Look! Kim is on a roll!! I'm sorry I was bored and had a lot of time and you know since I promised and no one has said look we're not really reading it (please tell me if you aren't please please) I kept going these are Acts III and IV(there are I think VII in the first episode)
Episode I Act III
Open at Danny's funeral. As they leave, police and others are dropping red roses on Danny's coffin. Danny's wife leads their small son to a car. Sara looks over at them and receives a "This is your fault" look.
Soon Sara is the only one left standing there. Joe Siri walks back to her.
Siri: Your report was full of holes. Is there something else you wanna tell me?
Sara (wiping a tear): When we were at the theater, Joe, I think that … uh … This really weird thing … (shakes her head)
Siri: I want you to have some time off. Take a few days. There'll be a lot more questioning. You know how intense it gets when an officer goes down.
Sara nods, trying not to cry.
Siri: I know what it's like to lose a partner.
He pats her shoulder and walks to where Jake is waiting behind the wheel of a car. The two men drive off.
Sara to herself : What do you do when you lose your very best friend? When you wish that you could see them just one more time? When you can't believe they're not there anymore? Danny, I swear to God I will avenge your death.
Danny's voice: That's what got you into trouble in the first place, Sara.
Sara turns her startled eyes to her left, where Danny walks up. Danny looks at his coffin.
Danny: What're you lookin' at?
Sara glances behind him, then stares at Danny.
Danny: Sara, relax. It's me, Danny. I'm here to tell you there's a lot more happening around you than you think. It's a lot more connected. Open those doors of perception, there's people knocking. You'll see.
Sara (closing her eyes): Go away.
Shift to see Sara standing alone.
Danny's voice: I'm already gone. Let me ask you this. How is it that you survived the Rialto?
Sara: I … I … I don't know. I … I … I really don't know what happened. I just sorta blanked out.
Shift to Sara and Danny standing together again.
Danny: How could you, one cop, not only survive, but kill all those guys? Pez, here's the deal. You don't even know who you are. All I can say is you're from a line going back through time and forward into the future. Part of a wave, a force, a warrior bloodline. You've inherited something unique and powerful. I think that deep down you know it.
Shift again to see Sara standing alone at Danny's graveside.
Sara: Yeah?
Sara sniffles and turns to a visible once more Danny.
Sara: Here's what I do know. You (points) are a damn hallucination. And you're not the first one. I'm having a meltdown (nods). My father, Maria, now you. Gone. I'm losing it Danny. Everybody that I care about gets killed. I'm standing here in the snow by myself, talking to myself, because I wish I was talking to you.
Danny: Pez, this is really happening. You are special. You were chosen.
Sara: Uh huh.
Danny: You're the one who said, "Every day above ground is a special day." Take it from me, you were right.
Sara: Danny, why did things go down the way they did that day? Why?
Danny: Like the man said, "Karma."
Sara (surprised): How do you know he said that?
Danny: I just do. I also know that you're wearing the Witchblade. It's the reason why you can see me. Keep it on.
Sara: What do you know about this thing?
Danny: Not much, really. Talk to Joe Siri. He'll give you some information that'll help you figure out who you are, or at least who you aren't.
Sara, confused, covers her face with her hands and shakes her head.
Sara: I don't … I don’t understand.
Shift again to see Sara standing alone.
Danny's voice: Ask Joe Siri who you are.
A man suddenly appears beside Sara.
Man: Hey, Miss. Hey, you all right?
Sara is startled once again this day and looks around for Danny then nods.
Sara: Yeah.
She walks off through the cemetery. In the background, Ian steps out from behind a large tree.
Cut to Jake talking to Captain Siri.
Jake: Since I don't have a partner yet, and … since Pezzini doesn't have one anymore, maybe we should team up.
Siri: Sara Pezzini does not make an easy partner.
Jake: Yeah, yeah. I know. She thinks she's 10 feet tall and bulletproof. This might not be a bad time for her to have a little backup.
Siri: I don't know if you're the one to give it to her. So far, Danny was the only one who was able to cover her back.
Siri turns to look at a file.
Jake: Please …
Siri: OK, I'll think about it. Danny and Pezzini were very close and … uh … I am worried about her.
Cut to Sara's apartment. She's looking at a photo of Danny and her in their police uniforms. Then a picture of her parents' wedding. Then a picture of her father and her when she was a little girl. Then a picture of Maria as a little girl. Then her father with Joe Siri when they were uniformed partners. While she's looking at the photos, we can hear softly in voice-over:
Sara: Gone … gone … gone. Everybody that I care about gets killed. My father, Maria …
Danny: Karma.
