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TRANSCRIPT:
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Act I

Open with Sara and Conchobar in her bed. They are facing each other, kissing.

Conchobar: Quit the force, Sara.

Sara: And become a degenerate like you?

Conchobar: Mmmm … You are a degenerate like me. Sleep till noon, stay out late, drive the little boys wild.

They start making love. The Witchblade glows.

 

 

Cut to Ken Irons' den. He's sitting in a red leather winged chair in front of the fire. He flexes his right hand, with the Witchblade scar, open and closed a few times. There is a fine sheen of sweat on his face.

 

 

Intercut scenes of Sara and Conchobar making love with scenes of Irons experiencing their passion.

 

 

Cut to Sara's bedroom. Conchobar is in the bed and Sara is almost finished getting dressed.

Conchobar: You get right back in this bed.

Sara: Aw … Irish foreplay.

Conchobar: You know you can't resist. Call in sick and save yourself the walk downstairs.

Sara (smile): You're a cocky bastard.

Conchobar (smile): Aye, that I am. Seriously, you'll walk downstairs and think, "What in God's name am I doing?" Then you'll have to race back up, peel off all those clothes, and climb back in here.

Sara, now finished dressing, hops up on the bed and they kiss.

Sara: I gotta go. Jake's picking me up.

Conchobar: Another man then, is it?

Sara: Try and save yourself, would ya?

They kiss again before she drags herself away.

Conchobar: I'm warning you. You're helpless. You're completely under me thrall.

He waggles his fingers at her like a stage mesmerist.

Sara (big smile): Yeah, yeah, yeah.

She goes down the stairs, almost skipping with happiness.

Conchobar pulls his pants on and goes down to the kitchen. He gets juice out of the refrigerator and takes it to the counter to get a glass. He hears a door close behind him.

Conchobar (without turning): See, what did I tell you?

He turns around from pouring his juice to see a man with a ski mask pulled down over his face rushing him. They exchange a couple of blows, then Conchobar is thrown across Sara's kitchen table, turning it over. He backs into her drum set and overturns it. Next they grapple and go sailing over the couch. Conchobar gets on top and lands a couple good blows and then runs for the stairs. As he starts up, the door is kicked in and two more intruders enter. Conchobar manages to break a wine bottle over one before he's overwhelmed. His hands are tied then taped behind his back and a black hood pulled over his head.

Male (Irish accent): His arms! His arms! That's it. OK, let's go. Let's go, let's go, let's go!

 

 

Cut to a hot dog vendor's stand.

Sara (to vendor): Ah … thank you. (Walks to Jake)

Jake: Somebody had a good night.

Sara: Why do you say?

Jake: 'Cause you just bought me breakfast.

Sara: Wait. Excuse me. This is no ordinary breakfast, my friend. This is a fine Vienna sausage served en croute. With a tomato-mustard seed reduction.

Jake: A hot dog with mustard and ketchup.

Sara: Oui. I'll make a New Yorker out of you yet.

Sara points to a man in a car. Beside the driver's window are two hookers.

Sara: Hey, isn't that Orlinsky?

Jake: Who?

Sara: Orlinsky, Sergeant. Dante just brought him over to our unit from Special Cases.

Jake: Routine hooker roust.

Sara: You think?

Shift to see a man in his early thirties getting out of a pickup truck behind Orlinsky's car.

Sara: That's Two Face Cheziray. Runs all the corner girls from here to Second Ave.

Jake: Way to go, Sarge.

Sara: That Sarge is a gold shield. He doesn't work Vice.

Jake: Workin' it today.

Sara (courtesy of the Witchblade) sees Cheziray handing over a thick envelope to Orlinsky.

Sara: Excuse me? Jake, he's taking a payoff.

Jake: How do you know?

They both see the envelope being handed over just like Sara got to see the first time.

Jake: How'd you know that?

Sara just shrugs her shoulders. One of the hookers gets into Orlinsky's car.

 

 

Cut to the kidnappers hustling Conchobar into a van. One of the kidnappers removes "his" mask to show a woman with long red hair.

Male: In the van! In the van!

Female: Get him in.

Male: Go! Go! Go!

 

 

Cut to Sara and Jake watching Orlinsky drive off.

Jake (off camera): I'm sure there's an explanation.

