Charmed

1X 02: I’ve got you under my skin

ORIGINAL AIR DATE ON WB: 10/14/1998

TRANSCRIBED FROM WB

Written by BRAD KERN

Directed by JOHN T. KRETCHMER

Transcript by Intrepid

Courtesy of http://www.webphilia.com/~anthology/wnp.html

Do not archive this transcript without permission from the Transcriptionist.

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RATING: TV-PG-LSV

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DISCLAIMER:

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"CHARMED", “The Charmed Ones” and other related entities are owned, (TM) and (c) by CONSTANCE M. BURGE, AARON SPELLING Television Inc (A Paramount / Viacom Co.) and WB (AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, for Entertainment and for Educational Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.

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SUMMARY: The Charmed Ones cross paths with Javna, a demon who steals the life

force from the young.

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CHARMED

1X02: I’ve got you under my skin

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FADE IN.

[EXT. QUAKE – FRONT -- NIGHT]

[INT. QUAKE – RESTAURANT -- NIGHT]

(The restaurant is packed – people are coming and going. It’s very good for business. Phoebe nearly bumps into a couple just entering the restaurant.)

PHOEBE: Oops! Sorry.

(She passes by them and goes searching for Piper. Piper walks out of the kitchen carrying a bill. She turns and starts walking around the bar to the cash register.)

PIPER: I'm going to kill him.

PHOEBE: Who?

PIPER: Chef Moore. He of the phony accents hires me and then quits to open his own place? Thank you very much!

PHOEBE: I don't see any customers complaining.

PIPER: (angry) Hello. I am not a restauranteur. I am a chef. I have no idea what I'm doing. Are you wearing my dress?

(Brittany Reynolds joins them.)

PHOEBE: Hey, Brittany.

BRITTANY REYNOLDS: Hey.

PHOEBE: Ooh, I love that tattoo.

(Phoebe points to the tattoo of an angel on the back of her right hand.)

BRITTANY REYNOLDS: Oh, thanks.

PHOEBE: I thought it was illegal to get them on your hand because of the veins.

BRITTANY REYNOLDS: In the states, yeah. I got it done in Tahiti.

(Piper hands Brittany back her change.)

BRITTANY REYNOLDS: Oh, keep the change, Piper. I got to jam.

PIPER: Ok. Say hi to Max.

BRITTANY REYNOLDS: Ok.

(Brittany leaves. Piper hands the billfold to the waitress.)

PIPER: Table nine, please.

(Phoebe looks over to a lone man sitting at the bar. She has a premonition of him getting up and walking over to her. End of premonition.)

PIPER: Now back to my dress.

PHOEBE: Ok. See that poster boy to your left?

(Piper turns to look.)

PHOEBE: 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 buy me a martini.

PIPER: How do you know?

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

PIPER: What? Phoebe, you're 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 approaches Phoebe.)

ALEC: Hi.

PHOEBE: Oh, hello.

ALEC: I, uh, 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 want to grab a table?

ALEC: Yeah.

(Before she leaves, Piper looks at Phoebe.)

PIPER: Prue is gonna be pissed.

PHOEBE: News flash. Stop worrying. You'll get wrinkles.

(Phoebe and Alec head for their table.)

CUT TO:

[EXT. QUAKE -- PARKING LOT -- NIGHT]

(Brittany walks over to her car. Her car beeps as she unlocks it. She reaches her car and stops. She looks around. She gets into her car and closes the door.

[INT. CAR (PARKED) – CONTINUOUS]

(She adjusts the rear-view mirror and checks her lipstick. She re-adjusts the rear-view mirror and sees the reflection of a man sitting in the back seat.)

(She turns around and screams.)

[EXT. QUAKE -- PARKING LOT – NIGHT -- CONTINUOUS]

(Camera pulls back from the car as we continue to hear her scream.)

CUT TO:

[EXT. SAN FRANCISCO CITY – EARLY MORNING]

[INT. TRUDEAU RESIDENCE – EARLY MORNING]

(Andy’s naked and asleep face-down on the bed. Camera readjusts and we see a shirt covering a pair of legs. Prue’s getting dressed quietly.)

