The Batman

THE BATMAN
by
Lee Cordner

Batman created by Bob Kane
Based upon Batman: Year One

Lee Cordner
Luis de los Rios

Stormbreaker Comics Shooting Script
Ironwing Entertainment May 2013
FADE IN:

EXT. PARK ROW - THEATRE - NIGHT

Rain pours.

Dozens of REPORTERS huddle in tight areas. POLICE hold
them off. Cameras flash. Sirens flash.

PARK ROW - ALLEYWAY

A dank, decrepit mess of an alleyway littered with trash
and large dumpsters.

Two bodies lie on the ground. A WOMAN on top of a MAN, CSI
people number the crime scene.

A bullet casing numbered #6. A pearl numbered #5. Bodies
marked #1 and #2. A gun marked #3. A wallet marked #4.

CSI person takes a picture of the bodies.

PARK ROW - THEATRE

A BLACK SEDAN rolls up and parks, doors open.

JAMES JIM GORDON (28, Caucasian) well attired, makes his
way toward the crime scene.

BRIAN WALKER (32, Caucasian) a shady character with a hat,
follows Gordon.

PARK ROW - ALLEYWAY

CSI person takes another picture. FORENSICS EXPERTS dust
the crime scene.

Gordon and Walker rush into the alleyway. Gordon spots the
bodies and closes his eyes.

A POLICE WOMAN consoles BRUCE WAYNE (10, Caucasian) by the
wall.

Gordon spots Bruce. He walks over and takes a knee.

Bruce looks at the bodies. Gordon takes off his coat and
wraps it around Bruces shoulders.

Gordon ushers Bruce away from the scene. Bruce glances at
Walker who looks away.
2.

PARK ROW - THEATRE

Police move the barricades. Gordon ushers Bruce through
the hordes of Reporters and Journalists.

Cameras flash. Bruce blinks as the cameras light up.

INT. WAYNE MANOR - LOUNGE - DAY

Bruce sits on the couch looking at a portrait of MARTHA and
THOMAS WAYNE.

ALFRED PENNYWORTH (48, Caucasian) British and well
mannered, looks on from the doorway and bows his head.

News plays. It shows pictures of the crime scene.

Alfred glances at the newspaper: THOMAS AND MARTHA WAYNE
FOUND SHOT IN PARK ROW ALLEYWAY.

TV shows an image of JOE CHILL (20, Caucasian) a grimy man
with a dark expression, Bruce scowls at the picture.

Bruce clenches a fist.

EXT. GOTHAM CITY - GRAVEYARD - DAY

Skyscrapers in the backdrop, Wayne Tower sits dominantly in
the centre as people walk slowly through the graveyard.

Mourners lay flowers at the grave. A PRIEST reads (not
heard) from a bible, Alfred places his hand on Bruces
shoulder.

Gordon lays two roses in the grave. He glances at Bruce.

Gordon returns to his family. BARB GORDON (8, Caucasian)
innocent and shy, looks at Bruce and sadly smiles, Gordon
places his hand on Barbs shoulder.

Walker lays a flower in the grave. He darkly looks at
Bruce.

Everyone is gone. Only Bruce and Alfred remain. Rain
pours. Alfred opens an umbrella.

Bruce glances at the names on the gravestone.

Alfred ushers Bruce from the graveyard and to the car.

3.

INT. GOTHAM GYM - DAY

Rain tinkles against the windows as THUMPING sounds drone
in the distance.

Bruce (now 14) slams his fists into a boxing bag with
malicious intent.

Thunder CRACKS like a gunshot. Bruces anger boils, sweat
pours, he unloads on the boxing bag.

SCREAM. GUNSHOT. Bruce punches the bag.

Boxing Bag breaks off and hits the ground. Bruce breathes
in and out, he punches the wooden wall, CRACK.

EXT. THE NARROWS - ALLEYWAY - NIGHT

A MAN deals from the back of a WHITE VAN. Man hands over
some drugs. Bruce, in a HOODED JUMPER, approaches the van
and looks on.

Man looks at Bruce. Bruce hands over a few hundred bucks.
Man hands Bruce a pistol and one ammo clip.

GOTHAM CITY - COURTHOUSE - DAY

Reporters flash cameras. Bruce still in a hood; blends in
with the crowds with his hand in his pocket.

Police usher a restrained Joe Chill up the steps toward the
courthouse.

Bruce looks at Chill with anger in his eyes. Chill seems
ghostly, as if he is in a trance.

Bruce edges the gun out and considers. Chill spots him and
his eyes sink. Bruce notices the expression and leaves.

GOTHAM CITY - ALLEYWAY

Bruce bins the pistol and runs down the alleyway.

INT. WAYNE MANOR - BRUCES BEDROOM - DAY

Bruce packs up a suitcase with clothes and supplies. He
rushes to the dresser, opens the drawer, opens a lockbox
and takes out a few thousand dollars.
4.

WAYNE MANOR - ENTRANCE HALL

Bruce rushes down the steps with his suitcase. He grips
the door handle and leaves.

Alfred emerges from a hallway and rushes to the door.

EXT. WAYNE MANOR - DRIVEWAY - DAY

Alfred rushes out just in time to see Bruce ride down the
driveway on his bike.

Alfred spots a letter on the wall. He picks it up, unfolds
it and reads. His eyes sink and close.

GOTHAM CITY - AIRPORT - NIGHT

A JUMBO JET takes off.

GOTHAM CITY - SKYLINE

Jet flies through clouds and away from Gotham City.

INT. JUMBO JET - COMMON CLASS - NIGHT

People crowd common class. Kids kick the back of Adult
chairs. A movie plays on the TV. An AIR HOSTESS walks up
the aisle with a trolley of food and drinks.

She stops. Bruce looks out of the window. She realises
who he is. Bruce gazes out of the window and bows his
head.

EXT. GOTHAM CITY - SKYLINE - NIGHT

Plane flies away.

THE BATMAN

ARABIA - MARKETS

People crowd market stalls. Bruce Wayne (now 24) handsome
and bearded; buys an apple.

He walks down the street.
5.

A MAN (40s, Caucasian) with a goatee and stern look;
watches Bruce from the distance.

ARABIA - COURTYARD

This is an old basketball courtyard with a broken hoop and
no net, a few KIDS sit around.

Bruce bites into the apple, passing a few kids. The kids
look at him and then scatter.

Bruce stops. Man enters the courtyard.

Bruce looks over his shoulder. The Man is gone. He turns.
Man is in front of him.

Bruce drops the apple. Man swiftly catches it.

MAN
Ive been watching you
for a while.

Bruce grows nervous. Man reaches into his pocket. Bruce
recoils. Man pulls out a card.

MAN (contd)
You seem lost, not sure
where your life is headed.
I can help you find your
place.

Man hands Bruce the card. Bruce hesitantly takes it.

MAN (contd)
Find me when you are
ready.

The Man hands Bruce the apple and walks to the gate. Bruce
glances at the card, it is blank, Bruce looks at the Man,
who is gone.

Bruce looks around and wonders.

ARABIA - VILLAGE

A village surrounded by a wooden fence, Bruce makes his way
to the gate.

Arrow strikes the ground at Bruces feet. Bruce recoils.
He seeks out the bowman.
6.

Gates open. Bruce hesitantly walks up to them.

INT. VILLAGE - HUT - DAY

Candles light the dark dusty room as Bruce opens the creaky
door and walks in.

Bruce looks around. This place looks like some kind of
shrine.

BRUCE
Hel-

The Man grabs Bruce from behind in a rear-choke. Bruce
struggles free.

Man trips him up and places a samurai sword to Bruces
throat.

Bruces eyes widen. Man looks on.

MAN
Always be aware of your
surroundings, Bruce.
Rule number one.

Man sheathes the sword and lends Bruce a hand. Bruce grips
the Mans hand.

LATER - VILLAGE - HUT

The Man and Bruce sit opposite sides of the table. The Man
twirls a knife on the table.

MAN
What is it you want in
life?

BRUCE
You tell me.

MAN
I cannot answer your own
questions. You have to
find the answer yourself.

Bruce looks on.

MAN (contd)
Speak your mind.
7.

BRUCE
I want revenge.

MAN
Revenge is a dangerous
word. You want peace.
Tell me about your demon.

BRUCE
What makes you think I
have a demon?

MAN
Everyone has a demon, even
if they deny it. The happiest
man on earth fears something.
What do you fear, Bruce?

Bruce wonders. The Man carves something into the table.

GUNSHOT. SCREAM. GUNSHOT. THUD.

Bruce winces and clenches a fist.

MAN (contd)
Let it out, let it fuel
you. Do not deny your
past. Your past is what
makes you strong.

EXT. VILLAGE - COURTYARD - DAY

Bruce slashes a dead pig pathetically. Man shakes his
head.

MAN
Let your anger fuel your
passion. See your target,
visualize its weakness and
strike with precision.

Bruce slashes. Man sighs and slashes the pig in half.

Bruce looks on. Man sheathes his sword.

MAN (contd)
Never hold back. Always
push yourself. You are
stronger than you believe.
Use your strength and strike.

8.

INT. VILLAGE - GYM - DAY

Bruce runs on a treadmill. Man paces back and forth.

MAN
Keep pushing yourself.

Man taps a switch. Treadmill speeds up. Bruce picks up
the pace.

BRUCE
Slow it down.

MAN
Push harder.

Man taps a switch twice. Treadmill causes Bruce to start
sprinting. Bruce grabs the rail and gets off.

Man looks on.


Bruce slashes the pig, still not doing much damage.

MAN
Your lack of conviction is
pathetic. Where is that
anger? That rage? That
passion?

Bruce wipes his forehead and swings. Man clashes swords
with Bruce.

MAN (contd)
Perhaps some convincing
would help boost your
efforts?

Man slashes. Bruce steps back, gets sliced across the arm.
Bruce checks his arm. Man smirks.

Man swings. Bruce parries weakly. Man disarms him and
places the sword to Bruces throat.

Bruces breathing quickens.

MAN (contd)
Never let your enemies into
your head. Do not allow them
to see your fear.
9.

BRUCE
Im not like you.

MAN
In time, you will be.

Man trips Bruce, THUD.


Bruce and the Man sit opposite sides of the table.

MAN
Your anger and passion is
what makes you stronger.
What happened that caused
you to run?

Bruce looks at the Man.

GUNSHOT. SCREAM. GUNSHOT.

BRUCE
He murdered my parents.

MAN
And how does that make you
feel?

Bruces anger boils. Man smirks.


Bruce slashes the pig, slicing and dicing and eventually
slashing it in half.

The Man looks on with a smile on his face.

Bruce looks at the pig.

MAN
Rule number one.

Bruce furrows his brow. An ASSASSIN trips Bruce and places
a sword to his throat.

Bruce looks up at the Assassin.

MAN (contd)
Always be aware.
10.

A WOMAN (22, Caucasian) beautiful and voluptuous, gazes at
the courtyard from the balcony, she seems conflicted.

Bruce notices her. She smiles. Man notices. The Woman
walks back into the hut.

INT. VILLAGE - HUT 3 - NIGHT

A MAN (33, Caucasian) shows Bruce the computers. The Man
looks on from the shadows.

Bruce starts working on the computer.

MAN (V.O.)
Technology aids us in our
struggle. It allows us an
advantage over our enemies.
Imagine being able to track
your targets as they move,
to watch them as they sleep.
But first you must learn how
to hunt.

BRUCE (V.O.)
Hunt?

MAN (V.O.)
Targets will flee, you have
to be one with the shadows.
Never let them see you
coming.

Bruce looks at the Man who nods.

EXT. VILLAGE - ROOFTOPS - NIGHT

Rain pours. A MASKED BRUCE makes his way across the
rooftop.

An ASSASSIN walks down below on the walkway. Bruce scans
the area with his eyes. He kneels beside a power box.

Bruce flips the power switch. He grabs the power line and
hangs over the Assassin.

Bruce drops. Assassin notices and slashes Bruce across the
arm.

Man looks on from the balcony; he bows his head and sighs.

11.

Bruce unmasks. Assassin looks down at him. Bruce seems
annoyed.

MAN (V.O.)
What was your mistake?

BRUCE (V.O.)
I made no mistake.

MAN (V.O.)
You need to be one with
the shadows, but remember
there could be another with
the same intention.


Bruce dries himself with a towel. Man points to the
monitor. Bruce looks and spots a masked Assassin in the
shadows by Hut 4.

MAN (V.O.)
Hidden in plain sight.

BRUCE (V.O.)
I was unaware of him.

MAN (V.O.)
Precisely. You need to be
exact. No slipups, do not
fail. In the real world,
if you do not envision your
surroundings, the tiniest
mistake will get you killed.

Bruce thinks.

EXT. VILLAGE - COURTYARD - NIGHT

An Assassin walks along the walkway. Another patrols the
rooftop.

MAN (V.O.)
Find alternative routes, new
ways, do not go for the easy
approach. Think outside of
the box.

BRUCE (V.O.)
I can do that.
12.

MAN (V.O.)
We will see.

Assassin in the shadows looks on. Assassin #1 walks the
walkway. Assassin #2 patrols the roof.

Man eagerly looks on from the balcony. The Woman joins
him.

VILLAGE - COURTYARD - DAY

Bruce and the Man clash swords. Bruce parries, blocks and
dodges. Man slashes. Bruce parries.

INT. VILLAGE - HUT 3 - DAY

Bruce opens up a firewall on the CPU. He hacks into it.
Man smirks and nods, impressed.

EXT. VILLAGE - COURTYARD - NIGHT

Assassin #1 looks up. Assassin #2 is gone. Assassin in
the shadows is gone too.

Assassin #1 grips his sword.

Bruce emerges from the shadows and strikes the Assassin
down.

Man smiles and rubs his hands together. Woman looks on.

Bruce looks up at the Man who nods. Bruce helps Assassin
#1 up.

MAN (V.O.)
You did well.

Bruce unmasks and smirks. Woman walks into the hut.

BRUCE (V.O.)
Am I ready?

MAN (V.O.)
Almost.


Man and Bruce exchange looks from across the table.
13.

MAN
When you saw him, why did
you not shoot?

BRUCE
I was scared.

MAN
What about now?

BRUCE
Im not scared anymore.

Man smirks. He finishes the carving of a LION. Man slides
the knife across the table.

MAN
You are ready.

Bruce grabs the knife and notices his vastly different
reflection.


Assassins stand in two rows. The Man and the Woman stand
by a pedestal, where a branding iron sits in a fire and a
ring sits on the pedestal.

Bruce makes his way up. Assassins bow their heads.

Bruce kneels before the pedestal.

MAN
Brothers, sisters, are we
assured this initiate is
prepared?

ASSASSINS (as one)
He is ready.

Man grabs the branding iron, a two-pronged scalding device
and looks at Bruce. Bruce extends his ring finger.

MAN
Then we welcome you into
the fold. From this day
forth your sins are absolved,
your past rectified, your
task appointed.

Man presses the branding iron to Bruces finger, SIZZLE.
14.

Bruce grimaces. The Man places the branding iron down.
The Woman takes the ring from the pedestal and fits it on
Bruces ring finger.

The ring covers the brand. The Woman gazes into Bruces
eyes.

MAN (contd)
Rise, brother.

Bruce stands and bows his head. Assassins raise their
swords skyward.

The Man proudly looks on.


The Woman eloquently approaches the door. She opens it.
Bruce (now 26) steps in.

Woman smiles, they kiss.

LATER - VILLAGE - HUT 5

Bruce and the Woman lie beneath the sheets. Bruce looks
into her eyes.

WOMAN
Never change, Bruce.

Bruce brushes her hair over her ear.

BRUCE
I never will, Ta-

BOOM! The side of the hut blows apart. Bruce shields the
Woman.

Panicking and yelling. The sounds of war drone from
outside, Bruce puts on his clothes.

BRUCE (contd)
Stay here.

WOMAN
Bruce-

BRUCE
Please.

15.

Woman nods. Bruce kisses her on the forehead and rushes
out.

EXT. VILLAGE - NIGHT

Fires rise. Buildings ignite. The Man fights off a MASKED
MAN by the battlements.

Bruce leaps from Hut 5 onto a lamppost and slides down.

A MASKED MAN slashes at Bruce. Bruce dodges and slams the
Masked Man head first into the wall.

A building crumbles. Two Assassins get caught under the
rubble.

Man parries and stabs the Masked Man through the chest.

Bruce reaches the Man.

BRUCE
What is happening?

MAN
Get her out.

Bruce nods and runs. Man clangs swords with a Masked Man.

BOOM! Generator explodes. Village goes dark.


Masked Man #1 grabs the Woman. Masked Man #2 attacks.
Woman kicks Masked Man #2 and frees herself. She drives
Masked Man #1 into the desk.

Masked Man #2 unsheathes his sword and swings. Woman uses
a chair as a shield.

She breaks the chair over Masked Man #2s chest and then
pushes him out of the side of the building.

Masked Man #1 unsheathes a dagger and stabs.

Bruce blocks the dagger and butts Masked Man #1 in the face
with the butt of the sword.

Bruce grabs the Womans hand.

She looks at the carnage down below. Assassins are dying.
16.

EXT. VILLAGE - NIGHT

Masked Man #3 stabs. Man parries. Masked Man #4 slashes.
Man dodges. Masked Man #5 stabs the Man through the chest.

Bruce and the Woman drop down on the lamppost. They rush
across the battlefield.

Woman sees the Man fall into the battlements.

WOMAN
No!

Masked Man #3 kicks the Man through the battlements.

Woman grabs a sword and stabs a Masked Man. A Masked Man
whacks Bruce in the back of the head, knocking him out.

Masked Men restrain the Woman. Masked Man #5 knocks her
unconscious.

MASKED MAN #3
What do we do with him?

MASKED MAN #4
Thats for the boss to
decide.

INT. TORTURE CHAMBER - NIGHT

Bruce sits tied to a chair, his chest bearing welts, his
body contorted.

A JAPANESE MAN (45, Japanese) sly and distinctive, enters
and props Bruces head up.

Two MEN (32 and 35, Caucasian) enter and close the door.

JAPANESE MAN
American, name yourself.

Bruce looks on. His eye black, his lip busted, he spits
blood.

JAPANESE MAN (contd)
I shall grant you credit,
most give up by now.

BRUCE
Where is she?

17.

JAPANESE MAN
She is in the next room.

Japanese Man flips on the TV. It shows the Woman, tied to
a chair, in her underwear.

BRUCE
Let her go.

Japanese Man smirks. Bruce gets a hand free. They do not
notice.

JAPANESE MAN
Is her danger somehow a
fear of yours?

BRUCE
I fear nothing.

JAPANESE MAN
All men fear something.

BRUCE
Not me.

Bruce gets free and grabs Japanese Man. He wraps his arm
around Japanese Mans throat and uses him as a human
shield.

Man #1 and #2 aim their guns.

BRUCE (contd)
Drop the guns or I break
his neck. Do not test me.

