Wicea Comes” Pilot Episode Written by Constance M. Burge EXECUTIVE PRODUCERS Aaron Spelling E. Duke Vincent Constance M. Burge Brad Kern SUPERVISING PRODUCER Les Sheldon : DIRECTOR John Kretchmer w/Blue Re-Shoots 7/23/98 w/Pink Re- Shoots 7/23/98 w/Yellow Re- Shoots 7/29/98 w/Green Re-Shoots 7/29/98 w/Goldenrod Re-Shoots 7/31/98 w/Tan Re-Shoots 8/3/98 Rev. CHERRY SCRIPT ~ 8/10/98 Rev. DOUBLE WHITE - 8/11/98 Rev. DOUBLE BLUE PAGE - 8/13/98 (Page 12; REMOVE 12A)

N | N CASTUST “PILOT REV. CHERRY PILOT 8/10/98 PRUE SHANNEN DOHERTY PIPER HOLLIE MARIE COMBS PHOEBE HALLIWELL................... ALYSSA MILANO DET. ANDREW T.W.KING DET. DORIAN GREGORY GUEST T JEREMY ERIC SCOTT WOODS MATTHEW ASHFORD ADMITTING NURSE - WOMAN CHEF MOORE PHARMACIST

INTERIORS: HALLIWELL MANOR - DAY/NIGHT MIDDLE PARLOR FRONT PARLOR PHOEBE'S BEDROOM FOYER ATTIC STAIRWELL DIINING ROOM CONSERVATORY MUSEUM STORAGE AREA RESTAURANT KITCHEN ROGER'S OFFICE HOSPITAL E.R. PHARMACY WAREHOUSE FREIGHT ELEVATOR CHARMED” Sety “Pilot EXTERI : SAN FRANCISCO - NIGHT (STOCK) APARTMENT/CRIME SCENE ~ NIGHT KITCHEN HALLIWELL MANOR - DAY/NIGHT FRONT YARD FRONT PORCH MUSEUM OF NATURAL HISTORY - DAY WAREHOUSE - NIGHT RESTAURANT ND STREET BAR - NIGHT (STOCK) STREET NEAR BAR CAB - MOVING -~ NIGHT

“CHARMED” FADE IN: EXT. SAN FRANCISCO - EST. - NIGHT (STOCK) Gray clouds pass over a full moon. Lightnin i sky. Thunder crashes. And rain elow. EXT. APARTMENT - NIGHT We SEE (the back of) a MAN. This man has climbed the fire escape and now peers inside. INT. APARTMENT - KITCHEN - NIGHT A WOMAN performs a ritual single women do every night. She pours herself a glass of wine and feeds her odd-looking cat, who sports an unusual collar. She does not notice as she leaves the kitchen that the cat, unnerved by the MAN, has bolted out its cat door. IN THE LIVING ROOM The power flickers on and off, illuminating a small altar. On this altar are tools of Wiccan ritual: a wand, candles, a bell, censer, and a ceremonial knife. The woman touches the wick of each candle, magically “lighting” them as if the tip of her index finger contained fire. then kneels inside a circle, closes her eyes and begins to chant. WOMAN “Ancient One of the forest deep, Master of moon and sun. I shield you in the ancient way, here in my circle round. Asking you protect this space, And offer your Sun- force down.” The MAN steps into FRAME behind the woman. Sensing another presence, she spins around. Her initial fear fades to recognition -- she knows this person. WOMAN (CONT’D) (pleasantly surprised) What are you doing here? She rises to face him. Without a knife, its handle covered in ornate stones, is raised in response. The woman’s surprise turns to confusion. Before she can respond, the knife plunges downward. Her SCREAMS are drowned out by THUNDER.

[ e CHARMED “Pilot” Rev. Double White 08/11/98 2. O EXT. HALLIWELL MANOR - SUTRO HEIGHTS - EST. - NIGHT 4 It is a grand and mysterious Victorian, a house of secrets. PIPER HALLIWELL, carrying groceries, rushes up the stairs. Pi er, mid 20’s, earthy, creative, and rarely on time, believes life is best navigated with a sense of humor. INT. HALLIWELL MANOR - MIDDLE PARLOR - NIGHT 5 The power flickers on and off, revealing a house in the “Shabby Chic” style: the allure of time-worn objects from yesteryear with the slip-covered furniture and paint-crackled decor of today. PRUE HALLIWELL, is on a ladder, attempting to fix a crystal chandelier. A “Woman’s Guide To How To Fix Anything” manual is Prue , the oldest sister (late 20's), is classically beautiful, incredibly driven and educated. PIPER (0.S.) Prue? PRUE In here! Working on the chandelier! Piper enters to face Prue, well aware she is very late. PIPER - Sorry late. PRUE What else is new? Piper, I wduld have 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 guess I just didn’t realize how long I was in Chinatown. Piper peels her rain coat, revealing a white chef’s coat, black-and-white checked chefs pants, and clogs. PIPER (CONT’D) Did Jeremy call? PRUE (points to package on the dining room table) No, but he had a package sent and some roses delivered. What were you doing in Chinatown? I thought your * interview was in North Beach.