Sara: Gone … gone … gone.
Danny: Like the man said, "Karma."
Sara turns away from her table of photos and paces her apartment. She hits the PLAY button on her answering machine.
Machine: You have one saved message.
Danny (over the machine): Hey, Pez. Danny here. You cool? You know … uh …. I'm really … give me a ring if you need anything.
Sara moves away from the machine, her face red and blotchy from crying. She looks out one window, wiping her eyes. Shift to an exterior view of her walking in front of her windows.
Cut to a man on the roof of the building opposite Sara's. He has a high powered rifle pointed toward her.
Cut to a view of Sara at her window as seen through the rifle's scope.
Back to the man holding the rifle. He nearly has Sara targeted to his satisfaction when Ian Nottingham incapacitates him with one violent blow. Ian takes the rifle and looks at Sara through the scope. He sees her standing at her window crying. Ian glances to the assassin, whom he has draped over some guy wires. The look Ian gives this guy promises dire consequences for his aborted attempt on Sara's life. Ian turns back to Sara, one tear escaping from his left eye and looks through the scope again. His finger outside the trigger guard, he moves his finger as if pulling the trigger.
Cut to Gallo sitting in the back of his car.
Gallo (into a cell phone): Whoa, whoa. What do you mean the job wasn't done? The rifle was up his …? And the top of his head was blown off? There is nothing short of a miracle that is going to save her.
Gallo hangs up.
Fade.
End Act III
Act IV
Open with Sara walking into the precinct. She walks into her office, still very much in a down state of mind. There's a note on her desk that says, "Sara: See me. Siri." She goes to his office.
Cut to Siri's office. Joe Siri holds out a folder to Sara.
Siri: This is a statement filed by Tommy Gallo's attorneys saying that you and Danny attacked Tommy and his men and that Tommy killed Danny in self-defense.
Sara: That's bull.
Siri: But his lawyers, and he got the best, say Tommy's so scared he's gone into hiding because he doesn't trust the police aren't going to kill him the minute they take him into custody.
Sara: You don't believe that … do you?
Siri: Well, the fact that all of his men are dead gives a certain credence to Gallo's claim, don't you see, Sara?
Sara looks away, uncomfortable.
Siri: No, of course I don't believe him. However, you try to get him into a court right now, you might have a lot of trouble convincing a judge or jury otherwise.
Sara looks down.
Siri: He wasn't breaking any laws being in the Rialto and you didn't have probable cause. So, are you ready to tell me what's going on?
Sara: No.
Siri: Sara, three of Gallo's men were killed with what forensics said was a sword. With traces of an unidentified metal. I repeat, are you ready to tell me what is going on?
Sara shakes her head.
Siri: Your badge and your gun, Detective.
Sara looks at him disbelievingly.
Sara: Joe, we saw Gallo kill on of his own men, right there.
Siri: There were so many bullets from so many guns, we'll never be able to prove that. Your badge and your gun.
Flash to Danny talking to Sara at his funeral.
Danny (memory): Ask Joe Siri who you are.
Sara: Who am I, Joe?
Siri: What kind of question is that?
Sara sees his hesitation in answering her
Sara: A direct one. C'mon, Joe. What is it? What's the deal? What is it that you're not ready to tell me?
Siri shrugs and shakes his head.,/I>
Siri: I don't know what you're driving at.
<>Sara: C'mon, Joe. You've known me since I was born. You knew my mother, who's nothing more than a photograph to me. You were my father's partner and best friend. And I ask you, there must be something you can tell me. Wouldn't they want you to tell me?
Siri considers then comes to a decision.
Siri: You were adopted, Sara. I know it's not supposed to be any big thing, you know. You're supposed to tell a child when they're young, but … It was so hard on your mother, not being able to have a baby, you know. She hurt for so long before she got you that she … uh … you know, she probably believed that she gave birth to you herself.
Sara looks stunned. She remembers Danny saying, "You don't know who you are."
Siri: And then he was murdered. I couldn't tell you then, not after that. Still eats at me, that we don't know who killed him.
Sara: I can't believe you kept this from me this entire time, Joe.
Siri: I'm sorry.
Sara: I need a week, Joe, to check some things out.
Siri: No, I can't give it to you.
