3x17 - Heart of Darkness

[Prue Brianna Johnna Halliwell]

DESTINED

"HEART OF DARKNESS"

TEASER

OVER BLACK.

FADE IN:

EXT. VILLAGE – DAY (C. 500 B.C. - ANCIENT ROME)

A couple is walking together. BEAT. They have Sebastian and Tamora’s face. They are not others than Tamora and Sebastian’s past life: DRUSILLA and RUFUS. They head towards what looks like a small house.

CUT TO:

INT. HOUSE – DAY (C. 500 B.C. - ANCIENT ROME)

Sebastian and Tamora’s past life come inside the house and stop. BEAT. Someone is there. That someone is no other than Handreel. He is seating at the table. The collection of Book of Angels is on the table. Handreel stands.

RUFUS

Who are you and how did you get in?

HANDREEL

(smiles)

I can enter any place I want, but it was your sister who let me come inside.

A woman enters the house. BEAT. That’s not other than Melissa’s past live, VIBIANA.

VIBIANA

Oh, hello!

RUFUS

Sister, did you let this man in?

VIBIANA

Indeed, I did.

Rufus turns to Handreel.

RUFUS

What do you want?

HANDREEL

I’ve been watching you since you were born.

RUFUS

You’ve what?

HANDREEL

You and your sister.

Rufus and Vibiana exchange glances.

HANDREEL (CONT'D)

You both and your family have been chosen to take care of something that is really important for us.

DRUSILLA

Us?

RUFUS

Who are you?

HANDREEL

I am an Angel, Rufus.

Rufus, Drusilla and Vibiana exchange glances.

VIBIANA

I believe him.

DRUSILLA

(to Handreel)

A real angel?

HANDREEL

A real angel.

RUFUS

How do we know you’re saying the truth?

HANDREEL

You have to trust me.

DRUSILLA

What do you want?

Handreel places a hand on the collection.

HANDREEL

I need to leave these in good hands.

RUFUS

What are those?

HANDREEL

Books.

VIBIANA

Books? What are books?

HANDREEL

They haven’t been invented yet, but they will.

RUFUS

And you want to leave those ---

(pauses)

--- books with us?

Handreel nods.

RUFUS (CONT'D)

Why?

HANDREEL

As I said, you and your sister have been chosen to protect them.

Handreel approaches them.

HANDREEL (CONT'D)

Bad beings are out there and they will try to find these books.

VIBIANA

Then, why leave them with us?

HANDREEL

Because they would never suspect of a normal family.

RUFUS

Why don’t you protect them if you are an angel?

HANDREEL

I have my reasons.

(pauses)

You should protect them and pass them to your descendants. Don’t let anyone else get them.

Rufus and Handreel stare at each other.

HANDREEL (CONT'D)

There’s something else.

Handreel takes something from inside his tunic. BEAT. GADREEL’S MEDALLION.

HANDREEL (CONT'D)

You should protect this too.

Handreel hands the medallion to Vibiana.

HANDREEL (CONT'D)

With your life, if needed.

Vibiana nods yes.

VIBIANA

Don’t worry. We will.

Rufus nods yes. Handreel smiles.

HANDREEL

Blessed be.

And then, Handreel SPARKLES out. Rufus, Vibiana and Drusilla look at one another astonished.

CUT TO BLACK.

END OF TEASER

[Prue Brianna Johnna Halliwell]

Cast

Starring

Wes Ramsey as Wyatt Halliwell 

Drew Fuller as Chris Halliwell

Sophia Bush as Prue B. J. Halliwell 

Blake Lively as Melinda Halliwell

Leighton Meester as Charlotte Halliwell

Victoria Justice as Cassandra Halliwell

Chace Crawford as Henry Mitchell Jr.

Misha Barton as Tamora and Pandora Mitchell

Recurring

Matt Bomer as Damon

Marisol Nichols as Bianca

Guest Starring

Daniel Di Tomasso as Gadreel / The Darkness

Katie Cassidy as Melissa / Viviana

Peter Facinelli as Sebastian / Rufus

Eric Winter as Nate Halliwell / Matthew Halliwell

William Petersen as Handreel

Shay Mitchell as Olivia

John Barrowman as Christopher

Ignacio Serricchio as Marco Delgado

Jane Levy as Stella

Jim Caviezel as Randi Chapman

Unknown actors as Cops

Unknown actors as Employees

Unknown actors and actresses as Customers

Created by

Constance M. Burge and Brad Kern (Charmed)

Sol (Destined)

Written by

Sol

Edited by

Megail Hill aka Piper Halliwell and Matty aka Prue Halliwell I

Copyrights: Destined is a registered work and belongs to the writer Sol. Any copy or reproduction without permission is a crime punished by law.

[Prue Brianna Johnna Halliwell]

ACT ONE

OVER CREDITS.

OVER BLACK.

FADE IN:

EXT. SAN FRANCISCO – DAY

Aerial footage all over the town at the sound of ‘Rise’ by Katy Perry.

Various shoots of the town are shown.

CUT TO:

EXT. OLIVIA CLARK’S APARTMENT – DAY

Some cars pass by the busy street.

CUT TO:

INT. OLIVIA CLARK’S APARTMENT – BEDROOM – DAY

MUSIC FADES OFF.

ON JUNIOR’S FACE.

Junior is laying on the bed. Next to him is Olivia who’s sleeping. Olivia has an arm over Junior’s chest. Junior seems like he has been awakened all night.

Olivia starts waking up. She looks at Junior.

OLIVIA

(smiles)

Morning!

Junior looks at her.

JUNIOR

Morning!

Olivia kisses him.

OLIVIA

Already awake? After last night?

Olivia smiles naughtily. Junior forces a smile. Olivia notices something is not right. She gets into a sitting position and looks at him.

OLIVIA (CONT'D)

Don’t get me wrong. Last night was ---

(smiles)

--- awesome. But I could notice that you were not entirely here.

(pauses)

What’s wrong?

JUNIOR

Nothing.

OLIVIA

Honey, that’s not true. Last night you came and told me you didn’t want to talk. What’s wrong?

Junior gets into a sitting position.

JUNIOR

I told you, it’s nothing.

He tries to get out of bed.

JUNIOR (CONT'D)

I need to go now.

Junior stands and heads to the bathroom while Olivia watches him. She takes a deep breath.

CUT TO:

EXT. HALLIWELL MANOR – DAY (HOURS LATER)

STOCK.

CUT TO:

INT. HALLIWELL MANOR – CONSERVATORY ROOM – DAY

Chris, Bianca, Pandora, Charlotte and Cassandra are there. They are reunited. Melinda comes in.

CHRIS

Where’s Damon?

MELINDA

He is at an important meeting. He won’t be coming.

CHRIS

I’ll talk to him later.

At that moment, Tamora comes in followed by Junior. Tamora is holding a bag and puts it on the table.

TAMORA

We are here!

Chris and Junior exchange glances.

CHRIS

(to Junior)

How are you?

JUNIOR

(dry)

Good.

Chris looks at Junior who deviates his eyes from Chris. Chris looks at them all.

CHRIS

Where’s Prue?

MELINDA

Good luck in taking her out of her bedroom.

Prue walks into the room.

PRUE

I’m here!

(shoots Melinda a look)

I was busy reading, but now I’m here.

Melinda shrugs.

PRUE (CONT'D)

So, what is this meeting about?

CHRIS

Yesterday Uncle Henry was attacked by a Serial Killer.

PRUE

(surprised)

What?

MELINDA

I tried to tell you, but you were busy reading.

Melinda sounds sarcastic. Prue ignores what Melinda said.

CHRIS

(to Prue)

It ended well. The thing is that this man possessed one of those athames.

Chris signs Tamora. The girl takes the bag from the table and takes out what’s inside the bag: THREE ATHAMES.

They all look at it.

PRUE

Three?

TAMORA

I have been working on them and reached one conclusion.

(pauses)

Darkness is giving those athames to demons and humans.

CHRIS

The Serial Killer was a human.

CHARLOTTE

What happened to him?

TAMORA

Junior ended him.

Charlotte and Cassandra look at Junior, surprised.

