Birds of Prey

[Zev]

EXT. AUSTRALIAN OUTBACK – DAY

A vast wasteland of desert, separated from more desert by a scalpel cut of HIGHWAY. The heat is blistering. In the distance, we see something gleaming in the sunlight. It zooms towards us like a sniper bullet until we can see what it is. A SILVER CORVETTE. Sleek. Sexy. And the driver’s not half-bad herself.

DINAH LANCE is in her late twenties. Long blonde hair frames a face that’s jaded and cynical despite its beauty. Her eyes seem to have aged far faster than her perfect body. The windows are down and the wind whips at her hair as she takes great joy, despite her intense determination, in shifting the manuel transmission up another gear. The Corvette REALLY BOOKS.

And we see her target. A few miles ahead, a TRANSPORTER ERECTOR LAUNCHER AND RADAR (TELAR), a large military truck hauling a SCUD MISSILE. It’s only slightly smaller than an eighteen-wheeler and ARMED TERRORISTS are manning it, sitting beside and stop the missile.

DINAH: This is Black Canary. Target is in sight and I am inbound. Oracle, you reading me?

ZOOM IN on her necklace, the BOP INSIGNIA hanging from a golden chain, until we’re passing inside it and into a HIDDEN MICROPHONE. We follow the radio transmission sent from that mic up, up, up into low Earth orbit, where a satellite picks it up and beams it back down to...

EXT. CLOCKTOWER – ESTABLISHING SHOT – NIGHT

A high, gothic clocktower; a landmark of the Gotham City skyline.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

The nerve center of the operation. Everything is very clean, very precise. A series of supercomputers slaved together to one high-tech work terminal with a holographic attachment. Scattered around are plushies of Batman and his acolytes. In the center of the sterile space is a disheveled, tired woman. BARBARA GORDON. Beautiful if she wanted to be; she doesn’t care.

Barbara yawns, trying to keep a clear head.

BARBARA: You’ll have to forgive me, BC, back here in the States it’s three in the A.M. Alright, taking into account that SCUD’s range and your current position, you’ve got five minutes to press delete on that thing before Sydney goes the way of the jackalope.

EXT. AUSTRALIAN OUTBACK – DAY

We catch the tail-end of that transmission. Barbara’s words are electronically scrambled into the dull, genderless monotone of the ORACLE. Dinah shifts into higher gear.

DINAH: Consider it in the recycle bin.

She passes a billboard... and a CAMARO roars out from behind it, in hot pursuit of Dinah’s Corvette. The DRIVER leans out the window and fires at her with a .45 Automatic.

INT. CORVETTE – DAY

The rear window spider-webs with bullet impacts.

DINAH: Stop shooting, you *******, this is a rental!

The rear window implodes and bullets whiz over her head as she ducks down.

EXT. AUSTRALIAN OUTBACK – DAY

Dinah swerves and zig-zags, trying to evade the attack.

EXT. TELAR – DAY

Up ahead, a terrorist arms a STINGER MISSILE LAUNCHER.

EXT. AUSTRALIAN OUTBACK – DAY

The Camaro is still firing at Dinah. A stray shot hits the GAS TANK and the Corvette begins LEAKING GAS.

INT. CORVETTE – DAY

Dinah sees the terrorist FIRE.

DINAH: Oh.

She rolls down the windows.

EXT. AUSTRALIAN OUTBACK – DAY

The one and a half meter long missile flies towards Dinah’s Corvette. Dinah puts the Corvette into a POWER-SLIDE...

INT. CORVETTE – DAY

The Stinger flies through the Corvette’s open windows. Dinah pulls back on the seat lever, reclining her seat back just in time to avoid the missile. The exhaust singes her hair as the missile passes.

INT. CAMARO – DAY

The Driver sees the Stinger coming right at him.

EXT. AUSTRALIAN OUTBACK – DAY

The missile hits the Camaro, BLOWING IT TO KINGDOM COME. The flaming wreckage flip-flops, landing on its top and continuing forward, kicking up sparks.

It reaches the gas trail left by the leaking tank in Dinah’s car and SETS IT AFLAME!

INT. CORVETTE – DAY

Through the windshield, the terrorist is reloading his missile launcher. Dinah sees the fire rushing down the leak towards her in the rear-view mirror.

DINAH: This day just keeps getting better and better...

She steps on the gas and her car surges forward, RAMMING the TELAR. The missile launcher terrorist falls forward, landing on the hood of the car. Dinah reaches out through the window, grabs him by the ear, and yanks him off the car.

The terrorist tumbles along roadside.

EXT. AUSTRAILIAN OUTBACK – DAY

The flame has nearly reached Dinah’s gas tank.

INT. CORVETTE – DAY

Dinah puts the Corvette on cruise control and climbs up onto the hood. We see her outfit for the first time. A one-piece with a cape-like leather duster on over it and fishnet stockings below the hot pants. Sleek, functional, cool.

EXT. CORVETTE – DAY

Just as the flame hits the gas tank Dinah JUMPS onto the TELAR, car EXPLODING behind her.

EXT. TELAR – DAY

Dinah lands on the back of the TELAR, wobbling for a moment before getting her footing. Behind her, the Corvette is FIRE ON WHEELS, slowly losing speed but still on all fours. Dinah looks back at it.

DINAH: Oracle, next time remind me to get insurance.

ORACLE: (filtered) I do remind you, you just never listen.

TERRORIST 2 comes out of nowhere, TACKLES her off the TELAR. She twists in mid-air so HE lands on the flaming car, manages to headbutt him and stand up on his chest. She jumps for the TELAR but he grabs onto her ankle, yanking her to a stop like a dog caught on a leash. Dinah just manages to grab onto the back of the TELAR.

So now she’s suspended between the TELAR and the car, the terrorist holding onto her. She kicks at his hands, but he’s not letting go. The car falls back and he’s still holding onto her, so they both fall to the pavement, being dragged behind the TELAR.

Dinah scissors her leg up and brings it down, heel of her boot smashing his wrist apart and he lets go. She pulls herself up onto the TELAR in one continuous motion, coming face to face with several very nasty-looking men with guns.

DINAH: Oh, yeah, shoot at the girl standing next to the SCUD missile. Genius plan.

They holster their weapons and draw knives.

DINAH: ...why am I always the only one who doesn’t have a back-up plan? Because YOU do the planning!

ORACLE: (filtered) We have back-up plans. They just always involve little more than hitting everything in sight.

DINAH: Lucky for me I’m good at that.

The first attacker (Terrorist 3) moves in, knife at the ready. Dinah slams him in the breadbasket with one hand, intercepts his knife-hand with the other. She leap-frogs over him and delivers a dropkick to the face of Terrorist 4. Landing behind Terrorist 3 with his arm twisted over his own shoulder, Dinah slides her elbow backwards into Terrorist 3’s spine, causing him to drop the knife. She kneels down and catches it in her other hand.

Terrorist 5 is coming right at her. She buries the knife in his foot, uppercuts him in the groin, yanks the knife out and hurls it end over end into Terrorist 6. The hilt hits him so hard he’s knocked off the TELAR.

The SCUD starts to rise on its assembly, tilting upwards into launch position. Dinah continues the fight, beating back the bad guys atop the in-motion SCUD and its helper components, but she’s way outnumbered. Twelve men crowding around her, all swiping at her. She grabs onto the SCUD’s rocket fins and pulls herself onto it, scaling up the missile like a monkey climbing a tree as the terrorists try to pursue.

DINAH: Oracle, any idea how to jumpstart a SCUD missile?

ORACLE: (filtered) You want to LAUNCH it?

DINAH: Remember that conversation we had about trust?As I recall, you promised...

ORACLE: (filtered, sharply) I know what I promised! (softer) And I do. Are you at the control panel?

Dinah rips the panel off, revealing a nest of wires. The terrorists are forming a sort of human ladder to get at her.

DINAH: Bingo. And this is not the time for a cut the red wire joke.

ORACLE: (filtered) Strip the green and red wires and cross them.

Dinah does so just as a terrorist grabs at her boot. The missile RUMBLES and FIRES, the jet exhaust knocking the terrorists back in a grisly manner. Those who are clinging to the SCUD are shaken off by the vibration. Dinah holds tightly to it.

DINAH: You know, if I could get this set up in my basement, I would never need to date again.

The missile shoots from its position, flying towards Sydney, Dinah along for the ride.

INT. CLOCKTOWER – NIGHT

Barbara watches as a new contact appears on the radar screen.

DINAH: (filtered) Yup, I am definitely flying through the air right now. Alright, Oracle, how do I defuse the warhead?

BARBARA: You’re kidding, right?

DINAH: (filtered) Babe, I am sitting atop several thousand pounds of rocket fuel and one very big explosive. I am in no position to kid around!

BARBARA: The rocket is in flight! The warhead is armed! There’s no way to disarm it!

DINAH: (filtered) Now you tell me!

BARBARA: Now I...? See, this is why I don’t trust you! You’re impulsive, you never think through the consequences of your...

EXT. SCUD MISSILE – DAY

Dinah mutes her comlink.

DINAH: Blah blah blah.

She looks at the missile beneath her.

DINAH’S POV
Past the nose cone, the Syndey Opera House looms.

Dinah pulls a trusty barrette from her pocket and ties her hair back behind her head in a ponytail.

DINAH: Let’s bring the noise.

She SCREAMS. We don’t hear it. We don’t hear anything. All noise just goes suddenly blank. But we can SEE the effect of it. The missile buckles and roils under her, as if suddenly fluid, a Daliesque painting in motion. It tilts downwards and Dinah’s CANARY CRY stops, trailing into a high, keening wail that subsides in Dinah’s throat.

Dinah mounts the missile in a crouch, like a runner waiting for her mark.

DINAH: Alright, this is definitely on the top ten craziest things I’ve done lately...

The missile comes down and we hear a familiar sound. It takes us a moment to realize it’s the wail of a falling bombshell, only now WE’RE the bombshell. She clicks her comlink back on.

DINAH: Oracle, in case this doesn’t work...

ORACLE: (filtered) Yes?

DINAH: You could’ve TOLD ME that there’s no way to defuse the warhead in mid-air!

The warhead crashes and Dinah literally hits the ground running, lunging from the crashlanding missile and sprinting ahead of it. The SCUD drags in the dirt, coming to a stop as Dinah keeps running. After a few minutes (girl’s in good shape), she slows to a jog. Then a trot. Then she stops all together and looks back at the missile, half-sunk in the ground and utterly inactive.

DINAH: Well, that was anti-cli...

The missile EXPLODES, kicking up a wall of dust. The shockwave hits Dinah, knocking her back.

A moment. The dust clears and Dinah stands up, caked with dirt. After a moment, she looks directly AT THE CAMERA and says matter-of-factly:

DINAH: This never happens to Wonder Woman.

ROLL CREDITS. A jazzy, proto-seventies British action show retro credit sequence, full of groovy animated characters and art deco design. Computer stuff, martial arts moves, and crossbow bolts fill the air. It is, in essense, very very cool.


Next: Spoiler Warning

 

[Zev]

INT. FLOWER SHOP – DAYS LATER – NIGHT

A small, intimate, family-owned store... “Zest Flowers.” Owned and operated by a long line of Drake women. Flowers hang from the ceiling in small, earthern pots and spill forth from flowerbeds elevated like counters. It’s almost more of a garden than a building.

Bells chime as Dinah opens the door, dressed in civilian clothes. Long pants, hair done up in a bun... unrecognizable. Sagging with the weight of someone who has just put in twenty hellish hours in the air.

DINAH: Hello? Anyone home? Gaby?

The form hurls itself out of the shadows with a jump kick. Dinah just manages to slap away the outstretched foot when WHAM, the figure’s knee slams into her breadbasket. She takes a header backwards, somersaults over the store counter to buy herself some time. The figure vaults it and Dinah catches him with a palm strike.

The figure... rolls backwards and slips off the counter, landing in a heap on the floor.

FIGURE: Ouch.

DINAH: Oh, sorry. Did I hurt you?

STEPHANIE BROWN, age sixteen, blonde, plucky, boundless enthusiaism, wearing a Zest Flowers uniform, gets up.

STEPH: I had you! I totally had you there for a minute! Can I be in the Birds of Prey NOW?

DINAH: It takes more than one lucky shot...

STEPH: Lucky shot? I took you down to Chinatown! When I join the BOP, do I get a cool avian-inspired codename? Like... Hawkgirl!

DINAH: I think that’s taken. You close down your register?

Steph nods, bored.

STEPH: Good night.

She untucks her smart little vest and heads for the exit when Dinah calls out to her.

DINAH: Hey Steph! Catch!

Dinah tosses her a BOOMERANG.

DINAH: Souvenir.

STEPH: Awesome!

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

A small apartment above the flower shop proper. Cozy, lived in. A fishnet stocking is scattered on the floor, a series of wigs on mannequin heads line one shelf. An old pin-up showing the original Black Canary, DINAH DRAKE, ready for action.

Dinah kicks her shoes off, goes through a dozen little rituals in a few seconds, and presses play on her answering machine. One new message.

OLLIE: (filtered) Heeeey, Dinah, it’s me, Ollie. I’m in town for a few days and I thought maybe we could get together, maybe pick up some drinks...

Dinah is picking up a hammer.

OLLIE: (filtered) For old time’s sake, you know? Whaddya say?

Dinah smashes the answering machine, then drops it in a waste bin FILLED with similarly destroyed devices.

DINAH: (tossing hammer aside) I really need to get a stress ball.

She sits down on her bed, grabs the remote, turns on the Late Show with Conan O’Brien. Sighs heavily. Is this as good as it gets?

DINAH: (sardonic) Calgon, take me away.

She gets up and goes to the fridge to look for something not too disgusting to eat.

INT. CLOCKTOWER – BEDROOM – MORNING

Barbara wakes up slowly. DICK GRAYSON, already half-dressed, hands her her glasses. She puts them on with a smile and kisses his hand.

BARBARA: Hey.

GRAYSON: Hey.

BARBARA: Back to ‘Haven already?

GRAYSON: Man’s gotta do, etc etc.

BARBARA: When can I see you again?

GRAYSON: Riots can’t stretch on more than a week, maybe two. I’d still be there if there wasn’t some “max time on duty” limit...

Barbara winces. She knew he was dedicated to the job, but... ouch.

BARBARA: I can shift some resources your way, maybe free up Wonder Woman...

GRAYSON: Thanks, but no thanks. Last thing Bludhaven needs right now is metahuman interference. Just plain folks as it is, which is the way I want to keep it.

He sits down on the bed, reaches out to caress her face.

GRAYSON: I promise, things’ll get better. Just give it a little while.

BARBARA: I’ll give it as long as it needs. Promise.

Grayson smiles.

GRAYSON: That’s my girl.

He gets up, picks up his shirt from the floor, begins buttoning it over his undershirt. The phone rings. Barbara checks the caller ID, presses a button on the phone with the Oracle mask inscribed on it.

GRAYSON:: Should I be jealous?

BARBARA: It’s a woman, Dick.

GRAYSON: (not missing a beat) Should I be turned on?

BARBARA: Oracle speaking, please state the nature of the medical emergency.

JASON: (filtered) Barbara...

BARBARA: Jason? How’d you get this number?

EXT. PHONE BOOTH – MORNING

Gotham City. The street is deserted this time of morning, doesn’t see much activity even during rush hour.

JASON BARD is in the phone booth. A frazzled private eye, he’s definitely seen better days. His face is unshaven, his eyes bloodshot.

JASON: It’s happening, Barbara. What we’ve always been afraid of. I’m so sorry... I can’t protect you. I never could. They know, Barbara, THEY KNOW.

A gunshot rings out and the glass cracks in front of Jason. He pitches backward, painting the surface behind him red with blood, then slumps to the ground. Oracle’s tinny, distorted voice issues from the dangling phone receiver.

ORACLE: (filtered) Jason? JASON!

Two patent leather shoes walk into the phone booth, stop by Jason’s head and its cold, blank eyes. Finely-manicured hands pick up the phone.

SAVANT is in his thirties, slender, professional. His dirty blonde hair is pulled back in a rattail. His perpetually bemused smirk turns lethal as he holds the phone up to his face.

SAVANT: Hello, Barbara. You know who this is. Just so you’re sure, yes, I did just kill him, and yes, I am intending to do the same to you. You know why. Ciao.

He hangs up, then turns to his bodyguard/sidekick, CREOTE, possibly a reincarnated Ivan Drago.

SAVANT: Was that too over-the-top? I was going for threatening, but I wanted to be vague enough not to give away the grand design...

CREOTE: I thought it was excellent, sir.

SAVANT: Thank you. (re: Jason) Clean this mess up. I’ll get the car. Think we can make the Early Bird Special at Denny’s if we book it?

INT. CLOCKTOWER – BEDROOM – MORNING

Barbara slowly hangs up the phone. Presses a button marked “Trace” on the handset.

GRAYSON: Barbara? What’s wrong? Who was that?

BARBARA: My ex-fiance. (beat) Dick, if I ask you not to get involved with this, will you listen to me? This is something I need to handle on my own.

Grayson nods.

GRAYSON: Sure, Babs. Of course. But if you need anything from me...

BARBARA: Not right now. Please, just... leave me alone.

Grayson nods again and walks away. Barbara reaches for the phone, presses the Oracle button once more...

INT. FLOWER SHOP – MORNING

Steph is back, Dinah’s on register. Both are dressed in company clothes.

STEPH: So anyway, I says to the guy “Hey, maybe I don’t even WANT to know your secret identity, see if I care!”

DINAH: That’s telling him.

Just then, an ATTRACTIVE MAN walks up to the counter. Total GQ territory. Dinah smiles at him.

DINAH: Hi.

MAN: Hi. I’ve kinda got an unusual problem and I was hoping a woman’s perspective on it would help.

Dinah looks over at Steph, who mouths “Oracle?” Dinah doesn’t answer, but Steph hustles off to leave them alone.

MAN: You see, there’s this girl. I really like her, but I’m not sure how to tell her. So I was hoping I could get some flowers, let her know that I care...

DINAH: Have you ever heard of floriography?

MAN: Is that like Scientology?

DINAH: No, it’s the language of flowers.

And, oh yeah, she’s flirting now. In the background, Steph makes a gagging motion.

DINAH: You know, red means love, white means innocent, yellow means dying love...

MAN: Alright, let’s not go with yellow then.

They smile at each other.

MAN: Anything a little less cliched than red?

DINAH: Well, there is orange for passion, pink for admiration...

MAN: Admiration! That seems like a good place to start. I’ll take, say, a half-dozen?

DINAH: Said.

She goes to get them, puts them in a bouquet.

DINAH: (teasing) So, this girl’ll there for, anyone I know?

The Man takes the bouquet, drops a ten on the counter.

MAN: I doubt it. Keep the change.

He walks out of the store. Dinah watches him go.

DINAH: It’s official. I’m pathetic.

Just then, a phone rings. Not just any phone ring. A very distinctive melody. Dinah instantly brightens up.

DINAH: Tell me that’s…

Steph holds up a RED CELL PHONE (hey, what can I say, the classics never die?). Dinah takes it from her.

DINAH: This is Black Canary. I’m ready.


Next: Huntress

 

[xwolverine2]

i miss the old tv show.............. even though i got bored of it

 

[Zev]

EXT. SKY – DAY

A most definitely mod AERIE (big ****ing plane) flies through the air.

INT. AERIE – COCKPIT – DAY

Dinah sits next to her pilot, ZINDA, who is (and this may come as a shock, so brace yourself) both really hot and dressed in a Blackhawks uniform.

DINAH: No, no, it is comfortable. But the thing is, this right now? How much men see of me through the fishnets? That is entirely as much as they see? But that skirt, well…

ZINDA: Look, it works for me.

DINAH: I’m just saying is all…

ZINDA: Hey, we’re coming up on the LZ. I don’t suppose you’ll let me LAND this time…

Dinah has already gotten up out of her seat and is putting on a PARACHUTE.

DINAH: Now, where exactly is the fun in that?

EXT. LOG CABIN – DAY

Yup. An honest-to-God log cabin, somewhere in the mountains of Who-The- Hell-Knows?

All in all, it could be the perfect place for a rustic weekend getaway… save for the FIGHTING CIRCLE erected right out front.

HELENA BERTINELLI, looking considerably more healthy than the last time we saw her, is stripped to the waist except for a sports bra, barefoot. Three ugly gunshot scars pucker her abdomen.

Her opponent, RICHARD DRAGON. Outdoorsman type.

One other thing. Helena is lying on her back, knocked out.

HELENA: Yup, there’s the sky. Looks the same as the last time I saw it. (beat) That cloud looks kinda like a bunny.

RICHARD: You want to know why I always beat you?

HELENA: That would seem to be the point of training me, yes…

RICHARD: You let your anger cloud your judgment. Your rage impedes the way of the warrior.

HELENA: Yeah, well, if you let me have my crossbow back…

RICHARD: A true warrior does not need such instruments.

HELENA: Says you.

He helps her up.

RICHARD: Not anymore. School’s out.

HELENA: What?

RICHARD: Recess. Vacation. Go home. We’re finished.

HELENA: But I haven’t mastered anything, you said so yourself…

RICHARD: You’ve got to use what you’ve discovered about yourself and that will show you what you need to discover next.

HELENA: Gospel according to Zen?

RICHARD: Nope. Gospel according to Richard. Good luck, butterfly. Your ride’s here.

INT. LOG CABIN – DAY

DINAH sets down the folded-up parachute on a couch.

DINAH: Hey, Richie, want a free parachute?

Richard and Helena are entering through the front door. Richard gives the parachute a look.

RICHARD: I’m sure I could make bed linen out of it.

HELENA: Who’s the chick… and why is she wearing fishnet stockings?

DINAH: (to Richard) It’s okay, I get that a lot. (to Helena) I’m your new job offer.

HELENA: Uh-huh. Right. Don’t take orders. Nice try though. If anyone needs me, I’ll be in my room.

She walks off. Dinah gives Richard a look.

DINAH: You said she’d be ready.

RICHARD: She is. She just doesn’t know it yet.

INT. LOG CABIN – HELENA’S ROOM – DAY

Small, spartan. Nothing aside from a bed, really. Dinah walks in on Helena, who’s lying back on said bed.

HELENA: Hey, if you don’t mind, I was going to *********e. So either lend a hand or…

DINAH: Excuse me, I may have only known you for five seconds, but you want to get out of here, right?

HELENA: (sarcastic) What gave you that idea?

DINAH: Well, it’s a fifty mile walk to the highway and a hundred miles to the nearest town if you don’t find someone willing to pick up a hitchhiker. I, on the other hand, have a limo.

HELENA: You don’t say.

DINAH: (fed up) Listen, I don’t have to put up with this! Just get in the damn car, do the damn job, and we’ll both be on our merry way.

HELENA: Who’s the job for?

DINAH: Does it matter?

HELENA: It matters to me. I worked for the Batman. That kinda soured me on prospective employers. Someone wants me to work for them, I wanna look them in the eye.

DINAH: Look, Oracle isn’t in the habit of breaching security, I haven’t even seen…

ORACLE: (filtered) Tell her she can have it.

DINAH: What?

ORACLE: (filtered) We need her or the mission is a scrub. Tell her we’ll meet face-to-face.

Helena smirks.

HELENA: I take it that was a yes.

INT. LOG CABIN – MOMENTS LATER

Helena is packing her bags, Richard standing nearby.

HELENA: Well, D, I’d say it’s been fun, but it hasn’t…

RICHARD: Here. You’ll need this.

He holds out her Huntress costume. She takes it reverently.

HELENA: Where did you get this?

RICHARD: Nightwing. (beat) He cares more than you think.

HELENA: What about my crossbow?

RICHARD: I threw it away. There was too much blood on it.

HELENA: I could’ve cleaned it off.

RICHARD: No, you couldn’t’ve.

HELENA: …I’m really not going to miss you.

INT. LINDA’S HOUSE – DAY

Not a dream. Not a hoax. Not an imaginary story.

Wally’s moving in. As we watch, he sets down a cardboard box in the middle of the floor.

LINDA: Two words, Mr. Park.

LINDA PARK sits down on the box.

LINDA: Garage sale.

WALLY: Could you please not sit on those? They’re my LPs.

Suddenly, we hear a phone ringing. Linda looks down.

LINDA: Is that…?

In a flash, Linda is sitting on a couch, Wally has ripped the box open, and is holding up a RINGING RED CELL PHONE.

WALLY: I’m sorry, I’ve gotta take this.

He disappears.

INT. CHICAGO PIZZERIA – DAY

And just like that, he’s waiting for a menu.

WALLY: (answering phone) Hello?

And I should note that it’s Barbara who answers, not Oracle.

BARBARA: (filtered) It’s me.

WALLY: Oh, for the love of… you know I have a wife now, right? I might even have kids. Superfast sperm, I don’t even know…

BARBARA: (filtered) Oh, shut up, you know you love it.

WALLY: What’s on your mind?

BARBARA: (filtered) I’m breaking one of my rules?

WALLY: Really? One of the seven for dating your teenage daughter or…

BARBARA: (filtered) I’m letting someone into HQ. Multiple someones, actually.

WALLY: Cool. Who’s bringing the chips and dip?

BARBARA: (filtered) This is serious, West. How did you feel when you told Linda about your secret identity?

WALLY: Actually, it was kinda a spur-of-the-moment thing. Plus, she already knew.

BARBARA: (filtered) No such luck on this end.

WALLY: Hey, you’re willing to share your most intimate secrets with a complete stranger, i.e. me. How bad can letting a trusted friend into your circle be?

BARBARA: (filtered) It’s because you’re a complete stranger that I can share these things with you.

WALLY: Nice to know you’re just as messed up in the head as everyone else I’ve met since I became a superhero. Look, my pizza’s here, I figure five seconds to eat it and then I should really get back before Linda calls in the search parties. Call me sometime between micro-sleeps.

BARBARA: (filtered) Will do.

She hangs up. Wally pauses a minute, then looks at the screen on the cell phone.

WALLY: (upon seeing no secret identity) I suppose that’s giving the caller ID a bit too much credit...

INT. AERIE – PASSENGER SECTION – DAY

Helena and Dinah sit in the back of the luxurious private jet. Dinah is checking her make-up.

HELENA: So, let me get this straight… you’ve never met this Oracle guy?

DINAH: Not once.

HELENA: Never even seen his face.

DINAH: Nope.

HELENA: But you, me, and Zinda are working for him.

DINAH: Uh-huh.

HELENA: …so we’re basically Charlie’s Angels.

DINAH: We’re not Charlie’s Angels!

She press the intercom.

DINAH: Zinda, tell Helena we’re not Charlie’s Angels.

ZINDA: (filtered) We are Charlie’s Angels and I’m Farrah Fawcett!

HELENA: Who’s Farrah Fawcett? Was she even in the movies?

DINAH: You’ll have to forgive Zinda. She’s still catching up with pop culture. Let’s just say it involves a cryogenic suspension experiment and leave it at that.

HELENA: Wait, I have a question. If we’re the Angels and Oracle is Charlie… who’s Bosley?

INT. CLOCKTOWER – GEAR ROOM – DAY

Cut immediately to Grayson.

GRAYSON: I don’t like it.

Barbara sighs and takes his hands.

BARBARA: Do I have to explain this again or are you going to remember the first nine billion times I told you?

GRAYSON: I realize why you’re doing it, but isn’t there someone else? ANYONE else? Matches Malone, maybe?

BARBARA: Oh, don’t even joke about dragging Batman into this. That’s about seventeen different things I don’t need.

GRAYSON: I could go…

BARBARA: You? Undercover with the Mob? That’s the stupidest thing I’ve ever heard.

GRAYSON: Look, she’s not stable. You yourself said…

BARBARA: That was when you were dating her. Things have changed since then.

GRAYSON: Such as?

BARBARA: Such as the fact that you broke it off with her.

GRAYSON: I see.

EXT. CLOCKTOWER – DAY

Dinah and Helena look up at the colossal clocktower.

HELENA: That’s Oracle’s pad? Who’s his roommate, D… I actually can’t think of a good pop-culture reference.

DINAH: Joss Whedon will be so disappointed.

INT. CLOCKTOWER – ELEVATOR – DAY

Dinah and Helena ride in silence for a moment.

HELENA: You don’t like me very much, do you?

DINAH: Nope.

HELENA: Mind if I ask why?

DINAH: Nothing personal, I just prefer working alone.

HELENA: Except for Oracle.

DINAH: Oracle’s different. Oracle I can trust. Aside from him, I don’t work with partners. Not anymore.

HELENA: (scathing sarcasm) Oh, you have a mysterious secret. How fascinating.

DINAH: We all have secrets.

HELENA: Not me. What you see is what you get.

DINAH: More like “what you see, EVERYBODY gets.”

INT. CLOCKTOWER – GEAR ROOM – DAY

The elevator doors open up and Dinah sees Grayson standing in front of her. Instantly gives him the Eye. At long last, she’s met the Oracle… and he’s a babe. Now to think of the perfect thing to say…

HELENA: Hey, you got any beer?

She shoves past Grayson, then turns around. They do a slow burn and face each other.

GRAYSON: Helena.

HELENA: (not his name) Dick.

DINAH: You two… know each other?

HELENA: Of course. How do you think I ended up with Richard Dragon?

GRAYSON: You really thought I was going to let you run free after what you did?

DINAH: What’d she do? Oracle, what’d she do?

GRAYSON: What’d you call me?

DINAH: You are Oracle, right?

GRAYSON: Actually, I’m her boyfriend.

DINAH: …her… boyfriend…?

BARBARA: (O.S.) Hi…

Everyone turns. Barbara is staring at them, holding a small plate of snacks on her lap.

BARBARA: I’m Oracle. You’ll have to excuse me for not standing up. (beat) I love that joke, but I can only tell it once per person. Anyone want a snickerdoodle?


Next: Buddy Movie

 

[Zev]

EXT. CLOCKTOWER – MINUTES LATER – DAY

Establishing shot.

DINAH: (V.O.) So, let me get this straight…

INT. CLOCKTOWER – KITCHEN – DAY

The four are all standing around the kitchen. We assume Barbara has just finished explaining her super-secret plan.

DINAH: Oracle is a girl?

