FADE IN: EXT. CITYSCAPE - NIGHT Gotham City. The City of Tomorrow: stark angles, creeping shadows, dense, crowded, as if hell had erupted through the sidewalks. A dangling fat moon shines overhead. EXT. GOTHAM SQUARE - NIGHT PUSHERS wave to HOOKERS. STREET HUSTLERS slap high-fives with three-card monte dealers. They all seem to know each other... with one conspicuous exception: A TOURIST FAMILY, MOM, DAD, AND LITTLE JIMMY, march warily down the main drag. Just out of a show. But the respectable theatre crowd has thinned out, and now -- Playbills in hand -- they're on Gotham's meanest street. MOM For God's sake, Harold, can we please just get a taxi ?? DAD I'm trying to get a -- (shouting) TAXI!! Three cabs streak pass and disappear. Jimmy reads map. JIMMY We're going the wrong way. Nearby, STREET TYPES are beginning to snicker. DAD Put that AWAY. We'll look like tourists. TWO COPS lean on their patrol car outside an all-night souvlaki stand, sipping coffee and chatting with a HOOKER. The HOOKER smiles at Jimmy. Jimmy smiles back. Mom yanks him off down the street and glowers at Dad. DAD We'll never get a cab. Let's cut over to Seventh. JIMMY Seventh is that way. DAD I know where we are! EXT. SIDE STREET - NIGHT (THAT MOMENT) Deserted street lined with stripped-down cars. Family marches into the darkness. VOICE Hey, mister. Gimme a dollar? A DERELICT -- nineteen or twenty, acne-scarred -- his ratty T-shirt -- "I LOVE GOTHAM CITY" -- family moves on, pretending not to hear. DERELICT Mister. How about it. One dollar? (standing up) Are you deaf ? -- Do you speak English ?? TOURISTS cross street. DERELICT doesn't follow. Their pace quickens. A SHADOWY FIGURE in the alleyway. A GLOVED HAND slams a GUN across Dad's neck. He crumples. Mom grabs Jimmy and backs up against a brick wall, too terrified to scream. The DERELICT races across the street to join his confederate, the STREET PUNK, who's already searching for Dad's wallet. Mom's ready to snap -- STREET PUNK trains his gun on Jimmy. STREET PUNK Do the kid a favor, lady. Don't scream. TEARS stream down her face. She stifles a scream and clutches Jimmy. He's paralyzed with fear. The two PUNKS CHUCKLE and race away. Mom's self-control disintegrates -- she begins to SCREAM before moving to unconscious Dad. SCREAM ECHOES. EXT. CATHEDRAL - NIGHT A darkly ornate Gothic anomaly: old City Cathedral, once grand, long since boarded up. STONE GARGOYLES gaze down from their shadowy rooftops. Mom's SCREAM (uninterrupted from the previous scene) ECHOES up. And one of the GARGOYLES MOVES. EXT. ROOFTOP - NIGHT Six stories up. The PUNKS -- NICK and EDDIE -- hunker down on the tar- and-gravel roof, sizing up their take. NICK All RIGHT. American Express. (tossing the credit card at Eddie) Don't leave home without it. A chill wind BLOWS as Nick counts cash. There's a distant, metallic CLANG; EDDIE hears it and tenses up. EDDIE Let's beat it, man. I don't like it up here. NICK What are ya, scared of heights? EDDIE I dunno. After what happened to Johnny Gobs -- NICK Look, Johnny Gobs got ripped and walked off a roof, all right? No big loss. EDDIE No, man. That ain't what I heard at all. (beat) I heard the BAT got him. NICK The BAT?! Gimme a break, will you, Eddie? EDDIE Five stories, straight down. There was no blood in the body. NICK No shit. It was all over the pavement. ANOTHER SOUND. Now even Nick can't ignore the slight tingle at the base of his spine... NICK Shut up . (conclusively) There ain't no bat. At the opposite corner of the roof, some fifteen yards away... at the end of a line, a STRANGE BLACK SILHOUETTE is dropping slowly, implacably, into frame... EDDIE You shouldn'ta turned the gun on that kid, man. You shouldn'ta -- NICK You want your cut of this money or don't you? Now shut up! Shut up -- BOTH PUNKS FREEZE at the sudden, inexplicable sound of BOOTS CRUNCHING ON GRAVEL. They turn slowly. Their JAWS DROP. At the edge of the roof, bathed in moonlight, is a BLACK APPARITION. Eddie freezes, a choked GURGLE in his throat. The BLACK FIGURE advances and spreads its arms, slowly, majes- tically. GREAT SHADOWY WINGS flap in the wind. On its chest is THE EMBLEM OF A BAT, in an oval yellow field, glowing like a target in the darkness.. Nick drops to the gravel, grabs the GUN, and FIRES TWICE. TWO CLEAN HITS. The strange black figure is knocked bodily to the roof. NICK -- I'm gettin' outta here. He bends to retrieve his loot. Eddie lets out AN ODD, PRE-VERBAL SQUEAL... ... and NICK sees THE HUMAN BAT, BACK ON ITS FEET, NIGHT- MARISH, UNDEAD, MOVING SLOWLY AND INEVITABLY CLOSER. Panic. Stolen money flutters out of Nick's hands. He SCUTTLES FRANTICALLY across the roof. The BLACK SPECTRE is blocking his path to the fire escape. Trapped like a rat, Nick FIRES WILDLY. Eddie's face is pale. The BAT treads calmly past. A LEG snakes out. A BLACK BOOT catches Eddie high on the chest -- LIFTS HIM CLEANLY OFF HIS FEET -- AND SENDS HIM FLYING THROUGH THE AIR. Eddie slams into a brick chimney and slumps unconscious. THE BAT DOESN'T EVEN BREAK HIS STRIDE. Nick CHARGES past the black wraith, toward the fire escape... A GLOVED HAND slices through the air, and Nick pitches forward, his legs ensnared in a tangle of WIRES. SCREAM- ING, he drags himself across the gravel roof, the BAT at his heels... 'til there's no place left to go. Nick cowers on the edge. Nick keeps SHOOTING. Eyes closed. Hammer falls on an empty chamber, but Nick still pulls the trigger. He MOANS. BAT grabs Nick by the shirt, HOISTS HIM into the air. NICK Don't kill me... don't kill me... Nick opens his eyes... the BAT is standing on the ledge of the roof -- HOLDING HIM OUT, at arm's length, over six stories of nothingness. A rasping VOICE. BATMAN You're trespassing, Ratbreath. Nick looks down. Far, far below, CARS wink silently past. He looks up. And sees, in the mirrored lenses where Batman's eyes should be, the twin reflections of his own stricken face. NICK Trespassing? You don't own the night. BATMAN Tell your friends. Tell all your friends. I AM the night. Nick HOWLS. Batman heaves him roughly back onto the tar- and-gravel surface of the roof. And then -- casually, without a moment's hesitation -- steps off the ledge, into midair. Trembling, Nick crawls to the ledge and looks over... finding ABSOLUTELY NO TRACE of the Batman. Nick is still SCREAMING as we PAN UP TO Gotham's moon. MAIN CREDITS ROLL: BATMAN CUT TO: INT. GOTHAM CITY DEMOCRATS' CLUB - NIGHT A VICTORY POSTER fills one wall: "CONGRATULATIONS! A NEW GOTHAM CITY! HARVEY DENT - DISTRICT ATTORNEY." MAYOR BORG, hysterical and self-certain introduces the new District Attorney, HARVEY DENT -- a young, determined lawyer. MAYOR BORG Across this nation, the words 'Gotham City' are synonymous with crime. Our streets are overrun, and our police officials have been helpless. As Mayor I promised you that I would root out the source of corruption at the root! Boss Carl Grissom ! Our new District Attorney Harvey Dent will carry out that promise. I promise. APPLAUSE. DENT stands to speak. We SEE a SINGLE EMPTY PLACE SETTING at the end of the table -- and an engraved placecard which bears the name "BRUCE WAYNE." DENT I'm a man of few words. But those words will count. And so will our actions. I have talked today to Police Commissioner Gordon. ANGLE ON JAMES W. GORDON Gotham's police commissioner, a distinguished gent in his late fifties. DENT He is targeting businesses suspected of fronting for the syndicate in this city. Within one week we'll knock down their doors and shed the light of the law on that nest of vipers. INT. APARTMENT - NIGHT A woman's apartment, sparsely furnished but tasteless. Modern chairs and coffee table in front of a TV set. High-fashion magazine picture blow-ups all modeled by the same girl on walls. In the foreground: a MAN'S HAND, long, elegant, and manicured, manipulates a DECK OF CARDS, doing a one- handed shuffle with extraordinary finesse. The TV news has highlights of HARVEY DENT's victory speech. DENT (V.O.) (on the TV screen) Together we can make this city safe for decent people -- THE HAND sets the deck on a table, turns up FOUR JACKS off the top. This most unusual deck sports a .22 calibre BULLET HOLE straight through the middle. JACK NAPIER Decent people shouldn't live here. They'd be happier someplace else. JACK NAPIER is right-hand man and chief enforcer to BOSS CARL GRISSOM. He is tough, vain, takes great pride in his appearance, and is not reconciled to no longer being twenty one. Velvet Death. ALICIA HUNT -- CARL GRISSOM's woman -- glides over in her negligee. Jack has his feet on the table, resting on a copy of Vogue on the cover of which is a picture of Alicia. She lifts his feet and rescues the magazine. She is young, very beautiful, and as narcissistic as Jack. She's the model pictured on the walls. ALICIA Pretty tough talk about Carl. JACK Don't worry about it. It this clown could tough Grissom... I'd have killed him by now. Alicia knots Jack's loose tie playfully about his neck. ALICIA If Grissom knew about us... he might kill you . Jack's eye darts back and forth between the TV and his own reflection in a nearby vanity. Not interested in her. JACK Don't flatter yourself, angel. He's a tired old man. He can't run this city without me. (pause) And besides, he doesn't know. Jack remotes OFF the TV. ALICIA You don't worry about anything, do you, Jack? Jack gives Alicia a disdainful look, consults his watch, reaches for his topcoat, and stands in front of the vanity. He runs a hand through sculpted hair, checks his fine threads. ALICIA You look fine. He smiles at himself before turning to the door. JACK ... I didn't ask. CUT TO: EXT. ALLEYWAY - NIGHT The scene of the earlier mugging is now ABUZZ with police cars, an ambulance, a forensics van. Eddie goes past on a stretcher, catatonic. Watching him are a POLICE MEDIC and a porcine cop, LT. ECKHARDT, who jots on a notepad. ECKHARDT No, let me guess. A gigantic, menacing, supernatural form... in the shape of a bat. MEDIC That's it... What are they SEEING up there? ECKHARDT They're all drinkin' Drano. MEDIC It's still weird, Lieutenant. ECKHARDT (under his breath) Oh Christ, Knox! At the mouth of the alley is ALEXANDER KNOX, 30, a crime reporter for the Gotham Globe . KNOX Hiya, gents. I hear we got another bat attack. That's eight 'sightings' now in just under a month. I hear the Commissioner's opened a file. ECKHARDT Sorry, Knox. These two slipped on a banana peel. Two uniformed PATROLMEN drag a brain-fried Nick past. NICK A bat, I tell you, a GIANT bat! He wanted me to do him a favor...! Knox smirks. Eckhardt and the Medic trade disgusted looks. ECKHARDT (irritated) Don't be writing this crap in the newspaper, Knox, it'll ruin your already useless reputation. KNOX Lieutenant. Lotsa punks in town're scared stiff! They say he drinks blood. They say he can't be killed . ECKHARDT I say you're full of shit, Knox. Eckhardt turns away in annoyance. ECKHARDT And you can quote me on that! KNOX Lieutenant. Is there a six-foot bat in Gotham City? (shouting) If so, is he on the police payroll? If so, what's he pulling down after taxes? EXT. STREET - NIGHT (THAT MOMENT) Eckhardt emerges onto the side street -- and spies a STRETCH LIMO IDLING nearby. Leaning on the hood, waving hi, is the dandyish Jack NAPIER. Jack's odd driver BOB HAWKINS polishes the door handle. Jack swaggers up and tosses Eckhardt a sandwich bag. JACK I brought you a little snack, Eckhardt. Eckhardt looks at the sandwich inside. It's full of 100 DOLLAR BILLS. The cop throws a nervous glance back in KNOX's direction and stuffs it quickly in his coat. ECKHARDT Why don't you broadcast it, Napier? JACK Shut up and listen -- Harvey Dent is sniffing around one of our companies. Eckhardt bristles. ECKHARDT (testy) That's my territory, Jack. If there's a problem -- Suddenly, Jack grabs Eckhardt by the lapels of his topcoat. JACK Eckhardt... your problems are our problems. ECKHARDT (knocking his hands away) I answer to Grissom, not to Psychos. JACK Why, Eckhardt. You should be thinking about the future. ECKHARDT (sneers) You mean... when you run the show? You got no future, Jack. You're an A-1 nut boy and Grissom knows it. Jack claps a hand on Eckhardt's face and shoves him full- force into a wall. Stunned, Eckhardt turns bright red and grabs Jack by the coat collar and whips out his gun. Jack calmly takes his hand from Eckhardt's face as the latter brings the gun up. JACK (relaxed) Watch