BIRDS OF PREY
1X05:  SINS OF THE MOTHER
PRODUCTION #175454
ORIGINAL AIR DATE ON WB:  11/06/2002
TRANSCRIBED FROM WB

Teleplay by:  MELISSA ROSENBERG
Story by:  MELISSA ROSENBERG & HANS TOBEASON
Directed by:  JEFF WOOLNOUGH

Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html

Please do not archive without permission.

RATING:  TV-PG-LV
==========================
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:  Dinah's mother is back in town and to everyone's surprise, she's the 
legendary Black Canary.  Back in town, back in Dinah's life and back in the 
thick of things as old resentments, old enemies and old hurts resurface with her 
appearance.  "It's a Bird/Cat thing."
==========================
BIRDS OF PREY
1X05:  SINS OF THE MOTHER
==========================



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) - DAY]

(Camera cruises up high above the buildings as it pulls back slowly.)

ALFRED PENNYWORTH:  (v.o.)  My name is Alfred Pennyworth, and this is their 
story.

END OF INTRODUCTION
CONTINUE TO:



[EXT. NEW GOTHAM STATION (STOCK) - DAY]

(People push in and out of the terminal doors.  CAROLYN LANCE walks out of the 
station and onto the sidewalk.  She looks out in front of her, pauses, then puts 
on her sunglasses.  She steps down onto the sidewalk.)

(As she walks out of camera frame, WILLIE CORTEZ appears on the edge of the 
screen.  He watches CAROLYN as she leaves.  He dials his phone.)

INTERCUT WITH:

[INT. HAWKES' RESIDENCE - DAY]

(The phone rings.  SPITZ answers it.  He has a phone in one hand, knife in the 
other.)

FRANKIE SPITZ:  Yeah, this is Spitz.  Talk to me.  

(He takes a couple steps closer to the camera.)

FRANKIE SPITZ:  Are you sure?

WILLIE CORTEZ:  Yeah, as sure as I'm talking to you.  (pause)  Used to be there 
was a price on her head.  

(As he talks on the phone, CORTEZ keeps an eye on CAROLYN LANCE as she looks 
around the street.)

WILLIE CORTEZ:  That still stand?

FRANKIE SPITZ:  Yeah, yeah, yeah, with one small change, huh?  If you lose her, 
the price goes on your head.

(SPITZ slams the knife down and hangs up the phone.)

(Back on the street, WILLIE CORTEZ hangs up the phone, his eyes still on CAROLYN 
LANCE as she crosses the street in front of her.  CORTEZ follows her.)

CUT TO:

[INT. HAWKES' RESIDENCE - DAY]

(SPITZ turns around and speaks to a man meditating on a mat on the floor in 
front of a small cluster of lit candles.)

FRANKIE SPITZ:  (excited)  Mr. Hawke, you're not going to believe this.

AL HAWKE:  Breathe.  Breathe deep, Frankie.

(SPITZ takes a breath.)

AL HAWKE:  In through the nose, out through the mouth.

(They both exhale and inhale together.)

AL HAWKE:  Find your center.  

(SPITZ cracks his neck as he relaxes.)

AL HAWKE:  Good.  Now ... continue.

FRANKIE SPITZ:  Black Canary --she's back.

(Before he speaks, AL HAWKE takes a deep breath, his eyes closed.)

AL HAWKE:  I can't say I'm surprised.

FRANKIE SPITZ:  Don't worry.  I'll get her.

AL HAWKE:  Hmm, if it's meant to be.

(SPITZ turns to leave the room.  HAWKE stops him.)

AL HAWKE:  Frankie.  Make sure it's meant to be.

(SPITZ stops for a moment, then leaves the room.  Camera holds on AL HAWKE as he 
continues to breathe slowly.)

CUT TO:



[EXT. SIDEWALK -- DAY]  

(CAROLYN LANCE walks at a brisk pace down the sidewalk.  At a considerably safe 
distance, WILLIE CORTEZ continues to follow her.)

(CORTEZ turns into the alleyway where he saw CAROLYN last.  He takes a few steps 
into the alley when CAROLYN kicks him in the chin and sends him tumbling 
forward.  She steps out into the alley behind him and rushes to subdue him.  She 
kicks him, then blocks his punch.  She grabs his fist as he gets to his feet and 
finally slams his back against the wall.)

CAROLYN LANCE:  You know, I hope you're just a pickpocket, or else I'd have to 
hurt you.

(CAROLYN pulls him forward, her back against the wall and kicks him again in the 
chest.  He falls down in front of her.)

(She picks up her bag and quickly leaves the alley. CORTEZ groans on the 
ground.)

CUT TO:



[EXT. NEW GOTHAM CITY SKYLINE (STOCK) - DAY]

(Camera cruises up high above the city buildings.)



[INT. CLOCKTOWER - DOJO -- DAY]

(Inside a large spacious training room, HELENA and DINAH spar.  DINAH kicks 
HELENA which she dodges.)

HELENA:  Nice kick.

(DINAH shrugs a smile at her.  DINAH throws a punch at HELENA which she ducks 
moves quickly behind DINAH.)

HELENA:  Faster.

(DINAH turns and uses a series a punches at HELENA followed by a kick and 
another punch which HELENA easily dodges, parries and finally catches with her 
hand.)

HELENA:  Feel that?

(DINAH throws another punch.  HELENA catches that one, too.)

HELENA:  Again, faster.

(DINAH turns around and tries to kick HELENA who manages to grab DINAH'S foot.)

HELENA:  Not fast enough.

(With DINAH'S foot in her hand, she flips DINAH completely over on her side.  
DINAH falls to the floor on her backside.  HELENA casually walks over to get her 
towel to dry off.)

DINAH:  (stubbornly)  Come on, I've almost got it.

(DINAH surges to her feet and uses her head to ram into HELENA.  HELENA drops 
her towel and easily grabs DINAH'S hand and pushes her to the ground with her 
foot.  Now, DINAH'S flat on the floor with HELENA holding onto her hand and her 
foot.)

HELENA:  "Almost" will get you killed and I'm holding back here.

(In her awkward position, DINAH looks up and across the room where she sees a 
rack of weapons.  She uses her powers and the nunchaku hanging on the rack 
begins to move.)

HELENA:  You do that on a sweep and you'll be on your ass, and that's if you're 
lucky.

(As DINAH concentrates, the weapon flies off of the rack and hits HELENA in the 
shin.  HELENA falls to the floor.)

HELENA:  Ow!

(Finally out of HELENA'S grip, DINAH sits up.)

(HELENA picks up the nunchaku and holds it up to DINAH.)

HELENA:  What the hell was that?

(DINAH stares at the weapon and shakes her head.  She doesn't know.)

CUT TO:

[INT. CLOCKTOWER - UPPER LEVEL - DAY - CONTINUOUS]

(Excited about discovering something new about DINAH, HELENA rushes over to the 
side of the railing.)