CHARLOTTE

How?

CASSANDRA

He was a human!

TAMORA

He was evil.

(pauses)

The thing is these athames protect their owner and grant them their victims powers.

CHRIS

But only if they are magical beings.

PANDORA

How do you know all that?

TAMORA

Like I said, I’ve been working on them.

(pauses)

I’ve been searching a lot, but didn’t find anything.

PANDORA

Then, how are you sure that it was Darkness who gave these athames to demons?

CASSANDRA

And humans?

TAMORA

I joined the dots. That’s the only explanation I could find.

Prue approaches the table and looks at the athames.

TAMORA (CONT'D)

So far, we’ve come across three of them ---

ON PRUE’S HAND: She approaches her right hand to one of the athames.

TAMORA (CONT'D)

--- I bet there’re more.

ON PRUE’S HAND: She holds one of the athames. Her hand start trembling. No one notices it.

TAMORA (CONT'D)

Darkness is handing over athames to his followers.

SOUND: ONE OF THE ATHAMES FALLS DOWN THE FLOOR.

They all turn around to see Prue standing. She closes her fist.

CHRIS

What happened?

PRUE

(looking at her hand)

She’s right.

(looks at them)

Darkness is handing them over to his followers.

JUNIOR

You felt that by touching one of them?

Tamora takes the athame from the floor.

PRUE

I felt something.

MELINDA

You hold one of them the other day. Didn’t you feel something back then?

PRUE

I did. Just didn’t give it importance.

Tamora shoots Prue a look.

BIANCA

OK, so they have weapons. They’re killing witches.

JUNIOR

And releasing criminals.

PANDORA

Yeah, dad told us that some criminals have escaped from prison.

JUNIOR

And this is happening not only in San Francisco. 

(pauses)

Mike called me a few days ago, and told me that some weird things are happening there as well.

BIANCA

Great. He is taking down the entire world and we don’t know how to fight it.

PRUE

We already know that light is the answer.

Prue looks at Cassandra.

PRUE (CONT'D)

Thanks to Cass.

Cassandra smiles at her sister.

PRUE (CONT'D)

And we have something else.

They all look at Prue.

CHRIS

What do you mean?

PRUE

Have you ever heard Rumpelstiltskin’s tale?

They all exchange glances.

PRUE (CONT'D)

Well, I know Darkness’ name.

They all are surprised.

CHRIS

You do?

Prue nods.

MELINDA

How?

PRUE

(takes a deep breath)

Before Wyatt died, I received a visitor.

CHRIS

Raina?

PRUE

No. Someone higher than Raina. Don’t ask me more, I can’t even spell their species’ name.

(pauses)

The point is that he told me to get back to the books. That I would recognize a name.

CHRIS

Darkness’ name?

Prue nods.

PRUE

I read the First Creation and three names called my attention. That’s when I took the Fallen Angels' book and there it was.

(pauses)

Darkness' story!

MELINDA

(surprised)

Darkness is a Fallen Angel?

PRUE

Not exactly. But because of following him, some angels took the fall.

CHARLOTTE

Took the what?

PRUE

I’ll explain later. The point is that we already have a name.

They all look at Prue.

PRUE (CONT'D)

Gadreel.

CHRIS

Gadreel?

Prue nods.

JUNIOR

And what do we do with a name?

Prue looks at Junior.

PRUE

So far, we will move in the shadows.

MELINDA

Meaning?

PRUE

I mean, that we’ll take it slowly. We have his name and we have his story. That’s our starting point to find out how to take him down.

TAMORA

So, we do nothing?

Prue turns to Tamora.

PRUE

Like I said, we’ll move in the shadows.

TAMORA

(daring)

What if we don’t want to.

PRUE

(serious)

We will do as I say.

Prue looks to all of them.

PRUE (CONT'D)

Now, let’s get back to our lives.

Prue is about to leave, but ---

TAMORA

So, that’s it!

Prue stops.

TAMORA (CONT'D)

Wyatt died and you’re the boss now?

Prue turns little by little. She stares at Tamora. Prue is serious.

PRUE

I said, we will do as I say. Period.

TAMORA

We can’t just sit and wait. We have to do something. A demon killed Sebastian and another killed Wyatt.

Prue closes her fists.

PRUE

(aloud)

ENOUGH!

Prue uses her VOICE MANIPULATION power. All windows in the room tremble and make a horrible sound. They all look around. Tamora and Prue stare at each other.

PRUE (CONT'D)

(aloud)

Your boyfriend is alive! You’ve got him back!

Prue’s voice sounds terrifying. The sound coming from the windows is horrible.

PRUE (CONT'D)

(aloud)

My husband was taken from me and he is not coming back.

(pauses; aloud)

SO. WE. DO. AS. I. SAY!

Tamora swallows.

PRUE (CONT'D)

(aloud)

Are we clear?

Tamora lowers her gaze. The windows stop trembling and the sound stops.

PRUE (CONT'D)

(normal voice)

Good.

Prue turns around fast and leaves the room.

CUT TO:

INT. HALLIWELL MANOR – STAIRCASE – DAY

Prue starts getting upstairs, but stops. She looks at her hands. Still, has her fists closed. She opens them. Their hands are trembling strongly.

ON PRUE’S HANDS.

She tries to calm down. Moments later, her hands stop trembling. Prue takes a deep breath and keeps heading upstairs.

CUT TO:

INT. HALLIWELL MANOR – CONSERVATORY ROOM – DAY

The others are still there.

TAMORA

(to Chris)

Are you OK with this?

CHRIS

Tam ---

TAMORA

You should be in charge, Chris. You’re the eldest now.

CHRIS

Tam, please.

Tamora and Chris stare at each other.

CHRIS (CONT'D)

She’s right. We’ll do as she said. Period.

Tamora isn’t OK with it. Tamora is red with rage. She ORBS out. Chris takes a deep breath.

CHRIS (CONT'D)

We should better get back to our lives.

CHARLOTTE

I agree.

Charlotte and Cassandra head out. Bianca approaches Chris.

BIANCA

I should go to P3 as well. I don’t want my boss being mad at me.

Both kiss.

CHRIS

Go.

Bianca heads out the room.

JUNIOR

I need to go too.

CHRIS

(to Junior)

Are you really OK?

JUNIOR

I said I am.

Chris and Junior exchange glances. Junior heads out of the room.

CHRIS

We need to keep an eye on him.

PANDORA

Is it true that he killed that man in cold blood?

CHRIS

Yeah, he did. Tamora pushed him.

PANDORA

My sister is full of anger, lately.

MELINDA

We should keep an eye on her as well.

CHRIS

Yes, but right now, let’s get back to our lives. See you guys later.

Chris heads out the room. Melinda and Pandora look at each other.

CUT TO BLACK.

END OF ACT ONE

[Prue Brianna Johnna Halliwell]

ACT TWO

FADE IN:

INT. UNDERWORLD – INT. GADREEL’S SECRET CAVE – DAY

Gadreel is there. Wyatt is inside his cell. Wyatt is sitting on the bed, thinking. Gadreel puts on a black jacket.

GADREEL

Do you care to share your thoughts?

Wyatt doesn’t answer.

GADREEL (CONT'D)

Oh, c’mon! I told you my story and you stay there. Not saying a word?

Wyatt stands.

WYATT

What do you want me to say?

GADREEL

I don’t know. What about a ‘Sorry, my friend, I’m really sorry for what I did’.

Wyatt shakes his head.

WYATT

I don’t believe a single word. I was not ---

GADREEL

(cuts him off)

Yes, you were him. You are him. Never thought of why yours and Prue’s blood worked to released me?

WYATT

Prue and I, we are ---

GADREEL

(completes)

The most powerful witches that have ever walked on Earth. Yes, I know.

They stare at each other.

GADREEL (CONT'D)

Handreel kept me posted.

(smiles sarcastic)

How naive he was when he thought that taking those books and my medallion down here would keep me from getting out of there.

(thinks)

You know what? You should miss her. Why don’t we have a look on our loved one?

Gadreel smiles. Wyatt stares seriously at him.

CUT TO:

EXT. HMB GROUP – DAY

The facade of Damon’s office building is shown.