CHARMED “Pilot” Rev. Double White 08/11/98 3 5 CONTINUED: PIPER (moves to package, opens it) I did. I went to Young Lee Market after my interview to get ingredients for my “audition” recipe tomorrow. PRUE , That Wolfgang Puck knock-off didn’t hire you today? PIPER N°£ but this may just get me the job. She holds up a bottle of port, sent by Jeremy and shows who has stepped down from the ladder to join her. PRUE Jeremy sent you port? PIPER It is the ultimate ingredient for my recipe. PRUE What a nice boyfriend. Piper smiles, sets down the port. She notices an game board known as a Spirit Board, resting on the dining room table. PIPER I don’t believe it. Tell me that’s not our old Spirit Board. . PRUE (nods “yes”) I found it in the basement when I was looking for the circuit tester. Piper flips the Spirit Board over. INSERT: C.U.: INSCRIPTION ON THE BACK OF THE SPIRIT BOARD: PIPER “To my three beautiful girls. May this give the light to find the Shadows. The power of three will set you free. Love, Mom.” (then, to Prue) . We never did figure out what this inscription meant. PRUE We should send it to Phoebe. She’s the girl so in the dark, maybe a little “light” will help. (CONTINUEZ

CHARMED “Pilot” REV. Cherry Script 08/10/98 S CONTINUED: (2) —~ PIPER You’re really always so hard on her. PRUE She has no yision. No sense of the future. PIPER I really think Phoebe’s coming around. PRUE As long as she doesn’t come around here, I guess that’s good news. CLOSE ON PIPER She can save the bad news for later...and she will. She sets down the Spirit Board and heads for the kitchen. CLOSE ON SPIRIT BOARD As. Piper continues on into the kitchen a funny thing happens to the "pointer” on the Spirit Board. It “sgxdes” across the board. Thunder. Lightning. END OF TEASER

CHARMED O “Pilot” REV. Cherry Script 08/10/98 ACT ONE FADE IN: INT. APARTMENT - CRIME SCENE - NIGHT TITLE SEQUENCE BEGINS: (20-30 SECONDS) The murdered woman’s apartment is now crime scene. Camera PANS through the apartment lobby as we pick up various apartment building dwellers trying to catch a view of what’s happening from their vantage point on the staircase. Yellow tape and police keep the “lookie-loos” back -- them, a bathrobed woman trying to convince a police officer to let her out for a minute to walk the dog cradled in her arms. Various activity and commotion will continue in the lobby until the camera PANS over to find a harried, but ever professional, INSPECTOR DARRYL MORRIS (30’s, smart, family man, African American). We stay on Morris for a moment until his attention is drawn toward the front door of the building. TITLE SEQUENCE ENDS MORRIS Well, it’s about time! ANGLE ON: ANDREW “ANDY” TRUDEAU Late 20's, smart, handsome, intense, as he enters the crime scene and approaches his partner. TRUDEAU I got here as soon as I heard. Another dead female, right? Mid-to- late-twenties -- MORRIS -=- I've been paging you for over an hour, Trudeau. Where’ve you been? TRUDEAU Oakland, checking out a lead. MORRIS lead? . TRUDEAU One that didn’t go anywhere. MORRIS You’re avoiding my question. TRUDEAU < Because you don’t want to know-I went to an occult shop. He’s right, Morris doesn’t. Beat. ’ (CONTINUED;

CHARMED “Pilot” REV. Cherry Script 08/10/98 6 CONTINUED: O You hate me, don‘t you? You want to see me suffer. ° TRUDEAU . I want to solve these murders. Someone’s after witches -- MORRIS -- Homen -- TRUDEAU That “woman” up there? 1I’ll bet she was killed with an “athame.” MORRIS Wrong. A double-edged steel knife. TRUDEAU Right. That’s an “athame.” a ceremonial tool. Witches use them to direct energy-- MORRIS == This woman didn’t direct jack. She was stabbed. Plain and simple. TRUDEAU Was she found near an altar? MORRIS D Yes... TRUDEAU Were there carvings on that altar? MORRIS (yes, but) Just do me a favor. Don’t ever follow a lead without checking with me first. TRUDEAU You want to go to occult shops? MORRIS Let’s get to work, okay? Trudeau back as REPORTER JEREMY BURNS (late 20’s, sharp minded, liberal) approaches. JEREMY . Inspector Trudeau. Jeremy Burns, San Francisco Chronicle. (hands Trudeau a ’ business card) - Care to comment? (CONTINUED)

CHARMED "“Pilot” Rev. Double White 08/11/98 7. 6 CONTINUED: (2) 3 TRUDEAU A woman was stabbed. Plain and simple. JEREMY That’s the third one in three weeks. Trudeau has turned and walked away from Jeremy. 7 (OMITTED) 7 8 INT. HALLIWELL MANOR - FRONT PARLOR - SAME TIME 8 Piper, at the front bay window, watches the cab pull up. She drops the curtain, then anxiously moves toward Prue. Prue sees Piper coming. PRUE I don’t get it. I’'ve checked everything. There’s no reason the chandelier shouldn’t m work. PIPER Uh, ya know how we’ve been talking about what to do the spare room? I think you’re right. We do need a roommate. PRUE We could rent out the room at a reduced rate in exchange for 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’ve got to be kidding. (CONTINTUED

CHARMED 8 “Pilot” Rev. Double White 08/11/98 CONTINUED: No, Piper’s not. Prue crosses to the kitchen to clean up. Piper follows. PIPER I could hardly say no. It’s her house, too. It was willed to all of us. PRUE 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. Maybe you’ve had a brain surge and forgotten why still mad at her? PIPER I'm Of course not but she had nowhere else to go. She lost her job. She’s in debt. PRUE And this i- news? How long have you known apout this, anyway? PIPER A couple of days, maybe a week...or two. PRUE (or two!) Thanks for sharing. When does she arrive?. PHOEBE (0.s.) Now. Prue and Piper shut up and turn to see: ANGLE ON PHOEBE In her early 20’s, Phoebe is the willful, free-spirited youngest sister. She is also one hundred eighty . degrees away from Prue -- and not by accident. her is a backpack, bursting at the seams. - PHOEBE Surprise. (holds up a I found the hide-a-key. PIPER Phoebe. (CONTINUEZ w

