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TRANSCRIPT:
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Act I

Open with Sara lying on her couch with the Witchblade in her hands. We get to listen in on her thoughts.

Sara (thinking): What the hell happened these last few weeks? How did this bracelet end up on my wrist? Did I find it, or did it find me? And why?

Cut to a concert in progress. The singer has short dark hair. He goes to the edge of the stage and touches hands with a girl standing there.

Back to Sara.

Sara (thinking): I feel as if I'm a part of this thing - attached to it somehow.

Sara puts the Witchblade on the table in front of the couch.

Sara (thinking): Did the Witchblade once really belong to Joan of Arc? Or is that a bedtime story?

We see a flash of the Witchblade's eye opening to Sara as it sits in the Joan of Arc display in the Midtown Museum.

Sara (thinking): What isn't a bedtime story is that it has an unpredictable, violent mind of its own. I've killed with it. And several have tried to kill me because of it.

Sara looks to the Witchblade and we can see her face reflected in the stone.

Back to the concert. We see the back of one fan's head. She likes to twist a lock of her dark hair round and round her fingers.

Back to Sara.

Sara (thinking): Does it control me, or am I supposed to control it? Either I'm losing my mind, or I now own a destiny I never dreamed of ... or did I?

{Pause for opening sequence.}

Back to the rock singer. The concert's over and he and his girlfriend, the one he touched hands with at the concert, are in a hotel elevator with a bunch of friends. They exit the elevator and a woman with short blond hair in a bellhop uniform thrusts a CD and marker at the singer. The singer steps over to the bellhop.

Singer (to girlfriend): I'll catch up. Hook me up with an icy six of Corona and two Yoo-Hoos. I'll be along in a few.

Girlfriend: OK.

The girlfriend and friends walk away, leaving the singer alone with the bellhop.

Bellhop: I'm your biggest fanatic.

The singer is writing on her CD case.

Singer: That's cool.

The bellhop brings a tazer up to the singer's neck and zaps him. As she does, we see a flash of TV static. The singer collapses onto the bellhop's brass luggage cart. She then pushes him rapidly toward the end of the hall, where there is a tall window.

Cut to Sara's apartment. She has just dropped a glass, shattering it on her floor.

Sara: Ah ... damn.

Sara squats to begin picking up the pieces. Just as she reaches for one, her phone rings. Distracted, she cuts the fingertips of her right hand. Her right hand starts twitching.

Cut to the singer's hotel. Sara, Jake, and Vicky Po are with the singer's body on the pavement.

Vicky: It's reasonable to suspect the 11-story fall was the cause of death.

Jake: Unless he was already dead.

Vicky: He could've died from a heart attack on the way down, but I doubt it.

Sara: And he could have intentionally ridden the luggage cart out the window, but I doubt that, too.

Vicky sees that Sara's right hand is twitching.

Vicky: Too much caffeine there, Pez?

Sara: Oh, um ... (puts her hand in her pocket) ... or not enough.

Sara gives a little laugh.

Sara (to Jake): Come on ... (nods head to the side) ... Now comes the hard part. Let's go talk to the girlfriend.

Vicky: OK, I'll get you those autopsy notes as soon as I can.

Sara: Thanks.

Sara and Jake walk to where the girlfriend is standing at the side of the building with two of her friends.

Sara (to the friends): Could you guys excuse us for a moment, please.

Sara (to the girlfriend): Could we talk to you?

Sara leads her a few feet away.

Jake (to the friends): Everything's going to be OK.

Sara: My name is Detective Pezzini and this is Detective McCartey. We're really very sorry for your loss.

Girlfriend: I just can't believe it.

Sara: What's your name?

Girlfriend: Lorelei.

Sara: Lorelei, I know this is hard, but we need you to tell us whatever you can.

Lorelei (softly): OK.

Lorelei: Well, we got off the elevator, and Mac stopped to sign an autograph for a bellhop, who was probably just a horny groupie in disguise. And then, we couldn't find him. Then we saw the broken window.

Sara: What did this bellhop look like?

Lorelei: Like a chick in a bellhop suit.

Sara nods.

We get a series of images: solar flare; a satellite in orbit; neon lights seen in fast motion; radio receiver dishes; a city as seen from high above; TV static; telephone pole; satellite with a dish pointed toward Earth; TV static; satellite with a dish pointed toward Earth; a woman curling a lock of dark hair around her fingers; a receiver dish; static.