Sara (temper flaring): You … you tell me all of this and you just exp…. I need a week, Joe, to figure out what's going on. One week. Before I can tell you anything. And then we will talk.
Siri: All right. One week. But there is a condition.
Sara: What kind of condition?
Siri: Jake is your new partner.
Sara: C'mon, Joe …
Siri: No, I'm going to be direct. You're on the edge, Gallo's gone underground, and I'm worried about you. Not to mention I've taken all kinds of heat. You seem different, off your game. And I am not going to send you out there solo.
Sara (softly): OK.
Cut to a gym. Sara is working out, at first punching and kicking a heavy swinging bag. Ian watches her from an out of the way spot. She also does sit ups and weight curls. She finishes with one-legged push ups, eventually collapsing to the floor.
As he watches her, Ian remembers a time when he was about seven years old.
Irons (voice-over from memory): Listen closely, young Nottingham. It is written that no man has ever successfully worn the Witchblade. That only the chosen woman can wear it.
Shift to a scene from Ian's memory. Young Ian is standing in front of a wing back chair. He is in a sheriff's outfit, with a cowboy hat and stars on his toy guns' holsters.
Irons (memory): And though I tried, for all my force of will, I could not keep it on my hand. The gauntlet burned me and seared my flesh until I had to rip it from my wrist. But even my brief exposure was enough to bind me to it forever. To make me a part of it. To allow me to see some of what it sees, but not all. That is my blessing and my curse. I understand the way it thinks. I know what it wants.
Young Ian (memory): And what does it want?
Irons (memory): It wants something that cannot be explained in words. To know what it wants, one must directly experience the Witchblade.
Young Ian (memory): When will I learn to fight?
Irons (memory): Soon enough. Soon enough.
Back to present Ian watching.
Sara puts on the Witchblade bracelet after having changed from her gym attire.
Voice over the P.A.: The gym will be closing in 5 minutes.
Sara walks out through the exercise area. She gives the heavy bag a push, setting it to swinging. In a mirror, she spots her knight in the boxing ring. His sword is resting point down in front of him, his hands resting on the pommel. The bag swings back and forth, obscuring her view, but still she sees him looking up at her. Between one swing of the bag and the next, he's gone.
Sara, a little frightened, runs out of the gym. The caretaker who watches her go from under his billed cap is the same guy who asked if she were OK at the cemetery.
Cut to Jake's apartment late at night. His TV is tuned to cartoons and he's asleep on his couch in just sweat pants. The buzzer on his door sounds. He wakes and it sounds again.
Jake: All right, all right.
,I>The buzzer keeps sounding.
Jake: Lay off the buzzer, would ya?
Jake looks through the peep hole and quickly opens the door. Sara's there.
Jake: Hey, Pez, what's up?
Sara: Hey, Jake. Can I come in?
Jake: Yeah, yeah. No sweat.
Sara walks into a very nice apartment.
Sara: Wow. How do you afford a place like this on a cop's salary?
Jake pulls on a sweater.
Jake: I … um …
Sara (pointing): Bedroom?
Jake (totally getting the wrong idea): Yeah.
Sara enters Jake's bedroom through a turnstile and falls face first onto his bed. She doesn't move a muscle after that.
Jake looks at her and nudges her leg a little.
Jake: Sara?
When he gets no response, he pulls a spread over her and leaves.
Sara has a dream, courtesy of the Witchblade.
Witchblade dream sequence: A full metal mask with a torch near it. A snake. Another masked man with a torch. A woman in armor walking slowly down a tunnel. She is walking toward many figures in masks and dark robes carrying torches lined along both sides of the tunnel. Close up to the woman to see she looks just like Sara. She looks behind her and we see Sara's mysterious guardian knight. She turns back and walks swiftly to the waiting men with torches. They attack her as she walks between them down the tunnel. Occasionally there are flashes of paintings of women of different cultures who each are wielding a sword. A rear view of Sara-in-armor reveals she isn't wearing all her armor. Her back only has the crossed straps of her shoulder armor (or maybe the breastplate). And she only has on a pair of (seemingly modern) black underwear under her armor for the front lower portion. She finally reaches the end of the gauntlet she's just run and meets the guardian knight at the end, waiting for her. He raises the hinged front of his helm and she sees Ian Nottingham looking back into her surprised eyes. Then shift to see a modern Ian slowly opening his eyes and looking back at her from behind a statue of a knight on his charger. Over his left shoulder is an hour glass with sand trickling through it. He closes his eyes slowly. Shift to a last view of knight-Ian in the tunnel.
