Okay here is some of the OVA and it's really long so I only put act one and there are 7
Witchblade The Movie, TNT
Original air date: August 27, 2000
-------------------------------------------------------
Teleplay by: J. D. Zeik
Directed by: Ralph Hemecker
Transcript Credit: SciFi_Angel
Main Characters:
Sara Pezzini Yancy Butler
Jake McCartey David Chokachi
Kenneth Irons Anthony Cistaro
Danny Woo Will Yun Lee
Ian Nottingham Eric Etebari
Tommy Gallo Conrad Dunn
Note: Braces { } indicate missing or uncertain dialog or transcriber's inserted ramblings.
OVA Act I
Open: Early morning New York City.
Female voice-over: New York City. November 11, 2000.
Cut to a close up of an alarm going off and a hand reaching over to turn it off. CDs being loaded in a disk changer. A woman pulling jeans over a pair of men's briefs. A gun is taken off a table or dresser and a clip being inserted. The gun is holstered on her right hip and a second gun is put in an ankle holster. A black leather jacket is zipped up. She grabs a motorcycle helmet. The apartment door closes.
The next section is a series of intercut scenes of the motorcycle rider {Sara Pezzini, if you were in any doubt}, New York City traffic and architecture, and close up views of a small metal construct made of overlapping plates. {We never see the whole thing, but I think you can guess what it is.}
Cut to the motorcycle arriving in front of a sign that says, "No Parking Any Time."
Sara gets off her bike and removes her helmet. She has long dark hair. There are police officers walking all around.
Coming out of the building in front of her is an Asian man in his thirties with shoulder-length black hair. {This is her partner, Danny Woo.}
Danny: Hey, Pezzini.
She nods once. He keeps walking toward her and hands her a large cup of coffee. They walk toward one of the cars parked nearby.
Danny: Know what today is? November 11th … eleven-eleven. Your horoscope says today's a special day.
Sara: Every day above ground is a special day.
Danny: Got a point there. As far as I know.
They reach their unmarked car.
Sara: I'm sorry.
Danny: I know how pissed off you are.
Sara: No, you don't.
Sara puts her helmet in the back seat of the car.
Danny: We'll stay on Gallo and sweat him. If he really did kill your friend Maria, sooner or later something will give.
Sara: Yeah, his heart as a hollow point hits it.
Danny: We don't know that it was him.
Sara: You know, you're right. We don't, I do. We just gotta prove it somehow.
They get in the car, Danny in the driver's seat.
Sara (sigh): How's the wife?
Danny: That was a heck of a segue.
Sara: Yeah, I'm good at those.
Danny: And getting better. Must be a Gemini thing, you know. Mercurial and all.
Sara looks out the side window as Danny starts the car and drives off.
Flash to two girls both blowing out the five candles on a birthday cake.
Sara in voice-over: Maria's birthday was the same day as mine.
Flash to two teen girls sharing a cigarette.
Sara in voice-over: We used to do everything together, including the things we weren't supposed to.
Back to Sara staring out the car window.
Sara (softly): I still don't understand how a 15-year-old could like menthols.
Danny: Huh?
Sara turns to look at Danny. She gives him a sad smile.
Sara: Nothin'. Wearing your vest?
Danny: Yeah, of course.
Cut to the interior of a museum. On display are various pieces of arms and armor, including several complete suits of armor on dummies.
Announcer (over the P.A.): The Midtown Museum will be closing in 15 minutes. Please begin to make your way to the exits and thank you for coming.
Cut to one glass-encased display case containing a sword, a couple cups, and a metal gauntlet in the center. There is a man standing at the case wearing a long black coat with a wide fur collar and a black watch cap. He's staring at the gauntlet.
Close up of the gauntlet. There is a blue gem embedded near the end away from the hand. As the camera pans up the glove, we can see this was the segmented metal construct shown at the beginning. The fingertips end in wicked looking talons. On the top of the gauntlet, near the first two knuckles, is a round protuberance.
Cut to a street scene. Sara and Danny are in their car, parked at the curb.
Danny: So, Little Mike thinks my job is driving a tractor. He wants to come to work with me.
Danny looks over to Sara. She's staring at one particular building on the street in her side mirror.
Danny: Hey, Pez, I don't think I've seen you blink once these past two hours. You should do that once in a while, you know. It lubricates your eyes.
Sara spots two men exiting the building she's been watching.
Cut to the two men.
One is in a dark suit and overcoat and carrying a silver metal briefcase. The other is wearing a tan wool overcoat.
Tan overcoat: Where's the driver?
Cut back to Sara and Danny.
Sara: Here we go.
They get out of the car and walk back to the two men standing on the sidewalk.
Sara: Hey, Gallo.
The man in the tan overcoat answers.
Gallo: Buon giorno, Bella.
Sara: Hey, Killer.
Danny, in the meantime, greets Gallo's companion.
