5x09 - Black Mirror: The 100

[Prue Brianna Johnna Halliwell]

DESTINED

'BLACK MIRROR: THE 100'

TEASER

OVER BLACK.

FADE IN:

EXT. SAN FRANCISCO - SOMEWHERE IN THE BUSH - DAY

ON WHITMORE ENTERPRISES’ SIGN - Some metal boxes have the sign on their side.

Tamora is wearing jeans with a black shirt and a denim jacket and has her hair tied up in a ponytail. She walks past the workers of Whitmore Enterprises.

TAMORA

(to the workers)

Those boxes go over there. They’re gonna need the tools inside to break the stone.

Jo comes walking behind her. Tamora turns to face her.

TAMORA (CONT'D)

You’re still following me!

Jo stops and puts her hands on her hips.

JO

Until you listen to me.

TAMORA

What’s the part that I’m working on that you don’t understand?

Jo looks around.

JO

I still can’t understand what you’re doing here? Aren’t you a Curator?

TAMORA

I am, but Sebastian asked me to take care of this. He’s a collector you know. Art is his thing. His great-grandfather started this group of archeologists and explorers and made it part of Whitmore Enterprises.

JO

Yes, I know a little bit of the story of the Whitmore Line. The keepers and protectors of the Books of Angels.

Tamora shoots Jo a look.

JO (CONT'D)

Now you are the keeper, aren’t you?

TAMORA

And you know that because ---

JO

Because I am who I told you I was.

TAMORA

Prue and Wyatt’s daughter.

Jo nods.

JO

How did you become the keeper of the Books?

TAMORA

(sighs)

I was Sebastian’s white ---

Tamora glances around and checks the workers don’t listen to her. They are next to a rock walk and some of them are trying to break the rock. It seems like they want to open a passage.

TAMORA (CONT'D)

(lowers her voice)

--- Whitelighter when he died. I became the keeper.

(pauses)

Those books are in their family forever.

JO

Have you read them?

TAMORA

They are kept in a secret cave at the manor. And no, I haven’t. I can’t understand the language.

JO

Someone can.

Tamora stares at Jo waiting for an answer.

JO (CONT'D)

Mum.

(pauses)

You don’t remember, but you gave them to her. That’s how she learned about Angels and her first life.

TAMORA

Right. Isis.

Jo nods.

TAMORA (CONT'D)

Okay. I might believe that story. But the rest? Prue and Wyatt ---

JO

(cuts her off)

Are in love. They are true love. How do you think he found her last week?

Tamora looks aside.

JO (CONT'D)

Tam ---

Jo approaches her.

JO (CONT'D)

They are my parents. I came from the future to save them from becoming the destroyers of this world and when I was going back to my time, I and Prue ended here. We all did, but I and Prue remember while you don't.

TAMORA

In an altered reality?

Jo nods. Tamora turns around and takes a deep breath. She then turns to Jo.

TAMORA (CONT'D)

If you are from the future tell me, will I find the mirror I’m looking for behind those rocks?

JO

Mirror?

TAMORA

Frederick I of Prussia. He owned a mirror. In some records that Sebastian got from his great grandfather said that Frederick wanted to get rid of the mirror. He wrote on his journals that he had to because the object was embedded with dark magic.

JO

Why don’t you leave it where it is?

TAMORA

Well, Sebs’ grandfather wanted to protect the object from the wrong hands. He had a map. Apparently, the mirror was brought from Europe a little while before the King’s death. The explorers believe it’s inside that wall.

Jo looks at the rock wall.

JO

Well, I know nothing about a mirror.

TAMORA

(sarcastic)

What a helper from the future.

JO

(complaining)

I’m not an encyclopedia of my family’s history.

ON THE ROCK WALL - Some workers place explosives on the wall.

WORKER #1

Ready.

(to Tamora)

Mrs. Mitchell?

Tamora and Jo look at him.

WORKER #1 (CONT'D)

The explosives are ready.

JO

(to Tamora)

Explosives?

TAMORA

(to the worker)

Let’s do it.

The worker nods.

CUT TO:

INT. CAVE - SOMEWHERE IN THE BUSH - DAY

The cave is dark. Full of webs all over the place. In the middle of the cave, lies a mirror the size of a tall person. Featuring decorative fleur de Lis details, the frame on this beautiful mirror is finished in a lightly distressed gold leaf with red undertones. It’s covered with webs as well as the rest of the cave.

SOUND - EXPLOSIONS coming from outside.

ON THE MIRROR - A PAIR OF RED EYES APPEAR. They look terrifying.

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

Jensen Ackles as Eric

Katie Cassidy as Melissa

Guest Starring

Laura Vandervoort as Jo

Matthew Daddario as Jared Lare

Alexandra Daddario as Jessica Lare

Eric Winter as Nate

Robbie Kay as Alex

Jennifer Morrison as Ella

Peter Facinelli as Sebastian

Chris Wood as Ethan

Stephen Amell as Johnathan

Dover Cameron as Michaela

Arthur Darvill as Red-Eyed demon / Man in the Mirror

Jacob Tremblay as 11 Years Old Matt

Jack Gillett as Tom

Unknown actors as Workers

Unknown actresses as Coffee Shop Workers

Unknown actress as Girl

Unknown baby as Andrew

Created by

Constance M. Burge and Brad Kern (Charmed)

Sol (Destined)

Written and Edited by

Sol

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 ‘Illusion’ by Pascal Junior.
Several places are been shown.

CUT TO:

EXT. HALLIWELL MANOR - DAY

MUSIC KEEPS PLAYING.

FOOTAGE OF THE MANOR.

CUT TO:

INT. HALLIWELL MANOR - CHRIS’ BEDROOM - DAY

MUSIC FADES OFF.

ON AN OPEN SUITCASE - It’s on the bed and someone is throwing clothes in.

Chris is throwing the clothes into the suitcase. He moves from the closet to the bed while Ella stands next to him staring at what’s he's doing. She has her arms crossed over her chest.

ELLA

Chris ---

Chris turns to her, mad.

CHRIS

No. I told you, Ella, this is not working anymore.

ELLA

Because of Bianca. If she hadn’t appeared ---

CHRIS

(cuts her off)

Bianca has nothing to do with this.

ELLA

Of course, she has. You changed the moment she came into our lives.

CHRIS

Things are more complicated than that.

ELLA

Then, talk to me.

Chris heads into the closet and comes back bringing some shirts.

CHRIS

I can’t.

ELLA

It’s Bianca.

She approaches him.

ELLA (CONT'D)

Honey. We can get back to what we were. You just have to forget that she exists.

Chris stops and stares at her. He takes a deep breath.

CHRIS

I can’t tell you what’s going on, El. Not yet. You wouldn’t understand. And this ---

(sighs)

El, ---

He holds Ella by her upper arms.

CHRIS (CONT'D)

--- We’ve been sleeping in different rooms. We barely talk and when we do, we fight.

ELLA

I know we can fix this.

CHRIS

We can’t. This is bigger than our marriage.

ELLA

You keep saying that.

CHRIS

You must trust me.

ELLA

Trust you? You are leaving me.

Chris steps back.

CHRIS

I know what I’m doing.

ELLA

I really hope you do, but don’t expect me to stay here crying over this.

CHRIS

I wish you don’t. You don’t deserve this.

Chris closes the suitcase and takes it from the bed.

CHRIS (CONT'D)

You’ll understand. Someday, you will.

Chris heads towards the door and opens it. He glances at Ella over his shoulder.

She remains serious but doesn’t turn back to him. Chris leaves the bedroom and closes the door behind him. As he shuts the door behind him, Ella sits on the bed and can’t control the tears that come rushing down her face.

CUT TO:

INT. HALLIWELL MANOR - FIRST FLOOR CORRIDOR - DAY

Chris comes from his bedroom and he stops suddenly as he sees someone in front of him.

BEAT. Eleven years old Matt is standing before him.

CHRIS

Who are you?

MATT

The clock is ticking.

Chris stares at him.

CHRIS

Matt?

MATT

You must rush, dad. Jo and I won’t have much time.

Chris walks towards him and reaches out his hand to touch Matt, but Matt vanishes.

CHRIS

Matt?

ON CHRIS - He is astonished.

CUT TO:

EXT. SAN FRANCISCO - SOMEWHERE IN THE BUSH - CAVE - DAY

Some workers come into the cave that is now brighter thanks to the light that comes in.

Following the workers come Tamora and Jo wearing protective helmets.

WORKER #1

Mrs. Mitchell, there it is.

The worker signs to the object in the middle of the cave.

TAMORA

The Mirror of Velle.

Jo glances at Tamora.

JO

Belle? Who’s Belle?

Tamora glances at Jo.

TAMORA

Not Belle. Velle. It means 'want' in Latin.

JO

Oh. Do you know Latin?

TAMORA

Don’t be silly. I’ve learned the story of the mirror.

Both women approach the mirror.

TAMORA (CONT'D)

It is a beautiful piece of art.

Tamora reaches out her hand and is about to touch it when Jo pulls Tamora’s hand back.

TAMORA (CONT'D)

What?

JO

Didn't you say dark magic?

Tamora rolls her eyes.

TAMORA

It’s just a story.

JO

Just in case.

They stare at each other for moments. Then Tamora turns to the workers.

TAMORA

It must be transported to the warehouse. It has to be clean there.

The workers approach the mirror while Tamora and Jo move aside.

TAMORA (CONT'D)

Do it carefully.

One of the workers, a young man in his twenties stops in front of the mirror when ---

ON THE MIRROR - A pair of red eyes appear and disappear right away.

WORKER #1

Hey, Tom!

TOM looks at his boss.

TOM

Did you saw that?

The others look at the mirror. Tamora and Jo too.

TAMORA

What is it?

Tom looks at Tam and swallows.

TOM

Nothing, Mrs. Mitchell. It’s a very old thing, this one.

TAMORA

It’s not a thing, boy. It’s art.

Tom and three other workers start taking the mirror out. It seems heavy.

WORKER #2

A very heavy piece of art.

WORKER #1

Don’t complain, guys!

Tamora signs Jo to follow her outside. They walk out of the cave.

CUT TO:

EXT. SAN FRANCISCO - SOMEWHERE IN THE BUSH - DAY

Tamora and Jo come from the cave. They stop at the entrance. Tamora turns to Jo.

TAMORA

Fine. I’ll hear you out.

Jo smiles.

TAMORA (CONT'D)

I still think this whole thing is nonsense, but truth is that something is happening. Wyatt finding Prue ---

(looks aside)

--- Their past lives ---

Tamora smiles sarcastically.

TAMORA (CONT'D)

Want to join me while I watch the cleaning of that old piece of art?

Jo smiles again.

JO

Of course, aunt Tam.

TAMORA

Aunt?

JO

Yes. Aunt.

Tamora rolls her eyes while Jo smiles.

CUT TO:

EXT. APARTMENT BUILDING - DAY

FOOTAGE of a fifteenth-floor apartment building.

CUT TO:

INT. JARED’S APARTMENT - LIVING ROOM - DAY

The living room has a very elegant decoration. It has a door to the balcony with a view of the town and the sea.

ON JESSICA - She lets herself fall on the sofa and smiles.

