Fade up on an impressively large spider scuttling up its web. Were back in the Mausoleums mausoleum, and while Im glad Brad Kern is getting his moneys worth out of this set, Im regretting my decision to call it the Mausoleums mausoleum in the first place. Im just sick of typing that out. An out-of-focus form enters, and before the shot clears itself up we hear the dulcet tones of Prue Halliwell echoing off the marble, bellowing Phoebes name. Prue wanders through the room and eventually finds Phoebe, curled up asleep at the base of the bier containing the mortal remains of Coles father. Well get to his spiritual remains later, just so you know. Prue gently rouses her sister. Phoebes first word upon awakening is, of course, Cole? Prue urges Phoebe to return to the manor with her. Phoebe wants to remain there in the hope that her cuddly little demon will deign to show his face. Prue gently suggests that Cole can just as easily contact Phoebe back at the house if he wishes to do so. Phoebe groggily rises to her feet and exposits that Cole was supposed to go back under so his buddies in the demonic fraternity of Bi Krappa Stigma wouldnt be suspicious of him. However, its been over a week since Cole did so, and the Halliwells have yet to hear from him. Prue supposes Cole simply hasnt been able to extricate himself from the situation as easily as he thought he would. Phoebe darkly proposes that the Bi Kraps just wont let Cole go. Prue attempts further to reassure Phoebe, reminding her, You dont make Demon of the Century without having a few tricks up your sleeve. Phoebe sighs, and reiterates her wish to know once and for all if her boyfriends all right. Prue slings an arm around Phoebe, and they head to the mausoleums exit.
Cut to the Cavern Of The Bi Kraps. Coles zonked out on his back on a stone slab. A couple of dozen candles blaze merrily at his side. Ian Buchanan holds his left hand over Coles face as Tarquin, the freakishly hairy genetic mistake from the combined loins of Ron Jeremy and Bruce Vilanch, looks on. Coles face periodically glows orange; then the orange glow sweeps up into the palm of Ians outstretched hand. Referencing the vanquished Vornack from last weeks episode, Ian announces, It seems our brothers suspicions were correct. The genetic mistake wonders whats wrong with the Colethazor. Sickness is Ians answer. The kind that comes from being in the World of Light too long. The genetic mistake finds this hard to believe. The Colethazor is, like, the most stupendously hella wicked demon ever. How could such a paragon of evil be ill? Ian foxtrots away from the Colethazor with some more of the exposition. Belthazor, Coles demonic half, is perfectly fine. Its Coles human half that has become infected. With what, you ask? Why love, of course. I suppose I should capitalize that particular four-letter word. And spell it Luuuurve. But I just cant be bothered at this point. The genetic mistake, upon hearing the nature of the Colethazors affliction, sneers, The witch! Oh, but not just any old witch, as Ian explains: One of the Charmed Ones. Yeah, we know. Move it along, guys. Ian gives a one-line recap of the previous episode, revealing to the genetic freak that Phoebes turned Cole against his former brothers at the Cavern Of The Bi Kraps. She in fact sent Cole to destroy them. The mutation from the shallow end of the gene pool proposes that they destroy Cole instead. Ian tut-tuts this, noting, You dont just kill a demon like Belthazor. Because the Colethazor got to know the Halliwells so well, he is now possessed of a unique understanding of the manner in which the sisters may be murdered. That knowledge, combined with the Colethazors outstanding powers, makes [him] a very precious commodity for the Bi Kraps. Ian proposes to save the Colethazor. The mutant freak wonders how Ian plans to accomplish this. We remove the only thing thats reawakened his human half -- his only foothold to good, Ian explains. The witchs love for him. The freak Gets It. Ian and the freak gaze down at Cole. Theres a slow pan down to his unconscious face, and we cut to the credits.