CHARMED 1X11: FEATS OF CLAY ORIGINAL AIR DATE ON WB: 01/20/1999 TRANSCRIBED FROM WB Teleplay by: MICHAEL PERRICONE, GREG ELLIOT, CHRIS LEVINSON AND ZACK ESTRIN Story by: JAVIER GRILLO-MARXUACH Directed by: KEVIN INCH Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Do not archive this transcript without permission from the Transcriptionist. RATING: TV-PG-SV ========================== DISCLAIMER: ========================== "CHARMED", "The Charmed Ones" and other related entities are owned, (TM) and (c) by CONSTANCE M. BURGE, AARON SPELLING Television Inc (A Paramount / Viacom Co.) and WB (AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, for Entertainment and for Educational Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: Phoebe's old boyfriend from New York, Clay, returns with a mysterious urn for Prue to sell for him. Prue discovers that the urn is stolen and that it has an ancient curse attached to it in which the Guardian of the Urn will kill all who steal it. After Clay's two friends die, Phoebe sets out to find a way to protect Clay from the curse. ========================== CHARMED 1X11: FEATS OF CLAY ========================== FADE IN: [EXT. EGYPT PYRAMID (STOCK) - DAY] [EXT. EGYPT - CAIRO (STOCK) - DAY] LEGEND: CAIRO, EGYPT [EXT. RESIDENCE (STOCK) - NIGHT] [INT. RESIDENCE -- NIGHT] (Camera pans slowly across a display of Egyptian relics on the tables and walls.) (A fist smashes through the glass in the glass door. Wesley reaches in through the hole he made and opens the door into the display room.) (He and Clay walk into the room.) WESLEY: Told you, piece of cake. CLAY: Let's just do this and get out of here. (Palmer Kellogg joins them.) WESLEY: Relax, Clay, I told you no one's home. The owner's dead. PALMER KELLOGG: Stay here and keep watch. We'll get the urn. (Wesley and Palmer Kellogg leave Clay by the glass door. They head into the next room to get the relic they're looking for. Clay nervously looks around.) [INT. RESIDENCE - STUDY - NIGHT - CONTINUOUS] (Palmer Kellogg rushes up to Wesley and grabs his arm to stop him. He looks back at Clay's direction.) PALMER KELLOGG: Hey. Clay doesn't know, does he? WESLEY: Why spook him? He'd probably believe it actually was the curse that killed the old man. PALMER KELLOGG: He was stung to death by a scorpion, Wesley, in the bathroom of an airplane. WESLEY: Don't tell me you believe in that crap? PALMER KELLOGG: You think I'd be here if I did? (Wesley and Palmer look around the room. Palmer finds the urn on the display table.) PALMER KELLOGG: Is that it? (Wesley and Palmer head for the urn.) WESLEY: Yeah, that's it. (Wesley picks up the urn. The golden outline of the image of the Guardian of the Urn imprinted on the side of the urn glows as if it comes to life.) WESLEY: You see any scorpions around? PALMER KELLOGG: No, just dollar signs. Let's go. (As they talk, the image on the urn glows gold and sparks off of the urn as Wesley and Palmer turn to exit the room.) (Instead of them leaving, Clay joins them.) CLAY: Hey, man, there's a guard coming. You guys must've tripped an alarm. WESLEY: Let's get out of here. (They leave the room. The golden glowing dust rises up to the air, then follows them out of the room.) (Off screen, the door closes behind them.) [INT. RESIDENCE - LOBBY - NIGHT] (Two Guards with guns run through the lobby toward the display room.) (Clay, Palmer and Wesley are hiding behind the plants along the wall. Wesley is carrying the urn.) CLAY: I should've never let you guys talk me into this. WESLEY: Shut up. We'll split up and meet in San Francisco. Take the urn to your friend and hock it right away. (Wesley hands the urn to Clay. Palmer looks at Clay.) PALMER KELLOGG: And don't you think about ripping us off, 'cause I'll find you. (Palmer and Clay leave. Wesley turns to follow them, but he's stopped by something.) [OFF WESLEY] (Through his expression and off his face, we see a golden glow.) (Wesley stops.) WESLEY: What - wha ... whoa. (In front of him, the golden dust from the urn appears and swirls till it materializes into a Woman dressed in ancient Egyptian robes.) WESLEY: What are you? (She steps forward.) GUARDIAN: I'm the Guardian of the Urn. WESLEY: (spooked) The what? (The Guardian's ring glows. She touches her ring and then touches Wesley's chest.) WESLEY: Hey, what are you doing? (In the spot where she touched, a poisonous spider appears on his chest. He looks down and screams.) (Palmer looks back through the plants and sees Wesley fall down to the ground in pain.) GUARDIAN: You're being punished for your greed. (Wesley struggles under the poisonous spider. The Guardian turns and looks directly at Palmer.) GUARDIAN: As will your friends. (Palmer turns and runs.) FADE TO: [EXT. SAN FRANCISCO CITY LIGHTS (STOCK) - NIGHT] LEGEND: SAN FRANCISCO THREE DAYS LATER [EXT. HALLIWELL MANOR (STOCK) - NIGHT] [INT. MANOR - STAIRS / MAIN HALL / FOYER -- NIGHT] (Phoebe walks quickly down the stairs. Piper is hot on her heels.) PIPER: New York Clay? That Clay? PHOEBE: That's the one. PIPER: You said you never wanted to see him again. PHOEBE: Ancient history. PIPER: Six months? (Phoebe and Piper reach the bottom of the stairs where Prue is waiting.) PHOEBE: Five. He's just stopping by on his way home. It's not a big deal. He was traveling or something. PRUE: Who's Clay? PHOEBE: Nobody. PIPER: (to Prue) Her ex-boyfriend, the musician. She met him when she was working at the Rainbow Room. You remember. PRUE: No, I don't. Nobody told me. They hired you at the Rainbow Room? PIPER: Yeah. She was a hostess until she started working at the Chelsea Pier. PHOEBE: Okay. Can we talk about this later, please? (The doorbell rings.) PHOEBE: A lot later. We're just friends, that's all, you know. Do I have lipstick on my teeth? (She doesn't.) PIPER: Yes. PHOEBE: Oh. (Phoebe starts rubbing her teeth with the tip of her finger. Phoebe turns and runs to answer the door. Prue and Piper remain behind to watch.) PRUE: (mutters to Piper) That was mean. PIPER: That was not mean. PRUE: Okay. (They both turn to watch. Phoebe answers the door. Clay is standing on the front porch.) CLAY: Phoebe. PHOEBE: Clay. CLAY: It's really good to see you. (She hugs him and gets a premonition.) (Quick premonition of: [PHOEBE'S BEDROOM] Phoebe and Clay are kissing passionately in bed.) (End of premonition. Resume to present.) (Phoebe pulls back from Clay.) CLAY: You okay? PHOEBE: Uh-huh. Ooh. FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. VARIOUS SAN FRANCISCO CITY SCENES (STOCK) - DAY] [EXT. QUAKE (STOCK) - DAY] [INT. QUAKE - BAR -- DAY] (Camera pans slowly through the dining room. One waiter in particular, Doug, wipes a glass meticulously. Camera follows another waiter across the back of the bar to the other end where Prue and Piper sit. Prue appears particularly perturbed that she