Sara (off camera): Yeah, me too.

They're walking toward their car.

Jake: Maybe it was some kind of sting.

Sara: Oh, get back on the planet, Jake. That was a payoff.

Jake: Well, what do we do? Tell the Captain?

Sara: Orlinsky's best friend?

Jake: I don't know. Go to I.A.? I hate to rat out a fellow officer.

Sara (taking money from her pocket): You know what? Run to the Quick Mart. Buy me a roll of film.

Jake: Say what?

Sara: 35 mil. Any brand. Rookie, go.

Jake: OK.

 

 

Cut to Conchobar being drag-walked down a tunnel. He's resisting.

Female: Sweet bleedin' Redeemer, Paddy! Smack him one, will ya!

Leader (not Paddy): Down, girl.

Female: Down my ass. Tell him to pipe down.

Leader: This is a mission. Temper's got no place.

Conchobar: Get your hands off.

Paddy does punch Conchobar in the head then.

Leader: Easy, Pat, easy - he's worthless dead. In here.

They turn into a room.

 

 

Cut to Jake jogging back to Sara waiting in the car.

Jake: Hey. This is good, smart. With pictures we have corroboration.

Sara: We're not taking any pictures.

Jake: But …

Sara: Do you have a camera?

Jake: No.

Sara: Well, me neither.

Sara peels away the end of the roll, making it look like the film has been used.

Jake: Hey, you just ruined it.

Sara: Yeah? Well, stick with your training officer. You might learn something.

Jake just looks at her.

Sara: Drive. (Smiles)

 

 

Cut to the warehouse the kidnappers have brought Conchobar to. He is tossed to the floor. The female kidnapper kicks him.

Leader: Hey, ease up, Fee. We can't trade damaged goods.

She pulls out a knife.

Leader: Put that away.

Fee: I'm going to cut him a wee hole so he can breathe better, hmmm?

Conchobar: How soon is one of you rotters going to tell me what this is all about?

Fee: Have you seen your brother lately?

Leader: Fee, enough!

Fee: What?

Leader: Use your brain, Fee.

 

 

Cut to the police station. Sara's at her desk when another officer stops by her door.

Sara: Hey, top o', Sarge. You're off at 8:00. Where's your relief?

Sarge: Probably stuck in traffic.

Sara: It's that new guy, right? Uh, Linsky?

Sarge: Or-linsky, right. Pezzini, there's an apartment break-in I think you should know about.

Sara: Anybody die?

Sarge: Not that I know about.

Sara: Then it's not my problem.

Sarge: It's your apartment.

 

 

Cut to Sara's apartment. A mirror lies broken the floor, her drum kit is overturned, and other items are strewn about. Sara and Jake come up the stairs and look around.

Jake: Holy …

Sara looks in the broken mirror. The Witchblade glows. In the mirror Sara can see what happened in the apartment earlier.

Jake: Pez.

Sara slowly tears herself away from the vision.

Jake: Pez?

Sara: What?

Jake: I said, is anything missing?

She looks around, gaze finally resting on a single man's shoe in the middle of the floor.

Sara (off camera): I'm tellin' ya, Captain, he was kidnapped.

 

 

Cut to Dante's office.

Dante: That's my point exactly.

Sara: What?

Dante: This is homicide. If he ain't dead, we don't come.

Sara: {Bull}

Dante: Besides, this guy's your boyfriend. You're the last person I'd put on the case.

Sara: Fine. Then … then give it to Helstrom or Lubin.

Dante: I can't commit resources without a dead body. And we're not kidnapping. That's federal.

Sara: Then treat it as a missing persons.

Dante: This guy is a mick rock and roller. The big surprise would be if he didn't get into fights and turn up missing now and then.

Sara: You're not going to help me, are ya?

Dante: I always said you were a quick study.

Sara turns and walks out of his office. She nearly runs into Orlinsky in the hall. Jake's in the hall, too. Sara walks to her office and stands there fuming with her hands on her hips. Jake walks in.

Jake: I'll help you. How 'bout I start by checking your case files. See if anyone you've sent up has been released recently.

Sara (nods): Yeah, go for it.

Jake: What're you gonna do?

Sara just gives him a look.

Jake: OK, fine. Keep in touch.

She nods and he walks out.

