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TRANSCRIPT:
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Act I

Open in a university library late at night. A young woman is reading poetry aloud. She seems to be alone.

Young woman (reading):

Mark but this flea

and mark in this ...

How little that which

Thou deniest me is;

We see a man behind a bookcase pull a book out.

Young woman (reading):

It suck'd me first,

and now sucks thee.

And in this flea,

our two bloods mingled be ...

Books fall over where the one had been removed. The young woman looks up but continues. The clock says 11:11. {One of our favorites}

Young woman (reading):

This flea is you and I,

and this our marriage bed ...

We see a man looking through the gap in the books. He has blue eyes and reddish hair and is breathing heavily.

Young woman (reading):

This cannot be said a sin,

nor shame, nor loss of maidenhead;

From the man's perspective, the young woman is dressed like a whore with long red hair, not a woman with short dark hair wearing a button-down Oxford shirt.

Young woman (reading):

Yet this it enjoys before

it woo, and pamper'd swells

with one blood made of two ...

She stops and puts the book down, looking toward the bookshelf.

Shift to see the eye peaking through the books.

Woman's voice (off camera): I know you're there ...

Shift to the man's view. He still sees the red-headed hooker, only now she's smiling at him.

Hooker: Don't be shy. Come on out here. OK. I can see that I'm going to have to lure you out then.

She gets up and stretches out on top of the study table.

Hooker: You know you want me. Come on, admit it. Would it help if I read to you a little?

She pulls the poetry book over.

Hooker (reading):

Though use make you apt to kill me ...

Shift across the bookcase to see the college student reading.

Woman (reading, different voice inflection):

This flea is you and I

She looks up at the man (off camera) approaching her table.

Woman (gasp): Oh! God, you scared me.

Man's voice (off camera): You were right.

Woman: I was ... Excuse me?

Man's voice (off camera): I do want you.

Woman: What?

Man's voice (off camera): I can see ... the real you.

Woman: You're talking about the poem ... right?

He moves quickly toward her and she screams.

 

 

Cut to several cars parked in a garage or maintenance area. Several men are gathered, including Captain Dante, Tommy Burgess, Jerry Orlinsky, and Jake McCartey.

Dante: All right. You had her and you lost her. (sigh) My own hand-picked warriors. I am profoundly disheartened that you let this witch slip through your fingers.

Jake: In the Bulls' defense, Pezzini is no average fugitive. Not only is she well-trained in police tactics, but ...

Dante: Aw, that's a bunch of crap! She's not the first cop to turn rogue.

Jake: Not only is she paranoid as hell, but she's got battle skills that are ... supernatural.

Orlinsky: You know something? He's right. She's some kind of ... witch.

Dante: I don't wanna hear that! A witch ... You know what she is? You know what she is? She's a woman. She's a woman! For crying out loud. You know, I - I - I know she's tough, huh, even scary. Hell, she almost killed me in my own bedroom so I should know. But you guys are cops, too. You're elite cops. And I picked you because you guys are tough, because you guys are scary. You know, you can't think of Pezzini as your problem. You gotta think of her as your ticket, your chance to shine. Now, trust me guys, great things will befall the man who brings down Sara Pezzini, I swear.

Dante goes to his truck and opens the driver's-side door.

Dante: All right. Listen, guys. Just below Pezzini on our agenda, a new item. (He holds up papers) The disappearance of Kate Havilland, the daughter of Congressman Roland Havilland.

Dante passes out flyers that have Kate's physical description and a photo of her with longer hair.

Dante: She was last seen in the study lounge at U. N. Y. Pressure on this one's coming from city hall. And needless to say, the, uh, heartfelt gratification of a , uh, an elected federal official can't help but further our cause. Am I right? So I'm going to, uh, put one of our newest members in charge of this one ... (Burgess looks like he's preparing his "acceptance speech") ... McCartey, that's your baby. All right, everybody, get to work.

The men head for their vehicles. Jake approaches Dante by his truck.

Jake: Captain, I'm not exactly sure this is the best thing.

Dante looks around and pulls Jake to the side.

Dante: Come over here. What's the matter with you? Huh? You don't wanna look good in the eyes of important people? Myself included?

Jake: No, no, it's just ... I'm kinda all over the Pezzini thing.

Dante: I'm grooming you, kid. If you find this girl and bring me Pezzini, you're set for life. You hear what I said? You are set for life.

Jake nods and smiles at Dante.

Jake: OK.

Dante (smile): All right ... (Gives Jake's cheek a light pat) ... Let's get to work.

As Jake turns away, he looks worried.

 

 

Cut to Kenneth Irons' den. He is sitting in a motorized wheelchair facing the fire, away from us. Behind him is a man in his sixties.

Irons: As you can see, Doctor ... (He turns the wheelchair around to face the other man, and us.) ... I seem to be experiencing a little problem.

Irons looks to be in his eighties. He runs his hand through his hair and a clump of hair comes out with his passing fingers. He lets the hair fall to the floor. Shift to see Ian standing against one wall covered with red cloth.

Doctor: You look well ... considering that your birth certificate says that you are ... ninety-six years old.

Irons: You never patronized me. Don't start now.

Doctor: I brought along a new injection. A hyper-growth hormone from Paris.

The doctor opens his black bag, which is resting on a chair in front of the vigilant Ian.

