The following is not a novelization or an actual script but a dry transcript of the aired episode that includes accurate word-to-word dialogues, settings descriptions, action scenes and/or camera movements where the transcriber felt they were necessary. This transcript is posted on "TWIZ TV.COM - FREE TV SCRIPTS DATABASE" by courtesy of SCI_FI ANGEL.

"WITCHBLADE" and other related entities are owned, (TM) and © by WARNER BROS. TELEVISION in associaion with TOP COW PRODUCTIONS and HALSTED PICTURES. This transcript is posted here without their permission, approval, authorization or endorsement. Any reproduction, duplication, distribution or display of this material in any form or by any means is expressly prohibited. It is absolutely forbidden to use it for commercial gain. For entertainment and educational purposes only. No infringement intended.
==========================
TRANSCRIPT:
==========================

Act I

Open in a room in Kenneth Irons' Vorschlag company. The room has a curved shape and is lit by recessed lighting. Focus on Irons standing at a low pedestal with a book on it. Irons is turning pages in an illustrated manuscript. He pauses as a page showing an illustration of a hooded robed figure with a torch.

 

 

Cut to a live, hooded robed figure with a torch. He uses the torch he's carrying to light another torch mounted on a wall. He walks a few more steps to where a woman is lying under a blanket. There are rats around and on her. Shift to other torches around the room. There are more rats, too. The robed man picks up a thick bladed short sword. The sword is made of a sandy-colored material, not metal. The robed man takes the sword to one of the walls, where he uses the sword to scratch a large symbol. He comes back to where the woman is lying. He then raises the sword in both hands, hilt upward, and plunges it down out of frame.

 

 

Cut to Jake and Sara getting out of his car. The police lights are on.

Sara: All human skills are perishable. Just like fruit. You leave 'em on the shelf too long, they rot, they decay, they stink.

They walk down an ice and slush filled alley, passing uniformed officers and police cruisers.

Jake: I'm sure you're trying to tell me something very important here.

Sara: I am. Homicide will consume as much of your life as you allow it to.

Jake: Ah! You mean like, "Be sure to leave room for a love life?"

Sara: I meant don't forget to spend more time at the gym and the shooting range.

They enter a low brick building, part of a block-long joined building, actually.

 

 

Cut to the woman's body lying on a gurney, covered from neck down by a blanket. Close up to her face. There is a camera flash going off and police radio noise in the background. Shift to the blanket being drawn over her head. Jake and Sara walk up.

Sara (to a female forensics person): Talk to me.

Forensics: White female, 40 to 45. Cord ligatures around her neck (close up of the corpse's neck) indicate strangulation, but there's no petichial hemorrhaging in her eyes.

She lifts back one of the corpse's eyelids.

Sara: You don't see that every day.

Forensics: And check this.

She pulls the blanket away from the chest of the victim, where a deep, wide gash can be seen.

Flash to the Witchblade glowing. Then Sara's face. Then the wound on the woman's chest. Then a Celtic cross. Then Stonehenge. A hooded, robed figure. Sara. A rune carved in stone.

Back to Sara staring at the wound.

Forensics: Pez, you OK?

Sara: Yeah. Yeah, yeah. I'm fine.

Close up on the wound.

Forensics (off camera): Never seen anyone stabbed like this.

Sara: Stabbed? It's more like getting staked.

Jake: Through the heart. Vampires?

Sara slowly looks up from the corpse to Jake.

Sara: Why don't you go interview the person who found the body?

Jake walks off.

Sara: Vampires ...

Close up of the wound again.

Forensics (off camera): This is a weird one.

She walks off, leaving Sara alone with the body.

 

 

Cut to Jake and a uniformed security guard in the alley. Jake has a notebook and pen out.

Jake: What time did you discover the body?

Guard: 6:17 am. Scared the rats off the body, secured the scene, didn't touch a thing.

Between them a blonde woman can be seen walking toward them down the alley.

Jake: Nice job, Mister ...

Guard: Officer. Brian Reilly. Two L's. Bunker Force Security. Badge 4012.

The guard, Brian, sees the blonde walk past and turns to intercept her.

Brian: Iona! No ...

Brian (to Jake): Excuse me.

Brian catches up with Iona.

Brian: Iona, don't go in there.

Iona: Brian, what happened?

Brian: Nothing much. Let's get you out of here.

Iona: The boys at the mission are freaked. Is it anybody we know?

Brian: No, no. C'mon ...

Jake walks up.

Jake: Excuse me, Miss ...

Iona: Iona McCleary. I run the soup kitchen up on Claire Street.

Jake: I may want a list of names, your ... customers last night.

Iona: No way. My mission is a sanctuary and my men are homeless - it doesn't make them evil.

She turns to start walking away when Jake touches her arm and gestures toward the building.

Jake: Hey, hey! Let's just step inside where it's a little warmer. C'mon.

Jake and Iona step inside, leaving Brian outside.

 

 

Cut to Sara inside. She looks at one of the torches mounted on the wall. The Witchblade starts glowing.

