what are you doing here?
Phoebe: I, um, I came to tell you something. Actually... (She kisses him passionately.) I was always better at show then tell.
(They continue kissing. He picks her up and she wraps her legs around his waist. They lean against the door.)
Cole: You have no idea what you're getting yourself into.
Phoebe: Neither do you.
Commercial Break
[Scene: Cole's apartment. The next morning. Cole and Phoebe are in bed. Phoebe is asleep. Cole touches her hair and she wakes up.]
Cole: Morning.
Phoebe: Good morning.
Cole: How you feeling about last night?
Phoebe: Um, last night was magical. You?
Cole: What do you think?
(Cole tickles Phoebe and they laugh.)
Phoebe: Right here, right now, this place, it's perfect. I wish the whole world were just right in this room.
Cole: Then we won't have to worry about what happened next.
(Phoebe sees his suitcase.)
Phoebe: Are you going someplace?
Cole: Maybe. I'm not sure yet.
Phoebe: You know, if you're hiding anything from me, you don't have to hide anything from me.
Cole: What makes you think I'm hiding something?
Phoebe: Hmm, for the same reason I know how you really feel about me. If you're in some kind of trouble...
Cole: I can handle it.
Phoebe: I can help you.
Cole: No, you can't. (They kiss.) I have to go.
(He sits up.)
Phoebe: Am I gonna see you again?
Cole: One way or another.
[Scene: A church. Vince is there. He pushes a woman against the wall.]
Vince: Where did Father Thomas go?
Woman: Crest Hills. It's a psychiatric hospital.
Vince: If I were capable of feelings I might enjoy the irony of that. What happened to the good Father? Pray tell.
Woman: Nervous breakdown. Three years ago. Something about losing his gift to help others.
Vince: Well, he might wanna worry about who's gonna help him and k*ll you.
(He grabs her around the neck and her face burns.)
[Scene: Manor. Prue is crouched down in the basement holding her head. She can feel everyone's pain. Piper and Leo come down the stairs.]
Piper: Prue? What's the matter? What are you doing in the basement?
(Prue stands up. She has tears in her eyes.)
Prue: I'm just trying to escape the emotions, they're-they're-they're everywhere. I can't get away.
Leo: What do you mean?
Prue: It's not just you and Piper, I-I-I'm picking up things from other peoples houses. They're, this people and they're in my head and they're in my heart and it just hurts. (Piper moves towards her and Prue backs into a corner.) No, just stay away, Piper, no contact.
Piper: Okay.
(Prue sits in the corner and cries.)
Prue: God, it is just so hard to concentrate, to even talk, I just want it to go away. I feel like it's gonna--
(The light breaks and the roof of the basement cracks.)
Piper: What was that?
Leo: Empathic ability. The more she feels, the more powerful she becomes.
Piper: Alright, this is a gift, we are returning it. It was not meant for you. Come on, we're gonna find this Vince guy. Come on. (They help her up.) I know, I know, you're gonna be okay.
[Scene: The building. Police are there. Piper and Leo wait outside for Phoebe. A cab pulls up and Phoebe gets out.]
Piper: Phoebe, where were you when we called?
Phoebe: Cole's.
Piper: You could've changed. All night?
Phoebe: Mmm hmm.
Piper: Did you...?
Phoebe: Uh-huh.
Piper: Was he...?
Phoebe: Uh-huh!
Leo: Okay, can we talk about this later?
Phoebe: Yeah, where's Prue?
Piper: Waiting in the car.
(The paramedics push a stretcher with a body on it past them.)
Phoebe: Oh, this does not look good.
[Time lapse. Piper, Phoebe and Leo are walking up the stairs.]
Phoebe: Cole said that Vince never called.
Piper: I'm starting to smell a demon.
Leo: If you're right, it would explain why the empathic gift didn't k*ll him.
Piper: I think we should stop calling this a gift.
Phoebe: Okay, so how did the demon, formally known as Vince, become empathic anyway?
Leo: Well, I'm guessing he got the power from a true empath. It would act like a curse on the demon, make him feel the pain that he inflicts.
(They walk in the room and Phoebe has a premonition of Vince k*lling people.)
Piper: Phoebe? Okay, come on.
(They walk back outside.)
Phoebe: Okay, we're definitely right about the demon theory.
Piper: That was a premonition? But you didn't touch anything.
Leo: This room must be dripping with psychic remnants.
Piper: Well, what did you see?
Phoebe: Uh, m*rder and lots of them. Like a big demon k*lling spree.
Piper: Just random?
Phoebe: No, more like a mission.
Leo: Could be he's looking for revenge on the empath who cursed him.
Piper: Well, if we're gonna help Prue, then we gotta get there first. What was the last m*rder you saw?
Phoebe: A man at a mental hospital. Crest Hills. But I don't know if it happened already.
Piper: Well, there's only one way to find out.
[Scene: Crest Hills Psychiatric Hospital. Prue, Piper, Phoebe and Leo are there.]
Nurse: And who are you here to visit today?
Phoebe: Um, we came to visit our father.
Nurse: What's his name?
Phoebe: Dad?
Nurse: This is a psychiatric facility. We can't very well let every--
Piper: Okay.
(Piper freezes her.)
Leo: (to Prue) This place is a mine field for you, you should wait here.
Prue: No, if Vince comes in I need to be there to reverse the spell.
(They walk into a room where all the patients are.)
Phoebe: That looks like the guy from my premonition. (Leo sits Prue down on a chair. Phoebe and Piper go over to Father Thomas.) Hi, excuse me, um, I know this is probably gonna sound crazy but are you an empath?
Father Thomas: You people don't have to humour me, you know. I know you don't believe me.
Piper: No, uh, we're not doctors, we're patients, we're, we're witches. And we're looking for the empath who cursed a demon.
Father Thomas: I was working as a priest, helping people when it came after me.
Piper: You mean Vince?
Father Thomas: Is that what it calls itself? Vinceres is a demonic assassin. Timeless, unstoppable.
Piper: But you stopped him. How?
Father Thomas: When the demon took my throat to k*ll me, I laid my hands on him as if to heal him.
Phoebe: And you gave him your power.
Father Thomas: Yes, I didn't know if I could but I did. I cursed Vinceres and myself.
Piper: How did you curse yourself?
Father Thomas: I'm staring at eternity on earth with no gift and no reason to be.
Piper: Well, I can't help you with the eternity part but I can give you a reason to be now.
Father Thomas: Yeah, I know, I know, I read the paper. We have to get to that building and safely relocate the demon.
Phoebe: Uh, it's funny you should mention that because when Prue met Vinceres she thought that he was a shut-in and...
Father Thomas: You didn't cast a spell?
Piper: She did but...
Father Thomas: I gave up everything to prevent that beast from k*lling again. If it's free you can't stop it. (Prue feels his anger and furniture starts to move.) Nobody can.
(The whole room starts shaking and the patients run around.)
Patient #1: I can't take it!
Patient #2: In the walls! Can't you hear it?
(Prue grabs her head in pain.)
Commercial Break
[Scene: Manor. Basement. Prue's crouched down in the corner shaking. Leo's sitting on the stairs watching her.]
[Cut to the conservatory. Piper, Phoebe and Father Thomas are there. They have found Vinceres in the Book Of Shadows.]
Piper: Here he is, Vinceres. Pretty much lives up to his gloss. Unstoppable h*t man, just keeps going until he gets his target.
Phoebe: Great. The energizer demon. So what do we do?
Father Thomas: Nothing. There's nothing you can do. It will find us and when it does we're all d*ad.
Piper: Well, you're just a ray of sunshine now aren't you? (Leo walks in.) Hey, anything?
Leo: No, she won't say a word.
Piper: We've gotta snap Prue outta this or else she won't be able to reverse the spell when the demon att*cks.
Father Thomas: You can't reverse the spell. Vinceres is immune to witches magic.
Phoebe: Hold on, Prue's spell worked.
Father Thomas: That's because the demon allowed it to work. To its own advantage. You'll find your spells useless now.
Phoebe: Maybe we actually don't need to reverse the spell.
Leo: What are you thinking?
Phoebe: Well, Prue's getting h*t by emotions, all emotions and he powers are tied to these emotions. So maybe if she can figure out a way to channel them, then she'd be pretty unstoppable herself don't you think?
Leo: Is that possible?
Father Thomas: From what I've seen your sister is too far gone. She won't live to see the night.
Piper: Alright, that's it!
Leo: Piper...
Piper: No. I am sorry, but this man has experienced the entire rainbow of human emotions and the best he has to give us her is self pity? I don't think so. Look, you used this power to stop this demon. Now my sister has your power. Deal with it and then help us.
[Cut to the attic. Prue is still crouched down in the corner. Father Thomas and Leo walk down the stairs.]
Prue: Go away!
Father Thomas: I know how you feel. Your instinct is to pull away. Don't. Try to find an inner calm.
Prue: I can't. The pain.
Father Thomas: You're carrying a cross you were never meant to bear. I'm sorry.
Prue: Your sorrow, I can't, I can't take it. Please...
Father Thomas: You've been fighting what you feel, that's natural and it's wrong. To find your strength as an empath, you must embrace your emotion. Focus on me, the feelings are ripping you apart because you're fighting them like the demon did. A demon can't handle human emotions, you can.
[Cut to the foyer. The door flies open and Vinceres walks in.]
Vinceres: Anybody home?
Phoebe: Piper, now! (Piper freezes him but he fights through it.) Okay, I guess this is the unstoppable part.
Vinceres: Where's Father Thomas?
Piper: Plan B, plan B!
(Piper picks up a vase and smashes it over his head. He pushes her across the room. Phoebe kicks him in the head. He knocks over a table. Phoebe kicks him a few more times and he grabs her and throws her across the room.)
Phoebe: Okay, uh, do we have a plan C?
Piper: Uh, whoa. (She tries to freeze him again.) Leo, hurry!
[Cut back to the basement.]
Father Thomas: Prue, take my hand. (She does so.) My power to ease you in suffering lay in my hands. That's how I cursed the demon. You must channel the empathic gift into your power.
Prue: I can't. I can't control my power.
Father Thomas: Prue, you can do it. You have a once in a life time opportunity to feel the world's emotions. All it means to be human. The good and the bad. Don't be afraid.
[Cut back upstairs. Vinceres has Phoebe by the throat.]
Vinceres: Just tell me where the empath is and I won't k*ll you.
(Prue, Leo and Father Thomas walk in.]
Prue: You want him? Come and get him.
(She uses her power and he flies against the wall.)
Vinceres: How'd you do that?
Prue: If you want the empath, you're gonna have to go through me. (to Piper and Phoebe) Stay back. This is my fight.
(Prue jumps up and kicks him. She blocks his punches. She holds onto the stair railing, walks on the wall and jumps over the railing, kicking Vince in the face.)
Vince: You can't hurt me, witch. I can handle your powers. (He grabs her around the neck and lifts her off the ground. She forces his hand away from her neck and flips over him. She blocks his punches and pushes him on the floor.) I can handle your powers.
Prue: What about pain? Human pain? (She astral projects and astral Prue jumps into him. He starts yelling and then explodes. Prue looks at astral Prue and astral Prue smiles.) The voices are gone.
(Piper and Phoebe go over to her.)
Phoebe: So you're not an empath anymore.
Prue: (to Father Thomas) I'm sorry. I was hoping that we could return your gift.
Father Thomas: But you did. It appears I have the ability to understand what people are feeling even without a magic assist.
Phoebe: You kicked ass.
Prue: I did didn't I?
Commercial Break
[Scene: P3. Idol is playing. Prue and Phoebe walk up to the bar. Piper's there.]
Prue: Hey.
Piper: Hey.
Prue: You know, I can not wait for this Anovacane to wear off. (She sticks out her tongue.) Can you unfreeze my tongue?
Piper: You're lucky that dentist even saw you.
Phoebe: Okay, there's one thing I don't get. How did you vanquish Vinceres?
Prue: Well, it was something that Father Thomas said to me. Vinceres was trying to fight off the feelings of an empath because demons can not handle human emotion.
Phoebe: And so you astral projected into his body.
Prue: Yes, carrying the emotional baggage of half of the city. I forced him to feel and he couldn't take it.
(Leo comes up to them.)
Leo: Hey.
Prue: Hey.
Leo: I just left Father Thomas. Got the connections of the -----. They're gonna let him return to his church.
Piper: Thank you. You're an angel.
Leo: Well, not technically.
Prue: Eww.
Phoebe: So I guess the only other question is who sent the signs that lead Prue to the demon?
Prue: Well, probably the triad. Or Belthazor, which means we have to be careful the next time we get a sign.
Piper: Yeah, but Prue, you got quite a power boost there. Are you gonna miss it?
Prue: Yeah, but I did get to stop an unstoppable demon. Got a little taste of what my future powers are gonna be like. I'm on the right path. Ooh, speaking of paths... what's up with you and your Cole dependencies? Where do you guys stand?
Phoebe: Ohh, I have no idea. I think I'm gonna go find out right now. Yeah.
[Scene: Cole's apartment. Cole opens his door and Phoebe is standing there.]
Cole: Hi.
Phoebe: Hi. I half expected not to find you here.
Cole: Yeah? Well, an associate of mine didn't do what he was told so I've still got work to do here.
Phoebe: Is that a good thing or a bad thing?
Cole: Both.
(They hug.)
End | {"type": "series", "show": "Charmed", "episode": "03x06 - Primose Empath"} | foreverdreaming |
[Scene: Cole's apartment. Phoebe and Cole are laying in bed. They are kissing. Phoebe stops.]
Cole: What? No, tell me.
Phoebe: I don't know. It just seems like whenever I get close to you, you pull away from me. Why do you do that? What are you so afraid of telling me?
Cole: Phoebe, don't.
(He rolls over.)
Phoebe: I wanna know I deserve to know.
Cole: Phoebe, you don't know what you're asking for.
(He sits up with his back facing her.)
Phoebe: Whatever it is you can't keep pretending that it's not coming between us. You can't keep hiding from the truth.
(Cole turns into Belthazor and att*cks Phoebe. Cole wakes up. One of the triad members is in his apartment.)
Triad #1: That wasn't so hard now was it?
Cole: What are you doing here?
Triad #1: Reminding you of your inner nature, Belthazor. One that would be in your best interest to reconnect with... soon.
Cole: I won't let you down.
Triad #1: You already have. You were out to destroy the witches, instead, you bedded one of them.
Cole: That was a mistake. I...
(The triad member waves his hand in front of Cole and a dagger appears in his hand.)
Triad #1: Find demonic help if you have to, Belthazor, but you better find a way to k*ll the witches or we'll k*ll you.
(He disappears.)
[Scene: P3. Prue, Piper and Phoebe are sitting in the alcove. Phoebe is looking around for Cole.]
Prue: Alright, look, we know that Belthazor is not going to stop until he kills is. Phoebe? Phoebe! (Phoebe looks at her.) Hi. I hate to interrupt your whole staring off into space aimlessly thing that you've got going on right now but in case you forgot, evil triad agent.
Phoebe: Like you would even let me forget, Prue.
Prue: Well, if he's as powerful of a demon as Leo says he is, he is probably gonna be immune to our powers. That's why we need to practice our counter tacks and the next time he shows up we can get some demon flesh.
Piper: White meat or dark meat?
Prue: I don't like the idea of demon flay either but it might help us with the vanquishing potion. Hello? Pheebs?
Phoebe: Cole is forty-five minutes late. You would think he would be on time after he sleeps with a girl, you know.
Piper: Can we fast forward? Because I got Fastball coming in in a couple of days and I need to get some stuff done.
Phoebe: Cole!
(She stands up. Cole is walk towards them.)
Cole: (to himself) I'm sorry but we have to stop seeing each other, okay. Why? Because, because I have to k*ll you that's why. Smooth.
Prue: Alright, we are practicing the, uh...
(Cole approaches them.)
Cole: Sorry I'm late.
Phoebe: It's okay.
Prue: The earthquake drill tomorrow at 3:00.
Piper: I'm sorry madam president but I have a doctors appointment.
Prue: Piper, you never know when an earthquake is going to strike.
Piper: I guess not. I guess I will reschedule then.
Cole: Phoebe, we, uh, need to talk.
Prue: Uh, Phoebe, earthquake drill tomorrow at 3:00.
Phoebe: Okay, but if you need me there by 3:00 you have to lend me your car because I have class right after it.
Prue: That's fine, just try not to leave my gas t*nk on empty this time.
Phoebe: I left your gas t*nk empty once, okay, get over it, let it go.
Prue: Twice.
Phoebe: I'm sorry, what-what were you saying?
Cole: Actually, if we could, uh...
Prue: Oh, and Pheebs, I need the car back by 5:00 because I have a photo sh**t at P3 tomorrow.
Piper: P3? Did you forget to inform the owner of P3?
Prue: I'm sorry but my location fell out at the last moment and I couldn't find you and I thought that you would say yes.
Piper: Of course you did and did you forget about our home owners meeting that's at our house tomorrow afternoon?
Prue: I totally spaced. Uh, Pheebs, will you cover for me?
Phoebe: No way. At the last one it took them two and a half hours to decide where to put the garden gnomes.
Prue: Um, alright, do you want the car or not?
Phoebe: Hate you.
Prue: No you don't you love me.
Piper: I'd love to get back to work. Okay, you two kids behave.
(Prue and Piper walk away.)
Phoebe: Uh, I'm sorry about that. Sister stuff. You know, there's a fine line between love and hate. So what did you wanna talk about?
Cole: Um, actually, I have to go.
Phoebe: Wh-- wait, what?
Cole: I'm sorry, Phoebe, it's just this big case I've been working on and I think I just had an epiphany on how to win it. (He kisses her.) Forgive me.
Phoebe: Ugh.
[Cut to outside. Cole walks out.]
Cole: (to his shadow) Tell the triad I've figured out how to destroy the Charmed Ones.
(His shadow floats down into a drain.)
[Scene: Manor. Conservatory. The next morning. Prue is on the phone and Piper is sitting at the table.]
Prue: No, I'm planning on getting to P3 early to confirm the stylist. Alright, I'll see you there. Bye. (She hangs up.) Hey, where's Phoebe?
(Phoebe walks in.)
Phoebe: I'm here. Do you guys know if Cole called?
Piper: Not since the last time you asked.
Phoebe: Okay, I need some sisterly advice. Is he doing the whole blow her off after sex thing and I'm just not reading the signs?
Piper: Probably not since the signs Prue read as an empath prove that he loves you.
Phoebe: Okay, well, supernatural guarantees aside, I am getting the feeling that he is avoiding me. I have no idea where we stand.
Prue: Well, maybe it's got something to do with whatever he's hiding from me.
(Belthazor barges through the door.)
Phoebe: Demon!
(Phoebe levitates in the air and kicks him. He falls against the table. Belthazor throws out an electric spark.)
Prue: Piper, watch out. (Piper freezes it. Prue astral projects onto the table behind Belthazor.) Uh, excuse me. (She kicks him in the head. Prue flips off the table.) Piper, now.
(Piper picks up a Kn*fe and slices his neck. Belthazor changes into Leo.)
Leo: Ouch, you got skin.
(Prue astral projects back in her body.)
Phoebe: Hey, Leo, do you think you can make yourself look like Brad Pitt?
Prue: Alright you guys, that was, um, good. Although, Phoebe, I think you need more force on your kick and Piper, a little less hesitating on the slicing and dicing, okay. Should we try it again?
Piper: No, I'd like to have a boyfriend left when this is over.
Phoebe: Okay, where are your keys, Prue?
Prue: Hey, don't forget to pick up food for the home owners meeting.
Phoebe: Okay, how am I possibly gonna pick up food when I have to get your car back right away?
Prue: Well, I can't do it, I have to prep for my sh**t.
(Prue and Phoebe look at Piper.)
Piper: Don't look at me. (Silence) I guess I'll reschedule my doctors appointment again.
Phoebe: You're cute.
[Scene: Cole's apartment. Cole and a demon called Andras is there. Cole places a Kn*fe in his altar.]
Cole: Have you ever destroyed siblings? Sisters?
Andras: Sisters? I put nations against each other, I start wars, riots.
Cole: I've reviewed your resume, Andras. Rather unfocused actually. My needs are very particular.
Andras: I can infect anybody. Anybody who's angry.
Cole: That's your way in? Through anger?
Andras: I see it in my victims. It envelops them. Then I turn that anger into rage. Rage that continues until they commit an act of v*olence.
Cole: Think you could work your magic on the Charmed Ones?
Andras: You said sisters, not witches.
Cole: Ah, but they are sisters, first and for most and that I believe is their Achilles heal. Break that bond and we break the very foundation of their powers. Without their powers they're defenseless.
Andras: Which sister shall we start with?
Cole: The most vulnerable. The youngest.
[Scene: Campus. Phoebe walks out of the building talking on her phone.]
Phoebe: Class went late and then I had to go to the library to get a book for psyc class so I'm running a little late but I will be there. (She walks towards Prue's car.) Yeah, very funny, I was born late. Ha ha. I promise I will be there, okay. I'll be home sss... (She sees Cole standing next to the car.) Gotta go, bye. (She hangs up.) Uh, what are you doing here?
Cole: I got a break in my case, decided to take the afternoon off.
Phoebe: Oh, that must've been quite an epiphany you had last night.
Cole: Yeah, it was. I came to apologise, Phoebe, for walking out on you so abruptly. That was rude.
Phoebe: Yeah, it was rude.
Cole: I'd love to make it up to you. I made early dinner reservations at Brazils.
Phoebe: No, I-I have to get Prue's car back.
Cole: I was hoping we could talk.
Phoebe: About what?
Cole: About the other night. You and me, where we stand.
Phoebe: Um, I would like to, I actually would really like to, but I promised Prue that I'd do her home owners meeting tonight, so...
Cole: That's alright, I understand. It was worth a try. (He kisses her and starts to walk away.)
Phoebe: Cole, uh... (He stops and turns back around.) I could probably get Piper to handle the meeting.
Cole: Yeah? You sure she won't be angry?
Phoebe: Oh, she's gonna be furious but she'll just surprise it and take it out on me later. Um, you pick me up in an hour?
Cole: I'll be there.
(Phoebe gets in the car. Cole flicks his hand and the gas starts leaking out. She beeps the horn and drives off.)
Commercial Break
[Scene: Manor. Living room. The home owners meeting is being held there. The neighbours are arguing.]
[Cut to the kitchen. Leo enters as Piper starts to carry the tray of food out.]
Leo: Oh, watch the- uh-
(Piper trips over Prue's tripod, which had been under the table, its legs projecting out. Leo catches her and manages to save the tray of food.)
Piper: (as she falls) Oh! Ohhh... Prue! Welcome to Prue's World Of Cluttered Photography. I can't believe I got roped into this.
(He hands her back the tray as they head back to the table.)
Leo: How did you get roped into heading the refreshment committee?
Piper: They didn't have time.
Leo: And you do?
Piper: Well, my doctor's appointment doesn't count as high priority.
Leo: Well, couldn't you make something simpler, you know, chips and dip?
Piper: Leo, I was a chef. I can't make chips and dip.
Leo: Maybe you need to tell your sisters how you feel. Better yet, next time just say no.
Piper: Okay, Leo, you obviously do not have sisters. One minute you're arguing about something and then suddenly you're arguing about who stole who's Malibu Barbie in 1979.
(Prue walks in.)
Prue: Hey, is Phoebe home yet?
Piper: No, and where-where's all the mineral water?
Prue: Uh, there's some down in the basement.
Leo: I'll get it.
(Leo goes in the basement. Piper carries a plate of food into the living room.)
Neighbour #1: It's our property, it's our money and we are building a fence.
Piper: Goat cheese pizza and onion tartlets for the vegetarians...
Neighbour #2: We want our privacy because we've had enough of your snooping.
Neighbour #3: Snooping?
Piper: And the-the chicken satay has peanuts in case anybody's allergic. (Phoebe sneaks in.) Phoebe, nice of you to show.
Phoebe: Uh, Piper? (She walks over to Phoebe.) I need a huge favour. Can I talk to you upstairs?
Piper: Oh, no you don't. (The neighbours start arguing. Phoebe starts to go upstairs.) Phoebe. (She freezes the neighbours.) Phoebe, this is not fair.
Phoebe: I know it's not but the last thing I expected was for Cole to ask me out, okay. So could you please cover for me?
Piper: I-I already rescheduled my doctors appointment twice.
Phoebe: Well, Leo was a doctor before he died.
Piper: That's really not the point.
Phoebe: I know, and I would never ask but this is important. He wants to have the talk. You know, are we a couple, are we a one-nighter, are we friends, are we friends that had a one-nighter?
Piper: Okay, I get it.
(Leo walks in.)
Leo: Ever planning on unfreezing the neighbours?
Phoebe: Piper, just this once. You know how much I want this relationship to work.
Piper: Well, I guess I don't have much of a choice. (Phoebe hugs her and runs upstairs.) You are so helping me run this meeting.
(The Whitelighters call Leo.)
Leo: They're calling.
Piper: Uh, no, no, no. (Leo orbs out.) Leo. (He drops the bottle he was holding and Piper catches it.) Chicken!
(Piper unfreezes the neighbours.)
[Cut to outside. Cole drives up in his car. He closes his eyes.]
Cole: Andras. (Andras appears in the passenger seat. Cole opens his eyes.) If Phoebe's right, Piper will be primed and ready for you.
Andras: I thought we were starting with Phoebe.
Cole: We did. I did. She's the reason Piper's angry and she'll be the reason Prue gets angry. You just make sure you get there to capitalize on that.
Andras: Don't you mean to rage all three of the sisters for the plan to work?
Cole: You infect Piper and Prue, I'll bring Phoebe back home. They'll blame her for everything.
Andras: Your legend is well deserved, Belthazor. You know, for someone about to score one of the biggest victories in centuries, you don't seem very happy about it.
Cole: Just do your job.
(Andras gets out of the car.)
[Cut back to inside.]
Neighbour #4: Your fence will block the sun for my flowers.
Neighbour #1: Well, then I suggest you take it up with the sun.
Neighbour #4: Oh, great, great idea.
Piper: Okay, uh, why don't you build a shorter fence? Or move your flower bed?
Neighbour #4: No, it is not my azaleas that are the problem.
(The neighbours continue arguing. The doorbell rings.)
Piper: Okay, everyone please just try and calm down.
(Phoebe runs past the living room.)
Phoebe: Bye, honey.
Piper: Phoebe, Phoebe, Phoebe! Those are my earrings. (Phoebe leaves.) Hey! (Andras is standing outside looking in. A ball of light comes out of his hand and hits Piper.) Okay, everybody shut up! (Everyone shuts up.) I have had it with your petty problems and your stupid fence and your stupid flower beds. There are bigger problems in the world to worry about. Just get a life and grow up!
Neighbour #3: Ugh, you can't speak to us like that.
Piper: Oh yeah? (She throws a plate of food at them.) Everybody get out of my house! Get out of my house before I throw you out.
Neighbour #4: With pleasure.
Neighbour #3: Perhaps we should build a fence to keep you in.
Piper: Good idea.
Neighbour #3: I'll speak to your sister about the way you behave.
Piper: Even better idea! Move it! Move it! Move it! (Everyone leaves.) And stay out!
Commercial Break
[Scene: Brazils. People are dancing. Cole and Phoebe are sitting at a table. They are laughing.]
Cole: Wait, you actually wore a penguin costume?
Phoebe: Yes, and I handed out balloons to kids. I was fifteen, leave me alone, I needed a job.
Cole: I bet you were cute.
Phoebe: I have to do the walk.
Cole: Uh, no.
(Phoebe gets up and walks like a penguin. They laugh harder. She sits back down and they stop laughing.)
Cole: You've come a long way haven't you?
Phoebe: Yeah, yeah, I think I have. And of course I'm still living with my two sisters and still going to college, you know, eventually I'd like to work past that.
Cole: You don't like living with your sisters?
Phoebe: Um, it's more out of necessity. But enough about me. Tell me about you. Am I the only one with a past here?
Cole: Mine's not very interesting.
Phoebe: More secrets.
Cole: I don't like to talk about my past much or my family. I lost them a long time ago.
Phoebe: Oh, I'm sorry. I know how that feels. Um, I never knew my mother and my family left when I was really little. So we were raised by our grandmother. She's not with us anymore.
Cole: But you still have your sisters.
Phoebe: Yeah. And I thank god for them everyday. I don't know what I would do if I lost them. Are you okay?
Cole: Phoebe, there's something I have to tell you. (pause) I'm a terrible dancer.
Phoebe: You're a terrible dancer? Something tells me that's not what you were gonna say. (A slow song comes on.) Come on. (She stands up.)
Cole: No, no, really, I...
Phoebe: Okay, look, if we're not gonna talk about us and we're not gonna talk about you, we're gonna dance.
Cole: I can't.
(He stands up.)
Phoebe: You can. Why would you bring me here if you're not gonna dance?
(They walk onto the dance floor and slow dance.)
[Scene: Manor. Kitchen. Prue is on the phone.]
Prue: I'm sorry I didn't make it. (Piper walks in.) No, I didn't forget. I loaned my car to someone and obviously... (Piper slams down a plate of food on the table.) they forgot to fill the t*nk. (to Piper) Keep it down will you? (in the phone) Alright, one more chance is al that I'm asking for. (to Piper) Where's Phoebe?
Piper: The little witch is not home yet.
Prue: (in the phone) No, tomorrow at P3 will not be a problem, okay...
Piper: Actually, excuse me. (She takes the phone off of Prue.) (into the phone) Hi, actually, you know what? It is.
(She hangs up.)
Prue: Okay, alright, do you have any idea who that was?
Piper: I couldn't care less.
Prue: What is your problem?
Piper: You are. Get your own damn club and keep your paws off of mine.
Prue: Okay, whoa, obviously somebody needs a Midol.
Piper: And I am so sick of all your stuff lying around. If you can't out your equipment away then I will.
(She throws one of Prue's camera lens on the floor. Andras is watching from outside. Another ball of light sh**t out of his hand and hits Prue.)
Prue: Ooh, ooh! (Prue looks around and picks up the blender.) Who the hell do you think you are?
(She throws the blender on the floor.)
[Cut to outside. Cole and Phoebe drive up. Phoebe is sits facing Cole.]
Phoebe: I had a great time tonight.
Cole: Better than being at the homeowners meeting?
Phoebe: Mmm, a little. Okay, you're married.
Cole: What?
Phoebe: That's the big secret. You're married. You have three kids, and two dogs, and a really cute cat, right? I'm your seven year itch?
Cole: You found me out.
Phoebe: Can't get anything past me.
Cole: I guess not.
Phoebe: Uh, about the other night. Are you sorry we, uh...
Cole: Not at all. Are you?
Phoebe: Depends on what happens next.
Cole: Too bad you can't predict the future.
Phoebe: Who says I can't? (They kiss. Andras is near by watching. Cole opens his eyes and sees him. They pull apart.) Um, are you sure you don't wanna come in?
Cole: I've gotta get back to the case, you know. (She kisses him once more and starts to get out of the car.) Phoebe...
Phoebe: Yeah?
Cole: Goodbye.
Phoebe: Goodnight.
(She gets out of the car and walks up the stairs. He drives away.)
[Cut to inside. Prue and Piper walk into the living room. They are still fighting.]
Piper: Sure you can use P3 for a photo sh**t. Hello? Remember me?
(Phoebe walks in.)
Prue: Oh, poor Piper. Well, you know what? The marter Ricky's really getting old.
Phoebe: Hey, guys, what's going on?
Prue/Piper: Shut up!
Prue: You know what? I am so sorry that I didn't check with you about your stupid little club, I was too busy being the only witch concerned about the triad.
Piper: Oh, right, without the mighty Prue Halliwell we'd all be d*ad. Get over yourself, Prue.
Phoebe: Sisters, what has gotten into you two?
Prue: By the way, you owe me for a car tow and a t*nk of gas, you little leech.
Phoebe: I'm sorry, is it g*ng up on Phoebe day and nobody told me?
Piper: News flash! The world does not revolve around Phoebe.
Prue: Yes, so while you get to spend the night screwing the DA, we are stuck picking up your crap.
(A ball of light sh**t out of Andras and hits Phoebe.)
Phoebe: What's the matter, Prue? Jealous? All work and no play making you even more boring?
Prue: Oh, yeah, there's a lot to be jealous that I am still living off of my sisters.
Piper: Yeah, Grams said that you'd never amount to anything.
Prue: I am so sick of the fact that I've been saddled with the two of you my entire life.
Phoebe: Whatever, I'm leaving.
Piper: Oh, sure, you're such an immature brat, you leave every time you can't hack something.
Phoebe: Well, there's nothing keeping me here now is there?
Prue: Oh, well, I see that you've inherited dad's talent of bailing.
Phoebe: That's because the two of us couldn't deal with living with the two of you.
Piper: Well, at least I'm not so stupid I had to do college twice.
Phoebe: Well, at least I actually had the courage to go away to college. What's the matter, Piper? The real world too much for you? I am so sick of the two of you ganging up on me and judging me.
Prue: I am so sick of saving your asses.
Piper: I'm sick of being taken for granted and those are mine.
(Piper rips off Phoebe's earrings.)
Phoebe: Ouch! Bitch!
(Phoebe high kicks Piper but Piper ducks. Piper pushes Phoebe into Prue and Prue pushes her against a chair. Phoebe throws a piece of Prue's camera equipment at Prue and she blocks it with her power. It flies back towards Phoebe, Phoebe levitates and it passes under her legs towards Piper who freezes it. The camera piece unfreezes, hits a photo frame and it falls off the wall. Phoebe leaves.)
[Cut to the attic. The triquetra on the Book Of Shadows splits apart.]
Commercial Break
[Scene: Manor. Living room. Prue is cleaning up some broken glass. Piper bends down beside her.]
Piper: Here.
Prue: It's alright.
Piper: I'll get it.
Prue: Thanks.
(Leo orbs in.)
Piper: What's wrong?
Leo: You tell me.
Piper: Well, we had a little...
Prue: Tiff.
Leo: Must've been more than little because "they" felt it.
Piper: What do you mean "they felt it"?
Leo: What ever happened severed the power of three.
Prue: Leo, that's impossible.
(Leo picks up a glass bowl.)
Leo: Freeze this.
(He drops it, she tries to freeze it and it smashes on the floor.)
Piper: Uhh...
(Prue tries to move the glass.)
Prue: What happened to our powers?
Leo: That's what we have to figure out. Let's start with your little tiff.
Piper: Well, that's a bit of an understatement. It was big.
Leo: How big?
Prue: Um, do you remember Pearl Harbor?
Leo: Okay, so what triggered it?
Piper: I-I don't know. Just little things I guess. I really didn't wanna do the stupid meeting and...
Prue: My car ran out of gas and because of that I missed my job.
Leo: That's it?
Prue: Yeah, I mean, it's weird. We were angry but we shouldn't have been that angry. It was almost like something...
Piper: Someone sort of came over us.
Prue: Yeah, something like Belthazor.
Leo: That doesn't track because no matter what he does, he doesn't have the power to take away yours. So back to your argument. You yelled and you threw stuff?
Piper: Well, we did a little more than that.
Prue: We used our powers.
Leo: What, on each other? Alright, well, then that's what happened. Your powers are routed in your bond as sisters. Using them against each other must have severed that bond. Alright, you-you-you need to repair the damage of your relationship because without your powers you are extremely vulnerable. SO you need to get Ph...
Prue: Phoebe's gone.
Leo: Gone? Gone where?
[Scene: Cole's apartment. Belthazor is kneeling in front of his altar chanting. There is a knock at the door. Belthazor closes the door to his altar.]
Phoebe: Cole? Cole?
(Belthazor walks over to the door and grabs onto the handle. He starts to open the door.)
[Cut to the hallway. The door opens and Belthazor has changed back into Cole.]
Phoebe: Hi.
Cole: Phoebe, what are you doing here?
Phoebe: Uh, I don't, I don't know. I was just walking around and I'm sorry, I know it's really late. Can I come in?
Cole: Yeah, sure.
(Phoebe walks in and Cole closes the door.)
Phoebe: I had no where else to go.
(She starts to cry.)
Cole: It's okay. (He hugs her.) I'm glad you came here. What happened?
Phoebe: After, after you dropped me off, my sisters and I got into a, a huge fight. It was horrible.
Cole: You're safe here.
[Cut to the manor. Attic. Piper and Prue are scrying for Phoebe. Leo is looking through the Book of Shadows.]
Piper: Nothing. I-I can't find her. We don't even have basic powers anymore.
Prue: I can not believe this is happening.
Piper: What I don't understand is how could Belthazor make us that angry? That's not his power.
Leo: No, it's not, but it is his.
(Prue and Piper look at the Book.)
Piper: "Andras, the spirit of rage. Uses anger as a portal to enrage his victims until they commit a greatest act of v*olence."
Prue: Yeah, but that doesn't really explain everything. I mean, even if our fight was supernaturally amped, Andras magnifies anger into rage, he doesn't just create it out of thin air.
Piper: So we gave him the upper hand.
Leo: And he took full advantage.
[Cut back to Cole's apartment.]
Phoebe: I was just so angry and I said such horrible things to them and I-I-I didn't really mean any of it. (Cole touches he shoulder. She turns around and hugs him.) I'm sorry.
Cole: Please. Let me get you a tissue. Here.
(He sits her on the couch with her back to the altar. He walks over to his altar.)
Phoebe: The things that were said. I don't even know where they were coming from. (Cole opens the door of his altar.) I mean, I guess it was issues, you know, (he reaches in his altar and pulls out a dagger) that were underlying, that were never really dealt with and then, and the all of a sudden just exploded.
Cole: Nothing ever happen like that before?
(He closes the altar door.)
Phoebe: Oh, no, not like that. I mean, we used to fight all the time when we were little, you know. (Cole starts walking towards her holding the Kn*fe.) But since we moved in together, we just, we got really close, you know. (Cole pokes the Kn*fe in between his belt and sits down beside her.) We have been through so much together. (She touches his face.) Thank you for listening to me and thank you for being there for me.
(They kiss. Cole reaches down and pulls the Kn*fe out of his belt. He raises it to get ready to s*ab her but changes his mind and hides it between the couch cushions. They pull apart.)
Cole: I can't. I can't.
Phoebe: What do you mean?
(He stands up.)
Cole: Phoebe, you need to go home. Now.
(Phoebe stands up, hurt.)
Phoebe: What? Why?
Cole: Because you're vulnerable right now. I know we shouldn't do this. You need to go home. You need to go and figure out what happened.
(She smiles a little.)
Phoebe: You're right. I do. (They walk to the door.) Thank you.
(They kiss. Andras appears.)
Cole: You're welcome.
(She leaves.)
Andras: So the rumours are true. You've fallen for a witch.
Cole: What are you doing here? Get out!
Andras: The great Belthazor. Who would've ever thought. (Cole gets the Kn*fe out between the couch cushions.) I can hardly wait to see what the triad will do when I tell them you failed.
Cole: I will k*ll you before you ever get the chance.
Andras: Yeah? Then you really are a traitor, aren't you? (Cole changes into Belthazor.) Pissed off are you? Good. 'Cause there's something you don't know about me. I can possess my victims too. (Andras jumps inside Belthazor. Belthazor roars. He looks into the mirror.) Now, let's go finish what we started shall we?
Commercial Break
[Scene: Manor. Conservatory. Prue's on the phone.]
Prue: If you hear from her just tell her to come home, okay, it's an emergency. Thanks. (She hangs up.) So she's not at the club and none of her friends has seen her.
Piper: Did you try Cole?
Prue: No answer.
Piper: If something happens to her I'll never forgive myself.
Leo: Nothing's gonna happen.
Leo: Leo, something happened to Grams, something happened to mum, it kind of runs in the family.
(Phoebe walks in.)
Prue: Phoebe, thank god.
Phoebe: Has the tribal council spoken? Am I booted off the island?
(Piper hugs Phoebe.)
Piper: Are you okay?
Phoebe: Yeah.
Piper: Where were you?
Phoebe: I was at Cole's. And after a lot of talking and tears, he convinced me to come home and deal with what happened.
Prue: Belthazor is what happened.
Phoebe: What?
Piper: Abbreviated version, he used some under length spirit to enrage us and when we fought we lost our powers. No more triquetra, no more power of three.
Phoebe: What, we have no powers? But that means that...
Prue: That he's gonna come try k*ll us. Which when you didn't come home, we thought that he had already...
Phoebe: No, it's okay, I'm fine. So what do we do? A spell, a vanquish, a potion?
Leo: You need to try and restore your bond as sisters. I'll give you some privacy.
(He leaves.)
Prue: A potion would be easier, huh?
Piper: Oh, yeah. Um, Phoebe, Grams didn't say you'd never amount to anything. That was just me being mean. She was, is, very proud of you.
Phoebe: We all know that sometimes I'm not the most responsible person in the world.
Prue: No, Phoebe, that's all kind of ancient history isn't it? I mean, you've grown up a lot and I'm sorry I don't treat you like you have all the time.
Phoebe: It's okay. Since mum died...
Piper: You did take care of us and you do still look out for us all the time and we don't always say thank you. Sometimes we take you for granted.
Prue: I don't think I'm the one who's been taken for granted. You know, who needs Oprah when we can do it ourselves.
(They giggle.)
Phoebe: Do you think we have our powers back?
(Belthazor bursts through the door.)
Prue: Oh! (She tries to use her power.) Alright, no, you try.
(Piper tries to freeze him.)
Piper: No, mine not working either.
Phoebe: We worked on our issues.
(Leo runs up behind him and slams a chair over his back. Belthazor hits him in the face.)
Piper: Leo!
Prue: No, wait. You guys run, I'll hold him off.
Phoebe: No, Prue, we're in this together. (The triquetra on the Book of Shadows joins back up.) Look, the Book.
(Prue uses her power and knocks the Kn*fe out of Belthazor's hand. Belthazor throws a lightning ball at them and Prue uses her power to block it. It flies back, hits Belthazor and Andras gets knocked out of him.)
Prue: Okay, that's new.
Phoebe: Demon with demon filling.
Belthazor: (to Andras) Nobody crosses me.
(A lighting ball hits Andras and he disappears. Belthazor picks up the Kn*fe.)
Prue: Okay, positions.
(He walks towards Phoebe and she kicks him in the face.)
Prue: Uh, Piper?
(Piper freezes the Kn*fe he throws at her.)
Piper: Whoa.
(Prue astral projects behind him and kicks him in the back.)
(Piper plucks the Kn*fe out of the air and slices Belthazor. A chunk of skin falls to the ground. Belthazor roars. He grabs Piper's arm, twists it and hits her in the face. She falls to the floor. Prue astral projects back in her body. She uses her power and Belthazor crashes through the window. He changes back into Cole. He disappears. Prue and Phoebe run over to to the window.)
Phoebe: He's gone.
Prue: At least for now.
(Leo helps Piper up.)
Piper: Ow. Are you okay?
Leo: Yeah. Good thing I'm already d*ad. Did you get him?
Piper: Ooh, yeah. (She picks up the skin.) I got a slice.
Prue: Mmm, yum, the other white meat.
Leo: Better him than me.
Phoebe: Well, at least now we can work on the vanquishing spell.
Prue: Well, better hurry before Belthazor's encore.
Commercial Break
[Scene: P3. Fastball is playing there. Prue walks up to Piper and Phoebe who are sitting in the alcove. She sits down.]
Phoebe: Hey, how did the photo session go?
Prue: Not as good as if it had been done here but definitely better for our relationship.
Piper: Well, next time just give me some warning and I'll be happy to accommodate you.
Prue: Oh, I promise. By the way, how was your doctors appointment?
Piper: It was fine. Everything was normal except my stress level.
Phoebe: Oh, I don't mean to stress you out even more but I ran into Ellen and Claire and they said they worked everything out with Mrs. Snyder. What did you say to them anyway?
Piper: Oh, nothing, I just spoke my mind.
Prue: Maybe you should handle all the meetings.
Piper: No. Absolutely not.
Phoebe: Wow, you're getting good at saying no.
Piper: Thank you.
Phoebe: Anyway I think it's good that we got everything out on the table. And for the sake of innocents everywhere, I think we should always tell each other how we feel.
Piper: Well, not always. We might k*ll each other.
Phoebe: Okay, then most of the time. Just enough to keep demons away from splitting us up.
Prue: I agree with that.
(Phoebe looks around for Cole.)
Prue: Haven't heard from Cole yet, huh?
Phoebe: No. I still can't figure that guy out. But I will.
[Scene: Triad. Cole appears.]
Triad #1: I warned you, Belthazor. I warned you what would what happen if you failed us.
Triad #2: He's done more than fail us. He's betrayed us. You've betrayed the source.
Triad #1: He's showed sympathy to the witches.
Triad #3: And squandered a golden opportunity. (A rotating ball of f*re appears in Triad #3's hand.) You are allowed one final statement.
Cole: I've got nothing to say. Except...
(Cole pulls out a Kn*fe and throws it at Triad #3. Triad #2 throws a fireball at Cole but Cole disappears and it misses. He reappears behind Triad #1 and breaks his neck. He throws a lightning bolt at Triad #2 and he is engulfed in flames. Cole stands there and yells at the top of his voice.)
End | {"type": "series", "show": "Charmed", "episode": "03x07 - Power Outage"} | foreverdreaming |
[Scene: Manor. Kitchen. Prue and Piper are making a potion. There are ingredients everywhere. Piper puts something in a pot and a flame sh**t up.]
Piper: Okay, even if this works, we still have to find Belthazor.
Prue: Well, I have an idea how to do that but first things first. Cockles.
Piper: Cockles?
Prue: They're over by the crickets.
Piper: And what exactly are they?
Prue: Small leaping insects that chirp.
Piper: That's funny. I meant the cockle shells, not the crickets.
Prue: I'm not really sure but as long as they help vanquish Belthazor that's all I really care about.
Piper: It would be nice to get back to our lives such as they were.
Prue: Pigs feet.
Piper: Yecchh.
Prue: Yecchh?
Piper: Yecchh.
Prue: So you can slice up a chunk of demon flesh but you can't touch pigs foot.
Piper: I'm a vegetarian.
Prue: Since when?
Piper: Since now.
Prue: Now is not the time to get squeamish, okay. This recipe is very important. We have to follow it to a tee. (Prue puts a pigs foot in the pot and another flame sh**t up.) Ooh!
Piper: Poor piggy.
Prue: Uh, everything's in there, we just need to get the slice of Belthazor flesh and we're good to go. Let's test it. Pheebs?
Piper: Something tells me she's not in a vanquishing mood.
Prue: Why not?
Piper: She's worried about Cole. She hasn't heard from him in over a week.
Prue: And that's a bad thing?
Piper: Prue.
Prue: You know what? I don't like him and I don't trust him. And is has nothing to do with being a greasy lawyer either.
(Phoebe walks in.)
Phoebe: Greasy what?
Piper: Uh, greasy layer. There's a greasy layer on this potion.
Prue: Too much mandrake.
Piper: Okay, uh, what do you say we do this incantation.
Phoebe: Anything to get rid of Belthazor before Cole gets back. And he is coming back.
Piper: Okay.
Prue/Piper/Phoebe: "Spirits of air, forests and sea, set us of this demon free; beasts of hoof and beasts of shell, drive this evil back to hell."
(The potion bubbles.)
Phoebe: Uh-oh, didn't work.
Prue: No, you forgot the Belthazor flesh.
Piper: Oh yes.
Phoebe: How can we forget the Belthazor flesh?
(Piper gets the flesh out of the fridge.)
Prue: Is it just slack or...?
Piper: Give me a second, lady. Alright, ready? (She puts the flesh in the pot and it explodes. Piper falls to the ground.)
Phoebe: Piper!?
(They help her up.)
Prue: Are you alright?
Piper: It's the att*ck of the k*ller pigs feet. Remind me to step back next time.
[Scene: Cemetery. People are there attending a funeral.]
[Cut to a grave. Belthazor falls to the ground and leans against a headstone. He is hurt. He gets up and stumbles over to a mausoleum. He leaves a spot of blood on the headstone.]
[Cut back to the grave. A demon (Krell) appears and wipes the blood off of the headstone. He smells it and looks around. He sees the door of the mausoleum close.]
[Cut inside the mausoleum. Belthazor is hiding in there. Krell walks in.]
Krell: You know what I am, Belthazor. You know you can't escape from me know that you can't shimmer anymore. You'd be pleased, the bounty on you was determined by the source himself. A reflection no doubt of your triumphs and your betrayals. You're wounded, powerless, think of your legacy, Belthazor. I as a legend, not a coward.
(Belthazor runs towards the door. Krell sees him and tries to zap him. Belthazor zaps a column and it falls near the demon. Belthazor runs outside. He changes back into Cole, then back to Belthazor, then back into Cole. Cole walks over to the people who attended the funeral. Krell walks out of the mausoleum.)
Cole: (to a woman) Mind if I hitch a ride?
Woman: Are you going to the wake?
Cole: Yeah, yeah, sure.
Woman: Come on.
Opening Credits
[Scene: Manor. Prue comes down the stairs. Phoebe walks into the foyer.]
Prue: Hey.
Phoebe: I'll be back.
Prue: Um, where you going?
Phoebe: I am going to school (they go into the living room) and then I'm going to Cole's.
(Phoebe puts some books in her bag.)
Prue: Okay, aren't you forgetting something? Like vanquishing Belthazor?
Phoebe: Wait, I though you had to write a spell to summon him first.
Prue: Yes, and it's done. I'm using the one that we called Melinda from the past with, just re-wrote it a little bit.
Phoebe: Really? Think it'll work?
Prue: Well, yeah, I mean, it should. It's magic calling magic. Although in this case dark magic. Phoebe, why are you going to Cole's again? I mean, what do you really expect to find?
Phoebe: Mmm, actually, I was gonna go to his office. And how do you know I've already been to Cole's?
Prue: Well, you got a parking ticket there yesterday when you borrowed my car.
Phoebe: Oops, sorry, I'll pay for it.
Prue: Phoebe, that's not the point. Look, please, don't take this out on me, alright. I'm not the bad guy.
Phoebe: I know, I would just like some understanding, you know, some support here.
Prue: Look, I can't support you when I think you're just setting yourself up to get hurt. I have to be honest with you, we have to be honest with each other. That's the promise we made when Belthazor tried to split us apart, remember?
Phoebe: Yeah, it just doesn't help that you never really liked Cole from the beginning.
Prue: Yeah, well, I mean, you never really like any of my boyfriends either.
Phoebe: That's very true.
Prue: I'm sorry, alright. This is your call and not mine.
(Piper walks in.)
Phoebe: Thank you.
Piper: Okay, are we gonna do this or what?
Prue: Uh, we are, Phoebe's not.
Phoebe: Are you sure?
Prue: Yeah, yeah, go to Cole's. It's fine. Uh, we don't need the power of three to vanquish, just the potion.
Piper: Okay, well, why don't you take this in case.
(She hands Phoebe the potion.)
Phoebe: Okay, just you guys no more whispering, okay. It's hard enough for me to know that Cole's keeping secrets from me. I can't take it from you too.
(She leaves.)
[Scene: An alley. Cole is there. He has his hand pressed against his wound. He leans against the wall and takes of his coat. He unbuttons his shirt and pulls a rag off his wound. He takes off his shirt and tries to rip it in half. He can't so he changes into Belthazor and rips the shirt in half. He holds part of the shirt against his wound. A homeless man walks around the corner and Belthazor runs away. The homeless man walks over to where Cole dropped his coat and picks it up.]
[Scene: Manor. Dining room. Prue and Piper are there. They tip the dining table onto its side.]
Piper: This is gonna be messy.
Prue: That's why we scotch guard. (Prue hands Piper the potion.) You ready?
Piper: I'm ready as I'll ever be.
Prue: Alright.
(They crouch down behind the table.)
Prue, Piper: "Magic forces black and white, reaching out through space and light, be he far or be he near, bring us the demon Belthazor here."
(It gets windy.)
Piper: It's working.
Prue: Alright, you ready?
Piper: Uh-huh.
Prue: On three.
Prue, Piper: 1, 2, 3.
(Krell appears and they throw the potion at him.)
Piper: There's no boom. Why is there no boom?
Prue: I don't know.
Krell: Stupid witches.
Prue: He's not... (He tries to zap them and puts a huge hold in the table.) Ooh, you know what? That is an antique!
(Prue uses her power and he flies towards the grandfather clock. Piper freezes him in mid-air.)
Piper: Not the clock! We can't afford to keep fixing that thing. (They walk over to him.) Unless Belthazor can morph, that is definitely not him.
Prue: Alright, that doesn't make sense. How did we get the wrong demon? Hey, do you think that you could just unfreeze his head? That way we could ask.
Piper: His head?
Prue: Yeah, his head.
Piper: Why not? (Piper unfreezes his head.) That's different.
Prue: That's cool.
(They giggle.)
Krell: What did you do to me?
Prue: Uh, hi, you know what? You're sort of frozen in mid-air therefore we'll be asking the questions, okay? Who are you?
Krell: Someone who's gonna butcher you if you don't unfreeze me right now.
Piper: Okay. (Piper unfreezes him and he crashes into the grandfather clock. Prue gives her a look.) What? It was worth it.
