BIRDS OF PREY
1X10:  GLADIATRIX
PROD # 175459
ORIGINAL AIR DATE ON WB:  01/08/2003
TRANSCRIBED FROM WB

Written by:  DAVID H. GOODMAN
Directed by:  DAVID CARSON

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

Please do not archive without permission.

RATING:  TV-PG-LV
==========================
DISCLAIMER:  
==========================
"BIRDS OF PREY" and its characters are copyright (c) 2002 Warner Bros., Tollin-
Robbins Productions & DC Comics.  All Rights Reserved.  This transcript was made 
without their permission, approval, authorization or endorsement.  Any 
reproduction, duplication or distribution of this material in any form is 
expressly prohibited.  It is absolutely forbidden to use it for commercial gain. 

Leave the headers/disclaimers in tact because it lists all those who have 
painstakingly made this transcript possible for your enjoyment and provide a 
link back to the site where this file originated 
http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY:  Someone is kidnapping female meta-humans and caging them like wild 
animals only to set them loose against each other in a cage to fight to the 
death ... all for sport.  Problems arise when Helena disappears and Dinah sets 
out to look for her only to find herself in the rink with The Huntress.
==========================
BIRDS OF PREY
1X10:  GLADIATRIX
==========================



TONIGHT'S WB PRESENTATION
IS INTENDED FOR OUR ADULT
AND TEEN AUDIENCE



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 fights to protect the 
innocent and helpless.  Joining her in this struggle, Oracle, 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 -- Dinah, a meta-human herself 
with powers that she is only beginning to explore.  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:

(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.)

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.)  ... 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.)  ... 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:  They have taken in ... 



[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 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.)  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
DISSOLVE TO:



[EXT. NEW GOTHAM ALLEYWAY -- NIGHT]  

(Just outside the New Gotham Bar and Grill, a young blonde-haired woman walks 
through the alley alone at night.  She walks for a moment, then slows down to 
look through her purse.  In the dark passage between buildings, the figure of a 
man stands in the shadows watching her without her knowing.)  

(She stops, looks through her purse and continues through the alley.  The man 
follows behind her.  She stops, then turns around.)

WOMAN:  What do you want?

(MALCOLM LAGG raises his head and looks at her.  The right side of his face is 
disfigured with scars that completely seal his right eye shut.)

MALCOLM LAGG:  I've been watching you.

WOMAN:  Oh, my god.

(MALCOLM LAGG takes a step forward his hands behind his back.  The woman raises 
both her hands which start to charge with electricity.)

WOMAN:  (warningly)  Don't come any closer.

MALCOLM LAGG:  On the contrary -- those electric hands of yours are what 
attracted me to you.

(He raises his hands and pulls out an elaborate gun with a laser targeting beam.  
He fires and hits her hands which throws her aim off.  She fires electricity at 
the nearby wires.  The tranquilizer finds its mark and hits her in the chest.)

MALCOLM LAGG:  You see, I have been watching you.

(The WOMAN turns and tries to run out of the alley.  She takes a couple of steps 
and looks up.  Standing in front of her is The HUNTRESS.  She walks awkwardly up 
to HELENA, the drug taking affect.)

WOMAN:  Run.

(The WOMAN falls to the ground.  HELENA helps her down.  She looks up at MALCOLM 
LAGG.)

HELENA:  Sorry, not really my style.

(MALCOLM LAGG takes a couple of steps backward, clearly not prepared to see 
HELENA there.  Standing behind him is DINAH.)

DINAH:  You picked the wrong night to hit the town, Creep.

(He turns around and swings.  DINAH blocks the punch. DINAH blocks every swing.  Her fighting's improved.)

(She kicks him in the center of his chest sending him backward into HELENA.)

(HELENA reaches out and grabs him by the shoulder, swinging him around to her.  
She swings and hits him in the face.  DINAH sees this and protests.)

DINAH:  Hey!  

(HELENA fights MALCOLM LAGG.)

DINAH:  What are you doing?  

(HELENA continues to fight MALCOLM LAGG.  He swings, she dodges and blocks.  She 
swings, he blocks and dodges.)

(DINAH steps up in between the two.)

DINAH:  (protesting)  You said I could have this one.

(MALCOLM LAGG steps forward to swing at HELENA. She grabs his hand and twists it 
up and around his back.  He grunts in pain.)

HELENA:  Like there's not enough scumbags in New Gotham.

(DINAH shrugs. MALCOLM LAGG gets out of HELENA'S hold and swings.  She raises 
her arm and blocks it.)

HELENA:  Of course, they're not usually this ugly.

(She hits him in the face.  Once.  Twice.  He falls to one knee.  She kicks him 
twice.  He grunts in pain.  She moves in to punch the MAN when he's down on the 
ground just as the electric pole bursts into sparks.  HELENA looks up.  The 
electric pole, the same one that the WOMAN had hit earlier, falls off the wall.  
The WOMAN is still unconscious on the ground under the wires.)

HELENA:  (looks up)  Dinah!

(DINAH puts up a hand and stops the pole from falling onto the woman.  HELENA 
stares up at the pole.  The MAN gets up and sees his opportunity to run.  He 
runs out of the alley while HELENA'S attention is on the pole.)

(HELENA turns and sees the MAN run.  DINAH also sees him run.)

DINAH:  I got it.  Go after him.

(The MAN grabs his tranquilizer gun and heads out of the alley.  HELENA turns to 
see him run, but turns her attention back to DINAH and the pole.)

(Instead of chasing after MALCOLM LAGG, HELENA grabs the WOMAN out from the path 
of the pole.)

(DINAH moves the pole away from the WOMAN and drops it on the road.)

DINAH:  I said I got it.  Now he's getting away.

(HELENA looks up and sees MALCOLM LAGG run out of the alley.  She's not anxious 
at all that he's gone.)

HELENA:  Relax. A head start makes the chase more fun.

(HELENA heads out after MALCOLM LAGG.)

DINAH:  (rolls her eyes)  Typical.

(Cut to: MALCOLM LAGG runs.  When he gets to the end of the alley, he stops.  He 
takes something out of his pocket and puts it on the ground.  He then steps into 
the darkness between the two buildings.)

(HELENA reaches the end of the alley.  She turns and looks for him.  She doesn't 
see him.)

HELENA:  Ugly and slippery --irritating combination.

(HELENA looks to the roadway and sees something on the ground.  She picks it up.  
It looks like a metallic coaster-shaped object with a symbol etched into its 
center.  She looks at the symbol, her face reflected in the mirror-like disk.)

HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)




FADE IN

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

(Camera moves in toward the Clock Tower.)

CUT TO:



[INT. CLOCK TOWER - NIGHT]  

(BARBARA examines the metallic disk.)  

HELENA:  I found it on the street.  I thought maybe he dropped it.

DINAH:  (pipes in)  Yeah, before he escaped.

(HELENA turns to stare at DINAH who is standing just behind her.  She says 
nothing.)

BARBARA:  There's some encoding on it.  It looks like it's a key card.

DINAH:  To what?

BARBARA:  I don't know, but figuring out what this symbol means is a good place 
to start.

HELENA:  Better figure it out fast.  

(She turns and walks around BARBARA to the other side of the computer.)

HELENA:  That girl would have been the fifth to go missing this month.  Who 
knows who he's going to go after next.

BARBARA:  A meta-human woman, I'm guessing.

DINAH:  Why meta?