JAPANESE MAN
Shoot him!

Man #1 and #2 shoot. Bruce ducks and slides under a table,
he flips it over.

Japanese Man hurries to the door.

Man #1 shoots. Bruce snaps off the table leg. Man #2
aims. Bruce throws the table leg at Man #2s face.

Man #1 looks. Bruce emerges and tackles Man #1 to the
wall, they struggle for a bit, then Bruce overpowers him
and knocks him out.

Bruce grabs the TV, power cord flies from the wall. He
throws the TV at the dry wall, CRASH.
18.

The wall CRACKS open. Bruce pushes through.

TORTURE CHAMBER 2

Bruce kneels beside the Woman and unties the binding.

WOMAN
(weak)
Bruce -

BRUCE
Were getting out of here,
right now.

Bruce unties the rope. Woman is so weak she falls. Bruce
helps her up, arm over his shoulder and helps her to the
door.

CORRIDOR A

Bruce and the Woman make their way down the corridor.
Smoke billow out from under the door.

Bruce bashes into a door. It is sealed shut.

Bruce sits the Woman down and looks around. He sees a
chair, breaks off the leg and tries prying the door open.

Fire spreads up the walls, Bruce notices. Bruce kicks the
door repeatedly.

BRUCE (V.O.)
Why a lion?

MAN (V.O.)
A lion is brave, courageous,
it fears nothing, it is a
symbol.

Bruce breaks through the door. He helps the Woman up.

EXT. COMPOUND - NIGHT

Masked Men aim at the door.

INT. CORRIDOR B - NIGHT

Bruce and helps the Woman up the corridor.
19.

Masked Man emerges and tackles them. Woman falls. Bruce
and the Masked Man struggle.

Bruce punches the Masked Man. Another Masked Man grabs the
Woman and places a knife to her throat.

Bruce tries to calm the Masked Man.

MAN (V.O.)
Every man, woman and child
has a symbol. It defines
who they are.

Woman looks at Bruce, a tear, drops from her eye.

BRUCE (V.O.)
What is my symbol?

MAN (V.O.)
One day you will find out.

Woman looks at Bruce.

WOMAN
Im sorry, my love.

Masked Man slits the Womans throat.

BRUCE
No!

Masked Man drops the Womans body to the ground. She dies.

Masked Man pulls a gun on Bruce. Bruce leaps through the
window, SMASH.

EXT. COMPOUND - NIGHT

Bruce rushes across the compound. Masked Men shoot. Bruce
springboards off a stack of crates over the fence, Masked
Men fan out of the gate.

FOREST

Bruce runs through the forest. He slides down an
embankment and tumbles. He scrambles to his feet and
sprints.

Masked Men shoot at him.

20.

RIVER STREAM

Bruce splashes through a river stream and clambers up an
embankment.

Masked Men shoot. Bullets graze trees.

CLIFF

Bruce stops at the edge of the cliff. Water rapids rage
below. Masked Men shoot at Bruce.

Bruce jumps from the cliff. Masked Men reach the edge and
shoot down.

RAPIDS

Bruce splashes down. Bullets strike the water. Bruce is
carried down the rapids toward a waterfall.

ARABIA - MARKETS - DAY

Bruce, hooded, sits against the wall like a ghost. A WOMAN
drops a coin in his hand.

Bruce looks at the coin and considers.

ARABIA - MARKETS - PHONE

Bruce puts the coin in and dials.

RING. RING. ANSWER.

BRUCE
Its me.
(listens)
I want to come home.

Bruce bows his head, a tear trickles down his cheek.

ARABIA - AIRSTRIP

Bruce, looking like a homeless man, looks at the sky as a
PRIVATE JET comes in for landing.

Jet lands, Bruce looks at it.

21.

Door opens. Alfred (now 64) steps out. Bruce approaches
the jet.

Alfred smiles sadly and hugs Bruce. They enter the plane.

ARABIA - SKYLINE

Jet soars through the sky.

INT. PRIVATE JET - NIGHT

Bruce, ragged and worn out, sits nervously and anxiously
looking out of the window.

Alfred looks on.

FLASH - CORRIDOR B

Masked Man slits the Womans throat.

BACK TO BRUCE

Bruce closes the window blind and his eyes.

EXT. GOTHAM CITY - ALLEYWAY - DAY

Sun is setting, rain pours. Police have set up a crime
scene.

COP #1 (O.S.)
Victim is Larry Davis,
born October ten nineteen
sixty-four. Rich, has some
influence in politics, fits
the bill.

Cop #1 and GORDON (now 44) approach the covered body.
Gordon uncovers the body. Victim/Larrys face is smiling,
a clown face on it.

Gordon sighs and lowers the sheet. He nods to a CSI
person.

GORDON
Who is this guy?

Two HOMELESS PEOPLE answer COP questions.
22.

DETECTIVE #1
You saw a man in a clown
mask?

HOMELESS GUY #1
Yeah.

HOMELESS GUY #2
He had big shoes.

Detective #1 and #2 exchange looks. Gordon walks over,
flashes his badge.

GORDON
Witnesses?

DETECTIVE #1
Not sure just yet.

GORDON
What did you see?

HOMELESS GUY #1
He was a clown.

GORDON
Height, girth?

Homeless Guy #1 shrugs.

HOMELESS GUY #2
Six foot five - like a
stick.

GORDON
So according to you we
are looking for a six foot
five stickman with a clown
mask and big shoes.

HOMELESS GUY #2
Yep.

Gordon shakes his head.

GORDON
Name?

HOMELESS GUY #2
I didnt ask.

Detective #1 smirks.
23.

GORDON
Your name.

HOMELESS GUY #2
Oh, Ronald H. Gilligan the
third.

GORDON
Do you have a phone?

HOMELESS GUY #2
I live next to one.

Gordon jots down the details and pockets the notepad.
Gordon joins Detective #2. They walk.

GORDON
Windows surround the area,
ask around, knock on doors,
someone had to have seen
something.

DETECTIVE #2
And the bums?

GORDON
Get them a hot dog.

Detective #2 grins and makes his way to a group of COPS.
Gordon walks out of the alleyway.

GOTHAM CITY - GROVE AVENUE

Gordon ducks under the police tape. A REPORTER, JACK RYDER
(26, Caucasian) glasses and a tie, holds a recorder before
Gordon.

RYDER
Any updates on the case,
detective Gordon?

GORDON
You will be the first to
know when we make a break,
Ryder.

Gordon gets into his car. Ryder looks on. Gordon drives
away.

A Coroners van pulls up.

24.

A BLACK CAR sits across the street, its windows tinted.

INT. BLACK CAR - DAY

CARMINE FALCONI (46, Caucasian) sly and snake-like, watches
on intently, he clips a cigar.

EXT. GOTHAM CITY - GROVE AVENUE - DAY

Ryder spots the black car. He takes out his cell phone and
takes a picture of the number plate as the car drives off.

GOTHAM CITY - AIRPORT - NIGHT

The bright lights of the city illuminate the dark sky.

A jumbo jet takes off. The Private Jet lands.

Alfred steps out, followed closely by Bruce.

Bruce looks around. It looks much different from when he
left, dirtier.

GOTHAM CITY - PARKING LOT

Alfred unlocks the car. He opens the backdoor. Bruce gets
in and Alfred gets in the front.

INT. CAR - NIGHT

Alfred adjusts the mirror. He sees Bruce in the back,
looking like a ghost.

Alfred turns on the ignition.

EXT. GOTHAM CITY - BAILBOND STREET - NIGHT

A cesspool of drugs and crime, drug deals go down in
alleyways and bent cops converse with drug dealers, cash
and drugs exchange frequently.

Car drives past an old bar.

ALFRED (V.O.)
Much has changed in your
absence, Master Wayne.
25.

A Hooker approaches the car as it stops at red lights. She
shoves her boobs into the window.

INT. CAR - NIGHT

Bruce looks at the Hooker, his eyes sink.

ALFRED
As you can see, sir, we
live in a much different
time.

EXT. GOTHAM CITY - WILSON STREET - NIGHT

Car drives down the street.

Two men attack a MAN in an alleyway and mug him.

INT. CAR - NIGHT

Alfred looks at Bruce in the mirror. Bruces expression is
one of disbelief and sadness.

EXT. WAYNE MANOR - GATES - NIGHT

Car drives up to the gates, which open.

WAYNE MANOR - DRIVEWAY

Car drives up. A fountain with two angels sits in the
centre of the shingled driveway.

Car stops.

ALFRED (V.O.)
Welcome home, Master Wayne.

INT. WAYNE MANOR - ENTRANCE HALL - NIGHT

Everything looks the same, not at all different.

Alfred enters. Bruce follows and looks around. Alfred
hangs up his coat.

BRUCE
Its still the same.
26.

ALFRED
Why change what is already
perfect?

Bruce notices the family portrait on the grand staircase
landing. His eyes sink.

ALFRED (contd)
Would you like some food,
sir?

Bruce shakes his head.

BRUCE
I just want to sleep.

ALFRED
I trust you remember where
your room is?

Bruce nods and walks up the staircase. Alfred troublingly
looks on.

WAYNE MANOR - UPPER HALLWAY

Bruce walks down the hallway. He presses his hand to a
door on the right and walks in.

WAYNE MANOR - BRUCES BEDROOM

It is unchanged. Bruce closes the door and checks out the
room.

A picture of his younger self and his parents, all smiling,
Bruces gruff and ragged appearance reflects back at him.

Bruce sits at his computer desk. He peels a sticky note
from the monitor: ENGLISH ASSIGNMENT - 2:20PM.

Bruce crunches the sticky note and bins it. He looks up at
a billboard with locations: PLACES TO SEE.

GUNSHOT. SCREAM.

WOMAN (V.O.)
Im sorry, my love.

Bruce closes his eyes and clenches a fist.

He sits on the bed and lies back, staring at the ceiling.
27.

Bruce closes his eyes.

EXT. GOTHAM CITY - DRENTON GROVE - NIGHT

A lovely cove of suburban style houses sits around neatly.

INT. GORDONS HOUSE - DINING ROOM - NIGHT

Gordon looks through files and reports. He pulls up a
newspaper article: MORE VICTIMS FOUND, POLICE SEARCHING
FOR MANIACAL KILLER.

Gordon drinks some whisky and sighs. He sifts through more
reports.

He looks at a coroners report: REBECCA SANDERS, 30,
CAUSE OF DEATH: UNKNOWN.

Gordon slams the report down and takes off his glasses,
rubbing his face.

BARB (O.S.)
Dad?

BARB (now 24) beautiful and sweet; enters and looks at her
father concerned.

Gordon looks at the clock: 11:47pm.

GORDON
Stay the night.

Barb walks over.

BARB
What is it?

GORDON
Hows your mom?

BARB
Worn out.

Gordon understands. Barb sits down next to him and glances
at a picture of a DEAD MAN. Gordon hides it.

GORDON
Stay the night, promise.

Barb nods. Gordon holds her hand. She seems worried.
28.

Gordon glances over at the mantelpiece. A picture of him,
Barb, BARBARA (43, Caucasian) and James (10, Caucasian),
Gordons eyes sink.

GORDON (contd)
I just want to keep you
safe.

BARB
You have.

GORDON
Hows James?

BARB
Stuck in calculus.

Gordon smiles, Barb chuckles. Gordon stands and kisses
Barb on the forehead.

GORDON
Get some sleep.

Barb nods. Gordon walks into the kitchen. Barb picks up a
crime scene photograph of a dead WOMAN. She wonders.

EXT. GOTHAM CITY - SKYLINE - DAY

A NEWS HELICOPTER soars over the city.

INT. WAYNE MANOR - BRUCES BEDROOM - DAY

Alfred opens the curtains, sunlight breaks in and Bruce
covers himself with the duvet.

Alfred sits a tray down with breakfast and a glass of
orange juice and drops a paper onto Bruces lap.

BRUCE
(tired)
What time is it?

ALFRED
Eleven oclock, sir.

Bruce groans.

ALFRED (contd)
You have been asleep two
days, sir.
29.

Bruce sits up. He looks at the newspaper: FIREFLY FLEES,
POLICE HUNTING PYROMANIAC.

BRUCE
Two days?

ALFRED
If you dont mind me saying,
sir, you look somewhat like
a - Neanderthal.

Bruce rubs his beard.

ALFRED (contd)
The bathroom is down the
hall on the left, you will
find many cleansing items
inside.

Bruce smirks, Alfred grins.

BRUCE
You havent changed a bit,
Alfred.

ALFRED
Never, sir.

Alfred leaves the room. Bruce stands.

WAYNE MANOR - BATHROOM

Bruce shaves. Chunks of beard fall into the sink. He
wipes his face. He looks in the mirror, clean-shaven.

Bruce takes a shower. Steam rises. Water trickles.


Bruce grips the rail. His breathing picks up and he tries
calming himself down, he grips the rail tightly.

WAYNE MANOR - THOMAS STUDY

Bruce enters and looks around. He sees many things
gathering dust, bookshelves, a computer.

Bruce walks to the computer.

He moves the mouse, monitor turns on.
30.

Bruce clicks a username: THOMAS WAYNE. Password
required, Bruce wonders.

Bruce types: MARTHA - ACCESS DENIED.

Bruce looks at some paper: CLOSE TO YOUR HEART. He
thinks.

Bruce types: BRUCE - ACCESS DENIED.

Bruce takes a breath.

WAYNE MANOR - LOUNGE

Big screen TV dangles from the wall, the NEWS is on, an
image of LEXCORP sits dominantly on the screen as the STOCK
MARKET numbers scroll by.

Bruce looks at the bookshelf, browsing.

Bruce pulls a book. CLICK. Bookshelf slides along the
wall.

BRUCE
What the-

A dark passageway reveals itself. Bruce peers in. Alfred
stands by the door with a look of confusion on his face.

ALFRED
What did you do?

BRUCE
I didnt do anything.

Alfred checks out the passage. Bruce and Alfred exchange
curious looks.

WAYNE MANOR - SECRET PASSAGEWAY

Flashlights play along the walls. Bruce and Alfred make
their way down the steps.

ALFRED
It is quite filthy down
here, sir.

Bruce smirks. They descend deeper. Bruce wipes cobwebs
out of the way. Alfred notices a rat scurrying along the
ground.
31.

Rat scurries into a hole in the wall.

ALFRED (contd)
I wonder how far down we
are.

They stop at a door. Bruce wipes dust from the door. He
finds a keypad.

BRUCE
Its a fingerprint scanner.

Bruce wonders, presses his thumb to the fingerprint
scanner. DING. Green light flashes on the keypad.

CRACK. Door slides open.

Bruce enters. Alfred hesitantly follows.

WAYNE MANOR - THOMAS LABORATORY

Bruce shines his flashlight along cave walls. Alfred spots
dim lights in the distance.

Bruce steps on something; CRACK. Lights turn on,
revealing: The Laboratory.

Very old equipment, one computer, some rusty tools on the
wall, not much of a lab, Bruce looks around, Alfred checks
out the computer.

ALFRED
Where are we?

Bruce turns on the PC. No response, he checks out the
power cables, chewed away and rotted.

Water cascades down the walls, gently flows across the
floor.

BRUCE
He must have worked down
here before-

Bruces eyes sink.

Alfred sifts through some documents. He finds a few
schematics for some very high-tech stuff, including a UPV.

ALFRED
Master Wayne -
32.

Alfred shows Bruce the schematics. Bruce inspects them.
Details on Kevlar armour, specialized SWAT equipment, the
UPV.

Bruce looks at Alfred. He gazes around.

LATER

Bruce climbs the wall and hangs a spotlight. Alfred stands
below as Bruce monkeys his way across placing spotlights
all over the place.

ALFRED
Do be careful not to
damage yourself, sir.

Bruce smirks, leaps to another wall and digs a spotlight
into the wall.

LATER

Bruce rolls out a plan on the table. A schematic/blueprint
for a platform and some kind of high-tech computer system,
Alfred is perplexed.

BRUCE
We need a platform, steel,
something light, maybe a
walkway.

ALFRED
For what, sir?

Bruce looks at Alfred.

LATER

Bruce drills nails into the wall. He builds the walkway.
He builds the platform. Everything is made from steel,
Bruce attaches the rails.

Bruce takes a drink. Alfred looks around, it looks quite
empty, Bruce swigs the water.

BRUCE
Now for the computers.

Alfred wonders.

33.


A delivery truck drives up. Delivery Driver opens the
back. The truck is stocked with boxes of computers.

Bruce smirks.

INT. WAYNE MANOR - THOMAS LABORATORY - DAY

Bruce opens up a computers case and removes the
motherboard, ram and hard drive.

ALFRED
Sir, why buy forty desktops
and break them?

BRUCE
Im remodelling them.

ALFRED
Why, sir?

BRUCE
To make something bigger.

Alfred wonders. Bruce opens another box, opens the case
and removes the motherboard.

LATER

Bruce solders motherboards into a large base. He equips
the ram and unscrews a hard drive.

Bruce hooks up monitor 40 at the bottom and leaves the wire
dangling.

Alfred watches intently. Bruce pulls out a few keyboards
from the boxes.

LATER

Bruce plugs the monitors into the back of a large device.

Bruce returns to the front and looks at the monitors,
considering.

BRUCE
Now for the case.

34.

LATER

Bruce grinds steel. Alfred looks on.

LATER

Bruce places the case on the front of a COMPUTER INTERIOR
filled with wires and ram and hard drives.

Bruce clips it shut and presses the power button.

Monitors show the boot-up screen and it moves extremely
fast, monitors join and form one giant screen.

Alfred looks on in awe. Bruce smiles proudly.

ALFRED
What purpose does this
monstrous machine have?

Monitors show Gotham City in a blueprint style way. It
shows the population: 11 million.

ALFRED (contd)
Ah, its one of them.

BRUCE
It tracks movement.

ALFRED
Why would you want to
track movement, sir?

Bruce points to the schematics on the steel table. Alfred
understands.

BRUCE
It was his design, this is
what he wanted.

ALFRED
You are not going to
build everything he had
an idea for, are you sir?

Bruce smiles, Alfred nods.

ALFRED (contd)
Ill make the tea.

Alfred walks away. Bruce looks at the monitors.
35.

LATER

Bruce checks out schematics for: THE CLAW GRABBER. He
follows the design closely as he grinds and forms it.

Bruce notices the drill, he wonders.

Bruce incorporates the drill into the design and creates
the BATCLAW.

Bruce shoots the Batclaw. Claw strikes the rail and wraps
around it. Bruce wonders.

BRUCE
It could use a rope.

Bruce solders the rope to the claws butt and places it
into the Batclaw.

Bruce shoots the Batclaw. Claw grabs a rail. Bruce pulls,
the claw will not move.

ALFRED
Perhaps some sort of
retractor? Like what a
tape measure has.

BRUCE
Good idea.

Bruce solders a button onto the side of the Batclaw.

Bruce shoots the Batclaw. Claw grabs a rail. Bruce taps
the button. Claw releases from the rail and zips back to
the barrel of the Batclaw.