Doctor: Still in the testing stage, but ... uh ... very promising. The side effects are ... (shakes head) ... negligible.

Irons (turns head away): Snake oil.

Doctor: Kenneth, my specialty is genetics.

Shift to see Ian, hands bare, slipping a scalpel out of the doctor's bag.

Doctor: You're the one who insisted I become an expert on longevity.

Ian looks at the scalpel. {Irons once compared him to a scalpel, no?}

Doctor: So don't criticize my suggestions before ...

Irons: I want the other. Ian!

Ian moves off.

Doctor: The last injection was less effective than the prior one.

Irons: That's why we're using a larger piece this time.

Shift to see Elizabeth Bronte's body posed in a rose colored satin dress on a divan. Vapor shifts along the floor.

Doctor: Her cells may be degenerating, unraveling ...

Ian: Insects caught in amber, hominids frozen in snow ...

Shift to a close up of Elizabeth's right hand. We can't actually see the hand - there's a lace-trimmed white cloth that comes out of the long dress sleeve.

Ian: ... their genetics remain stable. These will, too.

Doctor: He may be developing a tolerance, an immunity to her.

Irons: Gentlemen, I'm the one who's dying here. Prepare my little hors d'ouervre, would you please?

 

 

Cut to Jake in the shower as seen through the cloudy glass of his shower door. Jake turns off the water, wipes his eyes clear and opens the shower door, reaching for a towel that's no longer where he hung it. Sara, gun pointed at Jake, whistles to get his attention. His missing towel is draped over her left shoulder.

Jake (startled): Pez! Pez, what ...

Sara: I need information.

Jake quickly empties a bowl from a countertop and places it in front of his, um, groin area.

Jake: Fine. Give me my ... (reaches out one hand for the towel)

Sara: What's Dante's next move?

Jake: We got two priorities ... a Congressman's missing daughter and you.

Sara: How much do you know about the White Bulls, Jake?

Jake: Only what I've told you.

Sara: I don't believe you.

Jake: I'm trying to learn all I can here. But Dante didn't become top dog by trusting outsiders. Which is why I need you to help me impress him by finding this missing girl.

Sara: Wh-what are talking about, Jake? I can't even show my face in our precinct and you want me to do police work? Now, has Dante given my situation any official status?

Jake: Hell, no. He's too worried about bad press. Your posse is a small group of hand-picked insiders.

Sara: Great. Are they supposed to find me or kill me?

Jake doesn't answer, which is an answer all by itself. Sara looks a little scared for a moment.

Jake: Pez, have you thought about calling Internal Affairs, or the F.B.I.?

Sara: Yeah, I've thought about it, but Dad figured there were Bulls even in I.A. And if I call the Bureau, and they question Dante about me ...

Flashes of the slaughter at the Rialto, the Irish Massacre, and Sara's none-too-gentle treatment of Connor Duryea.

Jake: Yeah, he does have a lot of ammo he could use against you.

Sara: My word against a twenty-year commander.

Flash to Sara attacking Dante in his own bed.

Sara (memory): You tell me everything there is to know about the White Bulls.

 

Sara: So I have to do this carefully. I have to do this right. I have to line up witnesses, gather evidence ... then I can go public.

Jake: Well, then, it sounds like we need each other.

Sara snarls for a second, not liking that idea much.

Jake: Take my personal cell ... (He nods to Sara's side) ... they've got yours traced. At least that way we can stay in touch while you think it over.

Sara (pocketing phone): How do I know that yours isn't the one being traced?

Jake: 'Cause your partner says so.

Sara turns and walks away.

Jake: Pez ...

Shift to a brief view of Jake's uncovered posterior and back to front again.

Jake: ... towel?

Sara: Oh.

She tosses the towel over his face and then walks away again.

 

 

Cut to an exterior street scene. Walking down a busy sidewalk is Charlene, the witness to Orlinsky's murder of her pimp, Prospero McQueen. Today, she's dressed casually in jeans, t-shirt and over-shirt.

Sara's voice (off camera): Charlene.

Charlene: No.

Shift to see Sara wearing sunglasses, a baseball cap, and the hood of her jacket pulled over that.

Sara: No, what?

Charlene: No, whatever you ask me next.

Sara: In that case, you going to turn me down when I ask for your testimony?

Charlene: Yes! I already helped you more than I should have.

Sara: Look, I know. I need you to make a statement about the Prospero McQueen murder. The cop who killed him is way dirty.

Charlene: You swore I wouldn't have to come forward until you could guarantee my safety.

Sara: I know that.

Charlene: Look at you. You can't even guarantee your own.

Sara: Yeah, but if you help me, I will.

Charlene: Unh uh. No, no. You got me out of jail for Prospero's murder, I gave you a place to crash and hide out. We're even. If you put me in the witness stand against those cops, I get a permanent bull's-eye on my back. I'm not going there.

Charlene shakes her head and walks away from Sara down the sidewalk.

Danny's voice (off camera): She won't help you ...

Sara turns her head to her right and sees her dead ex-partner.

Danny: ... you won't help Jake.

Sara: Oh, you're a big help, Danny.

Danny: Just pointing out that in your universe, parallel lines always meet.

Sara: What? Please, Danny, I can't help Jake.

Danny: Charlene can't help you.

Sara: She can, but she won't.

Danny: You can, but you won't.

Sara: If you weren't dead, I'd kill you.