(She picks up her jacket and turns back to look at Andy on the bed sleeping. She picks up her bag and slowly makes her way to the door.)

(She pauses and Andy groans and shifts on the bed. He settles back on the bed. She starts to move toward the door when the alarm starts ringing. It’s 5:45 AM.)

(Prue glances at the alarm clock and sends it flying out the open window. Prue rushes out of the apartment.)

(Andy stirs and reaches for the alarm. It’s not there. He gets up and looks around.)

ANDY TRUDEAU: Prue?!

(She’s not there. He settles back on the bed and sighs.)

FADE OUT TO

END OF TEASER.

ROLL TITLE CREDITS.

FADE IN.

[EXT. VARIOUS SAN FRANCISCO CITY (STOCK) – DAY]

[Music: “Torn”, Natalie Imbruglia]

[EXT. HALLIWELL MANOR (STOCK) – DAY]

[INT. MANOR – KITCHEN -- DAY]

(Kit jumps up onto the counter and meows. The television set is on and playing a documentary on witches.)

NARRATOR: Proving that they were the devil's disciples was no easy task for the court of the Salem witch trials.

(Piper picks up her bowl as she watches tv. She whisks the eggs absently.)

NARRATOR: But a remarkable event occurred. One of the accused, Mary Estee, ran for the church to profess her innocence. Suddenly there was a clap of thunder, and she was struck by a bolt of lightning. In the court's mind, god himself had spoken, forbidding the evil witch from even entering his house. The witches were subsequently convicted of heresy --

(Prue walks into the kitchen.)

PRUE: Good morning.

PIPER: Good morning.

NARRATOR: (o.s.) Burned alive at the stake.

(Prue opens the fridge to get something out.)

PRUE: What are you watching?

(Piper turns the television off.)

PIPER: Nothing. Just a show.

PRUE: About witches? Are you worried that we're going to be burned at the stake?

(She pours herself a drink.)

PIPER: Ha! Yeah, right. By the way, um, Andy called.

PRUE: When?

PIPER: While you were in the shower.

PRUE: What did you tell him?

PIPER: That 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 your 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.

(With a glare, Prue picks up her drink and walks out of the kitchen.)

PIPER: Ooh. That bad, huh?

(Piper follows her.)

PRUE: No. Actually that good.

[INT. MANOR – DINING ROOM – CONTINUOUS]

(Prue stops at the dining table and picks up the paper.)

PRUE: It was -- well, we were amazing, but that's not the point. I told myself that things would be different, that we would take it slow. It just shouldn't have happened. That's all.

(Phoebe bounds down the stairs.)

PHOEBE: What shouldn't have happened?

PIPER: Prue slept with Andy.

PHOEBE: Hello!

PRUE: Thanks a lot, mouth.

PHOEBE: Wait. You were going to tell her but not me? Family meeting.

PRUE: Speaking of last night, what time did you end up rolling in?

[INT. MANOR – CONSERVATORY – CONTINUOUS]

(Prue turns and heads for the Conservatory.)

PHOEBE: No, no, no. Do not change the subject.

PRUE: Don't dodge the question.

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

(Prue sits down at the table.)

PHOEBE: I must still be on New York time.

PRUE: Actually that would make it later.

PIPER: Or maybe you and Alec –

PRUE: Who's Alec?

PIPER: Some hottie she hit on in the restaurant.

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

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

(Phoebe looks away. Prue turns and looks at Piper.)

PIPER: Don't put me in the middle.

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

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

PRUE: Look, Phoebe, our powers are not toys. We have to be careful. They could get us killed.

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

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

(Phoebe turns to leave, but Prue stops her.)

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: It means that warlocks aren't the only evil that we have to watch out for. And F.Y.I., I'm not ashamed of anything.

(Phoebe smiles at her. Prue turns to her paper.)

FADE OUT.

FADE IN.