the suit. Breathing heavily, Eckhardt lets go of Jack's coat and lowers the gun. JACK (smiles) See. You can make a good decision when you try. Jack LAUGHS insanely in Eckhardt's ashen face, EXITS. When Jack is out of earshot, Eckhardt MUTTERS menacingly: ECKHARDT And where you been spending your nights, handsome...? DISSOLVE TO: EXT. GOTHAM CITY SQUARE - DAY Hard-hatted Dent and Gordon follow Mayor across the construction-filled square. Preparations are being made for a gigantic public event. Banner goes up saying "200TH ANNIVERSARY OF GOTHAM CITY FESTIVAL." MAYOR I don't care how much in debt this festival is. I want a parade, hot dogs, balloons, the whole schmeer. We're gonna celebrate this 200th anniversary proudly. And PUBLICLY. DENT We may be celebrating it in bankruptcy court. The tax base is crumbling, and if this festival crashes you can kiss our bond rating goodbye. The Festival is $350,000 in the red and we haven't seen one balloon. MAYOR I'll take care of the festival budget. I've got a party of rich old ladies who'll pay $1000 to see the inside of Wayne Manor. You fill this square with people, kids, dogs, families, and the businesses will come back here. GORDON I think a lot of people might stay away, Mayor. They're scared. MAYOR They won't be scared when you've got Grissom in that courthouse. I promised that, right? Gordon nods as Mayor marches across the square. INT. GOTHAM GLOBE - CITY ROOM - DAY Gotham's leading tabloid daily. KNOX RUSHES IN, spots BOB THE CARTOONIST at his drafting table, with several amused REPORTERS looking on. REPORTER Well, well. Count Dracula! You seen Bigfoot lately? ANOTHER REPORTER They BURIED your story on the Batman. REPORTER They bury garbage. KNOX This is the Pulitzer prize zone, boys! You wait! BOB Oh, Knox -- I got something for you. BOB holds up a drawing of a HUMAN BAT, with an awful, fanged rodent's face, wearing a business suit. The cap- tion reads: "HAVE YOU SEEN THIS MAN?" The REPORTERS CRACK up. Knox, who's used to the ribbing, mumbles. KNOX Very nice, boys. A little more gore on the fangs. (under his breath) What a dick... He moves on INT. KNOX'S OFFICE - DAY Knox approaches but stops in his tracks. Propped up on the desk are a PAIR OF EXCEPTIONAL LEGS. Knox stares. He takes her in -- the most beautiful woman he's ever seen is attached to the legs. Leaning back in Knox's swivel chair, reading the Globe . Her face obscured by a big outrageous HAT. He ENTERS. KNOX Hel-lo, legs. The hat tips back. VICKI VALE, her face framed by a shock of bright red hair, flashes a dazzling smile. VICKI I'm reading your stuff. KNOX And I'm reading yours. He looks at the oversized CAMERA BAG with decals all over it. Monogrammed "V.V." She stands, shakes hands. VICKI Hi, I'm Vicki Vale. Her attitude is strong, hip, professional. KNOX Vicki Vale... Vicki Vale... Let's see... Vogue , Cosmo ... I've seen your stuff. Listen, you didn't come here to ask me to pose nude, because you're going to need a long lens. VICKI Actually I've been in Corto Maltese. She pulls out a sheet of COMBAT PHOTOS -- exploding Jeeps, burning huts, bodies in piles. A bloody revolution. KNOX Hey , a girl could get hurt doing this. Knox is impressed but he's also smitten: KNOX (amazed) What are you doing here? VICKI I'm here to see some of the wildlife in Gotham City. KNOX Wildlife... like what? VICKI Like -- bats. She indicates his desk which is littered with doodles of bats. KNOX (disbelieving) Who sent you? VICKI No one. I read your piece. There's something about this that's very interesting to me. KNOX What's your angle? VICKI A picture of a guy in a bat suit catching criminals? (her hand sweeping a headline) BATMAN SWEEPS CRIME FROM GOTHAM. My pictures. Your words. This is Pulitzer prize material. KNOX (exhilarated) You're a visionary . Problem is, you're the only one who believes me. I need something tangible. Gordon's got a file on this but I can't get him on the phone. A sly look crosses Vicki's face. VICKI He'll be at Bruce Wayne's benefit, won't he? KNOX I don't seem to be on the guest list. Sulking, he doesn't notice Vicki reaching into her camera bag. He doesn't see the small white INVITATION until she DANGLES IT right in front of his nose. KNOX Miss Vale... Got a date? She flutters her great big eyelashes and shakes her head no. VICKI Will you help me? KNOX Yes. Will you marry me? VICKI Perhaps. Do you snore? She LAUGHS. He offers her his arm. KNOX I'll learn. CUT TO: INT. PENTHOUSE - NIGHT A HUGE PLATE GLASS WINDOW on the best view in Gotham. CARL GRISSOM, criminal kingpin, is 50, utterly without charm. His LIEUTENANTS -- bloodless white-collar types as well as a few outright GOONS -- are sprawled nearby in easy chairs. Grissom waves a copy of the Globe -- with HARVEY DENT staring out from page one. GRISSOM Say this son of a bitch makes a connection with us and Axis Chemicals, what kind of damage are we looking at? ACCOUNTANT If he ties us in with Axis Chemical, we're dead and buried. (clearing his throat) We should move immediately. Jack slouches in an easy chair doing his one-handed shuffle. JACK Let's just break-in, trash the office, make off with the books... and call it 'industrial espionage.' GRISSOM Smart thinking, Jack. That's the way to go. In fact -- I'd like you to handle this operation personally. Jack's hand FREEZES over his lucky deck. Nervously, he turns a card off the top. It's not a jack; it's a Joker -- a Joker with a neat, round, .22 calibre HOLE through its face. At this exact moment, METAL DOORS slide back -- and ALICIA HUNT steps out of GRISSOM's private elevator with an armful of SHOPPING BAGS. GRISSOM Hello, sweetheart. I wonder if you'd mind waiting in the other room. Alicia's gaze meets Jack's nervously as she vanishes through a side door. The eye contact is not lost on Grissom. GRISSOM Thank you, gentlemen. That's all for now. Grissom's CRONIES FILE OUT. Jack, troubled, lingers behind. He looks miserable and obviously doesn't want to go. JACK Carl, can't we send somebody else? The fumes in that place... GRISSOM Jack, it's an important job -- I need someone I can trust. You're my number one guy. (beat) Now don't forget your lucky deck. Jack, resigned, pockets the deck and leaves. GRISSOM (wolfish grin) My friend, your luck is just about to change. Alicia APPEARS in the doorway, modeling her new purchases. GRISSOM (smiling into phone) Get me Lieutenant Eckhardt. CUT TO: EXT. WAYNE MANOR - ESTABLISHING - NIGHT A vast, rambling mansion on sixty wooded acres a half- hour's drive from Gotham. Out front, a team of red-jacketed VALETS are parking expensive cars. INT. BALLROOM - NIGHT The ballroom is outfitted with roulette wheels for a CASINO NIGHT. Gotham's POWER ELITE eagerly throw cash into Mayor's festival kitty. Small banner "SAVE THE FESTIVAL!" ANOTHER ANGLE - HANDSOME YOUNG BRUCE WAYNE enters from the kitchen. He's a rich, smart guy with a thousand things on his mind. But when you think he's not paying attention -- you're dead wrong. He doesn't miss a thing. A WAITER hands him something to sign. He signs and the waiter EXITS. Left with the pen, he isn't sure what to do with it. He looks around and finally decides to put it in a flowerpot. Just then ALFRED THE BUTLER, 60s mannered but with sense of humor, APPEARS and takes it from him. Alfred smiles as Bruce continues through the foyer past -- In his cheap suit, stands Knox -- staring inquisitively up at the ceiling. Alfred appears with a tray of champagne glasses. He, too, looks up at the ceiling. ALFRED Can I help you, sir? KNOX You know if you cut your bath in half, you'd have my whole apartment. ALFRED We do have a rather large bathroom, sir. KNOX No, I meant your bath... as in TUB. Knox takes a drink and Alfred MOVES ON. ANOTHER ANGLE Alfred stoops to pick up some glasses, the other glasses on his tray slide. He's caught a bit. Vicki catches the glasses. Vicki smiles. VICKI You okay? ALFRED Yes, thank you. A small bond has been formed. Alfred CONTINUES on his way. As an afterthought Vicki calls after him. Stops. Bruce has been watching. Vicki turns to him. VICKI Excuse me... which one of these guys is Bruce Wayne? BRUCE (caught off guard) I... I'm not sure. VICKI Thanks. BRUCE Uh... yeah. Vicki WALKS AWAY. Bruce watches her, very intrigued. ANGLE ON GORDON At craps table, blowing into his fist, he rolls dice. Snake eyes. He passes the dice as Knox and Vicki PUSH UP. KNOX Commissioner Gordon, Mrs. Gordon. How nice you look tonight. (to Gordon) Have you heard this crazy rumor that you have opened a file on the Batman? That's not true is it? Knox puts his hands up behind his head and wiggles his fingers -- like little bat ears. Gordon GROANS. GORDON Knox, for the ninth time, there is no bat. If there were, we would find him -- we would arrest him -- KNOX ... find him, arrest him... that's what I always hear, Commissioner. Be straight with me. Dent ambles up, claps a hand on Gordon's shoulder. DENT How's your luck, Jim? KNOX Mr. Dent. Commissioner Gordon and I were just talking about winged vigilantes, what's your stand? DENT Mr. Knox, we have enough real problems in this city without worrying about ghosts. AN OFFICER motions to Gordon, who FOLLOWS HIM into another room. Vicki nods at Knox as they slip away to FOLLOW THEM. ANGLE ON BRUCE He watches them. Especially the beauteous Vicki. EXT. AXIS CHEMICAL CO. - ESTABLISHING - NIGHT A NEON SIGN reads: "AXIS CHEMICAL. THE FUTURE IS NOW." From the SIGN we PAN TO a METAL SLUICE GATE -- dumping TONS of CHURNING TOXIC SLUDGE into Gotham's East River. A PLAIN VAN pulls up. Jack and GOONS get out. ANOTHER ANGLE The SECURITY GUARD in a booth at the entrance to the lot. One of Jack's BOYS creeps up and takes the GUARD out. Jack and Goons sneak in. INT. WAYNE MANOR - ARMORY - NIGHT Knox and Vicki ENTER looking for Gordon. No luck. Knox goes goggle-eyed at the armory. KNOX (ironic) And here we are in the arsenal. On the wall hang EXOTIC WEAPONS. Every arcane implement of death the human mind has ever devised. Knox lets out a low whistle. KNOX Look at this stuff. Who is this guy? Bruce ENTERS and stands just behind them. Vicki sees him, but having seen him earlier, regards him casually, like another partygoer. Bruce listens with interest. VICKI Strange. He gives to humanitarian causes... And collects all this... KNOX Probably does it to get chicks. They like him for his big charity balls. VICKI (mischievous) I think it's his enormous... bankroll they go for. KNOX Hey, the more they've got, the less they're worth. VICKI This guy must be the most worthless man in America. KNOX (pointing to a sword) Where'd this come from? BRUCE It's Japanese. Knox turns. Bruce is trying to remember, but is really watching Vicki. KNOX How do you know? BRUCE Because I got it in Japan. KNOX Who are you? BRUCE Oh... Bruce Wayne. KNOX (extending a hand) Alexander Knox. BRUCE (genuine) I read (present tense) your work. I like it. KNOX Great. Give me a grant. Bruce flips a polite smile at Knox then switches smoothly to VICKI, who is amused at being had by Bruce. She sticks out her hand. VICKI Vicki Vale. BRUCE Bruce Wayne. VICKI (smile and edge) ... You sure? BRUCE (smile) I've seen your photographs from Corto Maltese -- You've got an extraordinary eye. Bruce is charming. Knox's territorial instincts arouse. KNOX Some people think she has two. VICKI This is an amazing house. I'd love to shoot it sometime. A WINE STEWARD ENTERS. Vicki and Knox exchange glances. STEWARD Mr. Wayne, we need to open another five cases of the champagne. Will that be allright? BRUCE Uh -- yes, sure. Open six. Steward EXITS. Bruce turns back to catch up with himself. BRUCE (to Vicki) Yes... Will you be staying in Gotham for a while? VICKI I'd like to. I'm intrigued by Alex's giant bat story. A RICH COUPLE waves at Bruce as they EXIT. He politely waves to them. Then he looks after them like he can't remember who they are. Then he does remember. Then back to Vicki. BRUCE Isn't that a little light after a war in Corto Maltese? VICKI (smiling zap) Light? What do YOU do for a living? Alfred appears in the doorway behind them. ALFRED Sir? Commissioner Gordon was compelled to leave. BRUCE Thank you, Alfred. He turns back to Vicki. Alfred persists. ALFRED Ahem. Sir -- very unexpectedly. BRUCE (getting it) Oh, thank you, Alfred. (to Vicki) I hope you'll excuse me. Vicki smiles. A connection has been made. They both know it. VICKI Sure. Bruce turns to go. Setting his glass too close to the