BARBARA: Actually, I prefer being called Barbara. And a being called a woman.

HELENA: Can we get down to business? It’s nearly happy hour and “sensei” didn’t let me have alcohol.

BARBARA: It pollutes…

HELENA: (finishes with her) Mind and body, I know. You trained with him?

BARBARA: Girl has to keep busy. Here’s what you need to know.

She opens up a dossier on the kitchen table. Dinah and Helena move in for closer looks.

HELENA: I see a few familiar faces.

DINAH: Me too. Anyone else find that disturbing?

BARBARA: I do. These are people active in both your worlds. International arms dealing, terrorism, espionage… as well as narcotics, gun running, and the mafia. A collection of the world’s biggest scumbags and they’ve all been tracked coming to our fair city.

Helena looks up at Barbara.

HELENA: Why?

DINAH: She’s getting to that.

BARBARA: We don’t know yet.

GRAYSON: Whoever killed Jason Bard torched his apartment and wiped his hard drive. Bastards are thorough.

BARBARA: But I was able to reconstruct some of what he was working on. Just as we thought, their coming here is no coincidence. They’re being lined up for a business opportunity.

DINAH: By who?

BARBARA: That’s what we’re going to try to figure out. And where Bertinelli comes in. We’ll send you undercover as a mob boss from out in the boondocks. Your family’s name still carries some weight.

HELENA: You’re kidding, right? I can’t just go in there, say “Hi, I’m Helena Bertinelli,” and expect a seat at the table.

BARBARA: That’s why we’re sending you in there with more than a name. I’ll provide you with everything you need to get close enough to find out what’s going on and shut it down. Dinah will run support for you, my other operatives will pitch in where they can.

HELENA: So, basically, you’re making this up while you go along.

Dinah, Barbara, and Dick look at each other.

GRAYSON: Yeah, but we’re good at that.

HELENA: Count me out.

She picks up her bag.

HELENA: Thanks for the lift and everything, but I’d rather not be your sacrificial lamb.

She starts to walk away.

BARBARA: You are aware, of course, that these are Gotham’s top crimebosses?

HELENA: Yeah, so?

BARBARA: In all likelihood, whoever ordered the hit on your family is in that conference.

Helena stops. Unslings her bag from her shoulder.

HELENA: You *****.

She throws the bag at Barbara.

HELENA: That pain is mine! Do you hear me? It’s mine! (advancing on Barbara) You don’t even know what you’ve done, do you?

Grayson grabs her by the shoulders, throws her against a wall.

GRAYSON: Easy! You take it easy!

Helena looks over at Barbara. Sees a slight FLICKER of jealousy pass over her face. Smirks and pushes Grayson’s hands off her.

HELENA: Alright. I’ll do it. Under one condition.

BARBARA: What?

HELENA: A kiss. From him.

Dinah throws her hands up in the air.

DINAH: Oh, for God’s sake…

HELENA: Hey, you need me, right? No one else can do the job. (to Dick) C’mon, lover. I need closure.

GRAYSON: I don’t think this is such a good…

BARBARA: Just get it over with, Dick.

HELENA: You heard the lady, Dick. Show her how much you missed me.

GRAYSON: You’re psychotic, you know that right?

HELENA: And you’re delaying.

Grayson kisses her. She grabs the back of her head, holds it in place. Runs a hand down his back. Opens her eyes halfway through and steals a glance at Barbara, who crosses her arms. Dinah just rolls her eyes. Finally, Helena pulls away.

HELENA: That’s enough for one night, lover. Any more and people will think we’re in love.

GRAYSON: Crazy. That’s you.

HELENA: Yeah. Crazy-hot.

GRAYSON: I’m leaving. Babs, good luck with the psycho girl.

BARBARA: Don’t worry. I’ve lined up an eye-opening experience for her.

INT. CLOCKTOWER – MEDICAL ROOM – DAY

Smash cut to HELENA’S EYE, a needle tip posed an inch from it.

HELENA: Is this really necessary?

Pull out to reveal Barbara is at the controls, Dinah leaning against a nearby wall.

BARBARA: Yes. I’m implanting nanites directly into the retina of your eye. It’ll transmit everything you see directly to my systems.

HELENA: That’s great. How do I turn it off?

BARBARA: Relax. Blink five times in rapid succession and wait for the red flash in your right eye. That will signal that you’ve shut it on or off. Dinah went through the exact same thing.

HELENA: Yeah, why is she here, anyway?

DINAH: Are you kidding? I wouldn’t miss this for the world.

The needle begins to move towards Helena’s eye.

BARBARA: If you’d like to blink, now would be a good time.

EXT. CLOCKTOWER – DAY

Helena is walking away from the clocktower, blinking her right eye rapidly. Dinah follows after her.

DINAH: Wait! You still haven’t familiarized yourself with the systems!

HELENA: I just a needle shoved into my eyeball. I’m getting a drink.

She hails a taxi. One immediately stops for her.

HELENA: You coming with?

DINAH: Or risk you getting so blotto you can’t function tomorrow? Count me in.

She climbs into the cab.

INT. BAR – DAY

Your typical bar. Not too scruffy, but not too classy either. Almost definitely a Mrs. Pac-Man machine in the back. A RANDOM DUDE (perhaps bearing a passing resemblance to Dick Grayson) is sitting at the bar, eating some peanuts when Helena grabs him by the hair, tilts his head back, and lays a major liplock on him.

HELENA: (grabbing his crotch) Hmm… that’ll do. Buy me a beer and I’ll have sex with you.

The Dude numbly signals the bartender. Helena sits down next to him.

HELENA: You have a condom?

He shakes his head no.

HELENA: Get one.

He hustles off as Dinah takes his seat.

DINAH: That was cruel, lying to him that way…

HELENA: Who’s lying?

She takes her margarita, tastes it.

HELENA: Mmmm… beer gotten a lot sweeter since I’ve been gone or is it just me? (off Dinah’s look) What? Haven’t you ever hooked up with someone before?

DINAH: That’s not the point.

HELENA: No, point is I want to have sex with him, he wants to have sex with me, why waste time with all the white noise?

DINAH: There’s being direct and then there’s just being cheap.

HELENA: Says the girl who has to pay for her own drink.

She licks the salt off her glass with aplomb.

DINAH: So, that thing with Dick?

HELENA: We used to go out, now we don’t. Why, you have a thing for him?

DINAH: Hard as it is to believe, not every women in Gotham City is in love with Dick Grayson. (beat) I can’t believe Oracle is a woman. (beat) I think I’ll take that drink.

HELENA: Barkeep, give my friend something to take the edge off. And can I get some hot wings?

The bartender goes to get some.

HELENA: So, tell me, how’d you and Barbara end up teaming up?

DINAH: Oh, same old story. Went through a bad break-up, didn’t know what to do with myself, some called me with a job offer that involved a big expense account, lots of travel, and a company car. And the rest is history.

The bartender sets down their order. Dinah leaves the beer untouched, but steals a hot wing. JUMP FORWARD IN TIME a little bit (indicated by a growing number of empty glasses).

HELENA: I'd do Speedy.

DINAH: Roy!?

HELENA: What?

DINAH: I grew up with him. He's like my little brother.

HELENA: He's hot.

DINAH: He's family.

JUMP FORWARD A LITTLE LATER.

HELENA: But all this time you thought Oracle was a man?

DINAH: What’re ya gonna do, call NOW on me? Funny, isn’t it? I thought Oracle was the perfect guy… smart, funny, not afraid to listen. Instead, I find out she’s a chick. It’s like The Crying Game, only in reverse. And with less vomit.

HELENA: You think that’s bad? I thought Dick was The One… until he showed me that rigid strain of do-gooderism up his ass. Give it to me straight, Dinah. Is Oracle going to hang me out to dry?

Dinah takes a swig of her drink.

DINAH: Oracle never lets anyone down.

INT. CLOCKTOWER – GEAR ROOM – EVENING

We see a picture, sitting on Oracle’s desk, of Dick and Barbara in happier times. The Barbara in the framed photo is not wearing glasses. The modern-day Barbara is reflected in the glass.

DINAH: (V.O., continuing from last scene) She doesn’t know how to abandon someone.

Barbara turns back to her workstation. She opens up a time-log of surveillance video, puts one up on screen. It’s Dick and Helena kissing. She rewinds it, zooms it. Rewinds, zooms in.

Her eyes focus on one of Helena’s legs as it girlishly lifts up.

BARBARA: (V.O.) Would you try to keep up?

EXT. GOTHAM ROOFTOPS – FLASHBACK – NIGHT

BATGIRL is running ahead of ROBIN. This is the city as it once was. The buildings are a bit more old-fashioned, almost as if the city was torn down and rebuilt between the flashback and modern-day.

Robin struggles to keep up with her, but he’s younger than her, his legs are shorter. She’s more developed and not as awkward.

ROBIN: I’m just pacing myself! I’m a marathon runner, not a sprinter! I’m very dangerous over long distances!

BATGIRL: Uh-huh. Right. (jumps to another building) You couldn’t catch a cold.

Reaching down to his belt, Robin pulls out a BOLO and hurls it. It wraps around Batgirl’s legs and brings her down. Robin jumps on top of her.

ROBIN: Caught you, didn’t I?

Batgirl grabs him by the belt, rolls on top of him.

BATGIRL: Really? Looks more like I caught you.

She kisses him and we pan downwards to see Dick helping her kick off the tangled bolo.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Snap back to reality. Daydream over. Barbara looks at the screen once more. Clicks an icon. This one is different. A password prompt comes up. Close on her fingers as she types in a word.

C-U-R-E.


Next: Mandragora

 

[Zev]

INT. RESTAURANT – EVENING

Just like Helena and Dinah, Savant and Creote are enjoying a night on the town. Their hangout is a lot snootier. A live band plays in the background and you can just tell all the extras playing waiters are French. A DRUNK BLONDE is hanging all over Creote, while Savant eats with a DEVASTATINGLY BEAUTIFUL REDHEAD.

DRUNK BLONDE: I could show you some things that would make your head spin…

CREOTE: I… do not wish to see these things.

SAVANT: Aww, lighten up, Creote. Enjoy yourself. (to Redhead) If you’ll excuse me, my dear, I need to visit the little boy’s room.

INT. BATHROOM – EVENING

Savant looks at himself in the mirror, steeling himself up. The bathroom is a little higher-class than most, as befits a ritzy restaurant like this. He checks his teeth, fixes his hair, etc.

SAVANT: Alright, alright, seal the deal, man, seal the deal!

Pumped up, he goes to buy a condom from one of those machines that sells temporary armband tattoos and whatnot.

That’s when a MAN drops down and… STOPS, a few inches above the floor. That’s because of the rope wrapped around his neck, which has just caused his neck to break. The sound of which attracts Savant’s attention. He pales at the sight. Looks up, following the trail of the noose to the OPEN SKYLIGHT, where MANDRAGORA is standing.

Mandragora is an old but iron-hard man, late fifties, a walking cane in one gloved hand. He wears the finest clothes, his hair is neatly groomed… in short, a class act. If he hadn’t just killed a man, we might think he was a senior partner at a law firm or a high-powered Hollywood agent.

Scratch that, he might still be either of those.

MANDRAGORA: Ahh, Savant. You’re looking a little pale. Why don’t you come up here, the night air will do you some good.

It’s not a request. Wincing, Savant begins to pull himself up the body and climb the rope…

EXT. ROOFTOP – EVENING

Savant pulls himself up to the rooftop at Mandragora’s feet. Mandragora’s bodyguard, GUIDO, a beefy and sadistic specimen, stands nearby, coiling a rope around his hand. He’s the one who killed the man that just hung.

SAVANT: Mr. Mandragora… it’s an honor, sir! What brings you here? And… who was that?

MANDRAGORA: Just an incompetent underling, so dispensable that I felt free to use him to make a point… like you.

Mandragora pulls out a CIGAR and CUTTER from his pocket. The razor-sharp cutter snips the end off the cigar. Guido pulls out a lighter, lights up Mandragora’s cigar for him. Smiles at Savant in the light provided by the flame. A predatory, anticipatory smile. Savant gulps and uneasily smiles back.

SAVANT: Sir, I’d just like to take this opportunity to offer you my sincerest congratulations on your return to power.

MANDRAGORA: Yes, but… “Uneasy lies the head that wears a crown.” Shakespeare, Henry IV, Part Two. You don’t have any appreciation for Shakespeare, do you? He doesn’t put bread on your table, does he?

Mandragora blows a lungful of cigar smoke into Savant’s face.

MANDRAGORA: Eat, take, ****, kill, that’s what the mob is all about today. In my day, “the friends of the friends” meant something. It protected the people. Safeguarded them against outside influences. Kept them from harm. From greedy politicians and taxmen who would exploit them. Gave honest work to outsiders who couldn’t find jobs because of their nationality. No more. Now it’s pigs like Black Mask who want everything for themselves. Pigs like Black Mask… and you.

Uh-oh. Savant realizes he’s in trouble.

SAVANT: Mandragora, I have been nothing but loyal to you…

MANDRAGORA: I know you have, Savant. That’s why you’re still alive. But loyalty does not equal competence, as our friend down there (he gestures to the hung man) found out.

SAVANT: What are you talking about?

MANDRAGORA: The PI. Jason Bard. You killed him.

SAVANT: He was getting too close to our operation, I had no choice…

MANDRAGORA: But you let him get a signal off to the Oracle first.

SAVANT: A regrettable mistake. We were going to bring her into the fold anyway…

MANDRAGORA: Not this soon. Now I must accelerate my plans. Now I must… improvise. All because you…

The tip of his cigar glows cherry-red as he takes a drag.

MANDRAGORA: Couldn’t keep it in your pants.

SAVANT: Sir, please…

MANDRAGORA: Relax, Savant. You look like someone just walked over your grave. I’m not going to kill you.

Savant sighs with relief. Whew.

MANDRAGORA: I’m just going to punish you.

He holds out the cigar cutter. Sweating, Savant takes it and holds the end over just the tip of his pinky finger…

MANDRAGORA: Oh, Savant, I think you’ve erred more than that, haven’t you?

Savant moves the cutter further down his finger, ready to close it…

CUT TO:

Dinah. In bed. We see her head and shoulders against a pillow. She rolls over and we track with her to find…

HELENA. Right next to her. They both wake up at the same time. If there are any RPSers in the audience, this gives them a great idea for a Milla Jovovich/Eliza Dushku story.

DINAH: Oh God, tell me we didn’t…

HELENA: We did.

Dinah rolls out of bed. Walks towards camera. We pull back to keep pace with her, finally passing between two iron bars.

Bars!?

DINAH: I can’t believe we got arrested.

EXT. JAIL – DAY

Zinda walks the girls out of jail, having paid their bail.

DINAH: It was all her fault. She threw the first chair.

HELENA: You threw the first punch.

DINAH: Someone pinched my ass!

HELENA: You have an ass? I didn’t notice! (leans over) Oh, now I see it.

DINAH: Doesn’t matter. All quality men are leg-men anyway. (beat) Don’t tell Barbara I said that.

EXT. SKYSCRAPER – EVENING

A sweeping establishing shot of a tall SKYSCRAPER. In contrast to the old-world clocktower, this is huge, impersonal, sterile, all glass and chrome. We zoom in on it, Hitchcockianly (is that word?) passing through the glass window and into…

INT. MEETING ROOM – EVENING

Mandragora sits at the head of the table, flanked by Savant and Creote (Savant has a bandage around the knuckle of his injured pinky finger). A MULTINATIONAL GROUP of crime bosses are assembled at the table before him.

MANDRAGORA: And so, once the plan is successfully implemented, we will not only recoup all the losses the Batman and his clan have cost us, but we will be well on the way to making profits larger than ever before.

An ITALIAN MOBSTER stands up.

ITALIAN MOBSTER: You think you can just come back from Sicily and murder millions to turn a profit? You’re insane!

MANDRAGORA: You can’t make an omelet without breaking a few eggs.

ITALIAN MOBSTER: No! I won’t have any part of it!

MANDRAGORA: What a pity. Your father may have been an addled fool, but at least he had the guts to do what was necessary. I guess it skips a generation. Savant, show him the door.

Drawing a nickel-plated .45, Savant shoots the Italian Mobster in the head. A quick burst of gore later and the man is slumped back in his seat, dead. The bosses explode in consternation.

MANDRAGORA: And now we’ll never know whether it skips a generation or not.

A FRENCH CRIMELORD points at Mandragora.

FRENCH CRIMELORD: Guards! Take him!

The GUARDS lining the room unholster their TEC-9s.

MANDRAGORA: Also, your men? They work for me now… at double their old wages.

The guards turn their guns on the crime bosses.

GUARD: Not all of them!

One of the guard steps out of line, holding a gun on Mandragora.

GUARD: Ya see, for some of us, it isn’t about the money, it’s about honor, loyalty, respect, fam…

MANDRAGORA: (interrupting) Shoot yourself in the head.

GUARD: Yes sir.

He does so. And you thought the commotion from the first shooting was bad.

MANDRAGORA: Also, I’ve installed post-hypnotic failsafes in all of the guards. You all misunderstand. This is not an offer. This is a lecture. I am deigning to let you know of my plans but make no mistake, you are going to help me whether you want to or not.

HELENA: (O.S.) I want to.

The double doors are thrown open and Helena comes charging in, wearing a real sharp, badass, black suit with a white blouse.

MANDRAGORA: (not angry so much as curious) How’d you get in here?

Helena throws something forward. Multiple somethings. They scatter across the table. Mandragora picks one up. Clip-on security badges, the kind rent-a-cops wear.

HELENA: Your security’s lax.

Mandragora gives Savant a look. “Check her for weapons.” Savant goes to comply and Helena fixes him with a look.

HELENA: (re: pinky) Touch me and you’ll lose the rest of that finger… and everything else.

Savant shoots Mandragora a look and Mandragora nods, it’s okay with him. Savant backs off, smiling wryly. “I’m not afraid of you.”

HELENA: My name’s Helena Bertinelli. I wasn’t invited, so I decided to crash.

MANDRAGORA: (the name rings a bell) What’s your territory?

HELENA: I’m in the market.

Mandragora looks at the mobster Savant just shot.

MANDRAGORA: You can have his.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Dinah and Barbara are at the workstation. Three monitors, wired up in that configuration you always see in movies to show leet hacking stations, all show Helena’s POV. Barbara freeze-frames one on an image of Mandragora.

BARBARA: You recognize that guy?

DINAH: Nope.

BARBARA: I’m running him through the NSA and INTERPOL… nothing. He’s a ghost.

DINAH: That’s either very good news… or very bad news.

BARBARA: I’m leaning towards bad. Why break the streak?

INT. MEETING ROOM – EVENING

BLACK MASK stands up.

BLACK MASK: This is the last straw! Your proposal’s intriguing enough, but do you seriously expect made men to take orders from a woman? You’re insane, Mandragora. I’ll have no part of this.

He walks away. Savant raises his gun before Mandragora orders him to lower it.

MANDRAGORA: Let him go.

INT. MEETING ROOM – LATER

The meeting breaks up. Mandragora, Savant, and Creote disappear into a separate room, the door closing behind them, shutting Helena out. Helena stares at the door.

ORACLE: (filtered) That’s right, Helena, just keep your eye on the door…

We zoom in on her eye, INTO THE IRIS… down to the nanometer-scale level, where the NANITES are constructing a LASER. The device fires out a molecules-thick laser, which we follow down to hit the door. The atoms composing the door stay still for a moment… then shake as we hear a voice.

SAVANT: (O.S.) Why didn’t you let me kill him?

MANDRAGORA: (O.S.) We need him. If we kill him, the other crimelords will turn against us. But if he doesn’t get on board, the project is a no-go…

That’s right. Helena has a laser microphone in her eye.

PULL OUT to Helena as she makes the same realization.

HELENA: Oh, this is so freaking me out… I am going to need therapy.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Dinah leans over to grab the microphone.

DINAH: And this is new to you… how exactly?

HELENA: (filtered) Screw you.

BARBARA: Ladies, please. This is serious business.

She presses mute on the transmitter, then laughs out loud.

DINAH: Don’t worry, your secret’s safe with me.

BARBARA: Alright, we need to get Black Mask out of the way or we’re going to have a full-blown gang war on our hands.

DINAH: Why not Mandragora?

BARBARA: Taking him out now won’t net us any of his clients. I want the whole enchilada.

DINAH: Plus, you’re curious what his plan is.

BARBARA: I didn’t say that. Dinah, stop by Black Mask’s place tonight. See that something unfortunate befalls him.

DINAH: With pleasure.

INT. FLOWER SHOP – DINAH’S APARTMENT – SHOWER – EVENING

Dinah is in the shower. Head against the wall, deep racking sobs rocking her body. Vulnerable. She turns off the tears, dries her face on a towel. In the mirror, she sees that tears are still dropping from her eyes.

DINAH: What the hell is wrong with you, Dinah?

INT. FLOWER SHOP – DINAH’S APARTMENT – EVENING

In the foreground, there is a close-up of a heart-shaped LOCKET, open. Close-up of a locket, open. The woman on the left is LADY SHIVA (she bears an amazing resemblance to Michelle Yeoh), Each half of the heart has a picture of a sister in it. From the glimpse we see, the woman who isn’t Shiva might either be Dinah or just bear a slight resemblance to her. Wrapped in a towel, Dinah steps out of the shower in the bg and Lady Shiva shuts the heart locket.

LADY SHIVA is implacable. That’s the only word to describe her. She is not lethal or deadly or evil. She simply IS.

If Dinah is surprised to see her, she doesn’t show it.

DINAH: What are you doing here?

SHIVA: We were close, once. Like sisters.

DINAH: That was before you started killing people for sport.

Shiva indicates a pile of neatly folded clothes. They’re Dinah’s Black Canary clothes.

SHIVA: Put those on.

DINAH: Why?

SHIVA: Because it pleases me to see you in them.

If Dinah is intimidated, she doesn’t show it either. Just starts getting dressed, not at all self-conscious.

DINAH: You didn’t answer my question.

SHIVA: I have no heir. My womb is barren.

DINAH: Thanks for sharing.

SHIVA: As I said, we were close once. And your skills are admirable, if lacking in certain areas.

DINAH: Gee, thanks.

SHIVA: Do not act this way towards me if you wish to continue drawing breath.

Dinah, finished dressing, plops down across from Shiva.

DINAH: Third time’s the charm. What do you want from me?

SHIVA: I wish for you to become my apprentice. I will pass along all I have learned in my life and you will carry on my legacy.

DINAH: I… I’m honored but… I can’t.

SHIVA: Why not?

Dinah pauses.

DINAH: What would you say if I called you Sandra?

SHIVA: I would say that my name is Shiva now.

DINAH: That’s why. I like being Dinah. I want to stay that way.

SHIVA: I wish you to remain that way as well.

She stands up and approaches Dinah, until she’s standing next to her, both women facing in opposite directions. Shiva casually rests her hand on Dinah’s shoulder.

SHIVA: The world can be an uncompromising place at times. I wish to spare you the pain of discovering just how uncompromising it can be. (beat, then softer) Siu jerk jai…

Dinah pushes her hand away.

DINAH: Don’t! (beat) You lost the right to call me that a long time ago. Get out.

Shiva walks to the doorway.

SHIVA: If you reconsider, you can find me at our place. I will wait three days. I strongly suggest you do not come on the fourth.

Shiva leaves, politely shutting the door behind her. Dinah, left alone, massages her temples, almost can’t believe she’s still alive.

DINAH: Jesus…


Next: Penetration

 

[Silver Sable]

Hey cool script

 

[MaskedManJRK]

Intriguing mystery, funny/badass lines, and lesbian subtext?

Do I have to tell you how cool this is?

 

[Zev]

EXT. MANSION – COURTYARD – NIGHT

One of those massive courtyards, complete with hedges and marble benches and fountains and things which are, in general, too much for an ordinary old backyard.

Floodlights provide a degree of illumination to the dozen or so GUARDS patrolling the grounds, wearing dark suits and toting MP5s.

One of them is distracted by a HEDGE shaking. He signals to his buddy, who covers him. Guard 1 walks along the “wall” of a hedge, gun at the ready… turns the corner… nothing.

Suddenly, an ARM shoots out of the hedge and YANKS Guard 2 inside.

Guard 1 doesn’t see it, but he backs away from the hedge regardless, backing into a wall.

DINAH, in Black Canary mode, is standing next to him.

DINAH: Hey, how ya doin’?

She snake-hands his chest three times, making him spit blood, then buries his face in the wall, knocking him out. She looks up. There’s a window overhead, a vine of IVY leading up the wall to it. She tests the vine; it can hold her weight.

DINAH: Thank God for SlimFast.

She begins to climb, activating her communicator as she does so.

DINAH: Remind me again exactly how breaking into the home of a sadistic crime boss is good for my health?

ORACLE: (filtered) You can find evidence that wouldn’t be admissible in court if the police did what you’re doing now. Silver platter versus fruit from the poisoned tree. And with Black Mask out of the way, our spy is one more step up the ladder.

DINAH: Yeah, well, “our spy” didn’t just have to hide in a hedge while wearing fishnet stockings.

ORACLE: (filtered) I’ve told you to get rid of the short-shorts.

DINAH: They’re not short-shorts!

ORACLE: (filtered, singing) Who loves short-shorts? We love short-shorts!

DINAH: Hatred. All for you.

She swings inside the window.

INT. MANSION – NIGHT

It’s dark, what do you expect?

DINAH: Dark in here… Oracle, little help?

ORACLE: (filtered) Activating nightvision contact lenses.

The camera switches to “Ghost Hunters” nightvision, letting us see with green-crystal clarity that the hallway is full of medieval torture implements. Dinah begins sneaking through it.

DINAH: Whoa. And I thought those singing fish things were scary.

ORACLE: (filtered) We need proof of wrongdoing. Try the basement.

DINAH: Didn’t I see this in that Ashley Judd thriller?

ORACLE: (filtered) Which one? There are about seventeen of them…

DINAH: One for every half-baked humanitarian organization she’s part of...

ORACLE: (filtered) Hey, I like Ashley Judd... or is it Wynonna Judd? I can never tell them apart.

Dinah passes by one of those massive staircases. It leads down to the first floor, where a FORMULA ONE RACER is on display like a piece in a museum.

DINAH: I’ll say this for Black Mask, aside from the torture stuff, he has good taste.

ORACLE: (filtered) You and your Matchbox cars... turn twenty degrees to the left.

Dinah does.

DINAH: What is it?

ORACLE: (filtered) I’m getting faint vocal patterns on your recorder. They match those of the Black Mask.

DINAH: Perfect.

She starts towards it.

ORACLE: (filtered) Umm... Canary, why are you going TOWARDS the homicidal maniac?

DINAH: Have you seen how big this place is? I’ll just beat the answers out of him, leave him for dead, grab up whatever contraband goodies he has hidden, wham, bam, thank you ma’am.

ORACLE: (filtered) You know what I love best about that plan? The part where it has NO CHANCE OF ACTUALLY WORKING.

DINAH: Shut up, Oracle. My kung-fu is strong.

ORACLE: (filtered) You’re not hearing me, Canary. Think this through...

DINAH: (more heated than she’d like to sound) It wouldn’t hurt you to call my Dinah!

She takes out her earpiece, shoves it in a compartment on her belt.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Barbara stares at the screen.

BARBARA: Black Canary? Canary? (no answer; then, softly) Dinah...?

INT. MANSION – DEN – NIGHT

The Black Mask is waiting in a chair, legs crossed. The only light comes from the fireplace. Suddenly, a shadow appears behind him.

DINAH: Have you ever heard of the Red Skull?

BLACK MASK: What?

Black Mask whirls around. Dinah is there.

DINAH: He’s a comic book character. Your look is a total rip-off of him.

BLACK MASK: Who are...?

DINAH: You know my dad’s a cop? I don’t like cop-killers. Suffer now.

She kicks him in the gut. He actually slides backwards on his heels a few feet before doubling over.

DINAH: Where’s your contraband? I need it to arrest you, you mysterious masked man you.

She kicks him again, driving his shoulder down into his chest.

BLACK MASK: You think I keep stuff like that here?

DINAH: I think you’re a sadistic psychopath with a really stupid hat. Continue suffering.

She slaps the side of his face with her foot, sending him rolling across the floor.

DINAH: I could do this all night, you know.

Black Mask looks up at her.

BLACK MASK: A blonde. It figures. I hate blondes.

DINAH: Feeling’s mutual.

HELENA: (O.S.) Well, this is a surprise.

Dinah turns. HELENA is standing in the doorway. With a gun. And MANDRAGORA. And several GUARDS.

MANDRAGORA: We could’ve taken a rain check on our meeting if we’d known you were going to have company.

BLACK MASK: Very funny. Can you please shoot her now?

Helena steps forward.

HELENA: Step aside, boys, I’ll handle this.

Dinah tries her best not to look shocked as Helena points a gun in her face.

HELENA: Now learn the price of defying me.

She turns and shoots Black Mask three times in the chest. Black Mask manages to make a disgusted face before he falls over.

Dinah is in an acute state of shock. Things have taken a turn for the FUBAR.

ORACLE: (filtered) Canary, you’re next. DO SOMETHING!

Dinah opens her mouth and the Canary Cry pours out. Again, all we hear is a high-pitched whine, slowly building in intensity. Glass cracks, then shatters. Everyone who isn’t Dinah (or dead) cups their hands over their ears and falls to the ground. Dust falls from the ceiling as the entire house seems to shake with the vibration, like a really loud bass was playing.

Finally, Dinah can’t sustain it anymore. She goes into a violent coughing fit. That one really drained her.

DINAH: (hoarse) Saved by the yell.

The thugs start to stir. Dinah RUNS FOR IT.

EXT. MANSION – COURTYARD – NIGHT

The place lights up like a Christmas tree. Every square inch of the courtyard in stark relief. No shadows to hide in.

INT. MANSION – DEN – NIGHT

Mandragora is on a radio.

MANDRAGORA: Form a perimeter. Don’t let her escape!

GUARD: (filtered) How will we know what she looks like?

MANDRAGORA: HOW MANY LEGGY BLONDES IN FISHNETS DO YOU THINK THERE ARE IN THIS HOUSE!?

He shuts off the radio, helps Helena to her feet.