HELENA:  Barbara, you're not going to believe this.

(She leans over to find BARBARA with CAROLYN LANCE.  BARBARA and CAROLYN both 
look up at HELENA ... and DINAH who also leans over the railing.  They recognize 
each other instantly.)

CAROLYN LANCE:  Dinah?

DINAH:  Mom?

(HELENA looks down at CAROLYN LANCE.  BARBARA turns to look at CAROLYN.  Camera 
holds on DINAH.)

END OF TEASER.
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[INT. CLOCKTOWER - DAY]

(We continue where we left off.)

HELENA:  (to DINAH)  You're the Black Canary's daughter?

BARBARA:  (to CAROLYN LANCE)  You have a daughter?

DINAH:  (to CAROLYN LANCE)  You're the Black Canary?

BARBARA:  (to DINAH)  This could mean you have the Canary Cry as well.

HELENA:  (to DINAH)  Hold on.  She has mind melding, telekinesis, and the Canary 
Cry?

DINAH:  (to HELENA)  What -- what Canary Cry?

BARBARA:  (to HELENA)  What telekinesis?

CAROLYN LANCE:  Okay, everybody, stop.

(Everyone stops talking.)

CAROLYN LANCE:  (to BARBARA)  Could you just give us a minute?

(BARBARA looks up at DINAH and HELENA, then turns and realizes that CAROLYN'S 
talking to her.)

BARBARA:  Oh.  Yeah.  Of course.

(She takes off her glasses and puts them down on the table, then slowly backs 
her wheelchair away from the two.)

BARBARA:  Helena.  Helena.  A little privacy?

(BARBARA and HELENA leave the room.  DINAH sighs and decides to take the bull by 
its horns. She heads for the stairs.)

(Cut to:  DINAH walks down the stairs to meet with her mother.)

DINAH:  You're a superhero?

CAROLYN LANCE:  Dinah, I can explain.

DINAH:  And not just any superhero, you're the Black Canary.  You're supposed to 
be some -- some big role model -- a-a trailblazer, one of the first women to put 
on a crime-fighting cape.

CAROLYN LANCE:  Actually, I don't wear a cape. - I-- Never mind.  How do you 
know all of this?

DINAH:  Well, in case you haven't noticed, I'm living with Barbara Gordon, also 
known as the Oracle.  It's part of my training -- sort of like Superheroes 101, 
the tradition and history you conveniently forgot to mention before you dumped 
me.  But, you know, I guess being one of the greatest espionage agents in the 
world, having a 6-year-old kid kind of cramped your style.

CAROLYN LANCE:  I did not dump you.  I was trying to protect you.  I was trying 
to give you a normal life.

DINAH:  So it's normal for foster parents to lock their kids in closets until 
they promise to stop seeing things?

CAROLYN LANCE:  Dinah, when I left you with the Redmonds, I didn't think you had 
meta-human potential.  You were six years old, you didn't show any signs.  I 
hoped --

DINAH:  You hoped that what, if I was meta-human, they'd beat it out of me?

(CAROLYN stops.  With tears in her eyes, she tries to explain.)

CAROLYN LANCE:  It was the worst mistake of my life.  I found out you ran away, 
and that's when I discovered ... what had been happening.  Dinah, please try to 
understand.  I thought you were happy.  I thought you were living like a regular 
kid.  I had no idea.

DINAH:  Right.

CAROLYN LANCE:  I'm retired, Dinah.  I'm not Black Canary anymore.  I'm just 
Carolyn Lance.  I came to New Gotham to find you, and I would like to be your 
mother.

CUT TO:



[EXT. CLOCKTOWER - BALCONY -- CONTINUOUS]  

(BARBARA and DINAH share a moment.)

BARBARA:  (still shocked)  Black Canary's daughter.  I didn't even know she had 
a daughter.

HELENA:  (in awe)  I always thought she'd be taller, being a Legend and all.  

(They both turn and look inside through the windows to see DINAH and CAROLYN 
talking with each other.)

HELENA:  We should go in and referee.

BARBARA:  I don't think we should interfere.

HELENA:  (smiles)  We interfere for a living.  Come on.

(HELENA gets to her feet.)

CUT TO:



[INT. CLOCKTOWER -- CONTINUOUS]

CAROLYN LANCE:  The life you think you want, Dinah -- being a superhero is not 
what it's cracked up to be.  

(DINAH stubbornly shakes her head in denial.)

CAROLYN LANCE:  It's dangerous.  It's ugly.  It is relentless, and it will wear 
you down.  I won't let you throw your future away.

DINAH:  Oh, yeah?  Well, you gave up the right to make decisions for me a long 
time ago.  

(DINAH turns around to BARBARA as she leaves the room.)

DINAH:  I'm staying at Gaby's tonight.  We're studying.  

(DINAH turns back to look over her shoulder at CAROLYN.)

DINAH: (retorts)  You know, like normal kids.

(BARBARA and HELENA enter the room.)

BARBARA:  She'll be okay.  She just needs to cool down.

CAROLYN LANCE:  (angry)  I just don't understand how Oracle, the source of all 
information, could have my daughter under her roof and not even know it.

BARBARA:  She gave us her foster parents' last name.  I ran a background check, 
okay?  She was clearly having problems at home.  My god, Carolyn, this is what 
we do.  We take in and mentor those like us.

CAROLYN LANCE:  She's not like you.

HELENA:  (quietly)  How would you know that?  How would you know anything about 
her?

(CAROLYN turns on HELENA.)

CAROLYN LANCE:  I'd appreciate it if you stayed out of this.

(HELENA is taken aback, but doesn't loose a beat.)

HELENA:  You got a problem with me?

CAROLYN LANCE:  I'm sure you're a nice enough person, but you are the daughter 
of a thief.

(HELENA definitely gets the hostility and takes a step forward.)

HELEN:  Excuse me?

CAROLYN LANCE:  Just stay away from my daughter.  The last thing she needs right 
now is your influence.

(CAROLYN turns and leaves the room.  HELENA moves as if to follow her.  BARBARA 
puts a staying hand on her arm.)

BARBARA:  Helena, wait.  

(HELENA turns around to BARBARA.)

HELENA:  What is her problem?

BARBARA:  It's not about you.  Canary and your mom never really got along.  I 
think it was some sort of bird/cat thing.  (sighs)  Just let it go.

HELENA:  (hurt)  Bird/Cat thing.  Right.

CUT TO:



[INT. HAWKES' RESIDENCE -- NIGHT]  

(CORTEZ is strung up and hanging with his arms tied up above his head.  His face 
is cut up and he breathes heavily.)

(FRANKIE SPITZ appears with his knife and caresses CORTEZ' face.  He laughs.)

FRANKIE SPITZ:  I warned you what would happen if you let her get away.

WILLIE CORTEZ:  Mr. Hawke, I got everybody looking for her.  We can find her 
again.  Just, please, can I have a second chance?

