BIRD OF PREY
1X04: THREE BIRDS AND A BABY
PROD #175453
ORIGINAL AIR DATE ON WB: 10/30/2002
TRANSCRIBED FROM WB
Written by: DAVID H. GOODMAN & JULIE HESS
Directed by: CRAIG ZISK
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive without permission.
RATING: TV-PG-V
==========================
DISCLAIMER:
==========================
"BIRDS OF PREY" and its characters are copyright (c) 2002 Warner Bros., Tollin-
Robbins Productions & DC Comics. All Rights Reserved. This transcript was made
without their permission, approval, authorization or endorsement. Any
reproduction, duplication or distribution of this material in any form is
expressly prohibited. It is absolutely forbidden to use it for commercial gain.
Leave the headers/disclaimers in tact because it lists all those who have
painstakingly made this transcript possible for your enjoyment and provide a
link back to the site where this file originated
http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY: Helena, who firmly believed that she was not the "motherly" type,
finds herself growing attached to the baby she brings home. But this isn't just
an ordinary baby, he's an assassin, genetically created specifically to kill and
destroy. However, things aren't as simple as they seem. Which is stronger?
Nature or Nurture? The commands "programmed" into Guy's genetic code? Or the
life's lessons Helena teaches him through example? It's a race against time as
Guy has only three days to live.
==========================
BIRDS OF PREY
1X04: THREE BIRDS AND A BABY
==========================
FULL INTRODUCTION (VOICE-OVER ONLY):
ALFRED PENNYWORTH: Legend tells of a caped crusader --Batman, guardian of New
Gotham, and his one true love -- Catwoman, the queen of the criminal underworld.
Their passion left behind something extraordinary -- a daughter -- huntress.
Half meta-human, she has taken up her father's mantle, and under cover of the
night, fights to protect the innocent and helpless. Joining her in this
struggle, oracle, who was once Batman's protégée Batgirl. She was caught in the
crossfire of the war between Batman and joker. Now she fights crime a different
way -- a master of the cyber-realms and mentor and trainer to heroes. Together,
they have taken in a young runaway -- Dinah, a meta-human herself with powers to
open hidden doors to the mind, powers that she is only beginning to explore.
Together, these three are the protectors of new Gotham -- The Birds of Prey. My
name is Alfred Pennyworth, and this is their story.
COLD OPEN:
[FULL DESCRIPTIVE INTRODUCTION]
[EXT. FULL MOON -- NIGHT]
(The image of a bat flies by the light of the moon, turns and heads directly to
the camera.)
SMASH CUT TO
INTRODUCTION:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.)
(Dissolve to: BATMAN lands on a rooftop, his cape billowing behind him.)
ALFRED PENNYWORTH: (v.o.) Legend tells of a caped crusader ...
DISSOLVE INTO:
[CLOSE UP: BATMAN]
ALFRED PENNYWORTH: (v.o.) ... Batman, guardian of New Gotham, ...
(Dissolve to: Camera cruises up high above the buildings, weaving in and out
between them.)
DISSOVE TO:
[EXT. ALLEYWAY - NIGHT]
ALFRED PENNYWORTH: (v.o.) ... and his one true love ...
(CATWOMAN lands feet first on the ground and tilts her head to look quizzically
in front of her.)
(Dissolve to: Close up of Catwoman's mask.)
ALFRED PENNYWORTH: (v.o.) ... Catwoman -
(Cut to: BATMAN pushes his cape aside as CATWOMAN leaps in front of him. She
swings and he grabs her wrist, pulling her close to him.)
ALFRED PENNYWORTH: (v.o.) ... The Queen of the criminal underworld.
DISSOLVE TO:
(Dissolve to: Camera cruises up high above the buildings, weaving in and out
between them.)
DISSOLVE TO:
[CLOSE UP: HELENA KYLE]
ALFRED PENNYWORTH: Their passion left behind something extraordinary ...
(Dissolve to: HUNTRESS pushes aside the curtain and walks inside the room.)
(Camera zooms in for an extreme close up of The HUNTRESS' left eye. THE
HUNTRESS' pupils contract and change into convexo-convex shaped disks like those
of a cat's. Her eyes change from brown to blue.)
ALFRED PENNYWORTH: ... a daughter -- Huntress.
[Scene from 1X01: Pilot.]
[EXT. ALLEYWAY - NIGHT]
(The HUNTRESS fights JERRY. She does a couple of flips forward toward JERRY who
is against the wall.)
(Dissolve to: The HUNTRESS crouches down low ready to pounce. She lifts her
head and looks directly at her prey.)
DISSOLVE TO:
[INT. APARTMENT - BALCONY -- NIGHT]
(The HUNTRESS turns and spreads her arms. She jumps off the balcony in a
beautiful swan dive. She falls to the building rooftops far below ... )
ALFRED PENNYWORTH: (v.o.) Half meta-human ... She has taken up her father's
mantle ...
(Camera cruises up high above the buildings, weaving in and out between them.)
DISSOLVE TO:
[EXT. WAREHOUSE - NIGHT]
ALFRED PENNYWORTH: (v.o.) ... and under cover of the night, fights to protect
the innocent and helpless.
[Scene from 1X02: Slick]
(HELENA and another MAN fight in the warehouse, the back doors of the van he was
unloading wide open.)
(HELENA crouches down low and looks up at the MAN.)
DISSOLVE TO:
[INT. GIBSON'S BAR - NIGHT]
[Scene from 1X03: Prey for the Huntress]
(The door slides open and BARBARA is sitting in her wheelchair.)
ALFRED PENNYWORTH: Joining her in this struggle ...
DISSOLVE TO:
[INT. THE CLOCKTOWER - DAY]
(Camera close up of BARBARA GORDON.)
ALFRED PENNYWORTH: (v.o.) Oracle -
[Scene from 1X01: Pilot]
(Dissolve to: THE CLOCKTOWER. The camera pulls back and twists completely over
where we find BARBARA GORDON sitting in front of the computer monitors working.)
ALFRED PENNYWORTH: (v.o.) ... who was once Batman's protégée, Batgirl.
[CLOSE UP: BATGIRL]
[Scene from 1X01: Pilot]
(Inside the Dockyard's Warehouse, BATGIRL fights the thugs in the hallway.)
ALFRED PENNYWORTH: (v.o.) She was caught in the crossfire of the war between
Batman and Joker.
[INT. APARTMENT - NIGHT]
(BARBARA GORDON opens her apartment door and looks up in surprise.)
(Cut to: The JOKER raises his gun, aims and fires.)
(Cut to: The top of BARBARA GORDON'S head.)
(Cut to: BARBARA'S surprised look.)
(Dissolve to: The bullet hits BARBARA and she flies backward.)
(Dissolve to: Camera close up of the empty shell casing.)
DISSOLVE TO:
[INT. THE CLOCKTOWER - NIGHT]
ALFRED PENNYWORTH: Now she fights crime a different way -- master of the cyber
realms ...
[Scene from 1X01: Pilot]
(BARBARA sits in her wheelchair in the center of her computer center. A circle
of green light rises from the floor and surrounds BARBARA in what appears to be
a 360 degree 3-D grid that places her at the center of what DINAH sees in front
of her.)
CUT TO:
[Scene from 1X01: Pilot]
[INT. KETTERLY'S RESIDENCE - LIBRARY -- NIGHT]
(Sitting in her wheelchair, BARBARA appears in the doorway and throws the
circular birdarang with ease and skill at Ketterly.)
[Scene from 1X02: Slick]
(The birdarang flies across the clocktower.)
ALFRED PENNYWORTH: (v.o.) ... a mentor and trainer to heroes.
(Cut to: [Scene from 1X02: Slick] BARBARA smiles, a circular birdarang in her
hand.)
(Cut to: [Scene from 1X01: Pilot] BARBARA and HELENA talk. They both turn to
look at the camera.)
ALFRED PENNYWORTH: Together, they have taken in a young runaway ...
[INT. GIBSON'S BAR - NIGHT]
(Cut to: [Scene from 1X03: Prey for the Huntress] DINAH is at the pool table
holding a cue stick. She stands up and turns around to look at the camera.)