Cut to the woman playing with her dark hair. We cannot see who she is, but she is in front of a TV that shows only static. The static on the screen seems to form into the shape of lips. The lips move and we hear the following repeated over and over:

Voices: If you kill him, she will come.

The camera pulls back from the TV to show a room with dark walls, candles, low electric lights, and a coffee table in the shape of a coffin - Goth chic. The woman sits in a chair before the TV with her back to us twisting her hair.

Cut to the precinct the next day. Jake and Sara are walking in to work.

Jake: Danny's probably picking the sand out of his toes right now.

Sara: Yeah. What island did he go to?

Jake: Kuai - North Shore.

Sara: Jealous, Jake?

Jake: Hell, yeah. I love Hawaii.

Sara and Jake reach an area where a prisoner with hands cuffed in front of him {mistake!} is being moved by a uniformed officer. Sara and the prisoner stare at each other as they pass.

We hear the auditory cue for the Witchblade. Sara looks at it, but the stone does not seem active. Sara turns to watch the prisoner. He uses his shoulder to knock the uniform away and follows up with a double-fisted hit to the head. He grabs the officer's pistol out of his holster.

Sara (shout): Gun!

Jake has pulled his gun out, but Sara pushes him back with both hands. She then points her empty right fist at the armed prisoner. The man has a smug expression that soon changes to confusion as he struggles to fire the gun. Then the gun spins around on his forefinger through the trigger guard to point back at him upside down. Now the confusion changes to panic. The gun goes off and the man falls to the floor with a grunt.

Sara looks a little panicky herself.

The other police in the room converge on the fallen prisoner. Sara and Jake continue back to the interior spaces of the precinct.

Jake: What do you call that?

Sara: A bull's eye. Let's start running checks on the hotel staff list, all right?

Jake: I'll start hooking it up.

Sara: OK, I'm going to talk to Vicky.

Jake: All right.

They split and next we see Sara walking down some stairs to Vicky's office.

Ian's voice: Telekinesis, telepathy, synchronicity. Just because you don't see something, doesn't mean it isn't real.

Sara has reached the bottom of the stairs. There is a short wall dividing the stairwell from the hallway with Vicky's office. Ian is on the other side of that wall. Sara walks to his side of the dividing wall.

Sara: What I saw was a psychotic criminal who gave himself a sucking chest wound.

Ian: But what did he see, Sara?

Sara: A muzzle flash.

Ian: Perhaps what he saw caused him to turn the gun on himself.

Sara moves to step around Ian and he blocks her.

Ian: Sara, the line between clarity and insanity is slender ... transparent ... and easy to cross.

Sara: Spoken like someone who knows.

Sara goes to Vicky's door, but faces Ian again when he speaks.

Ian (points to her): I know this. The Witchblade is your destiny.

Ian holds up his gloved right fist. Sara opens the door behind her without taking her eyes from Ian. She turns and enters Vicky's lab and gives the door a push to close it. Ian flings the fingers of his hand open while still staring at her, then walks away.

Cut to Sara and Vicky in Vicky's lab.

Vicky: Who's the pirate?

Sara: Just some guy I know.

Vicky: Yeah? What's he doing around here?

Sara: Proselytizing.

Vicky: Hey, big word.

Sara: I know bigger ones.

Vicky: I think he's kind of cute. I like those swarthy guys.

Sara: Yeah, swarthy ... psychotic, bipolar, hard bodies, what a treat. (smile)

Vicky: He's got that look like he can just walk on water.

Sara: Well, he can definitely walk through walls. 'Cause I have no idea how he got in here.

Sara shifts her attention to the reason she came to see Vicky in the first place.

Sara: What do we got, Vick?

Vicky consults a multipage report on her desk.

Vicky: OK, nothing to indicate our dead guy's dive was self-propelled. No drugs or alcohol in his system. But a small electrical burn on his neck indicates he may have been rendered unconscious with a tazer.

Sara: Hmm.

Sara notices her right hand twitching again and lowers it from where it was resting on Vicky's desk.

Sara: Um ... huh. So, if you had to bet?

Vicky: I'd say somebody tazered him.

Sara: Then threw him out the window.

Vicky shifts her upper body left then right.

Sara: But why?

Cut to the Goth room with the static on the TV. There is a blond wig on a blood-red rug. Next to that are a woman's feet in black high-heeled boots. She walks to the TV showing static.