CUT TO:

INT. HMB GROUP – ELEVATORS / RECEPTION AREA – DAY

ON: ELEVATOR’S DOOR OPENS.

Melinda and some other people come out from the elevator. Melinda walks all the way to the reception desk and asks something to the receptionist. The receptionist nods yes. Melinda smiles thankfully and heads towards Damon’s office.

CUT TO:

INT. HMB GROUP – DAMON’S OFFICE – DAY

Damon is there with a woman. This blond woman (STELLA, 27) is wearing a red skirt suit. She is very seductive. Both Damon and Stella are standing. They are talking. Damon is analyzing some files while Stella is very close to him. She seems like she’s more like trying to seducing him. Of course, she pretends she’s very interested in the files.

DAMON

These numbers are good.

STELLA

I agree.

Stella approaches Damon even more.

STELLA (CONT'D)

Have you seen the forecasts for next month?

Stella places a hand on Damon’s arm.

DAMON

I have. They’re good.

Stella smiles. Damon closes the files.

STELLA

We make a good team, I must tell.

Damon looks at her.

DAMON

We work well together, indeed.

Stella smiles seductively. She places a hand on Damon’s chest.

STELLA

Damon, I ---

And she’s cut off by Melinda’s entrance. BEAT, on Melinda. She looks at them and at the same time she regrets coming in. Damon and Stella look at Melinda. Damon is surprised.

DAMON

Mel?!

STELLA

Can we help you?

MELINDA

I shouldn’t have come.

DAMON

Mel ---

MELINDA

You should talk to Chris. He will tell you about you know what.

(stares at Damon)

I must go.

Melinda turns around to leave.

DAMON

Mel, wait!

Melinda leaves. Damon seems disappointed.

STELLA

Do you know her?

He takes a deep breath.

DAMON

Yeah, that’s my ---

Damon looks at Stella.

DAMON (CONT'D)

--- Ex.

STELLA

(disappointed)

Oh. She must have thought that we ---

DAMON

Yeah, that’s why I need to go now.

Stella tries to say something, but Damon leaves so fast that she has no time to say anything. Stella grimaces.

CUT TO:

INT. HMB GROUP – ELEVATORS’ AREA – DAY

CLOSE UP: SOMEONE CALLING THE ELEVATOR.

Melinda waits by the elevator. She is impatient.

DAMON (O.S.)

Mel!

Melinda turns around. Damon comes closer.

DAMON (CONT'D)

Mel, listen to me.

MELINDA

No, I don’t need any explanation you may want to give me. We are not dating, so feel free to do whatever you want.

DAMON

You don’t understand.

MELINDA

Yes, I do understand.

The elevator opens. A couple of workers come out. Melinda and Damon deviate for them to walks through.

DAMON

Mel ---

MELINDA

I need to go home or work or ---

She gets into the elevator.

MELINDA (CONT'D)

--- Whatever place that takes me out of your presence.

DAMON

Mel!

The elevator closes. Damon seems desperate. He takes a deep breath.

DAMON (CONT'D)

Damn!

Not good, indeed.

CUT TO:

EXT. HALLIWELL MANOR – DAY

A car parks outside the manor. A man, who’s face cannot be seen, walks out the car and heads upstairs to the manor’s front door.

CUT TO:

INT. HALLIWELL MANOR - STAIRCASE / FRONT HALL – DAY

Prue comes downstairs. She’s holding her bag. It seems like she’s leaving. She heads to the front door and opens it. Someone is there about to knock.

BEAT. NATE HALLIWELL is there. Prue is surprised. Nate smiles.

PRUE

Nate!

NATE

Hi!

PRUE

What are you doing here?

NATE

Oh, well, I was ---

(takes a deep breath)

--- You haven’t answered my calls.

PRUE

Oh, hum ---

Prue lowers her gaze.

PRUE (CONT'D)

I’m sorry.

NATE

No problem. Mel has kept me informed about you.

Both stare at each other.

NATE (CONT'D)

Don’t get me wrong, Prue. I’m just worried about you.

PRUE

I know. I’m the one who should apologize.

Both stare at each other like none of them know what to say.

NATE

Are you leaving?

Nate points the bag Prue’s carrying. Prue looks at the bag.

PRUE

Oh, yeah. Work. I haven’t been in P3 for weeks now.

(lowers her gaze)

Wyatt wouldn’t want me giving up on it.

Prue looks at Nate.

PRUE (CONT'D)

That club is mine thanks to him.

NATE

You do well.

(smiles)

I must go now.

Nate turns to leave. Prue stops him.

PRUE

Nate?

Nate turns to face her.

PRUE (CONT'D)

We should go out sometime, to talk. We are family after all.

Nate reminds silent for seconds.

NATE

Dinner, tonight?

PRUE

(nods yes)

I’d loved to.

Nate smiles.

NATE

I know a good restaurant. I’ll text you the address.

PRUE

OK.

Nate smiles again.

PRUE (CONT'D)

Thank you, for caring.

Nate smiles sympathetic. He turns to leave. Once he’s gone, Prue takes a deep breath. Then she steps out of the manor and closes the door behind her.

CUT TO:

INT. UNDERWORLD - GADREEL’S SECRET CAVE – DAY

IN THE MIRROR: Prue’s leaving the manor.

Both Gadreel and Wyatt watch the images in the mirror. Wyatt, of course, is still behind bars.

Gadreel WAVES his hand and the images in the mirror fade off.

Wyatt laughs. Gadreel turns to him.

GADREEL

What are you laughing at? Who’s that?

Wyatt keeps laughing.

WYATT

That ---

(sarcastic)

--- My friend, ---

(smiles)

--- is what I call the second in line. Number two.

GADREEL

(intrigued)

What do you mean?

WYATT

Do you really want to know?

GADREEL

(mad; commanding)

Tell me!

Wyatt stops laughing, but keeps a joyful look in his face.

WYATT

(takes a deep breath)

Nate is some kind of replacement.

GADREEL

Replacement of what?

WYATT

Of me.

Gadreel is serious.

WYATT (CONT'D)

See, I am Prue’s true love. Now, imagine that I die, which is exactly what you’ve made my family believe in. So, Nate is Prue’s second true love.

Gadreel is astonished.

GADREEL

(mad)

You’re lying.

WYATT

Am I?

Both stare at each other.

WYATT (CONT'D)

Why don’t you use that magical mirror of yours and take a look at Prue’s past life?

Gadreel is serious.

WYATT (CONT'D)

Go on. You’ll see.

Both stare at each other, seriously. Then Gadreel turns to his mirror and WAVES his hand. Some images fade in the mirror.

IN THE MIRROR: Isabelle and Matthew Halliwell.

MATTHEW

(to Isabelle)

Are you sure?

ISABELLE

(nods yes)

I am. I’m pregnant.

(smiles)

We’re having a baby.

Matthew smiles.

Gadreel WAVES his hand. The image fades off. Gadreel turns little by little to Wyatt. Wyatt smiles.

WYATT

See?

Gadreel is red rage.

WYATT (CONT'D)

No matter what you do. I may be dead for her, but she’ll never be yours. 

Gadreel lowers his gaze.

WYATT (CONT'D)

Without me, her heart belongs to Nate. She will never be yours, no matter what your plans are.

Gadreel looks at Wyatt. Gadreel raises his hand and, using TELEKINESIS, he throws Wyatt against the rock wall. Wyatt falls unconscious on the ground. Gadreel is furious.

GADREEL

Then, I guess I’ll have to end him.

ON GADREEL’S FACE. His eyes turn to black.

CUT TO:

INT. MAGIC SCHOOL – CLASSROOM – DAY

Charlotte is sitting at her desk doing some teacher’s work. Melinda comes in.

MELINDA

Sorry, cous. Are you busy?

Charlotte looks at Melinda.

CHARLOTTE

Mel! What a surprise. What are you doing here?

Melinda comes in. Charlotte stands.

MELINDA

I needed to be in a place where Damon couldn’t find me.

Charlotte shoots Melinda a look.

MELINDA (CONT'D)

I know he can come in here, but he wouldn't think to come looking for me here.