Danny (small smile): You don't mean that.

Sara: You're right, I don't. Of course. Of all the gifts the Witchblade has given me, the biggest one just may be you. I know Jake needs my help, Danny, but what can I do?

Danny looks to an alley across the street from where they are standing. There's a crowd gathering. One man holds his hand over his mouth and nose as he waves people over and points to something on the ground. Sara checks the Witchblade and it's glowing. Sara jogs across the street.

Sara (holding up badge): Hey, guys, everybody back up. I'm a police officer.

She starts making her way through the crowd.

Sara: Lady, please, back up. Tell me somebody called 911.

Sara sees two legs in high heels and black stockings sticking out from beneath some cardboard. She moves the cardboard off the body. We see that the body is dressed in a black bustier and black short shorts. She also wears black opera-length gloves. She has long, curly red hair. The body looks exactly like what the stalker in the library saw when he looked at Kate Havilland. There are large bruises on her legs, and dried blood coming from one nostril.

Sara checks for a pulse on the body's gloved wrist. When she does, she sees flashes of Kate Havilland being assaulted in a van parked in a back alley. After she dies, her attacker applies make-up and dresses her as a whore.

Danny stands behind Sara as she finds a Greek letter pendant on a thin chain around Kate's neck. {I think it was Omega Alpha Sigma.} Sara gets a flash of Kate in the library saying, "Hi" after the man came out from behind the bookcase. Sara sees that the red hair is just a wig as sirens announce the response to the 911 call. Sara glances behind her as uniformed officers get out of their car.

Male voice: Move it! Get outta the way!

The crowd separates to let the two uniformed police through. When they reach the body no one else is there. {Been taking lessons from Ian, Sara?}

 

Fade.

 

 

 

End Act I

 

 

 

 

Act II

Open with Jake at his desk typing at his computer. His cell phone rings.

Jake: McCartey.

Sara (over phone): Jake.

Jake (glances to the door): Pez?

Sara (over phone): You got a dead hooker in the morgue.

Jake: I'll alert the media.

Sara (over phone): She's no hooker, Jake. It's the Congressman's daughter.

She hangs up. {Now taking phone etiquette lessons from Irons?}

Jake (not realizing yet): How did you know ...

Dante opens the door.

Dante: Who was that?

Jake: Let's take a walk.

 

 

Cut to Gabriel's shop. He's just opening his door to Sara.

Gabriel: Where the hell have you been? I've been worried sick about you.

Sara walks in, removing her hood, cap and glasses.

Sara: Huh. Thanks, mom.

Sara sits down in a chair with a sigh.

Gabriel: What's going on?

Sara: This ... (reaches into a pocket) ... is a standard-issue Smith and Weston soft-tip, except for one thing.

She holds the bullet up so Gabriel can see the bull engraved into the round.

Gabriel: Ha ... Holy ...

Sara: Now do you think you can find out who in the city could and would tattoo a bullet this way? More precisely, who did this?

Gabriel: I - I told you I have a client who collects police memorabilia. He made me a standing offer for $50,000 for one of those.

Sara: Gabriel, don't even think about it. I'm building a case. Connecting this to certain people just might be the key.

Gabriel: You're in deep, aren't you?

Sara: Gee, what gave it away? Look, do what you can to find the engraver. But be so careful.

Gabriel: Yeah, don't worry.

Sara: No, all I do is worry. I wouldn't even ask you to do something like this, but I'm desperate.

 

 

Cut to the morgue. Dante is holding 2 photos - one of Kate Havilland's High School graduation photo and one of the body as it was found in the alley.

Dante: Son of a bitch. Coed by day, hooker by night.

Jake: No ... there's nothing from all the interviews I've done to indicate she had any kind of dark side like that. She spent most of her time studying. My guess is that the killer put her in that get-up.

Dante: My God ... if I had a daughter and somebody did this ... If this M.O. hits the tabloids, you know we're ...

Jake (firmly): It won't. We won't let it.

Dante: Good man. Damn! I gotta call the Congressman.

Jake: What kind of sick freak does this to a girl?

Dante: I don't know, but whatever's wrong with him, it's terminal.

 

 

Cut to Ken Irons' residence. The doctor has a needle in his right hand. His left hand braces his right wrist.

Doctor: Don't move. Don't even breathe.

He slowly places the tip of the needle near the outer corner of Irons' left eye. Ian has his bare hands around Irons' head, holding it still. The doctor pushes the needle in and pushes the plunger down. Irons gasps. The doctor removes the needle and walks behind Ian toward his bag.

Doctor: If this were a recreational drug, it would outsell heroin.

Ian takes his hands from Irons. His hands and stance seem unsteady as he watches Irons.

Ian (still looking at Irons): It's merely the fountain of youth. What would that sell for?

Doctor: If it loses its effect after a few doses ...? If I didn't know better, I'd say ...

Ian whirls towards the doctor, placing his procured scalpel near the doctor's throat.

Ian: You don't ... know better. I advise you to keep it that way.

Doctor: That's not the way to talk to the man who helped usher you into existence, Ian.

Ian slowly removes the scalpel.

Irons: It isn't working ...

In his frustration, he sweeps a vase with roses in it off a nearby table with his cane.

Irons: ... it isn't working.

Irons reaches into his mouth and pulls out a tooth.

Irons: Look. Blood ... fresh blood.