[EXT. POLICE STATION BUILDING (STOCK) -- DAY]

[INT. POLICE STATION – BULLPEN – DAY]

(Andy is looking at a photo of Brittany Reynolds. He takes a sip of coffee and hands the photo to Darryl. We find that Max, Brittany’s boyfriend, has reported her missing.)

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

DARRYL MORRIS: Tell me, Max, what time did she leave to go to quake?

MAX JONES: Eight. Eight-thirty. She called around ten, said she was headed home, but ... I'm really worried.

ANDY TRUDEAU: Chances are she'll show up. They usually do. In the meantime, the best thing you can do right now is to go home in case she calls, all right? (Andy stands up.) Can you do that?

(They shake hands.)

MAX JONES: Yeah. Ok. Thanks.

(Max leaves. Andy walks over to Darryl.)

ANDY TRUDEAU: The fourth one this week.

DARRYL MORRIS: Yeah, well, they can't just be disappearing into thin air. You do something to your hair?

ANDY TRUDEAU: Well, at least we can narrow down his feeding pool to the area around the restaurant.

DARRYL MORRIS: Yeah, well, better tell your sweetie to lock the door tonight.

(Darryl pushes past Andy.)

CUT TO:

[EXT. CHURCH BUILDING (STOCK) -- DAY]

(Church bells ring.)

[EXT. FRONT OF CHURCH – DAY]

(Piper sits in her parked car in front of the church. She stares at the church’s closed door chewing on her lower lip. Obviously, something’s bothering her.)

(Someone knocks their umbrella handle against the car door. Piper jumps.)

PIPER: Oh, Pastor Williams. Ooh, you scared me.

PASTOR WILLIAMS: I'm sorry. Aren't you a little early? Dropping off the unused food from your restaurant. I thought you weren't coming by till this afternoon.

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

PASTOR WILLIAMS: Great. So what are you doing here now?

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

PASTOR WILLIAMS: About?

PIPER: Mary Estee.

PASTOR WILLIAMS: Who?

PIPER: Oh, it's just this stupid documentary I saw. By the way, is it true that, uh, evil beings can't go into a church without being ... ksssh!

(She motions with her hands as if being hit by lightning.)

PASTOR WILLIAMS: Evil beings? You mean, like, what, vampires?

PIPER: (laughs) Vampires. Ha! No, I was thinking more along the lines of ... witches.

PASTOR WILLIAMS: Witches, huh? Let me put it to you this way. I sure wouldn't want to risk it.

PIPER: Hmm.

PASTOR WILLIAMS: I got to go. I'll see you later?

PIPER: Yeah. Right. Absolutely.

(Pastor Williams stands up and leaves. Piper watches as he opens the church’s front doors and steps inside. The doors close.)

(Piper steps out of her car. She heads over to the church. She looks around and gets closer to the front doors. She slowly reaches out a hand to grab the door handle.)

(Lightning cracks causing her to pull away and jump. Piper turns and leaves.)

(The church bell rings.)

CUT TO:

[EXT. BUCKLAND AUCTION HOUSE BUILDING (STOCK) -- DAY]

[INT. BUCKLAND AUCTION HOUSE – HALLWAY TO ELEVATOR – DAY]

(The elevator bell rings. Prue runs to catch it.)

PRUE: Hold the doors!

(She squeezes into the elevator and effectively drops her bag causing her portfolio to open.)

PRUE: Oh, damn it. Can you, uh, push 12, please?

(Prue kneels to pick everything up.)

REX BUCKLAND: Uh-huh. (He pushes the button.)

(The elevator doors close.)

REX BUCKLAND: (o.s.) Here. Let me help.

[INT. BUCKLAND AUCTION HOUSE – ELEVATOR (MOVING) – DAY – CONTINUOUS]

(He helps her pick up her things and notices her index card notes.)

REX BUCKLAND: Eighteenth century french art. You work at the auction house upstairs?

PRUE: No. Just interviewing, if I ever get there on time. Don't want to get my King Louies mixed up.

(Prue’s phone rings. She answers it.)

PRUE: (to phone) Hello. (She turns away for a modicum of privacy.) Uh ... Andy, how did you get this number?