Sara gets flashes of a torch being set to a pile of straw. The carried torch lighting the fixed torch. A woman beyond smoky flames. The hooded robed figure carrying a torch. Stonehenge. The sword being raised.

Back to Sara. She notices the symbol scratched in the wall. She walks over to it. She removes the latex glove from her right hand and places her fingertips on the scratching. The Witchblade glows swirly.

"Witchblade vision" : A man and a woman practicing or dueling with swords in bright moonlight on foggy ground. A rune carved in stone that looks basically like what has been scratched on the wall. The robed man scratching the rune on the wall. The man and woman with swords.

Back to Sara.

Sara (over her shoulder): Hey! Could you get me a picture of this?

Forensics: Sure, Pez.

She takes the photo.

 

 

Cut to Gabriel Bowman's. Sara drops a folder with copies of the developed picture in it onto a table. Gabriel looks at the pictures.

Gabriel: Rune. Gaelic. Old.

Sara: Can you read it?

Gabriel: Nah.

Sara: Who can?

Gabriel (shaking his head): College prof ... Druids ... Wicca people ...

Sara: Know any?

Gabriel: Um ... maybe.

Sara: It was found scratched on a wall at a murder scene, possible human sacrifice.

Gabriel purses his lips at the juicy details.

Gabriel: Oh, get out!

Gabriel turns to see Sara staring at him.

Gabriel: Oh, uh, I'll ask around.

Sara: Do that. Anything on our other deal? (Holds up the Witchblade.)

Gabriel (nods): Uh huh. It was once in the private collection of Adolf Hitler. He was an avid collector of objects de puissance.

Sara: Objects of power?

Gabriel: Right. Holy Grail, True Cross, Shroud of Turin ...

Sara: And this?

Gabriel: Yeah, rumor has it. But ... uh ... it was stolen by one of his own SS lieutenants to give to his mistress.

Sara looks thoughtfully at the Witchblade.

Gabriel: So, is this cool, or what?

 

 

Cut to Sara wearing boxing gloves and hitting a swinging heavy punching bag. Pull back to see she's alone in an area with the punching bag, free weights, weight machines, and other exercise equipment. Sirens in the background indicate this is probably the basement of the precinct.

Shift around until we see Danny Woo come up behind Sara.

Danny: Whoa! Somebody's cranky.

Sara just looks at Danny.

Danny: What's your problem, Pez?

Sara: No problem. Perishable skills. Just keeping sharp.

She turns around and continues punching.

Danny: Y ou have other skills you need much more urgently.

Sara stops punching and turns around to give Danny her attention.

Sara: I sense a lesson comin'.

Danny: Empathy. Intuition. Relaxation. Breathing.

Sara: Breathing?

Danny nods.

Sara: I got a back case load that sucks. You're gone. I got a rookie partner believes in vampires (big grin). Breathing?

Danny: Exactly.

Shift camera to a side view that shows only Sara in the room.

Sara (gesturing to empty air): You're in heaven, Danny ...

Jake walks into the room in the background.

Sara: ... I'm in New York. You try to get empathy in this town, you get your ass kicked. ...

Sara notices Jake standing by the door.

Sara (annoyed): What?

Jake: You got a visitor.

Jake turns around and leaves. Sara glares for a moment at Danny and follows after.

 

 

Cut to Jake and Sara's office. Sara is standing, facing Gabriel and Jake is sitting, looking at the rune pictures.

Gabriel: Conchobar.

Jake: Conka-what?

Gabriel: He's and alt-Irish rocker. A poet.

Gabriel hands Sara a flyer.

Sara: Bono? The Pogues?

Gabriel (shakes head): Nah ... The guy's an original. Sells out every show on word of mouth alone ...

Gabriel reaches into his jacket pocket and flourishes two tickets at Sara.

Gabriel: ... however, I have tickets.

Sara nods.

Gabriel: It's dress down, Chief.

Gabriel turns to leave.

Sara: Casual, or skanky?

Gabriel: Oh ... surprise me.

 

 

Cut to a band playing rock in a bar. Camera pans the crowd, most of whom are actually watching the performance. Ian is there, walking through the crowd with his hood pulled up. A woman turns to watch him as he walks by.

The camera pauses for a moment on one fan sitting alone. She's quite pretty, with long blonde hair. A waiter comes to take her nearly empty glass and she waves him off. She's absolutely riveted on the performance of the lead singer. Shift to the lead singer. He's about 35, light brown hair, dark shirt with a black leather vest, and tattoos in bands around his biceps. The song being sung now is rock, building in speed and intensity.

Shift to Sara and Gabriel coming through the door. The music can still be heard in the background. Sara and Gabriel walk just a few feet into the room before Gabriel spots a girl.

Gabriel (pointing at the girl): Oh, hey! I know you!

Gabriel (to Sara): Listen. I gotta go. I'll catch you later, OK?

Sara looks incredulously after Gabriel as he walks over to the girl.

Gabriel (off camera): Hey, did I see you here last week? I thought so, yeah.