Alfred smiles, Bruce nods and looks at the Batclaw.

BRUCE
This works.

LATER

Bruce looks at the rest of the schematics. Alfred ponders
on a thought. Bruce taps his finger on the table.

BRUCE
I cant build this unless-
(beat)
Does Lucius Fox still work
at Wayne Enterprises?
36.

ALFRED
To my knowledge, yes, sir.
But do you think it wise?

BRUCE
Why?

ALFRED
You have been gone for
twelve years, sir. Many
might be a tad jumpy at
the sight of a ghost.

BRUCE
Time to step out of the
shadows, Alfred.

Bruce pats Alfred on the shoulder.

EXT. GOTHAM CITY - GCPD - DAY

A COP wrestles a CRIMINAL into the precinct.

INT. GCPD - RECEPTION - DAY

Gordon clocks in and makes his way through the metal
detector.

Gordon makes his way up the steps.

GCPD - CUBICLES

Police work in cubicles, clocking files, checking data.

Gordon makes his way toward his office. Gordon opens the
door and walks in.

GCPD - GORDONS OFFICE

A WOMAN, HARLEY QUINN (27, Caucasian) pretty and
voluptuous, sits at the desk reading a report, Gordon looks
at her.

GORDON
Can I help you?

Harley sits the report down, stands, smiles and extends her
hand.
37.

HARLEY
Harleen Quinzel, I am a
transfer from Chicago.

Gordon shakes her hand.

GORDON
Forgive me, I was not
expecting you.

HARLEY
Thats quite alright,
detective.

Gordon notices the report. He walks to his desk.

GORDON
When the Commissioner told
me he was bringing in a
partner from out of state
I was rather worried.

HARLEY
Worried?

GORDON
My last partner, well, he
was rather - misfortunate.
A clumsy mess, per se.

Harley smiles and sits down. Gordon takes a seat and
glances at the file.

HARLEY
Well, I have a decent
track record and this sort
of thing is up my alley.

GORDON
What have you read?

HARLEY
Been keeping a close eye
on the case. Your suspect
seems, unhinged, to say
the least. Reports suggest
he is a six for five stickman
in a clown mask with big
shoes.

GORDON
Not much to go on, I know.
38.

HARLEY
Well, there can only be
so many clowns in one city.

GORDON
Youd be surprised.

Harley looks at Gordon who enters a password and turns the
monitor in her direction. Pictures of the dead on screen,
each similar, yet different, Harley looks.

HARLEY
Any connections between the
victims?

GORDON
One that we can see.

Harley looks at him.

GORDON (contd)
Victims are rich or famous.

Harley wonders.

EXT. GOTHAM CITY - WAYNE ENTERPRISES - DAY

A Doorman opens the door for a Suit man. A sports car
drives up and skids to a halt.

Bruce steps out. Doorman looks at him. Bruce approaches
the door. Doorman holds up his hand.

DOORMAN
You cannot leave that car
there, sir.

Bruce chucks the keys to the Doorman.

BRUCE
Park it up for me.

Doorman looks on. Bruce enters the building.

INT. WAYNE ENTERPRISES - RECEPTION - DAY

A very fancy place, the reception area is the size of five
garages, and it is very clean.

Bruce approaches the FEMALE RECEPTIONIST (20s, Caucasian).
39.

BRUCE
Hi.

Receptionist smiles, Bruce taps on the desk.

RECEPTIONIST
Do you have an appointment?

BRUCE
Im here to see Lucius Fox.

RECEPTIONIST
Name?

BRUCE
Bruce Wayne.

A few Suit people look on in shock. Receptionist looks on,
as if she does not know what to say.

LATER

People chat as Bruce stands at the reception desk. A lot
of people glance at him.

LUCIUS FOX (48, African-American) moustached and well
suited, quickly makes his way to the reception desk in a
fast walk.

Fox looks at Bruce as if he is looking at a ghost.

BRUCE
Lucius.

FOX
Bruce?

Bruce smiles and extends his hand.

FOX (contd)
I thought you were dead.

BRUCE
Just stepped into the shadows
for a while.

FOX
When did you get back?

BRUCE
Last week.
40.

Fox shakes Bruces hand and smiles.

FOX
And you waited a whole
week to come and see me?

BRUCE
Sorry. Do you have somewhere
we can talk?

FOX
Sure.

WAYNE ENTERPRISES - LABS

Doors open, people hurry by. Bruce and Fox walk through
the labs.

Bruce peers into windows, glancing at robotic arms moving
formula.

FOX
Where did you go?

BRUCE
East.

FOX
Sour subject?

BRUCE
Something like that.

Fox flashes his access card to the keypad. It scans it.
Door opens.

WAYNE ENTERPRISES - CRYO LABS

Fox and Bruce walk, VICTOR FRIES (40, Caucasian) ill
looking and in a frozen lab works with formula.

BRUCE
Who is that?

FOX
Head of the Cryogenics
Department, Victor Fries.

BRUCE
I read about him.
41.

Victor places a vial into a microwave style device; the
microwave turns the vial.

BRUCE (contd)
Lab accident six years ago,
something to do with his
wife, right?

FOX
Unfortunately, yes.

BRUCE
Is he close to fixing her?

FOX
No. He is trying but, the
board are uneasy, they
believe he cares more about
saving her than his research.
They plan to close down the
division next week.

Victor glances at Bruce, Victors cold eyes survey Bruce
who nods. Victor does not reply and returns to his work.

WAYNE ENTERPRISES - TECH DEPARTMENT

Lots of equipment, unfinished projects, an unfinished UPV,
crates of stuff stacked on top of other stuff.

Bruce and Fox enter. Bruce checks out the UPV.

BRUCE
Whoa.

FOX
Ah, the UPV, a failed
project.

Bruce runs his hand down the hood of the UPV.

BRUCE
Why did it fail?

FOX
Another was working on it.

Bruce wonders.

FOX (contd)
Any ideas?
42.

BRUCE
Always.

Fox smirks and nods. Bruce walks to him; he spots a Kevlar
vest on the counter.

FOX
So what did you want to
talk about, Bruce?

Bruce looks at Fox.

BRUCE
Im working on something
big, could use a little
help.

FOX
What do you need?

BRUCE
What have you got?

Fox smiles.

LATER

Fox opens a container and pulls out a cattle prod like
baton.

FOX
This is a stun-stick, not
the name for it, but you
get the picture.

Fox hands it to Bruce. Bruce taps the hilt; a stun barb
shoots out and hits the wall.

Bruce places the baton on the counter.

FOX (contd)
Its a stun gun without
the gun. Prototype.

BRUCE
What if you could make
it like a - cattle prod.

FOX
Cattle prod?

43.

Bruce takes out schematics from his pocket and lays them
down on the table.

BRUCE
I found these in my dads
study. Blueprints on some
tech, I dont understand it
all but it seems as though
he was working on something
for the GCPD.

Fox checks out the schematics. He finds the one for the
UPV.

FOX
Project Clean-Sweep.

Bruce looks at Fox.

LATER

Fox opens up a container, pulls out prototype Kevlar
armour, very plain, with the GCPD logo etched onto it.

FOX
This was specifically
designed for the SWAT
unit. When your father
was - frankly put, the
project got scrapped. I
gathered up his research
and brought it down here.

Bruce inspects the armour.

BRUCE
What can it stop?

FOX
Bullets, primarily.

BRUCE
Material is Kevlar, right?

FOX
Thats right.

Bruce ponders on a thought.

BRUCE
What else have you got?
44.

LATER

Fox opens a container. Gauntlets rest inside with sharp,
razor-edged tangs.

Bruce picks one up.

BRUCE
What are they?

FOX
Gauntlets, they are part
of a set.

BRUCE
Set?

LATER

The Kevlar armour with the gauntlets and boots make the
set, Bruce and Fox look at the set.

BRUCE
If this is for SWAT where
is the mask?

Fox opens a container, pulls out the helmet. Very light,
but made from titanium and coated black, Bruce checks it
out.

FOX
Thick rubber over light
titanium, blocks bullets
from two feet up to five
hundred feet.

Bruce looks at the helmet, then the set and wonders.

LATER

Fox shows Bruce the LAUNCHERS, steel circular objects.

FOX
Your father called them
boomerangs. Throw one -

BRUCE
In here?

45.

Fox nods. Bruce throws a boomerang launcher, it soars and
then returns and lands in his hand.

Bruce hisses in pain and puts the boomerang down.

BRUCE (contd)
A little too - sharp.

Bruce wipes blood from his hand.

FOX
He was working on an
upgraded version, but he
could never figure out a
design.

Bruce looks at the boomerang and thinks.

LATER

Bruce and Fox approach the door.

FOX
What is this big project
you spoke of earlier?

BRUCE
When I was away I started
to think, about that night.
I got my eyes opened, shown
things. I guess I just
want to make things better.
So no one goes through the
same thing I did.

FOX
Your fathers work.

BRUCE
I want to finish it, but
I need your help. My
father left a legacy. I
want to stand up to the
promise.

FOX
Admirable, Ill help you,
just dont leave for another
twelve years if all goes
south.

46.

Bruce smirks.

BRUCE
I need the blueprints.

FOX
Ill email them over.

BRUCE
Thanks, Lucius.

They shake hands.

WAYNE ENTERPRISES - RECEPTION

Elevator doors open, Bruce walks out. People are gathered
all around the lobby, as if they are waiting for him.

Bruce walks toward the doors. Reporters stand outside.

BRUCE
Time to face the music.

Bruce leaves.


Dozens of reporters, news vans, cameras and microphones sit
outside waiting for Bruce who walks out.

Reporters shove microphones in Bruces face, flash cameras,
record footage.

REPORTER #1
Bruce, where did you go?

REPORTER #2
Was your death a set up?

REPORTER #3
Did you fake your death?

REPORTER #4
Why have you come back?

Cameras flash. People talk loudly.

CHARLOTTE RIVERS (25, Caucasian) pretty and slim, makes her
way through the crowd.

47.

CHARLOTTE
Bruce Wayne. Charlotte
Rivers of the Gotham City
News Network. Gotham has
questions.

INT. GCPD - CUBICLES - DAY

Cops and Criminals watch the news. Gordon walks out of his
office with Harley; they see everyone watching the TV.

Bruce appears on the TV.

WALKER (O.S.)
The prodigal son returns.

COMMISSIONER WALKER (now 48) still a shady character, leans
on a desk and looks at the TV.

HARLEY
Who is that?

GORDON
Bruce Wayne.

Harley realises, she and Walker exchange quick looks.


Bruce holds up his hands and everyone quietens.

BRUCE
I travelled. Found myself
in a hole. Someone found
me, dug me out and showed
me something.


Alfred watches Bruce on TV.

BRUCE
Every man is scared, everyone
has a fear. I chose to
confront that fear by coming
home. To close a chapter of
my life and set it to rest.

Alfred glances at the portrait.
48.


Bruce sighs. Reporters look on. Charlotte gazes at Bruce
and wonders.

BRUCE
My father had a vision, an
idea. Gotham deserves more
than it has. This place is
a cesspool of crime and
corruption. But thats about
to change.

Charlotte smiles, Bruce looks at the people.

INT. FALCONI RESIDENCE - LOUNGE - DAY

Falconi clips a cigar and watches the news.

BRUCE
The idea was to give the
people something to keep
them safe from those who
meant to do harm. And I
vow, on my parents grave,
that idea will come to
fruition.

Bruce looks into a camera. He looks directly at Falconi
who seems a tad uneasy.


Reporters wait, Charlotte wonders.

BRUCE
Gotham will never have to
fear anything again.

INT. FUNHOUSE - DAY

A TUBE TV sits on a stool with the news on. A cackle
echoes. CLAPPING sounds.

Chair revolves revealing - THE JOKER, purple suit, bowtie,
clown face paint.

JOKER
We will see about that.
49.

Joker laughs.


Bruce nods and walks through the crowd. Cameras flash,
talking drones, Bruce gets into his car and drives off.
Charlotte looks on.

INT. WAYNE MANOR - THOMAS LABORATORY - DAY

Bruce attaches Kevlar to light titanium. He grinds a mask.
He removes the GCPD symbol from the helmet and continues
creating the mask.

Alfred enters.

Bruce twists the handle of a baton. Sparks fly,
electricity courses up the baton. Bruce holds it and
smirks.

ALFRED
Do be careful not to
electrocute yourself, sir.

BRUCE
Handles rubber, the top
is steel.

ALFRED
What is it meant to be,
exactly?

BRUCE
The electro-rod.

Alfred furrows his brow.

BRUCE (contd)
Im working on the name.

Alfred checks out the armour. He notices an empty oval in
the middle of the chest piece.

ALFRED
You will have to work
extremely long hours to
mass produce this equipment.

BRUCE
Mass produce it?
50.

ALFRED
For the GCPD, sir.

Bruce twists the handle. Sits the electro-rod down and
pats Alfred on the shoulder.

BRUCE
Its not going to the
GCPD, Alfred.

ALFRED
Then where, sir?

Bruce smirks.

ALFRED (contd)
Ah, I - sir, that is not
wise. That is - I would
not have helped you if I
knew that is what you -

BRUCE
Relax, Alfred. I had some
pretty good training.

ALFRED
You said on the news you
were going to help Gotham.

BRUCE
Yep.

ALFRED
How is this help, sir?

BRUCE
Gotham needs a symbol.

ALFRED
What symbol?

BRUCE
Im working on it.

Bruce wonders. He glances at the boomerangs.

BEEP. BEEP.

Bruce walks to the monitors. The monitors track a crime
and pinpoint the source.

Bruce taps on the keyboard. Alfred looks on.
51.

A camera shows an alleyway. Ten HOODED MEN attack a YOUNG
COUPLE.

Bruce walks to the Kevlar armour and picks it up.

EXT. GOTHAM CITY - ALLEYWAY 2 - NIGHT

Hooded Man #1 grabs Woman #2s purse. Hooded Man #2 points
a knife at Man #2.

INT. WAYNE MANOR - THOMAS LABORATORY - NIGHT

Bruce suits up, puts on the gauntlet and then the mask. He
looks quite plain in truth.

Alfred looks on. Bruce sheathes the electro-rod, grabs the
Batclaw and holsters it.

ALFRED
How do you intend on
getting there, sir?

Bruce smiles and taps a button. A platform rises, upon it
sits the unfinished UPV, silver in colour.

ALFRED (contd)
You built that in two
weeks?

BRUCE
Ill need you here, keep
an eye on the monitor.

ALFRED
Im not too attuned to
computers, sir.

BRUCE
Just inform me if the cops
are on my tail.

ALFRED
Yes, sir.

Bruce gets into the UPV. Another platform rises and
stretches into the waterfall.

UPV revs, the engine is wicked, UPV hurtles forward.

UPV drives out of the waterfall. Alfred looks on, amazed.
52.

BRUCE (O.S.)
(through speaker)
Am I on the grid?

Alfred walks to the monitor. He sees a WHITE BLIP on
screen heading up a dirt road.

ALFRED
You are in my sight, sir.

BRUCE (O.S.)
Keep an eye on red dots.

ALFRED
Red dots, sir?

BRUCE (O.S.)
The computer is tuned into
the police frequency, if I
am detected, red dots will
appear.

Alfred sits at the computer.

INT. UNFINISHED UPV - NIGHT

It is quite high-tech, lots of switches and buttons, with a
race wheel. Bruce taps on the GPS screen. GPS screen
shows the quickest route to the alleyway.

GPS screen pops up a message: ETA: 02:11, 02:10...

EXT. GOTHAM CITY - HIGHWAY - NIGHT

Unfinished UPV bolts past traffic. Horns blare as the UPV
shoots by.

BRUCE (V.O.)
Do me a favour, Alfred.

ALFRED (V.O.)
I am listening, sir.

BRUCE (V.O.)
Tag the attackers.

ALFRED (V.O.)
Tag them, sir?

UPV hurtles past a TRUCK.
53.


Alfred watches the white dot speed up the highway and take
a left. The white dot heads toward downtown Gotham.

BRUCE (O.S.)
(through speaker)
Hover the mouse over their
images and left click.

Alfred does it. He clicks on each Hooded Man. Their
images turn blue.

ALFRED
They turned blue, sir.

BRUCE (O.S.)
Good. Now I can track
them if they try and run.
Ill be in touch. Out.

Alfred intently watches the security camera footage.


Hooded Man #3 grabs Woman #2. Woman #2 SCREAMS. People
notice as they walk by, but do nothing.

Hooded Man #4 rips open Woman #2s blouse.

MAN #2
Please, let her-

Hooded Man #1 punches Man #2 in the gut.

WOMAN #2
Help!

Hooded Man #2 rummages through the purse and pulls out
cash, he pockets it.

Hooded Man #4 slaps Woman #2.

GOTHAM CITY - DOWNTOWN

People walk the streets, cars drive. UPV screeches around
the corner. People GASP and look on as the UPV hurtles
down the street.

UPV passes a Truck, causing the truck to hit a lamppost.
54.


Bruce checks the mirror.

ALFRED (O.S.)
(through speaker)
Remind me how this is
helping Gotham, sir.

BRUCE
Early days.

ALFRED (O.S.)
Quite, sir. Should I write
a cheque?

BRUCE
Ill send them cash.

EXT. GOTHAM CITY - DOWNTOWN - NIGHT

UPV drifts around the corner.

ALFRED (V.O.)
As expected, sir, they
are fleeing.

BRUCE (V.O.)
Typical - I have them on
radar, might need to take
a shortcut.

UPV turns onto rail tracks.

GOTHAM CITY - RAIL TRACKS

UPV bumps along the track.

ALFRED (V.O.)
There is a train inbound,
sir.

A trains lights shine in the distance and grow closer.

BRUCE (V.O.)
I see it.

ALFRED (V.O.)
May I suggest you try and
avoid being hit?
55.

UPV hurtles toward the train. The train sounds its horn.
UPV heads for the gap and barely squeezes through in time
as the train hurtles by.

GOTHAM CITY - BURBANK STREET

UPV drifts around the corner.

BRUCE (V.O.)
Close.

UPV drives through oncoming traffic, weaving in and out.

BRUCE (V.O.) (contd)
Still there, Alfred?

ALFRED (V.O.)
I spilt tea on myself, sir.
That train was too close.

BRUCE (V.O.)
(laughs)
You could call it a close
spill.

ALFRED (V.O.)
Very funny, sir.

UPV skids around the corner.

GOTHAM CITY - ALLEYWAY 2

UPV comes to a halt. Man #2 checks on Woman #2.


Bruce checks the radar. The ten signatures are bolting a
few blocks away.


Man #2 and Woman #2 glance at the UPV. UPVs tyres screech
and the UPV bolts forward.

GOTHAM CITY - ALLEYWAY 3

Hooded Man #10 climbs over the fence.
56.

Hooded Man #2 hands Hooded Man #1 the cash. Hooded Man #1
removes his hood and smirks.