JESSICA

I like it!

Jared is standing by the elegant and modern fireplace.

JESSICA (CONT'D)

Got a room for me here?

JARED

I believe that won’t be necessary, little sis. You must sleep with your husband.

Jessica smiles.

JARED (CONT'D)

Have you ---?

Jared doesn’t need to finish the question. Jessica knows what he wants to know.

JESSICA

He’s been sweet to me.

JARED

But?

Jessica grimaces and straightens on the sofa.

JESSICA

He hasn’t look for me in bed.

Jared’s expression darkens.

JARED

We are running out of time, Jess. You told him you were pregnant. Prue’s belly has started showing, yours should too.

JESSICA

I know.

JARED

It doesn’t look like you know.

Jared walks towards her and sits beside her.

JARED (CONT'D)

I need an heir.

(glances at her)

I can’t avoid the Avatars forever.

Jessica glances at him.

JARED (CONT'D)

With the powers of an heir with Warren blood, I’ll be able to have both. The Avatars and the Warren Line by my side.

JESSICA

I know all that. I can’t make Wyatt have sex with me.

They stare at each other deeply.

JARED

You better find a way to seduce your man. Time is ticking. Use the potion. Otherwise, we’ll have bigger issues.

Jessica sighs and stands.

JESSICA

Fine. It won’t be a sacrifice for me to have sex with him.

JARED

I don’t need to know that, Jess. I’m still your brother.

Jessica turns to him.

JESSICA

What about the other thing?

Jared looks up at her.

JESSICA (CONT'D)

Prue?

Jared smiles.

JARED

It’s working. Slower than I wished, but working.

ON JARED - He smirks.

CUT TO:

EXT. P3 - DAY

Prue’s car is parked outside.

CUT TO:

INT. P3 - DANCING FLOOR / BAR - COUNTER

ON BIANCA - She’s leaning against the counter with her arms crossed. She’s seriously staring at a nervous Prue.

Prue paces the place. Back and forward. Back and forward.

PRUE

I couldn’t. Again. I couldn’t.

Prue is wearing a red top that shows a small overhang on its belly. She is 8 weeks pregnant now.

PRUE (CONT'D)

Again, I tried and I couldn’t.

Prue sighs.

BIANCA

You should calm down, Prue.

Prue looks at her.

BIANCA (CONT'D)

The babies.

Prue touches her belly and sighs again.

BIANCA

Did you try to tell Nate the truth again?

PRUE

Yeah, for the thousandth time since the Truth Spell.

Prue goes to sit on a barstool.

PRUE (CONT'D)

He asked me then and I wanted to tell him. I feel like I should, but at the time I got so confused. My thoughts were so confused and I couldn’t.

BIANCA

And has been like that ever since?

PRUE

Yeah.

BIANCA

Why don’t you tell Jo, Prue? She’s your daughter after all.

PRUE

I can’t. B, you can’t tell her.

BIANCA

I won’t, Prue. But you must agree with me. This is bad.

PRUE

I know. I think that spending too much time in this fake reality is confusing my memories.

Prue lowers her gaze.

PRUE (CONT'D)

Jo cannot know. I don’t want her to think that I might forget about her.

BIANCA

Is that even a possibility?

Prue looks at Bianca. Her gaze is full of fear.

PRUE

I don’t know what can happen if I don’t reverse this.

Bianca takes Prue’s hands between hers.

BIANCA

I won’t let you forget her.

Prue half-smiles.

PRUE

You don’t remember a thing and still, you believe us. I wish ---

Prue lowers her gaze. She’s sad.

BIANCA

Wyatt!

It wasn’t a question.

PRUE

I miss him.

Prue looks at Bianca.

PRUE (CONT'D)

We were doing okay. He admitted that he loved me and then this Jessica bitch got pregnant.

Prue sighs.

PRUE (CONT'D)

Has Chris told you about him?

BIANCA

Just that he is being attentive to her. Nothing else.

PRUE

Look at me. Worried about me when you have issues too.

(holds Bianca’s hands)

You and Chris?

BIANCA

We’ve talked. A lot.

PRUE

Have you ---?

BIANCA

No. We kissed once, that’s all. No matter what, in here, he’s married. Ella exists.

PRUE

She exists in our real reality. She’s just not married to him.

OFF TO CHRIS - He ORBS in.

CHRIS

Prue?

He looks at Prue and then his eyes meet Bianca’s.

BIANCA

Hi, you.

Chris smiles. The both of them stare at each other as there’s no one else there. Prue smiles.

PRUE

I’m still here.

They realize Prue’s still there and smile shy. Then Chris turns to Prue.

CHRIS

I think I saw my son.

ON CHRIS - He is serious.

Prue and Bianca exchange glances.

CUT TO:

EXT. PRESCOTT STREET - DAY

CAMERA MOVES FROM MATTHEWS / MITCHELL MANOR as Junior comes out from the house and crosses the road towards the HALLIWELL / COOP MANOR.

Junior climbs the stairs.

CUT TO:

EXT. HALLIWELL / COOP MANOR - PORCH - DAY

Junior reaches the front door and knocks on the door.

Soon, someone opens the door. Cassandra smiles as she sees Junior there.

CASSANDRA

I told you I won’t say a thing.

Junior rubs the back of his neck.

JUNIOR

Is it that bad that I wanted to make sure we were agreeing on this?

Cassandra smiles and signs him to walk in.

CUT TO:

INT. HALLIWELL / COOP MANOR - LIVING ROOM - DAY

Junior comes in followed by Cassandra.

CASSANDRA

Why don’t you want them to know you and Melissa are together?

Junior turns to Cassandra.

JUNIOR

We are not ---

Cassandra shoots him a look.

JUNIOR (CONT'D)

Fine. We are, but ---

CASSANDRA

But?

JUNIOR

(shrugs)

I don’t know. It’s just good the way it is. Besides, she dated Wyatt and I don’t want him to get mad at me.

CASSANDRA

He wouldn’t.

JUNIOR

Still. And why you don’t want them to know you’re dating your boss?

CASSANDRA

I’m not dating Mr. Hale.

JUNIOR

Mr. Hale, huh?!

CASSANDRA

I’m not dating him. It was just a business date.

JUNIOR

Really?

CASSANDRA

Yeah.

Junior is not convinced.

JUNIOR

You seemed to be having fun.

CASSANDRA

Because we were. But there’s nothing romantic going on between us.

JUNIOR

Fine. I’ll pretend I believe you.

CASSANDRA

As you wish. Just make sure you don’t tell anybody about it. They would get the wrong idea.

JUNIOR

Fine.

CASSANDRA

Fine.

Both of them stare at each other smiling.

CUT TO:

INT. SAN FRANCISCO MEMORIAL HOSPITAL - E.R. CORRIDOR - DAY

Eric and Ethan come down the corridor.

ETHAN

--- It’s like she’s running from me.

ERIC

Maybe it’s just your impression.

ETHAN

No, it’s not. For the past few days, she’s just been weird.

Ethan stops and so does Eric. They look at each other.

ETHAN (CONT'D)

Maybe I said something that hurt her.

ERIC

C’mon, Ethan. You’ll see. When you don’t see it coming, she’ll knock on your door saying that she misses you.

ETHAN

I hope you’re right, my friend.

ERIC

Now, let’s get back to work.

Ethan nods and both men keep walking.

CUT TO:

INT. P3 - DANCING FLOOR / BAR - DAY

Prue and Chris are staring at each other. Bianca is close to them.

CHRIS

You need to tell me how Matt is.

Prue seems confused.

PRUE

Matt?

CHRIS

My son.

Prue seemed like she didn’t recognize the name.

PRUE

Right! Matt. Of course.

Prue makes an effort to remember.

PRUE (CONT'D)

Well, Matt, he is ---

She keeps thinking.

PRUE

--- A cute baby with fluffy cheeks ---

CHRIS

(cuts her off)

I mean the eldest version of my son.

PRUE

Oh. Well, I’ve met adult Matt. He ---

Again, Prue tries to remember. It’s like Matt’s image has faded from her memory.

PRUE (CONT'D)

He is tall, brown hair, blue eyes.

Prue grimaces.

BIANCA

I’ve seen him.

Both stare at Bianca.

BIANCA (CONT'D)

In my vision, he was like ten, eleventh years old.

CHRIS

Just like the vision I saw.

BIANCA

He was exactly how Prue described him, just younger.

CHRIS

Exactly.

Chris approaches Bianca. Prue looks at them.

CHRIS (CONT'D)

He said that time is ticking.

Chris turns to Prue.

CHRIS (CONT'D)

We are running out of time.

PRUE

I know.

Prue swallows.

PRUE (CONT'D)

I’ve been experiencing some memory loss.

Chris and Bianca exchange glances. They seem worried.

CUT TO:

EXT. SAN FRANCISCO - GOLDEN GATE PARK - DAY

ON WYATT’S FACE - He is serious.

Wyatt is sitting on a bench. He stares at the sea in front of him. He is thoughtful and with a sad expression.

OFF TO DAMON - He comes walking and stops as he sees Wyatt. Then Damon approaches Wyatt and sits beside him.

DAMON

Hey!

Wyatt doesn’t look at him.

WYATT

Thanks for coming.

DAMON

You’re my best friend, Wyatt. If you call me, sounding desperate, I come.

Wyatt glances at him. Damon glances back.

WYATT

Thank you. I could use a friend now. Someone that doesn’t judge me.

DAMON

I would never judge you, man.

WYATT

I know.

DAMON

What’s going on?

Wyatt looks aside. He takes a deep breath.

WYATT

I think I might love another woman.

Damon knows what he means.

DAMON

Prue?

Wyatt looks at him astonished.

WYATT

How do you ---?

DAMON

I always knew. And so did Chris.

WYATT

How?

Damon shrugs.

DAMON

We just did. The two of you ---

Damon smiles.

DAMON (CONT'D)

--- Well, you had something. I and Prue even dated to make you mad.

WYATT

What?

Damon nods.

DAMON

And you hated it.

WYATT

Yes, because she’s my cousin and you grow up as a brother.

DAMON

Yeah. No point in denying it, Wy.

Wyatt sighs.

WYATT

I don’t know what’s happening to me. I love Jess, but ---

DAMON

You also love Prue.

Wyatt nods.

WYATT

Jess is pregnant.

Damon nods.

DAMON

I know. Mel told me.

WYATT

I was ready to let go of everything and be with Prue, but ---

DAMON

A baby is coming.

WYATT

Yeah. And then Prue is also pregnant. And I realized how all this feels wrong and at the same time ---

Wyatt stands. He seems desperate.

WYATT (CONT'D)

At the same time ---

(turns to Damon)

--- It feels right.

(pauses)

I don’t know what to do, man.

Damon stands.

DAMON

There’s a mess inside of you, bro.

Damon places a hand on Wyatt’s left shoulder.

DAMON (CONT'D)

I wish I could tell you what to do, but I can’t.

WYATT

I know.

DAMON

But you have to do what’s best for the four of you. Let’s not forget that Nate is in the middle of this too.

WYATT

Yeah. And she’s my cousin. I can’t have these feelings.