 

 

Cut to the warehouse with the kidnappers and Conchobar. Conchobar is serenading his captors with an off-key rendition of Wild Rover.

Fee: Enough of that.

Conchobar: Oh, I'm a musician. You want quiet, kidnap a mime.

Leader: Do not speak to the prisoner.

Conchobar: You folk are going to be so disappointed when you try to sell me and nobody wants to buy. You got the wrong guy.

Leader: Your real name, Mr. Conchobar, is John Patrick Dougherty. Born 6-25-73, County Down, Republic of Northern Ireland.

He walks from where he was sitting to where Conchobar is lying, still hooded and tied.

Leader: Fourth of 4 brothers born to Molly and Seamus Dougherty. Your oldest brother was killed in a motorcycle accident. Your second brother joined the priesthood. But it's the third brother that interests us. Edward. International warrant number 92651. Irish Republican Army. Wanted on charges of terrorism, murder, destruction of property, kidnapping, extortion …

Conchobar: So you're a police squad, then, from the Northern government.

Leader: That's right. Your brother is known to have instigated a concerted attack in Belfast in June of '96. Twenty car bombs detonated in a single day.

Conchobar: That was never proven.

Leader: Oh, we have the evidence. But we could never hold a trial because your brother is a master of the fugitive arts.

He jerks the hood off Conchobar's head.

Leader: So you see, John Patrick, we do indeed have the right guy.

Conchobar: So I'm to be his retribution, then?

Leader (shakes head): Not at all. Sometime soon, I'll get a phone call and we'll all get aboard a Londonderry steamer. Take you back to the land of your roots. There you'll be offered to your brother in a one-for-one exchange. He shows up, you walk free.

Conchobar: He'll refuse.

Leader: Aye, he will. At first. But he'll get a couple of pints in him and turn sentimental for his little brother Johnny. And when he shows up to claim you, you'll both die.

Fee looks quite pleased at that.

 

 

Cut to Sara in her apartment. She picks up Conchobar's guitar and holds it to her {trying to use Witchblade to gather information, I think}. She goes to his guitar case, opens it, and sets his guitar aside when she finds a song he's written inside. This song plays as she sees (or remembers) images from her life and Cathain's with their respective Conchobars.

"Sara"

Our tragedy is as old as the night

Our fable done told a thousand-odd times

For fate is an unmerciful queen

Made a quest out of you

And a soldier of me

I curse the stars that take you away

Take you away from my side

Condemned to burn

My chariot wheels

Chasing the love of my life

Whoa-oh, oh …

Whoa, Sara, it's the pageant we play

For ever and eternally fated {CC said "fading" here.}

Oh, Sara, I done followed you too far

I can't let you slip away

And our destiny is bound like a knot

During the last part of the song, Sara is flipping through some photos she found inside the case. There's one of her with a huge smile. There's one of an elderly couple standing in front of a thatched cottage. There's one of a group, including Conchobar, standing on a street. The next is of 3 men sitting at a small table. There's a pistol on the table.

Flashes: Street fighting. Men dressed in riot gear. Tear gas grenades being launched.

Sara looks at the man in the center of the picture.

She takes that photo and leaves.

 

Fade.

 

End Act I

 

 

 

Act II

Open in the warehouse with Conchobar and his abductors.

Conchobar: I'm telling you, boys and girls, this plan will never fly. Edward never cared for me. He thought I was a mama's boy. I wouldn't bleed on the football field. I wouldn't join the IRA. I was a great disappointment to him.

Fee: Aww ... tsk tsk tsk tsk ... So you ran away to America, huh? Thought you'd leave it all behind. Looks like you didn't run far enough, hmm?

Conchobar: Well, if your plan hinges on drunken foolery, you've made a grievous miscalculation. Eddie took the pledge years ago. He doesn't touch a drop.

 

 

Cut to Sara arriving back at her office. She sits down at her laptop.

Woman's computerized voice: You are now entering a secured federal site. Please enter your security code.

Shift to the computer screen. It's a C.I.A. site. Sara goes to "Active Warrants, Ireland" and begins scrolling through pictures posted there. She finds one for an Edward Dougherty. She takes the photo taken from Conchobar's case and compares it to the picture on the screen. They match.

Sara: There you are.

Jake walks into the room. Sara turns off her monitor.