CHARMED “Pilot” Rev. Double White 08/11/98 9. 9 CONTINUED: O PHOEBE Hello Piper. Piper crosses to Phoebe and hugs her. PIPER Welcome home. It is so good to see you, isn’t it Prue? PRUE I'm speechless. The tension is broken by the SOUND of a cab, HONKING. PHOEBE Oops. I forgot about the cab. PIPER I'1l get it. Piper grabs a purse off the counter and rushes out. PRUE Hey! That’s my purse! fi!k Prue turns to Phoebe, who tries to suppress a smile. PHOEBE Thanks. 1I’ll pay you back. - PRUE (beat; notices backpack) - Is that all you brought? PHOEBE , It’s all I own. That and my bike. (awkward beat, then) Look, I know you don’t want me -- PRUE (blurts out) We’re not selling Gram’s house. PHOEBE Is that why you think I came back? PRUE The only reason Piper and I gave up our apartment and moved back was because this house has been in this family for generations -- \ PHOEBE S -- No history lesson needed, I grew uE here, too, so can we talk about what’s really bothering you?

O CHARMED "“Pilot” Rev. Double White 08/11/98 10. 9 9Aa CCNTINUED: (2) PRUE No. I'm still furious with you. PHOEBE You’d rather have a tense reunion filled with boring chit-chat 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 the Armani-wearing, Chardonnay-slugging Trust-Funder told you but -- Piper returns. We HEAR her before we SEE her. PIPER 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. They exit in opposite directions. . PIPER We’ll try the group hug later. Thunder. Lighting. The house lights flicker. INT. PHOEBE’S BEDROOM - NIGHT 9A C.U.: A NEWS REPORT From the crime scene of the murdered woman. The sound is down. We’ll FEATURE reporters, Jeremy persistently trying to get information from Morris. We HEAR a KNOCK at the door and Phoebe, getting dressed into her pajama’s, walks past the television set. We STAY with Phoebe as she opens her bedroom door to find Piper, dressed in her pajama’s. She’s holding a wicker tray. On it are some finger sandwiches, two glasses of iced-tea, and some carrot sticks.’ (CONTINUES

CHARMED "“Pilot” Rev. Double White 08/11/98 9Aa CONTINUED: Piper shuts comfortable talk. PHOEBE Thank God, I'm starving! PIPER I figured. (enters, notices Jeremy on TV) Hey, that’s Jeremy! What'’s happened? PHOEBE Oh, some woman got whacked. PIPER “Whacked?” Phoebe, you’ve been in New York too long. off the television and makes herself on Phoebe’s bed. The two sisters eat, PHOEBE I should have stayed. Why didn’t you tell Prue I was coming home? PIPER And risk her changing the locks? I don’t think so. Besides, should have been the one to tell her, not me. PHOEBE (flops on bed beside Piper) Good point...Chicken Little. It’s just so hard to talk to her. She’s always.been more like a PIPER That’s not her fault. She practically sacrificed -- e s Phoebe’s heard this a million times. She joins in as Piper finishes her thought: PIPER/PHOEBE . == “her own childhood to help raise us.” PHOEBE Yeah yeah yeah. PIPER Hey, we’re lucky she was so responsible. You and I had it easy. All we had to do was “be there.” vio

O CHARMED “2ilot” Rev. Double Blue 08/13/98 CONTINUED: (2) PHOEBE Yeah, well, I don’t need a mom, anymore. I need a sister. PRUE (0.S.) Knock knock. They look up to see Prue, standing in the door frame. Dressed in her pajama’s, she holds a down comforter and an extra blanket. PRUE (cont’d) This was always the coldest room in the house. PHOEBE Thanks. PRUE I just don‘t want to hear another word about Roger, okay? Prue leaves. INT. CONSERVATORY - NIGHT 10 Candles illuminate Piper and Phoebe playing with the Spirit Board. have their hands on the wooden pointer which slides around the board. A bowl of popcorn, almost gone, rests on the table. PHOEBE I'm glad to hear you and Jeremy are still together. Where’d you meet him, anyway? PIPER . We met in the hospital cafeteria the day Grams was admitted. He was a story. 1 was bawling over a bagel. He gave me a napkin. PHOEBE (yuck) How romantic. (CONTINUED)

CHARMED “Pilot” 10 CONTINUED: Rev. Double White PHOEBE (yuck) How romantic. 08/11/98 (CONTINU 12A.

CHARMED 10 “Pilot” Rev. Double White 08/11/98 CCNTINUED: (2) PIPER As a matter of fact, it was. The napkin had his phone number on it. Now stop pushing the pointer. PHOEBE I'm not touching it. PIPER You used to always push the pointer. More popcorn? Phoebe nods. Piper gets up and moves to the kitchen. PHOEBE I forget your question. PIPER (calls from kitchen) I asked if Prue would have sex with someone other than herself this year! PHOEBE (calls to kitchen) That’s disqgusting! (looks down at board) Please say “yes.” Phoebe’s fingers, resting on the wooden pointer, ° slide across the Spirit Board, landing on the etter PHOEBE - The Spirit Board pointer slides across to the letter : PHOEBE (CONT'’D) ...Piper, get in here! 13. Phoebe yanks her fingers off and away from the pointer. PIPER (peeks head back in door) What? Prue comes in through the other end of the dining room. PRUE What did you two do now? PIPER Me? I didn’t do anything. They turn to Phoebe. She’s freaking out. (CONTINUEC:

O CHARMED 10 “Pilot” Rev. Double White 08/11/98 14, (3) . PHOEBE The pointer on the Spirit Board. It moved on its own. Prue and Piper burst out laughing. . PHOEBE I'm serious. It spelled “A-T.” Prue and Piper stare at the Spirit Board. Nothing happens. PIPER Did you push it? PHOEBE No! PRUE You used to always push the pointer. PHOEBE My fingers were barely touching it. Look! Phoebe lightly places her hand on the pointer. Nothing happens. Prue shoots a look, turns to leave when the pointer -- with Phoebe’s fingers resting lightly on it -- slides from the letter “T” to the side of the board and then quickly back to the letter “T.” PHOEBE . It did it again! It moved! Piper and Prue turn around. PRUE It’s still on the letter “T.” PHOEBE I swear, it moved! Prue leaves. The pointer suddenly begins to move again. PHOEBE There! Look!