(They go over to him and Prue puts her foot on his chest.)
Prue: Alright, you start talking or we start the bonus round.
Krell: I am Krell, a Zotar.
Prue: Hi, I'm Prue, a Scorpio. Where's Belthazor?
(He pushes Prue's leg off his chest and Prue and Piper back away. Krell stands up.)
Krell: Wait, don't. I won't att*ck if you don't. I'm a bounty hunter. I track fugitive demons and it looks like we're after the same one.
Commercial Break
[Scene: Outside Cole's office. Phoebe walks up to the door, looks around and then walks inside. She sees someone sitting in Cole's chair facing the wall.]
Phoebe: Cole? (The chair spins around and a man is sitting in it.) Oh, I'm so sorry, I was just looking for Cole Turner.
Man: Well, that's alright, so am I. (He gets out of the chair and walks over to Phoebe.) Reese Davidson. DA Bureau of Investigations. (He shows her his badge.) And you are?
Phoebe: Phoebe.
Reese: Phoebe? Is that like Cher or Madonna, or do you have a last name?
Phoebe: No, of-of course. Uh, Halliwell. Phoebe Halliwell. Is Cole okay?
Reese: How do you know him?
Phoebe: You didn't answer my question.
Reese: I know. Look, I have no idea if he's alright or not. That's what I'm trying to figure out. Nobody's heard from his since Monday. Are you his girl?
Phoebe: Yeah, I'm his girl.
Reese: Well, did he mention anything to you about what he was doing? Where he was going?
Phoebe: No. A couple of weeks ago he had a suitcase packed but he said his plans had changed.
Reese: What plan?
Phoebe: I don't know. Uh, something about a big case that he was working on.
Reese: Hmm... (He picks up a folder.) Now, according to his filing he hasn't been working on a case, big or small. Not for a couple of months. All he's done is file extensions. Makes you wonder what he's been doing with himself. Well, if you think of anything that might help, (he hands her his card) call me okay. Okay?
Phoebe: Yeah.
(She leaves.)
[Scene: Manor. Conservatory. Prue, Piper and Krell are there.]
Krell: I should've known better then to underestimate him. I thought that because Belthazor couldn't shimmer, his other powers were useless as well.
Piper: So you don't have the power to vanquish him?
Krell: Obviously not. Otherwise I wouldn't have needed to intercept your little calling card, now would I?
Piper: Hey, you know what? How about next time I just freeze your head and then maybe I could kick you in the--
Prue: Alright, uh, so Belthazor was sent by the triad to k*ll us. How do we know that you weren't sent by them too?
Krell: You're joking, right? I don't believe this. You really don't know? You're Whitelighter must really be sleeping on the job.
Piper: Hey, now wait a minute, pal.
Prue: Piper. What don't we know?
Krell: Belthazor k*lled the triad. That's why he's on the run, that's why I'm here.
Prue: Why would he do that?
Krell: Probably because they were going to k*ll him. For failing to k*ll you. Ironically his inability to shimmer saved him from you k*lling him.
Prue: So instead we got you.
Krell: Believe me, just the thought of working with you turns my stomachs.
Piper: Stomachs?
Krell: But right now I'm more interested in k*lling Belthazor than witches.
Piper: Hmm.
Krell: Like it or not, we need each other. You can't find him without me, I can't vanquish him without your potion.
Prue: So then you know where he is?
Piper: Prue, you can't be seriously considering this.
Prue: Answer the question.
Krell: I can track his scent, his blood, when he's in his demonic form not his human one. Fortunately, he can't maintain his human self for long, especially wounded. It drains him.
Piper: Uh, hi, could you come here, over here, please? (Prue goes over to Piper.) We've tried working with demons before, it was a bad idea then. And it's definitely a bad idea now.
Prue: (to Krell) We'll let you know.
Krell: No, you'll let me know now. (silence) Think fast. Belthazor won't stop trying to k*ll you. Only the heads of the charmed ones will convince the source to spare him.
(He disappears)
Prue/Piper: Leo!
[Scene: Outside Cole's apartment. Phoebe knocks on the door.]
Phoebe: Cole? Cole, are you in there? ( A neighbour pokes her head out of her apartment.) Oh, sorry. (The neighbour goes back inside. Phoebe sees drops of blood on the carpet leading to Cole's apartment. She opens his door.) Cole? Hello?
(She walks inside. She sees more drops of blood leading into his bathroom.)
[Cut inside the bathroom. Belthazor is there standing behind the door.]
[Cut back to Phoebe.]
Phoebe: Cole? (She walks into the bathroom and sees Cole putting on a shirt. She gets a fright. She sees his wound.) Cole.
Cole: You really shouldn't be here.
Commercial Break
[Scene: Cole's apartment. His bedroom.]
Phoebe: Okay, Cole. Come on, lay down. (He lays down on the bed.) Lay down. Easy. Are you okay?
Cole: Do I look okay?
Phoebe: I'm sorry. Okay, let's see how bad this is.
Cole: No, no, don't.
Phoebe: Believe me, I've seen worse, Cole.
(She goes to take off the bandage but he grabs her wrist.)
Cole: I said don't. Please.
Phoebe: We've got to get you to the hospital.
Cole: It's not safe there, they'll find me.
Phoebe: Who will find you? What's going on? Who's after you. There was somebody looking for you today at your office. An investigator.
(He sits up.)
Cole: You didn't tell him anything did you?
Phoebe: I don't know anything.
Cole: What did he look like? You sure he wasn't a de-- A?
Phoebe: He said that he was. And he also said that he needed to
(Cole groans.) Okay, come on, back down, back down. (He lays back down.) I'm gonna go get some help, okay. (whispers) Leo?
Cole: Phoebe, come on.
Phoebe: Cole, I am not just gonna sit back and watch you die, okay. (whispers) Leo? (to Cole) Um, I am gonna go back to the house, okay, and I'm gonna get Leo. He's a doctor, he can heal you.
Cole: Okay.
Phoebe: Are you sure it's safe for you here?
Cole: They've already looked for me here, they won't be back. Not for a while anyway.
(She kisses him.)
Phoebe: You'd better be here when I get back.
(She leaves. Cole changes into Belthazar and then back to himself again.)
[Scene: Manor. Attic. Prue, Piper and Leo are there.]
Piper: I don't understand. How can you not know the triad is d*ad? Don't you think that's kind of important? Especially since, oh, I don't know. They've been trying to k*ll us for the past two years.
Leo: They're heard rumours, talk, nothing substantiated.
Piper: Well, I guess you can substantiate it now can't you? Geez, have you been sleeping on the job or what?
Prue: So, Leo, don't mind her, she's just a little cranky.
Piper: Well, you know what? I get that way when demons are trying to k*ll us.
Prue: Piper, I really don't think that Krell is trying to k*ll us otherwise he probably would've tried by now.
Piper: Oh, yeah? Tell that to the dining room table.
Leo: Is there anything in there on Zotars?
Prue: Yeah, everything that he said about them which makes me think that everything else he has said might be true too.
Piper: Including the part about how he likes to k*ll witches?
Prue: Including the part about all of us working together.
Piper: Are you willing not to? Look, Piper, if we do nothing and Belthazor somehow gets all of his powers back then we are going to be looking back over our shoulders. Again. Personally I'm tired of that.
Piper: I know, I know, okay. I-I know you thing she's right and
Leo: If you don't vanquish him now you may not get another chance.
[Time Lapse. Prue and Piper are in the conservatory saying a spell.]
Prue/Piper: Magic forces black and white, reaching out through space and light, be he far or be he near, bring us the demon Belthazor here.
(Krall appears in the foyer. Phoebe walks in the house and sees him.)
Phoebe: Demon!
(She runs over to him.)
Piper: Phoebe, no, no, no, Phoebe!
(Phoebe jumps up, hangs onto a beam, and kicks Krell in the head.)
Phoebe: What-what is going on? Who is that?
(Prue, Piper and Leo walk into the foyer.)
Prue: He is a demonic bounty hunter who is here to help us find Belthazor.
Piper: Why don't you go sniff something while we fill her in.
Krell: There's no time. I just picked up Belthazor's scent again.
Prue: Alright, gives us a minute. (to Phoebe) Come here. Alright, listen, here's the deal. Belthazor k*lled the triad, now the source wants him d*ad. Krell is trying to suck up to the source so he wants to k*ll Belthazor.
Piper: Belthazor wants to k*ll us so the source won't k*ll him.
Leo: And if you work with Krell you can vanquish Belthazor before he kills you.
Phoebe: Works for me. Leo, I have to talk to you for a minute.
Krell: How do you witches ever get anything done? If we're working together we need to move now.
Prue: Alright, we're ready.
Krell: Do you have the potion?
Piper: Do you have the scent?
Krell: I said I did didn't I? You two come with me. The others should go to the old cemetery.
Leo: Wait, split up? Why?
Krell: Because he might be hiding there that's why. Evil frequent cemeteries. Makes it difficult for me to track a demon's scent there. Belthazor knows that.
Phoebe: Okay, so why don't Leo and I go to the cemetery and you guys go with him.
Piper: Are you sure?
Phoebe: Positive.
Prue: Alright, let's go, we're ready. Oh, hey, I almost forgot to ask. Did you find out anything about Cole?
Phoebe: Uh, no, nothing at all about Cole. (Prue and Piper leave.) We need to go.
[Scene: Outside Cole's apartment. Phoebe and Leo are walking down the hallway.]
Leo: Phoebe, we shouldn't even be here. Belthazor
Phoebe: Can wait. Cole can't. Leo, he will die without your help.
Leo: Then he should be in a hospital.
Phoebe: He won't go.
Leo: Phoebe, I can not heal mortals, you know that. Not unless they were hurt by evil. It's against the rules.
Phoebe: So break the rules. You've done it before. I'm sorry, that wasn't fair. I just, I can't let him die, Leo.
Leo: You shouldn't be asking me to do this.
Phoebe: I know, but I am. (They go inside. Cole is sitting on the floor.) Cole. (She runs over to him.) Cole. Come here. (She lays him on the floor. Leo kneels down beside him and takes off the bandage. He starts to heal him and sparks come out of his hands.) Leo, what's the matter.
Leo: Something's not right.
(Leo flies back into a chair.)
Phoebe: Leo, are you okay?
Leo: Yeah, I think so.
Phoebe: Cole.
Cole: Phoebe.
Phoebe: It's okay. You're okay now.
Commercial Break
[Scene: Cole's apartment. Phoebe walks into Cole's room carrying a glass of water.]
Phoebe: Here you go, baby.
(He drinks some water.)
Cole: Thanks. I feel like I've been h*t by a truck.
Phoebe: You're lucky to be feeling anything right now.
Cole: Yeah, I know. (to Cole) You must be one hell of a doctor.
Phoebe: He is. He's the best.
Cole: I owe you one.
Leo: Forget it. Phoebe, can I talk to you out here?
Cole: Go ahead. I'm fine.
Phoebe: Okay, I'll be right back. (She kissed his forehead and she and Leo go out in the hallway.) What's the matter?
Leo: Phoebe, listen to me, I think we should get of here now.
Phoebe: I agree. Whoever's after him could come back.
Leo: That is not what I'm talking about. You saw what happened in there.
Phoebe: Yeah, you healed him.
Leo: No, Phoebe, I only healed part of him. That has never happened before.
Phoebe: Well, maybe it's just because he's weak.
Leo: That is not the reason. I can heal mortals completely. There is no other explanation. He is not who you think he is.
Phoebe: No. I don't understand.
Leo: He is a demon, Phoebe. For all we know he could be the demon that you are trying to vanquish.
Phoebe: That's ridiculous.
Leo: Think about it. Okay, they're both hurt, they're both on the run. You saw where Cole's wound is. It is the same place where Piper cut the flesh from Belthazor.
Phoebe: No, I don't believe it.
Leo: You have to believe it.
Phoebe: No, I don't, Leo. I don't. Maybe you should just go.
Leo: No way I'm leaving you here alone with him.
Phoebe: I have the potion don't I? Just go.
(Leo orbs out. Phoebe walks back inside. She looks around for Cole. She closed the door and Cole is standing behind it. She gets a fright.)
Cole: Everything alright?
Phoebe: Yeah, everything's fine.
[Scene: An alley. Prue, Piper and Krell are there.]
Krell: I can smell his blood, he's close.
Prue: Where?
Krell: Get your potions.
Prue: You know, it's too bad that he's such a bad guy cause he could really come in handy.
Piper: Don't push it.
(They walk down the alley. Krell removes some boxes where a homeless person is sleeping.)
Krell: Vanquish him.
Homeless Man: Hey, what's going on? Who are you?
Krell: It's a trick. He's in his human form. Throw the potion.
Prue: I don't know, Krell. Don't you think he would've picked a better human? Oh, no offense, honey.
Homeless Man: Oh, none taken.
(Krell snatches the potion off of Piper.)
Piper: Hey, easy! (Krell throws the potion at the homeless man.) And you call yourself a Zotar.
(Krell picks up Cole's coat and smells it.)
Krell: Where did you get this coat?
Homeless Man: I didn't do anything.
(Krell picks up the guy and pushes him against a fence.)
Krell: Tell me.
Homeless Man: I just found it.
Prue: Leave him alone, he doesn't know anything.
Homeless Man: Yeah.
(Krell starts zapping him and Prue trips him to stop him.)
Homeless Man: Thanks lady.
Krell: Touch me again, witch, and I'll k*ll you.
Prue: You had no reason to hurt that man.
Krell: I'm a demon, it's my nature to hurt people.
Prue: Yeah, and it's in our nature to protect them.
Krell: He's a pathetic wretch. His life means nothing. If you'd let me t*rture him we'd know where he found the coat.
Prue: Whatever it takes.
Krell: That's right.
Prue: Well, from here on out, it's gonna take doing this our way.
Krell: Ha, then we will fail. 'Cause your morality cripples you. It blinds you from doing what must be done.
Prue: There are better ways of getting answers out of people, Krell. (She picks up the coat.) Maybe Phoebe can get a premonition off this thing.
Piper: Well, at least we know Belthazor has very expensive taste. (Prue looks at the coat.) What? What is it?
Prue: How long ago did the triad send Belthazor?
Krell: Two months ago. Why?
Prue: Because Cole has one exactly like it.
Piper: Cole? You think Cole is...
Prue: Belthazor's human form.
[Scene: Cole's apartment. Cole is in the bathroom. Phoebe is waiting out in the living room.]
Cole: Too bad Leo had to leave like that. I didn't really get a chance to thank him properly.
Phoebe: He knows.
(Cole comes out.)
Cole: He knows what?
Phoebe: He knows how grateful you are.
Cole: Oh. Good. (Cole goes back in the bathroom. Phoebe looks in his briefcase. It's empty.) Still, I don't know how he did it. I'd sure like to know what his secret is.
Phoebe: (to herself) I'll bet.
Cole: Sorry?
Phoebe: Uh, nothing, never mind. Hey, don't you think you should lay down and rest? I mean, you are still hurt.
Cole: I can't. I've still got those people that did this to me to deal with.
Phoebe: Yeah, and you won't tell me who they are, huh?
(She looks in his drawers and they are empty too.)
Cole: I really can't.
Phoebe: They don't have anything to do with that case you're working on? The reason I ask is because when that DA investigator came by today, he was asking me about it and I realised that I really didn't know anything.
(Cole comes out of the bathroom.)
Cole: Looking for something?
(She holds up a pencil.)
Phoebe: A piece of paper. I wanted to write myself a little note.
Cole: It's right in front of you by the phone.
(Phoebe laughs.)
Phoebe: Thanks. (She picks up the notepad. Cole goes back in the bathroom. Phoebe gets the potion out of her bag.)
[Cut to downstairs. Prue, Piper and Krell walk inside the building.]
Piper: What are we gonna do?
Prue: We're gonna vanquish him.
Piper: We're gonna vanquish Phoebe's boyfriend? That's gonna cause some problems.
Krell: If you hesitate he's gonna k*ll us all.
Piper: Excuse me, I'm having a private conversation over here.
Prue: You know, I can not believe I let him out of that demon trap when I caught him. What was I thinking?
Piper: Prue, we don't know anything for sure yet. (Leo orbs in.) Leo, what are you doing here?
Leo: I didn't wanna get in between you guys but I didn't know what to do.
Prue: About what?
Leo: I think Cole is...
Prue: Belthazor's human form. Yeah, that's why we're here.
Leo: How did you know?
Piper: Where's Phoebe?
Leo: She's upstairs with Cole, apartment seven.
Krell: Tell me you didn't heal him.
Leo: Well, not completely.
Krell: You idiot.
Piper: Leo!
Leo: Phoebe begged me. I didn't know what to do.
Piper: You stay here, we'll fix it.
[Cut to Cole's apartment.]
Cole: Is there something wrong, Phoebe? Something you're not telling me?
Phoebe: Don't you think you think you have that backwards?
Cole: Meaning?
Phoebe: You're the one with all the secrets, right?
Cole: Am I? You sure about that?
Phoebe: I don't really know what I'm sure about anymore.
Cole: Yeah, I know how you feel.
Phoebe: I doubt that.
Cole: I think I know what's going on here, Phoebe, and I'm sorry it's come to this. But I'm not sorry about us. You need to know that.
Phoebe: You never told me where you were from.
Cole: You never asked.
Phoebe: I'm asking now.
Cole: Why don't you ask me what you really want to know, Phoebe. I won't lie to you.
Phoebe: Who are you?
(Prue, Piper and Krall burst in.)
Cole: Krell.
(Cole changes into Belthazor. Phoebe looks shocked. A Kn*fe appears in his hand and he grabs Phoebe. Krell tries to zap Belthazor but Prue pushes his hand out of the way.)
Prue: No!
(Belthazor shimmers out of the room taking Phoebe with him.)
Piper: Phoebe.
Commercial Break
[Scene: Cole's apartment. Continued from before.]
Krell: You let Belthazor escape.
Prue: You almost k*lled our sister.
Krell: Your sister's d*ad anyway. He only needed her to get away.
Piper: I don't think Cole will hurt Phoebe.
Prue: No, but maybe Belthazor would.
Piper: Then why hasn't he? He's had so many chances.
Krell: He just used her until he could get all three of you. The Charmed Ones. Why he couldn't follow through I'll never understand.
Piper: Maybe he fell in love.
Prue: Yeah, or maybe that was just a trick. I mean, demons will do whatever it takes, remember?
Krell: Glad to see I've had a positive influence on you. I can save your sister if it's not too late.
Prue: Why would you want to?
Krell: I wouldn't. But I'll do it if it's the only was to k*ll Belthazor. Give me the potion. I can find him and get to him faster alone.
Piper: Nice try. Forget it.
Prue: You already said that you can't track him if can shimmer.
Krell: But he can't shimmer well. He needs time to recharge. Your Whitelighter only healed his human half.
Piper: I'm sorry, his human half?
Krell: That's why the triad sent him. He understands you. He can blend in. A full-blooded demon could never have gotten so close. Give me the potion.
Prue: If you hurt her, we'll track you down.
(Prue hands Krell the potion. He disappears.)
Piper: Do you really trust him?
Prue: No. Come on.
Piper: Where are we going?
Prue: Oh, to where demons hide.
[Scene: Cemetary. Belthazor and Phoebe shimmer in.]
Phoebe: Can we stop shimmering all over the place? I'm gonna vomit.
Belthazor: -----.
(Phoebe elbows him in the stomach and flips him over onto the ground. She gets the potion.)
Phoebe: And now it's time to vanquish you. (Belthazor changes back into Cole.) Don't even think that's gonna save you.
Cole: I don't. I just wanted you to see who I really am, Phoebe.
Phoebe: I've seen who you really are... Belthazor.
(She gets ready to throw the potion.)
Cole: Wait, wait, I won't hurt you.
Phoebe: No? It's a little late for that don't you think? Why? Why didn't you just k*ll me? Why did you have to put me through all this? Was it some sick twisted demonic thrill? Was that what it was?
Cole: No, that's not it.
Phoebe: Then what was it?
Cole: I couldn't k*ll you. I tried. I was supposed to. I mean, at first you and your sisters thwarted my attempts. Even when I went back in time to destroy your line on All Hallows Eve.
Phoebe: That was you?
Cole: Then Troxa, Andras. I got him to strip your powers, to make you vulnerable. I had you too, right where I wanted you. All I had to do was finish the job. But I couldn't. Because I realised I loved you.
Phoebe: You bastard.
Cole: That's the truth, Phoebe. I admit everything else was a lie, but not that. I know you know that too. In your heart. This isn't a mask, Phoebe. It's who I am. Who I really am. I'm half human. My father was mortal.
Phoebe: You're lying.
Cole: How else would I bleed red? Even as my demon self. You have to believe me, Phoebe. I forgot what it was like to be human. To feel, to care. Then I met you.
Phoebe: No, it doesn't change anything. Because you're still a demon.
Cole: One who's done unspeakable things. (Krell appears near by.) But you've awakened something in me, Phoebe. Something I thought had died a long time ago. My humanity, my ability to love.
Phoebe: I wanna believe you.
Cole: Then let me prove it to you. (Cole spreads out his arms.) Vanquish me.
(Krell zaps him. He flies through the air and lands hard on the ground.)
Phoebe: Cole! (She runs over to him.) Cole, you've gotta get up. Cole, get up! (She helps him up.) Come on, come on! (She helps him into a mausoleum. Krell zaps near them. Cole coughs and leans on a coffin.) Cole, no, don't do this. Come on.
(She helps him walk over to a corner of the mausoleum. He sits down. Krell walks in.)
Krell: I should've known you'd come back here.
Cole: Don't hurt her.
Krell: You disappoint, Belthazor. You've changed, you let your weaker human side affect your better judgment. It's going to cost you your life. (He holds up the potion. Phoebe kicks it out of his hand and then kicks him. She blocks his punches and kicks him again. He falls over a coffin. Phoebe jumps on top of the coffin and as she jumps back off to kick him, he disappears. He reappears behind her.) Witch.
(She turns around. He holds up his hand ready to zap her.)
Cole: Nooo! (Cole zaps Krell and vanquishes him. Cole stands up.) Do you believe me now?
(Phoebe walks over and kisses him.)
[Cut to outside. Prue and Piper are there.]
Prue: Phoebe?
Piper: Phoebe!
[Cut back in the mausoleum. Cole and Phoebe are still kissing.]
Piper: (from outside) Phoebe!
(They stop kissing.)
Cole: I better go.
Phoebe: They'll keep looking for you until they find you.
Cole: Your sisters?
Phoebe: Them too.
Piper: (from outside) Phoebe?
Phoebe: Give me your shirt.
(She starts taking off his shirt.)
Cole: My shirt?
Phoebe: Hurry up. (He takes off his shirt and Phoebe drops it on the ground. She picks up the potion and gets out the dagger.) Give me your hand. Trust me.
(Phoebe cuts Cole's hand with the dagger and squeezes the blood onto his shirt. She drops the potion onto his shirt and it burns and makes a loud noise.)
[Cut to outside. Prue and Piper hear the noise.]
Prue: Phoebe.
Piper: There.
(They run towards the mausoleum.)
[Cut back inside.]
Phoebe: Nobody will look for you anymore. You're d*ad.
Piper: (from outside) Phoebe!
Phoebe: Down here. (to Cole) You have to go. Please.
(They kiss and Cole shimmers out. Prue and Piper run in.)
Prue: Pheebs?
Piper: Phoebe, thank god you're okay.
(They see the burning pile.)
Phoebe: He k*lled Krell.
Prue: And you did what you had to do.
(Prue hugs her.)
Phoebe: I know.
Commercial Break
[Scene: Manor. Living room. Phoebe is lying on the couch holding Cole's dagger. Prue and Piper walk in. Piper's holding a tray of food.]
Piper: We brought you some comfort food.
Phoebe: Thanks, I'm not really that hungry.
Prue: You wanna talk?
Phoebe: I don't know what there is to talk about. You were right as usual.
Prue: I didn't wanna be right.
Phoebe: I know. Believe me, Prue, you have nothing to apologise for. But I do. What I did was...
Piper: Phoebe, he fooled us all, not just you.
Phoebe: That's not what I mean. I don't know, I just, I feel so... ashamed.
Piper: You can't be so hard on yourself.
Prue: You didn't do anything wrong, you know.
Phoebe: Didn't I?
Prue: Well, the important thing is that it's over. We can get on with our lives now.
Piper: At least until the next Belthazor att*cks. We'll leave you alone.
Prue: Let us know if you need anything.
Phoebe: Thanks.
(They walk out of the room.)
End | {"type": "series", "show": "Charmed", "episode": "03x08 - Sleuthing with the Enemy"} | foreverdreaming |
[Scene: Manor. Foyer. Prue and Leo are there looking at a teen picture of Piper when she had glasses and braces, stuck on a board along with other people's photos for the 10-year reunion.]
Prue: Alright, I know that it seems like she's being a little neurotic, but high school was hard for her. Really, really hard. You know, she was kind of like Jan Brady, the middle sister, not quite sure where she fits in.
Leo: Jan who?
Prue: Hmm.
Piper: (from upstairs) Okay, ready or not, here I come.
Prue: Okay, no matter what, just be supportive. (Piper comes down wearing a very weird black and gold feathered dress.) Wow! Um, you look great.
Leo: Really, really, really great.
Piper: Leo, two really's would have been plenty. I look ridiculous.
(Prue and Leo look at each other.)
Prue/Leo: No!
Leo: Uhh...
Prue: Feathers and...
Leo: Really...
Prue: Yeah.
Piper: Great, I'm going to my 10-year reunion and win most likely to scare people away at the door.
(Piper walks over to the mirror and starts removing her make-up. Prue motions for Leo to follow. He walks over to her.)
Leo: Come on, Piper, isn't this supposed to be a fun thing, you know, going back and seeing all your old friends?
Piper: You weren't by any chance popular in high school were you?
Leo: Well, I was
I mean, is there a right answer to this question?
(Leo looks back at Prue and she shakes her head.)
Piper: Leo, I didn't like high school, not even a little bit. I was nobody in high school.
Prue: Piper, you were not a nobody.
Piper: Prue, you were class president. You have no idea what it's like on the other side.
Prue: Yeah, you're right. I'm sorry.
Piper: I just, I had this stupid idea that I'd go back in 10 years and show them, and all I'm gonna show them is that I'm a big haired freak.
Prue: Alright, you do not look like a freak. You just, you don't look like yourself.
Piper: Well, if I could go as myself, I wouldn't be having this problem.
Leo: Wait, so you mean this is like a costume party?
(They walk into the living room.)
Piper: What I mean is I'm this super powerful witch who's engaged to a Whitelighter saving the world from evil on a daily freaking basis, and all these people are going to see is the same pitiful loser who still lives at home with her sisters and her unemployed boyfriend.
Prue: Did you put a lot of hairspray on that hair?
Piper: No.
Prue: Well, then all is not lost. By the time I'm done with you, you are going to be the hottest chick at the reunion.
Piper: Really?
Prue: Mmm hmm. Who do you think helped Phoebe go blonde?
Leo: Hey, uh, speaking of Phoebe, maybe you guys should invite her to join you, she's been kind of distant lately.
Piper: Leo, when you find out your boyfriend is a demon and then you have to vanquish him, a little alone time is in order.
(Piper leaves the room.)
Prue: Besides, I think she's kind of avoiding me. You know, I mean, I never really liked Cole, and then I tried to warn her. I think it's a whole wounded pride thing.
Leo: What do we do?
Prue: We double team. You help Phoebe with her demons and I will help Piper with hers.
[Scene: An alchemist's lab. He smashes some glass test tubes with his hand. He holds up his bleeding hand. A woman (Terra) is standing in front of him.]
Kierkan: (shouting) I made you from my own blood, found you a flawless body and housed you in it. You were supposed to be my...
Terra: Masterpiece? I'm not a painting, Kierkan. That blood gave me your powers. You lust for life, yet you hold me c*ptive in this hole and you expect me to be grateful?
Kierkan: Belthazor was more powerful than either of us. Where is he now? Vanquished by the Charmed Ones.
Terra: Is that fear I'm sensing? Is Kierkan, the dark and powerful alchemist afraid of three little witches?
Kierkan: Perhaps I should suck you into your little mixing bottle and start again. There's always room for improvement.
Terra: I have a better idea.
(She picks up a dagger and s*ab herself with it.)
Kierkan: No! (Blue gas rises from her body and floats out the door.) I will find you, Terra. You belong to me!
[Cut to outside a building. A man in a suit is there talking on his cell phone.]
Man: I don't care, it has to be huge. And done. And done before the stock IPO's. And, uh, and please tell the music guy that I don't wanna hear anymore of that '90s techno crap. Okay, this is a computer game for the new millennium and I want it to freakin' sound like that. (Blue gas rises out of the drain and enters the man. She possesses him.)
Man/Terra: Bye now. (He hangs up.) Well, I've never been a man before. (He feels his crotch.) Walking should be interesting.
(The man looks into the reflection of the building and sees his non-possessed self.)
Man's reflection: What the hell is going on?
Man/Terra: I want you to take me to the Charmed Ones.
Man's reflection: What?
Man/Terra: The witches, you fool. They go by Halliwell.
(The man's reflection sees someone walk by and calls out.)
Man's reflection: Hey, hey, help me!
Man/Terra: Nice try, but nobody can hear you. You're just a trapped soul now. Only I can see you.
Opening Credits
[Scene: Manor. Piper's room. Prue and Piper are there. There are clothes all over her bed. Piper is dressed in a suit and is looking in the mirror.]
Piper: I don't know, maybe we should've gone back to the Betsy Johnson. You know, the cool club chick look as apposed to the classy club owner look.
Prue: Yeah or we could just wrap you in a sheet and send you as a Hare Krishna all right? What do you think about that? Since we already tried everything else.
Piper: I'm sorry. I just don't think I can do it. I can't go there and face all those horrific people.
Prue: I mean, come on, why do you even care what these people think?
Piper: Only a former cheerleader could ask that question.
Prue: Alright, look, I realise high school was very hard for you, but you are just not that shy awkward girl anymore.
Piper: But...
Prue: No! Now, you are going and you are going to have a great time, young lady.
Piper: You are not the boss of me.
Prue: Oh, I am too. Besides, nothing could be worse than my date last night.
Piper: What do you mean? I thought he was nice.
Prue: Oh, I have one word for you: halitosis. And he only scored a two.
Piper: Oh, Prue, please don't tell me you're making lists again.
Prue: Of course I am. Lists are good. Why waste your time if it's not gonna work out?
Piper: Well, maybe I can look around the reunion for you. I'm sure there's lots of eligible ex-football players for the head cheerleader.
Prue: Younger men are not on my list.
(Phoebe walks in.)
Phoebe: Hey, have you guys seen my glasses?
Prue: No.
Piper: Sorry.
Phoebe: Oh, damn.
(Phoebe walks back out. Prue and Piper follow her.)
Piper: Uh, Pheebs, are you sure you don't want to come tonight? You could work the bar and mix some yucky drinks for some ex-cheerleaders. (Prue elbows Piper.) Ugh!
Phoebe: As much fun as that sounds, I have a ton of school work that I need to catch up on, so I'm gonna be at the library all night.
Prue: Phoebe, look, we just want you to know that if you need to talk at all, we're here.
Phoebe: I know that. I'm okay.
Piper: Really? Cause you haven't spent like five minutes in the same room with us for over a week.
Phoebe: I'm sorry. It's just there's some things, some answers, that I need, and I sort of need to find them for myself, you know?
Prue: Soul searching?
Phoebe: Definitely... searching, yeah. But I'm okay, don't worry about me. (to Piper) You look beautiful.
Piper: Thanks.
Phoebe: Have fun tonight.
(She walks away.)
[Time lapse. Prue, Piper and Leo are carrying stuff for the reunion out to Piper's car. Someone in a car pulls up in front of the house.]
Justin: Piper Halliwell? You still living at home?
Piper: Justin Harper, is that you?
(Justin gets out of the car and Piper walks over to him.)
Justin: Hey.
(They hug.)
Leo: (to Prue) Uh, so who's this? Ex-boyfriend?
Prue: Oh, don't worry about him, Leo. He's just a friend from school. Besides, he had a really big crush on me. He used to follow me around like a puppy dog.
Piper: (to Justin) Are you going to the reunion?
Justin: Oh, yeah, nostalgia struck. Thought I'd drive around the old neighbourhood. Ten years. It's unbelievable.
Piper: Yeah. We were just actually heading to P3 for the planning committee. We have a lot more food than we have room for. Would you mind...
Justin: Absolutely.
(Piper walks back over to Leo. Prue carries a try of food over to Justin.)
Prue: Great! Here you go. Look at you, Justin, all grown up.
Justin: Yeah, you, too. Phoebe isn't it?
Prue: Hmm. Prue.
Justin: Prue, right. Sorry.
(Prue goes back inside.)
Leo: (to Piper) Well, it looks like you've got all the help you need, which is good because "they're" calling.
Piper: No, you can't cut out on me. I need you tonight.
Leo: I'll be back in time for the reunion, I promise.
Piper: Double extra promise.
Leo: I wouldn't miss it. I'm gonna have the prettiest date ever.
[Cut to Man/Terra sitting in a car near by watching them. The non-possessed self appears in the rear vision mirror.]
Man's reflection: Please. Look, you've found them. Why don't you just get out of me?
Man/Terra: I have to get one of them alone. The transfer's a little, huh, messy. I can't do it just anywhere.
Man's reflection: Look, I'm begging you. I can't stand this anymore. I can't breathe. I feel like I'm suffocating.
Man/Terra: That's because your soul is dying. It'll be easier if you don't fight it.
(Piper and Justin drive off and Man/Terra follows.)
Commercial Break
[Scene: Mausoleum. The same mausoleum where Phoebe faked Cole's death. Phoebe's there looking at the hole in the ground where she burnt Cole's shirt.]
Phoebe: Cole, if you can hear me. I can't stand lying anymore. I have to tell my sisters that you're alive, that I let you go, and that you would never do anything to hurt us and, that you love me. I just don't know how to do it. I need...
(She leans against a coffin and has a premonition of the past. In the premonition there is Cole's mother, father and baby Cole. The mother pushes the father and she zaps him with her power. The premonition ends and Phoebe looks at the coffin. She wipes off the dust and sees "Benjamin Coleridge Turner 1859-1888" carved on it.)
[Scene: P3. Prue and Piper come down the stairs carrying plates of food.]
Prue: Now just remember, even if you can't tell them that you're super witch, you can still act like it.
(Piper spots a blonde woman standing across the room.)
Piper: Oh, my god, Missy Campbell, homecoming queen.
Prue: Oh, please, it's ancient history. You can do this.
(Piper walks over to her. Prue goes up to the bar where Justin is sitting.)
Piper: Uh huh. Missy, is that you? (Missy looks confused.) Piper. Piper Halliwell. Uh, we had chem. together and Miss flower for English.
Missy: Right, Piper. You used to sit in the back of class drawing pictures on your jeans.
Piper: Yes! Yeah, that, yep, that was me.
Missy: Wow, your skin has really cleared up. Accutane?
Piper: No, n-no, I guess, you know, ten years. Is there anything I can do to help or...
Missy: Do you know what would be great? Can you get this trash out of here?
(She points to a pile of trash on the floor.)
Piper: Absolutely. I, yeah. I can, I can totally do that. I know where the dumpster is and everything.
[Cut to the bar where Prue and Justin are sitting.]
Prue: Alright, that's it, she needs me.
Justin: She's gotta find her legs on her own sometime.
Prue: Sorry?
Justin: Remember when she ran for freshman class secretary? She got so nervous that you had to go up on stage and finish her speech for her.
Prue: See, I knew that you remembered me. Why did you call me Phoebe?
Justin: Listen, you plagued my high school existence. I pretend not to remember your name. I mean, a guy's got to turn the tables every, you know, ten years or so.
(Man/Terra walks down the stairs and spots Piper cleaning up the trash.)
Prue: I plagued your high school existence?
Justin: Please, I was your willing sl*ve and you know it. You did me a favour though.
Prue: I did?
Justin: Oh, absolutely. Yeah, see, I don't go for women like you anymore.
Prue: Women like me?
Justin: Well, number one on my list, no women can make me drool. They hold way too much power. (Prue smiles.) What?
Prue: You have a list? (Prue sees Piper picking up the trash.) Oh! (She goes over to her.) Piper, what are you doing?
Piper: Uh, Missy asked me to take out the trash, so...
Prue: So, you own this place, alright? Tell somebody else to take out the trash.
Piper: Prue, I can't, look, I can't explain it, but being around these people make me feel like exactly when I was 16, invisible and inferior.
Prue: You want me to b*at them up? Cause I-I-'II b*at them up one-by-one.
Piper: No. Look, it's not them. It's just me.
Prue: Alright, so what are you going to do about it?
Piper: Take out of the trash?
Prue: Piper.
Piper: Okay, I'm going to take out the trash and try and get a grip. And then I'm going to come back in here and do something about these streamers and balloons. Because, what, are we still at the prom?
Prue: Hmm.
(Piper picks up the bags of rubbish and takes them outside. Prue sits back down at the bar. Man/Terra picks up a Kn*fe.)
[Cut to outside. Piper puts the rubbish bags in a dumpster. Man/Terra walks outside. Piper turns around and gets a fright. He jabs the Kn*fe in his chest.]
Piper: Oh my god, oh my god.
(The man falls to the ground. Piper kneels in front of him and the blue gas rises out of him and into Piper. She stands up.)
Piper/Terra: Thanks for the lift. (She covers the man with an old sheet. She looks into some broken glass and non-possessed Piper's reflection shows up.) You'd better be as powerful as they say you are.
Commercial Break
[Scene: P3. Piper/Terra walks in P3. She looks into a mirror.]
Piper/Terra: Uh, help me out. What is our sister's name?
Piper's reflection: If you get out of my body now, I might not have to vanquish your sorry ass.
Piper/Terra: Not as weak as you seemed after all. That'll change.
[Cut to Prue and Justin at the bar.]
Prue: Wow. You only scored a four. That is just so sad.
Justin: Well, excuse me, but you only scored a five out of ten on my list.
Prue: Right, so I got an F but, dude, you got an F-minus.
Justin: Ouch. That's a bad high school flashback.
(Prue sees Piper gulping down sh*ts of alcohol. Prue runs over to her.)
Prue: Uh-oh. Hi! Okay, hi. Don't really think that that's the best way to deal with your reunion jitters, okay.
Piper/Terra: What? Oh, okay.
(Missy comes up to them.)
Missy: Piper, can you move your hors d'oeuvres to the other table? Heather wants to use that one for the Then and Now photos.
Piper/Terra: Uh, sure, whatever you say.
(Missy walks away.)
Prue: No. You stand up to her. You can do it.
Piper/Terra: I can?
Prue: You can do it.
Piper/Terra: Okay. (to Missy) Hey! Bitch! Move the trays yourself.
Prue: Alright, um, that was great, although the bitch part might have been a little much, but...
(Piper grabs Prue's arm.)
Piper: Prue, help me!
Prue: Alright, what's wrong?
Piper/Terra: Uh, nothing. I just don't feel very well, um, I should go home.
Prue: Oh, no, you don't. I'm not letting you skip your reunion, alright? You did great just now.
Piper/Terra: I just need to rest. I'll be back.
Prue: Now, you get back here by 6:00 otherwise I'm gonna come and get you and it won't be pretty. Got it?
Piper/Terra: Mmm hmm.
Prue: Uh-huh.
Piper/Terra: Okay.
[Cut to outside P3. Kierkan is there. He finds the man and removes the sheet. A bright light comes out of Kierkan's hand and shines into the man. He chants. The man comes back to life.]
Man: What... what the hell?
Kierkan: The spirit who possessed you, with whom did she replace you?
Man: What? (The man sees the Kn*fe sticking out of his chest.) Oh, god, she s*ab me.
(Kierkan pins the man to the wall.)
Kierkan: Focus!
Man: She's a woman. Uh, brown hair. We followed her from Prescott Street. The pink house on Prescott Street.
(Kierkan lets the man go.)
Kierkan: What was her plan?
Man: She was saying something about wanting to k*ll some guy. Uh, something about revenge.
Kierkan: Predictable. After all, it's exactly what I would do.
Man: How, how am I still alive?
Kierkan: Oh, no. Not still, again. My specialty, along with this.
(He kills the man again and covers him up.)
[Scene: Historical Society. Phoebe's there standing in front of a desk where a woman sits looking at an old newspaper.]
Woman: Benjamin Coleridge Turner died in 1888, although there's no date of death for his wife. That's odd. There should be some record of that.
Phoebe: Um, they had a baby though, didn't they? I think.
Woman: Yes. A son. Cole Turner. Born in 1885. Never got to know his father, unfortunately.
Phoebe: Cole Turner. It can't be.
Woman: That's strange. There's no date of death for him either. Must be another clerical error. I can't imagine he's alive and kicking at 115.
Phoebe: No. Can't imagine that.
[Scene: Manor. Piper/Terra walks inside. She looks into a mirror.]
Piper/Terra: Don't you get it? He's going to find us.
Piper's reflection: Okay, I'll say it again slowly. Try to follow this time. I'm not going to tell you what my powers are.
(Piper/Terra walks into the living room and looks out the window.)
Piper/Terra: I can't figure out if you're stubborn or stupid. If I can't fight him, he's going to k*ll us. He's looking for me. I can feel him. He's getting close.
(She looks in another mirror.)
Piper's reflection: Well, get out of my body and I'll help you fight him.
Piper/Terra: I can't survive without a body, and I'd much rather your soul die than mine.
(She walks into the conservatory.)
Piper's reflection: My sisters will figure out what you've done and...
Piper/Terra: And what? What do you plan to do? Wave to them from the mirror? You're nothing but my reflection to them.
Piper's reflection: I controlled my arm at P3. I used my voice. I'll get stronger and when I do...
Piper/Terra: Wrong. You'll get weaker, and in a few hours you'll die. And there's really nothing you can do about it.
Piper's reflection: Well, then you better watch your back. Because if I die, my sisters will make you wish you died with me.
Piper/Terra: Hmm. Care about you a lot, these sisters of yours. (She walks into the kitchen.) Think they'd come running to help you fight off an angry demon? (She picks up the phone and dials a number.) (into phone) Hello. I'd like the number of P3, please,
Piper: Ugh. What do you think you're doing?
Piper/Terra: Well, you may have a death wish, but I don't. And if you won't help me, I know someone who will.
[Cut to P3. Prue's behind the bar. Missy comes up to the bar.]
Missy: Are you almost finished with that? Because I need you to help the DJ set up.
(Prue pretends to scratch her nose but really uses her power to make dozens of balloons fall down from the roof.)
Prue: Oh.
Missy: That's the third time that's happened.
Prue: That's too bad.
Missy: Oh, man! (She starts to pick up the balloons.) Okay, guys, just don't panic, there's plenty of time.
(Prue smiles and looks pleased with herself. Justin comes up to the bar.)
Justin: Man, I think Missy's gonna have an embolism.
Prue: Yeah, uh, can you hand me those glasses?
(He does so.)
Justin: It's weird though, right? I mean, those balloons. She used like three pounds of tape.
Prue: Scotch tape. Hardly sturdy.
Justin: Yeah, I still think you might have a poltergeist.
Prue: A what?
Justin: You know, a ghost that plays tricks.
Prue: Yeah, I know what a poltergeist is but do you really believe in that stuff?
Justin: Yeah, absolutely. Makes life interesting..
Prue: Huh.
Justin: What?
Prue: Nothing. It's just that, um, believing in the supernatural should definitely be on my list. (The phone rings. Prue answers it.) P3.
Piper/Terra: Prue? It's me.
Prue: Piper, what's wrong?
Piper/Terra: I-I-I got home and there was a demon in the house.
Prue: Are you okay? Did you freeze him?
[Cut to Piper/Terra in the manor.]
Piper/Terra: (to herself) Freeze him? That's good. (in the phone) No, he-he got away and he had this wild hair and these intense bulging eyes and he said he was gonna come back.
Prue: Uh, alright, look in the Book Of Shadows for a vanquish and I'll pick up Phoebe and we'll meet you at the house, okay?
Piper/Terra: Okay, but hurry, because he could come back any minute.
Prue: Alright, bye.
(She hangs up.)
Piper/Terra: Where's the book?
Piper: You just made a big mistake calling my sisters home.
Piper/Terra: Is that what you think?
Piper's reflection: That is what I know.
Piper/Terra: Well, here's what I think. When your precious sisters come home, I'll k*ll you and possess one of them. And if that one won't help me, I'll simply repeat the process. So, what do you say, Piper? One d*ad demon or three d*ad witches?
Piper's reflection: The Book of Shadows is in the attic.
Piper/Terra: Good choice.
(She heads for the attic.)
[Scene: Historical Society. Phoebe's there reading an old newspaper. Her cell phone rings and she answers it.]
Phoebe: Hello?
Prue: Hey, alright, don't panic, but Piper found a demon in the house, and I'm on my way...
Phoebe: Was it... uh, wait, wh-who was it? What demon?
Prue: Well, he had wild hair and bulging eyes, and said that he would be back. Anyway, I'm on my way to the library to pick you up, alright? So just meet me out front. Phoebe?
Phoebe: Uh, actually, Prue, I'm not at the library.
Prue: Well, where are you?
Phoebe: Downtown at the Historical Society. I needed to do some research for a project.
Prue: Alright, it's fine. I'll come and pick you up. Just meet me out front. Bye.
[Scene: Outside the manor. Kierkan is there.]
[Cut inside. Piper/Terra comes down the stairs.]
Piper/Terra: We can't wait for your sisters. Can't I just do the spell myself?
(She looks in the mirror.)
Piper's reflection: No, it's a power of three spell. You can't do it by yourself.
Piper/Terra: What kind of witch can't k*ll a demon without her sisters?
Piper's reflection: What the hell kind of demon has a panic att*ck when her boyfriend comes to visit?
(Kierkan barges through the door.)
Piper's reflection: Hi. This is where you freeze him.
(Kierkan hits her and she falls to the floor.)
Kierkan: Interesting move, Terra. The dagger in the heart. Crude, but I can't say I wouldn't have done the same. Of course, now I will.
(He gets out a dagger.)
Piper/Terra: Kierkan, there's something I need to tell you. You just pissed off one of the Charmed Ones.
(Piper/Terra freezes him. Prue and Phoebe walk in.)
Prue: Piper!
Piper/Terra: Prue, I have the spell.
(Piper/Terra gets up and walks over to them. She hands them a piece of paper.)
Prue, Piper/Terra, Phoebe: Let flesh be flesh and bone be bone, the alchemist shall transform none, cruel scientist of evil born, with these words face the f*re's scorn.
(Kierkan unfreezes. He drops Terra's bottle.)
Kierkan: No! I could have helped you! Now she'll destroy you!
(He burns and disappears.)
Commercial Break
[Scene: Manor. Attic. Prue, Piper and Phoebe walk in.]
Prue: Alright, what did you say his name was again?
Piper/Terra: Kierkan, but he's d*ad. So what are we doing up here?
Prue: Well, because we have to at least acknowledge the fact that there is some kind of she-demon after us, Piper.
Piper/Terra: Why?
Phoebe: I could've helped you. Now she'll destroy you? It's not exactly cryptic.
Piper/Terra: Said by a demon. Demons lie. So I say we get rid of the ugly little bottle and get on with our lives.
Phoebe: Piper, this bottle is our only clue. Maybe he was lying, but maybe he wasn't. You know, sometimes demons actually tell the truth.
Piper/Terra: Well, I have a party to get ready for.
Prue: Changing your clothes again?
Piper/Terra: Definitely.
(Piper/Terra opens the door but Piper breaks through and shuts it.)
Piper: (weakly) Prue, I'm dying.
Prue: What?
Piper/Terra: Um, I'm dying to get out of these clothes. Are you sure you don't mind if I leave?
Prue: No, go ahead. We'll let you know if we find anything.
(Piper/Terra leaves the room.)
Phoebe: What's with her?
Prue: That's funny. I was kind of wondering the same thing about you. Phoebe, why did you lie to us? Why did you say you were gonna be at the library all night?
Phoebe: Oh, um, okay. I wanted to check out Cole's ancestry and I knew that you wouldn't like it.
Prue: You have to know that you can talk to me and I'm not gonna judge you. I mean, if you still have feelings for Belthazor...
Phoebe: No, I don't still have feelings for Belthazor, I still have feelings for Cole. I mean, he was half human.
Prue: He tried to k*ll us for two months, Phoebe, alright? Half human or not, that still makes him a bad guy.
Phoebe: But he didn't k*ll us because of his good side, Prue, which was very good. I mean, his dad was this statesman, who did all these amazing things. Look.
(Phoebe gets some pieces of paper out of her bag.)
Prue: His good side and evil side, they're both d*ad, and I don't think separating them in your mind is going to help you let him go.
Phoebe: I just really need to believe in his good side right now, Prue.
Prue: Alright, let's just focus on the demon that's after us now, okay?
Phoebe: Okay.
[Cut to Piper's room. Piper/Terra is looking in the mirror. She is wearing a red leather top and black leather pants.]
Piper's reflection: Okay, we vanquished your boyfriend, now why don't you give me back my body and save yourself while you can?
Piper/Terra: The only way I know how to get out of a body is a Kn*fe to the heart. You don't really want that, do you?
Piper: So tell my sisters and they will come up with a spell to get you out of me, safely. And then in exchange, we'll let you go free.
Piper/Terra: And give up the power to freeze? A chance to be one of the infamous Charmed Ones? No, thanks. I'll think I'll stay. But don't worry. It'll be over soon. (Leo starts to orb in.) It's easier if you don't fight it.
Piper: Well, if my sisters don't figure you out and destroy you, my boyfriend Tom will.
(Leo orbs in, dressed in a suit.)
Leo: Wow.
Piper/Terra: Uh, Tom, you scared me. I didn't hear the door.
Leo: I didn't use the door. Did you just call me Tom?
Piper/Terra: Did I? Forgive me. (She kisses him passionately. He stops her.) What's wrong?
Leo: Nothing. It's just your kisses seem different.
Piper/Terra: Oh, don't be ridiculous. That's just because I never wanted you so much.
(She kisses him again and he stops her.)
Leo: Piper, what's my name?
Piper/Terra: (to Piper) You just couldn't leave well enough alone could you? (She zaps Leo and he hits the wall.) That's okay. He's too cute to k*ll and anyway, by the time he wakes up, you'll be gone. Besides, I have a party to attend and lots to celebrate.
[Cut back to the attic. Prue and Phoebe are flipping through the Book of Shadows.]
Prue: Apparently alchemists can transform anything. You know, like water into gold, energy into matter. They even have the ability to bring the d*ad back to life. But it doesn't say really anything about...
(Phoebe looks out the window and sees Piper/Terra leave the house.)
Phoebe: Hmm, that's weird.
Prue: What?
Phoebe: Piper just left without Leo and she didn't say goodbye to us or come up and show us what she's wearing or anything.
Prue: Here's the bottle under alchemist's tools.
Phoebe: What's it say?
Prue: Essence bearer. An alchemist would use a bottle such as this to capture or store a life essence.
Phoebe: A life essence?
Prue: A life essence is comparable to a human soul, but made in a mixing lab. A well-made life essence can possess an living being, but would prove toxic and eventually lethal to the being's pre-existing soul. Oh, my God.
Phoebe: What?
Prue: She's been acting really... and she left without saying and... and the bottle. She wanted to destroy it.
Phoebe: Okay, I'm trying to jump on your thought train here, Prue, but you're moving a little too fast for me.
Prue: He was looking at her when he said she would destroy us. She's possessed. Piper is possessed.
Phoebe: What?
Prue: Alright, uh, we have to write a spell. A dispossessing spell. Come on, let's go.
Phoebe: Okay.
[Scene: P3. Piper is dancing on top of the bar. All the guys are whistling and cheering. She pours a sh*t of alcohol in a guy's mouth. Prue and Phoebe walk in.]
Phoebe: Okay, I'm not saying that you're wrong. I'm just saying that I hope you're wrong, you know? (They see Piper.) Ooh!
Prue: Ooh.
Phoebe: Hope... dashed.
Prue: Uh, alright, come on, we need to get her alone.
(A woman comes up to them.)
Woman: You're Piper's sisters, right?
Prue: Yeah. Good memory.
Woman: Okay, um, listen, I think I know what Piper's going through. I have been sober for about five years now myself. And if Piper ever wants to go to a meeting, would you tell her to call me. Okay?
(She hands Prue a card.)
Prue: Okay.
Phoebe: Great. (The woman walks away. Prue and Phoebe see Piper dancing with a guy.) It's a good thing Leo is not here.
(Missy walks up to the guy.)
Missy: Dennis, what is the matter with you?
Dennis: Oh, wow, honey, I'm sorry.
(Piper/Terra freezes Missy.)
Piper/Terra: Hah!
(Prue and Phoebe come over to them and bump into Missy, unfreezing her. Missy spills her drink over herself.)
Phoebe: Oh! Oh! I am so sorry.
(Missy storms off.)
Prue: (to Dennis) Hi. Your wife went that way. Bye! (to Piper) We need to show you something.
(They take Piper/Terra outside into the alley and start the dispossessing spell.)