Jake: There you are.

Sara: Any luck?

Jake: No recent releases or paroles. All your old customers are locked up safe and sound.

Sara gets up from her desk, tucking the picture into a jacket pocket.

Jake: Where you going?

Sara: Hell's Kitchen.

Jake: What? Is that where they've got him? Hey, you want someone watching your six?

Sara: I can't ask you to do that, Jake.

Jake: You didn't ask. I'm offering.

Sara (nods): Hey, in that case, thanks.

Jake: Let's do it.

They walk out of the office. As they leave, Dante comes in by another door. He turns on Sara's monitor. Seeing what's there, he gives a grudging smile and raises his eyebrows a bit.

 

 

Cut to Sara pulling up in front of a fire hydrant and parking the car.

Jake: OK. What's the game plan?

Sara: It's my play. You follow.

They get out of the car and start across the street.

Jake: I recognize this plot.

Sara: What? I didn't ask you to come, Jake.

Jake: You tell me what we're planning and I might actually be some help here.

They enter a bar. Sara goes up to the barkeep.

Sara: Where's Connor Duryea?

A young man hops down from the pool table he's been sitting on and starts running. Sara catches him and smashes his face into a mirror mounted on the back of a door. She pushes him through the door. Jake looks around at the bar then follows. As the door swings shut, Sara's guardian knight is reflected in the broken mirror.

 

 

Cut to Sara throwing Connor through a set of swinging half doors. He lands on the floor. She picks him up and punches him.

Jake: Sara ...

Sara shoves Connor up against a wall.

Jake: Sara! Sara!

Sara pulls a knife out of her pants pocket.

Sara: Jake, meet Connor Duryea ...

Sara opens the knife.

Sara: He's a hit man for the Westies, the O'Casa McNostra.

Connor: She broke me freakin' nose.

Sara: Yeah?

She stabs the knife into the wall beside his head. She then takes his hand and wraps it around the knife hilt.

Sara: You're under arrest.

Connor: For what?

Jake: Sara ...

Sara: Assaulting a police officer with a deadly weapon. You came at me.

Connor (to Jake): Oh, Jesus! She's crazy. You're ... you're my witness.

Sara: No, he's my partner. So you're going to do everything I ask you. Jake, give me your cell.

Jake: Pez, I'm not down with this.

Sara: Fine, leave.

Jake: I mean I want to help you, but ...

Sara: Gimme the damn cell phone.

Jake puts the phone in her hand then walks out.

Sara: Now you're gonna find someone for me. His name is Conchobar, a.k.a. John Patrick Dougherty. He's been kidnapped and you know who took him.

Connor: No. I ... I don't. I swear.

Sara: Well, you're gonna find out. Otherwise, they'll find your bleeding corpse sitting right in that corner. Now dial. Dial!

He takes the cell phone and begins a call. Sara turns and starts walking. She soon receives a visitor.

Sara: Not now, Danny!

Connor: Who?

Danny: You can't fight the Devil with the Devil's tools, Pez.

Sara: The hell I can't.

Connor (perplexed look): You can't what?

Danny: Not without becoming the Devil, or some version of him. C'mon, Pez! Like Tommy Gallo, or the people who stole your beloved.

Connor looks at Sara as if he thinks he's in the room with a crazy person. Danny stands between Sara and Connor. Sara moves to go around.

Danny: Sara!

Sara: Danny, get out of my way. What am I even saying? You're not real. I could walk right through you.

Danny: You are losing yourself here.

Sara: My self has been lost for some time now. You're just getting around to noticing.

Sara advances on Connor.

Connor: Hey, hey. I ... I think I got something for you.

Sara: Yeah? (Pulls the knife from the wall.) Good for you.

 

 

Cut to Sara walking down the tunnel outside the kidnappers' warehouse. A man steps out of the doorway. He's carrying an Uzi.

Sara: Excuse me. I'm lost. I'm looking for the Orpheum Theater.

The Witchblade changes into a gauntlet going over her jean jacket. Sara backhands the man 40 or 50 feet down the corridor. She hears the sound of a gun being cocked. Fee walks up behind her.

Fee: Spectacular move. Where have I seen that before?

Sara: In your nightmares?

Fee (laugh): Nice bracelet.

Sara: It's one of a kind.