CHARMED 10 11 “Pilot” REV. Cherry Script 08/10/98 15. CONTINUED: (3) 10 Phoebe takes her fingers OFF the pointer. It CONTINUES TO MOVE, landing on the letter PHOEBE You saw that, right? PIPER I'think so, yeah. PHOEBE I told you I wasn’t touching it. The pointer moves again. Piper tries not to freak. PIPER Prue, can you come here a sec? PHOEBE (following the letters) “A-T-T-I-” I think it’s trying to tell us something. Phoebe finds a pen. Grabs a stack of mail and flips over an envelope. Phoebe jots down the letters. At the same moment that Prue returns to the dining room, the pointer lands on the letter “C.” PRUE Now what? PHOEBE (holds up paper) “ATTIC.” Thunder. Lightning. The lights go out and the house is pitched into darkness. INT. FOYER - NIGHT 11 Piper grabs her rain coat off the coat rack and begins to put them on. Prue, holding a flashlight, follows Piper. PRUE Don’t you think you’re over- We’re perfectly safe ere. PIPER . Don’t say that. 1In horror movies, the person who says that is always the next to die. . PRUE - It’s pouring rain. A ?sycho's on loose. "And Jeremy’s not even ome. (CONTINUED)

CHARMED “Pilot” REV. Cherry Script 08/10/98 16 11 CONTINUED: ll. O PIPER So I’'ll wait in the cab until Jeremy gets back from work. PRUE That’ll be cheap. Piper grabs the portable telephone and dials 411. PIPER I saw that pointer move, Prue. PRUE What you saw was Phoebe’s fingers pushing the pointer. she’s p aying a joke on us. There’s nothing in that attic. PIPER We don’t know that. We’ve lived here for months now and we’ve never been able to get the attic door open. (beat, frustrated) . Great. The phone doesn’t work. * PRUE And the power’s out. Come with me * to the basement. PIPER Hhat? PRUE i I need you to hold the flashlight | ghile I check out the main circuit * 0X. Phoebe enters the foyer, carrying her own flashlight. | | PIPER Phoebe will go to the basement with | you. Won’t you, Phoebe? PHOEBE No, I'm going to the attic. PRUE You are not. We already agreed - PHOEBE - == I'm not going to wait for some . handyman to check out the attic and I'’'m certainly not to wait until tomorrow. I’m going now. She mounts the stairs as Prue, pissed, takes off in the opposite direction, toward the (never-to-be seen) | basement. Piper is now alone in the foyer. (CONTINUED)

CHARMED “Pilot” Rev. Double White 08/11/98 17. 11 CCNTINUED: (2) il <j) She thinks a moment, then calls out to PIPER Prue, wait! 12 INT. STAIRWAY TO ATTIC - NIGHT 12 Phoebe’s flashlight illuminates the closed attic door. She slowly reaches out, grabs the door handle, turns it. The door won’t open. She pulls at the handle, jimmies the door and it still won’t open. She turns around to leave when we HEAR the SOUND of the door creaking open behind her. She turns to see the attic door has swung open. 13 INT. ATTIC - NIGHT 13 The attic is a big space, with large glass window panes agd a fiaked roof. Antiques are covered and against the walls. As Phoebe glances around, a SUDDEN FLASH of LIGHTNING draws her attention to an old wooden trunk in front of - a large stained-glass window. She moves to the trunk, N opens it -- CREAK -- and peers inside. AN ANCIENT, ANTIQUE GREEN COVERED BOOK Rests at the bottom of the trunk in a thick pile of dust. Phoebe reaches in, takes out the book. She blows on the cover - dust flies. She reads the title. PHOEBE “The Book of Shadows.” Phoebe opens the front cover to see a centuries old wood-carving of a coven of three women gathered around a circle, spells. And, on the first page, an elaborately scrolled incantation. Phoebe looks at it. 14 STAIRWELL ENTRY - SAME TIME 14 Prue and Piper are at the bottom of the PRUE Phoebe! (no response) She should be back by now. . PIPER )| You go first. They climb the stairs.

O CHARMED “Pilot” Rev. Double White 08/11/98 18. 15 16 17 18 15. INT. ATTIC - NIGHT 15 Phoebe’s reading an incantation aloud. PHOEBE “Hear now the words of the witches The secrets we hid in the night.” Thunder. Lightning. Phoebe shrinks back, scared, then gathers her confidence as she continues. PHOEBE “The oldest of Gods are invoked here. The great work of Magic is sought.” INT. MIDDLE PARLOR - SAME TIME 16 As Phoebe continues to invoke the incantation, we SLOWLY MOVE IN on the crystal chandelier. PHOEBE “In this night and in this hour, I call upon the Ancient Power.” The crystals on the chandelier begin to vibrate. -- not from the light bulbs but from an unknown light source, emanates in all directions. PHOEBE (0.S.) us the power to we sisters * three! We want the power! Give us the power!” The light shines on the wall and mantels, on generations of portraits and photograph that feature the female relatives of the Halliwell sisters. The light bounces from photograph to settling on a picture of Prue, Piper and Phoebe. The photo glows with luminescence and the sisters, who are standing apart, seem to move closer together. Are we losing our minds? EXT. HALLIWELL MANOR - NIGHT 17 The white light shines outward from a window, casting a mystical, ethereal glow into the night. INT. HALLIWELL MANOR - NIGHT 18 In the photograph of the three sisters, we see we have not lost our minds: the sisters have definitely moved closer together.

