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BATMAN YEAR ONE Screenplay BY FRANK MILLER FADE IN. EXT. GOTHAM CITY, NIGHT LIGHTNING RIPS across a jet-black SKY. THUNDER CRASHES. LIGHTNING casts GOTHAM CITY in stark relief. SIRENS WAIL. CAR ALARMS SCREAM. A CACOPHONY. LIGHTNING SILHOUETTES a menacing POLICE HELICOPTER, ROARING downward like a monster insect. LIGHTNING... SPARK? SHOWER. WILD. REVEAL: INT. DARK AREA - NIGHT A sweating, tormented sleeper — BRUCE WAYNE. His eyes hollowed, skin pale, he TOSSES and TURNS. Then FLINCHES. 3 more times he — FLINCHES FLINCHES FLINCHES. Then — His EYES pop open WIDE BRUCE WAYNE SCREAMS It is the sound of INCOMPREHENSIBLE HORROR. INT. BRUCE WAYNE'S APARTMENT - NIGHT Awoken from his NIGHTMARE by the sound of his own scream, disoriented, BRUCE goes to the sink and SPLASHES cold water in his face. BRUCE (V.O.) Father. WHERE are you? What will I DO? His hands tremble. Distant THUNDER sounds. EXT. EAST END SIDEWALK - MORNING LITTLE AL, a gigantic, early middle-aged black man carries a bag of doughnuts and two coffees. He whistles as he walks through a run-down slum. He stops and inserts a key at a grimy storefront: The sign reads, AL and Son, Repair, Service, Salvage. REVERSE SHOT OF: INT. AL'S GARAGE - MORNING LITTLE AL hits the lights revealing a meticulously clean auto repair shop LITTLE AL Bruce? Bruce? You here? LITTLE AL continues his search in the— EXT. JUNK YARD BEHIND AL'S GARAGE - MORNING It's a dreary, dirty, isolated place. Its sole occupant, BRUCE, loads large car parts onto a flatbed TRUCK bearing the 'AL and Son' logo. He carries the heavy transmissions and engine blocks on his broad, muscular shoulders. LITTLE AL Morning sunshine. BRUCE says nothing, he just STARES at LITTLE AL with troubled, tired eyes. LITTLE AL (CONT'D) (Hands BRUCE a coffee) OK twinkle toes. Let's take a look at the job orders. The two head up a wooden staircase over the garage and enter— INT. BRUCE WAYNE'S APARTMENT - MORNING It's the claustrophobic room of an obsessive compulsive. Neatly organized electronic hobby projects line the walls— POLICE SCANNERS, RADIOS and TVs. Their readouts and displays provide the only light. LITTLE AL opens the blackout curtains. Sunlight pours in. LITTLE AL (opens a ledger) So the load on the truck is the DiMotto order, right? (BRUCE nods) You finished the rebuild on that caddie, and the tranny for Spencer. (BRUCE nods some more) I guess that's it, huh? You know I COULD put in a couple days, help you out down here, if you want a break. BRUCE I'm fine. LITTLE AL looks at BRUCE's pale skin and sunken eyes. LITTLE AL BIG AL would kick my butt if he saw you now. You look terrible. LITTLE AL puts his hand on BRUCE's shoulder. LITTLE AL (CONT'D) Those pills aren't working, are they, son? BRUCE They're fine. LITTLE AL The nightmares stopped then? BRUCE doesn't speak. LITTLE AL (CONT'D) Maybe you just need to air yourself out a little bit. Go the park. Go to the beach. Find yourself a girlfriend. BRUCE I'm fine. LITTLE AL (frustrated) ) Yeah, fine. Right Here. LITTLE AL hands BRUCE a wad of bills LITTLE AL (CONT'D) Listen, a man can't keep cooped up in one place all the time. He's got to keep moving, like a shark, moving, moving, moving, or he dies. You can't stay stuck in one place, Bruce It just ain't HEALTHY. LITTLE AL leaves. As BRUCE closes the blackout curtain, his gaze lingers across the street on the girls galore peepshow theater. From the looks of it, the sleazy sex venue was once a GRAND THEATRE. But now, on top of its classic, old-world facade, a pink plastic sign promises 'GIRLS, GIRLS, GIRLS.' Out front, prostitutes offer their wares. CHI-CHI, a young PIMP with long, greasy hair and felt bell bottoms, SLAPS a fat whore, she CRIES and APOLOGIZES. Other whores usher men into a brownstone CATHOUSE next door. BRUCE's gaze travels to a window directly across from his. Inside the CATHOUSE, a long, lean black woman, SELINA, puts handcuffs on a skinny man. She wears tight fitting, black leather. SELINA notices BRUCE and gives him a playful wave. He closes the curtains. Leaving us alone in INT. BRUCB WAYNE'S