DAMON

Well, ---

Damon turns around and then he turns back to Wyatt.

DAMON (CONT'D)

--- If you really love Prue, like true love, man, it won’t matter that she’s your cousin.

WYATT

But ---

DAMON

No, Wyatt. If in the end, the best for everyone is you and Prue together, then, the family ties you two share mean nothing.

WYATT

I don’t know what to do.

DAMON

I’m glad I’m not you, man.

Both men stare at each other.

CUT TO BLACK.

END OF ACT ONE

[Prue Brianna Johnna Halliwell]

ACT TWO

FADE IN:

EXT. WHITMORE ENTREPRISES - ARCHEOLOGY DEPARTMENT BUILDING - DAY

BLACK VANS are parked outside.

CUT TO:

INT. WHITMORE ENTREPRISES - ARCHEOLOGICAL DEPARTMENT BUILDING - ROOM - DAY

ON TOM - He is serious.

The young man stands in front of the mirror which is still covered with web and it’s placed in the middle of a white room. There’re some tables with ancient objects on and a few showcases.

OFF TO THE DOOR - Tamora comes in followed by Jo.

TAMORA

So, Prue was the ---

They both stop as they see Tom there.

TAMORA (CONT'D)

Excuse me?

Tom does not react. Tamora and Jo exchange glances.

TAMOR(CONT'D)

Tom?

Tamora shrugs.

TAMORA (CONT'D)

(to Jo)

I think that’s his name.

JO

Hey, Tom.

Tom turns around and looks at them.

TOM

Yes?

TAMORA

What are you doing?

TOM

Oh, I ---

Tom looks at the mirror.

TOM (CONT'D)

It’s a very beautiful mirror.

TAMORA

Yes, it is. The team that’s going to take care of all that web that’s covering it will be here soon. You can leave. Take the rest of the day off.

TOM

Of course.

Tom takes a last look at the mirror and the nods. Tamora and Jo step aside to let him walk out. Tom leaves the room closing the door behind him.

JO

Is he always like that?

TAMORA

No idea, darling. It’s the first time I’m helping Sebastian with this.

(turns to Jo)

Back to your story. So, Prue and Wyatt were the Source and Queen of All Evil?

JO

Yes, and I came from the future to save them. Only that I couldn’t. Then my sisters came back in time as well and ---

TAMORA

(cuts her off)

Prue is pregnant with your sisters right now?

JO

Yes. And they were evil, but the three of us worked together to bring Prue and Wyatt back to good.

TAMORA

Right. And you ended up here when Prue was taking you to your time.

JO

Exactly. Prue and I are the only ones that kept the right memories.

Tamora sighs.

JO (CONT'D)

Do you believe me?

Tamora shoots her a look.

TAMORA

It’s crazy, you’ve got to admit.

JO

Yes, but it’s the truth.

TAMORA

And I might believe you.

Jo smiles big.

JO

Really?

Tamora nods.

JO (CONT'D)

Maybe if everybody believes, we would be able to work together and get all your memories back.

TAMORA

Yeah, well, not everybody will take this easily.

JO

Grams Phoebe believes.

TAMORA

Does she know?

Jo nods.

JO

And I believe she’s getting somewhere with Grams Piper and Aunt Paige.

TAMORA

Well, but as I said, this is a lot to process and I am open to believe it because I saw Isis and Osiris. So ---

Tamora cuts herself off.

TAMORA (CONT'D)

Jessica is pregnant.

JO

One problem at the time, please.

OFF TO ORBS - Sebastian ORBS in followed by Pandora.

Tamora and Jo turn to them.

TAMORA

What are you guys doing here?

Sebastian looks at the mirror.

SEBASTIAN

Is this it?

Tamora nods. Sebastian walks towards the mirror and is about to touch it when ---

TAMORA / JO

Don’t!

Sebastian looks at Tamora and Jo.

TAMORA (CONT'D)

Black magic. We don’t know if the stories are true.

JO

Oh, they are.

They all look at Jo.

TAMORA

You said ---

JO

(cuts her off)

I can feel the black magic in it.

PANDORA

How?

JO

I’m just my mother’s daughter. That mirror has something evil inside of it.

Sebastian steps back.

SEBASTIAN

Well, there might be some truth to the stories about it indeed.

PANDORA

It wasn’t for the mirror that we came for.

SEBASTIAN

Right.

TAMORA

Then why did you come from? Pan, what are you doing here?

PANDORA

A charge.

SEBASTIAN

Pandora asked for a charge.

Tamora is astonished.

TAMORA

You what?

PANDORA

I need a distraction, okay?

TAMORA

Go to work.

PANDORA

I did. It didn’t work.

JO

You are still mad because Ethan wasn’t able to give you an answer?

Pandora looks at Jo and then at Pandora.

PANDORA

(to Tamora)

Are we friends with her now?

TAMORA

She might be more than a friend.

PANDORA

Okay.

(to Jo)

I’m not mad. I’m disappointed.

TAMORA

A negative answer would be better than nothing.

PANDORA

It would. Now he didn’t say anything.

Jo walks towards Pandora.

JO

Pan, it won’t be easy, but Ethan loves you and you must fight for him.

Tamora and Sebastian look at her. Pandora is admired at Jo’s words.

JO (CONT'D)

Don’t hide what you are. He loves you too and maybe with time he gets used to it.

PANDORA

How do you know?

JO

I don’t. I just know that hiding what you are from him, it’s not what will make you happy. You can’t give up on who you are and if he truly loves you, then he’ll accept you just the way you are.

Pandora smiles.

PANDORA

Thank you.

Jo smiles back.

TAMORA

Well, the charge. Where is it?

SEBASTIAN

Here. He’s one of my workers as it seems.

TAMORA

Who?

SEBASTIAN

Tom.

Tamora and Jo exchange glances.

CUT TO:

EXT. P3 - DAY

STILL.

CUT TO:

INT. P3 - DANCING FLOOR / BAR - DAY

Chris is pacing the place. Prue is sitting by one of the tables and Bianca leans on the counter.

CHRIS

Memory loss?

BIANCA

It must be a side effect of her being in this fake reality for so long.

CHRIS

Then we must do something and fast.

PRUE

Tell me something I don’t know, Chris.

CHRIS

We should call Jo.

PRUE

Who?

Chris stops and looks at Prue. Bianca looks at Prue as well.

BIANCA

Jo, Prue. Your daughter?

PRUE

Right. Sorry. I’m distracted.

Chris and Bianca exchange glances.

CHRIS

(to Prue)

You’re not distracted.

Prue looks aside.

CHRIS (CONT'D)

For seconds you didn’t know who Jo was, right?

PRUE

Of course, I know.

Prue stands.

PRUE (CONT'D)

I would never forget my daughter.

CHRIS

We must act fast. What do we know about this?

BIANCA

Not much. Jo has been trying to figure out which event changed our lives.

CHRIS

An event?

Prue takes a deep breath.

PRUE

There’re lots of demons that were vanquished by us and in this reality none of them
were.

CHRIS

Well, until a few weeks, we didn’t have a very active demon hunting life.

PRUE

Yeah, I’m aware. I believe that the answer to change it back to what it was, lies on one of those events. Changing a little thing would alter a whole life.

CHRIS

That makes sense.

BIANCA

Well, but we don’t know which one was altered.

CHRIS

Then we must move fast.

BIANCA

I think that we should find a way to stop her ---

(signs to Prue)

--- from forgetting it all.

Both Chris and Bianca stare at Prue.

CHRIS

Any ideas?

Prue looks at them.

PRUE

Just keep reminding me of my life.

CHRIS

We don’t remember that life, Prue.

PRUE

Jo is my daughter and Wyatt is my one true love.

Prue’s eyes get wet.

PRUE (CONT'D)

Keep reminding me of that.

Chris and Bianca nod.

CUT TO:

EXT. SAN FRANCISCO - DAY

FOOTAGE OF THE GOLDEN GATE BRIDGE.

CUT TO:

INT. MAGIC SCHOOL - BIG HALL - DAY

ON CHARLOTTE - She is astonished.

CHARLOTTE

Come again.

Melinda is in front of her. Both are on a couch, facing each other.

MELINDA

I just told you because I knew you could believe me. Don’t make me regret it.

CHARLOTTE

No, Mel. But you’ve got to agree with me. This is insane.

MELINDA

I know that it sounds insane but stop and think.

(pauses)

Jo looks a lot like Wyatt and she has Prue’s temper.

CHARLOTTE

I don’t know her that well.

MELINDA

Well, me neither, but I’ve spent time with her and ---

Melinda stands.

MELINDA (CONT'D)

--- I saw Prue and Wyatt in their past lives as Isis and Osiris. It hit me.

Charlotte looks seriously at Melinda. She sighs.

CHARLOTTE

Does Wyatt know?

MELINDA

We haven’t told him. Now that Jessica is pregnant, I have no idea how we are going to tell him that he is actually married to Prue and has a daughter with her and two on the way.

CHARLOTTE

But, wait. What about the baby? I mean Jo as a baby and if Jo is Prue’s daughter, then where Andrew came from?

Melinda’s expression reveals that she has no answers. Charlotte stands.

MELINDA

Maybe baby Tina is lost in time and space waiting to be saved. And Andrew, I don't know.

CHARLOTTE

(confused)

Baby Tina? Who’s baby Tina?

MELINDA

Jo. Her name is Prudence Christina Johanna.

CHARLOTTE

Now you got me. She’s Prue’s daughter. Only Prue would give such a complicated name to her daughter.

MELINDA

She just picked one of those names. According to Jo, Prudence and Johanna were not Prue’s idea.

CHARLOTTE

It doesn’t matter. What matters now is that we might be living in a fake reality and we have no idea how to get back to the right one.

MELINDA

So, you believe it?

Charlotte stares at Melinda.

MICHAELA (O.S.)

I do.

Both Melinda and Charlotte look at Michaela. Melinda gets goosebumps as her eyes meet Michaela’s.

CHARLOTTE

Michaela?

MELINDA

What did you say?

MICHAELA

That I believe you.

Melinda looks at Charlotte.

MELINDA

I’ve got a bad feeling ---

(looks at Michaela)

--- just like when I first met you.

MICHAELA

That’s because deep down you know what my future self did to yours.

MELINDA

What?

Melinda and Charlotte exchange glances.

MICHAELA

Prue helped me to control my powers and I saw myself killing you in an alternate future.

Melinda is serious.

MICHAELA

Don’t worry, it won’t happen. That timeline has changed.

CHARLOTTE

Michaela ---

MICHAELA

It’s real. This is fake. The memories we have. I just know it because I have dreams.

MELINDA

Okay.

MICHAELA

I want to help.

OFF TO ALEX - He comes in.

ALEX

Me too.

CHARLOTTE

Listening behind the doors is a habit now?

Alex and Michaela exchange glances.

ALEX

No, but Michaela told me everything she knows.

Melinda smiles.

MELINDA

Then we have work to do.

CHARLOTTE

Which is ---?

MELINDA

We must find the event that altered our lives.

CHARLOTTE

How are we going to do that if we don’t even remember? Besides, a lot of things changed. You said that.

MELINDA

Yes, but there’s one that changes the path of our lives.