Sara sits up, wide awake and breathing hard. She looks at the Witchblade.
Cut to Jake in his kitchen fixing breakfast. Sara walks in and takes another look around She notes a poster showing Jake from 1995 with a surf board. She looks closer at the poster then looks at Jake.
Sara: Oh (nods with a big smile). I didn't know you were "the" Jake McCartey.
Jake: Ahh … yep.
Sara: Jake McCartey, the surfing champ. That explains the nice place.
Sara sits on a stool at the counter.
Jake: Coffee?
Sara: Please.
Jake: And I'd appreciate it if you didn't say anything about it at work.
Sara: About what, Jake? Your late night viewing habits?
Jake (big embarrassed grin): Yeah, that either.
Sara closes her eyes and takes a drink of her coffee.
Jake: You all right this morning?
Sara (nods): I will be once I've had more of this. Didn't you have a pretty bad spill in Hawaii before you retired?
Jake: Yeah. Yeah.
Jake continues fixing breakfast while talking.
Jake: Listen, I checked out a few things for you.
Sara: Like what?
Jake: The Rialto Theater.
Sara: And?
Jake: Turns out the building is owned by a multinational corporation called Vorschlag Industries. (Points to a folder on the counter.) Check out that folder right there. Vorschlag is the domain of one Kenneth Irons. Probably heard of him?
Sara flips through public records, photos and newspaper articles in the folder.
Sara: Kenneth Irons the billionaire?
Jake: Yep. He's at the top of the Fortune 500, a major international player, supposedly owns more than 5% of the real estate in New York.
Sara has found a newspaper clipping with Irons at a social gathering. In the background of the picture is Ian.
Jake: There's also speculation that he made his fortune years ago as an arms dealer.
Sara: He has a huge art collection, doesn't he?
Jake: Oh, yeah. Sometimes he donates stuff to museums like the Met and {Mohmar ??}.
Jake turns around to begin work on the toast.
Jake: You know that Joan of Arc collection at the Midtown Museum? That was his. There's some newspaper photos of Irons in the file. He gave this huge charity party for AIDS research. R.E.M. played …
Jake turns back around with the toast. Sara's gone. He looks left and right.
Jake (softly): OK.
End Act IV
Episode I Act III
Open at Danny's funeral. As they leave, police and others are dropping red roses on Danny's coffin. Danny's wife leads their small son to a car. Sara looks over at them and receives a "This is your fault" look.
Soon Sara is the only one left standing there. Joe Siri walks back to her.
Siri: Your report was full of holes. Is there something else you wanna tell me?
Sara (wiping a tear): When we were at the theater, Joe, I think that … uh … This really weird thing … (shakes her head)
Siri: I want you to have some time off. Take a few days. There'll be a lot more questioning. You know how intense it gets when an officer goes down.
Sara nods, trying not to cry.
Siri: I know what it's like to lose a partner.
He pats her shoulder and walks to where Jake is waiting behind the wheel of a car. The two men drive off.
Sara to herself : What do you do when you lose your very best friend? When you wish that you could see them just one more time? When you can't believe they're not there anymore? Danny, I swear to God I will avenge your death.
Danny's voice: That's what got you into trouble in the first place, Sara.
Sara turns her startled eyes to her left, where Danny walks up. Danny looks at his coffin.
Danny: What're you lookin' at?
Sara glances behind him, then stares at Danny.
Danny: Sara, relax. It's me, Danny. I'm here to tell you there's a lot more happening around you than you think. It's a lot more connected. Open those doors of perception, there's people knocking. You'll see.
Sara (closing her eyes): Go away.
Shift to see Sara standing alone.
Danny's voice: I'm already gone. Let me ask you this. How is it that you survived the Rialto?
Sara: I … I … I don't know. I … I … I really don't know what happened. I just sorta blanked out.
Shift to Sara and Danny standing together again.
Danny: How could you, one cop, not only survive, but kill all those guys? Pez, here's the deal. You don't even know who you are. All I can say is you're from a line going back through time and forward into the future. Part of a wave, a force, a warrior bloodline. You've inherited something unique and powerful. I think that deep down you know it.
Shift again to see Sara standing alone at Danny's graveside.
Sara: Yeah?
Sara sniffles and turns to a visible once more Danny.