AL HAWKE:  Not unless you believe in reincarnation.

(FRANKIE turns around and throws the knife at CORTEZ.  It hits him square in the 
chest.)

CUT TO:



[EXT. STREETSIDE -- NIGHT]  

(DETECTIVES MCNALLY AND REESE kneel over WILLIE CORTEZ' body, the knife still 
plunged into his chest.)

MCNALLY:  What do you think, Reese?  Probably a drug deal gone wrong.  I'll 
start canvassing for witnesses.  Maybe forensics will get a print off of that 
thing.

(McNALLY stands up.)

REESE:  (gruffly)  There won't be prints or witnesses.

MCNALLY:  How do you know?

(REESE stands up and takes off his latex gloves.)

REESE:  I just know.

(REESE walks away.)

MCNALLY:  Well, aren't we Mr. Negative?

CUT TO:



[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]

(Camera cruises up high above the buildings moving slowly toward the 
Clocktower.)



[INT. CLOCKTOWER -- NIGHT]  

(BARBARA and CAROLYN are in the kitchen.  CAROLYN leans over the table while 
BARBARA pours them cups of tea.)

CAROLYN LANCE:  I'm not going to let her get into the life.  There's too much to 
lose.

BARBARA:  Maybe that's a choice we all need to make for ourselves.

(CAROLYN walks over toward BARBARA.)

CAROLYN LANCE:  Can you tell me that you never regret it?

BARBARA:  Why, because I'm in this chair?  

(CAROLYN takes the cup of tea.)

CAROLYN LANCE:  No.  

BARBARA:  No, I don't regret it.  I'm thankful for every moment I have, and I'm 
thankful for every moment I had before I got hurt.  Not being able to walk 
doesn't affect why I do what I do, it only affects how I do it.  Carolyn, Dinah 
has some extraordinary gifts -- telepathy, telekinesis, and who knows what else 
she might develop?  She could be every bit as great as you.

CAROLYN LANCE:  And she could get shot at before breakfast, tortured before 
lunch, and knocked unconscious for dinner, also like me.  That's not what I want 
for her.

BARBARA:  It's what she wants for herself.  And we -- I love having her here.  
She has the heart, Carolyn -- the one thing all of us in this "saving the world" 
business can't do without.

CAROLYN LANCE:  Well, take it from me, Oracle --  you can't save the world and 
be a mother.

BARBARA:  Maybe she needs a mentor more than a mother right now.

CAROLYN LANCE:  Look, I've already made one terrible mistake.  I'm not going to 
make another.  (determined)  I'm going to protect her.

BARBARA:  But you're going to deny who she is.

CAROLYN LANCE:  If that's what it takes.

(BARBARA and CAROLYN look at each other.)

CUT TO:



[EXT. STREET -- NIGHT]  

(REESE walks toward his car and turns off his car alarm.  He opens the car door 
to get in when HELENA jumps down on the sidewalk beside him.)

(He starts, but isn't really surprised by her anymore.)

HELENA:  Dead guy with a knife in his chest.  Any ideas?

REESE:  I already know who the killer is, ...

(HELENA saunters over and leans against his car.)

REESE: ... and I know we won't be able to pin this on him.

HELENA:  Maybe you won't.

REESE:  Just this once, stay out of it.

HELENA:  You're the second person to say that to me today.  I was sick of it the 
first time.  What's going on?

REESE:  Nothing.  Just this one, I want to handle on my own.

HELENA:  Right.  "Don't call me, I'll call you."  So much for trust.

REESE:  You want me to trust you?  Why don't you try giving me something back?  
Tell me your real name.  Tell me where you live.  Give me your phone number, 
something.  

(HELENA doesn't say anything.)

REESE:  Yeah.  That's what I thought.

(Tired, REESE gets into his car and closes the door.  He starts the engine.  
HELENA straightens from his car and he drives away, leaving her on the sidewalk 
watching him.)

CUT TO:



[EXT. NEW GOTHAM CITY (STOCK) - DAY]

(Camera cruises up high above the buildings, pushing forward toward the 
Clocktower.)



[INT. CLOCKTOWER -- DAY]  

(BARBARA is in front of the computer while HELENA rants over her latest 
encounter with REESE.  Behind them, CAROLYN paces the floor waiting for DINAH.)

HELENA:  Like there's a law that says the guy gets to be in control of contact.  
God forbid it's me that calls him.

BARBARA:  I don't know what you're so upset about.  It's not like the two of you 
have the whole dinner and a movie thing going.

HELENA:  Okay, so it's more like "meet me over a dead body" thing.  Still, no 
reason to be so secretive about some street hood with a knife through his ribs.

(The elevator whirs as it rises to their floor.  The doors open and DINAH walks 
out.)

(DINAH glances up at BARBARA and HELENA, who are both quiet at her arrival.)

(She immediately walks over to CAROLYN to talk with her.)

CAROLYN LANCE:  Dinah, I'm really sorry ...  
DINAH:  Okay, look, there's ... 

(They both stop.  DINAH takes a breath and speaks.)

DINAH:  Look, there's something I really want to ask you.

(The computer alarms start blaring, interrupting the moment.  BARBARA whirls 
around back to her computer.  Up on the monitor, it shows that a match was 
found.)

BARBARA:  Gotcha.  Willie Cortez.  Hmm, quite the rap sheet.  A snitch for the 
Hawke family.

(At the mere mention of the name, CAROLYN freezes.)

CAROLYN LANCE:  Hawke?   (she turns to look at BARBARA)  Al Hawke knows I'm 
here.   

(She looks past BARBARA ... at DINAH.)

CAROLYN LANCE:  Dinah, listen to me.  You need to pack your things.  We have to 
get out of here.

(BARBARA backs her wheelchair out of their way.)

HELENA:  (scoffs)  A dead street snitch means New Gotham's biggest godfather's 
after you?  A little paranoid, aren't we?

CAROLYN LANCE:  Yeah, well, it's not paranoia if they really are out to get you.  
Listen, Dinah, we can't stay here.  It's much too dangerous.

DINAH:  I can handle this.  

(DINAH turns to look at BARBARA, who remains quiet throughout the exchange.)

DINAH:  Barbara, tell her I can handle this.

BARBARA:  Dinah, it's -- it's not for me to say.  Carolyn is your mother.

DINAH:  Really?  Since -- since when?  You just come in here and say "let's go," 
and we go?

CAROLYN LANCE:  Damn it, Dinah, this is serious, and one day, you'll understand 
why, but for now, please just do what I'm asking.

(DINAH glances over at BARBARA, who doesn't meet her eyes.  DINAH looks down, 
then makes her decision.)

DINAH: Fine.  Fine.

(DINAH shakes her head and leaves the room.  Presumably to pack.  When she 
leaves, HELENA can't help but stick up for her.)

HELENA:  You can't do this.  Dinah's got her own life.  You're the only one in 
this room that's not a part of it.

CAROLYN LANCE:  That's going to change.