Fade.

End Act I.

Act II

Open with a commercial for Gabriel Bowman's company, Talismaniac.com. Though not singing, Gabriel's patter has a certain rhythm to it and the visual is heavily influenced by music videos. {Very clever, actually. Wish you could see it.}

The commercial opens by focusing on a brown human skull with Gabriel walking up behind it with a sword.

Gabriel: In a cold dark moor, with the Scottish army descending, a lone knight makes his peace with God. He draws his sword hewn of hard Welsh ore. The Scottish archers surround him. As he rushes them ...

Gabriel pokes the sword at his cameraman off-camera, producing a groan and a jump in the picture.

Gabriel: ... he is shredded to pieces. All that's left to bury is his skull ...

Gabriel taps the skull with the sword.

Gabriel: ... and his weapon. It's heavy, huh? I'm Gabriel Bowman.

Gabriel puts down the sword and picks up the skull.

Gabriel: And this skull and this sword are all that's left of Sir Kilbourne. And it can be yours.

"Talismaniac.com" appears at the bottom of the screen. Gabriel starts walking across his shop, showcasing various wares.

Gabriel: At Talismaniac.com, the dead live, fables come to life with my huge inventory of the archaic, the macabre, and the mythically missing, the mythically missing pieces of history.

Gabriel: You want some of Catherine the Great's hair? I got it. Maybe you'd like a tail hair from the horse that crushed her? I got that, too, Sparky.

Gabriel puts Sir Kilbourne's skull on a shelf.

Gabriel: How about some carbon-dated sand from Golgotha? That's the site of the Crucifixion. I got Marilyn Monroe's bedsheets. I got Jimi Hendrix' first guitar. {And} You know what? I even got Lee Harvey Oswald's socks. So, hit us at Talismaniac.com, where you can log-on, and you can rock on ...

Gabriel picks up a kewpie doll and holds it up.

Gabriel: ... because my nipples are dry, and he needs food.

The commercial ends with the Talismaniac.com logo and the caption "From Slime to the Sublime."

Cut to Sara walking back into her apartment. The broken glass is still waiting on her floor. Sara spies the glass, grimaces, and moves to start picking up the pieces again. She notices her hand trembling again. She holds up her left hand - no twitching there. She removes the Witchblade and her right hand stops shaking.

Flash of Vicky Po holding the Witchblade in her lab.

Vicky (memory): This is a conundrum.

Flash of Ian stepping out from behind a Joan of Arc painting in a church.

Ian (memory): A cruel destiny to be sure.

Flash of her concerned partner.

Danny (memory): Pez, what the hell's going on? You're talking to yourself, you're falling down, you're acting weird. What is up?

Sara looks to the phone, then to the Witchblade. She gets up with a sigh, walks to the phone table and removes her gun, holster and all. Placing the gun on the table, she picks up the phone and dials. We see a machine pick up.

Sara's voice (on machine): Hi, this is Sara. I know, I know it's late, but I have a favor to ask. Give me a ...

Gabriel picks up the phone.

Gabriel: Hey, hey.

Sara: Hey. Did, did I wake you?

Gabriel: No. So, what are you doing up so late, Detective? You had a long day of fighting crime?

Sara: A long day, period. Listen ... (licks lips) ... do you mind if I stop by?

Gabriel: I'll be here.

Sara: Thanks. Bye.

They both hang up and the next thing you know, Sara is at Gabriel's door.

Sara: Hey.

Gabriel: Hey.

Gabriel shuts the door.

Gabriel: You know why some people are primarily nocturnal?

Sara: Uh ... 'cause they can't sleep?

Gabriel: Because their ancestors were watchers of the tribe. They stayed up late and on guard while the others slept. These watchers had excellent night vision, and, uh, they could see things in the shadows that no one else could.

Sara: Oh, well ... sounds like a good alibi for the living dead.

They both laugh softly.

Gabriel: Well, I'll take that as a compliment. You know, I got vampire mythology down.

Sara (little laugh): Why am I utterly unsurprised?

Gabriel: Oh, come on. You think pale, erudite guys are kinda sexy. Cop to it. {Well, now that you mention it ... }

Sara: Whoa. Rule number one - never cop.

Gabriel: Hmm. What's rule number two?

Sara: Never cop.

Gabriel smiles and rubs his mouth. Sara smiles and looks away for a moment.