APARTMENT - MORNING BRUCE sits and writes a letter. BRUCE (V.O.) September 4. Dear Father, I am still confused. What are you trying to tell me? What do you want from me? Please, I don't understand. Your son, Bruce. Finished, BRUCE puts the letter in an ENVELOPE. Then, gets up and goes back to work. INT. JAMES GORDON'S APARTMENT. BATHROOM - NIGHT THUNDER rolls on the night air. In the sweaty palm of JAMES GORDON rest six bullets. GORDON sits in his boxers on the toilet. In his mouth he holds his SERVICE REVOLVER. ANN (O.S.) Honey, come to bed. GORDON looks up at the door. He puts the gun, with its wet barrel, into a holster with a badge clipped to the side and leaves the bathroom. ANN (O.S.) (CONT'D) Hard time sleeping again, baby? We hear bedsprings sag. INT. POLICE PRECINCT. SOUADROOM - MORNING GORDON gets off the elevator and walks through the busy precinct room full of COPS. As he passes, CONVERSATIONS STOP. Men with shoulder holsters and badges on their hip watch GORDON with obvious disdain. GORDON puts his lunch in his desk and flips through papers. He lights a MARLBORO. INT. POLICE PRECINCT. HALL OUTSIDE EVIDENCE ROOM - DAY A sign reads "Evidence Room". A YOUNG COP stares at GORDON with bad intent through a Plexiglas window. GORDON puts papers in the pass-through. GORDON This is for the Irwin case. The YOUNG COP doesn't say a word. As GORDON leaves, he passes the door to the evidence room. It's half open. We catch a quick glimpse inside— two detectives stuff YELLOW ENVELOPES and stack BILLS --before the door SLAMS shut. INT. BATHROOM. POLICE PRECINCT - DAY GORDON stands at a URINAL as DETECTIVE FLASS, about 40, blond crew cut, enters FLASS I've got something for you Gordon. GORDON Come on Flass, I told you, I just don't want it. FLASS Jimmy, Jimmy, Jimmy, you're going to have to learn what it takes to be a cop in this town FLASS (CONT'D) It makes the guys nervous when someone doesn't participate. They think you might say something. GORDON It's not like that, I just don't need the money. Maybe if I had kids like the other guys, or had trouble making ends meet it would be different. FLASS The guys are saying, 'maybe he thinks he's better than we are. Maybe he thinks he's superior.' Is that how it is Jimmy? You think you're some kind of saint? GORDON No, it's nothing like that. FLASS So you're not a saint, Gordon. Who are you? GORDON I'm just a cop FLASS Yeah, that's right, you're one of us FLASS jams a yellow envelope into GORDON'S hand and leaves. GORDON CRUSHES the YELLOW ENVELOPE. INT. SQUADROOM. POLICE PRECINCT - MOMENTS LATER FLASS jokes around the water cooler with a couple COPS. Then, back at his desk he sees the YELLOW ENVELOPE spiked on his message post. FLASS registers a look of concern. FLASS' partner DETECTIVE CAMPBELL, a fat cop in a wrinkled suit, slaps him on the shoulder. CAMPBELL Come on, we'll deal with him later. We got to make our rounds. Together they leave and we— CUT TO EXT. GIRLS GALORE PEEPSHOW THEATER - EVENING BRUCE carries a brown paper grocery bag in his arms. THE WHORES do their thing: waving at cars, posing, vamping. They see BRUCE in his BLUE JUMPSUIT. FRENCH MAID Hey there garage boy! Want to look under my hood, check my fluid levels. CHEERLEADER You can top me off anytime! The youngest prostitute, HOLLY, joins in. HOLLY I'll show you why they say, "good things come in small packages?" SELINA HOLLY! GET OVER HERE! He's a neighbor, not a John. And the rest of you, cut it out. You got nothing better to do? CHI-CHI (CUTS IN) Yeah, like making me some MONEY. Get to work. CHI-CHI is interrupted by the honk of a horn. DETECTIVE FLASS sits behind the wheel of an UNMARKED COP CAR with a Ballantine Ale on his lap. FLASS Hey there CHI-CHI. How's business? Next to him in the car sits DETECTIVE CAMPBELL. CAMPBELL (laughing, to CHI-CHI) Hey, you know what, you're the only HIPPY PIMP I ever seen. FLASS You got something for us Greaseball? CHI-CHI Yeah, sure. Here you guys go. CHI-CHI passes a YELLOW ENVELOPE through the window to FLASS. FLASS flips through the bills inside. FLASS This it, Flowerpower? Looks kind of light to me CHI-CHI It's