Shift to the lead singer of the band. The song has reached its most energetic part. He's singing with his eyes closed. Pan to the rest of the band. The song reaches a finishing part that is almost a ballad. The lead singer looks out over the crowd. His gaze locks onto one spot. Shift to Sara walking across the floor. It seems no one is between her and the stage. She seems to be moving in slow motion toward him. Neither can take their eyes off the other. The song ends and the crowd erupts in cheers and applause. The lead singer finally looks away from Sara and notices the other people in the room. He hands off his guitar and jumps down from the stage. He passes through the crowd on his way to the bar. The blonde stands at her table to follow his progress as he passes. She walks away from her table. As she leaves, someone drops something in her glass that makes her remaining drink bubble.

Quick view of Ian peeking out from his hood in a corner.

Shift to the lead singer walking toward the bar. Sara is sitting on a stool there. They stare at each other for a moment.

Sara: Good song.

Singer (Irish accent): Good band. I know you.

Sara: Sara Pezzini. Now you know me.

Singer: No, we've met. We'll figure out where.

He walks around Sara to take the stool beside her. The bartender places two large glasses of dark beer on the bar. The singer places one in front of Sara. She exhales and turns away a bit.

Singer: Don't you like beer?

Sara: I don't like mud.

Singer: Aye, a scrappy one. (He raises his glass to Sara.)

Sara: You have no idea.

He takes a drink of his beer. Just then the blonde fan walks up between them.

Blonde (to the singer): You are like so great.

Shift to the singer's face. He's not pleased to have to put up with this.

Blonde (off camera): I can't believe you're not like on MTV or something. I mean ...

Shift back to Blonde.

Blonde: ... really, you are awesome.

Singer: It's rude to intrude when a man's talking to his wife.

Sara looks up, her face saying, "Say what?"

Blonde looks over to Sara (for the first time since she walked up) and looks her up and down.

Blonde: Oh ... Right. Sorry. (She walks off.)

Sara: Your wife?

Singer: Future.

Sara: My, aren't we confident.

Singer: You, too?

Sara: Conchobar, the symbol on the banner. That's your name, right?

Conchobar: You read runes.

Sara: No, just that one. It was found carved on the wall at the scene of a recent murder.

Sara shows him her badge.

Conchobar: I haven't killed anyone lately.

Sara: So, what was it doing there?

Conchobar: Same thing it's doing over there (points), and there (points), and back there (points). I hear I'm all over town. So where did she die?

Sara: Why "she?"

Conchobar pauses for a couple seconds.

Conchobar (getting up): Give me a moment.

Sara watches as he heads back for the stage. His return is greeted be more cheering and applause.

Conchobar: A new tune then! Not finished as yet, but I'll give you what I have. An ancient tale and a tragic one, like all things Irish.

Sara fights not to smile at that. The band begins to play a really lovely song (if you like Celtic). Conchobar looks like he's singing just to Sara.

Conchobar (singing):

Bid goddess rise from mists of memory

Rise, the fair Cathain

In battle the equal of every man

And every love disdained

Her heart was locked in a round tower's keep

 

 

Cut to Blonde finishing her spiked drink.

Conchobar (singing in voice-over):

And none that gate could unbar

 

 

Back to Conchobar. He's still looking at Sara as he sings.

Conchobar (singing):

Till rose a prince in Ulster's east

His name was Conchobar

By day she taught him feats of arms

With sword and mace and bow

Flash of Blonde leaving.

Conchobar (singing):

By night they kindled passion's fire

That only lovers know

So king and warrior thus were joined

In battles, blood and love

The throne belonged to Conchobar

To Cathain, the Witch's Glove

Sara frowns and looks down at the Witchblade. It's glowing brightly. She pulls her shirt sleeve over it.

 

 

Cut to another torch-lit room. A robed man is carrying an unconscious woman.

Conchobar (singing in voice-over):

Dark rivals rose against the king

To challenge for his throne

The woman is placed on a large flat stone. It's the blonde who just left the bar. She's out cold. The robed man ties her hands to the stone with red cords.

 

 

Cut back to Conchobar.

Conchobar (singing):

All Ulster in the balance hung

Without it's champion

 

 

Cut back to the robed figure. He's using a red cord to strangle the woman. Her heels kick against the stone altar.

Conchobar (singing in voice-over):

A druid he sent to sacrifice

An offering to Cathain

 

 

Back to Conchobar. He's now singing to the whole crowd.

Conchobar (singing):

A maiden fair, with flaxen hair

Not once, but two times slain

 

 

Cut back to the robed man. He raises the sword used earlier.

 

 

Cut back to Conchobar.

Conchobar (singing):

Two times slain!

 

 

Cut back to the robed figure. He plunges the sword down out of frame and then leans on it. Really gross crunchy-squishy sounds. {No, you don't get to see this on basic cable.}

 

 

Cut back to Sara. She's staring at Conchobar, looking a bit confused.

 

Fade.

 

 

End Act I

 

 

 

Act II

Open with the woman and man sparring with swords in the foggy night. Close up to see the woman looks just like Sara and the man just like the singer, Conchobar. She seems to be the better of the two with a sword. On her right hand is a gauntlet. Her broad-bladed sword has a large red stone for a pommel. They continue until she maneuvers her sword up to his neck. Suddenly, she looks shocked.

