BIRDS OF PREY
1X06: PRIMAL SCREAM
PRODUCTION #175455
ORIGINAL AIR DATE ON WB: 11/13/2002
TRANSCRIBED FROM WB
Teleplay by: EDWARD KITSIS & ADAM HOROWITZ
Story by: ADAM ARMUS & KAY FOSTER
Directed by: JIM CHARLESTON
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive without permission.
RATING: TV-14-DLSV
==========================
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
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Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY: At Reese's request, Helena goes undercover and infiltrates a gang
terrorizing New Gotham. Dinah deals with losing her mother.
==========================
BIRDS OF PREY
1X06: PRIMAL SCREAM
==========================
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 trainer to heroes. Together, they have
taken in a young runaway -- Dinah, a meta-human herself with 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 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.) ... 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 - A 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.) ... 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 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
WHITE FLASH TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, slowly pulling back from the clock
tower.)
ALFRED PENNYWORTH: (v.o.) My name is Alfred Pennyworth, and this is their
story.
END OF INTRODUCTION
CONTINUE TO:
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them at
an incredible speed. In one continuous movement, it turns and rushes straight
downward to the street below.)
CUT TO:
[EXT. STREET -- NIGHT]
(Camera opens up on a close up of a hand with a ring with a glowing blue rock on
it. Camera moves up and we see that it's DETECTIVE REESE'S hand and he's
sporting the new batring that HELENA recently gave to him.)
(The siren wails and an ambulance rushes by him. He looks up at it, a bit
startled. He then looks back down at the ring on his finger. He plays with
it.)
(What he really was doing was activating it. HELENA drops down from the sky and
stands a distance away from him. The ring on REESE'S hand isn't glowing any
more.)
(He looks at her.)
REESE: That was quick.
(She walks up to him.)
HELENA: You trigger the Batring, I show up. That's the deal. What can I do
for you, Detective?
(He looks back down at his ring.)
REESE: Ha ha. Guess I just didn't realize it was going to be so fast.
HELENA: I'm known for my response time.
(REESE settles his hip against his car and looks at HELENA.)
REESE: Well ... you think about what I said?
(His words are laced heavily with innuendo.)
HELENA: About taking it to the next level? Yeah, I've thought about it.
REESE: Something a little more hands-on. You know, see if we're compatible.
(she nods) See what kind of fit we are together. (she nods again) Just an
experiment, though. I mean, no strings.
(She nods.)
HELENA: Of course. I'm a little commitment-shy myself.
REESE: Hmm. I just figured it'd be a good way for us to, you know, sort of get
to know each other.
HELENA: Sounds good. Because the truth of the matter is, Detective, there's a
lot of things you don't know about me.
CUT TO:
[INT. DANCE CLUB - NIGHT]
(The music pulses and the clubbers dance. Inside the bar, the doors open and
riders on motorcycles burst into the club.)
(They're dressed in black and wearing halloween masks over their faces.)
MAN: Let's get it on!
WOLF: 30 seconds!
(A WOMAN runs into the bar.)
MAN: Welcome to tonight's show. Price for admission --your valuables.
MAN: All right, time for some fun! Remember, kids, giving is its own reward.
MAN: Cash, jewelry, watches and handbags. And please, no knock-offs, we're a
class act.
(A WOMAN CLUBBER screams.)
MAN: Come on, give it here, give it here.
MAN: Let's dance.
WOLF: 20 seconds!
WOLF: That's right, boys. Yeah!
(The bartender behind the bar lifts his weapon. He takes aim at one of the
robbers. Another robber sees the movement. She jumps onto the counter and
flawlessly slides along the top to knock the gun out of the bartender's hands.
It flies straight up into the air.)
(Then with a single smooth movement, she lifts her mask up a bit to see where
the gun is, then moves her mask back down as she catches the gun.)
WOMAN: Time! We're out.
(The burglars wrap it up.)
MAN: Time really flies when you're snatching and grabbing.
MAN: And grinning and winning.
MAN: Save the poetry, boys. Let's wrap it up.
MAN: Giddyap! Yaow!
MAN: Rock 'n' roll.
(The woman jumps onto the back of the motorcycle as it leaves the bar.)
(As the thieves ride out, the WOMAN pulls off her CAT halloween mask.)
(It's HELENA.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. NEW GOTHAM CITY (STOCK) - NIGHT]
(Camera cruises up high above the buildings, weaving in and out between them at
an incredible speed. It stops directly in front of the NEW GOTHAM POLICE
building.)
CUT TO:
[EXT. STREET OUTSIDE NEW GOTHAM POLICE BUILDING -- NIGHT]
(REESE is carrying his bag and walking between the buildings. We hear a
whooshing sound and hear HELENA call out to REESE.)
HELENA: Hey.
(He stops and shakes his head. HELENA is standing in the darkness in the
shadows near the wall. He turns to look at her.)
REESE: You know, you could show up in front of me every once in a while.
HELENA: That would undercut the whole broody, mysterious thing.
(She steps away from the wall and takes a couple of steps toward REESE.)
HELENA: Were you expecting me, Detective?
REESE: (exhales) All the time.
(He holds out a file folder for her.)
REESE: Here. Surveillance cameras took these at Gotham D.
(She takes the folder and leafs through the large photos of the masked people
robbing the clubbers.)
REESE: Is there something you want to tell me?
HELENA: Yeah. Do you think these pants make me look hippy?
REESE: (exasperated) Why is everything such a joke to you?
HELENA: It's not a joke. Fashion in combat is a very serious issue.
(REESE turns away a bit irritated; HELENA hides her smile from him.)
REESE: Look, I brought you in on this case because I wanted us to try to work
together, not so you could run around town enjoying a few nights of terrorizing
civilians.
HELENA: (correcting) You brought me in on this case, detective, because you
needed someone with a little bit more of a, shall we say, casual relationship
with the law.
(REESE sighs and doesn't say anything. HELENA knows that she has him. He knows
that she has him.)
HELENA: This gang would have spotted one of your undercover people in a
heartbeat.
REESE: What's your point?
HELENA: The point is, Detective, you need me. And we didn't terrorize anyone.
We just aerated the ceiling a little.
REESE: When I asked you to come work for me -
HELENA: (corrects him again) ... with you. I don't work "for" anyone.