Sara: Here's what I do know. You (points) are a damn hallucination. And you're not the first one. I'm having a meltdown (nods). My father, Maria, now you. Gone. I'm losing it Danny. Everybody that I care about gets killed. I'm standing here in the snow by myself, talking to myself, because I wish I was talking to you.
Danny: Pez, this is really happening. You are special. You were chosen.
Sara: Uh huh.
Danny: You're the one who said, "Every day above ground is a special day." Take it from me, you were right.
Sara: Danny, why did things go down the way they did that day? Why?
Danny: Like the man said, "Karma."
Sara (surprised): How do you know he said that?
Danny: I just do. I also know that you're wearing the Witchblade. It's the reason why you can see me. Keep it on.
Sara: What do you know about this thing?
Danny: Not much, really. Talk to Joe Siri. He'll give you some information that'll help you figure out who you are, or at least who you aren't.
Sara, confused, covers her face with her hands and shakes her head.
Sara: I don't … I don’t understand.
Shift again to see Sara standing alone.
Danny's voice: Ask Joe Siri who you are.
A man suddenly appears beside Sara.
Man: Hey, Miss. Hey, you all right?
Sara is startled once again this day and looks around for Danny then nods.
Sara: Yeah.
She walks off through the cemetery. In the background, Ian steps out from behind a large tree.
Cut to Jake talking to Captain Siri.
Jake: Since I don't have a partner yet, and … since Pezzini doesn't have one anymore, maybe we should team up.
Siri: Sara Pezzini does not make an easy partner.
Jake: Yeah, yeah. I know. She thinks she's 10 feet tall and bulletproof. This might not be a bad time for her to have a little backup.
Siri: I don't know if you're the one to give it to her. So far, Danny was the only one who was able to cover her back.
Siri turns to look at a file.
Jake: Please …
Siri: OK, I'll think about it. Danny and Pezzini were very close and … uh … I am worried about her.
Cut to Sara's apartment. She's looking at a photo of Danny and her in their police uniforms. Then a picture of her parents' wedding. Then a picture of her father and her when she was a little girl. Then a picture of Maria as a little girl. Then her father with Joe Siri when they were uniformed partners. While she's looking at the photos, we can hear softly in voice-over:
Sara: Gone … gone … gone. Everybody that I care about gets killed. My father, Maria …
Danny: Karma.
Sara: Gone … gone … gone.
Danny: Like the man said, "Karma."
Sara turns away from her table of photos and paces her apartment. She hits the PLAY button on her answering machine.
Machine: You have one saved message.
Danny (over the machine): Hey, Pez. Danny here. You cool? You know … uh …. I'm really … give me a ring if you need anything.
Sara moves away from the machine, her face red and blotchy from crying. She looks out one window, wiping her eyes. Shift to an exterior view of her walking in front of her windows.
Cut to a man on the roof of the building opposite Sara's. He has a high powered rifle pointed toward her.
Cut to a view of Sara at her window as seen through the rifle's scope.
Back to the man holding the rifle. He nearly has Sara targeted to his satisfaction when Ian Nottingham incapacitates him with one violent blow. Ian takes the rifle and looks at Sara through the scope. He sees her standing at her window crying. Ian glances to the assassin, whom he has draped over some guy wires. The look Ian gives this guy promises dire consequences for his aborted attempt on Sara's life. Ian turns back to Sara, one tear escaping from his left eye and looks through the scope again. His finger outside the trigger guard, he moves his finger as if pulling the trigger.
Cut to Gallo sitting in the back of his car.
Gallo (into a cell phone): Whoa, whoa. What do you mean the job wasn't done? The rifle was up his …? And the top of his head was blown off? There is nothing short of a miracle that is going to save her.
Gallo hangs up.
Fade.
End Act III
Act IV
Open with Sara walking into the precinct. She walks into her office, still very much in a down state of mind. There's a note on her desk that says, "Sara: See me. Siri." She goes to his office.
Cut to Siri's office. Joe Siri holds out a folder to Sara.
Siri: This is a statement filed by Tommy Gallo's attorneys saying that you and Danny attacked Tommy and his men and that Tommy killed Danny in self-defense.
Sara: That's bull.
Siri: But his lawyers, and he got the best, say Tommy's so scared he's gone into hiding because he doesn't trust the police aren't going to kill him the minute they take him into custody.
Sara: You don't believe that … do you?
Siri: Well, the fact that all of his men are dead gives a certain credence to Gallo's claim, don't you see, Sara?