HOODED MAN #1
Gets easier every night.

Hooded Men remove their hoods. They are young, in their
mid-twenties.

HOODED MAN #2
What next?

HOODED MAN #1
Jewellery store on seventh
and lime.

HOODED MAN #3
Movin up in the world.

Hooded Man #1 smirks. They start walking. HEADLIGHTS beam
out of the darkness causing each man to shield their eyes.


Bruce sees them shielding their eyes on the monitor.

ALFRED (O.S.)
(through speaker)
Sir, are you sure about
this? There are ten of
them.

BRUCE
Sometimes you gotta run
before you can walk, Alfred.

ALFRED (O.S.)
Im not sure I understand
the analogy, sir.

BRUCE
Ill emphasize.

Bruce puts on the mask and opens the door.


Bruce steps out. The Hooded Men look on.

Bruce removes the electro-rod.
57.

Hooded Man #1 laughs, as do the rest.

HOODED MAN #1
Who the hell are you
supposed to be?

HOODED MAN #2
You look frigging ridiculous,
man.

Bruce twists the handle. Sparks fly. Hooded Man #1 steps
back.

Hooded Man #2 pulls out a knife. The rest take out
weapons, baseball bats and wrenches.

HOODED MAN #1
Lets dance, boy.

The Hooded Men attack. Bruce whacks Hooded Man #1 with the
electro-rod.

Hooded Man #2 stabs. Bruce dodges and whacks Hooded Man #2
in the face.

Hooded Man #3 lunges. Bruce throws Hooded Man #3 into
trash bags.

Hooded Man #4 whacks Bruce in the back with the bat.
Hooded Man #5 slashes. Bruce steps back.

Hooded Man #6 punches. Bruce ducks. Hooded Man #4 gets a
punch in the face.

Hooded Man #7 whacks Bruce in the gut with the wrench.
Hooded Man #5 stabs Bruce with the knife.

Bruce falls back. The Hooded Men kick the crap out of him.

Hooded Man #8 slams Bruce into the wall. Hooded Man #9
whacks Bruce in the face with a baseball bat.

Hooded Man #1 grabs Bruce by the throat.

HOODED MAN #1 (contd)
You gone messed up, boy.

Hooded Man #1 knocks Bruce unconscious with the electro-
rod.

SIRENS blare in the distance.

58.

HOODED MAN #2
Lets bounce.

Hooded Man #2 takes the electro-rod, the group bolt.


Alfred stitches Bruces knife wound. Bruce grimaces in
pain.

BRUCE
The Kevlar cant stop knives.

ALFRED
Evident.

Alfred cuts the stitch and checks Bruce. Bruce has bruises
and cuts all over his body.

Alfred cleans Bruces lip wound.

ALFRED (contd)
You could have been killed,
Bruce.

BRUCE
They werent scared.

ALFRED
Why would they be, sir?
Men like that do not fear
men in masks.

Bruce nods and stands. He stretches an arm and approaches
the Kevlar armour. Alfred places bloodied cloths into the
trash.

BRUCE
Titanium is weak, we need
something stronger but
lighter. It can stop
bullets, but not knives.

ALFRED
A lesson was learnt tonight,
Master Wayne.


ALFRED (contd)
One man cannot fight injustice.
59.

Bruce wonders.

Alfred walks up the walkway. Bruce leans on the counter
and looks at the armour.

Bruce bows his head and sighs.

EXT. GOTHAM CITY - GCPD - NIGHT

Sirens blare. A cab drives past the GCPD.

INT. GCPD - EVIDENCE LOCKER - NIGHT

Harley sifts through evidence. Gordon checks through
paperwork.

Harley checks bags of evidence, pearls, bullet casings and
tyre track pictures.

Gordon hands her a report. Harley looks it over.

HARLEY
The pattern doesnt make
sense.

GORDON
Exactly. They are all
different. Rich, famous,
sure sounds the same but
each victim is unique.

Harley gazes over a bullet casing. She compares the bullet
to the report.

HARLEY
Oh.

Gordon looks at her.

HARLEY (contd)
Victims died from laughter,
but, thats the link, Jim.

GORDON
What do you mean?

HARLEY
Couples are gunned down,
standalone Vics are
different.
60.

Harley walks to a filing cabinet. She sifts through it and
yanks out a file.

HARLEY (contd)
Thomas and Martha Wayne,
gunned down on November
eighth, nineteen-ninety-six.
Pearls were stolen, the
killer is repeating the
pattern.

Gordon compares the Wayne Homicide to a Couples Homicide.

GORDON
Wayne Jensen and Amanda
Thomas.

HARLEY
Thomas Wayne.

GORDON
We have Joe Chill, hes in
Arkham Asylum.

HARLEY
So who is repeating the
pattern?

Gordon wonders.

HARLEY (contd)
Can you get us into Arkham?

GORDON
Watch me.


A motorbike drives up and skids to a halt. BARB steps off
and takes off her helmet.

Barb knocks on the door. Alfred opens it.

ALFRED
Barbara, lovely to see
you again.

BARB
Hi Alfred.

Barb kisses Alfred on the cheek and enters.
61.

INT. WAYNE MANOR - ENTRANCE HALL - DAY

Barb gazes around. Alfred stands by her side.

ALFRED
What brings you here?

BARB
Is Bruce here?

ALFRED
Yes.

BARB
Can I see him?

ALFRED
No.

BARB
Why not?

ALFRED
Im - well, I am not too
- one hundred percent sure
where he is. Its a rather
large house.

Barb nods, she wonders.

CLANK. CLINK. CLANK. THUMP.

Alfred and Barb turn their attention to a KNIGHT STATUE
that has fallen to pieces. Bruce picks up the helmet.

BRUCE
Oops.

ALFRED
I was planning on getting
rid of that thing anyway,
Master Wayne.

Barb smiles, Bruce sits the helmet down on the table and
walks to her.

BRUCE
Barbara Gordon, you look,
good.

BARB
You hesitated.
62.

Bruce smirks, they hug. Alfred smiles and picks up the
Knights arm.

BARB (contd)
I cant believe youre
back.

BRUCE
How you been?

They detach. She looks into his eyes, then notices the cut
on his lip.

BARB
What happened to your lip?

BRUCE
Err - I walked into the
wall.

BARB
You walked into the wall?

BRUCE
Yep.

BARB
Right, Im guessing you
actually walked into the
wall or you did something
you dont want anyone
knowing about.

BRUCE
The first one.

Bruce and Barb walk into the lounge.


Bruce notices the bookshelf and goes in another direction.

BRUCE
So, Barb, how are you?

BARB
Cant complain.

BRUCE
Hows your dad? Still on
the GCPD?
63.

Barb sighs and nods.

BRUCE (contd)
Im guessing you dont like
it.

Barb sits on the window-bed.

BARB
My dad loves his job but
sometimes he can get so
fixated on it. Its like
hes in another reality.

Bruce nods.

BARB (contd)
Anyway I didnt want to
come here and talk about my
family. I just wanted to
see how you were adjusting.

BRUCE
Im doing fine.

BARB
(smiles)
It was good to see you
again, Bruce.

They hug.

BRUCE
You too.


Barb hurtles toward the opening gates on her bike. Bruce
and Alfred watch on.

BRUCE
We need to think of a new
access point to the lab.
The lounge is too convenient.

ALFRED
Perhaps the study, sir?

BRUCE
That works.

64.

INT. WAYNE MANOR - THOMAS STUDY - DAY

Bruce cuts the wall open with an electric saw. Bruce moves
the panel and looks inside. He wipes cobwebs and such
away.

WAYNE MANOR - WALL

Bruce attaches a rail to a platform. He adds four rails to
the platform. Bruce adds a motor to the top.

WAYNE MANOR - THOMAS LABORATORY

Bruce places explosive charges on the wall across the
water. Alfred looks on from the platform, a safe distance
from the wall.

Bruce blows the charges. Rock and cinder fly.

LATER - THOMAS LABORATORY

Bruce builds a second walkway across the water to the hole
in the cave wall.

SQUEAK. Bruce stops screwing a screw and stands. Alfred
looks around.

BRUCE
Did you hear that?

ALFRED
We are in a cave, sir, it
is rather wise to suggest
we are not the only ones.

Bruce and Alfred shine their flashlights up. Dozens of
bats hang from the ceiling, their eyes illuminating the
darkness.

ALFRED (contd)
I hate bats.

BRUCE
Bats.

Alfred and Bruce look at one another.

BRUCE (contd)
A symbol.
65.

ALFRED
A bat is a symbol, sir?

BRUCE
I have an idea.

Bruce walks to the platform. Alfred wonders.


Bruce grinds the boomerang on a high-tech grindstone. He
makes sure to be precise, moving the boomerang once every
so often.


Bruce lays the first BATARANG on the table. Alfred glances
at it.

ALFRED
A boomerang in the shape
of a bat, that is quite -
unique, sir.

BRUCE
Its not a boomerang.

ALFRED
Then what is it?

BRUCE
A batarang.

Bruce picks it up and throws it. Batarang sticks into the
cave wall.

BUZZ.

EXT. ARKHAM ASYLUM - DAY

The place is quite dreary looking.

BUZZ.

INT. ARKHAM ASYLUM - WEST WING A - DAY

Door BUZZES open, Gordon and Harley enter. Guards stand
around the place.
66.

DOCTOR JONATHAN CRANE (28, Caucasian) handsome, glasses and
wavy hair, walks over to greet them with a handshake.

CRANE
Detective Gordon.

GORDON
Doctor Crane.

BUZZ.

ARKHAM ASYLUM - WEST WING B

A Guard opens a cell door marked: 9.

JOE CHILL (39, Caucasian) tired and weary, looks at the
wall with a tally chart on it counting over 5,843 days.

CRANE (V.O.)
He still will not speak.

GORDON (V.O.)
Im sure I can get him
to talk.

CRANE (V.O.)
Be my guest, Detective.

Guard reveals handcuffs.

Chill, cuffed and chained at the hands and legs is ushered
up the wing by two armed guards.

ARKHAM ASYLUM - PROCESSING

HUGO STRANGE (40, Caucasian) glasses, sly and dark looking
checks over a new inmate with a clipboard in hand.

Crane leads Harley and Gordon past Strange who aims a
distinctive look in Harleys direction. Harley feels
uneasy.

ARKHAM ASYLUM - INTERVIEW ROOM A

Gordon turns on a camera. Chill sits across the table with
a dark look in his eye.

Harley looks at him from the other side of the table.
Gordon takes a seat.
67.

GORDON
November twenty, two thousand
thirteen. Interview with
Joseph Chill, inmate at Arkham
Asylum. Interview recorded.

Gordon presses RECORD on the tape recorder.

GORDON (contd)
We will keep this brief.

Chill looks on.

GORDON (contd)
Sixteen years ago you
handed yourself in for the
murders of Thomas and Martha
Wayne on November eighth,
nineteen-ninety-six. Tell
me, Joseph, why?

Chill ignores him. Harley takes a breath, surveying
Chills reactions.

GORDON (contd)
Tell me the truth, Joseph.
Did you kill them?

Chill looks at Gordon.

CHILL
Yes.

HARLEY
Hes lying.

Gordon looks at Harley.

GORDON
What weapon was used?

CHILL
A forty-five.

Harley smirks.

HARLEY
Wrong.

Chill gulps.

Gordon looks at Chill, who seems scared.
68.

HARLEY (contd)
The gun that was used was
a nine millimetre pistol.

CHILL
It was a forty-five.

HARLEY
Do not lie to us.

CHILL
Im not lying.

HARLEY
Who killed them?

Chill clenches a fist.

GORDON
Enough, Harleen.

Harley looks at Gordon.

GORDON (contd)
Joseph, we need you to tell
us the truth.

CHILL
I am.

GORDON
Have you not suffered enough?
Sixteen years, locked in a
tiny cell, psychiatric
evaluation from numerous
doctors, each of whom claims
there is nothing mentally
wrong with you.

Chill grows more nervous.

GORDON (contd)
Tell us who did this.

CHILL
I did.

HARLEY
Stop protecting them.

CHILL
I killed them!
69.

Chill breaks down.

CHILL (contd)
I shot them, I killed them,
I stole the pearls, I did
it. Me! I killed them!
No one saw.

Gordon and Harley exchange looks.

HARLEY
What about the boy?

Chill looks at her.

CHILL
Boy?

GORDON
Thomas and Martha had their
son, Bruce, with them the
night they were killed.

Chills eyes sink.

HARLEY
So how about you tell us
the truth. Hmm?

Chill trembles. The chains rattle.

CHILL
I cant.

HARLEY
You cant or you wont?

CHILL
I just cant.

Gordon turns off the recorder and camera.

GORDON
Please - we need a name.

CHILL
No.

HARLEY
We can keep you safe.

Chill sniggers.
70.

CHILL
No, you cant.

Gordon sighs.

BUZZ.

ARKHAM ASYLUM - WEST WING C

Gordon, Harley and Crane walk toward a security door.

A CRAZED INMATE runs. A Guard tackles him. Gordon and
Harley look on.

CRAZED INMATE
You cant leave me here!
Please let me go! Hes
coming! Hes coming!

Guards wrestle the Crazed Inmate into his cell.

CRANE
The inmates are on edge,
they believe the spirit of
Armadeus Arkham is haunting
the corridors.

Guard locks Crazed Inmates cell. Crane slides his card
down the keypad. BUZZ. Security door opens.

GORDON
Thank you, doctor.

Gordon and Crane shake hands.

CRANE
Im sorry it was unproductive.

GORDON
Well get him eventually.

CRANE
Im sure you will.

Crane extends his hand. Harley shakes it.

CRANE (contd)
It was a pleasure meeting
you, detective Quinzel.
(beat, to both)
Good luck with the case.
71.

EXT. ARKHAM ASYLUM - PARKING LOT - DAY

Rain drizzles from the sky. Gordon and Harley walk to the
car.

HARLEY
He creeps me out.

GORDON
Crane?

Harley nods.

GORDON (contd)
Hes harmless.

Gordon gets into his car.

INT. GORDONS CAR - DAY

Gordon puts the keys in. Harley straps her seatbelt.

HARLEY
So what do we do?

GORDON
Keep pursuing him. Hell
slip up sooner or later.

HARLEY
What about Wayne?

Gordon sighs.

GORDON
Yeah. We should tell him.

HARLEY
Not a good idea.

GORDON
He has a right to know.

Gordon turns the keys.


Arkhams gates open. Gordons car drives out.

72.

INT. WAYNE MANOR - THE BATCAVE - NIGHT

Bruce and Alfred check out the armour.

ALFRED
Its quite, flashy, sir.

BRUCE
I was thinking all black,
but the gold kind of gives
it some personality.

BEEP. BEEP. BEEP.

Bruce and Alfred approach the monitors. The ten Hooded Men
pop up on radar again.

BRUCE (contd)
Bingo.

ALFRED
I hope you do not plan
on attempting to take them
down again, sir.

Bruce smirks. Alfred sighs.

ALFRED (contd)
Ill prepare the medical
kit, sir.

Bruce smiles and walks to the armour, reveal - the BATSUIT.

Bruce takes it.

Bruce gears up. Straps on the utility belt and gauntlets,
clenches a fist.

He sits the Batrod into its sheath, then holsters the
Batclaw.

Bruce picks up the Batmask. He puts it on. His eye slits
turn white.

EXT. GOTHAM CITY - JEWELLERY STORE - NIGHT

ALARM goes off. Hooded Men load jewels into the trunk of a
grubby old van.


73.

HOODED MAN #1
Hurry it up, we got pigs
onto us.

EXT. GOTHAM CITY - RICHARDSON AVENUE - NIGHT

Three cop cars speed down the street. Cop Car #1 drifts
around the corner.

EXT. GOTHAM CITY - JEWELLERY STORE - NIGHT

Hooded Man #2 slams the backdoors shut. Hooded Man #3
holds a rocket launcher in hand and waits.

Hooded Man #1 holds a pistol.

Cop Cars come around the corner at breakneck speed. Hooded
Man #3 fires the rocket launcher.

BOOM!

Cop Car #1 blows up, overturns and lands on top of Cop Car
#2.

Cop Car #3 drifts around the corner. Hooded Man #1 shoots
through the windshield. Cop Car #3 slams into a wall.

HOODED MAN #1
Were out, move.

The three Hooded Men enter the van.

Van drives off down the street.

INT. COP CAR 3 - NIGHT

Cop #2 grabs the CB Radio.

COP #2
Four-nine-eight, requesting
immediate backup. Targets
are fleeing in a white -

BATMOBILE hurtles by so fast Cop #2 barely notices it.

COP #2 (contd)
Tank?

74.

EXT. GOTHAM CITY - MURLAND STREET - NIGHT

White Van turns the corner. It scrapes the side of parked
vehicles and weaves through oncoming traffic.

Batmobile drifts around the corner cleanly, weaving in and
out of oncoming traffic.

INT. WHITE VAN - NIGHT

The ten Hooded Men are inside, three in the front, seven in
the back.

Hooded Man #2 checks the side mirror. He sees the
Batmobile.

HOODED MAN #2
Alley boys back.

HOODED MAN #1
Seriously?

Hooded Man #2 nods.


Batmobiles headlights drop their covers. A Batclaw shoots
out and soars toward the Van. Miss, the Van veers left.

Vans backdoors open. Hooded Men fire at the Batmobile.
Bullets bounce off the windshield.

INT. BATMOBILE - NIGHT

Batman smirks.

ALFRED (O.S.)
(through speaker)
Sir, may I suggest you
retaliate?

Batman flips the cover on the gearstick. He presses the
button.


Lower headlights on the Batmobile drop down. Bags of sand
shoot out. The bags strike Hooded Man #7 and #8.
75.


Hooded Men #5 and #6 exchange looks. Hooded Man #9 looks
down at the unconscious Hooded Men.

HOODED MAN #1
Who the hell is this guy?

HOODED MAN #2
Throw a grenade.

Hooded Man #4 takes the pin from a grenade and tosses it.


Grenade bounces. Batmobile drives over it, Batmobile
wheels turn sideways and cause it to veer right. BOOM.
Grenade detonates near the sidewalk.

White Van skids around the corner. Batmobile drifts after
it.

GOTHAM CITY - FINANCIAL DISTRICT

White Van rams a scaffold supports. The scaffold falls.
Poles clang in the road.

Batmobile mounts the sidewalk. People dash out of the way.


Hooded Man #2 looks in the mirror.

HOODED MAN #1
Will someone please kill
this guy?

HOODED MAN #2
My pleasure.

Hooded Man #2 rolls down the window. He leans out. Hooded
Man #3 holds Hooded Man #2s jacket.

EXT. GOTHAM CITY - FINANCIAL DISTRICT - NIGHT

Hooded Man #2 shoots his shotgun. The pellets and blasts
bounce off the side of the Batmobile.

76.

Batmobile window rolls down. Batman shoots the Batclaw.
Batclaw grabs the shotgun and yanks it away from Hooded Man
#2 who falls.