REESE: "With" me. I thought we both understood that we were going to do things
by the book. You were supposed to call me before you hit the next target.
HELENA: (scoffs) I would have, if they had told me where they were going. I
was still on the "out for coffee" stage of the relationship with these guys.
REESE; Okay, great, great. Do you have any idea when we're going to move on to
heavy petting?
HELENA: Before you get all grouchy, I was just about to tell you. (a bit proud
of her accomplishment) After last night's performance, I think I made it to
second base.
REESE: So what, you got the heads-up on the next target?
HELENA: Gobu, tomorrow night, 10:00 P.M.
REESE; Well, all right, all right, that's good. Huntress, listen to me. We
have to catch these guys in the act if we're going to make it stick.
(She smiles at him.)
REESE: You think you're ready for that?
HELENA: All the time.
CUT TO:
[EXT. NEW GOTHAM CITY (STOCK) - DAY]
(Camera cruises up high above the buildings, weaving in and out between them at
an incredible speed. It zooms up and around a large building coming to a stop
directly in front of the NEW GOTHAM HIGH SCHOOL.)
CUT TO:
[INT. NEW GOTHAM HIGH SCHOOOL - BARBARA'S CLASSROOM - DAY]
(BARBARA is in front of the chalkboard writing down the following:
GABRIEL GARCIA MARQUEZ
One Hundred Years of "Solitude"
(Behind her, there's a knock on the door. She turns and smiles as she sees WADE
standing there. She puts the chalk down.)
BARBARA: Hey.
WADE BRIXTON: Hey.
(He steps into the classroom carrying a mug of coffee.)
WADE BRIXTON: Here you go. Coffee and company.
(He hands her the mug and settles on the edge of her desk.)
BARBARA: Both of which I could use. How did you know?
WADE: I did a little research. You know, "1,001 things to know about dating,
the academic professional's dating guide to survival," some other lesser-known
works.
BARBARA: Wade, um ...
WADE: No, I'm kidding. No strings attached.
BARBARA: Is it bad that I think we should, um ... Well ... just sort of stick
to the friends thing?
WADE: No. No, not bad. It-- it's just that, um ...
BARBARA: (prompts) That ...
WADE: Oh, you -- you're way cuter than my other friends.
(She laughs at the compliment.)
WADE: It'd be distracting for everyone.
BARBARA: (seriously) Okay, well, we'll have to take it slow.
WADE: My favorite speed. Slow it is.
(He slowly leans in toward her.)
WADE: Gear change is totally at your discretion.
(They kiss.)
BARBARA: Slow, right?
WADE: Molasses.
CUT TO:
[EXT. CLOCK TOWER (STOCK) - DAY]
(Camera pushes in toward the Clock Tower.)
CUT TO:
[INT. CLOCK TOWER - DAY]
WADE: (murmurs) Good morning.
BARBARA: (smiling) It is, isn't it?
(The two are spooned up together in bed. BARBARA is in WADE'S arms, smiling and
playing with her hair, twirling it around her finger. He brushes away her hair
from the side of her face and kisses her cheek.)
WADE: You know, the funny thing is, when I look at you ...
BARBARA: What's that?
WADE: I just want to take care of you.
(Camera moves slowly in on BARBARA'S wide-eyed look. She can't believe she just
heard what she thought he said.)
HELENA: (v.o.) You had sex with Wade?!
CUT TO:
[INT. CLOCK TOWER - LATER]
(HELENA is sounding absolutely giddy at the news. BARBARA waves her hand trying
desperately to shush her.)
BARBARA: Shh, shh. Don't say the word "sex" in front of Alfred.
(She glances behind her at ALFRED who is in the back of the room busy doing his
own thing.)
HELENA: Oh, please. He's heard it. Or at least heard of it, anyway.
BARBARA: Yeah.
HELENA: (confidentially) So was it good?
BARBARA: It was really good. That's not the point.
HELENA: Yeah, since when?
BARBARA: Look, the point is, yes, it was great, but what if he's wrong for me?
I mean, did he say that the wants to take care of me because I'm in a
wheelchair?
HELENA: Okay, let's think about what he didn't say. Things like, "um, what was
your name again?" You and Wade are branching off into a new phase of your
relationship. That's it. I can identify.
BARBARA: (sighs) And how are things going with the good Detective?
HELENA: The plan is to arrest the gang in mid-robbery when we hit Gobu tonight.
I slip out the back door, the cops come in the front.
(DINAH walks in.)
DINAH: Hey, guys. Sounds like crime fighting plans. What did I miss?
Bringing down another group of lawless villain types.
HELENA: The usual.
DINAH: I'm in.
BARBARA: (hesitant) Dinah, are you sure you're ready to get back to your
training? I mean, it hasn't been very long since ...
DINAH: The Black Canary died. You know, you can say it.
HELENA: It's not just Black Canary. It's your mom.
DINAH: Which would have probably carried more weight if I'd known her at all.
Look, guys, of course I'm sad, but the truth is ... to me, I lost my mom when I
was 6, when she gave me up. I mourned her for years, and I guess that's why I
can handle it so well.
HELENA: Dinah -
DINAH: Look ... I appreciate your worrying about me, but I am fine. Really.
So, um ... (to BARBARA) I'll see you at school, okay?
BARBARA: Okay.
(DINAH leaves.)
SERIES OF QUICK FLASHES TO:
[INT. -- NIGHT]
(HELENA walks confidently across the room.)
HELENA: (to comm) I'm at the House of Sin. Find anything more on Mick
Winters?
INTERCUT WITH:
[CLOCK TOWER]
(BARBARA is in front of her computers.)
BARBARA: Before he became the leader of the pack, fox boy was an extreme sports
fanatic. Motor cross, race cars. Anything that can go fast and crash hard.
HELENA: So your basic adrenaline junkie.
BARBARA: No wonder the two of you get along so well.
HELENA: Going in.
(HELENA walks up to the door and opens it. She walks inside.)
[INT. GANG'S HIDEOUT - NIGHT - CONTINUOUS]
(The other members of the gang stand up and applaude 'CAT' as she walks in.)
MICK WINTERS: Nice shot, Cat. Really speaks to the inner you.
(He opens the front page of The NEW GOTHAM GAZETTE. The headline reads:
ANIMALS STRIKE AGAIN. It's accompanied by a fuzzy photo of HELENA in her CAT
mask.)