edge of the table. Alfred calls to him. ALFRED Sir, I think perhaps THIS way. BRUCE Oh yes... thanks. Oh, Alfred, they need mare wine in the front and someone named Mrs. Daly wanted a copy of the menu. Oh, and, Alfred. Give Mr. Knox a grant. He winks at Knox. And goes the OTHER way out of the roam. Alfred fluidly sweeps up Bruce's glass and follows him briskly OUT OF THE ROOM. Knox is stung and Vicki transfixed. KNOX Nice talkin' to ya, Bruce. Now are the rich odd? Yes they are. (jealous) Helllo? Vicki? VICKI (waking up) Sorry, I was -- He's comp-lic-ated. KNOX I said odd. VICKI Mm. KNOX Ah -- Well you're not the only fan. This guy loves himself. There're mirrors in every roam. And indeed, the two of them are standing before an enormous WALL MIRROR, eight feet wide, running from floor to ceiling. KNOX Maybe it should be Bruce VAIN. CUT TO: REVERSE ANGLE - THROUGH MIRROR LOOKING DOWN ON Knox and Vicki THROUGH one-way glass. Behind the mirror... recording everything that happens in the room... is a small, silent, state-of-the-art SURVEIL- LANCE CAMERA. CLOSEUP - VIDEO MONITOR showing KNOX and VICKI in the library. The screen we're watching is only one in a whole vast bank of video mon- itors -- a control center showing everything that happens in the house. The background is blurry, indistinct... but we seem to be in the midst of a vast, dark CAVE. On another screen, GUESTS move backward with exaggerated speed, as a videotape REWINDS. At the panel, Bruce Wayne hits a button -- and watches COMMISSIONER GORDON talking to a uniformed PATROLMAN. PATROLMAN (V.O.) -- anonymous tip. Napier's cleaning out Axis Chemicals. GORDON (V.O.) Good Lord, if we could put our hands on him we'd have Grissom . (obviously agitated) Why wasn't I told about this? Who's in charge of the -- PATROLMAN (V.O.) Eckhardt, sir. GORDON (V.O.) Oh my God... And suddenly Gordon is grabbing for his coat. The monitor GOES BLACK. Bruce is somehow different. More relaxed. He stands up. He gathers himself. Focuses inwardly in a way that empowers him. CUT TO: EXT. AXIS CHEMICAL COMPANY - PARKING LOT - NIGHT POLICE CARS are pulling into the lot. Eckhardt circulates among his ARMED SWAT TEAM, handing out Xeroxed copies of a MUG SHEET: Jack NAPIER, front and profile. ECKHARDT Shoot to kill. INT. AXIS CHEMICAL - FILE ROOM - NIGHT SPARKS FLY. A SAFECRACKER, in welder's mask, trains a blowtorch on the office safe. Behind him, Jack's HOODS are at work on the filing cabinets. Jack stands watch- ing, squinting through the fumes. He holds a silk handkerchief over his nose and mouth. The SAFECRACKER kills his blowtorch and opens the metal door of the safe, giving Jack a good look inside: SAFECRACKER Empty. JACK shakes his head: they've been set up. A SIREN blares outside. JACK We've been ratted out here, boys. INT. AXIS CHEMICAL - THAT MOMENT Jack and his HOODS duck out of the office, two stories above the refinery floor, onto a network of ladders and CATWALKS. A COP, stationed behind a bank of machinery, shouts out: COP Freeze! One of the HOODS OPENS FIRE. Half of his colleagues dive back into the office, looking for a rear exit. The others take off across the CATWALKS. INT. FACTORY FLOOR - A MOMENT LATER COPS SHOOT BACK as the HOODS scatter. The COPS' bullets puncture ducts and pipes from which gas and unpleasant looking liquid begins to leak. All at once, a CORRUGATED STEEL DOOR rises -- and COM- MISSIONER GORDON MARCHES IN with a squadron of UNIFORMED COPS. He grabs a startled Eckhardt by the shoulder: GORDON What the hell is going on here? ECKHARDT Christ, what are you trying to do -- blow the collar? GORDON I'm in charge here. Not Carl Grissom . (shouting) I WANT HIM TAKEN ALIVE. I REPEAT -- ANY MAN WHO OPENS FIRE ON JACK NAPIER WILL ANSWER TO ME! Eckhardt SLIPS AWAY INTO THE PLANT. Gordon realizes he's gone and follows with gun drawn. ANGLE ON JACK Down on the floor, racing, THROWING SWITCHES -- anything to create a diversion. GIGANTIC MACHINES ROAR to life. OVERHEAD CHEMICAL TANKS rotate into place above giant basins and spew out their contents. COPS an Jack's tail. He SHOOTS at them AND RUNS. ANGLE ON CATWALKS HOODS 3 and 4 scuttle across the elevated walkways, FIRING at the POLICE and PUNCTURING mare DUCTS, PIPES, and CONTAINERS, thereby releasing more CHEMICALS. Their HEADS TURN at the sound of a sudden CLANG -- -- as BATMAN drops onto the catwalk from above. For a moment, they gape. Then HOOD 4 takes off running; HOOD 3 turns and LEVELS HIS GUN at Batman -- -- who goes to his belt for a miniature SPEAR GUN and FIRES at HOOD 3... planting a BARBED HOOK in the HOOD'S JACKET, SPINNING HIM AROUND. HOOD 3 drops his gun, slips, and -- with a terrible shriek -- TOPPLES OVER THE RAILING. The hook in his jacket jerks him up short... leaving him to DANGLE thirty feet above the factory floor! ANGLE ON COMMISSIONER GORDON His gaze whips upward from the dangling hood to the figure on the catwalk. As he's just realized... there is a bat. GORDON Oh my God!! INT. CHEMICAL SUPPLY ROOM - THAT MOMENT Jack looking for an exit. Behind him, a STEEL DOOR begins to rise -- more COPS. He picks up the axe and runs to bottom of iron stairs to huge steel containers with DANGER! HIGHLY TOXIC written on them under SKULL AND CROSSBONES. He swings the axe releasing a river of wild-colored poisons. ANGLE ON COPS At the bottom of the stairs, they RETREAT hastily, bump- ing into each other, as POISONS FLOOD toward them. Jack on other side of the chemical moat, throws away the axe and climbs the stairs. INT. FACTORY FLOOR - A MOMENT LATER A RIVER OF CHEMICALS courses out into the main refinery. COPS SLIP AND SLIDE on the wet surface of the factory floor GASPING on ACID FUMES. METAL STAIRS LEADING TO CATWALK Jack climbs metal stairs. Above him, vats of CHURNING CHEMICAL SLUDGE -- and SLUICE GATES opening on the East River. It's the waste dump. UP ON THE CATWALK, Batman slips into the shadows and watches Jack approach. Jack reaches the catwalk. Located above the center of it is a glass paneled WINDOW, propped open by a support- ing rod. Beyond this is a forty foot drop to the swirl- ing black currents of the East River... and freedom. To reach the window, Jack will be exposed to police bullets. He makes a dash for it, and has begun to climb up to it on the catwalk railings, when BATMAN HURTLES IN and puts him in a wrestling hold. Jack struggles for a moment, then registers what's hit him and freaks out. JACK Jesus! But just then... VOICE HOLD IT! ANGLE ON FACTORY FLOOR - THAT MOMENT Bob's got a gun pointed AT COMMISSIONER GORDON'S HEAD. BOB Let him go or I'll do Gordon. A tense moment passes. Eckhardt appears on floor. Looks up at Jack. CATWALK - A MOMENT LATER Batman releases Jack and stands clear. Jack straightens his clothes and fixes his hair. JACK (smirking at Batman) Nice outfit. GOON Jack, let's get out of here. Jack spies .38 AUTOMATIC abandoned an the catwalk. ANGLE ON FACTORY FLOOR Eckhardt uses this moment to sneak away. A voice breaks the tension: JACK Eckhardt!! Think about the future! ALL EYES TURN to Jack standing poised with the .38 in his fist. He FIRES. Eckhardt FALLS DEAD. Jack turns gun to Gordon. Batman moves. Jack spins on Batman. Their eyes meet for a second. TIGHT ON BATMAN -- a questioning look on his face. A spark. TIGHT ON JACK -- a small smile plays on his lips. ON TRIGGER -- He FIRES POINT BLANK at Batman. ON BATMAN -- he swings his heavy cape. The BULLET RICOCHETS DIRECTLY BACK AT JACK. AN UNGODLY HOWL OF PAIN echoes out from the catwalk above. Jack reels and staggers, CLUTCHING AT HIS CHEEKS. BLOOD GUSHES from between his fingers. JACK NAPIER HAS BEEN SHOT THROUGH THE FACE . He staggers into the catwalk railing and topples over, just managing to grab hold of the lowest rung. Directly beneath him is a catch basin full of BUBBLING TOXIC WASTE. ON CATWALK - THAT MOMENT Batman leaps and tries to grab Jack's hand. Jack drops but catches himself on a pipe. He's slipping. Batman reaches, gets a poor grip. He stares, perplexed. at the stricken expression in Jack's eyes. CUT TO: ON CATWALK - SAME MOMENT Jack is sliding out of Batman's grasp. A long BEAT -- Jack looks up at him in terror and SLIPS AWAY to plunge the TWO STORIES DOWN into the CATCH BASIN of BUBBLING, TOXIC WASTE, SCREAMING ALL THE WAY. ANGLE ON FACTORY FLOOR - MOMENT LATER GORDON Goddammit, we had him! COPS level their guns on Batman. A couple of them appear at either end of the catwalk, effectively blocking his escape. He takes in the situation, HANDS ON HIS BELT. GORDON Hold it right there.. Batman raises his hands in a gesture of surrender. As the COPS advance from both ends of the catwalk -- he flicks two tiny capsules at the nearby wall. A BLINDING FLASH OF LIGHT. Colors burst in a wild pyro- technic display. COPS stumble backwards, momentarily dazzled, as a THICK WALL OF BLACK SMOKE conceals Batman from view. A tiny grappling hook rockets out of the dense curling cloud and catches on the edge of a window in the roof. COP Look! The COPS are FIRING WILDLY into the smoke. But the BLACK MAJESTIC FIGURE OF THE Batman whips upward, DISAPPEARING into the shadowy heights, safely out of range. COP ... Who is this guy? GORDON (to Cop) I don't know and until we find out, keep a lid on it. CUT TO: EXT. AXIS CHEMICAL COMPANY - NIGHT (THAT MOMENT) A BLACK SHADOW scurries across the roof. From the il- luminated sign with its neon ace, WE PAN DOWN PAST the chemical sluice TO a SECOND ACE... a card from Jack's lucky deck, pierced by a neat, round bullet hole, bobbing on the oily surface of the foul, polluted river. Gradually, OTHER CARDS from the deck swirl past: a nine. A deuce. A queen. And finally, a Joker -- SHOT CLEANLY THROUGH THE FACE. A BONE-WHITE HAND BREAKS THE SURFACE as we -- SHOCK CUT TO: INT. GOTHAM GLOBE - CITY ROOM - DAY A BANNER HEADLINE on the late edition of the Globe: "BATMAN FOILS ROBBERY. JACK NAPIER DEAD. WHO IS MASKED VIGILANTE?" Behind the newspaper, feet propped up on his desk, is a jubilant Knox. He's on the horn to Gordon. KNOX Yes, Commissioner. If there's no Bat, then who dropped this guy Napier into the acid? Wait a minute, I want to get this on tape. He holds a tape recorder up to phone. Listens. A LOUD CLICK as Gordon hangs up on him. Vicki BUSTLES IN with sheaf of photographs. Starts to hang them on wail. Making a photomontage of the city. Cartoonist sticks head in door, tapes drawing of Batman with arm on Knox's shoulder . GUY EXITS. Knox hangs up. KNOX Vicki Vale! (I'm) Nostradamus! VICKI Look at this, Allie. Knox comes around. She points to her montage map. VICKI Here's the inner city, and here's Axis Chemicals. Here are the sightings so far. KNOX Did you do this? This is great. VICKI Maybe the Batman's got some sort of flight pattern or something. KNOX Yeah, tonight we'll walk the trail. VICKI Tomorrow maybe. I've got a date with Bruce Wayne. Sorry. KNOX (shouting) Bruce Wayne? No, A DATE is when two normal people go out to enjoy each other . A date for Bruce WAYNE is when he goes out to a restaurant with mirrors, by HIMSELF! She plants a kiss on his forehead. VICKI You're awfully sweet to be so concerned but thanks anyway. Vicki smiles and EXITS. Knox looks pole-axed. KNOX (irritated, picking up phone) Copy, get me the morgue. (BEAT) Morgue... give me all you got on Bruce Wayne. CUT TO: EXT. BRUCE'S ESTATE - RIDING STABLES - SUNDOWN Bruce and Vicki GALLOP UP on horseback. They dismount; Bruce grooms his horse. Vicki watches. VICKI You're not bad on a horse. BRUCE Horses love me. I keep falling OFF. Maybe that's why they love me. You should see me, I'm one big mass of bruises. VICKI (laughing) Maybe we can arrange a little examination? Bruce, without missing a beat, puts the curry comb up on a rail and turns to her. BRUCE Yeah, how about right now? Vicki is caught in her own sexual trap. VICKI Just kidding. BRUCE You thought you had me, didn't you? Bruce smiles and walks past her up to the main house. Vicki smiles. EXT. WAYNE MANOR - PATIO - SUNDOWN A broad patio behind the manor, looking out on the es- tate. Bruce and Vicki ARRIVE from the stables. Alfred APPEARS with a bottle of champagne, smiles discreetly at Vicki, then DISAPPEARS. Bruce POPS the cork unhandily. ALFRED The historical Society called to remind you of the banquet. Should I say you'll be there? BRUCE Yes, absolutely... I'll be there. Alfred starts to walk away. Bruce thinks. BRUCE Alfred... Which Society? ALFRED Historical. BRUCE Oh, yeah, right. Yes. Alfred