MANDRAGORA: It’s alright, my dear. There’s no way she can escape.

EXT. MANSION – COURTYARD – NIGHT

Two guards stand in front of the massive SLIDING GLASS DOORS leading into the mansion. They hear something hellish REVVING. Like... an engine?

GUARD 2: She wouldn’t.

They dive out of the way as the FORMULA ONE RACER smashes out of the mansion, lands on the courtyard, and makes a break for freedom.

The guards open fire on the Racer from their vantage points, bullets ripping into the yard. Dinah zig-zags valiantly, tires desperately kicking up soil in a mad quest to find purchase, the Racer fish-tailing erratically. The pristine lawn turns into No Man’s Land. Finally, the Racer ESCAPES.

INT. MANSION – NIGHT

Mandragora looks out the window at this in distaste.

MANDRAGORA: Whose idea was it to leave fuel in that thing?

INT. MANSION – GARAGE – NIGHT

The Thugs grab keys from a board on the wall, pile into Black Mask’s collection of EXPENSIVE CARS. The chase is on!

EXT. HIGHWAY – NIGHT

The Racer zips along the highway. Dinah’s hair whips around in the wind... finally coming off entirely. Her wig is lost in the slipstream.

DINAH: Barbara, you mind hooking me up with some good chase music?

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Barbara stares at the screen, pissed. She takes off her glasses slowly.

BARBARA: You take off the microreceivers. You put yourself in mortal danger. I move heaven and Earth to save you. Forget that all of this could have been prevented. Never mind that you dissed me. You worried me to death! I don’t give a damn if you’re escaping in a stock car at over a hundred miles of hour, I’m not going any further in this partnership until we talk about this!

EXT. HIGHWAY – NIGHT

Dinah shifts into high gear.

DINAH: It’s a Formula One racer.

She looks in her rear-view mirror. Three cars are being left in her dust. Not a chance in hell of catching her. Then she looks ahead.

The road hugs to a mountainside, forming a series of dangerous curves (oh, the irony). Dinah has to slow down to handle them. The cars speed up to catch her. The lead car, a PORSCHE rolls down its windows. Two guns emerge from the side and open fire.

Dinah ducks to the side as a line of bullet holes opens up across the body of her ride.

Time seems to slow down as Dinah looks around. On her right, the cliff face. Sheer rock. On her left, the road ends in a tangle of gravel, which itself ends in a safety railing over one big drop to the ocean below.

Dinah swerves off-road into the gravel, her tires kicking up a DUSTSTORM behind her. The gangsters fire wildly into the cloud of dirt, shots whizzing right over Dinah’s head. In front of her, a TURN coming up. At the last possible minute, she veers to the right. The Racer turns on a dime. No such luck for the Porsche, which takes a nosedive into the railing, bounces off that, and crashes into the rock wall.

The car behind it, a JAGUAR, crashes into it and flies into the air as if the Porsche were a ramp. Dinah spins the wheel to the left as the falling Jaguar lands right where she was, then passes her, rolling end over end and DISINTEGRATING before her eyes. Dinah tilts her head to the left as a HUBCAP flies through the air, just missing her.

DINAH: Yup, this was how I pictured my day going when I woke up in the morning.

The Jaguar comes to a rest upside-down. Dinah passes it, blowing the survivors a kiss as she does.

Then the third car, a tank-like VAN, smashes right through the Jaguar, ripping it apart like tissue paper. A gunman hands out the side window, gun at the ready. BLAZES ON FULL-AUTO. Sparks rip up from the pavement alongside Dinah’s Racer. A gauge on her dashboard becomes a bullet hole. Ever worse, on the fuel gauge right next to it... the needle is pointed at a big fat E.

Up ahead, a side road cut into the rock leads straight up and to the right, onto solider ground. The climb is steep. Damn steep. Coaxing every last bit of juice out of the Racer, Dinah turns onto the side road and climbs up the road as fast as possible. The engine sputters and dies, but her momentum keeps her going. Miraculously, she crests the slope. Unfortunately, this launches her into the air like a missile. Dinah sees the landscape twist and twirl under/overhead as the Racer soars through the air. In the night, the only difference between sky and ground is the stars.

She has no choice.

She undoes her straps and disengages from the car, slowly tumbling away from it in mid-air, both of them in freefall.

Then gravity reaches up, grabs the Racer, and yanks it back down. The Racer smacks into earth at terminal velocity, instantly transmutes into a wrecking ball. It smashes through the fuel pumps of a GAS STATION, causing geysers of oil to spout up.

Dinah tucks and rolls. We hear a can’t-be-good noise from her arm as she hits, rolls, comes to a stop caked with dirt. She weakly stands up, dirty as sin, one arm hanging limply at her side. Safe? No chance in hell.

The van comes up over the hill, high-beams glaring, pinpointing Dinah like a spotlight.

Dinah sneers.

DINAH: Bring it.

The van’s wheels spin like sawblades cutting into the ground and come at her. Dinah turns and runs into the gas station.

INT. GAS STATION – NIGHT

Someone has already pressed the cut-off switch for the gas (stopping the pumps), but the place is deserted. Wheels squealing, the van roars to a stop outside. Dinah just has time to hurdle the counter as the BARRAGE starts. The noise is deafening. The thugs fire simultaneously, rock and roll, bullets ripping everything apart. The familiar wall o’ cigarettes behind every convenience store counter becomes a mist of carcinogens. Dinah, taking shelter behind the counter, pulls a plastic bag from the roll and holds it over her mouth and nose as the salvo shatters the cash register. Greenbacks float through the air with the rest of the debris.

A neat bullet hole rips through the counter next to her, letting a saber of light in. Dinah’s running around of time. Soon, the counter will be completely bullet-ridden. Picking up the big roll of plastic bags, Dinah HURLS it at the cut-off switch, turning the gas back on.

EXT. GAS STATION – NIGHT

Gas bubbles up from the decapitated pumps, spreading beneath the gunmen’s notice. A piping-hot bullet is ejected from the breach, lands with hundreds of its brothers on the ground... but this one is hot enough to ignite the gas and that’s all she wrote.

It starts off as a wave of flame consuming the spilled oil. The thugs realize too late what’s happening. The fire reaches the underground tanks and the parking lot of the gas station disappears in a Biblically-proportioned pillar of flame.

INT. GAS STATION – NIGHT

The van, already completely burnt to a husk, crashed through the roof of the gas station, crushing the free-standing beer cooler. A 32 oz can of Tecate rolls away. We track with it to reveal that the counter has been turned into Swiss cheese. No way Dinah could’ve survived.

Except... she has.

She stands up and we whip around to reveal that she took cover behind the STORE SAFE. The cast-iron shell easily protecting her from the bullets. Snapping her arm back into place, Dinah slides over the counter and walks out... but not before stopping to reward herself with a Snickers bar earned with a five-finger discount.

EXT. GAS STATION – NIGHT

A CAR pulls up alongside the destroyed, burning gas station. On the driver’s side window (and Dinah’s reflection in it) as the window rolls down, revealing Barbara.

BARBARA: I’m still mad at you. Get in the car.

DINAH: Yes, ma’am.

Barbara and Dinah Thelma-and-Lousie away, leaving the gas station to explode behind them.

INT. CAR – NIGHT

Dinah looks in the rear-view mirror at the mushroom cloud rising into the night sky.

DINAH: Whoa. That was a big explosion.

BARBARA: I’ve already alerted the police. An ambulance is on the way.

DINAH: And Black Mask? There an ambulance for him?

BARBARA: I figured out a long time ago that I would have to compromise to stay alive. To stay effective.

DINAH: She won’t stop.

BARBARA: Maybe she shouldn’t.

They drive in silence for a while. We hear sirens and an AMBULANCE headed in the opposite direction passes them. Dinah and Barbara are lit up in the flaring light.

DINAH: Friends again?

BARBARA: I’m not sure. Not after tonight. I think ours may be best left a professional relationship from here on, Canary.

DINAH: Look, Oracle... I’m the one on the ground. You can’t fully understand each situation as it comes up.

BARBARA: I am sorry. Stupid me didn’t understand that unnecessarily going against a crime boss singlehanded with no strategy and no gameplan made plenty of sense “on the ground.” Did it ever occur to you that maybe you can’t fully understand a situation when you don’t take the time to think it through? That’s what I’m here for. If you want to go on rolling through life without a clue then do it without me. But if we’re going to work together then I am the word! Until further notice you’re relieved of duty.

DINAH: **** you. You think just because you’re a cripple you can do whatever you want?

Barbara pulls over to the side of the road.

BARBARA: Get out.

DINAH: Oh, I get it. Helena’s the new hot thing, what do you need me around for?

BARBARA: This is the kind of thing I’d EXPECT from Helena... not you.

Dinah opens the door and gets out.

DINAH: It’s not the ride, it’s the company.

She slams the door and Barbara drives off.

EXT. HIGHWAY – NIGHT

Atop the cliff, SAVANT watches as Barbara drives away. Watches Dinah try to hitchhike for a ride. With the amount of leg she’s showing, it doesn’t take long.

Slowly, Savant raises Dinah’s blonde wig to his nose and smells it, caressing his face with it.

SAVANT: We’re the same, you and I. Now I just have to make you see.


Next: Brainiac

 

[Zev]

EXT. FENCE – DAY

SUPER
North Korea

On the other side of the world, a single KOREAN GUARD stands at a checkpoint for a ten-by-ten section of barbed wire fence around... absolutely nothing.

A MILITARY JEEP pulls up to it. The windshield is caked with dirt, so dirty it’s impossible to see inside, save that there are three occupants. The Guard approaches the jeep, telling them in Korean that they’re not allowed to be there.

The Guard rounds the windshield and sees that the driver, contrary to expectations, is a six-foot-five white guy with red hair. Wally.

WALLY: Sorry. Left my English-to-Mandarin dictionary in my Trapper Keeper.

The Flash grabs him by the collar and YANKS his head against the door, knocking the Guard out.

GUARD: Ugh!

Wally steps out of the jeep, his companions following. BLACK LIGHTNING is, as you’d imagine, a large black man with electric superpowers. KATANA is a lithe Japanese woman. Both look a little more rough around the edges than your standard superheroes.

KATANA: He was speaking Korean.

Black Lightning hands her a bakalava.

BLACK LIGHTNING: Who cares? (hands one to Wally) “Ugh!” sounds the same in any language.

Wally pulls his on.

WALLY: Alright, we do this by the number. In and out, leave only footsteps, take only the objective.

Katana unsheathes her namesake, a Hattori Hanzo sword. She slices through the fence and the trio... the OUTSIDERS... step inside. Wally walks heel-to-toe, measuring out feet, until he’s counted to twelve. He stomps on the ground. There’s a metallic noise. He smiles. Taps his EARPIECE.

WALLY: Magic Voice, do your thing.

He drops out of sight.

INT. DARK ROOM – TIMELESS

Wally hits the ground in a crouch. He looks around. The place is deserted. A small, dark room with one door He clicks the earpiece once and the other Outsiders drop down beside him.

WALLY: We’re clear.

KATANA: Security’s damn lax...

WALLY: Anonymity is their shield. They were counting on there not being any attack rather than repelling one. Me, I’ve always believe the best defense...

He kicks the door down.

WALLY: ...is a good offense.

INT. LABORATORY – TIMELESS

The Outsiders walk into the laboratory. It’s white and sterile, glowing holograms and shimmering forcefields. Looks like something out of a Kubrick film.

WALLY: (to Katana) Sabrina, find the files. Maybe we’ll get lucky, find a little evidence. (to Black Lightning) Kelly, you scout out the objective. I want it ready to move in five.

BLACK LIGHTNING: What about you, Jill?

WALLY: I’ll set the explosives.

He blurs around the gigantic labratory as Katana and Black Lightning go to work.

Wally stops to set a charge by a large, empty glass tube. He notices something, picks it up. It’s a palm-sized glass vial with “Project Kon-El” written on it. He regards it for a moment, then chucks it over his shoulder.

KATANA: (O.S.) I found the files!

Wally’s instantly at her side.

WALLY: Any connection to the League? I’d love to hang outlaw science charges around thier necks...

KATANA: None so far. It's all shrouded in shell companies and whatnot. I think the Swiss might be involved.

Black Lightning steps out of the sahdows.

BLACK LIGHTNING: I’ll do you one better. All of this is Lexcorp equipment.

KATANA: Doesn’t mean that Luthor’s behind this one.

FLASH: Tell that to my gut. You find it?

BLACK LIGHTNING: Yup.

FLASH: Lead on, MacDuff.

INT. LABORATORY – CORDONED OFF AREA – TIMELESS

A tarp coves what looks like a man in a chair. Siphoning tubes from out from under the blanket and into vials, filling them with liquid. Wally pulls the tarp off. BRAINIAC is cold, dead. His robotic form being drained.

WALLY: Brainaic, I presume.

BLACK LIGHTNING: What happened to him... it?

Wally pulls away one of the vials.

WALLY: I guess he used those special parts to make his robot friends.

He holds the vial up to the light. Inside the water, what looks like MOTES OF DUST are swimming around... in concert.

WALLY: Nanotechnology. This is what we came for.

Katana runs in.

KATANA: We’ve got hostiles! League shuttles, incoming and closing fast.

WALLY: ETA?

KATANA: Seven minutes.

WALLY: Then we blow this place in five. I’ll set the rest of the charges, everyone else, take as much as you can carry to the jumper. I want this place cleaned out.

BLACK LIGHTNING: You can’t just blow up this place, there’s evidence...

WALLY: That’s about to fall into the League’s hands. I can’t allow that.

BLACK LIGHTNING: Oracle would never...

WALLY: Oracle’s not here. I am. Now, you can either take it up with her while waiting around to be vaporized or you can help. Which is it?

EXT. NORTH KOREA - DAY

From a safe distance away, the Outsiders watch as the explosion climbs upwards. Wally turns to Black Lightning, pulls his mask off.

WALLY: You’re fired. I want you off this team, I want you gone. Now.

INT. CLOCKTOWER – NIGHT

Wally steps out of the elevator. The main elevator, not the private elevator that the BOP uses. He walks forward into the hallway and sees that, creepily enough, all of the doors but one have been BRICKED OVER.

WALLY: That’s gotta be a fire hazard.

He knocks on the one door. A scratchy intercom buzzes.

ORACLE: Hello, Mr. West.

WALLY: Why, Oracle, fancy meeting you here.

ORACLE: You mean at our prearranged meeting place?

WALLY: Hence my sarcasm.

ORACLE: Do you have it?

WALLY: Yeah, I’ve got it.

He holds up the vial of nanites.

WALLY: What do you need this for anyway?

ORACLE: Don’t you trust me by now, West?

WALLY: I trust in God. And even He’s starting to look suspicious at times. So, I figure if you’re going to take this, I’m going to get a look at your...

The MAIL SLOT of the door flips open.

WALLY: (finishes lamely) Mail chute.

ORACLE: Deliver the package.

WALLY: Right, I’ll just shove my tube into your slot.

He does so... continues bending down to sit beside the door.

ORACLE: Black Lightning had potential.

WALLY: He couldn’t follow orders.

ORACLE: Can you?

WALLY: Of course not. That’s why I’m the leader.

ORACLE: I thought I was the leader.

WALLY: You are... up in the air. But on the ground, I’ve gotta make the call.

ORACLE: ‘You’ve gotta make the call on the ground.’ What is that, the “my house, my rules” of the vigilante set?

WALLY: Problems with one of your other “little helpers”?

ORACLE: Nothing you need to worry about.

WALLY: (beat) Listen, I realize I don’t know much about science... probably because science doesn’t like me either... but this is one of those “he tampered in God’s domain” kinda things, right?

ORACLE: It’s not like that.

WALLY: How is it not?

ORACLE: If you could see me... if you knew what I was going through...

WALLY: That’s just it. I don’t. I don’t know you at all. It’s like every time I get close, you keep pushing me away.

ORACLE: I can’t thank you enough for doing this thing for me. But I’d like you to leave.

Wally stands.

WALLY: Alright. Fine. Just remember that you can’t... aww, forget it. You wouldn’t understand anyway.

He walks off.

INT. FLOWER SHOP – NIGHT

Steph starts to get a friendly greeting out as Dinah roars through the door, RINGING THE GREETING BELL, but the look Dinah gives her stops the words right in her mouth. Dinah continues on.

INT. CLOCKTOWER – NIGHT

Cut to a picture of DINAH. A postcard of her on a beach in some exotic locale a mission has taken her too. “Wish you were here” written on it. Barbara sweeps it, and other detritus, off a table to clear a workspace for the nano-vial.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah slams the door behind her, heads straight for the liquor cabinet. Pulls out a big bottle of bourbon.

INT. CLOCKTOWER – NIGHT

Barbara looks through the green nano-vial, her eye distorted through the liquid.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah pours herself two fingers.

INT. CLOCKTOWER – NIGHT

Barbara pulls a tourniquet around her arm. A vein stands out, vibrant and ready.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah holds the glass out towards the window... towards the CLOCKTOWER.

DINAH: Here’s to us.

INT. CLOCKTOWER – NIGHT

Barbara fills a syringe with liquid from the nano-vial.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah takes a sip.

INT. CLOCKTOWER – NIGHT

Barbara holds the syringe over her vein.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah pours out the bourbon into a wastebasket.

DINAH: Bad year.

INT. CLOCKTOWER – NIGHT

Barbara angrily rips the tourniquet off her arm.

BARBARA: Yeah, because I’ve never seen a horror movie before.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

Dinah kicks her shoes off, takes off her stockings. The camera is handheld, voyeuristic. Subconsciously giving us the feel of an INTRUDER in the house. Dinah starts the shower running and, just when we think we’ve wandered into a slasher movie, she runs her hand under the running water. Cold. She goes to give it a chance to heat up, hits play on her answering machine.

ANSWERING MACHINE: You have three new messages. Message one.

OLLIE: (filtered) Hey, Dinah, I'm going to give you another chance to be the woman I just know you can be. I mean, you can’t possibly want to be bitter and alone for the rest of your life without me, right?

DINAH: Where’s my hammer?

It is not to be found.

ANSWERING MACHINE: Message two.

CAROLYN: (filtered) Dinah, this is your mother. We need to talk. I know it’s a good thing to be independent, but being a hermit isn’t what I had in mind when I taught you to be self-sufficient.

Dinah sighs and paces the confines of her apartment; feeling the walls closing in on her.

CAROLYN: (filtered) With the Flash out of the picture, the League could use a new member. It’d really make me feel good if you applied. Make an old woman happy. Love and kisses.

The message ends.

DINAH: I like being on my own.

But the words sound hollow. She tries it once more, just for flavor.

DINAH: I like being on my own.

But she can’t help looking at the Clocktower again. She reaches for the bourbon, takes a swig right from the bottle.

ANSWERING MACHINE: Final message.

SAVANT: (filtered) Hope you don’t mind if I smoke.

On Dinah’s face, realization slowly dawning... a PUFF OF SMOKE drifts through the background. She turns around to see SAVANT. He holds up her wig.

SAVANT: You dropped this.

She attacks. A high-pitched martial arts duel. It quickly becomes clear that Savant is every bit the fighter she is.

SAVANT: You’re not making me feel very welcome.

DINAH: You know how house guests are like fish; they’re only good for three days? You couldn’t even make it three minutes.

SAVANT: That hurts. Deep down inside. Where I’m soft like a woman.

Savant charges towards her. Dinah backs up quickly, into the kitchen, grabbing a KNIFE from the knife block and a SKILLET from the hanging utensils. The kitchen is about ten feet long and as wide as a hallway. Not much space to manuever. Savant grabs his own knife, as well as a CLEAVER.

They both take a moment to stare at their opponent’s weapons.

SAVANT: Let me guess. Short notice?

DINAH: Shut up and fight.

They go at it, a whirling slice-and-dice fest. Savant steadily backing Dinah up, pressing the attack. Finally, he manages to STAB his knife through the cast-iron skillet, which Dinah throws aside, depriving him of his weapon.

DINAH: That was Teflon, you bastard!

Savant keeps at it, Dinah barely managing to deflect his attacks with her smaller knife. She’s winged by a cut across her forearm, just the bare end of the cleaver. Savant takes advantage of the wound to KICK Dinah across the remainder of the kitchen. Her head cracks the microwave door.

Savant inspects the blood on his cleaver.

SAVANT: I suppose it’d be traditional for me to lick this now, but I might get cooties.

He hurls the cleaver at her. Dinah dives out of the way and the cleaver smashes through the cracked glass, embedding itself in the back of the microwave oven. Savant comes at her once more, throwing a colossial punch. Dinah throws open the nearer of the half-doors on her refrigerator, blocking the attack. In front of her face, the door actually DENTS towards her. Dinah grabs Savant by the ear and bangs him into the freezer, causing ice to spill out of the icemaker and all over the floor.

Savant shoves Dinah back and she catches herself against the kitchen counter, accidentally turning on the garbage disposal as her hand brushes against a panel of switches. Dinah mule-kicks backwards, Savant catches her foot, throws open a drawer full of oven mitts, and slams it on her ankle. Dinah cries out; Savant hurls her away. She slides across the tile floor onto the wooden floorboards of the apartment proper. Turns back towards Savant and lets out a focused CANARY CRY.

Savant jumps over it, doing a butterfly split to catch himself as the Cry DEMOLISHES Dinah’s washing machine. He jerks his elbow and an automatic pistol flies into his palm. He opens fire on Dinah, who rolls out of the way. She rolls under the kitchen table, kicking and punching out the table legs as she passes by them, causing the kitchen table to pitch forwards towards Savant, forming a SHIELD.

Stepping forward to get a better angle to fire on her, Savant accidentally slips on some spilled ice. Dinah takes advantage, kicking off the kitchen table and wrapping herself around Savant. They struggle for control. Dinah grabs Savant’s gunarm, bangs it against the wall, then JERKS HIS ELBOW.

ANOTHER gun flies out and she grabs it. Savant breaks the hold just in time for Dinah to catch the gun and BAM!

A sudden, John Woo standoff.

DINAH: (Savant’s gun in her face) What the hell is WRONG with you!?

SAVANT: (Dinah’s gun in his face) A chemical imbalance in my brain has gifted me with a nonlinear memory, as well as a sociopathic indifference to the value of human life.

DINAH: Oh. Well, we’ve all got problems.

SAVANT: Quite.

They kick each other at the same moment, causing them both to flies backwards as they unload their clips at each other. Dinah slides backwards, hits a rug, uses the brake to somersault to her feet, then dives behind the couch. Her gun hand pokes up over the back of the couch and blindly fires at Savant. They both run out of ammo at the same time. Savant reloads.

SAVANT: That’s the thing about (Southern accent) always relying on the firearms of strangers. (normal) You don’t have anything to reload with! Now what’re ya gonna do, huh?

Dinah steps out from behind the couch and THROWS the empty gun at Savant. It hits him in the chest, possibly cracking a rib, causing him to drop his gun as he falls backwards. Dinah stomps on a floorboard, catapulting the gun up into her hands. She aims at Savant.

DINAH: Game over.

SAVANT: Not yet. We’re going into extra innings.

CREOTE steps out of the shadows. Dinah whirls around, gets off a shot, winging him in the shoulder. He doesn’t seem to notice as he SLAPS the gun out of her hands, then with the same hand BACKHANDS her across the face. Dinah goes down, hauls herself back up, one side of her face bruised and swolling.

DINAH: That’s how you’re going to beat me? Two on one?

SAVANT: You think I need Creote here to beat one little girl?

He holds out his arms. Creote removes his jacket.

SAVANT: Bring it on.

Quick cuts. This goes on for an agonizingly long time and we’re not seeing all of it. Dinah slams into a wall. Dinah falls to the floor. Dinah is bashed against another wall. Systematically, the apartment is demolished, Dinah beaten and broken. Savant bends over her and punches her until she can’t possibly fight back, his hand caked with blood. He holds Dinah’s head up by her hair.

SAVANT: You’re good. But I’m better.

He stands up, turns back towards Creote, sweating and panting like he’s just had a workout.

SAVANT: That was fun. Wasn’t that fun? I had fun. Doggy-bag her.

Creote wraps Dinah up in a bloodsoaked rug as Savant swipes an ice cream cone from the damaged freezer, takes a big bite out of it.

SAVANT: Mmm. Strawberry.

He ruffles Dinah’s hair as Creote picks her up.

SAVANT: These aren’t very good for you. A moment on the lips, an eternity on the hips.

He pulls a can of SPRAY PAINT from his pocket, paints “Savant was here” across a wall full of the paintings Dinah got from Oracle, throws the can in the microwave, sets the timer. Creote pulls the oven out of the wall, opening up a GAS LINE.

INT. FLOWER SHOP – NIGHT

The three walk downstairs, Creote hefting Dinah like she’s weightless. Savant grabs a red rose from a passing flowerbed, whips it through the air like he was Zorro.

SAVANT: Whew! I’m so jazzed up! I am going to get no sleep after this!

STEPH: (O.S.) What are you doing?

Savant turns. CUT to Steph at the register. She looks down to press the silent alarm. When she looks back up, Savant has a gun aimed at her.

BANG.

Right through the heart. Steph slumps over the counter. Savant walks up to her, runs the bulb of the rose over her body as she shudders in bloodloss, puts it in her mouth and does a parodic tango with her. Pulls her against him as if they were slow-dancing.

SAVANT: In the next time, honeybuns, remember to say it with flowers.

He drops her discourteously and walks out with Creote and Dinah.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

The microwave continues to count down.

INT. FLOWER SHOP – NIGHT

Steph’s eyes snap open. Her chest is a bloody mass. Summoning all her willpower, she forces herself to her feet. Takes a tumble over the counter. Crawls towards the door, leaving a trail of blood.

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

The timer has almost reached zero.

INT. FLOWER SHOP – NIGHT

Steph reaches the door. Locked. She SCREAMS as...

INT. FLOWER SHOP – DINAH’S APARTMENT – NIGHT

The microwave detonates. Triggers the GASLINE.

EXT. FLOWER SHOP – NIGHT

The flower shop EXPLODES.

Creote chauffers Dinah and Savant away. The back of the car has a Just Married sign over the license plate and several cans tied to the bumper.


Next: Rescue

 

[Zev]

INT. WORKSHOP – NIGHT

Helena’s place. A motel room converted into the Huntress’ base of operations. The walls are covered with news clippings, the TV on the fritz, cutting in every few seconds with the simulated moaning of a softcore porno. Helena, dressed in her Huntress costume sans mask, ignores it. She’s intent on modifying a crossbow.

HELENA: Look, I realize you’re uber-serious about the whole no-killing thing. But you weren’t there. Trust me, it was him or Dinah.

ORACLE: (filtered) Could you turn off that television set? The feedback is playing havoc with the link-up.

HELENA: No, I like the ambience.

ORACLE: (filtered) Fine.

After a moment, the TV blitzes out, channels rolling like someone was fiddling with the knobs, then settles on an image of the Oracle’s funeral mask.

ORACLE: (filtered) Can you hear me now?

HELENA: Show-off.

ORACLE: (filtered) You haven’t said anything to convince me not to pull the plug on you.

HELENA: Ha! You need me. A lot more than you need Dinah, apparently.

ORACLE: (filtered) How did you...?

HELENA: The atmosphere. Feels like ma and pa getting a divorce all over again. You got a problem with how I operate, maybe you should’ve picked someone else.

ORACLE: (filtered) Maybe I should have. But for now, we’re stuck with... hold on... redirect to Gotham Hospital. NOW!

INT. HOSPITAL – NIGHT

Helena walks through the sterile hallways. We notice she’s wearing a BOP choker, similar to the necklace Dinah wore in the opening.

HELENA: (sotto voce) I hate hospitals, Barbara. I hate the smell, I hate the food, I hate the stupid shows they make ABOUT hospitals...

ORACLE: (filtered) Gee, Helena, I’m sorry that one of our friends being in mortal danger is inconveniencing you.

Helena reaches the receptionist’s desk.

HELENA: Hello, I’m here to see Dinah Lance.

RECEPTIONIST: I’m sorry, only the immediate family is allowed to see patients in intensive care.

Helena smiles.

HELENA: Right. Excuse me for a moment.

She walks away a few feet.

HELENA: (sotto voce) Alright, now what?

ORACLE: (filtered) Under Gotham law, hospital patients are allowed to be visited by family members, spouses, and partners.

HELENA: (sotto voce) Please tell me you mean legal partners.

ORACLE: (filtered) I’m inserting the appropriate paperwork into the computer system now. Identify yourself as Helena Kyle and they’ll let you in.

HELENA: (sotto voce) No way! You come down here and pretend to be a dyke!

ORACLE: (filtered) Do you really think someone like Dinah could ever love someone like me? Get in there.

HELENA: (sotto voce) You owe me. I’d better get another kiss from Dick for this.

ORACLE: (filtered) You’re a lesbian now, try acting the part.

HELENA: (sotto voce) No one’s going to buy this! I don’t know the first thing about being a lesbian!

ORACLE: (filtered) Well, don’t expect me to teach you. Look, just... improvise!

Helena makes a long-suffering sigh, like a teenager denied the car, and turns back to the reception desk.

HELENA: Could you check again, my name is Helena Kyle, I’m pretty sure I’ll be let in.

The receptionist begins typing in the name, hunting and pecking the keys. Long, awkward silence.

HELENA: So... you like Melissa Etheridge music?

The receptionist gives her a look.

HELENA: Because I do. A lot.

INT. HOSPITAL ROOM – NIGHT

Helena is shown inside by a nurse.

HELENA: (to nurse) You know what’s a great movie? Bound. Awesome movie.

The nurse leaves.

ORACLE: (filtered) Every single woman in the world knows how to pretend to be a lesbian to get a guy interested in her and you namedrop Wachowski Brothers movies.

HELENA: Give me a break, I’m not as experienced as you.

ORACLE: (filtered) Experienced?

HELENA: Power Girl. That’s all I’m saying.

ORACLE: (filtered) Tabloid rumor.

Helena goes towards the hospital bed. A blonde woman is lying there, heavily bandaged.

HELENA: Hello? Dinah? Can you hear me?

ORACLE: (filtered) She’s sedated. You still have the Blackberry I gave you?

Helena pulls it out.

HELENA: Yeah.

