BIRDS OF PREY 1X09: NATURE OF THE BEAST PROD # 175458 ORIGINAL AIR DATE ON WB: 12/18/2002 TRANSCRIBED FROM WB Written by: MELISSA ROSENBERG Directed by: SHAWN LEVY Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the transcriptionist. RATING: TV-14-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: Albert Hawke is back and this time he asks Reese to help protect him from a contract taken out on him. Meanwhile, Dinah struggles with her need for vengeance against the man who killed her mother. ========================== BIRDS OF PREY 1X09: NATURE OF THE BEAST ========================== 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 WHITE FLASH TO: [EXT. STREET -- NIGHT] (Camera pushes out slowly from the top of a tall building with the full moon in the background.) 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 zooms in and out high above the buildings at an incredible speed. Suddenly, the camera turns downward and zooms straight toward the streets below.) CUT TO: [INT. GIULLIANO'S RESTAURANT -- NIGHT] (MISHA PETROV and his LIEUTENANT stand inside the restaurant waiting for someone.) MISHA PETROV: He was never a very punctual man. LIEUTENANT: Are you sure he's coming? He's got a lot of people after him. Might be afraid to come out of his rabbit hole. MISHA PETROV: He'll come. From what I hear, there is very little danger of him being recognized by the police. He looks different now. LIEUTENANT: How different? (The two men turn as they hear the front door open. Two body guards walk into the restaurant in front of a very different looking ALBERT HAWKE.) MISHA PETROV: Very different. (ALBERT HAWKE walks out in front to face MISHA PETROV. MISHA looks at HAWKE, not recognizing him at all.) MISHA: How can I be sure it is you? FRANKIE SPITZ: (irritated) 'Cause I say so. (ALBERT HAWKE holds up a hand to silence SPITZ, then brings his hand down to fiddle with his wedding ring. The back of his hand is still burned. MISHA glances down at the movement and notices his hands.) ALBERT HAWKE: You'll have to take my word for it, Misha. MISHA: Forgive my caution, but the Albert Hawke who stands before me now is not the same Albert Hawke I once knew. ALBERT HAWKE: The Albert Hawke you once knew was a bitter rival of the Petrov family. He now comes to the table with you ready to discuss a merger. (MISHA stares at HAWKE, then laughs. He puts a hand on HAWKE'S arm and leads him back to the table.) MISHA PETROV: Come, drink! (MISHA turns around and says something to his LIEUTENANT in russian.) LIEUTENANT: [untranslated Russian] (They all surround the round checker-cloth covered table to pick up their drinks.) ALBERT HAWKE: Cheers. FRANKIE SPITZ: Uh-huh. (They take a drink.) CUT TO: [EXT. GIULLIANO'S RESTAURANT ROOFTOP - NIGHT -- CONTINUOUS] (Looking down through the skylight at the gathering inside is HELENA. She watches the proceedings below and talks with BARBARA through her comm.) HELENA: This guy pulled a total Michael Jackson. INTERCUT WITH: [INT. CLOCKTOWER - NIGHT] (BARBARA is using an exercise machine and is hanging upside down while doing pull ups.) BARBARA: You sure it's him? HELENA: From what they're saying, yeah. I find this late-night meeting, I'm thinking routine scumbags, right? Wasn't expecting to find our runaway Hawke. You should see this guy. No wonder we couldn't find him. BARBARA: The scarring from the explosion probably put him halfway there. Surgeons must have done the rest. How many goons are you going to have to go through to grab him? HELENA: Five, including our old pal, Frankie Spitz, by the way. Spitz walks away on a technicality. Hawke escapes police custody. I really should just start killing them. It might save us a lot of trouble. BARBARA: How about you just stick to the snatch and grab and put Hawke back in jail? LIEUTENANT: (o.s.) [Yelling in Russian] (HELENA turns her attention back to what's going on inside the restaurant.) (Cut to: The men are sitting around the table arguing.) LIEUTENANT: (continued) [Yelling in Russian] MISHA PETROV: No, my friend. (He hits the table with his hand in frustration.) It was you who contacted me. FRANKIE SPITZ: That's bull. You reached out to us. (MISHA stands up.) MISHA PETROV: If you did not contact us, and we did not contact you ... (Not liking the sound of this at all, HAWKE also gets to his feet.) ALBERT HAWKE: (softly) Let's get the hell out of here. (They turn. Suddenly, two figures in black brandishing automatic weapons start firing on the men inside. Bullets fire, the men get hit, glasses and windows break.) (ALBERT HAWKE manages to make his way to the safety behind the bartender's counter. Bodyguards try to get their weapons out to fire back, but they're hit by the bullets.) (ALBERT HAWKE dives behind the counter.) (One of the bodyguards manage to get his weapon out, but as he's hit by the bullet his weapon points up and he fires breaking the skylight above.) (HELENA jumps aside to avoid the shattering glass.) (Bullets continue to fly. A couple of other bodyguards including FRANKIE SPITZ, jumps behind the safety of the bartender's counter. Liquor bottles and drinking glasses shatter.) (The two men in black continue to fire till their weapons run out of bullets.) (Two car doors slam shut and tires screech as the getaway car leaves.) (HELENA gingerly looks back over the skylight.) BARBARA: (from comm) Huntress? Huntress! Are you okay? Is anyone hurt? HELENA: I'm taking a look. (HELENA jumps down from the skylight and into the center of the restaurant. She looks around at the damage around her and at the bodies on the floor.) HELENA: (softly) Wow. BARBARA: (from comm) What is it? What's going on? (HELENA doesn't say anything, but continues to survey the damage.) BARBARA: (from comm) Huntress! HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [INT. GIULLIANO'S RESTAURANT -- NIGHT] (HELENA walks through the main