Hooded Man #3 grabs hold of Hooded Man #2.

HOODED MAN #1
Jack, hold on.

Hooded Man #1 looks. A TRUCK drives in front of him.
Hooded Man #1 rips the wheel left.

EXT. GOTHAM CITY - FREEDOM VIEW - NIGHT

White Van barely misses the Truck. White Van slams into a
parked SUV.

Batmobile comes to a halt.

People look on. Hooded Men emerge from the wreck.

Batmobile door opens. Batman steps out.

HOODED MAN #1
Christ.

Hooded Men #4, #5 and #6 aim their guns. Batman throws a
Batarang, it splits into three and knocks each of them out.

Hooded Man #10 rushes Batman. Batman flips #10 over and
nails him in the face with a fist.

Hooded Man #9 slashes Batman with a knife. Batman dodges;
steps back and disarms #9. Batman unsheathes the Batrod,
twists the handle and zaps #9 unconscious.

Hooded Man #3 shoots. Batman avoids the bullet. Batman
slams #3s head into the door of the Van.

Hooded Man #2 lunges. Batman flips #2 over and knocks him
unconscious.

Hooded Man #1 stabs. Knife breaks. Batman grabs Hooded
Man #1, takes two batarangs and pins #1 to the side of the
Van.

HOODED MAN #1 (contd)
What the hell, dude?
77.

BATMAN
Stay.

People gather on the sidewalks. They take pictures and
record footage. Batman glances around.

Hooded Man #1 wriggles and tries to get free, to no avail.

HOODED MAN #1
Who the hell are you?

BATMAN
Im Batman.

People look on. Jack Ryder records Batman on his phone.
He takes a picture too.

Batman gets into the Batmobile. Batmobile hurtles down the
street.

Ryder takes a picture of the crime scene.


Alfred plops a newspaper onto Bruce, who is sleeping on the
couch.

The headline reads: WHO IS BATMAN?

Bruce looks at the paper and furrows his brow. Alfred does
not seem impressed.

ALFRED
You made the headlines.

BRUCE
Thats a good thing.

ALFRED
Batman, sir?

BRUCE
I ran with it. It works.

Alfred shakes his head.

Bruce notices the name on the article: BY JACK RYDER.

Alfred turns on the TV. The news is on.

A PERKY NEWSCASTER is interviewing a CIVILIAN (female)
78.

CIVILIAN #1
He just appeared, like a
superhero, stopped the
thieves and - had a pretty
nice car too.

Bruce grins.

PERKY
The group, known as the
Network, have been connected
to several robberies as of
late and police are baffled
as to how this Batman managed
to track them down. Police
Commissioner Brian Walker
made a statement earlier
regarding this masked man.

TV shows the GCPD. Walker near a slew of microphones, he
seems annoyed.

WALKER
Rest assured, that the GCPD
is looking into this and we
will not rest until we find
this man. Masked vigilantes
are would-be criminals and I
will not have Gotham turning
to a man behind a mask for
help. This Batman character
will not be tolerated.

BRUCE
Ungrateful son of a-

Alfred turns off the TV.

ALFRED
May I suggest a more subtle
approach to taking care of
business?

Bruce stands up.

BRUCE
I got the job done.

ALFRED
Loudly.

79.

ALFRED (contd)
Quieter is better, sir.

BRUCE
I needed to show Gotham
someone cared, Alfred.

Alfred looks on.

BRUCE (contd)
It wont happen again. I
just had to make the city
know someone is looking out
for it.

ALFRED
Then you did a fine job,
sir.

Bruce nods. Alfred walks away.

INT. FUNHOUSE - DAY

Joker looks at the paper with a big grin on his face.

JOKER
The Batman, catchy wouldnt
you say?

A hogtied WOMAN sits in a chair. Joker walks to her.

JOKER (contd)
Nothing to say?

Woman is unconscious. Joker furrows his brow and turns a
canisters valve.

Woman chuckles, Joker grins.

JOKER (contd)
Batman, Bat-Man, I really
do like the originality.

Joker giggles.

JOKER (contd)
It is quite humorous too.
A man who dresses like a
bat, with the ears too and
(imitating Batman)
The deep menacing voice.
80.

Joker looks at the SCARFACE puppet in amongst a lot of
puppets and fluffy animal toys.

JOKER (contd)
What would drive a man to
such insanity to go around
dressing like a giant bat?
Its just bonkers. He has
lost his marbles.

Woman #3 laughs.

JOKER (contd)
Gotham is just the place to
be if you are nuts, crazy,
absolutely terrified, abysmal,
dreary, boring, bland and
rich. Right Emma?

Woman #3/Emma laughs.

JOKER (contd)
Its funny when I seem to
turn out to be the most
sane person in Gotham.

Emma stops laughing and falls dead with a big smile on her
face. Joker turns to her and frowns.

JOKER (contd)
Hmm - guess my voice does
bore some people to death.

Joker laughs.

EXT. GOTHAM CITY - GOTHAM NEWS - DAY

A Helicopter soars across the city. Cars drive, people
walk the streets.

INT. GOTHAM NEWS - RYDERS OFFICE - DAY

Ryder plugs a USB cable into his phone.

KNOCK. KNOCK.

RYDER
Come in.

Charlotte Rivers walks in.
81.

CHARLOTTE
Morning, Ryder.

RYDER
Rivers, lurking in the
shadows again?

CHARLOTTE
Looking for a bat.

Ryder smirks. Charlotte takes a seat.

RYDER
This is my story.

CHARLOTTE
Dont be a spoil sport.
Share the load.

RYDER
Like last time?

CHARLOTTE
Insinuating what?

RYDER
Promotion, while I stick
to sports, you get a fancy
office - and a secretary.

CHARLOTTE
I got lucky.

RYDER
You stole my story.

CHARLOTTE
It wasnt a story, it was
just - details.

RYDER
Details on a story I worked
six months to get.

CHARLOTTE
Stop crowing over the past,
Jack. Theres bigger bats
to fry these days.

RYDER
Its still a no.

82.

CHARLOTTE
Fine - guess you wont need
my information then.

Charlotte walks to the door.

RYDER
What information?

CHARLOTTE
Oh just some ideas, nothing
you would be interested in.

Charlotte rips the handle down.

RYDER
Wait.

Charlotte smiles, she loses the smile and looks at Ryder
intently.

RYDER (contd)
If we do this, we work
together. None of that
help me for a while then
steal the research crap
like before.

Charlotte walks to the desk.

CHARLOTTE
Is that a deal?

RYDER
Deal.

They shake hands.

RYDER (contd)
So - what do you have?

Charlotte takes a batarang from her purse. Ryder glances
at it.

CHARLOTTE
You werent the only one
at the wreckage last night.

Ryder smirks and places a batarang on the table.

RYDER
Checkmate.
83.

They compare the batarangs.

EXT. GOTHAM CITY - ALLEYWAY 4 - DAY

CSI people take a picture of Emma. Gordon and Harley look
on.

Cop #3 kneels at tyre tracks.

HARLEY
Who would do this?

GORDON
I dont know.

Cop #4 sifts through trash bags. He finds a daisy. The
daisy spurts acid into Cop #4s eyes.

Cop #4 YELLS in agony and grabs at his eyes. Gordon and
Harley rush over.

COP #4
Get it out!

Cop #3 grabs his radio.

COP #3
(into radio)
Requesting ambulance on
sixth and broad.

CSI people aid Cop #4. His eyes are gone. Harley looks
away. Gordon checks out the daisy.

GORDON
I want a full analysis on
this, I want to know where
it came from.

CSI #1 bags the daisy.

Gordon and Harley walk away from the crime scene.

HARLEY
We are no closer to finding
this guy.

GORDON
Hes slipping.

Gordon and Harley turn a corner.
84.

EXT. GOTHAM CITY - SIXTH AND BROAD - DAY

Gordon and Harley approach the car. The BLACK CAR is
sitting across the street.

INT. CAR - DAY

Falconi looks at the Gordon and Harley, he seems very
tired, he clips a cigar.

FALCONI
Take me to him.

EXT. GOTHAM CITY - SIXTH AND BROAD - DAY

Gordons car and the black car drive off in opposite
directions.

INT. ROOM - DAY

Everything is dark. A HOODED WOMAN types on a keyboard.
She opens up a program, hacks into the Gotham News network
and downloads a file.

She hacks into the GCPD and brings up more files.

Video plays on the monitor. A video of the Batmobile, the
incident, the Hooded Woman watches.

She hacks into Gothams security network and brings up more
hacking programs.

She taps away on the keyboard. Monitor shows: SIGNAL
CONFIRMED.

She hacks it.

EXT. GOTHAM CITY - SKYLINE - DAY

A News Helicopter hovers above the city.

INT. WAYNE MANOR - THE BATCAVE - DAY

Bruce does pull-ups on the bar. The computer is
calculating a radius. Alfred sits a tray down on the
counter and hands Bruce a glass of orange juice.

85.

Bruce drops down and takes the glass.

BRUCE
You really dont have to
bring me drinks, Alfred.
I am twenty-six.

ALFRED
I am your butler, sir.

BRUCE
No. Youre family.

Bruce walks by. Alfred smiles and looks at the monitor.

ALFRED
May I ask what it is the
computer is doing.

BRUCE
Setting up a radius.

ALFRED
Why, sir?

Bruce opens a program. He taps on the keyboard. He brings
up the SMILEY DEATHS.

BRUCE
For this.

Alfred gazes at the files.

BRUCE (contd)
Someone is killing people,
but for some reason they
die with a smile on their
faces. Some sort of toxin,
maybe. Im not sure.

ALFRED
So, you have moved from
petty thievery to homicide
investigation?

BRUCE
Yep.

ALFRED
A rather drastic change,
sir.

86.

Bruce smirks.

BEEP. BEEP.

Bruce closes the files and opens up the map of Gotham. The
radius is big, but also very close. It runs in a circle.

BRUCE
Every disposal is within a
ten mile radius. Last
killing was last night.
(beat)
Everything converges on -
Park Row.

Bruce realises. His eyes sink.

ALFRED
Coincidence, sir?

Bruce opens up the homicide files. He clicks on four,
brings them up to cover the giant screen.

Bruce taps on the keyboard. Radius removes several crime
scenes and only leaves four.

Park Row, four alleyways, in a W style way, Alfred GASPS,
Bruce shakes his head.

ALFRED (contd)
Is that what I think it
is, sir?

BRUCE
He wants to be found.

Bruce looks at the W. Alfred wonders.


Bruce clenches a fist.

BRUCE (contd)
I have to talk to Jim.

ALFRED
Id advise against that,
sir.

Bruce seems convicted.

The W is ominous. Bruces eyes sink.
87.

EXT. GOTHAM CITY - AMUSEMENT MILE - NIGHT

Black car drives up and parks. Driver opens the back door,
Falconi steps out and glances around.

Falconi walks to wrought-iron gates and presses the buzzer.

Gates screech and open. Falconi and his Driver walk in.

INT. FUNHOUSE - NIGHT

Falconi enters this twisted and demented place filled with
all kinds of devilish contraptions.

A CACKLE drones in the distance. Falconi makes sure his
coat avoids the bloodstained torture chair.

Falconi and his Driver closer in on a puppet both, two
puppets pop up.

Falconi recoils.

PUPPET #1
(singing)
I must admit I did not
foresee a crime boss and
his driver coming to see
me!

PUPPET #2
(singing)
Where oh where did you
get that coat? I must
admit, you know how to
dote.

PUPPET #1
Why must you be a sweaty
old sack?

PUPPET #2
Why not put on a fancy
top hat?

JOKER (O.S.)
No, no, no, thats no.
I got it wrong.

Joker pops up inside the booth and looks at the puppets.

Falconi sneers.
88.

JOKER (contd)
Sally, Billy, take five.

Joker throws the puppets across the room and emerges from
the booth with a grand gesture.

JOKER (contd)
Hi.

FALCONI
Is this what you conceive
as fun?

JOKER
Yes.

Falconi walks around and glances at some of the stuff. The
mannequins, the SCARFACE puppet, Falconi wrinkles his nose.

JOKER (contd)
Mark is maturing in the
fridge. I dont really
notice the smell.

Falconi gets menacingly close to Joker, who gulps.

FALCONI
Listen to me, Clown, I
employed you to make sure
my competition faltered.
Not to make a scene and put
the GCPD on our ass.

Joker gulps again.

FALCONI (contd)
How much am I paying you?

JOKER
(quietly)
Not enough.

FALCONI
What?!

Joker steps back. Falconi takes a breath.

FALCONI (contd)
You should be grateful I
spared your life, believe
me, I will not make that
mistake twice.
89.

Falconi nods to the Driver. Driver grabs Joker and puts
him in the chair. Driver straps Joker in.

JOKER
Ooh, kinky.

Falconi backhands Joker in the face. Joker yelps in pain
and then laughs hysterically.

Falconi places his hands on the chair arms.

FALCONI
Do your job correctly, you
are the fall guy, if this
goes to hell, you go down.
Screw up again and I will
castrate you. Do I make
myself clear?

JOKER
Speak up a little.

FALCONI
Do not test me, freak.

JOKER
What was that? I couldnt
hear you over the scream.

FALCONI
What scream?

JOKER
This one.

Joker stabs the Driver with a knife. Driver SCREAMS.

Joker cuts himself free. Falconi backs up and Joker places
the knife to his throat.

JOKER (contd)
Let me get one thing clear,
I am not your slave, I am
not your fall guy. You are
just a rich mobster, and I
am a sadistic freak with no
concern for his own life.
So hit me again and I will
cut out your eyeball and
make you watch as I disembowel
you. Do I make myself clear?

90.

FALCONI
Kill me and you will not
live to tell about it.

JOKER
I kill you and you will
not live to tell about it.

FALCONI
Then do it, freak.

Joker laughs.

JOKER
No. I dont kill the old
fashioned way, I improvise,
much more fun. You see,
unlike you I have an actual
imagination for fun deaths.
So Ill give you enough time
to run, Carmine.

Joker lets Falconi go. Falconi runs.

JOKER (contd)
Run little piggy.

Joker follows Falconi.


Falconi reaches his car and clambers in. He turns the
keys, engine wont start.

Joker appears with a cackling laugh.

JOKER
Hey, Carmine!

Falconi looks through the windshield. Joker pulls out a
detonator.

JOKER (contd)
Car mine.

Falconis eyes widen. Joker chuckles and presses the
button. BOOM. The Black Car goes up in flame.

Joker falls down from the blast wave and sits up. He pulls
a whoa face and looks at the detonator.

91.

JOKER (contd)
That was cool.

Joker cackles. He stands up and walks to the fiery car.
He sees Falconi on fire.

JOKER (contd)
I always heard Falconis
barbeques were to die for.

Joker smiles insanely.


KNOCK. KNOCK. KNOCK.

Alfred answers the door. Gordon and Harley stand outside.

ALFRED
(nervous)
Detective Gordon, I was
unaware we were expecting
you.

GORDON
(serious)
Is Bruce here?

ALFRED
Somewhat, yes.

GORDON
May we come in? Id like
to speak with him.

ALFRED
Ab-ab-absolutely, I see
no reason why not. Let
me just go and fetch him.
Wait in the lounge?

Gordon and Harley enter. Alfred waddles up the steps with
pace.

Harley whistles, impressed.

HARLEY
This is a pretty sweet
place.

Gordon and Harley walk to the lounge.
92.

GORDON
I always considered it rather
spooky, in truth.

Harley giggles.

WAYNE MANOR - THE BATCAVE

Bruce is grinding a batarang. Alfred rushes down the
walkway.

BRUCE
Alfred.

ALFRED
We have visitors, sir.

BRUCE
Visitors?

ALFRED
Detective Gordon and his
new partner, sir.

BRUCE
Did I not say the alternate
passage was a good idea?

ALFRED
Indeed it was, sir.

Bruce and Alfred walk down the walkway.


Harley checks out the bookshelf. She almost pulls out the
mechanism book when Bruce and Alfred enter.

BRUCE
Hi!

Harley retracts her hand.

Gordon extends his hand, Bruce shakes it, Gordon pats Bruce
on the shoulder.

GORDON
Good to see you, Bruce.

Bruce nods. He glances at Harley.
93.

BRUCE
I dont believe weve had
the pleasure. Bruce Wayne.

HARLEY
Harleen Quinzel.

Bruce and Harley shake hands.

BRUCE
Shift around a few letters
and youve Harlequin.

HARLEY
Intuitive.

BRUCE
So, something wrong?

GORDON
You should sit down.

Bruce wonders and takes a seat. Harley sits next to
Gordon. Alfred looks on.

GORDON (contd)
We have made a break with
the case regarding your
parents.

BRUCE
Right.

GORDON
There is no easy way to
say this, so Ill just say
it. We arrested the wrong
man.

Bruce turns his head slightly. He seems confused.

BRUCE
What do you mean? Joe Chill,
he handed himself in, said he
did it. How could you have the
wrong guy?

HARLEY
We believe Joe was influenced
into making the decision. To
hide the truth.

94.

BRUCE
Truth? This is -

Bruce stands and rubs his chin, he considers.

BRUCE (contd)
Sixteen years - it has taken
sixteen years to figure this
out?

GORDON
We only found a connection
a few days ago. Harley
discovered it.

BRUCE
I cant believe this.

GORDON
Were sorry, Bruce.

BRUCE
Sorry? Youre sorry?
(angry)
Some guy gunned down my
parents and made me watch,
and youre telling me that
same guy is still out there?

HARLEY
If they had known-

BRUCE
Get out.

GORDON
Bruce.

BRUCE
Go, Jim.

Gordon and Harley leave. Gordon looks back. Bruce sits
down and stares at the portrait of his parents.

GORDON
Im sorry.

Gordon leaves.

Bruce stares at the portrait and clenches a fist.

Alfred looks on from the doorway.
95.


Gordon opens the drivers door.

HARLEY
He took that well.

GORDON
You were right.

Harley looks at Gordon.

GORDON (contd)
This was not wise.

Gordon gets into the car. Harley joins him.


Bruce grinds a batarang.


Bruce drops the batarang and slides down to his butt.

FLASH - GOTHAM CITY - COURTHOUSE

Police usher Chill up the steps. Bruce edges the gun out.
Chill spots Bruce and seems sad.

BACK TO BRUCE

Bruce cradles his face in his hands and YELLS in anger.

BEEP. BEEP. BEEP.

Monitors show criminal activity at the Conference Centre.
Bruce scowls and clenches a fist.

Bruce opens the Batsuit cylinder and grabs it.

EXT. GOTHAM CITY - CONFERENCE CENTRE - NIGHT

A sports car weaves in and out of traffic. Two cop cars on
its tail.

Vehicles drive out of the way. Sports car passes a red
light.
96.

A TRUCK carrying logs skids. Chains snap. The logs fall
out and crush a few cars.

Cop cars speed on.