ALFRED PENNYWORTH: (v.o.) ... Dinah -- a meta-human herself, ...
(Cut to: [Scenes from 1X01: Pilot] DINAH reaches out and grabs HELENA'S wrist.
She has a vision.)
(Cut to: The CLOCKTOWER. The man dying grabbing her own hand. Flash to
another vision. DINAH in front of the Bus Terminal. Flashes of the vision of
the man on the bench.)
(Cut to: A hand presses against a wall. It glows and opens a secret door.
DINAH finishes her vision with HELENA.)
ALFRED PENNYWORTH: (v.o.) ... with powers to open hidden doors to the mind,
powers that she is only beginning to explore.
(Dissolve to: DINAH.)
(Dissolve to DINAH opening the cob-webbed warehouse door at the dockyards while
wearing the goggles.)
(Dissolve to: DINAH in the machine getting her brain scanned.)
(Dissolve to: DINAH and BARBARA dressed as BATGIRL in HELENA'S mind. BARBARA
stands up and moves toward DINAH. They grasp each other's wrists.)
ALFRED PENNYWORTH: (v.o.) Together, these three are the protectors of New
Gotham ...
(HELENA walks up to them and puts her hand over theirs.)
(The three stand together.)
ALFRED PENNYWORTH: (v.o.) ... the "Birds of Prey."
WHITE FLASH TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
DISSOLVE IN TITLE LOGO with flying bird
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.
In one continuous movement, it turns and rushes straight downward to the street
below.)
ALFRED PENNYWORTH: (v.o.) My name is Alfred Pennyworth, and this is their
story.
END OF INTRODUCTION
CONTINUE TO:
(A woman screams. The camera continues to fall straight down to the streets
below.)
WOMAN: (v.o.) No!
WOMAN: (v.o.) Stop! Leave him alone, please!
MAN: (v.o.) They're trying to get away! Move out!
MAN: (v.o.) They're headed this way!
CUT TO:
[EXT. FIRE ESCAPE OUTSIDE BUILDING]
(The woman pushes the window curtain aside and steps out into the fire escape.
In her arms, she holds a bundle in what appears to be a baby.)
(The baby cries.)
WOMAN: Stop! No! No! No, no! Get away from me! No!
(A man appears through the window and grabs the woman as she tries to climb up
the fire escape ladder. They struggle)
WOMAN: Leave us alone! No! Please! No !
(They continue to struggle.)
WOMAN: No!
(The woman looses her grip on the bundle and it falls. She screams as she
watches, wide-eyed as the bundle falls all the way down the side of the
building.)
WOMAN: Oh, my god! No!
(Just then, HELENA appears and catches the bundle. She looks up and sees the
woman.)
WOMAN: (o.s.) Please! Help us!
(But she doesn't have time to do anything as she's surrounded immediately by a
group of men. She holds the baby tightly in one arm while fending them off with
the other. The first man attacks with a knife; HELENA dodges and parries out
of his reach. Behind her, a second man jumps down from the fire escape. He
rushes forward; she turns and knocks him away. The first man lunges forward
with his knife; HELENA steps aside and hits him in the back.)
(She turns forward to face the other men in the alleyway. They keep coming and
using her one hand, she keeps fending them off. She kicks, dodges and parries
their attacks. Finally, she kicks one in the chest, the other she sweeps his
legs out from under him. The attackers fall back, then get up to attack again.
HELENA runs up against the wall and jumps over the two attackers. He lunges for
her and she kicks the knife away from him. They get up and both run out of the
alley.)
(HELENA watches the run, a half-pleased smile on her face.)
HELENA: Sorry it took me so long. Here's your -
(HELENA looks up and stops. The WOMAN is dead on the fire escape, a knife
plunged in her chest.)
HELENA: ... baby.
(HELENA glances back to the crying baby. She looks up at the WOMAN again.)
HARD CUT TO:
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. CLOCKTOWER (STOCK) - MORNING]
[INT. CLOCKTOWER - DAY]
(The baby is lying on the table, while HELENA explains its presence to BARBARA
and DINAH.)
HELENA: They were trying to take it away from her. I didn't know what else to
do with it.
BARBARA: No, you did the right thing, bringing it back here.
DINAH: Okay, you know what? Someone has to take the plunge, if only to stop
the rampant pronoun abuse.
(DINAH slowly removes the blanket wrapped around the baby's bottom. She peels
it back fold by fold; HELENA leans in to look. She smiles.)
DINAH: Ah. He's a boy.
HELENA: It figures.
(BARBARA turns to look at HELENA. She looks back.)
HELENA: What? Men always need saving.
DINAH: Well, we should name him.
HELENA: I'm good with "boy." I was actually good with "it."
(HELENA reaches down and pokes the baby in his tummy with the pencil she's
holding.)
BARBARA: Helena, don't poke the baby.
(BARBARA takes the pencil from HELENA.)
DINAH: How about "Guy"?
BARBARA: Simple yet insightful. Guy it is.
(She looks at the others as they nod in agreement.)
BARBARA: Okay, I'll hack into the coroner's database and find out who his
mother was. That might give us a clue as to what the attackers were after.
HELENA: Yeah, maybe you can find out where we return him.
DINAH: What do we do till then?
BARBARA: We'll take care of him.
HELENA: (protesting) Take care of him? I can't even keep a houseplant alive.
DINAH: No, this is great. I was, like, the babysitter at home. Kids love me.
BARBARA: Yeah, it's easy. It's all about efficiency and planning.
HELENA: Now you're doing that super-Barbara thing again. You know that makes
me nervous.
(BARBARA backs away; DINAH picks up GUY and follows her toward the elevator
doors.)
BARBARA: It'll just require a little creative scheduling, that's all.
HELENA: Wait. You two are actually serious about this.
BARBARA: We vanquish the forces of evil every night, Helena. How difficult can
it be to take care of one small baby?
(BARBARA tickles GUY as she and DINAH both turn to look at HELENA who rolls her
eyes and groans as she steps into the elevator with them. The doors close.)
CUT TO:
[INT. CLOCKTOWER -- CONTINUOUS]
(The elevators open to a crying baby and an extremely irritated HELENA.)
HELENA: What's wrong?
DINAH: I don't know.
(BARBARA holds her hands out for GUY.)
BARBARA: Here, let me try. Let me try.
(DINAH hands GUY over to BARBAR and she tries to play with him, but he still
cries.)
BARBARA: Hi. Hi.
(BARBARA shakes her head and hands GUY over to HELENA.)
BARBARA: Helena.
(HELENA takes GUY and BARBARA exits the elevator.)
HELENA: It's like holding a sack of screaming cats.
(GUY stops crying as they follow.)
HELENA: Did I break him?
DINAH: No, he likes you. He's smiling.
(HELENA holds him up at arm's length to look into GUY'S mouth.)
(cc) HELENA: He's got no teeth.
(They make their way toward BARBARA.)
BARBARA: The coroner hasn't been able to I.D. the woman in the alley. Neither
have the police. Looks like you now have to go to the morgue.
HELENA: Sorry, duty calls.
(HELENA hands GUY over to BARBARA then turns to leave.)
BARBARA: Oh, and while you're out, you, uh, better pick up some diapers.
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.)
[EXT. / INT. DR. QUINZEL'S OFFICE]
(Camera slowly pushes in toward the office door with the following: DR. HARLEEN
QUINZEL / DOCTOR OF PSYCHIATRY.)
(Inside the office, the camera moves along several framed diplomas hanging on
the wall. The wall thumps and the diplomas shake. DR. QUINZEL has LEWIS MALFIN
up against the wall, her hand choking his neck.)
HARLEY QUINZEL: Let me cut right to the chase, Dr. Malfin. I'm working on a
tight schedule and can't stand for delays. I paid you good money to genetically
engineer this baby for me. Now where is he? I bought a cute little onesie for
him.
LEWIS MALFIN: One of my assistants broke into the lab last night and stole the
baby. Now, the assistant has been tracked down and eliminated, but the baby has
fallen into third party hands.
HARLEY QUINZEL: Some stranger has my baby?
DR. LEWIS MALFIN: Someone quite lethal. My men didn't really get a good look.