CHARLOTTE

Do I want to know why? I thought you two were getting along.

MELINDA

We were, but ---

Melinda takes a deep breath.

MELINDA (CONT'D)

I think he’s moving forwards.

Charlotte is surprised.

CHARLOTTE

Is he seeing someone?

MELINDA

I think so.

CHARLOTTE

You think?

MELINDA

I went looking for him at his office and this blondie was there.

CHARLOTTE

Oh, a blondie, huh?

MELINDA

Yeah, and I believe she’s a fake blondie.

CHARLOTTE

Really? Just like you?

Melinda shoots Charlotte a look.

MELINDA

I’ve been blond for so long that no one ever remembers I was born brunette.

CHARLOTTE

I do remember.

Melinda shoots Charlotte a look.

CHARLOTTE (CONT'D)

OK, so, you saw him with this woman doing what? Kissing?

MELINDA

No, they were just too close to each other.

CHARLOTTE

Oh, and you assumed he is dating her?

MELINDA

No, I ---

Melinda cuts herself off.

MELINDA (CONT'D)

I didn’t come here to talk about Damon.

CHARLOTTE

And yet you did.

Melinda lowers her gaze. She sits on a chair.

MELINDA

I looked for him because ---

A tear runs down Melinda’s face.

MELINDA (CONT'D)

I guess I just wanted to hear from him some old story about Wyatt.

(swallows)

Something I didn’t know.

CHARLOTTE

Oh, honey.

Charlotte approaches her and hugs her.

MELINDA

I guess I believe that way I can keep him close.

(pauses)

I feel that there was so much about him that I wanted to know and that’s stupid because I’ve known him for my entire life.

CHARLOTTE

We all miss him, honey.

Melinda lowers her gaze.

MELINDA

I can’t talk to Prue about this. She’ll break down and I can’t let her break down.

CHARLOTTE

That’s why you’ve been pushing her away?

Melinda looks at Charlotte.

CHARLOTTE (CONT'D)

Because that’s your way of stopping her from breaking down?

MELINDA

I have been pushing her away, haven’t I?

Charlotte nods yes.

MELINDA (CONT'D)

We cannot push each other away now. We all need to be strong.

CHARLOTTE

Yes, we all need. Otherwise, Darkness, Gadreel or whatever his name is, will get what he wants.

Melinda dries her own tears and smiles.

MELINDA

Thank you, Charlie.

CHARLOTTE

That’s what family is for.

Both hug.

CUT TO BLACK.

END OF ACT TWO

[Prue Brianna Johnna Halliwell]

ACT THREE

FADE IN:

EXT. P3 – DAY

Prue’s car is parked outside.

CUT TO:

INT. P3 – ENTRANCE STAIRCASE / DANCE FLOOR / BAR – DAY

Prue comes from the entrance staircase. She grimaces as she looks around the club.

PRUE

What’s wrong with this picture?!

The club has some new decorations. The club is decorated for an 80’s party.

Prue approaches the bar and gets inside. She looks at the cash register. Bianca comes from the store room.

BIANCA

Boss!

Prue looks at her.

BIANCA (CONT'D)

You came!

PRUE

What the hell have you done with my club?

BIANCA

(smiles)

Oh, this is for the party we’ll be hosting tonight.

PRUE

What party?

BIANCA

The themed party. I resurrected that idea of yours.

Prue looks seriously at Bianca.

BIANCA (CONT'D)

Chris told me that you used to hold themed party back when you started the business.

PRUE

Why I never heard about it?

Bianca takes a few seconds to answer.

BIANCA

I didn’t want you to bother about it.

PRUE

My club, Bianca. What happened to my register?

Prue points at the cash register.

BIANCA

Oh, the old one broke down. I’ve got a new one.

Prue shoots Bianca a look.

PRUE

When?

BIANCA

Last week.

Prue keeps looking around. Her eyes stop at the stage.

PRUE

I guess that the old DJ’s mixing table broke down as well.

CLOSE UP: MODERN DJ’S MIXING TABLE.

BIANCA

Oh, new DJ’s requirement.

PRUE

New DJ? Why I never knew that we’ve got a new DJ? What happened with the old one?

BIANCA

He left. He got a job proposition in another city and decided to take it.

PRUE

It seems like I’ve been gone for years. You took the managing thing too serious, huh?!

BIANCA

Sorry, Prue, but you had your mind focused on other things.

PRUE

No. I’m sorry.

Prue comes out the bar.

PRUE (CONT'D)

Like you said, I had my mind focused on other things. You kept the ship afloat.

BIANCA

Well, what could I do? I don’t have actives powers, so when I’m not preparing potions or writing spells, I’m working on P3.

PRUE

You’ve been hunting as well.

BIANCA

Yeah, when needed. But I have no powers to defend myself.

PRUE

We could change that, you know it.

BIANCA

Let’s keep my powers bound.

Prue nods.

PRUE

Well, thank you for keeping this place together. I owe it to Wyatt.

BIANCA

You owe it to yourself.

PRUE

Yeah.

(smiles)

Well, and know I’m here.

BIANCA

What about the hunting?

PRUE

I’ll do both.

BIANCA

Will you stop living your life?

PRUE

No.

Bianca shoots Prue a look. Prue lowers her gaze.

PRUE (CONT'D)

I’m actually going out tonight.

Bianca seems surprised.

PRUE (CONT'D)

With Nate.

Bianca makes a look.

PRUE (CONT'D)

It’s not like that. We’re just friends.

BIANCA

I didn’t say anything.

Both stare at each other.

PRUE

Can you show me the new P3 around?

Bianca smiles.

CUT TO:

EXT. MATTHEWS / MITCHELL MANOR – DAY

STOCK.

CUT TO:

INT. MATTHEWS / MITCHELL MANOR – LIVING ROOM – DAY

No one is there.

SOUND: SLAMMING THE DOOR.

Tamora comes in mad. Pandora comes in after her.

PANDORA

You’re being stubborn.

TAMORA

I am not.

Tamora throws her bag on the couch.

TAMORA (CONT'D)

I’m tired of this. I’m tired of losing people that I love.

PANDORA

We all are, Tam. But what you did ---

Tamora rolls her eyes.

PANDORA (CONT'D)

Pushing Junior to commit murder?!

TAMORA

He was a serial killer, in case you’ve forgotten.

PANDORA

No, I haven’t. But our brother is not like that.

Tamora is serious.

TAMORA

If he wouldn’t do, I ---

PANDORA

(cuts her off)

You’re out of your mind.

TAMORA

Am I, Pan?

Tamora stares at Pandora. Pandora deviates her eyes from Tamora.

TAMORA (CONT'D)

How many more people will have to die?

(pauses)

This world is falling apart. At least I’m doing something to stop it.

PANDORA

This is not the way.

TAMORA

Sorry, if moving in shadows is not my thing.

Pandora is about to say something, but Tamora leaves the room quickly. Pandora takes a deep breath.

CUT TO:

EXT. SAN FRANCISCO P.D. – DAY

Police cars are parked outside.

CUT TO:

INT. SAN FRANCISCO P.D. – INTERROGATION ROOM – DAY

The Murderer, that Gadreel infected weeks before, is sitting. This man, (RANDI CHAPMAN, 48), has his head down. Junior comes in with a folder. The man keeps his head down. Junior stares at the man for seconds. Then, he heads towards the table and sits across the table in front of Randi.

JUNIOR

Randi Chapman!

The man keeps his head down.

JUNIOR (CONT'D)

Suspect of killing his own wife and trying to kill Edward Thompson.

(pauses)

Did you know your friend is still at the hospital?

Randi keeps his head down.

JUNIOR (CONT'D)

Yeah, well, he is.

Junior is sitting in a comfortable position.

JUNIOR (CONT'D)

Tell me about him.

Junior is serious. Slowly, Randi starts rising up his head. He looks straight to Junior.

JUNIOR (CONT'D)

Darkness!

Randi smiles and speaks for the first time.

RANDI

He’s going to take you all down.

JUNIOR

That’s something we’ll see. Where can I find him?

RANDI

(smiles)

He will find you. He will find us all.

Junior stares at him.