MICHAELA

I can try to have visions.

MELINDA

Great. Let’s work.

ON MELINDA - She smiles.

CUT TO:

INT. WHITMORE ENTREPRISES - ARCHEOLOGICAL DEPARTMENT BUILDING - WAREHOUSE - DAY

It’s not a big warehouse. There are a few racks and some boxes with ancient and archeological objects.

No workers to be seen. Sebastian, Pandora, Tamora, and Jo walk between racks. They are looking for Tom.

TAMORA

Well, I’ve sent everybody home so maybe he’s gone.

PANDORA

No, I can still feel him here. Look, over there that I look there.

Pandora heads to her right side.

SEBASTIAN

If he’s not here why would she feel him here?!

TAMORA

I don’t know, honey. Why don’t you check the rooms?

SEBASTIAN

Sure. We haven’t checked the garage.

JO

We’ll do that.

Sebastian nods and turns around. Tamora turns to Jo.

TAMORA

Thanks for what you did.

Jo glances at Tamora, not understanding what she means.

TAMORA (CONT'D)

What you told to Pan.

JO

Oh.

Jo smiles.

JO (CONT'D)

I meant it.

TAMORA

What happens in the future?

JO

Why would something happen?

TAMORA

You didn’t just warn her because of the current situation. Something happened in my sister’s life in the future. That future you and your sisters changed.

Jo lowers her gaze. She signs for them to keep walking.

JO

In my future, she lived a life away from magic.

TAMORA

(surprised)

What?

Jo nods.

JO

I just know what I was told. It was not easy for Ethan to understand magic, and so Pan decided it was better not to include him in. She grew apart from the hunt, gradually, to spare Ethan. Until she gave up. Back then, mum and dad were the Source and Queen and they offered her a deal. Leave and live or stay and suffer the consequences.

TAMORA

But you said she grew apart from the hunt already, so why bother with her?

JO

They wanted the whole family by their side, and keeping Pan away would keep her apart from the resistance.

(pauses)

The rest of us who kept fighting. So, she left with her husband and daughter.

TAMORA

She’ll have a daughter?

JO

I don’t know. In this timeline, things might be different.

TAMORA

Makes sense. But you changed it even though.

Jo nods.

JO

She did it to protect Ethan.

Jo stops and stares at Tamora.

JO (CONT'D)

Let’s say that in my timeline, no one was living in a happily ever after and she chose that.

Tamora stares seriously at Jo.

TAMORA

You mean ---

JO

Sebastian was locked Up There. Bianca ---

(lowers her gaze)

--- Junior, Cass ---

(raises her gaze)

--- Not even Phoebe and Coop who was locked in the Shadow Witches’ Temple. No one was happy.

TAMORA

Shadow Witches?

Jo nods.

TAMORA (CONT'D)

Too much for just one day.

Jo half-smiles.

OFF TO PANDORA - She comes in.

PANDORA

Have you found Tom?

Tamora and Jo turn to her.

TAMORA

No?

PANDORA

I still feel him here.

JO

How is that possible?

PANDORA

He’s here.

Pandora turns and walks away. Tamora and Jo glance at each other.

CUT TO:

INT. WHITMORE ENTREPRISES - ARCHEOLOGICAL DEPARTMENT BUILDING - ROOM - DAY

ON THE MIRROR - The red eyes appear and something else starts taking form until it reveals a man inside the mirror.

THE MAN IN THE MIRROR smiles.

Someone stands before the mirror; Tom is hypnotized staring at it.

MAN IN THE MIRROR

Tom!

TOM

I’m here.

MAN IN THE MIRROR

Good, my boy. Now put your hand in the glass and be thou with me.

TOM

Yes.

Tom reaches out his hand and touches the glass as the Man in the Mirror smiles.

OFF TO THE DOOR - Sebastian comes in.

He comes right in the time to see Tom entering the mirror. The Man in the Mirror disappears.

SEBASTIAN

Tom?

Tom doesn’t look at Sebastian who rushes towards him and tries to pull him back, but it’s too late to get him back. Tom disappears inside the mirror. However, Sebastian keeps pulling him, but it causes him to get dragged inside the mirror.

OFF TO TAMORA - She comes in followed by Jo and Pandora.

TAMORA

Sebastian?

Sebastian turns to them.

SEBASTIAN

It has got Tom. I can’t get off.

Half of Sebastian’s body and his head are still outside. Tamora is about to rush to him, but he stops her.

SEBASTIAN (CONT'D)

It’s too late. Find a way for us to get out.

Sebastian disappears inside the mirror as well. Tamora, Pandora, and Jo are astonished.

TAMORA

What the hell is that?

SOUND - A WICKED LAUGH.

The girls exchange glances.

CUT TO BLACK.

END OF ACT TWO

[Prue Brianna Johnna Halliwell]

ACT THREE

FADE IN:

EXT. SAN FRANCISCO - DAY

FAST MOTION VIEW ALL OVER THE TOWN

CUT TO:

INT. WHITMORE ENTREPRISES - ARCHEOLOGICAL DEPARTMENT BUILDING - ROOM - DAY

Tamora paces the room back and forward. She is worried.

Jo is in front of the mirror. Pandora stares at Jo as Jo tries to figure the mirror out.

JO

It’s imbued with dark magic.

Jo turns to Tamora.

JO (CONT'D)

What do you know about it?

TAMORA

What I already told you. It belonged to this Frederick I of Prussia and it was imbued with dark magic.

PANDORA

Why would you unleash this object in the world?

TAMORA

It was just a suspicion.

JO

Well, it’s not anymore. Dark magic took Sebastian and Tom inside the mirror. Where is the journal?

Tamora looks at Jo.

TAMORA

What journal?

JO

You said the map was in Sebastian’s grandfather’s journal.

TAMORA

Yeah. Right.

Tamora starts thinking.

TAMORA (CONT'D)

At Whitmore manor, I believe. I never saw the journal myself. Just a copy of the map.

JO

Well, we must find the journal. There must be something there that might help us.

PANDORA

You guys do that. I’ll try to find something at Magic School.

JO

Good idea. Ask Charlotte’s help and you might be luckier if you go to Magic School Secret Library.

PANDORA

Go where?

Jo remembers they know nothing about the Secret Library.

TAMORA

Just do it, Pan.

JO

Yeah, do it.

PANDORA

Fine.

Pandora ORBS out. Jo and Tamora look at each other.

TAMORA

Now us.

JO

Let’s go.

Jo turns to the mirror and WAVES her hands.

JO (CONT'D)

‘Whitmore Manor’

The Mirror is ORBED out. Then Jo turns to Tamora and both of them ORB out.

CUT TO:

INT. MAGIC SCHOOL - BIG HALL - DAY

Melinda, Charlotte, Alex, and Michaela are at a table. No one else is there. Some books are opened before them.

ALEX

There’s some info here about reality wrapping.

Looks at them.

ALEX (CONT'D)

It’s a rare power. Not many beings have the power to do that.

MELINDA

Well, someone has.

ON MICHAELA - She holds a cup between her hands.

CHARLOTTE

Michaela, just drink it.

Michaela looks at Charlotte.

MICHAELA

It will only make me sleep, right?

Charlotte and Melinda nod.

CHARLOTTE

You only have those visions when you’re sleeping.

MICHAELA

Yes, without Prue’s help I don't know if I can control it. Are we sure we can’t use her?

MELINDA

Chris texted. They are dealing with something. Better fall asleep. We're here.

Michaela takes a deep breath.

MICHAELA

Fine.

She stands and walks to one of the couches. She sits and drinks the tea. Charlotte and Melinda approach her. Charlotte takes the cup from Michaela’s hand as she falls asleep. Charlotte and Melinda look at each other.

CHARLOTTE

Quick that tea.

MELINDA

Remember the potion mum used in our milk when we didn't want to sleep on those summer nights?

Charlotte nods. Melinda looks at Michaela. Charlotte smiles realizing Melinda has used that potion on the tea Michaela drank.

OFF TO PANDORA - She comes through the big double doors.

PANDORA

Charlie! Finally found you!

Melinda, Charlotte, and Alex look at Pandora.

PANDORA (CONT'D)

I need your help.

CHARLOTTE

What happened?

PANDORA

Sebastian and my charge got sucked into a mirror and I need to find a way to rescue them.

CHARLOTTE

Come again?!

PANDORA

Jo said to look in a Secret Library ---

CHARLOTTE

Oh, right. It’s general knowledge now.

PANDORA

C’mon, Charlie. We need to move fast.

CHARLOTTE

Lately, we do that a lot.

Charlotte turns to Melinda and Alex.

MELINDA

We take care of this.

Charlotte shoots Melinda a thankful look. Then she turns to Pandora.

CHARLOTTE

Let’s go.

Charlotte and Pandora walk out of the big hall. Melinda turns to Alex and shrugs. Then she turns to Michaela.

MELINDA

I hope she gets some vision that might help us.

ON MELINDA - She is serious.

CUT TO:

INT. K1 SPEED: INDOOR KART RACING - SPEEDWAY - DAY

In the speedway, there are several go-karts racing.

INSIDE WYATT’S KART - He is wearing the racing equipment and a helmet. He also has a microphone inside the helmet.

WYATT

This was a great idea, indeed.

DAMON (O.S.)

Right?!

INSIDE DAMON’S KART - Same here, wearing the equipment, a helmet and he has a microphone inside his helmet.

DAMON (CONT'D)

Don’t remember the last time we did this.

Wyatt’s kart takes a turn followed by Damon’s kart.

INSIDE WYATT’S KART - He turns the wheel.

WYATT

I’m going to win, man.

DAMON (O.S.)

You wish!

Both karts reach the mark almost at the same time. Wyatt’s kart reaches it a few seconds before Damon’s. Both men stop the karts and come out of it taking off their helmets.

WYATT

Like old times, ---

(smiles big)

I win!

Damon smiles sarcastically.

DAMON

I let you win like old times.

Both men laugh. They hand their helmets to the employee.

DAMON (CONT'D)

Wanna grab a drink?

WYATT

Don’t you have to work?

DAMON

Took the day off.

WYATT

Drinks it is!

Both Damon and Wyatt head towards the bar.

CUT TO:

INT. COFFEE SHOP - ROOM - DAY

Nate is by one of the tables having a coffee. Andrew’s stroller is right by his side.

ON BABY ANDREW - He is awake and smiles at his father.

Nate smiles.

OFF TO THE FRONT DOOR - Ella comes in and heads towards the counter.

ELLA

(to the attendant)

A macchiato, please.

COFFEE SHOP WORKER

To drink here or take away?

ELLA

Take away, please.

The coffee shop worker nods.

Nate looks aside and sees Ella there.

NATE

Ella?

Ella turns around and smiles as she sees Nate.

ELLA

Hey!

Ella turns to the coffee shop worker.

ELLA (CONT'D)

Make it to drink here, please.

The coffee shop worker nods. Ella walks towards Nate’s table.

ELLA (CONT'D)

Hi!

Nate raises and both great each other. Then Ella lowers down to see Andrew. She takes his little hand.

ON BABY ANDREW - He smiles.

ELLA (CONT'D)

He’s so cute.