"Witchblade vision" effect, then Sara wakes up.

 

 

Cut to daytime overhead view of New York.

Dante in voice-over: Your case is not a homicide.

Sara in voice-over: Not a homicide?

 

 

Cut to Captain Dante's office.

Dante: That's right.

Sara: Freak strangled her with a silk cord, Captain, and ran some kind of sandstone spike through her chest.

Dante: After she was dead. Your D.B. was a Jane Doe. Homeless woman. Stolen from the morgue.

Sara: What … You get this from the coroner's report?

Dante: That's right. But you should have caught it at the scene.

Sara raises her eyebrows, puts her hands on her hips for a second.

Dante: You've got theft of a body, illegal sale of human remains, ritual mutilation, but … my apologies to The Village Voice … no human sacrifice.

Sara: Well, maybe he didn't kill this time, but he will.

Dante: When he does, we go to work. Until then, you move on to something else.

Sara (low voice): It's a big mistake.

Sara turns to leave his office.

Dante: Excuse me. (He picks up his name plate from his desk.) Read this.

Sara: "Captain."

Dante: On your desk it reads "Detective."

Sara: I know that. I'm just saying that …

Dante: I know what you're saying. You know what I'm saying?

Dante invades the hell out of her personal space.

Sara: Yes. Captain.

Sara nods, gives a little forced smile, and leaves. After she has closed the door of Dante's office behind her, she stands there and takes a deep breath.

Sara: Breathe. ... Breathe.

Sara lets out the held breath. {She also says something else under her breath I could never catch.}

As she starts walking away from Dante's office, her cell phone rings. She takes it out of her back pocket.

Sara: What?

Irons: I have information you need.

Sara: This is my private phone number.

Irons: It pertains to you current case.

Sara (off camera): I have fifty current cases.

Irons: Ritual murder, mutilation, Druidic sacrifice?

Sara: Big international mogul like you must have better things to do than to watch my every move.

Irons: Don't flatter yourself, Sara. I read about it in The Voice. How fast can you come over?

Irons doesn't wait for a reply. He just turns his phone off, breaking the connection.

 

 

Cut to an interior hall of Vorschlag Industries. Ian is leading Sara down the hall. Neither is speaking or looking at each other. They reach a doorway that slides open to either side like an elevator as they approach. They walk a few feet into the room.

Ian: He will be with you shortly.

He backs out and waits just outside the door as it closes behind him. He then turns and walks back to way they had come.

 

 

Cut to Sara in the room.

She glances around the room, then goes over to Irons' manuscript. As Sara gets closer to the book, we start hearing voices whispering.

Close up of a page in the book. The writing is unfamiliar, possibly Latin. A woman's voice starts speaking in a foreign language in the background.

Sara starts reading.

Sara: … sea god's daughter, Cathain, was stronger than any man in battle, yet she lived alone … in far Connemara and fought off all who dared approach.

Sara turns the page to see an illustration of hands holding two swords crossed.

 

 

Cut to Cathain and Conchobar practicing.

Sara in voice-over: At last, Crown Prince Conchobar persuaded her to teach him in the ways of the sword and the bow.

 

 

Cut to Conchobar and Cathain kissing.

Sara in voice-over: And nightly, he tutored her in the arts of love.

Conchobar and Cathain make love.

Sara in voice-over: When at last he ascended the throne …

Cathain places the crown on his mail-hooded head.

Sara in voice-over: … Conchobar begged Cathain to lead his armies. And for love she agreed, vanquishing all and uniting the kingdom.

 

 

Cut back to Sara reading.

Irons (suddenly at her shoulder): An absorbing tale?

Sara (still startled): Nice … pictures.

Sara nods at the book.

Sara: Said you had something for me? Something about my case.

The purse of his lips and the look in his eyes say plainly that Irons wasn't fooled by her attempted cover-up.

Irons: Not everyone can read a language dead a thousand years. (He glances at the book.) What do you think?

Sara: What do I think? You spike my private phone number, lure me here on business and actually ask me what I …

Irons raises his right hand and gently touches one knuckle to her chin. Sara's eyes go a little wide.

Flashes: A Celtic cross. Boucher in her cell. Hooded robed man. Stonehenge. Conchobar's rune carved in stone.

Boucher in voice-over: Everything in your life connected now. The blade weaves a web.

Back to Irons touching Sara's chin. Sara almost looks mesmerized. Irons slowly lowers his hand. Sara shakes off the last few seconds.

Irons: Cathain was an ancient war goddess, but … uh … her legends must have some basis in fact considering she wore the lann an caillagh.

{Note: Looking up on a Gaelic dictionary site, lann means "sword" or "blade" and làmh means "glove". Can't tell exactly which was said. The song Conchobar was singing mentions Witch's Glove, but Irons says "blade" below. So I'll stick with lann.}

Sara gives him a look prompting him to explain.

Irons: Caillagh … the blade of the witch. (He glances at the Witchblade.)

Sara: Cut to the sacrifice.