(She glances down at the paper.)
HELENA: Got to make your presence known.
MICK WINTERS: And in honor of you doing just that, we got, uh, something for
you.
(He pulls off the tarp and shows her the yellow bike under neath.)
MICK WINTERS: Go on, Cat. You've earned it.
HELENA: I've earned a lot of things. Never gotten this kind of recognition.
When do I get to break the Lady in?
(She swings her leg over the seat and sits down on the bike.)
MICK WINTERS: Tonight. Boys and girls, it's party time. Saddle up.
(He turns to the rest of the gang.)
MICK WINTERS: Wolf, you're on communications. And, uh, just in case ...
(He throws a gun toward WOLF. She catches it.)
MICK WINTERS: Remember, people don't intimidate people.
(She cocks the gun.)
MICK WINTERS: Guns do.
WOLF: Police response time should be under five minutes.
MICK WINTERS: Then we don't try anything fancy -- clean, fast, in and out.
HELENA: I usually like my fun to last a little bit longer, but, uh, I'll see
what I can do.
WOLF: It's got to be quick. Sure you don't want to bench the rookie tonight?
MICK WINTERS: Nah. It's nothing but high-end purse snatching. We need
something to keep things interesting.
(The gang disburses to get ready. HELENA remains on her bike.)
MICK WINTERS: So, Cat ... you know what this means.
HELENA: That my pile of unpaid speeding tickets is going to get a whole lot
bigger?
MICK WINTERS: It means you're one of us now. No more trial run, no more dress
rehearsal. This is the real thing. The rest of the world, they live in their
little boxes, driving to work every day, punching the clock. Society's a cage.
They just can't see it. You know those people, don't you, Cat? The ones who
live by everybody's rules but their own.
HELENA: "By the book."
MICK WINTERS: Exactly. The question is, whose book? So what do you say? Want
to go looking for a little trouble?
HELENA: Why just a little?
(She reaches down and starts the bike's engine.)
CUT TO:
[INT. GOBU - NIGHT]
(The waiter puts the drinking bowl down on the table in front of REESE.)
REESE: Thank you.
(He picks it up and takes a sip.)
REESE: (to radio) There's no sign of them yet. But you know what, McNally?
This soup's pretty damn good. Just make sure everybody stays put until I give
the word, all right?
INTERCUT WITH:
[IN THE VAN]
(McNALLY sits and monitors REESE inside the building as he coordinates the
bust.)
McNALLY: (to radio) All units, stay in position. Wait for my signal. Repeat,
wait for my signal.
(Suddenly, the doors burst open. The Gang walks in.)
MICK WINTERS: Put your sushi down and your hands up.
(The WOMEN scream.)
MICK WINTERS: Hi, folks, don't be alarmed. You're not going to be hurt, just
robbed.
WOMAN: Ladies and gentlemen, please fasten your seat belts.
REESE: (to radio) McNally, go.
MCNALLY: Hey, Reese.
REESE: Move in.
WOMAN: ... Upright position, and turn off any electronic equipment, as it is
currently being jammed, and has been from the moment we walked in.
REESE: (to radio) McNally, if you can hear me -
(MCNALLY sits in the van fiddling with the radio equipment. All he gets is
static.)
REESE: (to radio) Go! Go!
WOMAN: Your cell phones don't work, and 911 is not on the way.
(REESE takes out his gun. HELENA sees REESE move to stand up and she
intervenes. She hits him and knocks him to the ground.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. CLOCK TOWER (STOCK) - DAY]
(Camera pushes in slowly toward the Clock Tower.)
CUT TO:
[INT. CLOCK TOWER - DAY]
(HELENA walks in.)
BARBARA: What happened to you this morning?
HELENA: Tequila happened. But guess what. I'm in. They gave me my own bike.
BARBARA: I hope you weren't drinking and driving.
HELENA: No. The drinking came after the driving ...
(BARBARA sighs.)
HELENA: ... and armed robbery, but before the dancing and strip poker.
BARBARA: Okay, so you spent the evening working on your cover.
HELENA: Kind of.
BARBARA: Have you checked in with Reese yet?
HELENA: No. And I'm not looking forward to it. He's just going to lecture me
about procedure and rules.
BARBARA: And why you shouldn't have knocked him out cold.
HELENA: That's what I'm guessing.
BARBARA: Yeah.
HELENA: Right.
CUT TO:
[INT. CLOCK TOWER - TRAINING ROOM - LATER]
(BARBARA and DINAH are working out. DINAH, however, doesn't seem to be putting
a lot into it.)
(They stop. DINAH leans down to pick up a towel. BARBARA takes the opportunity
to stop.)
BARBARA: Let's take a break, huh?
DINAH: Why, are you worried about me?
(They head for the weapons wrack.)
BARBARA: Worried because you're attacking me like a rabid rottweiler? Why
would I be worried?
DINAH: Not sure I like that visual image.
BARBARA: Dinah, you haven't nailed a move the whole session.
You're all fury and no focus.
Your anger's overpowering your skill.
DINAH: I am not angry.
BARBARA: Look, it's a natural part of grief.
DINAH: Barbara, I am not angry!
BARBARA; Listen to me. The worst mistake you can make is going into a fight
when you can't control your emotions. Now, that's where I think you are right
now. (DINAH looks away.) That's enough for today.
DINAH: Fine.
(DINAH takes off her gloves angrily and heads out.)
DINAH: (mutters) I'll monitor the Delphi system.
(BARBARA watches her leave.)
(ALFRED walks in.)
ALFRED: Miss Dinah certainly is enthusiastic.
BARBARA: Give me a villain hell-bent on world domination, and I know exactly
what to do, but a 16-year-old -
ALFRED: A super powered teenager baring her grief, driven by anger and
vengeance -- you've certainly never seen that before.
(BARBARA looks up and sees the large bouquet of flowers in front of her.)
BARBARA: (what's this) Alfred?
ALFRED: You told me to hide Mr. Brixton's flowers, not throw them away.
(He reaches for the flowers.)
ALFRED: I take it the case is not going well.
(She turns to leave the practice room; ALFRED follows her.)
BARBARA: Honestly ... I think Helena and Reese are going to kill each other.