Danny: Hey. How ya doin'?
Dark suit: None of your business. You got a warrant?
Danny (amused): A warrant? For what?
Gallo: Some people might say that this borders on harassment, Detectives.
Danny: We got three witnesses that put you next to Maria Buzanis only three hours before she was murdered.
Gallo (looking right at Sara): Well, who wasn't?
Sara and Gallo exchange looks. Danny turns back to Gallo's companion and gives him a puzzled look after a second.
Danny: Hey, don't I know you from somewhere?
The man hits Danny with the briefcase. Danny falls to the sidewalk. The man in the dark suit then pulls a gun out of the waist of his pants with his other hand and aims it at Danny. Sara kicks the gun out of his hand and pushes him back against the wall of the building. He pushes back using the briefcase before dropping it, then takes off running down the sidewalk. Danny gets up, gun aimed at Gallo.
Gallo (raising his hands): I'm not going anywhere.
Cut to the fleeing man and Sara chasing. Several people are knocked over on the sidewalk by the escaping man. The man finally runs into the Midtown Museum, knocking over the employee who was shutting the door for the evening.
Sara follows immediately after.
Sara (yelling on her way by): Call 911!
They continue their chase, eventually coming to the wing with the armor display. Gallo's friend has gained enough ground by this time that Sara is uncertain which way to turn when she gets to an intersection. She turns randomly to her left.
Sara walks cautiously, gun in hand, looking everywhere for the man. Close up on several of the suits of armor. Down at the end of another hall, Sara sees the man run past. She runs after him.
Sara takes a brief look around the room she's just entered and is immediately drawn to the case holding the metal gauntlet. She squats down before it, putting the glove at eye level. The protuberance at the top of the glove opens, revealing a deep red stone. It begins to glow. Sara is transfixed, apparently forgetting everything around her {including an armed man she was chasing!}. The glow disappears from the stone. The "eye" closes.
Reflected in the glass top of the case is the man with the black watch cap. Sara stands and sees his reflection. She whirls, pointing her gun at him. He doesn't even react. {Oh, This would be Ian Nottingham….}
Ian: Magnificent, isn't it?
Sara: Sorry, sir.
Ian gives a bare smile.
Sara: You … uh … you really shouldn't be here. (nodding) You should leave.
Ian shifts his body out of Sara's line of sight and she sees Gallo's friend in the next room. Sara walks swiftly after him, gun pointed at the floor.
Sara: Drop it!
He stands beside a statue and fires his gun at Sara. She fires back. For the next few seconds, they shoot back and forth, destroying glass cases, shooting centuries-old armor and statuary. He finally hits Sara's gun, sending it flying from her hand. Sara pulls her backup piece from her ankle holster while he advances on her.
When she starts firing back again, he pauses in a doorway and pulls out a second gun.
Suddenly Sara rolls by, flat on her back on a dolly, firing her pistol. The man fires both of his at her. He hits the case holding the gauntlet, sending it flying through the air. Sara, unarmed now, takes a leap away from him and the gauntlet flies to her hand while she rolls. She comes up on one knee. He walks up, preparing to finish her off.
Sara cowers with the gauntlet over her head. Gallo's companion fires, but the bullet ricochets off the gauntlet. Sara looks up, surprised to not be hit, then looks at the gauntlet. Her head snaps to one of the suits of armor to her right. Close up of the helm shows what looks like a live person's eye inside. Sara turns her attention back to the shooter. He fires again, and again the bullet ricochets. Flash to the suit of armor. The head turns. Flash to the flight of the ricochet. It strikes a pipe going up one wall. A fireball engulfs the room, blowing out windows.
Fade.
Cut to flashing lights and sirens outside the museum. Sara is sitting at the rear door of an ambulance. In front of her are Danny and Joe Siri, her captain. Beyond Danny is Jake McCartey, another detective. Other police and emergency people are in the background.
Siri: Any idea what happened?
Sara (dazed, rubbing her head): Joe, I chased the guy in the building. We exchanged a few rounds and … uh …. He really opened fire on me with some big bore pistols. And the next thing I know … uh …
Flashes of the Witchblade seeing Sara, Sara's right hand outstretched, the Witchblade resting in the case, the Witchblade gauntlet on Sara's arm.
Sara shakes her head minutely and rubs her wrist in front of a silver bracelet with a large red stone set in it.
Sara: … there was this giant explosion.
Siri: Hmm.
Jake: Talked to the caretaker. He said the gas pipes are ancient. Thinks maybe a bullet hit one.
Sara: Thought it was a grenade.
Siri: No, the blast was too big for that.
Sara touches the back of her head.
Jake: Nobody can figure out how you weren't … um …
Sara: Pulped, Jake?
Jake (softly): Yeah.
Siri: You realize who that was?
Sara: All I know is that he drew on Danny.
Siri: That was Lorenzo Vespucci.