Nate smiles.

ELLA (CONT'D)

Can I join you?

Nate nods. Ella sits across from Nate.

ELLA (CONT'D)

How are you doing?

NATE

As good as possible. You?

ELLA

Could be better.

(lowers her gaze)

Chris left the house.

NATE

(surprised)

What?

Nate seems surprised.

ELLA

Our marriage is ending.

NATE

I thought you two were okay.

ELLA

We were ---

(pauses)

--- before Bianca.

NATE

Bianca?

ELLA

It’s a long story, Nate. Short version is that Chris changed the moment he met her.

Nate gives her a sorry expression.

ELLA (CONT'D)

Change of subject. How’s Prue?

NATE

Well, ---

(takes a deep breath)

--- going.

ELLA

I meant the two of you. I heard that you both have been through some rough times.

NATE

Yeah, indeed. She changed too.

The attendant brings Ella’s macchiato. Ella smiles at her and the attendant walks away.

NATE (CONT'D)

It was like one day she was this loving wife and mother, and the next day she was a completely different persona.

ELLA

Yeah. I’ve noticed that she seems weird lately. Every since she disappeared that day and told Chris a crazy story about another reality.

NATE

What? Another reality?

BEAT. Ella’s mouth drops.

ELLA

You didn’t know.

NATE

Know what?

ELLA

Hum ---

Ella doesn’t know what to say. She feels uncomfortable now that she said something she shouldn’t have.

ELLA (CONT'D)

You know what? Prue was confused. Is. She is confused. It is hormones ---

Ella looks at Andrew.

ELLA (CONT'D)

She should not be confused. I would give anything to have such a beautiful baby.

(looks at Nate)

Fight for her, Nate. Confused or not, don’t give up on your marriage.

Ella sighs.

ELLA (CONT'D)

I won’t either.

Ella stands and leaves the coffee shop quickly. Nate is thoughtful. He leans to Andrew and holds his little hand.

NATE

I think mummy has some explanations to give to us, huh?

ON BABY ANDREW - He smiles as he holds his daddy’s finger.

CUT TO:

INT. MAGIC SCHOOL - SECRET LIBRARY - DAY

ON SMARTPHONE - A TEXT. IT READS:

ETHAN

Honey, where are you? I’ve called you several times. Get back to me.

The phone is on the desk. Pandora stares at it and lowers her gaze.

OFF TO CHARLOTTE - She comes in carrying some books. She looks at Pandora and notices that something is off with her.

CHARLOTTE

Are you still avoiding Ethan?

Pandora raises her glance. Charlotte puts the books on the desk.

CHARLOTTE (CONT'D)

You need to talk to him, Pan.

PANDORA

I know and I will. I just needed some time.

CHARLOTTE

You are running away. You have to deal with the consequences of the spell you cast.

PANDORA

I know.

CHARLOTTE

What are you going to do now? Tell him the truth?

Pandora sighs.

PANDORA

Maybe. I don’t know yet. Right now, I need to save my charge.

Pandora looks at the books.

PANDORA (CONT'D)

What are those?

CHARLOTTE

All the books I found about magical mirrors.

PANDORA

All that?

ON THE BOOKS - It’s like four books.

CHARLOTTE

And there was more. But those mention a king or queen.

PANDORA

It’s there another way to filter the search?

Both of them look at each other.

CHARLOTTE

Fast reading?

PANDORA

What?

CHARLOTTE

You are a whitelighter. You can do it.

PANDORA

I never did.

CHARLOTTE

Try it.

Charlotte takes one of the books and opens it. She places them before Pandora and looks at her.

CHARLOTTE (CONT'D)

Hands over it and ---

Pandora shoots her a look.

CHARLOTTE (CONT'D)

You are the whitelighter here, Pan. Just try.

Pandora sighs and then puts her hands over the book and closes her eyes.

CUT TO:

EXT. SAN FRANCISCO - DAY TURNING INTO EVENING

FAST MOTION footage of the town.

CUT TO:

EXT. P3 - EVENING

ON P3’S SIGN.

CUT TO:

INT. P3 - DANCING FLOOR / BAR - EVENING

Prue, Chris, and Bianca are there. Chris is on the phone while Bianca and Prue are at a table.

CHRIS

(on the phone)

No, Mel, it’s fine. You did well.

(listens)

Yes, let me know if you figure something out. Bye.

Chris hangs off the phone and turns to Prue and Bianca.

CHRIS (CONT'D)

Michaela is still sleeping.

BIANCA

She’s taking a long nap.

CHRIS

Well, if that helps, she can sleep a whole week.

Prue seems off.

CHRIS (CONT'D)

Also, Jo texted. She’s in the middle of something.

PRUE

She cannot know.

Prue glances at them.

PRUE (CONT'D)

Don’t let my daughter know that I might be forgetting about her.

BIANCA

Prue, ---

Bianca reaches out her hand and holds Prue’s in a sign of support.

BIANCA (CONT'D)

--- We won’t let you forget.

PRUE

Thanks.

Prue half-smiles at Bianca.

OFF TO THE ENTRANCE - Nate comes walking down the stairs and brings baby Andrew in his arms.

NATE

Hey, guys!

They see Nate come downstairs.

CHRIS

Nate?

NATE

What’s going on? The club is closed on a weekend?!

Prue, Chris, and Bianca exchange glances.

BIANCA

It’s early.

NATE

(smiles)

I know. Kidding.

Nate walks towards them.

NATE (CONT'D)

(to Chris)

I was with Ella. She told me ---

Nate glances at Bianca who lowers her gaze.

CHRIS

Yeah.

NATE

(to Chris)

I’m sorry about that.

Chris shoots him a thankful look.

PRUE

What are you doing here, Nate?

NATE

We came for mummy.

Prue looks at baby Andrew in Nate’s arms. Nate smiles at Prue.

NATE (CONT'D)

We want to take you out for dinner.

Prue looks aside.

NATE (CONT'D)

It’s just dinner. Japanese?

PRUE

I’m pregnant. I can’t.

NATE

Right. Italian?

Prue looks at Nate.

NATE (CONT'D)

Please?

Prue glances at Chris and Bianca.

CHRIS

Go. We’ll take care of this and get it ready for the opening.

PRUE

I’ll come back later.

Chris nods. Prue stands.

PRUE (CONT'D)

(to Nate)

Italian sounds good.

Nate smiles. Nate reaches out his hand towards Prue for her to hold it. Prue lowers down her glance and then looks at Nate. She smiles and holds Nate’s hand. Both leave hand-in-hand.

Chris and Bianca watch them leave. Then, once they’re gone, Chris and Bianca look at each other.

BIANCA

What can happen if she forgets?

CHRIS

She won’t. We won’t let her forget.

BIANCA

How can we stop it, Chris? We don’t even remember.

Chris walks towards Bianca and rubs her arms.

CHRIS

Everything will be fine.

BIANCA

Our son ---

CHRIS

We’ll get him back.

They look into each other’s eyes, deeply. Chris smiles.

CHRIS (CONT'D)

Our son.

Bianca smiles. Chris leans his forehead against hers. Both remain like that.

CUT TO:

EXT. WHITMORE MANOR - EVENING

VIEW AT THE MANOR.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - EVENING

ON A JOURNAL - It’s on the desk and someone is flipping through its pages. There are texts and drawings there. Then, it shows the picture of a mirror.

Tamora stops flipping through the pages of the book.

TAMORA

Found it.

Jo is standing in front of the mirror staring at it. She turns to Tamora who grimaces.

TAMORA

Some words here.

(looks at Jo)

I believe it’s Latin.

JO

What does it say?

Tamora’s expression hardens.

TAMORA

My God!

JO

What?

Tamora looks at Jo.

TAMORA

According to Sebastian’s great grandfather, the mirror is the prison of a demon.

JO

Not new.

TAMORA

The demon was trapped there at the beginning of the fifteenth century by a powerful witch. He needs a hundred souls to get released.

Jo walks towards Tamora.

JO

A hundred?

Tamora looks at Jo.

TAMORA

Frederick I of Prussia collected several souls for him. He was very close to the one hundred souls.

JO

How close?

Tamora swallows.

TAMORA

One more soul and the demon is free.

JO

What?

Tamora nods.

TAMORA

Sebastian can get trapped inside the mirror forever.

JO

That can’t happen.

TAMORA

What do we do?

JO

It’s there a name? Of the witch who locked him in there.

Tamora nods. She glances at the book.

TAMORA

Here.

(reads)

Sally Cross.

JO

I’ll go to Magic School and try to find something about her.

TAMORA

Why? We need to find a way to get them out.

JO

Just in case the demon comes out. I’ll be right back.

Tamora nods. Jo ORBS out. Tamora looks at the mirror, seriously.

CUT TO BLACK.

END OF ACT THREE

[Prue Brianna Johnna Halliwell]

ACT FOUR

FADE IN:

INT. HALLIWELL MANOR - DINING ROOM / ENTRANCE - EVENING

ON THE TABLE - It’s set. Someone pours some red wine into a glass.

Jessica pours red wine into two glasses. Then she takes a small bottle which is on the table and pours a few drops into one of the glasses.

Jessica smiles. She is wearing a short black dress with a deep V-neck. She puts the small bottle into her bag which is on the sideboard and then she takes the glass where she poured the drops and looks at it.

JESSICA

You’ve got to be mine tonight.

OFF TO THE ENTRANCE - The door opens and Wyatt comes in.

Jessica smiles as she sees Wyatt coming in and closing the door behind him. She takes the glass with the potion and walks towards him.

JESSICA (CONT'D)

Love!

Wyatt looks at her as she wraps her arms around his neck still holding the glass and kissing him passionately. Then, Wyatt pulls back.

JESSICA (CONT'D)

I prepared a special meal for us.

Wyatt half-smiles.

WYATT

Where’s everybody?

JESSICA

Well, Chris left home. Ella went out for the night. She said she needed to fix this whole situation. And us ---

She hands him the glass of wine smiling sensually. Wyatt looks at the glass and then takes it.

JESSICA (CONT'D)

It’s a shame what’s happening between them, huh?!

WYATT

Well, Chris has his reasons.

JESSICA

And those reasons have a name. But ---

Jessica takes off his jacket.

JESSICA (CONT'D)

--- I don’t want to talk about them. I want to focus on us.

She looks at the glass.

JESSICA (CONT'D)

Drink.

Jessica puts Wyatt’s jacket on the back of a chair and drags Wyatt into the dining room as Wyatt as a sip of the wine.

WYATT

Pinot Noir?

Jessica nods. Wyatt smiles.

WYATT (CONT'D)

This is ---

Wyatt cuts himself off.

JESSICA

It’s what?

Wyatt lowers his gaze.

WYATT

It’s silly.

JESSICA

No, I want to hear what you were going to say.

Jessica stands on her tiptoes and starts kissing his neck.

WYATT

The only red wine Prue likes.

Jessica pulls back. She is serious and disgusted at what she heard.

JESSICA

What?

WYATT

I ---

JESSICA

(mad)

I prepared a special night for us, Wyatt. Don’t blow it mentioning that ---

WYATT

Be careful with your words, Jess. She’s my cousin.

JESSICA

And a pain in the ass.