Sara looks away, uncomfortable.
Siri: No, of course I don't believe him. However, you try to get him into a court right now, you might have a lot of trouble convincing a judge or jury otherwise.
Sara looks down.
Siri: He wasn't breaking any laws being in the Rialto and you didn't have probable cause. So, are you ready to tell me what's going on?
Sara: No.
Siri: Sara, three of Gallo's men were killed with what forensics said was a sword. With traces of an unidentified metal. I repeat, are you ready to tell me what is going on?
Sara shakes her head.
Siri: Your badge and your gun, Detective.
Sara looks at him disbelievingly.
Sara: Joe, we saw Gallo kill on of his own men, right there.
Siri: There were so many bullets from so many guns, we'll never be able to prove that. Your badge and your gun.
Flash to Danny talking to Sara at his funeral.
Danny (memory): Ask Joe Siri who you are.
Sara: Who am I, Joe?
Siri: What kind of question is that?
Sara sees his hesitation in answering her
Sara: A direct one. C'mon, Joe. What is it? What's the deal? What is it that you're not ready to tell me?
Siri shrugs and shakes his head.,/I>
Siri: I don't know what you're driving at.
<>Sara: C'mon, Joe. You've known me since I was born. You knew my mother, who's nothing more than a photograph to me. You were my father's partner and best friend. And I ask you, there must be something you can tell me. Wouldn't they want you to tell me?
Siri considers then comes to a decision.
Siri: You were adopted, Sara. I know it's not supposed to be any big thing, you know. You're supposed to tell a child when they're young, but … It was so hard on your mother, not being able to have a baby, you know. She hurt for so long before she got you that she … uh … you know, she probably believed that she gave birth to you herself.
Sara looks stunned. She remembers Danny saying, "You don't know who you are."
Siri: And then he was murdered. I couldn't tell you then, not after that. Still eats at me, that we don't know who killed him.
Sara: I can't believe you kept this from me this entire time, Joe.
Siri: I'm sorry.
Sara: I need a week, Joe, to check some things out.
Siri: No, I can't give it to you.
Sara (temper flaring): You … you tell me all of this and you just exp…. I need a week, Joe, to figure out what's going on. One week. Before I can tell you anything. And then we will talk.
Siri: All right. One week. But there is a condition.
Sara: What kind of condition?
Siri: Jake is your new partner.
Sara: C'mon, Joe …
Siri: No, I'm going to be direct. You're on the edge, Gallo's gone underground, and I'm worried about you. Not to mention I've taken all kinds of heat. You seem different, off your game. And I am not going to send you out there solo.
Sara (softly): OK.
Cut to a gym. Sara is working out, at first punching and kicking a heavy swinging bag. Ian watches her from an out of the way spot. She also does sit ups and weight curls. She finishes with one-legged push ups, eventually collapsing to the floor.
As he watches her, Ian remembers a time when he was about seven years old.
Irons (voice-over from memory): Listen closely, young Nottingham. It is written that no man has ever successfully worn the Witchblade. That only the chosen woman can wear it.
Shift to a scene from Ian's memory. Young Ian is standing in front of a wing back chair. He is in a sheriff's outfit, with a cowboy hat and stars on his toy guns' holsters.
Irons (memory): And though I tried, for all my force of will, I could not keep it on my hand. The gauntlet burned me and seared my flesh until I had to rip it from my wrist. But even my brief exposure was enough to bind me to it forever. To make me a part of it. To allow me to see some of what it sees, but not all. That is my blessing and my curse. I understand the way it thinks. I know what it wants.
Young Ian (memory): And what does it want?
Irons (memory): It wants something that cannot be explained in words. To know what it wants, one must directly experience the Witchblade.
Young Ian (memory): When will I learn to fight?
Irons (memory): Soon enough. Soon enough.
Back to present Ian watching.
Sara puts on the Witchblade bracelet after having changed from her gym attire.
Voice over the P.A.: The gym will be closing in 5 minutes.
Sara walks out through the exercise area. She gives the heavy bag a push, setting it to swinging. In a mirror, she spots her knight in the boxing ring. His sword is resting point down in front of him, his hands resting on the pommel. The bag swings back and forth, obscuring her view, but still she sees him looking up at her. Between one swing of the bag and the next, he's gone.
Sara, a little frightened, runs out of the gym. The caretaker who watches her go from under his billed cap is the same guy who asked if she were OK at the cemetery.