Ian gives a nod, then leaves.

 

 

Cut to the precinct house. Jake's cell phone rings as he's walking through the police station.

Jake: Yeah.

Sara (over phone): Call VICAP - cross check for killers who dress their victims like prostitutes post mortem.

Jake: There's no indication this is a serial thing.

Sara (over phone): Look, whoever did this clearly got his jollies before and after. Now, if that's true, he's not gonna stop at one, and it may not be his first.

Jake has by now reached his office. He goes in and shuts the door.

Jake: But VICAP ... sometimes the wait can be weeks.

Sara (over phone): Rookie, her dad's a Congressman. Aikido some of that pressure and make it work for ya.

{Note: ViCAP = Violent Criminal Apprehension Program}

 

 

Cut to a man working on a watch. Gabriel enters his establishment.

Gabriel: Hey, hey. Mr. Bankstrom, thanks for staying open. I appreciate it.

Bankstrom: My doors are always open to an enterprising young man who knows the value of hard work. Your reputation is growing, Mr. Bowman. How may I be of service?

Gabriel: Um ... well, recently an engraved item has been offered to me for a very high price. Now, research indicates that an authentic item of this nature may be worth what they ask. But, uh, I need to know if it's authentic.

Bankstrom (laugh): Mr. Bowman, if you want my opinion, you'll have to be a little more forthcoming. What kind of item?

Gabriel sets the bullet on Bankstrom's countertop. Bankstrom picks it up and examines it closely through a magnifying glass he drops over his spectacles.

Bankstrom: Hmm ... Very high level of craftsmanship. A lot of work went into this.

Gabriel: Your work?

Bankstrom: I wouldn't dare. This appears to be done after manufacture. Very dangerous.

He flips the magnifying glass back to the top of his head.

Bankstrom: May I ask who the seller is?

Gabriel (laugh): Yes, you may, but unfortunately I won't be able to answer.

Bankstrom: Of course, I understand. Perhaps you'd like to leave it. I can make a few inquiries.

Gabriel: No ... (plucks the bullet from Bankstrom's hand) ... Listen, uh, please don't mention this to anyone, OK?

Bankstrom nods.

Gabriel: OK. Thank you for your time. (They shake hands) I appreciate it. Take care.

Gabriel turns and heads for the shop's entrance.

Bankstrom: Good night.

After Gabriel has gone, Bankstrom gets up and goes to his phone. He dials a number the waits a moment.

Bankstrom: Captain Dante.

 

 

Cut to Jake's apartment. Sara slowly opens the door on a darkened apartment. She looks around, stopping when she comes to photos on the mantle. She sees flashes of Jake.

 

The first is from early in their relationship, before Sara lost her partner Danny to Gallo in the Rialto.

Jake: C'mon, Sara. I give you some scratch like this, the least you can do is share with me.

Sara gives him a half-amused look.

Sara: Some "scratch"?

Jake: Yeah, you know … uh … information, intel, data …

 

The next is from their undercover gig in a gay bar.

Sara: Kiss me.

Jake: What?

Sara: You wanna know? Kiss me.

Jake: Pez, you're a guy.

Sara grabs his head and initiates some serious smoochies. She breaks it off and turns around and leaves. Jake has a dazed look on his face.

 

 

The next is a brief flash of Jake saying, "I trust you, Sara." as they sit in the Cafe Enigma.

 

The next shows Jake helping a devastated Sara away from the Irish Massacre.

 

The next flash is of Sara standing in Jake's apartment and deciding she had to trust him, at least somewhat.

Sara (voice unsteady): I can't do this alone. I have to roll the dice on someone. So I'm gonna roll them on you.

Jake nods.

 

 

Sara looks at the Witchblade. It's swirling with an inner life. Sara gets more flashes, only two of which she has seen first-hand.

 

The first of these new flashes is of Jake kidney-punching a suspect in the Druidic sacrifices case.

 

The next is of Ian sitting in the interrogation room conducting his own interrogation of Jake.

Ian (low): Do you remember who you really are?

Jake punches Ian in the face with his left hand.

 

The next flash that Sara sees is when Ian and Jake both were trying to get her to leave Irons' cable station headquarters, each by a different route.

Ian: He's a White Bull.

Jake raises his gun and fires 5 times in rapid succession.

 

The next flash shows Jake and Dante standing outside a bar.

Dante: Your price of admission will ... uh ... concern Sara Pezzini.

 

The next flash also concerns her.

Jake: But we weren't going to kill her.

Dante: Plans change.

Dante hands Jake two of the engraved bullets.

 

And the last looks truly damning. Jake and Dante are alone in Dante's office.

Jake: I'm in.

Dante holds out his hand to Jake. Jake clasps it and they shake.

 

 

Back to Sara. She turns and moves unerringly to open a drawer in Jake's desk. Inside she finds one of the engraved bullets.

 

 

Cut to the corridor outside Jake's apartment door. Jake is walking toward his door. Burgess awaits him around a corner. Jake pulls his keys out, but stops when he meets Burgess.

Burgess: Keep going.

Orlinsky waits on the other side of Jake's doorway.

Jake: What the hell are you guys doing here?

Orlinsky: Just open the door, McCartey.

Jake (a little louder): OK. But if you guys are thirsty, I gotta warn ya, I never keep more than one case cold at a time.