ORACLE: (filtered) Plug it in to the machine beside her bed.

Helena does so.

ORACLE: (filtered) I’m going to recalibrate her painkiller dosage so that she can be lucid, but with no discomfort.

HELENA: I’ll take “what is the best state to watch the Star Wars prequels in” for five hundred, Alex.

ORACLE: (filtered) Comedians. Everywhere I turn, comedians...

The woman gasps as she awakens.

WOMAN: H... who are you? Where am I?

HELENA: You’re in a hospital, Dinah. Do you remember anything about the fire?

WOMAN: Dinah? Where’s Dinah? I’m Steph.

HELENA: Oh, sorry. It’s kinda hard to tell, what with your face gone and everything.

Steph moans.

HELENA: Hey, relax, we’re gonna get you some of those Nip/Tuck guys, they’re gonna take some skin off your ass, you’ll be good as new in no time.

ORACLE: (filtered) Huntress, stop trying to comfort her. Just ask if she knows who took Dinah.

HELENA: Did you see who took Dinah?

STEPH: Yeah... didn’t recognize him...

ORACLE: (filtered) I’m uploading some images to your Blackberry. See if any of them fit.

Helena holds the Blackberry out to Steph. A mugshot is on it.

HELENA: This the guy?

STEPH: No.

The next one scrolls past... then Savant’s picture.

STEPH: THAT’S HIM!

HELENA: Alright, thanks. And really, don’t worry about the face. I mean, we’re talking Gerald Butler’s Phantom of the Opera, at worst. No big.

ORACLE: (filtered) I’m putting her back to sleep and really hoping she chalks this up to a bad dream. Don’t forget your Blackberry.

Helena shoves the Blackberry in her purse.

HELENA: So, what other goodies have you got in that thing?

ORACLE: (filtered) It’s pretty much just the painkiller thing. I figure, hey, after that, why improve on perfection?

HELENA: Are you going to be sarcastic all night?

ORACLE: (filtered) Yes, I am going to be sarcastic all night.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Barbara turns to look at a computer. It’s attached to a futuristic MACHINE holding the syringe, which as changed color since the last time we saw it. A progress bar on the computer’s screen reads “Reprogramming 99% Complete.”

BARBARA: C’mon, c’mon...

The red phone rings. She transfers it to her headset with the push of a button.

BARBARA: Huntress, what’s your progress?

SAVANT: (filtered) Huntress? Oh, replaced your precious songbird already?

Barbara taps another button on the phone. A trace begins on her main console.

SAVANT: (filtered) I know you’re tracing the call, Oracle, so I’ll make this quick. As you’ve doubtless figure out by now, I have Black Canary and I’m willing to deal.

BARBARA: You’re off your medication, Brian.

SAVANT: (filtered, screaming) MY NAME IS SAVANT! Now, ask me what I want.

BARBARA: What do you want?

SAVANT: (filtered) Good. That’s what a man wants to hear. What I want... is you.

BARBARA: Name the time and place and I’m all yours.

SAVANT: (filtered) The time is fifteen minutes from now. The place is Government Housing Center 4B in the Barrows. Fifteen minutes, Oracle. After that, I start getting... creative... with your friend.

BARBARA: You hurt her, I’ll redefine suffering for you.

SAVANT: (filtered) Like a mother lion defending her cubs. You’re pathetically predictable. Fourteen minutes, forty-seven seconds. Don’t be late.

He hangs up. Barbara looks at the trace. Government Housing Center 4B. She turns to the machine and the syringe. The screen reads “Reprogramming Done.” She picks up the syringe.

BARBARA: Alright, hopefully my diagnostic has found and stripped away all extraneous programming except for the repair mechanism. Here goes everything.

She holds it up to her arm, braces herself for the prick.

BARBARA: Wait, what am I thinking?

She injects it into her leg. No pain. After a moment, her legs TWITCH. She pushes herself up, rests her weight on her feet... and topples forward. Fallen, her legs give another spastic twitch. Barbara presses a button on her headset.

BARBARA: Helena... help me...

INT. TORTURE CHAMBER – NIGHT

A bare lightbulb flicks on. It stutters to life, casting light on grimy tiles, bloodsplattered walls, and DINAH, bound to a chair. Creote is standing in front of her.

CREOTE: (sincere) I’m so sorry.

SAVANT: (O.S., singing) Well, I guess you'll say, what can make me feel this way? My girl. Talkin' 'bout myyyyy girl. My girl!

Savant walks in, jostling a tray of BLOODY SURGICAL INSTRUMENTS on his way in. He stops in front of Dinah, eating out of a carton of Chinese take-out.

SAVANT: Come on, join in everybody, one more chorus! What’s the matter, Dinah, speak up, I can’t hear you. What’s wrong? Gotta frog in yer throat?

He picks up a mirror from the tray.

SAVANT: Oh that’s right, I forgot...

He holds the mirror up to Dinah, revealing a SCAR over her throat.

SAVANT: You don’t have anything in your throat. Not anymore.

Dinah tries to speak and nothing comes out.

SAVANT: Can’t have that pesky little Canary Cry of yours throwing me off my game, can we?

He bends down next to Dinah, runs a head up her leg.

SAVANT: You must be very proud of your legs to show them off like that. Do you enjoy that? Men watching you, wanting you, fantasizing about you? Do you enjoy teasing men? Do you enjoy making their ***** hard, knowing there’s nothing they can do about it?

He leans in close.

SAVANT: I’m sorry, we haven’t been properly introduced. I’m Oracle’s ex-boyfriend and I’m out of my mind.

He moves in even closer, his body between her legs, his breath now on her ear.

SAVANT: You know, Oracle didn’t use to be such a paranoid hardcase. She used to be approachable... friendly... soft... guess we both left our mark on each other.

Savant pulls away, wipes a tear from Dinah’s eye. Oh yeah. She’s crying now and shaking with rage and looking like she’s going to be sick and about a million things she’s all feeling at once.

SAVANT: Oh, this must be bringing back memories. Did I ever tell you the secret origin of Black Canary, Mr. Creote?

CREOTE: No you did not, Mr. Savant.

SAVANT: It seems that once, a long time ago in a Star City far, far away, Black Canary was the personal beau of one Green Arrow. They ruled the night, kinda like Batman and Robin, only they had sex. It was the perfect life... until this cult or something kidnapped Dinah. They held her for, what, six months? Never did catch the guys who did it. Six months, never knowing when you were going to eat next, never knowing whether this would be the day that you died... must’ve been hell. Doesn’t seem fair, does it? So few people get a glimpse of heaven in their lifetime, but all too many get a glimpse of hell. You wanna hear the punchline, Mr. Creote?

CREOTE: Oh, do tell, Mr. Savant.

SAVANT: While BC was getting her **** kicked in, Green Arrow was living it up with this hot little girl on the side. I wonder how long it took our Dinah to realize he wasn’t going to rescue her. A week? A month? Three months? (snapping) HOW LONG DID IT TAKE, DINAH? (calmer) But eventually, someone did rescue her. A Batgirl. And Batgirl never forgot that little blonde wreck. And when the time came that Batgirl needed someone else to do her dirty work, she remembered someone who would be nice and easy to manipulate. Just like me. She’s a user, Dinah. She uses people and when she’s done with them she throws them aside like trash. So I need you to help me stop the cycle of abuse. I need you to tell me where Barbara makes her nest these days.

He runs a finger down the scar on her neck.

SAVANT: Well, write down where Barbara makes her nest these days.

Dinah says “**** you.” Or tries to. Nothing comes out.

SAVANT: (reading her lips, mockingly) Vacuum? Well, my carpet is rather dirty, maybe later. But for now, let me introduce you to a very special friend of mine.

FREDERICK, a slim man wearing a smock, walks in.

FREDERICK: I realize that at this point it’s traditional for me to make a creepy monologue, but I’m going to torture you until you give me the information I want. I think that’s creepy enough.

Creote and Savant walk to the doorway.

SAVANT: I’ll leave you two crazy kids to hash it all out. Come, Creote, let’s go watch those new Netflix that came in the mail. (to Dinah) And if you need anything, don’t hesitate to speak up. HAHAHA! Get it! “Speak up!” God, I should’ve been a comedian...

He closes the door behind him. Frederick picks up a syringe.

FREDERICK: Now, where to begin...

Dinah begins rocking her chair from side to side.

FREDERICK: Trying to escape? Those ropes are made out of...

Summoning all her strength, Dinah manages to launch herself into the air, twisting so that she LANDS on the wooden chair. It crashes into splinters under her. Frederick lets out an “eek!” and runs for the door, but before he can make it, Dinah uses the ropes that bound her as a whip, catching him around the throat and pulling him over to her. He jabs the syringe at her. She grabs a disembodied chair leg and bashes his brains in. His eyes roll back in his head.

INT. GOVERNMENT HOUSING BUILDING 4B – NIGHT

A grimy, low-income housing project; now completely taken over by Savant and his men. Dinah steps out of the torture chamber, revealing that she’s left Frederick bound and gagged behind her. She carefully closes the door, careful not to make a sound, then turns...

FLUSH.

Creote steps out of the bathroom, three feet away from Dinah. A stunned beat as they each regard the other.

Creote goes for his gun.

Dinah presses down on the plunger of the syringe, spraying the contents into his eyes.

He goes down, blinded, and Dinah runs for it.

CREOTE: SAVANT! SHE IS ESCAPING!

INT. GOVERNMENT HOUSING BUILDING 4B – LOWER FLOOR – NIGHT

Savant, on the floor below, is eating popcorn and watching a movie. He hears Creote’s scream through the ceiling.

SAVANT: This is the part I like least about having a captive.

He grabs a pistol and runs down the hallway, firing through the ceiling at the sound of thumping footsteps.

INT. GOVERNMENT HOUSING BUILDING 4B – NIGHT

Dinah runs, barely one step ahead of the gunshots piercing through the floor. She barrels through a door into the...

INT. STAIRWELL – NIGHT

Where she vaults over the safety railing, grabs onto the lowest rung of it as she falls, and swings into...

SAVANT, who is just entering the stairwell. The dropkick sends him flying backwards. As he falls, he fires at Dinah, who flees up the stairwell...

Right into Creote, eyes bloodshot, gun at the ready.

Dinah attacks Creote, a wicked interplay of fists and gun-fu, Creote’s shots going wild as he simultanously tries to pistol-whip and shoots her. Dinah counters a blow so that his gun goes off into a FIRE EXTINGUISHER on the wall, the resulting spray distracting Creote long enough for her to TACKLE him off over the railing.

Dinah and Creote fall down the entire height of the building. SMACK! They land, Dinah using Creote to break her fall. His bulky form cushions it admirably. She rolls off him, shakily gets to her feet as, above her, Savant slides down the railings towards her.

EXT. GOVERNMENT HOUSING BUILDING 4B – NIGHT

Dinah runs out of the building. She’s made it. She’s home fr...

Savant shoots her in the back.

Dinah trips, falls, comes to a rest. She rolls over to look up at Savant as he steps over her, aiming the gun at her face.

SAVANT: You’re far more trouble than you’re worth, you know that?

BARBARA: (O.S.) Get away from her.

Savant looks up. Barbara is sitting in a wheelchair, her cherry-red Ford Thunderbird (yes, kinda like the one in Thelma & Louise) parked nearby.

SAVANT: Barbara! You’re back! And your front! They’re both here!

She glares up at him.

SAVANT: What, no hug for me?

BARBARA: Batman was right about you.

SAVANT: NO HE WASN’T! I’m about to rule this city.

BARBARA: How can you control Gotham when you can’t even control yourself?

SAVANT: You know what, I’m really tired of you goodie-goodies looking down on me. I always thought you were too good for me. But now I see that I’m too good for you. You should try being evil sometime. I find being a supervillain much more fulfilling. I’m sorry, but I’ve got to think about my needs.

Barbara just keeps giving him the evil eye.

SAVANT: Isn’t this the part where you say “Brian, you need help”?

BARBARA: You’re past help, Savant. Maybe you always were.

SAVANT: Oh, goodie, now you don’t have to angst about “redeeming” me anymore. But that doesn’t mean I’m not reformed. In fact, I’m all about justice these days. Justice for what you did to me.

BARBARA: I tried to help you.

SAVANT: You locked me up in Arkham! You had them shove pills down my throat! Because you were jealous that I could still kick ass and you... well, you can’t really kick much of anything these days. But hey, it could be worse. You could be paralyzed from the NECK down. I think that’s what I’ll do. You’re already half a woman, now I’m going to make you a tenth of one.

BARBARA: Savant, you couldn’t handle a twentieth of a woman.

SAVANT: This conversation’s boring me. Let’s skip to the pain.

BARBARA: Let’s.

And then... biting her lip... she STANDS.

Savant stares at her for a moment, mouth agape, then shakes his head.

SAVANT: Barbara, this is a side of you I haven’t seen before!

BARBARA: Get used to it.

She takes a step towards her.

SAVANT: You really expect me to fall for this? Smoke and mirrors! Some more of your wonky technobabble.

BARBARA: Not this time.

SAVANT: Fine. Have it your way.

He ***** his gun.

SAVANT: I hope you enjoyed regaining your legs, because you’re about to lose them again. Your legs... and everything else.

 

[jimthecomicguy]

Great start...you gonna shoot it or just writiing it?

Nice take on those characters.

 

[Zev]

Just write it. I thought of shooting it, but those SCUD missile launchers are a ***** to rent and finding an actress who'll wear fishnet stockings? Forget about it!

 

[Zev]

SHTUK! Something FAST knocks the arrow out of Savant’s hand. WHIP-PAN to reveal a CROSSBOW BOLT stuck in the nearest wall, the gun dangling off it by the trigger guard. Savant looks up to see THE HUNTRESS, in full costume, reloading her crossbow.

BARBARA: You really think I’d come alone?

SAVANT: All I know is you’re not leaving!

He attacks her. Savage hand-to-hand. It’s like he’s moving in slow-motion to Barbara. His blows are deflected before they can get within an inch with her. Before he can even launch them. Then, with a final cutting gesture, Barbara sidekicks him in the chest. Savant soars backwards like he was shot out of a cannon, back through the building’s doorway... knocking its doors off the hinges.

Barbara, her leg still extended, brings her foot in and puts it down.

BARBARA: Just like old times.

As if startled out of a deep sleep, she suddenly remembers Dinah. She bends down to Dinah, who looks frail and yet beatifically happy at Barbara’s recovery. Tearfully, Barbara pets Dinah’s hair, her face.

BARBARA: Oh, Dinah... what’d he do to you?

Dinah slowly mouths “he took my voice.” Barbara nods sadly.

BARBARA: C’mon. Let’s get you home.

Cradling Dinah in her arms, Barbara picks her up and carries her back towards the convertible.

SAVANT: (O.S.) You think it’s that easy?

Savant is standing in the doorway, wiping the blood from his mouth.

SAVANT: I have not yet begun to fight! Ninja, attack!

Suddenly, every hiding place and dark shadow in the neighborhood seems to sprout a NINJA. Barbara looks around.

BARBARA: The Brotherhood of the Fist. Wouldn’t be a party without ‘em.

She sets Dinah down in the backseat.

BARBARA: Relax. I’m going to make all of this better.

Dinah tries to shout “Behind you!” Barbara turns to see a NINJA arcing through the air, katana poised for the kill. A crossbow bolt brings the ninja to a sudden stop in mid-air and he unceremoniously falls to the ground. HUNTRESS hops into the convertible’s shotgun seat.

HUNTRESS: Oracle, I think we’ve overstayed our welcome!

Barbara jumps into the driver’s seat, starts the convertible up.

HUNTRESS: Actually, I guess I can’t call you that anymore. So what’s it to be? Batgirl? Batwoman? Maybe we could go whole-hog PC and call you Batperson.

BARBARA: Hang on.

HUNTRESS: What do you mean, hang...

Barbara steps on the gas. The tires SQUEAL, spitting out smoke like a dragon’s mouth as the Thunderbird LAUNCHES into motion. Huntress is pinned to the back of her seat by the acceleration. The ninjas pursue over the rooftops, an invisible army seen only by their darkness against the starry night sky.

In the doorway, Savant is joined by Creote.

SAVANT: That did not go as I had anticipated it. (beat) I think I slipped a disk.

CREOTE: Would you like a back massage?

SAVANT: No thanks, brah, I’m cool.

EXT. GOTHAM ROADWAY – NIGHT

The Thunderbird ROARS down the empty road, swerving what little traffic there is. The ninjas follow, jumping from streetlight to streetlight and from car to car. A group of SEVEN ninjas assemble on the top of an EIGHTEEN-WHEELER, attack with bows and arrows. Barbara takes evasive action as arrows thud into the car’s body. Huntress returns fire with the crossbow. Then she pulls back on the “barrel” of the crossbow, drawing back the bowstring and causing another arrow to spring up into the “chamber.” A pump-action crossbow!

Two ninjas down due to arrows, the remainder jump down onto the Thunderbird. Barbara VEERS the car under the eighteen-wheeler’s trailer, scraping four ninjas off. One rolls under the truck’s rear wheels. SQUISH.

But the last ninja has taken cover in the backseat. He struggles with Dinah, who grabs an arrow out of the seat cushion and STABS HIM IN THE THROAT. The ninja gags as Dinah kicks him out of the car.

But FOUR ninjas have surrounded the Thunderbird on the backs of other cars. They leap towards the convertible. Huntress takes one out with a crossbow bolt, but the others land. One on the running board next to the driver’s seat, one on the back of Helena’s seat, and one on the back of the Thunderbird.

The following happens almost simultaneously.

A. Dinah jumps up onto the rear of the car, trades blows with the third ninja. He sucker-punches her in her bullet wound. Dinah lets out a silent scream and crumbles as the ninja pulls a pair of NUNCHUCKS. He impressively swirls them around his body. Dinah pulls her own weapon... ripping the ANTENNA off the car. They duel.

B. The first ninja hangs off the side of the car next to Barbara. He punches Barbara across the face, knocking her glasses off. Barbara retailiates, a blazing fury of close quarters combat. But she’s hampered by the fact that she has to keep one hand on the wheel to avoid the traffic they’re flitting past. The ninja takes advantage, wrapping a stiletto wire around her throat. Barbara has to use BOTH HANDS to stop the wire from decapitating her. The wire cuts into her fingers, making them slippy with blood.

C. Huntress tries to sweep the second ninja’s legs out from under him, but he jumps over her blow and kicks her in the head. Huntress’ head bounces off the dashboard as she brings her crossbow to bear. The ninja kicks it to the side (towards Barbara) and it goes off, the arrow WHIZZING between Barbara and the first ninja.

D. This distracts the first ninja, making him lose his grip.Barbara leans backwards, using her legs to SWERVE the car to the left. It bumps against the concrete partition between highway lanes. The ninja’s spine goes crunch and Barbara backhands him so hard that he tumbles OVER the divider and into oncoming traffic.

E. Huntress grabs the SEAT LEVER and tugs on it, causing the seat to RECLINE. The ninja tumbles backwards, over the backseat and over the trunk (both Dinah and the third ninja have to jump over his body) and off the back of the car, his head bouncing against the bumpber as he falls.

F. Dinah jumps into the backseat, landing on her back, and stabs out with the antenna like it was a rapier. It goes between the driver and passenger seats, hitting a switch on the dashboard. The trunk POPS open, causing the last ninja to lose his footing and pitch forward. Dinah uses her legs to catch the ninja and add power to his course, throwing him up and over the car. He lands in front of the Thunderbird and is RUN OVER.

A stunned beat as each of them processes the ninja attack. Then Barbara turns on the radio. Junior Senior’s “Shake Your Coconuts” play as we hold on the trauma. Huntress takes her mask off, runs a hand through her hair. Barbara picks up her glasses. The lenses are cracked. She chucks them out of the Thunderbird and grabs an glasses case from the glove compartment. Inside is an identical pair. Dinah bandages her own wound.

BARBARA: God, I hate ninjas.

Another long beat. Then Dinah taps Helena on the shoulder and points to the glove compartment. Helena opens it and finds a PEN AND NOTEPAD.

HUNTRESS: Don’t tell me this is here in case someone has their voicebox cut out.

BARBARA: Tongue, actually.

Dinah takes it and writes down “You can walk?” She holds the notepad up to Barbara.

BARBARA: I can’t read, I’m driving.

So she holds it up to Helena.

HELENA: “You can walk?”

BARBARA: Yes, Dinah. Long story. I’d really rather not get into it right now.

Dinah writes some more.

HELENA: She says she thought you trusted her.

BARBARA: I do. But this is... complicated. Look, every partnership has secrets they don’t share.

HELENA: “Not us.”

And in a weird way, Helena begins to wonder if she’s part of this. Barbara and Dinah are oblivious to this as they include her in the interplay.

HELENA: “I’m sorry for what I said.”

BARBARA: Yeah, me too. It’s just... I see you taking these risks and I see myself before... before what happened to me. And I don’t know what I’d do if I lost you.

Dinah reaches out, fingers caressing Barbara’s chin, and turns her head to face her.

DINAH: (mouthing) I’m not going anywhere.

Dinah settles back into the backseat and writes something else.

HELENA: I’m sorry for kissing Dick.

BARBARA: (turning to Dinah) You kissed Dick!?

HELENA: No, me. I’M sorry.

BARBARA: Oh. Well... you’re forgiven. Just see that it doesn’t happen again, alright?

HELENA: I’ll do my best.

Dinah hands Helena what she was writing.

HELENA: “This isn’t the way to the hospital.”

BARBARA: Yes, Dinah, I know. Hospitals aren’t safe right now. We’re taking a brief detour.

EXT. HOTEL – NIGHT

The Thunderbird pulls to a stop. Barbara steps out, grabs the notepad from Dinah, and writes down an address. She hands it to Helena.

BARBARA: Take Dinah here. He can help her.

Barbara walks away, towards the hotel. It begins to drizzle.

HELENA: Hey, where are you going?

Barbara doesn’t answer her. Helena brings up the roof. We watch from inside the car as Barbara runs up to DICK GRAYSON, about to enter the hotel, and leaps into his arms, wrapping her perfect legs around him. We can’t hear what they’re saying, but we get the gist. The perfect couple.

Dinah watches them; hurt, betrayed. Her mouth moves wordlessly. Helena manfully thumps her on the back.

HELENA: Relax, kiddo. Nothing you could say would change it anyway.

She drives off. We get Dinah’s perspective on Barbara and Dick as they disappear in the rain, him twirling her around and around and around...


Next: Ted Kord

 

[jimthecomicguy]

Just write it. I thought of shooting it, but those SCUD missile launchers are a ***** to rent and finding an actress who'll wear fishnet stockings? Forget about it!

It could be shot, just have to be creative.

And, I had Black Canary make an appearence in my DEATH IN THE FAMILY flick..she rocked the fishnets.

http://i107.photobucket.com/albums/m294/jamesdziedzic/BATMAN/BATMAN STILLS/deathnfam014.jpg

 

[Zev]

EXT. KORD INDUSTRIES – NIGHT

Cut to a SCARAB LOGO on top of a gate. The Thunderbird pulls up to the gate. Helena looks at the SECURITY GUARD in his booth (she’s pulled a trenchcoat on over her costume).

HELENA: Okay, I know this is going to sound weird...

SECURITY GUARD: Oh, hi Dinah. Come on in.

He presses a button and the gate swings open. Helena gives Dinah a look.

INT. KORD INDUSTRIES – NIGHT

TED KORD is an eccentric inventor, a few pounds overweight, dorky goggles pulled up on his forehead. Think Willy Wonka by way of Bill Gates with an infinite amount of cheese added. He opens the door to let Helena and Dinah (they’re using Helena’s cape as an umbrella) in.

TED: Dinah! Always a pleasure! And who’s this?

He lets loose an elaborate romantic French greeting, climaxing in kissing Helena’s hand.

HELENA: (flattered) I don’t speak French.

TED: That’s okay, I don’t either. (to Dinah) So, I’m assuming this isn’t a social call.

Dinah points at her throat. Ted examines it.

TED: Huh. Surgically removed voicebox. Tricky. I’ve got just the thing. Follow me!

He leads them deeper into the complex. Dinah communicates with him in SIGN LANGUAGE, helpfully subtitled for the folks at home.

DINAH: (subtitled) You’ve lost a few pounds.

TED: Oh, you noticed. Yeah, new exercise routine. I’m benching about one-fifty now. You?

DINAH: (subtitled) Two-twenty.

TED: Oh. That’s... (over his shoulder, to Helena) I must warn you, my dear, there’s a low-hanging pipe you should watch out for, so you might wanna...

Needless to say, he runs right into the pipe. A moment as he holds his head.

TED: Moving right along...

INT. KORD INDUSTRIES – TESTING CENTER – NIGHT

A variety of insomniacs are hard at work on your standard Bond gadgets. We recognize Oracle’s wheelchair and several variations on the BOP communicator. A man in a blue and gold jumpsuit, accompanied by a small hovering robot, falls into step next to Ted. His clothes are smoking.

TEST PILOT: Look, Ted, I want you to hear this from me, so I’m just gonna put this to you straight. I crashed the flight simulator.

TED: What? Michael, how do you CRASH a flight SIMULATOR?

TEST PILOT: I don’t think now is the appropriate time for finger-pointing.

TED: Just... fix it. I’m with a client.

TEST PILOT: I can see that. Hi Dinah. And HELLO...

He pulls in next to Helena.

TEST PILOT: You know, I’m from the future, and I can see your future’s with me...

Ted shoves him aside.

TED: Ignore him. Janitor with delusions of grandeur. Skeets?

Skeets, the robot, drags the Test Pilot away by the ear.

TED: Anyway, where were we?

DINAH: (subtitled) My voice.

TED: Of course. C’mon, you’re gonna love this.

He stops in front of an aquarium.

TED: Tada.

HELENA: What is it?

Pulling on a pair of gloves, Ted reaches into the tank and grabs a trout. He pulls it out of the water and SQUEEZES it, turning the fish translucent. Inside it is an EYEBALL.

TED: Mass-produced replacement body parts.

HELENA: It’s disgusting.

TED: I know. Cool, huh?

INT. KORD INDUSTRIES – SURGICAL THEATER – NIGHT

Dinah is on the table, DOCTORS prepping for surgery. In the observation area far above, Ted and Helena watch.

HELENA: What are her chances?

TED: Veal.

HELENA: What?

TED: I know a place that serves this great veal... oh, your friend will be fine, we do this all the time... in the simulator... would you care to eat my veal tonight?

HELENA: Are you flirting with me?

TED: That’s not the question. The question is, “am I succeeding at flirting with you?” Before you answer, keep in mind I’ll pick up the tab no matter what.

HELENA: I once gave a man a handjob for buying me a beer. And he wasn’t as cute as you. That’s a yes, by the way.

Ted’s jaw drops as Helena walks away.

TED: Nothing can ruin this day! Nothing!

Offscreen, something explodes and the camera SHAKES.

TEST PILOT: (O.S.) My bad!

TED: Nothing!

INT. PENTHOUSE – THE NEXT DAY

Savant walks in, crossbow bolt in hand, SLAMS the door behind him.

SAVANT: Honey, I’m home!

Several guns cock. We see that MANDRAGORA is waiting for him, several henchman ready to exterminate Savant.

SAVANT: I think you have me a little outgunned.

Savant waltzes up to Mandragora’s desk.

SAVANT: I assume, since I’m not shot already, that you’re either trying to think up a really good one-liner or you’re going to give me a chance to explain?

MANDRAGORA: Mr. Savant... do you really think a failure as complete as your own could go unpunished? Not only have you lost the girl, but you’ve brought down the undivided attention of the Oracle upon us. What could possibly make up for that?

Savant takes a cigar from Mandragora’s humidor, LIGHTS A MATCH off Mandragora’s face.

SAVANT: If you kill me, you’ll never know.

He lights the cigar, puffs it a few times.

SAVANT: Hmm... minty.

MANDRAGORA: I was just going to shoot you in the head and leave you in a ditch somewhere, but if you insist upon being boorish about things, a more painful termination can oblige you.

SAVANT: Mandy, Mandy, Mandy... may I call you Mandy? You can stop with the threats. I’ve found the key to both carrying out our plan and destroying the Birds of Prey once and for all.

MANDRAGORA: I’ve heard these promises before.

SAVANT: But this time I’ve backed it up. Who captured the Black Canary?

MANDRAGORA: Oracle will have her hidden away within minutes.

SAVANT: True, but we don’t need to find her again. We’ve already got Oracly right where we want her.

INT. CLOCKTOWER – EVENING

Barbara sits at her computer, watching a LIVE FEED of Dinah recuperating in a hospital bed. She zooms in on Dinah’s face. We hear Ted’s voice on the transmission.

TED: (O.S.) The operation was a complete success. You should regain your voice very soon. But as for your sonic scream... we show no sign that your new vocal cords could handle that power. I’m sorry.

His shadow falls across Dinah as he leaves. HOLD on Dinah for a moment. A tear runs down her cheek. Barbara reaches out, rubs the screen where the tear is.

BARBARA: Oh, Dinah...

GLOVED HANDS cover her eyes.

MAN: (O.S.) Guess who?

Barbara closes the feed and turns around.

NIGHTWING: Found a blind spot in your security net. Thought I’d let you know.

BARBARA: By giving me a heart attack?

She shoves him playfully.

BARBARA: I’m going to have to add more security precautions now!

NIGHTWING: (unmasking) Oh no, anything but that...

He takes her glasses off gently.

GRAYSON: You’ve made your point. Now let me make mine.

He kisses her. We get a tight shot of his hand closing around her knee, running up her thigh.

GRAYSON: (re: her hacker clothes) I miss the leather.

BARBARA: You didn’t miss it last night. You’re insatiable, you know that?

GRAYSON: You know you love it.

They kiss as we TIME-FADE to later in the day.

Dinah walks in, wearing fresh clothes and a bandage around her throat. She massages it and lets out a hoarse...

DINAH: Barbara?

No response. We hear the shower running in the background. Dinah heads towards it.

INT. CLOCKTOWER – BATHROOM – EVENING

Dinah walks in on Dick in the shower (in a tasteful, PG-13 kinda way).