the same as last week. FLASS Yeah? Well, you seem to be doing pretty good for yourself. Maybe it's time we talk to ESTRADA, REEVALUATE our arrangement. CAMPBELL Or maybe SELINA can throw in a little dark meat to make up the balance. How about that? CHI-CHI Yeah, sure. SELINA, get over here! SELINA reluctantly approaches the car. CHI-CHI (CONT'D) Give DETECTIVE CAMPBELL a date on the house. CAMPBELL You can put away the toys, sweet thing. I'll show you how a REAL MAN does it. SELINA Forget it. You're not coming anywhere near me. She turns to walk away but CHI-CHI grabs her arm. FLASS (LAUGHS) Classic. One can't get his whores to screw, the other can't get screwed by a whore. FLASS pulls away. FLASS (CONT'D) We don't have time for this. Got to keep moving. More pick-ups to make before quitting time. Ta-ta ladies. FLASS waves his BEER CAN farewell as he drives off. CHI-CHI What the hell was that? You made me LOOK BAD. I got a REP to maintain. I look weak, then scumbag crooked cops take advantage, try to push me around. SELINA You know the rules Nothing for Free. SELINA jerks her arm free and storms off. But CHI-CHI grabs her again and SPINS HER AROUND. CHI-CHI Well maybe it's time we RE-EVALUATE the rules. Suddenly CHI-CHI is aware that BRUCE stands very close glowering at the pimp. PURE UNHOLY HATRED. CHI-CHI What the fuck you want, retard? CHI-CHI flicks open his SWITCH BLADE. SELINA (to CHI-CHI) Leave him alone. CHI-CHI backhands her across the mouth. BRUCE, oblivious to the knife, moves to take out CHI-CHI. But SELINA catches BRUCE's eye and, WITHOUT SAYING A WORD, tells BRUCE to "let it go". BRUCE just turns and walks away— an obedient soldier. CHI-CHI That's what I thought. WIMP! Selina watches BRUCE march back into— INT. AL'S GARAGE - MOMENTS LATER BRUCE KICKS open the door— FLINGS groceries everywhere— PUNCHES the plaster wall— BRUCE (V.O.) September 17. Father, it takes everything I have just to contain this fury. I can feel it in my chest. It wants to ESCAPE. I'm AFRAID of what I might do. LITTLE AL is in the doorway. LITTLE AL What the hell's going in here. You OK? BRUCE I'm fine. BRUCE tries to push past LITTLE AL and out of the garage. But LITTLE AL grabs his wrist. LITTLE AL Bruce. BRUCE What do YOU want? LITTLE AL Don't you give me lip, boy. I know what you're going through. You can't hide it from me. BRUCE You don't know ANYTHING. LITTLE AL Come on. I've got something for you. LITTLE AL pushes aside a work bench, digs out a key and opens a dirty, disused door. BRUCE Your father's office? LITTLE AL says nothing. The two men go inside— INT. BIG AL'S OFFICE - DAY It's like a tomb. Dusty, unused and preserved. LITTLE AL sits at the desk and starts opening drawers. LITTLE AL (without looking) Sit down Bruce. BRUCE sits on a dusty chair. LITTLE AL finds what he's looking for, shoe-box. He turns to BRUCE LITTLE AL (CONT'D) You know, Bruce, BIG AL worked HARD to put me through med school. He dreamed of giving me more than that garage. But he NEVER said a WORD after the war. LITTLE AL (CONT'D) He understood what happens to a man who's SEEN too much of this world's evil. Do you know what I'm talking about Bruce. BRUCE nods. LITTLE AL (CONT'D) When we found you out in the scrap pile you were scared, more of a wild animal than a boy, really. And you had something with you, do you remember that? BRUCE says 'Yes' with his eyes. LITTLE AL (CONT'D) (laughs) You wouldn't let it go... Took BIG AL three months to even get a look at it. You cried for weeks when he took it from you. He said you weren't ready to have it. You called it your INHERITANCE. LITTLE AL puts a hand on BRUCE's shoulder. LITTLE AL (CONT'D) When BIG AL was up in that hospital, he asked me watch over you, made me promise, and I have. You're like my boy, Bruce. LITTLE AL gives BRUCE's shoulder a squeeze. LITTLE AL (CONT'D) But now you're scaring me. There's something going on in your head, and while I can't say I know exactly what it is, I can tell you this: A man has got to know who he is before he can confront his demons. LITTLE AL open the shoe box and removes a smaller WOODEN BOX with a heavy brass