Fee (nod of head): Your lad's this way, Sara Pezzini.

They enter the warehouse where Conchobar's being kept.

Leader (claps): Nicely done, Detective. A bit noisy, though. We did hear you coming.

He walks up to Sara, still about 15 feet from Conchobar.

Leader: Ah, that's close enough.

Fee takes the hood off of Conchobar.

Conchobar: Hi, Baby.

Sara: I want him back.

Leader: I didn't figure you came all this way just to say hello.

Sara: If this is political, you've got the wrong guy.

Fee: Funny, that's what he said.

Sara: It's true. You guys aren't Interpol. So, I'm guessing ... what? Sanctioned counter-terrorist? Belfast police?

{OK, we'll find this out later, but the leader of this little band is named Sean.}

Sean: A little of both. Would you mind telling me how you got past Oliver out there? I know he's no Derry docksman, but he was the best local talent money could buy.

Sara: Does it bother you at all that this man is completely innocent?

Sean: Not in the least. Every war has collateral damage.

Fee: And no man is completely innocent.

Sara: If you give him up before my backup arrives, I won't do the same to you.

Conchobar gives her a wink.

Sara: Look, I know this is about his brother Edward. But if this were a simple reprisal, you would've killed him by now.

Fee: Right-o. Just like if you had backup., they'd be here by now.

Sara: What do you want?

Conchobar: They want to take me back to Belfast, offer me to Edward, then kill us both when they come to fetch me.

Fee shoots Conchobar in the right kneecap {I think}. Sara starts forward, but is blocked when Sean points a pistol at her.

Sean: Fiona!

Fiona: Ease up, Sean, he'll live. It's not the most deadly wound a man can suffer, just the most painful.

Sean: That was unsanctioned.

Fiona: Screw your bloody sanctions!

Fiona (to Conchobar): The day your brother blew up all those cars, my fiancee was in one of 'em.

Fiona (to Sara): So you see, I hate him as much as you hate me.

Sara: What will it take to set him free? What is he worth? A million? A million-five? Won't that help your cause more than one dead bomber?

Fee shakes her head a little.

Sean (to Fee): Stupid!

Sean puts his gun away.

Sean: Two ... million.

Fee: Sean!

Sara: I'm a cop. Where am I supposed to get two million dollars?

Sean: The same place you'd get the million-five. I'm sure you'll figure something out, if you love him enough.

Conchobar grimaces in pain {but doesn't scream as most would with a shattered kneecap}.

Sara: Anything else?

Fiona: Yeah - I want your pretty bracelet.

Sara: What?

She looks at Conchobar.

Sara (to Fiona): I'm sorry.

Fiona: Fine.

She prepares to shoot Conchobar.

Flashes of Gallo shooting Sara's father, then Danny, then Maria. Sara looks down at the Witchblade. The stone is dark and dull.

Sara: No ... here.

Fiona sets her gun down.

Sara: Want it? Just take it.

Sara tosses the bracelet to Fiona. She puts it on her right wrist and admires the stone.

 

Fade.

 

End Act I

 

 

 

Act II

Open at a party at Ken Irons'. Everyone seems to be moving in fast motion. Ian comes through a set of very interesting doors and looks around a moment before going to Irons.

Irons: The Witchblade is off Sara Pezzini.

Ian: Is it testing her? Is it the periculum?

Irons takes out a pocket watch and looks at it.

Irons: Go and see.

Ian leaves.

Irons (smiling to a guest): Sashee. Hello.

 

 

Cut to the precinct. Jake's walking through the department to his and Sara's office. Several people turn to look at him as he passes by. When he gets to the office, he closes the door and looks through the blinds.

Dante (behind him): Where's your partner?

Jake: Stuck in traffic.

Dante: Huh, really? How do you get stuck in traffic on a motorcycle? McCartey, it's not your job to bend the rules for that slacker.

Jake: That's harsh, Captain. Sara works hard. She may be unconventional, but she's very effective.

Dante: Fine. But consider this. She's doing a piss-poor job of training you. And yet, I see big things for your future here. Bright things. So what would be my reason for leaving you in the traces with that slug?

 

 

Cut to Sara standing in Ken Irons' den. He is standing on his library balcony, looking down at her.

Irons: Two million dollars?

Sara: I've never asked you for anything.