SARAH ESSEN (40, Caucasian) weathered, drives and grabs the
radio as a FEMALE COP leans out the window with a pistol.

ESSEN
This is unit four-four-
one, requesting immediate
backup on Jefferson, repeat,
requesting immediate backup
on Jefferson. Suspect is
fleeing in a red Mazda.

Female Cop shoots.

EXT. GOTHAM CITY - JEFFERSON - NIGHT

Sports car drifts around the corner, barely missing a
pedestrian. Cop cars hurtle around the corner, Cop Car 3
slams into a jeep.

ESSEN (V.O.)
Unit five-eight-two is
down. I need eyes in
the sky. This one is
slippery.

Passenger window rolls down on the sports car. Passenger
leans out and shoots. Bullet hits Cop Car 2s windshield.


Female Cop writhes, holding her abdomen, blood flows onto
her hand.

ESSEN
I need immediate backup,
now!

EXT. GOTHAM CITY - AVALON DRIVE - NIGHT

Pedestrians flash their cameras as the Batmobile hurtles by
in a flash.
97.

GOTHAM CITY - SKYLINE

A POLICE HELICOPTER soars over the city flashing its
searchlight.

GOTHAM CITY - BISMARK

A DREADLOCKS MAN sits in his cab listening to reggae music.

Batmobile cruises by and knocks off the mirror.

DREADLOCKS
Hey man! Me mirror!

Batmobile does a 180 turn. Dreadlocks eyes widen.

Batmobile drives up, window rolls down a little and a few
hundred dollars extend. Dreadlocks takes the cash.

Batmobile does a 180 and hurtles forward.

DREADLOCKS (contd)
Ya man. Early night.

A BUSINESS MAN grabs the door handle.

DREADLOCKS (contd)
Nah man, me is takin it
easy tonight.

Dreadlocks speeds off in his taxi. Businessman looks on
from the sidewalk and throws up his arms in a huff.

GOTHAM CITY - JEFFERSON

Sports car passes through traffic. Cop Car 2 has
difficulty keeping up.

Passenger shoots at Cop Car 2. Siren lights break, sirens
sound turns sickly.

PILOT (V.O.)
Four-four-one this is
Early Bird, we are on
your tail, over.

Helicopter soars in between the buildings and shines its
searchlight on the sports car.

Sports car weaves in and out of traffic.
98.

ESSEN (V.O.)
Copy that, Early Bird.

Sports car hits a fire hydrant. Water shoots out. Sports
car keeps going.

A COP leans out of the chopper on a safety wire. He aims
his sniper rifle and shoots.

Bullet hits the sports cars back window, SMASH.

Sports car jolts forward.

GOTHAM CITY - FISH MARKET

Batmobile cuts through the fish market and makes a left
turn through a garage

INT. GARAGE - NIGHT

Two mechanics bolt out of the way as the Batmobile hurtles
through.

EXT. GOTHAM CITY - RICHARDSON - NIGHT

Batmobile screeches around the corner. Batmobile drives
down the street.

GOTHAM CITY - LEVISON WAY

Sports car drifts around the corner. Batmobile comes in
the opposite side.

Cop car 2 drives up. Helicopter aims its searchlight over
the sports car, which skids and 180s at the sight of the
Batmobile.

Helicopter hovers above the street. Cop Car 2 screeches to
a halt.

Sports car revs its engine. Searchlight moves and shines
upon the stationary Batmobile.

PILOT (V.O.)
This is Early Bird, Batman
sighted.

Passenger fires on the Batmobile. Bullets bounce off.
99.

Batmobile revs its engine and screeches its tyres.
Batmobile hurtles forward and rams the sports car onto its
roof.


Essen looks on in shock.

EXT. GOTHAM CITY - LEVISON WAY - NIGHT

Pedestrians look on in wonder. Batmobile reverses and revs
its engine.

PILOT (V.O.)
Batman just overturned the
suspects vehicle. Orders?

A News Chopper zooms in and flashes its searchlight over
the Batmobile.


INT. GOTHAM CITY - GOTHAM NEWS - DAY

Ryder and Charlotte gaze at the TV and see the Batmobile.

RYDER
Look whos back.

Charlotte secretly smiles.

EXT. GOTHAM CITY - LEVISON WAY - NIGHT

Batmobile revs its engine.

WALKER (V.O.)
Early Bird, you are now
authorized to take him
down.

PILOT (V.O.)
Copy that, sir.

Sniper in the helicopter opens fire on the Batmobile.
Bullets graze the Batmobile and do no damage.

Batmobile screeches its tyres and 180s. It hurtles off.
Both choppers follow it.
100.

INT. WAYNE MANOR - LOUNGE - NIGHT

Alfred cleans up the mess and turns on the TV.

NEWSCASTER (V.O.)
- in downtown Gotham as the
Batman has resurfaced. Police
are currently pursuing this
masked vigilante.

Alfred sits down and watches, his eyes sink.

EXT. GOTHAM CITY - HIGHWAY - NIGHT

Police set up a blockade. Cops lean behind cars with their
guns primed and aimed.

GOTHAM CITY - ANGELO STREET

Batmobile screeches around the corner. A dozen cop cars on
its tail. Both helicopters soar over it.

Batmobile takes a turn into a tunnel. Helicopters soar
over the tunnel, the cop cars hurtle into it.

INT. GOTHAM CITY - WASHINGTON TUNNEL - NIGHT

Batmobile turns through an opening and heads through
oncoming, honking traffic.

Cop cars barely make the turn. One cop car slams into the
wall. Another cop car hits an SUV.

Batmobile weaves in and out of traffic. A cop car slams
head-on with a minibus.

A cop car scrapes the side of a truck and overturns.

Batmobile turns into the correct lane and speeds forward.
Batmobile drops caltrops. Three cop cars hit the caltrops
and crash in spectacular fashion.

COP #4 (V.O.)
Suspect just dropped caltrops,
three units down.

Batmobile hurtles out of the tunnel. The remaining cop
cars give chase.

101.

PILOT (V.O.)
Visual confirmed.

EXT. GOTHAM CITY - MEMORIAL DRIVE - NIGHT

Helicopter soars toward the Batmobile as it turns onto
Memorial Drive.

Sniper leans out and shoots the tyre out. Batmobile skids.


Batman presses a switch on the dashboard.

EXT. GOTHAM CITY - MEMORIAL DRIVE - NIGHT

Tyre inflates. Batmobile hurtles forward.

PILOT (V.O.)
Suspect has re-inflating
tyres. Heading onto the
Southside Bridge.

COP #5 (V.O.)
Roadblock in position.

WALKER (V.O.)
Bring him down, now.

GOTHAM CITY - SOUTHSIDE BRIDGE

Batmobile hurtles toward the blockade/roadblock.
Batmobiles left headlight drops and shoots out a claw.

Claw grabs the barrier and yanks it down. Claw retracts
into the Batmobile.

WALKER (V.O.)
Open fire.

Cops open fire. Bullets bounce off the Batmobile.
Batmobile speeds toward the barrier/ramp and corkscrews
through the air, cops look on as the Batmobile passes.

Batmobile lands and speeds off.

COP #5 (V.O.)
That was freaking cool.
102.

The chasing cop cars slam on the brakes and come to a
screeching halt.

One cop car slams into a GCPD hummer.

Helicopter continues the pursuit.


Joker sits in his chair eating popcorn and watching the
news.

JOKER
This guy is nuts.

Joker cackles and eats popcorn.

EXT. BATMOBILE - SOUTHSIDE BRIDGE - NIGHT

Batmobile drives forward. Helicopter shines its spotlight
on it.

PILOT (V.O.)
We need a roadblock on the
Southside Bridge ASAP.

WALKER (V.O.)
Units en route -
(static sets in)
Bring him - make sure he -
get away.

INT. POLICE HELICOPTER - NIGHT

The system begins to go haywire.

PILOT
Systems malfunctioning, damn
it, Im losing control.

EXT. GOTHAM CITY - SOUTHSIDE BRIDGE - NIGHT

Helicopter loses control and begins to fly all over the
place, the rotors stop and start.

Batmobile hurtles forward.

Helicopter cuts down a bridge support cable.
103.


Batman checks the scanner. He finds the malfunction.

BATMAN
No.

ORACLE (V.O.)
You need to get off that
bridge.

BATMAN
Who is this?

ORACLE (V.O.)
It doesnt matter, you just
need to get off that bridge.

Batman slams on the brakes.

BATMAN
What have you done?

ORACLE (V.O.)
Disrupted their primary
power just long enough to
give you time to escape.

BATMAN
Put it back online.

ORACLE (V.O.)
Get off the bridge.

BATMAN
Now!

Batman looks at the scanner. The levels begin to rise.


Helicopter cuts through a few more support cables and
regains control.

PILOT (V.O.)
We have control.


Batman looks at the scanner. He puts his foot on the gas.
104.

ORACLE (V.O.)
Now get off the bridge.

BATMAN
Who are you?

ORACLE (V.O.)
Like I said, it doesnt
matter.


Batmobile shoots out a barrier and drives off the bridge
onto the shoreline. Batmobile drives into a tunnel.

Helicopter searchlight plays along the bridge in search.

Cop Cars drive up the bridge on both sides.

PILOT (V.O.)
Batman has evaded, repeat,
Batman has evaded.
(beat)
Returning to base.

INT. GCPD - WALKERS OFFICE - NIGHT

Walker throws the radio down in anger.

WALKER
Goddamn it.

Walker stands and walks to the window, gazing down over
Gotham City with a scowl.

EXT. GOTHAM CITY - QUARRY - NIGHT

Batmobile hurtles out of a sewer pipe and drives through
the Quarry. It breaks down the chain-link gates and speeds
off down the back road.

GOTHAM CITY - BACK ROADS

Trees line either side of the road. Batmobiles headlights
cut through the darkness.

Batmobile takes a turn down an embankment and onto a dirt
road.
105.


Batmobile parks on the platform. Batman steps out and
walks to the console.

Batman types on the keyboard and brings up files. He
checks the firewall: ALL SECURITY PROTOCOLS IN EFFECT.

Alfred clears his throat. Bruce takes off the mask.

ALFRED
What were you doing?

BRUCE
What do you mean?

ALFRED
You were reckless.

BRUCE
I was Batman.

ALFRED
No. You were hopped up on
revenge. You almost killed
several people tonight with
that escapade of yours.

Bruce rushes by and puts the mask down. Bruce unclips the
utility belt.

ALFRED (contd)
I thought you stood for
justice? Saving people.
Not causing chaos.

BRUCE
Dont lecture me.

ALFRED
Lecture you? Master Wayne
I am just trying to help
you.

BRUCE
I dont need your help.

Alfreds expression changes to sadness.

BRUCE (contd)
I can take care of myself.
I dont need a babysitter.
106.

ALFRED
If that is what you think,
sir, then forgive me for
intruding.

Alfred walks by Bruce. Bruce scowls and frowns.

ALFRED (contd)
You may be a symbol to the
people of Gotham, sir. But
to me you are family.

Bruce looks at Alfred. Alfred walks away. Bruce takes a
breath and notices his reflection in the Batsuit cylinder.

Bruce looks away from his reflection.

EXT. GOTHAM CITY - GCPD - NIGHT

People walk by the station.


Essen and the Pilot, TIM DRAKE (25, Caucasian) handsome and
clean-shaven, stand by Walkers desk as he goes over the
report, Walker swigs whisky.

WALKER
How many injured?

ESSEN
Thirteen, including the
joy riders.

WALKER
Dead?

ESSEN
None.

Walker takes a swig. He looks at Drake.

WALKER
You failed to take him
down.

PILOT/DRAKE
With all due respect, sir.
We lost our primary power,
we barely made it back.
107.

WALKER
That is no excuse, sergeant
Drake. You failed to
apprehend the Batman. I
want results, not excuses.
You had several opportunities
to take him down before the
bridge.

DRAKE
We couldnt risk civilian
casualties.

WALKER
Your badge, sergeant.

DRAKE
What, you are kidding me?

Walker extends his hand. Drake angrily slams the badge
into Walkers hand.

WALKER
Damage to the state will
be taken out of your cheque,
Mr Drake.

DRAKE
Why dont you shove that
badge up your ass, Im
done.

Drake storms out. Walkers anger intensifies.

ESSEN
That was uncalled for, sir.
He did nothing wrong.

WALKER
You are suspended until
further investigations can
be carried out.

ESSEN
You cannot do that.

WALKER
Badge, Essen.

Essen throws her badge at the wall and storms out.

Walker swigs whisky and picks up the phone. He dials.
108.

GCPD - CUBICLES

Essen approaches Drake who cleans out his desk.

ESSEN
Sorry.

DRAKE
You dont apologize for that
two-bit snake.

ESSEN
The case is getting-

DRAKE
You dont make excuses for
him either.

Gordon and Harley walk toward Gordons office.

ESSEN
Look what the cat dragged
in.

GORDON
Sarah, Tim - I heard about
the Batman.

HARLEY
Is he as infallible as the
news would have you believe?

Essen and Drake do not answer.

GORDON
Something wrong?

DRAKE
Why dont you ask your
old partner?

Drake shoves his way past Gordon and walks to the exit.

ESSEN
Walker fired him and put
me on leave.

GORDON
Why?

ESSEN
I dont know.
109.

Harley looks over at Walker who closes his office blinds.

ESSEN (contd)
Something has him spooked.

GORDON
Leave it to me.

Essen nods. Gordon wonders.

INT. GOTHAM CITY - GOTHAM NEWS - NIGHT

Charlotte and Ryder work late hours on their case.
Charlotte reads manifests and shipping papers. Ryder
checks databases for UPVs.

CHARLOTTE & RYDER
Whoa.

They look at one another.

CHARLOTTE
You first.

RYDER
On three.

CHARLOTTE
Really?

RYDER
Just play along, Char.

They show their stuff at the same time. Charlotte points
to a manifest. Ryder turns the monitor.

Both show: UPV parts shipped to Wayne Enterprises.

Charlotte smirks. Ryder raises his eyebrows and grins.

RYDER (contd)
Seems we got ourselves a
lead.

Ryder holds up his hand for a high-five. Charlotte looks
at him. Ryder puts his hand down.

CHARLOTTE
What did Bruce Wayne quote?

Ryder smirks.
110.

Charlotte digs into her purse and pulls out a recorder.
She clicks it.

BRUCE (O.S.)
(recording)
Gotham will never have to
fear anything again.

She clicks it again.

CHARLOTTE
First thing tomorrow you
head to Wayne Enterprises.

RYDER
What about you?

CHARLOTTE
I have a date with a playboy.

Charlotte smiles, Ryder looks at the monitors
representation of the UPV.


Thunder CRACKS. Rain pours.

A black SUV drives up and parks at the gate. WALKER steps
out and cautiously looks around.

Walker presses the buzzer. Gates open. Walker enters.


An eerie feeling sets in. Lights flicker. Walker makes
his way forward and brushes aside a curtain.

FIREWORKS go off and robotic puppets dance on a stage. It
looks quite grand until sparks fly and it turns off.

Walker unimpressed; looks on.

JOKER (O.S.)
(distant)
Hello, Commissioner.

WALKER
We need to talk.

Joker leans upside down from above. Walker GASPS.
111.

Joker LAUGHS and drops down. Throwing up his hands as if
to say: TA DA!

Walker frowns. Joker sighs.

JOKER
Turn that frown upside
down, Commissioner.

WALKER
Im in no mood for games.

JOKER
Funny cause Im not playing
any. Will be later. Its
called Shocking Tales, I have
two players out the back
hooked up to defibrillators.

Walker moves past Joker. Joker puts his hands on his hips
and pulls a funny face.

JOKER (contd)
Why so grumpy?

WALKER
We may have a problem.

JOKER
Yeah. We kind of do. Youre
a cop, Im a criminal mass
murdering psychopath, clearly
something is a problem.

Joker holds out his hands as if to say: ARREST ME.

Walker paces slowly. Joker rolls his eyes and puts down
his hands.

WALKER
I want you to do me a
favour.

JOKER
Itll cost you.

WALKER
Name the price.

JOKER
Danver Street, Diner, in the
alleyway, six days.
112.

WALKER
Done.

JOKER
So what do you want?

WALKER
I want you to kill Batman.

JOKER
Kill the Batman? Why? He
is so much fun. And he has
a nice car - and a very good
mindset. Did you see the news?
He did a corkscrew over a
roadblock. I cant kill him.
Hes too awesome.

WALKER
I want it done, Jack.

JOKER
Jack - call me Joker.

WALKER
You have a week.

JOKER
And where do I start?

WALKER
Figure it out.

Walker walks to the exit.

JOKER
Walker, are we still friends?

WALKER
We were never friends, Jack.

Walker leaves. Joker sobs. SCREAM. Joker smirks and rubs
his hands together.

JOKER
Whos up for some Shocking
Tales?!

Joker runs to the back. A few moments pass.

BUZZ. SCREAM. BUZZ. CACKLE.

113.


A red car drives up and parks. Charlotte steps out in a
sexy outfit and knocks on the door.

Bruce opens the door.

CHARLOTTE
No butler? A rich man
like you often has an
aide.

BRUCE
Can I help you?

CHARLOTTE
Charlotte Rivers, we met
back at Wayne Enterprises
the day you returned from
the dead.

BRUCE
Im not looking to sell
my life story to a paper.

CHARLOTTE
Mr Wayne, you push too
far ahead. I want your
take on the Batman.

Bruce wonders.

BRUCE
Come in.


Charlotte whistles, impressed.

CHARLOTTE
Now this is beautiful.
Twentieth century in design,
marble floors, oak banisters,
fine decor. You have
excellent taste, Bruce.

BRUCE
My parents did, not me.

Bruce enters the lounge. Charlotte follows.

114.


Bruce sits down. Charlotte rummages through her purse,
places documents on the table and sits on the couch.

Charlotte clicks the recorder.

BRUCE
This is not an interview.

CHARLOTTE
Its just for my archives.

Bruce looks over the documents.

BRUCE
Wayne Enterprises manifests
and shipping, how did you
get this?

CHARLOTTE
I have my sources.

BRUCE
Typical journalist term
for you stole them.

CHARLOTTE
Well, I need stories, its
sort of my job.

Bruce moves a document, sees the UPV. He recoils and looks
at her.

BRUCE
What do you want to know?

CHARLOTTE
Who is Batman. Its a
running title for my next
story. I want you to help
me unmask this - hero.

BRUCE
What makes you think hes
a hero?

CHARLOTTE
He stops the bad guys.

Bruce agrees. Charlotte looks at him closely.

115.

CHARLOTTE (contd)
The UPV is most intriguing
as it was on the manifest,
reports indicate that it
is still there. But maybe
someone had the blueprints
to design something similar.

BRUCE
And how did that bring
you here?

CHARLOTTE
Because you, yourself, said
it was time for change, that
the people of Gotham would
never have to fear anything
again. What did you mean?

BRUCE
The people needed hope.

CHARLOTTE
Do you know who he is?

BRUCE
No.