(And yes, I’m aware that it’s hypocritical that you can show ninjas being run over and get a PG, but one sight of cock and it’s an NC-17, but I don’t make the rules and moreover, I prefer America’s kinda wacky views on sex to WHATEVER is up with Japan. I mean, seriously, machines that sell used schoolgirl panties? Moving on...)

He belatedly pulls the shower curtain closed as she shields her eyes.

GRAYSON: What are you doing here?

DINAH: (re: shower curtain) Why didn’t you have that on in the first place?

GRAYSON: Why did you even come in here if you knew the shower was running?

DINAH: I...

She grabs a brush from the sink.

DINAH: I needed my brush!

She walks out.

INT. CLOCKTOWER – LIVING ROOM – EVENING

Barbara, dressed up in her Batgirl costume, vamps playfully in front of a mirror. Her breasts sag a bit more than she remembered and the costume’s tight in a few places, but still... woof.

BARBARA: High heels... what was I thinking?

Dinah walks in, spots her. Gives Babs a bit of the ol’ up-and-down. Who wouldn’t?

DINAH: So... (you can walk again, you’re dressed up as Batgirl...) you have a guest.

BARBARA: Nightwing came over and...

DINAH: Yeah, I ran into him. In the shower.

BARBARA: Dinah, you didn’t... you didn’t.

Dick walks in, fully-dressed, drying his hair with a towel.

GRAYSON: I gotta run. Bye Babs... Dinah.

He makes his less-than-graceful exit.

DINAH: Tell me you didn’t sleep with him.

BARBARA: Well, there wasn’t much sleeping involved.

Dinah throws her hands up in the air.

DINAH: Barbara, I thought the two of you were only together on a trial basis!

BARBARA: Now it’s official.

DINAH: How official? You don’t have a ring, do you?

BARBARA: (teasing) Not yet. (then, serious) You are happy for me, aren’t you?

DINAH: (ambiguous) Ecstatic. He’s... (searches for the right words) Something else.

BARBARA: As long as you look but don’t touch, Dinah.

DINAH: Oh, I looked. Dick is fine, I know. But he’s... not my type.

BARBARA: Uh-huh. You think I should get rid of the cape?

DINAH: What?

Barbara holds her cape in front of her face, like Dracula.

BARBARA: If I go back into the superhero business, you think I should eighty-six the cape? I think it kinda jumped the shark after The Incredibles.

DINAH: Barbara... Babs... you are a superhero. You’re Oracle. I love you.

Dinah’s “did I just say that part out loud” face melts into a “there, I said it” arms-cross.

BARBARA: Oh, Dinah, I love you too.

Dinah does a double-take. Did she just say...?

BARBARA: You’re my best friend.

Dinah looks away.

DINAH: I’m going to... I’m going to have to go away for a while. There’s some things I have to take care of.

BARBARA: Can I help?

DINAH: There’s only one person that can help me and you’re not her.

She walks off in that slow “tell me to come back” way. Barbara doesn’t tell her to come back.

DINAH: (low) Maybe you never were.

Barbara watches her go. Then doubles over. She pulls up her shirt. Something is THROBBING under the skin of her stomach.

INT. JAPANESE TEAHOUSE – EVENING

Canaries are flutting around inside hanging birdcages. In the background, a young Korean man is making sushi. LADY SHIVA sits in a dark corner, drinking tea. Someone approaches her... sets down a SUITCASE on the table before Shiva. Shiva opens it. It’s full of clothes and life’s little necessitites. PAN UP to reveal that the suitcase belong to Dinah.

DINAH: I’m ready.


Next: Shiva

 

[Zev]

INT. PENTHOUSE – THE NEXT DAY

A butler opens the door. Helena, dressed in a fetching evening gown, smiles.

HELENA: Hi. I’m here for brunch?

BUTLER: You’re late.

HELENA: I’m still between breakfast and lunch, so I’d say I’m right on time. Take my coat?

She throws it on him like he was a hall tree.

HELENA: Much love.

Mandragora is waiting on the balcony, places set on a table for both of them.

EXT. BALCONY – DAY

Helena walks out onto the balcony. Spectacular view of the skyline. Mandragora pulls out her chair for her to sit down, then sits down himself. The butler brings them food.

MANDRAGORA: You’re late.

HELENA: You invited me on short notice. I had to break a date.

MANDRAGORA: Nothing too pressing, I trust.

HELENA: Not TOO pressing, no... but I’m hoping this meeting will be a bit more rewarding.

MANDRAGORA: Oh?

HELENA: I caught the tail-end of your spiel to the Gotham crimebosses... your big plan to restore order to the underworld or whatever... I want in.

MANDRAGORA: You want... oh, that’s rich. Why should I trust you?

HELENA: Why should I trust you? And yet I came here anyway...

MANDRAGORA: You make a good point. (beat) A group of Russian mobsters have been infringing on my territory. I can’t act upon them without risking open war, but by acting through a proxy...

HELENA: I’ll deal with it personally.

EXT. CLOCKTOWER – DAY

We rapidly track up the side of the building.

HELENA: (V.O.) Alright, here’s the plan...

INT. CLOCKTOWER – GEAR ROOM – DAY

Helena sits on a horizontal gear, slowly rotating.

HELENA: I’ll go and deal with this like I said I would, you two stay here and have more sex.

Reverse angle shows Barbara sitting at her computer, Dick nearby in a leather “thug” disguise.

BARBARA: You need to have muscle if you’re going to look like a crimelord. Dick has experience at undercover work.

HELENA: Oh, you were just waiting for a chance to bust out the leather pants, weren’t you?

GRAYSON: It’s called a disguise. You might wanna look into it sometime.

HELENA: Hmm... Dick in leather, following my every order... sounds like a dream I had once. Thanks but no thanks. I’d prefer to handle this alone. Or do you think I need a chaperone?

A long beat.

BARBARA: No killing.

Helena holds up her pinky finger.

HELENA: Pinky swear.

She walks out. Grayson takes a step after her.

BARBARA: Dick, let her go.

INT. HAIR SALON – DAY

Four RUSSIAN MOBSTERS walk in. Big guys, too. The smallest goes to the salon’s OWNER.

MOBSTER 1: It’s Friday, Frankie. Where’s our money?

HELENA: (O.S.) It’s not your money, comrades.

A chair turns around to reveal Helena, smiling.

MOBSTER 2: Who the hell are you?

HELENA: I’m shocked. None of you have noticed my new haircut.

She stands up.

HELENA: This place is already under my protection. Leave or bad things happen, dot dot dot.

MOBSTER 1: Break her.

The other three mobsters step forward. Helena clips the first one in the kneecap with a kick, grabs his head as he falls forward and dashes his nose against the chair she was sitting in. The second throws a punch. She ducks under it and snaps the fourth one in the jaw, knocking him back, then grabs a pair of scissors as Mobster 3 draws his gun. Helena buries the scissors in his hand, causing the shot to go wild (it cracks a mirror). He releases the gun, she catches it and dives forward with an elbow against the solar plexus, knocking him out. Mobster 4 is also drawing a gun. She snap-kicks him backwards into the cracked mirror, completely shattering it. He’s out.

Mobster 1 goes for his gun. Helena shoots him in the kneecaps. He falls back against his chair, cringing. Helena moves the gun up to his head for a moment before lowering it. She grabs a hair clipper.

HELENA: Let’s do something about those bangs, shall we?

EXT. GOTHAM CITY – THEATER DISTRICT – NIGHT

Dinah and Shiva walk through the DC equivalent of Broadway. Theatergoers swarm around them.

SHIVA: There is little I can teach out of the way of the warrior. You have learned much in your own dunderheaded way.

DINAH: Gee, thanks.

SHIVA: Only the final and most important lesson eludes you.

DINAH: And what is that?

SHIVA: This lesson cannot be taught, it can only be learned.

DINAH: Oh, it’s one of those lessons.

Shiva suddenly grabs Dinah by the throat and pulls her into a dark alleyway.

EXT. BACKALLEY – NIGHT

Shiva slams Dinah against the wall, choking the life out of her.

SHIVA: Your sarcasm is not appreciated. (beat) This frightens you, does it not?

DINAH: No.

SHIVA: Liar.

She pulls the bandage off Dinah’s neck, revealing the scar. Shiva traces the line of it with one long fingernail.

SHIVA: You fear being under another’s power, yet you put yourself in harm’s way. You fear not being in control of your own life, yet you give yourself over to this Oracle. And most of all, you fear death.

DINAH: Of course I fear death! What else can you do?

SHIVA: Embrace it. That is how I love.

DINAH: That’s because you’re psychotic.

Shiva lets Dinah go.

SHIVA: As you will. But still, you come to me for guidance. Perhaps you hope my madness is contagious?

DINAH: I don’t want to be like you.

SHIVA: You lie once again. And you trust too easily. That is how I was able to overcome you. And that is why you are here. Someone you trusted hurt you and all of your morality, all the lives you’ve saved, all the people you’ve helped... none of it is of any help to you now.

Dinah looks at her shoes. That one hit home.

SHIVA: You remind me of my sister. She was idealistic too. And beautiful, in so many ways. (beat) Her beauty did not help her survive this world.

Shiva’s hand lances out, closes around Dinah’s breast. Dinah gasps.

SHIVA: It will not help you either. Listen closely in the next few moments and you may hear the voice of God.

She releases Dinah and walks away. Then Dinah realizes she CAN’T MOVE.

Shiva has paralyzed her.

Her eyes turn. She can see Shiva, walking to the other end of the alley. A TRASH CAN FIRE and the moonlight are the only illuminations. A gang of PUNKS is gathered around the fire, going over their loot. Some of it is stained with blood.

PUNK 1: Hey, pretty lady.

PUNK 2: You got someplace else to be?

SHIVA: Are you speaking to me?

PUNK 3: Lemme hold your coat, sweet mama.

SHIVA: Alright, while you are able to hold anything.

She takes off her coat, revealing her tight tunic.

PUNK 1: Look at that.

PUNK 2: Damn fine.

PUNK 3: Party down.

SHIVA: What fascinating repartee.

Shift to Dinah. Watching. Unable to warn them. The scene reflected in her eyes.

PUNK 1: We gonna give it to you.

PUNK 2: Stick it to you.

PUNK 3: All night long!

SHIVA: Would you care to elaborate?

PUNK 1: Turn you every which way but loose.

PUNK 2: You so fine you got to be mine.

PUNK 3: Give you somethin’ to talk about.

SHIVA: You are expressing intentions regarding my physique, correct? Kindly continue.

PUNK 1: We gonna... party... stick it...

PUNK 2: You fine.

PUNK 3: Party down.

SHIVA: Already you have exhausted your store of compliments? You disappoint me. When leering animals express interest in me, they can usually drool out their puerilities for at least five minutes. Allow me to paraphrase you. You intend that I submit to your sexual crudities without resistance. Is this not so?

PUNK 1: I guess.

PUNK 3: Party down.

SHIVA: And when the indignities are finished?

PUNK 3: Party down.

PUNK 1: We gotta kill you.

SHIVA: Attempt it.

Punk 3 reaches for her. She drives his nose into his brain, killing him instantly. Punk 1 draws a knife, Punk 2 a gun.

SHIVA: Ah, the inevitable weapons. A gun and a knife. Yes. Normally, guns are the considered the more dangerous and so to be disposed of first. To demonstrate my respect for you both, I will deal with the blade.

Punk 1 slashes at her as Punk 2 fires. She knocks the knife out of his hand with one hand while catching the bullet with the other, finger-flicks it into Punk 2’s eye, breaks his spine with a kick to the stomach. Pulls away from Punk 1, feels blood trickling down her forehead. She feels her wound, tastes her blood.

SHIVA: You cut me. You actually cut me.

She breaks him.

PUNK 1: What’d you do to me?

SHIVA: Much.

PUNK 1: How bad is it?

SHIVA: For approximately ninety minutes, shock will numb your injuries. After that... you shall suffer exquisitely.

PUNK 1: Why?

SHIVA: Your leader sent men of your caliber to kill me. To try for my life, that was his perogative, but to send the likes of you... it is an insult.

She kisses him on the cheek and walks back to Dinah, freeing her with a touch.

SHIVA: (to Dinah, “can you believe this?”) One of them cut me. I let him live, of course.

She continues walking, Dinah reluctantly following.

DINAH: I don’t get you. You can be the most ruthless, cold-blooded...

SHIVA: On the contrary, I can be quite warm-blooded.

DINAH: ...gleeful killer I’ve ever known and yet you let that man live...

SHIVA: Do not torment yourself trying to understand me. Your mind is not ready to understand. It may never be ready to understand me. Content yourself with this: I am outside.

Dinah grabs Shiva by the shoulder and turns her around.

DINAH: If I kissed you, you’d probably break a dozen of my bones.

SHIVA: Perhaps worse. Yet neither of us can know unless you try.

INT. CLOCKTOWER – KITCHEN – DAY

Barbara makes herself a sandwich as Helena tools around in the other room.

HELENA: Shaved ‘em bald. I think Mandragora bought my explanation of how that’s better than killing them. Something about how now when people see them, they’ll know not to go into his territory.

BARBARA: I’m proud of you.

HELENA: Like I care.

BARBARA: (quietly) You do.

HELENA: Hey, you said it yourself. I’m a vigilante, not a Bird of Prey. Remember?

BARBARA: Less and less with each day.

Helena smiles. Barbara finishes making her sandwich. Takes a bite.

BARBARA: Mmm. You want one? I have tuna salad...

No answer. She looks into the other room. Helena is gone, the computer powered on... and open to MANDRAGORA’S FILE. A flashing notation. “Stands the most to gain from the Bertinelli murders.”

INT. GYM – EVENING

Savant, stripped down to his undershirt and with his wrists taped, is working out. Working a punching bag that’s JUST OFF-SCREEN. He’s covered in sweat.

SAVANT: The problem isn’t that America is stupid. You sit the average American down, ask him to tell you what Don Quixote is about, he’ll surprise you. The problem is that everyone thinks all of America is stupid and thus they’re “one of the smart ones.” The faith in your countrymen, hell, faith in mankind, it’s gone out the window! Now it’s all about them and they and what dumb hicks they are.

PULL OUT to reveal that he’s talking to Creote, who is HOLDING A MAN IN PLACE for Savant to beat.

SAVANT: I realize that I should be saying typical thug things like “Where’s my money? Where’s my money?” at this point, but I figure anytime you want the punching to stop, you can just tell me. That’s what I’m talking about, faith in the intelligence of my fellow Americans. What do you think, Creote?

CREOTE: I think people are different kinds of smart. Some people may be able to writing a stunning poetic epic, but still be totally oblivious to what’s right in front of them. (beat) Your sweat smells nice.

SAVANT: Thanks, I’ve been trying a new cologne. It’s one of those heat-activated things, so when I exert myself, it kicks in. I love not feeling disgusting after a long fistfight.

Helena walks in.

HELENA: (greeting them) Savant. Creote. Nameless victim. Seriously, aren’t you a little high up the ladder to be breaking legs?

SAVANT: Hello Hel. And every now and then you’ve got to get your hands dirty. Keeps you fresh. Keeps you sharp.

HELENA: Get your hands dirty... like you did with Jason Bard? Or the Black Canary?

SAVANT: Not my best work, but I was pressed for time. What brings you to my neck of the woods?

HELENA: I’m here to see Mandragora. He here?

Savant gestures upwards.

SAVANT: He’s doing his “the world will be mine!” thing. So, you doing anything Sunday? I have two tickets to the circus...

HELENA: Are you... asking me out on a date?

SAVANT: Yeah.

HELENA: No.

SAVANT: Why not?

HELENA: Because you’re a psychopath.

SAVANT: You’re in the Mafia. Pretty much ninty-nine percent of your dating pool are psychopaths.

HELENA: Yes, but they’re probably CUTE psychopaths. Bye.

She walks away. Savant grumbles and gut-punches the victim.

SAVANT: Stuck-up *****.

CREOTE: Indeed, sir.

EXT. BALCONY – EVENING

Mandragora watches the sun set on Gotham.

MANDRAGORA: Such a lovely city. (Helena walks up behind him) I’m going to miss it...

HELENA: Why?

Mandragora turns around, a bit surprised.

MANDRAGORA: We’re leaving. Tomorrow morning, for Santa Prisca.

HELENA: What’s in Santa Prisca?

MANDRAGORA: The Dagger of Horvath.

HELENA: Think I caught a special about it on the Discovery Channel last week.

MANDRAGORA: I doubt that. You’ve heard of the Spear of Destiny?

HELENA: Sure. Supposedly it pierced the side of Christ on the cross. Every would-be world conquerer had his mitts on it at one point or another: Alexander the Great, Hitler... stories go that an army that carries the Spear of Destiny is invincible.

MANDRAGORA: What the stories don’t say is that the spearhead was taken and reforged into a dagger. Long, boring story. I trust you’re not interested...

HELENA: So that’s your plan? Use some... urban legend to conquer the city?

MANDRAGORA: No. Whatever powers the dagger might have, its principal value is as a historical commodity. There are a great many people who would flock to our cause were the dagger to fall into our possession. A great many.

HELENA: Mind if I freshen up?

The words jar him.

INT. BATHROOM – EVENING

One of those fancy kinds with the toilets that shoot water up your ass. Helena primps in the mirror. Redoes her lipstick. Straightens her hair. Checks the STILETTO BLADE hidden in her bracelet. Everything in place, everything ready.

ORACLE: (filtered) Helena, this is your conscience speaking...

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara has Helena’s “eyecam” up on the monitor. Since she’s looking in a mirror, Barbara can see Helena.

BARBARA: Standdown now.

HELENA: I found out what they’re planning, Oracle. No more need to play undercover girl. I’m taking him out, right now.

BARBARA: If you kill Mandragora, his entire organization will live on. Just show a little patience and we can have them all.

HELENA: I don’t care. All I want is Mandragora. Barbara... he killed my parents. My entire family.

BARBARA: We can’t know that for...

HELENA: Stop lying to me, Barbara! (beat) How long have you known?

BARBARA: ...long enough. But Helena, listen to me. I don’t know what went down with Black Mask. Maybe there was another way, maybe there wasn’t. But if you do this, you’ll be a murderer. And you’re better than that.

HELENA: You don’t know me all that well.

BARBARA: I could. If you’d let me.

A long pause.

HELENA: Promise me we’re gonna get this guy, Babs. Promise me.

BARBARA: I swear it.

HELENA: Don’t call me, I’ll call you.

The screen goes dead. Barbara sighs and leans back in her chair. Pulls a drawer out from the desk, takes a plastic cord from it, and ties a tourniquet around her arm.

BARBARA: One crisis averted, one to go...

Barbara draws a small sample of blood from her arm. Injects it into a small membrane over her computer. The blue silicone bag turns red quickly. The computer rans an analysis, then...

“Test results confirmed. Positive.”

Barbara takes off her glasses, massages her sinuses. Not the news she was looking for.

INT. LINDA’S HOUSE – STUDY – EVENING

Wally sits a desk, listening to a webcast on headphones. It’s in Zandian. He thumbs through a worn English-to-Zandian dictionary at superspeed, takes copious notes. “The Brotherhood above the individual.” “Call to militarization.” “Charisma – Blood is the key.”

After a moment, he presses pause, takes the phones out of his ears. Lets them dangle.

WALLY: What are you planning, Blood? And why do so many people have to die for you to get it?

The phone rings. He snaps to. His hand comes up with the RED PHONE. He answers.

WALLY: Oracle? What’s the job?

ORACLE: (filtered) It’s not like that. This is... personal.

Wally shifts in his seat, getting comfortable.

WALLY: Oh?

ORACLE: (filtered) I’m pregnant.

A shocked beat. Wally looks at the phone like it might bite him.

WALLY: Are you going to keep it? Do you know who the father is? Why are you calling me with this? Am I the father?

ORACLE: (filtered) We haven’t slept together, West.

WALLY: I know that, but it could be... time travel or something!

ORACLE: (filtered) I need you to focus. I need... I don’t know what I need. This... I have no plans for this.

WALLY: I’m sorry. How you feelin’?

ORACLE: (filtered) Scared.

WALLY: Makes sense. You, uh... you know who the father is?

ORACLE: (filtered) Yeah.

WALLY: Does he know?

ORACLE: (filtered) Not yet.

WALLY: Is he going to know?

ORACLE: (filtered) I haven’t decided.

WALLY: Oh God, this is a lot to... what can I do to help?

ORACLE: (filtered) I just need to talk to a friend right now.

WALLY: Oracle?

ORACLE: (filtered) Yeah?

WALLY: I’m listening.

ORACLE: (filtered, after a long pause) Call me Barbara.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara puts her glasses back on. We get her POV. The world is blurry. She takes her glasses off. Crystal clarity. Weird.

She puts her glasses aside and doesn’t give it a second thought.

Even weirder.

INT. BATHROOM – EVENING

The same one Helena was in earlier. Savant belatedly shaves. Finishes above his mouth. Takes a cupped handful of water and splashes his face. When he looks back up, BATMAN is reflected in the mirror.

BATMAN: You’re not morally equipped for this job. Your presence will not be tolerated.

Savant points at angry finger at the mirror.

SAVANT: You’re not... I am 90% certain that you’re not actually here at this time.

Batman steps forward, transitioning into Creote.

CREOTE: We are alone, Mister Savant.

SAVANT: Good. Excellent...

Savant moves over and Creote domestically garbles some mouthwash next to him.

SAVANT: I was going to be a superhero, Creote. This is the city for that, you know.

CREOTE: Yes.

SAVANT: I met the Batman last night.

CREOTE: It was four years ago. Have you taken your medication today?

Like a child, Savant cannot lie to Creote without feeling immense guilt.

SAVANT: ...I don’t see the relevancy of that.

Savant dries his face with a towel.

SAVANT: I really thought things were going to be different with Oracle, you know. Really thought I was finally going to have the respect I deserved. To be dismissed... ABANDONED... so callously... that I could get over. I could forgive and forget. Except for the forget part. The mornings when I wake up and I think I’m still working with her and I’m so excited...

He bites his lip.

SAVANT: It hurts when you remind me how things have changed, Creote. I think it will hurt much less once they’re all dead.

 

[Zev]

EXT. JAPANESE TEAHOUSE – EVENING

In an ornate Japanese garden, Dinah and Shiva spar. Well, Shiva spars. Dinah is tossed around.

SHIVA: You are stiff. You do not flow. You do not give yourself to the moment. What is troubling you?

DINAH: Everything.

SHIVA: Be more specific.

DINAH: How could you just... kill them like that?

SHIVA: The time may come when you must kill without hesitation or mercy. If I can give you anything, I hope it is that.

DINAH: You’re a monster.

SHIVA: And yet you come to me. Is it because I can give you something Barbara can’t?

DINAH: Don’t even say her name.

Shiva turns to leave.

SHIVA: Your chakras are out of alignment. Until you confess your feelings, your spirit will continue to stagnate. You will never obtain enlightenment. (beat) And Barbara will never return your love.

INT. CLOCKTOWER – EVENING

Dinah stands outside the door for a long moment. Then, she raises one trembling hand to knock.

BARBARA: (O.S.) It’s open.

Dinah presses on the door. It swings open. She enters. Inside, Barbara sits at her computer, in her old wheelchair.

DINAH: Barbara? What’s with the...

BARBARA: It’s more comfortable.

DINAH: Oh. Okay. That’s kinda what I wanted to talk to you about...

Barbara folds her hands over her lap.

BARBARA: Go on.

DINAH: Well, I... Mind if I sit?

BARBARA: Go right ahead.

Dinah sits down.

DINAH: For a long time, our relat... partnership has been... comfortable. And I don’t want it to be. I mean, I want us to be comfortable with each other, I just don’t want us to be... we’ve been in a rut and I want us to move forward...

Barbara holds up a hand, silencing her.

BARBARA: Dinah, I already know.

DINAH: You do?

BARBARA: Yes. And I just have one question.

She reaches forward and intimately brushes the hair out of Dinah’s face.

BARBARA: How could you ever believe that I could love someone as pathetic as you?

INT. JAPANESE TEAHOUSE – BEDROOM – NIGHT

Dinah wakes up screaming. So fast that she must have been waiting outside the door, Shiva enters. As Dinah wipes her sweat-plastered hair off her face, Shiva sits down beside her. Dinah makes no move to pull up her bedsheets and hide her nightgown.

SHIVA: A nightmare.

DINAH: Yeah.

SHIVA: Your time in captivity.

DINAH: Another kind of captivity.

SHIVA: Your fear is holding you back. Let it go.

DINAH: How can I let her go when I can’t stop thinking about her?

Shiva rests a hand on Dinah’s thigh.

SHIVA: Maybe you just need something to fill the void.

EXT. JAPANESE TEAHOUSE – NIGHT

Another sparring session. Shiva and Dinah vigorously attack each other (metaphor? What metaphor?). Dinah isn’t holding back anymore. Her attacks are violent, irresponsible, reckless... and completely effective. Finally, a punch knocks Shiva for a loop. Shiva stops playing around, pins Dinah against the wall with a forearm across her throat.

SHIVA: Your skills are improving, Siu Jerk Jai.

We hear a bowstring being pulled back. Shiva turns her head to see HUNTRESS aiming a crossbow at her.

HUNTRESS: Let her go.

SHIVA: You are either very brave to accost me in my own backyard... or very foolish to aim a weapon at me when I am so near.

DINAH: Sandra, don’t.

HUNTRESS: “Sandra”?

TWANG! The bowstring breaks, rendering the crossbow useless. Shiva smiles that cat-that-got-the-canary (no, seriously, what metaphor?) smile.

SHIVA: Very foolish it is.

HUNTRESS: How did you...?

SHIVA: If you knew that, you would be the Shiva.

HUNTRESS: I don’t have time for this. Canary, you need to come with me right now.

DINAH: To what? Save the world? Find someone else.

HUNTRESS: It’s not the world that needs saving. It’s Barbara.

On Dinah’s face, a maelstrom of emotions as we FLASHBACK to...

INT. CLOCKTOWER – GEAR ROOM – EVENING

A secret entrance in the clockface swings open, allowing Nightwing access. He steps off the minute hand and into the Clocktower.

NIGHTWING: Hey, what’s a guy have to do to get invited into a beautiful girl’s high-tech communications center these days?

He looks around. The air is hot, muggy. He’s already broken out into a light sweat as he approaches Barbara, seated with her back to him at the computer. She looks over her shoulder at him.

BARBARA: Oh, Night... Dick. Sorry, I was lost in thought...

NIGHTWING: Someone else, right? Someone you just can’t stop thinking about? Tell me – I can take it. Batman trained me for situations just like this.

Barbara smiles at him.

BARBARA: No one like you, Dick. No one who even comes close. But I was thinking of someone new in my life.

She stands up... revealing she is MASSIVELY PREGNANT. Well into her third trimester. Her skin has become paler, her eyes as wide as a lobotomy patient’s.

NIGHTWING: Babs? Whoa... did you ever get fat!

BARBARA: Silly Dick... (rubs stomach) this is our son.

NIGHTWING: Our... okay, something’s wrong here. We need to get you to a doctor...

With schizophrenic speed, Barbara shifts gears. Her hand zooms out and strikes him across the face, knocking him out. Nightwing crumbles to the ground.

BARBARA: No one’s hurting my baby!

Helena walks in at the worst possible moment. Sees the situation. Barbara stares at her with laser intensity, then breaks into a wide smile.

BARBARA: Oh, hello Helena! Would you like to be a godmother!?

When she speaks, her voice is relentlessly upbeat. She’s hopped up on endomorphins something fierce.

HELENA: Ummm... maybe later. Could I get a raincheck on that? (backing away) I have to... return some videotapes.

BARBARA: Sure! Just be back in time for the baby shower!

Helena gets out of there as Barbara cradles Nightwing’s head in her lap. She takes off his mask and replaces it with her obsolete glasses.

BARBARA: There there, Dick. We’re going to be a family now. One... big... happy... family.

EXT. JAPANESE TEAHOUSE – NIGHT

Dinah tries to keep a poker face on despite her obvious concern for Barbara.

DINAH: Find someone else.

HELENA: You’re kidding, right? Barbara’s the original shut-in. We’re the only ones she trusted enough to let in on her operations. You think maybe we should try to respect her wishes before we bring in the League and expose her to everyone and their cousin?

SHIVA: Dinah no longer cares for Barbara’s wishes, whatever they may be. She has chosen a higher path.

HELENA: I’m sorry, who are you again?

SHIVA: (offended) I am Lady Shiva, destroyer of men, ruler of worlds, death incarnate...

Helena is unimpressed by the continuing litanty.

HELENA: You need to get laid. Pronto.

Shiva seethes with anger. Turns to Dinah stiffly.

SHIVA: As a gesture of respect for you, I will not make your “friend” eat her own face. I leave you to your conversation, confident you will make the correct decision.

She leaves Helena and Dinah alone. The two women face each other.

HELENA: Am I missing something here? Because last time I checked, you and Barbara were bosom... oh. Oh, I get what’s going on here.

DINAH: You do?

HELENA: Yeah. It’s so obvious, I can’t believe I didn’t see it sooner. (beat) You’re jealous that she’s dating Nightwing and you’re not.

A moment of stunned silence. Then Dinah bursts out laughing.

DINAH: Trust me, that is not it at all.

HELENA: Then what is?

Dinah sobers.

DINAH: How long can you be friends with someone when it hurts to be in the same room as them?

HELENA: I don’t know. But whatever’s going on between you two, Barbara’s in trouble. And her health is more important than your feelings. That’s what a true friend would say.

On Dinah, her determination growing...

INT. JAPANESE TEAHOUSE – NIGHT

Dinah stands in the doorway, suitcase in hand. Shiva sits at her table, smoking a long cigarette. Their first meeting: inverted.

SHIVA: You’re leaving.

DINAH: Yes.

SHIVA: I don’t care.

DINAH: I know.

SHIVA: Remember. A murderer kills unnecessarily. A dead man kills never. Only a true warrior can walk the line.

DINAH: I won’t forget you.

SHIVA: No, I don’t suppose you will.

Dinah walks out. A canary in a cage chirps a cheery song next to Shiva’s table. Shiva flicks her cigarette at it.

INT. GRATUITIOUS SUITING UP MONTAGE

A blonde wig is adjusted.

A leather bodice is zipped up.