Cut to Jake's apartment late at night. His TV is tuned to cartoons and he's asleep on his couch in just sweat pants. The buzzer on his door sounds. He wakes and it sounds again.
Jake: All right, all right.
,I>The buzzer keeps sounding.
Jake: Lay off the buzzer, would ya?
Jake looks through the peep hole and quickly opens the door. Sara's there.
Jake: Hey, Pez, what's up?
Sara: Hey, Jake. Can I come in?
Jake: Yeah, yeah. No sweat.
Sara walks into a very nice apartment.
Sara: Wow. How do you afford a place like this on a cop's salary?
Jake pulls on a sweater.
Jake: I … um …
Sara (pointing): Bedroom?
Jake (totally getting the wrong idea): Yeah.
Sara enters Jake's bedroom through a turnstile and falls face first onto his bed. She doesn't move a muscle after that.
Jake looks at her and nudges her leg a little.
Jake: Sara?
When he gets no response, he pulls a spread over her and leaves.
Sara has a dream, courtesy of the Witchblade.
Witchblade dream sequence: A full metal mask with a torch near it. A snake. Another masked man with a torch. A woman in armor walking slowly down a tunnel. She is walking toward many figures in masks and dark robes carrying torches lined along both sides of the tunnel. Close up to the woman to see she looks just like Sara. She looks behind her and we see Sara's mysterious guardian knight. She turns back and walks swiftly to the waiting men with torches. They attack her as she walks between them down the tunnel. Occasionally there are flashes of paintings of women of different cultures who each are wielding a sword. A rear view of Sara-in-armor reveals she isn't wearing all her armor. Her back only has the crossed straps of her shoulder armor (or maybe the breastplate). And she only has on a pair of (seemingly modern) black underwear under her armor for the front lower portion. She finally reaches the end of the gauntlet she's just run and meets the guardian knight at the end, waiting for her. He raises the hinged front of his helm and she sees Ian Nottingham looking back into her surprised eyes. Then shift to see a modern Ian slowly opening his eyes and looking back at her from behind a statue of a knight on his charger. Over his left shoulder is an hour glass with sand trickling through it. He closes his eyes slowly. Shift to a last view of knight-Ian in the tunnel.
Sara sits up, wide awake and breathing hard. She looks at the Witchblade.
Cut to Jake in his kitchen fixing breakfast. Sara walks in and takes another look around She notes a poster showing Jake from 1995 with a surf board. She looks closer at the poster then looks at Jake.
Sara: Oh (nods with a big smile). I didn't know you were "the" Jake McCartey.
Jake: Ahh … yep.
Sara: Jake McCartey, the surfing champ. That explains the nice place.
Sara sits on a stool at the counter.
Jake: Coffee?
Sara: Please.
Jake: And I'd appreciate it if you didn't say anything about it at work.
Sara: About what, Jake? Your late night viewing habits?
Jake (big embarrassed grin): Yeah, that either.
Sara closes her eyes and takes a drink of her coffee.
Jake: You all right this morning?
Sara (nods): I will be once I've had more of this. Didn't you have a pretty bad spill in Hawaii before you retired?
Jake: Yeah. Yeah.
Jake continues fixing breakfast while talking.
Jake: Listen, I checked out a few things for you.
Sara: Like what?
Jake: The Rialto Theater.
Sara: And?
Jake: Turns out the building is owned by a multinational corporation called Vorschlag Industries. (Points to a folder on the counter.) Check out that folder right there. Vorschlag is the domain of one Kenneth Irons. Probably heard of him?
Sara flips through public records, photos and newspaper articles in the folder.
Sara: Kenneth Irons the billionaire?
Jake: Yep. He's at the top of the Fortune 500, a major international player, supposedly owns more than 5% of the real estate in New York.
Sara has found a newspaper clipping with Irons at a social gathering. In the background of the picture is Ian.
Jake: There's also speculation that he made his fortune years ago as an arms dealer.
Sara: He has a huge art collection, doesn't he?
Jake: Oh, yeah. Sometimes he donates stuff to museums like the Met and {Mohmar ??}.
Jake turns around to begin work on the toast.
Jake: You know that Joan of Arc collection at the Midtown Museum? That was his. There's some newspaper photos of Irons in the file. He gave this huge charity party for AIDS research. R.E.M. played …
Jake turns back around with the toast. Sara's gone. He looks left and right.
Jake (softly): OK.
End Act IV
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