The more frustrated she gets, the more tempted she is to have a little too much
fun in the underworld.
ALFRED: The vigilante working with the policeman? Never an easy alliance.
Certainly Master Bruce had his disagreements with your father.
BARBARA: Ah, you see, Batman and Commissioner Gordon -- that was a team. I
just don't know if Helena and Reese are going to be able to work together like
that.
ALFRED: Hmm, their differences are great.
BARBARA: She's part Batman, but she's part Catwoman as well.
ALFRED: I've always found it interesting that the woman Master Bruce chose as
his greatest love -- that part of him was lured, seduced, by her lawlessness.
BARBARA: You think it runs in the family?
ALFRED: The appeal of life outside the law?
(beat)
ALFRED: Always. (He sighs enigmatically.) She is her father's daughter, after
all.
CUT TO:
[INT. HIDEOUT - THE LOUNGE - NIGHT]
(The gang members play poker. WOLF looks at HELENA. The camera lingers on
HELENA'S cards: a 9, 10, V, D, R of hearts.)
HELENA: Read 'em and weep. I want to see what's under those boxers.
(Apparently, they're playing strip poker. The men are down to their pants.
They both stand and undo their pants buttons. The camera shifts to HELENA as
she looks from one to the other.)
HELENA: Wolfie, feel free to fold next time.
(WOLF sits and watches HELENA. She finally takes off her black sweater and
tosses it aside. She lounges back in her seat.)
(MICK WINTERS walks into the room and glances at the gang.)
MICK WINTERS: Okay. This is just pathetic. You people truly need to learn how
to bluff.
HELENA: You want to play?
MICK WINTERS: Sorry, Cat. Got a drop off to make, and the boss, don't like to
wait.
HELENA: Since when do we have a boss?
MICK WINTERS: Someone's got to have the vision. We're part of something here,
Cat -- something big.
WOLF: That's all you need to know.
HELENA: Something big, huh? So when do we get to meet the boss?
WOLF: Those meetings are off-limits -- boss's rules.
MICK WINTERS: But every rule has exceptions. Maybe next time, Cat. (to the
gang) Don't play too hard. We hit club New Gotham tomorrow night. I want
everybody sharp. (he looks at HELENA) Especially you.
HELENA: Not a problem.
(MICK WINTERS turns and leaves. WOLFIE looks at HELENA.)
CUT TO:
[INT. DR. QUINZEL'S OFFICE -- NIGHT]
(Camera rises from the hallway to a shot of DR. QUINZEL'S office door.)
(Cut to inside the office, DR. QUINZEL is talking with someone.)
HARLEEN QUINZEL; It's very important you not withhold anything. How have
things been since we last met?
MICK WINTERS: I got to say profitable.
(He opens the briefcase and shows her the cash and other acquirements.)
HARLEEN QUINZEL: All this money.
(She reaches into the briefcase and picks up a bundle of cash.)
HARLEEN QUINZEL: Hmm. Not one death. Seems like such a waste.
MICK WINTERS: You area difficult lady to please, but I know the way to your
heart, courtesy Gotham's upper crust.
(He does indeed know the way to her heart. He holds out a bag open for her in
which she chooses some select pieces. She holds them open in the palm of her
hand and looks at them.)
HARLEEN QUINZEL: Ooh, look at these. (She gasps.) Oh, I could buy such pretty
things with these - guns, bombs, shoes. Planning the fashionable overthrow of a
city is so expensive.
MICK WINTERS: We've got a new member. You'd like her. A natural-born thief.
HARLEEN QUINZEL: Come D-day, a woman like that could prove useful. Perhaps I
should meet her when the time is right.
(She turns her attention back to the jewels in the palm of her hand and laughs.)
CUT TO:
[EXT. HIDEOUT - THE LOUNGE - NIGHT]
(REESE and MCNALLY stand behind a couple of large crates in the alleyway. REESE
stares at the doors through a binoculars.)
MCNALLY: Seems like a waste of time if your source is really on the money. Man,
who is this guy that you're so sure of his information?
REESE: Look, I trust this source, McNally. Let's just leave it at that. They
were right about Gobu, weren't they?
MCNALLY: (mutters) Would have been better if they'd mentioned the cell phone
jammer.
REESE: Yeah, well, would have been better if they'd done a few things
differently. Look, we're going to nail these punks one way or another, but we
got to do it by the book to make it stick.
(Rather than pursue the argument, MCNALLY looks down at his cup.)
MCNALLY: We're out of coffee.
(REESE eyes the cup.)
REESE: It was your turn.
MCNALLY: I don't think so.
REESE: Oh, trust me, I think so.
MCNALLY: You think so?
REESE: Yeah.
MCNALLY: Call it.
REESE: Heads.
(MCNALLY flips the coin.)
REESE: (triumphant) Ha ha. That's right. No detours, big man.
MCNALLY: Told you, I'm cold turkey. Another doughnut shall never pass these
lips.
(REESE grabs his binoculars and turns away to look back at the front of the
hideout. MCNALLY leaves.)
REESE: Beat it.
(He turns back to look at the front of the hideout and sees a rider return on a
bike. Suddenly, something is blocking his vision.)
(Cut to: We see a hand holding a donut in front of the binoculars. REESE pulls
the binoculars away.)
REESE: Damn, McNally --
HELENA: (interrupting) Now that hurts. You know I dress better than him.
(HELENA steps forward toward and around REESE.)
REESE: What are you doing here? You better get back inside there. You're
going to break your cover.
HELENA: Look, there's something you should know. Mick isn't the top dog of
this outfit. There's someone else. Sounds like someone really big.
REESE: Did you get a look at him? Name, anything?
HELENA: Come on, Reese. The amount this gang's been stealing, we could be
talking about someone with major crime lord potential. Whoever Mr. Big is, I
think we should go after him.
REESE: No, no, no, whoa, whoa, whoa, wait a minute, no.
HELENA: Reese, we can do this. We can nail this guy.
REESE: No, it's too risky. We hold off on busting this crew, we get
distracted, people can get hurt. It's the animals that we're after.
HELENA: Are you kidding? This could be major.
REESE: Huntress, this is my party, and I brought you into it, so I'm going to
say this to you one last time -- we're sticking to the original plan.
HELENA: Let me guess -- standard police procedure.