HELENA:  (laughs)  What are you going to do when she's out past curfew, hmm?  
Blast her with your Canary Cry?

CAROLYN LANCE:  What did your mother do?  Oh, that's right, she was too busy 
stealing your childhood.

(HELENA shakes her head.  She's had it with the attacks on her mother and stands 
up taking a step closer to CAROLYN.)

HELENA:  (furious)  All right, lady, you do not want to go there.

(Seeing a fight brewing, BARBARA moves her chair between the two.)

CAROLYN LANCE:  And you do not want to lecture me on the choices I make.  

BARBARA:  Please, please, enough.  Both of you, please, stop.

CAROLYN LANCE:  I'm going to go help her pack.

(CAROLYN turns and leaves the room.  HELENA shakes her head.)

HELENA:  She's wrong about this.

BARBARA: We don't know that.

HELENA:  Yes, we do.

BARBARA:  We owe her the chance.

HELENA:  Maybe you do, but I don't.

(HELENA turns to leave, but CAROLYN comes rushing back into the room alarmed.)

CAROLYN LANCE:  Is there a back door?

BARBARA:  What's the matter?

CAROLYN LANCE:  She's gone.  Dinah's gone.

(BARBARA turns to look at HELENA who sighs.)

(COMMERCIAL SET)

CUT TO:



FADE IN.

[EXT. NEW GOTHAM CITY SKYLINE (STOCK) - DAY]

(Camera cruises up high above the buildings pulling backward across the 
skyline.)



[EXT. SIDEWALK - DAY]

(DINAH walks along the sidewalk alone amongst other people milling about.  She 
stops and glances about, then heads for someplace she has in mind.)



[EXT. NO MAN'S LAND COLLECTABLES - DAY]



[INT. -- GIBSON'S BAR]  

(The sliding door opens and DINAH walk into the bar.  She walks up to the bar 
and puts her bag down.  She smiles at GIBSON KAFKA who is tending bar.)

DINAH:  Hey.

GIBSON KAFKA:  Well, hello there, friend to the beautiful creature that is 
Huntress.  I trust you bring news of her burgeoning desire for The Gibson.

DINAH:  Actually, I was just in the neighborhood.

GIBSON KAFKA:  Right.  51,563 minutes of unrequited love.  (Shakes his head)  
It's all right.  She'll come around.  It's only a matter of time.

(GIBSON leans against the bar and looks over at DINAH who appears to have an 
awful lot on her mind.)

GIBSON KAFKA:  What do you say we, uh, drown our sorrows in a fruity soda?

(DINAH looks up at GIBSON and smiles.)

DINAH:  That sounds like a really good idea.

GIBSON KAFKA:  Coming right up.

(GIBSON smiles at DINAH then leans down behind the bar where he opens the laptop 
and sends a message:  SHE'S HERE.)

(He keeps an eye on DINAH, then presses "send".)

(The computer beeps.)

INTERCUT WITH:

[INT. CLOCKTOWER - NIGHT]

(The computer beeps as BARBARA receives the message.)

BARBARA:  (sighs)  Oh. Thank god.  (to radio)  Huntress, found her.

INTERCUT WITH:

[EXT. ROOFTOP - NIGHT]

(HELENA jumps down onto the rooftop as she answers her comlink.)

HELENA:  Where?

BARBARA:  No Man's Land with Gibson.

(HELENA turns.)

HELENA:  On my way.

BARBARA:  No. No. Let Canary go.

(HELENA stops.)

HELENA:  Great idea --sic big bird on her.

BARBARA:  Look, she's her mother.  The best thing we can do is run interference 
on this Hawke thing.

HELENA:  You really think after all these years he's still after her?

BARBARA:  She's not being paranoid.  Hawke has every reason in the world to want 
her worse than dead.  He blames her for the death of his father.

(HELENA shakes her head.  Then turns and leaps off the rooftop.)

CUT TO:



[INT. GIBSON'S BAR -- NIGHT]  

(DINAH listens as GIBSON relays his favorite CANARY story.)

GIBSON KAFKA:  Your mother single-handedly brought down New Gotham's most 
powerful organized crime family.  All these guys were into gambling, extortion, 
drugs, women --the usual fun and games.  Canary infiltrated, became one of them, 
handed the D.A. an airtight case.  It was the stuff legends are made of.  You 
know ... I saw her engage in battle once.  I was two years old.

DINAH:  You couldn't possibly remember that.

GIBSON KAFKA:  I remember my mother's womb.  (sighs)  No doubt the root of my 
claustrophobia.

DINAH:  Okay. That's good.  Um, what was she like?  My mother, not -- not yours.

GIBSON KAFKA:  Magnificent.  Powerful.  Graceful.  (remembers)  Loud.  The 
canary cry.  Oh, a sonic wave of unparalleled might, able to shatter glass, 
crumble concrete, burst eardrums.

DINAH:  So she could fight, she could cry, ...

(As she gets upset, the glass with the fruity drink on the table starts to ring 
and shimmer across the table.  GIBSON notices.)

DINAH:  ... She could take on lions, tigers, and bears ... but when it comes to 
one tiny kid, she runs for the hills?  

(The glass of fruity drink tips over, spilling onto the table.  GIBSON reaches 
out and straightens it.  DINAH puts her glass down on the table.)

DINAH:  Oh.  I'm sorry.

(DINAH sits back in her seat, upset and trying to calm herself down.)

GIBSON KAFKA:  (surprised)  You did that?  

DINAH:  Yeah.  

GIBSON KAFKA:  Telekinesis?  Wait, I thought you were just a touch telepath.

DINAH:  Well, it just kind of started.

GIBSON KAFKA:  Some people get all the best powers.

DINAH:  What I really want to know is ... why'd she give me up?

CAROLYN LANCE:  (o.s.)  I was trying to protect you.

(DINAH looks up to find her mother standing there.  GIBSON looks up and his jaw 
drops in awe.)

GIBSON KAFKA:  (awestruck)  The Black Canary.  

(GIBSON surges to his feet and starts rambling.)

GIBSON KAFKA:  (rambling)  Oh, my god, I am so -- I should tell you --I just -- 
I need -- an autograph.  Yes, I have to memorialize this moment.  

(DINAH rolls her eyes.)

GIBSON KAFKA:  Uh, this is, uh...hold on. Don't move.

(GIBSON runs away leaving CAROLYN and DINAH alone for the moment.)

(CAROLYN looks awkwardly down at DINAH, then moves to take the seat vacated by 
GIBSON.  She sits down.)

CUT TO:



[INT. HAWKES' RESIDENCE -- NIGHT]

(In the partially darkened room, AL HAWKE practices wielding a katana.  FRANKIE 
SPITZ walks in with news.)

FRANKIE SPITZ:  She's been spotted at main and 4th.  The boys are getting ready.

(AL HAWKE smoothly walks over to the fireplace where he puts the katana down and 
picks up a box off of the mantle.  He walks over to SPITZ and opens it revealing 
a thick silver necklace of sorts.)