Sara: Look, um, Gabriel, I want to sell this.

Sara holds out the Witchblade to Gabriel.

Gabriel: Um ...

Gabriel takes the Witchblade from Sara. His eyes roll back in his head and he drops to his knees.

Sara (concerned): Gabriel ... Gabriel. Gabriel, let go! Let go!

Sara takes back the Witchblade. Gabriel still seems shaken. His lips try to pull back from his teeth and his body is trembling.

Sara: Are you all right? What? Gabriel!

Gabriel: Ahh ...

Gabriel tries to pull himself together and offers Sara a weak smile. Sara comes to the conclusion that Gabriel was faking it. {I disagree.}

Sara: That's very, very funny, Gabriel. That's a riot.

Sara stands and turns away to find a place to sit. Gabriel drags himself into his desk chair.

Gabriel: Uh ... No, seriously, I can't take it.

Sara: What? Last time you couldn't wait to get your hands on it.

Gabriel: What are you talking about?

Sara: I said, the last time you couldn't ...

Gabriel just looks at her. Sara sighs.

Sara: Sorry.

Sara looks to the side of Gabriel's shop.

Sara: Do you still have that old drum set that used to belong to Keith Moon?

Gabriel: Nobody knows about that. How did you?

Sara: I'm not sure.

Sara gives a little shrug.

Gabriel: If the myths are true ... (Sara rolls her eyes) ... you, and you alone, are meant to be wearing the Witchblade. Look, there's no coincidence that it ended up on your wrist.

Gabriel sounds truly regretful about the next part.

Gabriel: And I doubt you can escape it.

Sara: Look, myths are myths, Gabriel. They're not true.

Gabriel: Oh, yeah? Well, you know more about that than me. Listen, um ... you're my friend.

Sara nods.

Gabriel: That thing's worth a lot of money.

Sara: Like how much?

Gabriel: A lot. Exactly how much, I don't know. I got an email from a guy who says he knows a lot about it. He calls himself Cyberfaust.

We get a flash of satellites, receiver dishes, and the earth as seen from space.

Cut to Lorelei's apartment building. She is stepping out onto the roof. Spray-painted on the roof is a heart with "Mac and Lorelei forever" in it.

Cut to Irons' den. Ian is reading a thick, old book and walks nearer the fire crackling in the fireplace.

Irons' voice: Ian.

Ian looks up from his book and then to the fire. An outline of Irons' face can be made out in the flames.

Irons' voice: Assume the mantle. Assume the mantle before it's too late. There are others.

Ian grimaces, not particularly pleased by this visitation.

Ian: Father.

He raises his gloved, ringed hand to the flames.

Cut to a half-gloved hand being held up to the TV with static.

Voices: She has the bracelet, the bracelet. Bring us the bracelet, the bracelet. She has come. Bracelet. Bring us the bracelet. She has come ...

Cut to Sara once more opening her apartment door. She steps in, locks the door behind her, and notices the glass shards are gone from the floor.

Ian: Sara.

Sara draws her gun and points it at Ian, who is in her kitchen.

Sara: What are you doing here?

Ian drops the glass shards from his gloved right hand to his ungloved left.

Ian: Picking up the pieces.

Sara: You're going to be picking up your own body parts if you don't get your ass out of here. I am tired, I am pissed ... and worse, I'm confused.

Ian: I'm not the one you have to fear. I'm not a monster. Be aware, Sara. There are evil spirits in human form that tread on this earth. Look in mirrors, look in shadows, look inside.

Sara: I'm sorry. I don't quite follow you. Could you be a bit more vague?

Ian says this next part as if to an intentionally obtuse student.

Ian: You can use the Witchblade to fight evil ... but first you must learn to see evil.

Sara: I'm a homicide cop. It ain't too hard to see evil.

Ian: Evil's shapeless, a vapor ...

Ian begins squeezing his left hand.

Ian: ... a feeling, when acted upon, results only in blood.

Ian holds up his left hand, blood dripping from between his clenched fingers. {Lesson over.}

Cut to Lorelei's apartment building. Lorelei is on the roof talking to someone on her cell phone.

Lorelei: I just don't think I can take it any more. I loved him so much.

Female voice: Don't. Please don't.

Lorelei has walked to the edge of the roof and now steps up onto the low wall around the edge.

Lorelei: You said people have the right to do what they want to do with their lives.