Irons: It is said that if Cathain can be resurrected, she'll reunite the scattered Celtic tribes and lead then to their rightful glory. If a worthy offering is made.

Sara: A worthy human offering. So that's my guy's motive?

Irons: A less devout Druid might summon you … Excuse me (bows his head a little) … summon Cathain with darker purpose. Say to steal the lann.

Irons reaches over and closes the book.

Irons: Cathain is a tragic figure, so be careful, Sara. You know what they say about history.

The stare at each other.

 

 

Cut to the second crime scene. The blonde from the bar is lying with a nasty wound in her upper chest.

Jake: Her name's Debra Mason. Found her purse in the gutter outside. C.A. suspects the autopsy will show drugs or alcohol in her system before she was killed.

Sara: Yeah, let's hope so. So much for our non-case. This girl was alive and well last night. I saw her at the show.

Shift to see a photograph being taken of a drawing of Conchobar's rune on the brick wall. Back to Jake and Sara.

Jake: Conchobar. Let's go get this guy.

Sara: I'll go. You go to the morgue.

Jake: Aren't we supposed to be working together?

Sara: Somebody sold the first body to whoever killed this one. If we find one, we find the other.

Sara walks to the symbol.

Jake: OK, maybe. But still …

Sara: Talk to Vicky Po in forensics. She digs you.

Jake: She does?

Sara: Yeah. She'll tell you who the smart money likes for the body theft.

Jake: While you go after Conchobar.

Sara walks back toward Jake, amused expression on her face.

Sara: Gee, rookie. Trying to protect me?

She gives him a little punch on the arm as she walks past.

 

 

Cut to Sara riding her motorcycle in light traffic.

 

 

Cut to a half-dressed Conchobar sliding open his apartment door for Sara.

Conchobar: What time is it?

Sara: 6:00.

Conchobar: Morning or night?

Conchobar gives a mischievous grin, turns and walks into his apartment. Sara slowly enters. She notes a box and waste basket both overflowing with beer bottles.

Sara: Good party?

Conchobar (putting on a shirt): Oh, yeah.

Sara: So plenty of people to confirm that you were here last night?

Conchobar: No. 'Twas a party of one. That's why it was good.

Sara: There's been another killing. Right out of your song. Druidic sacrifice … (closes her eyes) … uh … "a maiden fair with flaxen hair, not once but two times slain"?

Conchobar: You hear a song once and you know it by heart.

Sara: Your mark was found on the wall … again.

Conchobar: I can't prove I didn't do it, if that's what you're hopin'.

Sara: Now why would I hope that?

Flashes of Cathain and Prince Conchobar making love. Conchobar's rune. Making love. Hooded robed figure with the sword raised. Held torch igniting fixed torch. Hooded figure with the blade descending.

Back to Sara. She looks a bit confused for a moment and then clears her throat.

Sara: In your song, the king spurns the warrior babe till he needs her to defend his throne.

They start walking into his apartment.

Sara: She won't return so a Druid offers sacrifices to win her back. Is that about the size of it?

Conchobar picks up a guitar and sits on a stool.

Conchobar: You must be Irish.

Sara: Half.

Conchobar: And your daddy told you bedtime stories?

Sara: Not this one. How does it end?

Conchobar: Can't tell you till I finish writin' the song.

Sara: The Witch's Glove in your song … What did that mean?

Conchobar: Part of Cathain's legend. She wore a gauntlet. Made her invincible in battle, but it also cut her off from the rest of the world.

Sara looks thoughtful.

Conchobar: So, Detective. Do you think you've got your man?

 

 

Cut to Jake escorting a man down the hall in the precinct house. They arrive at a closed door.

Jake: Right in here, Mr. Vaughn.

Jake opens the door and ushers the man in. After closing the door behind him, Jake shoves the man hard, sending him face down onto the floor of the empty room. Jake follows him down and wrestles the man's left arm behind his back.

Jake (low voice): Grave robber.

Jake starts pulling the man up.

Vaughn: I didn't do nothin'!

Jake: I don't give a rat's ass about you.

Jake shoves Vaughn face first into a wall with different height markings. His left forearms across the man's upped back holds Vaughn to the wall.

Jake: I wanna know who bought the body.

Vaughn: I can't tell ya ... I ...

Jake gives a short, hard punch to the man's lower ribs.

Vaughn: Argh! That's police brutality.

Jake: Not even close. But, hey, keep jerking me around.

Vaughn: All right, all right, all right! I don't know his name. He called caught me outside the morgue one night. Flashed a big roll of twenties. Told me what he wanted.

Jake roughly turns Vaughn around to face him

Shift to a view of Jake and Vaughn from the other side of the viewing glass. Jake has his left hand at Vaughn's throat holding him to the marked wall. The reflection in the glass shows Captain Dante lighting a cigar.

Jake: You gave it to him?

Vaughn: She was a dead winohead headed for the furnace. I got kids to feed ...

Shift back to Jake and Vaughn.

Vaughn: ... live ones.

Jake: Would you know him if you saw him again?

Vaughn: Would that get you off my ass?

Shift to Dante watching.