Fishnet stockings are pulled on.

Boots are laced.

BLACK CANARY stands, ready for action.

HUNTRESS: Are you sure you want to keep the fishnets?

DINAH: They’re kinda my thing. Besides, what’s wrong with fishnets?

HUNTRESS: Nothing... Dr. Frank-N-Furter.

DINAH: C’mon, Dorothy, let’s go see the Wizard.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

The entire room has been rewired into a birthing matrix. It’s like a swamp. Fog comes up to the knee, the gears turn in slow motion, and Dick is duct-taped to Barbara’s old wheelchair. Barbara bustles about, making last-minute adjustments.

GRAYSON: Barbara, listen to me. This baby, it’s done something to your mind, brainwashed you somehow. You’ve gotta snap out of it.

Barbara shoves a cigar in his mouth, gagging him.

BARBARA: You’re just nervous about being a father. Don’t worry. Everything’s going to be okay.

She smiles at him and runs a finger down his chest.

BARBARA: And once this one’s out, we can start on number two.

INT. KORD INDUSTRIES – NIGHT

Kord and his men are gathered around a whiteboard where several sketches have been made. It’s obvious they’ve been working long into the night. Dinah and Helena watch, a captive audience.

TED: Well, long story short, I believe Barbara used Brainiac nanites to repair her spinal column. We theorized that the nanites could be used to accelerate the healing process, but this... the body has no means of repairing nerve damage. To do so, Barbara must’ve left the nanites with some rudimentary intelligence. And that was all Brainiac needed. He’s hacked her body, resetting her priorities, amping up feelings of maternal protection and... he’s done to her what she did to him.

DINAH: How do we fix it?

TED: It’s impossible. The virus has completely infiltrated her system. Any possible countermeasure would also kill the host. Unless...

HELENA: Spit it out, Kord.

TED: It’s only common sense that Barbara would’ve made the prime directive of the nanites the healing of her spine. Another injury there would redirect all of them to fix the damage, drawing the processing power away from defense. That would leave Brainiac vulnerable to an anti-virus, preferably delivered at the same time as the initial attack.

DINAH: So to save her, we have to cripple her all over again.

TED: It’s the only way.

Ted picks up a BANGSTICK.

TED: The lab boys rigged this up. Apply it to the base of the spine and pull the trigger. It will both inject the anti-virus and... do sufficient damage to the spine for the task at hand. Unfortunately, we couldn’t figure out a way to add much range without risking fatal injury to Barbara, so you’ll have to fire it at point-blank range.

DINAH: I’ll do it.

She stands up.

TED: Are you sure?

DINAH: I know her. She’ll let me in.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Dinah and Huntress walk in, startled at the change. They see Grayson, barely conscious. The only sound comes from a nearby voice, singing indistinctly.

DINAH: (low) You get Nightwing out of here. I’ll find Barbara.

Dinah heads towards the voice when Huntress grabs her arm.

HUNTRESS: (low) Remember what this thing is capable of. Barbara wouldn’t want Brainiac to spread, no matter the cost.

Dinah nods and watches as Huntress goes to help Grayson. Then she heads towards the sound.

BARBARA, naked except for the green amniotic fluid dripping off her, has returned to her perfect Batgirl physique. She is cradling her “baby.” It’s swaddled in blankets, we can’t see it, but mechanical SOUND and electronically-distorted BABY NOISES are coming from the bundle.

BARBARA: Rock-a-bye baby, on the treetop...

Barbara continues singing as Dinah sneaks up on her from behind, BANGSTICK at the ready. She holds out the bangstick, slowly lowers it towards Barbara. Gets in close...

Drops the bangstick. It clatters to the ground.

Dinah can’t go through with it.

Barbara keeps singing as a BRAINIAC SYMBOL grows out the back of her head. It speaks with an electronically-masked version of Barbara’s voice... not unlike the voice of the ORACLE.

DINAH: Why are you doing this?

BRAINIAC: To fulfill my programming. My world was destroyed millenia ago. But I will recreate it and repopulate it with a master race of genetically-perfect beings. You humans... alone in all the galaxy, the metahuman trait flourishes among you. The perfect test subjects. This child is the prototype of that new race, the first of many to come.

DINAH: (pleading) Take me instead. Whatever you want, I’ll do willingly. Just let her go.

BRAINIAC: Why would I want one of your mental capacity when I could have this much more... appetizing host?

Barbara turns around. The two beings sharing a body speak with one voice.

BRAINIAC/BARBARA: However, you are not unattractive... by human standards. Become my queen, reign at my side, and I will spare your life.

DINAH: ...I’ll do it.

BRAINIAC/BARBARA: Kneel before me.

Dinah does. Brainiac/Barbara steps forward, petting Dinah’s head like a loyal pet.

BARBARA: Tell me you love me.

Dinah looks up at her. Tears shimmering in her eyes.

DINAH: I love you.

She scoops up the bangstick from the floor, jams it into Barbara’s stomach, and pulls the trigger. Barbara and Brainiac simultaneously SCREAM as their spine is shattered.

DINAH: I’m sorry...

Barbara crumples to the floor, upper body quaking, lower body motionless as Brainiac is driven out of her body. The baby scuttles away on all fours like a massive insect. We never get a good look at it.

DINAH: I’m so sorry...

FADE OUT...

INT. CLOCKTOWER – BATHROOM – NIGHT

FADE IN.

Barbara sits in a half-full tub, arms wrapped around herself, as close to a fetal position as she can get without moving her legs. Dinah is kneeling beside the tub, washing the grue off her with a sponge.

BARBARA: How’s Dick?

DINAH: He’ll be fine. Helena’s guarding him. Unfortuantely, no one’s guarding him from Helena...

Barbara doesn’t laugh.

BARBARA: Did I... hurt anyone?

DINAH: No. We stopped it in time.

BARBARA: Dinah... I can’t feel my legs...

DINAH: I know, Babs. I know.

A very long, very somber moment passes between them. Dinah hands Barbara’s glasses to her. Barbara puts them off. Dinah begins washing the scum off of Barbara again.

BARBARA: (then) For the first time I can remember, I was happy with myself. I’m so pathetic...

DINAH: You’re not, you’re not...

BARBARA: I thought Dick could look at me and see more than Batgirl, see...

DINAH: See what I see?

Their eyes meet. Barbara gives Dinah a half-smile, then she touches DINAH’S face, not the other way around, and Dinah... Dinah has the look a woman has on her face when she has what she's always wanted but couldn't ever, EVER ask for, and for two seconds, she's the happiest woman on the face of God's green earth.

Dinah moves closer to her, their faces almost touching, noses brushing together... then Barbara’s chin meets Dinah’s shoulder and rests there. They’re hugging. That’s all there is to their relationship. That’s all there is.

Barbara cries on Dinah’s shoulder, thick heaving sobs as Dinah rubs her back soothingly... and cries in silence.

 

[Zev]

INT. CLOCKTOWER – LIVING ROOM – THE NEXT DAY

Grayson sits on the couch, head tilted back, breathing in and out slowly. Barbara is next to him, head resting on his lap. Battleworn, weary, they cling to each other in a nonphysical way.

We notice that one of Grayson’s legs has been HOBBLED. It is wrapped in a cast.

ALFRED PENNYWORTH walks in, a black doctor’s bag in hand.

Barbara sits up.

BARBARA: Hi Alfred. Your patient awaits.

Dick waves to him.

GRAYSON: Yo.

Alfred begins examining him as Barbara lifts herself back into her wheelchair. Her angst at this is lost on Dick, although Alfred gives her one of those concerned, empathic looks he does so well.

GRAYSON: So, uh, can we wrap this up? I need to get back to Bludhaven. City’s a powderkeg.

ALFRED: I’m afraid not.

He looks to Barbara.

ALFRED: Talented though he may be, I doubt Master Grayson is capable of giving his injury proper care and time.

BARBARA: Oh no...

ALFRED: House arrest. With warden. Try to keep that leg immobilized.

Barbara looks at Dick, who smiles cheekily at her.

ALFRED: God help you.

He leaves as Barbara sighs. Grayson, a puppy dog to the end, holds out her glasses. She puts them back on. A long pause as she stares into his face.

BARBARA: Can you ever forgive me?

GRAYSON: Me forgive you? I should’ve known something was wrong, but I didn’t want to look a gift horse in the mouth. And I can’t help thinking you did this for me.

BARBARA: Yeah.

GRAYSON: Then I’m sorry I ever made you feel you had to go through that for me.

BARBARA: I didn’t just do it for you. I did it... how can you love someone who isn’t whole?

GRAYSON: That’s not the question. The question is how can the smartest, bravest, most beautiful woman I know can ever think she isn’t whole?

PAN OVER to reveal Helena and Dinah watching from the hallway.

DINAH: It’d be a lot easier to hate him if he weren’t such a nice guy.

HELENA: Tell me about it. Wait, why don’t you like Dick?

Dinah does a double-take. What was that now? Oh, right...

DINAH: (leaving) He took something that belonged to me.

TRACK with her as she leaves, walking through the damaged Clocktower. She passes Michael and Ted doing repairs, Skeets sweeping up a shattered vase with a whisk broom. Finally, Dinah reaches the bathroom and locks herself in. Looks at herself in the mirror.

DINAH: She’s happy. She’s happy with him. Why can’t you be happy for her? You’re a horrible friend, Dinah Lance.

She hangs her head. Notices DICK’S RAZOR by the sink. And a second toothbrush.

Dinah throws open the medicine cabinet behind the mirror. Dick’s toiletries have been moved in. Cologne, shaving cream, everything. Dinah reacts like she just found a severed head. The whole ordeal has only brought Barbara and Dick closer together, while driving a wedge between her and Barbara. Jinkies.

Dinah runs her hands through her hair. Feels a migraine coming on.

DINAH: Alright, that’s it. She’s not interested. I am going to stop... having those kind of thoughts about Barbara right this minute! (beat) Starting now. (beat) Okay, now. (beat) Damnit!

EXT. SKY – DAY

A huge 747 scythes through the sky.

INT. AIRPLANE – DAY

On a MAN. Business suit, overweight, beard. Looks a little off. He watches an INFLIGHT MOVIE and appears to be talking to himself.

MOVIE: (showing picture of El Jefe) The general and President for life of the Republic of Santa Prisca... El Jefe del Mundo.

MAN: Del Mundo?

ORACLE: (filtered) Master of all the world, yes. But I thought he was “del pais,” of the country.

MAN: He gave himself a promotion.

ORACLE: (filtered) Let me see here... real name, Juan Paolo Sebastion. Former army general. Thirty years ago his first junta failed. He returned from exile twenty years ago and took the palace with foreign moercenaries and a secret bankroller.

MAN: Mandragora?

ORACLE: (filtered) Friends in low places... it would explain a lot. The island’s been sealed away from the world until recently.

MAN: It mat stay sealed. This travel video sucks.

ORACLE: (filtered) What are ya gonna do?

MAN: Step out.

He gets up from his seat and heads to the bathroom, passing HELENA, who is sitting with Mandragora and his crew (Savant and Creote are conspicuously absent). After a moment, Helena gets up and follows him.

INT. AIRPLANE BATHROOM – DAY

The Man looks in the mirror. Then pulls off a MASK.

It’s Dinah, of course.

DINAH: I can’t breathe in that thing!

A moment. Then Helena SHOVES HER WAY inside.

DINAH: Helena! You can’t be in here!

HELENA: You kidding? Everyone will just think we’re joining the Mile High Club. Besides, crossdressing turns me on. I’m working on a puddle right now.

DINAH: Would you stop?

HELENA: Tell me something, are you wearing a strap-on? Just for that added bit of method acting? If I gave it a *******, technically we wouldn’t be having sex or even doing anything dykey.

DINAH: Pass.

HELENA: Give me your communicator. I want to check in with homebase.

Dinah plucks it out of her shirt. The girls stand cheek-to-cheek, the communicator between them.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara is throwing shurikens at a picture of THE JOKER on a dartboard. Her computer “rings”.

SPLITSCREEN, girls on one side, Barbara on the other. Grayson comes in on a crutch, eating soup and looking over Barbara’ shoulder, generally making a pest of himself.

HELENA: Red Leader, Red Leader, what’s your position, over?

BARBARA: Everything’s set. As soon as you get there, Dinah swoops in before you, steals the Dagger, and we all live happily ever after.

HELENA: Good. So, how’s Dick? Erect yet?

Barbara gives Grayson a look. He stares back at her innocently. “What’d I do?”

BARBARA: He’s still Robin the Crutch Wonder. All he ever does is complain.

GRAYSON: Ooo. Soup’s too hot, mommy.

BARBARA: He’s the world’s worst patient.

GRAYSON: She’s lying, Huntress. She’s mean and she hogs the remote!

Helena and Dinah share a smile, charmed by the interplay, before Dinah looks away so she can be alone with her emo pain.

BARBARA: You better hope I didn’t drop sedatives in that soup.

GRAYSON: I’m hoping it’s not Viagra, actually. She can’t keep her hands off me, Birds. Reinjured my leg twelve times today...

BARBARA: You are such a liar!

GRAYSON: I love you too.

DINAH: I’m leaving.

She pulls her mask back on.

DINAH: How do I look?

HELENA: Like a Michael Jackson impersonator.

DINAH: Thank you.

HELENA: I wanna talk to Dick. Alone, if you don’t mind.

Dinah leaves. Barbara hands the headphones to Dick, but switches it to speaker phone so she can hear. He doesn’t protest.

HELENA: So, the perfect couple stays together in the face of adversity. Tell me, think you’ll be crowned homecoming king?

GRAYSON: What do you want, Helena?

HELENA: I want to thank you for helping me to get over my romantic ideal of you. You let me think that you were something you weren’t. I hope you and Barbara are happy together. Because we wouldn’t have been.

GRAYSON: Helena, I am all the things you thought I was. But I’m struggling with that.

EXT. AIRPORT – DAY

A small, heavily fortified airport. Mainly filled with military aircraft and personnel. Next to the the airport, a NATURAL GAS REFINERY provides instant access to fuel. Mandragora, Helena, and crew stride briskly down the tarmac. EL JEFE, your standard banana republic ruler straight out of an eighties Cannon action movie, rides alongside them in the backseat of a MILITARY JEEP.

EL JEFE: Senor Mandragora, everything is as you have requested it.

MANDRAGORA: No one has entered the temple?

EL JEFE: Si.

MANDRAGORA: Excellent. Come, Helena. We have very exciting work to accomplish.

In a Rob Cohen moment, the camera PANS up to show what they’re all headed towards... a huge MOUNTAIN in the background.We zoom in on it, over a MINEFIELD, through a CHAINLINK FENCE, through a jungle, then UP the mountain slope to reveal it’s an INACTIVE VOLCANO. One side is a gentle slope, the other is so sheer it might as well be a cliff. The crater on the top is filled with rainwater. And we see, floating on the surface of the lake, a beeping SONIC BUOY. ZOOM IN ON IT.

A logo on the side reads “Kord Industries” next to the familiar scarab icon. Guess who.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara watches the ECHO LOCATION scan of the lake on her monitor, Dick at her side.

BARBARA: The sonic screwdriver is working perfectly.

GRAYSON: Why do you call it a sonic screwdriver?

BARBARA: Because it uses echo location.

GRAYSON: That explains the sonic, but not the screwdriver.

BARBARA: ...it reminds me of the drink?

GRAYSON: You are a nerd.

INT. AERIE – EVENING

Dinah, wearing a skintight SCUBA SUIT, pulls a bodystocking-like MEMBRANE over herself. A door on the side of the plane is open, letting the wind whip in.

DINAH: You sure this thing is going to work?

ORACLE: (filtered) Positive. The cells of the stealth membrane refract the light around you. You’ll be completely invisible to all means of detection, just like the Aerie.

DINAH: And Ted told you this for a fact?

ORACLE: (filtered) Well... it’s still in the experimental phases.

DINAH: I’m strapping on an unfinished Halloween costume built by the lowest bidder so I can jump out a plane and into a volcano. Remind me why I’m doing this again?

ORACLE: (filtered) You’re an attention ****e?

DINAH: Shucks, ya got me. Let me guess, the fishnets?

ORACLE: (filtered) Dead give-away.

Dinah turns to the cockpit.

DINAH: Zinda, if I don’t make it, you can have my stereo.

ZINDA: Awright!

Dinah twists her belt buckle. A charge runs through the STEALTH MEMBRANE that now completely encases her. She seems to at first fade from view as the light starts to refract around her, then blur around the edges, then finally disappear entirely. We just see your standard Predator effect.

DINAH: How do I look?

ZINDA: Invisible.

DINAH: Well... geronimo!

She jumps out the plane.

EXT. FREEFALL – DAY

Dinah falls for a few moments.

DINAH: I am so totally falling through the air.

Beat.

DINAH: While invisible.

Beat.

DINAH: Yup.

Beat.

DINAH: Can I open the chute now?

ORACLE: (filtered) No.

Beat.

DINAH: How ‘bout now?

ORACLE: (filtered) Nope.

Beat.

DINAH: Barbara, there’s something I have to tell you...

ORACLE: (filtered) Now!

Dinah pulls her ripcord. The parachute deploys. It’s made of the same “invisible” material.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Dick happens to look at a nearby monitor.

GRAYSON: Uh, Babs, you might wanna take a look at this...

Barbara turns. A READ-OUT is flashing.

BARBARA: Dinah, the stealth membrane is overheating! You have to land now!

EXT. FREEFALL – DAY

Dinah’s POV past her invisible legs to the lake, still far below. Her legs start to FLASH in and out of visibility.

EXT. EXTINCT VOLCANO – DAY

The caravan is proceeding up the mountain. If Dinah appears, they’ll spot her for sure.

EXT. FREEFALL – DAY

Dinah pulls a DIVING KNIFE from her belt.

DINAH: If I live through this, remind me to kill Ted Kord.

She cuts her parachute straps.

And just like that, she’s in freefall. For a moment she spins through the air before orientating herself. She straightens out, perfect diving form, before slicing through the surface without even a splash.

EXT. EXTINCT VOLCANO – DAY

Waves stirred by Dinah’s landing lap at the shore by HELENA’S HIKING BOOKS. Helena looks out at the disturbed water with a thousand-yard stare.

MANDRAGORA: (O.S.) Beautiful, isn’t it?

Mandragora approaches her, holding out a canteen.

MANDRAGORA: Who knows what treasures she holds in her depths?

Is he hitting on her? Helena takes a drink and tries to hide a shudder of revulsion.

MANDRAGORA: Your destiny awaits, Helena. All you have to do is reach out and take it.

EXT. UNDERWATER – DAY

Rays of sunlight cut through the water. A Dinah-shaped AIR POCKET swims lower and lower, an AIRPACK on her back.

INT. CLOCKTOWER – GEAR ROOM – EVENING

A BLIP on the screen indicates Dinah’s position on the sonar mini-map.

BARBARA: Alright, it’s about twenty yards to your left and straight down. Good hunting.

EXT. EXTINCT VOLCANO – DAY

Helena rappels down the SHEER SIDE of the volcano. She lands on a ledge cut into the rock. In it, hidden from view unless you’re looking DIRECTLY AT ITS FACE, is a passageway into the temple.

The volcano has been hollowed out, its dead lava tubes used as the basis of an ANCIENT TEMPLE.

Helena coils the rope around her shoulder, turns on a flashlight, and steps inside.

EXT. UNDERWATER – DAY

Dinah comes across her target. A small FISSURE in the rocky ground, juuuuuust wide enough for her to fit through. She enters it...

KLONK! Her oxygen tank butts against the rock. With it, she’s too wide to fit through. Without hesitation, Dinah takes a deep breath and discards the oxygen tank. It rolls away across the lake floor. Dinah squirms through the opening.

INT. CLOCKTOWER – LIVING ROOM – EVENING

Dick paces outside the gear room. Anguished over something. What’s that all about?

INT. UNDERWATER CAVE – DAY

Her invisibility now seriously compromised, Dinah swims for her life. We get panicked, intense “cuts” of her becoming visible. Her face is turning blue, eyes bulging behind her goggles. An unbearable minute of tension passes as she swims for it.

But then, finally...

LIGHT.

A shaft of light shining down from above like God’s own spotlight. Dinah throws herself upwards...

SURFACING with a deep breath, Dinah appears all Botticelli-y for a moment before fading out of view.

Rising into the cave, we see Dinah's perfect body outlined in sheets of water (damnit, I just gave you about fifteen pages of people talking about their FEELINGS. It’s time for some cheesecake!). The shape melts away in a cascading waterfall until all we can see of Dinah are the hundreds of tiny droplets still clinging to her body, caught in the light like twinkling bulbs on a Christmas tree.

Then, after a moment, Dinah’s DISEMBODIED HEAD appears out of thin air. Inch by inch, she strips off the stealth membrane, leaving her into the scuba suit. She kicks off her flippers and pulls down the zipper on the front to proper exploitation filmmaking level, revealing her BOP medallion.

DINAH: This is Black Canary. I’m in.

Suddenly, a FLASHLIGHT BEAM descends on her. Two FRENCH MERCENARIES have discovered her.

MERCENARY 1: Halt, who goes there?

DINAH: Don’t mind me, I’m with the tour group. Got a little bit lost. Say, you wouldn’t happen to know where the restroom is, would you?

They open fire. She ducks behind a stalagmite, PINNED DOWN.

MERCENARY 2: (into radio) Intruder alert! Intruder alert!

Dinah flinches as a ricochet chips the stone next to her head.

ORACLE: (filtered) I’m doing my best to jam them, but their signal’s breaking through. I’ll reroute Helena to your position.

DINAH: No! That’d blow her cover! I’m doing this myself.

ORACLE: (filtered) Dinah, that’s suicide. You don’t have your sonic scream anymore.

DINAH: I don’t need it. I don’t need superpowers to be a hero. You know who taught me that?

ORACLE: (filtered) Dinah...

DINAH: You. (moment of truth) Barbara, when I said I loved you, it wasn’t as a friend.

In frustration, she throws her earpiece away. It shatters against the wall.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Grayson has left the room. Barbara sits back, stunned.

INT. UNDERWATER CAVE – DAY

Bullets continue to fly, chipping away at the stalagmite and whizzing past Dinah’s shield. Black Canary breaks off a dagger-sized stalagmite and throws it into Mercenary 1. He goes down, his shots going wild. Mercenary 2 has to duck to avoid the gunfire, giving Dinah plenty of opportunity to run up and dropkick him into next week.

Dinah falls to the ground and catches Mercenary 2’s left-hanging-in-mid-air gun.

Mercenary 1 pulls the stalagmite out of his gut just in time to see Dinah holding his comrade’s gun on him.

DINAH: Should’ve just told me where the john was. Now, are you gonna copperate?

GUARD 1: Oui.

DINAH: No, I just had to powder my nose.

INT. TEMPLE CORRIDOR – DAY

Helena continues walking through the dark ruins, her flashlight providing minimal illumination. She accidentally startles a NEST OF BATS. They SWARM around her!

HELENA: (nonplussed) Yes father, I shall become a tremendous *******.

INT. SACRIFICIAL CHAMBER – DAY

Helena walks into the center of the temple just as Dinah drops down in ANOTHER corridor outside the chamber. Both of them enter. The chamber is ringed with several other corridors; a crossroads for the entire temple. In the center of the chamber, the DAGGER OF HORVATH lies on an alter.

Helena and Dinah regard each other coolly for a moment.

HELENA: Alright, the story will be that we reached here at the same time and you overpowered me. (juts her chin out) Pop me one.

DINAH: Or we could just say I beat you there.

HELENA: Too anti-climactic.

She bashes her head against the wall. Blood trickles down the side of her scalp.

HELENA: Too small? What do you think?

DINAH: You’re a psycho.

HELENA: You know you love it.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara is still rocked by Dinah’s revelation. She’s in no mood for Grayson’s shenanigans as he hobbles towards her. But then, neither is he. In fact, his entire bearing is more serious than we’ve seen in a long time.

GRAYSON: Babs, can we talk?

BARBARA: Can’t it wait?

GRAYSON: No, it can’t.

He sits down on the desk next to her computer. She looks at him as he rests his crutch across his lap, earnest as he’s ever been.

GRAYSON: Ever since I got laid up, I’ve been thinking about my future. I usually don’t take time out for that. But when I think about my future, I can’t picture one without you in it. Marry me.

BARBARA: What was that last part?

GRAYSON: Be my wife.

BARBARA: That’s what I thought it was.

GRAYSON: I haven’t had time to buy a ring, but when I do, I promise it’s going to be a really big one. So... what do you say?

INT. SACRIFICIAL CHAMBER – DAY

Oblivious to what’s going on an ocean away, Helena and Dinah stand in front of the Dagger.

DINAH: You want to do the honors?

HELENA: Sure.

She reaches out to grab it... and her hand passes right through the hilt.

A hologram.

Instantly, thick STEEL doors slam shut, sealing them inside sacrificial chamber.

HELENA: It’s a trap!

DINAH: That would explain it.

The hologram of the dagger changes into SAVANT’S HEAD. A recording.

SAVANT: Testing, one two, one two. Is this thing on? Hello Birds of Prey! If you’ve made it this far, congratulations, you’re still alive. That will soon change. Helena, we knew you were a mole all along. Or close enough. That mask really only covers your eyes, the face is quite exposed. As you might have guessed, the dagger was an elaborate ruse. We already took it. Oh, and set up this elaborate death-trap.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Barbara is still flabbergasted.

BARBARA: I... I don’t know WHAT to say.

Dick smiles nervously.

GRAYSON: Say anything but no.

Before Barbara can answer, the clockface explodes. Savant steps inside.

SAVANT: Knock knock.

BARBARA: Savant!

SAVANT: You’re supposed to say “Who’s there?” Now you’ve gone and ruined the punchline.

 

[Zev]

INT. SACRIFICIAL CHAMBER – DAY

The girls hear the WHUP-WHUP-WHUP of choppers in the distance.

SAVANT: But I really should thank you, Helena, for letting me know where Oracle was holed up. Me and the boys are headed there now to pay her our regards. But don’t worry. When she gets to hell, she’ll have you two as a welcoming committee. Hasta la never, *****es.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Dick leaps to Barbara’s defense, holding his crutch as a weapon.

GRAYSON: Barbara, run!

SAVANT: “Run”? Hate to break it to you, old chap, but Oracle had a widdle accident...

GRAYSON: Bastard!

Grayson attacks, swinging wildly. Savant blocks with his forearm, howling in pain. But Savant’s men rappel in through the clockface. Grayson gets a few licks in, but he’s overwhelmed.

While this has been happening, Barbara has gone to her computer and is activating her defense grid. A gun ***** by her head.

CREOTE: I wouldn’t.

INT. SACRIFICIAL CHAMBER – DAY

DINAH: (freaking out) They’re going to kill her! They’re going to kill Barbara!

HELENA: (dry) You have a firm grasp of the obvious.

DINAH: You don’t get it! I’m supposed to protect her! I’m supposed to take care of her!

HELENA: Dinah, if I didn’t know any better, I’d say you were in love with her.

Dinah looks away.

HELENA: (dawning realization) Holy sh-

EXT. EXTINCT VOLCANO – DAY

Two GUNSHIPS hover outside the temple doorway. They fire MISSILES, which whistle into the doorway and through the corridor.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Savant is looking through Dick’s wallet. Grayson is sprawled on the ground before Savant, beaten.

SAVANT: Hello Dick Grayson. You must be Nightwing. I’ve heard so much about you.

He takes the money from Dick’s wallet and stuffs it into his wallet. Savant then turns to Barbara, who is being moved into a LAWN CHAIR.

SAVANT: You two make a cute couple. You know what I think the secret to a lasting relationshpi is? People should have things in common.

He begins stomping on Dick’s cast. Grayson SCREAMS in abject pain.

BARBARA: Stop it! God, what do you want? I’ll give it to you! Just stop it!

SAVANT: Wait your turn, sugar ****.

INT. SACRIFICIAL CHAMBER – DAY

Dinah and Helena take cover behind the alter as the missiles hit the steel door over the corridor they came through. Shrapnel rips the room apart. Worse yet, the explosion causes a CAVE-IN.

Dinah and Helena jump away from each other as a massive slab of stone falls between them.

INT. UNDERWATER CAVE – DAY

The missile hit has also shifted this area. The lake DRAINS into the cave with growing force.

INT. SACRIFICIAL CHAMBER – DAY

The hole where the stone slab used to be now starts to POUR WATER. Soon, the sacrificial chamber will be filled and our heroes will be drowned.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Creote drops Barbara’s superhero plushies into a growing pile on the floor. All of Barbara’s mementos from her time as Batgirl. Rudely, a stream of ALCOHOL falls on it. SAVANT is walking around the pile, drinking from a bottle and then spitting it out onto the pile.

Finally, Savant turns to Barbara and upends the bottle over the pile.

SAVANT: Girl, you have got to declutter. Ever thought of having a garage sale?

He picks up a picture of Robin and Batgirl.

SAVANT: You’re not Batgirl anymore, remember? Back in the wheelchair. I like it. It’s old-school.

Getting closer to Barbara, he takes an iPod from his pocket. It has two headphones attached to it. One he puts on Barbara, the other he puts on himself. Savant presses play.

“Burning Down The House” plays as Creote SETS THE PILE ON FIRE.

Savant dances around the flame, chanting politically-incorrect Indian lingo.

SAVANT: Heyhowareya, heyhowareya, heyhowareya...

INT. SACRIFICIAL CHAMBER – DAY

The water has risen to our heroines’ knees. Dinah slogs her way towards the steel door that was hit by the missile. It’s dented inward, but not enough to let any water out. Dinah pushes against it. Pulls. No good. She can’t budge it.

HELENA: Alright, here’s the plan. When the water reaches the ceiling, we just swim out and up to the surface.

DINAH: It’s too far. We’ll never make it.

HELENA: One of us can.

What was that? Dinah turns to Helena.

HELENA: Halfway up, I give you the kiss of life. That should give you enough air to get the rest of the way up, right?

DINAH: You’ll die.

Helena smiles that psycho smile that shows this makes perfect sense to her.

HELENA: C’mon, Dinah. You’re a superhero. I’m just a write-off. We both know that.