Prue, Phoebe: Host soul, reject the poison's essence. Let love's light end this cruel possession.
(Nothing happens.)
Piper/Terra: Clever girls. Piper said you would figure it out, although Piper won't be saying anything in about half an hour.
Phoebe: She's too strong, we need the power of three.
Prue: You have ten seconds to leave on your own.
Piper/Terra: Or what? What are you going to do, h*t me with another rhyming couplet? I'm made from Kierkan's blood, which means I have his powers. Add that to Piper's powers, and I'm stronger than your average essence.
Phoebe: Okay, we need help. Leo! Leo!
Piper/Terra: Oh, is that the boyfriend? I had to give him a little jolt. He'll be unconscious for awhile.
Phoebe: You may be able to knock out a Whitelighter, but don't even think you can take on the Charmed Ones.
Piper/Terra: Um, the bottle won't work on me unless I'm not in a body, and to get me out, you'd have to k*ll your own sister. Call me a gambler, but I seriously doubt that you're willing to do that.
(Prue uses her power and Piper/Terra flies against the wall.)
Prue: Get the hell out of my sister!
Piper/Terra: Alright. (She pulls the dagger out of the man she k*lled before.) If you insist.
(She goes to s*ab herself.)
Prue: No, don't!
Piper/Terra: That's what I thought.
(She walks back inside P3.)
Commercial Break
[Scene: P3. Prue and Phoebe walk back inside. Piper/Terra is dancing.]
Phoebe: Okay, are you going to fill me in on the plan?
Prue: I'll explain on the way.
Phoebe: On the way where?
Prue: Home. Alright, there she is. We need Leo. (They walk over to Piper/Terra.) Hi! You're coming with us, okay?
[Prue grabs Piper/Terra's wrist but she pulls away.)
Piper/Terra: Like hell I am.
Phoebe: Piper, listen to me...
(Piper/Terra pushes Phoebe. Prue and Piper slapping each other.)
Guy: Whoa! Cat fight. Dude!
(Prue hits Piper's neck and she falls down, knocking her out.)
Phoebe: Nice!
Missy: (to a friend) I knew they weren't that close.
(Justin walks over.)
Prue: Hey, hi, she's probably possessed. A little help to the car?
Justin: Yeah.
Phoebe: You okay? (They help Piper/Terra up and Justin throws her over his shoulder.) Alright, okay, show's over people! Just talk amongst yourselves.
[Scene: Manor. Living room. Prue and Phoebe lay an unconscious Piper/Terra on the couch.]
Prue: Alright, if we get back the power of three, we stand a chance.
Phoebe: I still don't understand how this is gonna work.
Prue: She has the alchemist's powers, which means she has the ability to bring the d*ad back to life.
Phoebe: Yeah, but she's not d*ad, Prue. Is there something you're not telling me?
Prue: Phoebe, I just need you to trust me, okay? So go find Leo, wake him up, and get him down here fast.
(Phoebe leaves the room. Prue picks up a dagger and puts the bottle on the coffee table. She places the dagger on top of the fireplace facing Piper. She kneels down beside Piper.)
Prue: Piper. I know that you're in there somewhere, alright, so just try and listen. Just remember that no matter what happens, I'm gonna bring you back. I'm so sorry, honey. I know that you tried to tell me in the attic and I... but I'm going to fix it, okay? I promise I'll bring you back. (She stands up.) Please forgive me for what I'm about to do.
(Prue uses her power and the dagger flies into Piper's chest. She screams out in pain. Leo and Phoebe run in.)
Leo: No!
Phoebe: Prue!
(Leo runs over to Piper. Prue pushes Phoebe down behind the couch.)
Leo: Prue, I can't heal the d*ad!
(Leo pulls out the dagger and the blue gas comes out of Piper and into Leo.)
Prue: Now you can.
Leo/Terra: That I didn't expect. Little sibling rivalry I failed to take into account?
Phoebe: Shut up.
Prue: Bring Piper back to life and I'll let you keep Leo's body. Refuse and I'll put that Kn*fe through his heart and suck you back into the bottle forever.
Leo/Terra: But then your sister and her boyfriend would be d*ad. Not the world's smartest plan.
Prue: She's already d*ad. I have nothing left to lose.
Leo/Terra: Give me the bottle and I'll bring her back.
Phoebe: Bring our sister back and we'll give you the bottle.
(Prue and Phoebe walk out from behind the couch. Prue holds up the bottle. Leo/Terra starts chanting. A bright light comes out of his hand and goes into Piper. Piper comes back to life. Prue gives Leo/Terra the bottle and they run over to Piper. He smashes the bottle.)
Prue, Piper, Phoebe: Host soul, reject the poison's essence. (He tries to zap them but Prue reflects it with her power.) Let love of light end this cruel possession.
Leo/Terra: No!
(Terra floats out of Leo and explodes into a million pieces.)
Prue: Leo, she's still bleeding!
(Leo heals Piper and they hug.)
Commercial Break
[Scene: P3. Prue, Piper, Phoebe and Leo walk down the stairs.]
Prue: Oh, I'm so sorry that you missed your reunion.
Phoebe: Put on a good show, though. Table dancing, cat fight.
Piper: Mmm.
(They walk up to the bar. Prue walks behind the bar.)
Leo: Table dancing?
Piper: Never mind. It's alright, I don't care what these people think, anyway.
Prue: Really? That's new.
Piper: Yeah, well, my priorities were a little skewed. (Prue puts a beer on the bar.) (to Leo) And thank you, for know the difference between my kisses and hers. (Piper and Leo kiss.) And you, for being brave enough to...
Prue: Oh, what, k*ll you?
Piper: Yeah. Couldn't come up with a better plan, huh?
Prue: Um, no.
Phoebe: Okay, I guess I'm gonna call Morris to tell him about... (whispers) the d*ad body in the alley.
(Phoebe walks away and Leo follows. Justin walks up to the bar.)
Justin: So you said you were gonna explain about the bar brawl.
Prue: Uh-huh. And you waited all this time just for an explanation? (Justin smiles.) Why, Mr. Harper, I do believe that you're blushing.
Justin: Well, it's nothing you haven't seen before.
Prue: Oh.
Justin: So am I gonna get that explanation?
Prue: Absolutely.
Justin: When?
Prue: Um, when you call me.
(He walks away.)
Piper: I thought younger guys were not on your list.
Prue: What list?
(They clink their beer bottles together.)
[Cut to Phoebe at the pay phones.]
Leo: You okay?
Phoebe: I don't know.
Leo: Phoebe, you've gotta give it some time. Cole...
Phoebe: Seduced me. And I let him. On the other hand, Piper was completely taken over by evil and she fought it every step of the way.
Leo: Seduction is subtler than possession. It's harder to fight. Look, you didn't know Cole was evil. Nobody did. When you found out, you vanquished him. You have nothing to be ashamed of.
Phoebe: He's still alive... For me. He's still alive for me.
End | {"type": "series", "show": "Charmed", "episode": "03x09 - Coyote Piper"} | foreverdreaming |
[Scene: P3. The place is full of people dancing. Phoebe and Piper are in the alcove. Piper is peeking around the curtain, looking at some guy. The guy is stAring back at her. Phoebe comes and stands next to her.]
Phoebe: What's with the hide-and-go-peek?
Piper: He's still stAring at me.
Phoebe: Who?
Piper: The guy at the end of the bar.
(The guy smiles.)
Phoebe: Oh, no, honey, that's not stAring, that's flirting.
Piper: You say tomato.
Phoebe: No, I say relaxo. (They sit back down.) He's pretty harmless. I mean, he's clean cut, innocent kind of guy that a girl could teach a few things to.
Piper: Hello? A girl that's in a serious relationship. Besides, it's always the innocent looking ones you have to watch out for.
(Prue walks in the alcove and sits down.)
Prue: Hi, hey, alright, I need some professional help.
Phoebe: No arguments here.
Prue: Ha, cute. (to Piper) Uh, where is your DJ?
Piper: Uh, he's on break. Why? What's going on?
Prue: You know when you get a song stuck in your head and you can't seem to get it out?
Phoebe: Yeah, tell me about it. I couldn't get The Facts of Life theme song out of my head for like three years.
Prue: Alright, well, I have absolutely no idea what this one is and it's driving me crazy. And I thought that maybe your DJ might recognise it or something.
Piper: How's it go?
Prue: I'm not gonna sing it for you.
Piper: Why not? Maybe we'll recognise it.
Prue: Okay. (She hums something.) Anything?
Piper: Nada.
Phoebe: I'm thinking if you try it again with a little bit more oomph, you know, maybe some choreography, and Piper could back you up with some old-school b*at box?
Prue: Why did I know that I would not get any help out of you crazy people?
(She walks away. Piper and Phoebe follow.)
Piper: Oh, come on, wait a minute. Wait. We can't let you leave completely empty handed.
(Piper hands Prue a card.)
Prue: What is this?
Phoebe: Well, it seems like you really reconnected with our friend Justin. He's inviting us to his big annual family barbecue.
Piper: Sounds like fun.
Prue: For who? I mean, you know, Justin and I are still in the flirtatious banter stage in the relationship. I think hanging out with the folks might put a dampener on it.
Phoebe: Is that all?
Prue: Yeah, what do you mean?
Phoebe: I mean, are you sure it's not because it's a big family gathering?
Prue: Okay, if you're gonna go with the "Prue's got parental issues" card, let me save you some time.
Phoebe: Oh, Prue, it's not like we blame you. I mean, seeing complete connected families is hard on all of us, but we can't spend our lives avoiding what bothers us.
Prue: The only thing bothering me right now is that I cannot get this stupid song out of my head, alright? So I really appreciate your concern, but you know what I would appreciate even more? Five minutes with your DJ.
(Prue walks off humming the song.)
[Scene: An ice-cream truck is driving down the street playing the same tune Prue was humming. It stops in an alley. A boy walks up to the window.]
Ice Cream Man: Would you like some ice cream, little one?
Boy: Yeah.
(The ice cream man shows his face.)
Ice Cream Man: You didn't say "please".
(The boy gets sucked into the truck and screams on his way in.)
Opening Credits
[Scene: Manor. Prue's room. She is asleep in bed. She is having a nightmare. In her nightmare you see a snowy playground. A child screams and yells "help me". The little girl runs through the playground over to her father. Prue's alarm wakes her up. It reads 7:00am.]
[Time lapse. Porch. The door opens and Prue walks out. She picks up the newspaper. She looks around and hears a tune.]
[Cut to the kitchen. Phoebe is there looking at some information on Cole on the laptop.]
Phoebe: Come on, Cole. Talk to me.
(Prue walks in.)
Prue: Morning, sunshine.
(Phoebe ignores her.)
Prue: Okay, how about, uh, cloudy with a chance of showers?
Phoebe: I'm sorry, did you say something?
Prue: Nothing pressing. You pull an all-nighter again?
Phoebe: Yeah, uh, subject matter's been elusive.
(Phoebe gets an Instant Messenger on her laptop.)
Prue: Caught by the bell. Who's the instant message from?
(Phoebe closes the laptop.)
Phoebe: Oh, it's nothing.
Prue: Alright, well, nothing usually means something, and something usually means a boy, so...
(Piper walks in.)
Piper: Alright, I don't know what you guys are talking about, but what I've got is better... at least bizarrer.
Prue: Bizarrer?
Piper: Mmm hmm.
Prue: Is that even a word, Piper?
Piper: Whatever. Anyway, Cara called last night, and she had a meeting in the Bay Tech Building yesterday, and she swore that she saw Victor walking through the lobby.
Phoebe: As in dad Victor?
Piper: As in "we haven't spoken to him in a year, and now he's probably in town, and he hasn't even bothered to call us." Yes, that would be the one. Now you see my need to share?
Phoebe: Oh, wait. But Cara hasn't seen him since what?
Piper: Like the first grade, I know, but she sounded very sure. Why do you think he's here? Should we go and try to find him? I mean, what if it has nothing to do with us?
Prue: Well, I for one am not going to go out of my way to find out.
Phoebe: Wait, you're not even curious? Come on, Prue. I mean, he is our father.
Prue: No. Like I said before, I've come to terms with our lack of parental involvement. You know, some people just weren't meant to have the Rockwellian Portrait, the house, the two car garage, the picket fence, the Golden Retriever, and the doting mum and dad.
Piper: Okay, so we're not the typical family, but he is all we have, Prue.
Prue: No, Piper, we have each other, okay? And we have other people that love us, too, and very full and busy lives. Speaking of which, I gotta dash. If you want to have lunch, I'll be up on Knob Hill in the park for doing a sh**t, okay?
Phoebe: Okay.
Prue: Okay.
Piper: Hey, can I walk you out?
Prue: That would be so nice.
(Prue and Piper leave the room. Phoebe opens the laptop back up.)
[Scene: A building. Prue is stuck in a crowded elevator. She looks at her watch. She hears someone humming the tune. she looks around. The elevator door opens and a little girl walks out humming the tune.]
Prue: Oh, excuse me.
(She tries to get out but people get in the way. The door closes in her face.)
[Scene: Bay Tech Building. Piper walks up to the receptionist's desk.]
Piper: Hi. I'm, uh... you don't really care who I am, do you? I mean, everybody else is on lunch break, and you're stuck here fielding random questions from people who probably shouldn't even be asking them in the first place, because...
Receptionist: Can I actually help you?
Piper: Yeah, right. Um, I'd like to know which company Victor Bennett is with?
(The receptionist types something on the computer.)
Receptionist: He's not.
Piper: Excuse me?
Receptionist: Bennett comma Victor? He's not listed in any office in the building.
(Piper pulls a picture out of her purse.)
Piper: I, uh, I have a picture. It's about from a decade ago but have you seen him around? (The receptionist shakes her head.) Are you sure? Because I know that... (A man walks out of the elevator.) Dad? (The man turns around.) It's, uh, it's not you. (The man continues walking.) I'm sorry, I thought you were... I'm sorry.
[Scene: Park. Prue and Phoebe are sitting on a bench eating lunch.]
Prue: So, they say stick to what you know. So I pitched a piece about growing up in the city. Hopefully, it'll make the cover.
Phoebe: You're dodging. Artfully, but it's still a dodge.
Prue: Right, did you ever consider that maybe I just don't wanna go?
Phoebe: It has nothing to do with the barbecue, or the guy that asked you to go with him. It has to do with dad.
Prue: Why do you insist on pinning everything that I do on my feelings or lack thereof for our father?
Phoebe: Prue, you say you're over it, but you say it so much that I have this feeling that the person you're trying to convince is yourself. And believe me, after what I went through with Cole, if anyone understands that, it's me.
Prue: It's sort of not the same thing.
Phoebe: Maybe it is.
Prue: My feelings for our father are in the past which means it really has no place in the present.
(A girl starts humming the tune.)
Phoebe: So Justin gets penalised for it.
Prue: There it is.
Phoebe: What?
Prue: That song. Don't you hear it? Somebody's humming it. (Prue runs over to a little girl and Phoebe follows.) Hi. Hey. I was wondering if you could tell me what that song is you're humming.
(The girl points to an ice cream truck that drives by.)
Phoebe: Okay, riddle solved. Now you can stop humming that stupid song. So I think we were in the middle of you trying to make a strong argument of why you're not gonna go to Justin's barbecue. (Prue continues to stare at the truck.) Prue, if you keep ignoring me, my feelings just might actually implode.
(The girls runs off towards the truck.)
Prue: It's cold out.
Phoebe: Yeah, it's a little thing we like to call winter here.
Prue: Why would a child want ice cream when it's this cold out, and the truck pulled up and no one budged, and did you notice? There are no parents.
Phoebe: Okay, connect the dots for me, please? (Prue walks off.) Uh, preferably standing still. (Phoebe follows her.) Do you have a hankering for a snow cone? Prue, we're in the middle of a conversation, and considering your lunch hour ended, oh, five minutes ago, we should probably make this fast.
Prue: Yeah, well, something's wrong.
Phoebe: Yeah, I know that. Why don't you talk to me about it?
Prue: Not with me, Phoebe, with this, alright? I have a total déjà vu coming on.
Phoebe: Okay, so first you're humming weird songs, now you're having flashbacks?
[Cut to the ice cream truck parked in an alley. The girl walks up to the window.]
Girl: Hello?
Ice Cream Man: Would you like some ice cream, little one?
(Prue and Phoebe walk up to the truck. The girl starts to get sucked into the truck.)
Prue: Alright, I mean, it's usually that my instinct is pretty much...
(Prue and Phoebe grab her legs and pull her back out. The ice cream man pokes his head out the window. Prue, Phoebe and the girl get sucked into the truck.)
Commercial Break
[Scene: Inside the ice cream truck. Prue and Phoebe are there in the snowy playground.]
Prue: Uh, alright, where's the little girl?
Phoebe: I don't know. I was holding onto her and then...
Prue: We have to find her.
Phoebe: Well, first we have to figure out where the hell we are.
Prue: Well, I'm just gonna take a wild guess and say that we're not still in the ice cream truck.
Phoebe: Or even worse, we are still in the ice cream truck.
(They hear children in the distance.)
Phoebe: Prue...
Prue: I know, I hear it too. (They hear a noise which gives them a fright.) Alright, if there's a way in, there's definitely a way out.
(The ice cream man comes up behind them.)
Ice Cream Man: Who are you?
(Prue and Phoebe scream.)
Prue: (to Phoebe) No powers, no powers, no powers.
Phoebe: I'm not surprised, I'm not surprised, I'm not surprised.
(A hole opens up above them and the Ice Cream Man runs away. They hear more noises.)
Phoebe: Okay, something tells me he was not running from us.
Prue: Okay, let's go.
(They start to run off but a little boy (Ari) comes out of the bushes.)
Ari: Help! Please help me.
(They go over to him.)
Prue: Help you from what?
Ari: The Nothing.
Phoebe: Is that the man that we just saw here?
Ari: It's up there. It comes for you, for everybody. When it gets you, the only thing left where you stood is nothing. You never know when it's coming, and you never know who it wants. We try to hide, but he keeps finding us. Hurry, it's coming. In here. (He runs towards the bushes.) Come on. Come here, in here.
(Prue and Phoebe follow him in the bushes. They crouch down beside a tree. A girl comes out of the bushes near by.)
Girl: Wait for me!
Prue: Run!
Girl: Help!
(The girl runs towards them but trips and falls over.)
Prue: She's not gonna make it.
(Prue runs towards her. The girls gets sucked up into the Nothing.)
Phoebe: Prue, come on.
(Phoebe pulls Prue back into the bushes.)
Prue: She was right there.
Phoebe: Prue, it's not your fault. Our powers don't work here, we know that now. We'll be better prepared next time.
Ari: Does that mean that you're gonna save us?
Phoebe: Us?
Ari: There are others just like me, hiding, trapped here by the Ice Cream Man. If he doesn't want you here, that must mean you have the power to save us. We should go. The Nothing'll be coming back. He always does. Come on.
[Scene: P3. Piper's on the phone.]
Piper: Prue, it's me leaving you another message after leaving Phoebe another message. I tried you at work, but they said you never checked in after your sh**t, so where are you guys? (Piper sees the same guy as before standing at the other end of the bar.) Uh, look, so call me, or better yet, just show up and save me from having to perform an impending awkward rejection all by myself.
(She hangs up. The guy (Caleb) walks over to her.)
Caleb: Hi, I'm Caleb.
(She shakes his hand.)
Piper: Piper.
Caleb: I'm sort of new in town, and I'm looking to meet someone, someone special. I'm sorry, I didn't mean to interrupt your phone call to your...
Piper: Fiancé. Very large, very jealous fiancé.
(She walks around behind the bar.)
Caleb: Really? Does, does he ever come here?
Piper: He-he, all the time.
Caleb: So he lives nearby?
Piper: Uh, look, I'm flattered and, you know, if this was another time or place, uh, maybe you'd like to meet one of my single sisters.
Caleb: You've got sisters? Really? Well, maybe we could, all, uh, get together sometime. Does your fiancé like to hang out with your sisters, too?
Piper: Okay, uh, you know what? I don't know what kind of kinky stuff you're into, but there's a club down the street you might be more comfortable in. They've got cages and rubber floors, and a three for two special on Fridays.
Caleb: I'm not looking for a club, Piper.
Piper: And I'm not interested, Caleb, at least, in what I think you're interested in. So, if you don't mind, I have lots of stacking and stuff to do.
Caleb: I think you got the wrong... Okay, okay, I'm gonna come back later when you're not, uh, stacking.
(Caleb walks away. Piper picks up the phone and dials a number.)
Piper: Prue, where are you guys?
[Cut to inside the ice cream truck.]
Phoebe: Are we going in circles? This looks like the exact same playground.
Ari: In this place, everywhere you go looks the same. That's how the Nothing gets you. Only a few of us can find our way.
(Phoebe slaps Prue on the arm. Prue gasps.)
Phoebe: Why couldn't you get a boy-band song in your head like everybody else?
Prue: Alright, just tell us everything that you know about the mean Ice Cream Man.
Ari: Just that he's the one that put us here.
Prue: Alright, so is he in change of the Nothing?
Ari: I don't know. I guess. The others are gonna be so happy to see you. We've been wishing and hoping that someday someone would come and save us, and now you're here.
Phoebe: Well, we're gonna do whatever we can to get you out of here. So why don't you take us to your friends?
Ari: Through here.
(He walks off. Phoebe touches a swing and has a premonition of Prue as a little girl. She is in the ice cream truck, calling out. She runs over to her father and he hugs her tightly.)
Prue: What is it?
Phoebe: I saw you when you were little, in this playground with Dad.
[Cut back to the manor. Piper is calling Leo.]
Piper: Leo! (She closes her eyes.) Leo. (Leo orbs in. She opens her eyes.) It's about time.
Leo: Piper, I was busy.
Piper: Well, don't you have orb-waiting?
Leo: Look, it's not fair to my other clients if I keep getting calls from you while I'm at work.
Piper: Look, I just have one teensy favour. Prue and Phoebe never came back from lunch, and they haven't been returning any of my phone calls. And I know I'm probably just being paranoid, but can't you do that check-the-supernatural-radar thing that you do?
Leo: I'm sure it's fine. They're just...
(Piper gives him a look. Leo closes his eyes and concentrates.)
Piper: Leo? (He opens his eyes.) Not good?
Leo: I can't sense them anywhere. It's like they just...
Piper: Disappeared.
[Cut back inside the ice cream truck. Kids are standing in front of Prue and Phoebe.]
Prue: Alright, is that all of you?
Ari: All that's left.
Girl: Are you gonna save us?
Phoebe: We're gonna try.
Prue: Alright, I think the only way out of here is to go through the person that... (Prue sees the ice cream man standing near by.) Put us here in the first place.
Phoebe: The Ice Cream Man? But how are we supposed to find him?
Prue: Something tells me that's not gonna be very hard.
Phoebe: Why not?
Prue: Oh, because he's right over there. (She points to him. The ice cream man runs away.) Okay, you kids stay here. We'll take care of the good humour man. Let's go.
(Prue and Phoebe run after him.)
Phoebe: There he is, by the slide.
Prue: Alright, oh, hey, wait. Look at that. (They see a hole behind a slide.) What does that look like to you?
Phoebe: The street from the back of the truck.
Prue: That's right. The way out. Okay, all that we need now are the, uh...
(The kids come up to them.)
Phoebe: Hey, we were just coming to get you. Come on, we're going home.
Prue: Come on, come on, come on. (A girl goes up the slide and jumps out of the truck.) One down. (A boy jumps outside.) That's another one.
(The ice cream man sees them.)
Ice Cream Man: No!
Prue: Ooh, hurry! Git!
(Ari jumps outside.)
Phoebe: I'm going next.
Prue: Okay, but go.
Ice Cream Man: Get away from the door!
(Phoebe jumps out and so does Prue.)
[Cut outside. Everyone moves away from the truck except Aril.]
Phoebe: Ari, come on, hurry up.
(The ice cream man grabs Aril by the shirt. Ari grabs the ice cream man's wrists and burns his hands. Ari pushes him back in the truck and closes the door.)
Prue: Oh.
Phoebe: Oh, my God.
Ari: Actually, (in demonic voice) quite the opposite.
Prue: Okay, we need to keep him away from the other kids.
Ari: I don't think they'll listen to you. You're not the boss of them.
Demon Girl: Did you do it?
(Ari nods.)
Ari: Say thank you to the witches.
Demon Boy and Girl: Thank you.
(They laugh and run off.)
Commercial Break
[Scene: Manor. Living room. Piper and Leo are sitting on the couch.]
Leo: Why don't we try focusing on the positive? They're together.
Piper: That's it? That's your positive? Because I've got a list mile long in the negative column. They've been gone all night, Leo, and not even you can find them.
Leo: I'm sure they're fine.
Piper: You don't know that.
Leo: Piper, any minute now they are gonna walk through that door with a perfectly good explanation.
(Prue and Phoebe walk through the front door.)
Prue: Piper.
(Piper looks at Leo. He looks stunned.)
Leo: See?
Piper: Prue? Phoebe?
(Piper goes over and hugs them.)
Piper: Where...
Phoebe: Were we? Oh, I would like to know the same thing.
Prue: All that we know is that we have to go back.
Piper: Wait a minute, is this demon or sibling-related?
Phoebe: A little bit of both. We thought the good guys were bad guys, and in trying to vanquish them, we helped the real bad guys, which were d*ad ringers for good guys.
Leo: Was that English?
Prue: How about we fill in the blanks as we climb the stairs to that big book in the attic?
Phoebe: Good idea.
(They go upstairs.)
[Time lapse. Attic. Prue's flipping through the Book of Shadows.]
Piper: So, he's a demonic dog catcher, and he uses ice cream as bait? Great news for the lactose intolerant demons.
Prue: Nothing in here on the demon kids who escaped.
Phoebe: That we helped escape.
Prue: But there's a whole page dedicated to the Ice Cream Man.
Piper: What?
Prue: He is mortal.
Phoebe: What? Do you remember when demons look like demons and innocents look like innocents? Who changed the rules on us?
Piper: Wait, if he's mortal, how does he do it?
Leo: It's not him.
Prue: Bingo. It's the song. It says, "The Ice Cream Man plays the Devil's Cord, which is a series of notes that when sounded together specifically attract demon kids like moths to a flame."
Phoebe: More like moths to nothing. That's what's inside the truck, nothing. That's why he pulls them in there. The Nothing is the only thing that can vanquish them.
Piper: So they might be pint-sized, but they're bad asses.
Leo: Alright, but if they couldn't get out on their own, how did you guys?
Prue: Because he let us out. He tried to save us.
Phoebe: And that is all she wrote, literally. Uh, the Nothing doesn't discriminate. Good or evil tastes the same.
Piper: Now the only person who knows anything about the escaped meanies is stuck on the playground and is in serious danger of becoming lunch himself.
Prue: Right, and our powers don't play, not in this situation. I mean, Pheebs and I tried everything to get back in, but the door wouldn't budge.
Phoebe: Well, not everything.
Piper: Hmm? Mind sharing with the room?
Prue: Phoebe had a premonition of me.
Phoebe: And Dad in the playground.
Piper: You were there? How? When?
Phoebe: Only one way to find out.
Prue: Right, but we don't even know where he is, never have, not even now, when he might actually come in handy.
Phoebe: He's here. Dad's in San Francisco. He's been here for the last three months. So it was him that your friend Cara saw. And it was an email from him that I got yesterday that I didn't tell your guys about. He's here, an instant message away.
Piper: Phoebe, this is...
Phoebe: Huge. I know, and I'm sorry I didn't tell you guys that I've been keeping in touch with him, but I wanted to. It just never seemed like the right time. So I guess now is the right time. What do you think?
Piper: Do we have a choice?
(Phoebe gets out her laptop.)
[Scene: Sidewalk. The demon boy stands there staring a burnt body beside a bush. An ice cream truck is parked on the side of the road. Ari and the demon girl walks up to him.]
Ari: Whatcha doing?
Demon Boy: k*lling.
Ari: No kidding. Did anybody see you?
Demon Girl: Thought I was supposed to k*ll. Was it fun?
Demon Boy: He screamed a lot.
Demon Girl: Cool.
Demon Boy: So what do we do now?
Ari: Well, I guess we waste even more time while we pick up after you.
Demon Boy: But you said all we have to do is find the truck...
Ari: Not any truck, the truck. I already got rid of the Ice Cream Man, remember? The only people we might have to k*ll to get to the right truck are those witches.
Demon Boy: But...
(Ari walks over to the truck.)
Ari: And if you would've paid attention, you would've known that. And you also would've known... (Ari opens the back door of the truck.) That this isn't the right truck. Now, I like k*lling just as much as the next demon, but right now we gotta be smart. And trashing every regular old ice cream truck that we see is not smart.
Demon Girl: But it's fun.
Ari: And we'll have lots more fun when this is all over.
Demon Girl: Promise?
Ari: Yeah, but first do you think you can clean up this mess?
Demon Girl: I was waiting for you to say that.
(She blows towards the body and it disappears.)
[Scene: P3. Prue and Phoebe are sitting at the bar. Piper is standing behind it serving them a drink.]
Piper: Welcome to Club Switzerland.
Prue: Alright, could we just curb the sarcasm there? I just didn't really feel like inviting him to our home for tea and cookies.
Phoebe: He's our father, Prue. This is family.
Prue: This is business, alright? And don't even think about giving me that look. If he gives us any useful information on the playground, I will be the very first one to thank him.
Phoebe: And then send him packing.
(Caleb approaches the bar.)
Caleb: These must be the sisters I've heard so much about.
Piper: Caleb, uh...
Caleb: And to think I almost didn't swing by today.
Piper: Okay, you know what? I've tried, I really have, and you're not a bad guy, but obviously, the part of your brain meant to take a hint wasn't wired together properly because you're not taking any. (Leo stands behind Caleb.) This is a really bad time.
Caleb: Oh, okay, when would be a good time?
Piper: (to Leo) Help me.
Leo: (to Caleb) You got a phone call, it's in the office. Why don't I show you where that's at.
Caleb: Uh, okay, do you mind if I ask you something?
(Leo and Caleb walk away.)
Piper: Thank you. (Prue looks confused.) Hey, you're just lucky nobody got k*lled, okay? You hear what I'm saying?
(Victor walks down the stairs and the girls stare at him.)
Victor: Well, would it be too much to ask for a hug?
(Phoebe gets up and hugs him.)
Phoebe: It's good to see you, daddy.
Victor: Oh, baby, you have no idea. Wow, what a place. This is yours, Piper? It's terrific. The three of you together. I hardly know where to begin.
Prue: Well, I have a suggestion. How about we just cut to the chase?
Piper: Uh, Prue, he just got here. Can't that wait, like, five minutes?
Prue: He's a businessman, Piper. I would think that he would appreciate that. We can do the whole family-bonding thing once the work is done, alright? So, how about you just tell us everything that you know about the playground?
Victor: What playground?
Phoebe: Dad, I had a premonition. I know you were there.
Piper: And somebody's hurt, so we need to get back inside.
Victor: Oh, let it go.
Prue: That may be your motto, but we made a mistake, and we would really like to fix it. So just tell us how you got in, and we can handle it from there. We are big witches now.
Victor: Yeah, but you're still my girls.
Prue: Victor.
Victor: Prue. (Silence.) Alright. Yes, I was there. I went in after you, and it was the last thing I ever did as your father. You were home with a cold. You must've been about six. Your mum had some errands to run, so she took your sisters with her and left me home in charge of you.
[Flashback: Six-year-old Prue's room. She is asleep in bed. Victor pulls up the blankets and kisses her on the forehead.]
Victor: You had asked me to read you a story. You used to love that. But the cold was too much for you. You only lasted a page or two. When I left your room you were still sleeping.
[Little Prue goes downstairs into the living room.]
Victor: I never heard you come downstairs. You must've been looking for a glass of water or me. And that must've been when you heard it.
[Back to the present.]
Prue: The song.
Victor: I mean, I heard a truck drive by and stop a few doors down, but I didn't think anything of it. It was an ice cream truck. How was I to know? But somehow you did. And you must've gone in the living room following that song. And that's when you saw it happen. A little boy not much older than yourself.
Prue: Yeah. He was standing by the truck, and something pulled him in. He was so scared.
Victor: And you ran out to help him.
Phoebe: Just like yesterday.
Victor: When I saw your bed empty, I lost my mind. The door was wide open, there was a truck parked outside. I mean, I had no idea what I was getting into but I just had to go.
Piper: You saved Prue.
Victor: But I lost the three of you.
Phoebe: You said that you left because Grams wanted us to use our powers and you didn't.
Victor: That's the truth. And now you know the whole story. I mean, when your grandmother found out, I had just brought Prue back, but being your father wasn't good enough, but how could I protect you from something like that happening again when I didn't have powers?
Phoebe: Okay, so the Book said the Ice Cream Man is mortal. That's why he can go through the door and we can't, right?
Piper: So, what do you say, dad? We need your help.
[Time lapse. Prue and Piper are walking down the street with Phoebe and Victor walking behind them.]
Prue: You know if this doesn't work I can look back and pinpoint the exact moment where it all went wrong.
Piper: And that moment's name would be dad? Prue, you got to admit, if he can open the door, then we kinda need him.
Prue: It's all about word choice, Piper. We don't need him, we need his utter lack of power, right? He opens the door, we save the day, we get on with our lives. It's a one-time group effort.
Piper: Glad to see you have a healthy handle on the situation, Prue.
Prue: I think I do.
[Cut to Phoebe and Victor.]
Phoebe: So, yeah, I was surprised to hear from you, but why did you think I wouldn't write you back?
Victor: Because as far back as you can remember, I've done very little right by you. I mean, if a guy, let alone your own dad, walks out on you once, maybe you'll give him a second chance, but he appears to make a habit of it...
Phoebe: I never thought you left by choice, dad.
Victor: Thank you, Phoebe.
(They walk into an alley.)
Prue: Okay, well, this is it.
Piper: Uh, but there's nothing here.
Phoebe: Wait, we lost the truck?
(The demon kids stand behind them.)
Prue: Yeah, but we gained company.
(The demon girl blows them away. They laugh.)
Prue: Oh, those kids so need to be grounded. (The kids run off.) Oh, I don't get it. Alright, why pick a fight and then run?
Piper: Speaking of running, we should run because they're getting away.
Prue: No, we can't do that because we have to get back into the truck.
Phoebe: Not all of us. Come on, Piper.
(Phoebe and Piper run off.)
Victor: Nice work.
Prue: Alright, lost modes of transport are definitely not my forte. So...
Victor: Prue, sometimes things in life happen for a reason, no magic involved. Truck's been towed.
(They see a No Parking/Tow Away sign.)
Prue: Right.
(Ari watches them from near by.)
[Cut to a junk yard. Victor and Prue are there. Prue's removing a chain from the gate.]
Victor: Need a hand?
Prue: No, I don't need a hand, I don't need anything. (They walk over to the truck.) This is where he pulled us in, but since he's still trapped inside, I'm guessing the only way in is through the exit. (She tries to open the door but it won't budge. She uses her power but still doesn't open.) Ugh! Alright, let's just do this. You can do it, right?
Victor: Well, let's just say that chasing demons is not exactly my day job.
Prue: Alright, it helps if you specifically focus on the task. Don't think about what's behind the door, that'll only distract you. Picture yourself opening the door. See yourself opening the door, then just do it.
(Victor opens the door.)
Victor: Thanks for the advice.
Prue: Just doing my job. (They go inside the truck.) This would be a lot easier if things stopped moving. We left him right here. Unless...
Victor: The Nothing. Even mortals have memories, Prue. I saw what it did to those children. I know what it could've done to him and to us if we don't act quickly.
Prue: Yeah, well, at least we agree upon one thing.
Ice Cream Man: Make that two and get out while you still can.
(The ice cream man is sitting near by.)
Prue: Oh, my God. I am so sorry. I didn't know.
Ice Cream Man: The mistake was mine. You're the Charmed Ones, you were saving innocents. How could you know they weren't?
Prue: How did you know?
Ice Cream Man: Let's just say we both have friends in high places. The moment I mistakenly pulled you and your sister in, I was alerted and sent to save you.
Prue: And you get this in return.
Victor: It's getting closer.
Prue: Alright, so you got us out of here once, now it's my turn.
(They help him stand up.)
Ice Cream Man: The children, you must get them back inside the playground.
Prue: We will, and you're gonna help us do it.
Ice Cream Man: I disabled the truck. You'll need to fix it, play the song.
Prue: Don't you dare. You stay with us.
Ice Cream Man: Inside... (Prue pulls a small glass tube out of his shirt pocket.) It's for the truck.
Prue: It's almost here. You go first, okay?
Ice Cream Man: I can replaced, you can't.
Prue: No!
(He pushes them away and the Nothing sucks him up.)
Victor: Prue, it'll be back. We've gotta get out now! You didn't fail. The only way you fail is if you don't get back and do what he asked. Come on.
Commercial Break
[Scene: Sidewalk. Piper and Phoebe are there.]
Piper: Why don't they ever run into a well-lit room with nowhere to hide?
Phoebe: Well, we know they're somewhere, and I know what's gonna give them away.
Piper: How could you...
Phoebe: Shh!
(They see the demon kids near by.)
Ari: How badly did you wanna get off that playground? And now we're free. Don't you wanna stay free?
Piper: Why did I get the feeling these kids weren't looking to pick a fight with the Charmed Ones? They were just looking for the truck and we crashed their party.
Phoebe: But we're like a mile ahead. I mean, we know where it is.
Ari: It's in the junkyard.
Phoebe: Oh. Did I say a mile?
Piper: Okay, so they know, but it's three of us versus three of them. We're even, and bigger.
(More demon kids walk up to Ari and the other two.)
Phoebe: Uh, sis, I think you need to count again. When in doubt.
Piper: Bring reinforcements.
Ari: All's that left for us to do is destroy the truck.
Piper: Prue.
Phoebe: And dad. Let's go.
[Cut to the junk yard. Phoebe and Piper walk in.]
Piper: Do you think they're here already?
Phoebe: Probably.
Piper: Do you think they know that we're here already?
Phoebe: Probably.
(The kids laugh in the background.)
Piper: Okay, do they do that because they think it's funny or just to freak us out?
Phoebe: All we have to do is hold off the demons until dad and Prue get out.
Piper: You haven't by any chance had a premonition that this is all going to turn out okay and you've just neglected to inform your kin?
(A demon kid scratches their fingernails along a car.)
Phoebe: Okay, I think they're surrounding us.
Piper: No, don't say that. We're not surrounded until they're all around of us.
Phoebe: Okay, how bad could the odds be? I mean, sure there's a whole bunch of them, but we're witches, right? And you have the power to... (A demon kid hits Piper over the head with a car part knocking her unconscious.) Piper! Are you okay?
(She sits Piper up against a car.)
Phoebe: Alright, you little brats. Bring it on.
[Cut back in the truck.]
Prue: Head for the slide. Up at the top, that's our way out.
(Prue starts to get sucked up by the Nothing.]
Prue: Aah! Daddy!
Victor: Hold on, Prue!
(Victor grabs Prue's arms.)
Prue: Daddy, I need you.
Victor: I've got you. I'm not leaving without you.
Prue: Dad!
Victor: I've got you. Oh, God.
(He pulls her in.)
[Cut back to the junk yard. The kids surround Phoebe. A demon boy jumps on Phoebe's back and she throws him into the other kids, knocking them to the ground. The demon girl blows Phoebe away. They laugh and walk over to her. Prue and Victor get out of the truck and Prue uses her power on the kids.]
Prue: (to Victor) Alright, any ideas what to do with this?
(Prue hands him the glass tube.)
Victor: Eight years of fixing your mother's car has given me one.
Prue: Alright, we'll buy you some time. (Prue helps Phoebe up.) Hey, need a hand?
Phoebe: I need about ten.
(The girl stands up.)
Prue: Oh, you need a little time out, missy! (Prue uses her power on the demon girl. Victor opens up the bonnet of the truck and looks for a place to put the glass tube. A flame flies out of the demon boy's hand heading for Prue and Phoebe. They jump behind a car.) Oh, dad, hurry!
(Ari walks up to Victor and Prue uses her power on him. Prue and Victor look at each other. Victor puts the tube in its place. The music starts playing and the kids walk over to the truck. They get sucked into the truck. Piper regains consciousness and Phoebe goes over to her.)
Phoebe: Welcome to our world, dad.
Piper: When I decide I wanna have kids, you remind me of this day.
(Leo and Caleb walk in the junk yard.)
Piper: Leo, what are you doing here? Why did you bring him here?
Leo: He's supposed to be here, Piper.
Caleb: You fixed my wheels. Thanks.
Leo: Caleb's the new Ice Cream Man. He filled me in back at the club. Everything's happened the way it was meant to. He was sent over to take over. It's his time.
Piper: So your interest in me...
Caleb: Strictly professional. I was lost, but until I was sure who you were, I couldn't just come up and say, "Hey, are you a Charmed One?" 'Cause I need you to take me to my demon-catching truck. Speaking of which, I'm running kind of late as it is, so, uh, thank you. All of you.
Leo: Good luck.
(Caleb gets in the truck.)
Phoebe: Something tells me I'm never gonna look at a Creamsicle quite the same way.
Prue: Hmm.
Commercial Break
[Scene: Manor. Foyer. Victor's ready to leave.]
Victor: Well, I guess this is goodbye again.
(Phoebe hugs him.)
Phoebe: Thanks, dad. Keep writing.
Victor: You don't have to keep this a secret anymore, Phoebe.
Phoebe: I know.
Victor: I mean anything. (He kisses her forehead. He walks over to Piper and hugs her.) What's the story with this Leo character anyway? How much does he know about you?
Piper: Uh, just about everything.
Victor: Oh, so he's...
Piper: He's a wonderful man, yes.
Victor: Well, still I think I should have a little chat with him sometime.
Piper: Dad...
Victor: It's a father's prerogative.
(He walks over to Prue.)
Prue: I'm not saying good bye.
Piper, Phoebe: Prue!
Prue: I'm saying see you soon, dad.
(She hugs him.)
Victor: Thank you. You know, that's sort of why I came to town. For this job interview, and although it would entail some travel, I'd be based here in San Francisco, and if you guys think that occasionally this town is big enough for the four of us, I'd like to accept their offer.
Piper: Hmm.
Victor: Could I except that as a yes?
Prue: Yes.
(A horn honks outside.)
Victor: That's my cab. Alright, (he grabs his stuff) we've got so much catching up to do.
Piper: It's okay. It's different now.
Victor: It is isn't it? See you soon.
(He leaves.)
End | {"type": "series", "show": "Charmed", "episode": "03x10 - We All Scream for Ice Cream"} | foreverdreaming |
[Scene: Manor. Kitchen. Prue and Piper are making a potion.]
Piper: One teaspoon of baking powder.
Prue: One teaspoon bat guano. Ooh-hoo. It's starting to bubble.
Piper: And stink. Couldn't you have made that potion after breakfast?
Prue: No, I'm sorry, but Phoebe has a meeting with that D.A. Investigator, and I didn't want her to go there unarmed.
(Leo walks in.)
Leo: Morning. Whoa, what is that smell?
Prue: That would be the lovely smell of Piper's breakfast.
Piper: Hope you're hungry.
Leo: Uh, starving.
Piper: Probably 'cause you missed dinner last night.
Leo: Piper, I already said I was sorry I was late, okay. It's not like I was out carousing with the boys. I was out being a force of good in the universe.
Piper: A true force of good would have called or at least orbed.
Leo: I couldn't. Not under the circumstances.
Piper: Which were?
Leo: Work related, which means I can't talk about it. I mean, anything that happens between me and a charge is confidential. You know that.
Piper: Doesn't mean I have to like it. (Piper cuts her finger with a Kn*fe.) Ow!
Leo: Oh, let me see that.
(Leo heals her finger.)
Piper: You know, this all for the good of mankind stuff really puts me in an awful position. I have no choice but to be understanding.
Leo: You just have to accept that you're engaged to somebody that works for the CIA.
Piper: Oh.
(Phoebe walks in.)
Phoebe: Wait, you work for the CIA?
Prue: You know, ever since you became a blonde...
Piper: Do you want something to eat before your meeting with Reece?
Phoebe: Not hungry, too nervous.
(Prue hands Phoebe a vial of potion.)
Prue: Alright, well, this will help you with your nerves. Just a drop in Reece's coffee, and it will out any demon. Reaction will cause his throat to constrict. As he's choking, you run, got it?
Phoebe: Thanks. I hadn't even considered that Reece might be evil.
Prue: Then why are you so nervous?
Phoebe: Uh, because he's probing Cole's disappearance. I'm not exactly looking forward to being grilled about my demon ex, you know?
Prue: Well, as long as you don't blurt out, "I k*lled Cole," you'll be fine.
Leo: Why don't you practice saying, "As far as I know, Cole is alive and well and could be anywhere." See how it feels.
Phoebe: Okay, uh, "As far as I know, Cole is alive and well and could be anywhere."
Piper: Very believable.
Prue: Yeah, try not to look as guilty as you did just now. You'll give yourself away.
Phoebe: I just can't wait for this investigation to be over.
Piper: It will soon. It has to. There's nothing to find.
Prue: Is there?
Phoebe: Of course not.
Prue: Be careful.
[Scene: An alley. A witch runs from a warlock. The warlock runs after her. He throws a fireball at her and she reflects it with her power.]
Witch: You can't hurt me. I can deflect your power.
Warlock: All of them?
(He throws another fireball and she deflects it. It hits him and vanquishes him.)
Witch: Thank god.
(He appears behind her and grabs her. He holds a dagger against her neck.)
Warlock: You know, the ability to clone myself is just one of the powers that I've collected over my years of k*lling witches. And now I'm about to add one more. (He s*ab her with the dagger and takes her power. She falls to the ground. Natalie, her Whitelighter, orbs in. She runs over to her.) You're too late, Whitelighter. Your charge is d*ad. I'll see you later.
(He blinks out of the alley.)
Opening Credits
[Scene: Manor. Dining room. Piper and Leo are sitting at the table having breakfast.]
Piper: So I've got lunch with this guy from the Chronicle who wants to do a story on the club, and then I've got a meeting with these dot com start up guys that want to do an internet thingy. What are you doing today?
Leo: You know, just the usual.
Piper: Care to elaborate?
Leo: Piper...
Piper: Oh, come on. Just a few details, a tidbit.
Leo: It's against the rules.
Piper: Rules. Yes, see, this is my problem. Every time I turn around, we seem to be violating some stupid Whitelighter ordinance.
Leo: We just have to be careful as long as we're under probation.
Piper: Which is never ending. I don't know, Leo. I don't think they're ever gonna let us get married.
Leo: They will. They have to. Nothing is gonna keep us apart, I promise.
(They move in to kiss but Natalie orbs in, interrupting them.)
Piper: Aah!
Leo: Natalie!
Natalie: Leo. Sorry to interrupt, but we've got a major problem on our hands.
(Natalie is holding an athame. Prue walks in.)
Prue: Hey, I heard something... Ooh! Athame! Athame!
(Prue gets ready to att*ck Natalie but Leo stops her.)
Leo: No, no, no. It's okay, she's a Whitelighter. Natalie and I go way back. We were rookies together. Actually, we fought together in World w*r II.
Natalie: All your charges need to know is I'm a Whitelighter. This is not a social call. I've come to warn the Charmed Ones that a warlock just k*lled my most powerful charge with this athame.
Leo: Oh, I'm so sorry.
Natalie: Thank you. The real tragedy is that it didn't have to happen. I warned her to lay low, and she didn't listen. She always refused to let her magic interfere with her life, and now a warlock has her power of deflection.
Prue: Deflection. Wait a minute, does this mean he could deflect our powers?
Natalie: Yes, which is why all Whitelighters have been put on alert.
Leo: We have? Why didn't I hear about this?
Natalie: Because you missed this morning's staff meeting.
Piper: You have staff meetings?
Natalie: With mandatory attendance.
Leo: Unless a charge is in need, which Piper was. I had to heal her.
(Piper holds up her finger.)
Piper: Right.
Natalie: I'll assume a demon att*cked your finger, since healing is restricted to such circumstances.
Leo: I believe the Charmed Ones deserve special attention.
Natalie: I've heard rumors about such special attention, and honestly, Leo.
(Natalie and Leo start talking to each other in their clickety-clack language.)
Prue: Whitelighter-ese?
Natalie: Clickety-clack, Piper, clicky-clack.
Piper: Well, I guess we know what they're talking about.
Prue: All right, you guys can (does the sound) all you want. Me, I'm gonna look in the Book of Shadows, okay?
Natalie: I'll go with you. I gotta look at the warlock. I might be able to identify him.
Prue: Oh, alright. Well, it's up in the attic.
Natalie: Attic? You mean the altar room, don't you? The rules are very clear. Every witch must keep their Book of Shadows in a sacred and protected spot.
Prue: Right, of course.
Leo: Maybe you can bring the Book down here?
Prue: Yeah, yeah. I'll just run up to the altar room, which by the way, is right next to the potions lab, and I'll be right back.
(She leaves the room. Leo picks up a piece of fruit. Natalie click-clacks at him.)
Leo: Not supposed to eat on the job.
[Scene: A diner. Phoebe and Reece are sitting at a table.]
Reece: You sure you don't want something to eat?
Phoebe: No, I'm fine. Uh, actually, I would like a bagel also. Thanks.
(He turns his back to Phoebe to talk to a waitress.)
Reece: Uh, excuse me, miss. Can we have another bagel? (Phoebe quickly pours some potion in his coffee. Reece turns back to face Phoebe.) It's a nice place. It's crowded. I guess that's why you picked it. That makes me think you're afraid of something. (Reece takes a sip of his coffee and coughs.) Allergies. So, so are you?
Phoebe: Am I what?
Reece: Afraid.
Phoebe: Afraid of Cole? No. Why should I be?
Reece: Well, several reasons. Not the least of which is he's a fraud, or a man who exists only on paper. Wormed his way into the DA office for reasons unknown, and who apparently has a very dark side. (He shows her some photos of Cole's altar.) We found blood stains on his carpet and a hidden cabinet full of occult paraphernalia. Now, you're telling me you don't know anything about
this?
Phoebe: No... I mean, yes. I don't know about any of this.
Reece: Look, Miss Halliwell, see, I think you know more than you're letting on, but you're scared. You're afraid that if I find out the truth, you're gonna get in trouble. Am I right?
Phoebe: I wish I could help you, but I can't. I'm sorry. I really am.
(She stands up.)
Reece: Uh, listen. Cole's the kind of man who knows how to cover his tracks, okay? If he's alive and you know something, he could hurt you. He could hurt your sisters, too.
(Phoebe leaves.)
Commercial Break
[Scene: Manor. Conservatory. Prue and Piper are sitting on the couch reading the Book Of Shadows. Leo and Natalie are standing near by.]
Prue: "The power of deflection is a witch's best shield against the forces of darkness."
Piper: "Unless the forces of darkness already have it, in which case, it's the great shield against us."
Prue: Alright, how did he get close enough to get it from such a powerful witch?
Piper: Maybe he wasn't working alone.
Leo: Or maybe he possesses the power...
Natalie: Cloning. I was just thinking the same thing.
Leo: The ability to duplicate oneself, but...
Natalie: It can't be sustained for long periods of time.
Piper: That's cute how you guys finish each other's sentences.
Natalie: Happens when you work with someone for as long as we have.
Piper: I see that.
Leo: Maybe we should check the Book. See if the warlock stole the cloning power too.
Prue: Alright, cross-reference cloning with warlock. (Prue uses her power to flip the pages. It lands on a page about the warlock Eames.) Here it is. A warlock named Eames. Seems that, uh, ten years ago, he m*rder a witch in Glasgow and stole her power of cloning. Do you recognise him?
Natalie: That's him.
Prue: Uh, well, cloning and deflection are not his only tricks. It says here that Eames also k*lled a witch in Kenya in '89 and took the power of transmogrification.
Piper: Trans what?
Leo, Natalie: The ability to change shape or form.
Prue: Okay, so, uh, what's his master plan?
Natalie: What makes you think he has one?
Prue: Well, the time and geography between kills suggest that he was hunting these particular witches, right? It's not sport, it's strategy.
Piper: So all we have to do to catch him is to figure out what that plan is and then b*at him to the punch.
Prue: Right, or we can try and take him out first before he even has a chance.
Natalie: Leo, we should discuss the best way to approach this situation. (to Prue and Piper) I mean, in private if you wouldn't mind going into another room please.
Piper: Or how about this idea?
(Piper freezes Natalie. Prue grins.)
Prue: Hmm!
Leo: Piper, what are you doing?
Piper: Getting irritated. Who put Lady Attitude in charge?
Leo: She's not in charge.
Piper: Really? 'Cause she's acting like it. I thought Whitelighters were supposed to guide, not dictate.
Leo: She is just trying to help.
Prue: By what? Slowing us down and second-guessing us?
Leo: Introducing the concept of caution and organisation into the manor isn't a bad idea. Natalie's considered one of the top Whitelighters up there.
Piper: Oh, I bet they love her. She's never met a rule she didn't like.
Prue: Leo, we already have a Whitelighter. Besides, I don't really like anybody who doesn't trust us.
Leo: You've misread her. Natalie is cautious because she just lost a charge and she's worried the same thing is gonna happen to you. You can't question her heart.