O ) CHARMED “Pilot” Rev. Double White 08/11/98 13. 19 INT. ATTIC - NIGHT 19 Prue and Piper, flashlights in hand, approach. PRUE What the hell are you doing? PHOEBE (busted/confessing) . .Reading...an...incantation. (holds up book) It was in this “Book of Shadows.” I found it in that trunk. PRUE Let me see that. Prue grabs the book as Piper, worried, turns to Phoebe. PIPER How did you get in here? PHOEBE The door...opened. Piper’s not quite sure how to take this. PIPER Wait a minute. An incantation? What kind of “incantation?” PHOEBE It said something about there being three essentials of magic: feeling, timing, and the phases of the moon. If we were ever going to do this, now -- midnight on a full moon - was the most powerful time. PIPER “This?” Do what “this?” PHOEBE Receive our powers. PIPER What powers? Wait. “Our” powers? You included me in this? PRUE She included all of us. (reading incantation) “Bring us the power to we sisters three.” (holds up book) It’s a book of witchcraft. (CONTINUEZ

CHARMEBD “Pilot” Rev. Double White 08/11/98 20. 19 CONTINUED: 13 O PIPER Let me see that. Prue hands Piper the book. On the front cover is a strange and exotic insignia. It is the Triquetra, the ancient symbol of the female trinity. 20 INT. APARTMENT/CRIME SCENE - NIGHT 20 The woman’s body, wrapped in a body bag, is on a gurney. Morris stares at a small tattoo on the shoulder of the woman. It is the same exotic insignia that is on the Book of Shadows. TRUDEAU It’s the same tattoo that was on the other three victims. MORRIS So_the murderer is killing cultists. TRUDEAU N No, the murderer is on a “witch h hunt.” MORRIS Yeah, and he’s five hundred years old and lives in Salem. The CORONER zips up the rest of the body bag. Morris and Trudeau follow the gurney, pushed by the Coroner. MORRIS " Look around, Trudeau. Pentagrams, altars, offerings. All tools for a freak fest. TRUDEAU They call ‘em “sabbats,” and this was hardly a freak fest. She was a solitary practitioner. She practiced her craft alone. Morris sighs, frustrated. TRUDEAU (cont’d) Let me ask you something, Morris. Do you believe in U.F.0.’s? | MORRIS / Hell no.

. CHARMED “Pilot” Rev. Double White 08/11/98 20A 20 CONTINUED: 22 O TRUDEAU * Neither do I. But do you believe * there are people out there who do believe in U.F.0’s? . MORRIS * Yes, but I think they’re crazy. - * Well, then, can’‘t you believe * there are people who they * are witches? * Morris considers this rationale. * - (CONTINCEZ

CHARMED 20 21 “Pilot” Rev. Double White 08/11/98 21. CCONTINUED: (2) < MORRIS (mimicking Trudeau) All I know is that if youy don’t * stop talking about “witches,” I'nm gonna start questioning you. We HEAR a MEOW. 1It’s a cat. The victim’s cat. Trudeau bends down toward it. MORRIS (cont’d) I'd stay away from that cat, Trudeau. It’s been clawing the * crap out of everyone. See ya at * the car. Morris heads out. Trudeau waits a beat, and then bends down to pet the cat. Morris, at the door, turns around to say something, then stops. He can’t believe what he’s seeing. That cat loves his partner. INT. FOYER - NIGHT 21 The sisters, guided by the flashlight, head down the stairs. PRUE Spirit Boards. Books of witchcraft. It figures all of this freaky stuff started when you arrived. PHOEBE . Hey, I wasn’t the one that 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 the incantation? PHOEBE . My head spun around and I vomited split pea soup. How should I know? The sisters enter the middle parlor. PIPER Everything looks the same. (CONTINUEZ

O CHARMED 21 22 “Pilot” REV. Cherry Script 08/10/98 22. CONTINUED: 21 PHOEBE (disappointed) You’re right. PRUE Yep, the house still needs work. PIPER And everything feels the same. Prue and Phoebe head for the dining room. Piper calls out. PIPER So nothing’s changed. Right? They don’t notice the “changed” photograph behind thenm. EXT. HALLIWELL MANOR - NIGHT 22 The HOODED MAN (who, hopefully, our audience will think is Trudeau) enters FRAME and watches as the three sisters put the Spirit Board away. He watches a moment, then turns and leaves. FADE OUT: END OF ACT ONE

CHARMED 23 “Pilot” FADE IN: REV. Cherry Script 08/10/98 ACT TWQ EXT. HALLIWELL FRONT YARD - THE NEXT DAY Piger has just finished ¢ wa sitting on the stoop. Dressed in bike riding clothes, Phoebe nurses a cup 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 had was kept in a closet beside a mop. PIPER So what were you doing? PHOEBE Reading. 1Is 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 (leans in/whispers) And we have a cousin who’s a drunk, an aunt who’s manic, and a father who’s invisible. PHOEBE I'm serious. She practiced powers. Three powers. She could.move objects with her mind, see the future, and stop time. Before Melinda burned at the stake, she vowed that each generation of Warren witches would become stronger and stronger, culminating in of three sisters. eat) (MORE) utting some herbs. As sh ks around the side of the she sees 23. 23 (CONTINUED! L4 * % % %