doesn't know everything.) PRUE: What else don't I know? PIPER: Prue, don't take this personally, but sometimes you can be a bit judgmental. PRUE: Oh, that is so not true. All right, so maybe it's sometimes true. I just don't understand why Phoebe never even told me about this guy. PIPER: People don't like to dwell on things that end badly. PRUE: Yeah, well, I wish my relationships ended that badly. Did you hear them last night? There was music, there was wine, there was ... PIPER: Talking. And how do you know there was wine? PRUE: Okay, so I peeked. (Piper squints her face in disgust.) Well, you know, if nobody tells me anything, I have to get creative. (As they talk, the camera lingers on Doug carrying a tray - his attention on the pretty blonde waitress walking across the room.) PIPER: Stop worrying. She'll be fine. (Doug accidentally throws the glasses on the tray. With one smooth motion, Piper freezes the room.) PIPER: She knows what she's doing. (Prue looks around. Piper points.) PIPER: Watch that entrance, make sure nobody comes in. (She immediately gets off her seat and walks over to the three glasses hanging mid-air. She plucks them out from the air and puts them down on the bar counter.) (She straightens Doug's tray and places the three glasses on it.) (Satisfied, time resumes.) (Doug gasps, but Piper is right in front of him straightening out his tray.) PIPER: Whoa, Doug, easy. DOUG: Thanks, Piper. I hope Shelly didn't see that. PIPER: Oh, don't worry about it, Doug. You just hang in there. (Piper turns around and heads back to her seat next to Prue.) PRUE: What was that? PIPER: What? (Prue makes a hand-waving, freezing motion.) PRUE: That. You know, the guy, the glass. Do you do that often, freeze time in front of, ooh, I don't know, let's say everybody? PIPER: Yeah. I'm finally getting some control over the unfreezing. The poor guy, he just keeps dropping everything. PRUE: Oh, then maybe you should just fire him. PIPER: Mm. The owner wants me to. Actually threatened to fire me if I don't. But Doug's just going through a hard time right now. Shelly the waitress just dumped him, after six years of dating. PRUE: So what, you're playing Cupid at the risk of your own job? PIPER: I am. I mean, Doug loves her. He even bought an engagement ring and everything. He just waited too long to ask. So now he's a wreck. PRUE: Still, you can't just keep - (She motions with her hands again.) -- you know, freezing in order to protect him. PIPER: I know. (Piper motions to drop the topic.) So are you still going back to Buckland's? PRUE: Yeah, that's where I work. PIPER: Oh, I just figured after everything that happened with Rex and Hannah that you would be hitting the classifieds. (As Prue talks, Piper looks up.) PRUE: Well, if we don't save the Auction House, I might have to. Rex left us all but - (Piper sees Doug walking by Shelly. He's carrying an armful of plates. He trips.) (Piper freezes everything.) PRUE: -- bankrupt. PIPER: What were you saying? PRUE: Never mind. Gotta go. (Prue gets off of her seat and grabs her bag. She heads toward the door while Piper gets off her seat and walks over to Doug in a mid-spill. With her hands on her hips, she looks at the scene, shakes her head and sighs.) CUT TO: [EXT. SAN FRANCISCO (STOCK) - DAY] [EXT. PARK -- DAY] (Phoebe and Clay walk through the park.) CLAY: I wish you could have been there, Phoebe. You would have loved Egypt. Pyramids, Giant Sphinx, the Nile River, Camel Taxis. (Phoebe chuckles.) It was amazing. PHOEBE: You rode a camel? CLAY: Hey, they're friendlier than some of the cabdrivers I've met, believe me. PHOEBE: I can't imagine they're faster. (They look at each other. There's a moment of seriousness.) CLAY: You were right to leave me. PHOEBE: Oh, and the conversation turns. CLAY: No, I'm serious. You were the best thing that ever happened to me, and I blew it. I know that. PHOEBE: Clay. (She shakes her head.) CLAY: What, too much too soon? PHOEBE: Yep. Look, I, uh, I hope you don't take this the wrong way. Uh ... but why are you here ... with me now? CLAY: Why? Can't a guy visit? PHOEBE: Yeah, but you're not just a guy. (She playfully whacks him with her bag.) You're Clay, and Clay comes with strings attached. CLAY: I never could ... hide anything from you. PHOEBE: Actually, you could. That was one of our problems, remember? CLAY: I picked up this urn at a ... overseas market. Thought it might be worth something. PHOEBE: So you want me to get Prue to help you. Because of the Auction House. CLAY: Guilty. PHOEBE: Whew. For a minute there, I thought you were here to win me back. CLAY: No, Phoebe. I think too much of you to still believe you're interested. Look ... (They stop walking.) ... it's no secret I've been in some trouble. Gotten in too deep. I just thought if I could sell this urn, make some money, pay off a little debt, I could make a fresh start. Hey. Think about it. Please, Phoebe. CUT TO: [EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY] [INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY] (Prue turns the corner and walks into her office. She finds Claire Pryce standing behind Prue's desk going through the file drawer.) PRUE: Hi. CLAIRE: PRYCE: Oh, hi. You must be Prue. PRUE: And you must be ... CLAIRE PRYCE: Claire. Claire Pryce. (They shake hands.) The bank assigned me to see if the business is worth salvaging. I'm looking for inventory records. The files in my predecessor's office were empty. PRUE: Yes, well, Rex and Hannah weren't exactly qualified. CLAIRE PRYCE: Mm-hmm. Obviously why Buckland's is in such dire straits. (Claire closes the filer drawer and steps away from behind the desk. Prue walks around her desk.) CLAIRE PRYCE: To be honest with you, Prue, I don't know anything about auction houses, and I know even less about art. But what I do know is the bottom line. And if we don't move $1.2 million worth of inventory at the auction tomorrow, I'm shutting the place down. PRUE: Excuse me. Did you say tomorrow? CLAIRE PRYCE: Did I stutter? PRUE With all due respect, you don't just decide to throw an auction, okay? You need advance notice, a catalog, buyers. CLAIRE PRYCE: (nods) Mm-hmm. Then it looks like you've got a lot of work ahead of you, doesn't it? (Claire turns around and heads toward the door just as Phoebe and Clay are walking in. Clay has the urn.) PHOEBE: Oh. (They nearly bump into each other. Phoebe steps aside and into Prue's office.) PHOEBE: Sorry. (Phoebe walks up to Prue.) PHOEBE: Who was that? PRUE: New sheriff. CLAY: Hey, Prue. PRUE: Hey, Clay. What's up? PHOEBE: A favor. (Phoebe takes the urn from Clay and puts it on Prue's desk.) PHOEBE: Clay was hoping that maybe you could sell this for him. CLAY: Yeah. I picked it up at a market overseas. PRUE: "Picked it up"? Does that mean you bought it? PHOEBE: What else could it