FRANKIE SPITZ:  (glances at it)  Uh, thanks, boss.  It's a little too '80s for 
me.

AL HAWKE:  Put it around her neck.  It'll give you peace.

FRANKIE SPITZ:  Ah.

(SPITZ takes the neck piece out from the box.  HAWKE closes the box and puts it 
back on the fireplace mantle.)

AL HAWKE:  The Black Canary and I have many, uh, unresolved issues.  We need 
closure.

FRANKIE SPITZ:  I'll get you closure, all right.  The cutting a throat open type 
of closure.  You see, that's the closure that I'm talking about.

(FRANKIE SPITZ leaves the room.)

CUT TO:



[EXT. STREET -- NIGHT]  

(REESE walks down the sidewalk.  He slows down and looks to his left through the 
iron fence.  He sees HELENA walking up to him.)  

HELENA:  Mob do something in particular to piss you off?

REESE:  Other than what they always do?

HELENA:  You're keeping them all to yourself, so it must be something big.

REESE:  I don't know what you're talking about.

HELENA:  The secret's out, Reese.  That stiff with the knife in his chest last 
night -- he worked for Al Hawke.

REESE:  I told you to stay out of it.

HELENA:  Yeah, well, I forgot.  Kind of egotistical to think you can take them 
on alone.

REESE:  Ooh, says the lone vigilante.

HELENA:  I know you think that was supposed to be an insult, so I'll go ahead 
and be offended.

REESE:  And you called me egotistical.

HELENA:  I said egotistical, but I was thinking idiotic.  Look ... I know the 
whole "count only on yourself" routine.  Hell, I invented it.  One of these 
days, you're going to need somebody to get your back, and that little police 
radio of yours isn't going to cut it.  You're going to need me.

REESE:  You're saying you're going to be there?

HELENA:  I'm saying ... that maybe I'll want to be.

(REESE looks at HELENA and takes a breath.)

CUT TO:



[INT. GIBSON'S BAR -- NIGHT]  

(CAROLYN reaches out to DINAH.)

CAROLYN LANCE:  I want to make it up to you.

DINAH:  You can't.

CAROLYN LANCE:  Just you and me.  We'll start over.  Please, I'd like to get to 
know you again.

DINAH:  Why, so you can leave again?  You are too late.  I am grown up, and you 
missed it.

CAROLYN LANCE:  You're right, I did.  I don't know you anymore.  You're so 
different from the little girl I gave up.  Do you remember when I took you to 
your foster parents?

DINAH:  Yeah.  I sat by that window for days wondering when you'd come back, and 
you never did.

CAROLYN LANCE:  What you don't know is why.  

(DINAH shakes her head, not wanting to look at her mom.)

CAROLYN LANCE:  I came home one night, and I don't know how I knew, but I just 
knew something was wrong, so I went straight to your room ... and you were just 
lying there sleeping like an angel.  So I kissed you good night, but the feeling 
just wouldn't go away, so I searched your room.  There was a C-4 explosive under 
your bed timed to go off an hour later.  If I didn't get home when I did, I ...

(Suddenly DINAH understands.  CAROLYN sighs with emotion.)

CAROLYN LANCE:  Anyway, that's when I realized I wasn't just taking risks for 
myself anymore.  I was putting you in the line of fire every day, only you 
didn't know it, and you had no way to protect yourself.  I don't want you to 
ever face that moment -- the moment when you realize the choice you made could 
kill the person you love most in this world.

(DINAH sighs, wanting to believe ... and yet, not.)

DINAH:  God.  I have hated you for so many years for leaving me, for not coming 
back for me.

CAROLYN LANCE:  Do you want to know if I'm telling the truth?

(DINAH rubs her tired eyes.)

DINAH:  (whispers)  Yeah.

CAROLYN LANCE:  Then go ahead ... and find out.

(CAROLYN extends her hand out toward DINAH.  DINAH looks at her, then reaches 
out to take her hand.)

(Just as she's about to take her hand, DINAH pulls back.  She jumps out of her 
seat and runs out of the room.)

DINAH:  I can't.

CAROLYN LANCE:  Dinah --

(CAROLYN rises to chase after her, but GIBSON returns.)

GIBSON KAFKA:  I couldn't find a pen, but I'm thinking this tattoo gun should do 
the trick.

(It's all the time she needed, DINAH pulls the door down shut behind her, 
sealing her mom inside the bar.)

(CAROLYN hits the door in frustration.)

CAROLYN LANCE:  Dinah!

CUT TO:

(DINAH walks out of the bar, her arms wrapped tightly around herself.  She 
hurries across the street, her back to the bar.)

(Moments later, CAROLYN rushes out of the bar.  She looks across the street and 
sees DINAH walking briskly down the sidewalk.  As soon as she passes the subway 
stairs, a couple of thugs walk out and turn toward CAROLYN.)

(CAROLYN sees them and turns to run only to find herself trapped inside with 
more thugs blocking her path and an extremely long black limousine turning the 
street corner.)

(CAROLYN looks at the thugs walking toward her.  She turns to look down the 
street and finds an SUV pulling up in front of her.  Out comes four more thugs.)

(With more thugs surrounding her than can be fought, CAROLYN takes a deep breath 
prepared to use her powers.  Golden rings of sonic sound ripple toward her as 
she inhales, merely teasing the tip of the force of her powers.  Just as she 
starts to exhale, FRANKIE SPITZ locks the silver collar around her neck 
effectively blocking her abilities to produce sound.)

(CAROLYN coughs at the interruption.)

FRANKIE SPITZ:  What's the matter, Canary?  Caged bird lost her song?

CAROLYN LANCE:  Ha ha.  Clever.  Hawke teach you that one?

(The men gather around as they bind her.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

[EXT. NEW GOTHAM CITY SKYLINE (STOCK) - NIGHT]

(Camera pushing in slowly toward the clocktower.)



[INT. CLOCKTOWER -- NIGHT]  

(Through the clock gears, we see BARBARA wheel across the room toward the 
computers.  She reaches out to hit the keyboard when the elevator doors open.  
BARBARA wheels around to look at DINAH.)  

BARBARA:  Are you all right?  Are you hurt?

DINAH:  (walking into the room)  No. Why would I be?

BARBARA:  Do you know where Canary is?  Where'd you see her last?

DINAH:  Um, No Man's La - What's going on?

(BARBARA sighs.)

BARBARA:  We can't find her.

(This strikes at the heart of DINAH.)

DINAH:  What?

HELENA: (over radio)  Oracle, do you copy?

(BARBARA turns around toward the computer.  DINAH turns away.)

BARBARA:  Yeah, I'm here.  Find anything?

INTERCUT WITH:

[EXT. STREET -- NIGHT]  

(HELENA has one of the thugs trapped in the subway grill.)  