BARBARA:  Well, I did some more digging, cross checked with the meta-human 
database.  Turns out that's what they all have in common.

HELENA:  I should go down to no man's land, tell Gibson to put the word out.

(The computer alarms sound.)

BARBARA:  It's Reese.  

(BARBARA checks the computer for a location.)  

BARBARA:  He's down by the east river at 86th street.

(HELENA stops and turns around.)

DINAH:  Well, I'll go talk to Gibson.  

(She moves past HELENA to leave the room.)

DINAH:  (to HELENA)  That much I can do on my own.

(When DINAH leaves, HELENA turns to look at BARBARA.)

HELENA:  I thought having a sidekick was supposed to make things easier.

(BARBARA turns to look at HELENA, her mouth moving, but no response coming out.  
She turns back to the computer.)

CUT TO:



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

(Camera zooms in between the buildings at a leisurely speed, turns downward and 
falls straight downward toward the streets below.)

CUT TO:



[EXT. STREET -- NIGHT]

(A blonde-haired woman walks up the stairs and onto the sidewalk.  She stops by 
the road and looks out onto the street.  From behind the camera a voice speaks 
and gets her attention.  She turns to look at the camera.)  

MALCOLM LAGG:  (o.s.)  I'd be happy to give you a lift.

CLAIRE FORDHART:  (smiles)  Oh, are you going up ... 

(CLAIRE FORDHART sees something and stops smiling.)

CLAIRE FORDHART:  ... town?

(Camera cuts to show MALCOLM LAGG step forward toward CLAIRE FORDHART.)

MALCOLM LAGG:  Well, no ... 

(CLAIRE FORDHART'S eyes glow green as her meta-human powers take effect.)

MALCOLM LAGG:  ... but neither are you.

(MALCOLM raises the tranquilizer gun and fires at point blank range.  The 
tranquilizer dart hits her in the shoulder.)

(CLAIRE starts breathing hard as the drug takes affect.  MALCOLM steps forward 
and just waits)

MALCOLM LAGG:  Who said chivalry's dead?

(CLAIRE passes out.)  

CUT TO:



[INT. CLOCKTOWER - PRACTICE ROOM -- NIGHT]  

(DINAH is in the practice room hitting the WAVEMASTER XXL practice bag with a 
couple of sticks.  This is no ordinary practice but one where she's venting out 
her frustrations at the bag.)  

(Hit after hit, DINAH lets loose on the poor punching bag.)

(The elevator doors open and HELENA walks into the room.)

HELENA:  Did you talk to Gibson?

(DINAH doesn't stop hitting the bag to answer the question.  She keeps hitting 
the bag.)

DINAH:  (sarcastic)  No, I played pool.

HELENA:  What did he say?

DINAH:  (angry)  He said a Junior Crime Fighter like me should run and hide.

HELENA:  Dinah.

(DINAH with a final hard-hitting punch at the bag, she stops and whirls on 
HELENA.)

DINAH:  (frustrated)  He put the word out, okay?

HELENA:  Look, I know you've gotten better --

DINAH:  I'm good, but you wouldn't know that, would you?

HELENA:  Fine. You're good.

DINAH:  In fact, I could probably take you on.

HELENA:  Whatever you say.

DINAH:  No, you versus me, powers even, I'd have a good shot.

HELENA:  See, that's your problem.  You don't know your limitations.  It's 
dangerous.

DINAH:  Then test my limitations.  Let's go.

HELENA:  I don't have time for this.

DINAH:  You scared?

HELENA:  Are you kidding?

BARBARA:  (from radio)  Huntress, we've got another abduction.

HELENA:  (to radio)  Yeah, I'm on my way.  (to DINAH)  Why don't you go rent 
"Rocky"?  Let it go.

(HELENA turns and heads back to the elevator.  DINAH turns and starts pummeling 
the punching bag.)

CUT TO:



[INT. CLOCKTOWER - COMPUTER ROOM - NIGHT]

(The elevator doors open and HELENA steps out into the main computer room.  
BARBARA is sitting behind her computers waiting for her.)

BARBARA:  A waitress named Claire Fordhart was just reported missing.

HELENA:  Meta?

BARBARA:  Yeah -- called Gibson.  He knows her.

HELENA:  I'm going to kill that creep.

(One of the machines starts beeping.  BARBARA reaches for it.)

HELENA:  What, you're making popcorn now?

BARBARA:  No, I'm analyzing the hairs Reese gave you.  

(BARBARA looks at the results.)

BARBARA:  The mud on them contains astrophyl lite.

HELENA:  Astro-what?

BARBARA:  It's a mineral found in granite.

HELENA:  Which makes it nerd-worthy because...

BARBARA:  ... Because there's barely any granite left in New Gotham.  The entire 
city was built on tectonically engineered slabs after that earthquake that 
toppled ... Old Gotham.

HELENA:  Do you realize every time you talk like that you remind me of Charlie 
Brown's teacher?  Remember? "Waah, waah, waah, waah, waah."

(HELENA holds out her hand where she opens and closes it as if mimicking someone 
talking.)

BARBARA:  The mud sample is identical to the samples taken from Old Gotham.

HELENA:  You're saying the woman that was killed was killed in Old Gotham?  
That's impossible.  The entire city was destroyed.

BARBARA:  No, not all of it.  Parts of Old Gotham are still intact underground, 
below the sewers.

HELENA:  Which would explain how the one-eyed scar guy got away so fast --he 
went underground.  I'm going to go back to where I lost him.

(HELENA turns to walk past BARBARA to head toward the door.)

BARBARA:  Wait, I'll get Dinah.

(HELENA stops.)

HELENA:  Uh, no, I want to do this one solo.  Barbara, someone's targeting meta-
human women -- like her.

(BARBARA looks at HELENA who can't look at her.)

BARBARA:  And you, which is why it's important we work as a team.

(HELENA doesn't say anything.)

BARBARA:  Come on, you can't shelter her forever.

HELENA:  Just this once, all right?

(BARBARA considers, then relents.)

BARBARA:  All right, take this.  

(She reaches for the metallic disc and gives it to HELENA.)

BARBARA:  You might need it.

HELENA:  (quietly)  Thanks.

(HELENA turns to leave the room when ALFRED walks up to her carrying a heavy 
cape and rubber boots.)

HELENA:  Alfred.  Are you going fly fishing?

ALFRED:  I heard the word "sewers," and I know how much you hate to get your 
shoes wet.

HELENA:  Not as much as I hate being a fashion don't.  Thanks anyway.

(HELENA walks past ALFRED and heads out the door.  ALFRED turns to watch her 
leave the room.)

ALFRED:  (mutters)  Crime fighting today -- it's all style over substance.

CUT TO:



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

(Camera zooms in and out high above the buildings at an incredible speed.)

CUT TO:



[EXT. SIDEWALK -- NIGHT]  

(Out on the sidewalk in front of the bar where CLAIRE FORDHART works, HELENA 
kneels down, her hand resting on a manhole cover with the letters NG on it.)

HELENA:  (to comm)  I think I found here he went in.  I'm going down.

(HELENA looks around to see if anyone's watching.  She sticks her fingers in the 
holes intending to pick it up.)

INTERCUT WITH:

[INT. CLOCKTOWER - NIGHT]

(BARBARA is in front of the computer systems.)

BARBARA:  (to comm)  All right, that manhole should lead to an overflow chamber.

HELENA:  (from comm)  Yeah, well, I should have taken Alfred up on those boots.