They were too busy running away.
HARLEY QUINZEL: Let me explain something to you, Dr. Malfin
(HARLEY lets LEWIS MALFIN go and takes a step back where she indicates her
office environment around her.)
HARLEY QUINZEL: --I know I may look like the ultimate career woman, but all
this -- it means nothing to me. I'm ... unfulfilled. The joker and I always
wanted kids. Me and my Mr. J., We would have had such beautiful children. With
my green eyes and his green hair ... instead, the best I could do was to have
you custom-make this baby for me, and you've lost him. My biological clock is
ticking, Malfin -- and it's a bomb.
DR. LEWIS MALFIN: I'll -- I'll get him back.
HARLEY QUINZEL: You'll do nothing of the sort. It's obvious the pocket
protector brigade isn't up to the task. I'm outsourcing -- bringing in
professionals for the retrieval. And when I have my baby back ... (shrugs) ...
then I'll decide whether I'm going to let you live.
(She steps away. LEWIS MALFIN turns around and straightens the crooked diploma
frame.)
CUT TO:
[INT. MORGUE -- NIGHT]
(Inside the morgue, HELENA snaps a photo of the assistant, the woman with the
baby whom HELENA encountered the night before. She snaps a photo.)
INTERCUT WITH:
[THE CLOCKTOWER]
(BARBARA receives the images that HELENA sends her and its appears on the large
monitor in front of her. GUY is crying in the background.)
BARBARA: Facial recognition software's searching.
HELENA: Everything all right over there with you and Dinah? Sounds a little
hectic.
(The search stops.)
BARBARA: It's nothing we can't handle. Okay, the search came up negative.
Same on the fingerprints. You know what? Try the resonant image scan.
(HELENA adjusted the instrument in her hand and it beeps. She uses it to scan
the woman's face into the computer.)
(BARBARA'S monitor shows muscle and bone structure.)
BARBARA: No significant dental work, no broken bones -- oh, oh, back up.
(HELENA moves the sheet aside and rescans the shoulder area.)
BARBARA: (v.o.) Put the scanner back over her shoulder. There's something
under her skin -- a bio-chip.
(HELENA feels the shoulder skin.)
HELENA: I can feel it.
BARBARA: Good. Cut it out.
(She puts the scanner instrument aside.)
HELENA: I don't get paid enough for this.
BARBARA: That chip may be the only way we can tell who she is.
HELENA: All right. I'm cutting.
(HELENA leans over and opens the knife. She puts the knife to skin. The camera
slowly moves upward and we see REESE standing behind HELENA. Without looking
up, she knows that he's there.)
HELENA: You know, you really shouldn't sneak up on people like that.
REESE: Well, you're one to talk.
(REESE walks up to her .)
REESE: You've been sneaking up on me for weeks now, and all I seem to know is
you call yourself huntress.
(She smiles and turns around.)
HELENA: Are you angling for a phone number, Detective?
REESE: Would it do me any good if I say yes?
HELENA: I doubt it, but I'd enjoy watching you try.
REESE: You know, I have to admit that I'm not surprised to find you standing
over a dead body. I'm not even surprised that you're cutting into one. But,
uhm ...
(REESE reaches behind her on the table and grabs HELENA'S purchase. He shows
her the big bag of diapers.)
REESE: What are you doing with these? You don't exactly strike me as the
motherly type.
HELENA: I thought you'd be a little less quick on your judgments. It worked so
well for you last time.
(HELENA grabs the diapers out of his hand and turns around.)
REESE: You're still mad.
(She turns back to glare at him.)
HELENA: That you called me a "thing" and tried to shoot me? Why would I be mad
about that?
REESE: Okay, can we be really clear about something? I didn't actually shoot
at you.
HELENA: Because you got shot at first.
REESE: (sighs) I'm not going to win this one, am I?
HELENA: (shakes her head) Uh-uh.
BARBARA: (v.o.) Helena, I need you back here now. We have an emergency.
HELENA: On my way.
(HELENA grabs her package of diapers and heads for the door.)
HELENA: Sorry. Got to bolt.
REESE Wait a minute, wait a minute, Huntress, you --
(REESE reaches for something on the table and holds it up.)
REESE: ... you forgot your pacifier.
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - DAY]
(Camera cruises up high above the buildings, weaving in and out between them.)
[INT. CLOCKTOWER -- DAY]
(The door opens and HELENA walks into the room carrying the package of diapers.
In the background, GUY is crying.)
DINAH: Oh, it's boiling over!
HELENA: Barbara, what is the emergency? What's going on?
(HELENA walks into the kitchen which is a mess. GUY is on the table wrapped in
swaddling paper towers; while DINAH busily takes the saucepan off of the stove.
There are baby things scattered everywhere.)
BARBARA: These are not ultra-absorbent. I really needed those diapers.
DINAH: Where have you been?
HELENA: I ran into Reese, and we were talking.
(DINAH hands the sauce pan to HELENA who grabs it and promptly spills the liquid
onto her clothes. BARBARA takes out a diaper from the package. DINAH grabs a
towel and starts dabbing at HELENA'S jacket.)
DINAH: Look, as much as I'd love to stay here and hear the latest chapter of
how you two looked longingly into each other's eyes, but actually didn't get
anywhere, I have to get changed. I was bouncing him to quiet him down, and he
barfed on me.
(DINAH turns to leave the kitchen. She passes ALFRED, merrily watching them
from the side and carrying a cup of tea.)
ALFRED PENNYWORTH: I believe the correct term is "spit up."
(HELENA takes a step toward ALFRED.)
HELENA: What are you, off duty?
ALFRED PENNYWORTH: Might I remind you, Miss Helena, I'm a butler, not a nanny.
BARBARA: Well, I-I thought you raised Bruce Wayne from the time he was little.
ALFRED PENNYWORTH: Oh, yes, indeed. It does seem I have been taking care of
children and everyone else for more years than I can count. So ... it's nice
that you're developing an appreciation of my work.
(ALFRED turns to leave the room. HELENA stands there with a hand to her
forehead.)
HELENA: Where are you going?
ALFRED PENNYWORTH: (without turning around) To get a biscuit.
(BARBARA moves around the table and hands GUY over to HELENA.)
BARBARA: Take him.
(HELENA grabs GUY and holds him awkwardly; her face in a grimace.)
BARBARA: Just for a second. I'm going to get a burp cloth.
(BARBAR turns around while HELENA adjusts her hold on GUY. He immediately stops
crying and looks at her.)
HELENA: Yeah.
(GUY starts gurgling. BARBARA gets the burp rag and turns around to look at
HELENA.)
HELENA: (smugly) See, you were doing it all wrong. (BARBARA looks at HELENA.)
What? It's obvious. Oh, here's your bio-chip.
(HELENA hands BARBARA the chip; BARBARA shoves the burp rag in HELENA'S arms as
she leaves the kitchen.)
HELENA: Oh, he looks tired. Should I take him to the penthouse to sleep?
(BARBARA peers around her chair and points.)
BARBARA: Uh, no, Alfred brought over a bassinet from the manor. It's just, uh,
over there.
HELENA: Come on, you've got to sleep. You're tired.
(HELENA puts GUY in the bassinet, then takes a look around to make sure that no
one's watching. She starts to sing, quietly and rapidly.)
HELENA: Rock-a-bye, baby / on the treetop / when the wind blows / the cradle
will rock / when the bough breaks, the cradle will fall / and down will come
baby, cradle and all
(The baby coos and smiles at HELENA. She looks down at GUY.)
HELENA: You know, this doesn't mean that I like you.
(She smiles.)
(Cut to: HELENA heads back to BARBARA who is busy working on the computers.)
HELENA: He's asleep.
BARBARA: I always thought I would be the maternal one. It's nice to see how
you're ...
HELENA: huh?
BARBARA: You know, taking to a baby.
HELENA: I'm not taking to anything. The sooner he gets back to the family, the
better, as far as I'm concerned.
(BARBARA looks at HELENA like she doesn't believe her.)
BARBARA: Yes.
(The computer beeps. HELENA moves around the back to look at the monitors.)
HELENA: What do you got?