HELENA:  Word on the street is the Hawke family doubled the bounty on Canary's 
head.  Seems to me somebody collected.

BARBARA:  All right.  Keep looking.

HELENA:  I got a pretty good idea where to go next.

(The thug starts coughing as HELENA lets him go.  She walks away.)

(Cut back to:  The clocktower.  DINAH overheard the conversation and walks up to 
BARBARA, attacking her with her words.)

DINAH:  (upset)  You said my mother destroyed the Hawke family.

BARBARA:  She hurt them, yes, but the youngest son Al, he -- he was never 
indicted.  He rebuilt.

DINAH:  (wildly upset and full of energy)  Then we know who has her.  Let's go.

BARBARA:  It's not going to be that easy, Dinah.  Hawke is a very dangerous man.  
We need a plan.

DINAH:  (very upset)  You don't understand.  I said things.

(DINAH turns away.  BARBARA pulls her back.)

BARBARA:  (reasonably)  I-I want you to look at me, Dinah.  

(DINAH again turns away.  BARBARA firmly pulls her back.)

BARBARA:  (firmly)  Look at me!  This is what we do.  

(BARBARA takes her glasses off and looks at DINAH.)

BARBARA:  (calmly)  We save people.  But in order to do that, we need to keep 
our heads, think clearly, okay?   

(She instinctively pulls away.  BARBARA pulls her back.) 

BARBARA:  (persists)  Okay?

(Though all she wants to do is to rush out of there and find her mother, DINAH 
wages war with herself inside as she tries to calm down.)

DINAH:  (struggles)  Okay.

BARBARA:  (looking into her eyes)  This is the job, Dinah.  Right here.  This is 
the job.

(Latching onto that, DINAH calms down and nods.)

DINAH:  Okay.

CUT TO:



[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]

(Camera cruises up high above the buildings moving in and out weaving between 
the buildings.  It stops right in front of the NEW GOTHAM POLICE.)



[INT. NEW GOTHAM POLICE DEPARTMENT -- NIGHT]  

(REESE sits behind his desk doing paperwork.  We hear a whooshing sound.  REESE 
looks up and sees HELENA standing in the doorway.)

(He leans back against his chair.)

REESE:  (drawls)  Well, I never expected to see you in here.

(HELENA doesn't waste any words as she walks up to REESE.)

HELENA:  Al Hawke took a friend of mine.

REESE:  You got hard evidence?  I'll get you a warrant and a S.W.A.T. team.

HELENA:  She'll be dead before you get there, but I think you can help me.

REESE:  I'm a cop.  I got to do things a certain way.  It's got to be legal for 
me to make it stick.

HELENA:  She's about to get her throat cut, and that's if she's lucky.

(REESE rubs his mouth and sighs.)

REESE:  You can't beat him.

HELENA:  (retorts)  You don't know that.

(REESE stands up and moves directly in front of HELENA.  He's frustrated at 
talking all the time and not getting any answers.)

REESE:  You know what?  You're right.  I don't know a damn thing about you, do 
I?  I don't know who you work for.  I don't know how come you do what you do.  I 
don't know if you're one of the good guys or one of the bad guys.  I don't know 
why your eyes change before you're ready to fight, and I don't know why I feel 
your presence before I see you.  But what I do know ... I don't want to see 
anything happen to you.

HELENA:  (touched)  I don't work for anyone, but I do work with someone.  You've 
seen enough to know that I'm one of the good guys, and I think you know how hard 
it is for me to ask for help.

(They look at each other for a long moment.  Finally, REESE steps back to his 
desk.  He takes out a pad and starts writing something down.)

REESE:  Look, if Al Hawke is holding somebody ...

(He rips the paper off the pad and gives it to HELENA.)

REESE:  Most likely it's here. God, I don't know why I'm doing this.

HELENA:  I do.

(She takes the piece of paper and looks at him.  In the background, a couple of 
police officers walk down the hallway, their talking distracts REESE for a 
moment.  He turns around to glance back at them.)

(We hear a whooshing sound.)

(When he turns back, HELENA'S gone.)

CUT TO:



[EXT. ROOFTOPS - NIGHT -- CONTINUOUS]  

(HELENA makes her way via rooftops to the destination.)

HELENA:  It's an industrial garage down by the river.  I'm on my way.

INTERCUT WITH:

[INT. CLOCKTOWER - NIGHT - CONTINUOUS]

(BARBARA and DINAH listen on the comlink.)

BARBARA:  I'll see what I can pull on the location.  Might be able to get remote 
surveillance.

HELENA:  Do it. Huntress out.

(HELENA stops and runs toward the edge of the building; she jumps and dives off 
to the building far below.)

DINAH:  I need the car keys.

BARBARA:  Dinah -

(Not wanting to hear it, she shakes her head and persists.)

DINAH:  I have to.

BARBARA:  I know.  

(BARBARA hands DINAH a small box.  She opens it and inside on a black bed is an 
ear link.)

BARBARA:  Take this.  Constant contact.  Clear head, right?  This is the job.

(DINAH picks it up and tucks it into place.)

DINAH:  Right.

(BARBARA leans forward and grasps DINAH'S shoulders.  She looks into DINAH'S 
eyes hoping to relay the confidence she has in her ... to her.)

BARBARA:  You're ready for this, Dinah.  You're prepared.  You trained hard.  
You know how to do the job.  

(DINAH nods.)

BARBARA:  Believe it.  

(BARBARA cups her hand against DINAH'S hair.)

BARBARA:  We're going to get her back.

(BARBARA holds up the car keys for DINAH.  DINAH takes them and leaves.)

CUT TO:



[EXT./INT. HAWKES' INDUSTRIAL GARAGE -- NIGHT]  

(Inside the garage, CAROLYN is tied up securely to a pole, the silver collar 
still secure around her neck.  The ropes that tie her to the pole are wrapped 
around her in sections and are attached to a machine some distance away from 
her.)

(AL HAWKE walks into the room.  He looks at her and breathes deeply.)

AL HAWKE:  It fills my soul with profound inner peace to see you again, Canary.

CAROLYN LANCE:  And since when do you have a soul, Hawke?

(He walks up to her.)

AL HAWKE:  I found my soul the day my father left this earth.

CAROLYN LANCE:  Really?  Sounds more like you found the self-help section in the 
bookstore.

AL HAWKE:  I watched my daddy suffer such torment after you betrayed him.  I 
watched him lying there all alone in prison, his body broken like his spirit.  
And now I'm going to watch you die in slow agony.

(FRANKIE SPITZ turns the machine on.)

FRANKIE SPITZ: We're good to go, boss.

(AL HAWKE chuckles.  He heads back toward the machine and grabs the large handle 
grip protruding from it.)

(The engine wraps the ropes tighter around CAROLYN LANCE.  The thugs stand on 
the side watching.  CAROLYN has her steeley gaze on HAWKE.)

(HAWKE picks up a baseball bat and grips it with both hands.)

AL HAWKE:  What will be, will be.