Jake: Best hit man in the biz. Gallo's protégé.
Sara: Then I guess that explains all the firepower.
Danny: We pulled a few of Vespucci's teeth out of some marble. That's all that we could find.
Jake: Security cameras that weren't blown up show that there was another person in there.
Danny: The only thing on tape were his shadows. It was if he knew the cameras were there. Did you see anyone else?
Sara thinks a moment and then shakes her head.
Sara: No. I … I don't … I don't know. I don't remember anyone.
Flash to Ian's reflection alongside hers in the case's top. Flash of the Witchblade seeing them together from the case. Flash of Ian pulling back so Sara can see Vespucci.
Sara touches her face, still dazed.
In the background, Gallo is being led to a police cruiser.
Gallo: Hey, Pezzini.
They all turn to look at Gallo. Sara stands.
Gallo: Get your man?
Sara: Not yet, Gallo.
Gallo: Well, you got one of mine.
Sara nods.
Gallo: Your father woulda been proud. (Smiles)
Sara takes a step toward him.
Danny (holding her): Don't do it, Pez.
Gallo laughs as he gets in the police car.
Shift scene so that Sara, Danny, Siri and the ambulance is in the background. In the foreground Ian is on a cell phone.
Cut to a tall office tower. Kenneth Irons answers his ringing cell phone.
Ian (over the phone): She's got it.
Cut back to Ian.
Ian: You won't be disappointed.
Cut back to Irons.
Ian (over the phone): She's everything you said she'd be.
Camera starts panning across the room, coming to rest on an open book.
Irons: Good.
Close up on the open page. It is written in some language, possibly Latin. In the corner is "11-11-2000." Close up on the date.
Fade.
Cut to close up of a table or desk with photos. Pan to Sara opening the door to this apartment. Sara turns to Jake McCartey behind her.
Jake: Um … You sure you don't need … ah … me to stick around a while?
Sara: Oh, no, no thanks. I can … I can handle it from here. Hey, thanks for hanging at the hospital all night. I knew I didn't have a concussion.
Jake: No problem.
Sara: Well, sleep well, Jake.
Jake: All right. See ya.
Jake goes back out the door and Sara moves to close it.
Jake: You know, I can make you some calzones (he pronounces it cal-zone-ays) or something.
Sara (smiles): It's calzones. Go home, Jake.
Sara closes the door.
Jake (to the closed door): Some pasta puttanesca?
Sara (from the other side): Good night.
Jake walks off quietly trying out presumably Italian phrases.
Cut to Sara inside her apartment. She walks to the bed and sits down on the side. She hits the PLAY button on her answering machine.
Machine: You have one new message.
Danny (over the machine): Hey, Pez. Danny here. You cool?
Sara removes her jacket while listening to Danny's message.
Danny (over the machine): You know … uh …. I'm really … give me a ring if you need anything.
As the message ends, Sara notices the bracelet on her right wrist. She's puzzled to see it there.
Sara: What the hell …?
She removes the bracelet, setting it on the truck that serves as her bedside table. The stone in the bracelet is pointed toward her. She rubs her head.
Cut to Sara sitting in her shower not moving as the water cascades over her.
Sara in voice-over: Tough day. I don't know why I keep pushing the envelope. Something's gotta change. I've gotta change.
Cut to a Witchblade-eyed view of Sara sitting down on her bed.
Shift to Sara looking at the Witchblade. Sara starts hearing whispers of things she's said and that others around her have said.
Cut to Sara tossing on her bed, dreaming.
"Witchblade vision" : Solar eclipse. Sara whipping her head around. The suit of armor turning its head. Sara in voice-over saying, "I don't remember." A solar flare. A meteorite streaking toward earth. A whirlpool. Someone holding up a rock {the meteorite?}. Primitive people sitting around a fire. A metallic woman wearing what looks like the Witchblade on her right hand {the spirit of the Witchblade?}. The Witchblade gauntlet. An Egyptian pyramid. Metallic woman running. A mass of people near a statue of Anubis. Metallic woman. An Egyptian woman wearing the Witchblade addressing a crowd. Medieval battle with knights on horses and flags waving. One knight wears the Witchblade and wields a sword. A torch lighting a mass of straw and wood. A woman on one side of the fire and a group of people watching from the other side. A man in religious garb holding out the Witchblade gauntlet to someone else and saying, "Bury this in the catacombs." The straw and wood pile burning.
Sara wakes up. She sits up and stares at the bracelet.
Cut to Gallo having a conversation at a small table with a man in his thirties with a ponytail in a pinstriped suit.
Gallo: Look, normally I would handle this problem internally, but in this situation I can't do that. I'm under a little too much scrutiny. So, I'm gonna need your best cleaner.
Other man: What you're requesting is very … expensive.
Gallo: No, no, no. Look, I don't want to negotiate, OK? I just want the situation handled and I want it handled soon.