Female voice: Please, Lorelei. I'm not asking you, I'm telling you. Please don't. Please don't. Stop.

Cut to Sara to see she is kicking off her slippers, preparatory to going to bed. She looks at the Witchblade.

Back to Lorelei on the roof.

Lorelei: What should I do?

Female voice: Don't. Stop. Don't. Stop. Don't ... stop. Don't ... stop, don't stop, don't stop ...

Lorelei: Thank you.

Lorelei drops the phone to the rooftop. She is standing with her back to the street.

Cut to Sara to see her yawn and rub her face as she starts to fall back to her bed.

Cut to Lorelei to see her fall backwards off the roof. The cell phone is still on the roof, static crackling from it.

We intercut the scene of each woman falling until Sara hits her bed. Her phone rings.

Cut to Lorelei's rooftop. Sara, Jake, and others are there. Jake spots Lorelei's phone.

Jake: Looks like a clue to me.

Another officer picks up the phone and bags it.

Jake: Last call?

Sara (to others): Thanks.

Sara (to Jake): This wasn't a suicide.

Jake: Danny warned me about your hunches.

Sara: Really? What did he say?

Jake: Trust them.

Sara: Huh. Let's get out of here.

Jake: Yeah.

They start walking to the roof access door.

Jake: I'll see {who was her} last caller.

Fade.

End Act II

Act III

Open with Sara riding her Buell.

Jake (in voiceover): Pez. Lorelei's final call was to her shrink.

Cut to the office of Dr. Anna Granger, clinical psychiatrist.

Anna Granger is in her 30's with dark hair pulled back and fastened at the back of her head. She wears a white professional suit.

Anna: It's a shame and a waste what happened to Lorelei. I've been worried about her. She called me last night. She was suicidal. I tried to keep her on the phone, while I dialed police emergency services on my other line.

Sara: Did you get through to EMS?

Anna: No.

Anna puts on glasses with thick black frames.

Sara: Did you know Lorelei had jumped?

Anna: Not until you called me this morning.

Sara: Had Lorelei exhibited any suicidal tendencies in the past?

Anna: Lorelei was very unstable. She often experienced sonic hallucinations. She heard voices.

Anna notices the Witchblade.

Anna: That's a very beautiful bracelet, Detective.

Sara: Thank you.

Sara tries to tug her jacket sleeve over the Witchblade.

Sara: Um ... so you're not surprised that Lorelei took her own life?

Anna: Sadly, no. The violent death of her boyfriend was the proverbial straw. It's such a shame, because she had made tremendous progress in her therapy.

Sara's right hand is twitching violently.

Anna: Are you all right, Detective?

Sara: Oh, yeah. I'm sure ... I'm sure I'm just a little tired. (nods)

Anna: I understand.

Sara gets out of her chair.

Anna: If there's anything else I can do, or if there's anything else you need ... (hands Sara a business card) ... please give me a call.

Sara: Thanks, I appreciate that. And thank you for your time.

Anna stops Sara before she can get out the door.

Anna: Detective ...

Sara: Hmm ...

Anna: Be careful out there.

Sara: Will do.

Sara exits the office. After she has gone, Anna Granger rubs her right wrist.

Cut to a bar where a memorial is being held for Mac Tone and Lorelei. Sara and Jake walk in. There's a woman there with dark hair falling in her face and Goth clothes and makeup that stares at Sara as she walks by. The woman twists a lock of hair back and forth. Sara and Jake settle near the stage.

Jake: Pez, this is frustrating as hell. Mac Tone's killer is probably in here right now, pretending to mourn him. And we got nothing to go on.

Sara: Hey, Jake, the clues are here. We're just not seeing them. Tomorrow, we'll get a guest list from the memorial service, start doing interviews with whoever knew Mac and/or Lorelei. Maybe good old grunt work will turn something up.

Jake: Man ... this is tough.

Sara: What? Did you think working Homicide would be easy?

Jake: No, it ...

Jake searches for a way to express himself.

Jake: How do you not care?

Sara: I didn't say I didn't care.

Jake: You just do the job? You just shut it down?

Sara: That is the job.

Jake shakes his head and looks to a picture of Mac and Lorelei.

Jake: Two lives ... snuffed. (snaps fingers) Like that.

Sara nods.

Jake: What a world. Even if your hunch was wrong, and Lorelei was a suicide ... this blows.