RANDI (CONT'D)

We are nothing compared to him.

Randi lowers his gaze.

JUNIOR

Where can I find him?

Randi doesn’t answer. Junior stands and puts his hands on the table, mad.

JUNIOR (CONT'D)

(aloud)

Where can I find him?

Randi raises his head again and just like that he jumps into Junior’s neck. Both fall down the floor, Randi on Junior. Junior manages to push him away. RanDi is on the floor. Junior stands and takes off his gun. Junior points the gun towards Randi. Junior has a furious look on his face.

At that moment, Marco comes in.

MARCO

Hey! What’s going on?

Junior doesn’t answer. Marco looks from Junior to Randi and to Junior again. Randi smiles wickedly.

RANDI

He will take us into the dark!

Junior’s anger increases.

MARCO

(aloud)

Mitchell!

Junior is furious. Randi smiles crazily.

MARCO (CONT'D)

Put the gun down, Mitchell!

Junior stares at Randi for seconds and then he puts the gun down. Junior turns around and leaves the room fast.

CUT TO:

INT. SAN FRANCISCO P.D. – CORRIDOR – DAY

Junior comes out the room. He is disoriented. Marco comes out the room closing the door behind him.

MARCO

(angry)

What the hell was that, man?

JUNIOR

He jumped into me. I was defending myself.

MARCO

It looked like you wanted to shoot him.

Junior turns to Marco.

JUNIOR

He’s a murderer. So maybe he deserves it.

Junior turns around and leaves fast. Marco watches him leave, schocked

CUT TO:

EXT. SAN FRANCISCO – DAY TO NIGHT

The sun sets and the moon appears in the sky.

CUT TO:

INT. SUSHI TIME RESTAURANT – NIGHT

The restaurant is full of people. Nate is sitting at a table. He seems nervous. Someone approaches the table: a woman.

PRUE (O.S.)

Nate!

Nate looks over his shoulder. Prue, wearing a beautiful navy blue dress with a black leather jacket, smiles. Nate stands.

NATE

Prue!

He looks her up and down.

NATE (CONT'D)

You’re beautiful.

PRUE

(smiles)

Thank you.

Nate signs her to sit. He pulls up the chair for her to sit down. She sits and then he sits on his chair. Nate smiles as he looks at her. Prue looks around.

PRUE (CONT'D)

Japanese.

NATE

Please tell me you like Japanese.

Prue smiles.

PRUE

I love Japanese.

Nate breathes relieved.

PRUE (CONT'D)

And this is one of my favorite places in town.

NATE

Seriously?

Prue nods.

NATE (CONT'D)

And I was thought I’d be introducing you to a new place.

PRUE

It’s OK, Nate. I love it.

(pauses)

Actually, ---

Prue cuts herself up.

NATE

(curious)

What?

Prue lowers her gaze.

PRUE

The first time I ate Japanese, I was with Wyatt.

NATE

Oh.

Nate seems disappointed.

PRUE

Sorry, I didn’t mean to ---

NATE

(cuts her off)

No, it’s OK, Prue.

(smiles)

Let’s talk about Wyatt. He was my cousin and I never got the chance to know him, so I’ll be glad to hear about him.

PRUE

(unbelieving)

Seriously?

Nate nods.

PRUE (CONT'D)

(smiles)

OK.

Prue thinks for seconds.

PRUE (CONT'D)

We bet. I lost and I had to pay him a dinner.

NATE

You are kidding?

Prue smiles and nods no.

PRUE

He was mean. Really. I was sixteen. I had to clean my mother’s dishes for like a week so she could give me the money to pay the dinner.

Nate laughs.

PRUE (CONT'D)

Mom was mean as well.

Nate laugh. And yes, they’re having a good time. Prue keeps talking as the ---

SOUNDS FADES OFF.

CUT TO:

INT. UNDERWORLD – GADREEL’S HIDING CAVE - NIGHT

ON WYATT’S FACE. He starts waking up.

Wyatt’s on the ground. He feels his entire body hurting. He tries to stand, but the far he gets is to a sitting position. He looks at his arm.

CLOSE UP: A CUT ON HIS LEFT ARM BLEEDING.

Wyatt looks at the cut on his arm.

GADREEL

Well, it was about time.

Gadreel is by a table filling a small bottle. It looks like a potion.

WYATT

(trying to stand)

What did you do to me?

Gadreel smiles.

GADREEL

I just needed your blood, my friend.

Wyatt stands.

GADREEL (CONT'D)

I left you there some ---

(thinks)

--- What do they call it?!

(remembers)

Oh, right! First aid products to take care of that.

Gadreel smiles.

GADREEL (CONT'D)

You have to excuse me, but I don’t know how to use them.

WYATT

You could let me get out of here and I could heal myself.

Gadreel laugh.

GADREEL

You’re funny. That hasn’t changed at all.

WYATT

(serious)

What do you need my blood for?

Gadreel puts a cap on the small bottle.

GADREEL

A potion I need.

WYATT

What for?

Gradeel stares at Wyatt and smiles.

GADREEL

Do you really think I would tell you the reason?

Both stare at each other. Then Gadreel smiles again.

GADREEL (CONT'D)

Right. I have to tell you because you’re my best friend.

Wyatt rolls his eyes. Gadreel approaches the cell.

GADREEL (CONT'D)

You know, I’ve decided that it is time for me to get closer.

WYATT

(serious)

Closer to what?

GADREEL

The woman I love, of course.

Wyatt swallows.

WYATT

What makes you think she would even want to be with you?

GADREEL

That’s why I need your blood. To speed things up.

(pauses)

First, I need to take that Nate out of my way and then, I’ll introduce myself to her.

(smiles victorious)

And with this potion I prepared, I’ll make her trust me faster.

WYATT

Prue senses evil. It doesn’t matter if you use a potion or not, she won’t trust you.

GADREEL

Yes, she will.

Gadreel puts the potion inside his jacket pocket.

GADREEL (CONT'D)

Know that book?

Gadreel points to a book on the table.

CLOSE UP: BOOK. VOL. VII - THE SPELL OF ANGELS

BEAT. This book is no other than Vol. VII of the Books of Angels – The Spells of Angels.

Wyatt looks at the book.

GADREEL (CONT'D)

That book was written by Angels, my friend.

(pauses)

Some of those spells were created in my time. When I was, let’s say, a good angel.

WYATT

What did Angels need spells for?

GADREEL

They were not created for angels only. The idea of human came up centuries before the creation began.

(assures)

Some of those spells were created for humans. Those ones, of course, I had nothing to do with. But this, special one ---

Gadreel touches his jacket pocket.

GADREEL (CONT'D)

This was created by me.

(pauses)

Back then, I was young, but for a tiny little moment of my life, I was afraid.

Both stare seriously at each other.

GADREEL (CONT'D)

Afraid of, somehow, losing the thing I loved the most to something else.

Gadreel smiles.

GADREEL (CONT'D)

I guess it’s time for me to finally use it.

Wyatt starts getting red.

WYATT

(furious)

Don’t you dare!

Gadreel smiles.

GADREEL

See you!

Gadreel turns to the mirror and WAVES his hand. Prue and Nate’s image in the restaurant appear. Gadreel smiles one last time at Wyatt and then SPARKLES out.

WYATT

(aloud)

NO!

Wyatt is desperate. He looks at the images in the mirror.

CUT TO BLACK.

END OF ACT THREE

[Prue Brianna Johnna Halliwell]

ACT FOUR

FADE IN:

EXT. HALLIWELL MANOR – NIGHT

A few lights are on inside the house.

CUT TO:

INT. HALLIWELL MANOR – FRONT HALL – NIGHT

Melinda comes in holding her bag. She’s heading towards the front door as someone rings the bell. She stops.

CLOSE UP: SOMEONE’S FIGURE IS SEEN THROUGH THE STAINED-GLASS DOOR.

Melinda recognizes the person. She takes a deep breath.

MELINDA

Damon!

She heads towards the door and opens it. BEAT. Damon is really there. He smiles.

MELINDA (CONT'D)

What are you doing here?

DAMON

We need to talk.

Melinda stares at him.