Shift to inside Jake's apartment. Sara is standing at the top of the stairs to his second floor. As Jake opens the door, she ducks into a room with a curtain for a door. Jake, Burgess, and Orlinsky enter. Jake drops his satchel near the door.

Jake: Three cold ones, coming up.

Jake drops his mail and keys on the counter while Orlinsky and Burgess quite obviously go to search Jake's place. When Jake gets to his refrigerator, he looks back to the counter to see a bull-engraved bullet standing on end on the counter. Jake picks it up and puts it in is pocket with a slowly released breath.

 

Fade.

 

 

End Act II

 

 

 

 

Act III

Open with Jake walking determinedly through the police department and opening Dante's door. Dante is on the phone and holds up a hand to Jake for him to wait.

Jake: We need to ...

Dante (into phone): Yes, yes, yes. Yes, Congressman Havilland. Well, of course, I'll be there. Can we get you anything? Do you need a ride, or ...

Jake starts pacing.

Dante (into phone): Well, we're doing everything we can on that front. In fact, the man who's spearheading this investigation is with me now. I'll brief you when we meet. We do, too. Take care. (Hangs up the phone.)

Jake: Why'd you sic your dogs on me?

Dante: Well, they made themselves known, right?

Jake: What the hell were they doing?

Dante: Protecting you.

Jake: Protecting me?

Dante: From Pezzini. You're forgetting her little, uh, nocturnal visit to me the other night?

Jake: Not smart, Captain. Not too smart.

Dante: Really? Enlighten me.

Jake: I had her. She was there - waiting for me. Then Larry and Moe showed up and I had to get loud to protect them.

Dante: So you have been talking to her.

Jake: You bet your ass I have.

Dante: And you didn't keep me informed?

Jake: Because I was trying to prevent exactly what happened last night.

Dante gets up from behind his desk.

Jake: Look, you've seen her. She's got instincts like some kind of wild animal. Our only chance was to have Pezzini trust me and you may have just blown that.

Dante: All right, all right. Hey, I was just worried about you, is all.

 

 

Cut to a funeral home. One of the "hosts" opens the glass doors to one room ushering in a guest (the camera's viewpoint). He motions to the visitor's register, then a table with photos of the deceased, Kate Havilland, then to the body in the casket. Shift to see that it is Sara entering. She walks over to see Kate lying in her coffin. Kate seems to be at peace now.

Sara: Oh, sweetie.

Sara rests her right hand on top of Kate's. Kate's eyes open and Sara's open even wider.

Kate: Stop him.

There's a flash of Kate's assault. Sara turns her head and Danny is standing next to her. Danny also has his right hand touching Kate's.

Kate: Stop the bad man. Please, no one else can.

Sara looks to Danny then back to Kate.

Sara: Who - who did this?

Man's voice: Terrible, isn't it?

Sara turns to see a man in his 30s in a light blue suit. He has short fair hair and light eyes.

Man: My name is Lee. I was her departmental advisor at U. N. Y.

Sara: Oh ... Sara. Just a ... friend.

Lee extends his hand for Sara to shake. As their hands clasp, Sara sees Kate's assault again, only this time she sees Lee in her vision. She can't keep the shock off her face.

Sara: You.

Sara stares at him.

Lee: You all right, Sara? Let's get you a chair.

He turns and quickly exits, Sara just behind him. She's spotted by Dante, who's just entering another room with a distinguished looking man.

Dante (to the man): Excuse me one second.

Dante (into his cell phone): Jerry. Get all the boys over here to MacReady Mortuary on West 71st Street.

Danny watches Dante.

 

 

Cut to Sara exiting the mortuary by a side door between two wings of the building. She starts running down the walkway and nearly runs into Ian, who had stepped around a corner.

Ian: My master needs you.

Sara: Screw your master.

Sara looks all around for signs of Lee (or maybe pursuit).

Ian (eyes moving restlessly up and down): I'm sworn to serve him and he needs you to live.

Sara: Look, there was a man in front of me. Did you happen to see ...

Ian (almost desperate): If you come with me willingly, I can serve you both ...

Sara tries to go around him, but he shifts his body to block her.

Ian (looking down): ... if you will not, one of us will die.

Sara: Well, it's not going to be me. Nottingham ...

Sara takes her right hand to move him out of the way. Ian uses his left to pull that arm out wide while he brings the scalpel in his right up to her chin. Sara is breathing fast as Ian looks at her. Ian cocks his head to the side a bit, looking to Sara's right. Ian jerks Sara around, holding her right hand up. He looks to her almost as if asking for forgiveness then slashes the scalpel across her palm.

Sara: Ah! Ow!

Ian pulls a white handkerchief out and presses it into her palm.

Sara: What the ... Damn! What are you ... Are you crazy?! What are you doing?

Ian holds her hands with the cloth in between them in his gloved ones.

Ian (looking regretful): I did it to save your life.

Sara (tugging her hands): Let go.

She keeps tugging until her hands come free. She looks at the gash in her hand. Ian has the bloody cloth in his hand. Just then Dante comes through the door Sara had used. Both Sara and Ian take off running before Dante can spot them.

Dante (low to himself): Son of a bitch.

 

 

Cut to Sara running down a sidewalk, slowing to a fast walk as she turns a corner. She has a scarf bunched in her right hand. She's wearing her sunglasses and pulls her ballcap out of her jacket pocket and puts it on. Her cell phone rings. Grimacing, she pulls it out of her pocket with her injured right hand.