BARBARA:  (to comm)  Head north. I'll guide you into Old Gotham.

(Up on the second floor, DINAH walks back from her practice toward ALFRED 
quietly working in the kitchen.  She heads for the refrigerator.)

DINAH:  Hey, Alfred.  What's going on down there?  Did we get a lead?

ALFRED:  I believe so, Miss Dinah.  In fact, Miss Helena is currently on her way 
to the ruins of Old Gotham by way of the sewers - 

(Behind him, DINAH forgets opening the refrigerator as she realizes that they've 
gone on ahead without her.)

ALFRED:  ... without galoshes, I might add.

DINAH:  (quietly)  I can't believe it.

(She turns around.  ALFRED looks at DINAH.)

ALFRED:  It was an impractical choice.

DINAH:  She went on without me?

ALFRED:  Ah, so you wish to wade in the sewage as well.  

(DINAH leaves the kitchen area.)

ALFRED:  (mutters)  It's amazing what appeals to the youth of today.

(He turns back to his food preparation and slowly shakes his head.)

CUT TO:



[INT. SEWER SYSTEM -- NIGHT]

(HELENA walks up to the sewer gate and opens it.)

HELENA:  Well, it doesn't look like we're in Kansas anymore, Toto.

BARBARA:  (from comm)  Uh, I prefer to think of myself as The Wizard.

(HELENA walks through the gate and closes it behind her.)

HELENA:  Yeah.  Of course you do.

(HELENA continues through the sewers.)

INTERCUT WITH:

[INT. CLOCKTOWER - NIGHT]

(BARBARA keeps her eyes on the monitors in front of her.  She leans forward.)

BARBARA:  (to comm)  And as for not being in Kansas, your GPS signal is 
weakening.  

(BARBARA hits the computer keys.  The monitor now showing, "SIGNAL LOST".)

BARBARA:  I can't tell where you are.

(HELENA walks rapidly through the corridors.)

HELENA:  Far as I can tell, I'm in some kind of a prison.

(BARBARA can barely hear her.)

BARBARA:  A what?  You're breaking up.

(HELENA continues to move through the corridors.  She reaches an iron door with 
a symbol on it.  The same one as the metallic disc.)

HELENA:  (to comm)  I think I found something.  

(She opens the door and walks into the room.  She glances inside, then quickly 
puts her back up against the wall.)

HELENA:  (to comm)  They've turned this place into some kind of arena, and from 
the looks of the accommodations, it ain't Lilith Fair.

(Back at the Clock Tower, ALFRED walks up behind BARBARA, listening carefully to 
the silence on the other end of the radio signal.  His look one of concern.)

(BARBARA continues to try to reach HELENA.)

BARBARA:  Huntress?  Huntress, do you copy?  I am not receiving you.

(ALFRED looks at her grimly.)

BARBARA:  Huntress!

(Meanwhile, back in the arena, HELENA walks into the main arena room.  Inside 
the room is a mat to ceiling wire fence built around the arena to keep the 
combatants inside the mat area.)

HELENA:  Oracle?

(HELENA puts her hand to her comm.)

HELENA:  Oracle?  Oracle?

(HELENA steps up toward the fenced-in area to look around.)

HELENA:  Well, looks like I'm on my own.

(Behind her, a MAN in a white suit steps into the room.  He raises his 
tranquilizer gun, the red laser pointed at HELENA'S back.)

(He fires.)

(The tranquilizer hits HELENA in the back.  She turns around to look at MALCOLM 
LAGG.)

MALCOLM LAGG:  What a pleasant surprise.  

(The tranquilizer starts to take affect and HELENA leans against the wire fence.  
She steps toward MALCOLM and falls forward toward him - grabbing him or more 
like clutching his shoulders.)

MALCOLM LAGG:  Oh, I do love a woman that makes the first move.

(HELENA falls to the floor unconscious at MALCOLM'S feet.  He looks down at her.  
Then, he raises his eyes toward the camera.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

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

(Camera holds on the Clock Tower from a distance.)

CUT TO:



[INT. CLOCK TOWER -- NIGHT]  

(DINAH rushes down toward BARBARA.  BARBARA continues to try to get HELENA back 
on the comm.)

BARBARA:  Huntress.  Huntress, do you copy?

DINAH:  What's going on?

BARBARA:  Another girl's been abducted, and I've just lost contact with Helena.

DINAH:  Maybe she went off-line.

BARBARA:  No, no, we were talking, and her signal just cut out.  Something about 
the Old Gotham substructure that's interfering with the comm link.

(BARBARA sighs and tries to get HELENA back on the comm again.)

CUT TO:



[INT. OLD GOTHAM SEWERS -- NIGHT]  

(Deep in the arena, there is a crowd of men in black tuxes and suits.  They're 
chanting rhythmically.)  

AUDIENCE:  Fight!  Fight!  Fight!  Fight!

(Inside the crowd dressed in a white tux is MALCOLM LAGG.)

MALCOLM LAGG:  (over mike)  So you want to see a fight?  Well, you came to the 
right place.  Gentlemen, welcome to ... Gladiatrix!

(The men stand outside the wired fence.  Inside, the two combatants clash and 
start to fight.)

(The MEN cheer.)

(In another part of the arena, in the backrooms, the other kidnapped meta-human 
WOMEN are kept individually in cages.  They can hear the men cheering above.)

(They're like caged animals, grasping at the bars and pacing the floors inside 
their prisons.)

(Camera sweeps along the room to show the different women in their cages, then 
finally settles on HELENA who is still unconscious on the floor of her cage.  As 
we watch, she slowly stirs.  Her eyes open and she gets up.)

(She gets to her feet and grabs the bars, trying to get out.  She sees the lock 
on the door and tries to break that.  The woman in the cage next to her steps 
forward.)

CLAIRE FORDHART:  You can't escape.  The bars are made from titanium something.  
They're impossible to break, even for the strongest of us.

HELENA:  What's going on here?

CLAIRE FORDHART:  I shouldn't be talking to you.  The guards say not to talk to 
the enemy.  It just makes the end harder.

HELENA:  Enemy? What are you talking about?

(CLAIRE steps back and clutches the bars at the far end of her cage.)

CLAIRE FORDHART:  Don't come any closer to me, bitch!

HELENA:  Relax.  I'm not going to do anything.

(CLAIRE'S eyes glow green; beams of green laser light blast from her eyes and 
scorch the floor in front of HELENA'S feet.)

(HELENA stares at the powers and takes a step back.)

(Suddenly, the collar around CLAIRE'S neck glows red and she starts gasping in 
pain.  The pain continues and CLAIRE falls down to the ground.)

(Standing just outside the prison cage is MALCOLM with two GUARDS.  CLAIRE'S 
collar continues to glow red.  She gasps.)

(Finally, without batting an eye, MALCOLM uses the hand-held remote controller 
and stops.)

MALCOLM LAGG:  Tell me the rule, Claire.

CLAIRE FORDHART:  (gasping)  No powers in the cell.  No powers in the cell.  
Save it for the ring.

MALCOLM LAGG:  That's a good girl.  

(MALCOLM steps around CLAIRE'S cell and moves in front of HELENA'S cell.)

MALCOLM LAGG:  Can't have the merchandise damaging each other before the show.  
Shall we?

(He uses the remote and turns on HELENA'S collar.  She instantly falls to the 
ground in pain.  She gasps.)

(He leaves the collar on for a prolonged moment, then turns it off.  HELENA 
looks up at him.)