mean? (Prue looks at the urn.) PRUE: Well, it's really beautiful. Gold inlay, 24-karat, a lot of lapis, looks to be from Egypt. CLAY: Exactly. That's where I was traveling. PRUE: These etchings are interesting, very unusual. CLAY: You think it's worth something? PRUE: Oh, well, I would have to determine the urn's origins, its previous owners -- PHOEBE: Oh, couldn't you just skip a step or two? PRUE: Phoebe, I cannot risk this Auction House's reputation on something like this without checking on it first. PHOEBE: Come on, come on, I will, uh ... what will I do? I will cook you dinner. PRUE: Oh, don't threaten me. Fine. I'll see what I can do. (Prue sets the urn aside.) CLAY: Hey, thanks. Thanks a lot. PHOEBE: Is she the best or what? (Phoebe hugs Prue.) Oh, thank you, thank you. Oh, I love you. (Phoebe grabs Clay's arm and they leave. Prue sighs and looks at the urn.) CUT TO: [EXT. BUCKLAND AUCTION HOUSE - FRONT - DAY -- CONTINUOUS] (Clay and Phoebe are leaving the building.) CLAY: Thanks for doing that, Phoebe. PHOEBE: No problem. Prue will get you a great price for it, too. She's really good at her job. CLAY: Well. It'd be nice if she just liked me a little bit. PHOEBE: She likes you. She's just real protective of me, that's all. CLAY: I remember when that was my job. (He puts his arm around her shoulders. Phoebe puts her arm around his waist. They continue to walk out.) PHOEBE: Yeah, and then I quit you. (Palmer walks up behind them.) PALMER KELLOGG: Hey, Clay. (They turn around.) CLAY: Palmer. What are you doing here? PALMER KELLOGG: I'm bumping into you. (He looks at Phoebe.) Aren't you gonna introduce us? CLAY: Oh, yeah, sorry. Phoebe, this is Palmer. I met him in Cairo. (They shake hands.) PHOEBE: Hi. Oh, wow. Small world, huh? PALMER KELLOGG: Yeah. Hey, what's going on with that urn? PHOEBE: Wait. You know about the urn, too? CLAY: Well, actually, that's where we met. At the marketplace where I bought it. PALMER KELLOGG: Yeah, right, the marketplace. Right. I thought you were gonna sell it? CLAY: Well, actually, Phoebe's sister works at that auction house. She's looking for a buyer as we speak. PALMER KELLOGG: (nervously) That's good, that's good. The sooner the better I guess, huh? (He wraps his arms around himself and sniffs.) PHOEBE: Hey, are you ok? PALMER KELLOGG: Yeah, I'm fine. I'm fine, thank you. It's just, uh, I'm a little tired. Jet lag, you know. (to Clay) Are you staying at the Ashcroft like I suggested? CLAY: Uh, yeah, sure. PALMER KELLOGG: Good. Me, too. Maybe we'll hook up later? CLAY: Mm-hmm. PALMER KELLOGG: (to Phoebe) It's nice to meet you. PHOEBE: Yeah, you, too. (They shake hands again. With one last meaningful look at Clay, Palmer turns and leaves.) PHOEBE: Eew, creepy guy. CLAY: Yeah. You hungry? (He leads Phoebe in the opposite direction.) CUT TO: [EXT. AIRPORT RUNWAY (STOCK) - NIGHT] [EXT. AIRPORT - BAGGAGE -- NIGHT] (Palmer Kellogg walks up to the Customs Officer who I writing on his clipboard on a large wooden crate.) CUSTOMS OFFICER: Can I help you? PALMER KELLOGG: I was a friend of Wesley's. His family wanted me to make sure he got home all right. CUSTOMS OFFICER: Sorry. How'd he die? PALMER KELLOGG: I don't know. Spider bite, I think. He's off to J.F.K., right? (The Customs Officer checks his sheet.) CUSTOMS OFFICER: First flight in the morning. (The Customs Officer turns and leaves. Palmer looks at the wooden crate. He puts his hand on the crate.) PALMER KELLOGG: Sorry, Wes. (Camera pans down to the side of the crate where we see a blue Egyptian stamp outlined in gold.) (The gold in the stamp glows and changes into a puff of gold dust. The entire stamp vanishes.) (Palmer turns and walks away form the crate. The gold dust materializes into the Guardian of the Urn. She watches Palmer leave.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. SAN FRANCISCO (STOCK) - NIGHT] [INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- NIGHT] (Prue is sitting behind her desk doing some research on her laptop. She's on the phone with Piper.) PRUE: What am I supposed to think, Piper? Phoebe's ex pops into town and wants me to sell something for him. You think that's a coincidence? INTERCUT WITH: [INT. QUAKE'S - DINING ROOM - NIGHT] (Piper is sitting at the bar in the busy dining room.) PIPER: Oh, Prue, you wonder why you're out of the loop. You worry too much about Phoebe. PRUE: No, I don't. I just don't want to see her get hurt, that's all. Look, I just get this really bad feeling about Clay. I can't explain it. (Prue shuts her laptop and takes off her glasses.) PIPER: I can. You don't think he's good enough for her. Just like you didn't think Jeremy was good enough for me. Of course, in his case you were right, but that's not my point. PRUE: No, your point is that it's none of my business, and you're probably right. Speaking of playing matchmaker, how's Doug? PIPER: The same, unfortunately. Except I'm getting a little freeze frazzled. It's draining. PRUE: Don't you think you need to find a better way to deal before you get fired? PIPER: I know. (Piper turns and sees Doug walk past Shelly. Once again, his eyes are on Shelly and not where he's walking.) PIPER: Oops. I gotta go, I gotta go. (Piper hangs up just as Doug turns and knocks into a vase on the side table. Piper tries to run over to stop him from tripping and from breaking the vase.) (She's too late on both counts. The vase crashes to the floor.) PIPER: Sorry, Doug, too pooped to pop. (Piper turns and leaves Doug to clean up his mess. Piper walks back to the counter and puts the phone down.) CUT TO: [EXT. HALLIWELL MANOR (STOCK) - NIGHT] [INT. MANOR - LIVING ROOM -- NIGHT] (Clay and Phoebe are eating Chinese take out from the containers. They're sitting on the floor in front of a roaring fire.) CLAY: I'm surprised you moved back here. I remember a few late nights, a few beers, a few not-so-pleasant conversations about your sisters. Here you are ... living together again. Necessity or choice? PHOEBE: I think a little bit of both. Anyway, things have ... kind of picked up at the Halliwell Manor. CLAY: Yeah? Like how? PHOEBE: Oh, well, let's just say, uh, San Francisco has been a lot more unusual than New York. More rice? CLAY: No, thanks. PHOEBE: Hmm. What-- CLAY: You know, Phoebe, you really haven't said much about what you've been doing. PHOEBE: Protecting the innocent from evil. CLAY: Come on, be serious. I mean, you barely had a spare minute in New York. Three jobs just to afford your social calendar. PHOEBE: Things have changed. I've changed. CLAY: Hmm. I'm trying to change, too. One thing that won't change is how I feel about you. (He leans toward her and they kiss and kiss. Phoebe pulls away from him.) PHOEBE: Mmm ... ha. CLAY: I'm sorry. I shouldn't have ... PHOEBE: No, it's not that, believe me. I, uh ... it took me a long time to