Sara: That's the world we work in, Jake. And it is tough, man. You gotta dig deep to maintain your humanity without letting the dark side of human nature completely crunch you.

Jake (sigh): Yeah, you're right.

Jake swats her arm.

Sara: Go home. Get some rest. Tomorrow we'll keep pushing the boulder up the hill.

Jake: All right.

Jake gets up and starts walking to the door.

Sara: Jake.

Jake turns back as Sara starts toward him.

Jake: Yeah?

Sara: If it makes you feel any better, we will hunt this killer down, and we will bring her to justice. Avenging the dead, that's the good part of this job.

Jake: Damn straight.

The woman with the hair in her face walks by Sara. Sara sees a flash of TV static with a vaguely humanoid outline in it. Sara stumbles and Jake catches her.

Jake: Whoa ... you all right?

Sara: Yeah, yeah ... yeah, I just need some air. Let's go.

Sara walks by Jake and he follows her with his eyes.

Cut to Sara on her Buell arriving back home. In her apartment, she sits on the couch and puts her feet up on the table. She takes the Witchblade off and puts it on the sofa beside her. Sara remembers Gabriel imparting some important information.

Gabriel (memory): That amulet is an icon of tremendous power that can supposedly only be worn by a woman, a chosen woman. Now, what that means is that there are people who are probably trying to take it away from you or to control you.

Sara reaches into her pocket and pulls out two business cards: one for Anna Granger, and one for Talismaniac.com. She picks up her phone and hears static on the line.

Sara: Hello?

Gabriel: Sara?

Sara: Gabriel?

Gabriel: Hey ...

The static fades.

Sara: Hi ... ah, that was, that was weird. The phone didn't even ring.

Gabriel: No, it's, uh ... it's not weird. But, um ... but this is. I got another email from my mysterioso pen pal, Cyberfaust.

Sara: And?

Gabriel: He told me to tell you that everything is connected.

Sara: Meaning?

Gabriel: Meaning, I guess, that everything is connected.

Sara: Hah ... that's kind of a broad statement, don't you think?

Gabriel: Maybe.

Sara: Did he say anything else?

Gabriel: Um ... he told me to tell you to be on guard.

Sara: What is it that I'm supposed to be on guard for? I mean, people, events, the past or the present ...

Gabriel: I don't know. All of the above. Look, the only thing I can think of is that maybe somebody is trying to get the Witchblade from you.

Sara: Keep me posted.

Gabriel: Yeah ... Oh, hey. He did say something else. "Money is not the currency with which the Witchblade can be obtained."

Sara: Meaning it's priceless?

Gabriel: Maybe. Ponder on, Sara.

Sara: Yeah. Later, Gabriel. Thanks.

Sara hangs up.

Cut briefly to the front of the precinct, just long enough to get this voiceover.

Anna (in voiceover): Detective Pezzini, could you come over right away?

Cut to Anna Granger's office again.

Sara: Doctor, why didn't you call the police last night?

Anna: I know it sounds ridiculous, but I didn't. I just made sure my door was locked.

Sara: What time did the attack happen?

Anna: I'm not exactly sure. I was on my way home from dinner last night, when a woman pulled me into the shadows. She said it was my fault Lorelei died.

Sara: What exactly did she say?

Anna: She screamed, "It's your fault Lorelei died. It's your fault."

Sara: Do you have any idea as to who it might be?

Anna: I didn't recognize the voice, and Lorelei never spoke about her friends, so ... I'm clueless. Not to mention, frightened to death.

Sara: Could it be another one of your clients?

Anna: Absolutely not. None of them knew Lorelei, and none of them are that dangerous. (sigh) This world, sometimes.

Sara: Huh. I guess we both get a look at human nature that most people don't.

Anna: If you look into the abyss, the abyss looks into you. You really should be careful. Prolonged and intense stress can precipitate formidable mental illness.

Sara: You know, I may want to discuss that with you some time.

Sara gets a flash of Ian talking to her in a church.

Ian (memory): Joan of Arc heard voices, too. She claimed they were the source of her power.

Voices: Sara ...

Anna: Look, Detective ... Sara ... I couldn't help but notice that your hand was shaking violently the other day. Are you all right?

Sara: Listen, Doctor, just be very careful, OK? Be on guard.

Sara gets up to leave.

Sara: Oh, and if you can think of anything that may help us identify whoever attacked you, please let me know.

Anna: Will do.