Wyatt puts the glass on the table.

WYATT

I’m going for a shower.

Wyatt is about to walk out of the room, but Jessica holds his arm.

JESSICA

Wy, sorry. I didn’t mean it.

Wyatt looks at her.

JESSICA (CONT'D)

It’s just that ---

She puts her arms on her belly and looks down. Then she looks at Wyatt.

JESSICA (CONT'D)

My hormones. I’m sensible and the last thing I want is to talk about somebody else when I just prepared a special night for me and my husband.

Jessica makes sweet eyes. Wyatt looks aside. Then he looks at her.

WYATT

It’s okay.

Jessica smiles sweetly.

JESSICA

Can we have dinner?

WYATT

Sure.

Jessica smiles and approaches him. She stands on her tiptoes and starts kissing him. However, Wyatt seems far away from there.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - EVENING

Tamora is flipping through the pages of the journal. Every now and then she glances at the mirror and sighs.

SEBASTIAN (O.S.)

Tam!

Tamora glances at the mirror and there’s nothing there.

TAMORA

Sebs?

Nothing. She glances back at the journal.

SEBASTIAN (O.S.)

Tam!

Tamora glances at the mirror again. She raises from the chair slowly.

TAMORA

Sebs?

Nothing. She walks slowly towards the mirror.

TAMORA (CONT'D)

Sebastian? Are you there? Can you hear me?

ON THE MIRROR - A image appears. The image of Sebastian. Or at least the image of someone who looks like Sebastian.

SEBASTIAN

Tam.

Sebastian smiles.

TAMORA

Honey!

SEBASTIAN

You need to take me out of here.

TAMORA

We are working on that. We haven’t figure out a way yet, but Jo is on it.

SEBASTIAN

No, it’s simple. Just reach out your hand towards the glass and pull me out.

TAMORA

That simple?

SEBASTIAN

Yes, honey.

TAMORA

(apprehensive)

That simple?

Sebastian nods.

TAMORA (CONT'D)

It can’t be that simple. It’s never that simple.

SEBASTIAN

It is now. You are a Charmed One. You can do it.

Tamora thinks for a while.

SEBASTIAN (CONT'D)

Tam, trust me.

TAMORA

I do, but ---

SEBASTIAN

Honey, hurry. He is hurting us.

TAMORA

Hurting?

Sebastian nods.

TAMORA (CONT'D)

(sighs)

Fine.

She reaches out her hand towards the mirror slowly.

SEBASTIAN

That’s it, honey.

She touches the mirror and that’s when Sebastian turns into the red-eyed demon.

TAMORA

No.

The demon smirks and starts pushing her in.

TAMORA (CONT'D)

(out loud)

Sebastian!

OFF TO ORBS - Orbs appears and soon, Junior is there. He lies eyes on Tamora as soon as he arrives.

JUNIOR

Tam?

He sees how Tamora is pushed inside by the demon. She screams out loud. Junior steps forward but stops as he sees how she is completely inside.

ON THE MIRROR - As soon as Tamora gets in, some RED SMOKE starts appearing and once it disappears, it turns into the RED-EYED demon.

The RED-EYED demon breaths in. He has red eyes and wears a long red tunic.

RED-EYED

Ahh, fresh air.

JUNIOR

Who the hell are you and what did you do to my sister?

The demon looks at Junior and smirks.

RED-EYED

She released me.

The demon WAVES his hand and THROWS Junior TELEKINECTICALLY through the air.

ON JUNIOR - He falls on the floor unconscious.

RED-EYED (CONT'D)

I need to find that witch and get my revenge. Then ---

(smirks)

--- I’ll conquer the world.

He smirks wickedly and RED SMOKES out.

CUT TO:

INT. MAGIC SCHOOL - SECRET LIBRARY - EVENING

ON BOOK - Its pages are turning magically.

Pandora has her hands over the book. She’s fast reading while Charlotte is holding the book.

OFF TO JO - She comes from the bookcases holding a book.

JO

Got it!

Charlotte looks at her.

CHARLOTTE

That fast?

JO

I’ve spent a lot of time in this library before my evil fa... ---

Jo cuts herself off.

JO (CONT'D)

(stammering)

I mean when I ---

CHARLOTTE

Save it.

Jo sighs and puts the book on the desk. Pandora stops READING the book and looks at her.

PANDORA

Nothing here!

(sighs)

It would be better if I knew more. There’re tons of magical mirrors.

Jo turns pages after pages until she finds what she is looking for.

JO

Here it is.

(looks at Pandora)

Sally Cross.

Pandora nods. Charlotte opens the book again before Pandora who puts her hands over the book and starts READING magically.

JO (CONT'D)

She was a powerful witch born a thousand years ago. She disappeared after she trapped a demon who was harassing her village.

CHARLOTTE

Disappeared just like that?

JO

(shakes her head)

Her body was found two centuries after.

(looks at Charlotte)

Well, her bones.

Jo keeps reading the book.

JO (CONT'D)

She trapped this demon into her own mirror. It was a magical mirror she used to gift women with beauty.

(looks at Charlotte)

The demon used to take the beauty out of women.

CHARLOTTE

Why?

Jo shrugs and gets back to the book.

JO

There’s a spell here to summon him wherever he is. She was very powerful. But it says nothing about taking people out of the mirror.

Pandora stops reading.

PANDORA

Found it. Sally Cross was the owner of a mirror.

CHARLOTTE

We know that.

PANDORA

Right.

(sighs)

‘Speculum pulchritudo’.

Charlotte puts the book on the desk.

PANDORA (CONT'D)

Glass of Beauty. The Red-Eyed demon was trapped by Sally and kept the mirror hidden until it was found by a commoner. He sold the mirror to a rich man. It’s been passing from hands to hands. Always owned by men who were coaxed by the demon. He offered them power in exchange for souls.

JO

He needs a hundred souls to get released.

Pandora nods.

PANDORA

How many souls are there now?

JO

99.

PANDORA

What?

JO

We must hurry. I’ve got the spell. Maybe we can work out something with this to release those people.

Jo takes her smartphone out and takes a picture of the spell.

JO (CONT'D)

(to Pandora)

We should go.

Pandora nods.

CHARLOTTE

I’ll go with you.

Jo and Pandora ORB out. Charlotte BEAMS out.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - EVENING

ON JUNIOR - He is still unconscious on the floor.

OFF TO ORBS AND BEAMS APPEARING - Jo and Pandora ORB in while Charlotte BEAM in.

JO

Tam?

They glance around and realize Tamora is not there. Pandora spots Junior on the floor.

PANDORA

(creeped out)

Junior!

She rushes towards him and lowers down next to him.

CHARLOTTE

What happened to him?

Pandora tries to wake him up.

PANDORA

Junior! J, wake up!

ON JUNIOR’S FACE - He starts waking up.

JUNIOR

What happened?

Pandora helps him up. He rubs the back of his neck and glances at them. Then Junior looks at the mirror and his eye widen.

JUNIOR (CONT'D)

That thing!

They all look at the mirror.

PANDORA

J, what happened?

JUNIOR

She was swallowed into the mirror.

JO

What?

JUNIOR

Then, this freaking demon came out of it.

PANDORA

A Red-Eyed demon?

Junior nods. The girls exchange glances.

JO

He’s got his hundred souls and got free.

JUNIOR

What’s going on here?

CHARLOTTE

We’ve got the spell to get him back inside the mirror.

PANDORA

We must find him first.

JO

Yeah, but how are we going to take them out of there?

Jo looks at the mirror.

JO (CONT'D)

The only person that knew is dead. We can try to create a spell, but what if it doesn't work?!

Charlotte, Pandora, and Junior exchange glances while Jo stares seriously at the mirror.

CUT TO:

INT. MILANO’S RESTAURANT - DINING ROOM - EVENING

Prue and Nate are at a table having dinner. They seem like they’re having a good time together. They are laughing.

NATE

I can’t believe it’s been that long since we came here for the first time.

PRUE

You won, remember? I voted for Japanese, but you insisted on Italian cause we could be like Lady and the Tramp.

Nate laughs.

NATE

You are a lady, that’s why.

PRUE

C’mon, Nate. Honey, you were never a tramp.

Nate smiles. The waitress approaches bringing their plates.

WAITRESS

Two Bolognese.

NATE

Can you bring us orange juice and a diet coke?

WAITRESS

Sure.

The waitress puts the plates before them and then walks away.

PRUE

Diet coke? Now you drink diet coke?

NATE

I got that from you.

Prue smiles.

PRUE

I must tell you that I never drank diet coke. It was normal coke and I pretended to be diet.

Nate laughs.

NATE

It’s that so?

Prue nods and smiles. They laugh. Then, Prue looks at baby Andrew.

ON BABY ANDREW - He is sound asleep in the stroller.

Nate stares at Prue admiring her.

NATE (CONT'D)

I envy his capacity to sleep in the middle of this noise.

Prue glances around.

PRUE

He doesn’t take that from me, that’s for sure.

Then she gets serious as if she just remembered something. She looks at Nate.

NATE

This feels good. We both together.

Prue half-smiles.

OFF TO THE WAITRESS - He comes with the drinks when Jared stops him. The waitress looks at him.

JARED

Wait!

Jared pours some drops of the potion inside Prue’s orange juice. Then he looks at the waitress.

JARED (CONT'D)

You saw nothing.

The waitress seems to be compelled. Then, Jared steps aside and the waitress keeps his way towards Prue and Nate’s table. Jared sees has the waitress puts the drinks on the table and smiles. Jared walks out.

Back to Prue and Nate, the waitress leaves.

NATE

(to Prue)

You got serious out of a sudden.

Prue has a sip of the orange juice.

NATE (CONT'D)

Does it have something to do with the way you’re acting lately?

Prue looks at Nate.

PRUE

I ---

Prue lowers her gaze. Nate reaches out his hand and holds hers.

NATE

What’s happening, honey? You know you can tell me anything.

Prue raises her eyes and stares at Nate. Then she smiles.

PRUE

I know I’ve been weird lately. But I just gave birth to a child and got pregnant again short after.

NATE

So, you are afraid you won’t be a perfect mom to our kids.

Prue half-smiles.

PRUE

It’s too much. But we’ll be fine. We love each other. We’ll be fine.

Nate smiles.

PRUE (CONT'D)

You remember when I was like two months pregnant and I woke up in the middle of the night with a huge desire for lasagna?

Nate laughs.

NATE

I do. I’ll never forget it. You made me go through a lot back then.

Prue smiles.

NATE (CONT'D)

I’ll do it again. I love you.

Prue’s expression changes as she hears those words. Then she looks back at him and keeps smiling.

CUT TO:

EXT. SAN FRANCISCO - NIGHT

FAST MOTION VIEW all over the town.

CUT TO:

INT. HALLIWELL MANOR - GARDEN - NIGHT

ON THE SKY - View at the stars. The sky is full of them.

Wyatt and Jessica are sitting on a bench together. Jessica leans her head on his shoulder as he has his arm over her shoulders. Wyatt has changed clothes.

JESSICA

It’s been a while since we did this last time.

Both are staring at the sky.

JESSICA (CONT'D)

Just the two of us. No one else.