CHARMED 23 24 25 26 “Pilot” REV. Cherry Script 08/10/98 24. CONTINUED: 23 . PHOEBE (cont’d) . These sisters would be the most witches the world has ever known. I think we’re those sisters. . Piper grabs her belongings, including her chef’s i and black and white chec e& pants, from PIPER Look, I know what happened last night was weird and unexplainable but we are not witches and we do not have special powers. (ready. to leave) Besides, Grams wasn’t a witch and as far as we know, neither was mom. (gives Phoebe a peck on the cheek) So take that, Nancy Drew. Piper heads for her car, parked in the street below. Phoebe calls after her. PHOEBE We’re the protectors of the innocent. We’re known as “the charmed ones!” Piper SLAMS the car door shut in response. Piper starts the car and drives away. PHOEBE And I beg to differ about Grams. (OMIT) 24 EXT. MUSEUM OF NATURAL HISTORY - ESTABLISHING - DAY 25 BOSS (0.s.) There’s been a change of plans. INT. MUSEUM - STORAGE AREA - DAY 26 We MOVE PAST workers unpacking Asian artifacts to find Prue and her handsome, male BOSS, (late 20's), a designer-suited vision complete with wire-rimmed spectacles. He checks an inventory list on a clipboard he carries. PRUE A change of plans? Regarding the Beals Exhibition? The boss nods his head, then points his pen at Prue. In fact, he’ll use the pen a lot to “accent” his words. (CONTINUED) 2R 2 * % * % % % + % 3 * % *

o CHARMED “Pilot” REV. Cherry Script 08/10/98 26 CONTINUED: . BOSs The extra money you helped. raise through private donations has sparked significant interest. The Beals artifacts will now become part of our permanent collection. PRUE (a big sigh of relief) Oh. Wow. That’s terrific. BOSS Which is why the Board wants a little more qualified to handle the collection from now on. (off her reaction) You look surprised. PRUE I don’t know I'm furious. I’ve not only been with this project since it’s inception, I was the curator who secured the entire exhibition. The Boss nervously slides his pen into his shirt pocket. PRUE (CONT’D) You’re “the someone a little more qualified,” aren’t you? BOSS 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. INSERT ON PEN in the Boss’s shirt pocket. It begins to vibrate. BOSS 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? That’s right. Prue’s boss, is -also her ex-fiance. (CONTINUEC: 25. 26

CHARMED “Pilot” REV. Cherry Script 08/10/98 26 26 ' 27 28 CONTINUED: (2) 26 ROGER I didn’t realize the two were exclusive, although I Yy certain enjoyed one more than the other. PRUE (low, livid) Bastard. Prue turns to leave. A blue ink stain appears and to spread underneath his shirt pocket. ROGER Prue. Wait. Prue turns around. ROGER I feel like I should say something. (smart aleck) If only to avoid a lawsuit. And it‘s at that very moment that Roger notices the ink stain on his shirt. "He takes the pen out from his it seems to EXPLODE, spraying Roger with ink. oa. (OMITTED) 27 INT. RESTAURANT - KITCHEN - DAY 28 Piper puts the finishing touches on her audition recipe. She opens the bottle of port, sniffs it, then satisfied, pours some port into a clear measuring cup. She’s about to pour the port over her recipe when SHERIDAN MOORE, a hip, European uber-chef, enters, hands clapping. CHEF MOORE Your time is up! (glances at a 3X5 card) Let’s see. “Roast pork with gratin of florence fennel and a penne with a port giblet sauce.” Much Piper’s surprise, he picks up a fork, helps himself to the pasta and prepares to taste it. - PIPER Chef Moore! She eyes the port-filled measuring cup. (CONTINUED)

\ O CHARMED 28 29 30 31 “Pilot” REV. Cherry Script 08/10/98 27. CONTINUED: 28 CHEF MOORE (fork poised in mid- air) What? . PIPER The port CHEF MOORE -= Without it, the sauce is nothing more than a salty marinara. A recipe from.a woman’s magazine! He brings the fork closer toward his mouth. PIPER I didn’t have time for-- He’s cut her off with a raised hand. With the other hand, he brings the fork to his mouth. Holding the fork poised just in front of his mouth, Chef Moore suddenly “freezes.” The fork remains poised. PIPER Chef Moore? ge doesn’t respond. She waves a hand in front of his ace. PIPER Hello? Piper has somehow managed to freeze time! She doesn’t waste any time. She the measuring cup and quickly dabs a bit of port over his fork. No sooner has she finished, than Chef Moore becomes “unfrozen” and the pasta disappears into his mouth. EXT. RESTAURANT - PAYPHONE - DAY 29 Piper’s hands shake as she tries to call home. PIPER (low, to herself) Answer the phone, Phoebe. EXT. HALLIWELL MANOR - DAY Phoebe closes the front door behind her as the phone rings inside. She walks her bike down the stairs. EXT. RESTAURANT - DAY 31 - - As Piper hears the answering machine pick up (in the B.G.), she hangs up the phone. (CONTINUED! .

O CHARMED “Pilot” Rev. Double White 08/11/98 28. 31 32 CCNTINUED: 2 Piper quickly turns around and bumps into...Jeremy...scaring the hell out of herself. PIPER Jeremy? (calms) God, you scared me. JEREMY I can see. Sorry. You okay? PIPER (convincing herself) Yeah. Now I'm okay. I really am. (changing subject) What are you doing here? JEREMY I wanted to be the first to congratulate you on your new job. He produces a beautiful bougquet of red roses. PIPER You’re always surprising me. How did you know? JEREMY You prepared your speciality. And anyone who’s ever sampled your work can see how truly talented you are. PIPER Qooh, I get so turned on when you talk about food. JEREMY (grabs her chef’s coat and pulls her close) Hamburgers...pizza...hot dogs... laughing, embraces with a frisky lip ock. EXT. ND STREET - DAY 32 Phoebe rides down a street. As she turns a corner, she SEES dream-like MTV style flashes of TWO TEENAGE BOYS (possibly on skateboards) recklessly skating down a street. A car horn HONKS, tires SCREECH. The car does everything in its powers not to hit the boys but cannot break in time. Witnesses SCREAM. ON PHOEBE She blinks, ending the premonition. Whew. She begins to pedal down a hill. (CONTINCED