The other guy considers the request for a moment.
Gallo: I know. You're probably gonna have to import the talent.
Other man: Who is the situation?
Gallo: Detective Sara Pezzini.
Cut to Sara walking up to the station. As she nears the door, she sees the suit of armor from the museum now standing on the next street corner. It's moving as if there were someone inside and he's looking at her. Sara's eyes are wide, startled. You just know she's thinking, "All right, I've finally cracked." When foot traffic passes between her and the knight, he seems to disappear. Sara walks through the door into the station. Reflected in the door as it closes is Ian Nottingham.
Cut to Sara walking through the station. A uniformed policeman walks beside her for a short time.
Uniform: Hey, Pez. Vespucci, huh? "The Butcher Man." Gallo can't be too happy about that.
Sara: How you doin', Smitty?
Smitty: Jealous.
Sara: Don't be.
Smitty: You took out Vespucci. That's …
Sara: Blind luck?
Smitty: Not from what I heard, but if you wanna do that little Sara Pezzini modesty thing, I'm cool with that.
Sara meets Joe Siri. Smitty walks off.
Siri: Looking good, Detective.
Sara: Thanks.
Siri waves her into his office.
Siri: C'mon in.
Sara follows him. Jake watches her walk away.
Siri: So what's the deal, Sara?
Sara: What do you mean, sir?
Siri: Oh, don't give me that officious crap. You know what I mean. Your old man hated Gallo, too.
Sara: With all due frigging respect, Joe, Gallo just killed one of my best friends.
Siri (shakes head): You can't prove that.
Sara: Yes, I can.
Siri: Well, good. Do it. A few people are very angry about Vespucci. So watch out.
Sara: Yes sir.
Sara turns to go.
Siri: He would be proud of you.
Sara gives a little nod and exits.
Cut to Danny working at his desk. Hearing footsteps, he holds up a cup of coffee to the side. Sara takes it on her way past his desk.
Danny: Pez!
Sara (sharply): What?
Danny: What do you mean "What"?
Sara: What are you lookin' at?
Danny: My curmudgeon of a partner.
Sara: And here I thought I was coming across as ebullient.
Danny: Pez, I don't actually think I'm caffeinated enough for the word thing this morning.
Sara: { didn't catch}, but you started it.
Danny: Hey, listen, you wench … I just want to say, "Thanks" for saving my life.
Sara: Oh, yeah, that. No big deal. I think we're even now. (Gives him a wink.)
Danny: No, we're not. I still owe you one.
Sara: OK, I'll think of something.
Danny: Like help taking down Gallo?
Sara: Yep.
Danny: Hey, not a problem.
Sara: Good.
Danny: Legendary hit man. Never been caught. One of the smartest, hardest bad guys in the city.
Sara: Guess we should get him off the street then.
Danny: Pez, can I ask you a serious question?
Sara (holds up her hand): I'm bracing myself.
Danny: Seriously.
Sara looks up at Danny.
Sara: Hit me.
Danny: Maria was a party girl. A high end hooker. Alcoholic, sex addict, pill head, coked up, adrenaline junkie hedonist.
Sara: Your point being …?
Danny: She was constantly putting herself in dangerous situations. She liked dangerous situations.
Sara: Right. So she deserved to get double tapped by a scumbag who thrives off the human waste he creates.
Danny: I didn't exactly say that.
Sara gives him an apologetic look. She stands to pace a bit.
Sara: I know. I'm just pissed at myself, really pissed.
Sara looks to a cork board where she has pinned newspaper articles and photos related to Maria's murder.
Sara: I hadn't even seen Maria for almost a year. Then sic days ago, she calls me. Bang! A day later, before I get a chance to even call her back, she gets her brains splattered …
Danny (interrupting): What? You think you coulda saved her?
Sara: I don't know, Danny. I don't … I just don't know.
Danny: What would you have done differently?
Sara: Called her back. Guess I was just afraid she was gonna hit me up for more money.
Danny: Don't beat yourself up.
Sara (still in her jacket from walking in) pulls the Witchblade bracelet from her coat pocket, where it had been forgotten.
Sara (putting the bracelet on): I almost forgot … the other night this weird bracelet somehow found its way on my wrist.
Sara rubs her hands across her face. Opening her eyes, she looks at her cork board. She has a vision.
"Witchblade vision": A flash of her guardian knight. The photos on the cork board. The knight. Close up of the photo of a blood-stained couch. Backing away from the couch, we see Maria lying there. Time goes backwards for a bit, retracing Maria's last few minutes.
Sara comes back to herself looking shocked (this was her first daytime vision, after all). She continues to look at the cork board.
Danny (noting her expression): You OK?
Sara (still shocked): Sometimes I feel like I'm losing my mind.
Danny: Don't worry, partner. You did that a long time ago.
Sara: Let's go back to the crime scene.
Danny: You serious?