get over you. And ... I just want be careful. CLAY: I understand. But if I clean up my act ... (He touches her under her chin.) ... would you consider moving back? PHOEBE: (chuckles) Do not go there now. (Off screen, the front door closes.) (They both turn and see Prue.) PRUE: Oh, sorry to interrupt. PHOEBE: It's okay. It happens. (Clay gets to his feet.) CLAY: I should get back to the hotel, anyway. (He reaches for the take out containers.) PHOEBE: Clay, stop, I got it. I got it. CLAY: So, how's it going with the urn? PRUE: It's going. PHOEBE: I think what he's trying to ask is, is it going, going, gone? PRUE: Well, I put it on the auction block. CLAY: Oh, great. That's great. Than a lot. PRUE: Yeah, well, I'm still waiting for the background check to come through on it so I can set a reserve price. CLAY: Okay, well, whatever you get for it is fine with me. PRUE: As long as it sells, right? And in a hurry? CLAY: Well, from what I understand, if anyone can do that, it's you. (to Phoebe) So, I will ... call you tomorrow? Maybe you can show me around the city, help me see where I left my heart. (They kiss.) PHOEBE: Mm ... (Phoebe and Clay head for the front door. He looks at Prue on his way past her.) CLAY: Okay. I really appreciate it. Thanks again. PRUE: (wryly) Anything for Phoebes. (Phoebe opens the door. Clay slips out.) CLAY: See you later. (Phoebe closes the door. She turns and looks at Prue.) PHOEBE: What? PRUE: Nothing. I can worry about my little sister, can't I? PHOEBE: Don't ever stop. (They look at each other and share a smile.) (From the other room, they hear a loud, terribly familiar noise. They head for the attic.) PHOEBE: Hmm. CUT TO: [INT. MANOR - ATTIC - NIGHT - CONTINUOUS] (The door opens. Prue and Phoebe walk into the attic. Prue waves her hand in front of the white smoke disbursing. She heads for Piper sitting on the floor in front of the potions table with the Book of Shadows open in front of her.) PRUE: Are you okay? PIPER: Nothing to see here. Move along. PHOEBE: Welcome to London. (In the potion's pot is a smoking bag of something.) PRUE: What did you do? PHOEBE: More like who did you do it to? (Piper stands up.) PIPER: I put a charm on Doug, but I doubled the recipe. It's just a little something to boost his confidence so he can give love a shot and give me a break. PHOEBE: Go ahead, Prue, yell at her. (Prue turns to look at Phoebe. Piper continues to explain.) PIPER: It's not for personal gain, and it fits into the whole "harm none" thing weave e to live by. Besides, Prue's the one who told me to do something. PRUE: Did not. PIPER: Yes, you did. I just need Doug to stop dropping things so I can stop freezing things. I'm just exhausted. PRUE: You know. Well, maybe he and Shelly aren't meant to be together. Not everybody's supposed to .. PHOEBE: Oh, that was -- that was real subtle. PIPER: Well, we'll never know unless Doug has the guts to pop the question. All I'm doing is giving it to him. PHOEBE: Mm. It's just like the Cowardly Lion from the Wizard of Oz. Well, it is. (Piper smiles. Phoebe puts a hand to her mouth to quench the squooshy thoughts. Prue looks at both of them and smiles.) DISSOLVE TO: [EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY] [INT. BUCKLAND AUCTION HOUSE - AUCTION ROOM -- DAY] (The auction is in progress. The Auctioneer stands behind the podium while his assistant holds up the lot up for bid.) AUCTIONEER: Ladies and gentlemen, this exquisite bronze-plated carving dates back well over a hundred and twenty years. Surely it's worth more than $2,500. Do I hear 26? Twenty six? Do I hear twenty-six? (The voices fade in the background.) (Prue rushes up to Mark.) PRUE: Mark, move the F. Scott Fitzgerald pen to the next slot, all right? Our buyer Mr. Gordenson is getting restless. Go. (Mark turns and leaves.) AUCTIONEER: (b.g.) Twenty-six going once ... (Prue turns around. Claire is standing there holding a sheet of paper.) CLAIRE PRYCE: I think you should see this, Prue. PRUE: What is it? (Prue takes the sheet from her.) CLAIRE PRYCE: It's the appraisal on the urn you requested. AUCTIONEER: (b.g.) Sold! ...To paddle 146. Thank you, Sir. Next item up ... CLAIRE PRYCE: The good news is it's worth a fortune. The bad news is - PRUE: It's stolen. CLAIRE PRYCE: Apparently. No wonder the Auction House is going under. Selling stolen goods. PRUE: No, this is highly unusual and very embarrassing. CLAIRE PRYCE: Yes, it is. (Claire turns and leaves.) AUCTIONEER: Fifteen? Sixteen? Sixteen thousand? (Prue looks at the lot table and sees that the urn is up next, Lot 51.) PRUE: Oh, no. (She squints and uses her powers to move the Lot labels switching it with the painting, Lot 52.) AUCTIONEER: (b.g.) Sixteen thousand? Fifteen thousand going once ... going twice ... sold for fifteen thousand. To paddle number three. (Prue rushes up to the table and grabs the urn off of it. The auctioneer bangs his gavel on the podium.) (Prue leaves the room with the urn.) AUCTIONEER: Next item up, lot number 51. Five-one. (The assistant holds up the painting.) This beautiful 24-karat gold inlay urn from Egypt. (The audience laughs at the mistake. The auctioneer turns and sees the painting.) We--oh. Obviously there's been some--some mistake. CUT TO: [INT. BUCKLAND AUCTION HOUSE - HALLWAY / PRUE'S OFFICE - DAY -- CONTINUOUS] (Prue is walking through the hallway carrying the urn as she reads the background check sheet.) (She walks into her office and heads for her desk. She puts the sheet down and looks up to find Palmer Kellogg in her office.) PRUE: Who are you? (Prue puts the urn down.) PALMER KELLOGG: You must be Prue, Phoebe's sister. PRUE: Same question. Who are you? PALMER KELLOGG: Me? I'm a friend of Clay's. Why didn't you sell that urn? You're supposed to sell it. PRUE: I think that you'd better leave. PALMER KELLOGG: No! Don't you understand? You ha t to sell it before the curse -- PRUE: Curse? What curse? PALMER KELLOGG: The urn, it's cursed. (He walks over to her.) Nevermind. Forget it, I'll get rid of it myself. (Prue turns and uses her powers on the urn, pushing it across the desk. Palmer sees the urn move.) (Prue gasps.) PRUE: (feigns) Oh, my god, it is cursed. PALMER KELLOGG: Oh, no. (She uses her powers again. The urn moves back across the table. Prue points to it and takes a step back.) PRUE: Uh ... what's going on? PALMER KELLOGG: The curse. It's happening. It's too late. I gotta get out of here. (Leaving the urn, Palmer Kellogg turns and runs out of the office.) (Prue stands there and looks at the urn.) CUT TO: [EXT. SIDEWALK -- DAY] (Phoebe and Piper step out onto the sidewalk.) PHOEBE: So do you believe in giving people second chances? PIPER: Absolutely. That's probably why I wanted to help out Doug so much. PHOEBE: Ok, well, Clay says he can change, and I want to believe him, but ... PIPER: But you're afraid of getting hurt. That's totally understandable. PHOEBE: So I keep my distance, and then what, hope that I'm wrong? PIPER: Well, you could be. That premonition of yours is definitely in the future. PHOEBE: Yeah, but the problem is, I keep thinking about the past. When I moved to New York I was so angry. (Piper looks at her.) All right, I was scared. And then I met Clay, and he helped me out a lot. And he was really good to me at a time in my life when nobody else was. I'm sorry. You know what I mean. I didn't mean it like that. PIPER: All right. That's fine. So why did you leave him? PHOEBE: Well, he kept living beyond his means. He never thought about the future. Yeah, I know, that sounds familiar. Let's just say he took one too many shortcuts. Got involved with some bad people, got in over his head. Way over his head. And finally, I just couldn't take it anymore. I had to leave. PIPER: And so now he's back, hoping to be the man you fell in love with originally. PHOEBE: Yeah, so what do I do? What if he's the one, like you say Doug and Shelly are? Do I just walk away? PIPER: No. But -- PHOEBE: We can't live together forever. What do we expect, to be sixty years old and still be sharing clothes and a cat? PIPER: Well, now that you put it that way, no. I don't want to live with you anymore. CUT TO: [INT. QUAKE - DINING ROOM - DAY - CONTINUOUS] (The door opens. Piper and Phoebe walk into the dining room and see something that stops them in their tracks.) PIPER: Oh, boy. (Behind the bar, Doug is Mr. Cocktail. He's mixing drinks with flair in the middle of a crowd of young, beautiful women.) PHOEBE: I thought your charm was to boost his confidence, not turn him into Tom Cruise. PIPER: Maybe I shouldn't have doubled the recipe. PHOEBE: Uh, yeah. (Piper heads for the bar. Phoebe follows.) PIPER: Doug. (Doug walks over to her.) PIPER: (quietly) What's going on? DOUG: Not sure. But whatever it is, I feel great. PIPER: Oh. Oh, my. (Shelly walks up to the bar with the drink on her tray. Doug takes the drink and puts it firmly down on the bar counter and confidently pushes to the woman on the other end of the bar.) (Shelly turns and leaves.) (The women ooh in awe.) PIPER: Um, Doug. What about Shelly? DOUG: (shrugs) Who cares about Shelly when I got Thursday, Friday, and Saturday all lined up and waiting? PHOEBE: Ha ha! (Doug smiles and looks at Phoebe.) DOUG: I don't believe I've had the pleasure. PIPER: I don't believe you will. Off limits. (Doug raises his hands and heads back to the crowd of women.) PHOEBE: Well, your charm worked. You've turned Doug into a- PIPER: A monster. PHOEBE: Mm-hmm. Oh, I gotta go. I told Clay I'd meet him over at the house. (Phoebe kisses Piper on the cheek.) Good-bye. (She turns and leaves.) (Piper watches Doug and smile wryly. She pounds her hand on the counter in frustration.) CUT TO: [EXT. ASHCROFT HOTEL BUILDING (STOCK) - DAY] [INT. ASHCROFT HOTEL - PALMER'S ROOM - DAY] (The door opens. Palmer rushes into the room. He closes the door behind him.) (Once closed, we see the Guardian of the Urn's stamp on the inside door. Camera zooms in on the blue and gold image. The images blurs as it dissolves into a haze of gold dust.) (The gold dust materializes into the Guardian of the Urn.) GUARDIAN OF THE URN: Leaving? (Palmer is startled from packing his bags. He turns around and sees the Guardian.) PALMER KELLOGG: How'd you get here? GUARDIAN OF THE URN: I came with your friend. I waited for your fear to consume you. (She walks up to him.) Where's the urn? (He falls back on the bed as she advances toward him.) PALMER KELLOGG: It's at the Buckland Auction House. I tried to get it back. I was gonna return it, I swear. I tried to make things right, please. Don't. I'm sorry. (She takes a swipe at her scorpion pin on her shoulder and places it on Palmer's chest. With a whirl of gold dust, a real scorpion appears.) PALMER KELLOGG: No! No! (He falls back on the bed as the scorpion attacks his neck.) PALMER KELLOGG: No! No! GUARDIAN: You're being punished for your greed. (Palmer stops moving.) CUT TO: [EXT. HALLIWELL MANOR (STOCK) - NIGHT] [INT. MANOR - PHOEBE'S ROOM -- NIGHT] (Phoebe steps out of her closet holding a black dress. Clay is sitting on her bed.) PHOEBE: So the band goes on at ten, but if we get there before nine, there's no cover. You interested? CLAY: In anything that involves you. (She turns back and grabs a second dress from the closet.) PHOEBE: Okay. (She holds them both up for him to pick. He nods toward the right one.) CLAY: Hmm. PHOEBE: Mmm? CLAY: (nods) Mm-hmm. (Phoebe drops the dress he picked on the floor. She laughs. He doesn't seem all that surprised.) CLAY: Deja ... PHOEBE: vu. CLAY: I miss this. The day-to-day of us. (She puts the dress aside.) PHOEBE: Yeah. Me, too. Okay, well, I'm going to change now. CLAY: Okay. (He doesn't move. Phoebe motions to the door.) CLAY: Oh, you want me to leave? PHOEBE: That's kind of a loaded question, but, uh, yeah, I think that that would be best. CLAY: Phoebe, we did live together. It's not like I haven't-- PHOEBE: Yeah, I-I-I know, but ... things have changed. CLAY: Come here. Come sit down. (He reaches for her and pulls her toward him. She sits on the bed next to him.) PHOEBE: We're ... V-very different. CLAY: Do we have to be? (He starts kissing the sensitive spot on the back of her neck.) PHOEBE: Uh ... well ... oh ... you know, when you, uh ... ok, stop. Stop. (He stops.) (She takes a breath ... then motions for him to continue.) PHOEBE: Ok, go. Go. (He kisses the back of her neck and shoulders.) PHOEBE: (mutters to herself) Oh, god. What am I thinking? What am I doing? (She turns to face him.) Ok, you know this isn't fair because I love it when you-- (He pulls her toward him and kisses her.) (They collapse backward on the bed.) CUT TO: [INT. MANOR - SITTING ROOM - NIGHT -- CONTINUOUS] (Piper is sitting on the chair the open Book of Shadows in her lap as she writes something down. The door slams shut, startling Piper.) (Prue walks up to her holding the sheet of paper.) PIPER: Oh, Prue, you scared me. PRUE: Where's Phoebe? PIPER: Upstairs. (Prue heads upstairs before Piper can say another word.) PIPER: But you might want to ... (She turns and sees Prue's gone.) ... knock. [INT. MANOR - SECOND FLOOR TO PHOEBE'S ROOM - NIGHT - CONTINUOUS] (Prue walks through the hallway with the sheet of paper in her hand. She opens Phoebe's bedroom door.) PRUE: Phoebe, we need to talk-- (Prue stops.) (Phoebe looks up from kissing Clay. They're both naked in bed.) PHOEBE: (angry) Yes, we do. (Prue shuts her eyes and groans.) PRUE: Oh. (She turns and leaves.) (Phoebe gets up from bed as we ... ) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. HALLIWELL MANOR (STOCK) - NIGHT] [INT. MANOR - FOYER / MAIN HALL - NIGHT] (Phoebe holds the door open as Clay