Cut to Sara exiting Dr. Granger's building. It is snowing steadily outside. Sara's cell phone rings and she digs it out of her jacket pocket.

Sara (into phone): Hello. Detective Pezzini.

Ian (over phone): Hello, Sara.

Sara (into phone): What a surprise. You get tired of lurking?

Ian (over phone): I do prefer to commune with you in person.

Ian steps out from behind one of the pillars on Anna Granger's porch. His eyes flick up and down Sara's form. Sara turns and sees him. Ian puts his phone away and lowers his head. Sara returns her phone to her jacket.

Sara: Traveling at the speed of dark again?

Ian: Mr. Irons was not the only one who wanted to control the Witchblade. There are other dark forces out there.

Sara: Oh, on the other side of that slender, transparent line that you were talking about?

Ian: Within that line is space, between clarity and insanity, where black and white converge, like a shark swimming in murky water.

Ian undulates his right hand like a shark swimming.

Ian: Just beyond the unsuspecting swimmers.

Ian moves the first two fingers of his hand like the kicking legs of a swimmer. Ian quickly fists his hand with a "chomp" sound.

Sara: What am I supposed to do with that?

Ian stares at his now-open palm.

Ian: Be careful, Sara.

Ian glances up at Sara.

Ian: Things are not what they seem.

Sara looks down at the Witchblade. When she looks up, Ian is gone - again. Sara looks around for Ian, then scoffs.

Sara: And everything is connected.

Sara walks away from Anna Granger's building. Down the street, we see Ian throw his coat about his shoulders and depart.

Cut to Anna Granger arriving home. Her living room is done in white, beige, glass and steel - very austere. She grabs a remote and sits in a swivel chair. She turns the chair around and clicks the remote.

Cut to Sara's precinct. She's just come in and Jake joins her as she takes off her coat.

Jake: Pez ... anything?

Sara: Ah, yeah. Dr. Granger was attacked last night by someone who blames her for Lorelei's death.

Jake: That's strange.

Sara: Yeah.

Jake: How do you figure it fits in?

Sara: Well, number one, it could be someone who simply does blame the doctor. Number two, it could be someone trying to cover up the fact that Lorelei's death was not a suicide.

Jake: By putting attention on the doctor's supposed incompetence.

Sara: Yeah, something like that.

Jake: Hmm ... number three?

Sara: Well, that is the wild card. You get anything?

Jake (slow smile): The wild card. I think.

Jake picks up a piece of paper from Sara's desk. He has her complete attention.

Jake: In the past four years, there have been 111 jumpers in New York. Of those incidents, 17 were highly questionable. Of the 17, three were young women, young women who were seeing a certain psychiatrist by the name of Anna Granger. All three died within a week. {Way to go, Jake.}

Cut to the dark-haired woman playing with her hair in front of the snowy TV.

Voices: She has come. Bring us the bracelet. She has come ... bring us the bracelet. She has come ... bring us the bracelet. (and repeat)

The camera pans to reveal this is Anna Granger. Her living room is split - half the white, modern look and half Goth. Anna sits twisting her hair and listening to voices only she can hear.

Fade.

End Act III

Act IV

Open with Anna Granger, now in a black dress and Goth makeup, walking round and round her living room. There is a bellhop uniform on the floor in front of the TV. The TV still shows static. Anna soon kneels in front of the TV and repeats what the voices are saying.

Anna: Don't. Stop. Don't. Stop. Don't ... stop ... don't ... stop ... don't ... stop ... Don't stop. Don't stop.

Cut to Sara and Jake barging into Anna Granger's office. The secretary shows them that no one is there and they leave.

Back to Anna staring at her TV.

Anna: Don't stop. Don't stop. Don't stop. (repeat)

Cut to Sara and Jake entering Anna's living room, both with guns drawn. No one is there. They both notice the odd decor and Sara notices the bellhop uniform.

Jake: What the ...

Sara: Well, ladies and gentlemen, we have ourselves a killer. Now all we have to do is find her.

Jake: Yeah ...

Jake looks to the two halves of the room.

Jake: ... both of her.

Cut to Anna walking in a hooded cloak in the pouring rain. She hears the voices saying "Don't stop" over and over.

We get a brief flash of the receiver dishes again.

Cut to Sara arriving back home. She closes and locks her door and drops her gym bag by the door. She goes to the refrigerator and gets a bottle of water. In a lightning flash, we can see Anna.