CHARMED “Pilot” REV. Cherry Script 29 32 CONTINUED: 32 Halfway from the bottom, we HEAR the front door of a house SLAM shut and two NOISY TEEN-AGE BOYS. Phoebe’s head jerks left to see these TWO BOYS barrel into the street and into traffic. . PHOEBE No! Wait! Phoebe races 'in front of them, cutting them off. All seems well until PHOEBE'S BIKE HITS A CAR And loses control of bike. She hits the curb, flying off the bike and into the street. She lands with a THUD. ON PHOEBE Lying in the street, clutching her right arm. Aas PEOPLE rush to Phoebe’s aid, the odd-looking cat with the unusual collar appears from out of nowhere and stares at all the commotion. 32a INT. ROGER’S OFFICE - DAY 32A 0 Roger, on the phone, sits in his high-backed chair, swiveling from side-to-side. He’s got a new shirt on and he’s adjusting his tie. (Note: His chair faces away from his desk so that he can admire his executive view.) ROGER ...Well, it was my idea to spark corporate interest through private donations. Besides, I‘’ve not only been with this project since its inception, we both know who really secured the entire exhibition -- | He swivels his chair around to the front of his desk. ROGER (cont’d) (surprised to see her) -~ Prue. ANGLE ON PRUE She stands in his office, car keys in hand, holding a purse. PRUE I quit. J TO INCLUDE ROGER ROGER (low, muffled) I'm gonna have to call you back. (MORE) . (CONTINUED)

O CHARMED 32a “Pilot” CONTINUED: " Think about t REV. Cherry Script ROGER (cont’d) -(hangs ug phone) is, Prue. PRUE Lous ob, lous a lousy b . Yy ROGER . Your future. Because, believe me, if you leave with no notice, you can kiss any references -- PRUE -- Don’t threaten me, Roger. ROGER (shrugs) You know me. Had to try. (different tack) You’re angry. You’re hurt. Your pride is wounded. I understand all that. That’s why you can’t even see that I'm doing you a favor. PRUE Excuse me? ROGER I had to take the exhibit away from ou! If I didn’t, the Board would ave brought in a total stranger. Think about it, Prue. I'm here for not some stranger. You should e thanking me, not leaving me. PRUE I’'m not worried. 1I’'m certain your intellect will make short work of the seventy-five computer discs and thousands of of research I've left in my office. ROGER You’re going to regret this. PRUE I don’t think so. I thought breaking up with you was the best thing I ever did, but this definitely tops that. Goodbye, Roger.. She turns and leaves his office. ROGER (calls after her) . I hope there are no office supplies in your purse! - 30. 32Aa

CHARMED 32B 32¢ “Pilot” REV. Cherry Script 08/10/98 31. EXT. ROGER’S OFFICE - SAME TIME 32B Prue, frustrated, mimes “wringing” Roger’s neck. INT. ROGER’S OFFICE - SAME TIME 32¢ Roger’s necktie suddenly moves up toward his neck, strangling him. ROGER (gagging/coughing) What the -- help! Roger grabs at his necktie, leaning backward in his chair as if to get away from the necktie. He begins to pound on his intercom system, trying to alert his secretary. Helo! ROGER (cont’d) -- Help! He pulls a desk drawer open, frantically searching for - - and finding -- a pair of scissors. He pulls out the scissors, leaning back as he cuts off his tie -- but falling back in his chair in the process. The chair -- Roger with it -- hits the ground with a THUD, the only thing now visible on Roger, the soles of his Oxfords show, raised high in the air. As Roger’s head peeks around the desk -- what the heck has just happened?

CHARMED “Pilot” REV. Cherry Script 32. <:> ACT THREE FADE IN: 33 INT. HOSPITAL - ER - DAY . 33 Prue rushes into the busy ER. She a proaches the front gesi. A MAN (we see only his back) Es also at the ° esk. PRUE Hi, I'm for my sister, Phoebe Halliwell. ADMITTING NURSE One second, please. (to the MAN) What’s the name again? TRUDEAU Inspector Andrew Trudeau. Homicide. Dr. Gordon is expecting me. The Nurse turns her attention to the end of the counter. N PRUE Andy? TRUDEAU (turns to see) Prue? Prue nods, smiles. TRUDEAU I don’t believe it. How are you? PRUE Good, Andy, how are you? TRUDEAU I'm fine. I just...can’t believe I'm running into you. . PRUE picking up Phoebe. Sshe had some kind of accident. TRUDEAU She gonna be okay? PRUE ) She’ll be fine. What are you doing A here? - TRUDEAU Murder investigation. (CONTINUED)

CHARMED “Pilot” REV. Cherry Script 08/10/98 33, 33 CONTINUED: 33 The Admitting Nurse them. NURSE Your sister’s still in X-ray, so be another fifteen minutes. Dr. 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. PRUE/TRUDEAU Thank you. Prue and Trudeau turn toward one another, feeling awkward and uncomfortable. So much to say. Not the right time. TRUDEAU Well. Good seeing you, Prue. PRUE You, too, Andy. Take care. She hesitates a moment, then turns and starts to walk. away. (fi TRUDEAU ~ You know. (as Prue turns) Phoebe’s busy. Dr. Gordon’s busy. Can I buy you a bad cup of coffee while we wait? Prue smiles her answer. ANGLE ON HALLWAY Prue and Trudeau head toward the vending machine. So, you’re an “Inspector” now. TRUDEAU What can I say? In any other city, I'd be called a detective. PRUE “Inspector’s” classier. TRUDEAU I’'m liking it better already. PRUE Your Dad must be so proud. TRUDEAU - Third generation, you bet he’s happy. How ‘bout you? You taking the world by storm? (CONTINUED)