is leaning. Prue and Piper wait.) PHOEBE: You know, you don't have to leave. CLAY: Yeah, I think I should. (He kisses her.) PHOEBE: I'll call you. CLAY: Okay. (He leaves. She closes the door and turns around to glare at Prue.) PHOEBE: I hope you liked the show. PRUE: Phoebe, I'm so sorry. I had no idea. PHOEBE: What, that it was my room that you barged into? I had more privacy when I lived in New York, a tiny island crawling with eight million people. PRUE: And at least one thief. PHOEBE: I'm sorry. Excuse me? PRUE: My new boss handed this to me. Thankfully, just before the urn could be sold. (Prue hands the sheet to Phoebe. Piper moves behind Phoebe to read it over her shoulder.) PRUE: Clay didn't buy it at some outdoor bazaar, Phoebe. He stole it. PHOEBE: This can't be right. PIPER: It looks right, Phoebes. PRUE: Seasons change. People don't. PHOEBE: I changed. Do you remember what you thought of me before I walked back through that door? PRUE: That's different. PHOEBE: How is that different? PRUE: You're my sister. PHOEBE: Well, there's gotta be so mistake. PRUE: It gets worse. If the background information is accurate, there's a curse attached to the urn. Anyone who steals it ends up dead, a victim of the Guardian who protects it, and she feeds off their greed. PHOEBE: Okay, well, even if that's true, Clay could have never known about it, otherwise he wouldn't have brought it here. PIPER: Are you sure, Phoebes? You wouldn't be the first Halliwell to misjudge a guy. PHOEBE: No, it's not about judging, it's about knowing. And I know Clay. PRUE: And I know what Clay has done. He put my job in jeopardy. He lied to me. Phoebe, he lied to you. PHOEBE: You don't know that. (Prue can't believe it.) Look, I am not saying that he's perfect. Okay? And ... even if he is foolish enough to risk his own life ... he would never risk mine. (Phoebe walks past Prue and heads up the stairs.) CUT TO: [EXT. ASHCROFT HOTEL BUILDING (STOCK) - DAY] [INT. ASHCROFT HOTEL - PALMER'S ROOM - DAY] (Palmer Kellogg is dead, his neck extremely swollen. The Coroner looks at Andy and reports.) CORONER: If I didn't know any better, I'd say this is a scorpion sting. ANDY: Scorpion sting in San Francisco? CORONER: I know, but that's what it looks like. ANDY: Any chance he was killed somewhere else and then moved here? CORONER: No. The lividity is consistent with where he was found. ANDY: Well, I buy this place has roaches. I'm not so sure about scorpions. Anything else? CORONER: Found someone's business card in his pocket. "Buckland's Auction House"? ANDY: Ah-ah. Let me guess. Prue Halliwell? CORONER: Yeah. How'd you know? (He grabs the business card from the coroner and tucks it into his jacket pocket.) ANDY: I'm cursed. Let me know when you get the report back on that sting. (Andy walks around the Coroner and heads for the door.) (Clay is walking through the hallway slowly making his way toward Palmer's room. He's puzzled by all the people there.) (On his way in, he bumps into Andy on the way out of the room.) ANDY: Excuse me. (Palmer looks into the room just in time to see the Coroners zipping up the body bag over Palmer.) CLAY: Palmer? CUT TO: [EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY] [INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY] (In the empty office, the urn is still on Prue's desk. Gold dust appears and magically seals itself back on the side of the urn in the form of the Egyptian blue and gold Symbol.) (Prue and Claire walk into the office. Prue is holding a calculator punching in the numbers as Claire calls them out to her.) (Prue heads for her desk.) CLAIRE PRYCE: Lot 49, twenty-six hundred. Lot 50, fifteen thousand. Lot 51 ... excluded. (Claire looks at the urn.) Shouldn't that be turned in to the proper authorities? PRUE: I'm contacting Customs as soon as we're finished here. Look ... again, I just want to assure you that I didn't have anything to do with -- CLAIRE PRYCE: (interrupts) Just ... handle it. How did we do? PRUE: $1.28 million. We did it. CLAIRE PRYCE: The Auction House lives to see another day. Congratulations. (She shakes Prue's hand.) CLAIRE PRYCE: Good work. PRUE: Thanks. (Claire turns and heads out of the office.) (Prue puts the calculator down and looks at the urn, noting the Egyptian Symbol on its side.) ANDY: (o.s.) Hey. (She looks up as Andy walks into the office.) PRUE: Andy, hi. Here to arrest me again? ANDY: Mm ... not this time. (He looks at the urn and sees the image on its side.) A scorpion. Why am I not surprised? PRUE: (confused) I'm afraid I don't-- ANDY: A young man died last night of a scorpion sting. Palmer Kellogg. You know him? PRUE: I don't believe I do. ANDY: Well, he obviously knew you. I found your card on his body. (He shows her the business card.) PRUE: We did just have an auction. I met a lot of people. ANDY: Ah. Well, I'll bring a photo by later, see if it jogs anything. PRUE: That's fine. ANDY: Prue, listen. Just because we're not dating anymore, I want you to know I still care about you. So if you're ever in jam or you ever need anything ... just know you can always call me. PRUE: I know that. Thanks. (He smiles at her. He turns and leaves the office.) CUT TO: [EXT. ASHCROFT HOTEL BUILDING (STOCK) - DAY] [INT. ASHCROFT HOTEL - CLAY'S ROOM - DAY] (Clay is shoving his clothes into his bag. There's a knock on the door.) PHOEBE: (through door) Clay, are you in there? CLAY: Phoebe? (He opens the door.) PHOEBE: You stole the urn, didn't you? CLAY: Would you, uh, come inside? PHOEBE: No. I am not going anywhere until you answer the question. CLAY: Okay. Yes. (She walks into the room and sees his incomplete packing efforts. He closes the door behind her.) PHOEBE: Were you planning on saying good-bye before you skipped town? CLAY: Palmer's dead, Phoebe. PHOEBE: What? CLAY: He died from a scorpion sting. I called Wesley to tell l him. That's when his parents tell me he's dead, too. Spider bites. I don't know how. I don't know why. But I know one thing -- I'm not gonna stick around-- PHOEBE: You are such a liar! CLAY: Phoebe, I'm not lying. PHOEBE: You knew the urn was cursed when you stole it. You knew the Legend. CLAY: What are you talking about? What Legend? PHOEBE: Are you telling me that y didn't know whoever steals the urn dies? CLAY: (to himself) Palmer, Wesley. (to Phoebe) I swear I knew nothing about it. PHOEBE: Yeah, right. (She heads for the door.) CLAY: Come on, Phoebe, you have to believe me. (She turns around and looks at him.) PHOEBE: No, I don't. You're a liar, Clay. You will never change. You'll always look for the easy way out. (She opens the door and leaves. The door closes behind her.) CUT TO: [EXT. QUAKE (STOCK) - DAY] [INT. QUAKE - DINING ROOM -- DAY] (Shelly walks over to the bar. Through the bar's mirror, Doug sees her just as he's putting a glass up on the