CHARLOTTE
Would you tell me if you
did?

BRUCE
No.

CHARLOTTE
Are you Batman?

Bruce looks at her.

BRUCE
No.

Charlotte nods.

BRUCE (contd)
Is that it?

Charlotte clicks the recorder.

CHARLOTTE
Theres a new restaurant-
116.

BRUCE
Forget it.

CHARLOTTE
Its just a dinner.

BRUCE
I dont date.

CHARLOTTE
You lost someone, didnt
you?

BRUCE
She was taken from me.

Charlottes expression changes to sad. Bruce remembers it
and tries to look brave.

BRUCE (contd)
You should go.

CHARLOTTE
Yeah. I should.

Charlotte picks up her purse and leaves.

BRUCE
You forgot the manifest.

CHARLOTTE
Keep it. I have copies.

Charlotte walks away.

SLAM. DOOR CLOSES.

Bruce looks at the manifest and sighs.


Charlotte unlocks her car door and gets in.

INT. CHARLOTTES CAR - DAY

Charlotte pulls out her cell phone and dials. She waits.

CHARLOTTE
Yeah, its me. We have
ears.
117.

RYDER (V.O.)
Good work, Char.

CHARLOTTE
Thank you.

Charlotte hangs up the phone, turns on the car and drives.


Charlottes car leaves the premises. Alfred drives up and
parks.

Alfred gets out of the car and approaches the door.

He fumbles his keys and looks at his hand, trembling.
Alfred pretends it is nonexistent and walks into the house.


Alfred walks in and sees the manifest on the table. He
picks it up, pulls the book and the bookcase slides.

WAYNE MANOR - THE BATCAVE

Bruce is working on a new design for the LINE LAUNCHER.

Alfred walks down the ramp.

ALFRED
It is not wise to leave
designs lying around, sir.
If we have visitors it could
lead to some problems.

Alfred lays the manifest on the counter. Alfred walks up
the ramp.

BRUCE
Alfred.

Alfred turns to Bruce.

ALFRED
Yes, sir?

BRUCE
Im sorry.

118.

ALFRED
What for, sir?

BRUCE
You know what for.
(beat)
And stop calling me sir.
Call me Bruce.

ALFRED
I am your butler, sir.
It is in the job description.

BRUCE
No. You were right last
night. Youre my family.

Alfred smiles, Bruce extends his hand. Alfred shakes it.

ALFRED
Apology accepted - Bruce.

Bruce smiles and nods, Alfred helps Bruce with the new
gadget.

EXT. GOTHAM CITY - SOUTHSIDE BRIDGE - DAY

Drake watches as people clean up the bridge. Builders meld
new wires onto the bridge frame.

Drake looks down at the shoreline and spots tyre tracks.

GOTHAM CITY - SHORELINE

Drake walks along the shoreline following the tracks to the
sewer pipe. Drake enters the sewer pipe.

INT. SEWER PIPE - DAY

Drake walks along. He spots the same two Homeless guys by
a bin where a fire burns.

DRAKE
Hey.

HOMELESS GUY #1
Nice jacket.

Drake looks at his jacket.
119.

HOMELESS GUY #2
Mine is worn, want to
trade?

DRAKE
Err - no. Listen, did you
see a big black tank come
through here last night?

HOMELESS GUY #1
He wants to know about
a black tank.

HOMELESS GUY #2
Listen, we moved away from
our previous home because of
a clown, turns out down here
is just as crazy as out there.

DRAKE
Did you see anything?

HOMELESS GUY #2
Depends.

DRAKE
On what?

HOMELESS GUY #2
Thats a nice jacket.

Drake sighs.

LATER

Homeless Guy #2 tries on the jacket.

HOMELESS GUY #2
Fits like a glove.

DRAKE
So?

HOMELESS GUY #2
Listen, I dont know if
I was drunk or just really
tired, but this big black
tank shot through here last
night and almost gave Donald
a heart attack.

120.

DRAKE
Youre sure?

HOMELESS GUY #2
Yes. It was so fast. Like
a speeding bullet. Whoever
was in it seemed in a rush.

DRAKE
Thanks.

Drake walks down the sewer pipe.

HOMELESS GUY #1
How come you manage to
blackmail people out of
their stuff?

HOMELESS GUY #2
I had special training.

Homeless Guy #1 chuckles. Homeless Guy #2 adjusts the
jacket and sits back against the wall.

EXT. GOTHAM CITY - GCPD - PARKING LOT - DAY

Gordons car parks, Gordon steps out. Jack Ryder rushes
in.

RYDER
Detective.

GORDON
(quietly)
Not this guy again.

Ryder stops and takes a breath.

RYDER
Ive got something you might
want to see.

GORDON
Last time I trusted you-

RYDER
I know, but you need to
see this.

Ryder hands Gordon a sealed envelope. Gordon tries to open
it. Ryder stops him.
121.

RYDER (contd)
Not here. Too many eyes.

GORDON
What is it?

RYDER
Something is very wrong with
this city. Things are not
what you think they are.

Ryder aims a distinctive look at Gordon. Gordon wonders.

INT. GCPD - GORDONS OFFICE - DAY

Gordon sits his briefcase down and sits down. He opens the
envelope and pulls out some paperwork.

Gordon looks the paperwork over.

He goes through sheet after sheet with quickness. He puts
the paperwork down and rubs his forehead.

GORDON
Christ.

Gordon picks up the phone and dials.

RING. RING. RING. RING.

GORDON (contd)
Pick up.

BARB (V.O.)
(answer phone)
Hi this is Barb, Im not
in right now, so leave
your song at the beep.

BEEP.

GORDON
Barb, its dad, sweetheart,
I - are you alright? If
you are there please, this
is urgent -


Bruce works on the Batmobile engine.
122.

ORACLE (V.O.)
Still there?

Bruce smirks.

BRUCE (BATMAN)
Who is this?

ORACLE (V.O.)
I told you once before, but
call me Oracle.

BRUCE (BATMAN)
You hacked through the
firewall, apparently its
still up. Howd you do it?

ORACLE (V.O.)
I have my ways. But listen,
I found something while going
through some police records.
You might want to see this,
got a computer handy?

Bruce looks at the Batcomputer.

BRUCE (BATMAN)
Yeah.

ORACLE (V.O.)
Well, scoot your butt over
to it and take a look.

Bruce puts down the wrench and walks to the monitors.
Files appear on screen and open up, detailing historical
events and crime reports over the last 16 years.

BRUCE (BATMAN)
What is this?

ORACLE (V.O.)
Its a cover-up. Joe Chill,
for example, the man that
supposedly killed Bruce
Waynes parents wasnt even
near Park Row.

BRUCE (BATMAN)
How do you know that?

ORACLE (V.O.)
Check this out.
123.

A file cracks open and shows more images. Joe Chill sits
at the bar in the Iceberg Lounge at 8:43pm on November 8,
1996.

Bruce looks at the time. He cannot believe it.

BRUCE (BATMAN)
Ill be damned.

ORACLE (V.O.)
Apparently this tape was
sent to Detective Brian
Walker. The current police
commissioner for Gotham.

A video on the monitor shows Walker promoted to
commissioner.

HARVEY DENT (37, Caucasian) handsome and slick, stands idly
by Walker with a sly smile, Walker gives his speech, crowd
claps.

BRUCE (BATMAN)
Who is that beside him?

ORACLE (V.O.)
You been living under a
rock? Thats Harvey Dent,
district attorney for Gotham.

BRUCE (BATMAN)
Why would Walker hide case
files? This proves Chills
innocence.

ORACLE (V.O.)
Thats what Im trying to
figure out but theres
something else. Something
big.

Bruce watches the monitors. More files open, newspaper
headlines and such on recent killings.

BRUCE (BATMAN)
The clown case.

ORACLE (V.O.)
Look at the coroners report.

Bruce notices the signature: THOMAS ELLIOT.

124.

BRUCE (BATMAN)
I dont see anything wrong.

ORACLE (V.O.)
Every single one is signed
by doctor Thomas Elliot.

BRUCE (BATMAN)
Isnt that a doctors job?

ORACLE (V.O.)
Doctor as in surgeon. He
was fired from the hospital
for selling organs on the
black market.

Bruces eyes sink.

ORACLE (V.O.) (contd)
One more thing. Roman Sionis,
mass murderer, just walked
free. Insufficient evidence.

Bruce realises.

BRUCE (BATMAN)
Where is Walker now?

ORACLE (V.O.)
Hell be at the precinct.

BRUCE (BATMAN)
I have to talk to him.

ORACLE (V.O.)
He has the whole precinct
combing the city for you,
you cannot just walk in
there.

BRUCE (BATMAN)
Ill figure something out.

Bruce walks to the counter and picks up the manifest. He
sees Charlottes number.

ORACLE (V.O.)
Be careful.

BRUCE (BATMAN)
You know me.

125.

Monitors lose the files and return to a desktop theme.
Bruce grabs his cell phone and dials.

EXT. PARK ROW - ALLEYWAY - DAY

Walker waits by a dumpster. He checks his watch.

Joker pops out of the dumpster.

JOKER
BOO!

Walker pulls out his gun and aims at Joker who pulls a
funny face and puts up his hands.

JOKER (contd)
I surrender.

WALKER
I will not hesitate twice.

Joker clambers out of the bin and falls to the floor.

JOKER
Ouch.

Walker rolls his eyes and holsters his gun. Joker stands
and dusts himself off. He peels a banana peeling from his
sleeve and hands it to Walker.

Walker throws the banana peeling.

WALKER
Will you be serious for
once?

JOKER
Wheres the fun in that?

WALKER
Six days, Jack - have you
killed him yet?

JOKER
No. I havent.

WALKER
I gave you a friendly
warning. Seven days, and
you failed. You know the
price, Jack.
126.

JOKER
Yeah. I do know the price.
Rest of my life in jail,
but Ive never done anything
you didnt ask me to do.

WALKER
Your story will never match
up in court.

Joker pulls out a tape recorder and clicks play.

WALKER (O.S.)
(recording)
up in court.

Joker clicks stop.

JOKER
I have like twenty-five
more. Which has you telling
me to kill people. Naughty
commissioner.

Walker pulls his gun on Joker.

JOKER (contd)
Ooh, frisky.

WALKER
Hand it over.

JOKER
Or what?

WALKER
Give it to me, Jack.

JOKER
Fine.

Joker plops the recorder in Walkers hand. CLICK.

WALKER (O.S.)
(recording)
up in court.

JOKER
Oops.

127.

Walker holds out his hand. Joker reaches into his pocket,
pulling out various kinds of clown merchandise. He plops
another recorder in Walkers hand.

WALKER
Anymore?

JOKER
No.

WALKER
Good.

Walker destroys the tapes and bins the recorders. Joker
stops on the tapes to make sure. Walker looks at him
intensely.

WALKER (contd)
You have twenty-four hours
to kill Batman. Do not fail
me again.

JOKER
Its easier said than done
you know.

WALKER
Just do it.

Walker holsters his gun and notices the chalk outline of
Thomas and Martha Wayne on the ground.

JOKER
You still remember.

WALKER
I never forgot.

JOKER
Is that why you chose to
meet here? To rekindle
old friendships and talk
about past joys?

Walker darkly looks at the chalk outline.

WALKER
Just get it done, Jack.

Walker leaves.

Joker looks down at the chalk outline.
128.

JOKER
(at the Outline)
Between me and you, I dont
like him either.

Joker pretends to hold a gun and shoots twice.

JOKER (contd)
Now to catch me a bat.

Joker laughs.

INT. GORDONS HOUSE - ENTRANCE HALL - DAY

Barb walks down the steps and enters the lounge.

RING. KNOCK. KNOCK.

Barb walks to the door and opens it. Charlotte Rivers
flashes her card.

BARB
Im not talking to the
press.

CHARLOTTE
Im just looking for some
friendly advice regarding
a certain Batman. Gathering
some opinions on him. Do
you have a moment?

BARB
I dont know anything
about Batman.

CHARLOTTE
Then allow me to broaden
your horizons.

Charlotte makes her way in. Barb shakes her head and
closes the door.

GORDONS HOUSE - LOUNGE

Charlotte sits down. Barb walks in and takes a seat.

BARB
Who are you?

129.

CHARLOTTE
Charlotte Rivers, Gotham
City News Network.

BARB
Right.

CHARLOTTE
More importantly -

Charlotte digs through her purse and pulls out a police
file. She slides it across the coffee table.

Barb glances at it and notices her name.

CHARLOTTE (contd)
I know your story.

BARB
You should leave.

CHARLOTTE
Im not here to bombard you,
Im here to ask for your
help.

BARB
Why would I help you?

CHARLOTTE
Two words in one, Batman.
I want to know who he is.

BARB
You and half the city.

CHARLOTTE
So, up for the challenge or
have your skills dried up?

BARB
Sorry, but no. I got out
of that life. Its not
me anymore.

CHARLOTTE
Once more, for me.

BARB
I dont know you, lady.
A part of me knows why.

130.

Charlotte sighs.

CHARLOTTE
I cant tempt you, just
one more time?

BARB
No.

EXT. GOTHAM CITY - GORDONS HOUSE - DAY

Sun is setting.

Door opens, Barb sees Charlotte out. Charlotte hands Barb
her card.

CHARLOTTE
If you change your mind,
my number is on the card.

Barb takes the card. Charlotte leaves.

INT. GORDONS HOUSE - ENTRANCE HALL - DAY

Barb looks at the card.

BARB
Not that I will.

Barb bins the card and walks upstairs.

GORDONS HOUSE - BEDROOM

A dark room with a computer on, hacking programs run. Barb
walks in and closes the door. She sits at the computer and
types on the keyboard.

Cackle from the shadows. Barb looks over. Joker emerges
from the shadows with a big grin on his face.

JOKER
Hi.

Barb SCREAMS.


Charlotte hears the scream and fumbles her keys.
131.

Charlotte rushes for the gate and runs up the steps. She
bangs on the door.

INT. GORDONS HOUSE - BEDROOM - DAY

Joker grabs Barb. Barb slaps and punches him frantically.

JOKER
Sto-sto-sto-stop-stop
hitting me!

Joker slams Barbs head into the desk. She falls
unconscious.

JOKER (contd)
Oops.


Charlotte grabs a dog statue and throws it through the
window. She climbs in.

INT. GORDONS HOUSE - LOUNGE - DAY

Charlotte clambers over the couch and removes her high
heels. She rushes to the steps.


Charlotte bursts through the door. She sees Barb
unconscious on the floor.

CHARLOTTE
Oh my god.

Charlotte checks on Barb. Joker closes the door and cocks
his 9mm pistol.

Charlotte looks up at him.

JOKER
Do you have any idea how
clich it is to just run
into a house after hearing
someone scream from inside?

Charlotte GASPS. Joker shoots her in the chest. Charlotte
falls. Joker looks down at her and raises an eyebrow.
132.

JOKER (contd)
That looked like it hurt.

Joker cackles.


Joker carries Barb down the steps. A civilian spots him
and yells for help. Joker shoots the civilian.

Joker picks up the keys and plops Barb into Charlottes
car. Joker gets in the drivers seat.

Car drives off down the street.


BEEP. BEEP. BEEP. BEEP.

Bruce notices the monitors. He types on the keyboard.

POLICE OPERATOR (V.O.)
Any units in the area of
Firacre Street. Possible
robbery, homicide and
kidnapping reported.

COP #6 (V.O.)
This is unit six-one-eight,
we are en route. Over.

Bruce taps on the keyboard and brings up a map of Gotham.

He opens up a security camera. He rewinds the footage and
sees Joker carrying Barb down the steps.

BRUCE
No.

Bruce rushes to the cylinder. He looks at the suit.

LATER

Batman walks to the Batmobile.

ALFRED
Are you sure it was him?

Batman nods.
133.

Batman climbs into the Batmobile.

ALARMS go off. Batman gets out and removes the batrod, he
twists the handle, Drake aims his gun at Batman.

DRAKE
Drop it.

BATMAN
Who are you?

DRAKE
Officer Tim Drake of the
GCPD. You are under arrest.

BATMAN
We have bigger problems.

DRAKE
Tell someone who gives a
damn.

BATMAN
He has Gordons daughter.

DRAKE
What?

BATMAN
The Clown.

Drake lowers the gun.

DRAKE
He has Barb?

Batman nods. Drake holsters the gun.

DRAKE (contd)
Im coming with you.

BATMAN
I dont think so.

DRAKE
Shes my girlfriend.

Batman considers.

BATMAN
You ride shotgun.

134.

Drake nods. He notices the Batcave.

Alfred is hiding behind a counter.

EXT. GOTHAM CITY - DIRT ROAD - NIGHT

Batmobile hurtles forward. Batmobile cuts up an embankment
onto the back road.

GOTHAM CITY - BACK ROAD

Batmobile speeds forward.

Homeless Guy #1 and #2 look on from the side of the road.

HOMELESS GUY #1
Is nowhere normal?

HOMELESS GUY #2
Come along, Gerald.

They walk along.

INT. GCPD - GORDONS OFFICE - NIGHT

Gordon goes over the files. He pours himself a drink. He
looks through more files.

Gordon slams the glass down and wipes his forehead.

KNOCK. KNOCK.

Harley enters.

HARLEY
Didnt you hear?

GORDON
Hear what?

HARLEY
There was a shooting outside
your house.

GORDON
What?

HARLEY
The Clown, Jim.
135.

GORDON
Oh my god.

Gordon grabs his coat. They leave in a hurry.

EXT. GOTHAN CITY - GCPD - PARKING LOT - NIGHT

Gordon fumbles his keys.

HARLEY
Ill drive.

GORDON
Im fine.

HARLEY
Youre in no condition,
Jim. Give me the keys.

DETECTIVE #1
A little too much to drink
there, Jimbo?

Harley snatches the keys.

HARLEY
Get in.

Harley and Gordon get in the car.

GOTHAM CITY - GORDONS HOUSE - NIGHT

Batmobile screeches to a halt. A cop looks on from the
sidewalk and pulls out his gun.

Batman and Drake exit the Batmobile.

COP #7
Drake?

DRAKE
Have you checked inside?

COP #7
Youre riding with Batman.

Drake and Batman rush up the steps. Batman kicks the door
through.

136.

INT. GORDONS HOUSE - ENTRANCE HALL - NIGHT

Drake rushes in, checks every room and rushes back out.

DRAKE
Barb!

THUD, something hits the floor upstairs. Batman and Drake
rush up the steps.


Drake pushes through the door and finds Charlotte on the
ground. He checks on her.

DRAKE
Shes been shot, crap.

Batman kneels next to Charlotte who looks into his eyes
weakly.

BATMAN
Hang in there.

COP #7
I am placing you under
arrest by the order of
Commissioner Walker.

Batman looks at Cop #7 as if to say really?

Cop #7 notices Charlotte on the ground.

COP #7 (contd)
Oh god.

DRAKE
A little help?

Cop #7 grabs a t-shirt and presses it to the wound.
Batmans eye slits turn white.