EXITS. VICKI That Alfred's great. BRUCE I can't find my socks without him. Been with the family since I was born. Pouring, he tries, unsuccessfully to stifle a yawn. VICKI (amused, teasing him) Am I keeping you up? BRUCE (slightly embarrassed) I'm sorry. I've got a lot going on at the moment. VICKI Like who? BRUCE (flustered) No... Just business... I'll be honest with you, I bore myself silly, tell me about you. VICKI I take pictures. And I love doing it. I feel naked without a camera. BRUCE (little smile) Well we better get you one. (as she smiles) Go on. VICKI I'd been floating around for a while, doing fashion. It was alright... I don't know. Things change. (searching for an explanation) How old are you? BRUCE Just turned 35. VICKI You've probably had it happen too. You know... you wake up one morning and say, hey this is who I am. I see things through cameras. All kinds of things. Not just long legs and great skirts, but... things... You know? BRUCE I'm not sure. VICKI Well... I just picked up and left. BRUCE What did you see? VICKI (sigh, BEAT) A lot'a hotels. A little terror. A little love once in a blue moon. BRUCE (pandering it) A little terror. A little love. VICKI (softly) It's out there. I was never in the right place I guess. Bruce looks around at his opulent estate, falls SILENT. VICKI You're a little elusive, Mr. Wayne. I feel like there's a lot going on in there. BRUCE Oh... not really. VICKI Come on, say what you're thinking. BRUCE I was just thinking how beautiful you looked on that horse... and that... it's kinda nice to have someone here who notices things. She finds herself irrevocably drawn in. VICKI (mischievous; offer- ing her hand) See... I do have an extraordinary eye. BRUCE (taking her hand) Two. INT. WAYNE MANOR - NIGHT A vast, darkened entry hall, framed by long semicircular stairways on either side. Bruce and Vicki enter; she's giddy. VICKI I feel like I'm in Paris in the '30s. Is this fair? I'm half drunk and you're not even -- BRUCE Two drinks and I'm flying. Vicky smiles. They stare into each other's eyes for a moment, on the verge of kissing. He's struggling with something. She touches him. VICKY Why are you afraid of flying? He steps towards her and they begin a kiss which turns into a passionate embrace. A FLASH OF LIGHTNING trans- ports us to: EXT. OFFICE BUILDING - ESTABLISHING - NIGHT Broken windows, graffiti on the walls: a waterfront rathole. INT. DOCTOR'S OFFICE - NIGHT TIGHT ON a face swathed in bandages. The patient sits erect in a wooden chair, surrounded by the grimy para- phernalia of an unlicensed gangland doctor. The DOCTOR, a nervous little ferret, steps up with a pair of scissors. DOCTOR Well, let's see how we did. He begins to snip away. As the bandages come off, we get: JACK NAPIER'S POV The last strands of gauze peel back. The DOCTOR stands there, looking at his handiwork. His mouth falls open. His eyes bug out. He GASPS. JACK (O.S.) Mirror. The DOCTOR just stands there staring AT CAMERA, stock- still, apparently transfixed by the sight of Jack's face. JACK (O.S.) Mirror . ANGLE ON DOCTOR He clears his throat, reaches apprehensively for a hand mirror, and passes it OUT OF FRAME to Jack. We hear a GASP and SOB. Two beats. Then, the sound of GLASS SHATTERING as the mirror drops to the floor. The DOCTOR gulps hard. DOCTOR You understand that the nerves were completely severed -- Mr. Napier -- Jack begins to LAUGH. The DOCTOR turns uneasily away, gestures apologetically at his seedy equipment. DOCTOR -- You see what I had to work with here -- More laughter. The trembling DOCTOR covers his face with one hand, whining now, not daring to look at Jack. DOCTOR -- I'm sure that with proper recon -- recon -- reconstructive surgery -- A DOOR SLAMS. Jack is gone. The grateful DOCTOR breathes a sigh of relief and steadies himself on an operating table as Jack's AWFUL LAUGH ECHOES in the hall outside. DOCTOR (puzzled) What's so funny? INT. BRUCE WAYNE'S BEDROOM - NIGHT Vicki is asleep. CAMERA PANS TO Bruce lying next to her. He's silently looking at the cascade of her hair on the pillow. He watches her face, perplexed. Grandfather CLOCK CLANGS. He checks his watch, stands up and looks out window. He's constrained. He stretches impatiently. ON CLOCK FACE TIME HAS PASSED. PAN TO VICKI -- sleeping. A RHYTHMIC SOUND. She stirs, half-wakes. CAMERA PANS to see Bruce, upside-down, SLIGHTLY SWAYING in inversion boots. INT. GRISSOM'S PENTHOUSE - NIGHT The private elevator HISSES open. JACK steps out, bundled up in a trenchcoat, muffler, and slouch hat -- his face concealed from view. He plops in the big plush swivel chair behind Grissom's desk. GRISSOM (O.S.) That you, sugar bumps? Grissom WADDLES IN fresh out of the shower, a towel wrapped around him. Using a smaller towel to dry his hair, it's a moment before he sees the bundled-up figure at his desk. GRISSOM Who the hell are you? JACK It's me. "Sugar Bumps." GRISSOM Jack? (advancing cautiously) Thank God you're alive. I heard you'd been... JACK Fried. Is that what you heard? Jack stands and gestures him over to the empty chair. Grissom moves when he sees the gun pointing at his belly. JACK YOU SET ME UP! (beat) Over a girl. You must be insane! Grissom surreptitiously reaches for a desk drawer. JACK Don't bother. GRISSOM Your life won't be worth spit. JACK I been dead once already. It's very liberating -- You have to think of it as therapy. GRISSOM (beginning to panic) Jack, listen -- we'll cut a deal -- JACK Jack? Jack's dead, my friend. You can call me Joker. He flings away the hat. RIPS THE MUFFLER from his face. And -- as Grissom gasps in shock -- stands revealed in his full horrendous glory. His flesh is bleached bone-white. His hair is a luminous seaweed-green. And his cheeks are torn and puckered from the bullet wound, TWISTING HIS MOUTH INTO A HIDEOUS, PERPETUAL HARLEQUIN'S GRIN. JACK And as you can see, I'm much happier. Jack begins to GIGGLE, building to hysterical LAUGHTER. Grissom makes a lunge towards his desk drawer. Jack FIRES. AND FIRES AGAIN UNTIL THE CLIP IS EMPTY. EXT. GRISSOM'S BUILDING - NIGHT We TILT UP the facade of the skyscraper, arriving finally at the TOP FLOOR: a PLATE GLASS WINDOW spiderwebbed with cracks where Jack's bullets hit. INT. GRISSOM'S PENTHOUSE - NIGHT (THAT MOMENT) Darkness. JACK -- or, as we'll know him from this moment on, The JOKER -- sits in Grissom's swivel chair and surveys the moon-drenched city. JOKER (nostalgically) Gotham City. It always brings a smile to my face. As he swivels in the chair he notices a copy of the Globe (now blood-splattered) lying on Grissom's desk. The head- line catches his eye. WINGED FREAK TERRORIZES GOTHAM'S GANGLAND. He picks up the paper and starts HUMMING. JOKER Watch it, Batman. Wait'll they get a load of me. DISSOLVE TO: INT. BRUCE WAYNE'S BEDROOM - DAY Bruce is asleep, his legs over the back of a chaise lounge. Vicki is dressing. Alert. VICKI Bruce. I'm late, but I've a proposition. Bruce sits up wearily. VICKI I'll make us lunch tomorrow. At my apartment. I'll show you same of my photos. Will you come? He's stretching. A hesitation flashes in his eyes. BRUCE Sure. Oh no... I -- I can't make it. Vicki stops brushing her hair. Checks out his vibes. VICKI Oh. Is anything wrong? BRUCE No -- I -- I've got a real important meeting. VICKI Well... later in the day? BRUCE No... I... I've got to leave town for a few days. Vicki wonders, but continues. VICKI Well... when you get back. Bruce thinks. No answer. Not wanting too much vulner- ability herself, she lightens it up. VICKI Hey, I've got to get moving. See you. She pecks him on the cheek and breezes by him. BRUCE Yeah. I'll see you. DOOR SHUTS. Bruce thinks. IN HALLWAY - ON ALFRED Alfred shows her out the door. ALFRED So nice to see you again, Miss Vale. VICKI Yeah. I guess I'll see you when you guys get back. ALFRED Back, ma'am? We're here for quite a while I believe. VICKI Oh... never mind. See you. But she noticed. And it hurt a little. Bruce was lying. INT. ALICIA'S APARTMENT - NIGHT Alicia, with an armload of dress bags, ENTERS -- and is startled by a VOICE FROM BEHIND. JOKER (O.S.) Honey! She pivots. Her eyes widen. She SHRIEKS. Sitting cross-legged in an easy chair is The Joker. He's in a smoking jacket and slippers, reading the paper, a dry martini at his side. JOKER You wouldn't believe what happened to me today. Alicia faints. INT. PENTHOUSE SUITE - NIGHT GANGLORDS stare at Joker at the head of the table. JOKER (O.S.) So that's how it is, gentlemen. Until Grissom resurfaces... I'm the acting President. And I say we start with this Anniversary festival and run this city into the ground. Joker's dressed in a big slouch hat. His FACE is layered with flesh-toned makeup, and his HAIR's been rinsed black. But he can't conceal his ghoulish SMILE. VINNIE RICORSO is the smartest of the bunch. He doesn't believe Joker for a minute. RICORSO Why don't we hear this from Grissom? ROTELLI How come you re wearing that stupid smirk? JOKER Because life's been good to me. CARMINE ROTELLI, an exceptionally oily mobster, speaks up: ROTELLI What if we say no? JOKER Nobody wants a war, Carmine. If we can't do business, we shake hands... and that's it. ROTELLI Yeah? JOKER Yeah. ROTELLI stands up and extends a hand. Joker shakes. A JOY BUZZER's concealed in Joker's palm. 40,000 VOLTS course through ROTELLI's body. He drops back into his seat a blackened husk, SMOKE pouring out from his sleeves and shirt collar. A SQUAD OF ARMED THUGS BURSTS INTO THE ROOM. These THUGS have all been specially selected and distinctively STYLED by the JOKER. ( NOTE: these are the first of Joker's creations We now begin to see Joker restyling every- thing in his world .) BOB's now Joker's number two man, staying close to him. JOKER Carmine got a little hot under the collar. The Joker begins to LAUGH at his own joke. RICORSO (getting up to leave) ... You're insane ! JOKER (affronted innocence) Haven't you heard of the healing power of laughter? He begins to LAUGH again, removes his hat and mops sweat from his brow, exposing a patch of CHALK-WHITE FLESH -- to the bewilderment of the ONLOOKERS. JOKER Now GET OUT OF HERE -- And give it some thought. Gangsters are ESCORTED OUT by the Joker's thugs. Joker grabs a copy of the Globe . JOKER Bob, I want you to take a camera and follow this reporter Knox. Find out what he knows about Batman. You got to learn to USE people, Bob. BOB Yes sir. BOB EXITS, leaving the JOKER alone with the charred corpse of ROTELLI. The Joker ADDRESSES THE BODY. JOKER Your pals, they're not such bad guys. What d'you say we give 'em a couple of days to come round? (pause; apparently listening to the corpse) No? (listens again) Grease 'em now? (seems shocked) Okay. (shakes his head mock sorrowfully) You're a vicious bastard, Rotelli. I'm glad you're dead. INT. NEWSPAPER MORGUE - DAY Vicki looks through filing cabinets. She's intense. Over her shoulder a FILE APPEARS with BRUCE WAYNE on it. Knox has it. VICKI I'm looking for that. She grabs it and looks through the very thin file. KNOX I thought we were a team here. I'm losing confidence in you -- going out with this weirdo. VICKY Speaking strictly professionally right? This wouldn't be personal issue for you would it? KNOX I just want you to do your job. VICKI I AM doing my job. KNOX Me too. I'm protecting my partner. The guy collects weird weapons in Japan, probably roller skates through the female population like a bulldozer. VICKI Where does it say that, Knox? There's nothing in this file but social puffery. No photos, no history. Nothing. That's strange. Where's he get his money? What's he do all day? Who is he? She tosses the file on the floor angrily. EXITS. KNOX Who cares? DISSOLVE TO: EXT. WAYNE MANOR - NEXT MORNING Vicki in car a block from the Manor. She looks through her telephoto lens. After a few BEATS -- Bruce Wayne emerges from the gates, walking. He's dressed incognito. He carries a package. Vicki FOLLOWS him. CAMERA FOLLOWS ACTION THROUGH: EXT. GOTHAM STREETS - DAY As Bruce walks through the city. He puts on sunglasses and seems interested in not being seen. Vicki follows along, at a distance. EXT. BAD STREET - DAY The neighborhood is now bad. Few people are around. Bruce ENTERS a blind alley. Vicki steals up to corner to see what he's doing. EXT. BLIND ALLEY - DAY Bruce looks at the trash-scattered alley. He looks up at the sky, then down at a corner. He kicks away a Coke can, cleans off a spat. ON VICKI puzzled