BARBARA: Ah, the bio-chip you retrieved is some kind of heavily encrypted high-
tech electronic passkey. I just broke the code.
HELENA: And?
BARBARA: And it's from a biotechnology laboratory called Simcron Labs. Guy's
mother must have worked there.
(On the monitor is information about the lab, plus a small picture of Dr. Lewis
Malfin.)
HELENA: Hmm. Guess we should probably pay them a visit.
BARBARA: I wonder what was so special about her that those thugs wanted her
dead.
(BARBARA looks at HELENA. Both are interrupted by the loud baby crying. They
both turn to look upstairs in the direction that it's coming from. HELENA
sprints over to get the baby.)
(She heads up stairs, already pacifying GUY before she reaches him.)
HELENA: Shh, shh, shh, shh, shh. Don't cry, Guy.
(HELENA approaches the bassinet.)
HELENA: What in the world is ...
(As she looks inside, GUY is about four years old, definitely not a baby
anymore)
HELENA: ... wrong.
(HELENA'S jaw drops.)
GUY: I had a bad dream.
HELENA: Okay.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. NEW GOTHAM CITY (STOCK) - DAY]
(Camera pushes in slowly toward the clocktower.)
[INT. CLOCKTOWER -- DAY]
(GUY sits at the kitchen table eating while HELENA and DINAH stand around him
watching.)
GUY: Macaroni is odd.
HELENA: He sure knows how to eat.
DINAH: The thing freaking me out is ... how'd the kid learn to talk?
GUY: Why do we live inside a big clock?
DINAH: Ah. He has a point.
HELENA: Hey, don't look at me. I didn't pick it. Senior superhero chooses the
lair.
DINAH: You know ... maybe he's an alien, or -- or an android, or maybe he's an
alien/android cross.
HELENA: He's not an alien.
(HELENA turns to look at BARBARA who is busy working on the computers.)
HELENA: Is he?
BARBARA: According to these readings, he's human - meta-human, to be more
precise -- with a tremendously fast growth rate.
HELENA: How fast?
BARBARA: Well, based on height, weight, bone density, and
(A thick glob of macaroni and cheese hits the back of the computer monitor.)
BARBARA: ... behavior ...
(BARBARA and HELENA turn to look at the glob of food stuck to the hardware, then
up at GUY who stands by the second floor railing looking down at them.)
HELENA: Ugh.
(HELENA grabs the glob of food with her hand.)
BARBARA: He's about four. If he keeps aging at this rate, he'll ... D-I-E of
old age in a few days.
HELENA: (automatically) Oh. We can't let that happen.
BARBARA: I thought you didn't like him.
HELENA: I don't.
(HELENA walks around BARBARA to the other side of her.)
BARBARA: Hmmm.
(DINAH kneels down in front of GUY and smiles.)
DINAH: Hey, let's go get some more macaroni.
(She picks him up and carries him away. HELENA grabs something off of the table
and wipes the macaronis off of her hand onto it.)
HELENA: I just want to help him.
BARBARA: Hey.
(BARBARA recognizes the concern and takes both the thing and the macaroni away
from HELENA. She puts it on the side.)
BARBARA: I'm not sure we can. Here, take a look at this.
(BARBARA and HELENA turn to the monitor where BARBARA has the image of GUY'S
insides up on the screen.)
BARBARA: These lines are some kind of neural mesh that have been surgically
grafted onto his brain and major nerves.
HELENA: Neural mesh? Can you take it out?
BARBARA: It would kill him. And even if we could remove it, I'm not sure we
should. Think of him as a computer. The mesh is like software.
HELENA: It tells him what to do.
BARBARA: Uh, from my analysis, it's more like it tells him how to do things --
how to walk, talk, eat.
HELENA: (grimaces) So he's like a robot?
BARBARA: No, not at all. He gets his skills from the mesh, but what he does
with them seems to been entirely up to him. He's, uh, got his own personality.
(HELENA looks in the direction of upstairs and smiles ... slightly proudly at
that thought.)
HELENA: Yeah, I noticed.
BARBARA: Oh, I also found a passkey bio-chip along with the mesh, just like the
one we found in the dead woman.
HELENA: Meaning they've both been to Simcron. (BARBARA nods.) We can make a
pretty good guess who put the mesh in. But why go through the trouble if he's
just going to die in a few days anyway? He's just a kid -- a kid that doesn't
know what's happening to him or why, doesn't understand that he's different --
he's meta-human.
BARBARA: All three of us know what it's like to discover you're different.
HELENA: And I know what it's like to be a kid and lose your mother. (beat)
This whole thing is going to send me straight to my shrink.
CUT TO:
[EXT./INT. DR. HARLEY QUINZEL'S OFFICE -- DAY]
(HARLEY QUINZEL sits at her desk interviewing a group of hired killers. The
lead MERCENARY sits at the desk while the other three stand in the back behind
him.)
HARLEY QUINZEL: I'm so glad you could come in. Why don't you tell mea little
about yourself and your friends?
MERCENARY: I'm a little confused. You're a psychiatrist?
HARLEY QUINZEL: Well, that's part of who I am. I don't suppose you tell people
at cocktail parties that you're a mercenary for hire, willing to kill as
brutally as necessary if the price is right?
MERCENARY: I usually leave out the killing part.
HARLEY QUINZEL: Precisely, just as I usually leave out my plan to take overall
of New Gotham and bring the city to its knees. But that's why you're here. Due
to a regrettable level of incompetence among the scientific profession, I seem
to have lost an integral part of my plan. I need you to bring him back.
MERCENARY: "Him"?
HARLEY QUINZEL: My baby boy. So, convince me -- why are you and your men right
for the job?
(The lead MERCENARY casually looks down at the letter opener on the desk in
front of him. He picks it up and in a single movement turns around and throws
it at one of his colleagues behind him. The MAN catches the letter opener
before it hits his face. An impressive move indeed.)
HARLEY QUINZEL: Consider yourself hired.
(She smiles.)
CUT TO:
[INT. CLOCKTOWER -- DAY]
(DINAH sits in a chair with GUY on her lap as she reads a book to him.)
DINAH: (reading) "'It's your birthday,' said the big hippo.
"'My birthday?' Asked the giraffe.
"'How do you know?'
"The hippo replied, 'I know because of all these presents I brought for
you.'"
GUY: I never had a birthday.
DINAH: Guy --
GUY: Am I different than other kids?
DINAH: Yes. You're different ... and so are we.
GUY: (satisfied) Okay.
(DINAH turns the page.)
CUT TO:
[INT. SIMCRON LABS]
(DR. MALFIN is on the phone.)
DR. LEWIS MALFIN: (to phone) We've been frantically searching for guy, as you
call him, since he was abducted from our lab.
(He turns the wall monitor off and walks away.
DR. LEWIS MALFIN: (to phone) He has a rare aging disease. He's a very special
child.
INTERCUT WITH:
[INT. CLOCKTOWER]
(BARBARA speaks with DR. MALFIN on the speakerphone; HELENA stands next to her.)
BARBARA: So we've seen.
DR. LEWIS MALFIN: He was scheduled to undergo an experimental treatment to slow
the aging process when our lab was broken into -- industrial espionage.
BARBARA: People are trying to steal him?
DR. LEWIS MALFIN: Well, the boy is an orphan, and his unique condition makes
him very interesting to less principled scientist. My assistant attempted to
save the child. I'm very sorry to hear what happened.
BARBARA: So there's a chance you could cure him?
DR. LEWIS MALFIN: Well, like I said, the treatment is experimental, but without
it, he'll die. Now, I need you to get him to me right away. Time is of the
essence.
HELENA: (interrupting) We'll be right there.
(BARBARA puts the phone call on hold.)
HELENA: I'll get Guy.
(HELENA turns to leave, BARBARA stops her.)
BARBARA: Wait. We don't know enough to bring him right to them.
HELENA: Barbara, he's dying. We don't have a choice. There's no time to argue
strategy here. We can't afford to lose even an hour. We have to take a chance.
BARBARA: It's too dangerous to go in there blind.
HELENA: Then we won't.
(HELENA looks across the way at DINAH who is carrying GUY and watching them.