She doesn't say anything, just keeps walking. He grabs his coat and follows.
Fade.
End Act I
Witchblade The Movie, TNT
Original air date: August 27, 2000
-------------------------------------------------------
Teleplay by: J. D. Zeik
Directed by: Ralph Hemecker
Transcript Credit: SciFi_Angel
Main Characters:
Sara Pezzini Yancy Butler
Jake McCartey David Chokachi
Kenneth Irons Anthony Cistaro
Danny Woo Will Yun Lee
Ian Nottingham Eric Etebari
Tommy Gallo Conrad Dunn
Note: Braces { } indicate missing or uncertain dialog or transcriber's inserted ramblings.
OVA Act I
Open: Early morning New York City.
Female voice-over: New York City. November 11, 2000.
Cut to a close up of an alarm going off and a hand reaching over to turn it off. CDs being loaded in a disk changer. A woman pulling jeans over a pair of men's briefs. A gun is taken off a table or dresser and a clip being inserted. The gun is holstered on her right hip and a second gun is put in an ankle holster. A black leather jacket is zipped up. She grabs a motorcycle helmet. The apartment door closes.
The next section is a series of intercut scenes of the motorcycle rider {Sara Pezzini, if you were in any doubt}, New York City traffic and architecture, and close up views of a small metal construct made of overlapping plates. {We never see the whole thing, but I think you can guess what it is.}
Cut to the motorcycle arriving in front of a sign that says, "No Parking Any Time."
Sara gets off her bike and removes her helmet. She has long dark hair. There are police officers walking all around.
Coming out of the building in front of her is an Asian man in his thirties with shoulder-length black hair. {This is her partner, Danny Woo.}
Danny: Hey, Pezzini.
She nods once. He keeps walking toward her and hands her a large cup of coffee. They walk toward one of the cars parked nearby.
Danny: Know what today is? November 11th … eleven-eleven. Your horoscope says today's a special day.
Sara: Every day above ground is a special day.
Danny: Got a point there. As far as I know.
They reach their unmarked car.
Sara: I'm sorry.
Danny: I know how pissed off you are.
Sara: No, you don't.
Sara puts her helmet in the back seat of the car.
Danny: We'll stay on Gallo and sweat him. If he really did kill your friend Maria, sooner or later something will give.
Sara: Yeah, his heart as a hollow point hits it.
Danny: We don't know that it was him.
Sara: You know, you're right. We don't, I do. We just gotta prove it somehow.
They get in the car, Danny in the driver's seat.
Sara (sigh): How's the wife?
Danny: That was a heck of a segue.
Sara: Yeah, I'm good at those.
Danny: And getting better. Must be a Gemini thing, you know. Mercurial and all.
Sara looks out the side window as Danny starts the car and drives off.
Flash to two girls both blowing out the five candles on a birthday cake.
Sara in voice-over: Maria's birthday was the same day as mine.
Flash to two teen girls sharing a cigarette.
Sara in voice-over: We used to do everything together, including the things we weren't supposed to.
Back to Sara staring out the car window.
Sara (softly): I still don't understand how a 15-year-old could like menthols.
Danny: Huh?
Sara turns to look at Danny. She gives him a sad smile.
Sara: Nothin'. Wearing your vest?
Danny: Yeah, of course.
Cut to the interior of a museum. On display are various pieces of arms and armor, including several complete suits of armor on dummies.
Announcer (over the P.A.): The Midtown Museum will be closing in 15 minutes. Please begin to make your way to the exits and thank you for coming.
Cut to one glass-encased display case containing a sword, a couple cups, and a metal gauntlet in the center. There is a man standing at the case wearing a long black coat with a wide fur collar and a black watch cap. He's staring at the gauntlet.
Close up of the gauntlet. There is a blue gem embedded near the end away from the hand. As the camera pans up the glove, we can see this was the segmented metal construct shown at the beginning. The fingertips end in wicked looking talons. On the top of the gauntlet, near the first two knuckles, is a round protuberance.
Cut to a street scene. Sara and Danny are in their car, parked at the curb.
Danny: So, Little Mike thinks my job is driving a tractor. He wants to come to work with me.
Danny looks over to Sara. She's staring at one particular building on the street in her side mirror.
Danny: Hey, Pez, I don't think I've seen you blink once these past two hours. You should do that once in a while, you know. It lubricates your eyes.
Sara spots two men exiting the building she's been watching.
Cut to the two men.
One is in a dark suit and overcoat and carrying a silver metal briefcase. The other is wearing a tan wool overcoat.
Tan overcoat: Where's the driver?
Cut back to Sara and Danny.
Sara: Here we go.
They get out of the car and walk back to the two men standing on the sidewalk.
Sara: Hey, Gallo.
The man in the tan overcoat answers.
Gallo: Buon giorno, Bella.
Sara: Hey, Killer.
Danny, in the meantime, greets Gallo's companion.