she raises her camera. ON BRUCE He unwraps the package. Vicki strains to see what he's holding. Bruce moves a bit and reveals TWO LONG-STEMMED ROSES. Vicki raises camera and SOFTLY CLICKS THE SHUTTER. ON BRUCE He kneels and places the roses as if at a shrine. He holds his hand on his eyes for a BEAT. Vicki looks and CLICKS again. What is he doing? ON BRUCE He stands and kicks the can back out toward the street. He heads out the alley. Where's Vicki? When he passes by where she was. She's gone. EXT. ANOTHER STREET - DAY Bruce walks down Broad Street which leads into the City Square. CAMERA LINGERS -- Vicki follows at a distance. ON BRUCE As he enters the City Square. A PAINTED STREET MIME walks alongside him, feeling his way along an imaginary wall. He is not very good at it, and in spite of his heavy makeup you can tell that he's rather ugly. A COMMOTION catches Bruce's eye. He steps back to the edge of the gathered crowd. EXT. CITY HALL - THAT MOMENT RICORSO -- the CRIMELORD from the boardroom -- emerges flanked by a LAWYER and a pair of BODYGUARDS. They're met by a group of REPORTERS. Including Knox. ON VICKI She peers around. Looking for Bruce. Can't see him. REPORTER So what is this affidavit you've filed? Grissom gave you all of his businesses? RICORSO Mr. Grissom asked me, as a personal favor, to take over the operation of his businesses until he returned. KNOX Jeezez, that's a pretty big gift. You must have been VERY close. Did you do a little time together as children? Ricorso sneers. OTHERS LAUGH. KNOX I smell fresh ink, guys. I'm sure you can prove all this? Why am I asking? Of course you can. ANGLE ON VICKI Getting closer. ANGLE ON BRUCE Something catches his eye. HIS POV - A HALF A DOZEN STREET MIMES converging on the scene. Something's very wrong. (These are Joker's men.) Vicki ARRIVES next to Knox. ANGLE ON BOB taking photos of Knox and Vicki from edge of the crowd. ON LAWYER - TIGHT LAWYER We have witnesses. Grissom's signature is perfectly legitimate. VOICE (O.S.) It's legitimate! I saw him. I was THERE! Crowd parts as a LARGE MIME steps up to Ricorso. Ricorso frowns. NEW GUY I saw it all, he raised his dead hand and signed the paper in his own blood. And he did it with this pen! Mime pulls out a ridiculously long quill pen. Ricorso gapes in puzzlement at him. TIGHT ON NEW GUY Underneath the white skull cap -- it's the Joker. JOKER (lifting his wig) Hello, Vinnie -- it's me, your uncle Bingo, time to pay the check! Joker HURLS the sharp-tipped pen right into Ricorso's throat. Ricorso falls, clutching his throat. Someone SCREAMS, reporters SCATTER as MIMES FIRE MACHINE GUNS IN THE AIR. Vicki dives behind a parked car. She looks back to see Bruce, standing frozen, rooted to the ground. He's watching, transfixed. Mayhem prevails. ANGLE ON BRUCE BRUCE is still frozen to the spot and exposed to the "mimes." A FEW FEET AWAY Vicki crouches behind the car and beckons to him. VICKI Bruce! Get DOWN! He totally ignores her and BEGINS TO WALK. At first slowly, then faster, right toward the Joker. ANGLE ON BODYGUARDS ON JOKER He LAUGHS at the DIN and walks as if immortal through the mayhem. (He never sees Bruce.) ON BRUCE He's walking the same way, still at a distance from Joker. But his recognition of him is growing. ON JOKER He reaches his car. DRIVER rushes to get him out of there. Bruce now gets close enough to see Joker's face through the window. Joker's car SPEEDS AWAY past him. Other cars containing other mimes SPEED AWAY, too. A SILENCE DESCENDS. Only the SOUNDS OF CRYING and ebbing fear. Bruce stands looking after Joker. Suddenly Vicki is there. VICKI Bruce...? No answer. He hardly seems to notice she is there. Bruce turns to her. Sweat pouring down his face. Looks right into her eyes. She looks at him and sees the signs of deep trauma in his eyes. BRUCE I'm sorry, Vicki... He turns and DISAPPEARS into the crowd. VICKI Bruce! CUT TO: INSERT - TELEVISION SCREEN A TV CREW broadcasting live from the massacre site. The minicam angle WIDENS to include HARVEY DENT and the Mayor. The ANCHORWOMAN thrusts a mike in Mayor's face: ANCHORWOMAN Does this gang war dampen the city's plans for the 200th anniversary festival? MAYOR The festival opens. The police are going to stop these gangsters. ANCHORWOMAN Mr. Dent, what do you think of the theory that the mysterious 'Batman' is a mob enforcer killing these men? Suddenly there is a terrific SCREAM OF RAGE from O.S. and the TV SCREEN SHATTERS. JOKER'S BOARD ROOM The CAMERA PULLS BACK from the smashed and smoking TV, placing us in the JOKER's BOARD ROOM. JOKER's in his swivel chair holding an extendible/re- tractable pincer on the end of which is a boxing glove making a fist. By squeezing the handle of this he has punched the "fist" through the TV screen. BOB ENTERS. JOKER (furious) Batman! BATMAN! Can somebody please tell me what kind of a world we live in where a man dressed as a bat gets my airtime!? This city needs an enema! He STORMS OUT of the office into: INT. AXIS CHEMICAL COMPANY - DAY LOW ANGLE ON the JOKER. He rushes along a catwalk high above the refinery floor. He passes a COUPLE OF UGLY, CRIMINALLY-MINDED SCIENTISTS in white coats, holding sheets of calculations. JOKER (SHOUTING over the noise) Have we shipped a million of these things? SCIENTIST Yes SIR! JOKER Ship it all. Untangle the knots, roll the wheels, I've got my blood up! The Scientists look at each other and RUSH into action. Joker BANGS OPEN THE DOOR TO: INT. JOKER'S LAIR - DAY A dank, windowless room in the bowels of Axis Chemical. Joker is HUMMING, insanely. THE CAMERA TRAVELS PAST collages of photographs; each photograph cut from scenes of war. The CAMERA CONTINUES DOWN a stack of folders. On one document are the initials C.I.A. On the front of the folder can be read "DDID NERVE GAS -- RESULTS OF PRELIMINARY EXPERIMENTATION" and stamped across it, "DISCONTINUED 1977." Finally, we see the photos of dead soldiers, lips drawn back in chemical-induced grimaces. JOKER Losing is a bad habit, Bob. So much to do and so little time. BOB STEALS IN and offers some photographs. BOB Here's the photos. Joker looks them over. TIGHT ON PHOTOS Joker shuffles through. Stops on Knox. JOKER Who's this dud? BOB That's Knox. JOKER Bad tie. No style. ON A PHOTO OF VICKI WITH KNOX JOKER Stop the press!! Who is that ? BOB That's Vicki Vale, she's the photographer working with Knox. TIGHT ON JOKER He's licking his lips. Looking Vicki up and down. JOKER THAT WOMAN has style!! Jeezus Marimba! A lovely beast like that could get a man up and running. The JOKER, excitedly HUMMING AWAY begins to cut Vicki's picture out of the others. Leaving a border around her. He then fills in border with crayons. BOB She's been dating some guy named Wayne. JOKER She's gonna trade up! Damn! It's hard to stay inside the lines! Joker pastes Vicki's picture onto a board. JOKER I'm gonna get me a NEW girl, Bobbie. THE CAMERA PULLS BACK to reveal that the JOKER is sur- rounded, wall to wall, by a collage of pictures of war and destruction. The huge collage forms a birds-eye- view map of Gotham. JOKER I've got a mind to make some mayhem. Phone book! INT. WAYNE MANOR - BRUCE'S STUDY - DAY Alfred uses a feather duster. BRUCE ENTERS, obviously distraught and exhausted. Very concerned, Alfred takes his coat and hands Bruce a hot towel. Bruce wipes his hands. ALFRED Miss Vale called. She was rather concerned. (matchmaking a bit) I've noticed that there is a certain weight that lifts when she's here. BRUCE Why don't you marry her, Alfred? ALFRED That's not exactly what I had in mind, sir. BRUCE I can't go on with that, Alfred. (as Alfred nods) Napier's alive. He's running Grissom's men. I gotta find out everything the police have on him. ALFRED Yes, sir. BRUCE She's good isn't she? Bruce smiles. Alfred smiles sadly, too. INT. VICKI' S APARTMENT - DAY (THAT MOMENT) Puzzled, Vicki looks through her photos of Bruce and his flowers. ON SEVERAL PHOTOS of Bruce along his puzzling route. TILT UP: Vicki dials Knox. VICKI Allie. I want you to check something for me. Okay? Find out what's so special about the alley at Pearl and Phillips Streets. 'Bye. She hangs up. Looks at photos. VICKI What's up with you, Mr. Wayne? PHONE RINGS. SHE PICKS IT UP. TONY (V.O.) Vicki, this is Tony. We have a session scheduled and the client INSISTS that you shoot it. VICKI Me? Tony, I'm kind of busy. TONY (V.O.) The client says he has information about Batman. Vicki puzzles. Chews her lip. VICKI Batman? When's the session? TONY (V.O.) This afternoon at 3:00. VICKI Alright, I'll be there. She hangs up and thinks. INT. PHOTOGRAPHER'S STUDIO - DAY ROWS OF MAKEUP in startling profusion: mascara, blusher, eyeliner, lipstick. BEAUTIFUL MODELS giggle into their makeup mirrors as VICKI wanders past. In a corner of the studio, TONY, a gaunt, tubercular British art director, is dressing a swimsuit layout with two SUPERMODEL5. They all AD LIB GREETINGS to VICKI. TONY Come on, girls, magic Vicki is here. Shine it. Think of the money. That's it. Vicki gets out her camera. VICKI Tony. Who's this client that knows about Batman? TONY Never met him. All I know is he pays cash. VICKI What's his name? TONY Mr. Kerr. VICKI Mr. Kerr? What's his first name? TONY Joseph, Joe Kerr. A look of fear comes over Vicki's face. As Vicki looks on, the SUPERMODELS freeze in place simultaneously, a strange, STRICKEN LOOK on their faces. TONY Jesus! Hurry up! Vicki's expensive. Show her some bones. Suddenly the girls are LAUGHING -- but the laughter is unnatural, involuntary. Vicki, sensing that something is terribly wrong, lays a hand on Tony's arm. The MODELS, now wearing HUGE SMILES, go into VIOLENT SPASMS. TONY Is this some sort of joke? -- OH MY GOD! The SUPERMODELS PITCH TO THE FLOOR, shuddering convul- sively, their LIPS drawn back in FRIGHTFUL, FROZEN, CHEMICAL-WARFARE-TYPE GRINS. Vicki GASPS. CUT TO: INT. TELEVISION STUDIO - EVENING The "ACTION NEWS" set, with anchors BECKY NARITA and PETER McELROY. BECKY The fashion world was stunned today by the sudden deaths of models Candy Walker and Amanda Keeler. Cause of death has been attributed to a violent allergic reaction, although authorities have not ruled out the possibility of drug use. Peter? PETER ... and plans continue for the city's 200th birthday as Mayor Borg announced the unveiling of a statue of John T. Gotham, Gotham's founder -- A TECHNICIAN'S HAND passes a slip of paper INTO FRAME. PETER This just in. Three mysterious deaths at a beauty parlor in -- Off to the left, BECKY begins to LAUGH. PETER FROWNS. PETER Becky! This is hardly the -- (his eyes widen) BECKY!! An O.S. CRASH. PETER jumps out of his seat, mouth agape in horror. BECKY HAS GONE INTO CONVULSIONS. CAMERA WHIPS RIGHT AND LEFT as she jerks out of her seat and TOTTERS UNCONTROL- LABLY across the set, LAUGHING INSANELY. TECHNICIANS rush the sound stage in a frenzy. BECKY spins like a dervish and LURCHES BACKWARD over the news desk in a death spasm, giving us a quick look at the grisly Joker's grin etched on her now-lifeless face. PETER KILL THE CAMERA!! KILL THE -- Suddenly, CRACKLING VIDEO STATIC wipes out the screen. A moment later, we're looking at: SPLITSCREEN CLOSEUP - THE SUPERMODELS Their gorgeous faces sprout BIG, ANIMATED-CARTOON GRINS as a BOUNCY TUNE -- "Put on a Happy Face" -- comes up underneath. MODELS (cartoon voice) ... Love that Joker ! INT. SUPERMARKET - DAY MUSIC CONTINUES as a deranged pitchman -- The Joker -- pushes his shopping cart down the aisle. He waves merrily in time to the music. INT. STUDIO - VIDEO CONTROL BOOTH - THAT MOMENT TECHNICIANS swarm the booth. The studio feed has been JAMMED. Every monitor shows the Joker's PROMO. DIRECTOR WHERE'S IT COMING FROM?? TECHNICIAN I DON'T KNOW! CLOSEUP - THE JOKER He thrusts a brightly-colored package AT the CAMERA. JOKER ... new improved Joker brand. With my secret sauce... SMYLEX! (a sweep of the hand) Let's go to our blind taste test. TIGHT ON ANONYMOUS MAN GAGGED AND BLINDFOLDED, tied to his chair, squirming, struggling. On the table before him is a package label- led "BRAND X." A SUPERIMPOSED TITLE reads: "NOT AN ACTOR." JOKER Ooh. He's not happy! He's been using Brand X! But with new improved Joker brand... ANGLE WIDENS to include a BLINDFOLDED CORPSE, limp in his chair, GRINNING HORRIFICALLY. JOKER ... I get a GRIN -- AGAIN AND AGAIN!! INT. GOTHAM BEDROOM - THAT MOMENT A YOUNG MAN watching TV as he dresses for a date. He's got an aerosol deodorant poised