DINAH smiles at them.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - DAY]
(Camera cruises up high above the buildings, weaving in and out between them.)
[EXT. SUV (MOVING) -- DAY]
HELENA: (v.o.) Slow down, you're driving like a maniac.
BARBARA: (v.o.) Since when did you become the backseat driver from hell?
(The SUV, license #573 BBG, comes to a halt.)
[INT. SUV (MOVING) - DAY -- CONTINUOUS]
(HELENA looks at BARBARA.)
HELENA: You're supposed to check all three mirrors when you're changing lanes.
BARBARA: Look, I got us here, didn't I?
(DINAH, who is in the back seat with GUY, absently turns her head from looking
out the window toward GUY. Her eyes widen at what she sees.)
DINAH: Um, guys?
HELENA: Yeah?
(They turn around to find a ten year old boy sitting in a car seat. They gasp.)
GUY: Where are we?
BARBARA: Wh-when did this happen?
DINAH: I don't know. One second, I'm looking out the window, and the next thing
I know, he's had the growth spurt from hell.
HELENA: Hey, don't swear.
DINAH: Oh, sorry.
HELENA: How old do you think he is?
BARBARA: Ten or eleven, maybe.
HELENA: Which means he's aged six or seven years.
DINAH: Yeah, and he slept through the entire thing.
BARBARA: Sleep. Both times he's taken naps, he's gotten older. That must be
when he ages.
(While they talk, GUY struggles with his extremely too tight clothing.)
HELENA: Hopefully, Dr. Malfin will be able to stop that.
BARBARA: You stay here. I'm going to take Dinah in, suss things out. If
there's a problem, we'll signal.
(HELENA turns around and smiles at GUY.)
CUT TO:
[INT. SIMCRON LABS -- DAY]
(The doors open. BARBARA and DINAH walk inside.)
DR. LEWIS MALFIN: Ah, I was so relieved when you called. Dr. Lewis Malfin.
BARBARA: Barbara Gordon.
DR. LEWIS MALFIN: Ah, it's a pleasure to meet you.
(He reaches out and shakes BARBARA'S hand; then DINAH'S hand. DINAH has a
vision.)
DINAH: It's -
(She gasps as she has a vision in which she sees DR. MALFIN snapping a cartridge
into a gun and hiding it behind his back.)
DINAH: A trap.
(Around them, the GUARDS raise their weapons at the two women. Other armed
GUARDS run down the stairs.)
DR. LEWIS MALFIN: You're not at all wrong.
(He pulls out his gun and aims it at BARBARA, the red laser targeting light
hitting her in the center of her chest.)
DR. LEWIS MALFIN: Now, where's the boy? It feels like years since I've seen
him.
(BARBARA eyes him as she presses the signal in the arm rest of her wheelchair.)
CUT TO:
[INT. SUV (PARKED) - DAY -- CONTINUOUS]
(The signal coming from HELENA'S bag beeps.)
HELENA: Wait in the car. Don't move.
(She tosses a jacket to him to wear.)
HELENA: And please stay awake.
GUY: Okay.
CUT TO:
[INT. SIMCRON LABS -- CONTINUOUS]
(DR. MALFIN holds the gun on BARBARA.)
DR. LEWIS MALFIN: Oh, come now. Don't make me do something unpleasant. Where's
the child?
BARBARA: How about this -- you tell us what you created him for, and, uh, we'll
tell you where he is. (smiles) Deal?
DR. LEWIS MALFIN: Uh, no. See, I have a reputation to rehabilitate. How about
this -
(He swings the gun to DINAH with the red laser light hitting her in the center
of her forehead.)
DR. LEWIS MALFIN: I shoot her in the head, and you tell me anyway.
HELENA: (o.s.) How about not.
(From above, HELENA jumps down behind the two guards and takes them out. DR.
MALFIN turns around, completely surprised by the interruption. Using the
distraction, BARBARA takes out a stick from her wheelchair and opens it into a
longer weapon. She hits the guard standing nearest her. With several blows,
she knocks him to the floor. DR. MALFIN turns to look at BARBARA just as
BARBARA whirls her head around to look at him.)
(HELENA continues to hit the two guard and successfully knocks them both out.)
(She turns to DR. MALFIN who whirls around to look back again at HELENA.)
HELENA: Hope I'm not interrupting.
DR. LEWIS MALFIN: Well, very impressive, but are you faster than a speeding
bullet?
(DR. MALFIN holds up the gun and aims it on HELENA, the red laser dot in the
center of her chest. HELENA doesn't flinch.)
DR. LEWIS MALFIN: Let's see.
(But before he can find out, someone crashes through the glass in the door.
Everyone turns to see GUY come into the room and expertly kick the gun out from
DR. MALFIN'S hand.)
HELENA: (impressed) That's my boy!
DR. LEWIS MALFIN: You -
(DR. MALFIN turns and walks toward HELENA. GUY kicks him in the middle of his
back away from her. He turns him around and kicks him into the "SIMCRON LABS"
sign on the wall. MALFIN breaks through the glass and crashes into the
electrical wiring behind it where he is electrocuted. He slumps to the ground.
Dead.)
(HELENA turns to look at BARBARA.)
BARBARA: Well ... y-you said he was your boy.
(Everyone turns to look at each other. Camera holds on HELENA.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. SIMCRON LABS]
(The group of MERCENARIES and HARLEY QUINZEL walk into the lab.)
HARLEY QUINZEL: Baby came home to visit daddy. Now this is what I call nice
work --
(She kneels down next to DR. MALFIN'S body.)
HARLEY QUINZEL: Quick, precise. Perfect. (She stands up to look at the
MERCENARY.) You can see why I'm so anxious to find him.
MRCENARY: A baby did this.
HARLEY QUINZEL: My boy's growing up. Where has the time gone? He was designed
to go through an entire human life cycle in just three days. I mean, really, he
is the perfect child for the busy career woman -- low maintenance, no sleep
deprivation, they don't live long enough to borrow the car.
MERCENARY: Well, if he grows so fast, why not just get another one?
HARLEY QUINZEL: He's the prototype -- a blueprint for my family of baby
assassins. Completely loyal and willing to do mommy's bidding.
MERCENARY: Loyal? You mean you told him to do this?
HARLEY QUINZEL: No. This he did on his own. Free will -- very pesky. I told
Malfin to bioengineer it out of the boy. Obviously one more thing he didn't
manage on the to do list. But the child is still controllable. That's why
we're here.
(She motions the MERCENARY over to her and with her foot, she rolls DR. MALFIN'S
body over. She kneels down and removes from his breast coat pocket, a hand-held
black box.)
MARLEY QUINZEL: To find ... this. Ha ha. The trigger. It's like a remote
control. It turns on his programming to destroy. Now all we have to do is
track down my baby.
(The MERCENARY walks out of the room. HARLEY follows while the camera moves
down to the dead DR. MALFIN and holds.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.)
[EXT. PARK -- NIGHT]
(HELENA pushes GUY on the swings.)
HELENA: Guy, we need to talk about what happened at the lab.
GUY: I saved you.
HELENA: Yes, you did. (pauses) How did you know how to do all .. . the
fighting?
GUY: I just knew. Why am I like I am?
(Knowing this question can't be answered lightly, HELENA stops pushing GUY on
the swing and moves to kneel down in front of him.)
HELENA: Look up there. That's Orion --the Hunter. Guy ... you're a Hunter,
just like me. You killed a man. Even though it was an accident, you cannot do
that.
GUY: Why not? He was bad.
HELENA: Good point. I ask myself the same question all the time. We have to
try not to hurt people.
GUY: Even bad people?
HELENA: I know it's hard. Sometimes, I want to hurt people, too -- a lot of
the time, actually. But we can't, because we're strong. We have to be
responsible with our power ... because that's what being strong is all about.
GUY: Are you sure?
HELENA: I'm faced with that choice every day. But you can't give in to it, no
matter how much you want to, because ... otherwise, we'd be just like the bad
guys.
GUY: Okay.
(He accepts this ... for now. Then, another thought occurs to him.)
GUY: Hey, am I ever going to have a birthday?