 

 

Cut to Sara and Conchobar walking into the station. {They rode her bike?}

Conchobar: A man could have dreams about being arrested by you. The handcuffs ... "assume the position" ...

Sara: Look. Do you flirt with every cop that arrests you?

Conchobar: Aye. Do you flirt with every suspect?

Sara: I'm not flirting.

They walk into Jake and Sara's office.

Conchobar: True enough. It isn't really flirting if you intend following though, right? In that case, I'm not flirting either.

He takes the chair beside her desk. Jake walks up with Vaughn and stops in the doorway.

Jake: Pezzini, meet your necro.

Sara (gesturing at Conchobar): Is this your buyer, Mr. Vaughn?

Vaughn looks uncertainly to Jake.

Vaughn (to Jake): Um ... What do you want me to say?

Sara raises her eyebrows at that.

Jake: We want you to tell the truth.

Vaughn: Truth? Truth is it was dark. Guy wore a sweatshirt with a hood. I never saw his face, only his cash.

Sara: Describe body type. Height, weight ...

Vaughn: Coulda been him. But it coulda been someone else. The business we was doin', you don't wanna look too close.

Sara: All right. You give my partner a detailed description. Then you do not leave town. When you help us nail this bastard, we'll consider what we're gonna do to you. Jake, get him out of here.

Jake gives Vaughn a little push in the chest.

Jake: C'mon.

They start to walk away from the doorway.

Conchobar: What about me, Sara?

Conchobar rises from the chair.

Conchobar: Am I free to go?

Sara (nodding): For now.

Conchobar quickly walks down the way he and Sara entered.

Jake: You want me to follow him?

Sara: No, no. I got him covered.

Sara walks out after Conchobar.

 

 

Cut to Conchobar exiting the police station. He walks away at a brisk pace. Sara follows right after. He walks down an alleyway, turning a corner. Sara reaches a place where two alleys intersect. There's no one in sight.

 

Fade.

 

End Act II

 

 

Act III

Sara drives her motorcycle up in front of the precinct, gets off her bike and enters the building. Focus on an older long-haired man in a yellow knit cap watching her.

 

 

Cut to Jake sitting at his desk as Sara walks in. He looks a little worn.

Sara: Mornin'.

Jake doesn't say anything.

Sara: Something eating you?

Jake: Nope.

Sara: Good. So where are we?

Jake: I've been here all night questioning that low-life Vaughn ... running down records ... doing scut-work. How was your evening?

Sara: Short. I lost him.

Jake: You lost him. A senior homicide cop can't track a rank civilian?

Sara: So the senior homicide detective went and waited outside his apartment. Where he showed up a short time after, turned out the lights and went to bed ... alone.

Jake: Smartest thing a guilty man can do.

Sara: Ooh ... Tell me an all-nighter got you something more than that.

Jake: OK. Two bodies. Two different warehouses.

Sara: Uh huh.

Jake: Owned by the same company. That entire stretch of riverfront.

Sara: Interesting.

Jake: Both sites guarded by the same security company, maybe even the same guard. Who kind of fits the description.

Sara (rising from her chair): Rock and roll. Let's go talk to him.

Jake: I already have. While you were ... busy.

Sara (deep breath): OK, Jake. This is personal, isn't it?

Jake: Nope. (Rises from his chair.)

Sara: It is. This is ... (gestures to herself and Jake and back) ... you and me.

Jake shakes his head "no" while putting on his coat.

Sara: Hey, you were the one who told me to go get a love life.

Sara grabs her helmet and walks out.

Jake: I never said that.

 

 

Cut to exterior street scene.

Jake (to someone off camera): When was the last time you saw Brian Reilly?

Iona (walking up beside him): He stopped by yesterday before he quit to say "Good bye."

Jake: Quit?

Iona: He was afraid they'd fire him after those killings. Said quitting would look better on his record.

Jake: Well, his office doesn't know he quit. In fact, they're holding a paycheck.

Iona: Brian Reilly's a good guy. He's brought men in when they're too drunk to stand and helped me out when they got too rough, but careful never to hurt them. See, Brian just hasn't found the Savior yet. But he acts more of a Christian than a lot I know.

Jake: Do you happen to know his religious affiliation?

Iona: Wounded Irish Catholic. I see 'em all the time. They try all sorts of strange paths before they find their way back to the Way.

Jake: What kinds of strange paths?

Iona (insistent): I told you, Officer, he's a good guy. Working down here, you develop a nose for predators, and I'm tellin' ya, he's not one.

She brushes past Jake.

 

 

Cut to exterior shot of Vorschlag.

 

 

Cut to interior of Irons' inner sanctum.

Sound of a female voice speaking an unknown language in the background. Sara is reading from Irons' manuscript.

Sara (reading): King Conchobar could not hope to keep the throne without Cathain's skill in battle, so he sent a Druid to summon her back. The Druid first sacrificed an old woman to the goddess, but Cathain was unmoved.

Sara turns a page in the book.

Sara (reading): Next the Druid sacrificed Cathain's own sister, the fair vain Deirdre. And he slew her twice, strangling her with a silken cord then stabbing her with a dagger of stone. Still Cathain would not return to fight for the kingdom.