restaurant room stepping on broken glass and looking around.) (REESE pushes the door open and rushes into the room with his gun out.) REESE: Freeze! (He sees HELENA and seems almost disappointed that everything's over.) REESE: Oh. (He puts his gun back in his holster. HELENA appears amused.) HELENA: Nice to see you, too. REESE: The owner gave me the heads-up on a high-level meet. (REESE steps forward and finally gets a good look at the damage inside.) REESE: I thought maybe Hawke -- HELENA: You thought right. One of these bodies belongs to him, but you won't recognize him. REESE: Which one is he? HELENA: Behind the bar. (REESE rushes over to look. When he gets there, he doesn't find anyone.) REESE: He's not here. HELENA: Damn it. He got away. (REESE sighs -- a sigh that sounds suspiciously like one of relief. He looks away.) (HELENA looks at him.) HELENA: (quietly) That's a bad thing, right? REESE: Yeah, yeah. Of course it's a bad thing. All right, look, I got to call this thing in, so keep me posted if you hear anything, all right? (REESE turns to leave. HELENA stands there watching him go. She turns to look at the empty place behind the bar where HAWKE should have been.) CUT TO: [EXT. NEW GOTHAM CITY (STOCK) - MORNING] (Camera holds on the early morning city skyline.) [INT. CLOCKTOWER -- MORNING] (HELENA walks over to BARBARA who is busy working on the computer trying to make a composite of what ALBERT HAWKE looks like currently based on HELENA'S memory.) HELENA: I'm telling you, it was more like a sigh of relief. BARBARA: Maybe Reese just wants to bring Hawke in alive. Nose? HELENA: Shorter and wider at the end. (BARBARA hits some keys on the keyboard and makes the adjustment to the composite.) BARBARA: Like that? HELENA: Yeah, better. (She takes a breath and continues the conversation.) HELENA: It was more than that, though. It was like -- like Reese was afraid to find Hawke there. BARBARA: Well, he escaped under Reese's watch. Could be it got personal for him. HELENA: No, it's personal for us. It was Dinah's mother who Hawke killed, and we put him away, what, so he could waltz out of it. BARBARA: I'm sure Reese blames himself. Hair? HELENA: None on top, buzzed on the side. He's impossible to read. He plays everything so close to the vest. BARBARA: Hazard of the job. (BARBARA makes the adjustment. HELENA looks at the composite.) HELENA: Stop. That's him. (DINAH walks up from behind them looking at the picture on the monitor.) DINAH: Looks creepy. Who is he? HELENA: A shoplifter. (pauses) He stole, um ... shoes. (pause) Blahniks, uh, Tod's -- very expensive shoes, yeah. Don't -- don't worry. I'm -- I'll hunt him down. BARBARA: It was a slow night. DINAH: Uh-huh. (DINAH looks at them strangely, then heads for the elevator.) DINAH: I'll see you at school. (She presses the button and the elevator doors open.) BARBARA: Uh, you got your new comm set? (She smiles and fingers the necklace around her neck.) DINAH: Are you kidding me? I slept in this thing. HELENA: I know you did. I heard the snoring. Might want to turn the mike off next time. (DINAH steps into the elevator, presses the button and the doors close.) BARBARA: Shoes? HELENA: I was caught off-guard. Besides, I didn't want to tell her we lost Hawke. She's been obsessing since he escaped. BARBARA: Yeah, I know, and she's just starting to get over it, so we'll tell her after we catch him. (They both turn to look at the composite of HAWKE.) CUT TO: [INT. SPITZ'S OFFICE -- NIGHT] (FRANKIE SPITZ is spitting mad. He's on the phone talking with the two assassins he hired.) FRANKIE SPITZ: (to phone) It was like shooting fish in a damn barrel, and you miss. What the hell do I pay you for, huh? (He walks over to the door and sees the two women standing there. He shoos them away, then goes back to his phone conversation.) FRANKIE SPITZ: Go on. (to phone) Listen, you two better hide good, because when I find you, I'm going to kill you. (SPITZ hangs up the phone. There's a tall thin man standing in his office.) THE SPECIALIST: Are you certain that's what you want? (He takes a step forward and asks again.) THE SPECIALIST: Very certain? FRANKIE SPITZ: You must be the Specialist. Are you as good as advertised? THE SPECIALIST: What do you want done? FRANKIE SPITZ: That's good. That's to the point. No beating around the bush. I like that. I was talking to this buddy of mine the other day -- THE SPECIALIST: What do you want done? FRANKIE SPITZ: I want Al Hawke dead. THE SPECIALIST: Are you certain? Very certain? FRANKIE SPITZ: I just said so, didn't I? But I don't want my fingerprints on it. You got a rep for taking care of these kind of things. THE SPECIALIST: I get the job done --always. FRANKIE SPITZ: (nods) So that's it, then, huh? That's your specialty. You never miss. THE SPECIALIST: It's not about missing. It's about commitment. It's not in my nature to quit. Indecision is a weakness. I don't tolerate it. FRANKIE SPITZ: Okay ... but what I want to know is what is it that makes you so "special"? (Without answering him, THE SPECIALIST walks out of the room. FRANKIE takes a few steps after him and seems almost disappointed that he didn't get an answer form him.) FRANKIE SPITZ: Aw, come on! (FRANKIE stops in front of the table and picks up a cigarette. He puts it in his mouth.) (From behind him, THE SPECIALIST walks through the wall and back into the room all without FRANKIE even noticing him. FRANKIE SPITZ: Oh, jeez. THE SPECIALIST: You certain yet? (FRANKIE looks back at the wall that THE SPECIALIST just appeared out from. Pleased, FRANKIE makes the offer.) FRANKIE SPITZ: Hourly rate or flat fee? CUT TO: [EXT. STREET -- NIGHT] (REESE walks down the sidewalk, glancing behind him to see if anyone is following him. He walks up to the two bodyguards leaning against the car. One of them takes out a blindfold. REESE looks at it.) REESE: Is that