Danny: Hey. How ya doin'?
Dark suit: None of your business. You got a warrant?
Danny (amused): A warrant? For what?
Gallo: Some people might say that this borders on harassment, Detectives.
Danny: We got three witnesses that put you next to Maria Buzanis only three hours before she was murdered.
Gallo (looking right at Sara): Well, who wasn't?
Sara and Gallo exchange looks. Danny turns back to Gallo's companion and gives him a puzzled look after a second.
Danny: Hey, don't I know you from somewhere?
The man hits Danny with the briefcase. Danny falls to the sidewalk. The man in the dark suit then pulls a gun out of the waist of his pants with his other hand and aims it at Danny. Sara kicks the gun out of his hand and pushes him back against the wall of the building. He pushes back using the briefcase before dropping it, then takes off running down the sidewalk. Danny gets up, gun aimed at Gallo.
Gallo (raising his hands): I'm not going anywhere.
Cut to the fleeing man and Sara chasing. Several people are knocked over on the sidewalk by the escaping man. The man finally runs into the Midtown Museum, knocking over the employee who was shutting the door for the evening.
Sara follows immediately after.
Sara (yelling on her way by): Call 911!
They continue their chase, eventually coming to the wing with the armor display. Gallo's friend has gained enough ground by this time that Sara is uncertain which way to turn when she gets to an intersection. She turns randomly to her left.
Sara walks cautiously, gun in hand, looking everywhere for the man. Close up on several of the suits of armor. Down at the end of another hall, Sara sees the man run past. She runs after him.
Sara takes a brief look around the room she's just entered and is immediately drawn to the case holding the metal gauntlet. She squats down before it, putting the glove at eye level. The protuberance at the top of the glove opens, revealing a deep red stone. It begins to glow. Sara is transfixed, apparently forgetting everything around her {including an armed man she was chasing!}. The glow disappears from the stone. The "eye" closes.
Reflected in the glass top of the case is the man with the black watch cap. Sara stands and sees his reflection. She whirls, pointing her gun at him. He doesn't even react. {Oh, This would be Ian Nottingham….}
Ian: Magnificent, isn't it?
Sara: Sorry, sir.
Ian gives a bare smile.
Sara: You … uh … you really shouldn't be here. (nodding) You should leave.
Ian shifts his body out of Sara's line of sight and she sees Gallo's friend in the next room. Sara walks swiftly after him, gun pointed at the floor.
Sara: Drop it!
He stands beside a statue and fires his gun at Sara. She fires back. For the next few seconds, they shoot back and forth, destroying glass cases, shooting centuries-old armor and statuary. He finally hits Sara's gun, sending it flying from her hand. Sara pulls her backup piece from her ankle holster while he advances on her.
When she starts firing back again, he pauses in a doorway and pulls out a second gun.
Suddenly Sara rolls by, flat on her back on a dolly, firing her pistol. The man fires both of his at her. He hits the case holding the gauntlet, sending it flying through the air. Sara, unarmed now, takes a leap away from him and the gauntlet flies to her hand while she rolls. She comes up on one knee. He walks up, preparing to finish her off.
Sara cowers with the gauntlet over her head. Gallo's companion fires, but the bullet ricochets off the gauntlet. Sara looks up, surprised to not be hit, then looks at the gauntlet. Her head snaps to one of the suits of armor to her right. Close up of the helm shows what looks like a live person's eye inside. Sara turns her attention back to the shooter. He fires again, and again the bullet ricochets. Flash to the suit of armor. The head turns. Flash to the flight of the ricochet. It strikes a pipe going up one wall. A fireball engulfs the room, blowing out windows.
Fade.
Cut to flashing lights and sirens outside the museum. Sara is sitting at the rear door of an ambulance. In front of her are Danny and Joe Siri, her captain. Beyond Danny is Jake McCartey, another detective. Other police and emergency people are in the background.
Siri: Any idea what happened?
Sara (dazed, rubbing her head): Joe, I chased the guy in the building. We exchanged a few rounds and … uh …. He really opened fire on me with some big bore pistols. And the next thing I know … uh …
Flashes of the Witchblade seeing Sara, Sara's right hand outstretched, the Witchblade resting in the case, the Witchblade gauntlet on Sara's arm.
Sara shakes her head minutely and rubs her wrist in front of a silver bracelet with a large red stone set in it.
Sara: … there was this giant explosion.
Siri: Hmm.
Jake: Talked to the caretaker. He said the gas pipes are ancient. Thinks maybe a bullet hit one.
Sara: Thought it was a grenade.
Siri: No, the blast was too big for that.
Sara touches the back of her head.
Jake: Nobody can figure out how you weren't … um …
Sara: Pulped, Jake?
Jake (softly): Yeah.
Siri: You realize who that was?
Sara: All I know is that he drew on Danny.
Siri: That was Lorenzo Vespucci.