(She grabs the bars and gets to her feet.)

HELENA:  You try that again, and I'll kill you slowly.

MALCOLM LAGG:  Lively ... one of the reasons I lured you down here.  You don't 
think I just dropped the disc key, do you?  No, I wanted you to find it because 
I wanted you here, because I can hardly wait to watch you fight.

HELENA:  I want to fight you right now.

MALCOLM LAGG:  Oh, no, not me.  You'll be fighting the other girls.  

HELENA:  Why would I do anything like that?

(He turns on the collar and HELENA steps back until she hits the back of the 
cell.  The GUARD is there where he injects a drug into the back of her neck, 
surprising HELENA.)

MALCOLM LAGG:  The same reason all my girls fight. This.  I like this one.  I 
hope he doesn't go too fast.

(MALCOLM leaves.  HELENA steps forward to the front of the cage.  She puts a 
hand to the back of her neck where they injected her with the drug.  She doesn't 
say anything.)

CUT TO:



[INT. CLOCK TOWER - NIGHT]

(DINAH is trying to reach HELENA over the comm.  She's sitting in front of the 
computers.)

DINAH:  Huntress.  Huntress.  

(She turns to look at BARBARA who is sitting next to her working on the other 
computer.)

DINAH:  There's no response.

BARBARA:  I found a match for the symbol.  (BARBARA points to the screen.)  This 
is a set of evidence photographs from an arrest a few weeks ago.

DINAH:  That's the same disc.

BARBARA:  Yeah.

DINAH:  What does that mean?

(BARBARA shrugs.)

BARBARA:  Maybe the arresting officer knows.

(BARBARA hits the keys on the keyboard.  A photo of REESE appears on screen.)

DINAH:  Reese.

(BARBARA hits the keys on the keyboard.)

CUT TO:



[INT. NEW GOTHAM POLICE DEPARTMENT - NIGHT]

(REESE'S phone rings.  He takes it out of his pocket to answer it.)

REESE:  Yeah.  Reese.

INTERCUT WITH:

[INT. CLOCK TOWER - NIGHT]

BARBARA:  (cuts to the chase)  Detective Reese, this is Oracle.  I need you to 
take a look at your computer screen.

(REESE looks around the bullpen as he reaches for his computer.)

REESE:  Not much for small talk today, huh?  

BARBARA:  Hey, how you doing?  How's the job?  Good?  Great.  Computer, please.

(DINAH smiles as she hears BARBARA over the phone.)

REESE:  (chuckles)  You know, this is a secure network.  How did - 

(REESE looks at the symbol on the monitor and recognizes it instantly.)

REESE:  Wait a minute.  I've seen this.

BARBARA:  Look, you arrested a man who had this disc on him.  Do you know what 
it is?

REESE:  (seriously)  Um ... 

(He glances around him again.)

REESE:  No, no, not really.  The guy who was carrying it lawyered up on me and 
made like smoke before I could get anything much.  I mean, I did a little 
snooping around, but all I got was a bunch of bizarre rumors.

BARBARA:  What kind of rumors, exactly?  

(BARBARA turns and looks at DINAH who listens intently.)

(REESE picks up the phone and walks around the desk away from the others.)

REESE:  Something about an underground fighting ring, um ... except with women.

BARBARA:  So wait a second.  Men actually pay to watch women beat each other up?

REESE:  Well, from what they say, it's worse than that.  These women actually 
fight to their death.  But why? I mean, what do you know about it?  I mean, come 
on.  This can't be for real, is it?  I mean, I actually tried o look for this 
club, but I didn't find anything.

(BARBARA and DINAH glance worriedly at each other.)

REESE:  Oracle?

BARBARA:  (sighs)  It's Huntress, Detective.  She was chasing down a clue, 
looking for the other abducted women.  She's missing.

(REESE doesn't like this at all.)

REESE:  Where was she last seen?

(He waits for a response and doesn't get any.)

REESE:  Oracle.

(BARBARA doesn't say anything, hesitant to get him involved.)

REESE:  (insistent)  Damn it, Oracle, talk to me. 

(BARBARA and DINAH look at each other.  Still, she doesn't say anything.)

REESE:  Look, if you know something, now is not the time to be playing your lone 
vigilante games with me.  I can help you.

(Reluctantly, BARBARA relents.)

BARBARA:  Okay, um ... Do you know where Old Gotham is, Detective?

CUT TO:



[INT. OLD GOTHAM SEWERS - THE CAGES - NIGHT]

(Sitting in the corner of her cage is HELENA.  The drug takes its effect on 
her.)

(The main door slams shut and the GUARDS walk in with plates of food in their 
hands.)

GUARD:  Chow time, girls.

(They each pass a plate of food under the cage slots for the WOMEN.  HELENA gets 
her plate and grabs it with both hands.  She smells it.)

CLAIRE FORDHART:  Where's my food?

GUARD:  You're fighting tonight.  You eat after you fight.

CLAIRE FORDHART:  I'm hungry!

GUARD:  Well, then I guess you better win.

(The guards turn and leave.  CLAIRE grabs the bars and shakes them in 
frustration.  HELENA puts her plate of food under her door to CLAIRE.)

CLAIRE FORDHART:  Aah!  Aah!

(CLAIRE rushes over and looks at the plate.)

HELENA:  Eat.

(CLAIRE grabs the plate and is about to eat when something occurs to her.)

CLAIRE FORDHART:  (suspiciously)  What did you do to it?

HELENA:  Nothing.

CLAIRE FORDHART:  (insistent)  You put something in it.  You're trying to poison 
me.  Do you think I'm an idiot?

HELENA:  Just eat it!

(CLAIRE drops the plate and pushes away to the far end of the cage.  She 
screams.)

(MALCOLM walks up to the cage.)

MALCOLM LAGG:  I see the drug is working.

(HELENA glares at MALCOLM.)

(CLAIRE looks at MALCOLM.  He holds up the remote to stop her from moving toward 
him.)

MALCOLM LAGG:  Unh-unh-unh.  

(MALCOLM moves over toward HELENA'S cage.)

MALCOLM LAGG:  Your anger will become more intense, even harder to control over 
time, until ... pop.

(HELENA steps toward MALCOLM and grabs the bars.)

HELENA:  Why are you doing this to us?

MALCOLM LAGG:  You may have noticed that my otherwise flawless looks are marred 
by a slight imperfection.  For some odd reason, it's always seemed to drive the 
ladies away.

(HELENA paces the floor inside the cage.)

HELENA: (sneers)  Really?  Why, your inner beauty doesn't shine right through?

MALCOLM LAGG:  And not just the pretty ones.  I've tried whores, skanks, even 
freaks like you.  Tell me, what right does a walking aberration like you have to 
reject me 

HELENA:  How could I?  You're the perfect package, right?

MALCOLM LAGG:  Maybe you and I should have a little fun before you fight.  You 
know ... while you still have your looks.

HELENA:  Yeah.  Let's start the fun right now.

MALCOLM LAGG:  Oh, the fun's starting soon enough.

(MALCOLM turns to leave.  HELENA stands in the cell, frustrated with nowhere to 
go.)

CUT TO:



[INT. CLOCK TOWER - NIGHT]

(DINAH rushes down the spiral stairs.)

DINAH:  I'm ready to go ...

(She reaches BARBARA who turns to look at her.)

DINAH:  (rambles)  ... and don't tell me it's too dangerous for me to go by 
myself or that we have to do more research to figure out what's happening, 
because the longer we wait, the more chance of something horrible happening to 
Helena.