shelf. He misses the shelf and drops the glass.) (He turns and looks at Piper.) DOUG: Oh, sorry. Uh, I'll go get the broom. PIPER: Good idea. (Doug leaves. Phoebe appears and sits down next to Piper.) PHOEBE: I see you reversed the spell. PIPER: Yeah. And I've been given until tomorrow to fire him. PHOEBE: Maybe Prue is right. Maybe they just don't belong together. Seems like the theme of the day. PIPER: Oh. Clay? PHOEBE: Uh-huh. He totally used me, Piper. He just used me to get to Prue. PIPER: I'm sorry. PHOEBE: Thanks for not saying, "I told you so." Why didn't I see it coming? What am I? A sucker for punishment? PIPER: No. You see the good in people, and that's never wrong. Besides, the wrong guys are usually the most interesting. PHOEBE: Mm. PIPER: Until you get your hopes up and let your guard down and they reveal their true selves. PHOEBE: So true. PIPER: I mean, look at Doug. Great guy, kind of boring on the surface, easy to overlook, but ... maybe in the long run, we're better off with his type. PHOEBE: Maybe in the wa-a-ay long run. I think I'm still looking for adventure. PIPER: Then you risk paying the price. (Off camera, there's a loud crash. Piper turns to look at the end of the bar. Doug steps out holding a dustpan and broom.) DOUG: I got it. PIPER: Maybe it's a price worth paying. PHOEBE: Yeah. I just don't know anymore. Thanks for the ear. (Phoebe turns and leaves.) DISSOLVE TO: [INT. MANOR - FOYER/MAIN HALL -- NIGHT] (The doorbell rings. Phoebe answers the door and finds Clay there.) CLAY: Can I come in? PHOEBE: No. CLAY: Look, I may have lied about buying the urn, but I swear, I didn't know it was cursed. PHOEBE: Well, that still makes you a thief, now, doesn't it? CLAY: Well, that's why I'm here. I want to make things right. I want to turn myself in to the police. (She rolls her eyes.) I mean it, Phoebe. Honest. It's the only way I can redeem myself with you. PHOEBE: And how do I know this isn't just another one of your scams? CLAY: Well, I guess you don't. But I don't want to take shortcuts anymore. I want to take the urn with me to the police. There's no way Prue is just gonna give it to me. Not without you there. I need your help. It's the last favor I'll ever ask. I promise. PHOEBE: I don't think so. (Clay reaches out to touch Phoebe's arm.) CLAY: Please. (Phoebe has a premonition.) (Quick flash to: [INT. PRUE'S OFFICE - NIGHT] On the floor is a cobra. It rises from the ground and stares at Clay. End of premonition. Resume to present.) PHOEBE: (quietly) The curse ... CLAY: What? (Phoebe grabs her coat off the hallway hook.) PHOEBE: Let's go. (She closes the door as she leaves with Clay.) CUT TO: [EXT. BUCKLAND AUCTION HOUSE (STOCK) - NIGHT] [INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- NIGHT] (Prue is in her office working when Phoebe rushes into the office. Clay's behind her.) PRUE: Phoebe----what is he doing here? PHOEBE: Save it till later. I have seen the future, and it's not bright. Oh, good. You didn't give the urn to the police. PRUE: Yeah, no. I thought that it might get you in trouble. PHOEBE: Yeah. Well, you know that little legend we were talking about? Well, I -- (As she talks, the Egyptian Guardian symbol turns into dust and rises from the urn. It materializes into the Guardian.) PHOEBE: ... I think it t true. CLAY: What the hell is that? PHOEBE: Clay! PRUE: Get him out of here. (Phoebe pushes Clay out of the office.) PHOEBE: Go! (She closes the door.) (Prue uses her powers on the Guardian. Nothing happens.) GUARDIAN: I don't want to harm you. I came for the thief. PRUE: Who are you? GUARDIAN: I'm the Guardian of the Urn. You cannot destroy me. PRUE: Uhh! (Prue again uses her powers against the Guardian, but only succeeds in pushing her back a couple of steps. This is not good.) PRUE: Uh ... Phoebe, run. (Prue and Phoebe run out of the office. The door closes behind them.) GUARDIAN: So now there are more who will die. (She disappears in a swirl of gold dust and reappears as the Egyptian Symbol on the side of the urn.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. SAN FRANCISCO CITY LIGHTS (STOCK) - NIGHT] [INT. MANOR - FOYER -- NIGHT] (The door opens. Prue, Phoebe and Clay rush into the house.) CLAY: I still don't understand. PHOEBE: You stay down here. We'll be right back. (Piper meets them in the foyer.) PIPER: What's going on? PRUE: Tell you in the attic. (Prue grabs her and pulls her with her toward the stairs.) CLAY: Hey, where are you going? PHOEBE: Fill her in. I'll meet you guys upstairs. Uh ... Piper is really into legends, and -- and Prue is really good with her mind, so -- CLAY: Yeah, but -- that thing, the Guardian, she's not even-- PHOEBE: Human? Yeah, I know, but she's real, and we have to figure out how to stop her before she gets you. CLAY: I don't know what you're thinking, Phoebe, but I do not want you getting hurt because of me. PHOEBE: You know, I think I actually believe you. (Phoebe smiles, then heads upstairs. Clay watches her go.) CUT TO: [INT. MANOR - ATTIC - NIGHT -- CONTINUOUS] (Piper and Prue are flipping through the Book of Shadows when Phoebe enters the attic.) PHOEBE: Did you find anything? PIPER: Nothing about Egyptian Urns or greed demons. Zip. PRUE: Well, let's just hope that she didn't follow us here, because our powers are useless against her. PIPER: How is that possible? I mean, that's never happened to us before. PRUE: Maybe we're not supposed to protect him. PHOEBE: What are you saying? PRUE: Look, all I'm saying is that maybe there's a reason ... like Piper trying to force Doug and Shelly back together again. Maybe there are just some things that we're not supposed to save. PHOEBE: No. We're saving Clay, period. There's just gotta be something that we're missing. PIPER: Maybe this is something. I mean, it doesn't talk about the urn, but it talks about the seven deadly sins, greed being one of them. PRUE: Wait a minute. The guardian punishes the greedy, so maybe if Clay does something selfless, it'll even the score. (Piper laughs softly.) PIPER: Good luck. (She looks at Prue and Phoebe.) PIPER: Sorry. (Phoebe growls at her, turns and leaves the attic.) CUT TO: [INT. MANOR - MAIN HALL/FOYER - NIGHT -- CONTINUOUS] (Phoebe, Piper and Prue rush down the attic.) PHOEBE: Clay! Clay, where are you? Clay! (They look around and can't find him.) PIPER: I think he left. PHOEBE: I don't believe it. PIPER: Well, sorry, Phoebes. PHOEBE: No, I mean I really don't believe it. He wouldn't just leave like that. PRUE: Well, do you have a better explanation? PHOEBE: He was worried about me. He was worried about us. I am telling you, he -- wait. My vision. I think I know where he's going. We've gotta stop him. (They head out.) CUT TO: [INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- NIGHT] (The Egyptian Symbol on the side of the urn changes once