(HELENA sighs.)
REESE: Did you get the next target or what?
HELENA: (barely hesitates, then lies) No. They're going to lay low for a
while. No plans. I'll give you a heads-up when I hear.
(REESE turns around. HELENA reaches out a hand and pulls him back to her. She
traces his jaw lightly.)
HELENA: Hey, uh ... sorry about your jaw. I was just trying to help.
REESE: Yeah, yeah.
(REESE turns around and looks a the entrance through the binoculars.)
REESE: Remind me later to thank you for knocking me ...
(When he turns back, she's gone.)
REESE: ... out.
(REESE sighs.)
CUT TO:
[INT. CLOCK TOWER - NIGHT]
(Someone is making a big racket in the kitchen. BARBARA reaches out and turns
on the light. Digging in the back of the lower cabinet is HELENA. She turns
around to look at BARBARA.)
BARBARA: What are you doing?
HELENA: Looking for a pop-tart. What are you doing up?
BARBARA: I thought you said you'd be here for dinner.
HELENA: I had to go blow off some steam, so I went out with the guys.
BARBARA: The "guys" ... as in the criminals we're in the middle of pursuing and
trying to put away.
HELENA: Yeah, them.
(HELENA finds the box of pop tarts and stands up.)
HELENA: I found something out. Something serious. There's a big boss taking
all the profits from the animal gang. They're just foot soldiers. Sound
familiar?
BARBARA: Do you think this could be the woman that we've been looking for?
HELENA: Seems like a real possibility -
(HELENA walks over to the refrigerator to get something.)
HELENA: ... cash-heavy crimes, mysterious unseen boss, big and conveniently
vague master plan. (She opens the bottle of milk.) It's got to be her.
(HELENA takes a sip.)
BARBARA: Do you think the gang could lead us to her?
HELENA: Yeah, I do, so I lied to Reese. Didn't tell him about the next target.
I mean, if he arrests them now, then we lose our chance to follow them to the
boss.
(BARBARA doesn't appear to like the plan.)
BARBARA: And you think that's a good idea.
HELENA: What's the big deal?
BARBARA: So it takes the animals a little bit longer to get arrested.
HELENA: They're not all that dangerous.
BARBARA: And you're basing this on what, how much fun they are to party with?
HELENA: They're harmless. All they do is steal from rich people that blow
their money on raw fish. No one gets hurt.
BARBARA: You're defending them.
HELENA: We're not that different. We all live outside the law. At least they
have fun. And Reese makes everything so dire. Why does crime-fighting have to
be so serious?
BARBARA: It's not serious. I mean -- I mean, it is serious, but it's not --
(HELENA picks up her pop tart.)
HELENA: Hey. Meta-physical discussion later. I have a party to rest up for.
(HELENA turns to leave the room.)
CUT TO:
[EXT. HIDEOUT - NIGHT]
(WOLFIE walks into the hideout carrying a package. She crosses the room toward
MICK WINTERS.)
WOLF: Picked up some snacks at the corner on my way over.
(She turns the package over and dumps its contents onto the empty pool table.)
MICK WINTERS: Man, I was really hoping for cool ranch.
WOLF: While I was there, I saw a dumpy guy in a cheap suit grabbing some coffee
and sneaking a doughnut.
MICK WINTERS: Mm. Cops.
WOLF: Found their ride --surveillance van.
MICK WINTERS: Then let's break out the welcome wagon, Wolf. Don't tell the
others. I don't want to ruin the mood.
(He reaches out and caresses her chin lightly. This pleases WOLFIE a lot. She
smiles. He laughs.)
CUT TO:
[EXT. HIDEOUT -- NIGHT
(MCNALLY and REESE leisurely keep their eye on the front of the hideout.)
MCNALLY: It's quiet.
REESE: Yeah, I know. My source says they're laying low.
MCNALLY: Too quiet.
(MCNALLY turns around to look at REESE.)
MCNALLY: Maybe your source isn't being straight with you.
REESE: McNally, I said I trust her, all right?
MCNALLY: Whoa, whoa, whoa, whoa, whoa. "Her"? Oh, great.
REESE: What?
MCNALLY: Nothing. Nothing at all, man.
REESE: Oh, hey, hey, hey.
(MCNALLY doesn't want to get into it there. He motions for REESE to get a coin
out.)
MCNALLY: Don't. Don't. I'm thirsty. Flip it.
(REESE digs into his pocket and gets a coin out. He flips it and stops it on
the back of his hand. He shows it to MCNALLY.)
REESE: See ya.
MCNALLY: (scoffs) "Her."
(MCNALLY moves past REESE to get to the van. REESE steps forward to keep his
eye on the entrance. He looks through the binoculars.)
DISPATCH (WOMAN): All units, 10-31 in progress, Club New Gotham. Suspects
armed, considered dangerous.
(REESE realizes that its them. He turns and yells into the radio.)
REESE: Aw, damn it. (to the radio) McNally, meet me at the van, now!
CUT TO:
[EXT. CLUB NEW GOTHAM - NIGHT]
(The club alarm blares and we can hear the ruckus that the gang is making as
they leave the place. They laugh and climb into the van.)
MICK WINTERS: Slam, bam, thank you, New Gotham!
MAN: Now that's what I call a night on the town!
MAN: Go, go, go!
WOLF: Ha ha!
(The van takes off amidst their cheers of success.)
CUT TO:
[EXT. HIDEOUT - PARKED VAN - NIGHT]
(Meanwhile near the quiet parked police van, REESE runs full steam toward the
parked vehicle. Before he even makes it there, the van blows up.)
REESE: No, no, no, no, no -- McNally!
(REESE runs toward the van.)
(It blows up again.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. CLOCK TOWER -- NIGHT]
(The elevator doors open. HELENA is sitting inside. She stands up and steps
out. BARBARA is waiting for her.)
HELENA: (thinking that she's going to get a lecture) Barbara -
BARBARA: (very serious) Helena, wait. Someone put a bomb under a police
surveillance van near The Animals' headquarters last night.
(HELENA thinks the worst.)
HELENA: Reese ...
BARBARA: No, he's fine. He wasn't in it. But his partner - he's too close --
he's in ICU at Gotham general.
(HELENA turns around and heads back into the elevator.)
BARBARA: Helena, listen to me. It looks like he's going to make it.