necessary? (REESE grabs the blindfold and gives the bodyguard his gun. They put REESE in the back seat of the car and drive off.) CUT TO: [INT. CLOCKTOWER -- NIGHT] (The computer runs the composite of ALBERT HAWKE'S new face through the database. It runs automatically.) (The elevator doors open and DINAH walks in. She immediately calls out to see who's home.) DINAH: Barbara? Helena? Alfred? (There's no answer and DINAH looks around at the countertops and monitors.) DINAH: You must be one hell of a shoplifter. CUT TO: [INT. SAFE HOUSE -- HOTEL - UPSTAIRS ROOM -- NIGHT] (Through the POV of the security cameras, we see the front door open and REESE walking inside the lobby escorted by the two bodyguards.) (Camera pulls back and we see FRANKIE SPITZ standing in front of the monitors watching. He turns around to look at ALBERT HAWKE who is standing by the windows.) FRANKIE SPITZ: You've got company. ALBERT HAWKE: I'm expecting him. FRANKIE SPITZ: He's a cop. ALBERT HAWKE: He's my son. FRANKIE SPITZ: Have you told him that lately? (Without saying a word, ALBERT HAWKE turns around to look at FRANKIE.) FRANKIE SPITZ: You're the boss. But if you don't mind, I'll skip the family reunion. I got some things to take care of. (FRANKIE turns to leave.) ALBERT HAWKE: I'm sure you do. (HAWKE stares at him. FRANKIE opens the door to leave. The two bodyguards bring REESE into the room. He's wearing a head mask. One of the bodyguards takes the mask off.) (FRANKIE looks at REESE and nods.) FRANKIE SPITZ: Junior. (FRANKIE leaves the room.) ALBERT HAWKE: Give him his gun back. (They bodyguard complies. REESE stares at HAWKE, then takes his gun. The BODYGUARD closes the door behind him.) (REESE walks into the room.) REESE: You've changed. ALBERT HAWKE: It was necessary. I'm sorry about all the cloak and dagger, but I'm sure you understand. I wasn't even sure that you would agree to come -- not without handcuffs and a S.W.A.T. Team. REESE: I came for mom's sake, not yours. So why am I here? (HAWKE steps forward.) ALBERT HAWKE: Because you're the only one that I can trust. (REESE laughs.) REESE: Oh, wow. Wow, you must really be in sad shape. ALBERT HAWKE: I need your help. Your mother can't take it anymore. She wants me to retire. REESE: Oh, please, she's been begging you to retire for years. Why this time? ALBERT HAWKE: Because I'm tired of the fight. REESE: Really? I'm going to tell you what -- turn yourself in, hmm? Offer up state's evidence. Do something right for a change, and then maybe I will think about helping you. ALBERT HAWKE: All right. REESE: All right, what? ALBERT HAWKE: I'll do it. REESE: You realize witness protection won't happen unless you give up a whole hell of a lot in return. ALBERT HAWKE: In my line of work, a lot of guys turn Judas. I always hoped that I wouldn't have to, but I guess it's inevitable. (REESE looks at HAWKE for a long moment, then finally realizes that he's not kidding.) REESE: You're serious? You really want to do this? ALBERT HAWKE: "Want" and "need" are two different things, two very different things. (They look at each other.) (Something on the monitor catches HAWKE'S eye. As he watches, THE SPECIALIST phases through the wall just behind the bodyguard sitting in the chair reading the paper and guarding the front door.) ALBERT HAWKE: What the hell is that? (REESE turns around to look. HAWKE takes a step closer to the monitor.) (Cut to: THE BODYGUARD downstairs sees THE SPECIALIST, puts his paper aside and swings. THE SPECIALIST catches his fist and twists his neck. THE BODYGUARD goes down.) (The SECOND BODYGUARD looks up and sees THE SPECIALIST. He stands and steps forward to hit him, THE SPECIALIST hits him first. He goes down.) (THE SPECIALIST looks up toward the stairs.) REESE: All right, you always have some sort of trap door or escape route. ALBERT HAWKE: (staring at the monitor) He's one of them. REESE: (urgently) Dad, is there another way out of here? ALBERT HAWKE: False back in the closet. It leads down to the back -- (REESE grabs HAWKE and pulls him away from the monitor.) (The camera moves to the monitor where we don't see THE SPECIALIST downstairs. The camera then moves to the doorway where THE SPECIALIST stands looking around the room.) HELENA: (v.o.) Did you find anything? CUT TO: [INT. CLOCKTOWER -- NIGHT] (HELENA walks out of the elevator.) HELENA: 'Cause I came up empty. BARBARA: The facial recognition program's drawing a blank at points of entry. HELENA: Which means he's probably still in town. (The computer starts beeping. HELENA looks up.) HELENA: It's Reese. (She and BARBARA turn to look at the computer. BARBARA works on locating REESE.) HELENA: Maybe he found our shoplifter. BARBARA: He's at a hotel on 6th near Vernon. HELENA: I'll keep you posted. BARBARA: Cool. (HELENA leaves. DINAH walks up to BARBARA.) DINAH: All right, Barbara, who is he? BARBARA: No one you need to worry about. DINAH: Barbara ... who is he? CUT TO: [EXT. NEW GOTHAM CITY (STOCK) -- NIGHT] (The camera pulls backward through the top of the buildings weaving in and out.) WHITE FLASH TO: [INT. HOTEL ON 6TH -- NIGHT] (REESE opens the door and HELENA walks into the room.) HELENA: Did you find anything? What's up? Did you find him? (REESE motions her behind him. In the room is ALBERT HAWKE.) HELENA: Look who's here. What do you say we break in that new face of yours, give you a taste of what you put the Canary through. Maybe jail won't seem so bad. REESE: Come here. Come here. We're not bringing him in. HELENA: The hell we're not. REESE: He's going to turn state's evidence. HELENA: Yeah, right. REESE: Listen to me. He can name every pimp, drug dealer, and hit man in this city. He can solve cases dating back decades. We can put away - HELENA: I don't give a damn. ALBERT HAWKE: Forget it, Jesse. Get her out of here. HELENA: Yeah, please, try. REESE: Huntress. HELENA: You know what he did. You were there. REESE: Yeah, but I also know how valuable he is alive. We have to protect him. HELENA: Why? What aren't you telling me? (HAWKE stands up and takes a step forward.) ALBERT HAWKE: Look, I don't need her help. REESE: (to HAWKE) You back off! HELENA: (to HAWKE) Why don't you shut your mouth?! REESE: Huntress. Huntress, you don't understand. HELENA: Help me. Why are you doing this? What's he got on you? REESE: It's not about that. HELENA: Then tell me. Tell me what is going on here. Otherwise, I will take him down. Do you understand? And not you or anyone else can stop me. REESE: (interrupting) He's my father! (HELENA stops. REESE looks at her.) HELENA: (surprised) What? REESE: (quietly) He's -- he's my father. FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW GOTHAM CITY (STOCK) -- NIGHT] (Camera flies in close toward the clocktower, the light of the full moon behind it.) WHITE FLASH TO: [INT. CLOCKTOWER - NIGHT] (BARBARA is stunned by what she just heard.) BARBARA: Hawke is Reese's father? (HELENA walks around.) HELENA: I know. I can't believe he never told me. (DINAH steps forward.) DINAH: Well, it doesn't change anything. BARBARA: Unless Hawke really is going to turn state's evidence. DINAH: I don't care. He killed my mother. (to HELENA) You of all people should know how that feels. HELENA: Yes, I do. DINAH: And so you know we can't protect him. HELENA: I know I don't want to, but it might be what we should do. DINAH: (angry) Why, because he's your boyfriend's father? The only thing that tells us is that Reese isn't as trustworthy as you thought he was. HELENA: He's not my boyfriend. Boyfriends share things with girlfriends. They don't hide massive secrets. BARBARA: Helena. HELENA: I'm just saying. BARBARA: Where are they now? HELENA: Waiting on our answer back at the hotel. BARBARA: Okay, well, we're going to need to find someplace more secure. DINAH: (incredulous) Wait a minute. I cannot believe you guys are considering this. (getting angry) That man -- that animal --deserves whatever he gets. (The table of bottles and supplies starts shaking and rattling as DINAH gets angrier. BARBARA and HELENA both notice it.) BARBARA: Okay, Dinah, calm down. DINAH: (shouting) Why should I?! He has nothing to offer me that would make it worth helping him --nothing! (DINAH storms out of the room. BARBARA reaches out and grabs a flying bottle.) HELENA: She's dangerous when she's pissed, huh? BARBARA: I should go talk to her. (re-thinks it) Maybe after she cools down. HELENA: Yeah. BARBARA: Yeah. CUT TO: [EXT. NEW GOTHAM CITY (STOCK) - NIGHT] (At a blurry speed, the camera weaves in and out between the buildings.) FLASH TO: [INT. HOTEL ON 6TH -- ROOM - NIGHT] (REESE stands near the window looking out through the blinds. ALBERT HAWKE sits on the other side of the room watching REESE.) ALBERT HAWKE: She's like that hit man, isn't she? Your girlfriend. She's one of them. REESE: She's not my girlfriend. She's not a killer, either. But she does have some unusual abilities. REESE: So you know they exist. ALBERT HAWKE: Black Canary was the first to cross my path. But the circles I travel in, you do come across some now and again. REESE: Then you know that they are just like us. Some are good and some are bad. Look, don't worry about it. She'll come through. Trust me. ALBERT HAWKE: I do. (He stands up and steps toward REESE.) ALBERT HAWKE: You turned out all right, Jesse. It took a lot of courage to go up against me. Not many have. But you ... I look at you, and I see -- I don't know, maybe a little bit of what I could have been. Maybe even what I still could be if ... I'm proud of you, son. (They look at each other.) HELENA: (o.s.) Ahem. (Both men turn to see HELENA stepping into the room and closing the door behind her. REESE walks toward her.) REESE: So? HELENA: So the plan is to keep him alive until he testifies. It might be helpful to know who's trying to kill him. ALBERT HAWKE: Frankie Spitz. HELENA: That was easy. ALBERT HAWKE: He's the only one that knew that I'd be both at Giulliano's Restaurant and at the safe house. HELENA: Man, the loyalty you inspire -- impressive. ALBERT HAWKE: Yeah, well, it's the price you pay for mentoring ambitious people. HELENA: You stay put. I think we owe someone a visit. REESE: Yeah. (REESE grabs his jacket and they head out.) CUT TO: [EXT. CLUB NEW GOTHAM -- SIDEWALK] (REESE gives the BOUNCER a handshake and a hug, then walks back down the sidewalk toward HELENA who is leaning against the car.) HELENA: Is he in there? REESE: Yep. (sighs) Now we wait. (HELENA looks at REESE. REESE sighs. She turns away obviously wanting to say something.) REESE: What? HELENA: Nothing. It's just hard for me to picture you and Hawke being from the same family. REESE: (nods) Yeah, well, uh, my mother's black. HELENA: (smiles) Yeah, obviously. What I mean is there you are being brought up in, well, you know, "The Family," and somehow you find your way to being a cop. REESE: I guess I got seduced by the high pay and community respect. HELENA: Or maybe dad pissed you off real good. (He looks at her, she shruggs.) REESE: Actually, he loaned me his car. HELENA: (puzzled) Okay. REESE: It was a nice one, too. I used to open that thing upon the back roads. I mean, man, that thing --that thing could fly. HELENA: So what happened? REESE: All right. One night, uh, I get pulled over, and the officer comes up to my window, and he makes me step out. And he searches the car for booze, drugs -- you know, the usual routine. And then he walks around back to check the trunk ... and there was all this blood inside. I mean, it was --it was everywhere. So the next thing I know, I'm getting my face slammed on the hood of the car, he's getting ready to read me my rights. But right before he does it, he takes a good look at my driver's license, and he sees my name. Hawke. (He shakes his head.) REESE: I mean, god, if you could have seen the look on his face ... he just takes off. He was so damn scared of a 16-year-old kid and a name. I mean, he leaves me there, standing there. I'm staring at this blood, I'm trying to figure out where the hell it came from and who it belongs to. I mean, after that, I just couldn't fool myself any longer as to who my father was. I couldn't live with it, either. So I don't know. Maybe I'm still just trying to find justice for whoever was in that trunk. (REESE and HELENA continue to wait. She doesn't say anything.) CUT TO: [INT. CLOCKTOWER -- NIGHT] (BARBARA works on the security camera footage of THE SPECIALIST at the SAFE HOUSE.) (She hears footsteps and sees DINAH walking toward the door.) BARBARA: Dinah. (DINAH stops and turns to look at BARBARA.) BARBARA: Can I talk to you for a minute? (BARBARA moves her chair as DINAH walks toward her to take the seat in front of her.) BARBARA: I want you to know Hawke will pay for what he did to your mom. DINAH: There's only one way he can do that. BARBARA: His death won't bring her back, but if he turns state's evidence, Dinah, it could put an end to organized crime in New Gotham. We could actually make this a safer world. (DINAH doesn't say anything.) BARBARA: That's what Black Canary tried to do, and for a long time, she was successful. Don't let vengeance get in the way of finishing your mom's work. DINAH: I'm going to go for a walk, clear my head. (As DINAH walks toward the door, she takes off her comm earrings. She turns and looks back to see if BARBARA'S looking, but BARBARA has already turned her chair around to go back to the computers.) (DINAH removes her comm necklace and puts the devices on the hallway table. She steps into the elevator and the doors close behind her.) CUT TO: [EXT. CLUB NEW GOTHAM - STREET -- NIGHT] (FRANKIE SPITZ walks out of the club and down the sidewalk. REESE steps out from the doorway behind FRANKIE. HELENA steps in front of him to block his path.) REESE: Those things will kill you, Frankie. HELENA: Or maybe I will. (He turns around.) FRANKIE SPITZ: Oh. It's you again, huh? What is this, some sort of crime- fighting date? REESE: Why don't we talk about the hit man that you hired to do your dirty work? FRANKIE SPITZ: I don't know what you're talking about. HELENA: Funny. There's not a doubt in Hawke's mind it's you that's trying to kill him. FRANKIE SPITZ: Yeah, that explosion knocked something loose in his head. (REESE grabs FRANKIE SPITZ and pushes his back up against the wall.) HELENA: Frankie, have you considered you might actually be too stupid to run a major crime family? FRANKIE SPITZ: Look, what do you care? You hate your old man. Hell, I did you a favor by asking the owner of the restaurant to tip you off about the meet. Thought you'd want to see daddy bleed. REESE: The only person who's going to bleed is you once word gets out that you tried to whack the boss. FRANKIE SPITZ: Nobody's going to buy it coming from you. HELENA: The family might not listen to Reese the cop, but they will listen to the son of Al Hawke. CUT TO: [INT. SAFE HOUSE - HOTEL ON 6TH -- NIGHT] (HAWKE is sitting on the bed and talking on the phone.) ALBERT HAWKE: (on phone) Yes, honey, I'm okay. Jesse came through just like you said he would. (pauses) Yes, I'm taking my b-6 vitamins. Don't worry about it. (The phone flies out of HAWKE'S hands. He looks up and sees DINAH standing in the doorway.) ALBERT HAWKE: What do you want? DINAH: Take a guess. CUT TO: [INT. ALLEYWAY -- NIGHT] (FRANKIE SPITZ paces the alleyway waiting for someone. Standing on the side watching him are HELENA and REESE.) (As he paces, THE SPECIALIST walks through the door out into the alley behind FRANKIE.) HELENA: (nods) Nice trick. (FRANKIE turns around.) THE SPECIALIST: I don't like interruptions when I'm working. FRANKIE SPITZ: Uh ... yeah. Listen, that's why I called you. I think I made a mistake. I want to call off the hit on Hawke. THE SPECIALIST: (shakes his head) I don't do that. (THE SPECIALIST turns to leave. FRANKIE grabs his arm to stop him - a move that THE SPECIALIST doesn't like.) FRANKIE SPITZ: Look, it's cool, all right? I don't need you anymore. THE SPECIALIST: You've been coerced or you're indecisive. I have no tolerance for either. (THE SPECIALIST reaches out and grabs FRANKIE. He turns him over under his arm and twists his neck. FRANKIE falls to the ground. Dead.) THE SPECIALIST: I don't quit -- ever. (REESE steps out into the alley, his gun drawn.) REESE: You do this time. (THE SPECIALIST turns around to look at REESE. He sees the gun and takes a step to vanish into the walls, but HELENA suddenly appears standing in front of him.) HELENA: Unh-unh. No cheating. (THE SPECIALIST turns the other way to escape, but REESE steps into his path.) REESE: What's the matter? Can't go through people? (THE SPECIALIST swings at REESE and misses. REESE swings again and again and again. THE SPECIALIST reels into HELENA who swings up around him and down the other side. She kicks him in the stomach, then hits him twice in the face with her elbow.) (THE SPECIALIST falls back into REESE who kicks him into HELENA who flips him over and throws him up high against the ... wall ... ) REESE: No, Huntress, wait! (They watch as THE SPECIALIST phases right through the wall.) HELENA: Oops. (HELENA turns around.) REESE: (amused) Does it always have to end with you throwing a guy into a wall? HELENA: Sorry. Bad habit. BARBARA: (over comm) Huntress. HELENA: What's up? INTERCUT WITH: [INT. CLOCKTOWER - NIGHT] BARBARA: Dinah left without her comm set. I don't think she wanted to be tracked, and I have a pretty bad feeling as to where she went. HELENA: I'm on it. (HELENA heads out.) CUT TO: [INT. HOTEL ON 6TH -- NIGHT] (The walls rattle around the room. ALBERT HAWKE slowly gets to his feet.) ALBERT HAWKE: Don't think you're doing this for her, because she wouldn't want it. DINAH: Don't you dare tell me what she'd want. (DINAH steps into the room, sending a flower vase crashing toward the wall past HAWKE.) ALBERT HAWKE: Go ahead. Kill me. You'll stop hating me and start hating yourself. DINAH: I don't care, as long as you're dead. (The lamp from the table zooms past HAWKE and crashes against the wall. HELENA runs to the doorway.) HELENA: Dinah! DINAH: (doesn't turn around) Stay out of this. (HELENA runs into the room behind DINAH. She grabs her and turns her around to look at her.) HELENA: Dinah, stop it. DINAH: Let go of me. (HAWKE takes the opportunity and runs out of the room.) DINAH: You're letting him get away! (DINAH turns intending to chase after him. HELENA blocks the doorway.) HELENA: I am more worried about you. DINAH: I'm going after him. HELENA: Then you're going to have to go through me. (Camera holds on DINAH.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. HOTEL ON 6TH -- NIGHT] (HELENA and DINAH face off in front of the hotel doorway. DINAH is furious.) DINAH: I don't want to hurt you, but I will. (Behind her, the big knife on the table shakes and quivers ... ) HELENA: (quietly) Dinah, you don't have to do this. DINAH: (angry) Tell me you wouldn't. (The knife slowly starts to turn around.) DINAH: If he was the one who killed your mother, tell me that you wouldn't. (The knife turns all the way around, point facing them.) HELENA: Dinah, this isn't the way. You don't want to do this. DINAH: (firmly) I want him dead. (The knife flies off of the table with a force and embeds itself into the wall behind HELENA. HELENA barely escapes the knife, her arm cut and bleeding.) (DINAH stares at what she's done to her friend in horror.) DINAH: Oh, my gosh. HELENA: (reassuring) It's all right. It's just a scratch. DINAH: (panicking) No, I tried to kill - HELENA: (interrupting her) You didn't. (REESE appears in the doorway looking for HAWKE.) REESE: Hey. Where is he? HELENA: Gone. REESE: Excuse me? HELENA: We'll find him. (REESE looks from DINAH to HELENA, then he finally notices the wound.) REESE: What happened here? HELENA: She just got a little upset. REESE: A little? He asked me to protect him. Now he's out there with a killer on the loose? (to DINAH) What were you thinking about? HELENA: Reese, please, just let me -- DINAH: I was thinking about my mother. I was thinking about the last time I saw her, before he ... (She starts crying.) DINAH: I'm sorry. (Then, she runs past them out of the room.) CUT TO: [EXT. NEW GOTHAM CITY (STOCK) - NIGHT] (Camera zooms in and out between the buildings.) [INT. CLOCKTOWER -- NIGHT] (The elevator doors open and BARBARA wheels out. HELENA stands behind the computers looking at her.) HELENA: Is she all right? (BARBARA makes her way toward HELENA.) BARBARA: Dealing with demons is never easy, whether they're on the outside or the inside. HELENA: Yeah, I've been there. Should I talk to her? BARBARA: Well, she still needs a little time, and we still need to find Hawke. HELENA: (nods) Again. (HELENA turns to leave. BARBARA stops her.) BARBARA: Wait. In your fight with the wall walker, did you have any physical contact? HELENA: Sort of the definition of the word "fight," don't you think? BARBARA: Blood. HELENA: Yeah, his. Why? (HELENA looks down at the ring she's wearing. BARBARA turns to get a sample off of it.) BARBARA: I'm hoping you picked up a little bit of his DNA. (BARBARA scrapes off a sample of blood from the ring.) HELENA: Ew. BARBARA: Okay. I'll run an analysis, maybe get a clue as to how to stop him. HELENA: That would be good, because from what I saw, he's definitely not going to stop himself. (HELENA turns to leave. BARBARA moves behind the table to get to work.) CUT TO: [EXT. NEW GOTHAM ROOFTOPS -- NIGHT] (Top view down of HELENA jumping and running from rooftop to rooftop.) HELENA: When Hawke goes into hiding, he doesn't fool around. I sure hope Reese is having more luck than I am. INTERCUT WITH: [INT. CLOCKTOWER - NIGHT] (BARBARA holds up a slide and slips it under the scope.) BARBARA: Well, I had a little luck. It looks like our wall walker's neuroelectrical pulse activates some kind of molecular dispersion. [SCOPE VIEW of the slide sample] BARBARA: That's what enables him to pass through inanimate objects. HELENA: And here I just thought he was really skinny. BARBARA: What I mean is his molecules spread out. What I need to figure out is how to unspread them. HELENA: Hopefully before he finds Hawke. Wish Dinah wasn't out of commission. We could use an extra pair of eyes, ... (DINAH walks into the room.) HELENA: (over comm) ... but I guess we don't want her doing the hit man's job for him. (BARBARA looks up at DINAH.) BARBARA: (to HELENA) Uh, just do what you can. (BARBARA turns to DINAH.) BARBARA: (sheepishly) Sorry about that. DINAH: She does have a point. (DINAH walks into the room.) DINAH: Have you ever just felt completely out of control, you know, like you don't even know who you are anymore? BARBARA: It's pretty scary. DINAH: Yeah, but when you felt it, knives didn't fly at people's heads. I don't know. Maybe I should just stay away from people altogether. BARBARA: You don't trust yourself? DINAH: Do you trust me? (BARBARA sighs trying to find a delicate way of explaining things to DINAH.) BARBARA: Dinah ... if you really, really wanted someone dead ... they'd be dead. (DINAH gets the point.) CUT TO: [EXT. STREET -- NIGHT] (REESE walks the streets looking for HAWKE. He walks out onto the street toward his car. Behind him HELENA follows him without him knowing. He pulls out the keys to his car to open the door when she finally says something to him.) HELENA: Hey, you find any-y-- (REESE is startled and turns around. He closes his eyes and sighs. HELENA is amused.) HELENA: I wasn't even trying to scare you this time. REESE: Don't worry about it. HELENA: Any leads? REESE: (sighs) No. I just checked one of his old safe houses, but nothing. HELENA: We'll find him. REESE: I was just trying to remember why the hell we're even doing this. HELENA: State's evidence, the end of organized crime, he's your father. REESE: (shakes his head) Your friend Dinah, that look on her face -- that's not the first time I've seen it. My father was never a good man, and now all of a sudden, he's saying he's going to change. I'm sorry, but people don't just up and change because they say they will. HELENA: My mother did. (Surprised, REESE looks at HELENA. She nods. Yes.) HELENA: She was a pretty notorious cat burglar in her time -- the best, actually. (chuckles at the memory) She had a hell of a lifestyle going -- money, danger, cool clothes. Life on the bad side of the law. (she shrugs) But the day I was born, she made a promise to give it all up. I doubt it was easy, but she kept that promise. (quietly) Sometimes people can surprise you. (REESE and HELENA look at each other for a really long moment.) (REESE'S phone rings. He answers it.) REESE: (to phone) Yeah? Dad. HELENA: (to comm) Oracle, we've got him. REESE: Where are you? Okay. No, no, don't move. I'll be right there. (He hangs up.) REESE: (to HELENA) He's across town, at 26th and Paley. (He turns to get into the car. HELENA turns to get there on foot.) HELENA: I'll see you there. REESE: All right. CUT TO: [EXT. STREET -- NIGHT] (The wind blows a stray piece of newspaper on the sidewalk. It stops on the iron fence. Just beyond the fence, down near the stairs is ALBERT HAWKE.) (Someone's footsteps are heard walking down the street. ALBERT HAWKE slowly walks up the stairs to meet the person. When he looks, he finds himself face to face with DINAH.) ALBERT HAWKE: (sighs) I called Jesse. How did you -- DINAH: Word got around. ALBERT HAWKE: Look, I can't take back what I did, so we're both going to have to learn to live with my mistake, and for that, I am sorry. (Before DINAH says anything, she closes her eyes and senses something.) (Behind her, THE SPECIALIST walks out from the walls. DINAH turns around.) THE SPECIALIST: You have a choice to make. (He takes a step toward her.) THE SPECIALIST: You can either move ... or you can die. (DINAH turns around and for a long moment, she looks at ALBERT HAWKE.) (DINAH chooses ... and steps aside.) (THE SPECIALIST looks directly at ALBERT HAWKE ... and smiles.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. STREET -- NIGHT] (THE SPECIALIST walks toward ALBERT HAWKE. As soon as he passes DINAH, DINAH kicks him in the back sending him sprawling forward toward HAWKE. HAWKE hits him in the face and pushes him down the stairs.) (DINAH and HAWKE both look down at the bottom of the stairs. They don't see THE SPECIALIST there. DINAH turns to HAWKE.) DINAH: Run. (DINAH and HAWKE start running down the street.) DINAH: Oracle? INTERCUT WITH: [INT. CLOCKTOWER - NIGHT] BARBARA: I'm here. DINAH: I'm with Hawke! BARBARA: Good. DINAH: I'm on Lex and 28th ... uh, make that 29th. BARBARA: Gotcha. (BARBARA clicks on the keyboard and a map grid appears on the monitor.) BARBARA: Are you all right? DINAH: I think I pissed off that hit man a little ... (DINAH glances behind them and sees THE SPECIALIST running very fast toward them.) DINAH: ... or a lot. ALBERT HAWKE: There's an alley up there. We can lose him. BARBARA: No! Dinah, don't loose him. Head two blocks east to the hospital. DINAH: Thanks for the vote of confidence. BARBARA: It's abandoned. Go. (HAWKE and DINAH turn and head for the hospital. THE SPECIALIST follows them.) (They cross the street and walk inside the well-lit abandoned hospital building.) CUT TO: [INT. ABANDONED HOSPITAL - NIGHT - CONTINUOUS] (They open the doors and walk inside under the scaffolding and other abandoned items littering the hallway.) DINAH: Where to now? INTERCUT WITH: [INT. CLOCKTOWER - NIGHT] (BABARA pulls up the schematics of the building. She's looking for something specific.) BARBARA: End of the hall, there's a stairwell. Go down a flight. (They reach the end of the hallway. DINAH opens the door and lets HAWKE through. She turns around and sees THE SPECIALIST running down the hallway toward them.) DINAH: (screams to HAWKE) Go! Go! (Cut to: They run down the flight of stairs.) BARBARA: Go straight. There should be a door. DINAH: (reads the sign) Radiology. Got it. (DINAH and HAWKE run into the room. It's a dead end.) DINAH: Okay, I'm in! What now? BARBARA: Shut the door. DINAH: Right. (DINAH turns around to look at the open door. THE SPECIALIST is just outside coming off of the stairs and running down the short hallway toward RADIOLOGY. DINAH looks at the doors and they slam shut in his face.) (THE SPECIALIST is stuck outside the doors.) HELENA: (o.s.) What's the matter? Hospitals make you nervous? (THE SPECIALIST turns around to find HELENA standing at the foot of the stairs.) HELENA: Or are you just allergic to the lead-lined walls? BARBARA: (explaining over the comm) Actually, it's not an allergy. You see, the molecular structure of the lead will impede his molecular dispersion - (HELENA really didn't want an explanation.) HELENA: (interrupting) Do you mind? BARBARA: Right. Sorry. (THE SPECIALIST turns to look to his left and to his right. Both doors are to other RADIOLOGY rooms.) HELENA: Looks like you got a problem. (beat) HELENA: Me. (Having no choice, THE SPECIALIST grabs a gurney in the hallway and uses it to try to ram through HELENA.) (He pushes the gurney toward her, but HELENA merely runs and jumps over the moving item.) (She lands on the ground in front of THE SPECIALIST and kicks him. He deflects the kick and grabs HELENA. He hits her once, then tries again, but misses. HELENA grabs his arm and kicks him in the back. He grabs HELENA and slams her into the wall.) (REESE runs down the stairs and blocks the exit. He punches THE SPECIALIST. HELENA