(DINAH stops speaking.  BARBARA looks at DINAH.)

BARBARA:  I won't.

DINAH:  (confused)  You won't what?

BARBARA:  Tell you not to go.

DINAH:  Oh.  'Cause I had this whole rebuttal thing planned out.  It was 
actually pretty good.

BARBARA:  Look ... Helena may be in trouble, and I know if there's anybody that 
can find her and help her ... it's you.

DINAH:  Thank you.

BARBARA:  I re-tuned the frequency on your comm set and put a booster on it to 
compensate for the bad signal in Old Gotham, so we shouldn't lose contact now, 
okay?

(DINAH turns to leave the room.  BARBARA stops her as she reaches the elevator.)

BARBARA:  Dinah.  

(Inside the elevator, DINAH turns around to look at BARBARA.)

BARBARA:  Bring her back.

(DINAH smiles and the elevator doors close.)

CUT TO:



[INT. OLD GOTHAM SEWERS - MAIN ROOM - NIGHT]

(HELENA paces inside her cage.  She looks at the bars.)

(MALCOLM walks into the backroom surrounded by his GUARDS.)

MALCOLM LAGG:  Show time, ladies! Final touches, please.  We must look good for 
the paying customers.

HELENA:  Your ass is mine when I get out of here.

(MALCOLM steps up to the cage in front of HELENA.)

MALCOLM LAGG:  Yum, you area feisty little one, but I'm afraid little laser 
Claire here is the next in line.  

(He turns to step in front of CLAIRE'S cage.)

MALCOLM LAGG:  She's going up against my champion Kayla.  

(He glances over at another cage with a tall blonde-haired woman inside.)

MALCOLM LAGG:  She's 12-0, aren't you, darling?

(The GUARDS open both cages and take the women out, their collars gleaming red 
as the WOMEN grunt with pain.)

MALCOLM LAGG:  Take her.

(The GUARDS open KAYLA'S door and grab her.  They also open up CLAIRE'S door to 
take her out of the cell.)

(HELENA watches, trying to figure out a way to stop them.)

(She calls out to MALCOLM.)

HELENA:  Hey.  You want to see a real fight?  Let me show you a real fight.

MALCOLM LAGG:  You're fast becoming my favorite.  (to the GUARD)  Take her 
instead.

(The GUARD steps forward to unlock the door.  HELENA glances to the cell next to 
her as the GUARDS puts CLAIRE back.  She stands in front of her door waiting for 
the GUARD to open it.)

CUT TO:



[INT. OLD GOTHAM SEWERS - MAIN ARENA - NIGHT - CONTINUOUS]

(Inside the main arena, the men in the crowd cheer.)

MALCOLM LAGG:  Gentlemen, welcome to our main event.  In the cage to the left, 
12-time champion Kayla the Destroyer!  

(The crowd cheers wildly.  KAYLA stands against the cage door, her hands held 
back.  She thrashes around wildly.)

MALCOLM LAGG:  And in the cage to the right, her challenger the Green Scorpion 
...

(HELENA also stands against the other door in full control of her faculties.)

HELENA:  (mocking)  Green Scorpion?

MALCOLM LAGG:  (shouts)  Of Doom!

(The crowd goes wild.)

HELENA:  Great, 'cause that makes it better.

(The match sound rings.  The match begins.  Both women are let loose.)

(Camera motion slowly down as the two WOMEN circle each other.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. OLD GOTHAM SEWERS - MAIN ARENA - NIGHT]

(We continue where we left off.  The two combatants circle each other around the 
cage.  The crowd goes wild.)  

HELENA:  For a 12-time champ, you don't look so tough.

(They continue to circle each other.)

HELENA:  What's your meta human skill, the power to give dirty looks?

(KAYLA holds up her hands and they burst into flame just ready to be hurled.)

HELENA:  Sorry I asked.

(KAYLE flicks her wrist and hurls a fireball at HELENA who anticipates the move 
and runs up onto the side of the wire fence and runs around it in a complete 
circle.  The fireball misses her completely.)

(HELENA stands up on the wire fence as if it were the ground.  She looks down at 
KAYLA.)

HELENA:  I don't want to hurt you.

(KAYLA flicks her wrist and throws another flame ball at HELENA just barely 
missing her over her left shoulder.  HELENA watches it hit the fence.)

HELENA:  Okay, maybe now I do.

(She jumps down to the mat below directly in front of KAYLA.  KAYLA takes a step 
forward.  HELENA side steps her and kicks her from behind.  KAYLA uses her foot 
and pushes herself back into HELENA, knocking her down as they both fall on 
their backs onto the mat.)

(They both immediately get to their feet.  They turn and face each other.)

(KAYLA tries to kick HELENA, but HELENA falls to one knee and grabs her foot.  
She twists and brings KAYLA down to the mat.)

(The crowd goes wild.)

(MALCOLM watches the fight from the side.)

(HELENA takes a step toward KAYLA intending to knock her out.  She throws a 
punch; KAYLA catches her arm to stop her.  They're each in the other's face.)

HELENA:  Looks like you might need some moisturizer, Destroyer.

(KAYLA pushes her away and gets to her feet.)

(HELENA moves back to the center of the mat to fight KAYLA.  They're now just 
hitting and punching each other.)

(KAYLA reaches out to hit HELENA; HELENA punches KAYLA in the stomach sending 
her across the arena to the far wall.)

(The crowd goes wild.)

(HELENA jumps up and lands on KAYLA'S shoulders.  She jumps back down to the mat 
and flips over backward.  She hits the side of the fence and flips forward 
landing on the mat in front of KAYLA who takes a step backward.)

(KAYLA grabs HELENA'S foot and throws her across the arena.  HELENA falls to the 
floor.  KAYLA steps forward and they continue fighting.)

(HELENA jumps up and over behind KAYLA.  She pushes KAYLA down to the mat face 
down.  A vulnerable position.  HELENA grabs KAYLA'S neck and pulls her up.  She 
raises her fist with a clear strike at her vulnerability.  The crowd chants.)

CROWD: (chanting)  Kill! Kill! Kill!

(MALCOLM looks at HELENA with anticipation.)

CROWD: (chanting)  Kill! Kill! Kill!

(HELENA looks back at MALCOLM.)

CROWD: (chanting)  Kill! Kill! Kill!

(She let's KAYLA go and stands up.)

(The crowd immediately boos its displeasure.  MALCOLM looks around the room, 
surprised by this turn of events.)

CUT TO:



[INT. OLD GOTHAM SEWERS - BACK ROOM - NIGHT - CONTINUOUS]

(The GUARDS drag HELENA back into her cage.  She struggles against them.)

(MALCOLM stands off to the side and watches as they throw HELENA back into her 
cage.)

MALCOLM LAGG:  Do you know what happens when one of my girls refuses to kill her 
opponent?

HELENA:  I am not one of your girls.

MALCOLM LAGG:  I have her tortured to death.  You kill or you die --that's the 
rules.

HELENA:  I don't like rules.

MALCOLM LAGG:  So I've noticed.  You're fighting the drug harder than anyone has 
before, but you'll break, and the kill will be all the more savage and 
spectacular.  Watching you lose control is going to be worth breaking the rules 
just this once.

HELENA: Why don't you come in here and see what else I can break?

(MALCOLM holds up the remote to the bars.)

MALCOLM LAGG:  You know, I can't decide whether to send you out again tonight or 
just keep you as a pet.