under one arm. He looks down at the can, suddenly uncertain. Could it be...? INSERT - TV SCREEN - THE JOKER Lounging beside a full-sized photo of a Jokerized SWIM- SUIT MODEL -- with GREEN HAIR and CHALK-WHITE FLESH. JOKER That luscious tan, those ruby lips -- and hair color so natural, only your undertaker knows for sure! INT. GOTHAM KITCHEN - THAT MOMENT A FAMILY in their kitchen, eyeing a 12-inch portable as MOM serves dinner. They dig in automatically, then FREEZE with their forks in midair. EXT. STREET - SERIES OF SHOTS - NIGHT DELIVERY TRUCKS, bearing colorful manufacturers' logos, drive through the city bringing tainted products to market. JOKER (V.O.) I know what you're saying. Where can I buy these fine new items? -- Well, that's the deal, folks, chances are... you've bought 'em already! INT. WAYNE MANOR - STUDY - NIGHT Bruce tired, is glued to the tube. Onscreen, the Joker leers -- gives the camera a BIG JUICY WINK. JOKER (V.O.) So if you did... remember, put on a happy face!! MUSIC TAG (V.O.) (SINGING) Joker Brand. We're changing the face of -- Gooootham! MUSIC UP. VIDEO SNOW fills the screen as the jammed transmission ends. Alfred ENTERS, adds something to the folder in front of Bruce. Bruce reads. BRUCE Assault with deadly weapon age 15. Nice guy. (continues looking) Psychological testing -- high intelligence, unstable, aptitudes science, chemistry and -- art. Chemistry? ON BRUCE He looks at a photo of Napier. BRUCE Let's go shopping, Alfred. SERIES OF SHOTS -- The Gotham Globe cartwheeling INTO FRAME: PANIC GRIPS GOTHAM Contaminated Products Claim 13 Lives WHO IS THE MYSTERIOUS "JOKER"? -- An ANCH0RWOMAN on the evening news. Her complexion is curiously sallow. BLACK BAGS show under her eyes. ANCHORWOMAN ... six new deaths, with no clues as to the Joker's deadly weapon. -- An ANCHORMAN with a BIG UGLY ZIT on his nose: ANCHORMAN -- and what is the pattern ? Foods, alcohol, or beauty and hygiene products. Cologne, mouthwash, underarm deodorant -- -- The original ANCHORWOMAN, whose look is now 100 percent natural. Her hair is frizzy. Her eyebrows are miss- ing altogether. Every wrinkle on her face is plainly visible. ANCHORWOMAN Or worse yet, there may BE no pattern. The search goes on through Gotham's shopping nightmare. DISSOLVE TO: INT. DENT'S OFFICE - DAY The Mayor is distraught. Dent is on the phone. MAYOR We're having this festival if I have to carry a shotgun and get people there myself. Dent hangs up. MAYOR Do you hear the words coming out of my mouth, Dent? The festival is ON. You find out what this madman is poisoning us with and fast. DO I make myself CLEAR? Mayor catches a glimpse of himself in mirror. Checks to see that HIS mouth isn't grimacing. DENT We're working on it. INT. ARMORY - DAY Alfred oils a blow gun. Bruce ENTERS. ALFRED Oh, sir, did you see the message from Miss Vale. She'll be ten minutes late in meeting you at the museum. Bruce puzzles. BRUCE Am I... I'm not meeting her...? INT. ALICIA HUNT'S APARTMENT - THAT MOMENT A bone white hand pats a white cheek. The Joker's rinsed his hair black and is applying makeup. He's done it before, many times. He's getting ready for a date. A drugged voice intrudes. ALICIA (O.S.) Jack? Where are you going? As he looks up at the mirror, we get a quick glimpse of Alicia, her face is covered by a shiny white porcelain doll's mask. JOKER Daddy's going to make some art. INT. FLUEGELHEIM MUSEUM - NIGHT A few PATRONS are viewing paintings in a square, open atrium, enclosed on all four sides by a BALCONY. One story up, overlooking the atrium, there's a TEA ROOM -- an airy, fern-filled dining room popular with tourists. INT. FLUEGELHEIM - TEA ROOM - NIGHT Vicki enters with her camera bag and portfolio -- ready for a confrontation with Bruce. VICKI I'm Vicki Vale -- I had a message to meet Bruce Wayne here. MAITRE D' Yes, he has not arrived. We have a table waiting. INT. TEA ROOM - NIGHT (TWENTY MINUTES LATER) Vicki sipping on a gin and tonic, checks her watch. A WAITER brings her a small parcel, wrapped in brown paper, bearing a single word: URGENT. WAITER Miss Vale, this just arrived for you. As the WAITER leaves, she tears off the wrapper. Inside is a small white box and a NOTE -- SCRIBBLED IN CRAYON. DEAR V. VALE, PUT THIS ON RIGHT NOW . Vicki opens the box to find a MINIATURE GAS MASK. A strange HISSING NOISE. A few feet away, PURPLE SMOKE billows from air-conditioning vent. TRAYS OF FOOD CRASH TO THE FLOOR as WAITERS pass out. ART LOVERS drop forks, go face down in their pasta salad. Vicki hurriedly fits the gas mask over her nose and mouth. Within seconds, she's the only one conscious in the room. INT. MUSEUM - ATRIUM - THAT MOMENT PURPLE SMOKE plumes up as we TILT DOWN toward the floor of the atrium. PATRONS lie sprawled on the floor, twisted at odd angles, out cold. The doors BURST OPEN and IN WALKS Joker, looking dapper in his street makeup and BIG PURPLE POP ARTIST'S HAT. He is surrounded by his entourage of UGLY GOONS. One is carrying a huge GHETTO BLASTER which is thumping out MUSIC, others are toting battles of champagne and glasses, and all have cans of aerosol paint sticking out of their packets. This is a moving nonstop party. The Joker wanders past the artwork examining it with an apprecia- tive eye. JOKER Okay, everybody, let's broaden our minds. Stepping over collapsed PATRONS, he stops at "BLUE BOY" and holds up a PEARL-HANDLED CANE to get a better perspective. Then he pulls a THIN, SHARP SWORD from the head of the cane and carves a BIG JOKER SMILE in the canvas. Manet's barmaid, a Degas ballerina -- all get the Zorro treatment. Behind him, his UGLY CRONIES go to work, spraying paint on every canvas The Joker has missed. He cocks an eyebrow at Edvard Munch's "THE SCREAM." JOKER I kinda like this one. Leave it. INT. TEA ROOM - NIGHT (MOMENT LATER) Vicki at her table, still wearing the gas mask, scared as hell. The Joker saunters over and pulls up a chair. He is flanked by TWO UGLY HENCHMEN, one carrying a pair of CANDLESTICKS, the other, the GHETTO BLASTER. JOKER I think it's safe to take that off. As Vicki, terrified, removes the gas mask, The Joker signals to the two UGLY GOONS who swiftly place the GHETTO BLASTER and CANDLESTICKS on the table and EXIT. The Joker reaches for his lighter and switches on the GHETTO BLASTER which produces romantic MUSIC. A LONG JET OF FLAME shoots out of the lighter as he lights the candles. JOKER (seductively) You're beautiful. VICKI (nervous) Thank you. JOKER In an old fashioned sort of way. I'm sure we can make you more -- today . The Joker moves his chair a little closer to Vicki. JOKER THIS your portFOLIO! VICKI ... Yes I'm meeting a friend who I wanted to see my work... He leafs through. Magazine covers of celebrities, heads of state and exotic vistas. JOKER Crap. Crap. Crap, crap, craaap ... Ahhh. Now here's good work. The COMBAT PHOTOS from Corto Maltese. JOKER The skulls. The bodies. You give it all such a glow . (smirking) I dunno if it's art, but I like it. Vicki is squirming, but she doesn't care to argue with him. JOKER (with deep sincerity; into Vicki's eyes) Let me tell you what I've got in mind, Sweetie. I was in the bathtub one day, when I realized why I was destined for greatness. You know how concerned most people are about appearances. This is pretty, that is not. (shakes head) Well, that's all over for me. In crime the passions ripen fully. Now I DO what others only DREAM of. I do art, 'til somebody DIES. See??? (bigger, insane) I'm the world's first fully functioning homicidal artist!!! VICKI What do you want? JOKER I want my face on the one-dollar bill! VICKI (leaning away) Good goal. I take it you're joking. JOKER (suddenly furious, he points to his face) DO I LOOK LIKE I'M JOKING? As quickly as he has flared into rage The Joker calms down again. JOKER (charming) Look, we mustn't mistake ourselves for regular people. We're ARTISTS. For instance, let me challenge you with a little piece I did. Bob, Alicia. He oozes twisted charm. He's coming on to her. JOKER You'll make a pictorial record of my work. You'll be with me in the avant garde. VOICE (O.S.) Jack? ALICIA WANDERS IN, drugged, wraithlike. She's still wear- ing the porcelain DOLL'S MASK we saw earlier. ALICIA You said I could watch you improve the paintings. JOKER (rolling his eyes) Oh I'm in trouble now! Vicki can't take her eyes off this strange figure. VICKI Why is she wearing a mask? JOKER Well, she's just a sketch really. Alicia! Come here, have a seat. Show the lady why you wear the mask. Alicia sits down numbly and begins to undo the mask. JOKER You see, Miss Vale, Alicia's been made over in line with my new philosophy. Now, like me, she's a living work of art. We're looking at Alicia's profile as the mask comes off. The side that's turned to us is indeed beautiful. But the side we can't see... SENDS Vicki RIGHT OVER THE EDGE. Vicki lurches out of her seat, knocking it over, HER FACE FROZEN IN HORROR. JOKER (modestly) I'm no Picasso. You LIKE IT? Vicki tips a chair in his path. Horrified, she tries to placate him. VICKI It's great. But what can I do for you? I... JOKER (miming it out) A little song... a little dance... and Batman's head upon a lance. Tell me what you know about... He makes a flapping with his hands indicating Batman. VICKI I don't know anything about Batman. JOKER (getting sexy) Really, well, what do you think about a little 'you and me'? VICKI I think you're insane. JOKER I am? I thought I was a Pisces! (brightly) C'mon, let's make up. Here's a flower. There's a BRIGHT PURPLE BOUTONNIERE in his lapel. He holds it up for Vicki's inspection as he moves menacingly closer. VICKI NO! The JOKER squeezes a concealed BULB. A JET OF CLEAR LIQUID spurts out of the FLOWER, NARROWLY MISSING VICKI. She GASPS, BUMPS INTO A TABLE. ACRID BLACK SMOKE rises from the floor where the clear liquid hit. Acid . Vicki backs into a WAITER'S CART. Her hand closes around a pitcher. She FLINGS IT at the JOKER'S HEAD -- DOUSING HIS FACE WITH WATER. His hands go up and he doubles over, SHRIEKING, MAKEUP running through his fingers and onto his suit. JOKER (like the Wicked Witch of the West dissolving) NO! NO! I'M MELTING! I'M MELTING! OH GOD! I'M MELTING! HELP ME! Vicki is appalled. She moves towards him. Her instinct, in spite of everything, is to help him in his suffering. As she gets close to him and extends a hand, he leaps up abruptly, taking his hands from his "melting" face, ex- posing the HIDEOUS RAVAGED MESS beneath the makeup. JOKER (gleefully) BOO! He advances on Vicki. And then -- suddenly -- A SKYLIGHT SHATTERS. A CAPED SHADOW drops to the floor of the tea-room. And all at once, The Joker finds himself face to face with Batman! On BATMAN's wrist is a STEEL GAUNTLET. He aims it at THE JOKER. The Joker stiffens, thinking he's about to be shot. THE BATMAN then fires the gauntlet, the barrel of which splits in two before sending two metal spikes on wires in opposite directions, either side of The Joker. The metal spikes embed themselves in walls on both sides of the atrium, creating an escape wire for THE BATMAN. In the wink of an eye he grabs Vicki and plunges over the balcony, leaving The Joker stunned with amazement. INT. MUSEUM - ATRIUM - THAT MOMENT The JOKER'S UGLY GOONS can only gape in awe as Batman and Vicki swoop past -- swinging across the floor and STRAIGHT THROUGH AN ARCHED DOORWAY labelled "EXIT." JOKER (recovering) Those toys! Where does he get those wonderful toys? (to the Goons) Well don't just stand there! GO AND ASK HIM!!!! THE GOONS charge off. EXT. FLUEGELHEIM - NIGHT (MOMENT LATER) A SIGN on a black metal stand -- "CLOSED FOR THE DAY" -- HURTLES through the glass doors. Batman and Vicki HUSTLE THROUGH; he points her to a side alley. Batman lobs a SMOKE PELLET into the doorway of the Fluegelheim. BATMAN GET IN THE CAR! VICKI WHICH CAR? Vicki suddenly feels quite stupid. Because -- while there are many cars parked along the side alley -- there is only one BATMOBILE. VICKI ... Oh. The BATMOBILE is sleek, futuristic, and... well, inde- scribable. Vicki climbs in and is dazzled by a stunning array of electronic gadgetry. BATMAN Ignition! As he sprints down the alley, a COMPUTER DISPLAY on the dashboard registers his unique voiceprint. A tinny, synthesized VOICE repeats the command: COMPUTER (V.O.) Ignition. The engines are REVVING UP as BATMAN vaults in. JOKER'S GOONS stumble hacking, coughing, blinded by smoke. They scatter as the BATMOBILE barrels