HELENA: Yeah. No thanks to me.
(The elevator doors close.)
CUT TO:
[EXT. GOTHAM GENERAL - EARLY MORNING]
(REESE walks out of the hospital and into the parking lot. He's had a long,
hard night and he's tired.)
(He walks right past HELENA who is standing near the underground stairs. She
calls out to him.)
HELENA: Reese.
(He turns around. She steps out into the light.)
HELENA: Reese, I am so sorry.
(REESE walks down the steps toward her.)
REESE: (angry) You lied to me.
HELENA: There was a reason.
REESE: My partner is hanging on by a thread because somebody packed our van
with explosives. I got a damn good reason never to trust you again. Am I
wrong?
HELENA: I know it's no excuse, but I thought they were harmless. I did
whatever I had to do to get to their boss.
REESE: Their boss is not more important than my partner's life. We had a plan,
and you didn't stick to it.
HELENA: I run on instinct, Reese.
REESE: Yeah, well, your instincts almost cost McNally his life.
HELENA: I know. That's why I work alone, because the only one I'm risking is
me. I'll get these guys, Reese.
REESE: Fine, fine. You do whatever you have to do, and so will I -- my way.
HELENA: Reese. It wasn't your fault.
REESE: Oh, yeah, it was. I trusted you.
(He turns to leave, then stops.)
REESE: You know what? I'm not going to need this thing anymore.
(He holds out the batring to her. She takes it.)
REESE: I'm not about to make the same mistake twice. The animals are going
down, and if you happen to be with them, then so are you.
(REESE turns and leaves. He heads back up the sidewalk and walks away.)
(Across the street sitting in a car is a person who watches him walk away.
Their hands are on the steering wheel tapping out a beat.)
CUT TO:
[INT. CLOCK TOWER - PRACTICE ROOM]
(HELENA hits the punching bag and turns around.)
HELENA: (frustrated with herself) I screwed up, Barbara.
BARBARA: Look ... you and Reese were working together for the first time. You
were learning how to do things as a team.
HELENA: We're not built for this, Barbara -- either of us. What we do, what we
know is how to go it alone.
(DINAH overhears and walks into the room.)
DINAH: You're going after the animal gang by yourself, aren't you?
HELENA: I have to, Dinah.
DINAH: Well, you can't. It's too dangerous.
HELENA: It's what I've always done before.
DINAH: (stubbornly) And it's a stupid idea. You're not going after these guys
with no backup.
(BARBARA reaches out a hand to calm DINAH down. DINAH whirls on BARBARA.)
BARBARA: All right, Dinah, calm -
DINAH: I am calm!
(BARBARA backs off.)
DINAH: (quietly) I am calm. (beat) You're just not going anywhere without
me.
CUT TO:
[EXT. NEW GOTHAM CITY - NIGHT]
(Camera zooms in between the building tops, then stops in front of the HIDEOUT.
HELENA rides her bike up to the entrance. She parks and walks inside.)
CUT TO:
[INT. ANIMALS HEADQUARTERS - NIGHT]
(HELENA walks in. The rest of the gang is there playing pool.)
(MICK WINTERS walks up to HELENA.)
MICK WINTERS: Hey, Cat. Like what you see?
(He holds out the NEW GOTHAM GAZETTE with the headline, COP CRITICAL AFTER BLAST
on the front page along with two photos - one of MCNALLY, and the other of the
burning van.)
HELENA: That was you.
MICK WINTERS: The one and only.
HELENA: I've been thinking --
MICK WINTERS: Never a good idea. Myself? Try to avoid it.
HELENA: I want in -- all the way in. I want to meet the boss.
MICK WINTERS; Funny thing --the boss wants to meet you. Tonight, 11:00.
HELENA: Count on it.
MICK WINTERS: All right. Then afterwards, we'll figure out something to do.
HELENA: I got a few ideas.
MICK WINTERS: I've just got to know what it's like.
(Without warning, he steps forward and kisses HELENA. WOLF sees him and
immediately puts her cue stick down angrily on the pool table. She stops and
glares as he continues to kiss HELENA.)
(Angry, HELENA'S eyes change.)
(MICK steps back and away from HELENA.)
MICK WINTERS: (appreciatively) Not bad, Miss Kitty. Not bad at all.
HELENA: Wait until tonight.
(HELENA turns and walks away.)
DISSOLVE TO:
[EXT. NEW GOTHAM CITY - CLOCK TOWER -- NIGHT]
(Camera pushes in slowly toward the Clock Tower.)
CUT TO:
[INT. CLOCK TOWER - NIGHT]
(BARBARA is positioned behind the computers.)
BARBARA: Huntress, you ready?
HELENA: Let's do this.
BARBARA: Dinah?
DINAH: Ready.
BARBARA: Are you sure you don't want to sit this one out?
DINAH: Would you both stop worrying about me? I don't need to sit this one
out. I don't need more time. (getting angry) I am dealing with this, and I
would very much appreciate it if you would just let me do my job.
(DINAH turns and walks away. BARBARA and HELENA stare after her.)
BARBARA: (to HELENA) Okay. So I think we've definitely moved on to the anger
stage of grief.
HELENA: You mean there's another one?
(HELENA sighs and walks away.)
(BARBARA turns and with a half-hidden smile, watches them go.)
CUT TO:
[EXT. CLOCK TOWER - NIGHT]
(Camera pulls away slowly from the Clock Tower.)
CUT TO:
[EXT. ROADWAY - NIGHT]
(Camera is close on the tires on the yellow bike. HELENA rides up to the
ANIMALS' HEADQUARTERS and parks at the entrance.)
(Behind her, the car drives up and parks also. HELENA gets off of the bike. In
the parked car, DINAH watches and reports back to BARBARA.)
DINAH: (to comm) Oracle, Huntress is going in.
BARBARA: Copy that. Stay sharp.
CUT TO:
[INT. ANIMALS HEADQUARTERS - THE LOUNGE - NIGHT - CONTINUOUS]
(HELENA walks into the room directly toward MICK WINTERS.)
HELENA: So where's Mr. Big?
MICK WINTERS: Right this way.
(MICK turns around and heads toward the back room. The rest of the gang lounges
about and watches.)