Sara takes her holster off and removes the gun and places both on the table in front of the couch. She sits on the couch, leans back and stretches. Suddenly, she grabs her gun and stands, pointing the gun around the apartment. But there is no one visible. Sara relaxes.

Sara: Maybe I am losing my damn mind.

Anna's voice comes from the darkness of the apartment.

Anna: Maybe you have more than one.

Sara spins, gun pointed out, but she still cannot see Anna.

Sara: What do you want?

Anna: You know what I want!

Anna springs at Sara from the side, knocking Sara to her back and her gun across the room. Anna is atop Sara and tries to choke her. Sara tries pushing Anna's head back and Anna punches her with her right hand. Sara grabs Anna's hair and pulls her to the side enough to push her away.

Various objects in Sara's apartment start shaking. Then it appears that a chasm forms across the floor. The chasm is filled with what looks like TV static. Sara quickly crab walks backwards.

Anna: If you look into the abyss, the abyss looks into you.

Anna jumps across the chasm to Sara's side. She kicks and punches Sara and tries to force her to fall into the chasm, but when Sara falls, the floor becomes solid again. As Sara lies face down on the floor, Anna places two daggers next to Sara's right wrist, one on either side of her arm.

Sara: Why are you doing this?

Anna: Because they told me to.

Sara: Who?

Anna: They.

Anna moves to cut Sara's hand off, but the Witchblade transforms into the gauntlet. Sara kicks Anna off her and gets back to her feet.

{We get static flashes along with our usual strobe lights in the next bit, so it's kind of hard to see what's going on.}

Anna uses the two daggers against the Witchblade and kicks Sara. When she comes at Sara with both daggers raised, Sara rolls back across her kitchen table. Anna gets both blades stuck in the table. Sara transforms the Witchblade gauntlet into the more open version that we saw heal Ian in Consectatio {the kinder, gentler Witchblade}. She punches Anna and knocks her out.

Cut to Irons' den. Ian is sitting in Irons' carved wooden throne facing the fire. He launches into a soliloquy.

Ian: Sara ... is it madness when you hear voices? I hear yours ... day and night ... whether on the gray pavement ... or here alone ... (nods) ... I hear you ... deep in my heart.

Ian smiles and rubs his chin.

Ian: Anna Granger ... crazy.

Ian rises from the chair.

Ian: She heard voices, too. Voices that told her to take the Witchblade.

Ian starts slowly walking about the room.

Ian: You see? Do you understand now? Do you? That wielding the Witchblade means you also have to defend it.

Ian seems to be talking to a portrait of Joan of Arc in battle.

Ian: I knew your noble nature ... would attract the dark forces ... forces that only you can fight. And when I told you, did you believe me?

Ian turns from the painting back to the fire.

Ian: No. Did you hear me? No. Did you see me? No.

Ian steps closer to the fire.

Ian: This was a test, Sara ... of things to come. Anna was a portal, a conduit ... for the dark side. She was susceptible to the shadow world. And now, my love ... you are vulnerable, too.

Ian closes his eyes and waves both gloved hands through the fire before backing away. He opens his eyes and seats himself in the throne again.

Cut to an interrogation room. Sara walks in. Anna is seated at the table. The only illumination (besides the small window in the door) is a light over the table. There's a policewoman just inside the doorway.

Sara (to policewoman): Thanks.

The policewoman leaves.

Anna: Hello, Detective.

Sara: Hello.

Sara walks around the table and leans against the wall facing Anna.

Sara: Why did you kill Mac Tone?

Anna: I didn't.

Sara: Ah ... who did?

Anna: You know. There are two people, two personalities, living inside this body. I am only conscious of small fragments of the other personality.

Sara: Does this other person have a name?

Anna: Adrienne.

Sara: Why don't you, uh, tell me about her?

Sara sits at the table.

Anna: She hears voices. Voices that tell her what to do ... who to kill.

Sara: Oh ... whose voices are they?

Anna: You'd have to ask her that.

Sara: Do you think that someone who hears voices is insane?

Anna: That depends on the voices they are hearing.

Voices: Sara ... Sara ... Sara ... (repeats)

Camera pulls away, straight overhead, so Sara and Anna and their small circle of light becomes tiny in the center of the screen and eventually disappears - like turning off an old TV.

One last flicker of static.

Fade.

End Act IV

END OF EPISODE

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