(He swings at the protruding handle and whacks it over and over again until the 
handle that turns the machine off breaks.)

(The metal handle breaks off.)

(CAROLYN closes her eyes and concentrates as the ropes squeeze around her 
tighter and tighter.  HAWKE looks at her gleefully;  CAROLYN stares back, hard 
and unyielding.  The machines continue to tighten the ropes around her.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

[INT. HAWKES' INDUSTRIAL GARAGE -- NIGHT]  

(We continue where we left off.  The ropes continue to tighten around CAROLYN; 
the silver collar around her neck preventing her from using her powers.)  

AL HAWKE:  Have you ever seen a boa constrictor crush a man?  It's, uh, it's 
exhilarating -- to see it squeeze the life force out of this shell we call a 
body.

(In the back of the garage, HELENA jumps down onto the metal stairs above the 
main show.)

HELENA:  Oh, come on.  What's the hurry?

(The thugs react.)

FRANKIE SPITZ:  Go, go, go, go! Go!

(The fire at HELENA.  She uses the railing as leverage and propels her self up 
and over where she lands on the floor in front of one of the thugs carrying a 
gun.)

(She kicks the gun up, then knocks his feet out from under him.  She puts her 
hands on his chest and flips over him.  When she straightens, she picks up and 
tosses him against the wall.  Without watching to see him slump down to the 
floor, HELENA walks away confident that he won't be getting back up again.)

(Meanwhile, the ropes continue to tighten around CAROLYN.

AL HAWKE:  In my zen meditation practice, I've learned many things, but chief 
among them is purity of focus.  You see ... nothing will distract me from your 
death.

(CAROLYN sees something ... or someone ... behind HAWKE.)

DINAH: (o.s.)  You sure about that?

(HAWKE turns around.  DINAH kicks him in the stomach, then punches him in the 
face.)

(DINAH looks at her mom, still struggling against the tightening ropes.)

(DINAH runs to find some way to stop the machine.)

(Meanwhile, HELENA dashes across the way, moving faster than the automatic 
gunfire following her and missing her.)

(She jumps up sideways and kicks the gun out of the thug's hands.)

(Cut back to:  DINAH finds the machine, but doesn't know hot to stop it.  She 
finds the broken handle and tries to get it back into its socket.)

(CAROLYN suffers against the tightening ropes.)

DINAH:  Aah! It's broken!  There's no way to turn it off.  

(DINAH reaches into the machine trying to stop the gears from turning with her 
own fingers.)

DINAH:  (frustrated)  I can't stop it!

(The ropes continue to tighten.)

DINAH:  (looks up and screams)  Huntress, I need your help!

(But HUNTRESS is occupied.  The thug comes after and she elbows him in the face.  
He turns around and comes after her again.  She whirls around and kicks him.  He 
goes down.)

(Across the floor, FRANKIE SPITZ holds a gun on HELENA.)

FRANKIE SPITZ:  That's enough trouble out of you, huh?

(HELENA turns around just as REESE comes running out from nowhere and grabs the 
gun from FRANKIE SPITZ'S hand.  He twists his arm in his grip and hits him in 
the abdomen.  He holds his gun on the back of FRANKIE'S head while lifting his 
twisted arm up.)

(HELENA looks at REESE surprised.)

REESE:  Thought you might need someone to get your back.

HELENA:  You got this?

REESE:  Oh, yeah, yeah. Go.

(HELENA takes off.)

REESE:  It's been a long time coming, Frankie.

FRANKIE SPITZ:  Yeah? Well, enjoy it, junior, because your time is coming soon.

(REESE twists his arm up and pulls him upright.)

(Cut to:  DINAH moves to stand in front of CAROLYN.  She glances down at the 
tightening ropes, powerless to get them off of her mom.)

CAROLYN LANCE:  Dinah ... I am so proud of you.  And this is what you were born 
to be.

(She groans in pain.)

CAROLYN LANCE:  I couldn't hope for anything more.

(DINAH starts to cry.  CAROLYN cries out in pain as the ropes tighten.)

(From behind, HAWKE grabs DINAH from around her neck.)

AL HAWKE:  You've unbalanced my chi.

(He tightens his hold on DINAH.)

CAROLYN LANCE:  (eyes wide)  Let her go, Hawke.

AL HAWKE:  It's a profound moment for me - 

(DINAH struggles within HAWKE'S grip.)

AL HAWKE:  To have Black Canary's daughter watch her own mother die, 

(DINAH looks at her mom's collar and concentrates.)

ALHAWKE: ... just like I watched my father die.  

(The collar starts to shake and shimmy.)

AL HAWKE:  But I'm a compassionate man.  I'll kill her quick ... or not.

(With the last of her concentration, DINAH breaks the silver collar off from 
around her mother's neck.  The collar falls to the floor just as DINAH, out of 
breath, falls to the floor as HAWKE releases her in surprise.)

(CAROLYN looks at HAWKE and takes a deep breath.  The sonic ripples draw into 
her in gold rings as she prepares to use her power.)

(HAWKE puts his hands on his ears to cover the sound.)

(CAROLYN lets out her Canary Cry.  The sonic sound pulses in waves out from her, 
its full force bent on the man in front of her.  HAWKE goes flying into the 
stack of metal containers stacked across the room.  And still the pulses 
continue.  The metal containers fall to the floor and the liquid inside spill 
out.)

(HELENA rushes forward only to be thrown backward into a stack of more metal 
containers.  DINAH has her hands covering her ears.)

(CAROLYN turns her head and aims the sonic pulses at the machine holding the 
ropes.  The machine breaks letting the ropes go.  CAROLYN tosses the loosened 
ropes aside and jumps down to check on DINAH.)

(CAROLYN kneels next to DINAH; HELENA rushes over.)

(HAWKE gets up and now he's got a gun with him and fires at them.  They rush to 
take cover at the back of the room.  The shots HAWKE fires hits the metal 
barrels releasing more gasoline onto the floor)

(The three women crouch behind the barrels.)

HELENA:  We've got to get out of here.  This place is going to blow.

CAROLYN LANCE:  Get Dinah out of here.  I'll draw his fire.

DINAH:  No, I'm not leaving without you.

CAROLYN LANCE:  It's okay.  I'll be all right.  Thank you.

HELENA:  (nods)  Save it for later.

CAROLYN LANCE:  Sure.

(CAROLYN stands and runs across the room to draw HAWKE'S fire.  True to his 
nature, HAWKE sees CAROLYN and concentrates on firing at her.)

(HELENA and DINAH stand up and run.)

(As they leave, DINAH turns around and sees her mother trapped behind the 
barrels.

DINAH:  Mom!  

(HAWKE hears her and swings around to fire.)

(But CAROLYN won't let him fire.  She stands and draws in her breath to let out 
another Canary Cry.  HELENA and DINAH run for the exit.  The sonic blast knocks 
HAWKE off of his feet.  HELENA and DINAH are also knocked off of their feet with 
the strength of the cry.)

