Buckland's. Interview With The Prueminator, Part The Second. Rex would "like to test [Prue's] expertise," if she wouldn't mind. He leads her past some scaffolding to introduce her to "Hannah Webster," one of the auction house's specialists. Hannah looks like the old-maid librarians in one of those movies where the guy -- you know the guy, the one who blows into some dusty, out-of-the-way town to shake things up a little -- tells the librarian to let down her hair and take off her glasses, and when she does so, the guy -- yeah, that guy -- says, "Good gracious, Miss Webster! You're beautiful!" and for some reason all the old coots who normally pass the time chewing tobacky in the barber shop are there in the library to witness the transformation and they all agree with the guy and Miss Webster gets a whole new lease on life and finally finds happiness in the arms of a man. So, um, yeah. That's Hannah. And she's standing in front of an Italianate Madonna. Prue demonstrates her curating chops by correctly identifying the painting as a latter-day copy of Bellini's Madonna Of The Meadow. Prue then really gets to stick it to Miss Hannah by expounding upon a nearby Degas. Miss Hannah none-too-subtly boots a nearby ladder, jostling a bucket of paint from one of the upper rungs. Prue flings her hands up defensively, and her telekinesis arcs the stream of paint away from her body onto a drop cloth. From Hannah and Rex's perspective, however, it looks like the paint is simply dropping straight to the floor in front of her. Rex apologizes profusely and offers Prue a job. She thanks him and peels off past Miss Hannah, who looks like she just caught a whiff of some particularly foul odor. Damn that Crohn's Disease! Damn it to hell!
Once Prue poots her way over to the elevator bank, Rex asks, "Well, what did you think?" Miss Hannah sneers, "I think she's either the luckiest woman alive, or she's a witch!" Dun dun DUN!
Manor. Prue races inside to share her good news and nearly body-checks the addled Elder Brittany into the parlor. Piper emerges from the kitchen to hand Elder Brittany some gruel and leads her to the dining room to eat. Once Brittany's out of the way, Piper fills Prue in on the afternoon's events. Prue -- wait for it -- gapes.
Pecker's Waterfront Warehouse Of Evil. Phoebe pulls up to the door in the van she "borrowed" from [72virgi=ns] and bounces out of the cab with a garment bag. She lopes over to the warehouse door, calling out Pecker's name. Receiving no answer, she grips the doorknob and is flung into a vision. She sees herself, strapped to that table, as Wrinkly Pecker sucks her youth out through her eyes. Recovering quickly, Phoebe darts back to the cab of the van and frantically tries to gun the engine. A withered hand clamps over her mouth, and Phoebe shrieks her way into the commercial break.