(looks at him)

Don’t you think?

Wyatt doesn’t look at her. He keeps staring at the stars.

WYATT

Yeah.

Jessica starts kissing his neck slowly and up until she reaches his ear and so ---

WYATT (CONT'D)

Jess!

She stops and looks at him.

JESSICA

We’re alone.

WYATT

Still.

JESSICA

Then let’s go to the bedroom.

She keeps kissing him. Seconds later, Wyatt pushes her back and stands.

WYATT

I’m sorry, Jess. I’m not ---

JESSICA

(cuts him off)

In the mood?

(stands; mad)

We haven’t been together in weeks, Wy!

Jessica is mad.

JESSICA (CONT'D)

I prepared a romantic dinner for us. I dressed up for ya!

Wyatt turns around and takes a deep breath.

JESSICA (CONT'D)

What’s going on, Wyatt?

He doesn’t turn to her.

JESSICA (CONT'D)

Is there someone else?

Wyatt turns to face her. They both stare at each other.

JESSICA (CONT'D)

Who is she?

WYATT

There´s no one. I’m just ---

(swallows)

--- tired, Jess.

JESSICA

We’re having a child, Wy.

(puts her hands on her belly)

I need my husband. In bed and out.

WYATT

I know.

JESSICA

Then, try to rest and get back to me in the mood.

She turns around and walks into the house. Wyatt takes a deep breath. He looks up at the sky.

ON THE SKY - The stars can be seen clearly.

WYATT

Why can’t I feel the same I felt before? Why can't I love Jessica the same way I did before?

He keeps looking at the sky. He is serious.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - NIGHT

ON JO - She’s seriously staring at the mirror.

Charlotte, Junior, and Pandora are there.

CHARLOTTE

So, what do we do?

PANDORA

(flipping the journal)

It doesn’t mention here anything about releasing those people inside the mirror.

JUNIOR

A hundred people there?

Pandora nods.

JO

He must be locked inside the mirror again.

Jo turns to them.

JO (CONT'D)

That’s our only way.

PANDORA

Do you think that it will release the hundred?

Jo shrugs.

JO

I don’t know.

CHARLOTTE

Well, first we need to find the demon.

JO

Sally Cross is dead, so we need a powerful witch to cast the spell.

PANDORA

Let’s get Wyatt.

JUNIOR

And Prue.

JUNIOR

They are Twice Blessed. The most powerful witches on Earth.

PANDORA

They won’t work together.

JO

They would.

PANDORA

You clearly don’t know how their relationship works, do ya?

Charlotte stares at Jo.

JO

I think they will do it to save their family and lock down a demon.

CHARLOTTE

We don’t need them.

They all look at Charlotte who stares at Jo.

CHARLOTTE (CONT'D)

We’ve got you.

JO

What?

Pandora and Junior exchange glances.

PANDORA

Is she that powerful?

JO

(staring at Charlotte)

Am I?

CHARLOTTE

(staring at Jo)

You tell me.

Both Charlotte and Jo stare at each other seriously.

CHARLOTTE (CONT'D)

You’ve got your powers from them, right? You are the heiress.

JUNIOR

The heiress of what?

PANDORA

What are you talking about, Charlie?

JO

(to Charlotte)

Do you believe me?

CHARLOTTE

I might. That would give me the proof I need.

Jo swallows.

JO

I don’t know if I can.

CHARLOTTE

Oh, honey.

(walks towards Jo)

If you are your parents’ daughter, you can everything.

Charlotte smiles. Jo smiles as well.

JO

I am my parents’ daughter.

CHARLOTTE

Them, let’s get that Red-Eyed demon inside that mirror.

JUNIOR

Do you guys care to explain?

Charlotte turns to them.

CHARLOTTE

Later. Now we must get the demon here.

PANDORA

But how?

Charlotte turns to Jo.

CHARLOTTE

Just cast the spell. I have a feeling.

JO

She created the spell for this demon.

CHARLOTTE

So, no matter where he is, when you cast the spell, he’ll come.

JO

Right.

PANDORA

How do you know she can do it?

CHARLOTTE

A feeling.

(to Jo)

Get ready.

Jo smiles and nods.

CUT TO BLACK.

END OF ACT FOUR

[Prue Brianna Johnna Halliwell]

ACT FIVE

FADE IN:

INT. MAGIC SCHOOL - MAIN HALL - NIGHT

Melinda and Alex are sitting on a couch staring at a sleepy Michaela.

MELINDA

(bored)

What a long nap!

Alex yawns.

ON MICHAELA’S FACE - Her eyes pop open out of a sudden.

Melinda and Alex stand quickly.

ALEX

Michaela?

Michaela looks at them.

MELINDA

Did you see something?

MICHAELA

It was confusing.

Melinda and Alex approach her and sit beside her.

MICHAELA (CONT'D)

I couldn't separate all the images I saw. But there were those hazel eyes.

MELINDA

Hazel eyes?

ALEX

Did you saw a face?

Michaela shakes her head.

MICHAELA

No, I’m sorry.

MELINDA

It’s okay, Michaela. One step at the time.

MICHAELA

I was about to see something else, there was this closed door.

ALEX

Closed door?

MICHAELA

Yeah, sometimes I had to open some doors so I could see, but this one was closed.

(glances at them)

I was trying to get in when I woke up. I couldn’t open it.

Alex and Melinda look at each other.

MELINDA

Maybe the answer is behind that door. The event that changed our lives.

MICHAELA

(looks at Melinda)

I know it is.

(pauses)

I can get back.

MELINDA

No. Not tonight. We don’t know what it can do if we push it. We’ll try again, just not tonight. we’ll better get some rest.

Alex and Michaela nod.

ALEX

(to Michaela)

I’ll take you to your bedroom.

Michaela nods. Alex helps her stand and both walk out.

Melinda is thoughtful.

MELINDA

Hazel eyes? To whom those eyes belong?!

ON MELINDA - She’s serious.

CUT TO:

INT. PRUE’S CONDO - ENTRANCE - NIGHT

Prue comes in followed by Nate who pushes the baby’s stroller.

NATE

We definitely should do this more often.

Prue smiles at him.

NATE (CONT'D)

I’m gonna put him in bed.

Prue looks at the baby.

NATE (CONT'D)

Coming?

Prue looks at Nate and smiles.

PRUE

I wish I could, but ---

NATE

I married the owner of a nightclub.

PRUE

Night, day. Oh, and don't forget that I'm a witch.

She walks towards him and kisses him softly in the mouth. Then she pulls back. Nate smiles.

PRUE (CONT'D)

I won’t be home late, but don’t wait up.

Nate nods.

NATE

I love you.

Prue smiles. Nate turns around and walks towards the bedroom.

PRUE

I love you too.

As she says that, she gets serious as if she realized she shouldn’t have said that. Prue shakes her head and then walks out the front door closing it after she’s out.

CUT TO:

EXT. P3 - ENTRANCE - NIGHT

People are heading into the club.

The music is loud.

CUT TO:

INT. P3 - DANCING FLOOR / BAR - NIGHT

The bar is crowded. People are dancing on the dancing floor as the D.J. plays his music.

ON ELLA - She comes down the entrance stairs and glances around.

ELLA’S POV - Chris and Bianca are laughing. Both are inside the counter serving some drinks.

Ella stares seriously at them for a while. Then she keeps walking down the stairs and heads straight to the counter.

Chris and Bianca are serving drinks to some customers.

BIANCA

You know, we need extra hands here. Reality changed or not.

CHRIS

Why don’t you hire someone?

BIANCA

I haven’t talked to Prue.

CHRIS

Just do it. You’re the manager.

Bianca looks at Chris and smiles. He smiles back at her.

BIANCA

You’re right. I got this girl’s number the other day. I think I’m gonna call her.

Chris smiles. Ella approaches the bar and stares at them.

ELLA

(sarcastic)

Beautiful!

Chris and Ella look at them. Ella smiles.

CHRIS

Ella?

Bianca lowers down her gaze.

CHRIS (CONT'D)

What are you doing here?

ELLA

Don’t worry, I came in peace. Just to have fun.

Ella looks at Bianca.

ELLA (CONT'D)

Are you okay, Bianca?

Bianca looks at Ella who has a smile on her face.

ELLA (CONT'D)

I would like a Gin Tonic, please.

BIANCA

Right.

Bianca starts preparing it. Ella looks at Chris.

ELLA

I didn’t know you were working here now.

CHRIS

Just giving a hand.

ELLA

Right. This is crowded.

Chris nods.

ELLA (CONT'D)

I feel like dancing.

Ella glances around. Then she looks at Chris.

ELLA (CONT'D)

Life doesn’t stop, huh?

CHRIS

El ---

ELLA

I’m here in peace, Chris.

Ella glances at Bianca who’s preparing Ella’s drink. Then she looks at Chris.

ELLA (CONT'D)

But peace doesn’t mean I would give up on what’s mine.

Chris swallows and looks at Bianca.

ELLA (CONT'D)

I’m not giving up without a peaceful fight.

Bianca finishes Ella’s drink.

BIANCA

Here.

Bianca puts the drink on the counter. Ella smiles at Bianca, takes the drink and turns, and heads to the dancing floor.

BIANCA (CONT'D)

Well, she was clear.

(sees someone)

Oh, there’s Prue!

Prue walks in the middle of people and heads towards the back of the bar.

CHRIS

I’ll talk to her.

Bianca nods. Chris walks out.

CUT TO:

INT. P3 - PRUE’S OFFICE - NIGHT

Prue comes in and takes a deep breath. Right after, Chris comes in.

CHRIS

Prue?

Prue turns to him.

PRUE

Hey! Full night, huh?

Prue smiles.

CHRIS

Yeah. How was it?

PRUE

Was good. We had fun.

CHRIS

Fun? Did you tell him about the reality wrapping?

Prue gets serious. She realizes she didn’t.

CHRIS (CONT'D)

Prue?

PRUE

I didn’t. I completely forgot.

Prue leans against the desk.

PRUE (CONT'D)

(worried)

Oh, my God, Chris, what’s happening to me?

Chris approaches and hugs her.

CHRIS

Don’t worry. We’ll fix it.

Prue hugs him back.

ON CHRIS’ FACE - He is worried.

CUT TO:

EXT. SAN FRANCISCO - STREET - NIGHT

The Red-Eyed demon walks down the street. He glances around.

RED-EYED

What time have I ended in?!

Some cars are driven fast.

RED-EYED (CONT'D)

What inventions are those?!

A girl comes walking by and the demon stops her.

RED-EYED (CONT'D)

What year is it?

The girl shoots him a confused look.

GIRL

2036.

RED-EYED

2036?!

The demon is astonished.

RED-EYED (CONT'D)

A millennium! Where do I find the witch Sally Cross?

GIRL

Are you crazy, man? Get back to the carnival you came from!

The girl rushes out of there walking quickly. The demon glances around.

RED-EYED

I was trapped for a millennium. She must be dead by now. My revenge ---

He looks up and cries out loud.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - NIGHT

Jo stands in front of the mirror holding her smartphone and reads the spell from it.
She reads in Latin.