He scans the area. He notices the crack in the table. And
the hacking program.

BATMAN
(quietly)
Oracle.

Batmans eye slits return to normal.

137.

DRAKE
What did you say?

BATMAN
Nothing. Stay here and make
sure she gets out alive.

DRAKE
Barb is still-

BATMAN
Ill get her back. Trust
me.

DRAKE
(hesitant)
If she dies, Im holding you
responsible.

Batman nods and leaves.


Gordons car drives across the bridge.

INT. GORDONS CAR - NIGHT

Gordon looks around.

GORDON
Why are we on the bridge?

HARLEY
Offers a nice view.

GORDON
What?

Harley pistol-whips Gordon in the face. Gordon falls
against the window unconscious. Harley chuckles.

EXT. GOTHAM CITY - ELWIN AVENUE - NIGHT

Batmobile speeds through a red light. A truck jams on the
brakes and skids to a halt.

Batmobile weaves through oncoming traffic.

Cars drive out of the way.
138.

BATMAN (V.O.)
I need eyes, Alfred, what
have you got?

ALFRED (V.O.)
The car in question sped
through several red lights
before causing a crash, sir.

Batmobile passes the crash. Ambulances are on scene.

BATMAN (V.O.)
Then where?

ALFRED (V.O.)
It took a left at Talika
Street and shot three miles
north.

Batmobile drifts into Talika Street and drives quickly,
avoiding traffic.

GOTHAM CITY - TALIKA STREET

Batmobile hurtles past Gotham Park.

ALFRED (V.O.)
Then it took a rather abrupt
turn through the park.

Batmobile breaks through the iron gates into the park.

GOTHAM CITY - GOTHAM PARK

Batmobile follows the tyre tracks.

BATMAN (V.O.)
Next?

ALFRED (V.O.)
It hurled itself over the
river bridge, sir. Which
is currently still up.

Batmobile drives through the opening. People dodge.

GOTHAM CITY - DEREN WALK

Batmobile weaves in and out of traffic.
139.

Batmobile hurtles toward the bridge.

BATMAN (V.O.)
This could hurt.

ALFRED (V.O.)
Its the train all over
again. I cant bear to
watch.

Batmobile speeds up. It strikes the bridge and drives up
the angle. Batmobile SOARS over a passing ferry.

FERRY

A child looks up at the Batmobile in awe.

CHILD #1
Wicked.

GOTHAM CITY - CANAL DRIVE

Batmobile lands and weaves in and out of traffic.

BATMAN (V.O.)
That was pretty cool.

ALFRED (V.O.)
Youre still alive, sir.

BATMAN (V.O.)
You worry too much. Where
to?

ALFRED (V.O.)
Take the next right.

Batmobile drifts right.


Darkness consumes this room. Light comes on, Barb blinks
in the light. Like a spotlight.

JOKER (O.S.)
(distant)
Wakey, wakey, Barbie doll.

Barb grunts in pain and looks around.
140.

BARB
Where -

JOKER (O.S.)
You hit your head pretty
hard on a table, you might
have a headache. Also, yes,
you are almost naked, but
this room gets really hot,
and also your hands are bound
and your chair is hooked up
to an electrical generator.
But details, details, boring
logistical stuff. Who cares,
right?

BARB
Please -

JOKER (O.S.)
I havent done anything yet.
Except drop you on your
head - twice. Second
time was an accident, I
slipped. It was quite funny.

Joker steps from the shadows and smirks.

BARB
Christ.

JOKER
I dont have a beard or
a robe.

BARB
Let me out.

JOKER
Why would I do that? I am
an insane psychopath, got a
doctors note and everything.

BARB
(scream)
HELP! HELP ME!

Joker puts his hand over her mouth.

JOKER
Dont SCREAM! It hurts the
vocal cords.
141.

Barb bites Jokers hand. He yelps and flicks his hand in
pain.

JOKER (contd)
Ouch. Why did you do that?
Biting is so - Zsasz.

Joker laughs.

JOKER (contd)
But the best part about
this whole shindig is guest
number two. He has a
caterpillar under his nose.

Spotlight turns on. Gordon, in a vest and sweat pants,
sits tied in the other chair.

BARB
Dad!

JOKER
And all of this wouldnt
be possible without the ace
in the hole, the mastermind,
the beautiful, the intimidating
and voluptuous, acting queen
worthy of seven Oscars -
Harley Quinn!

Harley emerges from the shadows. Face paint, short skirt,
looking all kinds of crazy.

Joker laughs. Harley walks to him. They kiss and dance.
Harley chuckles. Barb looks on, sickened.

HARLEY
Youre the mastermind, Mr J.

JOKER
Oh Harley, how flattering,
youre making me blush.

Gordon stirs and notices them.

JOKER (contd)
Look Harley dear, detective
caterpillar-nose is awake.

HARLEY
Hi, Jimmy.

142.

GORDON
(weak)
Harleen?

JOKER
Harleen? No, Harley Quinn,
like the Italian renaissance
jester.

BARB
Are you going to kill us?

JOKER
Probably - but not yet,
you see, we need Batman
to come and play. When he
gets here, and he will because
I left him a breadcrumb trail.
That door over there, is
going to blow up. Batchunks
everywhere, itll be messy.

HARLEY
But you two can clean it up.
Before we you know, play
Shocking Tales.

JOKER
Yeah. Or, we could string
them up like piatas and
hit them with bats arm
to make candy fall out.

HARLEY
Or dunk them feet first into
a vat of acid.

JOKER
Or even - and this is my
favourite - we could play
ping pong. With their
eyeballs.

HARLEY
Eyeballs dont make good
ping pong balls, Mr J.
Too squishy.

JOKER
Oh yeah. Shame, I have one
hell of a right swing. I
couldve gone national.
143.

HARLEY
Yeah. Sucks that the rude
judge said clowns didnt
make for good advertisement.

JOKER
I know. To think I wasnt
even dressed like this. Must
have been the scars.

HARLEY
What scars?

JOKER
Exactly.

Joker and Harley laugh.

Gordon wriggles. Barb whimpers.


Batmobile pulls up and stops.

ALFRED (V.O.)
You have arrived, sir.

BATMAN (V.O.)
This is it.

ALFRED (V.O.)
Promise me you will come
out of there.


Batman looks down.

BATMAN
Ill try.

ALFRED (O.S.)
(through speaker)
I want your word, sir.

BATMAN
I cant make a promise I
cannot keep, Alfred.

Batman taps the scanner. A funhouse blueprint appears.
144.

Batman notices the red signatures.

BATMAN (contd)
Bombs everywhere, this guy
is prepared.

Batman taps the scanner again.


Rain begins to pour.

ALFRED (V.O.)
Your father would be proud
of you, Bruce.

BATMAN (V.O.)
Time to make him prouder.

ALFRED (V.O.)
Good luck - Bruce.

BATMAN (V.O.)
See you, Alfred.

Batman steps out. He looks at the funhouse.

Batman approaches. The gates open. Batman steps through.

Thunder CRACKS.

GOTHAM CITY - AMUSEMENT MILE - FERRIS WHEEL

PANDORA stares down from above on the Ferris Wheel. Her
eyes fixated on Batman.

GOTHAM CITY - FUNHOUSE

Batman looks up at the Ferris Wheel. There is nothing
there.

Batman fires the batclaw onto the roof and zips up.


Joker and Harley turn valves on the canisters and hook them
up to the chairs.

145.

JOKER
Remember when I said it
gets hot in here? Well,
youre gonna be laughing
about it later.

GORDON
Youre a sick freak.

JOKER
Im actually pretty healthy,
I eat organic food and freshly
squeezed orange juice.

BARB
You dont need to do this.

JOKER
I do. Really, I do. You
see, Commissioner Walker is
blackmailing me.

GORDON
Walker?

BARB
I know.

JOKER
You do? Oh, then that saves
me the trouble of explaining
it.

GORDON
What do you mean?

JOKER
Nineteen-ninety-six, November
eighth, Walker was there.

GORDON
Wayne.

JOKER
Yep. Bang, scream, bang, thud.
Thats the way I remember it.

GORDON
Walker killed them.

JOKER
No. I did. He was just there.
146.

Joker giggles.

JOKER (contd)
Walker took a slice of the
cake. He found Joe Chill,
drunk as all hell, talked
him into it and threatened
to kill his child if he ever
said anything.

GORDON
Why tell us?

JOKER
Duh. Plot twists.

GORDON
This isnt a game.

JOKER
Its all a game. Every
one of us had a part to
play. And now here we
are. Sure, its not a
tower, but its more fun.
More unpredictable than a
quick and sudden fall to
ones doom.

Joker twists the handle. Canister hisses. Harley does the
same.

BARB
What is this?

JOKER
Oxygen, without the oxy and
with Laugh-a. I call it
Laugh-a-Gen. AKA Laugh
again. You will die of
laughter.

Joker laughs. Barb sniggers and cracks a smile. Gordon
notices. Barb whimpers.

JOKER (contd)
So it begins.

BATMAN (O.S.)
(distant)
So it ends.

147.

Joker turns and GASPS. Batman lunges from the shadows and
tackles Joker to the ground.

Harley raises her gun.

JOKER
No. No. I got it.

Joker squirms and wraps his legs around Batmans head.
Joker squeezes his thighs together.

Batman grunts and stands. Batman powerbombs Joker onto the
stage, Joker grunts in pain.

Batman punches. Joker moves. Batman CRACKS the stage
panelling.

Joker squirts Batman in the mask with his daisy acid.
Batman scratches at his mask, acid melts through it.

Joker laughs and tackles Batman through a wall.

Gordon laughs. Barb notices. She gets a hand loose.

FUNHOUSE - PROP ROOM

Joker whacks Batman over the back with a mop, a bucket, a
folding chair, a show reel, a broomstick and a wooden
plank.

JOKER
Having. Fun. Yet?

Joker punts Batman in the gut multiple times.

Joker kicks. Batman grabs his leg and flips him over.
Joker grunts as he hits the floor, CRACK.

FUNHOUSE

Barb gets her other hand free. Harley listens to the
sounds of fighting.

Barb tackles Harley. Harley drops the gun. Barb punches.
Harley counters and head butts Barb in the nose.

Harley grabs Barb by the hair and rams her into the wall.
Barb elbows Harley in the gut.

Barb swings a punch and knocks Harley to the ground.
148.

Gordon struggles.


Joker rams Batmans head into the wall twice and laughs.

Batman elbows Joker in the gut and slams him head first
into the wall.

Joker grabs a cane and hits Batman in the face. Joker
repeatedly whacks Batman with the cane.

FUNHOUSE

Harley scrambles for the gun. Barb grabs Harleys leg.

Harley reaches for the gun. Barb kicks it away. Harley
scrambles for the stage and grabs a katana.

Harley swings. Barb ducks. Harley slashes. Barb climbs
the stage.

Harley mounts the stage and swings. Barb ducks and tackles
Harley.

The sword gets wedges blade-up in the broken stage panel.


Joker slams Batmans head with the door and kicks him
through into a stairwell.

FUNHOUSE - STAIRWELL

Joker backs up the steps. Batman follows and swings a
punch. Joker ducks and kicks Batman in the gut.

JOKER
I bet that hurt.

Batman YELLS and tackles Joker into the wall.

Batman punches Joker in the face. Joker laughs and claps
Batman in the side of the head with both hands.

Batman drops Joker. Joker rushes up the steps. Batman
grabs his leg. Joker trips and loses a tooth at the top.

149.

JOKER (contd)
My tooth.

Joker kicks Batman away.

FUNHOUSE

Harley swings a punch. She hits Barb in the face. Harley
grabs the gun and shoots. Barb swats it away and it lands
on the stage.

Harley swings. Barb punches Harley in the face.

Harley kicks Barb in the gut. Barb falls hands and knees
first to the ground. Harley kicks her in the face.

Barb falls unconscious.

FUNHOUSE - SUSPENDED CATWALK

Joker and Batman fight across the suspended catwalk.

Joker kicks Batman with his knife-shoe. Batman blocks and
rams Joker head first into the railing. Catwalk shakes.

Joker stabs. Batman avoids. Joker stabs Batman in the gut
with the knife and twists it.

Batman drops to a knee.

JOKER
That easy? Really?

Batman pulls the knife out. Joker smirks.

Batman swings a punch. Joker ducks and head butts Batman
in the gut.

FUNHOUSE

Harley walks for the gun. Gordon breaks the chair over her
back, rendering her unconscious.

Gordon rushes to Barb and cradles her.

GORDON
Barb - wake up.

Gordon tries to wake her up. Her eyes flutter.
150.

FUNHOUSE - SUSPENDED CATWALK

Joker punts Batman in the gut. Batman falls flat to the
catwalk surface.

Joker rolls Batman over and mounts him. Joker punches
Batman in the face.

JOKER
So much for superhero.
Youre just a man in a
mask. Sorry, I meant it
in past tense. Were a
man in a mask.

Joker rips the mask off. His eyes widen at the sight of
Bruce.

JOKER (contd)
Well now - looks like you
believed your own trollop.
This is so poetic. Rich
kid becomes a superhero.
Now you die. Just like
mommy and daddy did when
I killed them.

Bruce scowls. He takes out the batrod, twists the handle
and strikes the suspension cable.

The suspended catwalk electrifies. Joker reacts perfectly
to the shock. Bruces outfit protects him but he still
feels it.

Catwalk cracks and the cables snap. It falls, taking them
with it.

FUNHOUSE

Catwalk breaks through the ceiling. Gordon looks up.
Catwalk buckles. Joker and Bruce fall.

Bruce grabs the batclaw and fires a grapple hook. It
latches onto something and he swings.

Joker gets impaled on the katana. Bruce slams into the
wall and falls to the ground.

Gordon looks on. Barb stirs.

Bruce weakly pushes up, Joker looks at the katana.
151.

Joker falls dead.

Gordon sighs and helps Barb up.

Bruce pushes up and turns to greet them. They look over
from across the funhouse.

GORDON & BARB
Bruce?

Bruce looks at them. Gordon looks at Barb and hugs her.
Bruce faintly smiles.

Joker grabs the gun and laughs. Barb notices. Joker
shoots. Barb turns her father and takes a bullet in the
back.

GORDON
NO!

Barb convulses. Gordon cradles her.

Bruce rushes to Joker and kicks the gun away.

JOKER
I win.

Joker laughs for a final time and dies with his eyes open
and a big smile on his face.

Bruce looks over at Gordon and Barb. His eyes sink.

GORDON
Stay with me. Dont you
dare leave me.

Barb spurts blood. Gordon whimpers.

EXT. GOTHAM CITY - FUNHOUSE - NIGHT

Ambulances are on scene. Two paramedics wheel a gurney
carrying Barb out and load her into the ambulance.

GOTHAM CITY - AMUSEMENT MILE - ROOFTOP

Bruce looks on from above. Like a silent guardian. He
glances at his mask.

He sees the coroners wheel Jokers dead body out. Harley
is ushered into a cop car by police.
152.

GOTHAM CITY - HOSPITAL

Ambulance pulls up and parks. Paramedics and Gordon rush
Barb into the hospital.


Cops arrest Walker. They slap the handcuffs on him and
usher him from the office.

EXT. GOTHAM CITY - AMUSEMENT MILE - DAY

Reporters are on scene, reporting the news. Police hold
reporters back from the crime scene.

Ryder looks on. He walks away.


Bruce looks at the monitors. Scenes outside the hospital
and at Amusement Mile, Bruces eyes sink.

Alfred looks on from the distance.

EXT. GOTHAM CITY - GRAVEYARD - DAY

Bruce lays flowers at his parents grave. He looks down at
the names: THOMAS AND MARTHA WAYNE, GONE BUT NEVER
FORGOTTEN.

Bruce leaves the grave.

INT. HOSPITAL - RECOVERY - DAY

Gordon sits by Barbs bed as she recovers. Bruce enters
and Gordon stands.

Bruce hands Gordon chocolates and flowers for Barb.

BRUCE
Im sorry, Jim.

Gordon nods.

Bruce lays a kiss on Barbs head.

Bruce leaves. Gordon sits by Barbs bedside.
153.

EXT. GOTHAM CITY - COURTHOUSE - DAY

Reporters flash their cameras as Harley Quinn and Walker
are ushered up the steps by police.

Bruce watches on from the crowd. Walker aims a dark look
in his direction. Bruce walks away.

INT. GOTHAM CITY AIRPORT - DEPARTING - DAY

Charlotte shakes Ryders hand.

RYDER
Are you sure about this?

CHARLOTTE
Paris is a long way from
here, I need a long way
from here right now.

RYDER
Shame, I would have liked
to work with you. We never
did find out who he was.

Charlotte smiles, Ryder wonders.

RYDER (contd)
Wait, did you?

Charlotte winks. Ryder wonders as she leaves. He smiles.


Gordon, his WIFE (44, Caucasian) and son JAMES (9,
Caucasian) welcome Barb, in a wheelchair, home.

Gordon wheels Barb up the newly built ramp. Barb looks at
her legs, a tear trickles down her cheek.


The gates open. Two Guards walk Joe Chill to freedom. His
daughter (18, Caucasian) stands at the gates.

Joe and his daughter hug.

154.


Bruce gazes at his reflection in the Batsuit cylinder.
Alfred walks down.

ALFRED
Sir, is everything alright?

Bruce nods.

BRUCE
Yeah. Everythings fine.

ALFRED
Good. Detective Gordon
called, Barbara is home,
says you are welcome to
visit her.

BRUCE
(smiles)
Im sure shell find me.

Bruce walks to the console. Alfred looks on. Bruce taps
away on the keyboard.

Batwing lowers from the ceiling. Batmobile rises on the
platform.

A bat shrieks and flies toward screen.

CUT TO BLACK:

THE BATMAN

ROLL CREDITS

FADE IN:

EXT. GOTHAM CITY - ROOFTOP - NIGHT

Pandora stands on a rooftop gazing out over Gotham.

BATMAN (O.S.)
You called?

Batman emerges from the shadows.
155.

PANDORA
And you came.

BATMAN
You made a loud enough noise.

PANDORA
I had to get your attention.

Batman surveys her with his eyes.

BATMAN
You were at Amusement Mile,
I saw you.

PANDORA
You were meant to.

Batman approaches her. Pandora and Batman gaze out over
Gotham.

PANDORA (contd)
A storm is coming.

Batman looks at her.

BATMAN
What do you mean?

PANDORA
He will return and darkness
shall consume this world,
even you.

BATMAN
I was born in darkness.

PANDORA
He created the darkness.

Pandora lays her hand on Batmans shoulder.

PANDORA (contd)
The underworld will rise
again, and everything will
burn, just as the prophecy
declared.

BATMAN
I dont believe in fairytales.

156.

PANDORA
You will.

Pandora disappears. Batman looks around. He then gazes
across Gotham. Batman looks on, like a proud hero.

CUT TO BLACK:

CONTINUE CREDITS

The Batman

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