Camera pans around the room, finally settling on Kenneth Irons standing several feet away.

Irons: And they all lived happily ever after.

Irons walks over to where Sara is flipping through the book. He looks at her with something akin to lust. {And I don't think it's just for the Witchblade!}

Sara: The last page of this chapter ...

Sara turns the book's page.

Sara: ... it's missing.

Irons: You're kidding.

Sara turns from the book to look at Irons.

Irons (looking at the book): You're right. Um ... pity. I believe the next chapter pertains to the death of Conchobar.

Sara: He dies?

Irons: Uhn ... rather painfully, I fear.

Sara: You do know that my murder case is following exactly along the lines of this story?

Irons (testy): Of course. I called you, remember?

Sara: The last victim's name was Debra, not Deirdre, but close. And she was both strangled and stabbed.

Irons: Imagine that.

Sara (heated): And ya cut out the last page of the story?

Irons: Deface a priceless one-of-a-kind masterpiece? What kind of monster do you think I am?

Sara stares at him a second and shakes her head.

Sara: I'm working on it.

Irons' mouth works without sound coming out for a moment.

Irons: I'm sure this happened long ago. This book is centuries old.

Sara: This cut looks fresh to me.

Irons sighs.

Irons: How can I argue? You are the detective.

Irons offers his hands together, wrists up, in a "Cuff me" gesture.

Irons gives a smirk, closes the book, and walks away with it.

 

 

Cut to Jake in their office. Dante walks in.

Dante: Where's your partner? I owe her an apology.

Jake: Oh, we're just splitting up to cover more territory.

Dante: But, she's your training officer. You guys should be joined at the hip.

Jake: Well ... She's got her own way of doing things.

Dante: Huh, yeah. So do you. (Smiles) Nice work on that suspect, Vaughn, last night.

Jake: Yeah, well, sometimes you have to pretend to use a little force.

Dante nods and gives Jake a big smile.

Dante: I saw you pretend two or three times.

Jake looks nervous.

Dante: Look, that's all right. I got your back. I mean, this case of yours, you know ... This isn't some who-cares ghetto drive-by. I mean, this bastard that we're looking for is out there killing women. Not on our watch. Am I right?

Dante offers his hand and Jake takes it and they shake.

Jake: Right.

Dante turns and walks out of Jake's office.

 

 

Cut to the bar Conchobar's playing in. Sara's there, standing still while people move around her. She touches her hair then moves steadily to where Conchobar is taking a break. A security guard stops her.

Sara: Hey, I gotta talk to him.

The security guard looks over to Conchobar and gets a nod. The guard waves Sara on over.

Sara: I need a favor.

Conchobar: Consorting with cops. Me Ma would be so pleased.

Sara: Could you be serious for one minute?

Conchobar: Does this mean you trust me, Detective?

Sara pauses for just a beat.

Sara: Yes.

Conchobar: In that case, I'm at your service.

Sara: I told you about a murderer taking his cues from the lyrics of your new song.

Conchobar nods.

Sara: I want you to sing the last verse tonight.

Conchobar (trying to interrupt): Sara ...

Sara: We'll pick a place. We'll write something. A method, something we can use ...

Conchobar (more firmly): Sara! I respect what you're attempting, but I ... I can't do that.

Sara: Sure you can.

Conchobar: I can't. I'm a bard, Sara. And this may sound pompous, but the blood of ancient kings and singers runs in my veins.

Sara: You're right. That does sound pompous.

Conchobar: Why do you think I sing here after midnight? For beer and tuppence? Why do I turn down record deals? And this song ... this tale ... is ancient, sacred. I just can't abase it.

Sara: Not even to save a life?

Conchobar: For any reason.

Announcer (off camera): Ladies and gentlemen, here he is : Conchobar!

Conchobar: But ... uh ... cheer up. This famous missing verse you're after, the one with Cathain?

Sara nods.

Conchobar: I finished it last night.

He starts heading for the stage.

Sara: Wait, no one else has heard it?

Conchobar: Not unless they came to sound check.

Conchobar mounts the stage to rousing applause and cheers.

Conchobar (singing):

But Cathain, she would ne'er return

Till the Druid did a virgin bring

To Connemara far

The fair Iona pure and sweet

On the self-same table lain

And by the corclach's hungry stone

The innocent was slain

Sara: Iona.

Sara turns and runs.

 

 

Cut to Iona outside closing up her soup kitchen. A man walks up.

Iona: Brian?

Brian: Hey, Iona. I'm sorry I disappeared on you. I hear you stood up to the cops for me.

Iona gives him a sweet smile.

Brian: I ... I've been thinkin' about a lot of things.

Iona: What sort of things?

Brian: Ah, you know. Life, death ... you ... the Savior.

Iona gives him a brilliant smile.

Brian: Do you have time to talk?

Iona (nodding): Of course.

They walk off arm-in-arm down the street and disappear around a building.

 

Fade.

 

End Act III

 

 

 

Act IV

Sara's riding on her motorcycle, talking. {I'm assuming some kind of helmet radio thingy.}

Sara: The name's Iona, I-O-N-A. She was at the first crime scene, right?