Sara activates the phone but doesn't say anything. Cut to each as they speak.

Jake: Pez, it's me.

Jake closes the blinds on his office.

Sara: You got one chance, McCartey. Make it good.

Jake closes the office door.

Jake: Listen, we have to meet in person. I don't trust these phones.

Sara: Wrong answer.

Sara looks behind her as she walks.

Jake: Dante gave me the bullet to use on you. And I owe you an apology. When I asked for help on the Havilland murder, I mostly just wanted an excuse to stay in touch. So I'll take it from here, I don't need ...

Sara: No, no. I'm on it, I'm on it. In fact, I got something for you. On your killer. Meet me on the corner of, uh, George and Joan, 20 minutes. I'll see you before you ever see me. And Jake, so help me, if you're not alone ...

Jake: I will be.

A police cruiser a block behind Sara sounds its siren in a quick blast. Sara takes off running.

 

 

Cut to Jake walking down a sidewalk in a graffiti-sprayed neighborhood. He's looking around but trying not to be obvious about it.

Sara's voice (off camera): Stop. I've got you covered. You're waiting for a bus.

Shift to see that Sara is standing just beyond a fence that Jake is now standing in front of.

Jake: Those guys last night ... I didn't know. I swear.

Sara: The bullet, Jake. Why didn't you tell me the last time we met?

Jake: You kidding? As jumpy as you were? I didn't want you any more freaked.

Sara checks the Witchblade on her wrist. She has her automatic in her left hand.

Jake: I was gonna tell you.

The stone in the Witchblade is a solid, dead red.

Sara: So you really did get in deep with these guys, huh?

Jake: They recruited me to get to you.

Sara: Oh, that simple?

Jake: Sara, I'm coming clean here. I'm in with White Bulls. Now, we have a chance of bringing these guys down.

Sara: Yeah, well, add this to your kit. I got a friend tracing down who does the engraving on the bullets. I'm going to find him, turn him and make him tell me who places the orders.

Jake: That's great.

Jake fakes a cough for a passing pedestrian.

Jake: Said you had something on my killer?

Sara: Yeah. Tall guy, red hair. Goes by Lee, pushing 30. Claims to be faculty at U. N. Y. Check with the Havilland family and the sorority housemother for anyone matching the description.

Jake: I hope you're right. My VICAP sweep came back scary. Killer with a dead hooker M.O. has hit four colleges in the tri-states in the past two years. He always strikes 3 times before he moves on, always within a 10-day window. Profile says he goes for innocent, virtuous types.

Sara sees a flash of Kate at her study table and then as found dead in the alley.

Jake: Rapes and kills and he dresses them up as whores. Makes them into something dirty, something they're not. No doubt trying to justify his own sins.

 

 

Cut to Ken Irons' den. Ian offers Irons the blood-soaked cloth as if it were something precious.

 

Cut to Orlinsky knocking on Gabriel's door. Burgess is with him. Shift to see Gabriel unlocking and opening his door. Seeing who it is, he tries (unsuccessfully) to shut the door. He takes off, Burgess right behind him. Burgess brings him down in a flying tackle that wrecks one of Gabriel's displays. Burgess picks Gabriel up then holds him in a modified half-Nelson.

Orlinsky: Hey, cupcake ... you got a problem with authority?

Gabriel: What do you guys want?

Orlinsky: Not what, who.

Gabriel: Ah … hmm … I give up.

Orlinsky: What the hell are you selling here?

Orlinsky looks at some of the items on Gabriel's shelves. Orlinsky picks up a medium-sized urn.

Gabriel: That's a, uh, pre-Columbian funeral urn with the remains of a thousand-year-old ...

Orlinsky drops it to a table, smashing it to bits.

Gabriel: ... Mayan princess.

Orlinsky: No kiddin', people actually buy that crap?

Gabriel: Yeah.

Orlinsky: Oh ... (picks up a large red bowl) ... Tommy, this'd look pretty good on my patio, don't you think?

Burgess: Yeah.

Orlinsky: A little flimsy, though.

Orlinsky holds it up as if to drop it. Gabriel just stares at him.

Orlinsky (little laugh): You know, I think you'd let us wreck your whole shop and you wouldn't rat out that bitch.

Burgess: Twenty bucks says you're wrong.

Orlinsky losses the bowl toward Burgess. He reflexively tries to catch it, giving Gabriel an opportunity to bolt, or so he thinks. Burgess quickly grabs Gabriel again and bounces his head off the door he was going to try to go through. There's blood trickling from Gabriel's mouth.

Burgess: Hey!

Burgess restrains Gabriel again.

Orlinsky: You know, you're probably right. A direct approach is probably quicker.

Orlinsky punches Gabriel in the stomach.

Orlinsky: Where is she?

Gabriel (smile): I don't know.

Orlinsky punches him in the stomach again. He then reaches into Gabriel's pants pocket and pulls out the bullet. He holds the bullet up to Gabriel.

Orlinsky: Oh, yeah, you do.

Orlinsky (to Burgess): Come on. (Walks off)

Burgess (to Gabriel): Come on, Sparky. We're going for a ride.

Burgess hustles Gabriel after Orlinsky.

 

Fade.