MELINDA

I’m heading to Halliwell’s.

DAMON

Halliwell’s can wait. I can’t.

Damon comes in and closes the door. Melinda shoots him a look.

DAMON (CONT'D)

About Stella ---

MELINDA

(cuts him off)

Stella?

Melinda spells that name with disdain.

MELINDA (CONT'D)

Are you dating a woman named Stella?

DAMON

I’m not dating Stella. We are colleagues at work.

MELINDA

(sarcastic)

Oh, yeah right. What were you two working on when I came in? I mean, what numbers were you two analyzing?

She doesn’t let Damon talk.

MELINDA (CONT'D)

Oh, wait. I know. You were analyzing how many kisses you shared since you met.

Damon is astonished.

DAMON

Stop being a child!

MELINDA

Oh, now I’m a child?

DAMON

You’re behaving like one.

Melinda smiles madly.

MELINDA

You know what? I really don’t care, Damon. You can date whoever you want.

DAMON

I’m not dating her.

MELINDA

Well, you should.

Damon deviates his eyes from Melinda.

MELINDA (CONT'D)

We are over, Damon. You should move on with your life!

Damon looks at her. He actually fixes his look on her.

DAMON

Is that what you want?

Melinda lowers her gaze.

DAMON (CONT'D)

Is it really that what you want, Mel?

Melinda looks at him. She tries to keep it together.

MELINDA

Yes. I’ll do the same.

Both stare each other for seconds. Then Melinda opens the door.

MELINDA (CONT'D)

Now, please. I really need to work.

Damon keeps staring at her. He seems disappointed.

DAMON

Have it your way.

Damon heads out of the house mad. Melinda closes the door quickly. As soon as she does, she breaks down in tears.

MELINDA

What did I do?!

She covers her face with her hands as she keeps crying. She’s desperate.

CUT TO:

INT. SUSHI TIME RESTAURANT – NIGHT

Nate and Prue are still at their table. Nate takes a piece of sushi into his mouth.

PRUE

Is it good, isn’t it?

Nate swallows.

NATE

The best one I ever had.

PRUE

I told you. It was Wyatt’s favorite as well.

Nate uses the napkin.

NATE

Tell me again, why did you do to his video game?

Prue smiles.

PRUE

I put it inside the oven.

Nate laughs.

NATE

How are you still alive?

Prue laughs. An employee passes by followed by a customer. This customer’s face is not shown. The customer sits alone in a table behind Nate and Prue’s table.

PRUE

He tried to kill me, believe me. But Chris got worse, because the video game was actually Chris’.

Nate laughs surprised.

PRUE (CONT'D)

I was so mad at Wyatt that I didn’t realize I was actually cooking Chris’ video game.

NATE

You were terrible.

Both laugh.

PRUE

I was.

Suddenly, Prue stops laughing. She gets serious. Nate notices it. He stops laughing.

NATE

What?

Prue looks straight to him.

PRUE

I miss him.

Nate holds Prue’s hand.

NATE

I know.

Both share a sympathetic look.

NATE (CONT'D)

I’ll be right back.

Prue nods. Nate stands and heads towards the Men’s toilets. The man in the other table sees Nate heading there. BEAT. This man is Gadreel. He stands and heads towards the Men’s toilets as well.

CUT TO:

INT. SUSHI TIME RESTAURANT – MEN’S TOILET – NIGHT

Nate comes in and heads towards the sink and washes his hands. Gadreel comes in and closes the door behind him. Gadreel stands, looking at Nate. Nate looks himself in the mirror and sees Gadreel behind him.

GADREEL

Aren’t you tired of listening to these stories about Wyatt over and over again?

Nate closes the water and turns around.

NATE

Who are you?

GADREEL

Your worst nightmare.

Gadreel approaches Nate and holds Nate by his throat. Nate is suffocating.

GADREEL (CONT'D)

You know, I though in killing you. No mercy.

(smiles)

But I just got a better idea. Let’s put out the Darkness inside of you.

NATE

(suffocating)

Let me… go.

GADREEL

Yeah, I believe that living every life seeing the woman you love with someone else isn’t good, right?

(pauses)

So, you have to put all those feelings out. Get mad.

Nate’s veins start becoming black and his blood is running all the way up towards his eyes. Nate’s eyes become black. Seconds later, Nate’s veins get back to normal as well as his eyes. Gadreel lets go of him. Gadreel smiles. Nate feels weird.

GADREEL (CONT'D)

Go and remember, you hate Wyatt. He brings up the darkness you’ve got inside.

Nate seems disoriented but still manages to walk out of there. Gadreel smiles victoriously.

GADREEL (CONT'D)

Showtime!

Gadreel walks out of there smiling.

CUT TO:

INT. SUSHI TIME RESTAURANT – NIGHT

Prue is still at the table. Nate approaches the table. He seems different and Prue notices it.

PRUE

Nate, are you OK?

Nate looks around.

NATE

I --- I am.

(looks at Prue)

What were we talking about?

PRUE

Wyatt.

BEAT. Nate starts getting red. Gadreel walks towards his table. Nate stands furious and throws the table. Prue stands fast. She looks at the mess in front of her. All the people in the restaurant watches it. Prue is astonished. She looks at Nate.

PRUE (CONT'D)

What the hell?!

NATE

I’m so tired.

Nate is red with anger.

PRUE

Nate, what happened to you?

One employee approaches them.

EMPLOYEE

Sir, are you OK?

Nate looks at the employee with anger.

CLOSE UP: A KNIFE IN THE GROUND.

Nate looks down at the knife. He lowers down and gets the knife.

PRUE

Nate?

Nate looks at Prue.

NATE

(angry)

Don’t ever speak his name again!

Prue doesn’t understand. People start standing and whispering.

EMPLOYEE

Sir?

Nate looks at the employee. Gadreel tries to stay serious, but he can’t control it and a tiny victorious smile shows up on his face.

PRUE

Nate ---

Nate approaches the employee and grabs him. They all are surprised, but Gadreel. Prue is astonished. Nate approaches the knife to the employee’s throat.

PRUE (CONT'D)

Nate, what are you doing?

Nate steps back taking the employee with him. Suddenly, in Nate’s eyes, seem like he’s feeling confused. The workers come out to see the whole scene.

PRUE (CONT'D)

Nate, let go of that knife.

NATE

I can’t.

Nate looks at Prue.

NATE (CONT'D)

It’s Darkness, Prue.

BEAT. Prue didn’t see that coming. Gadreel looks serious at an astonished and wordless Prue.

NATE (CONT'D)

It’s all over the world.

Nate sounds fearful.

NATE (CONT'D)

And it’s here to take us down.

Nate keeps threating the employee. It seems like he doesn’t want to, but has to. Prue is serious.

ON PRUE.

CUT TO:

INT. SUSHI TIME RESTAURANT – NIGHT (MOMENTS LATER)

ON NATE. He is on the floor, still grabbing the employee and threating him with the knife. All people in the restaurant is watching them. Prue stands close to Nate and the employee.

PRUE

Nate?

Nate is nervous.

PRUE (CONT'D)

Look at me, Nate.

Nate seems like he's battling a war inside of him.

WOMAN #1

Let’s call the cops.

Prue looks at the people. Gadreel steps back trying to go unnoticed. He stands behind a man.

NATE

No one calls the police or I’ll kill him.

Nate approaches the knife even more to the employee’s neck.

PRUE

(to Nate)

Wait.

(to the people)

No one calls the cops.

Prue looks at Nate.

PRUE (CONT'D)

Nate ---

She steps closer. Nate approaches the knife even more to the man’s neck. The man’s neck starts bleeding.

NATE

Don’t get any closer, Prue.

PRUE

OK, OK.

Prue stops. She lowers down to the floor.

PRUE (CONT'D)

You have to put that knife down or you will hurt him.

Nate is still nervous.

NATE

I don’t want to hurt him.

Gadreel is serious.

NATE (CONT'D)

He’s making me doing this.

PRUE

(curious)

Who? Who is making you do this?

Nate looks straight to Prue.

NATE

(fearful)

Darkness.

Prue is serious.

NATE (CONT'D)

He is taking us all down. No one is safe.