Irons: You look somehow underdressed today, Sara. Aren't you missing something?

Sara: The money means nothing to you, Mr. Irons. It's a ... it's a phone call, a stroke of a pen.

Irons: Who has the Witchblade now?

Sara: I figure you'd know.

Irons: Perhaps I do.

Irons starts down the staircase.

Irons: You were warned that the Witchblade abandons its wielder during her darkest hour. Your need must have been very dire.

Sara: Why else would I be here?

Irons (shaking his head): Perhaps the blade was jealous of your ... recent involvements.

Sara: How can a hunk of metal and stone be jealous?

Irons rests the fingertips of his left hand briefly over the spot on Sara's chest where her scar is.

Irons: Or perhaps you were merely a courier for the blade, sent to deliver it to its true bearer.

He walks around Sara.

Sara (licks lips): Mr. Irons, if everything goes as planned, you'll have your money back by nightfall, I promise.

Irons: And if not?

Irons moves to just behind Sara. His right hand hovers over her hair, just behind her right ear, for a moment. He puts his hand in her hair, resting his hand on her shoulder and rests his left cheek on the back of her head.

Irons (deep breath): Hmmm ...

Irons: I offered you the world once ...

He begins stroking her cheek with his right forefinger.

Irons: ... Travel, refinement, education ... companionship.

He runs his hand over her right shoulder and down to her elbow and then walks around her left side to stand just in front of her.

Irons: You refused me.

Sara: I'll accept it now, if that's what you want.

He cups her face between his palms.

Irons: No, Sara ... (moving closer) ... that's not what I want. What I want ... is the pleasure of rejecting you ... as you once rejected me.

He releases her and starts walking away towards the stairs.

Sara: Mr. Irons ...

He keeps going up the stairs.

Sara: Kenneth! A man's life is a stake here!

Irons (not pausing or turning): Then stop wasting time. Go save him. (dismissive wave)

Sara walks out rapidly. Up on the balcony, Ian comes forward to look to where she walked out. Irons roughly grabs his face and pulls it around to him.

Irons: Don't come home without the blade.

He releases Ian.

 

 

Cut to the precinct. Orlinsky is bringing a box out of the evidence lockup room. Sara meets him at the door.

Orlinsky: Pezzini.

Sara: Listen very closely. I saw you yesterday.

Orlinsky: Yeah, I saw you too. What?

Sara: Not around here. Before work.

Orlinsky: I was late ...

Sara: You were at the corner of Greenwich and Horatio with a streetwalker and Two Face Cheziray.

Orlinsky (laugh): You know, I heard you were full of crap, Pezzini. I guess the rumors are true.

Sara: Looked like a payoff to me. Two payoffs, actually. One in cash and one in kind.

Orlinsky: You ever wonder why people don't want to work with you? You bitch.

Sara: You know what? (holds up film) I don't know if this should go to Internal Affairs or to your wife. Hey, Orlinsky, maybe you know where I can get those "double prints for a buck" deal, huh? "Bitch."

Orlinsky: What do you want?

Sara: I want the keys to this lockup. You go to the head and amuse yourself for 10 minutes. They'll be on your desk when you get back.

Orlinsky: And that's it?

Sara: For now.

He tosses the keys to the table in front of the lockup. He walks off and Sara grabs the keys. She goes into the evidence room and opens a box. Inside are hundred dollar bills in bundles in a plastic evidence bag. She takes this as Danny watches from behind her.

 

 

Cut to the warehouse. Fee is looking at her pretty bracelet. The stone glows.

Sean: You should have told me.

Fiona: Told you what?

Sean: About losing your fiancee to Edward Dougherty.

Fee: And let you scratch me from the trip? Make me laugh, Sean.

Sean: Fiona, if your personal feelings jeopardize this mission, I swear ...

Fiona: You lost family members, too. Disqualify yourself then. Anything else, Commander?

Sean: Yeah. I got the impression that you thought I'd actually trade our prisoner to that cop for money.

Fee: Well, that's the impression you gave.

Sean: To her. But you know better. All the money in the world couldn't buy that man back.

Fiona: Good. So we're agreed then?

Sean nods.

Fiona: And the money?

Sean: Goes to the cause. To take down the next bleeding revolutionary.

Fiona: Amen.