(As soon as she passes her, WOLF jumps off of the billiard table she's sitting
on and follows close behind HELENA.)
(They all walk into the back room.)
[INT. BACK ROOM - CONTINUOUS]
(The door opens and MICK walks in. HELENA walks in also and sees REESE tied up
and hanging by his wrists. He appears unconscious.)
HELENA: (alarmed) Reese!
(HELENA steps forward and is immediately stopped by WOLF holding a taser on her.
MICK holds on to HELENA as she's being shocked.)
(The shocks short-circuit the communication necklace.)
CUT TO:
[INT. CAR (PARKED) - NIGHT - CONTINUOUS]
(DINAH hears the static and is confused.)
DINAH: Oracle, what's that?
INTERCUT WITH:
[INT. CLOCK TOWER - NIGHT]
BARBARA: Give me a second.
(BARBARA works on the computers trying to get HELENA back on line.)
CUT TO:
[INT. ANIMALS HEADQUARTERS - THE LOUNGE - NIGHT - CONTINUOUS]
(HELENA is shocked unconscious, the gang members all around her as she falls to
the floor.)
MICK WINTERS: Meeting's been rescheduled, Cat, on account of your close and
personal relationship with New Gotham's finest.
(He looks over at REESE. Camera cuts to the various members of the gang, then
finally settles on HELENA.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. ANIMAL HEADQUARTERS - NIGHT]
(DINAH sits worriedly in the car.)
DINAH: Oracle, what's going on?
INTERCUT WITH:
[CLOCK TOWER - NIGHT]
BARBARA: I'm not showing that jamming device in use. It could be interference,
maybe, or a malfunction.
(BARBARA turns on the monitor and looks at it. It reads: SIGNAL LOST.)
DINAH: Is Huntress all right?
BARBARA: I think she is. Probably.
DINAH: Okay, you know what? I'm going in.
BARBARA: No. Not yet. It could be nothing. We should wait for her signal.
DINAH: Barbara.
BARBARA: Go in too soon, and you risk blowing her cover.
DINAH: Wait here doing nothing, and we risk her never coming out again, just
like what happened to my mom. I have been through that before, and I'm not
letting it happen again.
BARBARA: Dinah, wait!
DINAH: I'm going in.
(DINAH opens the car door.)
BARBARA: (softly) Damn it.
CUT TO:
[INT. ANIMAL'S HEADQUARTERS - THE LOUNGE - NIGHT - CONTINUOUS]
(REESE is still hanging in the back of the room.)
(MICK WINTERS walks up to HELENA who is now hanging from her tied hands just as
REESE. He hits her across the face.)
(REESE slowly comes to.)
MICK WINTERS: I'm disappointed in you, Cat. I mean, what's this detective here
got that I don't, huh? (She doesn't say anything.) Wolf saw you with him at
the hospital, and the first thing Dudley Do-Right here did was come straight
back for us.
(HELENA glances over at REESE who is watching them silently.)
HELENA: You had to do it your way.
REESE: Oh, yeah, and your way seems to have worked out so much better.
MICK WINTERS: Yeah! Nothing like chains to bring out the romance between
people.
HELENA: (to MICK) And all that crap you fed me -- "we're harmless. We don't
hurt people," right?
MICK WINTERS: That. I was just trying to get you into bed.
REESE: You really didn't know about the bomb?
HELENA: Of course I didn't know. How could you think I'd be a part of
something like that?
REESE: Half the time with you, I don't know what to think. That's the whole
problem.
MICK WINTERS: (shouts) Hey, lovebirds, believe it or not, we're not here for
you two to work things out. It's time for something a lot more fun.
(He holds up the taser and turns it on.)
CUT TO:
[INT. ANIMALS HEADQUARTERS - MAIN ROOM - NIGHT]
(One of the gang members works on his bike when DINAH walks up to him. She's
carrying the collapsible stick. He looks up, sees her and jumps to his feet.
They start fighting.)
CUT TO:
[BACK ROOM]
(MICK holds the taser against the soft part just under HELENA'S jaw. He turns
it on and shocks her. She grits her teeth and bears it. REESE watches and
flinches occasionally.)
CUT TO:
[MAIN ROOM]
(DINAH continues to fight with the gang member.)
CUT TO:
[BACK ROOM]
(HELENA gasps as MICK takes a reprieve.)
MICK WINTERS: This isn't about interrogation, Cat. It's like sex. It's all
about losing yourself in the moment.
(HELENA looks at him and gets angry. Her eyes change shape and color.)
HELENA: (deadly) So let's skip the foreplay.
(Using the chains that bind her wrists as leverage, HELENA pulls herself up and
kicks MICK in the chest. He falls backwards.)
(She kicks out at the second gang member making him drop his gun. She
immediately kicks at the third gang member.)
(MICK leaps back up to his feet and steps toward HELENA. She immediately wraps
her legs around his neck and shoulders, choking him.)
(With her other foot, she swings and kicks one of the gang members who gets to
his feet, knocking him out. She then twists MICK around and hits him to the
floor.)
[MAIN ROOM]
(DINAH has her hands full with the fighting gang member, but she holds her own.)
[BACK ROOM]
(HELENA frees herself and jumps down where she puts her hand over MICK'S chest.
HELENA: How was that for you?
(Behind her, WOLF turns on her taser. HELENA turns around to look at her.)
[MAIN ROOM]
(DINAH gets the upper hand and knocks the fighting gang member to the ground.
He rolls over. Done.)
(DINAH turns around.)
[BACK ROOM]
(HELENA stands up and heads toward WOLF.)
HELENA: I'm going to enjoy this.
(WOLF takes one look at HELENA and runs toward the door. DINAH bursts into the
room and kicks WOLF in the chest knocking her down to the floor. She smiles at
HELENA.)
DINAH: Huntress, you okay?
HELENA: Yeah, I think I blew my cover, though.
(In the background, REESE is untying his hands.)
(MICK WINTERS regains consciousness and gets up. He starts running. REESE sees
him and reaches for the abandoned gun on the ground.)
(MICK crashes through the window and lands on the ground outside. He gets up to
run.)
(But REESE is right behind him. He jumps out of the window with skill and
grace.)
MICK runs for the side and crashes into the empty barrels. He falls to the
ground. REESE raises the gun and points it at MICK.)
REESE: (shouts) Go ahead and run!