(HAWKE sits up and aims at the barrels.  He fires.  The barrels catch fire. and 
it quickly spreads.  But CAROLYN won't let up.  She continues to blast HAWKE 
giving her daughter time enough to escape from the warehouse)

(The fire inside blazes and heads straight for the "DANGER: FLAMMABLE" sign.)

CUT TO:



[EXT. HAWKES' INDUSTRIAL GARAGE - NIGHT - CONTINUOUS]

(REESE shuts the door to his car closed.  He turns and heads back into the 
garage.  Suddenly, it explodes.  He sees HELENA and DINAH both jump at the 
strength of the blast as they are knocked forward off of their feet onto the 
ground.)

(DINAH stares at the burning building in front of her and gets to her feet 
intending to go inside to look for her mom.)

(HELENA rushes and grabs her, preventing her from going back in.)

DINAH:  (screams)  Let me go!

HELENA:  (firmly)  No.

(DINAH starts to cry.  HELENA wraps her arms tightly around DINAH as she cries.  
Both of them watch the building in front of them burn.)

DISSOLVE TO:



[EXT. NEW GOTHAM CITY SKYLINE (STOCK) -- NIGHT]  



[INT. POLICE DEPARTMENT - NIGHT]

(REESE'S desk is covered with photos.  He sits back and covers his eyes with his 
hands for a moment.  He then sits up preparing to get to work, when he senses 
someone behind him.)

(He turns to look and sees HELENA leaning against the door frame.  She doesn't 
say anything, but steps into the room where she takes something out of her coat 
pocket.)

(It's a ring.)

(She holds it out to him.  He glances at it and takes it.)

REESE:  What's this?

HELENA:  "Thanks for the backup" present.

REESE:  This mean we're going steady or something?

HELENA:  It's just a ring.  It's not even a ring.  It's actually a communication 
thing.  What, you don't like it?

(She reaches out to take it back, but he jerks it out of her reach having no 
intention of giving it up.)

REESE:  I was joking.

HELENA:  Oh.

(REESE stands up and puts the ring on.)

REESE:  So this communicates with you?

(She reaches out to the ring on his finger to show him how to use it.)

HELENA:  Yeah, if something happens, you just put your fingers together and 
squeeze, and I'll know that you need me.

(He looks down at their hands.)

REESE:  Guess a phone number is just too simple, huh?

HELENA:  I'm not a simple girl.

(They look at each other.)

CUT TO:



[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]

(The camera flies high above the building weaving in and out of them.)



[INT. NEW GOTHAM HOSPITAL - ROOM -- NIGHT]  

(REESE opens the door and walks into the room.  He turns around to the officers 
guarding the door.)

REESE:  (to the officers)  I'm only going to be with him for a minute.

AL HAWKE:  (mumbles)  I suppose you're enjoying this.

(In the bed is a heavily bandaged man.  REESE walks up to his bedside.)

REESE:  No, I'm not.  Only a sick man takes pleasure in another human being's 
pain.

AL HAWKE:  Mmm.  I forgot.  You always were above it all.

REESE:  Yeah, well, I guess we just found out that you're not.  You killed a 
woman, practically in front of her own daughter.  You've been charged, and you 
will get locked up for this.

AL HAWKE:  We'll see.

REESE:  You really area monster, aren't you?  You just feed off of people.  You 
suck the blood right out of them, and you just leave them lying there broken.  
Only this time, it's a little different, isn't it?  It's you who's broken.  
There is no way in hell I'm letting you get away with this one -- not unless you 
die.

AL HAWKE:  We'll see.

REESE:  Well, that is one thing that I can say about you -- always optimistic.

(REESE steps away from the bed.)

AL HAWKE:  Jesse ... don't forget to call your mom.  She doesn't like being 
alone.

REESE:  Whatever you say, dad.

(REESE turns and walks away.  The door closes behind him.)

CUT TO:



[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]

(The camera pushes in slowly toward the clocktower.)



[INT. CLOCKTOWER -- NIGHT]

(BARBARA sits in the middle of the room staring at something outside through the 
glass of the clock face.  HELENA walks up beside her to watch DINAH on the other 
side.)

HELENA:  We have to do something.

BARBARA:  She'll come to us when she's ready.

HELENA:  Will she ever be ready?

BARBARA:  You were.  It just takes a little time.  (sighs)  Of course, even you 
needed a bit of a push.

(As if in agreement, the two head outside to join DINAH.)

CUT TO:



[EXT. CLOCKTOWER - BALCONY - NIGHT -- CONTINUOUS]  

(DINAH stands outside looking out onto the city lights.  HELENA and BARBARA join 
her.  The clock face reads 9:10 p.m.)

DINAH:  Um ... it feels like I was holding a photograph in my hand for a moment, 
and then someone took it away.

HELENA:  It'll be that and a thousand other things before you're done.

DINAH:  (cries)  It's just ... I'm a totally different person, you know?  
There's so much I don't know.

BARBARA:  And the most important thing is that your mother was proud of you.  
And the rest ... 

(BARBARA reaches out to smooth out DINAH'S hair.)

BARBARA:  (gently) ... you'll find on your own.

DINAH:  (teary)  No.  Not on my own.

(She sighs.)  

DINAH:  I can't look back, you know?  All I have is the future, and I think I 
know what I have to do, for her ... and for me.

(DINAH puts her arms around both women as they turn to look out at the city 
lights.  DINAH puts her head on BARBARA's and closes her eyes.)

(The camera pans up over the clockface and over into the starry sky, past the 
moon and over to the city that they watch over.)

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 without permission.

==========================
TITLE/OPENING CREDITS
==========================
BIRD OF PREY
1X05:  SINS OF THE MOTHER
PROD #175454
ORIGINAL AIR DATE ON WB:  11/06/2002
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

Special Guest Star
LORI LOUGHLIN as Carolyn Lance (Black Canary)

Guest Starring:
KRISTOFER McNEELEY as Frankie Spitz
ROBERT PATRICK BENEDICT as Gibson Kafka
BRENT SEXTON as Detective McNally

and
STEPHEN McHATTIE as Al Hawke

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

Teleplay by:  MELISSA ROSENBERG
Story by:  MELISSA ROSENBERG & HANS TOBEASON
Directed by:  JEFF WOOLNOUGH

==========================
END CREDITS 
==========================
Executive Producer:  MIKE TOLLIN
Executive Producer:  BRIAN ROBBINS
Executive Producer:  JOE DAVOLA

Music in this episode:
* "divine discontent", Sixpence None the Richer, Promotional consideration 
furnished by Reprise Records
* "sea change", Beck, Promotional consideration furnished by Geffen Records
* "luce", Luce, Promotional consideration furnished by Nether America

TRP Tollin / Robbins Productions
Warner Bros. Television - An AOL Time Warner Company (www.warnerbros.com)






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.

#175454

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