(HELENA'S eyes widen.)
HELENA: Of course you are. (And she grins.) With cake and candles and
everything.
GUY: Cool.
HELENA: What do you say? Why don't we go home?
GUY: Okay.
HELENA: Okay.
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera pushes slowly into the Clocktower.)
[INT. CLOCKTOWER -- NIGHT]
(GUY is sleeping on the couch. HELENA has tucked him in and leans over to plant
a kiss on his forehead. She tenderly touches his hair, then gets up.)
(She turns around to leave and sees ALFRED on the edge of the room watching
them. He holds up a set of clothes.)
ALFRED PENNYWORTH: For Master Guy, when he wakes. (understanding) Children
grow up so fast. Even at a normal pace, it's never long enough.
HELENA: (shakes her head and looks back at GUY) I don't know what to do,
Alfred.
ALFRED PENNYWORTH: Welcome to parenthood.
HELENA: I understand exactly what he feels -- not knowing who you are, being
pulled two ways so hard you feel like you're going to split in half.
ALFRED PENNYWORTH: Indeed. When I look at Master Guy, there's much that
reminds me of you. When we look at our children, the hardest thing is to see
ourselves. All the struggles and wrong choices, all the mistakes we want to
help them avoid -- but we can't. He has to find his own way, just as you did,
and you've turned out rather well, I think.
HELENA: I had time to make mistakes. When I was a kid, Barbara never gave up
on me. I won't give up on him.
(He nods. She turns to look at GUY ... as ALFRED looks at her.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera glides and pushes forward toward the Clocktower.)
[EXT. CLOCKTOWER - ROOF - NIGHT -- LATER]
(BARBARA wheels her chair over toward HELENA, who sits on the edge of the wall.)
HELENA: You haven't found any answers, have you?
BARBARA: Well, actually, I've been analyzing the neural mesh. It looks like it
has two modes. The passive mode has been giving him skills as he grows, things
like combat expertise. The active mode, on the other hand --
HELENA: Does what? Stops the aging?
BARBARA: I don't think so. It's programmed to tap directly into the part of
the brain that regulates violent behavior. I mean, it's -- it's obvious that
he's been designed as some kind of assassin or warrior.
HELENA: Warrior, yes. Assassin? We still don't have any proof of that.
BARBARA: Come on. You've seen what he can do. I mean, now the only question
is --
GUY: (o.s.) Who am I meant to kill?
(HELENA and BARBARA both start.)
HELENA: Guy.
(HELENA gets up and walks over toward GUY.)
GUY: What am I? Huh? What the hell's wrong with me?
HELENA: We're going to find out, guy. Everything's going to be fine.
GUY: No, you don't know that. You don't have a clue. I'm just a freak.
HELENA: No, you're not.
GUY: Yes, I am.
HELENA: Calm down.
(HELENA reaches out and he knocks her hand away.)
GUY: (upset) You freakin' calm down, all right? You're not the one this is
happening to. Why did you save me if you can't do anything to help me? I hate
you.
(GUY turns and walks away. HELENA stands there a moment, then turns to look at
BARBARA.)
BARBARA: (quietly) He didn't mean that. He just needs a little time.
HELENA: He doesn't have any time. Neither of us do. I'm going to go talk to
him.
(HELENA leaves to find GUY.)
CUT TO:
[INT. CLOCKTOWER -- CONTINUOUS]
(HELENA climbs up the stairs. She looks around and doesn't see GUY.)
HELENA: (to DINAH) Have you seen Guy?
DINAH: No.
HELENA: He's gone. Tell Barbara I'm going to go find him.
DINAH: Can I help?
HELENA: Do whatever you can. I gotta go.
(HELENA leaves.)
CUT TO:
[INT. CLUB SLIPPERY -- NIGHT]
(In the center of the room in the middle of the activity and loud music, looking
at all the people and feeling out of place is GUY.)
DINAH: (o.s.) I've been looking all over for you.
(DINAH reaches out and touches GUY'S shoulder. Faster than the eye can see, he
whips around and grabs her by the throat. DINAH gasps out of surprise and not
out of fear. She smiles at him.)
DINAH: Whoa, killer. It's just me.
(He lets her go and walks away from her.)
GUY: (stubbornly) I'm not going back.
DINAH: Did I say anything?
GUY: You just feel sorry for me 'cause I'm the freak.
(GUY turns around and stops walking.)
DINAH: (pishaws) Oh, please, like the three of us are so aggressively normal.
You know, the only one feeling sorry for you is you.
(DINAH appears to have his attention.)
DINAH: Look, I know you may not believe me, but I know how you feel.
(GUY looks down at his feet and doesn't say anything.)
(A large BULLY saunters up behind DINAH. He glances at GUY and immediately
dismisses him.)
BULLY: (to DINAH) Hey. Why don't you dump the punk ...
(This catches GUY'S attention, but he doesn't say anything.)
BULLY: ... and dance with some real men?
DINAH: (retorts) Well, if you see any, you'll let me know, right?
(The BULLY puts his hand on DINAH'S shoulder and she immediately has a flash
into his mind of what he's thinking. She jerks her shoulder out of his touch.)
DINAH: You should wash your brain out with soap.
(Behind the BULLY, his friends walk up to them.)
FRIEND: What's up with Blondie?
(The BULLY persists and puts his hand once again on DINAH'S shoulder. She again
jerks out of his reach.)
DINAH: Get off!
(DINAH pushes him away and GUY takes a step forward between them.)
GUY: Hey. Get away from her.
BULLY: Yeah? (scoffs) Make us.
(Camera pushes in to GUY'S face, close enough to see the smirk and anticipation
of the upcoming fight begin to form.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.
In one continuous movement, it turns and rushes straight downward to the street
below.)
DISSOLVE TO:
[EXT. STREET -- NIGHT]
(REESE walks over to his car. He takes out his keys and glances down to unlock
the car door. HELENA appears beside him, surprising him.)
REESE: You know ... I do have a cell phone.
HELENA: I need your help. My -- my nephew is missing, and I've got to find him.
REESE: Your nephew? Oh, right, right, right, right. The diapers.
HELENA: Can you help me or not?
REESE: Sure. Of course I can help you. Any distinguishing marks?
HELENA: Only that he's about fourteen.
REESE: Fourteen? In diapers?
HELENA: (closes her eyes) It's a long story, and I don't have time to explain
it now, okay? We just have to find him.
REESE: Okay, okay, easy, easy. You have any idea where we should start
looking?
HELENA: (shakes her head) None.
DISPATCH: All units in the vicinity, Sheridan and 12th, possible riot at Club
Slippery. Looking for a male caucasian, mid-teens, violent and dangerous. All
available units, respond.
(REESE picks up the radio and holds it up to HELENA. She looks at it and nods.)
CUT TO:
[INT. HARLEY QUINZEL'S OFFICE -- NIGHT]
(The door opens and the MERCENARY dressed in fatigues and camouflage walks into
the room.)
MERCENARY: We just got a police scanner intercept. Sounds like some kid just
tore up a teen dance club. Police are classifying him as extremely dangerous.
(HARLEY QUINZEL smiles.)
HARLEY QUINZEL: That's my boy.
CUT TO:
[EXT. CLUB SLIPPERY -- NIGHT]
(Outside Club Slippery, police cars with their sirens wailing gather around the
entrance. People stream out of the club as HELENA makes her way toward the
entrance.)
(HELENA lingers in the doorway and looks around. DINAH spots her and makes her
way toward HELENA.)
DINAH: Helena! I tried to stop him, but he wouldn't stay.
HELENA: Do you know where he went?
DINAH: No, I-I don't know. He ran off toward Baker/Maple Street.
HELENA: Okay, go home.
(DINAH looks at HELENA.)
HELENA: (reassuring) It's okay. I know where he is.
SOME OTHER SPOT NEAR THE CLUB:
(HARLEY leads her pack of MERCENARIES through the side of the club, through the
teenagers leaning against the wall coughing though the smoke.)
HARLEY QUINZEL: He has such a flair for destruction. We positively must find
him.
(HARLEY reaches the club doorway and looks inside and the fire and mayhem
inside. She smiles proudly.)