out of the alley. Choking GOONS climb into their van and two cars. EXT. STREET - A MOMENT LATER The BATMOBILE disappears round a corner in a cloud of dust. EXT. STREETS - A MOMENT LATER PEDESTRIANS scatter as the Joker's two goon cars swerve hard left and barrel through a crowded intersection. EXT. STREETS - A MOMENT LATER BATMOBILE approaches intersection at high speed. The right-side indicator begins to flash. It seems incredible that at this velocity Batman should think it possible to make a right-angle turn. As the BATMOBILE draws level with the corner a spike with a wire attached to it rockets out of the side of the vehicle and embeds itself in a wall. This enables the BATMOBILE to turn the corner without slowing down or spinning off across the inter- section. Having completed the turn, the wire separates from the car which continues without losing speed. INT. BATMOBILE - THAT MOMENT ONLOOKERS gawk as the sleek supercar rips up the pavement. BATMAN Damn! EXT. BLIND ALLEY - NIGHT Into a blind alley. Batmobile doesn't slow down. Bat- mobile SPINS ON ITS AXIS 180 DEGREES and goes back where it came from. EXT. DOWN ANOTHER STREET - NIGHT Batmobile moving up on an empty block -- a night construc- tion team. A huge piece of heavy machinery backs up slowly and inexorably, blocking the intersection. Batman GUNS THE ENGINE. Swerves left. Tries to glide past. And hits the brakes -- stopping inches short of a head-on collision with a lamppost! He jumps out of the car. No chance to get through. ON- LOOKERS and CONSTRUCTION WORKERS cluster around them: the JOKER'S VAN is two blocks back and coming up fast. VICKI Can't we -- BATMAN Too many people. Come on! (as she scrambles out) SHIELDS!! The BATMOBILE'S computerized VOICE replies: COMPUTER (V.O.) Shields. With a series of CLANGS, CHROME-STEEL PLATES slide into place -- across the cockpit, over the tires -- leaving the BATMOBILE an inert, impenetrable BLOCK OF BLACK METAL. Batman and Vicki vault over construction debris. INT. VAN - MOVING - NIGHT Three police cars, bubbles blazing, overtake the Joker's van and bear down on the abandoned Batmobile. The Joker's van does a U-turn and rumbles sedately off. EXT. SIDE STREET - NIGHT (THAT MOMENT) Batman and Vicki zigzag past storefronts and candy stands. INT. CAR - MOVING - THAT MOMENT FOUR GOONS with GUNS. They spot Batman and Vicki coming off the side street. The DRIVER shouts into a radio: DRIVER We got 'em! EXT. STREET - NIGHT (THAT MOMENT) Batman and Vicki race down the sidewalk. The car is gaining on them. A SUDDEN SPRAY OF BULLETS shatters a storefront. BATMAN'S POV He sees a RAGAMUFFIN LITTLE GIRL playwalking her doll around the corner. He rushes and slides on the street, pulling the girl out of the way of a HAIL OF BULLETS. ON LITTLE GIRL She is wide-eyed. She holds up the dolly for Batman to see. LITTLE GIRL Is it Halloween? Batman smiles and rushes back to pick up Vicki from behind a parked car. The GOONS DRIVE BY AGAIN. Batman and Vicki RUN into a BLIND ALLEY. INT. ALLEYWAY - NIGHT They watch the Goons glide past the mouth of the alley. Batman looks up five stories, sees a catwalk. BATMAN How much do you weigh? VICKI ... A hundred and eight? He's doing some quick mental calculations when the CAR reappears -- backing up -- blocking their only avenue of escape. Galvanized, Batman unfurls a rope, HEAVES A BATARANG UPWARD, and grabs Vicki roughly about the waist. BATMAN HANG ON! THUGS pile out of the car. The BATARANG catches on the catwalk, and Batman triggers the spring-action REEL on his utility belt. BULLETS zing past as Batman and Vicki WHIP UPWARD like fish on a line. One story; two stories; and then... They slow. They STOP. They DANGLE IN MIDAIR as the Joker's GOONS advance. Batman wriggles, twists. Vicki SCREAMS. Her additional weight is too much for the reel mechanism . They're stranded two stories up -- SITTING DUCKS. BATMAN Whatever happens -- DON'T LET GO!! He's detached the reel from his own waist and hitched it around Vicki's belt. He LETS GO. Vicki rockets upward at blinding speed, SHRIEKING all the way. Batman, his cape billowing, PLUMMETS DOWNWARD. Vicki SLAMS up into the catwalk and bobs on the line as Batman lands with a loud CRASH, overturning a row of garbage cans. The GOONS are on him in a flash. Batman manages to slam two GOONS into a wall, but before he can get to his feet, GOON III slams a lead pipe into the back of his skull. THUGS circle around him. The LEAD THUG holds his col- leagues back, draws his gun, and fires TWO SHOTS, point- blank, at the yellow-and-black INSIGNIA on Batman's chest. The body jerks; they edge closer -- and stop. GOON I ... No blood . GOON II Jesus. Who is it? Check his wallet. GOON III Wait a minute. GOON III screws up his courage and crouches beside the body. He examines THE Batman's TUNIC. GOON IV What is that? GOON III Some kind of body armor. GOON I He's human after all -- Take the mask off. EXT. ROOFTOP - ON VICKI VICKI has pulled herself up onto a roof. Down below, the THUGS are removing Batman 5 cowl. But at this height -- and this angle -- she can't see his face. She reaches for her CAMERA BAG. ANGLE ON GOONS Gaping at the shadowed unconscious face of BRUCE WAYNE. (NOTE: WE never see his face, and THEY can't either.) GOON I Get out of the way, I can't see him. And at that very instant... A FLASH GUN EXPLODES OVERHEAD. Startled, the thugs look up. GOON III Goddam, it's the girl! ON VICKI A chunk of ledge chips off mere inches from her head as the GOONS OPEN FIRE. She ducks back behind the overhang, holds the camera out over the ledge, and KEEPS ON FLASHING using her telephoto lens. ON THE THUGS No sight of Vicki. They begin to relax a little. GOON II Did you hit her? GOON I I think so. Wax him. They turn their guns on Bruce. Ready to FIRE. A GLOVED HAND snakes out, GRABS GOON I BY THE COATTAIL and yanks him DIRECTLY INTO THE LINE OF FIRE. GOON II has PULLED THE TRIGGER TWICE before he knows what's happened. In one fluid motion Bruce HEAVES GOON I's lifeless body THROUGH THE AIR, knocking GOON II backward over a garbage can. GOON II falls and CRACKS HIS HEAD on the nearest wall. GOON III takes a rabbit punch to the throat. On the way down he catches a STEEL-TOED BOOT in the gut. Four seconds after all this began, Batman is alone in the alleyway with GOON IV. GOON IV has his gun out, but he's shaking too much to pull the trigger. Batman smiles. GOON IV SCREAMS and RUNS FOR HIS LIFE. Through all this, Vicki's camera has been poised on the ledge, snapping away. Batman looks up. EXT. ROOFTOP - ON VICKI She peeks down at the alley. Limp goons everywhere. And, in addition, Batman sees her. ANGLE - ON VICKI She thinks fast. She may have a clean photo of Batman's face. She removes the roll, drops it down her blouse, and ESCAPES across the roof. EXT. ALLEY - ON BATMAN Batman sees her disappear. He looks around, spots the BATMOBILE two blocks away. The car is still there, the chrome-steel shields intact. But DOZENS OF COPS and CURIOSITY-SEEKERS are SWARMING ALL OVER the fearsome machine. Batman snorts in frustration. Just then, A GIANT THREE-TON CATERPILLAR WINCH rumbles up the street toward the Batmobile. He's about to get towed . He takes a RADIO TRANSMITTER from his utility belt: BATMAN Shields open. EXT. STREET - ON BATMOBILE TWO COPS are crawling along the hood of the car. From within they hear the tinny computerized voice: COMPUTER (V.O.) Shields open. The steel plates begin to retract. BATMAN (V.O.) (over radio) Ignition. COMPUTER (V.O.) Ignition. COP There's somebody in there! The stunned COPS gaze into the Batmobile's cockpit -- then TUMBLE OFF THE HOOD as the turbine engines ROAR TO LIFE and THE BATMOBILE BEGINS TO MOVE. COPS AND ONLOOKERS quickly clear a path. They stand there stunned as the futuristic auto PICKS UP SPEED and advances toward the end of the block. The LEFT TURN SIGNAL flashes dutifully. And the BATMOBILE VANISHES AROUND THE CORNER. PANDEMONIUM BREAKS LOOSE as the COPS bolt for their cars. CUT TO: VICKI running across rooftops, with much fear. She shimmies down a ladder, only one roof to go to get to the street and freedom. She hears SIRENS. EXT. STREET - NIGHT SIRENS WAIL. PASSERSBY STARE SLACKJAWED at the driverless BATMOBILE as it tears down the street, passing, darting, dodging buses and CUTTING OFF TAXIS -- all with a squad of COP CARS in hot pursuit. ON VICKI SHE'S COME TO AN OBSTACLE. It's a five-foot drop to the street below. Vicki clambers down KERPLUNK and quickens her pace, tossing a nervous glance over her shoulder every couple of steps. Then suddenly she walks smack into Batman. BATMAN Not even a 'thank you'? VICKI (embarrassed) Well -- I think you might thank me . You were as good as dead. BATMAN You weigh a little more than 103. SIRENS APPROACH. Batman takes her gently by the shoulders. BATMAN You'd better come with me. VICKI ... Where are we going? No reply. EXT. ALLEYWAY - NIGHT Street level. Batman emerges pulling Vicki. EXT. ALLEYWAY - NIGHT Batman sees the BATMOBILE rounding the corner. With Vicki in front of him, he STEPS DIRECTLY INTO THE PATH OF THE ONRUSHING HEADLIGHTS. BATMAN STOP! BRAKES SQUEAL. The BATMOBILE stops one yard short of Batman and Vicki. A moment later Batman is AT THE WHEEL. SIRENS BUILD. LIGHTS FLASH. THE COP CARS are now visible behind them. Batman floors the pedal; the Bat- mobile's powerful AFTERBURNERS kick in; and the hapless cops KILL THEIR SIRENS as BATMAN zooms off into the night at 140 mph. DISSOLVE TO: INT. BATMOBILE - NIGHT Batman drives down a deserted stretch of road lined by ancient tall pines. Vicki tries to see out. Batman pushes a button and changes the polarization of the glass. She can't see out. He's stoic. VICKI This is kidnapping. BATMAN Looks like it. INT. BATMOBILE - NIGHT (MOMENT LATER) Vicki studies Batman's face. He flicks a switch on lights behind his head which dazzle Vicki, making it impossible for her to see him. Vicki frowns, looks through the windshield, and SEES -- much to her horror -- an enormous SHEER CLIFF WALL LOOMING DEAD AHEAD. Wide-eyed, she looks at Batman. Still smiling, he HITS THE GAS -- SPEEDING UP. She lets out a SCREAM. ANGLE ON CLIFF WALL Suddenly the cliff wall VANISHES ALTOGETHER -- revealing, in its place, the GAPING MOUTH OF AN UNDERGROUND CAVERN. Batmobile ZOOMS through. A moment later, the CLIFF WALL -- which is nothing more than a MIRROR PROJECTION -- winks back into existence, showing no trace of the cavern. INT. BATCAVE - NIGHT Another world -- a vast, dank world of perpetual night, unchanged by the centuries. STALACTITES hang from walls. Cramped, craggy passageways spiral off maze-like, descending into darkness. And then -- an incongruous sight: vast banks of blinking computers. A fully-equipped machine shop. A state-of- the-art crime lab. This is THE BATCAVE. Batman climbs out of the car. He keeps his distance from Vicki. She steps from the Batmobile a little shaky. DAPPLED POOLS OF LIGHT create an almost operatic stage for Batman and Vicki to alternately hide and reveal themselves in. Vicki steps carefully into the light. Trying to see Batman better. BATMAN Watch your step in here. Vicki stops just over the edge of a DEEP BLACK PIT. She kicks a pebble over. Long seconds pass; no sound. She looks up. Suspended over the bottomless pit are a pair of gymnast's rings. She backs away. SUDDENLY Vicki's HEAD jerks up abruptly. In the dim recesses overhead, BATS ARE SCREAMING. She shivers. VICKI Bats. They're -- terrifying. BATMAN That's the idea. Batman pats the cage of a WOUNDED BAT, its wing is splinted. BATMAN They're also great survivors. Vicki steps away, repulsed. Batman is rustling papers. She can't see what he's doing. She begins to examine a row of bat-suits hanging nearby. VICKI What are these made out of? BATMAN It doesn't have a name. While he seems pleased at Vicki's fascination with his lair, he nevertheless remains guarded. Vicki moves toward Batman, intent on getting a close look at him. VICKI What are you going to do with me? Batman, realizing what Vicki is trying to do, moves away from her into shadow. BATMAN You're going to do something for me. Vicki again begins to approach Batman. Keeping in shadow, he moves behind a lab table. On the table, amid the beakers and test tubes, are dozens of TAINTED PRODUCTS: makeup, deodorant, etc. Nearby, a COMPUTER PRINTER begins to CHATTER; Vicki watches information scrolling across the main monitor. VICKI (looking at the tainted products) What