Jake: Best hit man in the biz. Gallo's protégé.
Sara: Then I guess that explains all the firepower.
Danny: We pulled a few of Vespucci's teeth out of some marble. That's all that we could find.
Jake: Security cameras that weren't blown up show that there was another person in there.
Danny: The only thing on tape were his shadows. It was if he knew the cameras were there. Did you see anyone else?
Sara: No. I … I don't … I don't know. I don't remember anyone.
Flash to Ian's reflection alongside hers in the case's top. Flash of the Witchblade seeing them together from the case. Flash of Ian pulling back so Sara can see Vespucci.
Sara touches her face, still dazed.
In the background, Gallo is being led to a police cruiser.
Gallo: Hey, Pezzini.
They all turn to look at Gallo. Sara stands.
Gallo: Get your man?
Sara: Not yet, Gallo.
Gallo: Well, you got one of mine.
Sara nods.
Gallo: Your father woulda been proud. (Smiles)
Sara takes a step toward him.
Danny (holding her): Don't do it, Pez.
Gallo laughs as he gets in the police car.
Shift scene so that Sara, Danny, Siri and the ambulance is in the background. In the foreground Ian is on a cell phone.
Cut to a tall office tower. Kenneth Irons answers his ringing cell phone.
Ian (over the phone): She's got it.
Cut back to Ian.
Ian: You won't be disappointed.
Cut back to Irons.
Ian (over the phone): She's everything you said she'd be.
Camera starts panning across the room, coming to rest on an open book.
Irons: Good.
Close up on the open page. It is written in some language, possibly Latin. In the corner is "11-11-2000." Close up on the date.
Fade.
Cut to close up of a table or desk with photos. Pan to Sara opening the door to this apartment. Sara turns to Jake McCartey behind her.
Jake: Um … You sure you don't need … ah … me to stick around a while?
Sara: Oh, no, no thanks. I can … I can handle it from here. Hey, thanks for hanging at the hospital all night. I knew I didn't have a concussion.
Jake: No problem.
Sara: Well, sleep well, Jake.
Jake: All right. See ya.
Jake goes back out the door and Sara moves to close it.
Jake: You know, I can make you some calzones (he pronounces it cal-zone-ays) or something.
Sara (smiles): It's calzones. Go home, Jake.
Sara closes the door.
Jake (to the closed door): Some pasta puttanesca?
Sara (from the other side): Good night.
Jake walks off quietly trying out presumably Italian phrases.
Cut to Sara inside her apartment. She walks to the bed and sits down on the side. She hits the PLAY button on her answering machine.
Machine: You have one new message.
Danny (over the machine): Hey, Pez. Danny here. You cool?
Sara removes her jacket while listening to Danny's message.
Danny (over the machine): You know … uh …. I'm really … give me a ring if you need anything.
As the message ends, Sara notices the bracelet on her right wrist. She's puzzled to see it there.
Sara: What the hell …?
She removes the bracelet, setting it on the truck that serves as her bedside table. The stone in the bracelet is pointed toward her. She rubs her head.
Cut to Sara sitting in her shower not moving as the water cascades over her.
Sara in voice-over: Tough day. I don't know why I keep pushing the envelope. Something's gotta change. I've gotta change.
Cut to a Witchblade-eyed view of Sara sitting down on her bed.
Shift to Sara looking at the Witchblade. Sara starts hearing whispers of things she's said and that others around her have said.
Cut to Sara tossing on her bed, dreaming.
"Witchblade vision" : Solar eclipse. Sara whipping her head around. The suit of armor turning its head. Sara in voice-over saying, "I don't remember." A solar flare. A meteorite streaking toward earth. A whirlpool. Someone holding up a rock {the meteorite?}. Primitive people sitting around a fire. A metallic woman wearing what looks like the Witchblade on her right hand {the spirit of the Witchblade?}. The Witchblade gauntlet. An Egyptian pyramid. Metallic woman running. A mass of people near a statue of Anubis. Metallic woman. An Egyptian woman wearing the Witchblade addressing a crowd. Medieval battle with knights on horses and flags waving. One knight wears the Witchblade and wields a sword. A torch lighting a mass of straw and wood. A woman on one side of the fire and a group of people watching from the other side. A man in religious garb holding out the Witchblade gauntlet to someone else and saying, "Bury this in the catacombs." The straw and wood pile burning.
Sara wakes up. She sits up and stares at the bracelet.
Cut to Gallo having a conversation at a small table with a man in his thirties with a ponytail in a pinstriped suit.
Gallo: Look, normally I would handle this problem internally, but in this situation I can't do that. I'm under a little too much scrutiny. So, I'm gonna need your best cleaner.
Other man: What you're requesting is very … expensive.
Gallo: No, no, no. Look, I don't want to negotiate, OK? I just want the situation handled and I want it handled soon.
The other guy considers the request for a moment.
Gallo: I know. You're probably gonna have to import the talent.