HARLEY QUINZEL: He was here.
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.)
[EXT. PARK -- NIGHT]
(GUY is lying down on the grass, his eyes closed. HELENA puts a hand on his
shoulder.)
HELENA: Slow down, Guy. I can't keep up.
CUT TO:
[EXT. CLUB SLIPPERY - NIGHT -- CONTINUOUS]
(HARLEY turns on the SIMCRON prototype remote in her hand and activates REMOTE
#91967.)
(HARLEY looks at the MERCENARIES and smiles.)
HARLEY QUINZEL: Now ... take your men and go find my baby. It shouldn't be too
difficult. Just follow the mayhem.
MERCENARY: Move out.
(They leave. HARLEY looks down at the remote which now reads: "TEST SUBJECT:
ARMED".)
CUT TO:
[EXT. PARK - NIGHT -- CONTINUOUS]
(GUY'S eyes open and he sits up.)
HELENA: It's okay. Everything's going to be...
(HELENA'S eyes instinctively activate and change into cat-like disks. She
stands up abruptly and looks around.)
HELENA: Do you feel it? Something -- something dangerous.
(Behind her, GUY also stands up, intent on HELENA.)
GUY: Yeah. Me.
(GUY reaches out and puts a hand on HELENA'S shoulder, turning her around to
face him. He hits her in the face. She goes down.)
(GUY takes a step back. HELENA turns and looks at GUY. She sits up. Camera
holds on HELENA.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. PARK -- NIGHT]
(HELENA gets to her feet; GUY'S hand on her shoulder keeping her at arms length.
He's surging with energy and eager to fight, his hand in a fist and pulled back,
ready to strike her.)
HELENA: Something's happening to you. Why are you doing this?
GUY: (excited) It all fell into place. I know why I was born.
(He throws the punch, she parries and ducks as he throws another punch. She
stands up again.)
HELENA: Why?
GUY: To kill.
(He knees her in the abdomen, then punches her face. HELENA takes both hits and
backs away.)
GUY: ... And it feels good.
(GUY advances toward HELENA. He knees her in the stomach and punches her again.
HELENA takes both hits again. He follows it with a right and HELENA blocks it
this time and pushes him away.)
HELENA: Don't do this. It isn't you.
GUY: Yes, it is.
(GUY hits HELENA'S neck. She takes the hit and this one appeared to hurt.)
HELENA: No, it doesn't have to be.
(GUY attacks HELENA again. A right, then a backhanded right. He hits her in
the abdomen and she takes it all. HELENA looks at GUY.)
GUY: What are you doing? Why won't you fight back?
HELENA: Because the battle you should be fighting isn't between us. (beat)
It's inside you.
(GUY kicks and hits HELENA. She backs away, taking the hits; then falls down to
the ground on her back.)
(GUY moves to stand over HELENA and looks down at her as she continues to talk
to him.)
HELENA: You can fight what's in your nature, guy. I know it. You don't have
to be what people expect. I know how hard it is to choose not to hurt, but to
love instead.
(GUY leans down and pulls his fist back, ready to hit HELENA when she's down.)
GUY: Why should I listen to you?
HELENA: You shouldn't. The only person you should listen to is yourself. It's
not genetics or programming that defines who you are, Guy. It's you. I face my
demons every day, and there's only one thing I know to be true -- you can be
anything you want to be. Anything.
(The fight visually appears to seep out of GUY as HELENA says the right thing.
She reaches out and wraps her hand around his fist.)
(She pulls him into her arms, embracing him.)
HELENA: (whispers) It's okay. It's okay.
(GUY blinks and says nothing.)
HELENA: (whispers) Everything's going to be okay.
(HELENA looks over GUY'S shoulder and sees something that worries her.)
HELENA: That might have been a tad premature.
(GUY and HELENA stand up abruptly and turn to face the four MERCENARIES running
across the park grass toward them.)
MERCENARY: Kill the woman, but take the kid alive.
HELENA: (watching the men run toward them) Run. I'll take care of this.
(GUY puts a hand on HELENA'S shoulder and shakes his head as he makes a decision
to stand and fight to protect someone.)
GUY: No, I'm not going to leave you.
(The MERCENARIES reach them. HELENA takes two; GUY takes two. They start
fighting. GUY quickly downs his two temporarily and runs to help HELENA. She
takes a hit and he rushes forward to continue fighting. He takes a hit and she
pushes him aside as she jumps up to kick each man, a foot in each of their
chests. They're pushed backward and HELENA lands on her back.)
(She flips back onto her feet as the men keep coming toward them. She swings
her leg low knocking their feet out from under them; GUY kicks high, knocking
the remaining ones down.)
(GUY and HELENA both get to their feet and run toward the see-saws. They jump
up knowing that the MERCENARIES are following and they land on the opposite end
of the boards, sending the wooden planks up and straight into two of the
MERCENARIES' chins. They're knocked backward, down and flat onto the ground.
One MERCENARY rushes forward to continue fighting. He reaches both GUY and
HELENA, but the two are too strong for him and he's quickly downed.)
(The final MERCENARY rushes forward and grabs GUY from behind, pinning his arms
to his side. GUY struggles a bit against the hold, twisting and turning to get
out of it. HELENA runs forward, steps up against the jungle gym and kicks the
final MERCENARY away from GUY. He lets GUY go and now has to face an attack by
the two.)
(HELENA and GUY both kick and hit the MERCENARY in what appears to be a
coordinated effort, never letting up. Finally they each kick him in the chest
and he falls down backward, flat into the sand.)
(Behind them, one of the other MERCENARIES gets up and charges toward HELENA.
She jumps up high over him grabbing his neck with her thighs. She hangs on to
him and he twists and turns trying to get her off of him. She uses the momentum
to continue to turn him and finally jumps off of him landing on her feet as he
lands rolling down on the ground.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - CLOCKTOWER -- NIGHT]
(Camera cruises up high above the buildings pushing forward toward the
Clocktower.)
[INT. CLOCKTOWER -- NIGHT]
(GUY is lying on the couch, sleeping. HELENA kneels down next to him watching
over him. Right in front of their eyes, GUY ages, his face maturing and hair
growing gray.)
(HELENA turns to look at BARBARA who is sitting in the wheelchair behind her.
DINAH is standing next to her.)
BARBARA: (quietly) Once his attack mode was triggered, the aging processed up.
(shakes her head) I'm sorry, Helena. There's nothing more we can do.
HELENA: (insistent) There has to be. He didn't complete his mission. (she
turns to look at GUY) He stopped. ... (beat) ... (proud) He changed.
(GUY opens his eyes and looks at HELENA. He tries to reassure her.)
GUY: It's okay. Just let me sleep.
HELENA: (insistent) No. You can't. You have to stay awake. We have something
for you.
(BARBARA looks at DINAH who nods and steps away for a moment.)
(HELENA watches over GUY as he looks at her ... then slowly closes his eyes.
HELENA calls to him, trying to keep him awake.)
HELENA: Guy. Guy.
(In that moment when his eyes were closed, GUY ages more ... his skin wrinkling
and hair whitening, aging to about 70 years in a few seconds.)
HELENA: Come on ... Wake up. Guy.
GUY: I'm ready to go now.
(HELENA shakes her head and looks to the side where DINAH slowly walks toward
them carrying a frosted cupcake with one large lit candle in the center. She
hands it to HELENA who takes it, turns to GUY and smiles.)
HELENA: (over-brightly) Look. Look, today can be your birthday.
(She rests the plate with the cupcake on GUY'S chest. He looks at HELENA,
smiles, then turns to look at the cupcake.)
HELENA: Make a wish.
(He takes a breath.)
GUY: I wish for you to be happy ... because that's what you gave me.
(He smiles up at her. HELENA looks at GUY and her smile vanishes. She nods in
understanding.)
(GUY smiles at her and leans back. He closes his eyes. The lit candle flickers
as he exhales his final breath.)
(HELENA looks down at the cupcake, realizing that GUY is gone. She puts a hand
to her eyes and turns away.)
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them.)
[INT. HARLEY QUINZEL'S OFFICE -- NIGHT]
(The MERCENARY sits in the chair and reports back to HARLEY. She paces the
floor behind him.)