DINAH: I’m not leaving you. You know why? Because you’re not a write-off, Helena. You’re one of us. You’re a Bird of Prey.

Dinah turns back to the steel door. After a long moment, she takes the bandage off her throat.

DINAH: And so am I.

Helena realizes what she’s going to try.

HELENA: Dinah, no! The strain could kill you!

DINAH: And the water WILL kill me. Cover your ears. It’s about to get really loud in here.

Helena plugs her ears and goes to the opposite side of the room. Dinah’s mouth opens...

INT. CLOCKTOWER – GEAR ROOM – EVENING

Close on Barbara’s fingernail, picking at the fabric holding part of the lawn chair together.

BARBARA: Just kill me and get it over with, you psycho. That’s what you came for, isn’t it?

Savant turns to her, putting out the fire with an extinguisher and a deadpan expression.

SAVANT: Is that what you think? God, that’s so very egotistical of you. I didn’t come here for you.

He walks up to her and runs a hand along her desk.

SAVANT: I came her for your systems. Supercomputers, megaprocessors... you make NASA like like a high school computer lab. I can’t help but wonder what all this processing power can do in the wrong hands... But after our break-up, you moved the Clocktower. I had to reacquire it.

BARBARA: Then why not just follow me here?

SAVANT: Because you hardly ever leave. You’ve a very hard woman to find. That’s why we hired a private detective.

BARBARA: Jason.

SAVANT: Yeah. Of course, he turned out to be close to you too. What a wacky coincidence. So once he realized it was you he was digging up dirt on, we had to kill him so he couldn’t warn you.

BARBARA: Then how’d you find me?

SAVANT: Well, we didn’t have time to drop up a new plan. Dinah was a stroke of luck, but not the break we were hoping for. Then the perfect solution dropped into our lap. Helena Bertinelli. She led us right to you. Then it was just a matter of getting the kids out of the house so mommy and daddy could have some alone time.

BARBARA: Then I just have one last question.

SAVANT: Oh?

BARBARA: What do you intend to use my computers for?

SAVANT: What else would a sociopath with omnipotent virtual power do? I’m gonna kill everybody.

INT. SACRIFICIAL CHAMBER – DAY

The Canary Cry starts up faintly. Then it disappears amidst a coughing fit. The water is now up to their necks. Soon, they’ll be sandwiched against the ceiling and there will be NO AIR LEFT.

HELENA: Dinah, whatever you’re going to do, do it fast!

Dinah concentrates again. Belts one out. The steel door starts to rattle, but again Dinah has a hacking cough.

DINAH: I can’t. I can’t do it.

Helena swims over to her. Now there is only a foot between the water and the ceiling. Helena and Dinah tread water beside each other, just keeping their faces above the surface.

HELENA: If we can’t do this, then there’ll be no one to save Barbara. You can do this.

DINAH: No, I can’t! I can’t do anything! I can’t even make the woman I love give me a second look! I couldn’t make Ollie stay faithful to me! I couldn’t beat Savant!

HELENA: None of that is your fault. But if you give up... then it will be.

Helena turns Dinah towards the door.

HELENA: You put your faith in me. Now I’m putting it in you. C’mon, baby. Blow it off the hinges.

Dinah takes a deep breath and DIVES.

Underwater, Dinah faces the door. Then opens her mouth and SCREAMS. The sound is strangely muted underwater.

Helena is just able to keep her nose and mouth above water. She’s practically kissing the ceiling and the water’s still rising.

Still underwater, Dinah keeps up the pressure. We can see the water being shifted by her canary cry. The steel door CRINKLES inward a miniscule degree.

The water rises all the way up. Helena gets in one last gasp of air before she goes under.

Her sudden POV. Dinah is OUT OF AIR. She’s beginning to float, the life leaving her body, when Helena grabs the blonde by the hair and pulls Dinah’s mouth to her own.

Dinah’s eyes shoot open as Helena reinflates her lungs.

DINAH’S POV
As Helena drifts away, lips turning blue already. She’s not sorry. Gives Dinah one last smile. At peace.

Dinah turns to the door and SCREAMS. There’s nothing muted about the sound this time. It’s the scream of a woman who hasn’t let herself cry for so long that she thought that she had forgotten how. It’s the scream of a woman who just told the woman of her dreams how she felt and now will never be able to know if she feels the same way. It’s the scream of a woman who just lost her best friend.

It’s the scream of a woman who’s victorious.

A cannonball-sized hole has been blasted through the door. The water drains out faster than it’s coming in. Dinah turns to see that...

Helena is smiling at her. The Huntress holds up the CANTEEN Mandragora gave her. Empty, it held enough air for her to survive on.

HELENA: (re: kiss) You enjoyed that, didn’t you?

Dinah smiles right back.

DINAH: Won’t be worth the cold sores.

Then she coughs. SPITTING UP BLOOD. She falls right into Helena’s arms as...

WHUP-WHUP-WHUP! The rotors of the choppers announce that they’re coming in for another pass.

INT. CLOCKTOWER – GEAR ROOM – EVENING

Savant sits down in Barbara’s wheelchair, gets comfortable. He wheels himself in front of the computer.

BARBARA: So, you’ve got my computers. There are a hundred safeguards in place to prevent you from getting any usable information.

SAVANT: I’m not interested in your database, Babs. Superheroes don’t concern me.

BARBARA: So why come here?

SAVANT: Money. Power. Revenge. All of the above. Tell me, Barbara, do you know how a nuclear power plant is regulated?

Barbara instantly grasps what he’s saying. She buries her face in her hands.

BARBARA: By computer.

SAVANT: And let’s say, hypothetically speaking, that the computer tells the reactor to stop the flow of coolant.

BARBARA: Resulting in a nuclear meltdown.

SAVANT: Chernobyl all over again.

Barbara shakes her head resolutely.

BARBARA: It’ll never work. The nuclear regulation systems are cut-off from all outside networks. You’d have to be physically at the power plant.

SAVANT: My next stop. And once I’m there, I’ll set up a remote uplink to your server. That way, I can hack through all those pesky safety protocols. And once I do that... Gotham glows in the dark.

INT. SACRIFICIAL CHAMBER – DAY

Helena slaps Dinah lightly, trying to revive her.

HELENA: C’mon, Dinah! Wake up! I can’t do this alone.

A RED DOT dances across Helena’s chest. The harbinger of a LASER-GUIDED MISSILE.

Helena sets Dinah down gently. Then draws her CROSSBOW from her backpack.

EXT. EXTINCT VOLCANO – DAY

A gunship, one of THREE, hovers outside the doorway.

INT. GUNSHIP 1 – DAY

The GERMAN PILOT (another hired by Mandragora) waits for the missile to acquire a lock.

INT. SACRIFICIAL CHAMBER – DAY

Helena screws a SCOPE onto the top of her crossbow.

HELENA: I hope you’ll forgive the irony, Dinah.

She pulls out a collapsible arrow. It telescopes out. She strikes it like a match against the wall. The arrowhead LIGHTS ON FIRE.

HELENA: But I’m going to save you with a trick arrow.

INT. GUNSHIP 1 – DAY

The missile read-out detects a STRONG HEAT SIGNATURE.

The pilot pulls the trigger.

INT. SACRIFICIAL CHAMBER – DAY

Helena stares through the scope at the nose of the missile, far down the corridor.

HELENA: Got ya.

She pulls the trigger.

INT. TEMPLE CORRIDOR – DAY

The flaming arrow SOARS down the corridor at supersonic speed...

IMPACTING the warhead of the missile. The missile, thinking it’s reached its target, EXPLODES.

A FIREBALL expands in both directions.

INT. SACRIFICIAL CHAMBER – DAY

Helena tackles Dinah under the water as the flame geysers through the hole in the steel door.

EXT. EXTINCT VOLCANO – DAY

A tongue of flame, like the breath of a dragon, lances out of the corridor and CONSUMES Gunship 1.

INT. SACRIFICIAL CHAMBER – DAY

Helena surfaces with Dinah.

HELENA: How’s that for the light at the end of the tunnel?

Another SLAB OF STONE hits her, knocking her underwater! The explosion has caused another cave-in!

Helena comes to quickly, but when she opens her eyes she sees that the slab of stone is PINNING HER LEG TO THE FLOOR!

INT. CLOCKTOWER – GEAR ROOM – EVENING

BARBARA: Still leaves one question. Why?

SAVANT: Like I said. Power. With Gotham irradiated, all the commerce that flows through here will go upriver to Bludhaven.

BARBARA: Which you already have sewn up. All the corporate start-ups...

SAVANT: You’re looking at the chairman of the board.

BARBARA: So tell me, you really think Mandragora’s gonna share power with you? You’re a punk, Brian. Always have been. Always will be. As soon as he’s done with you, he’s gonna chew you up and spit you out.

SAVANT: Mandragora respects me! He’ll give me the accolades I’ve always deserved. And Bludhaven will be MY city the way this one was NEVER Batman’s. I’ll be the superhero then. And with the underworld in my pocket, I’ll be better than any of you ever were.

INT. SACRIFICIAL CHAMBER – DAY

Helena’s vision is fading. She tugs at her foot to no avail. The surface is just inches above her. But she can’t get to it.

Until strong hands reach down, grab her head, and pull her up so she can breathe.

Dinah.

HELENA: Thought I’d lost you there for a moment.

DINAH: You know me. Like a bad penny.

HELENA: Get out of here, Dinah. Water’s rising again. You can’t hold me up forever.

Dinah reaches down and tugs at the boulder. She can’t move it. She grabs Helena and holds her head above the surface again.

DINAH: We’ve been over this. No one dies today.

We hear the choppers’ approach once more.

HELENA: Fool. Now it’s too late. They’ll shoot you to pieces if you try to get out that way.

DINAH: Then it’s time to make another exit. How long can you hold your breath?

HELENA: (incredulous) That’s a trick question, right?

DINAH: Sorry, I’m so hopped up on our newfound bond of sisterhood that I forgot who I was talking to. Stay with me.

She props up Helena’s head with her knee and begins to strip off the top of her wetsuit. Helena follows suit.

DINAH: What are you doing?

HELENA: Well, if we’re gonna die, might as well go out happy...

DINAH: I’m going to save our lives, idiot.

HELENA: Someone has a high opinion of their sexual skills...

Stripped to the waist save for her bra, Dinah drapes the wetsuit top over her arm like a matador’s cape. She stands in front of the hole in the door.

HELENA: You’re not going to do what I think you’re going to, are you?

DINAH: It’ll work.

HELENA: Personally, I think the sex idea had a better chance of working.

DINAH: If you die, I’ll be sure that makes it to your tombstone.

HELENA: Would you?

We hear the roar of another missile being fired.

DINAH: BRACE YOURSELF!

The missile flies through the hole in the doorway. At the last possible second, Dinah deflects it with her wetsuit, sending the missile into another steel door. It hits and the shockwave knocks Dinah off her feet. Now the ceiling caves ALL THE WAY IN, flooding the chamber with water. Dinah and Helena are both swept up in the maelstrom.

INT. TEMPLE CORRIDOR – DAY

Dinah and Helena are swept along with the current. Problem. A curve up ahead. If they don’t stop, they’ll be smashed against it, as demonstrated when a boulder hits the wall and is BROKEN TO PIECES.

Helena takes the rope and grappling hook off her shoulder, then throws the hook out. It catches on a torchholder. She grabs Dinah and both of them hold on against the current. Helena lets out the rope, “lowering” them towards the corner. Finally, their boots touch the wall. With a look, Dinah and Helena confirm their plan. Both of them THROW THEMSELVES in the direction of the redirected current.

Problem. The corridor ends in another ledge. If Dinah and Helena keep going, they’ll be sent over the side. Acting in perfect harmony, Dinah and Helena go back to back, lace their arms together, and jut their legs out. They catch on the walls, slowing the partners down. But inexorably, they’re swept over the ledge and...

EXT. EXTINCT VOLCANO – DAY

Dinah grabs onto roots hanging from the ledge. Helena grabs onto Dinah. They hang between the cliff and the newly-formed waterfall.

HELENA: Dinah?

DINAH: Yes Helena?

HELENA: How do we get down from here?

DINAH: I’m working on it.

WHUP-WHUP-WHUP!

Helena looks over her shoulder to see a gunship hovering on the other side of the waterfall.

HELENA: Work faster!

The helicopter’s CHAINGUNS begin to rotate...

DINAH: Do you trust me?

HELENA: Yes! Wait, no!

Dinah lets go of the roots, taking Helena with her. They both PLUMMET towards the ground, hundreds of feet below, as the chaingun bullets cut into the space where they were a moment ago...

HELENA: I meant to say no!


Next: Meltdown

 

[Zev]

The ground rushes up to meet them. Dinah and Helena keep pace with the waterfall, are actually able to see their reflection in the rushing water, before they land in...

The pond formed by all the water that fell out of the temple. A moment later, they surface. Stare at each other.

HELENA: There is no way that should have worked.

DINAH: And yet it did. That’s why they pay me the big bucks.

HELENA: You get paid?

BOOM! The girls look up to see the gunships have raked the volcano with missiles. A ROCKSLIDE has formed. Dinah and Helena swim to shore just in time to avoid falling rocks.

EXT. AIRPORT – DAY

El Jefe’s PLANE is fuelling up. El Jefe speaks into a radio.

EL JEFE: There’s only one way off this island! They must be planning to make an attack on the airport! Find them!

EXT. JUNGLE – DAY

On the barbed wire fence cordoning off the jungle from the MINEFIELD. A moment passes. Then Dinah and Helena swing on a vine, their arc carrying them up over the fence. They let go, sail over it, and LAND.

DINAH: Told you it would work. That makes me two for two.

HELENA: What do you want, a medal?

The helicopters reappear over the horizon

DINAH: Minefield. Watch your step.

The mines are visible as BUMPS OF DIFFERENTLY-COLORED DIRT where they’re buried. The girls run as the helicopters close in on them.

HELENA: You know, I have a friend at my school who’s... disinterested in the company of men.

DINAH: What? Are you trying to set me up for a date?

One of the choppers circles ahead to cut them off, the other stays in hot pursuit.

HELENA: I’m just saying she’s a very nice woman and I think you’d be her type...

DINAH: We don’t have time for this... what kind of car does she drive?

A shot rings out. There’s a SNIPER hanging out of one of the choppers, taking potshots at them. Dinah and Helena continue running, desperately trying to step between the mines.

DINAH: Split up!

HELENA: A Volkswagen!

DINAH: What?

They run in differect directions.

HELENA: She drives a Volkswagen!

DINAH: What color?

Another shot rings out, kicking up dirt at Dinah’s heels.

HELENA: Black!

DINAH: Hmmm... tasteful, yet ironic...

A third shot hits a MINE nearby Dinah. We see it activate, the “bouncing betty” shooting upwards from the mine before EXPLODING. The shockwave hits Dinah. She corkscrews through the air and lands on her back... atop another MINE. CLICK. It’s armed.

HELENA: Dinah!

DINAH: Go on without me, I’ll be fine!

The chopper hovers in front of Dinah, tilted forward, rotors buzzing. It slowly creeps forward, the blades ready to slice and dice Dinah.

DINAH: I hope.

Helena stops. The tell-tale bumps that tell where the mines are have disappeared. She picks up a rock and throws it in front of her. A mine goes off where it lands.

HELENA: Perfect!

Meanwhile, Dinah watches as the rotors kick up dirt, forming billowing mists of dust. She ROLLS OUT OF THE WAY. The mine goes off, a bouncing betty flying between the rotors...

INT. HELICOPTER – DAY

As the Pilot watches, the dust clears for a moment to reveal the bouncing betty flying towards the cockpit. It EXPLODES...

EXT. MINEFIELD – DAY

Taking the entire helicopter with it! Dinah DUCKS as the decapitated helicopter blades fly over her.

DINAH: As soon as we get out of this, I’m taking a vacation. Tropical island, just me and Barbara... Barbara? (shakes head) Not now, Dinah.

She looks over to see Helena, standing in front of the concealed minefield as the third helicopter bears down on her. Helena is calmly loading a TITANIUM ARROW into her crossbow. Dinah walks up beside Helena.

DINAH: Uh, Helena... what are you doing?

Helena gauges the distance between herself and a GUARD TOWER nearby.

HELENA: Trick shot.

DINAH: Trick shot?

Helena raises the crossbow and FIRES. The bolt BANKS off the guard tower and flies through the helicopter’s tail rotors, which SMASH THEMSELVES TO SPLINTERS against the arrow. Out of control, the helicopter crashes, setting off mines in its wake. It comes to a stop at Helena’s feet, having cleared a path through the minefield.

HELENA: Trick shot.

They walk past the crashed helicopter.

HELENA: (to dazed-but-alive pilot) Think we should exchange insurance information?

INT. PRIVATE JET – DAY

The airplane is preparing for take-off, El Jefe onboard.

EL JEFE: (into radio) This is why we don’t let women vote. You see what happens to the crazy American women when people let them? Stop them! You’re a trained army! They’re two girls on foot!

EXT. AIRPORT – DAY

Dinah and Helena have commandeered a MILITARY JEEP, which plows through a stack of crates as an ironic segue.

DINAH: Bring us up alongside the plane! That’s where El Jefe will be!

HELENA: So?

DINAH: He’s Mandragora’s man! We pinch him hard enough, he’ll tell us what Savant’s up to!

HELENA: Ah. I’m with it.

Suddenly they LURCH forwards. Another jeep has RAMMED them.

HELENA: Take the wheel.

She lets go of the wheel, aims backwards with her crossbow, and shoots the front tire of the jeep. It veers into a stack of oil barrels. The driver jumps clear as the jeep hits, causing an EXPLOSIONG. Helena calmly retakes the wheel as the flaming carcass of the second jeep goes flying.

They pull up alongside one of the taxiing plane’s LANDING GEARS. Dinah jumps onto it and climbs up...

INT. PRIVATE JET – DAY

Your standard cabin. An aisle in between two rows of seats, bathrooms in the back. Suddenly, the door of the men’s bathroom is kicked open from the inside. Dinah steps out.

DINAH: Anyone have a pressing need to get their asses kicked?

The two guards nearest the rear, sitting in the back row, react. The first draws a gun. Dinah kicks his hand, breaking his wrist, and the shot goes wild.

INT. PRIVATE JET – COCKPIT – DAY

The stray shot bursts through the chest of the pilot, killing him instantly and showering the room with blood. EL JEFE, in the co-pilot’s seat, freaks appropriately. The Pilot slumps over atop the controls, accidentally BOOSTING the throttle to the max.

EXT. AIRPORT – DAY

The jet veers into the refinery, stampeding over a gas tanker. It pops, but doesn’t ignite. The massive tank the jet rams through does, setting the still-moving jet on fire. The jet continues on its path, ramming into other gas tanks and setting them on fire, leaving a trail of destruction behind it.

Soon enough, the entire refinery is turned into a maelstrom of flame and explosions.

INT. PRIVATE JET – DAY

The second and last guard, not learning from the mistake of his predecessor, goes for his gun. Dinah kicks him so hard that the back of his head cracks the window of his row.

DINAH: Who’s next? I’ve still got a six-pack of whup-ass in the fridge.

A huge BODYGUARD, so large he has to bend down to get through the doorway, steps out of the cockpit. He draws a SCIMITAR that’s the size of a man’s chest.

DINAH: Oh, great.

He attacks, his scimitar flying about like a scythe. Dinah backs away as the attacks slice apart seats on either side of her. Then, an idea. She reaches up,throws open the BAGGAGE COMPARTMENTS, and pulls out suitcases. Dinah uses them as shields, which fail to slow down the flashing scimitar. Finally, she pulls out two suitcases at once, one from each side, and pulls them together in the scimitar’s path. The scimitar cuts into them... and stops. Dinah throws the suitcases upward, forcing the scimitar to embed itself in the roof.

BODYGUARD’S POV
As Dinah’s fist comes flying towards us...

INT. PRIVATE JET – COCKPIT – DAY

The Bodyguard, on top of a SERVING TROLLEY, slams into the cockpit beside El Jefe. He reacts before Dinah grabs him by the hair and wrenches his neck back.

DINAH: We may be experiencing some slight turbulence.

She begins bashing his head against the “dashboard.”

DINAH: (between hits) Please! Return! Your traytables! To their upright! And locked! Position!

Through the windshield, we see a GIGANTIC GAS TANK growing larger. If that one goes, the whole refinery goes. Dinah pulls El Jefe up, his face bloodied.

DINAH: What’s Savant’s plan!?

EL JEFE: I don’t know!

DINAH: Liar!

She slams his head down.

DINAH: Talk or we both die! And believe me, El Jefe, you have a lot more to lose than I do.

EXT. PRIVATE JET – DAY

Helena’s jeep is driving alongside the plan. The two guards drop down into the backseat. Then the bodyguard. Then El Jefe. And finally Dinah, into the shotgun seat.

DINAH: They’re going to nuke Gotham.

HELENA: Damn.

She hits the gas, turning around and high-tailing it out of there. Helena looks in the rear-view mirror as the flaming jet hits the gas tank.

HELENA: This is going to be loud.

The mother of all explosions wipes out the refinery with a SHOCKWAVE. Dinah grabs Helena’s radio.

DINAH: Zinda, we’re going to need a pick-up, right now!

ZINDA: (filtered) Let me guess, where all the explosions are coming from, right?

DINAH: You know me so well...

SIRENS. They turn around to see that several POLICE CARS are gaining on them. Helena turns onto a long runway, steps on the gas.

HELENA: We need to lose some weight.

DINAH: On it.

Getting up, she kicks the guards and bodyguard off the jeep. Then grabs El Jefe.

DINAH: Word to the wise. Start holding free elections, then get your ass out of town. Or I’ll be back when you least expect it.

She throws him from the jeep. The police cars swerve to avoid him as the Aerie comes in, almost as if were a landing except the landing gears are up.

HELENA: She doesn’t expect us to...

The ramp drops down and hits the asphault, kicking up sparks.

DINAH: She does.

HELENA: Is she crazy!?

DINAH: She’s on this team, isn’t she? Punch it!

She stomps down on top of Helena’s foot and the gas pedal. The jeep buzzes forward into the hold of the Aerie, which closes its ramp and takes off, leaving the police cars impotently behind.

INT. AERIE – DAY

Dinah stampedes into the cockpit, to Zinda’s great surprise.

DINAH: How fast can this thing go?

ZINDA: Actually, I’ve never actually figured that out. After mach seven, there was a danger of flying apart...

DINAH: Go to mach eight.

Helena is right behind Dinah.

HELENA: Whoa, hold on there, can we talk about this?

DINAH: (to Zinda) He’s going after Barbara.

ZINDA: Mach eight it is. Strap yourselves in, this is going to get a little bumpy.

Dinah and Helena quickly do so.

HELENA: Whoa. Nice cupholders.

Dinah gives her a look.

HELENA: It has some of those little springy things so it can hold a Big Gulp or a little sixteen-ounce... I’ll be quiet now.

DINAH: (to Zinda) Mandragora’s got a headstart on us. We need to beat him back to Gotham.

HELENA: You’re right. Savant won’t do a thing without Mandragora’s say-so.

DINAH: Give me the radio. We’ve got to warn Barbara.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Savant, Creote, and the boys watch some of Barbara’s old home movies. It’s obvious that he’s been “babysitting” her for some time now.

SAVANT: So, and stop me if this is too personal, do you feel anything down there? I mean, is having sex a problem? Does he just plow away while you read a book or something?

BARBARA: Screw you.

SAVANT: In two hundred years we’ve gone from “I regret I have but one life to give for my country” to “Screw you.” What WOULD Aaron Sorkin say?

The communicator rings. Incoming message.

SAVANT: That had better not be a telemarketeer.

He picks up the headset, flicks it on.

DINAH: (filtered) Barbara, Savant is coming for you! You have to get out of there now!

SAVANT: (imitating Barbara) Savant, you say? I’ll put out the good linens.

DINAH: What’ve you done with her? Is she hurt?

SAVANT: Well, I don’t know how to break this to you, but... she’s paralyzed from the waist down.

INT. AERIE – EVENING

Dinah snarls at the radio.

DINAH: If you touch her, I swear I’ll...

SAVANT: (filtered) You’ll do what? Leave a nasty message on my voicemail?

HELENA: We know about your plan for the power plant. You’re not going to get away with it.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

As Savant idly waves a gun towards Barbara, Creote holds her mouth shut.

SAVANT: This is the part where I would say that I already have, but I haven’t... well, I’m going to! Also, did you know Mandragora killed your family?

HELENA: (filtered) Yes.

SAVANT: Huh. Hoping that was gonna come as a shock to you.

INT. AERIE – EVENING

SAVANT: (filtered) Well, I know the two of you are too heroic to let a hostage deter you, even one as beautiful as Red here, so here’s Plan B.

A GUNSHOT rings out. The women stare, paralyzed, at the radio.

SAVANT: (filtered) If you have anything pressing to say to Barbara, I’d say it now, while she still has some blood left in her body. Whoop. Too late.

DINAH: (trembling with emotion, tear falling) You just signed your own death sentence.

SAVANT: (filtered) Can’t hardly wait, *****. Also my favorite Freddie Prinze Jr movie. This is Savant, signing off.

The line goes dead. Dinah walks back into the cabin.

INT. AERIE – PASSENGER SECTION – EVENING

Dinah walks down the aisle. After a moment, Helena follows her. Dinah stops for a moment beside the door, leans against it. Hangs her head. Helena gets close. What do you say? Is there anything to say?

Helena reaches for her and Dinah shoves her hand away.

DINAH: Don’t, alright? Just... not now.

HELENA: I understand how you...

DINAH: (cutting her off) Savant’s mine. Nobody else’s. Mine.

HELENA: You’re too hot to go after him. You’re going to get yourself killed.

DINAH: I don’t care.

HELENA: I do! (beat) You’re my only friend. You take the power plant, I’ll take the Clocktower. Let me take care of Savant. You’re no killer... but I am.

Dinah looks down.

HELENA: Let me do this for you. Please.

DINAH: He suffers. Make him suffer, Helena.

HELENA: Like no man has ever suffered before.

Dinah nods grimly.


Next: Save The Day

 

[Zev]

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Savant blows the smoke off his gun.

SAVANT: You think they bought it?

Creote releases Barbara’s mouth.

CREOTE: Why would you want them to? Now she’ll be coming for us.

SAVANT: Exactly. She won’t call the Justice League down on us. She’ll be all alone. What can one lone woman do?

MANDRAGORA: (O.S.) What indeed?

Savant looks up to see Mandragora and HIS men entering.

CREOTE: Tell him, Mr. Savant.

MANDRAGORA: Tell me what?

SAVANT: Listen, boss, I’ve got a little bad news... It’s about the Birds. They’re alive. The trap didn’t work.

Mandragora pokes Savant with his cane.

MANDRAGORA: Your death-trap failed!? Of all the incompetent, pitiful excuses for...

Savant shoves the cane aside, grabs Mandragora by the lapels, and slams him against the wall.

SAVANT: I’ve had it right up to here with your bullying micro-management, “sir.” I’m too big for that now! And considering I’m about to blow up a city for you, I think I’m entitled to a little respect!

One of Mandragora’s bodyguards holds a gun to Savant’s head.

BODYGUARD: Let Mr. Mandragora go.

Creote points a gun at the bodyguard.

CREOTE: Put that gun away.

While they’re distracted, Barbara pulls a PIECE OF METAL the size of a matchstick from her eyeglasses, hides it in her pocket.

A wailing siren interrupts the stand-off, making the hair on the back of their necks stand up. Savant runs to the window, throws it open. A SPOTLIGHT shines in his face. He covers his eyes and looks down to see...

EXT. CLOCKTOWER – NIGHT

A phalanx of COP CARS have surrounded the tower. COMMISSIONER GORDON speaks through a bullhorn.

GORDON: This is the police! Throw down your weapons and come out with your hands up!

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Mandragora forgotten, Savant holsters his gun and stalks over to Barbara.

SAVANT: This is your doing, isn’t it?

He slaps her.

SAVANT: I’m not gonna kill you for this. I’m gonna kill your boyfriend. Piece by piece!

BARBARA: Might have a hard time doing that from jail.

SAVANT: Oh, the police? You’re right. I’ll need something to distract them.

He sits down at her computer and opens a bookmark.

SAVANT: You know that all airline flightplans are on computers? Now, call me nutty, but it occurs to me that if I reroute one of those flightplans...

He types in a command.

SAVANT: Right through Gotham’s high-rise district... (smiles) Well, pretty soon Gordon’ll have bigger problems to worry about than his daughter being out after curfew.

BARBARA: Savant, please, don’t do this...

SAVANT: (hits Enter) It’s already done. In half an hour, the population of our great nation goes down by four hundred and twenty-four ... the passenger and crew compliment of Lex-Air 117. That’s on your head, Oracle, NOT MINE.

Savant gets up and speaks into a walkie-talkie.

SAVANT: Bring the chopper in. We’ve dallied long enough. I’m going to Phase 2.

MANDRAGORA: Phase 2? The cops are swarming this place! You’re insane to continue with this plan!

Savant pats him firmly on the shoulders.

SAVANT: Mandy, booby, baby... have a little faith, okay? Sit back, relax... I’ll handle everything myself.

As Savant walks to the elevator, he passes Creote. Creote falls in lockstep with him.

SAVANT: (sotto) No, stay here. In case Mandragora tries anything... you know what to do. (re: Barbara) And keep my seat warm.

Creote nods once.

And Barbara, ignored, begins tapping the pin in MORSE CODE.

INT. KORD INDUSTRIES – NIGHT

The place is closed down. A SPANISH JANITOR is cleaning the place. He notices a TICKER-TAPE MACHINE is printing out a piece of paper.

SPANISH JANITOR: Que?

INT. KORD INDUSTRIES – MAINTENANCE ROOM – NIGHT

Ted throws open the door, waking MICHAEL (the test pilot from earlier), who sleeps here at night. Ted begins shaking Michael.

TED: Wake up! If you don’t wake up, we’re all going to die!

MICHAEL: Five more minutes, mom, I don’t want to go to school...

INT. KORD INDUSTRIES – NIGHT

Michael is pulling on a STRANGE, HIGH-TECH SUIT as he follows behind Ted.