(He sighs.)

MALCOLM LAGG:  But I suppose I can't be selfish and deprive my customers of your 
... skills.  Finding someone worthy of you is going to be ... quite the 
challenge.

(MALCOLM turns and leaves the back room.  HELENA stands in her cage, more 
agitated than before the fight.)

CUT TO:



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

(Camera slowly moves toward the Clock Tower from a distance.)

CUT TO:



[INT. CLOCK TOWER - NIGHT]

(ALFRED carries in a tray of tea prepared.)

ALFRED:  Any luck?

BARBARA;  There was another drug in the woman's hair.  It affects the amygdala -
- the part of the brain that controls anger and rage.

(ALFRED puts the tea set down.)

ALFRED:  That must be how he's making the women fight, although in Miss Helena's 
case, a drug like that might be a trifle redundant.

BARBARA:  She has trouble controlling her temper as it is.  I mean, if someone 
was actually trying to make her go postal - 

ALFRED:  Attempting to find an antidote might be a good idea.

BARBARA:  Yeah, I'll get right on it.

(BARBARA looks at the computer monitor and punches in some keys.)

BARBARA:  (quietly)  Hey, this is a crime fighter.  (beat)  This is a crime 
fighter on drugs.

CUT TO:



[INT. OLD GOTHAM SEWERS - NIGHT]

(The gate opens and DINAH walks in.  She closes the gate behind her.)

DINAH:  I'm in.

INTERCUT WITH:

[INT. CLOCKTOWER - NIGHT]

BARBARA:  I'm trying to find a way to reverse the drug.  Until then, you 
probably don't want to get too close.

(DINAH walks in through the doors to the back room corridors - the same path 
that HELENA walked earlier.)

DINAH:  Wait a minute.  I came all the way down here to find her, and now you 
want me to avoid her?

BARBARA:  Just stay at a safe distance.

(DINAH walks cautiously through the corridor.)

DINAH:  What happens if we can't reverse the drug?

BARBARA:  Well, the longer the drug is in Helena's system, the more it'll affect 
her.  Eventually, she'll just tear herself apart.

(The computer alarms go off.)

BARBARA:  Hang on, Reese has triggered the batring.  That's funny.  

(BARBARA punches up the location on the monitor.  She watches as the red dot 
moves quickly along the map on screen.)

BARBARA:  He's moving ... fast.

INTERCUT WITH:

[INT. CAR (MOVING) - NIGHT]

(REESE looks down at the ring on his finger.)

REESE:  Come on.

(His cell phone rings.  He sighs and answers it.)

REESE:  Well, hey, it took you long enough.

BARBARA:  Well, I'm kind of in the middle of something.

REESE:  Well, that symbol on the key card -- I paid another visit to the guy who 
had it on him, and, uh, he didn't have his lawyers with him this time.

BARBARA:  Uh, so you decided to, uh, not play by the rules?

REESE:  Well, put it this way -- it's funny how talkative a guy can get when 
he's hanging by his ankles out of a window.  Anyway, bottom line is I got the 
lead on this fight club.  It's a place called Gladiatrix.  I'm on my way.

BARBARA:  What about backup?

REESE:  No, no, no, no, no.  The guy running the show is paying off the cops.  
Even the Deputy Commissioner is a regular.  And trust me, it gets even better.  
Turns out they're a little paranoid about their paying customers carrying 
weapons inside.

BARBARA:  (hesitant)  You know, Reese, I-I don't know about this.

REESE: Oracle, this is Huntress in there.  I owe her, and more.

BARBARA:  Is there anything I can say?

REESE:  (chuckles)  Doubt it.

CUT TO:



[INT. OLD GOTHAM SEWERS - BACKROOM CORRIDORS - NIGHT]

(DINAH reaches the door with the symbol on it.  She reaches out to open it, but 
stops when she hears something.  She runs to hide behind the corner and watches 
as two GUARDS walk out of the main arena and into the corridor.)

(They close the door behind them.  DINAH peers around the corner and watches as 
the GUARDS walk down the hallway away from her.)

(She waits a brief moment, then moves.)

CUT TO:



[INT. CLOCKTOWER - NIGHT - CONTINUOUS]

(BARBARA continues her conversation with REESE.)

BARBARA:  Yeah, okay, well, you're going to need a way to stay in touch.  

(BARBARA checks the computer for REESE'S location.)

BARBARA:  Take a left at the next light.

REESE:  Wait a minute.  How did you know?

BARBARA:  Basic triangulation of your cell phone signal, which is not really 
important right now, so if you would, just pull up to the corner.

REESE:  Okay.

BARBARA:  Roll down your window.

REESE:  What?  

BARBARA:  Just do it.

(More than a little bit puzzled, REESE rolls down his window.  ALFRED walks up 
and leans to look through it.)

ALFRED:  Good evening, Detective Reese.

REESE:  Hi.

ALFRED:  Compliments of Oracle.

(ALFRED holds out a little square box.  REESE takes it.)

BARBARA:  Open it.

(REESE opens the box and finds the comm inside.  BARBARA explains.)

BARBARA:  It's 2-way, undetectable.  We'll be able to stay in constant 
communication while you're underground.

REESE: Listen, thank you v--

(REESE looks back out the window.  ALFRED is gone.)

REESE:  Aw, come on.  (He looks around and mutters.)  Not another one.

BARBARA:  (over phone)  All right.  This is the deal ... 

CUT TO:



[INT. OLD GOTHAMS SEWERS - NIGHT - CONTINUOUS]

(DINAH walks into the prison room.  She looks around for HELENA and finds her in 
her cell.  She runs up to HELENA who is sitting down on the floor hugging the 
bars.)

DINAH:  Huntress.

(HELENA doesn't say anything, but jerks away from her.)

DINAH:  Are you all right?

(As she looks into the cell, behind her MALCOLM LAGG walks out into the room.)

MALCOLM LAGG:  I'm afraid she's not really herself right now.

(The GUARDS grab DINAH.  She struggles against them.  HELENA remains low in her 
cage, her hands wrapping around the bars.)

MALCOLM LAGG:  Huntress, is it?  I prefer Green Scorpion of Doom myself.  A 
little more flair.

(The GUARD brushes her hair aside and injects her with the drug.)

DINAH:  (screams)  Aah!

MALCOLM LAGG:  I recognize you from the alley.  You're little Miss Crime Fighter 
Junior.

DINAH:  I won't let you hurt her!

MALCOLM LAGG:  Such friendship, such devotion --how touching.  I wonder if 
Huntress here will remember who you are after she tears the life out of you?  
The only thing I can think of better than a girl fight, is a girlfriend fight.  
Take her.  

(The GUARDS take DINAH away.  MALCOLM LAGG steps up to HELENA'S cage and kneels 
down to look at her.)

MALCOLM LAGG:  I don't know about you, but I can hardly wait to see who wins.

(He stands up and leaves.  HELENA doesn't say anything, her hands brush over her 
hair with agitation.)

CUT TO:



[INT. OLD GOTHAM SEWERS - MAIN ROOM - NIGHT - CONTINUOUS]

(The GUARDS push the remote and activate the collar.  DINAH screams.)

DINAH:  Aah!

(They lead her up into the cage where they belt her waist against the wire 
gate.)

DINAH:  (over comm)  Oracle, the good news is I found Helena.  The bad news is 
I'm about to fight her.