 

 

Cut to Jake in his car, lights and siren on.

Jake: Yeah. Iona McCleary. She runs a street mission on Jones Street {said it was Claire before}. Why?

 

 

Cut to Sara on her bike.

Sara: She's our next victim and I think he's gonna choose one of his two original altars.

 

 

Cut to Jake's car skidding around a corner.

Jake: Why would he risk that?

 

 

Back to Sara.

Sara: I'll tell ya later. You take the first one, I'll take the second.

Jake: Be there in ten.

Sara: Make it five.

 

 

Cut to Jake's car racing down a street.

 

 

Cut to Sara's motorcycle doing the same. As Sara passes an intersection, a black sedan pulls out.

 

 

Cut to Brian and Iona walking down an alley. They pass by a door crossed with yellow police tape. Her arm is still firmly held under his.

Iona: Brian, where are we going?

Brian: Just right over here.

They walk a few feet more.

Iona: This place scares me, Brian.

She pulls back a little. He still has hold of her hand.

Brian: It's not this place you should be scared of, Iona.

Brian jerks her to him and starts carrying her off. She's yelling, but there's no one around.

 

 

Cut to an upside down view {don't ask me why} of Brian hustling Iona, who has a scarf stuffed in her mouth, into the torch-lit warehouse. He wrestles her up onto the large round stone and ties her down with the red cord. He puts on the black robe lying near the altar.

 

 

Cut to Sara. She has arrived at the police tape covered door Brian and Iona passed a short while ago. There's a padlock securing it. Sara looks down at the Witchblade. It's glowing with swirls of light going through it.

 

 

Cut to Brian and Iona. He pulls on his cowl and begins walking around the altar. Iona is still crying behind the gag.

 

 

Cut back to Sara. The Witchblade turns into the gauntlet. Sara smashes the lock open.

 

 

Cut back to Brian and Iona.

Brian: Bid goddess rise from mists of memory. Rise, the fair Cathain.

Sara walks through a narrow doorway.

 

 

Cut to a scene of a sacrifice being performed at Stonehenge. Same setup: bound struggling woman and robed Druid.

Brian's voice: To raise a newfound Irish king to wear the Witch's Glove.

Close up of the sacrifice. She looks like Iona.

Brian's voice: The fair Iona, pure and sweet, upon the table lain. And by the corclach's hungry stone, the innocent was slain.

The druid at Stonehenge takes the stone sword out of his robe's sleeve and raises it.

 

 

Cut to Sara entering the warehouse with Brian and Iona.

Sara: Stop!

Brian removes his hood.

Brian: Who are you?

Sara: I am who you think I am.

Brian: Liar!

Sara: You summoned me.

Brian (sword still raised): Not yet. The ritual's incomplete.

Sara: I heard your call.

Flash to Sara in armor. It is older than the medieval armor we have seen her in before. This has a stylized human face for the front of the peaked helmet. She has mail sleeves and a leather sleeveless shirt with metal inserts over her breasts. She carries a broad-bladed simple sword.

Flash to Brian looking confused.

Sara: You want me to train you to fight as I once trained the king.

Flash to Sara in old armor.

Brian (dazed): Till Ulster's sons with sacrifice bid her return once more.

Sara: That's right. You want past glories restored.

Sara walks slowly toward him. Her image shifts between normal and Sara-in-old-armor a couple times.

Sara: Perhaps you even want this. (She raises the Witchblade.)

Brian frowns a little.

Sara: Here I am. Let Iona live.

Her image keeps shifting back and forth.

Brian: Liar!

Sara: No.

Brian: Impostor!

Brian prepares to drive the knife into Iona.

Sara: Spare her life. This I command.

Brian looks over to her sharply. He's torn, confused. He looks back to Iona. Ho looks back to Sara, hopeful.

Sara starts walking over to him. In a doorway behind her, we can see just a hand with a pistol in it. It looks like a man's hand.

 

 

Cut to Ian looking down on them from the balcony above. His expression is not his normal stoic facade. He looks sad and resigned. Something bad is happening, or will happen, and there's nothing he can do about it.

 

 

Cut to Sara standing in front of Brian. He still has the stone blade raised. Sara holds out her hands and he places it in them.

The pistol fires from the doorway and the shot hits Brian in the chest.

Sara quickly frees Iona, using the Witchblade to snap her bonds. Sara ducks down beside the altar and Iona rolls off to join her.

Sara looks up and sees Ian leaning against the balcony rail.

Close up to Ian's face. He looks infinitely sad. He tilts his head a little to one side. There are tears in his eyes.

Sara gets up and moves cautiously to the doorway the shot came from. As she moves we hear the Witchblade returning to a bracelet. When she reaches the doorway, she draws her weapon.

 

 

Cut to Jake ducking his head through a doorway and then back quickly. He comes through the doorway with his gun pointed in front of him. Sara comes into the room from another doorway.

Sara (disbelieving): You?

Jake: That shot. You all right?

Sara reaches out and grabs the barrel of his gun, testing for heat.

Sara: