yeah this morning I came to the realization that if I want to finish this little tryst I'd have to kinda put forth effort because I have 4 weeks to put up 13 episodes and I think that would be one every 2 days so yes I am really going to put for the effort so that way I can get the whole first season up which I'm sure no one except Games is reading you evil evil people taht can't freakin hit the comment box and say Kim yo're lame stop it please just do that I'd really like the honesty.
OVA Act V
Open with Sara arriving at Vorschlag Industries.
Cut to Sara walking up to a receptionist. Sara shows her badge to the receptionist.
Sara: Um … I'm NYPD. I'd like to speak to Mr. Kenneth Irons, please.
Receptionist: Yes, Mr. Irons is expecting you. His office is just down the hall.
Sara (surprised to be sent right in): Thank you.
Cut to Sara arriving at Irons' office.
Irons: Detective Pezzini. I'm Kenneth Irons.
Sara: Hello, Mr. Irons.
Sara shows him the newspaper photo she took from Jake's file.
Sara: Do you happen to know who this man is?
Irons: Ian Nottingham. Yes. He works for me.
Sara: He happens to be a material witness in the death of my partner. If you're in any way involved, Mr. Irons …
Irons: Ken, please, Detective Pezzini.
Sara: If you are involved, Mr. Irons, I highly recommend you talk to me now.
Irons: I can assure you, Detective, that whatever Mr. Gallo might have done to your partner, he was in no way working for me when he did it.
Sara: And how would you happen to know about Gallo?
Irons: I own the old Rialto, but I'm sure you know that already. Mr. Gallo was considering it as a possible investment. I also read the paper. I own that, too.
Sara: Do you happen to know where I might find Ian Nottingham?
Irons: At present? I have no idea where Ian is. With regard to Mr. Gallo, I've told you everything I know. May I call you Sara?
Sara: I'd prefer if you didn't.
Irons: Is there anything else you want to ask me about, Miss Pezzini?
Sara: Actually, yes. (lifts the Witchblade into view) Do you happen to know what this is?
Irons: The Witchblade.
Sara: "The Witchblade," huh? Well, somehow during a shootout at the Midtown Museum, "the Witchblade" happened to find its way onto my wrist. Does this belong to you?
Irons: Does anything really belong to anybody, Sara?
Sara: That's quite an evasive answer, Mr. Irons.
Irons: If the Witchblade does belong to one person, it belongs to you, Sara.
Irons holds out a business card.
Irons: Don't hesitate to call either number, any time. I'd love to show you some of my art. I have a whole room devoted to the Witchblade. And I will have Ian Nottingham pay you a visit. (Big smile.)
Sara: Thank you.
Fast forward to night.
Cut to Kenneth Irons' darkened office. He takes a toy pistol out of his desk drawer and slides it to the right edge of his desk. Over to the right, Ian stands at a window, his back to Irons. He comes to stand, head bowed, at Irons' desk when Irons releases the toy. Flash to a younger Ian wearing this toy.
Irons: There are no casual connections, Nottingham. Sara Pezzini, the Witchblade, myself. Call it what you will. Destiny, fate, fortune … Napoleon used to say that Fortune is like a woman - she favors the bold.
Ian: And what would he say of a bold woman?
Irons: I'll ask him sometime.
Irons smiles and gives a "hmph" at his own joke.
Irons: Do you not find her striking, Nottingham?
Ian: Striking … and willful.
Irons: A woman in the full bloom of her beauty and power, but there are so many of those. What is it, do you think, about Sara Pezzini that has attracted the Witchblade?
Ian: Her courage. Concealed vulnerability.
Irons: Perhaps. And now she's more vulnerable than ever.
Ian darts his downcast eyes at Irons for a moment. He reaches his hand out and nearly touches the toy gun on Irons' desk. He then moves to stand at the window once more, his back to Irons again.
Cut to Sara sitting on her fire escape. She reaches back in through the window for her cordless phone and dials a number.
Machine: Hey, It's Jake. You know what to do. See ya.
Sara: Hey, Jake. It's Pezzini. Sara. Just … uh … wondering if you wanna go shoot some pool. Gimme a ring.
She breaks the connection and then pats her pockets until she finds Irons' card and dials one of the numbers.
Cut to Irons. He answers his ringing cell.
Irons (butter wouldn't melt in his mouth): Hello, Sara.
Sara: How did you know it was me?
Irons: Caller ID.
Sara: Oh, right. Sorry, I didn’t figure you for the caller ID type. Any word on Nottingham?
Irons: As a matter of fact, we were just speaking of you, and he is aware of your desire to question him. He said he would contact you tomorrow. Would you like to come by this evening?
Sara: Yeah. Yeah, I would.
Irons: Wonderful.
Cut to a long narrow room paneled in dark wood. On the walls hang several paintings. Sara and Kenneth Irons are there.
Irons: It's written that Joan's sword seemingly came to life during her battles. After her capture at Compiégne, her weapon disappeared from her hand. The Witchblade has a way of slipping from its wielder's grasp just when it is needed most. You're wearing it now.
They are standing in front of a painting of Joan of Arc, sword raised and hair flying across her face.
Sara: How do you know so much about the … um …
Irons: To name is to know, to know is to control … Sara.
Sara: How do you know so much about the Witchblade?
Irons: I read a lot.
Sara: And this Witchblade is not yours?
Irons: There is only one. But as you can see, only women can wear the Witchblade.
Sara: Why?
Irons: Women are more elemental. They're closer to nature than men. The Witchblade finds them superior. Do you believe in destiny, Sara?
Sara: I believe that … uh …
Flash of Danny talking to her in the cemetery.
Sara: … things are a lot more connected than they appear.
Irons: They are.
Sara: What is this thing? What is the Witchblade?
Irons: A mystery, wrapped in a riddle, and cloaked in a conundrum.
Sara: That doesn't help very much.
Irons: Language is a labyrinth. A hall of mirrors that we can easily get lost in. I do want to help you, Sara. I can help you solve the mystery. The Witchblade has powers, many powers. But only the person who wields it can truly know them all. Haven't you felt different since it's found you?
Sara: That's an understatement.
He just looks at her and smiles.
Sara: Yes. In fact, I feel like I'm losing my mind.
Irons: And yet you can't tell anyone about your predicament, anyone but me. Why do you think that is?
Sara: Look, Mr. Irons, bottom line is I don't want this thing. You can have it back.
Irons: You loved your father very much, didn't you?
Sara: Yes, I did.
Irons: You can use the Witchblade to pierce the veil of the senses. To see in an entirely new way. To extract more information from the universe than the normal human sensorium allows. You have already.
Sara: What are you implying?
Irons: Nothing. I am simply stating a fact.
Sara: No offense, Mr. Irons, but I don't want this thing. My life is complicated enough.
Irons: Sara, you were destined to wear the Witchblade, as were all these women (gestures to paintings). Embrace your destiny, Sara.
Sara: What do you mean?
Irons: The Witchblade, the gauntlet, has chosen you. You must accept it. Use it or lose it. And if you don't deserve it, if you don't earn it, it will abandon you.
Sara: I don't believe in any of this … this … uh … this magic.
Irons: Magic … alchemy … science. All different names for the same thing. All ways to explore the natural, or rather the supernatural, realm. Means of grasping the unknown.
Sara: I don't agree.
Irons: Don't you want to avenge the deaths of Daniel Woo and Maria? Don't you want to find your father's killer? Don't you want … justice?
Sara: Yeah, but I can do all of the above myself.
Irons: I see.
Sara turns away from Irons and tries to get the bracelet off her wrist. It won't come off. In the background we hear voices.
Irons (memory): Do you believe in destiny, Sara?
Irons (memory): The Witchblade has powers …
Irons (memory): Mystery, wrapped in a riddle …
Sara (memory): Things are a lot more connected than they appear.
Sara (thinking to herself): I can't believe this damn thing won’t come off.
Irons (memory): The Witchblade has powers, many powers.
Irons (memory): The Witchblade, the gauntlet, has chosen you. You must accept it. Use it or lose it. If you don't deserve it, if you don't earn it, it will abandon you.
Irons (not spoken): You can't take it off, Sara. It won't let you. If you search your heart and soul, you'll find you don't want to. You were meant to wield it.
Sara turns back around to face Irons.
Irons: I can help you, if you only let me. Teach you to use it, to control it, to become one with it. Don't you see? Don't you understand? This was meant to be. You were meant to find the Witchblade and I was meant to find you. Carpe diem, Sara. Seize the day. Choose the Witchblade ... it's already chosen you.
He walks up to Sara and uses his right hand to turn back the collar of her shirt, exposing a scar there. Sara moves her right hand to push his away from her. He grabs it with his right hand and holds them up at face level.
Irons: You've even got the mark. The circles represent the light and dark powers of the Witchblade.
Sara: That mark is a scar from shrapnel during a SWAT team raid 11 months ago.
Irons: Nonetheless, it bears an uncanny resemblance to this mark, doesn't it?
He twists their hands around until Sara can plainly see the two interlocked circles on the back of his hand.
Sara jerks her hand out of his grasp and walks out of the room.
Fade.
End Act V
OVA Act VI
Open with a close up of Ian's face.
Young Ian in voice-over: And how will you control the Witchblade?
Cut to the memory Ian has of when he was a boy.
Irons (memory): In order to control the Witchblade, I must control the woman who wields it. And this woman must be tested, must be made to run a grueling gauntlet, and in so doing learn to use the Witchblade. The will must be tested, it must be measured. Tell what you know of will, Nottingham.
Young Ian (memory): The will is the link between soul and the universe.
Irons (memory): Well spoken, young Nottingham. And now the time has finally come for you to go abroad to learn your vocation. To explore your special gifts.
Cut back to present day Ian. He's standing across the street from Sara's precinct.
Cut to Sara sitting at her desk in her office. She has her feet up on her desk. She's drinking coffee and looking at her cork board with the stuff about Maria's murder. She rubs her right hand across her face and rests it on her forehead.
Flashes: Her knight's helm. Maria lying on the couch in the hotel room. A gun in extreme close up. Widen the shot to see Gallo pulling the trigger on this gun. Gallo shooting Maria.
Sara puts her hands over her mouth then takes them down and looks at the Witchblade.
Sara (to herself): I knew it was Gallo.
She gets out of her chair, takes her jacket and leaves.
Cut to exterior scene. Sara is walking in the police parking lot when Jake runs up behind her.
Jake: Hey! Where we going?
Sara: Shopping.
Jake: I'll drive, dude.
Sara: No, I don't think so, dude. Where's your boy Drexler usually hang out?
Jake: Usually at the Underground Velvet.
Sara: Meet me there 11:00, OK? Outside.
She gets in a small car and drives off, tires squealing.
Jake (to self): Must be a hell of a sale.
Cut to outside the Underground Velvet. Sara walks up off camera, looking hot if Jake's expression is any indication.
Jake: Damn! (little laugh)
Sara is allowed past a chain barrier by a bouncer type, but he stops Jake.
Bouncer: She gets in, you don't.
Jake: We're together, bro'.
Bouncer: I don't care, bro'.
Jake is about to make something of it when Sara interrupts.
Sara: You know what, Jake? It's cool. Wait outside. I'll be right back. Please?
Jake: All right.
Sara: Thanks.
Cut to interior of the club. Mounted large screen TVs flash between old B-movie scenes and people in the club. Sara walks through until she finds Drexler in a small room off the main floor. She walks right up to where he's sitting and straddles his legs.
Sara: Hey, stud.
Drexler: Hey.
Sara: Let's go some place we can talk a little more privately, huh? (nods encouragingly)
Drexler (nods): Whoa ...
Sara wraps her right arm around his neck and pulls him from his chair. At the doorway to the little room she lets him go.
Sara: Hey, Drexler, catch any shows at the Rialto lately?
He realizes where he's seen her before.
Drexler: Aw ... (nervous laugh)
drexler takes off running. Sara catches him out on the dance floor.
Drexler: What do you want?
Sara: Tommy Gallo.
Drexler: What about him?
Sara: Let's start with where he is.
Drexler: I don't know.
Sara: I don't believe you.
Drexler: I don't, all right? Nobody does.
Sara knees him in the side.
Sara: All right. I'm gonna start with something easy. How did Gallo get his hands on the Rialto Theater, huh?
Drexler: I set him up with some really scary dude. All right?
Sara: What was his name?
Drexler: I don't know.
Sara: What was his name?
Sara smashes her forehead into his face. She twists his left arm behind him.
Sara: What was his name?
Drexler: He called himself Nottingham. All right? Ian Nottingham.
Sara: And? And?
Drexler: Said he's working for Ken Irons. All right? If I tell you any more, they're gonna kill me.
Drexler wriggles free and starts running again. After he runs away, the Witchblade bracelet transforms into the gauntlet.
Cut to Drexler running into the men's room. Sara follows him in. One other guy there notes her entrance.
Man: Hey, baby. How about a hand?
Sara: Sure.
She raises the gauntlet and a two-foot long blade extends from it. Sara just looks at him. He can't get out fast enough.
Drexler has gone as far from Sara as he can. Cornered, he pulls out a switchblade.
Drexler: C'mon, c'mon.
Sara walks up with her hands behind her back. Suddenly she whips the Witchblade up. Drexler drops his knife.
Drexler: OK. All right.
Sara: What do you know about Ken Irons and how is he connected to Gallo?
Sara is holding her blade to his throat.
Drexler: I don't know anything about Irons. All right? Nobody does. Look, Pezzini, if you know what's good for ya, you'll back off before Nottingham comes to deal with you. All right?
Sara bunches his shirt with her left hand while still keeping the Witchblade pressed to his neck.
Sara: If you know what's good for you, Drexler, I think you ought to worry about what I'm gonna do to you. Where's Gallo?
Drexler: OK, OK, OK. He's in a safe house in the Bronx. Basement. All right. 433 Bennett Avenue. It's good. It's ... (panic sounds)
Sara looks like she enjoys his terror. She's thinking of actually cutting his throat.
Drexler: Ah, God! Pezzini, what're you doing? C'mon, you can't ... You can't do this! You're a cop!
Sara blinks rapidly, coming back to herself. She releases him abruptly. She leaves, the Witchblade returning to a bracelet. Drexler slides down the wall, sitting sprawled on the floor, shaking.
Cut to a rear alley exit to the club. Sara walks out.
Ian's voice (bouncing off the buildings): Bloodlust is a powerful thing.
Sara draws her gun and points it all around. Ian walks up behind her left shoulder. As she turns toward him, he easily snatches the gun from her hand.
Ian (walking around to her front): Desire for revenge. Desire for control. Can you control that desire? Or is it better unleashed? Are you having a hard time controlling the Witchblade, Sara?
Ian raises her right hand with the butt of her gun, almost as if to kiss it. He looks at the Witchblade.
Ian : Your little toy doesn't seem to work against me. Is it because you really don't want it to?
Sara jerks her hand down.
Sara: What do you want?
Ian starts walking slowly around her clockwise.
Ian: We always want what we cannot have.
Sara: What is it with you and Irons and this mysterioso crap?
Ian: Don't compare me to Irons.
By now, Ian is standing behind her.
Sara: Get the hell away from me.
Ian: Why do you want to kill Gallo?
Sara: He killed two of my best friends.
Ian moves his right hand a short distance away from Sara's body, starting with her right hand, up her arm and across the back of her head.
Ian: If you hadn't been so intent on persecuting Mr. Gallo ...
Ian (speaking near her ear): ... your friend Danny would still be alive. Was it worth it?
Sara: No, but that doesn't let Gallo off the hook, does it?
Ian (walking around to her left): How do you know this whole thing isn't a trap, a setup?
Sara: What do you care?
Ian : I don't really.
Sara: Why did you set us up at the Rialto? Or is that just coincidences?
Ian is back in front of her again.
Ian (not meeting her eyes): There are no coincidences.
Sara: I've got to go.
Ian: To go where?
Sara: To kill Gallo.
Ian draws a sword with his right hand from his right hip from under his long coat.
Ian: As you wish.
Ian drops to one knee, holding the sword up at a 45° angle so that the tip is level with his forehead.
Ian: But remember, to fully grasp the Witchblade, you must first spill some of your own blood.
Sara: Yeah, whatever, Nottingham.
Sara turns and starts walking out of the alley to the street. Ian stays in his kneeling position. Sara turns back just as she gets to the street.
Sara: Is it a setup?
Ian: Expect the unexpected. Forewarned, forearmed.
Ian rises, tucking the sword, point up, along the outside of his right arm. He's still looking down.
Sara: I'll get back to you on that one ... Ian.
Sara turns to go when Ian says one more thing.
Ian (raising his eyes): Had any dreams lately, Sara?
Sara whirls back around and stares at Ian. Just then Jake walks up on Sara's other side.
Jake: Hey.
Sara turns to Jake.
Jake: How'd it go?
Sara turns back to the alley to find Ian gone.
Sara: You didn't miss a thing. You know what, Jake? I'm a little cold. Could you grab us some coffees down the street? My car's just around the corner.
Jake: Sure. (nods)
Sara's car really is just around the corner. She goes to it and drives away as Jake goes for the coffee.
End Act VI
OVA Act VII
Open with Sara driving down a street. Gallo rises from the back seat with a pistol.
Gallo: Buonaserra, Bella.
Sara looks at him in the rearview mirror.
Sara: Hi, Killer.
Gallo: Ooh, you know what? I always liked that moniker. Oh, watch the potholes, 'cause I wanna talk to you a minute before I snuff out your vapid little martyr life.
Sara looks at the Witchblade. There's no life in it to be seen.
Gallo: I like the little peach fuzz hairs standing up on the back of your neck. You know your holier-than-thou attitude used to really make me angry. But now I just find it amusing. You and me, we're not really all that different. We both are hunters and we both like to kill.
Sara looks again at the Witchblade and still no change.
Gallo: Pull over there. There's an alley around the corner that brings back memories.
Cut to Sara walking at gunpoint, hands raised, in an alley.
Gallo: Keep your hands up.
They reach a set of steps leading down. Sara goes down 1 step.
Gallo: This is exactly where I killed your father.
Sara frowns. She then sees her knight at the end of the alley. He has his sword out and taps it into his left palm a few times. Not only does Sara see him, but Gallo sees something, because he takes his gun off Sara to point it vaguely that way. Sara takes advantage of his distraction to backhand him across the face, sending him stumbling. When he rights himself, Gallo fires three times at a fleeing Sara, then gives chase. He fires twice more at the end of the alley.
Cut to Sara running the wrong way down a set of moving steps. She's heading for the subway. Gallo is not far behind. Sara wheels over the turnstile and Gallo moments later jumps over it.
Sara runs down a long strait hall with Gallo firing at her. She pauses around a corner after descending some stairs for a second and looks again at the Witchblade.
Sara: C'mon, c'mon.
Still no response from the bracelet.
As Gallo descends the stationary stairs near where she's sitting, Sara gets up and lies on the moving stairs next to it and rides back up the way she came. She takes off running again with Gallo after her.
Gallo is slowly checking out one area near a set of stairs when Sara jumps out and rides him down the flight of steps. They tumble over and over down the steps. Sara rolls and runs off near one of the tracks.
Sara hides on one side of a tiled column.
Gallo: C'mon out, Pezzini. I'll make it quick. Two to the back of the head, just like your father ... (Sara closes her eyes) ... and Maria. Probably wondering why I did Maria, huh? I mean, why bother with a junkie that's gonna be used up in a coupla years anyway, right? Your friend had a date with an associate of mine ...
Flash to Maria and her last client.
Gallo: ... a judge, no less. Between the two of 'em, they managed to consume a pharmacy. Your friend o.d.'d. His Honor panicked, called Lorenzo.
Flash to the man Sara chased into the Midtown Museum.
Gallo: You remember Lorenzo, right? But he was busy doing another job, so ... ah ... out of the goodness of my heart, I decided to fill in ...
Flash of Gallo arriving at Maria's hotel room.
Sara in voice-over: ... double tapped by a scumbag ...
Gallo: ... do your friend. (Sara squeezes her eyes shut) She was probably going to die anyway, but I believe in being proactive. And what difference does it make anyway? Right, Pezzini?
Sara looks at the Witchblade again.
Gallo: She was just a piece of meat, like all the rest of us. So get over it.
The Witchblade decides to wake up.
Sara steps out from behind the column. Gallo fires and she deflects the bullet with the gauntlet. She launches herself through the air, head first, right fist leading, into Gallo. He falls back, dropping his gun.
Brief cut to Irons standing at his window.
Sara advances on Gallo. He picks up a length of heavy pipe lying nearby and swings at her. She blocks with the Witchblade. He gives her a couple more blows with the pipe.
Brief cut to Irons again.
Sara grabs the pipe, pulling Gallo close, then starts punching him with her left and right hand both. She throws him down and kicks him in the ribs. He comes back swinging the pipe. He takes a baseball swing at her that misses but heavily damages one tiled column. Sara rolls away and pops up again. She backhands the column, trying for Gallo's head, and does as much damage as his full swing with the pipe.
Brief cut to again to Irons, evidently experiencing their conflict.
Sara punches Gallo several more times, driving him back to where he dropped his gun. He picks it up and fires.
Sara has the Witchblade raised, but the bullet grazes her left side. She drops to the floor.
Cut to Irons, his right hand splayed against the window glass.
Back to Sara. She is pulled by some unseen force down the platform 30 or 40 feet. She drops off the edge, into the track area, and runs hunched over a bit more before climbing back up.
Ian in voice-over: To fully grasp the Witchblade you must first spill some of your own blood.
Gallo: Wanna hear about your father before I kill you, Pezzini? Like a bad B-movie cliché, but it's true ... I really did kill him, back there in that alley.
Flash to a younger Gallo shooting Sara's father.
Gallo: He was tough, wouldn't beg.
Sara gets up from her hiding place and walks into view.
Gallo: You know, killin' your father wasn't personal. Neither was Maria. And don't flatter yourself, neither are you.
Gallo raises his pistol.
Irons in voice-over: The Witchblade has a way of slipping from its wielder's grasp just when it is needed most.
Sara sees the gauntlet lying on the floor next to a column several feet away.
Cut to Ken Irons, hand still pressed to his window.
Flash to a woman who looks like Sara, bound to a stake with wood piled all around her.
Woman: Why have you abandoned me?!
Flash to the wood being lit. Flash of Sara-in-armor. Flash of Sara's knight's helm turning to her. Flash of the fire burning. Flash of Ken Irons.
Back to Sara and Gallo. Gallo aims at Sara, smiling.
Sara raises her right hand and calls the Witchblade to her with a wordless scream. The Witchblade flies to her hand. Sara easily deflects the first shot with the gauntlet. The second shot is deflected by the blade coming from the knobby mace head version of the Witchblade. And the third.
Sara strides rapidly toward Gallo, deflecting all shots. Sometimes we see normal Sara and sometimes Sara-in-armor. Neither pauses in her advance.
Off to the side, Ian watches from the track area, just his eyes peaking above the edge.
Eventually Gallo does run out of bullets. Sara reaches him.
Ian in voice-over: Bloodlust is a powerful thing.
Sara backhands Gallo across the face, then follows that up with a kick to the ribs. She presses the point of her blade to his throat.
Gallo: What the hell are you?
Sara: Justice.
Gallo: Do it, you freak! Enjoy it ... I know I would, if I were you.
A battle rages across Sara's face.
Ian in voice-over: What do you want to do, Sara?
Sara in voice-over: Kill Gallo.
Irons in voice-over: Don't you want to avenge the deaths of Danny Woo and Maria?
Gallo in voice-over: We're not really all that different.
Danny in voice-over: You don't know who you are.
Flashes of the paintings in Kenneth Irons' Witchblade gallery. All the women there reveal themselves to have Sara's face.
Irons in voice-over: The gauntlet has chosen you.
Danny in voice-over: 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.
Sara in voice-over: Things are a lot more connected than they appear.
Danny in voice-over: You don't even really know who you are.
Sara in voice-over: Who am I?
Sara removes the blade from Gallo's throat. Sound of the Witchblade retracting the blade. The mace head changes to the normal gauntlet and that in turn changes to the bracelet.
Cut to Irons.
Irons (sounding weakened): You disappoint me, Sara.
Cut to Ian slinking off.
Cut back to Sara.
Sara: Gallo, you're under arrest.
Fade.
Cut to the police station. Sara's pouring herself some coffee.
Jake: Hey, Pez. Boss wants to see you in 10 minutes. Something about new forensics reports from the Rialto. Oh, and you got a call on two.
Sara: Thanks.
Sara punches a button on a phone and picks up the handset.
Sara: Hello?
Ian (over phone): Looked in the morning paper yet, Sara?
Sara: What?
Ian (over phone, eager): The morning paper, Sara. Take a look at it.
Sara picks up a paper from a neighboring desk.
Sara (reading): Organized crime figure Thomas Gallo committed suicide last night, jumping from the balcony of his heavily guarded apartment after screaming something about an avenging angel. Gallo was out on bail on three pending charges of murder.
Ian (over phone): It looks like Tommy Gallo had a crisis of conscience.
Sara: Either that, or he had help.
Ian (over phone): Perhaps a bit of both.
Sara smiles. She walks with the phone gradually ending up at the window.
Sara: Hey, Nottingham.
Ian (over phone, playful): Hey, Sara.
Sara: Had any dreams lately?
She hangs up and goes to replace the phone. Outside the window we can see Ian standing with a cell phone to his ear, swaying from side to side.
Cut to Irons' Witchblade gallery.
Sara in voice-over: And that's the story of how I came to have this strange thing on my hand called the Witchblade. I still don't know exactly what the Witchblade is, or how to use it. Every day I gain a bit more control, but this control requires will ... and vigilance. I think of Danny a lot. He was right. Everything and everyone is more connected than we realize. So there is no pat ending, no neat finale, no single final image.
In the gallery, Kenneth Irons is looking at his newest acquisition, a cartoon-looking painting of Sara with the Witchblade gauntlet on, her arms crossed over her chest, a pistol in her other hand.
Fade.
End Act VII End of OVA
OVA Act V
Open with Sara arriving at Vorschlag Industries.
Cut to Sara walking up to a receptionist. Sara shows her badge to the receptionist.
Sara: Um … I'm NYPD. I'd like to speak to Mr. Kenneth Irons, please.
Receptionist: Yes, Mr. Irons is expecting you. His office is just down the hall.
Sara (surprised to be sent right in): Thank you.
Cut to Sara arriving at Irons' office.
Irons: Detective Pezzini. I'm Kenneth Irons.
Sara: Hello, Mr. Irons.
Sara shows him the newspaper photo she took from Jake's file.
Sara: Do you happen to know who this man is?
Irons: Ian Nottingham. Yes. He works for me.
Sara: He happens to be a material witness in the death of my partner. If you're in any way involved, Mr. Irons …
Irons: Ken, please, Detective Pezzini.
Sara: If you are involved, Mr. Irons, I highly recommend you talk to me now.
Irons: I can assure you, Detective, that whatever Mr. Gallo might have done to your partner, he was in no way working for me when he did it.
Sara: And how would you happen to know about Gallo?
Irons: I own the old Rialto, but I'm sure you know that already. Mr. Gallo was considering it as a possible investment. I also read the paper. I own that, too.
Sara: Do you happen to know where I might find Ian Nottingham?
Irons: At present? I have no idea where Ian is. With regard to Mr. Gallo, I've told you everything I know. May I call you Sara?
Sara: I'd prefer if you didn't.
Irons: Is there anything else you want to ask me about, Miss Pezzini?
Sara: Actually, yes. (lifts the Witchblade into view) Do you happen to know what this is?
Irons: The Witchblade.
Sara: "The Witchblade," huh? Well, somehow during a shootout at the Midtown Museum, "the Witchblade" happened to find its way onto my wrist. Does this belong to you?
Irons: Does anything really belong to anybody, Sara?
Sara: That's quite an evasive answer, Mr. Irons.
Irons: If the Witchblade does belong to one person, it belongs to you, Sara.
Irons holds out a business card.
Irons: Don't hesitate to call either number, any time. I'd love to show you some of my art. I have a whole room devoted to the Witchblade. And I will have Ian Nottingham pay you a visit. (Big smile.)
Sara: Thank you.
Fast forward to night.
Cut to Kenneth Irons' darkened office. He takes a toy pistol out of his desk drawer and slides it to the right edge of his desk. Over to the right, Ian stands at a window, his back to Irons. He comes to stand, head bowed, at Irons' desk when Irons releases the toy. Flash to a younger Ian wearing this toy.
Irons: There are no casual connections, Nottingham. Sara Pezzini, the Witchblade, myself. Call it what you will. Destiny, fate, fortune … Napoleon used to say that Fortune is like a woman - she favors the bold.
Ian: And what would he say of a bold woman?
Irons: I'll ask him sometime.
Irons smiles and gives a "hmph" at his own joke.
Irons: Do you not find her striking, Nottingham?
Ian: Striking … and willful.
Irons: A woman in the full bloom of her beauty and power, but there are so many of those. What is it, do you think, about Sara Pezzini that has attracted the Witchblade?
Ian: Her courage. Concealed vulnerability.
Irons: Perhaps. And now she's more vulnerable than ever.
Ian darts his downcast eyes at Irons for a moment. He reaches his hand out and nearly touches the toy gun on Irons' desk. He then moves to stand at the window once more, his back to Irons again.
Cut to Sara sitting on her fire escape. She reaches back in through the window for her cordless phone and dials a number.
Machine: Hey, It's Jake. You know what to do. See ya.
Sara: Hey, Jake. It's Pezzini. Sara. Just … uh … wondering if you wanna go shoot some pool. Gimme a ring.
She breaks the connection and then pats her pockets until she finds Irons' card and dials one of the numbers.
Cut to Irons. He answers his ringing cell.
Irons (butter wouldn't melt in his mouth): Hello, Sara.
Sara: How did you know it was me?
Irons: Caller ID.
Sara: Oh, right. Sorry, I didn’t figure you for the caller ID type. Any word on Nottingham?
Irons: As a matter of fact, we were just speaking of you, and he is aware of your desire to question him. He said he would contact you tomorrow. Would you like to come by this evening?
Sara: Yeah. Yeah, I would.
Irons: Wonderful.
Cut to a long narrow room paneled in dark wood. On the walls hang several paintings. Sara and Kenneth Irons are there.
Irons: It's written that Joan's sword seemingly came to life during her battles. After her capture at Compiégne, her weapon disappeared from her hand. The Witchblade has a way of slipping from its wielder's grasp just when it is needed most. You're wearing it now.
They are standing in front of a painting of Joan of Arc, sword raised and hair flying across her face.
Sara: How do you know so much about the … um …
Irons: To name is to know, to know is to control … Sara.
Sara: How do you know so much about the Witchblade?
Irons: I read a lot.
Sara: And this Witchblade is not yours?
Irons: There is only one. But as you can see, only women can wear the Witchblade.
Sara: Why?
Irons: Women are more elemental. They're closer to nature than men. The Witchblade finds them superior. Do you believe in destiny, Sara?
Sara: I believe that … uh …
Flash of Danny talking to her in the cemetery.
Sara: … things are a lot more connected than they appear.
Irons: They are.
Sara: What is this thing? What is the Witchblade?
Irons: A mystery, wrapped in a riddle, and cloaked in a conundrum.
Sara: That doesn't help very much.
Irons: Language is a labyrinth. A hall of mirrors that we can easily get lost in. I do want to help you, Sara. I can help you solve the mystery. The Witchblade has powers, many powers. But only the person who wields it can truly know them all. Haven't you felt different since it's found you?
Sara: That's an understatement.
He just looks at her and smiles.
Sara: Yes. In fact, I feel like I'm losing my mind.
Irons: And yet you can't tell anyone about your predicament, anyone but me. Why do you think that is?
Sara: Look, Mr. Irons, bottom line is I don't want this thing. You can have it back.
Irons: You loved your father very much, didn't you?
Sara: Yes, I did.
Irons: You can use the Witchblade to pierce the veil of the senses. To see in an entirely new way. To extract more information from the universe than the normal human sensorium allows. You have already.
Sara: What are you implying?
Irons: Nothing. I am simply stating a fact.
Sara: No offense, Mr. Irons, but I don't want this thing. My life is complicated enough.
Irons: Sara, you were destined to wear the Witchblade, as were all these women (gestures to paintings). Embrace your destiny, Sara.
Sara: What do you mean?
Irons: The Witchblade, the gauntlet, has chosen you. You must accept it. Use it or lose it. And if you don't deserve it, if you don't earn it, it will abandon you.
Sara: I don't believe in any of this … this … uh … this magic.
Irons: Magic … alchemy … science. All different names for the same thing. All ways to explore the natural, or rather the supernatural, realm. Means of grasping the unknown.
Sara: I don't agree.
Irons: Don't you want to avenge the deaths of Daniel Woo and Maria? Don't you want to find your father's killer? Don't you want … justice?
Sara: Yeah, but I can do all of the above myself.
Irons: I see.
Sara turns away from Irons and tries to get the bracelet off her wrist. It won't come off. In the background we hear voices.
Irons (memory): Do you believe in destiny, Sara?
Irons (memory): The Witchblade has powers …
Irons (memory): Mystery, wrapped in a riddle …
Sara (memory): Things are a lot more connected than they appear.
Sara (thinking to herself): I can't believe this damn thing won’t come off.
Irons (memory): The Witchblade has powers, many powers.
Irons (memory): The Witchblade, the gauntlet, has chosen you. You must accept it. Use it or lose it. If you don't deserve it, if you don't earn it, it will abandon you.
Irons (not spoken): You can't take it off, Sara. It won't let you. If you search your heart and soul, you'll find you don't want to. You were meant to wield it.
Sara turns back around to face Irons.
Irons: I can help you, if you only let me. Teach you to use it, to control it, to become one with it. Don't you see? Don't you understand? This was meant to be. You were meant to find the Witchblade and I was meant to find you. Carpe diem, Sara. Seize the day. Choose the Witchblade ... it's already chosen you.
He walks up to Sara and uses his right hand to turn back the collar of her shirt, exposing a scar there. Sara moves her right hand to push his away from her. He grabs it with his right hand and holds them up at face level.
Irons: You've even got the mark. The circles represent the light and dark powers of the Witchblade.
Sara: That mark is a scar from shrapnel during a SWAT team raid 11 months ago.
Irons: Nonetheless, it bears an uncanny resemblance to this mark, doesn't it?
He twists their hands around until Sara can plainly see the two interlocked circles on the back of his hand.
Sara jerks her hand out of his grasp and walks out of the room.
Fade.
End Act V
OVA Act VI
Open with a close up of Ian's face.
Young Ian in voice-over: And how will you control the Witchblade?
Cut to the memory Ian has of when he was a boy.
Irons (memory): In order to control the Witchblade, I must control the woman who wields it. And this woman must be tested, must be made to run a grueling gauntlet, and in so doing learn to use the Witchblade. The will must be tested, it must be measured. Tell what you know of will, Nottingham.
Young Ian (memory): The will is the link between soul and the universe.
Irons (memory): Well spoken, young Nottingham. And now the time has finally come for you to go abroad to learn your vocation. To explore your special gifts.
Cut back to present day Ian. He's standing across the street from Sara's precinct.
Cut to Sara sitting at her desk in her office. She has her feet up on her desk. She's drinking coffee and looking at her cork board with the stuff about Maria's murder. She rubs her right hand across her face and rests it on her forehead.
Flashes: Her knight's helm. Maria lying on the couch in the hotel room. A gun in extreme close up. Widen the shot to see Gallo pulling the trigger on this gun. Gallo shooting Maria.
Sara puts her hands over her mouth then takes them down and looks at the Witchblade.
Sara (to herself): I knew it was Gallo.
She gets out of her chair, takes her jacket and leaves.
Cut to exterior scene. Sara is walking in the police parking lot when Jake runs up behind her.
Jake: Hey! Where we going?
Sara: Shopping.
Jake: I'll drive, dude.
Sara: No, I don't think so, dude. Where's your boy Drexler usually hang out?
Jake: Usually at the Underground Velvet.
Sara: Meet me there 11:00, OK? Outside.
She gets in a small car and drives off, tires squealing.
Jake (to self): Must be a hell of a sale.
Cut to outside the Underground Velvet. Sara walks up off camera, looking hot if Jake's expression is any indication.
Jake: Damn! (little laugh)
Sara is allowed past a chain barrier by a bouncer type, but he stops Jake.
Bouncer: She gets in, you don't.
Jake: We're together, bro'.
Bouncer: I don't care, bro'.
Jake is about to make something of it when Sara interrupts.
Sara: You know what, Jake? It's cool. Wait outside. I'll be right back. Please?
Jake: All right.
Sara: Thanks.
Cut to interior of the club. Mounted large screen TVs flash between old B-movie scenes and people in the club. Sara walks through until she finds Drexler in a small room off the main floor. She walks right up to where he's sitting and straddles his legs.
Sara: Hey, stud.
Drexler: Hey.
Sara: Let's go some place we can talk a little more privately, huh? (nods encouragingly)
Drexler (nods): Whoa ...
Sara wraps her right arm around his neck and pulls him from his chair. At the doorway to the little room she lets him go.
Sara: Hey, Drexler, catch any shows at the Rialto lately?
He realizes where he's seen her before.
Drexler: Aw ... (nervous laugh)
drexler takes off running. Sara catches him out on the dance floor.
Drexler: What do you want?
Sara: Tommy Gallo.
Drexler: What about him?
Sara: Let's start with where he is.
Drexler: I don't know.
Sara: I don't believe you.
Drexler: I don't, all right? Nobody does.
Sara knees him in the side.
Sara: All right. I'm gonna start with something easy. How did Gallo get his hands on the Rialto Theater, huh?
Drexler: I set him up with some really scary dude. All right?
Sara: What was his name?
Drexler: I don't know.
Sara: What was his name?
Sara smashes her forehead into his face. She twists his left arm behind him.
Sara: What was his name?
Drexler: He called himself Nottingham. All right? Ian Nottingham.
Sara: And? And?
Drexler: Said he's working for Ken Irons. All right? If I tell you any more, they're gonna kill me.
Drexler wriggles free and starts running again. After he runs away, the Witchblade bracelet transforms into the gauntlet.
Cut to Drexler running into the men's room. Sara follows him in. One other guy there notes her entrance.
Man: Hey, baby. How about a hand?
Sara: Sure.
She raises the gauntlet and a two-foot long blade extends from it. Sara just looks at him. He can't get out fast enough.
Drexler has gone as far from Sara as he can. Cornered, he pulls out a switchblade.
Drexler: C'mon, c'mon.
Sara walks up with her hands behind her back. Suddenly she whips the Witchblade up. Drexler drops his knife.
Drexler: OK. All right.
Sara: What do you know about Ken Irons and how is he connected to Gallo?
Sara is holding her blade to his throat.
Drexler: I don't know anything about Irons. All right? Nobody does. Look, Pezzini, if you know what's good for ya, you'll back off before Nottingham comes to deal with you. All right?
Sara bunches his shirt with her left hand while still keeping the Witchblade pressed to his neck.
Sara: If you know what's good for you, Drexler, I think you ought to worry about what I'm gonna do to you. Where's Gallo?
Drexler: OK, OK, OK. He's in a safe house in the Bronx. Basement. All right. 433 Bennett Avenue. It's good. It's ... (panic sounds)
Sara looks like she enjoys his terror. She's thinking of actually cutting his throat.
Drexler: Ah, God! Pezzini, what're you doing? C'mon, you can't ... You can't do this! You're a cop!
Sara blinks rapidly, coming back to herself. She releases him abruptly. She leaves, the Witchblade returning to a bracelet. Drexler slides down the wall, sitting sprawled on the floor, shaking.
Cut to a rear alley exit to the club. Sara walks out.
Ian's voice (bouncing off the buildings): Bloodlust is a powerful thing.
Sara draws her gun and points it all around. Ian walks up behind her left shoulder. As she turns toward him, he easily snatches the gun from her hand.
Ian (walking around to her front): Desire for revenge. Desire for control. Can you control that desire? Or is it better unleashed? Are you having a hard time controlling the Witchblade, Sara?
Ian raises her right hand with the butt of her gun, almost as if to kiss it. He looks at the Witchblade.
Ian : Your little toy doesn't seem to work against me. Is it because you really don't want it to?
Sara jerks her hand down.
Sara: What do you want?
Ian starts walking slowly around her clockwise.
Ian: We always want what we cannot have.
Sara: What is it with you and Irons and this mysterioso crap?
Ian: Don't compare me to Irons.
By now, Ian is standing behind her.
Sara: Get the hell away from me.
Ian: Why do you want to kill Gallo?
Sara: He killed two of my best friends.
Ian moves his right hand a short distance away from Sara's body, starting with her right hand, up her arm and across the back of her head.
Ian: If you hadn't been so intent on persecuting Mr. Gallo ...
Ian (speaking near her ear): ... your friend Danny would still be alive. Was it worth it?
Sara: No, but that doesn't let Gallo off the hook, does it?
Ian (walking around to her left): How do you know this whole thing isn't a trap, a setup?
Sara: What do you care?
Ian : I don't really.
Sara: Why did you set us up at the Rialto? Or is that just coincidences?
Ian is back in front of her again.
Ian (not meeting her eyes): There are no coincidences.
Sara: I've got to go.
Ian: To go where?
Sara: To kill Gallo.
Ian draws a sword with his right hand from his right hip from under his long coat.
Ian: As you wish.
Ian drops to one knee, holding the sword up at a 45° angle so that the tip is level with his forehead.
Ian: But remember, to fully grasp the Witchblade, you must first spill some of your own blood.
Sara: Yeah, whatever, Nottingham.
Sara turns and starts walking out of the alley to the street. Ian stays in his kneeling position. Sara turns back just as she gets to the street.
Sara: Is it a setup?
Ian: Expect the unexpected. Forewarned, forearmed.
Ian rises, tucking the sword, point up, along the outside of his right arm. He's still looking down.
Sara: I'll get back to you on that one ... Ian.
Sara turns to go when Ian says one more thing.
Ian (raising his eyes): Had any dreams lately, Sara?
Sara whirls back around and stares at Ian. Just then Jake walks up on Sara's other side.
Jake: Hey.
Sara turns to Jake.
Jake: How'd it go?
Sara turns back to the alley to find Ian gone.
Sara: You didn't miss a thing. You know what, Jake? I'm a little cold. Could you grab us some coffees down the street? My car's just around the corner.
Jake: Sure. (nods)
Sara's car really is just around the corner. She goes to it and drives away as Jake goes for the coffee.
End Act VI
OVA Act VII
Open with Sara driving down a street. Gallo rises from the back seat with a pistol.
Gallo: Buonaserra, Bella.
Sara looks at him in the rearview mirror.
Sara: Hi, Killer.
Gallo: Ooh, you know what? I always liked that moniker. Oh, watch the potholes, 'cause I wanna talk to you a minute before I snuff out your vapid little martyr life.
Sara looks at the Witchblade. There's no life in it to be seen.
Gallo: I like the little peach fuzz hairs standing up on the back of your neck. You know your holier-than-thou attitude used to really make me angry. But now I just find it amusing. You and me, we're not really all that different. We both are hunters and we both like to kill.
Sara looks again at the Witchblade and still no change.
Gallo: Pull over there. There's an alley around the corner that brings back memories.
Cut to Sara walking at gunpoint, hands raised, in an alley.
Gallo: Keep your hands up.
They reach a set of steps leading down. Sara goes down 1 step.
Gallo: This is exactly where I killed your father.
Sara frowns. She then sees her knight at the end of the alley. He has his sword out and taps it into his left palm a few times. Not only does Sara see him, but Gallo sees something, because he takes his gun off Sara to point it vaguely that way. Sara takes advantage of his distraction to backhand him across the face, sending him stumbling. When he rights himself, Gallo fires three times at a fleeing Sara, then gives chase. He fires twice more at the end of the alley.
Cut to Sara running the wrong way down a set of moving steps. She's heading for the subway. Gallo is not far behind. Sara wheels over the turnstile and Gallo moments later jumps over it.
Sara runs down a long strait hall with Gallo firing at her. She pauses around a corner after descending some stairs for a second and looks again at the Witchblade.
Sara: C'mon, c'mon.
Still no response from the bracelet.
As Gallo descends the stationary stairs near where she's sitting, Sara gets up and lies on the moving stairs next to it and rides back up the way she came. She takes off running again with Gallo after her.
Gallo is slowly checking out one area near a set of stairs when Sara jumps out and rides him down the flight of steps. They tumble over and over down the steps. Sara rolls and runs off near one of the tracks.
Sara hides on one side of a tiled column.
Gallo: C'mon out, Pezzini. I'll make it quick. Two to the back of the head, just like your father ... (Sara closes her eyes) ... and Maria. Probably wondering why I did Maria, huh? I mean, why bother with a junkie that's gonna be used up in a coupla years anyway, right? Your friend had a date with an associate of mine ...
Flash to Maria and her last client.
Gallo: ... a judge, no less. Between the two of 'em, they managed to consume a pharmacy. Your friend o.d.'d. His Honor panicked, called Lorenzo.
Flash to the man Sara chased into the Midtown Museum.
Gallo: You remember Lorenzo, right? But he was busy doing another job, so ... ah ... out of the goodness of my heart, I decided to fill in ...
Flash of Gallo arriving at Maria's hotel room.
Sara in voice-over: ... double tapped by a scumbag ...
Gallo: ... do your friend. (Sara squeezes her eyes shut) She was probably going to die anyway, but I believe in being proactive. And what difference does it make anyway? Right, Pezzini?
Sara looks at the Witchblade again.
Gallo: She was just a piece of meat, like all the rest of us. So get over it.
The Witchblade decides to wake up.
Sara steps out from behind the column. Gallo fires and she deflects the bullet with the gauntlet. She launches herself through the air, head first, right fist leading, into Gallo. He falls back, dropping his gun.
Brief cut to Irons standing at his window.
Sara advances on Gallo. He picks up a length of heavy pipe lying nearby and swings at her. She blocks with the Witchblade. He gives her a couple more blows with the pipe.
Brief cut to Irons again.
Sara grabs the pipe, pulling Gallo close, then starts punching him with her left and right hand both. She throws him down and kicks him in the ribs. He comes back swinging the pipe. He takes a baseball swing at her that misses but heavily damages one tiled column. Sara rolls away and pops up again. She backhands the column, trying for Gallo's head, and does as much damage as his full swing with the pipe.
Brief cut to again to Irons, evidently experiencing their conflict.
Sara punches Gallo several more times, driving him back to where he dropped his gun. He picks it up and fires.
Sara has the Witchblade raised, but the bullet grazes her left side. She drops to the floor.
Cut to Irons, his right hand splayed against the window glass.
Back to Sara. She is pulled by some unseen force down the platform 30 or 40 feet. She drops off the edge, into the track area, and runs hunched over a bit more before climbing back up.
Ian in voice-over: To fully grasp the Witchblade you must first spill some of your own blood.
Gallo: Wanna hear about your father before I kill you, Pezzini? Like a bad B-movie cliché, but it's true ... I really did kill him, back there in that alley.
Flash to a younger Gallo shooting Sara's father.
Gallo: He was tough, wouldn't beg.
Sara gets up from her hiding place and walks into view.
Gallo: You know, killin' your father wasn't personal. Neither was Maria. And don't flatter yourself, neither are you.
Gallo raises his pistol.
Irons in voice-over: The Witchblade has a way of slipping from its wielder's grasp just when it is needed most.
Sara sees the gauntlet lying on the floor next to a column several feet away.
Cut to Ken Irons, hand still pressed to his window.
Flash to a woman who looks like Sara, bound to a stake with wood piled all around her.
Woman: Why have you abandoned me?!
Flash to the wood being lit. Flash of Sara-in-armor. Flash of Sara's knight's helm turning to her. Flash of the fire burning. Flash of Ken Irons.
Back to Sara and Gallo. Gallo aims at Sara, smiling.
Sara raises her right hand and calls the Witchblade to her with a wordless scream. The Witchblade flies to her hand. Sara easily deflects the first shot with the gauntlet. The second shot is deflected by the blade coming from the knobby mace head version of the Witchblade. And the third.
Sara strides rapidly toward Gallo, deflecting all shots. Sometimes we see normal Sara and sometimes Sara-in-armor. Neither pauses in her advance.
Off to the side, Ian watches from the track area, just his eyes peaking above the edge.
Eventually Gallo does run out of bullets. Sara reaches him.
Ian in voice-over: Bloodlust is a powerful thing.
Sara backhands Gallo across the face, then follows that up with a kick to the ribs. She presses the point of her blade to his throat.
Gallo: What the hell are you?
Sara: Justice.
Gallo: Do it, you freak! Enjoy it ... I know I would, if I were you.
A battle rages across Sara's face.
Ian in voice-over: What do you want to do, Sara?
Sara in voice-over: Kill Gallo.
Irons in voice-over: Don't you want to avenge the deaths of Danny Woo and Maria?
Gallo in voice-over: We're not really all that different.
Danny in voice-over: You don't know who you are.
Flashes of the paintings in Kenneth Irons' Witchblade gallery. All the women there reveal themselves to have Sara's face.
Irons in voice-over: The gauntlet has chosen you.
Danny in voice-over: 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.
Sara in voice-over: Things are a lot more connected than they appear.
Danny in voice-over: You don't even really know who you are.
Sara in voice-over: Who am I?
Sara removes the blade from Gallo's throat. Sound of the Witchblade retracting the blade. The mace head changes to the normal gauntlet and that in turn changes to the bracelet.
Cut to Irons.
Irons (sounding weakened): You disappoint me, Sara.
Cut to Ian slinking off.
Cut back to Sara.
Sara: Gallo, you're under arrest.
Fade.
Cut to the police station. Sara's pouring herself some coffee.
Jake: Hey, Pez. Boss wants to see you in 10 minutes. Something about new forensics reports from the Rialto. Oh, and you got a call on two.
Sara: Thanks.
Sara punches a button on a phone and picks up the handset.
Sara: Hello?
Ian (over phone): Looked in the morning paper yet, Sara?
Sara: What?
Ian (over phone, eager): The morning paper, Sara. Take a look at it.
Sara picks up a paper from a neighboring desk.
Sara (reading): Organized crime figure Thomas Gallo committed suicide last night, jumping from the balcony of his heavily guarded apartment after screaming something about an avenging angel. Gallo was out on bail on three pending charges of murder.
Ian (over phone): It looks like Tommy Gallo had a crisis of conscience.
Sara: Either that, or he had help.
Ian (over phone): Perhaps a bit of both.
Sara smiles. She walks with the phone gradually ending up at the window.
Sara: Hey, Nottingham.
Ian (over phone, playful): Hey, Sara.
Sara: Had any dreams lately?
She hangs up and goes to replace the phone. Outside the window we can see Ian standing with a cell phone to his ear, swaying from side to side.
Cut to Irons' Witchblade gallery.
Sara in voice-over: And that's the story of how I came to have this strange thing on my hand called the Witchblade. I still don't know exactly what the Witchblade is, or how to use it. Every day I gain a bit more control, but this control requires will ... and vigilance. I think of Danny a lot. He was right. Everything and everyone is more connected than we realize. So there is no pat ending, no neat finale, no single final image.
In the gallery, Kenneth Irons is looking at his newest acquisition, a cartoon-looking painting of Sara with the Witchblade gauntlet on, her arms crossed over her chest, a pistol in her other hand.
Fade.
End Act VII End of OVA
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