(DINAH turns to look across the cage where HELENA is also strapped to the wire 
gate.  She struggles against her bonds.)

MALCOLM LAGG:  Gentlemen, gentlemen.  A very special treat for you tonight -- no 
extra charge.

(DINAH looks around the small room, out into the cheering crowd.)

DINAH:  I can't find Reese.

INTERCUT WITH:

[INT. CLOCK TOWER - NIGHT]

BARBARA:  (over comm)  He's just getting there.

MALCOLM LAGG:  Step back.  Relax.  And let's find out ...

(REESE walks into the room and looks around.)

DINAH:  Okay, I found him.  He's in the crowd.

(REESE canvasses the crowd, looking around the small room.)

BARBARA:  (to REESE over comm)  Reese, listen to me.  Don't make a move.  I need 
more time to find a way to reverse the effects of the drug. Do not break your 
cover.  Don't do it, Reese.

(REESE looks inside the arena, where HELENA is strapped and waiting to fight.)

BARBARA:  All right, all right, Dinah, you've got to stall.  All right? We need 
to buy some time.

MALCOLM LAGG:  Release them!

DINAH:  Oracle ...

(DINAH stares at HELENA across the cage from her.  She swallows.)

DINAH:  Time's up.

(The crowd cheers.  BARBARA sits and listens over the comm, her face betraying 
her worry.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. OLD GOTHAM SEWERS - MAIN ARENA -- NIGHT]  

(HELENA and DINAH face off in the arena.  Having been under the drug for a 
longer period, HELENA stares at DINAH ready and eager to fight.)

(DINAH stares at HELENA.)

(The bell sounds.  Both contenders are released.)

(HELENA steps forward, flips over and kicks DINAH in the chest.  DINAH flies 
backward against the wire fence.  She falls to the ground with a thud.)

INTERCUT WITH:

[INT. CLOCK TOWER - NIGHT]

BARBARA:  (over comm)  Dinah, can you tell how strongly Helena's been affected 
by the drug?

DINAH:  (looks up)  I'd say pretty strongly.

(HELENA grabs DINAH and pulls her up.)

BARBARA:  We've got to buy you some time.  Listen, I know how she fights.  She's 
going to attack your weak side.

(HELENA pulls DINAH over toward the wire fence and starts swinging.  DINAH 
manages to stay on her feet.)

(HELENA jumps up and kicks DINAH in the head.  She hits the fence again.)

(DINAH looks up at HELENA, she's getting angrier.)

DINAH:  (to comm)  Yeah, a little more warning, please.

BARBARA:  Dinah, Dinah, you've got to hang on.

(DINAH looks up over the wire fence gate where a loose rod hangs.  With her 
mind, she pulls the rod.  It goes flying into her hand.)

DINAH:  (angry)  Someone better watch out.  I'm getting pissed.

(HELENA steps forward and kicks DINAH.  She blocks the kick.  The two fight.  
Every kick and punch HELENA strikes out at DINAH with, she blocks with the rod 
in her hand.)

(DINAH swings the rod at HELENA'S feet.)

(Back at the Clock Tower, BARBARA ponders the drug and how to counter it.  She 
sees the solution.)

BARBARA:  That's it.  Dinah, Reese, I've got it.  I've analyzed the drug's 
antidote matrix, and what we need to do is give Huntress another dose.

(Inside the arena, DINAH uses the rod and keeps HELENA back away from her.)

DINAH (cc):  Another dose of the drug that's making her rip people apart with 
her bare hands? That drug?

BARBARA:  (nods)  It'll flood the amygdala and shut it down.  We need to get 
another dose.  Reese, you need to find a dose, and you've got to get it to 
Huntress and Dinah.

(REESE turns to look around for the drug.)

BARBARA:  (to DINAH)  Just hang on, Dinah.  Just hang on.

(Inside the arena, DINAH is holding her own against HELENA.)

(REESE turns the corner and looks down the corridor.  He starts checking the 
doors along the hallway.)

(REESE checks door after door after door.  He continues down the hallway when 
one of the doors he passed by opens and a SECURITY GUARD walks out.)

GUARD:  Hey, what are you doing here?

(REESE turns around to look at the GUARD.)

REESE:  I was just looking for the restroom.  I guess this isn't it, is it?

(The GUARD doesn't buy it and swings the rod he's carrying in his hands.  REESE 
is faster.  He grabs the GUARD and slams him up against the door.)

REESE:  All right, talk to me.  Where's your boss keep the drugs?

GUARD:  (grunts)  I can't tell you that.  He'll kill me.

(The GUARD swings.  REESE ducks and grabs the GUARD from behind.)

REESE:  Does it look like I'm going to ask you to dance?

(He now has the GUARD in a secure head lock.  He slams the GUARD against the 
wall.)

GUARD:  Oh! Aah!

REESE:  I think you better ask yourself which one of us is going to kill you 
first.

GUARD:  Okay, okay.  Down the hall, three doors to the left.

(REESE swings the GUARD around and slams him into the wall.  The GUARD goes 
down.)

REESE:  Thanks.

(REESE leaves to get the drugs.)

CUT TO:



[MAIN ARENA - CONTINUOUS]

(Inside the arena, HELENA and DINAH continue to fight.)

CUT TO:



[PRISON ROOM]

(CLAIRE and the other WOMEN sit in their cells.  The GUARD walks between the 
cages checking up on them.)

(A red laser targeting beam shines on the GUARD'S back.  A tranquilizer dart is 
fired.  The GUARD turns around to grab the dart, but goes down as the drug takes 
effect.)

(REESE runs up to the GUARD and takes the keys.  He searches her pockets and 
takes the remote control also.  He looks around at the WOMEN in the cages.)

CUT TO:



[MAIN ARENA - CONTINUOUS]

(Inside the arena, HELENA and DINAH continue to fight.)

(HELENA kicks DINAH and she catches HELENA'S foot, holding her leg up.  HELENA 
swings her other leg up and over DINAH.  DINAH drops HELENA'S leg.  HELENA lands 
and kicks DINAH backward into the fence.  She follows it up with a hit to DINAH 
that turns her around and back into the fence, this time, facing outward.)

(As she did before, HELENA grabs DINAH from behind.  A vulnerable position.  
Both women standing close to each other against the edge of the wire fence.)

(REESE walks up to the fence and injects HELENA with the drug on her leg.  She 
immediately drops DINAH.)

(MALCOLM sees REESE and yells for his guards.)

MALCOLM LAGG:  Stop him!

(REESE looks around and runs.)

(Inside the cage, HELENA stops and looks down at her leg.  DINAH looks up at 
HELENA.)

(Outside the cage, REESE runs to avoid being caught.  The SECURITY GUARDS slowly 
circle around the arena.)

(Inside the cage, DINAH reaches for the rod and hits HELENA on her back as she 
just stands there.  HELENA falls forward against the wire fence.)

(DINAH uses the rod and grabs HELENA with the front of the rod around her neck.)

(Outside the arena, the GUARDS step forward into the main room.  The WOMEN 
combatants, KAYLA and CLAIRE, also run into the room to face their captors.  A 
dangerous position to be in.  On one side of the room are the women; on the 
other side of the room, the men.)

(Standing on the side is MALCOLM.)

MALCOLM LAGG:  (to the GUARDS)  Take them, you cowards!  Take them!

(KAYLA holds up her hands and she powers up.  Her hands burn fire.)

(The SECURITY guards look at the power, turn and run out the door.)

GUARDS:  Let's go.  Come on!