Other man: Who is the situation?
Gallo: Detective Sara Pezzini.
Cut to Sara walking up to the station. As she nears the door, she sees the suit of armor from the museum now standing on the next street corner. It's moving as if there were someone inside and he's looking at her. Sara's eyes are wide, startled. You just know she's thinking, "All right, I've finally cracked." When foot traffic passes between her and the knight, he seems to disappear. Sara walks through the door into the station. Reflected in the door as it closes is Ian Nottingham.
Cut to Sara walking through the station. A uniformed policeman walks beside her for a short time.
Uniform: Hey, Pez. Vespucci, huh? "The Butcher Man." Gallo can't be too happy about that.
Sara: How you doin', Smitty?
Smitty: Jealous.
Sara: Don't be.
Smitty: You took out Vespucci. That's …
Sara: Blind luck?
Smitty: Not from what I heard, but if you wanna do that little Sara Pezzini modesty thing, I'm cool with that.
Siri: Looking good, Detective.
Sara: Thanks.
Siri waves her into his office.
Siri: C'mon in.
Sara follows him. Jake watches her walk away.
Siri: So what's the deal, Sara?
Sara: What do you mean, sir?
Siri: Oh, don't give me that officious crap. You know what I mean. Your old man hated Gallo, too.
Sara: With all due frigging respect, Joe, Gallo just killed one of my best friends.
Siri (shakes head): You can't prove that.
Sara: Yes, I can.
Siri: Well, good. Do it. A few people are very angry about Vespucci. So watch out.
Sara: Yes sir.
Sara turns to go.
Siri: He would be proud of you.
Sara gives a little nod and exits.
Cut to Danny working at his desk. Hearing footsteps, he holds up a cup of coffee to the side. Sara takes it on her way past his desk.
Danny: Pez!
Sara (sharply): What?
Danny: What do you mean "What"?
Sara: What are you lookin' at?
Danny: My curmudgeon of a partner.
Sara: And here I thought I was coming across as ebullient.
Danny: Pez, I don't actually think I'm caffeinated enough for the word thing this morning.
Sara: { didn't catch}, but you started it.
Danny: Hey, listen, you wench … I just want to say, "Thanks" for saving my life.
Sara: Oh, yeah, that. No big deal. I think we're even now. (Gives him a wink.)
Danny: No, we're not. I still owe you one.
Sara: OK, I'll think of something.
Danny: Like help taking down Gallo?
Sara: Yep.
Danny: Hey, not a problem.
Sara: Good.
Danny: Legendary hit man. Never been caught. One of the smartest, hardest bad guys in the city.
Sara: Guess we should get him off the street then.
Danny: Pez, can I ask you a serious question?
Sara (holds up her hand): I'm bracing myself.
Danny: Seriously.
Sara looks up at Danny.
Sara: Hit me.
Danny: Maria was a party girl. A high end hooker. Alcoholic, sex addict, pill head, coked up, adrenaline junkie hedonist.
Sara: Your point being …?
Danny: She was constantly putting herself in dangerous situations. She liked dangerous situations.
Sara: Right. So she deserved to get double tapped by a scumbag who thrives off the human waste he creates.
Danny: I didn't exactly say that.
Sara gives him an apologetic look. She stands to pace a bit.
Sara: I know. I'm just pissed at myself, really pissed.
Sara looks to a cork board where she has pinned newspaper articles and photos related to Maria's murder.
Sara: I hadn't even seen Maria for almost a year. Then sic days ago, she calls me. Bang! A day later, before I get a chance to even call her back, she gets her brains splattered …
Danny (interrupting): What? You think you coulda saved her?
Sara: I don't know, Danny. I don't … I just don't know.
Danny: What would you have done differently?
Sara: Called her back. Guess I was just afraid she was gonna hit me up for more money.
Danny: Don't beat yourself up.
Sara (still in her jacket from walking in) pulls the Witchblade bracelet from her coat pocket, where it had been forgotten.
Sara (putting the bracelet on): I almost forgot … the other night this weird bracelet somehow found its way on my wrist.
Sara rubs her hands across her face. Opening her eyes, she looks at her cork board. She has a vision.
"Witchblade vision": A flash of her guardian knight. The photos on the cork board. The knight. Close up of the photo of a blood-stained couch. Backing away from the couch, we see Maria lying there. Time goes backwards for a bit, retracing Maria's last few minutes.
Sara comes back to herself looking shocked (this was her first daytime vision, after all). She continues to look at the cork board.
Danny (noting her expression): You OK?
Sara (still shocked): Sometimes I feel like I'm losing my mind.
Danny: Don't worry, partner. You did that a long time ago.
Sara: Let's go back to the crime scene.
Danny: You serious?
She doesn't say anything, just keeps walking. He grabs his coat and follows.
Fade.
End Act I
0 Comments:
Post a Comment
<< Home