 

 

End Act III

 

 

 

 

Act IV

Open with Sara opening the door to Gabriel's place, gun drawn.

Sara: Gabriel?

She takes a couple cautious steps inside, pointing her gun at the ceiling.

Sara: Gabriel?

Witchblade vision: Burgess tackling Gabriel into the display case. Orlinsky gut-punching a held Gabriel. Burgess slamming Gabriel's head against the other door. Gabriel being man-handled by Burgess.

Danny: You're not going to like this.

Sara: Dante's crew, right?

Sara walks further into Gabriel's shop.

Sara: Is he, um ...? Have they ...?

Danny: Not yet, but hurry.

With a grimace for her injured hand, Sara holsters her weapon. She gets out her cell phone and pushes one of the programmed numbers.

Sara (low): Come on, come one, come on.

 

 

Cut to the police station. Jake picks up his ringing cell phone. Cut between each as they speak.

Jake: McCartey.

Sara: Thank God.

Jake: Check this out. Our guy's name is Leeman Bostwick. Pseudo-grad student at U. N. Y. who's tutoring Kate Havilland in English Lit.

Sara: Hey, Jake ...

Jake: They met at Starbuck's the night of the murder, prior to her going to study. I got a phone number, but it's just a cell with voice mail.

Sara: Jake, is my friend Gabriel being held at the station?

Jake: Definitely not up here. I swung by holding a little while ago. Didn't see him.

Sara: Some of Dante's boys got him. He was, uh, he was doing some research for me and I think he's in huge trouble.

Jake: Hold on.

Sara (barely keeping calm): Jake, I can't hold ...

Jake looks through the blinds in his office to Dante's office.

Jake: Burgess and Orlinsky are in Dante's office having a powwow. Something's definitely going on.

Sara: OK, Jake. You give me this Leeman's number and I will deliver him to you tied up with a bow but you've gotta find Gabriel now.

Jake: Deal. (212) 555- 0198. Keep the phone turned on.

Jake disconnects and Sara closes her own phone.

Danny: He'll never be me ... but he's improving.

 

 

Cut to Burgess driving, searching for an address.

 

 

Cut to Leeman Bostwick walking up a staircase. He smiles and nods at college students as he passes. He comes to the study area Kate used. There are quite a few students here now, during the day. He heads to a table in the back where someone is holding a book up in front of their face.

 

 

Cut to Burgess Pulling into an alley.

 

 

Cut back to Bostwick still walking to the far table. Shift to see it's Sara behind the book waiting for him.

Bostwick: Excuse me. I'm, ah, Leeman Bostwick. Are you the one who called to arrange a tutoring session?

Sara lowers the book to the table.

Sara: Yeah, that would be me.

Sara pushes away from the table. By the time she rises, Bostwick has already turned and started running. Sara gives chase. Bostwick knocks over one student and pulls a book cart into Sara's path as he heads downstairs.

 

 

Cut to Burgess getting out of his car in the alley. He opens his truck. Gabriel is there, bound with his hands behind him. There is a strip of silver duct tape over his mouth. Burgess rips the tape off and removes the cloth that had been stuffed into Gabriel's mouth.

Burgess: Get out.

Gabriel: Why the hell should I do anything you ask?

Burgess: {To? It might?} keep me from doing this.

Burgess slugs Gabriel's jaw, whipping his head around.

Burgess: Get out.

Burgess pulls his gun and places it at Gabriel's throat.

Burgess: Get out now, boy.

He grabs Gabriel and hauls him from the trunk. He slams the trunk lid.

 

 

Cut to Sara chasing Bostwick out of the library and across a street to a small park. An older man with longish blond hair watches. {Hi, Bob}

 

 

Cut to Gabriel and Burgess. Gabriel walks down the alley, Burgess behind him. Burgess is screwing a silencer into the barrel of his gun.

Gabriel: Listen, man. My, uh, friend Pezzini is not gonna ...

Burgess: Shut up.

Gabriel: You think she's gonna let this go? She's gonna tear you up.

Burgess: Shut the hell up.

 

 

Cut to Sara chasing Bostwick across the park. She's gaining on him.

 

 

Cut to Burgess shoving Gabriel through a shop. We've been here before, just not in daylight.

Bankstrom: Yes, can I ... Oh, hello!

Burgess: Mr. Bankstrom, is this the young man that bothered you last night?

Shift to see Gabriel's bloodied face. {Why didn't Bankstrom mention this?}

Bankstrom: Ah, yes, Mr. Bowman. But I don't know that "bother" is ...

Burgess fires one silenced round into Bankstrom's chest. As he falls, Burgess fires another.

 

 

Cut to Sara's chase. She leaps to a picnic table and launches herself into Bostwick. They tumble on the grass, Sara eventually kneeling over him.

Bostwick: Why are you chasing me?

Sara: Why did you kill Kate Havilland?

Bostwick pushes her back and gains his feet. He takes a swing at her. Sara blocks that and pulls his arm out, her other hand applying pressure to his elbow.

Bostwick (pain): Ah!

Bostwick turns with a wild swing of his left hand that Sara ducks. She counterstrikes with a solid right to his face and then a left. He launches another wild punch at her that she ducks. Sara kicks his lowered head and punches him with her right once more. He drops to the ground.

 

 

Cut to Burgess and Gabriel in Bankstrom's shop.

Gabriel: Why'd you do that? He was just an old man.