O CHARMED 33 34 35 “Pilot” REV. Cherry Script 08/10/98 34. CONTINUED: (2) 33 PRUE Not yet. I'm back living at Gram’s house, and, as of an hour ago, I’m looking for work. They’ve stopped at the vending machine. Trudeau has thrown some quarters in, waits as coffee fills a cup. PRUE (cont’d) I heard you moved to Portland. TRUDEAU I'm back. You still seeing Roger? PRUE How’d you know about him? Trudeau smiles and shrugs as he hands Prue her coffee. " TRUDEAU I know people. PRUE You checked up on me? TRUDEAU I wouldn’t call it that. PRUE Yeah, what would you call it? TRUDEAU “Enquiring minds want to know?” PRUE You checked up on me. He smiles sheepishly. She laughs. TRUDEAU What can I say? I'm a detective. EXT. BAR - TO ESTABLISH - NIGHT (STOCK) 34 PRUE (0.S.) The chosen ones, the “charmed” ones. Phoebe, this is insane. INT. BAR - NIGHT 35 Prue and Phoebe sit at the bar. A bartender gives Prue coffee and a Tequila shot to Phoebe, then leaves. (CONTINUED)

O e CHARMED “Pilot” REV. Cherry Script 08/10/98 35 CONTINUED: No, Prue can’t. The small pitcher of cream slides across the bar and PHOEBE Are you telling me nothing happened to you today? You didn’t freeze time or move anything? PRUE Roger took an exhibit away from me. Look. You mag 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? (calming down) Even if you don’t want to believe me, just once, can’t you trust me? PRUE I do not have special powers. rests beside Prue’s coffee cup. The cream in the coffee cup rises PHOEBE Really? turns “beige.” Prue grabs, PHOEBE That looks pretty special to me. PRUE (blown away) . Oh my God. It just...I just...You mean that I can move things with my mind? PHOEBE With how much you hold inside, you should be a lethal weapon by now. PRUE I don’t believe it... PHOEBE- This must mean that Piper can freeze time. . then downs, Phoebe’s shot of Tequila. PHOEBE Are you okay? But they’re not talking about Roger. pitcher begins to mysteriously drain from the pitcher while the level of liquid in the until the coffee, now with cream, 35. *

D CHARMED “Pilot” REV. Cherry Script 36. 35 CONTINUED: (2) 35 PRUE No, I'm not okay! You’ve turned me into a witch! 36 EXT. CAB - MOVING - NIGHT 36 Piper and Jeremy, having just finished a celebratory dinner, cab through the city. (Note: Piper’s roses peek out from her backpack.) JEREMY Okay. What’s going on? You’ve hardly spoken since your audition. Piper musters up the courage to talk about her “power.” PIPER Has strange or unexplainable ever happened to you? JEREMY Sure. It’s called luck. Or fate. Some call it miracles. Why? What happened? PIPER Forget it. Even if I could tell you, you’d swear I was crazy. subject) Open your fortune cookie. Jeremy can see she obviously doesn’t feel like talking. JEREMY Okay. He cracks open his fortune cookie, finds the fortune. JEREMY “Soon you will be on top.” PIPER It doesn’t say that. JEREMY Yes, it does. PIPER (snatching fortune) -’ Let me see. ) JEREMY that a bad thing?

CHARMED “Pilot” REV. Cherry Script 08/10/98 37. 36 CONTINUED: 36 PIPER (reads fortune) . _“Soon you will b top of the world.” o e on She playfully tosses the fortune at him. JEREMY (getting an idea, leans forward to Cab Driver) Take a left on Seventh, would you? PIPER Seventh? I thought we were going to your place. JEREMY We are, but you reminded me of something. I want to show you the old Bowing Building. The view of the Bay Bridge? It’s amazing. The cab heads toward a deserted industrial area. 37 EXT. STREET NEAR BAR - NIGHT 37 Phoebe and Prue exit the bar and walk down the street. PHOEBE When I was looking in the Book of Shadows I saw these wood carvings. They looked like something out of a Bosch painting. All these of three women battling fferent incarnations of evil. PRUE Evil fighting evil, that’s a twist. PHOEBE Actually, a true witch is a goad witch. They follow this Wiccan Rede: “An it harm none, do what ye will.” If a witch violates this they become known as a warlock,” regardless of their gender. Warlocks have but one goal: to kill witches and obtain their Unfortunately, they look like regular people. They could be anyone, anywhere. Phoebe stares at the busy, PEDESTRIAN-FILLED street. PRUE Okay, wait a second. And this has - - what -- to do with us? (CONTINUED)

O CHARMED “Pilot” REV. Cherry Script 08/10/98 37 CONTINUED: 37 The women in the first wood carving were in a slumber but in the second one they were battling some kind of warlock. I think that as long as we were in the dark about our powers, we were safe. Not anymore. The odd-looking cat appears from out of nowhere and watches them as they disappear around the corner. 37a INT. PHARMACY - NIGHT Prue turns, PHARMACIST I'1l be right back with your prescription. PHOEBE Take your time. . PRUE (to Pharmacist) Excuse me. Where do you keep the aspirin? PHARMACIST Aisle Three. PRUE Thank you. leaves. Phoebe follows. PHOEBE Chamomile tea works great for headaches. PRUE Not for this one, it won’t. Prue finds her way to Aisle Three, Phoebe on her heels. As Prue begins to search the shelf for the aspirin, Phoebe takes the to offer Prue a positive perspective of the r new-found powers. PHOEBE I'm not afraid of our powers. I mean, everyone inherits gomething from their family. . PRUE Money...antiques...a strong disposition. what normal people inherit. PHOEBE Who wants to be normal when we can be special? (CONTINUED) 37a