Piper: Okay, how about everything else?
Leo: I'll talk to her. Now please, would you unfreeze her?
Piper: Sure. (Piper walks past Natalie and unfreezes her.) There you go.
(Piper walks into the kitchen.)
Natalie: Wait a minute, what's going on?
Leo: I gotta go talk to Piper.
Natalie: Leo.
Leo: I'll be right back.
(Leo goes in the kitchen.)
Prue: Piper froze ya.
Natalie: She-she what?
Prue: Yep.
(Prue grins.)
[Cut to the kitchen.]
Leo: Hey, you want to freeze me in bed for your own personal pleasure, that is fine, but freezing Natalie is not gonna make her or the Elders happy.
Piper: Well, I'm sorry, but how do you think I feel listening to you two clickety-clack about work when you don't tell me anything? I mean, she clearly knows things about you that I don't.
Leo: She's an old friend.
Piper: Well, obviously.
Leo: Come on, you're not jealous are you? Because there is nothing...
Piper: Leo, I'm not jealous of her. I'm jealous of the part of your life she gets to share with you that I don't. You know, like where you go all day, who your other charges are, what it's like up there.
Leo: I've taken you up there before.
Piper: Once, and I don't even get to remember it. It's just more rules. More stupid rules that exclude me, unlike you and Natalie, who literally speak the same language with each other.
Leo: It is just boring shop talk.
Piper: It's secrets, and if there's one thing I learned as a Halliwell, you don't keep secrets from the people you love.
(Phoebe walks in through the back door.)
Phoebe: Hi. Am I interrupting something?
Piper: Yes.
Leo: No.
Piper: How did your thing go with the investigator?
Phoebe: Uh, fine. At least he's not a demon. Leo, can I talk to you about something? Soon.
Piper: Take a number.
Leo: Maybe later, okay? Why don't you go meet Natalie?
Phoebe: Who's Natalie?
Piper: She's a...
Leo: Fellow Whitelighter. See? I finished your sentence.
Piper: Hmm. It's not what I was gonna say.
[Cut back to the conservatory. Prue's scrying with a crystal.]
Natalie: You're wasting your time. You can't scry for warlocks.
Prue: I'm not. I'm scrying for a witch. I'm focusing the crystal on your charge's power, which technically is still alive.
(Phoebe walks in.)
Phoebe: Hi. You must be, uh...
Prue: Oh! (The crystal points to a spot on the map.) Okay, here we go, I think I found Eames. Uh, Industrial District South of San Francisco.
Phoebe: A warlock? What's going on?
Prue: We'll fill you in on the way. Piper! Leo!
Natalie: Wait, you're not going after him are you?
Prue: Yeah, that would be the idea.
Natalie: You're not prepared, you're not--
(Phoebe touches the dagger and has a premonition of Eames k*lling a man.)
Prue: What did you see?
Phoebe: A warlock I think. k*lling a male witch.
Prue: Not if we can help it. (Piper and Leo walk in.) It's three against one. We should be able to counter his power of deflection.
Leo: But he can also clone himself.
Prue: So then it's three against two. Still, the odds are on our side. Plus, we'll have the element of surprise.
Natalie: People, we're under an alert. You can't go running off half-cocked.
Phoebe: People?
Natalie: You must consult the Elders, find out what they know, what they want you to do.
Piper: And how long will that take? Long enough to lose another witch's life?
Natalie: Better one than four. You wondered what Eames' ultimate goal was. What if it's to k*ll the Charmed Ones? Think of the damage he could do with all of your powers.
Prue: Alright, Natalie's right. We should definitely check with the Elders first. Do it quickly.
Natalie: I'll be back as soon as possible.
(Natalie orbs out.)
Phoebe: So what, we're supposed to just wait?
Prue: No! I had to say something to get rid of her.
Leo: Didn't you hear what she said? Consulting with the Elders is for your own protection.
Piper: And siding with us is for yours.
Prue: Hmm!
[Scene: An alley. Eames is there chanting. Prue, Piper and Phoebe pull up in the car. They get out of the car. Prue uses her power on Eames. He gets back up.]
Prue: Oh, Piper, freeze him.
(Piper tries to freeze Eames but he deflects it.)
Piper: He deflected it. (Eames disappears.) What happened? Where'd he go?
Leo: I don't think that was Eames. I think that was his clone.
Phoebe: Alright, well, the real Eames must be around here someplace.
Piper: Okay, maybe we should get out of here.
Prue: No, no, no. What about the witch in Phoebe's premonition? We can't just leave him.
Piper: I was afraid you were gonna say that.
Prue: What did he look like?
Phoebe: Oh, I don't know. Kinda balding. (A Darklighter appears.) Sort of like that.
Darklighter: Who are you? Why'd you summon me?
Leo: That's no witch. That's... (A crossbow appears in his hand.) a Darklighter.
Piper: Leo! Leo, get out of here! (The Darklighter sh**t an arrow at Leo but Leo orbs out. Phoebe kicks the crossbow out of his hand and kicks him. Piper freezes him.) Okay, I don't understand. Why is there a Darklighter here?
(Eames appears.)
Eames: Oh, did I miss all the fun? (Eames sets the Darklighter on f*re. He blinks in front of the crossbow.) No, wait, I am the fun. Thanks for this.
(He picks up the crossbow and blinks out of the alley.)
Commercial Break
[Scene: Manor. Prue, Piper and Phoebe walk in. Leo is there waiting.]
Leo: Did you get the Darklighter?
Piper: No, but Eames did.
Leo: Eames? A warlock k*lled a Darklighter?
Phoebe: And took his crossbow.
Leo: Well, that doesn't make any sense. They both play for team evil.
Prue: Yeah, what I don't get is why Eames had no interest in attacking us.
Phoebe: Maybe he knew he was outnumbered.
Prue: No, he didn't really seem overly concerned. In fact, he seemed cocky.
(Natalie orbs in.)
Natalie: Good, you're still here.
Piper: Speaking of cocky.
Natalie: I consulted the Elders and they want you to hold back. They think the witch Phoebe saw might be a force of darkness.
Prue: A Darklighter actually.
Natalie: How do you know?
Piper: We went, we saw, we didn't quite conquer.
Natalie: You what? Leo, how could you let this happen?
Prue: This wasn't Leo's decision. It was ours.
Natalie: You'll take responsibility for a decision, but not for your lives? That warlock could have k*lled you.
Piper: He wasn't after us.
Natalie: That makes you lucky, not smart. You were reckless. As the Charmed Ones, you have an obligation to serve the greater good. You have a higher calling.
(The Whitelighters call Leo and Natalie.)
Leo: So do we.
Natalie: I think we better both go up this time.
Leo: Better lay low until we get back.
(Leo and Natalie hold hands and orb out.)
Piper: What's with the hand holding thing?
Phoebe: That's the least of our problems. We have to concentrate on finding and vanquishing Eames.
Prue: Yeah, and we can't count on scrying to locate him because it just could be his clone again.
Piper: I still think we need to decode his master plan and then that way we can figure him out.
Phoebe: I'll take book duty.
Prue: I'll do a flow chart, see where all this is leading.
Piper: I'll help. Anything to get rid of her.
Phoebe: You mean him.
Piper: Nah, I mean her.
(Phoebe walks into the conservatory and sits down at the table. She flips through the Book of Shadows and stops at the page about Belthazor.)
Phoebe: What am I gonna do about you?
[Cut to a white misty place. There are a bunch of Whitelighters standing around in white robes. Leo is there wearing jeans and a shirt. Natalie walks up to him wearing the robe.]
Natalie: I've never seen the Elders like this before. They're worried about what Eames is up to. Aren't you gonna change into your robes? The rules say...
Leo: I know the rules. I find my jeans more comfortable.
Natalie: That attitude scares me, Leo. I wouldn't be a good friend if I didn't tell you how concerned I am about the situation at the manor.
Leo: You haven't seen the Charmed Ones at their best. Trust me, they're talented witches.
Natalie: They're also sloppy, untrained, emotional...
Leo: And undisciplined, I know. That's part of what makes them great. They don't work by rote. They work on instinct, on passion.
Natalie: I'm all for instinct and passion, but they're too impulsive. They lead with their hearts, not their heads, and they're not the only ones.
Leo: You think I do too?
Natalie: I think it's clear that you love them.
Leo: Every Whitelighter loves their charges.
Natalie: Not the way that you do. Your feelings are clouding your ability to see their weaknesses.
Leo: Weaknesses? I think their record speaks for itself. They took out Belthazor, who took out the Triad.
Natalie: But Belthazor is a perfect example. He never should have gotten that close to them. I can't help but to think that your relationship with Piper...
Leo: Is none of your business.
Natalie: Actually, Leo, it is my business. The Elders want to know whether or not I think it's getting in the way of your job.
(Phoebe calls Leo from below.)
Leo: That's Phoebe. Rules say charges call take precedent.
(He orbs out.)
[Cut to Phoebe's bedroom.]
Phoebe: Leo!
(Leo orbs in.)
Leo: Sorry, Phoebe, I forgot that you needed to talk. What's up?
Phoebe: Okay, just so I'm clear, this is confidential, right? I mean, anything that I'm about to say to you just stays between me and you?
Leo: Absolutely.
Phoebe: And they don't get to know? And they're not eavesdropping or anything right now?
Leo: Phoebe, what is it?
Phoebe: You need to sit. (She sits him on her bed and she sits beside him.) Okay, here goes. Leo, Cole is alive.
Leo: What?
Phoebe: Cole... Belthazor, I didn't really vanquish him. I know. I know it's horrible, and I've barely been able to live with Prue and Piper ever since, but I just couldn't tell them.
Leo: Phoebe...
Phoebe: I couldn't k*ll him, Leo. I had every intention of doing it, but when I got there and I was face to face with him, I just, I couldn't k*ll him, and I knew that my sisters were going to.
Leo: So you faked his death?
Phoebe: I didn't have a choice. Leo, I knew in my heart that he would never try and hurt us. Otherwise, I wouldn't have let him go you have to believe me. All I know is that I loved Cole. And if anyone understands forbidden love it's you, isn't it?
Leo: Oh my god, Phoebe. It's not even close to being the same thing. He is a demon.
Phoebe: He's half-human.
Leo: For god sakes, he's a k*ller. He has k*lled witches and innocents and anything that has gotten in his way. What is the matter with you? What makes you think that he is not gonna come back here right now and try and k*ll all three of you?
Phoebe: He won't. I know he's good.
Leo: No, you hope that he's good. You want him to be good. Why did you even tell me this?
Phoebe: I don't know, Leo. I was sort of counting on you for your guidance and support.
Leo: Well, it's my guidance and support that got you into this mess. I don't know how to begin to fix this.
(Leo walks out of her room and doubles over in pain. He groans.)
Phoebe: Leo? Leo, what's the matter?
(She goes over to him.)
Leo: I don't know. Feels like a witch is being hurt. I can feel her pain.
Phoebe: Is it one of your charges?
Leo: No.
(Prue and Piper walk in.)
Piper: What happened?
Leo: She needs help.
[Cut to a park. Eames has just s*ab a witch.]
Eames: Of course I've could have k*lled you, but it's not your powers I'm after. I've set my sights a little higher. I'm looking for a few good Whitelighters. Well, actually, just one. That's all I'm missing now. And yours'll do just fine.
[Cut back to the manor.]
Piper: Why isn't her Whitelighter helping her?
Leo: I don't know, but I have to go to her.
(Leo starts to orb out.)
Prue: No, Leo, wait. I just realised, how could we have missed it? The only reason Eames would have k*lled a Darklighter is so that he can use the crossbow to k*ll a Whitelighter.
(Natalie orbs in.)
Natalie: She's right, Leo, it's a trap.
Leo: I don't understand. Why would he even want to k*ll a Whitelighter?
Natalie: To gain the power to orb up there, the only way in. Once there, he'd be able to decimate all Whitelighters.
Phoebe: And that would leave all their charges unprotected. He would be able to wipe out all witches everywhere, including us.
Prue: Sounds like a master plan to me.
Natalie: The Elders have instituted a lockdown and recalled all Whitelighters from Earth. Leo and I are the only ones who have retained the power to orb so we can help you stop Eames.
Leo: Must be why I feel her pain. If you could only feel it.
Natalie: I feel it but I won't be ruled by it. A Whitelighter who's controlled by his emotions is useless. The greater good must come first.
[Cut back to the park. The witch is lying on the ground in pain. Eames is near by waiting.]
Eames: Well, this is boring. What kind of lame Whitelighter do you have?
Witch: They must be on to you now.
Eames: I think you're right. Which means what? They'll send witches to try and stop me? Well, if witches come, can Whitelighters be far behind? After ten years of chasing a dream, the dream starts chasing me. Of course, you know there is a down side. I no longer have any use for you.
(He s*ab her again.)
[Cut back to the manor. Leo stumbles down the stairs.]
Piper: Leo!
Natalie: Leo, what is it?
Leo: He k*lled her.
Prue: What does your rule book say to do now?
Commercial Break
[Scene: Manor. Kitchen. Prue, Piper and Phoebe are there. Phoebe's making some coffee.]
Phoebe: I can't believe Natalie just let her die like that, we should have done something.
Piper: Like what?
Phoebe: I don't know. Something.
Prue: Yeah, but we need to figure out a way to stop Eames before he kills again. We should be working on a vanquishing spell.
Phoebe: It's gonna be a tricky spell, though. We have to counteract a lot of powers.
Piper: Plus, we need to do it fast, cause I don't like my boyfriend being one of the only two targets on Earth.
(The girls walk into the living room where Leo and Natalie are.)
Piper: We'd like to speak to Leo in private. So if you wouldn't mind going into another room?
Natalie: If it's work related, you can discuss it with me.
Prue: What do you mean?
Piper: Leo?
Leo: I asked Natalie to take over as your Whitelighter and she accepted.
Piper: What are you talking about?
Leo: Piper, nothing is more important to me than your safety, and my being here is putting all of your lives at risk.
Prue: Leo, you have done nothing but protect us.
Leo: You saw what happened upstairs. I would have rushed off to help that witch if you hadn't stopped me. Now I am supposed to be guiding you and you are guiding me.
Prue: Leo, we all make mistakes.
Leo: We can't afford to make them now.
Phoebe: Leo, if this is because of me...
(Prue and Piper look at her, confused.)
Leo: It isn't, Phoebe. It's because of me. Maybe Natalie's right. Maybe my feelings for you are clouding my ability to guide you, I don't know. But all I do know is that this is no time for self-doubt, not with Eames out there. (Leo walks over to Piper.) Piper, they want me to join in the lockdown. Until I return, I want you to do as Natalie asks. It's important for us.
(Leo and Piper kiss and he orbs out. Prue, Piper and Phoebe stare at Natalie.)
Natalie: I suggest you channel your anger toward the warlock you're meant to vanquish. Now, first...
Prue: Okay, could we just have a moment to process this, please?
Natalie: No. It's time you stopped focusing on yourselves and started focusing on Eames. You must prepare yourselves for battle. ment*lly, physically, sartorially.
Phoebe: I'm sorry, what?
Piper: She doesn't like our clothes.
Natalie: You need outfits that are loose and move. That means no more braless, strapless, fearless attire.
Prue: Okay, but then I have nothing to wear.
[Cut to an alley. Prue, Piper and Phoebe are stretching. Natalie's also stretching in front of them.]
Prue: Okay, tell me again why we're doing this?
Piper: Because one bad word from General Goody-Two-Shoes, and I'm not getting married.
Prue: That's a good reason, I guess.
(Natalie turns to face the girls.)
Natalie: Alright, let's get going. Defeating Eames will require split-second timing and flawless teamwork. I can't tell you what you'll be doing but I can tell you what you won't. You won't be winging it. You won't be hoping for the best. The will to win is the will to prepare to win. Do you understand me?
Piper: Uh-huh.
Phoebe: I'm sorry, I didn't quite get that last platitude.
Natalie: You think you're so tough because you took out Belthazor, don't you? Let me tell you something. You're only as good as your next vanquish. This alley is a neutral b*ttlefield. Our challenge is to fight Eames. Our primary goal is...
Piper: To win!
Natalie: No.
Piper: No.
Natalie: To get the crossbow. (She picks up a piece of wood.) A Darklighter's crossbow delivers arrows dipped in a poison that is lethal to Whitelighters. Get the crossbow, and the immediate thr*at is over. If you have the opportunity to vanquish Eames by all mean seize it. But keep your eyes on the prize. Alright, now let's pretend I'm the enemy.
Prue: Oh, that is way too easy.
(Phoebe claps her hands and Piper laughs.)
Natalie: Now talk me through how you plan to separate me from my crossbow.
Piper: Okay, first, I freeze you.
Natalie: I deflect that.
Phoebe: I guess I could levitate and kick you.
Natalie: You just kicked a clone.
Prue: Alright, how about I send in an astral Prue as a decoy and just, you know... (Prue uses her power and the piece of wood flies out of Natalie's hands.) Oh, I'm so sorry.
(Phoebe laughs.)
Natalie: Not as sorry as you would be if I just blinked behind you and s*ab you to death.
Prue: Well, that would be bad.
Piper: Ouch.
Phoebe: Alright, you know what? This is too hard usually in these situations, you know, everything happens so quickly, the adrenaline is pumping.
Natalie: I want you to think using your brains, not your glands. Now try again.
[Time lapse. Prue runs up a wall and flips over. Natalie taps her on the shoulder and she turns around. Phoebe levitates and Natalie spins her around in the air. She falls to the ground. Piper freezes lightning balls Natalie throws at her. She misses one and it shocks her.]
[Cut to P3. Prue, Piper and Phoebe are sitting at the bar writing a spell. Natalie is sitting at a table near by.]
Phoebe: Hey, if we don't vanquish Eames, can we at least vanquish Natalie?
Piper: Don't tempt me.
Prue: Alright, I've got the cloning portion of the vanquishing spell done.
Piper: I'm almost there with the transmogrification.
Phoebe: Mine came out a little country western. "I'm rejectin' your deflection."
Piper: Well, it works for me, but you have to get it past you-know-who.
Phoebe: You know, Leo never had to approve our spells. He trusted us.
Prue: Yeah, but she said that she needs to hear it.
Phoebe: You know what? What she needs none of us can give her, alright?
Prue: Alright, still, but personal feelings aside, you kinda have to admire her professionally, you know? She's very dedicated.
Piper: Yeah, but she's not Leo.
(Natalie walks over to them.)
Natalie: How's that spell coming along?
Phoebe: Great. All done.
Natalie: Good.
Phoebe: Here you go.
(Phoebe hands her a piece of paper and she reads it.)
Natalie: Okay, let's nail this warlock.
Prue: Alright, I'll start scrying for his location.
Natalie: No need. I've been working on a new plan, one that would allow us to fight on our turf, not his.
Piper: Make him come to us? How?
Natalie: What he wants is what you've got.
Prue: You're gonna use yourself as bait.
Natalie: If I orb in somewhere unprotected, Eames should be able to track me with his Darklighter powers. With the three of you in position, as soon as Eames shows up, I orb out. The advantage is all ours.
Piper: Nope. We can't let you do that. It's too dangerous.
Natalie: I appreciate your concern.
Piper: My concern is not for you, at least not just for you. My concern is if you fail...
Natalie: I won't fail. I've gone over every permutation. So long as we follow the rules, we'll succeed.
[Scene: Park. The d*ad witch is still laying there. Prue, Piper and Phoebe are hiding behind some bushes. Natalie orbs in. Eames blinks in.]
Natalie: Now!
(Eames tries to sh**t Natalie with the crossbow but she orbs out. Prue uses her power to knock the bow out of his hands. Eames disappears.)
Phoebe: Clone!
Prue: Alright, be ready with the spell. He could be anywhere. Get the crossbow.
(Piper picks up the crossbow.)
Phoebe: Wait, where is he? Why isn't he fighting back?
Piper: Maybe because we got the crossbow?
Prue: No. Something doesn't feel right. This was way too easy.
Phoebe: And even worse, anticlimactic.
Piper: Well, who cares? We got the crossbow. Let's go.
(They leave.)
[Cut to the manor. Natalie is waiting in the foyer. Prue, Piper and Phoebe walk in.]
Natalie: Did you get it?
Piper: We got it.
(Piper hands Natalie the crossbow.)
Prue: Yeah, but we didn't get Eames.
Natalie: That's alright, he wasn't our primary goal. You've done well.
Prue: I don't know. I think he gave up too easily.
Natalie: Maybe you were just prepared and he wasn't. It was our setting, our timing, our plan to execute.
Phoebe: Yeah, but we didn't get a chance to execute it.
Natalie: We got what we wanted and no one got hurt. This is what happens when Whitelighters and witches work hard together. And thanks to you, they'll get a chance to do a lot more of it. I'll bring this up there.
Piper: Uh, does that mean Leo gets to come back?
Natalie: That's not my call. I'll see you later. (pause) So Eames didn't fight at all?
Prue: Not at all. I flung, he fled.
Natalie: Did you wait for him? Look for him?
Phoebe: No, we were playing by the rules.
Piper: And we grabbed the crossbow, just like you said.
Natalie: The crossbow...
(The crossbow changes into Eames. He grabs Natalie. Prue uses her power on him and he deflects it, sending her flying. Piper tries to freeze him and he deflects it, sending her to the floor.)
Eames: She was right. Way too easy.
(He s*ab Natalie with an arrow.)
Piper: No!
(He blinks out of the room with Natalie.)
Commercial Break
[Scene: Manor. Living room. Prue, Piper and Phoebe are there.]
Piper: We followed the stupid rules and look what happened.
Phoebe: I hate rules.
Prue: I knew something was wrong. Why didn't I trust my instincts?
Piper: None of us did, but I am going to now. Leo!
Prue, Piper, Phoebe: Leo!
(Leo orbs in.)
Piper: Okay, look, we-we did everything she asked. I swear.
Leo: I know, I was watching. I wasn't supposed to, but enough said.
Phoebe: We're through playing by the rules, you know.
Prue: Alright, now we need to stop Eames.
Leo: Well, I know from experience Darklighter poison doesn't k*ll immediately, so there's still a window of opportunity.
Prue: Great. So we need a plan. What are our options?
Leo: There's only one. It breaks the rules big time.
Piper: You mean...
Leo: Uh-huh.
Piper: And we...
Leo: Yep.
Piper: And that will...
Leo: I hope.
(Prue and Phoebe look at each other, confused.)
[Cut to an alley. Eames and Natalie are there. Natalie's lying on the ground.]
Eames: You think dying would be easier the second time around, but it sure doesn't look like it. It's useless to fight the poison. Don't you know death is just the beginning? In this case, of a lot more death. How's it feel to know that you will be responsible for the end of Whitelighters and witches alike? The end of good. Do I hear someone coming? No. But I hear someone going.
(He pushes the arrow in Natalie and kills her. He takes her powers. He orbs up into the white misty place. Whitelighters, in their robes, are standing near by. He sh**t the crossbow at one, which is really Prue, and she deflects the arrow with her power. Piper, also disguised as one, freezes the arrow in mid-air. Prue, Piper and Phoebe show their faces. Phoebe kicks him and the arrow s*ab him in the back.)
Eames: What the hell are you doing up here?
Phoebe: Kicking your ass.
Prue: Don't even bother trying to orb out, it won't work. You see, you didn't just get the powers of a Whitelighter, but you get their vulnerability too, so the poison in that arrow is k*lling you just like you k*lled Natalie.
Piper: It's kind of poetic.
Phoebe: I'm kind of in a rhyming mood. How about you, girls?
Prue: Sure. This poison isn't working fast enough for me.
Prue, Piper, Phoebe: "Time for amends and a victim's revenge..."
Prue: "Cloning power, turn sour..."
Piper: "Power to change, turn to strange..."
Phoebe: "I'm rejectin' your deflection." (Eames burns and disappears.) Wow. It worked.
Prue: Nothing anticlimactic about that.
(Phoebe laughs. A Whitelighter approaches them.)
Piper: Uh-oh. Here comes one.
(Leo shows his face.)
Leo: You made your Whitelighter proud.
Phoebe: Thanks, but we were just winging it.
Leo: Well, whatever you did it worked.
Piper: Well, not as well as we would've liked. I'm sorry we couldn't save Natalie.
Leo: I know, me too. But she died for the greater good. I know she would've made that choice herself.
Phoebe: Although, I don't think that she would have been to keen on us orbing up here.
Leo: Which is why we got to get out of here before we all get in trouble.
Prue: I, okay, wait a second. No 5-cent tour? No meet the Elders?
Leo: We're going.
Prue: Leo!
Piper: It doesn't matter. It's not like we get to remember it anyway.
Leo: You will this time.
Piper: Oh.
[Scene: Box is playing. Piper and Phoebe are sitting in the alcove. Prue comes up to them.]
Prue: I just checked the messages at home and Reece called. Said he needs to talk to you about the case.
Phoebe: Really? Did he say it was urgent?
Prue: Well, what could be urgent about the case?
Phoebe: Nothing. Actually, I can't think of anything that would be urgent.
Piper: I can. I urgently want Leo to walk into this bar. He's been up there a really long time and I'm starting to get worried. I don't understand how they can be mad at him after we saved their butts.
Phoebe: Well, he broke some pretty big rules while doing it.
Piper: Yeah, well, if they hold that against him, I'm crossing over to the other side.
Prue: Ditto.
Phoebe: Yeah. Ditto.
Piper: I've gotta get back to work.
(Piper walks away.)
Prue: Alright, so what's in that head of yours.
Phoebe: Nothing. You know that.
Prue: Don't joke. Phoebe, if you wanna talk about it, I'm here. I just wanna help.
Phoebe: Um, I was just worried about Leo too, you know.
(Leo is near by looking around. He spots Prue and Phoebe.)
Prue: I'll go get Piper.
(Prue walks away. Leo comes up to Phoebe and sits down.)
Leo: Hey.
Phoebe: Hi.
Leo: How you doing?
Phoebe: Oh, I'm great. Actually, I'm lying. I'm awful. Um, I am so sorry that I am such a screw-up.
Leo: Hey, hey, I'm the one who should be apologising. I let you down. I should have been watching more carefully. It won't happen again, okay.
(Prue and Piper come back over.)
Piper: Hey, hey, hey. What took so long? What happened?
Leo: I have some news.
Piper: Okay.
Leo: Well, obviously, they found out that you've been up there, so they decided to review the facts of the Natalie's situation. And they unanimously decided to lift probation.
Piper: What?
Leo: Piper, we're officially engaged.
(Prue gets excited and hugs Piper.)
Prue: That's so great.
(Phoebe hugs Leo, then Prue hugs Phoebe. Piper and Leo hug while Prue and Phoebe look on, smiling.)
End | {"type": "series", "show": "Charmed", "episode": "03x11 - Blinded by the Whitelighter"} | foreverdreaming |
[Scene: Police Station. Darryl and Mr. Chang are in a room. Darryl places a cup of coffee on the table.]
Mr. Chang: I don't get it. Who'd want to k*ll me?
Darryl: We're not sure, but our sources believe your life is in danger. Protective custody-
Mr. Chang: Our sources? What is this? Government surveillance, you have people watching me?
Darryl: Mr. Chang, your picture was in the Metro section today.
Mr. Chang: Because I planted some trees.
Darryl: Mr. Chang, there were four brutal m*rder in the last week. Where the only common denominator is the victims picture was in the Metro section the day that they died.
Mr. Chang: The mayor's in Metro today. You guys harassing him?
Darryl: Mr. Chang, I'm trying to help you.
Mr. Chang: I don't have any money, I don't have any enemies. Why would anyone wanna k*ll me? This is crazy.
[Cut to outside the room. Prue, Piper and Phoebe are there.]
Prue: Alright, what do we do if Darryl can't convince him to lay low?
Phoebe: Oh, well, we follow him and if a demon att*cks we kick some wiccan ass.
Piper: Look who's back and badder than ever.
Phoebe: It feels good to be back. It's the best way to put this whole Cole thing behind me.
Prue: Well, that's quite a turn around.
Phoebe: What do you mean?
Prue: Well, it's just that, I mean, you know, up until last week you were kinda quiet and not really interested in things demonic, and now...
Phoebe: I am back. Bad guys beware.
Piper: And too bad we don't know who the bad guy is.
Phoebe: Yeah, well, at least we know who his next victim is.
(Darryl and Mr. Chang walk out of the room. Darryl goes over to the girls.)
Prue: Hey.
Darryl: Hey.
Prue: So did you get anything out of him?
Darryl: Just a migraine. That's about it.
Piper: So, what, you're just gonna let him go?
Darryl: I don't have a choice. He declined protection. Phoebe, are you sure he's the guy that you saw get att*cked in your premonition?
Phoebe: Oh, yeah, and it happened at night too, so we can't just let him go.
(Mr. Chang leaves the station.)
Prue: Alright, then we need to split up in teams. First one to see a demon yells vanquish, okay. Come on. (Prue and Darryl follow Mr. Chang out in the alley. He walks over to his motor bike.) Ugh, innocents and alleys. Don't they ever learn?
Darryl: Yeah, I know. Come on.
(Mr. Chang fiddles with something on his bike. A guy comes around the corner and throws a fireball at Mr. Chang. Prue uses her power and moves it away from him.)
Mr. Chang: What the hell?
(Prue uses her power on the demon. Prue stops and he runs away.)
Darryl What happened? Why did you let him get away?
Prue: I know that demon. I dated that demon. Huh.
Opening Credits
[Scene: Manor. Conservatory. Phoebe and Darryl are sitting at the table. Phoebe's looking through the Book of Shadows. Piper's watering the plants.]
Darryl: I think they're lost, Piper. d*ad.
Piper: No, they're not completely.
Phoebe: She waters when she's nervous.
Darryl: There's nothing to be nervous about. Mr. Chang's in protective custody.
Piper: No, it-it's not him. It's the whole 'my boyfriend is a demon' thing. It kind of hits a nerve with all of us, and obviously I'm not that upset because I'm with Leo, who obviously is not...
Phoebe: Piper also babbles when she's nervous.
Piper: I resent that. I am expressing a valid concern about this continuing issue in our lives.
(Prue walks in holding a year book.)
Prue: What are you babbling about?
(Phoebe laughs.)
Piper: You know, if I could freeze the two of you, I would, often.
(Prue opens the year book to a picture of the demon.)
Prue: Alright, so here's the demon that we're looking for, or at least who he used to be. Tom Peters.
Phoebe: Wait, I didn't know you dated the captain of the college football team. How suburban.
Prue: Yeah, he was a great guy.
Darryl: I remember Peters. He blew out his knee three weeks into his rookie year. About five, six years ago.
Prue: Leo!
Darryl: Rumours about gambling debts and that whole scene. He's also a missing persons. It never got closed. He just kind of disappeared.
Phoebe: More like went underground.
Prue: I wonder if his mum still lives in town. Leo!
(Prue walks out of the room.)
Darryl: A woman on a mission?
Phoebe: Mmm hmm.
Piper: I guess the captain of the football team was a bigger deal than we ever knew. (Piper, Phoebe and Darryl go into the kitchen where Prue is.) Uh, Prue, are you sure we should pursue this?
Prue: Ask Phoebe. It was her premonition. Alright, where on earth is... (Leo orbs in.) Leo, what took you so long?
Leo: Hi. (Piper and Leo kiss.) I had... have a situation.
Piper: Uh-oh, you mean and us situation or a you situation? Oh, don't tell me they've changed their minds about us getting married because if that is the case, then you can just orb me up there right now and...
Phoebe: Babbling.
Leo: It has nothing to do with them. It has to do with me. I sorta kinda lost the wedding ring.
Darryl: Got a great ring guy down town if you need one.
Piper: He doesn't need one, he has a ring. Mum's ring. I gave it to him so he could give it back to meat the perfect romantic moment.
Phoebe: Wow, Leo, you lost mum's ring. It's a good thing you're d*ad already.
Leo: I had it in my pocket, Piper. All the orbing in and out...
Piper: Your orbs are grass if you do not find that ring.
Prue: Alright, hi. Before blood is spilled, can I just ask a business question? Is it possible to turn a human into a demon?
Leo: Well, there's rumours, stories about demons recruiting humans.
Phoebe: So join the evil and see the underworld?
Leo: Kind of. Apparently the demons go after humans in need and strike your classic Faustian deal, but then the humans are forced into this training academy. A program that destroys their humanity.
Piper: And turns them into demons.
Leo: Right, and when the recruits graduate, they have to k*ll an innocent to seal the demonic conversion permanently.
Darryl: It's like g*ng initiation. You go out and k*ll the first person that you see and you're in the g*ng.
Phoebe: Well, that explains your four random killings. Maybe it's graduation time at the academy.
Prue: Well, if it is, Tom is one human they're not going to demonize.
Phoebe: Prue, how do you know we're not too late? I mean, if we didn't get there on time and stop him...
Prue: He would have k*lled an innocent and then it would have been too late, but we did stop him, so now we still have time to save him. Alright, I'm going to talk to Tom's mother, see if she knows anything. Maybe you guys could come up with, like a spell to find him or something.
[Scene: Kellman's office. Kellman and a guy are there.]
Guy: Mr. Kellman, I swear I can make this right, I swear it.
Kellman: I was clear, wasn't I? I make your problems go away and you owe me. Now, did you forget about the last part of the deal?
Guy: I-I can pay you back. I just need more time.
Kellman: More time? You don't have any more time. Your debt is due and payable now.
Guy: Please, I'll do anything.
(Kellman makes an elevator appear.)
Kellman: Oh, yes you will. Come on. (Kellman pushes the guy in the elevator and it goes down. The elevator disappears. Kellman turns to Tom.) Now I don't have to go over all this again with you too, Tom, do I?
Tom: Temporary setback, Mr. Kellman. It won't happen again.
Kellman: You know, you're not the only one exposed here. You got a contract with me and I got a contract with the Source. Five full graduates by tomorrow night. Now, all the others have made their kills. What's the problem?
Tom: A witch intervened.
Kellman: What? A witch? How the hell did that happen?
Tom: I don't know, but I wasn't followed. I used every safeguard I learned in the academy.
Kellman: Well, she must be tracking the innocent. We'll have to get you another one, but we're running out of time here. (He picks up the newspaper.) Just k*ll this one, but do it fast or else there'll be hell to pay.
Commercial Break
[Scene: Manor. Kitchen. Phoebe and Leo are there.]
Leo: Phoebe.
Phoebe: I don't want to talk about it.
Leo: You have to tell them, Phoebe. You can't wait any longer.
Phoebe: Well, it's not really an easy thing to drop into conversation, Leo. You know, like, "Your hair looks great. Cole's not d*ad. I let him go."
Leo: Confession is good for the soul.
Phoebe: Yeah, well, how about we skip the confession part and go straight to penance? Okay, I will be such a force for good, the bad guys won't know what him them.
Leo: You can't pretend it didn't happen, Phoebe.
Phoebe: Yeah, and I can't change the fact that it did, Leo. So if you will excuse me, I have a demon to vanquish, and you have a ring to find. (Phoebe walks in the living room carrying the Book of Shadows. Piper's there watering the plants.) Scrying for witches, a spell to find lost love, but there's nothing in here about how to find a demon.
Piper: Oh, well, probably because they usually find us.
Phoebe: Well, there's got to be away.
Piper: If there is, Prue's gonna have to find it. Um, was there anything in there, you know, to help Leo find my ring?
Phoebe: Piper, we can't just give up. We have to find this demon before it kills somebody.
Piper: Okay, well, do you got a spell?
Phoebe: Maybe.
[Time lapse. Phoebe's in her room, reaching under her bed. She pulls out box and sits on her bed. She opens it up and pulls out a piece of paper. Piper walks in.]
Piper: I'm afraid to ask.
Phoebe: Just something that I thought that I needed and then decided that I didn't.
(Piper takes the piece of paper off of Phoebe and reads it.)
Piper: Okay.
Phoebe: It's a lost and found spell.
Piper: Wow, perfect timing. Do I want to know what you were trying to find?
Phoebe: Cole.
Piper: Cole? Honey, you were trying to bring a demon back from the d*ad?
Phoebe: No. He's still alive. I never really vanquished him.
Piper: I'm sorry...
Phoebe: It's over, he's not coming back and I don't want him to either.
Piper: Phoebe, you-you let him go? Are you out of your mind?
Phoebe: He's not after us anymore. He won't hurt us.
Piper: No, you-you don't know that.
Phoebe: Yes, I do. Piper, I just, I couldn't k*ll him.
Piper: Phoebe, you lied to us.
Phoebe: I know, I'm sorry.
Piper: So this is where this new wonder woman attitude comes from? A guilty conscience?
Phoebe: No... well, maybe. I don't know.
Piper: You have to tell Prue.
Phoebe: Hmm, she won't understand.
Piper: Yeah, well, she's not the only one.
[Scene: Tom Peters' place. Prue is there talking to his mother.]
Mrs. Peters: He was so fast. His coach said he could have run track too, but all Tom cares about is football.
Prue: I am sorry that we lost touch but, um, what happened after he got hurt?
Mrs. Peters: He was depressed. I understood.
Prue: So the stories that I heard about his being in trouble...
Mrs. Peters: The gambling rumours? Don't believe a word of it. No one over came to me looking for money and Mr. Kellman would have told me if there was a problem.
Prue: Mr. Kellman?
Mrs. Peters: His business manager. He took such good care of Tom, and he was a wonderful help to me after Tom went away.
Prue: Mrs. Peters, what do you think happened?
Mrs. Peters: I think Tom has some things to take care of and he'll be home when he can. I know it in my heart. My son's a good man.
[Cut to the manor. Phoebe and Piper are sitting at a table. Phoebe lights a candle. Piper is holding onto a crystal.]
Piper, Phoebe: "Guiding spirits I ask your charity, lend me your focus and clarity, (Prue walks in) lead me to the one I cannot find, restore that and my piece of mind."
Prue: Hey, what's all this?
(Phoebe blows out the candle.)
Phoebe: Oh, we were just looking for Tom. You know, with a little spell that we created.
Piper: You created.
Phoebe: Wow, you came up with the whole ritual that fast?
Piper: Actually, not as fast as you would think.
(Phoebe kicks Piper under the table.)
Prue: Well, thank you. I really appreciate you guys doing this for me.
Piper: She didn't exactly do it for you.
Phoebe: Okay, what did Tom's mother say?
Prue: Poor lady. She talks about him like he's been gone a week as opposed to six years and she actually think he's coming back.
Piper: Based on...
Prue: Faith, and I would like to prove her right.
Phoebe: Well, we're doing everything we can.
Prue: Yeah, and you know what? We have saved bad boys before. I mean, what about the priest with the warlock brothers?
Piper: Yeah, but Prue, he wanted to be saved. Can you guarantee that about Tom or any other demon-human mix...
Phoebe: This is not about Cole, okay? That's a whole other subject.
Piper: One worth discussing.
Prue: Am I missing something here?
Piper: Yes...
Phoebe: Yes, actually, we are missing Tom and he's someone we should probably continue talking about. So if this spell works and we actually find him, what do we do? Do we vanquish him?
Prue: Well, I'm hoping that it won't come to that.
Phoebe: Yeah, but what if it does, Prue?
(They hear a bang at the door.)
Prue: What was that?
Phoebe: You changing the subject.
(They go into the foyer and open the front door. Prue picks up the newspaper.)
Prue: Huh, alright, since when did they start delivering newspapers in the afternoon?
(They flip through the paper and notice all the pictures are missing.)
Piper: Since they started taking out all the pictures.
Phoebe: Wow, it's a pretty cool spell if I do say so myself.
Prue: Yeah, except what is it telling us?
(Phoebe turns to the Metro section and sees a picture of a woman.)
Phoebe: Oh, that. "Claudia Gibson will discuss the mayor's position on Net News Live today at 2:00." Which is ten minutes ago.
(Phoebe goes inside.)
Piper: Hmm? Our next victim?
Prue: As in Tom's next victim.
(Phoebe comes out with the car keys.)
Phoebe: Keys.
Prue: Thanks. Come on.
[Scene: Outside a building. Claudia walks towards her car. Tom follows her from behind. Prue, Piper and Phoebe pull up near by and gets out of the car. Tom throws a fireball at Claudia but Piper freezes it before it can h*t her. They run over to them.]
Piper: Well, we didn't bring a vanquish, but if we throw him into the street that might do the trick.
Prue: We are not gonna vanquish him.
Phoebe: Prue, he almost k*lled that woman.
Prue: Almost, but didn't. (Prue uses her power and the fireball hits a car.) Alright, we need to get him home.
Phoebe: Wha-- our home? You're voluntarily bringing a demon back to our home?
Commercial Break
[Scene: Manor. Attic. Prue's looking through the Book of Shadows. Tom is tied to a chair and is struggling to get free. Piper and Phoebe walk in and Piper freezes him.]
Piper: Did you find anything yet?
Prue: Not yet.
Piper: Well, while we're waiting this would be a good time to discuss something.
(The phone rings downstairs.)
Phoebe: Oh, phone. Piper'll get it.
Piper: Nope. Machine, remember?
Prue: Leo was right.
Phoebe: About what?
Prue: About the demonic training academy. It's right here in the Book.
Phoebe: Oh, really?
Prue: "A brutal training program which destroys humanity and renders the subject demonic." Alright, so if Tom is completely demonic, he'll have a brand on his arm with six chevrons.
(Piper pulls up Tom's sleeve and reveals five chevrons.)
Piper: He's only got five.
Prue: Good, that means he's not fully converted.
Phoebe: We better vanquish him while we can.
Prue: You know, when Cole was the hybrid in question, you were all about saving him.
Piper: Excellent point.
Phoebe: Yes, well, I learned from my mistake.
Piper: And which mistake was that?
Phoebe: Believing that I could save a demon.
Prue: Hmm. Well, like I said before, this is different. (Tom unfreezes. Prue walks over to him.) Tom, look at me. Do you remember me from college?
(He throws a fireball.)
Piper: Hmm, does that mean he remembers you or he doesn't? (The doorbell rings.) What is going on down there?
Prue: Why don't you guys go and find out?
Phoebe: And leave you alone with him?
Prue: I can handle him, it's okay.
(Piper and Phoebe leave the attic.)
[Cut to the foyer. Phoebe opens the door.]
Darryl: Got Tom's file.
Phoebe: We got Tom.
(A white dog runs inside and goes in the living room.)
Piper: Rasputin! Get off the... get... Rasputin?
Darryl: You got a dog?
Phoebe: No, that's our Grams' dog, and he's been lost for...
Piper: Seven years, Phoebe.
Phoebe: Okay, so there's one small side effect. We can handle that.
(The phone continues to ring.)
Piper: Why is the answering machine not picking up?
(Piper goes into another room.)
Phoebe: I cast a little spell.
Darryl: The less I know, the happier I am.
[Cut to the kitchen. Piper answers the phone.]
Piper: Hello? An old friend of Prue's. Okay, let me get a pencil. Aah! (She opens a drawer and dozens of pencils fall out onto the floor. She sees her ring on the floor.) Oh my god, oh my god, oh my... oh, call back again soon.
(Phoebe walks in. She has her brown hair back.)
Phoebe: What is it? What did you find?
Piper: Lost friends, mum's ring, and your brown hair. Oh, yeah, mm-hmm.
(Phoebe looks at herself in a tray and quickly puts it back down.)
Phoebe: I did not want my brown hair back, I wanted to keep that lost.
Darryl: You were blonde when you answered the door. How'd it change?
Phoebe: Well, it must be because I coloured my hair in that sink. So technically I lost it there and now I've found it again. I hope this doesn't affect my virginity.
Piper: Wait, so everything is coming back to where it was lost? That means you lost your... oh!
(Hundreds of socks fall out of the laundry room.)
Phoebe: Okay, so it's a big side effect.
Piper: Those better be clean. If not, it's laundry day for you, missy.
[Cut back up to the attic.]
Tom: You don't scare me. I've been trained to deal with witches.
Prue: I'd forgotten how proud you were when we knew each other.
Tom: I've forgotten you completely.
Prue: You don't want to tell me what happened because you don't want to admit how badly you screwed up.
Tom: I didn't.
Prue: It's obvious. While you were still human, you were stupid enough to enter into some demonic contract.
Tom: I was never human.
Prue: You had to have been. Otherwise, you wouldn't have made it into the academy. Yes, I know about the academy. I know about the chevrons. I also know that you haven't k*lled your innocent, yet.
Tom: I will.
Prue: You'll have to get past me first.
Tom: Kellman'll k*ll us both if I don't.
Prue: Kellman. Tom, I know who you are, the person that you were, alright, and I know that somewhere in there it still exists. Look, Tom. (Prue shows him the yearbook.) This is who you are, alright? This is who your mother is waiting for.
Tom: Vanquish me, or I will k*ll you, witch.
Prue: Neither is going to happen, alright? I am going to save you from yourself whether you like it or not.
(She loosens the ropes with her power. She walks out of the attic.)
[Cut to the kitchen. Prue walks in. The room is full of stuff.]
Prue: Okay, so I think I have an idea of how to... whoa.
Phoebe: My lost and found spell's a little too enthusiastic.
Piper: We're finding stuff all over the house. It's endless.
Darryl: I don't mean to sound paranoid, but after all these years I think I've earned that right. How do you know your spell is not gonna find demons that you're already vanquished?
Piper: Oh, you mean like Belthazor.
Prue: Okay, one demon at a time. Did you get anything on Tom?
Darryl: Just a missing persons file.
(Darryl hands her the file.)
Prue: Alright, anything on a man named Kellman?
(They hear a door close.)
Piper: What was that?
Prue: That would be Tom escaping.
Phoebe: What?
Prue: Yeah, I loosened his ropes. I'm hoping to track him down to the demon that turned him, break him, break his hold on Tom. Anything that you can get me on Kellman I'd appreciate, okay?
Phoebe: Alright, I guess we're going now.
Piper: Shouldn't we reverse the spell first?
(The girls leave the kitchen. The wind blows through the kitchen and freaks Darryl out.)
[Scene: A building. Tom is making his way to Kellman's office. Prue, Piper and Phoebe are following behind. Tom walks inside his office.]
Prue: Alright, you ready?
Phoebe: Ready for what?
Prue: To save him.
(Prue, Piper and Phoebe walk into Kellman's office. No one's there.)
Phoebe: Where'd he go?
Prue: Doesn't make any sense. If he could vanish, he would have done it before.
Piper: I got a bad feeling about this.
[Cut to the underground. Tom gets out of the elevator and walks over to Kellman.]
Tom: I have good news, Mr. Kellman.
Kellman: You k*lled the innocent.
Tom: Better. I can deliver you three witches.
Kellman: Witches? I don't care about witches. I care about deadlines. Yours and mine. You know, if I weren't running out of time, I'd have you drum... (Kellman leans over and sniffs Tom.) Is that humanity I'm sensing from you? Huh? Now how did that come back? That was supposed to be drummed out of you by now. You need a refresher course.
(Lights comes on around a wrestling ring. Two demons take Tom away.)
[Cut back to Kellman's office. Piper picks up a soccer ball.]
Piper: This is weird. So Kellman poses as a human and then what? Gives athletes a way out of their problems?
Phoebe: Yeah, a demonic way out.
Prue: Alright, what about your lost and found spell? Do you think you could rewrite it to find Tom?
Phoebe: Maybe. Uh, how about, "Show me the past that I cannot find, to save Tom and restore Prue's piece of mind."
(The elevator appears.)
Piper: Oh, whoa.
Prue: Way to go, Pheebs.
[Cut to the underground. A guy and a really large wrestler are in the ring. The wrestler starts throwing the guy around.]
[Cut back to the office. Prue, Piper and Phoebe are standing in the elevator.]
Piper: Remind me again why we are doing this.
Phoebe: Because your sisters have a thing for saving bad boys.
Piper: If I die before I get married, I'm gonna be really mad at the two of you.
(They get on the elevator and it goes down to the underground. The doors open.)
Phoebe: Oh god.
Piper: Okay, I'd still like to point out that I have a really bad feeling about this. (They walk out of the elevator and see them wrestling.) What the...?
Phoebe: Oh, no.
Wrestler: I'm the man!
(The wrestler holds the guy on the mat and a hole opens up beneath him. The guy falls into the flames.)
Kellman: Next!
(Tom goes in the ring.)
Prue: Tom.
Commercial Break
[Scene: Continued from before.]
Prue: Tom.
(Prue starts to walk over but Phoebe and Piper stop her.)
Piper: Hey, hey, hey, hey!
Phoebe: Whoa!
Piper: Are you nuts?
Phoebe: Maybe we need to go back up top and rethink this whole thing.
Prue: Oh, well, you know what, Phoebe? That would be such a great plan if Tom weren't seconds away from annihilation.
Phoebe: Okay, so we're supposed to risk our lives to save a demon? Of course, it's okay now that it's your demon, right?
Piper: The thing is, isn't it silly for the three of us to sacrifice ourselves for one guy, whatever kind of guy he was?
Prue: Alright, what kind of witches would we be if we started playing the odds, if we started picking and choosing our innocents? I mean, this is what we do, isn't it?
Phoebe: Then let's do it.
Prue: Okay.
Piper: But...
Prue: Tom!
(The men start to run over to them and Piper freezes them all but Kellman, Tom and the wrestler. Kellman makes a ball with three sharp blades sticking out of it hover near Tom.)
Kellman: Your little parlour tricks may work on some of the newer boys but the rest of us will be a little tougher.
(He pulls up his sleeve to reveal eight chevrons on his arm.)
[Cut to the police station. Darryl's in a room looking through a file cabinet. Leo orbs in. Darryl quickly shuts the door.]
Darryl: Man, you can't do that around here!
Leo: I can't sense the girls anywhere, which is never good. Do you know where they might be?
Darryl: They were tailing their demon, hoping he would lead them to his... bigger demon.
Leo: Do you know who that is?
Darryl: Prue asked me to check a manager named Kellman. He paid all of Tom's bills after he disappeared, but...
Leo: He could be a recruiter. Do you have an address?
(Darryl hands Leo a file.)
Darryl: Do you think Kellman's a demon? Well, what kind of powers do you think we should expect? (Leo looks at the file and orbs out.) Oh, see, okay, now that ain't right.
[Cut back to the underground.]
Kellman: You girls are way out of your league down here. You have no idea.
Prue: Well, we know that you have a deadline, Mr. Kellman. Time to deliver your recruits?
Kellman: And you think you can stop me, hmm? Think you can save him? I kind of admire that level of arrogance.
Prue: Thanks. We kind of like to think of it as confidence.
Kellman: Well, get over it. He's lost.
Tom: I made a deal. I stand by it.
(The sharp ball disappears. Tom gets out of the ring and stands next to Kellman.)
Kellman: Now, you see that? Now, that's what I call a quick recovery, huh? Knocked the humanity right out of him and we got a perfect k*ll for him too.
Piper: Uh, not if we put him on ice. (Piper freezes him.) Kind of hard to make him k*ll an innocent now, huh?
Kellman: Unfreeze him.
Piper: Nope.
(Kellman walks towards Piper.)
Piper: Ah! If anything happens to me, he's gonna stay that way.
Phoebe: (whispers) Is that true?
Piper: (whispers) Yes.
Kellman: You're bluffing.
Prue: Are we?
Kellman: I'm listening.
Prue: Alright, how about three witches in exchange for Tom's soul?
Phoebe: Prue!
Prue: If we win, we get Tom back. If we lose, you get Tom and the three of us. Risk one to gain four.
Kellman: You really think you can win in the ring?
Prue: Well, you know, we don't really have much of a choice. But if we do win, we don't go into the training program. We go free.
Kellman: Did your homework. Okay, you got a deal. You win, you go free. But if you lose, you die. I can't control what happens in the ring, only the source can.
Prue: Understood.
(Prue, Piper and Phoebe move away and take off their coats.)
Piper: Hey, you that bad feeling I was talking about? It's getting stronger.
Prue: Alright, you need to stay here and keep Tom frozen, okay?
Piper: I hate this crappy freezing power!
Prue: Okay, our powers seem to have a limited effect on these guys. So we're gonna have to outmaneuver them.
Phoebe: And outsmart them and keep our shoulders off the mat. Piece of cake.
Prue: So I guess we're as ready as we're ever gonna be.
Phoebe: Uh, Prue, there's one more thing.
Piper: Now? Now is your perfect moment?
Phoebe: Piper, we might die in there.
Piper: That doesn't mean you should tell her now.
Prue: Okay, tell me what?
Phoebe: Cole is still alive. I never really vanquished him.
Prue: What?
Kellman: By the way, since you're witches, I think it's only fair that I even the playing field.
(Two very large wrestlers come out.)
Wrestler #2: (yelling) You look at this face! This is the face of pain and I'm the bringer of pain! And I'm gonna destroy you! You can cry for mercy but I don't know the meaning of the word!
Prue: Alright, and people think this is entertainment.
Phoebe: Prue...
(Phoebe touches Prue's arm and she pulls away.)
Prue: Ooh!
Phoebe: Are we okay?
Prue: Not by a long sh*t. Look, Phoebe, it you waited till now to tell me about Cole in hopes that we would die and you wouldn't have to deal with me, you have another thing coming.
(Prue walk away.)
Phoebe: (to Piper) I think that went well.