TED: In twenty minutes, a jet liner is going to crash in downtown Gotham unless we can stop it.

MICHAEL: What do you need me for?

TED: To pilot the Bug, of course. It’s our only hope of stopping it.

MICHAEL: Wait, you built a plane you can’t fly?

TED: (indignant) It’s not a plane...

MICHAEL: (re: weird suit) Well then, what is this?

TED: Superhero suit. I was thinking of calling myself Goldstar.

MICHAEL: That’s a stupid name. You should call yourself Booster. That’s what they used to call me back when I played football.

TED: They have football in the future? WHERE YOU’RE FROM?

MICHAEL: It’s... space football.

EXT. NUCLEAR POWER PLANT – NIGHT

The smokestacks are still belching out clouds of smoke, a murky gray against the night sky. A caravan of ARMY TRUCKS pulls up to the gate. TROOPS in camoflage uniforms jump out and secure the area. The man in the GUARD STATION looks askew.

GUARD: What’s going on here?

TROOPER: Orders from up-top. There’s been a threat against this installation. We need to speak to your supervisor immediately.

INT. CONTROL ROOM – NIGHT

A bank of eight computers, four back-to-back with another four, monitor the REACTOR. Only two technicians are on duty. The NIGHT MANAGER walks in, still downing a cup of coffee, as a COLONEL approaches him.

NIGHT MANAGER: What the hell is this about? What’s going on here?

COLONEL: (Midwestern accent) We’ve been warned of a possible terrorist threat against this installation.

NIGHT MANAGER: By who? Al Qaeda? Hezbollah? Zandia?

The Colonel takes off his hat. It’s Savant.

SAVANT: Us.

He shoots the Night Manager in the head. His men take up positions around the room, quickly killing the rest of the staff with silenced headshots.

SAVANT: Hoo-ah.

Smiling, he plugs a wireless modem into the computer’s USB port.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

The computer reads “Contact Initiated.” Creote puts a DVD into the disk drive. Autoplay takes care of the rest.

BARBARA: I wanna talk to you.

CREOTE: I do not have time.

BARBARA: I have a question for you.

CREOTE: I will not answer.

BARBARA: Does Savant know you’re in love with him?

That gets his attention.

CREOTE: (to men) Leave us. (beat) Now!

The men reluctantly file out, leaving Creote and Barbara alone.

CREOTE: No, he does not.

BARBARA: I know what you’re going through.

CREOTE: I doubt that.

BARBARA: We put people in boxes. Family, friends, co-workers. But they don’t stay in their boxes. They grow. Change. And then suddenly they force us to look at them in a whole new light. And we can’t go back to the way things were. And sometimes... sometimes we don’t want to.

Creote finishes the uplink. In a sudden fit of rage, he smashes the computer apart with his fist.

CREOTE: Now it is irreversible.

BARBARA: You want to know how I did it, don’t you? You want to know why Savant is so obsessed with me.

CREOTE: I do not care.

BARBARA: It starts slowly, at first.

Almost unconsciously, Creote leans in closer.

BARBARA: A spark. A change in the wind. So subtle you almost can’t notice it. But like a snowball rolling down a hill, it just keeps getting bigger and bigger. And pretty soon, the only way to face it...

Creote is nose to nose with her.

CREOTE: Yes?

BARBARA: Is to realize I’ve been spouting a load of crap.

She pulls the LOOSENED METAL ROD from her lawn chair and swings it across Creote’s face, knocking him down and out of range of the rod. Grasping the rod in her teeth, she throws herself from the lawn chair and crawls as fast as she can towards a strategically located vent.

Stops. CREOTE has recovered and grabbed hold of one dead leg. He pulls her back to him, blocks her attempt to hit him again with the metal rod before slapping it away. Then Creote picks Barbara up by the throat and slams her against the wall. And squeezes.

CREOTE: You will trouble Mr. Savant no more, cripple.

Barbara looks to her left. The dartboard with Joker’s picture on it... and the NINJA STARS still embedded in it! Before she can react, Creote ROCKS her head against the wall. Her vision swims.

CREOTE: We’ve searched this place from top to bottom.

Barbara reaches for the dartboard... it’s hanging from a nail... she can just touch the rim of it...

CREOTE: We’ve destroyed all your files, disabled all your booby traps.

Barbara gives the dartboard a SHOVE. It swings away from her.

CREOTE: There’s nothing left that’s dangerous.

The dartboard SWINGS BACK like a pendelum.

BARBARA: There’s me.

She grabs one of the shurikens and SLASHES Creote’s wrist. Creote looks at the blood bubbling up over his hand. Quick as a snake, Barbara makes identical slashes across his legs. Creote’s knees buckle and he goes down. Barbara makes two more slashes on his arms, right below the shoulder. Creote lets her go.

CREOTE: What have you done?

BARBARA: Severed your muscle tendons. Now who’s the cripple?

CREOTE: Guards!

BARBARA: Tyndale. Canseco. Wintergreen!

DEADBOLTS engage on the door, locking the mobsters out. Barbara throws the ninja star up to hit a catch on the ceiling. A TRAP DOOR opens and a metal ladder falls down. She grabs onto the lowest rung and climbs up it.

She reaches the top just as the thugs break the door down.

CREOTE: She’s up there! Get her!

The first thug grabs onto the ladder. In the crawlspace, Barbara grabs an ELECTRICAL CABLE, slices it open with the ninja star, then applies one SPARKING END to the ladder. The thug is SHOCKED OFF.

CREOTE: Get up there! She can’t take out all of you.

The sprinklers turn on. In the crawlspace, Barbara holds up the electrical cable. Doesn’t take the Oracle at Delphi to see where this is going.

EXT. HANGAR – NIGHT

Dramatic music plays as the hangar doors at KORD INDUSTRIES open. A moment... then the BUG flies out, ass-backwards. It’s exactly what it sounds like, a hovership shaped like a Bug.

INT. BUG – NIGHT

TED: (screaming) R stands for reverse! Reverse!

MICHAEL: I thought it meant retrothrusters!

TED: WHY WOULD IT MEAN RETROTHRUSTERS?

EXT. HANGAR – NIGHT

The Bug turns the right way around and TAKES OFF.

EXT. NUCLEAR POWER PLANT – NIGHT

The disguised “troops” have completely fortified the power plant. HIGH BEAMS turn on, illuminating the entrance. An EIGHTEEN-WHEELER.

Dinah.

One of the guards tries to wave her off. Then dives out of the way as the eighteen-wheeler plows right through the security station.

The troops at the plant’s entrance open fire, Swiss-cheesing the truck cab. The out-of-control truck crashes through the wall and...

INT. NUCLEAR POWER PLANT – NIGHT

Comes to a stop against an inside wall. The troops cover the cab from all angles. One of them steps forward to open the door...

INT. CLOCKTOWER – NIGHT

A group of THUGS are lounging in the hallway where Wally delivered the serum. Mandragora steps out of the door.

MANDRAGORA: Our Oracle has escaped. Find her.

DING! They turn just as the ELEVATOR DOORS OPEN, revealing a SWAT TEAM. A firefight breaks out. Mandragora drops two cops with headshots before fleeing back into Barbara’s lair.

INT. CLOCKTOWER – HALLWAY – NIGHT

Mandragora reloads. Then he hears a BUMP. He looks up to see that an AIR DUCT over his head is dented downward... as if someone were inside.

Without hesitation, Mandragora empties his clip down the ventilation shaft. Nothing happens. After a moment of waiting, Mandragora grabs one of the men out of the firefight. It’s Guido.

MANDRAGORA: She could still be in there. You go to that end. Flush her out.

He stalks off as Mandragora follows the air duct.

INT. AERIE – NIGHT

Through the windshield we can see the Clocktower looming up ahead. Helena has just finished suiting up in her HUNTRESS get-up.

ZINDA: So... what’s with the little belly-button window?

Helena looks down at her stomach. The ugly gunshot wounds she sustained in Nightwing are still visible as scars.

HELENA: (pulling on mask) Thousand sit-ups a day. You tell me. Bring us in low.

EXT. AERIE – NIGHT

The Aerie, moving as slow as possible, flies past the Clocktower. A GRAPPLING HOOK flies out and catches on the radio tower atop the clocktower. Huntress stands in the bay door of the Aerie, like a skydiver, and is YANKED OUT by the line. She swings off it, down towards the CLOCKFACE...

EXT. CLOCKTOWER – NIGHT

Bad news. The time is ten till midnight and the rope isn’t long enough to go under the clock hands. Huntress contorts her body to pass inbetween the clock hands and...

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Flies into the gear room. She uses her cape to break her fall, slides on it across the floor. The thugs inside are surprised, to say the least. As she slides, Huntress opens fire with dual crossbows. A ferocious firefight ensues. Huntress lets go of one empty crossbow and grabs the leg of a table, redirecting her slide towards an area of gears that turns the massive clockface, cordoned off by safety railing. She passes under it and falls down into the...

INT. CLOCKTOWER – TURRET CLOCK – NIGHT

A large room underneath the gear room, filled with turning gears only hinted at by the gear room overhead. The lower half of the clockface is visible. Huntress reloads her crossbow and seeks shelter as the thugs jump down to continue the fight.

INT. NUCLEAR POWER PLANT – NIGHT

All guns are on the truck cab as one particularly brave soldier throws the door open to find...

NOTHING. The speed pedal is duct-taped to the floor.

SOLDIER: Oh ****.

A motorcycle engine revs for a moment before DINAH BURSTS OUT OF THE TRAILER like a bat out of hell, one big damn motorcycle between her legs, trenchcoat billowing behind her like the winds of a blackbird. She speeds down a hallway, a rope trailing behind her bike. The soldiers turn to see that it leads to a large BOMB...

The rope, out of slack, rips the pin out of the bomb.

INT. NUCLEAR POWER PLANT – HALLWAY – NIGHT

Dinah rides away as an EXPLOSION tears out of the door she just came through.

INT. BUG – NIGHT

Michael and Ted pilot through the fog.

MICHAEL: I don’t see the plane. Where is it?

TED: I don’t know. Radar says it should be right on top of us...

The JET LINER comes out of the cloud right in front of them. Michael jams down on the yoke to avoid it, sending them into a NOSE DIVE.

EXT. GOTHAM – NIGHT

The Bug pulls up JUST IN TIME to clear a busy intersection. It skims over the traffic.

INT. BUG – NIGHT

Michael valiantly fights with the controls.

MICHAEL: Up! I want to go up!

TED: Tunnel! Tunnel!

EXT. GOTHAM – NIGHT

The Bug just manages to clear a tunnel. Sparks fly as it scrapes against the walls, a tight fit.

INT. BUG – NIGHT

Ted turns to Michael.

TED: (accusatory) You scratched the paint.

INT. CLOCKTOWER – HALLWAY – NIGHT

Guido follows the air vent, every few feet poking it with his rifle to see if it flexes inward... or has the weight of a body pressing down on it.

Suddenly, he hears a SQUEAKING from around the corner up ahead. A squeaking much like wheels. He aims his rifle at the corner and waits... until an EMPTY WHEELCHAIR passes by.

GUIDO: What the hell?

BARBARA: (O.S.) Psst!

Guido turns to see BARBARA, hanging upside-down next to him. She jams a TASER into his chest, shocking him to the ground. Then she shocks him again. Convinced he’s down, Barbara begins to pull herself back up... and blood falls on her face.

She’s been hit in the thigh. It’s bleeding pretty bad.

BARBARA: Beautiful.

INT. CLOCKTOWER – TURRENT CLOCK – NIGHT

Huntress has taken cover behind a man-sized, vertical turning gear, grinding its gears against a horizontal gear that she’s standing on. She fires a shoot between the vertical gear and the gear its turning against, taking out the last of the thugs that has her pinned down...

On a catwalk behind her, a particularly nasty HENCHMAN is sneaking up on her. She hears the catwalk creak under him. She turns and fires a bolt. Unfortunately, it glances off the catwalk’s railing and wimps out. The Henchman jumps down, landing beside her. A vicious fistfight ensues. He sucker-punches her in the gut, clubs his hands together and hits her behind the ear. She goes down, her head hanging off the edge of the gear. He plants his foot against her throat. All he has to do is hold her there and the turning of the gears will CRUSH HUNTRESS’ HEAD.

As the gears grind closer, Huntress grabs the henchman’s foot to try to pry him loose. No chance. He’s pressing down too hard. Then she feels something. A GUN in his ankle holster. She grabs it and points it at his groin.

HUNTRESS: You got a pressing need to be circumsized?

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

On one of the monitors dedicated to live security feeds, Savant sees Dinah blazing towards him.

SAVANT: (to minion) Lockdown! Lockdown now!

The minion presses a large red button. HEAVY BLAST DOORS begin to descend, sealing off all the exits.

INT. NUCLEAR POWER PLANT – HALLWAY – NIGHT

Dinah speeds towards one of the closing blast doors. She’s not going to make it. She guides her motorcycle into a skid, KICKS OFF IT. She rolls along the ground as the motorcycle slams into the closing door, JAMMING IT.

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Savant looks at a monitor. A HEAT READING is headed from YELLOW into RED. Sighing, he draws a gun and shoots the gas tank of the motorcycle. An explosion rims the ground below the jammed blast door with flame.

INT. NUCLEAR POWER PLANT – HALLWAY – NIGHT

Coiling the trenchcoat around her, Dinah rolls underneath the door just as the motorcycle SNAPS. She clears the slammed-shut door, but it catches her trenchcoat... which has CAUGHT FIRE. She shrugs it off to confront Savant.

She takes it all in. Savant. The gun. His two minions. They stare each other down. One of them isn’t walking away from this one.

SAVANT: Well. We meet again. Aren’t you just a picture of feminine sexual iconography? Honestly, you could put that outfit on a goat and men would be drawn to it. Sort of makes you redundant, doesn’t it? (to minions) Kill her.

The minions run forward. With one roundhouse kick, Dinah dispatches them both.

DINAH: Stop the countdown and you die clean.

Savant checks again on the heat reading. It’s gone into the red. He unplugs the wireless modem and sets it down on the table. They circle each other, the reactor nearly forgotten.

SAVANT: The meltdown is already warming up. Once that little notch hits the end of the red zone... well, radiation sickness is a nasty way to go. Nothing can stop it but a command from the Clocktower... a command Mandragora isn’t going to give.

DINAH: Huntress can be quite persuasive.

SAVANT: Oh. Your cunning plan to save the city rests on that screw-up? God, I am so glad I’m not on the side of angels this time. You people are idiots, you know that?

DINAH: You killed Barbara.

SAVANT: Correction. I ENJOYED killing Barbara.

Dinah rushes towards him. Savant draws on her, bringing her up short.

SAVANT: I’ve got twelve bullets, more than enough to handle you. Oh, wait, my mistake. Eleven bullets. I left one in Babs.

DINAH: You don’t get to call her that! (beat) Put down the gun, Savant. Face me like a man.

SAVANT: I’ve already defeated you once. I figure this is really a formality

He shoots her. She throws up her hands just as the bullet strikes her, knocking her back and to the ground. No mistake. Dinah lies still on the ground, hands still clenched impotently into fists at her sides.

SAVANT: See? Just as satisfying as killing you with my bare hands.


Next: Prestige

 

[Zev]

INT. BUG – NIGHT

The Bug emerges from the tunnels. Ted looks up. Through the strobing streetlights, he sees the jet liner up ahead.

TED: Pull up!

Michael does.

TED: Bring us up parallel to it! I’ll work the docking clamps!

MICHAEL: Docking clamps?

EXT. BUG – NIGHT

The Bug flies under the jet liner. The “legs” of the Bug pinch shut on the underside of the plane... accidentally CRUSHING it a little bit like a soda can squeezed too hard.

INT. BUG – NIGHT

TED: That’s gonna leave a mark.

MICHAEL: Ted, we’ve got a problem!

TED: Big problem?

MICHAEL: Pretty big.

Michael looks out the windshield. They’re on a collision course with a SKYSCRAPER.

INT. CLOCKTOWER – KITCHEN – NIGHT

Back in a spare wheelchair, Barbara enters the kitchen. She checks a PDA on her wrist. A beeping dot alerts her to her quarry being inside the FREEZER. She throws it open. Dick Grayson has been stuffed inside.

BARBARA: Oh God...

Working with all her might, she drags him out. His lips are blue, skin pale, and frost has formed on his cheeks. He gasps as Barbara rubs her hands together and presses the friction against his skin.

GRAYSON: I feel so emasculated... why does that turn me on?

BARBARA: You’re gonna be okay. Everything’s going to be just fine.

MANDRAGORA: (O.S.) I think not.

Barbara turns to see that MANDRAGORA is aiming a gun squarely at her.

MANDRAGORA: Every good hunter knows that you don’t go looking for prey... you let the prey come to you.

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Savant walks towards Dinah’s body. Nudges it with his foot. Her fist unclenches... and the bullet rolls out from between her relaxed fingers.

Dinah kicks the gun out of his hands and leaps to her feet.

DINAH: You may have beaten me...

SAVANT: How in the hell...

DINAH: But you never defeated me.

Savant realizes that SHE CAUGHT THE BULLET!

SAVANT: Impossible!

DINAH: Yeah. I do that from time to time.

He swings at her. She ducks under it and chops Savant under the armpit. He hisses in pain. Dinah punches him across the face, making him back up a little, then follows through with a series of kicks to the chest. He catches one of them and shoves Dinah back. She trips and goes down. Savant kicks her in the ribs before she can get up, actually lifting her off the ground and sending her sliding down the floor.

SAVANT: Let’s finish this, blondie.

Savant runs towards her, fist raised to deliver a blow. She leaps into a spinning crescent kick, bringing her heel down on his shoulder so hard that it knocks him to his knees. He gets up without missing a beat, jabbing her in the solar plexus with two stiffened fingers, then grabbing her by the hair and flinging her head against the ground. He stomps on her back sadistically.

SAVANT: C’mon! C’mon!

She rolls over and catches his foot as he brings it down.

DINAH: Shut up and fight.

Twisting at the hip, Dinah kicks him in the face. He falls back, actually taking a tumble before getting back to his feet. Both of their faces are thoroughly bloodied. Dinah steamrolls towards him, launching a series of punishing blows all over his body. She leg-strikes his legs several times, making the big man buckle. When he throws a punch, Dinah blocks it with a technique that shatters his fist, then palm-strikes him in the chest. He’s out of it.

INT. CLOCKTOWER – KITCHEN – NIGHT

Mandragora ***** the gun.

MANDRAGORA: You’ve outlived your usefulness.

A CROSSBOW BOLT hits him in the chest. He’s catapulted backwards and impaled against the wall. His gun lands on a table as HUNTRESS steps out of the shadows, slowly reloading her crossbow.

HUNTRESS: (drawing a bead on his head) I’m really going to enjoy this.

BARBARA: Helena... don’t.

HUNTRESS: Give me one good reason.

BARBARA: You.

Huntress turns to look at her.

BARBARA: You’re better than this.

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Dinah continues laying into Savant, who isn’t putting up a fight.

BARBARA: (V.O.) I believe a person can change. I believe we don’t have to be the people we once were. That’s what the Birds of Prey are all about. Taking someone who’s damaged and broken and wrong...

Dinah grabs Savant by the collar, holds him up. He can’t even stay on his feet.

SAVANT: (weakly) Mercy.

DINAH: Mercy? Like you gave Barbara?

She punches him again, breaking his jaw.

BARBARA: (V.O.) And fixing them.

INT. CLOCKTOWER – KITCHEN – NIGHT

Barbara continues her appeal.

BARBARA: You’re not the same person that murdered Silencer. You’ve changed. For the better. Don’t throw that all away for him.

HUNTRESS: Barbara... he killed my family.

BARBARA: I know. But it’ll be okay.

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Savant lists back and forth, dazed, as Dinah jumps up and grabs hold of the pipes running along the ceiling. She wraps her legs around his neck.

DINAH: Still like my legs?

SAVANT: Please...

Dinah snaps his neck without a second thought.

BARBARA: (V.O.) Everything’s going to be okay.

INT. CLOCKTOWER – KITCHEN – NIGHT

Lowering the crossbow, Huntress collapses at Barbara’s feet. Hold on the strange tabernacle of Helena, Barbara, and Dick as Barbara slips off Huntress’ mask and pets her hair.

It’s the perfect ending until MANDRAGORA RIPS FREE OF THE ARROW, SCOOPING UP HIS GUN AND...

An arrow pierces the orbit of his eye. Mandragora falls forward, his weight landing on the arrow. It slides further into his head... or more accurately, his head slides down the shaft until we hear the dull tap of the arrowhead against the back of his skull.

Pan off him to find... BARBARA holding the crossbow. All three of them shell-shocked and very, very tired.

GRAYSON: The reactor!

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Dinah, crying, sags down next to the computers. Wraps herself up into a fetal position. She knows she’s going to die when the reactor goes critical... but since Savant’s died first, she doesn’t care.

A warning klaxon sounds as the heat reading nears the point of no return. Dinah ignores it, half-heartedly wiping the tears from her eyes. After a moment, she stands up and looks at the computer. The wireless modem.

Why the hell not?

She plugs it into the computer and...

The warning klaxon stops. The heat reading dies down into the green. It’s over.

EXT. GOTHAM – NIGHT

Citizens look up to see a jet liner and the BUG hovering in mid-air, mere feet away from a skyscraper.

INT. BUG – NIGHT

MICHAEL: How the hell did you manage that?

TED: (isn’t it obvious?) Air brakes.

INT. NUCLEAR POWER PLANT – CONTROL ROOM – NIGHT

Dinah picks up Savant’s gun. Stares at it. Is this a dagger I see before me...?

Savant COUGHS offscreen. Dinah turns around to see that LADY SHIVA has just revived him.

SHIVA: I took care of the soldiers you missed.

DINAH: Why?

SHIVA: I am Shiva.

DINAH: (re: Savant) I broke his neck. How did you...?

SHIVA: Did you think I would not be as adept at giving life as I am at taking it.

DINAH: But why?

SHIVA: You’re not a killer, Dinah. I just made sure of that.

She starts to exit.

SHIVA: But if I had not come here, he would be dead now. Consider that, siu jerk jai. And consider that we are not as different as you once thought.

She makes her exit.

EXT. CLOCKTOWER – NIGHT

Creote is loaded onto a maximum-security ambulance with Savant, who’s in a neck brace.

CREOTE: Do not worry, Mr. Savant. I will watch over you until you’re well.

SAVANT: Thanks, Creote. You’re a pal.

The cops close the door and the ambulance takes off... revealing DINAH on the street corner. Her fishnets tattered, her clothes torn, her body bruised. She crosses the street. Soul Asylum’s “Runaway Train” plays.

INT. CLOCKTOWER – GEAR ROOM – NIGHT

Barbara has been left alone in the sparking, damaged computer room. She broods as Dinah slowly walks around the corner. They turn to look at each other at the same instance.

Barbara smiles. She knew Dinah’d be there.

Dinah runs to Barbara, embraces her, so happy she’s crying all over again. Her hands grip Barbara’s arms, as if to assure Dinah that the redhead’s really there. Her face screwed up with such emotion that it’s palpable. Dinah can’t help it. She kisses Barbara full on the lips. The same kind of passion she had when she used her Canary Cry in the ruins. We can read her mind. “If I can just show her how much I care, if I can just make her see how devoted I am to her, she’ll love me back.”

Slowly, incredibly slowly, they break apart. Dinah looks at Barbara, waiting and hoping against hope for her dream to come true.

BARBARA: He asked me to marry him.

Close on Dinah’s thumb, running over the engagement ring on Barbara’s finger.

BARBARA: I said yes.

DINAH: (re: ring) It’s beautiful.

BARBARA: Thank you.

DINAH: What does that mean... for us?

BARBARA: It means we keep on going like we always have.

Dinah stands and turns away.

DINAH: Yeah, like we always have.

Barbara leaves.

DINAH: (small) But you kissed me back...

INT. CLOCKTOWER – KITCHEN – NIGHT

Commissioner Gordon hugs Barbara.

GORDON: Babs, are you alright?

BARBARA: I’m fine, dad, I’m…

Gordon looks up to see Grayson, wrapped in a blanket.

GORDON: And who are you?

GRAYSON: I’m her...

BARBARA: Dad, this is my fiance, Dick.

PULL OUT as Gordon greets Dick to reveal HUNTRESS outside the broken clockface, watching the family in the making. She disappears.

INT. CLOCKTOWER – GEAR ROOM – MANY WEEKS LATER

Helena, still adorned with a few lingering bruises, plugs in a monitor. It comes on, showing a newscast in which a confused Michael muddles between introducing himself as “Goldstar” and “Booster,” ending up as...

C’mon, you all know.

The Clocktower is under a state of extreme repair. Several workmen are upgrading it with newer, more advanced equipment. Helena smiles at her success with the monitor.

BARBARA: Not bad for a women who claims not to be able to program her own VCR.

Helena turns to see Barbara.

HELENA: What can I say? You’ve been a bad influence on me.

BARBARA: So... what’s next for the intrepid Huntress?

HELENA: You know... papers to grade... detention to watch... Nightwings to perv over...

BARBARA: Well, if nothing better comes along... willing to work for me full-time?

HELENA: Are you kidding?

A beat.

HELENA: Of course I do. Someone has to keep you idiots from getting yourselves killed.

BARBARA: Well, since you’re official part of the team, that means you’ll need a communicator. Something that goes with your look.

She holds out a crucifix. Identical to the one that Helena threw away at the end of Nightwing.

HELENA: How did you...?

BARBARA: I’m the Oracle.

Helena takes it. Puts it on.

HELENA: (heartfelt) Thank you.

BARBARA: Sometimes people just need a second chance.

HELENA: Speaking of... has Dinah shown up yet?

BARBARA: (sadly) No... not yet.

INT. FLOWER SHOP – DAY

Dinah, alone, prunes her flowers. By the entrance, a fully-recovered Steph is enthusiastically recounting the incident with Savant to some friends.

STEPH: Then I gave him a right and a left and...

TIM: So, wait, you’re telling me that you held off a professional assassin?

STEPH: Yeah, pretty much. And I would’ve beaten him if his goon hadn’t coldcocked me...

TIM: C’mon...

GABBY: Shut up and let her finish the story, Tim!

IVES: Yeah, Tim, geez...

A shadow falls over Dinah. She looks up to see WALLY smiling at her.

WALLY: Hey. What’s good for “sorry I missed our date, but I had to save the world”?

DINAH: Red roses. I suppose Oracle sent you.

WALLY: She thought you needed someone to talk to.

She goes to get the flowers and Wally walks alongside her.

DINAH: (after a long pause) Life sucks.

WALLY: On occasion. Man trouble?

DINAH: (smiles wanly) Something like that.

WALLY: Wanna talk about it?

DINAH: Not really.

WALLY: That’s cool.

A long pause.

WALLY: All I know is that Barbara really misses you a lot. I hear her voice. I know her moods. She just... isn’t the same without you. You two are a pair. Linked. You two being apart is like... Kirk without Spock. Sonny without Cher. Turner without Hooch...

DINAH: Alright, okay!? I get it.

She holds out the flowers to him.

DINAH: Here are your flowers.

WALLY: Keep ‘em.

He heads for the exit, lighting a cigarette.

DINAH: What about your wife?

WALLY: She’ll understand. That’s why I married her. That and the booze.

As he leaves, TIM spots the FLASH RING on his finger. Tim points at the departing West.

TIM: That guy! That guy was the Flash!

STEPH: Yeah right...

TIM: No, his ring! Did you see his ring?

STEPH: Your stories suck compared to mine, just accept it. “Bruce Wayne is Batman.” “Clark Kent is Superman.”

TIM: He is Superman! He’s just wearing a pair of glasses!

And, as they argue, Dinah smells the roses.

INT. CLOCKTOWER – GEAR ROOM – DAY

Barbara briefs Helena.

BARBARA: Our target is Bialya. The new queen has set up an internment camp for political dissidents. We’re going to free them. Helena, your job is to...

DINAH: (O.S.) Ogle all the pretty boys and dress in something Paris Hilton wouldn’t be seen in?

Barbara and Helena turn to see Dinah descending the staircase, duffel bag in hand, hair dyed blonde and cut short.

HELENA: (all smiles) I like to play to my strengths. Speaking of which, Tim Curry called. He wants his fishnets back.

DINAH: Wow. Rocky Horror Picture Show joke. Never heard that one before.

BARBARA: Are you girls going to bicker all night or are you going to overthrow an oppressive fascist regime?

HELENA: Do we have to decide now or can we think it over?

DINAH: I’d like to buy a vowel.

Barbara shoos them off.

BARBARA: Zinda’s fueling the Aerie. Try not to blow anything up this time.

HELENA: Define “anything.”

Before she leaves, Dinah checks to make sure Helena is gone, then turns back to look at Barbara.

DINAH: You going to be okay?

BARBARA: I’ll be fine. You?

DINAH: Never better.

BARBARA: So... we’re cool, than?

DINAH: Ice-cold.

BARBARA: Good.

DINAH: Great.

Long pause.

DINAH: Look, Dick’s a great guy...

BARBARA: (smiling) You’re going to miss your flight.

DINAH: Yeah. Maybe we can talk later? You. Me. Pizza pie?

BARBARA: I’m... not sure if that would be appropriate.

DINAH: (disheartened) Oh. Okay then.

She turns to leave.

BARBARA: Dinah...

DINAH: (hopeful) Yeah?

BARBARA: That wasn’t a no.

Dinah smiles a little.

DINAH: It wasn’t a yes either.

BARBARA: Well, I don’t know what kind of toppings are going to be on that pizza pie.

DINAH: Canadian bacon with extra pineapple.

BARBARA: Don’t even joke like that.

DINAH: See you later, Babs.

BARBARA: See ya.

Dinah disappears as Barbara takes off her glasses.

BARBARA: (to herself) God, Dinah... what am I going to do with you?

A sudden sound of running water from the washroom.

BARBARA: Hello?

Barbara enters the washroom to find NIGHTWING. He looks like hell and is compulsively washing his hands.

BARBARA: Dick? Are you alright? What is it?

Close on Dick’s eyes behind a half-torn mask. Bloodshot. Haunted.

BARBARA: (O.S.) Dick, what’s wrong?

THE END


Next: Teen Titans