jumps over him and kicks him in the face. She turns around and starts kicking him with a series of kicks that pushes him back down the end of the hallway.) (Finally, she kicks him face first into the RADIOLOGY door.) (Cut to: From the inside, HAWKE and DINAH watch as THE SPECIALIST tries to phase into the room, but can't. He can't penetrate through the door. Eventually, his molecules solidify -- part of him stuck inside and part of him stuck outside and all of him stuck inside the red, lead-lined door.) (DINAH and HAWKE look at THE SPECIALIST, then turn to look at each other.) (Cut to: In the hallway, HELENA turns to look at REESE. She smiles.) HELENA: Guess I finally found the right wall to throw someone into. (REESE walks forward toward the door.) (He pushes it open.) REESE: You all right, dad? ALBERT HAWKE: Yeah. CUT TO: [EXT. STREET OUTSIDE ABANDONED HOSPITAL -- NIGHT] (REESE and ALBERT HAWKE exit the hospital.) REESE: So I gave the Feds a heads-up. Witsec is already prepping a new location for you. So I'm going to give mom a call. I'll tell her to pack some things and have her meet us at the precinct. (HAWKE turns to look at REESE.) ALBERT HAWKE: You think it's necessary to uproot her like that? I mean, she just planted her tomatoes. REESE: Dad. She'd rather be with you than have her tomatoes. ALBERT HAWKE: Yeah, I know that. I just think your mother would be happier staying put. REESE: What are you saying? ALBERT HAWKE: I'm tired. I need some time to think. REESE: Okay, so you think, ... And then you're going to go to the Feds, right? ALBERT HAWKE: How about we see what happens? (From the doorway, HELENA and DINAH watch.) REESE: You're not going to do it, are you? ALBERT HAWKE: Witness protection, ratting out my friends -- I'm sorry. Look, you don't have to worry. I am out of crime for good, and if you want ... I'll be out of your life. I'll disappear. (REESE sighs.) (HAWKE holds out his hand.) (After a moment, REESE takes it.) ALBERT HAWKE: You're a good son, Jesse. (With his other hand, REESE puts the handcuffs around HAWKE'S wrist.) (He takes a step around HAWKE and cuffs his other wrist.) ALBERT HAWKE: Jesse ... I'm your father. You can trust me. REESE: I'm sorry, dad, but it's just not in my nature. DINAH: So do you think this time they'll actually be able to keep him behind bars? HELENA: By the looks of it, I'm guessing Reese will see to it personally. (HELENA and DINAH leave and walk down the street. [EXT. STREET - NIGHT -- CONTINUOUS] HELENA: You were right, you know. Back at the hotel, before the famous knife incident. I would have done the same thing if I was facing my mother's killer ... and could throw cutlery with my mind. But I don't know if I could have done what you did. You turned around and protected him. That's impressive. (HELENA looks at DINAH.) HELENA: Your mom would have been proud. (DINAH looks at HELENA and smiles.) DINAH: So, uh, does this mean I get to keep my comm set? HELENA: What the hell? I'll get used to the snoring. DINAH: I don't snore. HELENA: I recorded it. DINAH: Whatever. You're just jealous 'cause my comm set looks better on me. HELENA: (scoffs) Ha ha. Please. DINAH: Everyone says so ... (pauses then adds) ... except for maybe your boyfriend. HELENA: (retorts) He's not my boyfriend. (They both laugh and continue to walk down the sidewalk.) SLOW BLUR OUT. (The two blurry figures turn the corner.) FADE TO BLACK. ========================== THE END ========================== Contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== BIRD OF PREY 1X09: NATURE OF THE BEAST PROD #175458 ORIGINAL AIR DATE ON WB: 12/08/2002 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 KRISTOFER McNELLEY as Frankie Spitz NEIL HOPKINS as The Specialist and MITCH PILEGGI as Al(bert) 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 Written by: MELISSA ROSENBERG Directed by: SHAWN LEVY ========================== END CREDITS ========================== Executive Producer: MIKE TOLLIN Executive Producer: BRIAN ROBBINS Executive Producer: JOE DAVOLA Music in this episode: * Aimee Allen, "I'd start a revolution if I could get up in the morning", Promotional Consideration furnished by ELECTRA ENTERTAINMENT CORP. TRP Tollin / Robbins Productions Warner Bros. Television - An AOL Time Warner Company (www.warnerbros.com) Co-Producers: ADAM ARMUS Co-Producers: KAY FOSTER Associate Producer: HAYLI HALPER Director of Photography: CHRIS FALOONA Production Designer: MICHAEL HELMY Editor: MICHAEL S. STERN Music by MARK SNOW Unit Production Manager: BOB WILSON First Assistant Director: JEFF KAY Second Assistant Director: ROBERT SCHROER Casting by DEEDEE BRADLEY, C.S.A. Co-Starring BOB PAPENBROOK as Misha Petrov ILYA VOLOK as Lieutenant Visual Effects Supervisor: DAVID TAKEMURA Stunts and Fights by: HIRO KODA Costumes by: SARA MARKOWITZ SAMUELS Set Decorator: CYNTHIA LEWIS Property Master: RICHARD HOBAICA Make-up: MICHELLE VITTONE-McNEIL Hairstylist: KELLY KLINE Paint Foreman: BRETT SHANNON Costumer: AMBER JORDYN Music Supervisors: MADONNA WADE-REED and JENNIFER PYKEN Sound Mixer: TIM COONEY Re-Recording Mixers: TODD GRACE / RANDY PI Music Editor: CHRIS McGEARY Supervising Sound Editor: BOB REDPATH Visual Effects by: MODERN VIDEOFILM Wheelchairs Provided by PRIDE MOBILITY PRODUCTS CORP. Based on DC COMICS CHARACTERS Color by IMAGELAB This motion picture is protected under the laws of the United States and other countries, and its unauthorized duplications, distribution or exhibition may result in civil liability and criminal prosecution. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms and institutions or other entities is coincidental and unintentional. AOL Keyword: The WB TheWB.com Copyright (c) 2002 Warner Bros. Television. All Rights Reserved. #175458 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, 07/29/2003~lky http://www.webphilia.com/~anthology/wnp.html