Sean walks off and Fiona returns to her inspection of the Witchblade.

 

 

Cut to Sara's place.

She puts a revolver at the small of her back. She checks the clip on another gun and puts it in a holster under her left arm. A small knife goes in a sheath on her left forearm. Another automatic under the right arm. And one more in her leather jacket pocket. She puts on her jacket, grabs the knapsack of money, and leaves.

 

 

Cut to Dante's office. Orlinsky opens the door and walks in, closing the door behind him

Dante: Knock.

Orlinsky knocks on the closed door.

Dante: First.

Orlinsky: We ... uh ... we got a problem. Pezzini saw me with Two Face and Toy.

Dante: Her word against yours.

Orlinsky: Well, she ... uh ... she's got pictures.

Dante: How bad?

Orlinsky: I took the payoff and ... uh ... and the girl.

Dante covers his face with his hands.

Dante: No, damn it!

Orlinsky: It's not my fault. She's not supposed to be anywhere near that ...

Dante: She's a detective, and a good one. And if she's anything like her old man, she'll gnaw on this like a dog with a bone.

Dante picks up the phone and starts to dial.

Dante: This is a problem. Get out of here.

 

 

Cut to Sara walking up to the warehouse entrance. She has the pack in her left hand. Paddy meets her at the door. She holds up the pack to him and they go in.

Sean: So it's true what they say about American girls? You just keep coming back for more?

Sara tosses him the pack.

Sean: Now what makes you think I don't just take the money and the lad?

Sara: Because none of you wants to leave here as collateral damage.

Fiona: Ooh, I'm trembling.

Sara: Look, I did what you asked. OK? You let me walk out of here with him and everybody goes home in one piece.

Sean: Not just yet.

He squats down to the pack of money and opens it.

Sean: Well, well, well.

Sean fans through one of the bundles of money.

Sean: There's only one problem. You're a little short.

Sara: What's a few thousand when we're talking millions?

Sean: Pocket change. But the problem is you're two million short. None of this is real.

They all point their guns at Sara.

 

Fade.

 

End Act III

 

 

Act IV

Open as we left, all guns pointed at Sara.

Ian's voice: Congratulations, Sara. It was a test, and you passed.

The kidnappers split their attention between Sara and Ian, who appears at the other side of the room, on a level up a flight of steps.

Ian: Here's the money, the real money.

He drops a leather satchel full of money on the railing in front of him. Sara slowly unzips her jacket. Paddy heads up the stairs leading up to Ian.

Ian (to Paddy): Are you going to be doing the counting? One hundred dollar bills … one hundred to the bundle (Paddy reaches into the bag) … 200 bundles. Are you good at math?

A small curved knife springs from the tip of Ian's right boot. He cuts Paddy's throat with a kick.

Sara cross-draws both guns from under her arms. Paddy falls over the railing and Ian pulls out two Uzis and starts shooting. Both Sean and Fiona fire at Ian. Then Sean turns and fires at Sara. She's hit by a grazing shot to her upper right arm. Sara fires back, forcing Sean to jump for cover. Sean fires at Sara again and she retreats.

Fiona in the meantime is firing her Uzi at Ian. He fires back at her then leaps down to the midway landing of the stairs.

Sara fires on Fiona. Fiona is a wee bit surprised to see the Witchblade gauntlet on her arm. She lays down her gun. Ian takes a spinning leap over the railing of the stairs and lands firing both Uzis again, this time across his body, left hand gun pointed right and right-hand gun pointed left. Sean ducks, but Fiona's right arm jerks about deflecting bullets. Sara is also shooting at Fiona. Fiona looks like she enjoys her new toy.

Ian walks over to one wall, still firing. Fiona now deflects the shots with the Witchblade form that is the mace head with heavy blade. Conchobar looks on, stunned by what's he's seeing. Fiona is smiling openly. Ian concentrates on shooting Fiona, but she (or the Witchblade rather) blocks all shots.

Sara runs over to the table where Conchobar is lying. Ian provides cover fire at Sean.

 

Conchobar: Don't, Sara. Save yourself. Get out.

Sara: No, not without you.

Fiona brings the Witchblade down in an overhand strike just as Sara drags Conchobar down from the table.