(Prue and Phoebe go into the ring.)
Prue: Alright, I am going to win this fight and save your ass. That way I can kick it myself later.
Phoebe: Hi.
Piper: Oh boy, oh boy.
(Prue jumps up and kicks both of the wrestlers in the head.)
Phoebe: Wow.
(They all start fighting.)
Piper: Okay, oh god, oh god, come on, do something! Get angry! Focus! Get motivated! Prue, listen to me. She lied to you big time. Big time lied to you. Come on, get angry! Come on, or else we're in big deep. Phoebe, she thinks you're a weakling, like, big time sucker for love. Oh god!
(Kellman puts the sharp ball in Piper's back. She falls to the floor. Everyone unfreezes.)
Prue: Piper!
Kellman: Called your bluff.
Phoebe: Piper!
(The wrestlers continue to b*at up Prue and Phoebe.)
Kellman: (to Tom) Let's go see how mum's doing, shall we? Clever. Yeah, baby.
(One of the wrestlers holds Phoebe down on the mat. The hole starts to open.)
Phoebe: No! Aah, Prue!
Commercial Break
[Scene: Underground. Continued from before. Prue kicks both the wrestlers and helps Phoebe up.]
Phoebe: Thank you.
Prue: Alright, we have to save Piper.
Phoebe: How do we do that?
Prue: By kicking ass. (They kick the wrestlers in the head and they fall on the mat. Prue and Phoebe hold the wrestlers down. The hold starts to open.) Alright, 1, 2, 3.
(Prue and Phoebe move out of the way and the wrestlers fall down the hole. Prue and Phoebe run over to Piper.)
Prue: Anyone else want a piece of this?
(The demons run away.)
Phoebe: Prue, it looks really bad. I don't know if we're gonna make it to Leo.
Prue: Yeah, we will, come on.
(They drag her to the elevator.)
[Cut to Kellman's office. Leo's there looking through his stuff. Prue and Phoebe carry Piper out of the elevator.]
Phoebe: Leo!
Leo: What happened?
Prue: Hurry! I think she's stopped breathing.
(They lay her on the ground and Leo pulls out the sharp ball. He starts to heal her.)
Leo: It's working.
Phoebe: Okay, not that I'm not thrilled to see you, but what are you doing here, Leo?
Leo: I was looking for you. I thought I'd start with Kellman.
Phoebe: He's the recruiter.
Leo: I figured. The Elders think the key to destroying him is to turn one of his recruits against him.
Phoebe: So first we have to figure out a way to save Tom.
Prue: Alright, so I'll call Morris, get him to bring Tom's mum to the manor. Then we just have to figure out a way to get Tom there.
Phoebe: Wait, you want them in the same house?
Prue: Yeah, she's gotta be the key to saving him, otherwise why would Kellman want Tom to k*ll her?
Phoebe: Okay, well, maybe I could figure out a way to tweak the lost and found spell again, lure him to the house and after all, Tom's a lost soul, right?
Prue: She gonna be okay?
Leo: Yeah, go. I'll take care of Piper.
Prue: You sure?
Leo: Yeah.
(Prue and Phoebe walk outside.)
Phoebe: Prue, maybe we should talk about this first.
Prue: Yeah, we'll have to figure how to take out Kellman on the way.
Phoebe: That's not what I meant.
Prue: Now's not really the time, Phoebe.
Phoebe: Prue, what if we don't have any time? Look, we may not be able to defeat Kellman. We could lose.
Prue: We won't lose.
Phoebe: How do you know that, Prue? All you want to do is save Tom, which is all I wanted to do for Cole.
Prue: Okay, Phoebe, don't try and turn this around on me, alright? I'm not the one who kept secrets from you.
Phoebe: I didn't tell you because I knew you wouldn't understand. You hated Cole.
Prue: No, I didn't trust him, and I was right.
Phoebe: You never gave him a chance.
Prue: He didn't deserve a chance.
Phoebe: Oh, and what makes Tom deserve a chance?
Prue: Because he started out good. He didn't start out trying to k*ll us. Can we talk about this later?
[Cut back to Kellman's office. Leo heals Piper.]
Piper: Hey, guess what? I found mum's ring. (She sits up.) Ooh.
(They hug.)
[Scene: Outside Mrs. Peters' place. Mrs. Peters gets some groceries out of her car. Darryl pulls up and walks over to her.]
Darryl: Mrs. Peters? Detective Morris, San Francisco P.D.
Mrs. Peters: Tom?
[Cut to the manor. Rasputin is on the couch barking at eerie noises. Darryl and Mrs. Peters walk in.]
Mrs. Peters: What was that? What are those noises?
Darryl: I'm not quite sure.
(Prue and Phoebe come in.)
Prue: Thanks for coming, Mrs. Peters.
Mrs. Peters: But I don't understand.
Prue: You will soon. Any sign of Kellman?
Darryl: No, but there are plenty of other signs.
Phoebe: Uh-oh, seems like some lost souls were found.
Prue: Yeah, we need to reverse this spell quick.
Mrs. Peters: Where's Tom? (Kellman and Tom walk in.) Tom!
(Darryl stops Mrs. Peters from going over to him.)
Darryl: No!
Kellman: How did you...
Prue: 'Cause we're not done with you yet.
Kellman: I told you it was too late to save Tom. But thank you for leading us to the victim. k*ll her, Tom.
(Tom throws a fireball at his mother. Darryl pushes her out of the way. Prue uses her power on Kellman.)
Prue: Listen to me. Look at your mother. Remember what it felt like to be human. Remember what it feels like to be loved.
(Kellman makes the sharp ball appear near Mrs. Peters' neck. The lost souls fly around the room.)
Phoebe: Prue, we're about to have other problems from other worlds.
Mrs. Peters: Tom? Help me!
Kellman: k*ll her, damn it.
(Tom goes over and grabs onto the ball. He hesitates and then throws it at Kelllman. The lost souls fly around him.)
Phoebe: What the hell is happening?
Prue: I think there are some lost souls welcoming a new friend. Get rid of them.
Phoebe: "I return what I didn't want to find, let it be out of sight, out of mind."
(Kellman is vanquished and the souls disappear. Tom's chevrons disappear.)
Tom: Mum. Mum, I'm so sorry.
(They hug.)
Mrs. Peters: Oh! Oh, Tommy! It's alright. Everything's alright.
Phoebe: I guess some guys are worth saving after all.
Commercial Break
[Scene: Manor. Prue, Piper, Phoebe and Leo are there. They are looking at their mother's ring which is now on Piper's finger.]
Piper: Isn't that beautiful?
Prue: Yes, and it's right where it belongs. So is Tom, by the way, at home with his mum.
Leo: And I got Rasputin back to the family he was living with.
Phoebe: So maybe the spell wasn't such a bad thing after all.
Piper: Are you kidding? We're gonna have to hold a huge garage sale every Saturday for like the next three months to get rid of all the stuff that came back here.
Leo: Yeah. Who knows what trouble may be caused if those lost souls had stayed around.
Phoebe: Okay, okay, I will fix it. You guys go and have a nice dinner. (Piper and Leo leave the manor. Prue and Phoebe walk in the living room. Phoebe burns the spell in the fireplace.) So now everything's back to normal.
Prue: What about your hair?
Phoebe: Mmm, I'm tempted to keep it but I don't know, I think the blonde's coming back.
Prue: Is anything else?
Phoebe: No. You were right about Tom and I was wrong about Cole. I'm sorry.
Prue: And you think that just takes care of it? I'm sorry?
Phoebe: Well, obviously an apology doesn't fix it, but I'm not stupid, Prue, I know that I made a bad choice.
Prue: A choice that betrayed us.
Phoebe: I didn't do it to betray you, Prue, I did it out of love.
Prue: Right. Love. Love that almost got all of us k*lled.
Phoebe: You wanted to save Tom after, I don't know, how many years? Why can't you understand how I felt about Cole?
Prue: Phoebe, what I don't understand is how you could have lied to us. Piper and me, a lie, that still poses a thr*at to all three of us.
Phoebe: Where do we go from here?
Prue: I don't know.
End | {"type": "series", "show": "Charmed", "episode": "03x12 - Wrestling with Demons"} | foreverdreaming |
[Scene: Manor. Phoebe's room. Phoebe is lying on her bed eating popcorn and watching "k*ll It Before It Dies".]
Sally Mae: (on TV) Oh, Billy! Please don't leave me alone! Aah!
Billy: (on TV) Guess who?
Sally Mae: Oh! Is it really over?
Billy: Yes, Sally Mae, it is.
Sally Mae: Really and truly?
Billy: I'm here now, and as long as I'm with you, everything's gonna be A-OK.
Sally Mae: Promise?
Billy: Promise.
Sally Mae: You're my hero, Billy.
Billy: And I think you're swell, Sally Mae.
(Billy and Sally Mae go off screen and Cole shimmers in the TV. Phoebe looks closer at the TV.)
Phoebe: Cole?
Cole: Phoebe, hi. Just a little trick I learned from the demon of illusion.
Phoebe: But what...
Cole: Am I doing here? Uh, I wasn't sure how you'd react. Thought this might be a safer way of letting you know I was back... for good.
Opening Credits
[Scene: P3. Prue and Justin walk outside. It's the end of their date.]
Prue: So, um, I had a really good time tonight, Justin.
Justin: Did you? I mean, really? The reason I ask is that you seemed kind of quiet.
Prue: No, it's just that, you know, I've got a lot on my mind with Piper getting married and everything.
Justin: Sure, 'course, if I was the paranoid type, I would be thinking it was because of me.
Prue: Don't be ridiculous.
Justin: So are we still on for lunch?
Prue: Yeah, pick me up at 1:00.
Justin: It's a date.
Prue: Okay.
(They kiss awkwardly.)
Justin: Good night.
Prue: Night.
(Justin leaves. Prue walks back inside. A man is watching her near by.)
[Cut inside. Prue walks up to Piper and Leo who are sitting at the bar.]
Prue: Hey.
(Piper looks at her watch.)
Piper: Gee, Prue, it's only 9:00 and your date's already over? How very Disney of you.
Prue: Justin has a meeting early in the morning.
Piper: I see. So did you decide if you're going to invite him to the wedding?
Prue: No, I'm stalling. Oh, you know, he's a nice guy, he's sweet, but he's just so predictable, you know? There's no mystery, no savoir-faire. (Prue puts on some lipstick.) You know, besides, a wedding invite definitely makes a statement.
Leo: That he can tie a bow tie?
Prue: No, that the relationship is serious, you know? That it's going somewhere. All that built-in romance, mingling with the family, hidden tensions.
Leo: All the more reason to have a nice, simple, private wedding.
Piper: Nice try, mister. Okay, the wedding planner, tomorrow at 11:00, no getting out of it, no orbing out of it, nothing. Don't even try it.
(Piper goes to the bathroom. The man watching before pretends to be on the phone as Piper walks past. He shape-shifts into Piper.)
[Cut back to Prue and Leo.]
Leo: I don't know. I just don't want to set her up for a big disappointment. I mean, how do you have a normal wedding when a ghost'll be presiding and the groom's d*ad?
Prue: Leo, don't even try to figure it out, alright? It's a Cinderella complex. Every girl goes through it. I've been dreaming of this day my entire life.
Leo: Piper's wedding?
(Prue slaps his arm lightly.)
Prue: No, mine. I mean, I'm the oldest. I'm supposed to do everything first. I'm supposed to talk first and get braces and get a boyfriend and find a husband.
(Shape-shifter Piper walks up to them.)
Shape-shifter Piper: Hey, Prue. Can I borrow your lipstick?
Prue: What?
Shapeshifter Piper: Lipstick. I'm out. Do you mind?
Prue: Sure, knock yourself out. (Piper takes it and walks away.) You're welcome!
(The shape-shifter shape-shifts back into himself.)
[Cut back to Prue and Leo.]
Leo: Listen, speaking of Phoebe, don't you think it's time to let her off the hook a little? I mean, she came clean about Cole.
Prue: Leo, you can't just pretend to vanquish a demon and then two months later say, gee guys, I'm sorry, I didn't.
Leo: I know, but for what it's worth, I don't think she wants him back in her life anymore.
Prue: Maybe not, but that doesn't mean he's not gonna try and k*ll us again.
[Scene: At an altar. The shape-shifter (Zile) kneels down in front of the altar. A priestess, Dantalian, appears in front of him.]
Zile: Dantalian. Priestess Dantalian.
(He stands up.)
Dantalian: Were you successful?
Zile: She's as beautiful as you said she'd be.
(He hands her the lipstick.)
Dantalian: You're certain this has touched her lips?
Zile: Absolutely. I watched her all night. Not to be ungrateful, but what do you get out of making Prue Halliwell my wife?
Dantalian: I'm a humble servant of the Source, Zile. I get nothing other than the benefits we all reap whenever good is turned evil.
Zile: Still, for all the unions you've consecrated, it seems you should get something, especially for this one.
(Dantalian places a small scorpion in a bowl.)
Dantalian: There is a spoil that intrigues me. The Halliwell Book of Shadows is said to be the most magical of all tomes.
Zile: The witch's Book of Shadows? That shouldn't be too hard to get.
Dantalian: This one is. Evil can't touch it, although turning Prue evil should turn her sisters and their Book evil as well. Their magic interconnected.
Zile: Well, then I'll get it for you myself, as a token of my gratitude.
Dantalian: First things first. Getting the witch here so I can perform the ceremony. That's what this potion is for. (She wipes some potion on Zile's lips.) Kiss her, and it paralyzes her. After I bind you in marriage, she'll fall into a deep sleep where the transformation to evil will occur.
[Scene: Manor. Prue, Leo and the two wedding planners are standing in the foyer. Piper walks down the stairs.]
Piper: Okay, so the more traditional the better as far as I'm concerned. The wedding march starts, and I come down the stairs.
Female Planner: So, no flower girl?
Piper: Uh, I don't know. Do I?
Prue: Well, unless you want to ask Kate down the street.
Leo: Great idea. Maybe she can bring some of her fairy friends. Or trolls, even better.
Female Planner: Trolls?
Piper: Uh...
Prue: Right, trolls, uh, our father's side of the family is very short.
Piper: Right, let's skip the flower girl.
Prue: Right.
Female Planner: Well, I think we should at least dress the banister with garlands. Maybe even carry the floral theme all the way to the altar. How many guests are you planning on?
Piper: Uh, let me think. Fifty, sixty.
Leo: Sixty? Like who?
Piper: Well, there's all the people from P3, friends and Darryl and dad, mum.
Prue: Uh, mum? Piper, I don't really think that you can count her.
Male Planner: We'll have to if she's going to eat.
Prue: Oh, trust me, she won't be eating.
Female Planner: I thought your mother passed on.
Prue: Mmm hmm.
Piper: Right, she did. Um, I just I meant I hope she's there in spirit.
Female Planner: Oh.
Male Planner: You're right, that doesn't count. (He scribbles something out on his notepad.) Now, have you thought of what kind of hor d'eouvres you'd like by any chance?
Piper: Um...
Leo: Pigs in a blanket.
(Piper laughs.)
Piper: Leo, I was, I was hoping for something a little bit more elegant.
(The phone rings.)
Prue: I'll get that.
Piper: Excuse us.
(Prue answers the phone. Leo and Piper go into another room.)
Female Planner: We still need to place the ice sculpture.
Prue: (on phone) Hello?
[Cut to Piper and Leo.]
Piper: What is the matter with you? Why are you doing this?
Leo: Because this is a disaster waiting to happen, that's why.
Piper: Oh! Well, keep that up and it will be.
Leo: Piper, I love you, and I want nothing more for you than to have your dream wedding, but you are kidding yourself with this. We don't need wedding planners. We just need us.
Piper: You may not need wedding planners, but I do. I don't want to have to worry about anything. And therefore, if I have to fight a demon in the morning, I know that the flowers will still be there on time.
Leo: It's not the flowers that I'm worried about. It's the guests, as in how do we explain everything to them? I mean, a Whitelighter marrying a witch is hardly traditional.
Piper: Obviously.
[Cut to Prue.]
Prue: (on phone) Okay, Justin, I'll meet you there. Bye.
(Prue hangs up. Phoebe walks past.)
Prue: Hey, Phoebe.
Phoebe: I'm running late for school.
Prue: Okay, do you want a ride?
Phoebe: Isn't Justin picking you up for lunch?
Prue: Well, his car broke down, so I'm meeting him here and I thought that, uh, we could talk. You know, try and put this whole Cole situation behind us.
Phoebe: I gotta go.
(She leaves. Piper comes back in.)
Piper: Okay, tell me the truth. Do you think I'm overdoing it with the wedding stuff? Hello?
Prue: Uh, okay, why is Phoebe going to school without her books?
Piper: Okay, why is Prue not answering Piper's question?
Prue: Maybe because she doesn't want both of her sisters not speaking to her. Um, okay, I have to go meet Justin. Can I have my lipstick back?
Piper: What lipstick?
Prue: The one that you borrowed last night at the club.
Piper: Wasn't me.
Prue: Right, I must've gotten you confused with another Piper. Okay, you have fun with what's going on here, 'cause it, it looks great. Okay, bye.
Commercial Break
[Scene: Cemetery. Phoebe walks in the mausoleum.]
Phoebe: Cole?
Cole: Phoebe? (He comes out from behind a crypt and walks over to her.) I knew you'd know where to find me.
(Phoebe punches him in the face.)
Phoebe: That is for ruining my favourite movie and, oh yeah, my life too.
Cole: Phoebe.
Phoebe: I don't want to hear it, Cole. I'm over you. I want nothing to do with you anymore.
Cole: I don't believe that.
Phoebe: Oh yeah? Well, believe it because if I ever see you again, I'm gonna do what I should've done a long time ago, which is vanquish your sorry ass.
Cole: Apparently distance hasn't exactly made the heart grow fonder.
Phoebe: Huh.
(She turns to leave.)
Cole: Phoebe, wait. Hey! (Phoebe stops.) Look, I took a huge risk coming out in the open and contacting you. The least you can do is hear me out. (She turns back around.) I've been hiding this whole time, shimmering from realm to realm to realm to keep the Source from realizing you didn't vanquish my sorry ass. You're the only one who knows I'm alive.
Phoebe: Actually that's not true. I couldn't keep lying to my sisters. I had to tell them.
Cole: Okay, that's okay, I understand. As long as you didn't tell Leo. (Phoebe looks away.) Oh, for god's sake, Phoebe. Why didn't you just put an ad in the paper, tell the whole damn world!
Phoebe: You know what? Maybe I should have.
Cole: I've risked my life for you, Phoebe. My soul. I've put myself in more danger coming back here than you could possibly imagine because I want to try and figure out how to make this work between us.
Phoebe: Good and evil can't work together.
Cole: We did before.
Phoebe: I learned from my mistakes.
Cole: So did I. Phoebe, I can suppress my demonic half just like I suppressed my human half before we met. I can be good. You've seen that. And if you know I can, then why can't we be together?
Phoebe: It's too late.
(She leaves.)
[Scene: Restaurant. Prue is sitting at a table. Justin walks in, tells the waiter something, and then walks over to Prue.]
Justin: Hey.
Prue: Hey.
Justin: Sorry about my car.
Prue: Oh, that's okay. (He kisses her hand.) Not a problem.
Justin: What?
Prue: Nothing.
(Justin sits down.)
Justin: You know, I really should sell that old thing but, I don't know, I kind of like having something not so predictable in this day and age. Know what I mean?
Prue: Right. So, you don't think of yourself as predictable?
Justin: Me?
(The waiter approaches them holding a bottle of wine.)
Waiter: Pardon me. Beringer, private reserve?
Justin: Yes, thank you. Predictable? Hardly.
Prue: Right.
[Cut to the manor. Justin is outside waiting on the porch. Phoebe walks up the stairs.]
Phoebe: Hey, Justin.
Justin: Hey.
Phoebe: What are you doing here?
Justin: I'm picking up Prue for lunch.
(Phoebe walks inside and Justin follows.)
Phoebe: Piper!
Justin: Is something wrong?
Phoebe: I'm not sure.
Piper: What's up?
Phoebe: Where's Prue?
Piper: I don't know. At the restaurant, I guess.
Phoebe: Supposedly meeting Justin.
Justin: No, I told her I'd pick her up here.
Phoebe: Okay, so you didn't call this morning and tell her that your car broke down and you'd meet her there?
Justin: No.
(Piper and Phoebe exchange looks.)
[Cut back to the restaurant. Justin pours some wine in Prue's glass.]
Prue: Oh, no, no. I have to work this afternoon.
Justin: So your photographs are a little fuzzy. Call it avant-garde.
Prue: Oh.
(Her phone rings. She goes to answer it but Justin stops her.)
Justin: How important can it be?
(She turns off her phone.)
Prue: What?
Justin: Can I ask you a favour?
Prue: Sure.
Justin: Last night when we kissed goodbye, it was, I don't know, not great.
Prue: Yeah.
Justin: How about we try it again, see if we can do it a little better? Come on. What's the worst that could happen?
(They lean over and kiss. The surroundings change into Dantalian's altar. They end the kiss.)
Prue: Where am I? I can't move.
Justin: My apologies.
(Justin shapeshifts into Zile.)
Dantalian: It's true. Every bride is beautiful on her wedding day.
Commercial Break
[Scene: Manor. Dining room. Phoebe's at the table scrying for Prue. Piper comes in carrying the Book of Shadows.]
Piper: Find her?
Phoebe: Not yet.
Piper: We're screwed.
Phoebe: Not yet.
(Leo orbs in.)
Piper: Leo, what did you find out?
Leo: Nothing.
Phoebe: Okay, now we're screwed.
Piper: Nothing on the map, nothing in the Book. Leo, somebody must know something.
Leo: Well, the Elders support your shape-shifting warlock theory, but they can't get a clear read on the situation.
Phoebe: Wait, so Prue's vanished from your radar and something's jamming theirs?
Leo: Something like that. But she can't be d*ad. They'd be able to sense that no matter how evil is interfering.
Phoebe: Okay, then what's going on? What are we up against?
Piper: Something powerful enough to keep us from finding her.
Leo: Well, you knew as your powers grew, the evils would too.
Piper: Yeah, but so powerful that we can't figure out who they are, let enough how to fight them? That sucks.
Leo: What we need to figure out is why a warlock wants Prue alive.
Phoebe: Well, it can't just be for her powers. I mean, they wouldn't need to keep her alive to get them.
Leo: Unless it's an upper-level warlock which wants...
Phoebe: All of our powers.
Piper: But we still have the same problem. No idea how to find her.
Leo: It's too bad you vanquished that demonic bounty hunter. He could've helped.
(Phoebe gets an idea.)
Phoebe: Right.
(Phoebe stands up.)
Piper: Where are you going?
Phoebe: I have a hunch. Wait for me.
(Phoebe leaves the room.)
[Cut to Dantalian and Zile. Prue is dressed in black, laying on the altar. Dantalian covers Prue's face with a black veil.]
Dantalian: Shall we begin?
Zile: I'm ready.
Dantalian: I hope so. (She touches their foreheads.) In the beginning, we were damned, and through damnation, we found freedom, power, and purpose. As I unite you today, I remind you of those gifts. (Dantalian ties Zile and Prue's hands together.) And in your union, may these gifts increase your powers may grow in the service of evil. So be it.
Zile: How long before her transformation is complete?
Dantalian: Sundown. Can you wait that long?
Zile: For the power of the Charmed Ones? I can wait a few hours.
Dantalian: Let me be the first to congratulate you.
(She kisses him. He is affected by the potion.)
Zile: Why?
Dantalian: Because I'm tired of bestowing great power on others. The Halliwell Book of Shadows is the key to unbelievable power for me. Evil will spread from this sister to the other two, from them to the Book, and once the Book is evil, it'll be mine, and I will be unstoppable. (Zile lays down beside Prue.) But know this. I will enjoy k*lling you all of you.
[Scene: Mausoleum. Phoebe runs in.]
Phoebe: Cole? Cole? Uh, please, if you can hear me, I...
(Cole shimmers in.)
Cole: I was beginning to think I'd never see you again.
Phoebe: I'm not here because of us. I need you to help me and if you do, it doesn't change anything between us. You have to know that.
Cole: Hmm. I'm listening.
Phoebe: Prue was taken. By a warlock.
Cole: Do you know which one?
Phoebe: We think he's a shape-shifter, but the weird thing is, is nobody from our side could get a read on where he's hiding her.
Cole: Well, that doesn't make sense. Warlocks don't have that kind of power. He must be working with somebody that does. Certain dignitaries have the power to shield their activities. Demonic judges, dark priests, anyone who needs privacy for rituals.
Phoebe: What kind of rituals? To accomplish what?
Cole: It's hard to say. Could be anything. They may want your Book. We all want your Book.
Phoebe: Really.
Cole: I wanted the Book at first.
Phoebe: Well, how can we find out who wants it now?
Cole: I could check around, but I'd risk demons finding out I was still alive. I'm sure there's still a huge bounty on my head.
Phoebe: I want my sister back.
Cole: No matter the cost?
Phoebe: I want my sister back.
(He stands closer to her.)
Cole: I'm doing this for you. Know that. (Phoebe turns to leave but turns back around and kisses Cole passionately.) Now I'm really confused.
Phoebe: Me too. I, uh, I-I don't, I don't know where that came from.
Cole: Okay, uh, I better go.
Phoebe: Yeah.
Cole: Listen, if you don't hear back from me, I, um, I got caught.
(Cole shimmers out.)
[Cut to the manor. Piper is sitting on the couch flipping through the Book of Shadows. Leo sits down beside her.]
Leo: I thought you said there was nothing in the Book.
Piper: Well, now there's just a whole bunch of weirdness in it. Look.
Leo: Hemlock k*lling spell? That doesn't belong in here.
Piper: But it does have possibilities.
Leo: Piper.
Piper: I'm sorry. I-I don't know what I was...
(Piper blinks out of the room and blinks back in the kitchen.)
Leo: Piper?
Piper: In here, somehow.
(Leo walks in the kitchen.)
Leo: I blinked.
Piper: I did not. Only warlocks do that.
Leo: Piper, you did it.
(Phoebe walks in.)
Phoebe: Hey.
Piper: Where have you been?
Phoebe: Uh, brainstorming. How's it going here?
Leo: Your sister's blinking.
Phoebe: I-I'm, I'm sorry, what?
Piper: Okay, I admit it, it was definitely weird, but it was kinda fun. I was, I was in there and I was thinking about the kitchen and then suddenly, boom! Here I was.
Phoebe: That is so cool.
Leo: Except that it's a warlocks power.
Phoebe: So what? They're always trying to get ours, it's about time we got one of theirs.
Piper: Try it, Pheebs.
Phoebe: Okay, what do I do? Just think?
Piper: And blink.
(Phoebe blinks out of the kitchen and so does Piper.)
[Cut to another room in the house.]
Piper: Catch us if you can!
(Leo walks in.)
Phoebe: Have you tried it yet, Leo? It's a real head rush.
Leo: Do you realise how serious this is? You're blinking, the Book is changing.
Piper: Maybe we're blinking because of the Book.
Leo: The Book is changing because of you. It is an extension of you.
Piper: Huh. I should care about that, but I don't.
(Piper and Phoebe walk out of the room and Leo follows.)
Leo: This is what I was afraid of. Whoever's got Prue is somehow reaching you too.
Phoebe: Okay, Leo, I could tell this really upsets you, but I gotta tell you, I really like this whole think-it-and-it-happens deal. I mean, think of the time we could save not chanting.
Piper: Mmm hmm.
Leo: Piper, Phoebe, you have to fight this.
(The doorbell rings.)
Piper: Or we could answer the door.
(Piper heads towards the door.)
Leo: For Prue's sake, stop.
Piper: Don't tell me what to do.
Leo: Phoebe, I need your help.
Phoebe: I am so tired of helping people.
(Piper opens the door and the planners are there.)
Female Planner: So glad you're home. We have some new floral sketches we'd like you to see.
Leo: Now's not really a good time.
Piper: They're welcome to come in, Leo.
Male Planner: I revisited the dinner menu, Piper, and you are going to be thrilled. I have some dynamic choices that I...
Piper: I want pigs in blankets.
(The planners laugh.)
Female Planner: It's nice to see a bride who still has a sense of humour this close to the big day.
Piper: No, I want pigs in blankets.
(Piper turns the male planner into a pig dressed in a blanket. The female planner screams. Phoebe laughs.)
Phoebe: Marie seems very scared.
Piper: I always had her pegged as an ice queen.
Phoebe: Oh! What a great idea.
(Piper covers Marie in ice.)
Piper: Now there's a freezing power with kick.
Leo: Have you guys lost your minds?
Phoebe: Oh, Leo, get on board. Whatever it is, this is fabulous. You can't imagine the freedom, the power.
Leo: Phoebe, that is evil talking. You have to fight it.
Phoebe: What did you ever see in him.
Piper: I don't know. He is kind of a stick in the mud, isn't he?
Phoebe: Oh, another great idea. May I?
Piper: Be my guest.
Leo: Alright, think about the power of three.
(Phoebe turns Leo into a stick in a bucket of mud.)
Phoebe: Oh.
Piper: Hmm.
Phoebe: Look at all the fun we've been missing.
Piper: And this is just the beginning.
Phoebe: See ya, Leo.
(They walk away.)
[Cut to the altar. Dantalian uncovers Prue's face.]
Dantalian: Just the beginning.
Commercial Break
[Scene: Manor. Piper and Phoebe walk into the foyer. Phoebe is holding a butcher's Kn*fe. They crouch down beside the pig.]
Phoebe: Oh, you know, it's your wedding. Shouldn't the first k*ll be yours?
Piper: This is too easy. It's boring. I want to do something bigger.
(They stand up.)
Phoebe: Count me in.
Piper: You know, if what's happening to us is happening to Prue...
Phoebe: The the power of three can be truly amazing. We have to find her.
Piper: But first we need to clean house.
(Piper changes the pig back into the male planner and unfreezes Marie.)
Male Planner: I'm sorry, (snorts) what were you saying?
Piper: You're fired!
(Using telekinesis, Phoebe opens the front door and the planners get pushes outside. She closes the door. Piper and Phoebe turn around.)
Phoebe: Oh, no. What are we gonna do with the stick in the mud?
Piper: Wait, I think we can have some fun with it.
(Piper changes the bucket back into Leo.)
Leo: What happened to Craig and Marie?
Piper: Oh, they flew right outta here. Scared the hell out of them.
Phoebe: Leo, we need to find Prue.
Leo: Good, Phoebe, focus on that. It'll help you resist the evil.
Phoebe: The only thing we're resisting is the desire to rip you to pieces and have you for lunch.
Piper: But if you help us find Prue, we'll leave you alone, for the moment.
(The Elders call Leo.)
Phoebe: Oh.
Piper: Oh, Leo, ignore them. What do they know? They're backing a losing team.
Leo: They're revoking my assignment.
Piper: What? They can't do that. You haven't done anything wrong... yet.
Leo: You did. You gave into evil. You've relinquished your right to a Whitelighter. I'm sorry.
(He orbs out.)
Phoebe: Well.
Piper: Oh, no, he's gone. We're free.
Phoebe: Yes.
Piper: No more obeying the rules, considering the consequences, none of that crap.
Phoebe: Time to find Prue and go for broke.
(Phoebe heads upstairs.)
Piper: Where are you going?
Phoebe: Well, I can't wreak havoc dressed like this.
Piper: Oh.
(Piper looks down at what she's wearing.)
[Cut to Phoebe's room. Phoebe walks in. Cole comes out from behind the door and closes it. Phoebe turns around.]
Cole: Phoebe.
Phoebe: Cole, you're okay.
Cole: Yeah, barely.
Phoebe: Any demons spot you?
Cole: Just one.
Phoebe: Oh no.
Cole: Don't worry. See, he won't be telling anybody anything.
Phoebe: The big bad Belthazor strikes again.
Cole: Not anything I'm proud of.
Phoebe: Why not? You should be.
(Phoebe kisses him.)
Cole: Phoebe, if what I found out is true, Prue's in serious trouble. She's been forced to marry a warlock.
Phoebe: Figures that bitch would steal Piper's thunder.
Cole: No, you don't understand. A high level priestess named Dantalian is rumoured to have married them. (Phoebe starts untying her top.) And she's got the power to turn Prue evil and turn you evil too. That's what's happening here.
Phoebe: So? Isn't that the way you want me?
(Phoebe kisses him passionately.)
Cole: Mmm, no. That is not how I want you to be. It's not how I want us to be. Our only chance is if we're both good.
Phoebe: Love is love.
Cole: There's no such thing as evil love. It's just gratification, lust.
Phoebe: You know what, Cole? Your human half is kind of preachy. I think I want Belthazor back.
Cole: He's not coming back.
Phoebe: Oh, no? (Phoebe knees him in the stomach.) I! (kicks him) want! (kicks him) Belthazor! (kicks him. Cole turns into Belthazor.) That's more like it.
(Piper knocks on the door.)
Piper: Phoebe? What are you doing?
Belthazor: Dantalian's coming for your book. You'd better be ready.
(Belthazor shimmers out. Piper walks in.)
Piper: What's going on in here?
Pheobe: Nothing, unfortunately.
Piper: I heard voices.
Phoebe: Oh, did you? Um, I had a premonition. Must have gotten pretty loud.
Piper: I guess.
Phoebe: We gotta go. The high priestess that has Prue, supposedly she's coming here.
(Phoebe walks out of her room.)
Piper: High prie-- Must have been a hell of a premonition.
[Cut to the altar. Dantalian is chanting.]
[Cut to the attic. The triquetra on the Book Of Shadows glows.]
[Cut back to the altar.]
Dantalian: It's time.
[Cut back to the attic. Dantalian appears. She picks up the Book of Shadows.]
Dantalian: That was easy.
Piper: Too easy. (Phoebe kicks Dantalian from behind. She falls to the floor. Piper and Phoebe walk over to her. Phoebe is holding a Kn*fe.) Where's our sister?
Dantalian: I can help you. I can teach you evil. You're new at it. You don't know how to realise its full potential.
Piper: I don't know, I think we're getting the hang of it.
Phoebe: Wanna see?
(Phoebe holds the Kn*fe closer.)
Piper: Where's Prue?
Dantalian: k*ll me and you'll never see her again.
Piper: Hmm, so maybe we should just t*rture you instead.
(Piper stands on Dantalian's arm and turns her hand into ice. Dantalian screams.)
Phoebe: Why don't you just shatter her hand and see what happens.
(Piper picks up a candlestick.)
Piper: Last chance. Fine.
(Piper smashes her hand with the candlestick. Dantalian screams in pain.)
Phoebe: Now the really weird thing is, we could do that to the other hand and then go down to your feet.
Piper: Actually, we could work up, piece by piece all the way to her head.
Phoebe: Where is Prue?
(Leo orbs in.)
Leo: I just couldn't leave like that, Piper. (Phoebe and Piper turn to Leo. Dantalian grabs the Book and disappears.) What's going on?
Phoebe: Well, you just helped her escape, that's what's going on.
(Piper turns him into ice.)
Piper: Smash him. (Phoebe hands Piper the Kn*fe. Phoebe kicks Leo and he smashes into a million little pieces.) Bastard.
Commercial Break
[Scene: Altar. Dantalian is frantically flipping through the Book of Shadows.]
Dantalian: Death alone will not suffice, my dear bride. Not anymore, not after this. (She finds a page in the Book on a Dark Priestess.) Yes! Welcome to my hell.
[Cut to the manor. Piper and Phoebe are walking down the stairs.]
Piper: So what are we supposed to do now?
Phoebe: I don't know. k*ll innocents?
Piper: No, I mean about Prue. How are we supposed to find her without the Book?
Phoebe: Shouldn't you be mourning the loss of your beloved Leo?
Piper: Oh, Phoebe, I'm serious. That was one pissed off priestess. And if she kills Prue, she takes the evil power of three along with her, and we won't stand a chance.
Phoebe: Good point. We have to find Prue. Wait a minute, we're warlocks, right? We should be able to blink wherever we want.
Piper: But we don't know where to blink to.
Phoebe: We don't have to know where, just to who. To Prue. I mean, isn't that how Leo's orbing power worked?
Piper: Yeah, but his power was jammed. He couldn't find her.
Phoebe: That's because he was good, and we're evil.
[Cut to the altar.]
Dantalian: "Through this book, weave this spell, create the pain of heaven to hell; may she suffer..."
(Piper and Phoebe blink in.)
Piper: Whoa.
Phoebe: Are we there yet? (They see Prue.) Prue.
Dantalian: Too late. I've got the book.
Phoebe: Yeah, well, you knoiw, it takes a while to learn how to use it. Trust us.
Piper: How about in the meantime, I freeze your head and shatter it?
(Dantalian chants.)
Dantalian: I may not be powerful enough to fight you yet, but they are.
(Prue and Zile awaken.)
Piper: Whoa, Prue, hey, hi. You don't look so good.
Phoebe: Oh, but that's a great dress.
Dantalian: Zile, Prue. Eliminate them.
Piper: Prue, ignore her. Come on, come with us. We're your sisters.
Prue: I'm his wife, not your sister.
(Prue uses her power on them.)
Piper: Alright, I'll take that as a no.
Phoebe: Okay, we have to figure out a way to get Prue on our side and fast.
Piper: How about we get her a divorce?
(Zile shape-shifts into Prue. They blink out of the scene and then reappear in different places.)
Dantalian: Dont' want to shatter the wrong sister, now do you?
Prue #1: I love you.
Prue #2: Me too.
Piper: Welcome to Planet Narcissus.
Phoebe: Wait a minute. Cole said that evil can't love.
Piper: Cole?
Phoebe: Uh, never mind. The point is she didn't say "I love you too". (Dantalian makes a dagger appear in Prue's hand. They walk towards Piper and Phoebe. Phoebe points to a Prue.) Uh, she's the warlock. Freeze her! (Piper turns a Prue into ice.) Well, shatter her. Hurry!
Dantalian: No! Zile!
(Piper kicks the frozen Prue. The spell is broken.)
Prue: What's going on?
Phoebe: I think we're back. All of us.
(Piper freezes Dantalian.)
Piper: The book is back too.
Prue: Let's go do something good with it.
(They walk over to the Book and find a spell.)
Prue, Piper, Phoebe: "Powers of light, magic of right, cast this blight into forever's night."
(Dantalian screams and is vanquished.)
Prue: Well, that was a wedding from hell. Although, I guess I was the first to get married after all, hmm?
Piper: Oh, no. Leo.
Prue: What?
Phoebe: We k*lled him.
[Scene: Manor. Prue, Piper and Phoebe enter the attic. Piper is crying. She kneels on the floor.]
Piper: Oh, Leo. (Leo orbs in. Phoebe turns Piper around. Piper gets up and hugs him.) Oh, thank god you're okay.
Leo: Actually, it had more to do with what you guys did. Vanquishing Zile broke the bond and reversed all the evil you had done.
Phoebe: I just hope the wedding planners don't remember what we did to them.
Leo: Unfortunately, they will, but I doubt they'll believe what happened.
Piper: And unfortunately you will.
Phoebe: Oh, yeah, Leo, sorry we k*lled you.
Leo: It's okay, Phoebe, it wasn't the real you. Or you, Piper.
Prue: Wasn't it? I mean, on some level it was me. I felt it. They didn't just plant evil inside of me, or us, for that matter. There had to be something there for them to turn to begin with.
Leo: That doesn't make you evil, Prue. You have to choose to be evil voluntarily.
Phoebe: Well, I gotta admit it, it was kind of fun.
Piper: Phoebe...
Phoebe: Well, it was fun for a while. I mean, to be able to do whatever we wanted whenever we wanted with no consequences.
Piper: My fiancé being shattered into a gazillion pieces is kind of a consequence.
Leo: Thank you.
Piper: Mm.
Prue: Still, I kinda understand what Phoebe is saying.
(They all walk out of the attic and down the stairs.)
Phoebe: Wait, you do?
Prue: Mmm hmm.
Phoebe: Ooh, am I detecting a thaw in our rift?
Prue: All I'm saying is if evil weren't enticing, why would there be any? I mean, you know, to pretend that we're never attracted to it, it's like pretending that it just doesn't exist.
Phoebe: Uh-oh, something tells me Cole's name is about to be brought up.
Prue: Look, I definitely do not like the fact that you lied to us about vanquishing him, but I have to admit, after taking a trip down the dark side, I sort of understand it a little better. The problem now is that I realise that Justin is just so boring.
Leo: Well, scratch one name off of the wedding guest list.
Piper: Actually, scratch them all. I cave. Our lives are just way too bizarre to have any sort of normal wedding. I don't know what I was thinking. Phoebe, by the way, you never mentioned where you got that premonition from.
Phoebe: What premonition?
Piper: The one that told us about Dantalian. The one that saved our butts.
Phoebe: Right. Um, you know, something tells me that you wouldn't believe me if I told you anyway. So let's just say I got in touch with my evil side. Something that I will never do again.
Commercial Break
[Scene: Mausoleum. Phoebe walks in. Cole is waiting there.]
Cole: How'd it go?
Phoebe: Everything's back to normal again.
Cole: Good.
Phoebe: Yeah. Good.
Cole: It's not enough, is it? What I did doesn't change your mind about us, does it?
Phoebe: No.
Cole: Why not?
Phoebe: It's too complicated.
Cole: Oh, don't give me that. If nothing else, let's at least be honest with each other. We owe that.
(Phoebe sighs.)
Phoebe: I love you and I will always love you. Nothing can change that. It's just the temptation, it's too much. And I can't take that risk, for me or my sisters.
Cole: Phoebe, I'm telling you, I'm not evil anymore.
Phoebe: Maybe not on the surface and maybe not even in your heart. But somewhere inside of you, you'll always be. And you can't ever change that. Goodbye.
(Phoebe starts to leave.)
Cole: I'm not giving up, Phoebe. (Phoebe leaves.) I'm not going away.
End | {"type": "series", "show": "Charmed", "episode": "03x13 - Bride and Gloom"} | foreverdreaming |
[Scene: A ghost town. A car pulls up. Phoebe and Victor get out. He puts his arm around her and they start walking.]
Phoebe: Alright, dad, spill it. What are we doing here?
Victor: What, can't a father spend a little quality time with his daughter? Especially after all the time we've been apart.
Phoebe: Alright, I take after you, okay. I've inherited all of your tricks, especially your fine art of fibbing.
Victor: I don't know what you're talking about. Tell me a little bit more about this Leo fellow anyway. How did he and Piper meet?
Phoebe: Oh, it was a couple of years ago at the house. He was our handyman.
Victor: Piper's marrying a handyman?
Phoebe: Well, no, he isn't really a handyman. Wait, you do know...
Victor: All I know is he's a nice enough guy who seems to know the big bad secret. Trust me, it's a lot better for a mortal to know he's marrying a witch before the wedding instead of after. Wish I had.
Phoebe: Mortal. Right.
(Phoebe hears a noise coming from one of the buildings. She looks around. Tumbleweed rolls past and a door slams shut.)
Victor: What?
Phoebe: It's nothing. I guess that's why they call it a ghost town, huh?
Victor: What do you mean? Did you actually see something?
Phoebe: What do you mean?
Victor: I mean, like a premonition, or whatever you call it. Alright, I confess. I brought you here hoping maybe you could give me a little bit of your help. I just didn't know how to ask.
Phoebe: Magical help? Dad...
Victor: Well, this place seemed like such a good investment. Too good, actually. Made me think that all the stories were true.
Phoebe: I'm biting. What stories?
Victor: Ghost stories. Something's been keeping people from investing and razing this place for over a hundred years.
Phoebe: So, what, you want me to do a little supernatural inspection?
Victor: Well, yeah. I thought you could do a little Feng Shui on the place and maybe see if there's anything going on.
Phoebe: Okay, first of all, I don't do Feng Shui, and secondly, I can't always get a premonition when I want to. (She hears another noise.) Okay, now I definitely heard that.
Victor: Heard what?
(She hears a glass bottle being smashed.)
Phoebe: Okay, you didn't hear that?
(Suddenly, a cowboy (Bo) gets thrown out of a saloon. Another cowboy walks out.)
Cowboy: You're a d*ad man, Bo.
Phoebe: Can you see them?
Victor: See who?
Phoebe: (to cowboys) Hey! Hey, what's going on?
Cowboy: Nobody crosses Mr. Sutter.
(The cowboy hits Bo in the face. He flies back right through Phoebe. He runs off and the cowboy sh**t at him. They disappear.)
Victor: Phoebe? Phoebe, what's going on? Sweetheart, you're bleeding.
Phoebe: I wouldn't buy this place, dad. Really, really bad Feng Shui.
(She touches her bleeding lip with a handkerchief. A crow squawks near by.)
Opening Credits
[Scene: Manor. Living room. Piper has set the table. Prue comes in.]
Prue: Uh, wait a minute. We have one too many place settings.
Piper: No we don't.
Prue: Okay, uh, you, me, Leo, Phoebe, dad. That's five, we have six.
Piper: So?
Prue: So who is the sixth for?
Piper: Mmm, maybe, um, mum. What? It's my wedding. At least she could be here in spirit, if nothing else.
Prue: Yes, she can be.
(Prue gives her a little hug. Leo orbs in.)
Leo: Wow, looks great. When do we eat?
Piper: Leo, can't you see we're having a sister moment?
Leo: Oh, sorry. Do you want me to go?
Piper: No, I want you to help. This is your rehearsal dinner too, you know.
Prue: So, Leo, you nervous? I mean, only one more week before dum, dum, dum-dum.
Piper: Thanks.
Leo: Well, as long as no demons come bursting through that door, until them, I am fine.
Victor: (from outside) Prue! Piper!
(Victor and Phoebe walk through the front door.)
Piper: (to Leo) You had to jinx it.
Prue: Hey. Phoebe, what happened?
Phoebe: Oh, it's nothing, I'm fine. I just need an aspirin.
Piper: Dad?!
Victor: I don't know what happened. One minute we're just walking around, the next thing I know she's bleeding.
Phoebe: I got into a bar brawl. Well, actually, I didn't. Two cowboys did. Bo and some other guy. I didn't catch his name, but I think he was the bad guy, 'cause he was wearing a black hat. Oh, and they were transparent.
Piper: She must have h*t her head.
Prue: Uh-huh.
Victor: Sweetheart, I never would have taken you there if I had any idea.
Phoebe: It's fine, dad. Really, don't worry about it.
Leo: Here, let me take care of that.
(Leo holds out his healing hand but Phoebe stops him.)
Phoebe: No, I'm alright. Dad, why don't you go to the porch and get those town files. You know, maybe there's something in them that can help us.
Victor: Alright.
(He goes outside.)
Phoebe: Dad doesn't know that Leo is a Whitelighter.
Prue, Leo: What?
Piper: Well, I've been meaning to tell him, but considering mum had an affair with her Whitelighter, I didn't think he'd be really receptive to the idea.
Leo: Piper, he's gonna k*ll me when he finds out.
Piper: Oh, don't be ridiculous, you're already d*ad.
(Victor comes back in carrying a box of files.)
Victor: Just a lot of investment stuff and background info. I don't see how it's gonna help you find out what happened.
Phoebe: Well, you're the one that called it a ghost town, and since Bo fell through me and I ended up with the same split lip that he had.
Prue: Sounds like a ghost to me.
Leo: It can't be. Ghosts don't bleed.
Piper: Ahem.
Leo: I mean, so I've read in books. Obviously it's not my area of expertise.
Victor: Mine, neither. What do you say we let the supernatural stuff to the pros and go grab a bite?
Leo: I don't know, Mr. Bennett.
Prue: Oh.
(Prue and Piper smile. Prue pats Leo on his back.)
Victor: Victor, please. It's time you called me Victor, son. Come on.
Phoebe: I'm fine. Go ahead.
(Victor and Leo head outside.)
Piper: Great, now I'm d*ad.
Prue: Alright, why don't we just focus on Phoebe and try and figure out what happened.
Phoebe: I'll get the book.
Piper: I'll get it and maybe a drink.
Phoebe: Ow.
[Cut to a restaurant. Leo and Victor are sitting at a table. A very nervous Leo is gulping down a glass of water.]
Victor: So, Phoebe says you're a handyman.
Leo: Oh? Uh, actually, no. I'm a, I'm a doctor. I mean, not a doctor doctor, per se. More of, like, a counselor doctor. I guide people.
Victor: You make good money?
Leo: Uh, honestly, no. It's more of a calling.
Victor: Leo, I think it's time to come clean.
Leo: You do?
Victor: Yeah. I need to talk to you about something man to man.
Leo: Man to man?
Victor: Well, from one mortal to another. Leo, it's not easy being married to a witch.
Leo: No.
Victor: That's why my marriage to Piper's mother didn't work out. It wasn't because I didn't love her, it was because I wasn't prepared for what was to come.
Leo: Well, I think I'm prepared, sir... I mean, Victor.
Victor: Don't get me wrong, Leo. I want this marriage to succeed. That's why I'm warning you. But there are dangers out there worse than demons and warlocks. You do know about them, don't you?
Leo: Well, yeah, sure.
Victor: Well, the dangers I'm talking about, you're not even gonna see coming. The thing I'm talking about will just sneak up on you and destroy your marriage if you're not careful. Leo, do you know what a Whitelighter is?
Leo: Uh...
[Cut back to the manor. Prue, Piper and Phoebe are in the living room. Piper's looking through the Book of Shadows. Phoebe's lying on the couch. She pulls up the bottom of her blouse to reveal a big bruise.]
Phoebe: Whoa.
Prue: What?
Phoebe: Look, I have a huge bruise. (Prue touches it gently.) Ow.
Prue: Oh. Alright, well, you must have gotten that the same way that you got the split lip from Bo.
Phoebe: I don't get it. He gets b*at up and I get his symptoms? How is that possible?
Piper: I wish I knew what I was looking for. I mean, if they're not ghosts, then what are they?
Prue: Well, whatever it is, it's got something to do with the history of that town. You said that they were dressed like cowboys, right?
Phoebe: Yeah, real cowboys right out of the Old West. Uh, the outlaw said something to Bo about a guy named Sutter. Look him up. Maybe he's a demon.
Prue: Wait a minute.
Piper: Did you find something?
Prue: It's more of what I'm not finding. Alright, nothing is dated past April 25th, 1873. The maps, the land grants, death certificates. It's almost like time just stopped.
Piper: What do you mean stopped? Like, everybody just died?
Prue: No, like stopped moving forward, literally. It wouldn't be the first time we've come across a time loop.
Phoebe: Nah, we vanquished that demon.
Piper: Wait a minute. (Piper turns to a Time Loop page in the Book.) Well, maybe it's not a demon. Maybe it's a curse. "Certain spiritual traditions believe that a great evil or great injustice can be cursed into a time loop until righted."
Phoebe: So that is probably why this is happening to me. Our job is to right the wrong.
Prue: Yeah, well, we better do it before your symptoms get any worse. (The doorbell rings.) I'll get that.
(Prue gets up and answers the door. Cole stands there holding a bunch of flowers. He looks unshaven. He walks into the foyer.)
Cole: Hey, Prue, long time. Is Phoebe home?
(Prue uses her power on him and he flies across the room, landing on a small table. Phoebe and Piper jump up from the couch.)
Phoebe: What the... Cole, what...?
(Phoebe goes over to him. Cole stands back up.)
Cole: Phoebe, hi. Oh, phew. (He shows her the flowers.) These are for you. (She pushes them away.)
Prue: What the hell are you doing here? Do you have some kind of death wish?
Cole: I told Phoebe last week that I wasn't giving up on her and I, I meant it.
Piper: You talked to Phoebe? He talked to you?
Cole: Uh-huh.
Prue: You said that he was alive. You never said that he was back.
Phoebe: It didn't matter because as I told him, I don't want anything to do with him anymore.
Prue: Oh, well, in that case.
(Prue goes to use her power on him but Piper stops her.)
Piper: Hey, hey, hey! I just set that table. We don't have time to buy a new one before dinner.
Cole: I'm not gonna use my powers against you anyway. In fact, I'm never gonna use them again, ever. It keeps me from being evil.
Prue: No, you will always be evil, you're a demon.
Cole: Half-demon. My human half can suppress it if... Phoebe, you're hurt. What happened?
Phoebe: You know what, Cole? It's none of your business. So, why don't you do yourself a favor and just get...
(Phoebe has a premonition. In it, the cowboy sh**t Bo. Bo throws a Kn*fe at the cowboy and he falls to the ground. The premonition ends.)
Piper: Phoebe?
(Phoebe falls and Prue and Piper catch her.)
Prue: Phoebe, what happened?
(Phoebe lifts her hand. It is covered in blood.)
Phoebe: I think I've been sh*t.
(Prue and Piper look at Cole as Phoebe lays there in pain.)
Commercial Break
[Scene: Restaurant. Leo and Victor are still there.]
Victor: The thing ism they can orb into their charges' lives any time of the day or night... (He pauses as a waitress tops up his coffee.) Without us mortals even knowing about it. You can't trust the Whitelighters, Leo. They're sneaky little bastards.
Leo: Really? 'Cause Piper says that they're really, really good guys. More of, like, guardian angels.
Victor: That's the party line, Leo, but don't believe it. You can't trust 'em. They have this tendency to fall in love with their charges. Before you know it, they've stolen your wife. The girls' mother, Patty? She fell for her Whitelighter.
Leo: Oh, I thought that happened after you two separated?
Victor: Oh, he was putting the moves on her long before we split up, believe me. Anyway, you know, we never had a chance to get back together because of him. And, um, you know, then she died. Look, my point is, if you wanna...
(The Elders call Leo.)
Leo: Uh-oh.
Victor: What?
Leo: I have to go now.
Victor: Go?
Leo: Yeah, and I don't think you're gonna like the way I have to go, either.
(Leo orbs out. Victor sits there in shock.)
[Cut to the manor. Leo orbs in.]
Leo: What the hell are you doing here?
Prue: Forget about him, Leo. Phoebe's been sh*t.
Leo: sh*t? How did that happen?
Prue: There's no time to explain. Can you heal her?
(Leo starts to heal her.)
Piper: Where's dad?
Leo: Seething probably.
(Leo continues to try and heal her but it doesn't work.)
Cole: What's the matter, Leo? Why isn't it working?
Leo: I don't know. Phoebe, you gotta tell me exactly how this happened.
Phoebe: Um, I don't, I don't really know. I had a-a premonition and I felt Bo get sh*t and then I came out of it.
Prue: Leo, can you heal her?
Leo: No, because Phoebe wasn't the one that was sh*t. Bo was.
Piper: What are you talking about? She's bleeding.
Leo: I know, but it's more like a psychic echo. Phoebe is linked to Bo somehow. Whatever he feels, whatever happens to him happens to her.
Cole: Which means Bo must be magical too. The only way they can be linked is through their magic.
Leo: I agree.
Cole: We have to find Bo. Heal him. It's the only way.
Piper: Well, he's been cursed into a time loop along with the rest of the town. And we don't know how to get there, let alone where there is.
Cole: Well, it's gotta be a parallel plane existing in the same physical space as the town.
Prue: You know, I don't think that we need any demonic input right now.
Cole: If I can help save Phoebe's life, you sure as hell do.
Leo: We're listening.
Cole: Look, I move through different planes all the time. It's how I've been hiding from the Source. Shouldn't be any problem to shimmer into Bo's plane and bring him back here so you can heal him.
Piper: You said you don't use your powers anymore.
Cole: Shimmering isn't a lethal power.
Phoebe: Uh, why don't you just take Leo with you and you can heal Bo there?
Leo: I can't. I'm not allowed to work with a demon.
Prue: Fine. I'll go.
Piper: Prue.
Prue: I'm not gonna leave this up to him.
Piper: Well, okay, what if something goes wrong and you get stuck in the time loop and you don't get back before midnight?
Prue: It's not the time loop I'm worried about. Look, why don't you and Leo go to the town, see if you can find anything there to help break the curse. (to Phoebe) You? You hang in there, okay?
Phoebe: Play nice, you two.
Cole: Gotta hold my hand.
Prue: This already sucks.
(Prue holds his hand and they shimmer out. Victor storms in.)
Victor: Leo! You lying little piece of--
(Piper quickly stands in front of Leo.)
Piper: Okay, dad, not now. Stay with Phoebe. We'll be back.
(Leo holds Piper and they orb out.)
Victor: Wha-?
Phoebe: Well, don't get mad at me, I've been sh*t.
[Cut to the ghost town in 1873. Cole and Prue shimmer in.]
Prue: Oh, wow, it worked.
Cole: You doubted me?
Prue: Yeah, well, for all I know you were gonna take me... Whoa! Aah! (They hear a g*n and Cole pins Prue against a wall of a building.) Okay.
Cole: Welcome to the Wild, Wild West.
Prue: Alright, just-just so we're clear, I'm in charge here. You're just my ride.
Cole: Fine with me. What's your plan?
Prue: Find Bo, lay low.
Cole: That's a plan?
Prue: Yeah. You got a better one?
(Cole looks her up and down.)
Cole: Maybe, but first I think we better find something a little less conspicuous to wear.
(Prue pushes him away.)
Prue: Fine. Agreed. Any ideas?
(A couple of cowboys carry a d*ad cowboy out of a building.)
Cole: Yeah. Nothing you're gonna like though.
[Time lapse. Prue and Cole walk into a saloon wearing cowboy clothes.]
Cole: Still think you should have worn that pretty, little red dress drying on the line.
Prue: Yeah, it was a prost*tute's dress. Not exactly the kind of impression I wanted to make. At least I'm not wearing some d*ad guy's clothes.
Cole: Hey, I thought you'd be pleased. At least I'm playing the role of a good guy.
Prue: Yeah, right. Alright, just fact-finding. No getting involved.
(They walk up to the bar.)
Bartender: What'll it be?
Prue: Hi. Moonshine.
Bartener: A what?
Cole: She means Whiskey. Make it two. Leave the bottle. (to Prue) You watch too many old movies.
Prue: And you'd be confusing me with Phoebe.
Cole: Not a chance.
Bartender: Passing through?
Cole: Maybe.
Bartender: Maybe if you're not, you ought to consider it. Things are getting pretty dangerous around here. Friendly advice. Wet your whistle, get back on your horses, and move on as fast as you can.
Prue: Hi. What am I? A potted plant? Talk to me. What's so dangerous?
Bartender: It's nothing to concern your pretty little head about.
Prue: Okay, now that's condescending.
Cole: Lay low, remember?
Prue: Fine.
Cole: You were saying?
Bartender: There's some trouble between a powerful man in town...
Prue: Sutter?
Bartender: How do you know about Sutter?
Prue: This pretty little head knows a lot. So, why don't you talk to both of us now? Tell us what's going on.
Bartender: One of Sutter's men just got k*lled and now there's gonna be hell to pay.
(Three cowboys walk in the saloon. Everyone turns to look. Sutter walks in behind them.)
Sutter: Where is he? Just so you know, I've already taken the liberty to print up the evening edition. (Sutter holds up a newspaper with the headline "Half-breed to Die at Sundown".) Just so you know how serious this is. All the news that's fit to print. (He turns to Isabel, Bo's sister.) You know where your little brother's hiding, now don't you?
Isabel: Even if I did, I'd never tell you. I'm not afraid of you, Mr. Sutter.
Sutter: Well, if you were smart, you'd be. Of course your kind are not, are they?
(Prue starts to go over but Cole stops her.)
Cole: Hold it. Plan is not to get involved.
(Sutter turns to Cal.)
Cal: I haven't seen Bo, Mr. Sutter, I swear. Not since he took off.
Sutter: You know, you lie to me again, Cal, and I'll do worse than this.
(He holds up a whip. A cowboy s*ab Cal's hand with a Kn*fe. Prue rushes over and pushes the cowboy away. She takes off her scarf and wraps it around Cal's hand.)
Prue: What the hell is wrong with you people?
Sutter: Well, well, well. What do we got here?
Cole: Uh, Prue?
Sutter: Lady, I don't know who you are or where you come from but you obviously don't have the slightest idea who you're dealing with.
Prue: Oh, please, what a cliché.
(The cowboy stands up.)
Cowboy: I usually don't h*t women, but seeing your dressed like a man, I imagine I can make an exception.
(Prue blocks his punch and smashes a whiskey bottle over his head. Prue gets out her g*n and sh**t at the cowboy's r*fle, making it fly out of his hand. Cole pulls out a r*fle and aims is at the men.)
Cole: Don't.
Sutter: No, we'll deal with these two later, after we take out Bo.
Cowboy: This ain't over. You and me, we got a score to settle.
Sutter: One of you know where he's at. And if you don't tell me, I'm gonna burn this town to the ground looking for him.
(They leave.)
Cole: So much for laying low.
Prue: Yeah.
Commercial Break
[Scene: Saloon. Prue, Cole and Isabel walk outside.]
Isabel: Sutter's in tight with the railroads. He came here a couple of months ago promising to bring the tracks through and make it more than just an old mining town.
Prue: In exchange for what?
Isabel: A piece of everything. The mines, the bank, the newspaper. When folks started resisting, his boys took over. At first everybody stood up to them, but after they k*lled the sheriff. Cowards.
Cole: Why's Sutter after your brother?
Isabel: Because Bo wouldn't back down. He kept on fighting, trying to get everybody to take back the town.
Cole: Sounds like a brave man.
Isabel: He is. Too bad the others aren't.
Prue: Isabel, we know that Bo is injured. We know that he's been sh*t. We can help you, but you have to trust us.
Isabel: I do. Bo said you'd come.
Cole: How's that again?
Isabel: Bo, he saw it in one of his dreams. He said that two strangers would come, so, um, I knew.
Prue: Alright, so wait a second. Bo has dreams about the future?
Isabel: Yeah. He has a gift. He inherited it from our father, who was a great medicine man. His name was Soaring Crow.
Prue: Was?
Isabel: He died when we were young. When we moved here, my mother wouldn't allow Bo to talk about his gift. She knew that magic was considered evil in the white man's world.
Prue: Yeah, I know what it's like to have a gift that you have to keep a secret.
Cole: And live in a place where you have to hide half of who you are.
Isabel: Come. I'll take you to Bo. Come.
(They walk over to three horses.)
Cole: Where'd you get the horses?
Isabel: I told you. I was expecting you.
Cole: You know, I still say we eliminate the thr*at first, k*ll Sutter. Probably break the curse anyway.
(They get on the horses.)
Prue: Yeah, well, we don't know that, which is why we need to get to Bo first. You know, Cole, if you want to try your hand at being good, your first instinct shouldn't be to k*ll.
(They ride off. Cal gets on his horse and follows.)
[Scene: Ghost town in the present. Piper and Leo are there looking around.]
Piper: I don't know what we're supposed to be looking for. Yuck.
Leo: Well, we gotta keep looking, find something that might help us break the curse.
Piper: Like what? There's nothing here but spiders, lizards, and that stupid old crow.
Leo: Oh, come on, let's keep looking. After all, we got a rehearsal dinner to get back to.
Piper: There's not gonna be a rehearsal dinner or a wedding if we don't find a way to save Phoebe.
(The crow lands on the saloon.)
Leo: What is it?
Piper: Phoebe said Bo got into a fight in a bar, right? So that would be the saloon.
Leo: Makes sense. It's a western.
Piper: So it's always the saloon.
(They walk into the saloon. Piper goes behind the bar. Leo looks at a bottle.)
Leo: Hankins Nerve Tonic, calms raw nerves. Think I should bring a bottle back for your dad?
Piper: I don't think that'll do it. There's nothing, there's nothing here. Great brainstorm, huh?
Leo: Actually, I think it was. Look.
(Piper picks up an old newspaper.)
Piper: "Half-breed to die at sundown"?
Leo: On that same date, 1873. Read who's gonna die.
Piper: Bo Light Feather.
Leo: We've got to find a way to warn Prue and Cole that they don't have until midnight.
Piper: Which means neither does Phoebe.
[Cut to the manor. Phoebe is lying on the couch. Victor brings her a glass of water.]
Victor: Here you go. Drink up. (She drinks the water.) What is it?
Phoebe: It's nothing.
Victor: Hey, I didn't come back into your lives just to be kept in the dark. I'm your dad, you can tell me anything.
(She starts to shake.)
Phoebe: I'm dying.
Victor: Oh, come on.
Phoebe: No, I can feel what's happening to me. It's like a... something that you can feel deep inside of you. I-I can't explain it.
Victor: You're sisters are not gonna let that happen, I am not gonna let that happen.
(Leo and Piper orb in.)
Piper: How is she?
Victor: She's gonna be fine.
Piper: Okay, we have to hurry. We found out Bo dies at sundown, except I don't think Prue knows that.
Leo: But we have an idea how to let her know. Phoebe, if you're getting visions from Bo, maybe he can get one from you.
Phoebe: I don't understand.
Piper: Phoebe, if you can will yourself to get a premonition about Bo's death, he might be able to see it too, and then he can tell Prue and Cole that they don't have as much time as they think they do.
Victor: But I thought you said you couldn't always get premonitions when you wanted.
Phoebe: I can't.
Piper: You can try.
(Piper hands Phoebe the newspaper and Phoebe holds it against herself.)
[Scene: 1873. Cole and Prue are following Isabel to Bo's hideout.]
Cole: Any idea what we should say to him?
Prue: We're not gonna say anything. I'll do the talking.
Cole: You know, it wouldn't k*ll you to be nice to me.
Prue: Really. It's funny you should say that, considering how many times you actually tried to k*ll me.
Cole: That's all in the past, Prue.
Prue: Right. After all this is done, you need to leave us alone. Otherwise, we'll have to do to you what we should have done in the first place, which is vanquish you.
Cole: Then that's what you're gonna have to do because it's the only way you're gonna keep me away from Phoebe.
(Isabel turns to Prue and Cole.)
Isabel: Are you guys ready to go in? Uh, something wrong?
Prue: No, nothing that I can't handle.
(They walk into the small building. It looks like an old church. Bo is lying in the corner. He is holding a cloth against his wound.)
Isabel: He's very weak. I tried to pull the b*llet out but it's in too deep. Bo. Bo. How are you doing?
Bo: What's the matter with you? Who the hell are they?
Isabel: It's okay. They've come to help.
Prue: Just like in your vision, remember?
Bo: I don't know what you're talking about.
Isabel: Bo, I told them.
Bo: Too much apparently. We don't need your help. Just leave now.
Prue: Bo, my sister gets visions too, and she had one of you getting sh*t, alright? We're here to help you.
Cole: And help her.
(Bo pulls out a Kn*fe.)
Bo: It's a trick. Sutter sent you. I know he did.
Isabel: No, they stood up to Sutter. You should have seen it.
Bo: Just get out of here!
Cole: We're not going anywhere.
Bo: I know that look. Sutter's got it too. You're evil. I can sense it.
Prue: Alright, then just look at me. You can't say the same thing about me can you? Bo, this isn't just about you, alright? My sister will die too. This whole town will if you don't let us help you.
Isabel: They think that something Sutter is going to do will trigger a curse. The kind that father used to speak about.
Prue: If we show you that we have gifts too, will you trust us then? (to Cole) Show him.
Cole: Show him what?
Prue: You're gift. Show him your gift.
(Cole shimmers out and then shimmers back in.)
[Cut to Sutter. He breaks a bottle with his whip. Three cowboys walk in.]
Sutter: This better be good.
Cowboy: We couldn't find him, boss.
Sutter: Now you listen to me and you listen real good. Bo's giving the townsfolk ideas and I don't want 'em getting ideas.
Cowboy #2: No one knows where he's at and if they do, they ain't talking.
Sutter: Well, you make 'em talk. This town is mine and it's gonna stay mine. When that railroad comes through, and mark my words it will, I'm selling this land, and that land's gonna be worth more than any of you three are capable of imagining. (Cal walks in.) You better have something useful to tell me, Cal.
Cal: I know where Bo is hiding.
Sutter: Finally. Someone knows what's good for him.
[Cut back to the church. Prue takes off her gloves.]
Prue: Alright, the first thing that we need to do is to get that b*llet out of you. (She kneels down beside him.) Uh, this is gonna hurt.
(Prue takes the cloth off of his wound. She uses her power to remove the b*llet. Bo and Phoebe yell in pain. They receive a premonition of Sutter whipping Bo. Isabel is being restrained. Sutter then sh**t Bo. The premonition ends.)
Bo: I believe you.
Commercial Break
[Scene: Manor. Living room. Phoebe is crying hysterically. Piper is trying to calm her down.]
Piper: It's okay, you're okay. Take a deep breath.
Phoebe: I saw what they're gonna do to Bo. It was horrible!
Leo: Do you think he saw it too?
Phoebe: I know he did. I felt him. Nobody did anything. They didn't help him. Nobody did anything.
Victor: So what do we do now?
Leo: There's nothing else we can do but wait. It's up to Prue and Cole.
Victor: And you call yourself their guardian angel? What the hell good is a Whitelighter if all you can do is stand there and watch my daughter die?
Phoebe: Dad, please.
Piper: You're not helping.
Victor: And he is? Why don't you do something? Isn't that your job?
Leo: I am doing something, I am trusting your other daughter Prue. You know, I know that you feel helpless. We all do. But Prue is not gonna let Phoebe die and neither is Cole.
Victor: Oh, so now I'm supposed to trust a demon?
Leo: You know, as much as I hate to say this, Cole loves Phoebe. He took a huge risk to come here and try and prove himself to her and he will do whatever it takes to save her life.
Phoebe: He's right.
Victor: How can you be so sure?
Phoebe: Because he loves me as much as I love him.
[Cut back to the church. Sutter and his men are riding up to it.]
[Cut inside. Prue does something to her g*n.]
Isabel: You learn fast.
Prue: Thanks. I have a few gifts too.
(Cole looks out the window.)
Cole: Sutter's men just showed up. We better get Bo out of here.
Isabel: What? How did they find us?
Cole: We must have been followed. I'll shimmer him back to Leo, then come back for you two.
Prue: No.
Cole: What do you mean, no? He dies, Phoebe dies.
Prue: Taking Bo out of here will not break the time loop.
Cole: It'll save Phoebe.
Prue: Yeah, well, there's more than just Phoebe's life on the line here, Cole. We have to break the curse by sundown, otherwise this entire town is doomed to repeat the same day over and over again.
Cole: Are you seriously telling me you're willing to sacrifice your sister's life for a town full of cowboys?
Prue: What I'm saying to you is that there's a great good at stake here, one that I can't just walk away from and one that you shouldn't walk away from if you truly expect to be good.
Man: We know you're in there, Bo. Come out with your hands up and nobody gets hurt. What's it gonna be, Bo?
Cole: Alright, how do we break the curse?
Prue: I don't know, but I do know that it hinges on keeping Bo alive.
Bo: No, it doesn't. The curse isn't about me or about Sutter. It's about them. The townspeople who stood there and watched me die. The only way is for me to give myself up.
Isabel: No.
Bo: It's okay, Isabel. Have faith.
Cole: And they'll k*ll you.
Bo: Maybe. This curse came from my father's people. I understand that now. It's meant to heal, to teach the townspeople to act without shame. I have to give them that chance.
Prue: Helping them to save you saves themselves.
(Bo opens the door and white doves fly out. He raises his hands.)
[Time lapse. Sutter's men are riding their horses through the town with Bo being dragged behind. They stop and a man takes Bo to Sutter.]
Sutter: I want you all to see what happens when people cross me.
(Sutter pushes Bo on the ground. Cole, Prue and Isabel arrive.)
Isabel: No! No!
Prue: Don't! He knows what he's doing.
(Bo stands back up and Sutter starts to whip him. Phoebe feels it too.)
Sutter: What's the matter, boy? You too stupid to scream? I want you to beg for mercy.
(Sutter continues to whip Bo.)
Prue: (to the townspeople) What are you people doing? Look at him. He has the courage to fight Sutter for all of you. You can just stand there and watch him die. You have to do something! You can take him down!
Cole: Sutter can't take all of you out. You need to do what's right!
Prue: You cannot just stand by and let this happen. Stand up to him! Don't be scared.
Sutter: Nobody crosses me.
(Sutter gets out his g*n and points it at Bo. The bartender sh**t Sutter's g*n out of his hand.)
Bartender: I think you just oughta leave Bo alone, Sutter.
Sutter: You just signed your own death certificate.
(Cal points his g*n at Sutter.)
Cal: If you wanna k*ll Bo, you're gonna have to k*ll me too.
(The townspeople all point their g*n at Sutter. Isabel runs over to Bo.)
Isabel: Are you okay? (Sutter grabs Isabel by the hair.) Aah!
Sutter: Anybody comes after me and she's d*ad.
Cole: (to Prue) Now can we do something?
Prue: Oh, yeah. (Sutter lets go of Isabel, jumps on his horse and rides off. Everyone chases him. Prue gets on a horse and follows him. She sh**t at him and he falls off the horse. He tries to run away but Prue sh**t him in the chest. She gets off the horse and uses her power on him. He flies into the sheriff's office. Bo and Isabel catch up to Prue.) I don't think Sutter's gonna be a problem anymore.
Bo: What about the curse?
Prue: It's a beautiful sunset isn't it? I don't think there's been one quite like it in 128 years.
(They hear a g*n.)
[Cut to the saloon. Cole and the cowboy are there. Cole goes to sh**t at the cowboy but is out of b*ll*ts.]
Cowboy: Looks like you're outta b*ll*ts. I'm gonna enjoy this. See you in hell.
Cole: Been there, done that.
(The cowboy pulls out his g*n and Cole throws a lightning ball at him. Prue walks in. Cole laughs at the cowboy. He turns around and sees Prue standing there.)
Prue: Like I said, once a demon always a demon.
(Prue walks back out. Cole throws his hat on the ground.)
Commercial Break
[Scene: Manor. Living room. Piper, Phoebe, Leo and Victor are waiting for Prue and Cole.]
Victor: So where are they?
Leo: I don't know, unless they didn't make it out.
Piper: Don't even say it, don't even think it.
(Cole and Prue shimmer in. Cole has his arm around her. She quickly pushes it away from her.)
Prue: Eew!
Piper: Finally.
Victor: What took you so long? We've been worried sick.
Cole: Sorry, we had a few, uh, loose ends to tie up.
Prue: (to Phoebe) Are you okay?
Phoebe: I'm great. Thank you. Both of you.
Leo: And the time loop?
Prue: Broken. They will never have to live through that horror again.
Victor: So then, um, where are they?
Prue: I don't know. Probably living out their lives in a parallel plane, I guess.
Leo: You don't think about it too much, Victor. It'd just give you a headache.
Piper: Okay, um, anybody up to a rehearsal dinner?
Phoebe: Absolutely. I'm starving.
(Everyone heads for the dining room.)
Cole: Well, I guess I should be going.
Prue: Yeah, that would probably be a good idea.
(Phoebe walks over to Cole.)
Phoebe: You're not going anywhere.
Cole: Phoebe, I don't want to cause any trouble.
(Phoebe kisses him. Everyone looks away.)
Phoebe: You're staying and that's that.
Piper: Alright then, shall we?
Cole: Yeah.
(They go into the dining room. A crow lands on the window sill outside.)
End | {"type": "series", "show": "Charmed", "episode": "03x14 - The Good, The Bad, and The Cursed"} | foreverdreaming |
[Scene: Manor. Prue and Phoebe are putting a floral arch in place for the wedding. Grams' spirit is standing near by.]
Phoebe: Okay, that should do it.
Grams: I'm thinking more to the left. Uh, is this the biggest arch you could get?
Phoebe: Ugh.
Prue: Without opening a fast food franchise, yeah.
Grams: Well, just remember, if love is the quest then marriage is the conquest. This place must be like victory.
Phoebe: And here I thought weddings were supposed to be romantic.
Grams: Oh my dear sweet child.
Prue: Better listen to grams, Phoebe. I mean, you could always calculate her age by the number of rings on her fingers. (Phoebe laughs.) Alright, wedding arch is done. (She ticks something on her list.) The next thing to do (she yawns) on the To Do list is...
Phoebe: Sleep. You've been yawning all day.
Prue: Try all week. It's this reoccurring dream I keep having. It's keeping me awake.
Phoebe: Really? What's in the dream?
Prue: Well, uh, there was this biker guy and he's kinda cute and kinda dangerous.
Phoebe: Sounds kinda yummy.
(Piper walks in and looks around.)
Grams: Piper, sweetie, well, what do you think?
Piper: It's-it's beautiful.
Phoebe: Yeah, and the best part about it is, it's finally happening.
(Piper sighs.)
Piper: Flowers and bows and grams. The only thing missing is...
Prue: Mum.
Piper: Grams, are you sure that you can't do...
Grams: No, nothing. I'm only here because you need a high priestess. They want me back by the witching hour tomorrow.
Phoebe: I thought maybe this could help.
(Phoebe holds up a photo of Patty.)
Prue: You okay?
Piper: Yeah, I just, I can't believe how close I came to sabotaging my own wedding.
Phoebe: What do you mean?
Piper: Well, with the demons and the false start and 'them' I, you know, I told myself if one more thing went wrong then it just maybe wasn't meant to be.
Grams: Oh, darling, there's no need to think that way. I mean, you made it.
Prue: Yeah, and I will personally butt kick any demon who tries to ruin it for you.
(Prue yawns.)
Phoebe: Not if you're asleep you won't. Come on, I'm tucking you in.
Piper: Sweet dreams. Bye.
(Prue and Phoebe go upstairs.)
Grams: I'll see you tomorrow at 4:00, Mrs. Halliwell. The women keep their names in this family.
(Grams disappears. Piper looks around the room.)
[Cut to Prue's room. Prue is asleep in bed.]
[Cut to Prue's dream. There's a bar. Men are playing pool. The camera pans over to another table. Prue's there playing pool with a couple of biker men.]
Prue: Uh-huh. (She sinks a ball.) The more I play, the luckier I get. (She walks around the table.) Alright. (She sinks another ball.) So that would be, uh, twenty bucks that you owe me.
Biker #1: I never agreed to no bet.
(A cute guy approaches them. His name is TJ.)
TJ: Rules of the house say loser pays twenty bucks. Maybe you want me to take you out front and teach you those rules.
Biker #1: Alright.
(He hands her the $20.)
Prue: Thank you. (She tucks it inside her bra.) (to TJ) So, um, I didn't, I suppose that you want something for helping me.
TJ: You could say that.
Prue: Well, you'll have to win it just like the rest of them.
(He grabs her.)
TJ: Maybe I should just take it.
Prue: Maybe you should leave me alone. You have no idea who you're dealing with.
TJ: Maybe you should show me.
(She kisses him.)
Prue: Hi.
TJ: Sorry I'm late.
Prue: Yeah, so am I because now I have to go.
(She starts to walk off.)
TJ: No, I want you to stay.
Prue: Yeah, I know. You know that I can't, alright, I have...
TJ: Responsibilities, right. That's what you say every night, then you cut out.
Prue: TJ, I would love to leave my responsible half behind but I can't.
TJ: You can. What are you gonna miss? Work? Blow it off. There's a freedom that comes with making your own choices.
Prue: Yeah, and I wanna know what that's like but...
(She kisses him and walks off.)
TJ: The least you could do is tell me your name.
[Cut to outside the bar. A biker is standing out there. Prue walks past and he stops her.]
Biker #1: Hey, you've got my money.
Prue: Hey, you have a good memory.
Biker #1: Yeah, yeah, maybe I'll just kick it out in trade, huh? Come here.
(He touches her and she kicks him in the face. She picks up a piece of wood and hits him in the stomach. He falls to the ground, unconscious.)
Prue: No, I don't wanna go.
(Prue astral projects out of the scene.)
[Cut back to Prue's room. Prue wakes up.]
Opening Credits
[Scene: Manor. Piper's bedroom. Piper is asleep. There are rose petals covering her bed. A chime wakes her up.]
Piper: Leo?
(She sits up and sees the petals. She giggles and picks up a handful of petals. Phoebe walks in carrying a tray.)
Phoebe: Was that just giggling I heard?
Piper: Yes, I am guilty of giggling and I am guilty of being happier than any previous romance in my life.
Phoebe: Piper, it's your wedding day!
Piper: (shyly) I know.
Phoebe: Here comes the bridesmaid! (Phoebe jumps on the bed. Prue walks in.) Prue, come play!
Prue: Oh, hey.
Phoebe: Uh-oh. Another bad dream?
Prue: Yeah. I was still in that biker bar but this time I was att*cked by a big galloot.
Piper: A galloot? What is that? (Phoebe shrugs.) You fought a demon in your sleep? If I'm gonna have to vanquish a demon in my wedding dress, just tell me because if so, then--
Prue: Ay! Alright, he was not a demon. He was just a big rude guy.
Phoebe: And it was just in her dream.
Prue: Yeah, and the only thing I need to vanquish him is a potion called coffee. (The doorbell rings.) Ah, that must be the flowers. Um, okay, you just relax, no worrying.
Phoebe: And eat your breakfast and then I will have a hot bubble bath waiting for you.
Piper: Are you sure there's nothing witchy going on?
(Prue throws petals over Piper.)
Prue: I'm positive.
(They leave the room.)
[Scene: The bar in Prue's dream. Biker #1 is lying d*ad on the ground. Police are there interviewing people. A photographer takes a photo and then the body is covered up.]
[Cut to inside the bar. An inspector is showing TJ a security tape of Prue hitting the biker - just like in her dream.]
Inspector: Is that her? Is that the woman you were with last night?
TJ: Yeah, so what?
Inspector: So what's her name?
TJ: I don't know.
Inspector: Ah, you stick your tongue down her throat but you don't know her name?
TJ: That against the law?
Inspector: Look, I appreciate you trying to protect your girlfriend from m*rder charges.
TJ: She's no m*rder.
(A biker walks up to them.)
Biker #2: You sure about that, son?
Inspector: You know something?
Biker #2: I know what happened. Saw it with my own eyes.
Inspector: Get a look at the k*ller?
Biker #2: I'm looking at her right now.
Commercial Break
[Scene: Manor. Kitchen. Prue and Phoebe are there. Prue is sitting at the table.]
Phoebe: Check out what I found in the attic.
Prue: I hope it's something old 'cause we already have new, borrowed and blue covered.
Phoebe: Is Melinda Warren's blessing cup old enough?
(Prue picks up the cup.)
Prue: That is very cool.
Phoebe: Yeah, what could be better than to give Piper the actual cup that our favourite ancestor drank from at her wedding.
Prue: Hmm, alright, I can check that off. Now all I need is help moving the buffet table.
Phoebe: Um, maybe we should wait until Cole gets here. He should be here any minute.
Prue: You're kidding, right?
Phoebe: No, you knew he was coming to the wedding.
Prue: Yeah, to the wedding, Phoebe, but the moments leading up to it belong to the family. And I'm sorry, but Cole is not family, okay, he is still a demon. And I don't think Piper needs a demon--
(They hear Piper scream.)
[Cut to the stairs. Leo and Piper are there. Piper is hiding behind the railing.]
Piper: It is bad luck to see the bride's dress before the wedding.
Leo: But you're not even wearing the dress.
Piper: The same rule applies to the bride's... curlers. Go away.
(She goes upstairs. Prue and Phoebe walk in.)
Prue: Oh, good, you're here.
Leo: Yeah, I'm just looking for a place to change.
(Prue sees Leo holding his Whitelighter robe.)
Prue: Uh, what's with the robe?
Leo: Oh, it's my formal Whitelighter wear.
Phoebe: Um, yeah, I-I hope you don't mind but we sort of decided that you should be a little bit more traditional, so we rented you a tux.
(Victor enters the manor.)
Victor: Anybody home?
Phoebe: Daddy! (She goes over to him.) Hi.
(They hug.)
Victor: Hi, baby. Leo.
Leo: Victor.
(He goes over to Prue.)
Prue: Hey dad.
Victor: Hey. (He kisses the top of her head.)
Prue: Well, I know that you have a lot of joy and laughter to share so I'll just take you down... whoa.
Victor: What's the matter?
(Prue sits down on the stairs.)
Prue: Uh, just a, uh, dizzy spell. I've been getting them ever since those dreams began.
Leo: What dreams?
Prue: Oh, you know, those dreams... uh, you know, it's nothing.
Phoebe: Yeah, certainly nothing to worry about. Okay, you two, follow me. (to Prue) You just sit there and relax. I'll be right back. (Leo and Victor follow Phoebe down to the basement.) Get dressed and no fighting.
(Leo and Victor walk down the stairs. A tux is there hanging on a coat hanger.)
Victor: So you rented a tux, huh? I thought for sure you'd be wearing one of those long robes all you Whitelighters love so much.
Leo: I decided to go a little more traditional.
[Cut back to Prue. Phoebe sits down beside her.]
Phoebe: Prue, okay, we've got everyone convinced that we have things under control. Now you have to convince me.
Prue: I can't do that.
Phoebe: Oh, no. What are you feeling?
Prue: Tired all the time. I mean, when I fall asleep my dreams are so real, they don't allow me any rest. It's like I'm awake twenty-four hours a day.
Phoebe: Is the dream sorcerer back?
Prue: I don't think so, but I'm not ruling anything out.
Phoebe: Well, remember what Piper said. If one more thing goes wrong she was gonna call of this wedding.
Prue: No, we can't let that happen.
Phoebe Okay, why don't you let me handle this almighty To Do list, and you go upstairs and get some rest. Don't sleep, just rest.
Prue: Okay.
(They stand up.)
Phoebe: Huh, wow, so you're relinquishing control to your little sister. You must really be tired. (Prue goes upstairs. Phoebe picks up the photo of Patty.) Please help us through this day, mum.
[Cut to Prue's bedroom. Prue is laying on her bed. She closes her eyes and falls asleep.]
[Cut to Prue's dream. Astral Prue appears in the bar. She walks past a pool table. TJ grabs her arm from behind. She turns around.]
TJ: Hey.
Prue: Hey.
TJ: You shouldn't have come back.
Prue: What are you talking about?
TJ: I spent the whole morning with the cops. They think you k*lled a guy, took his money.
Prue: No, I-I-I didn't k*ll anyone.
TJ: Good 'cause that's what I told them.
Prue: So then why are you still here?
TJ: Waiting for you. I didn't have your phone number and you never even gave me your name.
Prue: That is the sexiest thing a man's ever done for me.
(She kisses him.)
TJ: Hey, you keep saying you wanna live a life with no rules, no responsibilities. This is it. A chance. Come on.
(They walk outside and get on his motorbike. A police car pulls up.)
Inspector: Whoa, take it easy.
(Another police car pulls up.)
Prue: Don't do it for me, TJ.
Inspector: You don't wanna be an accessory for m*rder.
(The inspector gets out his handcuffs.)
Prue: (to TJ) My name's Prue. Prue Halliwell.
(Prue gets off the bike.)
Inspector: Put up your hands. Come on. (The inspector handcuffs her.) Let's go.
[Cut to Prue's room. Phoebe walks in.]
Phoebe: Prue? Prue, wake up.
[Cut back to the bar. The inspector puts Prue in the car.]
[Cut back to Prue's room.]
Phoebe: Prue.
[Cut back to the car.]
Prue: Oh, no.
(Prue astral projects out of the car, leaving the handcuffs behind. The inspector notices she's gone.)
[Cut to Prue's room. Prue wakes up. She looks at her wrists.]
Prue: Oh, no.
Commercial Break
[Scene: Manor. Prue's room. Prue and Phoebe are there.]
Prue: I was wanted for m*rder but this, this guy in my dream, he risked himself to save me. Sexy guy.
Phoebe: Prue, forget the guy. What about the arrest?
Prue: Right, uh, okay, a cop handcuffed me and that's all I remember, except that I didn't really wanna wake up, it's like my dreams were overpowering me.
Phoebe: Mm, that's what my premonitions feel like. They pull me against my will.
Prue: You know, maybe somebody's trying to pull me in a parallel world or a dream dimension.
Phoebe: Well, hopefully that someone will be in the Book of Shadows, okay? Come on. (They head for the attic.) Wait, should we tell Piper?
Prue: No, I won't let this be the one thing that goes wrong today. I'll be okay as long as I stay awake, right? For Piper?
Phoebe: For Piper.
(Piper comes out of her room.)
Piper: Hold it right there. What's wrong?
Phoebe: Boy bands. There's just too many of them, don't you think?
Piper: No. What's wrong with you two?
Prue: Uh, nothing's wrong.
Piper: I can see it in your faces. We've been demon hunting for three years now. You're going to the attic, aren't you?
Phoebe: Yes.
(Prue elbows Phoebe.)
Prue: Phoebe!
Piper: I knew it.
Phoebe: What, Prue, she's onto us, she knows. Yes, Piper, we were heading to the attic. To find something old, something new...
Prue: Uh, something, something borrowed, something blue.
Phoebe: Yes.
Prue: Right. We were gonna surprise you but now you caught us.
Piper: Oh.
Prue: Yeah, I mean, look, I told you, you have nothing to worry about today, alright? It's going to be a demon-free day. (Cole shimmers in and scares Piper.) Hey!
Cole: Sorry I'm late.
Piper: (to Prue) You were saying?
(Cole walks over to Phoebe.)
Cole: Near miss with a Zotar. (He and Phoebe kiss.) Almost spotted me. Oh, don't worry, I lost him. I think.
Piper: See? No matter what, a demon will att*ck today. It's just the natural order of our universe.
Phoebe: Piper, you have to stay positive. You know what? I have Celine Dion 'Behind The Music' on video cassette. Would you like to watch that?
Piper: Would you like to get slapped?
Prue: Hey, she's just trying to relax you.
Cole: Don't worry, leave the demons to me. I can handle anything that comes through...
Phoebe: Oh, no you don't. You promised you were not gonna use your demonic powers anymore.
Cole: Oh, sorry. Old habits.
Phoebe: Think good.
Cole: Oh, I am, I am. Um, I brought a gift.
(He throws the gift at Piper.)
[Cut to the basement. Leo and Victor are dressed in their tux.]
Victor: So are you and Piper gonna move out, get your own place?
Leo: Not right away.
Victor: Well, just between you and me, isn't that a little tough on the old pride? Living off the girls like that?
Leo: Look, Victor, I know you don't like the idea of your daughter marrying a Whitelighter.
Victor: Oh, I never said that. But now that you mention it, yeah, I'd prefer Piper to marry a mortal.
Leo: Well, Piper's not mortal, she's a witch. She was given her gifts to serve a higher calling.
Victor: A calling that only people like you could understand, right? The same crap my ex-wife's Whitelighter used to steal her away from me.
Leo: And I'm sorry that happened to you, I really am. But with all do respect, this isn't about you and Patty, this is about me and Piper. I love her with all my heart, and I promise to keep loving her and taking care of her for the rest of this life, the afterlife and whatever comes after that. Now you may not support it and you may not agree with it but it is not gonna stop me from marrying your daughter today. Nothing will.
Victor: You know... I could probably get used to having a Whitelighter for a son-in-law.
(Victor ties Leo's bow tie. Cole comes down the stairs.)
Cole: Everybody having fun down here?
Leo: (to Victor) How do you stand on demons?
[Cut to upstairs. Prue walks downstairs from the attic. Phoebe comes around the corner.]
Phoebe: Hey, did you find anything in the Book about your dreams?
Prue: Nothing.
Phoebe: What are we gonna do? The wedding's in a half an hour.
Prue: Get ready, get set, get through it for Piper.
Phoebe: For Piper.
(They head in different directions.)
[Cut to Piper's room. Piper is in her wedding dress. She puts on her earrings and looks in the mirror. Patty appears behind her.]
Patty: Oh, you're so beautiful.
Piper: Mum?
Patty: Don't be afraid.
(Piper turns around.)
Piper: Oh my god. But... it can't be 'cause, um, ghosts, ghosts glow. You're not glowing.
Patty: I'm not a ghost. Well, not today. Today I am simply your mother.
Piper: But, uh, how?
Patty: After all the Elders put you and Leo through, they wanted to give you something back, so, so they sent me down, just for your wedding day. You know, I think I wore my hair like this for my wedding day.
Piper: You did. Uh, I kept your wedding album after you died and... (Patty licks her finger and pushes a piece of Piper's hair in place.) And I looked at the pictures every night like a bedtime story.
Patty: I always thought you'd be the first to get married. You're the heart of this family, Piper.
(Piper touches Patty's hand.)
Piper: I'm not dreaming am I?
Patty: No, sweetie, you're not.
Piper: Mum.
(They hug. Prue and Phoebe walk in.)
Phoebe: Mum.
Piper: It's true. She's real. They sent her to us for today.
(Patty goes to Prue.)
Patty: Oh, Prue. It's been so hard on you, unfair.
Prue: Yeah... no, it doesn't matter. I just wanted to make you proud.
Patty: You protected this family better than I could. I'm so proud of you.
Prue: Thank you. (They hug.)
Patty: (to Phoebe) And you, my baby, you feel it all, don't you? I was never there to comfort you. I died before you even knew me.
Phoebe: Some nights I just wanted you to hold me.
Patty: Your road's been the longest, Phoebe. But I was never worried about you. You know why? Because I had a premonition the day you were born.
Phoebe: You did?
Piper: What did you see?
Patty: Oh, I saw this. I saw this moment right now, my three daughters standing before me as beautiful young women and I knew that everything would be okay.
Phoebe: What did you see next?
Patty: I held you.
(They all hug.)
[Cut downstairs Everyone but Piper and Patty are standing around the room.]
Grams: Places, places everyone.
(The doorbell rings.)
Prue: Don't answer that.
Piper: (from upstairs) Can somebody answer that?
Prue: Ooh, I'll get it. (Prue answers the door. Darryl is there.) Hey, you're late. Where were you?
Darryl: Out saving your ass.
Prue: Huh?
Darryl: Police have your picture. You're wanted for m*rder. They said you fled custody this morning.
Phoebe: Oh my god, that was your dream.
Darryl: They don't have your name yet but it's only a matter of time.
Grams: Girls!
Prue: Alright, let's just stay cool and we'll get downtown and straighten this out later. But we have to get through the wedding first, okay? For Piper?
Phoebe: For Piper. (They look at Darryl.) You're supposed to say 'For Piper'.
Darryl: Alright, it better be a quick wedding.
(Prue, Phoebe and Darryl go into the room and stand in place.)
Grams: Everything looks perfect except Victor, could you move a little to your left.
Victor: Sure, why?
Grams: Well, to make room for...
(Patty walks in.)
Victor: Patty.
Patty: Hello, Victor, how are you?
Victor: Good. I mean, I was good. Alright, who brought my ex-wife back from the d*ad?
Grams: Not now, Victor. I know you two have issues but that's what the reception is for.
(Grams starts the music and Piper walks down the stairs. Victor walks over to her and she holds onto his arm. He takes her up to Leo.)
Phoebe: We did it. It's really happening.
(Suddenly, TJ rides through the front door on his motorbike. He knocks over the flowers and then knocks over the table and all the glassware smashes on the floor. He stops in front of the table the cake is sitting on.)
TJ: Prue!
Phoebe: Who the hell is that?
Prue: Oh, oh, oh no. (Prue faints.)
Phoebe: Prue? (Astral Prue appears.)
Astral Prue: TJ. (She runs over to him. Grams gasps.) You came.
(Prue gets on the back of the bike.)
TJ: Had to b*at the cops. I won't let them take you.
Piper: Prue, what the hell is going on?
Phoebe: Prue, you get your astral ass back here! (TJ rides off, knocking the cake table. Piper gasps. The three tiered cake falls on the floor.) Honey...
Piper: Alright, that's it! The wedding is off! (She throws her veil on the floor. She tries to walk but Phoebe is standing on her dress.) Phoebe!
Phoebe: Sorry! Sorry! (Piper walks away.) Piper, Piper, wait, think about this.
Commercial Break
[Scene: Manor. Continued from before. Piper is putting on a sweater.]
Phoebe: Piper, Piper, you can not just leave.
Piper: Yes, I can. A demon I could have handled, but my big sister ruining my wedding, I can not handle that.
Phoebe: Okay, just listen to me for one second. All we have to do is find a way.
Piper: No, no, I don't wanna find a way to get married on my wedding day. It's-it's too hard. There must be a reason.
(Leo walks over to them.)
Leo: Piper...
Piper: Leo, I'm sorry, but this is just the final straw. It's just not meant to be.
(Piper leaves the manor.)
[Cut to the living room. Victor lays Prue on the couch. Leo and Phoebe walk in.]
Phoebe: I've never seen Piper so defeated. (Leo sits on the other couch.) Prue, come on, wake up. Prue, come on.
Patty: Honey, you won't get her back that way. Apart of Prue wanted to escape and it used her astral self to do it.
Grams: If the wedding's off, I have to go. I'm only here to conduct the ceremony. I'm sorry.
(Grams disappears.)
Victor: Maybe Piper's right. Maybe the wedding just wasn't meant to be.
Patty: Victor.
Victor: All I'm saying is maybe the gods are just trying to spare them the pain that we went through.
Leo: No. All I need is what's inside of me to know that Piper and I are meant to be together. (He stands up.) What happened here today...
Phoebe: Piper and Leo's love have touched us all. We have to fix this.
(Darryl's pager beeps.)
Darryl: I gotta go fend of the parse.
Victor: What parse?
Darryl: Prue's wanted for m*rder. I'll stay in touch by cell phone.
(Darryl leaves.)
Patty: m*rder?
Leo: (to Phoebe) You knew about this?
Phoebe: I just found out when Morris told Prue. But it's obviously a mistake. I mean, Prue wouldn't m*rder anybody.
Cole: You sure? I mean, Prue's astral form seems to have taken a life of its own. How do you know she didn't do it?
Phoebe: Because I know her.
Cole: Oh, yeah.
Phoebe: At least I think I do.
Leo: Alright, alright, you guys find Piper, bring her back here somehow. Phoebe, Book of Shadows, see if there's a spell to bring astral Prue back. Cole, you and me are gonna do a little investigating of our own. Alright, come on you guys. We've got a wedding to save.
[Scene: The bar. Cole shimmers in and Leo orbs in.]
Cole: Hmm, interesting place to dream about.
Leo: Especially for Prue.
(They start to walk around.)
Cole: Based on what Morris said, someone must have knifed the victim after Astral Prue away.
Leo: By the looks of this crowd, it could be anybody.
Cole: No, not anybody. Very few humans have the heart of a true k*ller. One who kills without prejudice.
Leo: How do you know?
Cole: I can always sense it. Before I suppressed my demonic self for Phoebe, I can sense how human K*llers form inside. He's here.
Leo: The m*rder? You sure?
Cole: That he's our m*rder? No. But he's got fresh blood on his hands. Go update Morris.
(Leo walks away.)
[Cut to P3. Patty and Victor walk down the stairs.]
Patty: Just let me do the talking. You always had a way of saying the wrong thing when they were young.
Victor: Wrong, according to you, you never opened to what I had to say because you wanted to raise them as witches... (They see Piper sitting across the room.) Instead of little girls.
(They walk over to Piper.)
Patty: We were worried.
Piper: I'm sorry, I let everyone down.
Victor: Honey, you have nothing to apologise for.
Patty: It is a tribute to you and Leo that you made it as far as you did, I think.
Piper: Yeah, but we didn't make it all the way.
Patty: Not yet maybe, but...
Piper: Not ever. I mean, I think it's obvious, don't you? Leo and I are just clearly not...
Patty: Destined to be? Oh, I don't believe that. And I don't think that you really believe that either.
Piper: Don't I? All I have to do is look at you and dad to see where I might end up if I marry Leo. I mean, look at the track record. The Halliwells, we are blessed as witches and we are cursed as women. Sometimes I think we're all destined to end up alone.
Patty: You don't really... I mean, just because... Victor.
Victor: You think your mother and I were cursed?
Piper: Don't you?
Victor: Honestly, I look back at those days as the best of my life. I loved your mother, she was the best thing that ever happened to me until the three of you came along.
Piper: But your marriage still didn't last.
Victor: Yeah, that hurt. A lot. But it was our love that gave birth to you and your sisters. Maybe that was my destiny.
Piper: I'm sorry, I just need to be alone.
(She walks away.)
Patty: Not bad for a guy who always says the wrong things.
Victor: Thanks. I just wish I knew that it helped.
Commercial Break
[Scene: Manor. Living room. Phoebe is there flipping through the Book of Shadows. She finds a spell.]
Phoebe: Gotcha.
[Cut to TJ and Prue at a park. TJ is lying down and Prue is sitting next to him.]
TJ: I've just gotta know. How'd you get away from the cops?
Prue: You know, I don't really wanna talk about that. I mean, I'm here now, that's all that really matters, right?
TJ: Yeah, but for how long?
Prue: Do you care?
TJ: Well, I did crash your sister's wedding.
Prue: Yes, you did.
TJ: And I am harbouring you from the cops.
Prue: And I appreciate that.
TJ: I may definitely pass for a state behaviour ---.
Prue: So then why are you still talking?
TJ: Prue, I don't need much, but I need to know one thing... are you gonna take off from me again tonight?
Prue: You know, I hadn't really thought about it. I mean, for the first time in my life I'm free, so I'm sorta just living moment to moment. Is that okay?
TJ: I'm cool with that.
Prue: Cool with that. (They kiss. Prue breaks the kiss.) Oh, not now.
TJ: What's wrong? (Prue runs away.) Prue? (Prue runs behind the bushes.) Prue, where are you going?
(She holds onto a tree.)
Prue: No, I'm free. I'm not going back.
(Prue astral projects out of the park.)
[Cut to the manor. Phoebe is sitting on the couch. Prue astral projects in.]
Prue: No, I will not let you take me!
(Prue looks around. Phoebe slams the Book of Shadows shut.)
Phoebe: Nice spell, huh?
Prue: How dare you.
Phoebe: How dare you. You destroyed Piper's wedding along with Piper. Now, Prue, I don't know what's going on with you but you have got to pull yourself together.
Prue: I'm outta here. (Prue starts to walk away. Phoebe gets up and grabs Prue's shoulder. Prue flips Phoebe onto the ground.) You know what? (She grabs Phoebe by the throat.) You can not stop me, alright. I am never going back. I'm not going... (Phoebe swings her around onto the couch.) Alright, you know what? I am sick of this. She is all about duty and obligation, well not me. Alright, I want to be free, I wanna find love, I wanna have a life.
Phoebe: Well, Prue, you have responsibilities whether you like it or not.
Prue: Don't talk to me about being responsible, Phoebe. Alright, you were not very responsible when you went and fell in love with a demon.
Phoebe: Oh, please, you have got to let this whole Cole thing go, okay? You can't stay mad at me forever.
Prue: I'm not mad at you, Phoebe, I never was. Alright, she was. I was rooting for you.
Phoebe: Okay, now you're scaring me.
Prue: You risked everything for love, just like Piper and Leo. I dream of having that kind of freedom but instead I get stuck watching my sisters live my dream.
Phoebe: Wait a minute, you astraled out in a dream when your subconscious takes over.
Prue: So what?
Phoebe: So I just studied this in psych 101. Freud. You're the ID. Prue's inner desires. Which means that she is the ego. The control factor.
Prue: Yeah, well, she is one big remote control and she's always got me on pause.
Phoebe: I think I understand. The sacrifices that you've made for us over the years. They made you suppress your inner desires.
(Astral Prue sits down beside Prue.)
Prue: Yeah, well, don't tell me, tell her.
Phoebe: No, I'm telling you because you are Prue. I mean, you are both two sides of my sister. Prue, you have to stop devoting your entire self to the Charmed Ones. It'll tear you apart. Literally.
Prue: Is Piper very mad at me?
Phoebe: She'll get over it. And you know why? Because we're okay now, Piper and me. We've both got passion and purpose in our lives and you gave us that.
Prue: I did?
Phoebe: You took care of us. And now it's time to take care of you. (Prue astral projects back in her body. Prue sits up.) Welcome back.
Prue: Thanks. For everything. Oh, no. (She walks into the next room and sees the mess.) Oh. I can not believe I wrecked Piper's wedding.
Phoebe: Only a part of you did.
Prue: Is it too late to fix it?
(The lights go out.)
Phoebe: Oh, now what?
(Suddenly, the door flies open and cops burst in.)
Cop #1: Police! Stay where you are! Don't move!
Inspector: Prue Halliwell? You're under arrest... for m*rder.
Commercial Break
[Scene: Police station. Prue is there getting her photo taken. A cop takes her into a room.]
Cop: Alright, sit down. The inspector will be with you shortly.
(Prue sits down.)
Prue: This is all our fault.
[Cut to the bar. Leo and Darryl walk in. They go up to Cole.]
Leo: Prue's been booked for m*rder. We're running out of time.
Darryl: Leo says you've found the k*ller.
Cole: Found a k*ller.
Darryl: Oh, great, you mean you don't know? What are you gonna do? Ask him?
(The biker walks past them. He stops and stares, then continues to walk.)
Cole: That's a good idea. Why don't you meet me out front in five.
(He walks away.)
[Cut to outside. The biker is there smoking a cigarette. Cole walks over to him.]
Cole: Is that the spot where they found the body?
Biker #2: Who are you?
Cole: I'm here to find out what you know about the m*rder that took place here last night.
Biker #2: Show me your badge.
Cole: Oh, no, I'm not a cop. I'm a fortune teller and I predict you're gonna give me a confession.
Biker #2: You're a funny man, huh? Excuse me, huh?
(He starts to walk away but Cole grabs him. The biker pushes Cole into his motorbike. He pulls out a Kn*fe. Cole gets back up. The biker swings the Kn*fe at Cole but misses.)
Cole: I guess that's the Kn*fe you used on the victim when you found him unconscious, right?
Biker #2: You wanna closer look at it, huh?
(He tries to s*ab Cole but Cole grabs his wrist.)
Cole: One more chance. Confess now and talk to the police.
Biker #2: Or what?
(Cole changes into Belthazor.)
Belthazor: Or deal with me. (Darryl and Leo walk outside. Darryl sees Belthazor and gets out his g*n. Belthazor turns to Darryl.) I think he's ready to talk.
[Cut to the manor. Patty is putting the bride and groom back onto the cake. Phoebe is lighting candles.]
Leo: I don't get it. Prue should be back by now, the police have the k*ller.
Cole: They might have held her over for escaping custody.
Victor: Can we get some light while we're waiting?
Patty: Yeah.
Phoebe: No, dad, the police cut the power line.
(Grams appears.)
Grams: I'm sorry, Patty. They sent me to take you back.
Phoebe: No, it's not midnight yet, we still have five more minutes.
Victor: I should have said something more to convince Piper.
Patty: But you said everything, you were wonderful.
(Prue and Darryl walk in. Victor shines the flashlight on them.)
Darryl: Sorry we're late.
Prue: What, no who you were expecting?
(Piper walks in.)
Piper: So, okay, what are we waiting for? (Piper takes off her sweater.) (to Leo) Don't look so shocked.
Grams: Girls, it's show time.
(Everyone stands in place. Prue puts on Piper's veil.)
Piper: Little help here.
Victor: (to Leo) I noticed you don't have a best man. If you like, I could, uh...
Leo: I'd be honoured.
Phoebe: Oh, no, there's no power for music.
(Grams makes the wind chimes chime.)
Prue: Alright, is that the best that we can do on the lights? (Leo makes clouds of bright lights appear above them.) That's more like it.
(Grams clears her throat.)
Grams: We are gathered here today to unite two souls as one. Do you, Leo Wyatt, and Piper Halliwell, join us here of your own free will to acknowledge the eternal bond shared by both of you.
Leo: I do.
Piper: I do.
Grams: You may face each other, join hands. (They do so.) Uh, Leo, you may recite your vows.
Leo: Piper, through all the tears and struggles, I always knew in my heart that we'd make it here. I promise to love and respect you from this point forward as your husband, as my wife, my lover, my friend, and my soul mate. All I am is yours.
Grams: Piper...
Piper: Leo, you are the best thing that has ever happened to me. I was afraid that you were too good to be true, that maybe I didn't deserve someone so pure and beautiful and loving as you are. But here we are surrounded by the people that I love the most and I feel so proud, and so blessed to be your wife. Leo, I was born to love you and I always will.
Grams: Here before witnesses, Leo and Piper have sworn their vows towards each other. With this cord, I bind them to those vows.
(A rope is loosely tied around their hand.)
Piper, Leo: Heart to thee, body to thee, always and forever, so mote it be.
Grams: So mote it be.
All: So mote it be.
(The clock strikes twelve.)
Grams: Kiss her fast.
(Piper and Leo kiss. Everyone applauds and grins.)
End | {"type": "series", "show": "Charmed", "episode": "03x15 - Just Harried"} | foreverdreaming |
[Scene: At a beach. Prue and Phoebe are there. Prue is taking photos. Phoebe is building a sand castle.]
Phoebe: I hereby proclaim this power of sand Kingdom Phoebeville! Yay!
(The waves splash on Prue. Phoebe laughs.)
Prue: You know, I don't get it.
(Prue walks off. Phoebe catches up with her.)
Phoebe: Wait, what don't you get?
Prue: That you just spent an hour of your life building something that is just gonna be completely, completely destroyed and disappear in about five seconds flat.
Phoebe: Ahh, but Phoebeville will live forever in the hearts of the villagers who come to love it.
Prue: Mm-hmm.
Phoebe: What's with the ba-hum castle attitude there?
Prue: What?
Phoebe: The whole point of today was to relax and have fun.
Prue: See, and I thought the point was to give Piper and Leo some alone married people time since they decided to wait on their honeymoon.
Phoebe: Okay. So you're sure nothing's wrong?
Prue: You know, the beach isn't exactly my idea of a good time.
Phoebe: Prue, how is that possible?
Prue: Okay, well, you're too young to remember, but this is where Grams brought us after Mum's funeral to try and cheer us up.
Phoebe: Oh, wow.
Prue: Yeah. You know, but I know that you love the beach and I didn't wanna ruin it for you but something about the sand and the ocean makes me feel angry.
Phoebe: Why does it make you angry?
Prue: Doesn't Mums death make you angry?
Phoebe: It makes me sad.
Prue: Well, I don't really do sad that well, you know. I didn't even cry at her funeral.
Phoebe: So seeing Mum at Piper's wedding and now the beach
Prue: Yeah. So I'm sorry if I've been a little cranky.
Phoebe: Say no more. (yelling) Princess Prue has spoken! By the orders of the Queen, that's me
Prue: Ooh, I got that part.
Phoebe: Phoebeville, and all of it's glory will be abandoned for greater pastures and two lattes.
Prue: Oh, all hail the Queen.
Phoebe: Yay, I love to be hailed.
(A woman is standing nearby taking photos of Prue. Prue sees her and sees a black shadow floating beside her. She takes a photo of it.)
Prue: Hey! (The woman runs off.) No, no, no, wait!
Phoebe: You okay?
Prue: Oh, there was this woman and there was a shadow next to her. It had to be demonic.
Phoebe: A shadow? Like, what do you mean? Like a Woogy?
Prue: No, spookier, way spookier. I think I got pictures though.
Phoebe: So much for the lattes. Looks like there's a new demon in town.
[Scene: Cole's old apartment. Two demons and a landlady are there. One demon floats across the room.]
Landlady: So, you're new in town?
Demon#1: Yes.
Landlady: And-and you would both be living here?
Demon #1: Sure, yes, that's right.
(The other demon floats across the room again but the landlady doesn't notice.)
Landlady: Oh, don't get me wrong, I'm fine with the whole alternative lifestyle thing. I just don't like loud. Well, you understand.
Demon #1: Don't like loud. Got it.
Landlady: Like the last tenant, Mr. Turner, he was a little strange. And then of course he disappeared without a trace. But he was nice and quiet. So I liked him fine.
(Demon #2 opens Cole's altar.)
Demon #1: Without a trace. Is that so?
Demon #2: There's demonic residue all over this altar. It's his, I can sense it.
Landlady: There's what? What did you say?
Demon #1: Surely you knew something strange has happened here. It's your responsibility to divulge such things to respective tenants.
Landlady: Now, listen, I don't know anything-
Demon #1: And the fact that you failed to show us the altar makes us wonder. (He floats towards her.) What else about Cole Turner you might be hiding in that tiny human brain of yours.
(The landlady starts crying.)
Landlady: Why? I don't underst
Demon #1: Shh! Don't try to talk. You're brain stem will do the talking for you. (Demon #2 bites into the landlady's neck like a vampire. She screams. She falls to the ground. Demon #2 wipes the blood off his mouth with a handkerchief.) Is Belthazor alive?
Demon #2: She didn't know, but she knows someone who might.
Opening Credits
[Scene: Manor. Foyer. Piper and Leo are there. Piper's looking in the mirror.]
Piper: Shouldn't I be wearing white or something? I mean, it is a Whitelighter reception and all.
Leo: Piper, what you have on is perfect. You're beautiful. All my friends are gonna love you. If we can ever get there.
Piper: Fine, um, but I still don't understand why my sisters can't come, I mean, we could just do a group hug thing.
(Phoebe comes down the stairs holding the Book of Shadows.)
Leo: Look, I can orb you because you're my wife but I'm not a cosmic taxi for the whole family.
(Phoebe laughs)
Phoebe: He said wife.
Piper: Alright, I'm as ready as I'm ever gonna be.
Phoebe: Wait, what about Prue's demon looking shadowy thingy?
Leo: Well, I promise we'll be in calling distance if any demon looking shadowy thingy att*cks.
Phoebe: Alright, you two, have fun. Bring me back a cloud.
(Piper and Leo cuddle up and orb out. Prue walks in carrying some photos.)
Prue: Pheebs? I have to get to Morris, see if he can track down this woman.
Phoebe: Why? What did you find?
Prue: Nothing, that's the problem. The shadow didn't show up in any of the pictures.
Phoebe: Really? That's weird.
(Phoebe puts the book down.)
Prue: Anything in the book?
(The doorbell rings.)
Phoebe: No, nothing. (Phoebe heads towards the door.) I didn't really have a lot to go on though. (Phoebe opens the door and there stands Reese Davidson.) Inspector, how can I help you?
Reese: You can tell me where to find Cole Turner. I know he's alive and I know he's in town.
Phoebe: Really?
Reese: Yeah, really. You wanna know how? Because his former landlady was found brutally m*rder at this address.
Phoebe: Mrs. Owens. That's awful.
Reese: Awful like you can't imagine.
Phoebe: Uh, Cole didn't do this. The Cole Turner I know
Reese: The Cole Turner you know. See, now, that just doesn't sound like the words of a woman who claims her boyfriend left her without a word four months ago.
Phoebe: I know what you're thinking, and I know what this looks like, and I am so sorry for what happened to
Reese: You're sorry? Her eyes were frozen open in terror, her skull was punctured in two places, and by the time the police got there, most of her brain had spilled out onto the floor. Be sick, be horrified, but don't stand there lying to me and say you're sorry.
Prue: Alright, wait a second. You're talking to her like she did it.
Reese: If she's lying to protect Turner, then she might as well had. Now, for the last time. Where is he? (Silence) I'm gonna find him, Miss Halliwell and then I'm gonna bust his ass, and then I'm gonna bust yours.
(He leaves. Prue walks over to Phoebe.)
Prue: You okay?
Phoebe: He didn't do it, Prue. I know he didn't do it.
Prue: Yeah, well, it's not me you have to convince. (Prue looks outside and sees the lady at the beach talking to Reese.) Oh my God. That's her, the woman from the beach. (A dark shadow floats behind her.) Alright, look, do you see it?
Phoebe: No. All I see is Inspector Davidson and a woman. What does this mean? Is he having her follow us?
Prue: I'm more concerned about what's following her. I-I don't understand why you can't see it.
Phoebe: That doesn't matter, Prue, you can. (Reese and the woman get in a car.) Do you think this has anything to do with the landlady's death?
Prue: Well, it would be a pretty big coincidence if it didn't. (The car drives off.) Alright, I'm gonna follow her to protect her from it. If I'm the only one who can see it that must mean I'm meant to fight it.
Phoebe: Alright, but the way the Inspector was describing the m*rder
Prue: I know, I'll be careful. I think you should find Cole, tell him what happened and see if he knows anything about this shadow thing. Kay? Alright, bye.
(Prue leaves.)
Commercial Break
[Scene: Mausoleum. Cole and Phoebe are there.]
Cole: I better get outta here.
Phoebe: What? Why?
Cole: Because it's getting too dangerous.
Phoebe: So you're just gonna disappear again?
Cole: If that's what it takes to keep you safe.
Phoebe: What about keeping me sane, Cole. I'm not gonna lose you again.
Cole: Some demon obviously knows I'm alive or at least suspects that. Why else would they have k*lled my landlady. And if they k*lled her, they'll k*ll anyone they have to, to get to me.
Phoebe: That is exactly why you cannot leave. We have to stop them before they hurt anybody else. Or before they hurt you. (Cole takes Phoebe's hands.)
Cole: They're after me, Phoebe. This is my battle. I'll handle it. (He starts to walk away.)
Phoebe: Cole. (He stops and turns back around.) I love you, and if holding onto that means that I have to fight a couple of extra demons along the way, then bring them on. (Cole smiles.)
Cole: Unfortunately, we have no idea what we're dealing with. A strange shadow that only Prue can see, I haven't the slightest idea what that could be.
Phoebe: So we'll figure it out. (They hug.) Together. It won't bring Mrs. Owens back but trust me, avenging an innocent feels pretty damn good.
[Cut to Prue in her car. She pulls up behind Reece's car.]
[Cut inside the car. The woman is looking through photos she took.]
Woman: I don't see anything remotely suspicious. Oh, unless you consider hot pink pedicures impressive.
Reese: I'm not sure what I think.
Woman: You really think these women are m*rder?
Reese: You just keep doing what you're doing.
Woman: No, see there's something you're not telling me. Look, I know, I'm a rookie and all but I think I have a right to know what I'm looking for here.
Reese: Look, Andrea, I've seen things on this case that aren't right. Look, I don't know what I'm looking for but until I do, I want you to keep your distance and just keep following Phoebe Halliwell.
Woman: So why don't you at least take the night off, get some sleep for Pete's sake?
Reese: No, no, no, I can't, nu-uh. Not till this is over. I tell you what. Um, you dump those photos off on my desk and go home. You can pick them up again tomorrow.
Andrea: Reese
Reese: That's an order. (Andrea takes off her seat belt.)
Andrea: Have a good night.
Reese: Goodbye, you too.
(Andrea gets out of the car and Prue follows.)
[Cut to Cole's old apartment. Cole and Phoebe duck under some police tape across the door and walk in. Phoebe sees a blood stain on the carpet.]
Phoebe: Oh, God.
Cole: You okay? (Cole shuts the door.) Try not to touch anything, you don't wanna leave your fingerprints.
Phoebe: What if I want to get a premonition?
Cole: Use the back of your hand.
(Phoebe touches objects while Cole looks around the apartment. He goes into the bedroom.)
Phoebe: Did you find something?
(She goes over to him.)
Cole: Just this place, it's strange to be back here.
Phoebe: I know. It's strange to be back here too.
Cole: This was the first taste I had of a normal life. There were mornings I'd wake up next to you and I didn't feel evil. I was just a guy in love with a beautiful girl. I wanted it so much. I started to believe that lie.
Phoebe: That's not a lie anymore. We can have that. We can have a life together.
Cole: How?
Phoebe: Well, by taking out the bad guys who wanna take it away from us.
(Phoebe touches something and has a premonition of the two demons k*lling Reese. Prue is standing near and turns away.)
Cole: What did you see?
Phoebe: Prue, she turned her back. Why didn't she do anything to stop them?
Cole: Stop who?
Phoebe: Uh, uh, demons. They, uh, sort of had vampire teeth and they were floating. They were k*lling Davidson.
Cole: I know. They're Seekers. They have ways of gathering information fast. Really fast.
Phoebe: Do you know how to vanquish them?
Cole: No.
Phoebe: Well, let's hope the Book of Shadows does.
[Scene: Reese's office. Andrea walks in. A seeker is there. She gets a fright.]
Andrea: Oh my God. Oh, you startled me. Uh, are you waiting for Inspector Davidson?
Seeker #1: Are you expecting him?
Andrea: Uh, not tonight, he's in the field.
Seeker #1: Where?
(Seeker #2 floats to the ground from the roof behind Andrea.)
Andrea: I'm sorry. (She sees Seeker #2.) I don't know.
Seeker #1: Are you sure about that?
[Cut to outside the office. Prue is walking down the hallway. She hears a scream.]
[Cut back inside the office. Andrea falls to the floor.]
Seeker #1: What did she know?
Seeker #2: Nothing. She told me nothing.
Seeker #1: Which means he definitely knows something.
(Prue uses her power to knock the door down. The seekers disappear. Prue notices the black shadow floating above Andrea. She tries to use her power on it. It changes into the Angel of Death.)
Angel of Death: I'm beyond your powers. It's time.
(Andrea's spirit comes out of her body.)
Prue: Who are you?
Angel of Death: I'm Death. And I'll be back.
(He and Andrea disappear.)
[Cut to the manor. Living room. Phoebe and Cole are there. Phoebe is flipping through the Book of Shadows.]
Phoebe: Here it is. The Seekers. They gather information by feeding on their victims brain stem cells. Lovely.
Cole: Which means my landlady must have talked to Inspector Davidson about me, that's why they're after him. Does it say anything about demons taking on shadow form?
Phoebe: No, but it does have a vanquish. Do you wanna see it?
(She goes to hand it to Cole but he jumps back.)
Cole: Oh, no no no. Last time I touched that book it electrocuted me.
Phoebe: Yeah, will, maybe because your intentions were evil. Maybe it knows now you're trying to be good.
Cole: Better safe than sorry.
(Prue walks in.)
Prue: Oh, alright, I need the Book. Wait a second, what is he doing here next to it?
Cole: Keeping my distance, don't worry.
Phoebe: Uh, pardon the potential understatement of a cliché, but you look like you've seen a ghost.
Prue: Yeah, among other things. I lost my innocent
Cole: Davidson?
Prue: No, his partner. I mean, she was out of my sight for two seconds and then they got her.
Phoebe: Was that them?
(Prue looks at the book.)
Prue: Uh, yeah, actually, I think so.
Phoebe: They're demonic lie detectors. Only no one survives their test.
Cole: They k*lled Mrs. Owens and now they're after Davidson.
Prue: To get to you?
Cole: Yes, to get to me. (Silence.) Maybe I should deal with this on my own.
(Cole stands up.)
Phoebe: No, (Phoebe stands up.) You can't. You said it yourself. You don't know how to vanquish them.
Prue: Um, unfortunately this isn't the only evil we're up against either.
Phoebe: You mean the shadow?
Prue: Oh, yeah. Leo! Leo!
(Leo and Piper orb in. Leo is holding a crystal lamp.)
Phoebe: What's with the lamp?
Leo: A wedding present.
(Leo grins. Piper does not look impressed.)
Piper: Bright isn't it?
Prue: Uh, yeah. Um, Leo, is there such a thing as death? Uh, I mean the Angel of Death.
Leo: Yeah, sure. Why?
Prue: Because I met him.
Phoebe: Uh, what, are you kidding me?
Prue: Yeah, that's how the shadow introduced himself to me when he took Davidson's partner. And then he said that he would be back too. I'm assuming for Davidson.
Cole: He's not working with the demons.
Leo: No, he can't be. Angel of Death isn't evil.
Prue: The hell he isn't. And if I can see him, that must mean that I'm supposed to stop him.
Leo: Prue, you can't stop him. The Angel of Death always gets what he comes for.
Prue: Yeah, well, not this time. Alright, I need to get a hold of Davidson. If I can get him here, I can protect him better.
Piper: Hold it. Davidson? As in Reese Davidson, the D.A. investigator? He's the innocent?
Prue: Yeah, is that a problem?
Piper: One big great giant one. Prue, we can't protect him without telling him we're witches.
Prue: Yeah, I know that Piper but I don't care, okay? I-I cannot stand by and watch death take that man.
Phoebe: But that's what you do. At least according to my premonition. You turn your back when the demons att*ck.
Prue: No, that doesn't make any sense.
Phoebe: I know, but that's what I saw.
Prue: Yeah, well, then you saw wrong. I'm not gonna let Death take any more of my innocents. I'm tired of losing people. So, Phoebe, do you have Davidson's card?
Phoebe: Mm-hm.
(Phoebe leaves the room.)
Cole: Excuse me.
(Cole walks out of the room and shimmers out.)
[Cut to Reese's office. Paramedics cover Andrea over. An inspector is talking to Reese.]
Reese: I thought I was protecting her.
Inspector: You alright, Inspector?
Reese: I should've warned her. I should've told her everything.
Inspector: What exactly should you have told her?
Reese: Look, all that matters is I'm gonna take down the guy who did this. No matter what. (His pager beeps.) The last thing I feel like is
I've gotta take this.
(Reese walks out of the room. The Seekers are standing near by. Reese goes down the hallway and Cole stands in front of him.)
Cole: Forget about the Halliwells, it's me you're after. I'll tell you whatever you wanna know, I promise. Just not here, it's not safe. (Cole goes to touch his shoulder but Reese pushes it away.)
Reese: Don't touch me! You're under arrest. Turner and I will personally see to it.
Cole: Wait. (Cole listens.)
Reese: What do you mean, wait?
(Cole grabs Reese and they shimmer out. The two Seekers walk around the corner. They stop.)
Seeker #1: Did you sense that?
Seeker #2: Belthazor's alive.
[Cut to the mausoleum. Cole and Reese shimmer in.]
Cole: I'm sorry, it was our only chance. They might be able to track me, but they'll have a hard time sensing me in a cemetery
Reese: How did we get
What the hell's happening? What was happening to me?
Cole: Just breathe, try to calm down.
Reese: Who are you?
Cole: Somebody who just saved your life. (Reese freaks out and backs away.) Try to calm down, Inspector. If I were a m*rder, I would have k*lled you by now.
Reese: Just-just-just let me go then. I'll just walk away.
Cole: But I can't do that. If demons get to you, they'll find out the way to get to me is to k*ll Phoebe and I can't let that happen.
Reese: You say demon?
Cole: Only as a metaphor.
[Cut to the manor. Leo places the lamp on a table. Prue is waiting near the phone.]
Prue: Okay, Davidson won't answer our page. Something must have happened to him.
(Phoebe comes down the stairs.)
Phoebe: Cole's gone.
Leo: What do you mean gone?
Phoebe: I mean, he's not here. I've looked everywhere. He must have gone after Davidson alone, to protect us.
Piper: Yeah, but if the Seekers get to him first
Prue: We've gotta get Cole to bring him back here.
Phoebe: The mausoleum. He could've taken him to the mausoleum. That's where Cole stays.
Piper: Is there any chance that's where you saw the Inspector die in your premonition?
Phoebe: Maybe. Let's go.
(They head towards the door.)
Prue: I could astral there faster.
Leo: What if the demon shows up? You can't vanquish them, you'll need the power of three spell.
Prue: So then I won't vanquish them. I'll just protect Reese long enough to get him outta there.
Phoebe: Prue
Prue: Phoebe, your premonition is not gonna come true. I told you, this is one fight Death is not gonna win.
[Cut to the mausoleum. Cole pushes Reese against the wall.]
Reese: Stay the hell away from me.
Cole: I told you I'm not gonna hurt you.
(The Seekers appear.)
Seeker#1: Belthazor, I assume.
Cole: I'm sorry, who?
Seeker #1: We sensed your shimmer. You're losing your touch.
Cole: Leave him out of this.
Seeker #1: Why would we want him? Now that we have you.
Seeker #2: Unless the human knows something Belthazor doesn't want us to know.
(Prue astral projects in.)
Prue: Hi. Need a little help?
Cole: What are you doing here?
(Prue winks at him.)
Reece: How did you get here? What the hells going on?
Seeker #1: Well, well, well. The mighty Belthazor, in bed with a witch.
Prue: Don't make me sick. (Reese tries to run away but Seeker #2 throws him against the wall. Cole tackles Seeker #1. Prue kicks Seeker #2 and he flies into a cement statue. Death appears beside Reece.) No.
(Seeker #1 holds Cole on the ground.)
Cole: Prue!
(Cole pushes Seeker #1 off and #2 jumps on him.)
Prue: (to Death) Come out and fight you miserable coward.
(She kicks and punches him but her leg goes straight through him. The Seekers hold down Cole. They show their fangs.)
Cole: Prue!
(Prue stops kicking and punching Death.)
Death: I never lose. It's his time.
Prue: Over my d*ad body.
(She continues to punch him. Cole pushes off the seekers and looks over at Prue. He can't see Death. He tries to zap the Seekers but they disappear. Death disappears.)
Commercial Break
[Scene: Manor. Living room. Leo places the lamp on a different table. Piper stands behind him.]
Piper: It's just so bright.
Leo: Of course it's bright. It's supposed to represent the light of eternal love.
Piper: Wait, does that mean we can never turn if off?
Phoebe: At this rate you're gonna turn it off in record time.
Piper: I'm just saying, I don't think it belongs in the living room.
Leo: Or the parlor, the dining room, the foyer.
Piper: Pheebs?
Phoebe: Oh, do you think I'm stupid, I am staying out of this. Besides, I'm more concerned about
(Cole and Prue walk in. Cole is carrying Reese.)
Cole: I wouldn't revert to my demon form and I could've used some help.
(Cole lays him on the couch.)
Prue: I was busy saving Davidson.
Cole: No, that's what I was doing.
Phoebe: Hello? What happened? Is he okay?
Cole: He almost wasn't. The Seekers were at the Courthouse waiting for him.
Prue: And then they tracked Cole to the mausoleum.
Leo: Well, how do you know they didn't track you here.
Cole: They retreated first. They have to be close to a shimmer to track it.
Phoebe: They retreated?
Prue: Yeah. I kicked ass.
Cole: No, you kicked air.
Prue: No, I told you that I was fighting the Angel of Death and obviously I won.
Leo: Prue, that's not possible.
Prue: Well he's alive isn't he?
Cole: For now maybe. But the Seekers will be back and they'll out for blood, mine and yours. The only thing they don't know is how to find us.
Prue: Yes, and now they know Davidson is the key.
Cole: If you had have just worked with me
Prue: You know, you're not exactly the poster boy for teamwork, Cole.
Piper: Hey, you were supposed to stick with us, remember?
Cole: I was trying to protect you. All of you.
Phoebe: By exposing yourself?
Cole: Better me than you.
Prue: You know, the one thing you failed to consider, Cole, is no matter how dangerous Davidson is to us, you were more dangerous.
Cole: Oh, no, wait a minute, I think that I proved myself to you
Phoebe: No, Cole, that's not what she meant. You're a part of our lives now. You know almost everything about us. If you had lost
Cole: The Seekers could use what they know to destroy you.
Leo: I better check with the Elders, this is getting complicated.
(Reese starts to wake up and he sees Leo orb out. He freaks out.)
Prue: Uh, Inspector, you h*t your head.
(He jumps up off the couch and pulls out his g*n.)
Reese: I didn't h*t it that hard. Whatever I just saw, it wasn't because I h*t my head.
Prue: Alright, look, I know that this may seem hard to believe after everything that you've been through tonight, but we are on your side, okay, we're the good guys.
Reese: I don't know what you people are but good isn't topping my list of ideas.
Cole: Leave that as it may, we can't let you leave.
Phoebe: Cole.
Reese: Try and stop me.
Cole: Inspector, you're in a room with three witches and a demon, do you really think that g*n's gonna help?
Prue: Look, I don't really know how to tell you this but it's not just demons that are after you. The Angel of Death wants you too. Now please, please, if you stay here we can protect you.
Reese: I'm not afraid of Death. (Cole walks towards him.) You on the other hand are a different matter. (Reese runs outside.)
Phoebe: Cole.
Cole: He's gonna expose you. He'll gather evidence and
Piper: Cole, we don't kidnap cops and then hold them against their will.
Phoebe: But we do follow them and protect them against their will. Come on. (to Cole) Not you, you stay here.
Cole: So, what? I'm just, I'm just meant to wait here?
Piper: Yeah, no shimmering and lock the door behind us. Prue?
Prue: You guys go ahead.
Phoebe: What about the demons?
Prue: Yeah, the demons are just pawns, I'm going over their heads.
(Piper and Phoebe leave.)
[Scene: Beach. Prue is there chanting.]
Prue: Spirits of air, sand and sea, converge to set the Angel free, in the wind I send this rhyme, bring Death before me, before my time. Come on, I know that you can hear me.
(Death appears.)
Death: Are you sure you really want to be here?
Prue: Uh
Death: Come on, I don't have all day. There are people waiting. You definitely don't have all day. So what is it? I took your husband and you want him back? Brother? Your Mother?
Prue: Don't talk about her, don't talk about my mother.
Death: That should've been an easy guess where the sad little girl lies.
Prue: You want Reece Davidson and it's my job to protect him. So what do you want from me? What do I have to do?
Death: That's not why you called me.
Prue: Yes, it is.
Death: No, that's an excuse. You're mad at me for taking mummy.
Prue: I told you not to talk about her.
Death: What were you? Ten? I'm just guessing now.
Prue: Just stop it!
Death: Younger, I bet. And now you think by saving this, which is it, Davidson, you think you'll have b*at me somehow. Somehow you'll have finally won.
Prue: Just go away.
Death: No, you wanted me, now you've got me. You're wasting precious time.
Prue: I'm sorry.
Death: It's not my time your wasting, it's yours. You refuse to accept me for what I am which keeps you from mourning me.
Prue: You don't know me. You don't know anything about me.
Death: But I've seen it so many times before. The anger, the pain. You lock up your tears and angrily steal yourself against me as it I was the ultimate evil.
Prue: You are the ultimate evil.
Death: No, I'm not good or evil, I just am. I'm inevitable.
Prue: What do I have to do to save Davidson?
Death: Huh. You still don't get it do you? There's nothing you can do.
Prue: I can't just let an innocent man die.
Death: You have to let him die, you have no choice. And until you learn to accept that, you'll just keep missing the bigger picture.
Prue: What bigger picture?
Death: I'll show you. Oh, don't worry, it's not your time. Well, not just yet anyway.
(Death holds out his hand and Pru takes it. They disappear.)
[Scene: Cemetary. People are there attending Andrea's funeral.]
[Cut to Piper's car, which is parked near by. Phoebe's on her cell phone.]
Phoebe: Prue left right after we did. And she hasn't been back there?
Cole: (on phone) No one's been here. I'm going out of my mind.
Phoebe: Yeah, try sitting in a car for sixteen hours.
Cole: No sign of any demons?
Phoebe: No, not yet. But Davidson lead us to a , uh
Cole: To a what?
Phoebe: Never mind. Uh, if Prue comes back, tell her to call us. I love you. (She hangs up.)
[Cut to Cole]
Cole: Phoebe? Phoebe?
[Cut back to the car.]
Phoebe: Okay, so now what?
Piper: Well, we can't crash the funeral. I guess we just watch from here.
Phoebe: I don't understand. You tell a guy that Death is after him and he goes to a cemetery. How smart is that?
[Cut back to the funeral. The Seekers walk over to Reece.]
Reece: You want me? Fine But these people have been through enough.
(Reece walks away and the Seekers follow.)
[Cut to the car.]
Piper: Phoebe. (They get out of the car. The Seekers follow Reece into a church. Seeker #2 closes the door and puts a bar in the handles. Phoebe and Piper arrive outside. Reece gets out his g*n and sh**t at them.)
Phoebe: Reece, get out of there!
Piper: Run!
(Seeker 32 floats behind Reece.)
Seeker #1: You've been so brave, Inspector. Don't ruin it now. Where's Belthazor?
Reece: Belthazor?
(Prue and Death appears. Seeker #2 bites Reece's neck. Prue gasps and looks away.)
Prue: Oh, my god.
Death: It's his time. Just like it was your mother's time.
Phoebe: Prue?
Prue: Prue, open the gate!
Death: Stop fighting me. (The Seekers disappear. Death malks over to Reece and his spirit rises from his body. He and Death disappear.)
Commercial Break
[Scene: Church. Continued from before. Phoebe and Piper get inside.]
Piper: Prue.
Phoebe: Are you okay?
Prue: I don't know.
Phoebe: Did the demons do something to you?
Prue: No.
Piper: How did you even get in here?
Prue: Uh, Death brought me.
Phoebe: I'm sorry.
Prue: You know, I-I don't completely understand it myself.
Piper: Prue, how can you stand there and let him die?
Prue: Because it was his time, alright. I wanted to save him but I couldn't.
Piper: You didn't even try.
Prue: I'm sorry. (Prue kneels down beside Reece and cries.) I'm sorry. I'm so sorry.
[Scene: Manor. The phone rings. Cole walks into the foyer to answer it. Seeker #1 appears in front of him.]
Cole: Ever hear of a doorbell?
Seeker #1: I thought we'd surprise you.
(Seeker #2 jumps on top of Cole. The answering machine picks up.)
[Cut to the car.]
Phoebe: (on phone) Cole, if you're there, pick up the phone. Actually, don't pick up the phone, just get out of the manor.
Prue: Should I astral there?
Piper: I think we should stick together.
Phoebe: Faster.
(Piper goes faster and almost crashes into a car.)
[Cut back to the manor. Cole hits Seeker #2 with a lamp and he falls into a table. Seeker #2 jumps on Cole and tries to bite him. Cole pushes him off and tries to zap him. He dodges the electricity balls. Seeker #2 jumps on Cole and they crash into the furniture. Cole is knocked unconscious.)
Seeker #1 Now, let's see what you don't want us to know.
(Prue, Piper and Phoebe walk in. Prue uses her power on Seeker #2. Phoebe hits Seeker #1 in the face and Prue kicks Seeker #2 in the stomach. Piper helps Cole up.)
Piper: Okay, come on, come on.
(Prue continues to kick Seeker #2.)
Cole: Prue. (She spins around.) Don't.
(Prue joins Piper and Phoebe and they recite a spell.)
Prue, Piper, Phoebe: "Knowledge gained by m*rder means is wisdom's bitter enemy. The mind that burns with stolen f*re, will now become your funeral pyre."
(Smoke rises from the Seekers and they are engulfed in flames. They disappear. Phoebe goes over to Cole and they kiss.)
Prue: Well, at least we saved one.
Phoebe: Wow, did you hear that? You just reached innocent status.
Cole: Well, that's good.
Phoebe: To Prue no one's more important.
(Leo orbs in.)
Piper: Wow, nice timing. You missed the show.
Leo: I know, but they told me to miss it. (to Prue) You okay?
Prue: Yeah.
Piper: What do you mean they told you to miss it? The Elders were behind this whole thing?
Leo: No, but they knew they had to let Prue learn a lesson by herself. The hard way.
Cole: What lesson?
Prue: That Death is not the evil.
Phoebe: You okay?
Prue: Yeah. (Prue leaves the room.)
Leo: She just needs some time.
Piper: And we need a maid. (Phoebe nudges Cole and they run out of the room.) You know, I was thinking. This lamp is not worth fighting over, so if you love it then I love it.
Leo: Yeah?
Piper: Yeah, I mean, uh, life's too short. (They kiss. Leo knocks the table the lamp was on and it smashes on the floor.) Ooh! Wow. Now I love it even more.
Commercial Break
[Scene: Beach. Prue is sitting on some rocks looking out at the water. Death appears.]
Death: You contemplating the tides? Can't control them anymore than me.
Prue: Okay, I get that you're not evil but what I don't get is why I wasn't supposed to fight the demons.
Death: Well, you were alone and out numbered.
Prue: I still could've fought.
Death: But you would've lost, Prue.
Prue: How did you know my name?
Death: I read it off my list. It was the next one after Reece Davidson.
Prue: You were coming for me.
Death: If you had have stopped fighting me, yes. That's why you were able to see me. It's the bigger picture, Prue. Focusing all your anger against me leaves you vulnerable to the real evils of this world. You do well to remember that in the future. What?
Prue: I don't know, you know, I've been mad at you for so long. Ever since mum died. I don't know how else to be.
Death: You grieve and then you move on.
(Death disappears. Prue sits there and cries.)
End | {"type": "series", "show": "Charmed", "episode": "03x16 - Death Takes a Halliwell"} | foreverdreaming |
[Scene: Manor. Bathroom. Piper and Leo are in the shower. They are giggling.]
Piper: See, we finally found a place where we can be alone.
Leo: Yeah, his is perfect. Now all we have to do is move all our stuff in here and nobody will bother us.
Piper: Yeah.
(They kiss. There's a knock at the door and Phoebe walks in covering her eyes.)
Phoebe: I'm not looking at anything and I do not see anything. No one's looking, no one's looking at anything. (She peeks through the gap between her fingers.) I just need to get my gloss.
Piper: Phoebe!
Phoebe: I'm sorry, were you guys in the middle of the... ew!
Piper: No, not yet. Phoebe, would you just get out of here!
(Phoebe gets her gloss out of a drawer.)
Phoebe: Found it. Okay, I'm going now. Outta here. Found the gloss.
(She heads towards the door.)
Piper: Watch out for the...
(Phoebe runs into the wall.)
Phoebe: Ooh! Ow, I'm okay.
(She leaves.)
[Time lapse. Piper's room. Piper and Leo are in their robes. Prue walks in.]
Prue: Hey, you guys.
Piper: Heya, Prue, are you lost?
Prue: Uh, no, but my keys are. Have you seen them?
Piper: No, have you seen the way out?
Prue: Uh, I-I-I knocked didn't I?
Piper: But you didn't wait for an answer.
Prue: Oh, right, god, I'm really sorry. Look at me. Look at me, I'm leaving, I'm leaving.
Piper: Yes. (Prue leaves.)
Leo: Well, we knew what we were getting into.
Piper: So maybe it's time we get out of it.
Leo: What do you mean?
Piper: Okay, once upon a time before we were witchy women, Prue and I shared this amazing apartment in North Beach. But then when Grams got sick, we decided to move back to the manor for a while, and we gave up the apartment to friends and your wife was smart enough to keep in touch with them.
Leo: Should I be taking notes?
Piper: They're moving out. They're moving out and they will give us first sh*t at taking over the lease.
Leo: Whoa. Are you sure we can?
Piper: Well, the rent's a little steep but...
Leo: No, no, no, I mean, the bigger are you sure we can. You guys didn't get your powers until you all moved back in together. There might be some supernatural ramifications to living apart.
Piper: Okay, but what about the marital ramifications to living together? I mean, Leo, everything we do is about navigating our charmed lives. I mean, when do we get to concentrate on our married life? Maybe this apartment falling into our laps is a sign. A sign that it's time to move out of the manor and in together. (They kiss.) What do you think the odds are of pulling this off before the next demon att*cks?
[Scene: A witch's apartment. A witch is kneeling in front of her altar, chanting. Five candles are floating around her. Something lurks behind her. Her black cat jumps on her lap and gives her a fright.]
Witch: Oh! Shadow. You gave me a fright, little one. You know better than to interrupt me during ritual. Now go. Go. (The cat walks away. The witch continues chanting. The cat jumps on the bar and knocks off a bottle.) What on earth are you doing? (The cat knocks another bottle off.) Shadow? (The cat hisses at her.) Don't do this. Please. (It pushes another bottle full of black liquid closer to the edge.) No!
(The cat pushes the bottle off with its paw and it smashes on the floor. The cat jumps on the floor and stands in the liquid. Mist surrounds the cat and it changes into a human.)
Man: What's the matter? Cat got your tongue?
(She screams and disappears.)
Opening Credits
[Scene: Manor. Kitchen. Prue, Piper, Phoebe and Leo are sitting around the table. Prue, Phoebe and Leo are reading the different sections out of the newspaper. Piper's just sitting there.]
Phoebe: Flakes.
(Leo passes Phoebe the Corn Flakes.)
Prue: Ugh, the Warriors.
Phoebe: Pathetic defense.
Leo: Someone pass the, uh...
Phoebe: Yeah, I got it. Hey, what time does the BART...?
Prue: Every fifteen minutes on a Saturday.
Phoebe: Good. Mamma needs a new pair of shoes. I know, limited funds. I'll limit my shopping to window, I promise.
Prue: I will gladly trade somebody for the opinion page.
Piper: Leo and I are moving. (Everyone puts down their papers.) Thinking of moving, out of the manor. Um, milk?
Prue: Excuse me?
Phoebe: Wait a minute. Life altering plans can not be squeezed in between 'pass the newspaper' and 'who ate the Special K?'.
Piper: Okay, look, we all knew this would happen sooner or later. It's just sooner. Well, actually, it's later because I've been married for weeks and we're still living in a bedroom with the wallpaper I picked out when I was nine. Not to mention the bathroom sharing and the family breakfasts.
Prue: And the whole saving the world on a weekly basis thing. I mean, Piper, we don't live here just for sentimental value, alright. We live here because we're the strongest here.
Piper: Right, I know. Leo, a little assist?
Leo: Well, there have been times when you've handled things on your own, I mean, without Piper.
Piper: Like when I went to Hawaii or when I went away with Leo and everything was fine.
Phoebe: Do I get to kick her first?
Prue: Everything was not fine, Piper, alright. The charmed gig is all about being a trio, alright. Without you...
Leo: Well, you'd still have her. We wouldn't be moving far.
Piper: Just far enough so I can have my own life. Our own life. We all knew this would happen, I'm just the one that's saying it first. We can't live together forever.
Prue: Right, and we also can not ignore the responsibility that we inherited from our family.
Piper: Well, you guys have to try and understand I have two families now. Besides, wasn't it you, Miss Phoebe, who moved to New York three years ago?
Phoebe: No, no, that doesn't count. That was before the whole destiny thing kicked in. We didn't get our powers until six months after Grams died. Speaking of, what do you think she would say if she knew you were even considering this?
[Flashback: Three years earlier. Manor. Kitchen. Prue is there talking on the phone. Grams walks in holding the newspaper.]
Grams: Morons! Why does that pre-pubescent have to throw the paper in the shrubbery?
Prue: (on phone) Roger seems to have forgotten an entire forest of his family tree so now the head count for the ceremony is up to 180. I know
(Piper walks in.)
Piper: Grams! The doctor was very clear when he said no caffeine. Here, have some nice tea.
(She gets the tea out of the cupboard.)
Prue: (on phone) No, that would just be my sister yelling and it will be a lot easier when I move out.
Piper: (Yelling) Grams, where's the paper?
(Grams hands her the paper. Piper smiles.)
Prue: (on phone) Can I call you back? Thank you.
(Prue hangs up.)
Grams: You know, I'm so glad to have the two of you in the same place. It's a rarity. Oh, listen, do me a favour, I just treated myself and bought
tada! (Holds up a camera.)
Prue: A great new camera. Even though it's last years model. What is it? A '96?
Grams: Well, I just like to just get a picture, you know.
Piper: Did you say you were moving out?
Prue: Yes, I did. We can't all live here with Grams forever.
Grams: Yeah, uh, maybe just a couple of quick sh*ts, you know, candids.
Piper: Uh, when was this decided?
Prue: Oh, I don't know, probably when I was proposed to.
(Grams grabs her chest.)
Grams: Uh, maybe later.
Piper: Grams? (They go over to her.) Please sit down.
Prue: You only just got back from hospital.
Grams: Okay, I'll take it easy. (The doorbell rings.) After I get that.
[Cut to the foyer. Prue and Piper follow Grams in. Grams opens the door. Phoebe and two policemen are standing there.]
Phoebe: Oh, you guys didn't have to get out of bed for little old me.
Cop: Mrs. Halliwell?
Grams: Can I hear what she did first before I answer that?
Cop: She was caught shoplifting.
Phoebe: Oh, that is so not true, I just forgot to pay for them, Grams. The store's not even pressing charges.
Grams: Phoebe.
Phoebe: Oh, please don't sound so disappointed. Look, you're always talking about how we should spend more time together and, well, here we all are. Okay, that was really fun.
(Phoebe walks inside.)
Grams: Phoebe, what is the matter with you? How can you behave so recklessly? What about your destiny, your-your future?
Phoebe: Well, maybe my future plans don't match up to the ones that you've mapped out.
Cop: We're, uh, gonna need to take back those shoes that you
Phoebe: Forgot to pay for?
Cop: Right.
(Phoebe takes off the shoes.)
[Cut back to the present. Phoebe is at a shoe store. She hands a pair of shoes back to the salesman.]
Phoebe: They're just out of my price range.
Salesman: But they're
Phoebe: Perfect, I know. And I'm sure all these will be perfect too. (She hands back more shoes. The salesman walks away. Phoebe picks up another shoe.) Okay, I'm weak, can you show me this one too? (The warlock stands behind Phoebe and takes the shoe off her. He throws it away. Phoebe turns around and his eyes glow.) Or not.
Warlock: Those were so last season.
(Phoebe swings a punch and he blocks it. He flips her over. He then levitates her in the air.)
Phoebe: Whoa, down boy. (He drops her on the floor.) Whoa, who'd you steal that power from?
Warlock: That's for me to know and you to find
(Phoebe kicks him and he falls into a chair.)
Phoebe: I hear spikes are making a come back. (She throws a high heeled shoe at him and it sticks in his forehead. He disappears.)
[Scene: A box store. Piper and Leo walk out carrying a pile of flattened boxes.]
Piper: I think we got too many boxes.
Leo: No, we didn't.
Piper: Are you saying I have too much stuff?
Leo: Yes, I am.
Piper: You do realize the only reason I'm letting you get away with that is because you're the only one on my team right now.
Leo: Yes, I do. They just need a little time to get used to the idea.
Piper: Well, moving out is a big deal for me too. I could use some support right now. (The same warlock as before walks up to Piper and makes her fly up into the air. She freezes him and she lands on the ground. He starts to fight through her freeze.) Leo, help!
(Leo throws her a Stanley Kn*fe.)
Leo: Piper.
Piper: What am I supposed to do with this? (He motions to s*ab the warlock.) No, no way. Too messy. Too violent.
(She s*ab the warlock anyway and he disappears.)
Leo: You okay?
[Flashback. Prue, Piper and Phoebe are standing outside the manor, while Grams is trying to take a photo of them.]
Phoebe: I'm fine. Whatever.
Grams: Okay, girls, now if you could just move a little closer, okay? Uh, Phoebe, turn to me, I wanna be able to get your good side.
Piper: I don't think she has one today, Grams.
Phoebe: Can we please get this over with?
Prue: Why? You got plans?
Grams: Prue, all I'm getting is shoulder.
Prue: Anyone that I know?
Phoebe: I'm sure lying beneath all that sarcasm there is a point. And if it has anything to do with Roger
Prue: Well, I mean, he said that you called him yesterday.
Phoebe: Looking for you. Prue, I'm not gonna defend myself when I didn't do anything wrong.
Prue: Really?
Phoebe: Just trying to be nice to the guy considering he's gonna be part of this family soon. You know, which I'm not even sure I wanna be part of this family.
Grams: The sun is shifting. Could you move down a step please?
(They do so.)
Phoebe: And why would I spend my time on a wimp who's got mother issues?
Prue: I don't know, but why should I believe anything that you say? I mean, you don't even know what the difference between what belongs to you and what belongs to, oh, let's say Macy's.
Piper: Alrighty then. Are we done?
(Grams gasps and grabs her chest.)
Phoebe: Grams.
(They go over to her.)
Prue: Grams.
Piper: Okay, okay, take shallow breaths.
Prue: Should I call the doctor?
Grams: No doctor. Just a picture. Is it too much for an old lady to ask her granddaughters to retract their claws, stand still and look at me long enough to take one lousy picture?
(The girls stand on the lawn and pose for the camera. Grams takes the picture.)
[Cut back to the present. Prue walks in the foyer from the living room. Phoebe comes through the front door carrying two shoeboxes.]
Prue: Hi, what happened to the window when you're shopping?
Phoebe: Turns out these were a ride off. Who knew product spring line could be used to fight evil? I k*lled a
(Piper walks in.)
Piper: Warlock appeared outta nowhere, had to k*ll him.
Phoebe: Wait, you too?
Prue: Uh, me three. Warlock att*cked me in the attic.
Piper: Did we miss a convention?
Phoebe: Well, if so I got the runt. Bad teeth, funky clothes and way easy to k*ll.
Prue: Black hair?
Piper: Bad breath?
Phoebe: You know him?
Prue: Uh, I think I k*lled him.
(The warlock appears.)
Warlock: Care to try again?
(The warlock makes Piper fly up into the corner of the room. Phoebe s*ab the warlock in the back with the tip of an umbrella. Piper falls to the floor. Prue helps her up.)
Phoebe: Okay, so that does it.
Piper: Again?
Phoebe: Okay, does anyone else think that was weird? Like he wasn't even trying?
Piper: Almost as if he wasn't even interested. What do you think he was up to?
Phoebe: Or is up to? How do we know he's really gone?
Prue: We don't. But we all have vanquished him once today.
Phoebe: And?
Prue: Well, what if he can't be vanquished?
Commercial Break
[Scene: Attic. Prue, Piper and Phoebe are there looking through the Book of Shadows.]
Phoebe: (singing) Ahh, we're gonna vanquish
all the live
(Prue gives her a look. The pages of the Book of Shadows flip by themselves. It stops at a page.) Whoa.
Prue: Okay.
Piper: Thanks Grams.
Phoebe: It's so weird that we listed to her more now than when she was alive.
Prue: (reading from the Book) How to perform a Séance. A ceremony to contact the d*ad.
Piper: But the guy we're dealing with won't die. So that's not gonna help.
Prue: Yeah, I don't know, Grams must be very, very, very confused.
(Prue closes the Book but it opens back up.)
Phoebe: Very testy also. Hmm. Okay, we're gonna need six candles white and purple, some burnings, cinnamon, frankincense, and sandalwood. Piper, you wanna grab the white cloth?
(Prue and Phoebe search in a trunk for the ingredients. Piper goes over to another trunk.)
Piper: You know, this trunk would go great at the foot of our bed.
Prue: Yeah, my foot would look great on your butt. You are so not taking that, okay? It holds all of our ritual stuff.
Piper: I just want things to remember this place by. (She picks up a bottle.) How about this? Something to bring a piece of Grams to my place.
Prue: Okay, Sweetie, can we try to contact the d*ad now, please?
[Time lapse. The girls have everything set up and are sitting around a table.]
All: Beloved unknown spirit. We seek your guidance, we ask you to commune with us and move among us.
(They repeat it. A witch appears.)
Witch: Forgive me, but why
?
Phoebe: We don't know.
Piper: We were told in a round about sort of way that you might be able to help us.
Witch: Are you witches? You're the three sister witches, the Charmed ones, aren't you?
Phoebe: And you're a witch too?
Witch: I-I was. I'm sorry, this is so new. I haven't exactly figured it all out yet.
Prue: We think that we're against an evil that can't be k*lled. We've nixed him four times but
Phoebe: And since you're the only one that answered our call
Witch: The spirits must think I know who you're up against.
Phoebe: Right.
Witch: You said you've k*lled him four times?
Prue: Yeah, and it's like he just keeps on coming back for more. Like he
Witch: Wants to die.
Piper: Do you know who he is?
Witch: He was my familiar. A feline I called Shadow. He's a warlock now. A familiar he becomes when he betrays his witch.
Prue: That must be why we can't k*ll him. The whole nine lives thing.
Piper: So if we k*ll him five more times he should be gone though, right?
Witch: No, that's exactly what you can't do. See, once a familiar becomes a warlock, they have until the next new moon to purge itself of its new life. If it succeeds, it becomes immortal. If it fails, it returns to its animal state for eternity. Shadow was a cat. So it has to shed all nine of its familiar lives.
Phoebe: So why bother us? Why not just jump in front of nine buses?
Prue: Because we're the only ones strong enough to k*ll him.
Piper: And he knew where to find us. What, are we like in the Warlocks Guide of San Francisco?
Phoebe: Okay, so this should be a piece of cake. All we have to do is make sure we don't k*ll this guy five more times before the next full moon.
Piper: That's two days, no problem.
Prue: I'm sorry, this just seems so callous. I mean, you just lost your life and we're treating you like 411.
Witch: It's okay. It's just, I'm at peace now. The one's I loved
When someone's taken from you, suddenly there are no goodbyes.
Prue: Something we're all too familiar with.
Witch: At its core, evil exists for one reason, to spread loss. Be careful not to lose each other. Take care and blessed be.
(She disappears. Piper blows out the candle.)
[Flashback. Attic. Grams closed a window]
Grams: Damn wind keeps bl*wing out my candles. I'm sorry, Patty, I got cut off. (She lights a candle and Patty appears.) It's just what troubles me about your daughters is not where they came from, it's where they're going.
Patty: It's just a phase. When their destiny's revealed, they'll come together.
Grams: But what if they don't? What if they never do? What if the gift is too much for them to handle and they
? Well, regardless, I fear there may be only one option if I can't find a way to bring these girls together.
Patty: Mother, that's nonsense.
Grams: Perhaps. Good night my darling.
(She blows out the candle.)
[Cut to the present. Manor. Kitchen. It's pitch black. Phoebe walks in.
Phoebe: Hey, who turned out the lights? (Phoebe turns on the light and the warlock att*cks her. He throws her over the table. She kicks him and he falls on a Kn*fe. He disappears.) Uh-oh!
(Prue and Piper run in.)
Piper: What happened?
Phoebe: I think I k*lled a warlock again.
Prue: Ugh, Phoebe!
Piper: Phoebe!
Phoebe: Well, I didn't mean to. It was a gut reaction. You know, self preservation and stuff.
Prue: Hmm. (Prue leaves the kitchen. Phoebe and Piper follow.) You know, I've been thinking. I'm pretty sure he won't actually hurt us. I mean he needs us. So, let's just say he knocks one of us off.
Piper: Then the power of three will be broken and we wouldn't have the strength to k*ll him.
Phoebe: And then he takes a permanent cat nap. But we're assuming that he's smart enough to know this. I mean, what if he shouldn't k*ll us and we just sit there and watch it happen?
Prue: Yeah, well, what other choice do we have? I mean, we k*ll him four more times, he wins, becomes more powerful that we can handle. Either way we lose.
Piper: I vote for not losing at all.
(Phoebe sees boxes of Piper's stuff sitting in the foyer.)
Phoebe: Wow!
Piper: Uh, yeah, sorry. I'll get all that stuff out of the way as soon as
Phoebe: You're really doing this, huh?
Piper: Yeah. You know, we have lived apart before.
Prue: Our lives were apart, Piper. It's different now. I just think that we need to talk this through, that way we all know exactly what the consequences are for all of us.
(Kit meows.)
Phoebe: Ooh, saved by the meow. You know, I don't think I'm ever gonna be able to look at Kit quite in the same way. Or get undressed in front of him for that matter.
Piper: You guys are right, we should talk this through.
(Piper heads for the door.)
[Flashback. Piper opens the front door and Kit is standing on the porch.]
Piper: Ugh, why does this stupid cat keep hanging around? Who do you belong to? Go home. Shoo! (Prue walks out.) What did you wanna talk about?
Prue: Uh, let's just go for a walk. (They start walking down the stairs.) Hi, Kitty. So, there's just a little detail about the wedding. It hasn't been worked out yet. Just listen to me, okay? I want you to be my maid of honour.
Piper: Me?
(They start walking down the street.)
Prue: I mean, it's not like I would actually ask Phoebe.
Piper: So I win by default? Wow, Prue, you really know how to flatter a girl.
Prue: Piper, can you just give me the tiniest of breaks here, okay? This is not how I would ever thought this whole thing would happen. Oh my God, I would love for both of my sisters to be my best friend but clearly that is not the case. And maybe one day things will change but
Piper: Prue, it's gonna take more than time. I mean, I'm happy for you, I-I am and I know you have all these big plans but what about the rest of us? I mean, you move in with Roger and then I'm stuck here alone taking care of Grams and Phoebe's out of control. What if, what if there's an emergency? What if something happens?
Prue: Okay, I won't be far away, it's not like you guys won't be able to get a hold of me.
Piper: I just think we should talk this through so we know what the consequences are. Okay, look, maybe a part of me is jealous because, I mean, you've got this great guy and you're gonna have this beautiful wedding and I'm just not very good with guys. Sometimes I think I'll never find true love.
Prue: Piper
(Leo walks past and bumps into piper.)
Piper: Oh, sorry.
Leo: No, it's my fault, sorry.
(Piper looks back at him and then continues walking. Leo orbs out.)
[Cut to the present. Prue, Piper and Phoebe are having coffee at a café.]
Piper: You know, just because I'm moving out doesn't mean we still can't do this.
Phoebe: What? Mainline caffeine while waxing on warlock issues?
Piper: No, hangout. You know, I don't wanna be one of those old married lepers that nobody thinks if fun anymore.
Prue: You've never been fun, Piper.
Piper: I've always been fun, Prue. I am just Mrs. Fun now.
Prue: Oh, Mrs. Fun. You know, the life changes from the move will work it self out, it's the supernatural ones we're concerned about.
Piper: But we get att*cked separately all the time. Like yesterday, and we just came together and sorted it out then.
(The warlock appears in the chair next to them.)
Warlock: You know, you girls are getting harder and harder to find. I was beginning to think you were trying to avoid me.
Prue: Wow, you've been thinking. That's a pretty big step for a warlock. Ugh, god, I am so sorry, that was awfully catty of me, wasn't it?
Warlock: Is this the part where I'm supposed to go 'whoo, they did research' and run away?
Phoebe: Might be a good idea.
Warlock: Or what? You'll k*ll me?
Piper: No, actually, we'll do worse. We won't touch you.
Warlock: Look at that. Witches think they have this one figured out. Well, let me tell you all something. (He grabs a woman who walks past.) You'll dance if you don't notice death.
(The warlock s*ab the woman in the back. Piper freezes everyone. Phoebe picks up a Kn*fe and s*ab the warlock. He disappears and the woman falls to the floor.)
Phoebe: Oh my god.
Prue: Call 911.
Commercial Break
[Scene: Manor. Kitchen. Prue, Piper and Phoebe are there. Piper is putting ingredients in a pot.]
Phoebe: That girl. There's just no reason. I got used to there being a reason, you know, an explanation. But she didn't even...
Prue: Stand a chance. But there was a reason, Pheebs, he was sending a message.
Piper: Yeah, and we got it loud and clear. But there's nothing we can do that we haven't already done.
Phoebe: So, what, he just keeps k*lling until we k*ll him?
Piper: Which is exactly what he wants.
Prue: Exactly what we can't do. Uh, is that a potion?
Piper: I wouldn't know where to begin. I'm just keeping my hands busy. It's something Grams taught me, actually. To improvise. But all I've come up with is mud.
Phoebe: So how do we k*ll a warlock we know we shouldn't be k*lling?
Prue: Well, we've only got three more chances to figure that out.
[Flashback: Manor. Kitchen. Grams is there making a potion. Piper walks in.]
Piper: I am going to finish the brownies and don't even try and stop me.
Grams: Well, I'm afraid Prue's beaten you to it. But I've got a back up. What do you say we whip up your favourite double chocolate decadence cake.
Piper: Isn't decadence French for 'don't even think about it'? What are you making?
Grams: Oh, just keeping my hands busy. (Phoebe walks in and gets a key off of the hook.) Oh, Phoebe, uh, Piper and I were just thinking of whipping up something we'll regret tomorrow. Care to join us? (Phoebe doesn't answer.) Where you headed?
Phoebe: Out.
(She leaves.)
Piper: On second thought... do you need a hand? (She throws some ingredients in a pot. Grams smiles.) What?
Grams: How do you know what to add?
Piper: Well, you needed to balance the mustard seed which can be kind of harsh, and the sea salt brings out the flavour of the, um... Grams...
Grams: Piper, you were born for this, literally. Why do you insist on wasting your talents behind some counter in a bank?
Piper: Because my talents don't come with health benefits. Prue's getting married and Phoebe's, well, Phoebe. You know, somebody has to be practical.
Grams: Not at the expense of her dreams.
Piper: No, at the expense of losing this house and not being able to pay your hospital bills. I'm sorry if I'm disappointing you.
(They hug.)
Grams: You could never do that.
Piper: I'm just doing what I have to. It's okay.
(She leaves the room.)
Grams: So am I. (She fills up a small bottle with the potion. She holds it up.) My sweet girls. You're just not ready. I've got to stop you from becoming...
[Cut back to the present. Manor. Living room. The warlock is sitting on the couch.]
Warlock: The Charmed Ones. What does a fella have to do to get k*lled around here?
Prue: Not gonna happen.
Warlock: Hmm, I could sever a head. Only take a second.
(He stands up.)
Piper: Don't even think about it. (She freezes him.) Wait a minute, that's it. I'll just keep freezing him until midnight. A new moon means bye-bye bad guy, right?
(He fights through her freeze.)
Warlock: I'm just going to keep getting better and better at this.
Phoebe: Oh, it was a thought.
(They run into the foyer.)
Warlock: Come on, time's wasting. You know, I'm just going to keep on k*lling. And the next one won't go so fast. The next one I'll saver. You're telling me all you're gonna do is stand back and watch? How many people have to die before you do what I ask?
Prue: None. (Prue uses her power and a letter opener s*ab the warlock. He disappears.) I'm sorry, I...
Piper: Had to.
Phoebe: I would've done it first but you b*at me to it.
Prue: Alright, well, he's only got two more lives left.
Piper: And we've only got one option.
Phoebe: But we already looked in the book.
Prue: We look again. No more p*ssy-footing around.
[Flashback: Attic. Grams is flipping through the Book of Shadows. Patty's spirit is there.]
Patty: Why now, mother?
Grams: We both know why. We're just not willing to say it.
Patty: Please dont.
Grams: I'm not well, Parry. When I die...
Patty: Mother.
Grams: When I die, the girls will receive their powers. I have to stop that from happening.
Patty: But it's their destiny. It's what they're meant to be.
Grams: Who are we to decide that they're meant to be witches?
Patty: Who are we to decide that they're not? This isn't your choice to make.
Grams: But the girls are mine to protect.
(Grams grabs her chest.)
Patty: Mum, are you alright?
Grams: I'm fine. Don't change the subject. Patty, they're not ready. Do you really want me to put them directly in harms way? Goodnight. (She blows out the candle and Patty disappears. She uses telekinesis to open a chest and puts the Book of Shadows in it. She picks up the small bottle.) It's now or never.
(She walks out of the attic and locks the door. She goes to the stairs. She screams out in pain and grabs her chest. She drops the bottle and falls to the bottom of the stairs. Piper runs over to her.)
Piper: Grams? Grams? Prue! Phoebe! Somebody help!
(Prue and Phoebe run up to them.)
Prue: Oh my god, Grams.
Piper: Oh, god, Grams.
Commercial Break
[Scene: Manor. Attic. The warlock is there yelling. He disappears.]
Prue: Well, that's number eight.
Piper: One life to live.
Phoebe: I know life isn't fair, but this sucks.
Piper: I know, he left a stain, but I think with a little water and...
Phoebe: Uh, no. Death isn't brief, it's permanent, and this guy gets to cheat it not once but nine times.
Piper: Yeah, cheaters aren't supposed to profit.
Prue: You know, if he had any idea what death is really like, you know, the real thing not the abridged version, he wouldn't be so hot under the collar to do it again.
Phoebe: What if we showed him.
Piper: What do you mean?
Phoebe: Well, every time he dies he feels pain, right?
Prue: Yeah, but only for a second.
Phoebe: But what if somehow we could catch him in that second? The instant of death in that one moment where he actually feels pain, and then magnify it nine times.
Piper: Then he would feel the pain of nine deaths and it actually might be enough to k*ll him. I like it.
Prue: Well, we've only got one sh*t. Any other ideas? (Phoebe shakes her head.) Then lets do it.
[Flashback: Manor. Piper picks up the bottle on the stairs. Prue stands at the bottom of the stairs.]
Prue: Hey.
Piper: Hey.
Prue: You okay?
Piper: I'm... I'm not really. I don't know how I'm supposed to deal with this, Prue. I mean, not just losing her, it's the funeral arrangements and the doctors and the lawyers... and there's nobody left to help us.
Prue: For what it's worth, the service today was really beautiful.
Piper: (starting to cry) She would've liked what you said.
Prue: Thanks. I know that this is gonna sound strange but... do you think that she heard?
Piper: Yeah, I think she did.
[Cut to the living room. Phoebe is sitting on the couch. Prue and Piper come down the stairs.]
Prue: I'd still like to know what she was doing up there.
Phoebe: Up where?
Prue: Piper thinks that Grams was up in the attic before she died.
Phoebe: That's not possible. She always told us that the attic was sealed off.
Piper: Yeah, well, then what was she doing coming down the stairs?
Phoebe: Um, I think the more important question is what are we doing?
Prue: What do you mean?
Phoebe: I mean, precisely what Grams was always concerned about. Our future. The only reason we're all still here together is because of her and now, Prue, you've already got one foot out the door, and Piper, I know you don't wanna bunk with me any longer than you have to, so let's just face it, she was the glue.
Piper: Why don't we talk about this over dinner. I'll make one of Grams' favourite meals. She always liked the idea of me being in the kitchen.
Prue: Uh, actually, I'm sort of supposed to spend the night with Roger.
Piper: What about you, Pheebs? Table for two?
Phoebe: Uh, actually, I was thinking about getting outta here.
Piper: Are you going out?
Phoebe: No. Going away. I, um, I'm not sure what my future holds but I do know it's not in San Francisco.
(Phoebe picks up a bag.)
Prue: Phoebe, you don't have to...
Phoebe: It's okay. We all know that the only thing that I contribute to this threesome is trouble, so... I'm gonna go and see what New York thinks of me. Whatever my destiny may be, I might find it there.
Piper: Phoebe, what about school?
Phoebe: Well, school will still be there if I come back. Grams always said that we all had a purpose. Maybe we'll have an easier time finding it on our own.
(Phoebe leaves.)
Prue: Uh, I guess I'm gonna...
Piper: Yep.
(Phoebe leaves.)
Commercial Break
[Scene: Manor. Foyer. Prue comes out of the living room, Phoebe comes down the stairs and Piper comes out of the living room.]
Prue: Spell?
Phoebe: Check! Potion?
Piper: Check! Sharp painful implement?
Prue: Check.
(Prue holds up a fireplace tool.)
Phoebe: Ooh, nice choice.
Prue: Thank you.
Piper: So what is our level of confidence in this plan?
Phoebe: Well, on a scale from one to ten, ten being we whip ass, one being he laughs at us while we're on f*re and naked...
Piper: Maybe you should lie to me.
(The warlock bursts in.)
Warlock: Hello, ladies. Hmm, I love the smell of defeated witch in the evening.
Prue: Yeah, can we just get this over with, please?
Warlock: Oh, it's fine when you want to have coffee, but when I want to exchange pleasantries, you're in a hurry to k*ll me. Where are your manners?
Phoebe: We lost them when that girl lost her life.
Warlock: And who's fault is that? Wait a minute, do you think I'm an idiot? You've got something up your sleeve.
(Phoebe looks at Prue and Piper.)
Phoebe: Hello? Sleeveless.
Warlock: You know the moment that I gain immortality, I'm coming back here to mangle your pretty little faces.
Piper: You wanna die or not?
Warlock: Do it.
Prue: Alrighty then. Ready? (Prue throws the tool at him.) Now!
(Piper freezes him and throws a potion at him.)
All: "Nine times this evil's cheated death, felt no pain and kept his breath, this warlock standing in our midst, let him feel what he has missed."
(Black ghostly shadows float around him.)
Warlock: No! No! No!
(The warlock explodes and disappears.)
Piper: Okay, was that for good?
Prue: Well, if it wasn't, he's really gonna miss his ear because it looks like part of it's dripping off the clock.
Piper: Yecch.
Phoebe: Um, ninth time's the charm. That was definitely different, he's gone for good.
Piper: And yet somehow we're still here, still together.
Phoebe: Not for long. Is there anything special you wanna do on your last night here?
Piper: Um, I don't know. I guess, can I have a couple of minutes alone?
Prue: Yeah, uh, we'll be upstairs if you, you know.
(Prue and Phoebe go upstairs. Piper sits down and pulls a small bottle out of a box. She sees a note stuck to the bottom of it.)
[Cut to outside. Leo is packing the car. Piper comes out.]
Leo: Everything okay?
Piper: Am I that obvious?
Leo: No, I'm just incredibly perceptive. You wanna pull up a tailgate?
(They sit on the tailgate of the car.)
Piper: Um, something just doesn't feel right. I mean, I know this stuff has to happen and I want it to happen, it's just that when Prue, Phoebe and I moved back in together, it made us sisters again. And I don't think we're ready to test that yet. And then there's this. (She hands Leo the note.) I think we both know what those ingredients would do to us. And the fact that Grams was willing to keep us from being witches, to keep us together. Well, that should mean something shouldn't it? Are you gonna hate me?
Leo: not if we can hire movers to move everything back in.
(She hugs him.)
Commercial Break
[Scene: Manor. Prue and Phoebe are sitting on the couch. Piper walks past.]
Prue: Hey, can we talk to you for a second? It's kind of important.
Piper: Sure. Everything okay?
Phoebe: Yeah, it's, um, it's just we're more than excited that you and Leo decided to move back in... Um, we sort of have to ask you to move back out again.
Prue: Of your room. And into mine. I mean, it is twice as big and you now are twice the people.
Piper: Really?
Prue: Really.
Piper: That would be great. (She sits on Prue and hugs her.) That would be so great.
Phoebe: Hey, you know what? I deserve hugs too because I'm moving all of my stuff out of your bathroom so you and Leo could do the...
Piper: That would be really great.
Prue: See? It will just be like having your own place.
Phoebe: Yeah, only with your sisters right down the hall.
Prue: Yeah, I mean, I know we can't be together forever.
Piper: But it feels good that forever isn't today.
[Cut to the attic. The Book of Shadows closes itself. The triquetra on the front glows.]
End | {"type": "series", "show": "Charmed", "episode": "03x17 - Pre-Witched"} | foreverdreaming |
[Scene: Street. Prue and Phoebe pull up in the car. They get out and start walking.]
Prue: Alright, it should be around here somewhere.
Phoebe: And you can't be more precise about what it is?
Prue: Okay, I told you, it's some sort of evilly thing.
Phoebe: Why'd I let you talk me into this? I should be at home encrastinating my delinquent ethics paper, not chasing some wild goose.
Prue: Wild demon, okay? And I was scrying for unnatural activity and this place came up loud and clear.
Phoebe: Wait a minute, are you telling me you're actually looking for trouble now? Prue, what happened to putting more balance in your life? You know, less Wicca wonder, more Prue.
Prue: Listen, I sh*t a magazine cover yesterday, I had a date last night, and then this morning I am searching for evil. You can't get more balanced than that.
Phoebe: Right, just your typical everyday cosmo girl.
Prue: Well, you and Piper don't need me anymore, so that leaves me plenty of time to help those who do.
Phoebe: Is that what you think? That we don't need you anymore?
Prue: Well, I mean, it's just that ever since Piper got married and you moved up with Cole, I feel like I don't really have to watch out for you guys as much anymore.
Phoebe: Prue, this is a good thing.
Prue: Yeah. (Prue looks over at a dumpster.) I think that's it.
Phoebe: Good.
Prue: Alright, on the count of three. One, two...
(She uses her power to open the lid of the dumpster.)
Phoebe: Oh my god! (She runs over to it.) It's the coffee maker I wanted.
(She pulls out an empty box.)
Prue: Phoebe, it's just a carton.
Phoebe: Oh, right, of course. See, I need you. You just protected me from making a fool out of myself.
Prue: Now there's a full time job.
Phoebe: Thank you very much.
(They continue walk down the street.)
Prue: Hey, so, how's Cole? I haven't seen him in a while.
Phoebe: Oh, he's been dodging demonic bounty hunters. You know, but he still manages to shimmer into the bedroom when he has a chance. Pops in and then pops right back out if you know what I'm talking about.
Prue: Huh, I vaguely remember.
Phoebe: Even though I'm really happy to see him, it's starting to raise old issues for me. Like, does he really love me or is he just interested in my... charms?
Prue: Oh, Phoebe, come on, you know that for a magical fact that he loves you. Alright, and think how many times he's risked his life to save you. I don't think that's just sex.
Phoebe: Yeah, but what about if it was really, really great sex.
Prue: Well... (They hear voices coming from an alley.) Seek and you shall find.
[Cut to the alley. Two men are there arguing. One man is holding a small crystal box.]
Man #1: Please, just one more.
Man #2: I told you! (He pushes man #1.) What you want is no longer in this box.
Man #1: I need more! Won't you understand? I've gotta have more!
Man #2: You can never get enough greed, can you?
(Man #2 throws a fireball at him and he flies against a dumpster. Prue and Phoebe run over to them.)
Prue: Hey! (She uses her power on man #2. He drops the box.)
Man #1: The box.
(The two men both dive for the box. Prue uses her power and the box slides across the room. Man #2 tries to get up and Phoebe kicks him in the face.)
Man #2: That box belongs to Lucas.
Phoebe: Yeah, well, tell Lucas it's been empoun... (he disappears) dered.
(Prue goes over to man #1.)
Prue: Hey, it's okay, it's over.
Man #1: No, gotta have more. Don't you understand? I've gotta have more!
(He pushes Prue out of the way and runs onto the road.)
Prue: No!
(The man is h*t by a bus.)
Opening Credits
[Scene: On the street. Continued from before. The police are questioning witnesses. Darryl goes over to Prue.]
Prue: Hey.
Darryl: Hey.
Prue: Did you find out anything?
Darryl: Nothing unusual. Unfortunately we get the kind of suicides all the time.
Prue: Darryl, this was not a su1c1de, okay? He was driven into the street, demonically driven. I think that I can recognise the signs by now.
Darryl: Alright, it's Robert Pike. He was married with two kids. Worked for Brickson investments at a stock broker. Very successful.
Prue: The demon accused him of being greedy. I wonder if there's a connection?
Darryl: It's hard to believe. It seems like Mr. Pike wasn't your typical stockbroker. From all accounts was more of a philantphalist. He even hosted a fundraiser for the American cancer society just last night.
Prue: Well, he must have changed in a hurry because when we saw him, all he cared about was a box.
Darryl: What box?
Prue: This one.
(She opens her bag and he looks inside.)
Darryl: What is it?
Prue: I don't know, but whatever it is, apparently it's worth dying for.
[Cut to Phoebe being interviewed by a cop.]
Cop: In your opinion, was there anything the bus driver could have done to avoid him?
Phoebe: No, it happened too fast, he didn't have time to react.
Cop: Alright, I think that's it. If I could just have your home phone number in case I have any other questions.
Phoebe: It's the same as my sister's. We live together.
Cop: Really? Just out of curiosity, what would you say if one of my other questions was, can I take you out to dinner?
(Phoebe laughs.)
Phoebe: Ooh, you caught me off guard with that one.
Cop: That's my job.
Phoebe: Uh, well, you're very good at it. Um, but I-I think that it would be best if those numbers stayed in the report. I'm seeing someone.
Cop: I'm not surprised.
Darryl: Officer.
Cop: Excuse me.
(Phoebe walks over to Prue.)
Phoebe: Are you okay?
Prue: Um, I don't know. I keep on thinking about what we could have done differently to try and save him but he ran into the street so fast, and...
Phoebe: We couldn't have saved him, Prue. Not without knowing more about the demon who did this to him.
(The coroners take the body away.)
Prue: Lucas. To find him we have to find out what's so special about this box.
[Scene: Lucas' place. Lucas has Man #2 up in the air by the neck.]
Lucas: Do you have any idea how important that box is?
Man #2: I thought you were working on controlling your anger.
Lucas: I am controlling my anger!
(He drops the man. The man holds up a crystal.)
Man #2: At least we got the business man sold, Lucas.
Lucas: Yes, but I need to deliver seven souls for seven sins.
Man #2: Can't you just locate the box?
Lucas: Yes, but I have to figure out a way to get around the witches first. Thanks to you. You know, my own self destruction was supposed to bring me peace from sin. Instead, I am damned to spend eternity inflicting others.
Man #2: You gotta know the product to move it.
Lucas: I know the product. I know how sin works human desire. Which might be exactly the way to get to the witches. Yeah, sure, why not? Witches have human desires too, right? (He laughs.) You know, there's only one thing that I can't quite figure out. Why do I need you? (A bright light sh**t out of his hands and flies into Man #2. Man #2 disappears in a ball of flames.) I needed to vent.
[Scene: Manor. Prue and Phoebe walk inside. Prue gets the box out of her bag.]
Phoebe: Don't open that. Let me go get Piper first.
Prue: Why?
Phoebe: Oh, gee, Prue, I don't know. Maybe so you don't go running in the street and get h*t by a bus too. (Phoebe goes in the kitchen where Piper is making sushi.) Piper, we need... Wow. Expecting company?
Piper: Uh, no, I was just making Leo a little something to eat. You know, break up his day.
Phoebe: And something to take up all of yours?
Piper: Well, sushi don't roll itself. Besides, I like taking care of him and cooking for him and dressing up for him. I was actually thinking of going out and buying him a whole new wardrobe. You know, de-flannel him a little.
Phoebe: What, you afraid you're gonna lose him? Wait, are you?
Piper: Well, I'm certainly not gonna give the Elders any excuse to take him away again, that's for sure.
Phoebe: No, Piper, they wouldn't do that. You guys are married now.
Piper: So, there is nothing in those wedding vows that says they still can't break us apart. Besides, I don't wanna be complacent about my marriage. Neither he nor they are gonna find any fault in me.
Phoebe: Well, they might find fault in us. Prue and I lost an innocent this morning, so we need you. (They walk into the living room. Prue is looking closely at the box.) Whoa, whoa, whoa, what are you doing?
Prue: Uh, opening the box.
Phoebe: You're supposed to be waiting for me and Piper.
Prue: Okay, so you're here. I'm gonna open it.
(Phoebe takes it off her.)
Phoebe: What if you unleash some huge abomination?
Prue: Whatever it is, I'm sure that we can handle it.
Piper: But at least I think we should call my husband and ask his opinion first.
Prue: Okay, but we didn't need his opinion before when he was just Leo.
(Leo orbs in.)
Leo: You called?
Prue: No.
Phoebe: But as long as you're here. Box. Intercepted from a demon. Open it? Yay or nay?
Leo: Have you checked the Book of Shadows?
Piper: No. But that's a great idea. Leo, you're a genius. What would we do without him?
Prue: Oh, I don't know. I guess our lives wouldn't be this smooth running, carefree existence that they are today.
Piper: Oh, uh, Phoebe, your ethics professor called about your meeting today at 2:00.
Phoebe: Well, obviously I can't make it now.
Prue: No, no, no, you should go. I mean, you're too close to graduating to mess up now. The three of us can handle the box.
Phoebe: Are you sure?
Prue: Yes, go. Although, you might want to change into, oh, I don't know, clothes. Actual shirt.
(Phoebe looks down at her open vest, showing most of her bra.)
Phoebe: Okay.
Prue: Okay. That's very... let's go.
(They all go upstairs.)
[Time lapse. Attic. Prue, Piper and Leo are there. They have the Book of Shadows opened up to a page on 'The Seven Deadly Sins'.]
Prue: 'Bottled at the Source by the Source.' So what, it's a box of sin?
Piper: Good thing you didn't open it. It would have been Pandora all over again.
Leo: Not quite. But this may be how the myth got started. Only it's much more specific type of att*ck. According to this, the box contains seven balls of sin used to corrupt paragon's good.
Piper: If you're a paragon of good, how do you get corrupted?
Leo: Because no one is immune to sin. Whether it be pride, envy, gluttony, lust, anger, greed or sloth. Whichever one you're predisposed to, is the one that att*cks you.
Prue: Well, the business man must have been att*cked by greed, that's why he kept on wanting more.
Leo: Only his greed was magnified a thousand times.
Prue: And it explains why my scry worked. I felt the unnatural activity was the demon courier. But it must have been the sin working against the businessman's good nature.
Piper: Okay, so what do we do now?
Leo: Well, the infector appears to be the link. Destroy Lucas and the sins lose their power.
Prue: Do we know anything about these infectors?
Leo: Only that they were humans consumed by sundering life and in death.
Piper: So what we need to do now is find a spell to remove the sin from the infected human incase Lucas strikes again, right?
Prue: You can't remove sin magically or otherwise. It's apart of all of us.
Piper: Even you?
Prue: Yes, even me. Just a teeny little bit. Nothing that anyone would notice but me.
[Cut to downstairs. Lucas appears and picks up the box. Phoebe comes down the stairs.]
Phoebe: Okay, you guys, wish me luck. (She sees Lucas.) Hey.
Lucas: It's okay. I think you're gonna like this one.
(A sin ball hits Phoebe. Prue, Piper and Leo come down the stairs. Three more sin balls h*t them. Lucas disappears.)
Phoebe: What was that? What just happened?
Piper: Oh, no, don't tell me we got infected with the sin thingy.
Phoebe: What do you mean? (to Prue) What is she talking about?
Prue: Okay, nobody panic. Does anybody feel different?
Leo: No.
Piper: Me neither.
Phoebe: Uh-uh.
Prue: Alright, so maybe we're immune because we're magical.
Leo: I don't know, I better orb up and ask.
Prue: You do that. Piper and I will go recheck the book, and you missy, you get your butt to that meeting and charm the pants off of your professor. Go, and get home as soon as possible. (Prue pushes Phoebe out the door. Phoebe tries to protest.) No, I'm sure, go!
[Scene: College. Phoebe's professor's office. Phoebe is sitting in a chair.]
Professor: The problem is, it's an ethics course, it's about the dialectic. So when someone misses as many classes as you have, it's hard to catch up. (Phoebe sighs and rubs her forehead.) Are you okay?
Phoebe: I don't know.
Professor: Plus, you owe me a major paper, and if I don't get it soon...
Phoebe: What are you gonna do to me?
Professor: I'll have to give you an incomplete. I'll have no other choice. Now, do you have anything else to say to me?
Phoebe: I'm not wearing any underwear.
Professor: Excuse me?
Phoebe: Yeah, I find it to... constricting.
Professor: Are you making some kind of a joke?
Phoebe: No, I'm serious. d*ad serious. (She stands up.) I've been a bad girl. A very bad girl. (She slowly moves closer to him.) And I'll do anything to make it up to you. I'll do anything to pass. Anything.
(She grabs him and they fall over the desk onto the floor.)
Commercial Break
[Scene: Manor. Kitchen. Piper is sitting at the table talking on the phone, and flipping through a magazine.]
Piper: Ah, no, that'll be it. Just the two Armani suits size 42, the Donna Karan dress, the three pairs of Stuart Weitzman shoes, the Wong Gucci jacket and the Prada bag. What's the total?
(Prue walks in.)
Prue: Alright, we don't have much time...
Piper: Shh! I'm on the phone with Bloomingdales. (on the phone) Oh, okay, um, well, then I'm gonna have to split that on two credit cards. You can put $5000 on the card that's on file, and the re-- (Prue hangs up the phone.) What are you doing?
Prue: Uh, saving your life or at least your credit rating, which is your life.
Piper: Excuse me, Leo needs suits.
Prue: Leo doesn't wear suits.
Piper: Yet.
(Piper picks up a wine glass and has a sip.)
Prue: A-a-are you drinking in the middle of the day?
Piper: I was a little bummed about this sin thing, so I thought I deserved a little indulgence. Would you like a bit of bubbly?
Prue: No, I would like a little bit of help. We are supposed to be tracking down Lucas.
Piper: Sorry. Catch me up.
(Prue sits down.)
Prue: Alright, so it turns out that those sin balls work a lot faster than we thought. Once infected, the victim only has a few hours before it drives them to a total self destruction.
Piper: Well, good thing we weren't infected then, huh?
(Piper picks up a chocolate and takes a bite.)
Prue: Right. But now that Lucas has the box, the question is who will be. I mean, I tried scrying for unnatural activity but it just kept pointing back to the manor.
(Phoebe runs in.)
Phoebe: Guess what? My ethics professor kicked me out of class.
Prue: What? Why, what happened?
Phoebe: I don't know, I don't know. One minute I was telling him why my paper was late, the next thing I knew was... unzipping his pants with my teeth.
Prue: Oh, Phoebe, you do know that charming the pants off someone is just a figure of speech, don't you?
Phoebe: I don't know what came over me, Prue. I'm just glad that I realised what was happening before I... eww!
Prue: Alright, unfortunately, what got into you is lust. As in the sin of.
Piper: Wait a minute, now you think we were infected?
Prue: Hello? Gluttony, table for one.
Piper: Leo!
Prue: Oh, no, no, no, Leo's not up there. He's in the living room watching TV.
(Prue, Piper and Phoebe walk into the living room to see Leo laying on the couch watching TV.)
Piper: What are you doing?
Leo: Just kicking back.
Piper: Something is wrong with this picture. You need chips. I'll go get some.
(Piper heads for the kitchen.)
Phoebe: Oh, turn on MTV, I wanna see Carson Daily, he is so hot.
(Phoebe sits on the couch beside Leo.)
Prue: Okay, uh, excuse me, sins in a box. Demon hunt, real life. Can we please focus here? Now, what did 'they' say about Lucas' sneak att*ck?
Leo: I don't know. I didn't make it up there. I orbed half way up and I got tired.
Prue: What?
Leo: Hey, after sixty years of constant vigilance, I think I deserve a little down time.
(Piper walks in carrying a bowl of chips.)
Piper: Here you go, honey.
Leo: Oh, thanks, honey. I'm gonna probably be thirsty soon.
Prue: Oh, I'm gonna be ill soon.
(The doorbell rings.)
Piper: I'll get it. (Piper opens the door and a flower delivery guy brings in bunches of flowers.) Oh, how gorgeous.
Delivery Guy: Hi. Boy, these are a lot of flowers.
(Phoebe walks in the foyer.)
Phoebe: I'll say. I love a man in a uniform.
Prue: Hey, who sent the flowers?
Piper: I did, for myself.
Prue: Oh, this is just too much.
Phoebe: (to the delivery guy) I bet you're too much.
(She places her hands on his chest.)
Prue: Alright, that's it. That's enough. (She pushes the delivery guy outside.) Nothing to see here, nothing to respond to, get out. You! What are you smiling at, buddy?
(He leaves.)
Phoebe: Why did you do that?
Prue: Because unless you guys want those flowers at your funeral, you had better get a grip, okay? You've been infected. Gluttony, lust, and that in there... (They walks back in the living room. Leo burps.) Is sloth.
Piper: How did I get gluttony? I don't over eat.
Prue: No, but you over do. The sins are drawn to our predispositions and lately yours has been excess.
Phoebe: What sin did you get h*t with?
Prue: Well, I didn't get h*t.
Phoebe: Oh, I saw you get h*t.
Prue: Well, I must be strong enough to fight it off, I'm not showing any symptoms, am I? And thank goodness, alright, one of us has to keep our wits about us. (She sees the news on the TV.) Hey, turn that up, lazy.
(Leo turns up the TV.)
Reporter: The SWAT team just arrived at Bay City Motor Cars. A further signal that police are taking seriously. Pastor Roger Tremble thr*at to sh**t and k*ll his hostage if his demands are not met.
Anchorwoman: Do you have any idea what exactly the Pastor's demands are?
Reporter: Well, actually, yeah, they're a little bazaar but he claims he wants a Jag. Specifically a XK convertible in British racing green.
Piper: That's a new one.
Phoebe: That news caster's kinda cute.
Prue: Alright, what do you wanna bet that the demon infected the Pastor with envy.
Piper: Prue, out of all the people in San Francisco...
Leo: Still, he does fit the profile. Paragon of good, driven to an act of self destruction.
Prue: Yeah, especially with a SWAT team outside. Alright, we can not let this demon steal anymore of our innocent souls. (Prue drags Phoebe away from the TV.) Piper, are you coming?
Piper: Uh, I was gonna stay here with Leo and hold down the fort.
Phoebe: More like hold down the couch.
Piper: I'll come if you want me to.
Prue: No, it's fine, I'll just do all of it myself if I have to. Come on, Phoebe.
(Prue and Phoebe leave.)
Piper: You think she's mad?
Leo: Probably.
(Leo moves over and Piper sits down beside him. An infomercial comes up on the TV. Leo changes channels.)
Piper: Wait, turn that back. (Leo groans and changes back to the infomercial.) Hand me the phone.
(He hands her the phone and she dials the number on the TV.)
Commercial Break
[Scene: Bay City Motor Cars. The SWAT team have surrounded the building. Prue and Phoebe are there talking to Darryl.]
Prue: Look, Darryl, just let me handle this.
Darryl: Look, Prue, it's a highly charged, highly public situation. I can't just ask SWAT to let you handle it. I get enough flak from these guys as it is.
Prue: Alright, would you rather me astral project myself in there?
Darryl: Come on, Prue, you're not being reasonable.
Phoebe: I have something to say. I see that cute officer from this morning.
(She gets all excited.)
Prue: Hey, stay on point, we still have an innocent to save.
Darryl: You're right, we all do, cops included. Look, just let the hostage negotiators handle it, please?
Prue: Fine. What's the plan?
Darryl: The plan is to talk the Pastor down, weigh him out.
Prue: Okay.
Darryl: It works in most cases, trust me.
Prue: Okay, well, if he's been infected it will not work in this case, trust me, alright. The Pastor's only gonna get worse.
Darryl: What would you do to resolve it?
Prue: There's only one thing to do.
(Prue walks towards the building.)
Darryl: Whoa, whoa, whoa, wait! (to SWAT) Hold your f*re! Hold your f*re! (He notices Phoebe is gone.) Phoebe?
[Cut inside the building. The Pastor has a g*n up to the salesman's throat. Prue walks in.]
Prue: Pastor Tremble?
(The Pastor turns around and points the g*n at Prue.)
Pastor: Who are you?
Prue: Whoa, okay, hold on, I'm-I'm-I'm here to help, but I can not do that until you put the g*n down.
Pastor: Get outta here.
Prue: I just wanna talk.
Pastor: I just want my Jag. Do you want me to sh**t you too? I swear I will.
Prue: Okay, no, no, no, wait. I-I know what's happened to you, okay? You've been infected with sin.
Pastor: I warned you.
Prue: No. (Prue uses her power but the g*n doesn't fly out of his hand. He sh**t at Prue.)
[Cut to outside. Everyone crouches down when they hear the g*n. Screams are heard. Darryl grabs a megaphone and talks into it.]
Darryl: Prue, you alright? Talk to me, Prue.
(Prue finally comes out with the salesman.)
Prue: Everything's under control, don't worry a thing. I've got it all under control. Hi, he needs medical attention. The Pastor's inside, I kicked his ass. He needs attention too, he's knocked out.
(Everyone applauds and news reporters rush up to Prue.)
Reporter: Hi, can I just ask a few questions?
Prue: The name's Halliwell, Prue Halliwell.
Reporter #2: What made you run in there?
Prue: Well, my job is to protect the innocent.
Reporter: Do you work for the police?
Prue: No, actually, I don't.
(Darryl pulls Prue away.)
Darryl: No, she's a good Samaritan, very good Samaritan. No further questions.
Prue: Why did you do that? I was just getting started.
Darryl: 'Cause you were about to hang yourself. You shouldn't be talking to the press.
Prue: Why not?
Darryl: Because they'll destroy you. What's the matter with you?
Preu: Nothing can destroy me, Darryl.
Darryl: Prue, you're bleeding.
(Prue looks at her arm.)
Prue: Whoa, I am, oh my. That b*llet must have grazed me.
Darryl: And you didn't even feel it?
Prue: No, no, you know, the adrenalin, it's no big deal.
Darryl: No big deal? You almost got yourself k*lled. I've never seen you runaway from danger before, but I've never seen you run toward it either. What, have you got a death wish or something?
Prue: It does sound kind of self destructive, doesn't it? Oh, oh, that means I've been infected. That must be why I can't control my powers.
Darryl: Prue, what's going on?
Prue: Darryl, I don't have time to explain. Can you get Pastor Tremble to a safe place? Some place where he won't hurt himself, like a psychiatric hospital.
Darryl: Yeah, sure, shouldn't be a problem in his case.
Prue: Okay, good, but nobody can know that he's there, okay? Because if so, the demon will find him and k*ll him.
Darryl: Okay, I don't know how long I can keep it a secret though.
Prue: Well, I don't really need that long. Just long enough for me to find the demon and vanquish him, okay? Okay. Now where is my sister? Phoebe!
[Cut inside a SWAT truck. Phoebe is there making out with the officer from before. She starts undressing him, then pulls out a strip of condoms from her bag.]
Phoebe: It's a good thing I came prepared.
(She rips one off with her teeth. Darryl opens the door.)
Darryl: Officer!
Prue: Phoebe!
Officer: Wait, I can explain.
Darryl: The hell you can. Get outta there!
(Darryl pulls him out of the truck. Prue pulls Phoebe out of the truck. She grabs her coat.)
Prue: Here, put it on. Are you out of your mind?
Phoebe: Um, yeah, I think so. But if you're gonna go crazy...
Prue: Yeah, well, my sin's not nearly as much fun as yours.
Phoebe: Wait, you're sin? I thought you didn't get h*t.
Prue: Well, that was the pride talking and it almost got me k*lled already.
Phoebe: Pride? You don't seem all that different.
Prue: Really? Well, back atcha. We need to get home and try and track down this demon, okay?
Phoebe: No, I don't think so, I'm having too much fun, so I'll just see you later.
Prue: If I don't get you home, there won't be a later.
[Cut to Darryl and the officer.]
Darryl: What the hell is the matter with you? Not only in the middle of the day, but in the middle of a crisis.
Officer: Look, she att*cked me. I swear, I didn't have a choice. Not much of one.
Darryl: That's a pathetic excuse. You're an officer for crying out loud.
Officer: What would you want me to do? sh**t her?
Darryl: You're suspended.
Officer: What?
Darryl: Go back to the station, turn in your hardware.
(Darryl walks away.)
Officer: You can't suspend me. It was her fault. Damn it!
(Lucas appears.)
Lucas: You know that anger is one of the seven deadly sins? Your blood pressure's rising, adrenalin's pumping, you wanna h*t somebody, don'tcha?
Officer: Who the hell are you?
(Lucas gets out the box and hits the officer with the anger sin ball.)
Lucas: I'm somebody who can help you channel that anger.
Commercial Break
[Scene: Manor. Porch. Prue and Phoebe walk up to the door.]
Phoebe: You know, it would have not k*lled you to drive by the f*re station for a little looksy.
Prue: You know what? (She opens the door.) If you and Piper do not get your sins under control...
(They walk inside and all of Piper's purchases fill the foyer and living room. Piper walks in.)
Piper: Good, you're here. The pashminas have arrived and they're to die for. Come see. (A delivery man walks past carrying long metal strip things.) Whoa, hey, hi, almost decapitated.
Phoebe: Hello. (They walk into another room filled with stuff. Piper pulls a pashmina out of a box.) Wow, Piper, you really put the glutt in gluttony.
Prue: Okay, how did you get this stuff so fast?
Piper: Oh, I just let my fingers do the walking and the clicking and the... flipping.
Prue: Flipping as in the pages of the Book of Shadows? You used magic?
Piper: Well, yeah, I couldn't wait six to eight weeks for delivery.
Prue: That is so personal gain.
Piper: No, 'cause we need all of this stuff.
(Phoebe leaves the room.)
Prue: Okay, Piper, this isn't you. You're being consumed by your consumption and it will only lead to your total misuse of magic.
(Piper turns on a water fountain.)
Piper: Soothing, isn't it?
[Cut to the living room. Leo is laying on the couch watching a big screen TV. Phoebe moves over to him.]
Phoebe: Hey, Leo.
Leo: Shh, watching TV.
(She sits down next to him.)
Phoebe: I know something more exciting that television. (She unties her top.) Me.
(She turns off the TV.)
Leo: What the hell are you doing? Come on, give it back.
(He reaches for the remote but falls on Phoebe. Piper walks in.)
Piper: Phoebe!
Phoebe: What? Prue won't let me leave the house, so I have to make do with what I have.
(She strokes his chest.)
Piper: Get your slutty hands off of my husband!
(Phoebe stands up.)
Phoebe: Make me.
Piper: Gladly.
(Piper picks up a statue of a head and gets ready to throw it.)
Leo: Watch the remote!
(Prue runs in.)
Prue: No, no, no. (She takes the statue off of Piper.) Alright, you guys, the last I checked we still had a demon to vanquish and an innocent to save.
Phoebe: I thought you said Morris hid the Pastor some place safe.
Prue: Yes, he did, but envy is only the sixth sin. Which means there's still an innocent out there infected with anger.
(Prue puts the statue down.)
Piper: What would you like us to do about it?
Prue: Leo, I would like for you to orb up there and ask the Elders what they know, okay?
Leo: I'm too tired.
Prue: Leo, (she hits him on the arm) get up there right now! You're a Whitelighter, that is your job.
Leo: Why? You never listen to me anyway. (He yawns.) I think I'm gonna orb upstairs and take a nap.
(He orbs out. Phoebe picks up a magazine and starts to read it.)
Prue: Fine! Fine, orb, who needs you anyway? (Piper puts on a pair of boxing gloves.) We still have the power of three.
(She looks at Piper and Phoebe.)
[Scene: Police station. The officer walks outside to his car. He puts his bag in the boot and shuts the door. Lucas appears.]
Lucas: Did you find out where they're hiding the Pastor?
Officer: Where'd you come from?
Lucas: Answer my question.
Officer: No one's talking. At least not to me.
Lucas: That's not good enough.
Officer: Look, I don't know who you think you are!
(The officer grabs his chest in pain.)
Lucas: Anger's the worst, isn't it? Especially when the burning rage zaps you of all your strength and reason and the relentless screams locks out all hope. Use it against the Halliwells. (He pulls the officer's g*n out of his belt.) Make them tell you where the Pastor is. Trust me, anger always feels better when it has a target.
[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Prue's looking through the Book of Shadows, Piper's got her feet in a foot spa, and Phoebe is lying in a chair.]
Prue: There is nothing, there is nothing in the book. Why did only lame witches precede it?
Piper: Because nobody is as good as you, Prue.
Prue: You know, at least I'm trying, Piper. Instead of getting a foot massage, or sleeping.
Phoebe: I'm not sleeping. I'm just having the best premonitions of my life.
Prue: Of what?
Phoebe: It's a button off Officer Cutie's shirt. Let me tell you, if the movie's anything like the previews... whoa.
Prue: Alright, is that all that you care about? (Phoebe nods.) Fine. I'll save the innocents, I'll vanquish the demon, and if I feel like it, maybe when I'm done, I'll save you guys.
Phoebe: Oh, don't do us any favours.
Piper: Yeah, Prue, worry about yourself.
(Piper knocks a lamp in the foot spa and gets electrocuted. She falls over the back of the chair.)
Prue: Piper! (She runs over to her.) You alright?
Piper: Oh, what happened?
Prue: Uh, you were shocked.
Piper: I feel strange.
Prue: Yes, well, if you had both feet in the water you wouldn't feel anything. (Prue helps her up. The doorbell rings.) Who is that?
(Phoebe looks out the window and sees the officer standing on the porch.)
Phoebe: Oh! Oh! It's Officer Cutie from this morning. (She opens the window.) Hey! Hey, up here! I'm gonna come down, okay?
(Phoebe leans out the window and nearly falls out.)
Prue: Phoebe, watch out! (Prue pulls her back in.) Do you see what's happening?
Phoebe: That was close. (She runs out of the attic.)
Piper: Prue, we just have different priorities than you do. You need a little pick me up. How about I buy you some shoes?
(She heads for the door.)
[Cut to the foyer. Phoebe opens the door.]
Phoebe: I knew you'd come back for me.
(The officer walks in.)
Officer: This isn't a social call.
(He grabs Phoebe.)
Phoebe: Whoa, are we roleplaying? Did you bring your handcuffs?
(He gets out his g*n and points it at Phoebe.)
Officer: Where's the Pastor?
Phoebe: I don't know, I swear.
Officer: You're lying! (He pushes her into a box full of stuff.) You're something else, you know that? (He throws boxes around the room.) I got suspended because of you! You think you can ruin somebody's life and not pay for it? (He points the g*n at her.) You're gonna pay.
Phoebe: No.
Officer: You're gonna pay right now.
Phoebe: Please, don't sh**t.
(Piper walks down the stairs and screams.)
Piper: My stuff! (He points at Piper and she freezes him. He unfreezes and sh**t at her. She ducks.) Why are my powers not working?
Officer: Where's the Pastor?
Piper: I don't know.
(Phoebe knocks the officer down and he sh**t up in the air. Piper falls down the stairs and knocks over all the stuff. A large wooden box falls on top of her. Piper tries to climb out from under the box. She looks over at Phoebe and sees her unconscious on the floor.) Phoebe?
(The officer stands up. Prue comes down the stairs. He yells and points the g*n at himself. Prue uses her power and some of Piper's stuff is thrown at him. He falls back onto some furniture. She looks at the unconscious Piper and Phoebe. Lucas appears behind Prue and grabs her.)
Lucas: You can't save what's already lost.
Commercial Break
[Scene: Manor. Phoebe is still unconscious on the floor. Piper crawls over to her and feels her pulse. She crawls over to the stairs.]
Piper: Leo! (She starts to climb the steps.) Aah! (She pulls herself up to the top.) Leo!
[Cut to Pipe's room. Leo is asleep on the bed. Piper limps into her room.]
Piper: Leo, please wake up. Leo. (She falls over and knocks some things off of her dresser.) Ow!
(Leo wakes up.)
Leo: Huh? What? Piper!
(He runs over to her. He is struck with a bright light.)
Piper: You glowed.
Leo: Doesn't matter. Where are you hurt?
Piper: No, you've gotta go downstairs and heal Phoebe first and then go find Prue because the demon took her.
(Piper is struck with a bright light.)
Leo: You glowed too.
Piper: I did? Did you heal me?
Leo: No, not yet. (He heals her.) It's the sins. We must have gotten rid of them.
Piper: Wait a minute, you said there's no magical way to do that.
Leo: There isn't. Maybe there's a human way. Maybe by being selfless. By you caring more about your sisters and me caring more about you, we over came it.
Piper: Well, that means Phoebe must have gotten rid of her sin too because she risked her life to save me.
(They run downstairs to Phoebe.)
Leo: She's still breathing.
(Leo heals her.)
Piper: Hi, honey.
Phoebe: Hi. Leo, what are you doing up?
Leo: Fixing you.
Phoebe: Where's Prue?
Piper: Uh, we don't know, but we need to find her. She won't admit it but she's in big trouble.
[Scene: Lucas' place. Prue is tied up. She is struggling to get free.]
Lucas: You think you can break free, but you can't. See, that's what makes pride the deadliest of all the sins. It makes you think you're invincible. Above it all...
Prue: My powers...
Lucas: Are useless now. Corrupted. You have only a small window of opportunity to save your life before it's too late.
Prue: No demon has defeated me. And you won't be the first.
Lucas: You see, but I don't have to defeat you, you're gonna defeat yourself. In mere minutes you'll be so far gone you will self destruct just like all the rest. However, I am willing to make you a deal.
Prue: I don't make deals with demons.
Lucas: Do you listen to them? Look, we both know that you safe guarded the Pastor, which means that I can't deliver his soul. But this late in the game I am willing to pay for it. Tell me where the Pastor is and I'll remove your sin.
Prue: Go to hell.
Lucas: This is my hell. Every rotten day of it. Listen, I am giving you a chance to save your life, Prue. To end your hell.
Prue: If you remove my sin, you'll still be one more soul short.
Lucas: That's true, but once it's sponged, I can use the sin again. You see, it'll just pop right back into my box.
Prue: And let you infect another innocent? I don't think so. Screw you.
(Lucas picks up a stick and taps it on the floor. A large hole in the floor opens up.)
Lucas: Witness the bottomless pit of ever lasting torment. Pride goes with before the very long fall, Prue. So what's your decision? Remember, if I lose you lose.
Prue: Alright, alright, untie me.
Lucas: Tell me where the Pastor is first.
Prue: Oh, untie me first. If I self destruct, you will never get a soul.
(Lucas unties her.)
Lucas: Alright, where is he?
Prue: Ha, you lose I win, ha!
(Phoebe, Piper and Leo walk in. Prue jumps in the pit.)
Lucas: No!
Phoebe: Prue!
Piper: No! Leo, Leo, Leo!
(Leo orbs out into the hole.)
Lucas: Why did she have to have pride? Pride is the one sin you can't b*at.
Piper: b*at this.
(Piper freezes him.)
Phoebe: Oh, I see orbs.
(Leo orbs back in with Prue.)
Prue: Let go, I can handle this.
(Prue elbows him in the chest.)
Leo: Ow! I was saving you.
Prue: Saving me? I had it under control, I didn't need your help.
Phoebe: Right.
Piper: Uh-oh, it looks like the only way to get the pride out of Prue is to vanquish him.
(Phoebe picks up the sin box.)
Phoebe: Oh, who ordered the sweet sin balls?
Piper: I think he did.
(Phoebe throws all the sin balls at Lucas. He unfreezes.)
Lucas: What did you...?
(He falls into the pit. The pride sin comes out of Prue and lands in the box.)
Prue: Okay, whoa, what just happened?
Phoebe: I think you just lost your pride. (Two more sin balls float into the box.) And these must be envy and anger. Which must mean the Pastor and cop are okay now.
(Phoebe throws the sin box in the pit. Prue taps the wand on the floor and the pit closes.)
Prue: Okay.
(Piper picks up a crystal.)
Piper: Oh, wait a minute, is this another?
Leo: I don't think so.
Phoebe: Maybe it's the business man's soul.
Piper: Oh, well, then you should release it some place nice.
(She hands it to Leo.)
Leo: I know the perfect place. He orbs out.)
Prue: Wow, we sure showed that demon. (Phoebe smirks.) Okay, you guys sure showed that demon.
Piper: Thank you.
Prue: So I guess I needed you guys a lot more than you needed me.
Phoebe: No, we all needed each other. You got me back at the house, you saved the innocents...
Prue: Yeah, but...
Piper: Uh, stop it, I don't like this humble Prue, I want my real sister back.
Phoebe: Me too.
Prue: Well, I mean, I did save that cop from k*lling himself and I was strong enough to tell him...
(She continues to ramble. Piper and Phoebe walk away.)
Commercial Break
[Scene: P3. Orgy is playing. Piper is at the bar. Prue comes up to her and offers her a glass of wine.]
Prue: Here you go.
Piper: Oh, no, no, no.
Prue: Piper, it's okay to indulge, just don't over indulge.
Piper: I guess we can thank Lucas for teaching us anything in moderation.
Prue: Hey, there was nothing that Lucas could teach me.
Piper: Oh, really?
Prue: I'm doing it again, aren't I? That whole pride thing. I swear, I'm working on it.
Piper: It's a constant struggle.
Prue: Here's one thing that I'm willing to admit I don't understand. You, Phoebe and Leo were able to get rid of your sins with a selfless act. I committed many selfless acts yet why did I have to wait for Lucas to be vanquished to get rid of my pride?
Piper: Well, Lucas said that pride was the one thing you can't b*at. I think what he meant was there's no such thing as a selfless act to pride.
Prue: I threw myself into a pit for the Pastor.
Piper: Yeah, but you did that to win. So any good you did during your prideful state was for the greater glory of Prue.
Prue: Alright, fine, then here's to Leo, for saving me from eternal torment.
(They clink their glasses.)
Piper: Mm-hmm, and to me for not trying to be the perfect couple. If it isn't good enough for them, then screw 'em.
Prue: I'll drink to that.
(Phoebe pushes past some people.)
Phoebe: Excuse me. (She goes over to Prue and Piper.) Hi, I am so excited, and not in any sexual kind of way. Uh, recent events inspired me to write a paper on sexual politics, claiming that my indiscretion with Professor Kass was an ethical experiment. So I handed the paper in yesterday and... pause for dramatic effect...
Prue: So, did he buy it?
Phoebe: I got a B.
Prue: Yay!
Phoebe: Minus, but I got it fair and square which means I will be able to graduate. And no man, not even Cole, is going to stand in my way.
Piper: Congratulations.
Prue: I am very proud of you.
Phoebe: Oh, and coming from you.
Prue: Hey, be nice, I don't even wanna think about the sin tonight.
Phoebe: Me neither.
Prue: So this is a pretty interesting band. What's their name?
Piper: Orgy.
(Prue gives Piper a funny look.)
End | {"type": "series", "show": "Charmed", "episode": "03x18 - Sin Fransisco"} | foreverdreaming |
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