She's just getting off the bus in Metropolis, wearing the long dark wig and sunglasses. She's on the phone to her parents, telling them to get her son ready. "Ah liked you better as a blond," Deadshot says behind her, accompanied once more by the twangy guitar. She turns to face him. Now that we get a good look at him, he's sort of a letdown. He looks like he belongs in a salsa commercial where the punchline is "New York City?!" Speaking of commercials, let's take a break for them now, shall we?
Back from the break, Cat is still staring down the Salsa Kid. Bus passengers mill about, paying no mind to these costumed weirdos. "Why are you doing this to me?" she asks. "Funny thing about fate," he says, "you can't outrun it." Not if this show has anything to do with it. He sweeps open the front of his duster, showing her his holstered gun. She begs for her life, saying she has a young son. "He'll get over you," he says, advancing on her. "In three or four years, he won't remember your face." He blah-blahs for a while in his awful True Blood reject accent and his pasted-on beard. He ends by saying, "Everyone is replaceable." Cat says she used to think everyone could be saved. "But now I realize some people are just born dead." She makes a break for it, whacking him with a suitcase. She runs between rows of parked buses, shedding her wig as she goes. He walks slowly after her. Cat runs through a crowd of disembarking passengers and then, for some reason, keeps running until she gets to the empty works yard. She finds herself at a dead end. A wall looms over her, bearing the Suicide Squad's skull symbol. She stands in front of it, petrified. Across the yard, a sniper rifle is aimed at her. Deadshot activates a remote control device, which sets the gun to fire in eight seconds.