Burgess: Well, if you found him, anybody could. On your knees.

Burgess forces Gabriel to his knees.

Gabriel (over his shoulder): Listen, I got lots of cake, man, and it's all yours. Come on, man, don't do this. This is nuts.

 

 

Cut to Bostwick lying on the grass and Sara standing over him. The Witchblade transforms into the gauntlet with about a foot of blade protruding.

 

 

Cut back to Gabriel and Burgess. Burgess aims at the back of Gabriel's head.

Gabriel: Hey, hey. Don't do this, man. This is nuts. OK? I'm just a kid. I'm just a kid. I don't know anything.

 

 

Cut to Sara and Bostwick.

Bostwick: No ... please.

Sara: I bet that's what Kate said.

Sara plunges the blade down, out of frame.

 

 

Cut to Gabriel and Burgess. Close up of a silenced pistol being fired. Burgess drops to the floor, revealing Jake behind him. Jake also has a silencer on his gun. Gabriel climbs to his feet.

Jake: You all right, man?

Gabriel: Ah, y-yeah.

 

 

Cut to Sara and Bostwick. Sara withdraws the Witchblade from the ground. She had plunged it between Bostwick's legs inches away from his groin.

A brief sound of sirens heralds the arrival of a squad car. Sara puts her sunglasses on as the two officers exit their vehicle.

One uniform: What's going on here?

Sara (not looking at him): Uh, this man just bragged to me that he was responsible for the rape and murder of Kate Havilland.

Sara starts walking slowly away.

Uniform: The Congressman's daughter?

Sara: Yeah, that's right.

Bostwick: She wanted it. She - she begged for it. So I gave it to her.

Uniform (recognition in his voice): Detective Pezzini?

Sara stops walking and turns back around.

Sara: Hey, McGrath, right?

McGrath: Yes, ma'am.

Sara: Hey.

Sara turns and starts walking again.

McGrath: I'm supposed to bring you in, ma'am.

Sara stops and faces McGrath.

McGrath: Captain Dante wants to talk to you.

Sara (low): Talk to me ...

Sara: Sorry, it's not going to happen.

She turns and walks again.

McGrath puts his hand on the butt of his weapon.

McGrath: I'm not asking, Detective.

Sara pauses and faces McGrath yet again.

Sara: You wanna bring me in, you're going to have to shoot me, McGrath - in the back.

She shrugs and starts walking away again. She removes her hair restraint with her right hand and grimaces at the pain still in her slashed palm. McGrath lowers his hand from his weapon. Sara just walks calmly away.

 

 

Cut to Irons' den. Another needle approaches the corner of his left eye. No one holds his head this time. The doctor removes the needle and Irons gasps again. Only this time, the signs of his aging almost immediately begin to reverse. He is back to his "normal" self within seconds. He rises effortlessly from his wheelchair, raising his arms.

Irons: Behold - time runs two ways.

Doctor: Ponce de Leon's own grail. I still can't believe it.

Irons (fiercely): Believe!

Irons turns to where Ian is sitting on the steps leading up to the library level. He is sitting hunched over, elbows on knees, feet turned slightly inward. Irons approaches Ian and lays his left arm across Ian's shoulders.

Irons: Rest easy. I know what you tried. Had this experiment failed, I could have spared our fair lady. But since it succeeded, you know what you must do. My life is in your hands.

Ian appears disconsolate.

 

 

Cut to an alley with several homeless people. Sara, hood up, sits drinking coffee. Jake clears his throat. Sara removes her hood and turns to him.

Jake: Lars Bankstrom didn't make it. You lost your witness.

Sara: Charlene Bennett?

Jake: In the wind. Can't find her.

Sara: Um, I still have Gabriel, thanks to you.

Jake: He's underground, too, and the Bulls kept his bullet.

Sara: So I'm right where I started. Actually, behind where I started.

Jake (pulling something from his pocket): No, you're not.

Sara: Jake, look, I really appreciate your help, but ...

Jake: Sara.

Jake shows Sara what he pulled from his pocket - a badge/ID case.

Sara (laugh): What Cracker Jack box did that ...

She stops and takes a closer look. The badge there says "F.B.I. Investigator." Sara gives Jake a disbelieving look.

Sara: Wait a minute. You're a fed?

Jake nods.

Jake: Field agent for the F.B.I., technically. Department of Justice task force. Believe me, I wanted to tell you. Really wanted to tell you sooner. But I had orders.

Sara: If you're a fed, what the hell are you doing posing as my dufus rookie partner?

Jake: To bring down the White Bulls. Now, thanks to you, I'm very close. But we gotta get you out of sight and into hiding for your own safety.

Sara: No, Jake. No way. You're not taking me anywhere. I'm finishing this. I owe it to my father and Joe Siri.

Sara hands Jake his badge back.

Jake: I was hoping you'd say that. 'Cause I'm really going to need your help.

Sara's still trying to wrap her brain around Jake's big revelation.

Sara: I can't believe this. F.B.I. Agent Jake McCartey?

Jake: It's like you always tell me - nothing is what it seems.

Sara turns her head to see Danny a few feet away.

Danny: Parallel lines always meet.

Jake puts on his sunglasses.

Jake: You good?

Sara: Yeah.

They walk down the alley.

 

Fade.

 

 

End Act IV

END OF EPISODE

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