Ian lowers the gun that had been pointed at Fiona. The other is still pointed at Sean. Without taking his eyes from Sara and Fiona, he squeezes the trigger, forcing Sean back down.

Fiona swings at Sara. Sara rolls away, firing her pistol at Fiona. She rolls back again after Fiona slashes at her. Sara fires her gun at Fiona, who blocks every round. Then Sara's clip runs empty. Fiona is standing over a helpless Conchobar. She places the tip of the blade against his chest.

Sara: Noooo!!

Fiona leans on the blade, pushing it into his chest.

Conchobar: Ohh … Argh!

Sara reaches for another gun. Ian looks at Sara. He seems to have forgotten all about Sean. Sara pulls out her gun and points it at Fiona. Fiona tries to get the blade out of Conchobar, but it won't come. Caught on a rib or sternum, or just the Witchblade's refusal, who can say? But it does set her up for the five shots Sara puts into her. Ian once again casually shoots Sean's way while looking toward Sara.

Sean: Fiona!

Sean comes out from where he had been firing. He takes aim at Ian, who's now giving him his attention. Sean fires and Ian merely moves his head and shoulders to let the bullet pass.

Sara goes to Conchobar. Sean follows her movement with his pistol. Ian spins into an incredibly fast move that ends with a stiffened finger strike (sorry, didn't see exactly where it landed). Sean, blood splattered on his face, falls back against the wall, dead.

The Witchblade has returned to a bracelet on Fiona's wrist.

Sara (to Conchobar): Baby. Hi, Baby.

Conchobar's mouth moves, but no sound comes out. The light fades from his eyes.

Sara: Don't leave. No … no …no …

Conchobar dies. Sara weeps piteously and kisses his brow. Ian watches as she lies down beside his body. Sara rests her head on Conchobar's chest and seems to pass out.

Ian walks to Fiona's body and snatches the Witchblade off her wrist. He looks at the Witchblade for a moment and makes a decision. He goes to one knee behind Sara and gently places the Witchblade on her right wrist. He then places her hand on Conchobar's cheek. He trails his right hand up her arm to her shoulder. Ian tugs the glove off of his left hand. He gathers a drop of blood from her earlobe (probably splashed up when she was shot) with his middle finger and then sucks it. He uses a point on his ring to prick his own ring finger. He sucks the blood resulting from that, too. He then kisses the tips of his first two fingers and touches Sara's jacket where she was shot. Ian pushes the hood of his sweatshirt off his head and bows over his clasped hands for a moment. He then gets up and strides swiftly from the room.

 

 

Cut to Jake shaking Sara as she lies on Conchobar's body.

Jake: Sara … You've got to get out of here. I'm sorry, but we gotta go.

Sara wakes and sees Conchobar under her.

Sara: Oh, no …

She starts crying. She kisses his cheek and Jake pulls her up.

Jake: C'mon, we gotta go!

Sirens can be heard in the background. Jake puts her left arm around his neck to help her out.

Sara: How did you find me?

Jake: I visited your Irish snitch. Then I heard the "Shots Fired" report as I was driving in.

Sara (crying): Why are you helping me?

 

 

Cut to Ken Irons' den. Irons is sitting in his carved wooden chair. Ian stands in front of him holding out the satchel of money. Irons rises, takes the money and puts it in the fire. Ian turns his head to watch.

Irons: The money is nothing.

Ian snaps his head back to his customary down-forward position.

Irons: Where is the Witchblade?

Ian: Back on Sara Pezzini. Evidently, where it belongs.

Irons (walking toward Ian): You should have had it. That little Irish whore was an utter pretender.

Ian: I agree. So, evidently, did the Witchblade. It was back on Lady Sara's wrist by the time I got there. Even when she was unconscious …

Ian raises his eyes to look at Irons.

Ian: … it would not come off.

Irons lifts himself up and slaps Ian with his right hand as hard as he can.

Irons: You should have cut off her hand.

Ian glares murderously at Irons for a couple seconds then drops his gaze once more.

Ian: Next time I will.

Irons takes his right hand and tucks some hair that he had just knocked loose behind Ian's left ear. He cups the side of Ian's face where he struck him.

Irons: Go.

Ian walks off. Irons walks to the fire and gives a small smile. Close up of the money burning.

 

Fade.

 

End Act IV

END OF EPISODE

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