JO

(reading)

‘Potestatem;

Lux;

Viribus;

Abiit tenebris,

lux regnat;

Daemonium clausa,

post speculo.

Non relinquens.

Requirit centum

Intra in speculo,

sint vobis in cellulam’

Charlotte, Pandora, and Junior stand behind Jo. They stare at her. Jo repeats the spell, but this time, she puts the phone back on the back pocket of her pants.

JO (CONT'D)

(chanting)

‘Potestatem;

Lux;

Viribus;

Abiit tenebris,

lux regnat;

Daemonium clausa,

post speculo.

Non relinquens.

Requirit centum

Intra in speculo,

sint vobis in cellulam’

A breeze comes from nowhere. Jo, Charlotte, and Pandora’s hair move with the breeze. Charlotte, Pandora, and Junior exchange glances.

CUT TO:

EXT. SAN FRANCISCO - STREET - NIGHT

The Red-Eyed demon walks down the street.

RED-EYED

I need my revenge.

He seems desperate. Suddenly, he stops and glances around. It looks like he feels something pulling him away.

RED-EYED (CONT'D)

No. It can’t be.

The wind comes from nowhere recognizable. The demon glances around and suddenly he is surrounded by leaves and a cloud of blue smoke.

RED-EYED (CONT'D)

NO!

He starts disappearing.

CUT TO:

INT. WHITMORE MANOR - LIBRARY - NIGHT

A cloud of blue smoke comes inside the room and surrounds the mirror. Jo steps back.

PANDORA

What the hell?!

CHARLOTTE

Is it working?

JO

I really hope so.

Suddenly, blue rays come from the mirror and into the room. As a ray hits the floor, they turn into people.

JUNIOR

Has this room capacity for a hundred?

They look at Junior. Then Pandora rushes to the door and opens it.

More and more rays turn into people. These people are from faraway ages. They’re dressed in clothes from other times.

Soon, the room gets crowded.

CHARLOTTE

We need to take them out.

Pandora, Charlotte, and Junior start taking the people out of the room. They seem confused.

CHARLOTTE (CONT'D)

(to Jo)

Keep chanting.

Jo nods.

JO

(chants)

‘Potestatem;

Lux;

Viribus;

Abiit tenebris,

lux regnat;

Daemonium clausa,

post speculo.

Non relinquens.

Requirit centum

Intra in speculo,

sint vobis in cellulam’

People keep coming out of the mirror. Then, the blue wind concentrates in the middle before the mirror. A figure starts taking shape.

Tom comes out of the mirror and right after comes Sebastian. The Red-Eyed demon appears completely. And then, Tamora comes out of the mirror.

The Red-Eyed demon glances around.

RED-EYED

It can’t be.

JO

It is!

Jo WAVES her arms and throws the Red-Eyed demon against the mirror. He is surrounded by blue rays that pull him into the mirror.

RED-EYED

NO!

Then, Jo walks towards the mirror and is about to kick it, but ---

TAMORA

Wait!

Jo looks at her.

TAMORA (CONT'D)

We don’t need seven years of bad luck.

Jo nods.

JO

But it has to be kept away.

ON THE MIRROR - The Red-Eyed demon appears on the glass.

RED-EYED

I couldn’t get revenge from Sally, but I will from you. Tell me your name.

Jo looks at it.

JO

My name is Jo Halliwell. And no, you’ll never get your revenge.

Jo WAVES her hand.

JO (CONT'D)

‘Vulcan’.

The mirror is surrounded by PURPLE ORBS and is orbed out of the room. Now in the room are Charlotte, Pandora, Junior, Tamora, Sebastian, Tom, and Jo.

TAMORA

Where did you send it?

JO

To a place no one would dare to go to.

SEBASTIAN

A Volcano.

They all exchange glances.

SEBASTIAN

It’s inactive.

TOM

Does someone care to explain what’s going on?

They all look at Tom.

CHARLOTTE

Yeah, well, we have 98 people to give some explanations to.

TAMORA

Shouldn’t they go back to their time?

SEBASTIAN

Their time has passed. This is their time now.

PANDORA

Well, care to explain the ‘Jo Halliwell’ thing?

Jo glances at them all.

JO

I know how crazy it sounds, but ---

CHARLOTTE

(cuts her off)

She’s Prue and Wyatt’s daughter.

PANDORA

(astonished)

What?

JUNIOR

(astonished)

She is what?!

Sebastian looks at Tamora who nods.

TOM

Guys?

They all look at Tom.

TOM (CONT'D)

I’m hungry.

Tamora turns to the others.

TAMORA

Guys, we must find a home for these people. We discuss this matter later.

PANDORA

But ---

TAMORA

No buts.

Jo gives Tamora a thankful look. Tamora smiles.

CUT TO:

EXT. SAN FRANCISCO - NIGHT

FOOTAGE all over the town at the sound of ‘Radioactive’ by Imagine Dragons.

Several places all over the town are shown.

CUT TO:

EXT. P3 - ENTRANCE - NIGHT

MUSIC KEEPS PLAYING IN THE BACKGROUND.

Some people come out of the club. 

CUT TO:

INT. P3 - PRUE’S OFFICE - NIGHT

MUSIC FADES OFF.

Prue is at her computer. She prints some papers.

OFF TO THE DOOR - It opens. Jo comes in.

Prue raises her glance and meets Jo’s.

JO

Hey!

PRUE

It was about time, huh? What were you doing?

Jo sits on the couch before the desk.

JO

Dealing with a mirror.

Prue takes the papers from the printer. She shoots Jo a look.

PRUE

I don’t need to know what you do on your free time.

Prue sounds rude.

PRUE (CONT'D)

Here.

Prue hands Jo the papers she printed.

PRUE (CONT'D)

This is a list of local bands.

Jo stands and takes the papers.

PRUE (CONT'D)

I want you to contact them and see if they are free to perform next week. We’re having a local bands week.

Jo glances at the papers and then shoots Prue a look.

JO

Don’t you think we have better things to do than this?

PRUE

(stands; serious)

P3 is my business and as far as I’m in charge I dictate the orders here. If you’re not happy, I can find someone else.

Jo is astonished. Prue takes her handbag and walks towards the door.

JO

Mum!

Prue stops.

ON PRUE’S FACE - Something changes. She realizes the way she acted towards her daughter.

Prue turns around.

JO (CONT'D)

What’s got into you?

PRUE

I’m sorry, honey. I ---

Jo realizes there’s something wrong.

JO

Are you okay?

PRUE

Yeah, of course.

(forces a smile)

I was just in a manager’s mood. It’s okay.

Prue smiles one more time and then turns around and leaves as Jo stares at her suspiciously.

CUT TO:

INT. DAMON’S APARTMENT - LIVING ROOM - NIGHT

Damon is lying on the couch. He is falling asleep when ---

SOUND - DOOR OPENING.

Damon hears the door open and gets into a sitting position.

OFF TO MELINDA - She comes in.

MELINDA

Awake?

Damon smiles as she sits beside him and kisses him softly.

DAMON

Long day?

Melinda nods.

MELINDA

We must rush. We need to figure out how to change this reality.

DAMON

So, it’s settled. We’re living in a fake reality and these memories we have ---

MELINDA

Are fake. Yeah. I believe so.

Damon takes a deep breath.

DAMON

Then, there’s no time to lose.

Melinda and Damon stare seriously at each other.

CUT TO:

INT. MATTHEWS / MITCHELL MANOR - ENTRANCE - NIGHT

ON FRONT DOOR - It opens. Ethan is there.

Pandora smiles at him.

ETHAN

Hey!

Pandora reaches out her hand and he holds it.

ETHAN (CONT'D)

I’ve missed you.

PANDORA

I’ve missed you too.

Ethan comes in and both kiss each other.

CUT TO:

INT. HALLIWELL / COOP MANOR - LIVING ROOM - NIGHT

Charlotte and Cassandra are sitting on the floor by the fireplace.

Cassandra and Charlotte stare at the flames.

CASSANDRA

Another reality?

Charlotte nods.

CASSANDRA (CONT'D)

With different memories?

Charlotte nods again.

CHARLOTTE

And Prue is losing hers.

CASSANDRA

Then we must move fast. If this life is fake ---

CHARLOTTE

I know.

They stare at each other.

CHARLOTTE (CONT'D)

I thought it would be harder to make you believe.

CASSANDRA

When it concerns Prue ---

(sighs)

I’ve seen a different Prue lately.

CHARLOTTE

Me too.

Both of them look at the flames.

CUT TO:

EXT. PRUE’S CONDO - ENTRANCE - NIGHT

Chris walks Bianca towards the door. They are laughing.

CHRIS

I haven’t done this in a while.

BIANCA

How can you be so sure? Your memories are fake.

Chris laughs. Then he gets serious.

BIANCA (CONT'D)

You’re worried about Prue’s memory loss.

Chris nods.

CHRIS

I am.

Bianca holds Chris’ hand. They look each other in the eye.

CHRIS (CONT'D)

I can’t forget that child’s look.

BIANCA

We’ll get him back.

Chris smiles.

CUT TO:

EXT. PRUE’S CONDO - INSIDE CAB - NIGHT

Ella is at the back of a cab staring at Chris and Bianca in the entrance of the building. She is serious.

CUT TO:

INT. JARED’S APARTMENT - LIVING ROOM - NIGHT

ON POTION BOTTLE - It has a green liquor inside. It's half empty. It is on the coffee table.

Jared is sitting on the couch. He leans back and keeps staring at the potion bottle.

ON JARED’S FACE - He smiles.

CUT TO:

INT. HALLIWELL MANOR - GARDEN - NIGHT

Wyatt is lying on the chaise longue. He is staring at the sky and the stars. He sighs.

Someone BEAMS in front of him; Prue.

Wyatt gets up immediately.

WYATT

(surprised)

Prue?

PRUE

I could give you a hundred reasons to explain what I’m about to do, but right now only one matters.

They look seriously at each other.

PRUE (CONT'D)

I need to remember how it tastes before I forget.

WYATT

How it tastes what?

PRUE

This.

Prue rushes to him and puts her arms around his neck. She kisses him passionately. Wyatt is taken by surprise, but he kisses her back.

BEHIND THEM / INSIDE THE HOUSE - Jessica stands hidden staring at them. She is serious. After a few moments of watching them kissing, she turns around and leaves.

Prue and Wyatt pull back and stare at each other.

WYATT

Why did you do that, Prue? We can’t.

ON PRUE - Something changes. Like she knows she did something wrong.

PRUE

I ---

(smiles embarrassed)

I don’t really know why. I’m so sorry, Wyatt. You are totally right. We have Jessica and Nate. Well, I don’t like Jessica. But I love Nate.

They look at each other.

PRUE (CONT'D)

Let’s forget that this happened, okay?

Wyatt is serious.

PRUE (CONT'D)

I should better leave.

Prue smiles. She is about to beam out but ---

PRUE (CONT'D)

I hate you, Wyatt.

WYATT

I hate you too.

Prue smiles and then BEAMS out.

WYATT (CONT'D)

But I love you more. A hundred. A thousand times more.

Wyatt puts his hands on his hips and sighs.

The camera moves away and soon it ---

CUT TO BLACK.

END OF THE EPISODE