is all this? Batman turns but keeps his face out of the light. BATMAN The police have got it wrong. They're looking for one product. It's much bigger than that. The Joker's tainted hundreds of basic chemicals at the source. VICKI But... then whole shipments of every product would be poisoned? We'd all be dead. BATMAN No. Each product only contains one component. The poison only works when they're mixed. Hair spray won't do it alone. But... hair spray and perfume and lipstick will be toxic and -- Untraceable. VICKI (impressed) How did you figure that out? No answer. Batman steps away. BATMAN Take this to the press. He hands her a thick envelope. She looks it over cautiously. VICKI I may have some trouble with that. A lot of people think you and the Joker work together. BATMAN Do me a favor. Don't flatter my enemy. The man's psychotic. VICKI Some people say the same about you. This is a new idea to Batman. He pauses for a moment. BATMAN What people? VICKI Well, let's face it, you're not exactly normal, are you? BATMAN It's not a normal world. Vicki stares at him. She's suddenly chilled. VICKI (peering into the darkness) Why did you bring ME here? BATMAN (O.S.) (A BEAT; then from another direction) People need that information. VICKI But you could have just sent it. She looks around. Where is he? NO SOUND. Suddenly he is near. She backs up. BATMAN You're right, I could have. There is something else. She looks down. She has backed up nearly to the gaping hole. VICKI Wh-at? BATMAN You have something I want. Batman suddenly steps very close to her. She holds her hand to her breast. VICKI What could I have that you want? Batman SWIRLS his cape up over her. Her eyes widen. She starts to SCREAM. He embraces her. She stops. And as she closes her eyes -- he produces an AMPULE of KNOCKOUT GAS which he breaks under her nose. She slumps. THE ROOM SPINS. SOUND OF BATS WINGS. DISSOLVE TO: INT. BEDROOM - AFTERNOON Vicki AWAKENS. She feels her face. Was it a dream? She steps shakily to the mirror. Touches her lips. What happened? Did he -- make love to her? Then she touches her breast. NO FILM. VICKI The film! He took the FILM! PHONE RINGS. VICKI Hell-hello? KNOX Vicki? Are you all right? You want me to come over there? VICKI (seeing something on her table) No... Wait. Allie? She reaches OUT OF FRAME and brings the envelope Batman gave her up to the phone. VICKI Allie, can you still make the evening edition if I bring something to you? KNOX Just barely. Is it hot? VICKI Yeah it's hot. KNOX How hot? She hangs up. VICKI Very hot. EXT. NEWSSTAND - DAY The early edition of the Globe carries the banner headline: WAR OF THE FREAKS JOKER AND BATMAN CLASH AT FLUGELHEIM A DELIVERY TRUCK cruises past, dumping a bundle of AFTER- NOON EDITIONS on the sidewalk. "WAR OF THE FREAKS" has been relegated to the lower right-hand corner of the page -- supplanted by more pressing news. BATMAN CRACKS JOKER'S POISON CODE Citizens told to avoid the following products: INT. TELEVISION STUDIO - EVENING The "ACTION NEWS" set, with anchor PETER McELROY. PETER Avoid the following combinations: deodorants with baby-powder, hair spray, and Odor-eaters. Safe products are flying in as Gotham City goes on a forced fast. And all of Gotham is wondering what to make of Batman. Friend or Foe? INT. AXIS CHEMICALS - EVENING Joker SCREAMS at the top of his lungs. JOKER I have given a name to my pain and it is BAT MAN!!! Joker BLASTS the TV with a riot GUN! OTHER GOONS stare. Joker charges for the factory. JOKER Bob, you got to possess strength to inflict greater pain! We got a Bat to kill. And I want to clean my claws!! INT. BATCAVE - NIGHT Bruce looks at assortment of maps. He looks tired. Alfred brings in some coffee. ALFRED (starting to EXIT) Sir, Miss Vale called again. I don't know what you intend to do about her. But I think your present course of action may just strengthen her resolve. She's quite tenacious. BRUCE (thinking) I know, Alfred. Alfred heads for the door. He stops and pulls himself tall. INT. VICKI'S APARTMENT - AFTERNOON A KNOCK at the door -- Vicki opens it and Bruce is standing there smiling, a flower in his hand, a shoulder bag on his shoulder, Vicki is very surprised. She recovers. Still cool. VICKI Well, if it isn't the invisible man. BRUCE You saw through me. Hands her the flower. She looks at it warmly. VICKI Come in. Bruce ENTERS. She looks at flower like it could squirt something on her. Bruce smiles. A BEAT of nervous silence. BRUCE So... VICKI (hesitates, then) Listen, I know that we're supposed to ease into this sort of thing, but I'm really perplexed about you. BRUCE Yeah, I know, that's why I came. I... VICKI You lied to me about leaving town. You won't return my phone calls. Then I saw you march through bullets like you were trying to commit suicide. BRUCE Look, I... I did kind of lose it for a while. But some things just affect me. VICKI Affect you? You were a totally different person. BRUCE You have to understand... crime. I... love this city. VICKI See, now he's back... the sweet, caring guy... but you seem to be at least two people. What's going on? Bruce stands and looks out the window. Torn. BRUCE Look, Vicki. There's something you should know... A KNOCK AT THE DOOR interrupts him. Vicki lingers and then goes to the door. Peering through the peephole, she sees a DELIVERY BOY. VICKI Who's there? DELIVERY BOY Package for Miss Vale. DELIVERY BOY hands package in, she signs and shuts door. Vicki examines the mysterious package. It's another brown-paper parcel... ADDRESSED IN CRAYON. VICKI Bruce, I'm frightened. Bruce looks at the parcel. Grabbing his shoulder bag, he takes package to the kitchen. BRUCE Shut the door. Just in case. VICKI Be careful. Don't set it off. She shuts the door. Leaving Bruce alone in kitchen. INT. KITCHEN - DAY Bruce opens his bag and lifts out a false bottom to reveal his UTILITY BELT. He removes a tiny ULTRASOUND SCANNER from the UTILITY BELT -- rather like a stetho- scope, with a sonar display where the earpieces should be -- and runs it over the package. VICKI (O.S.) What do you think? BRUCE Nothing ticking. INT. LIVING ROOM - DAY Vicki moves next to the door and listens. INT. KITCHEN - DAY Bruce takes a small gas mask from his belt, puts it on, then SLITS THE WRAPPING with a steak knife. Nothing happens. VICKI (O.S.) What's happening? Are you okay? She KNOCKS. He JUMPS. He's tense. Bruce carefully pulls back the flaps. SUDDENLY the top of the package BURSTS OPEN. INT. LIVING ROOM - DAY Vicki JUMPS at the NOISE. VICKI Bruce, are you all right? No answer. VICKI Bruce, I'm coming in. She grabs for the door and PUSHES THROUGH. INT. KITCHEN - DAY Bruce stares at the package. No utility belt in sight. BRUCE Very poetic. ON BOX -- A GLOVED HAND on a SPRING, holding a BUNCH OF DEAD FLOWERS, has erupted through the top of the package and wobbles about. There is a large EMBOSSED CARD in the flowers. Bruce lifts out the card and she reads it. VICKI 'Roses are red, violets are blue, these flowers are dead, you could be, too.' (suddenly very frightened) He sent something just before he arrived the last time. Bruce nods her out of there. Vicki heads for the living room, but before she can get through the kitchen door, the Joker, BOB and ONE OTHER GOON BURST THROUGH THE DOOR. JOKER Miss me? The Joker sees Bruce and stops in his tracks. JOKER Well, Ms. Vale, another rooster in the henhouse? The Joker pulls a gun and moves toward Bruce. He traces the outline of Bruce's cheek with the gun. JOKER Tell me something, my friend, you ever danced with the devil by the pale moonlight? Bruce is alarmed. A memory fragment clicks. BRUCE What? JOKER I ask that question of all my prey before I send a draft through their domes. I just like the sound of it. BOB CHUCKLES. Bruce is torn, should he fight? Should he reveal his identity? Suddenly he realizes... his utility belt is sitting in plain view on the kitchen counter !!! The Joker has yet to notice. Bruce backs slowly against the counter, shielding the belt from view. JOKER Vicki, don't let my happy-go-lucky appearance fool you. I'm really very upset. (getting angrier) You were dining with me ! Talking art, I was a man who was getting somewhere with a beautiful woman. And then ALL OF A SUDDEN, without a word of apology, you take off with that SIDESHOW PHONY. He moves closer to her. JOKER (bizarrely sincere bad poetry) I'm only laughing on the outside, my smile is skin deep, if you could see inside I'm really crying you might join me for a weep. He cups his hand under Vicki's chin. Bruce CHARGES at him. A BACKHAND from a GOON knocks Bruce off his feet. As he reels backward, he contrives to knock the UTILITY BELT off the counter, by sweeping his ARM across it. Bruce sprawls in a heap in the corner. IN A FLASH -- Joker points his gun at Bruce and pulls the trigger. A tiny flag -- "BANG!" -- pops out of the muzzle, prompting GREAT HILARITY all around. Joker HOWLS! Bruce sweats. JOKER Came on I want you to shoot some snaps. Make me immortal. It'll be good for you. BOB hands Vicki her camera and bag and jacket. A SCREAM FROM OUT IN THE STREET BELOW calls her to the window. EXT. STREET BELOW - HER POV - DAY A police car has run up on the sidewalk. TWO POLICEMEN are staggering in the street, grabbing their throats. A WOMAN runs horrified from the scene.. INT. VICKI'S APARTMENT - DAY She turns back to the Joker. VICKI What's wrong with those policemen? JOKER Looks like they're rethinking their spot in the social order. BOB pulls Vicki OUT THE DOOR, Joker FOLLOWS, pulls the door to. ON BRUCE He leaps up and stuffs the utility belt into shoulder bag. SUDDENLY THE JOKER IS THERE JOKER Listen, Bruce, NEVER rub another man's rhubarb! Get me? The Joker levels the GUN at Bruce again and FIRES. This time a real bullet. Bruce is thrown back against the wall as the bullet hits him. Joker EXITS. EXT. GOTHAM STREET - DAY Goons force Vicki into a van. Joker heads for it, too. JOKER Gotham Square, lickety split. INT. VICKI'S APARTMENT - KITCHEN - MOMENTS LATER Bruce is coming around. He checks his side, no blood. He then looks at his shoulder bag, it has a hole in it. He takes out the utility belt. It has a bullet embedded in it. Bruce struggles up, straps on the UTILITY BELT, dials a number on its digital pad. Red lights scan and then beep. Bruce RUNS INTO THE BEDROOM. INT. BEDROOM - DAY He rummages around for something in her closet. Finds a black something and EXITS. EXT. APARTMENT - HALLWAY - MOMENT LATER Bruce sprints across the hallway and up a stairway. EXT. ROOFTOP - DAY (MOMENT LATER) Bruce bursts onto the roof just in time to see VAN pull out into the traffic. He pulls the black nylon ski cap over his head -- and BOUNDS OFF across the rooftops. EXT. CROSS STREET - DAY (MOMENT LATER) The VAN passes by. PEDESTRIANS staring goggle-eyed at the rooftops. Far above them, a MAN -- oddly garbed in a suit, a tie, a yellow belt and a BLACK SKI MASK -- is gliding across the intersection on a ROPE. INT. VAN - THAT MOMENT The Joker is being thrown around a bit by the speeding, swerving van. Suddenly he reaches forward and grabs BOB. JOKER (violently) Slow down, you maniac! The Joker turns to Vicki, putting his hand on her knee. She tries to move away from him. JOKER (sadly, trying to gain her sympathy) I'm a little high-strung. Y'know, I've recently had tragedy in my life. Day before yesterday, Alicia hurled herself out of the window. Couldn't adjust to my new aesthetic. He hands her a porcelain mask. It has a crack in it. JOKER But you can't make an omelette without breakin' some eggs! EXT. INTERSECTION - DAY (THAT MOMENT) The Joker's VAN GUNS through a red light, just missing a MOUNTED POLICEMAN standing by his horse. His horse shies, rears back, turns in a circle. THE POLICEMAN, already in bad shape, struggles with his throat, moving slow as molasses. His face contorts into a smile and he shakes his head slowly. Bruce lands on horse's back. COP turns slowly around, sees Bruce. Bruce looks with alarm at the policeman. HIS POV - ANOTHER POLICEMAN staggers down the street, his hands grasping his throat. Joker has done his evil work. EXT. SIDE STREET - MOMENTS LATER Bruce on horseback, charging past elegant brownstones, drawing stares from PASSERSBY. On his belt is a FLASHING RED SIGNAL LIGHT. EXT. RIVERVIEW DRIVE - THAT MOMENT A YELLOW VW BUG rips up the street at 70 mph. INT. VOLKSWAGEN BUG - THAT MOMENT We can't see the driver. But we do see, on the se