HARLEY QUINZEL: Just so I understand -- the woman who has continually thwarted
my plans is alive and unidentified. The prototype has been completely lost.
How is this possible?
MERCENARY: They were fighting a coordinated attack -- like a team.
HARLEY QUINZEL: He was programmed to kill her. He was programmed to kill
anything in his path. (thinking) How was she doing it? Drugs? Some kind of
counter-implant? What could she possibly have used that would be more powerful
than the neural mesh?
MERCENARY: Well, it looked to me like they were friends.
HARLEY QUINZEL: Oh, that's it. She overrode millions of dollars in
bioengineering research and surgical procedures by becoming his friend.
(HARLEY stops pacing behind him and puts one hand on his shoulder and the other
rests on his chest.)
HARLEY QUINZEL: Don't be insane.
(She starts caressing the side of his head as she whispers into his ear.)
HARLEY QUINZEL: Well, I suppose ... there is an upside.
(Without warning, HARLEY reaches out and twists his neck.)
HARLEY QUINZEL: (whispers) They left you for me to kill.
(HARLEY pushes him forward till his forehead rests against her desk. She gives
his back one final slap before walking away and heading toward her large picture
windows.)
(She looks out into the city night.)
HARLEY QUINZEL: (promises) Whoever you are, I know you're out there somewhere,
and I will find you.
CUT TO:
[EXT. PARK -- NIGHT]
(HELENA walks slowly, dejectedly through the park. She reaches the swingset and
sits in the seat. She holds onto the chain and rests her head against it as she
stares out blankly in front of her.)
(Behind her, REESE slowly approaches her. He stops a distance and calls out to
her.)
REESE: Knock, knock.
(HELENA acknowledges his presence, but doesn't move. REESE walks the rest of
the way toward her.)
REESE: Hey. I thought I'd track you down for a change. I didn't startle you,
did I?
(She turns to look at him, the fight drained out of her.)
HELENA: Not a chance.
REESE: Listen, there were no injuries at the club, just a whole lot of smoke
damage, you know.
(HELENA turns away from REESE and stares up at the sky for a moment then back
out blankly in front of her.)
REESE: Did you find your nephew?
(HELENA sadly shakes her head, unable to explain.)
HELENA: He's gone.
REESE: (confused) Gone? Gone where?
HELENA: Just ... gone.
(In the background, police sirens wail.)
(REESE looks at HELENA. Maybe he understands after all. He steps forward and
put a hand on her shoulder.)
(She sighs.)
(REESE lets her go and turns to leave. He takes a couple of steps before
turning back to her.)
REESE: Huntress ... I'm sorry. (beat) About everything.
(With a final glance, REESE walks away. HELENA glances up at the sky.)
(cc) DINAH: (PRELAP) It's horrible.
CUT TO:
[EXT. CLOCKTOWER - BALCONY -- NIGHT]
(Out on the balcony, DINAH and BARBARA look out over the city night.)
DINAH: (shakes her head) What kind of a person would make a baby that's
programmed to kill and die?
BARBARA: Helena said she saw someone at the club -- a woman. She didn't see
her face, though.
DINAH: You think ...
BARBARA: I'm starting to get a really bad feeling about this -- like someone's
trying to put the "organized" back into New Gotham crime.
DINAH: What do we do?
BARBARA: What we always do. We find her, then we stop her.
(HELENA joins them carrying a cupcake with a single burning candle in its
middle. She doesn't say anything. She simply stands there. BARBARA puts a
comforting hand on her shoulder and smiles at her.)
(The three, together turn to look up and out at the stars in the night sky over
the city.)
(Camera holds on the candle. HELENA glances down at the candle. The camera
zooms in closer. She lifts up the plate slightly and blows the candle out.)
FADE TO BLACK.
==========================
THE END
==========================
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
BIRD OF PREY
1X04: THREE BIRDS AND A BABY
PROD #175452
ORIGINAL AIR DATE ON WB: 10/30/2002
TRANSCRIBED FROM WB
Starring:
ASHLEY SCOTT as Helena Kyle (The Huntress)
DINA MEYER as Barbara Gordon (Oracle)
RACHEL SKARSTEN as Dinah Lance
SHEMAR MOORE as Detective Jesse Reese
IAN ABERCROMBIE as Alfred Pennyworth
and
MIA SARA as Dr. Harleen Quinzel
Developed for Television by: LAETA KALOGRIDIS
Guest Starring
RILEY SMITH as 18 year old GUY
MICHAEL WELCH as 14 year old GUY
BOBBY EDNER as 10-11 year old GUY
KEVIN RANKIN as DR. LEWIS MALFIN
BRODY HUTZLER as MERCENARY (Lead)
Consulting Producer: MELISSA ROSENBERG
Producer: EDWARD KITSIS
Producer: ADAM HOROWITZ
Co-Executive Producer: LAETA KALOGRIDIS
Co-Executive Producer: HANS TOBEASON
Co-Executive Producer: MICHAEL KATLEMAN
Produced by: PETER GIULIANO
Executive Producer: RON KOSLOW
Written by: DAVID H. GOODMAN & JULIE HESS
Directed by: CRAIG ZISK
==========================
END CREDITS
==========================
Executive Producer: MIKE TOLLIN
Executive Producer: BRIAN ROBBINS
Executive Producer: JOE DAVOLA
Music in this episode:
* real feelness, The Pattern, promotional consideration furnished by Lookout
Records
* I'd start a revolution if I could get up in the morning, Aimee Allen,
Promotional consideration furnished by Elektra Entertainment Corp.
TRP Tollin / Robbins Productions
Warner Bros. Television - An AOL Time Warner Company (www.warnerbros.com)
Co-Producers: ADAM ARMUS
Co-Producers: KAY FOSTER
Associate Producer: HAYLI HALPER
Director of Photography: CHRIS FALOONA
Production Designer: MICHAEL HELMY
Editor: KEVIN KRASNY
Music by MARK SNOW
Unit Production Manager: BOB WILSON
First Assistant Director: MICHAEL NEUMANN and DIRK CRAFT
Second Assistant Director: ROBERT SCHROER
Casting by DEEDEE BRADLEY, C.S.A.
Co-Starring
MATTHEW JOSTEN as 4-year old "guy"
RICHARD STONE as 70-year old "Guy"
RACHEL KODA as Woman
BRAD BUFANDA as Touch Kid "Bully"
VICTOR BEVINE as 40-year old "Guy"
Visual Effects Supervisor: ELAN SOLTES
Stunts and Fights by: HIRO KODA
Costumes by: SARA MARKOWITZ SAMUELS
Set Decorator: CYNTHIA LEWIS
Property Master: RICHARD HOBAICA
Make-up: MICHELLE VITTONE-McNEIL
Hairstylist: KELLY KLINE
Post Production Supervisor: SANDY WEBEL
Post Production Coordinator: SCOTT E. TINTER
Music Supervisors: MADONNA WADE-REED and JENNIFER PYKEN
Sound Mixer: TIM COONEY, C.A.S.
Re-Recording Mixers: TODD GRACE / RUDY PI
Music Editor: CHRIS McGEARY
Supervising Sound Editor: BOB REDPATH
Visual Effects by: MODERN VIDEOFILM
Wheelchairs provided by PRIDE MOBILITY PRODUCTS CORP.
Based on DC COMICS CHARACTERS
Color by IMAGELAB
This motion picture is protected under the laws of the United States and other
countries, and its unauthorized duplications, distribution or exhibition may
result in civil liability and criminal prosecution.
The characters and events depicted in this motion picture are fictional. Any
similarity to any actual person, living or dead, or to any actual events, firms
and institutions or other entities is coincidental and unintentional.
AOL Keyword: The WB
TheWB.com
Copyright (c) 2002 Warner Bros. Television. All Rights Reserved.
#175453
Country of First Publication United States of America.
Warner Bros. Television is the Author of this film/motion picture for the
purpose of the article 15(2) of the Berne Convention and all National Laws
giving effect thereto.
Dated: 10/16/03, 07/15/2003~lky
http://www.webphilia.com/~anthology/wnp.html