MALCOLM LAGG:  Wait, wait, stop!  Come back!
MALCOLM LAGG:  Stop! Come back!

(All the guards run out of the arena leaving MALCOLM standing there in front of 
the two angry women.)

MALCOLM LAGG:  I'm sure we can come to some sort of understanding.

KAYLA:  Yes, I agree.

(KAYLA steps forward toward MALCOLM.  He backs away and heads for the door.  
KAYLE throws a fireball toward the door to stop him.  MALCOLM duck from the fire 
and it whizzes by over his head toward the door.)

(MALCOLM jumps over the metal railing and runs.  CLAIRE chases after him.)

(REESE stands there and lets the women go after MALCOLM.)

(Inside the cage, DINAH has HELENA in a hold, the rod choking her neck.)

DINAH:  You want to talk about my limitations?

HELENA:  Dinah, this isn't you.  It's the drug.

DINAH:  Are you sure about that?

HELENA:  Reese!

(When she calls, REESE turns and heads back to the cage.  He comes up behind 
them and injects DINAH with a second dose of the drug.)

(She grunts with the pain, then drops the rod as the drug takes effect.)

(Meanwhile, MALCOLM is backed up into the cage itself.  He pushes the metal gate 
open and walks in backward as KAYLA and CLAIRE follow him inside.)

(He keeps backing up through the cage.  He stops when he bumps into HELENA and 
DINAH.  He turns around, then takes a step back and bumps into KAYLA and CLAIRE.  
They push him forward.  He turns around and looks at the four angry women 
surround him.)

(REESE stands outside the cage and looks inside.)

REESE:  So how's it feel on the inside?

MALCOLM LAGG:  (to REESE)  You want your money back?  Is that it?  (panicking)  
Fine, we can deal.  Just call them off.  (desperate)  I-it was just a bit of 
fun.  You can't say it wasn't fun, now, can you?

REESE:  I should probably say something about Christians and lions, but you know 
what?  I don't have the energy.

(REESE looks into the cage.  HELENA turns and meets his eyes.  She nods at him.)

(REESE turns and walks away.)

(Inside the cage, the four women each step away from MALCOLM in the middle.  He 
keeps turning from left to right trying to keep his eyes on the four women.)

CUT TO:



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

(The camera zooms through the top of the buildings.)

CUT TO:



[INT. OLD GOTHAM SEWERS - MAIN ARENA -- NIGHT]

(HELENA opens the door and steps into the main arena.  She walks toward DINAH 
who is standing outside the cage, her arms resting loosely on the metal 
railing.)

HELENA:  Everyone's out ... so we get to go.

DINAH:  I called Barbara.   I thought she might like to know that we didn't beat 
each other to death.

(HELENA walks up to the rail and rests her hip against it.  She looks at DINAH.)

HELENA:  Hmm.  Did you tell her about Malcolm?

DINAH:  I left out a few details.  What do you think's going to happen to him?

HELENA:  I don't know.  I'm guessing him being in a cage, it's not going so well 
for him.  But I guess you kind of got what you wanted.  You know, you and me, 
Rocky versus Apollo.

DINAH:  I don't remember Rocky versus Apollo being a death match.  Anyways, I 
sort of proved my point, regardless.

HELENA:  What point is that?  That you could take me if you were on a rage-
inducing super drug?

DINAH:  I kicked your ass.  Anyways, you were under the influence, too.

HELENA:  Maybe ... or maybe I just gave you a really big shot at me.  Guess 
we'll never know.

DINAH:   (laughs)  Ha ha.  You know what this sounds like to me?  (beat)  
Rematch.

HELENA:  You're a teenager.  You have to fight.  I'm an adult, sort of ... So I 
get to win.

(HELENA stands up to leave.  She stops in front of DINAH, the two women looking 
at each other.)

HELENA:  And besides ... (she leans in)  ... I know Barbara was coaching you 
over your comms.

(HELENA turns and starts walking up the plank toward the exit.  She grimaces as 
she walks.  DINAH notices.)

DINAH:  Little sore there.

(DINAH steps forward and catches up with HELENA.  She puts her arm around her 
shoulders to help her.  HELENA puts her arm around DINAH'S shoulders and lets 
her.)

DINAH:  I'll give you a hand.

(The two women laugh.)

DISSOLVE TO:  



[EXT. ALLEYWAY - NIGHT]

(A crook makes his way rapidly down the fire escape.)

(On the ground below, HELENA and DINAH watch.)

HELENA:  Go ahead, do it.

DINAH:  Promise you'll keep your hands off of him?

(HELENA rolls her eyes.  DINAH quickly adds.)

DINAH:  And your mouth --no back seat fighting.

HELENA:  He's all yours.

DINAH:  Thanks.

(The crook reaches the alley ground.  He turns and runs through the alley 
straight into ... )

(The camera moves up and stops in front of 

... DINAH.)

(She stands there unmoving, her hands firmly on her hips.  She gives him her 
best HELENA glare and retorts.)

DINAH:  Give up yet?

(The masked crook scoffs as he huffs and puffs from the exertion.)

CROOK:  Give up?  (He walks toward her.)  You want some advice, girlie?  Turn 
and run.

(DINAH stares back at him and smirks.)

DINAH:  I'm sorry.

(She glances a bit to the side where she knows HELENA'S listening.)

DINAH:  (with savvy)  Running?  It's just not my style.

[CROOK'S POV]

(DINAH raises her fist and hits the crook in his face and directly into the 
camera.)

SMASH CUT TO BLACK.

==========================
THE END
==========================

Contact the Transcriptionist at (intrepidly002@yahoo.com)

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

Please do not archive without permission.

==========================
TITLE/OPENING CREDITS
==========================
BIRDS OF PREY
1X10:  GLADIATRIX
PROD # 175459
ORIGINAL AIR DATE ON WB:  01/08/2003
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
DONAVAN LEITCH as Malcolm Lagg

ABBY BRAMMELL as Claire

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

Executive Producer:  RON KOSLOW

Written by:  DAVID H. GOODMAN
Directed by:  DAVID CARSON

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

Music in this episode:
* The Donnas, "Spend the Night", Promotional Consideration Furnished by 
Atlantic.

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

Co-Producers:  ADAM ARMUS
Co-Producers:  KAY FOSTER

Associate Producer:  HAYLI HALPER

Director of Photography:  CHRIS FALOONA
Production Designer:  MICHAEL HELMY
Editor:  KEVIN KRASEY

Music by MARK SNOW

Unit Production Manager:  BOB WILSON
First Assistant Director:  MICHAEL NEUMANN
Second Assistant Director:  ROBERT SCHROER

Casting by DEEDEE BRADLEY, C.S.A.

Co-Starring
DOT-MARIE JONES as Guard
HEATHER DAWN as Young Woman

UNKNOWN as Gary Barrow
KATIE ROWE as Kayla
UNKNOWN as Lola

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
Gaffer:  TOM SCHNEIDER
Key Grip:  MATT MANIA

Music Supervisors:  MADONNA WADE-REED and JENNIFER PYKEN
Sound Mixer:  TIM COONEY, C.A.S.
Re-Recording Mixers:  TODD GRACE / GARY ROGERS
Music Editor:  CHRIS McGEARY
Supervising Sound Editor:  BOB REDPATH

"Revolution" Performed by AIMEE ALLEN
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.

#175459

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, 07/11/2003~lky
http://www.webphilia.com/~anthology/wnp.html