(MICK is still on the ground, looking up back at REESE. HELENA jumps through
the broken window and walks up to REESE.)
HELENA: Reese, wait.
MICK WINTERS: (mocks) Looks like your partner's come to lend a hand, huh?
REESE: (steps forward angrily, the gun still aimed at MICK) She's not my
partner, and I don't need a hand.
HELENA: Don't do this. You're a cop.
REESE: Not tonight, I'm not.
HELENA: I know everything inside you wants to see this guy dead, but if anybody
should do it, it should be me.
(MICK sees his chance and slowly gets to his feet. REESE still has the gun
pointed at him.)
MICK WINTERS: She's right. Who are you kidding? You don't have it in you.
HELENA: Reese, can't you see this is what he wants? One last thrill, one more
rush -- anything to keep him out of that cage.
REESE: I don't give a damn what he wants.
HELENA: I know I've been riding you hard to loosen up, but for god's sakes,
don't do it now.
REESE: Why should I listen to you?
HELENA: Because you're wrong about one thing. We may just be learning how to
work together, but like it or not, we're already partners.
MICK WINTERS: You going to let her tell you what to do? Come on, she's just
some stupid bitch.
(Faster than anything, REESE whips MICK across the face. He falls down to the
ground.)
(REESE and HELENA stand close to each other looking down at MICK'S unconscious
body. A helicopter whirrs overhead.)
HELENA: Now that wasn't by the book.
REESE: Yeah, well, he was getting on my nerves.
(They look at each other, then up at the helicopter above.)
(REESE raises his hand to shield his eyes from the chopper's lights. The camera
rises up slowly and shows that HELENA is already gone.)
(REESE looks around the area for her, but she's nowhere about. Camera continues
to pull back upward to show us the area.)
(Cut back to REESE as he continues to look around the area. He takes a step
back and sighs. It really shouldn't surprise him anymore.)
(But as he looks around, he sees something on the abandoned easel. Something
gold and glinting in the helicopter's light. He moves in close and picks up the
batring.)
(He looks at it for a moment, then puts it on his finger where it belongs.)
HARLEEN QUINZEL: (PRELAP v.o.) So you and your policeman friend worked things
out.
CUT TO:
[INT. DR. QUINZEL'S OFFICE - DAY]
(HELENA and HARLEEN QUINZEL are having a session in her office.)
HELENA: We came to an understanding for the moment. It was ... a beginning for
us.
HARLEEN QUINZEL: First times are hard. Compromise, give and take...
HELENA: Yeah. I don't play well with others.
HARLEEN QUINZEL: You know, there's nothing wrong with not compromising with
people.
HELENA: Yeah. Except the potential of ending up lonely, friendless, and
isolated, none.
HARLEEN QUINZEL: But why worry about other people?
(beat)
HARLEEN QUINZEL: You'll always have me.
(HELENA smiles.)
CUT TO:
[EXT. NEW GOTHAM CITY - DAY]
(The camera swirls around the buildings, then comes to a stop in front of the
NEW GOTHAM HIGH SCHOOL.)
CUT TO:
[INT. BARBARA'S CLASSROOM - DAY]
(Camera opens on the bouquet of flowers. BARBARA admires the flowers with a
dreamy look on her face. WADE walks up to the door and knocks on the frame
lightly to get her attention.)
WADE BRIXTON: You look good there.
(BARBARA looks up.)
BARBARA: Wade.
(BARBARA maneuvers her chair around the desk and stops in front of WADE.)
BARBARA: I-I just, um ... I really want to say I'm -- I'm sorry.
WADE BRIXTON: No, no, no. It's my fault. I never should have pushed it.
BARBARA: No, it's -- it's mine. I should have called you back sooner. I
should have just --just talked to you. (sighs) I -- I think part of me was
just worried that you didn't understand the real me.
WADE BRIXTON: I don't.
BARBARA: (disappointed) Yeah.
(WADE steps forward in front of BARBARA.)
WADE BRIXTON: (explains) We're just starting this, Barbara. Getting to know
you --the real you -- that's the whole point.
(BARBARA likes what he said and smiles. She rests the palm of her hand against
his cheek.)
DISSOLVE TO:
[EXT. CLOCK TOWER - BALCOLNY - NIGHT]
(Camera opens on the Halloween cat mask that HELENA holds in one hand and the
CATWOMAN'S mask she holds in the other. She looks from one mask to the other.)
(DINAH walks out onto the balcony and watches HELENA as she looks at the two
masks.)
HELENA: This was my mother's.
DINAH: Do you miss her?
HELENA: I never knew this part of her. She gave up being Catwoman when I was
born. You know, that was the thing about running with a gang -- the thrill, the
rush. It was ... it was like I was finally getting to spend time with her -- the
side of my mother I never knew.
DINAH: To give that up ... She must have loved you so much.
HELENA: Canary loved you, Dinah. You know that. She loved you so much she
gave her life for you.
DINAH: (shakes her head) And yet I can't even cry for her. You know why?
Because I didn't really know her. The woman who died -- we were complete and
total strangers. I feel like we were just getting the chance to get to know
each other, to -- to really know each other, and it was just snatched away.
HELENA: And the thing you miss ...
DINAH: ... is the woman I'll never know.
HELENA: It's okay, kid.
(HELENA reaches out and holds DINAH as she cries.)
HELENA: (softly) I understand. I understand.
(They hold for a moment, then pull apart to look at each other.)
FLASH TO:
[EXT. NEW GOTHAM CITY -- CLOCK TOWER - NIGHT]
(The camera slowly pulls back from the clock tower against the full moon lit
sky.)
FADE TO BLACK.
==========================
THE END
==========================
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Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
BIRDS OF PREY
1X06: PRIMAL SCREAM
PROD #175455
ORIGINAL AIR DATE ON WB: 11/13/2002
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
SHAWN CHRISTIAN
SHANE MIKAEL JOHNSON
BRENT SEXTON
SARAH JOY BROWN
Consulting Producer: MELISSA ROSENBERG
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: EDWARD KITSIS & ADAM HOROWITZ
Story by: ADAM ARMUS & KAY FOSTER
Directed by: JIM CHARLESTON
Dated:10/16/03, 07/13/2003~lky
http://www.webphilia.com/~anthology/wnp.html