again into the Guardian. The door to the office opens. Clay walks in.) GUARDIAN: I knew you'd come back. Your greed consumes you. CLAY: I'm not here for the urn. (The Guardian has a golden coil in her hands.) GUARDIAN: You must be punished. CLAY: I know. When you're done with me, that's it, right? You're not gonna hurt anybody else? GUARDIAN: Not until somebody steals the urn again. CLAY: How do you know anybody will? GUARDIAN: Somebody always does. (She throws the coil on the floor at Clay's feet. It changes and grows into a large cobra. The cobra rises up and looks at Clay.) (Phoebe, Prue and Piper run into the room.) PHOEBE: Clay! CLAY: Stay back, Phoebe. PHOEBE: No! (Clay pushes Phoebe back.) PRUE: Phoebe, look out!! (The cobra strikes. Clay lifts his arm to block the cobra. The cobra vanishes.) PHOEBE: A selfless act. Just like the Book of Shadows said. (The Guardian of the Urn vanishes and goes back to the Egyptian Symbol on the urn. The urn vanishes.) PIPER: Where'd it go? PRUE: Who cares as long as it's not here? CLAY: (to Phoebe) Are you okay? PHOEBE: Am I okay? Who says people never change? (Phoebe hugs Clay.) CUT TO: [INT. RESIDENCE - STUDY - NIGHT] (Back at the residence in Cairo, Egypt, the urn appears on the stand near the window.) DISSOLVE TO: [EXT. QUAKE (STOCK) - DAY] [INT. QUAKE - DINING ROOM -- DAY] (Piper, Prue and Phoebe sit at the counter.) PIPER: Good thing we didn't have to end up using our powers to vanquish, or otherwise Clay would've have seen them. PRUE: They didn't work, anyway. PHOEBE: Not something I hope ever happens again. (Piper perks up.) PIPER: Ooh! Ooh! Forgot about Doug! (In front of them, Doug is carrying a large tray filled with a lot of things. Just then, Shelly walks by. Doug turns to look at Shelly and he drops the tray.) (Piper freezes the entire room before it hits the ground.) PRUE: This is getting ridiculous. PIPER: Oh, tell me about it. That engagement ring's probably still burning a hole in his apron. (Prue gets off her chair and heads over to Doug.) PIPER: Where are you going? What are you doing? PRUE: Solving your problem and keeping you employed. (She takes the engagement ring from out of Doug's pocket and puts it down on the floor in front of Shelly.) (Prue turns and rushes back to her seat.) PRUE: Okay. (Piper unfreezes the room.) (Doug drops the entire tray of things. He sighs as he looks at Shelly.) DOUG: Sorry. (He kneels down to clean up the mess. Shelly sees the ring box.) SHELLEY: What's that? (Doug's jaw drops as Shelly picks up the ring box and opens it.) DOUG: I was carrying that around for weeks, trying to find the right time to ask you. SHELLEY: Ask me what? DOUG: To, uh ... (He stands up.) ... marry me? SHELLEY: But ... that's why I broke up with you. I gave up on waiting. (Doug and Shelly hug.) (Prue smiles. Phoebe smiles and draws her index finger down her cheek to indicate fake tears as she fake cries.) PIPER: Oh ... maybe this would have happened sooner if I would have kept my little wicca nose out of their business. PHOEBE: I guess you can't change people. They have to change themselves. (Prue sees something.) PRUE: Oh, speaking of that, yum. (Clay walks into the dining room.) PRUE: Go, baby. PIPER: Go, girl. PHOEBE: All right. I'm goin' in. PIPER: You can do it. (Phoebe leaves Prue and Piper laughing.) (She walks up to Clay.) CLAY: Hey. PHOEBE: Hey. I'm glad you stopped by. CLAY: Yeah, well ... any chance you're going to come back with me? PHOEBE: Mm ... no. This is my home now. CLAY: You know me. I had to try. I know I've lied to you about a lot of things. But one thing I never lied to you about was how much I care about you. PHOEBE: I know, Clay. (They kiss.) CLAY: I guess I should be going. PHOEBE: Yeah. CLAY: Um ... you know, I hope the next time we cross paths ... I'll be the guy you always think you see. PHOEBE: Mm. Good-bye. (He kisses her knuckles and leaves.) (Prue and Piper walks up to Phoebe.) PRUE: Are you okay? PHOEBE: Oh, yeah, yeah. He was ... just stopping by on his way home. No big deal. PIPER: I've heard that before. PRUE: Oh ... (They hug her.) FADE TO BLACK. ========================== THE END ========================== [Captioning made possible by Spelling Entertainment Captioning performed by the National Captioning Institute, Inc.] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Do not archive this transcript without permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== CHARMED 1X11: FEATS OF CLAY ORIGINAL AIR DATE ON WB: 01/20/1999 TRANSCRIBED FROM WB Starring: SHANNEN DOHERTY as Prue Halliwell HOLLY MARIE COMBS as Piper and ALYSSA MILANO as Phoebe Halliwell T.W. KING as Andy Trudeau Created by CONSTANCE M. BURGE Guest Starring VICTOR BROWNE as Clay STACY HAIDUK as Guardian of the Urn EDDIE BOWZ as Palmer Kellogg ALLEN CUTLER as Doug NIKLAUS LANGE as Wesley CAROLYNE LOWERY as Shelly MING LO as Coroner and CRISTINE ROSE as Claire Pryce Consulting Producer: JONATHAN LEVIN Consulting Producer: TONY BLAKE Consulting Producer: PAUL JACKSON Producer: SHERYL J. ANDERSON Coordinating Producer: BETTY REARDON Supervising Producer: LES SHELDON Executive Producer: BRAD KERN Executive Producer: CONSTANCE M. BURGE Teleplay by: MICHAEL PERRICONE, GREG ELLIOT, CHRIS LEVINSON & ZACK ESTRIN Story by JAVIER GRILLO-MARXUACH Directed by KEVIN INCH ========================== END CREDITS ========================== Executive Producer: AARON SPELLING Executive Producer: E. DUKE VINCENT Music featured in this episode: * Sarah McLachlan * Royal Crown Revue * Eve 6 Spelling Television Inc., A Paramount / Viacom Company Executive Story Editor: HENRY ALONSO MYERS Executive Story Editor: JEANNINE RENSHAW Story Editor: JULIE HESS Co-Starring SEAN MORAN as Customs Officer ALLAN HUNT as Auctioneer Film and Electronic Laboratory (tm) by LASERPACIFIC MEDIA Lenses and Panaflex(R) Camera by PANAVISION(R) Digital Sound Editing and Mixing by LASERPACIFIC MEDIA Digital Visual Effects by ENCORE VIDEO Executive in Charge of Production: GAIL M. PATTERSON Executive in Charge of Post-Production: KENNETH MILLER This motion picture is protected under the laws of the United States and other countries. Any unauthorized duplication, copying, distribution, exhibition or use may result in civil liability and or criminal prosecution. The places and characters depicted herein are entirely fictitious, and any similarity to any real places or people is purely coincidental. (c) 1999 by Spelling Television Inc., A Paramount / Viacom company. All rights reserved. Country of First Publication: United States of America Spelling Television Inc., is the author of this film / motion picture for the purpose of Article 15(2) of the Berne Convention and all National Laws giving effect thereto. AOL Keyword: The WB TheWB.com Dated:01/05/2005~lky http://www.webphilia.com/~anthology/wnp.html