Prue tries to get closer little by little.

PRUE

Look, Nate. He can’t get to you, OK?

NATE

He already has.

PRUE

No.

Prue moves slowly and in the floor.

PRUE (CONT'D)

You are stronger than that. You are a good man.

The employee closes his eyes and starts crying.

NATE

(to the employee)

Shut up!

(closes his eyes)

He won’t have mercy.

Prue swallows.

PRUE

Nate?

Nate starts crying.

PRUE (CONT'D)

Darkness isn’t that strong.

Gadreel stares seriously at Prue.

PRUE (CONT'D)

You can fight it.

NATE

No, I can’t.

PRUE

Yes, you can.

(pauses)

There’s not a single bone inside of you that Darkness can take.

A tear runs down Prue’s face.

PRUE (CONT'D)

You know how I know it?

Nate looks straight to her.

PRUE (CONT'D)

Because I know you from other lives and I know you are good.

Prue touches Nate’s leg.

PRUE (CONT'D)

I know there’s light inside of you.

Nate looks at Prue’s hand on his leg.

PRUE (CONT'D)

Look at me.

Nate looks at Prue.

PRUE (CONT'D)

Find it. Find the light.

Nate and Prue stare at each other for seconds and then some bright light starts surrounding Nate. Prue smiles. Nate drops the knife. Gadreel is serious. He seems angry. It seems like no one else saw the light.

NATE

(confuse)

What’s going on?

The employee stands fast.

MAN #1

Let’s call the cops.

Prue looks around. Prue approaches Nate and hugs him.

PRUE

(nervous)

It’s OK, you’re gonna be OK.

Nate is trembling. Prue looks at the people.

WOMAN #2

Don’t let him escape.

Prue tries to think fast.

PRUE

(lowers her voice)

I need to do something.

(breaths fast)

OK, Prue. You can do it!

(chanting)

‘The face you all are seeing, 

It’s not the right one. 

Replace Nate’s face 

In these people’s mind --- 

(pauses)

--- With the face of

A real criminal’

Nate looks at Prue. People start looking around. They seem confused.

NATE

(to Prue)

What happened?

PRUE

We’ll talk later.

MAN #2

(aloud)

The man escaped.

Prue and Nate stand. They look around. Nate looks at Prue. She forces a smile to him.

ON GADREEL. He’s serious.

CUT TO BLACK.

END OF ACT FOUR

[Prue Brianna Johnna Halliwell]

ACT FIVE

FADE IN:

EXT. SUSHI TIME RESTAURANT – NIGHT

Some police cars are there.

CUT TO:

INT. SUSHI TIME RESTAURANT – NIGHT

Some cops are inside the restaurant. Some are interviewing the people. Nate is sitting in a chair. He seems off. Prue is close by. Junior and Marco are with her. Marco is interviewing Prue. Gadreel isn't there.

MARCO

So, the man ran away.

PRUE

(bored)

That’s what I said.

MARCO

And you didn’t see his face?

PRUE

I told you, I didn’t.

MARCO

Everybody else did.

PRUE

(rude)

Well, I’m sorry, Inspector Delgado that I was more worried about taking care of my friend who was knocked out by that man than looking at his face.

Marco looks at Nate.

MARCO

Is he gonna be OK?

PRUE

Yes, he will. Are we done?

Marco nods yes. He seems like he has finished, but ---

MARCO

Mrs. Halliwell ---

Prue rolls her eyes.

MARCO (CONT'D)

Isn’t it curious that you’re always in the middle of this kind of things?

Prue stares at him.

PRUE

Believe me, I would do anything not to be.

Both Marco and Prue stare at each other for seconds. Then Marco turns around and approaches to a couple. Prue breathes relieved.

JUNIOR

What really happened here?

PRUE

'You know who' was here.

JUNIOR

(surprised)

What?

Prue looks at Nate.

PRUE

He messed up with Nate.

Junior looks at Nate.

JUNIOR

Is he OK?

PRUE

Thank God, he’s a full of light inside.

Junior looks at Prue.

JUNIOR

How do you know that?

PRUE

(looks at Junior)

Because my soul knows his soul since ever.

Prue smiles.

PRUE (CONT'D)

Am I free to go?

Junior nods. Prue smiles. She turns to leave, but Junior is curious about something.

JUNIOR

Are you dating him?

Prue turns to face Junior.

PRUE

He’s just a friend, Junior.

Junior nods and forces a smile. Prue turns around and approaches Nate. She touches his shoulder. Nate looks up at her. She smiles at him. Junior watches them.

ON JUNIOR. He’s serious.

CUT TO:

EXT. SAN FRANCISCO – NIGHT

A night view all over the town at the sound of ‘Broken’ by Lifehouse.

A few places all over the town are shown.

It ends with an image of the Golden Gate Bridge covered with fog.

CUT TO:

INT. CHRISTOPHER MERCER’S FLAT – LIVING ROOM – NIGHT

Junior is sitting on the couch. Christopher approaches him bringing two glasses of bourbon. He hands one of the glasses to Junior and sits beside him.

CHRISTOPHER

So, are you gonna tell me what’s happening?

Junior has a sip of his drink.

JUNIOR

How many were they?

Christopher looks at Junior.

JUNIOR (CONT'D)

The people you killed, how many were they?

Christopher has a sip of his drink.

CHRISTOPHER

Three.

JUNIOR

Do you regret it?

CHRISTOPHER

Every day.

Junior looks at Christopher.

JUNIOR

I’ve killed people. It’s part of my job when there’s no other way out, but ---

Junior lowers his gaze.

JUNIOR (CONT'D)

--- It feels different this time.

CHRISTOPHER

You were protecting your father. It was him or Henry.

Christopher puts a hand on Junior’s shoulder.

CHRISTOPHER (CONT'D)

He was a murderer, son.

JUNIOR

I know.

Junior has another sip of his drink. Christopher stares at his son.

CUT TO:

INT. HALLIWELL MANOR – FRONT HALL – NIGHT

ON: FRONT DOOR OPENING.

Prue comes in followed by Nate. He seems shaken. Prue turns on the front hall light. Melinda comes in from the kitchen.

MELINDA

Hey.

Prue smiles at her.

MELINDA (CONT'D)

(to Nate)

Are you OK?

NATE

Yes, thank you.

Melinda smiles.

MELINDA

(to Prue)

He is here. We’ll be waiting in the kitchen.

Prue nods yes. Melinda walks out. Prue signs Nate to get into the living room.

CUT TO:

INT. HALLIWELL MANOR - LIVING ROOM – NIGHT

Nate comes in followed by Prue. Prue puts her purse on the couch. Prue looks at Nate who seems thoughtful. Prue takes a deep breath.

PRUE

There’s something I never told you about me.

NATE

You’re a witch.

BEAT. Prue is astonished.

PRUE

Come again!

Nate takes a deep breath.

NATE

I know ---

(pauses)

--- Actually, I’ve always known that you’re a with. I mean, at least I think you are.

Prue can’t hide is astonishment look.

PRUE

How?

Nate smiles.

NATE

My great grandmother. Janice’s daughter.

Prue sits, still astonished.

NATE (CONT'D)

When I was a child, I used to listen to her stories.

(pauses)

She used to tell me about her favorite auntie, Penny Halliwell and that part of the family.

Prue looks at him.

NATE (CONT'D)

She told me that one day she saw Penny doing magic and Penny asked her not to tell anyone. That if people knew about it, bad things could happen.

(pauses)

She also told me that her mother moved out of San Francisco after Allen’s death. Penny though that it was the best thing to do.

Nate sits in front of Prue.

NATE (CONT'D)

I used to believe her back then. She died when I was seven and I never thought about it again until ---

They both stare at each other.

PRUE

Until?

NATE

Three months before moving to San Francisco, I received a very good job proposition. Accepting it would make me move out from my hometown.

Prue listen carefully.

NATE (CONT'D)

I had doubts. On one hand, it was what I needed back then. I had just got out of a bad relationship and I needed to put land between me and her.

(pauses)

On the other hand, leaving my home and my family ---

(nods)

--- The life I knew. I don’t know, it seemed wrong.

PRUE

What made you come here?

NATE

A photo. An old photo.

Nate takes off, from his pants back pocket, his wallet.

NATE (CONT'D)

I stayed alone at home on a rainy night. I needed to think. And there it was ---

Nate looks at Prue.

NATE (CONT'D)

--- The attic. I remembered that grandma and mom put great grandma’s thing in there. And I felt curious.

(pauses)

I went in and started digging into her stuff.

Nate takes something from the wallet.

NATE (CONT'D)

I found something that called my attention.

(pauses)

An old journal that belonged to Janice’s mother ---

(looks at Prue)

--- Isabelle Halliwell.

Prue swallows.

NATE (CONT'D)

Inside the journal, this photo.

Nate hands the old photography to Prue. She looks at it.

CLOSE UP: OLD PHOTO. In the photo three people: William and Matthew Halliwell and in the middle of the two man is Isabelle.

BEAT. Prue looks at the photo.

NATE (CONT'D)

I got shocked when I saw it, but you don’t seem shocked at all.

Prue looks at Nate.

NATE (CONT'D)

They are our ancestors, aren’t they?

PRUE

Isabelle, William and Matthew.

NATE

Our past lives.

That wasn’t a question, but a statement. Prue nods.

PRUE

You knew who I was when we first met.

NATE

Not exactly. I knew who you were, but just when you said your name I realized who you are.

Prue hands the photo back to Nate. She stands and approaches the fireplace.

NATE (CONT'D)

‘You can’t be here’, you said.

Prue sighs. She turns to Nate.

PRUE

I ---

(thinks)

--- Isabelle was married to William.

Nate nods.

NATE

And I guess William was Wyatt’s past life?

Prue nods.

PRUE

He died.

Nate looks at Prue.

PRUE (CONT'D)

And she married you.

(corrects)

Your past life, I mean.

Prue sits beside Nate.

NATE

Oh!

PRUE

Yeah.

Nate doesn’t know what to say. Prue stares at him.

CUT TO:

INT. HALLIWELL MANOR – KITCHEN – NIGHT

Melinda is sitting at the table. Across her are Tamora and Sebastian. They all seem thoughtful.

MELINDA

I’m so sorry for him.

TAMORA

Is it right to tell him about us?

MELINDA

He is family.

TAMORA

Not magical.

SEBASTIAN

Girls?

Melinda and Tamora look at Sebastian.

SEBASTIAN (CONT'D)

She’s doing the right thing.

MELINDA

Agree. If Prue marries him, he’ll know.

TAMORA

Wow. Marry?

Melinda looks from Tamora to Sebastian and to Tamora again.

MELINDA

Like it happened before, remember?

TAMORA

That was back then in the 20’s, Mel.

MELINDA

So?

Tamora and Sebastian exchange glances. Tamora lowers her gaze.

MELINDA (CONT'D)

You should talk to her, Tam.

Tamora looks at Melinda.

MELINDA (CONT'D)

I know you don’t feel OK about what happened.

Tamora lowers her gaze. Sebastian and Melinda exchange glances. Sebastian holds Tamora’s hand.

CUT TO:

INT. HALLIWELL MANOR – LIVING ROOM – NIGHT

Prue and Nate are still there.

PRUE

I know this is a lot.

NATE

What happened tonight? At the restaurant?

PRUE

That’s exactly what I wanted to ask. You came back from the toilets different.

Nate thinks for a while.

NATE

I remember that someone entered the toilets while I was there.

PRUE

Who?

NATE

I don’t know.

Prue stands. Nate realizes she’s worried.

NATE (CONT'D)

But you know who was it.

Prue turns to Nate.

PRUE

Darkness. You were infected with Darkness.

Nate frowns.

PRUE (CONT'D)

That’s why you need to leave.

Nate is surprised.

NATE

What?

PRUE

Nate, somehow, don’t ask me how, I know that this thing is coming for me. I feel it.

NATE

Thing?

PRUE

I can’t tell you more. The thing is that he has already taken Wyatt from me. I can’t let him hurt you.

NATE

Why would he hurt me, Prue? I’m ---

PRUE

(cuts him off)

My second true love.

Nate is surprised.

NATE

Your what?

PRUE

I can’t explain how, but I know that when a door closes, a window opens. With Wyatt dead, you’re my window, Nate.

NATE

Then, why should I leave?

PRUE

Because ---

Prue takes a deep breath.

PRUE (CONT'D)

--- I can’t let him hurt you as he did to Wyatt.

Prue approaches Nate and holds his hands.

PRUE (CONT'D)

Trust me, please.

Both Prue and Nate look into each other’s eyes for seconds.

NATE

I trust you.

Prue smiles.

PRUE

(calling)

Sebastian!

Soon, Sebastian comes in followed by Melinda and Tamora. Prue and Nate look at them. Prue lets go of Nate’s hands.

PRUE (CONT'D)

Did they let you?

SEBASTIAN

They did. The Elders also believe that he needs to be protected.

Prue smiles. She looks at Nate.

PRUE

This is Sebastian, a friend and a Whitelighter.

NATE

A what?

SEBASTIAN

Some sort of guardian angel.

PRUE

A good guardian angel.

(to Nate)

He’s going to take to a safe place.

Sebastian approaches Nate.

NATE

Can I get my stuff?

Sebastian nods yes. Then, Nate looks at Prue.

NATE (CONT'D)

Will I ever see you again?

Prue runs to hug him.

PRUE

If we are in each other’s path, then I’m sure we will.

They break the hug.

NATE

Be safe.

PRUE

You too.

Both share a look. Then, Sebastian grabs Nate’s arm and ORBS out of there. Prue lowers her gaze.

TAMORA

He didn’t seem shocked at all.

PRUE

He knew.

TAMORA

(astonished)

What?

PRUE

(rude)

What you heard.

(pauses)

I need a good night sleep.

Prue heads the staircase, but Tamora calls her.

TAMORA

Prue?

Prue turns to face her.

TAMORA (CONT'D)

I don’t agree with the way you want to do things, but I’m sorry, for what I said.

PRUE

It’s OK.

(pauses)

If we ever find Ignatius, he's yours.

Tamora smiles. Prue turns around and leaves the room.

TAMORA

Well, at least she didn’t burn me to death.

MELINDA

She’s not mad at you. She’s just hurting.

Both Tamora and Melinda hug.

CUT TO:

INT. HALLIWELL MANOR – WYATT / PRUE’S BEDROOM – NIGHT

No lights on. Prue comes in. She turns on the light and sits on the bed.

PRUE

I know you want to hit me. But I won’t break down, I won’t, Gadreel.

(pauses)

I am light! My heart is 100% light!

Prue is serious.

CUT TO:

INT. UNDERWORLD – GADREEL’S SECRET CAVE – NIGHT

ON THE MIRROR: PRUE, SITTING ON THE BED.

Gadreel WAVES his hand and the image fades off. Gadreel stares at the mirror. Wyatt stares at Gadreel from inside the cell.

WYATT

You won’t be able to get close to her.

Gadreel turns to face him.

GADREEL

I will. I managed to get that man away from her.

WYATT

She knows that you’re trying to get to her. Taking what she loves from her.

Gadreel gets furious.

GADREEL

What about what I love?

Gadreel is mad.

WYATT

You want to get revenge on her!

GADREEL

I want her, Uzriel!

(desperate)

Don’t you see it? I became Darkness and still never stop loving her. Not for a single day of my eternal prison.

(pauses)

I said yes to Darkness when it was going for her.

WYATT

What?

GADREEL

Yes. Darkness was going for her soul. And I stepped in the middle because I couldn’t let it take her.

WYATT

But still, you want her.

GADREEL

Because ---

(smiles)

--- Even with this heart of Darkness of mine, I still love her. And I believe that she and I would make great things together.

Wyatt swallows.

GADREEL (CONT'D)

That’s why Darkness wanted her then and it became stronger when it took over me. Because I love her.

Gadreel smiles. He turns around and keeps smiling. Wyatt is astonished. He swallows again.

The camera gets away slowly as the image turns darker and ---

CUT TO BLACK.

END OF THE EPISODE