latch LITTLE AL (CONT'D) Maybe your INHERITANCE can help you figure it out. LITTLE AL places the WOODEN BOX on BRUCE'S knee. BRUCE just stares at it. LITTLE AL (CONT'D) Not ready yet, huh' I understand LITTLE AL stands up and waits. After a moment BRUCE stands up and they both walk back into— INT. LITTLE AL'S GARAGE - MOMENTS LATER LITTLE AL locks the door behind them. LITTLE AL You take all the time you want. It's late. I'm going home. I hope you can find some comfort in this, Bruce. Sleep well. LITTLE AL leaves BRUCE staring at the WOODEN BOX. INT. BRUCE WAYNE'S APARTMENT - NIGHT BRUCE writes another letter. BRUCE (V.O.) September 22. Dear Father, I almost slipped today. God help me if I lose control. Little Al gave me back my inheritance. What should I do with it? Please tell me. I don't know how much longer I can go without your help. Please send instructions. Your loving son, Bruce. BRUCE signs the letter and puts it in an ENVELOPE. Puts a stamp on the envelope. BRUCE gets ready for bed and turns in. He doesn't sleep, just stares at the WOODEN BOX from his bed. INT. SELINA'S APARTMENT - NIGHT SELINA's apartment is painted to look like a dungeon. The tools of her trade line the walls— WHIPS, CUFFS, A CRICKET BAT FOR SPANKING. CATS lounge all over the place. HOLLY sits cross-legged in an electric chair. She paints her toe nails and watches SELINA pace the cramped room. SELINA There has to be more to it than this. HOLLY This what? SELINA LIFE! Jesus, there has GOT to be more out there than just PIMPS and JOHNS. We spend our lives on our backs shuttling money from one to the other, FOR WHAT? HOLLY I don't know, what? SELINA Nothing! Don't you see, we're being used. We're stuck here and for all our work, we have nothing. While they're getting rich. I'm sick of it, I'm not going to take it anymore. HOLLY What are you going to do? Run off? Marry a John? SELINA HA! Have you seen the guys who come here for my services? Shit. What I'd give to meet a real man. HOLLY (rising) Got to go. My 10:30 should be here. (at the door) You know, maybe there are no real men. Maybe the whole world IS just PIMPS and JOHNS. Ever think of that? HOLLY leaves. SELINA (to self) Then I'll have to find my own way out. She closes her door. And we— CUT TO: EXT. A MAGNIFICENT THEATER - NIGHT We're on the steps of a magical old-world movie palace. It's bright, clean, hyper-real— a dream. A BOY, about 8, leaves a showing of Zorro with his MOTHER and FATHER. He goofs around with an imaginary sword. BOY En guard! En guard! MOTHER (Her best Fay Rae imitation.) Oh Brave Zorro, Save us! FATHER Yes, but can Zorro fly? FATHER grabs his BOY and throws him in the air. The BOY freaks out with laughter. The BOY is caught under his arms and again tossed upwards, and into a — NIGHTMARE The sky darkens. The boy registers FEAR and falls— - falls - - falls - - and SLAMS HARD onto a grimy sidewalk puddled with BLOOD. His parents STRUGGLE with a MUGGER in the alley. FATHER (CONT'D) Get away from her you monster The MUGGER shoves FATHER back. MOTHER (slaps at MUGGER) No! Get off me. You can't have it. MUGGER grabs MOTHER VICIOUSLY by the THROAT and she's choking. PEARLS bounce on the pavement. FATHER takes a swing at the MUGGER. MUGGER Crazy bastards. BANG! BOY FLINCHES. Blood sprays on his face. BANG! BANG! BANG! BRUCE WAYNE's body FLINCHES in his cot with each shot. We're back in— INT. BRUCE WAYNE'S APARTMENT - NIGHT BRUCE shoots upright in bed. BRUCE WAYNE'S MOUTH SNARLS, in torment. BRUCE WAYNE'S FISTS lay in his lap. The fists QUAKE. UNHOLY RAGE. He goes and takes the WOODEN BOX in his shaking, sweaty hands. His thumb is about to open the heavy brass latch BRUCE is interrupted by a clanking sound from the street. EXT. THE GIRLS GALORE PEEPSHOW THEATER - NIGHT The sleazy sex venue was— THE GRAND THEATER FROM BRUCE'S NIGHTMARES. Only now, instead of a young BOY walking the sidewalk with his parents— CAMPBELL, the fat detective, staggers around in the street. DRUNKENLY he throws a RUSTY MUFFLER up at SELINA'S WINDOW. CAMPBELL Rapunzel, Rapunzel, let down your hair! Her window opens. SELINA You picked a BAD night to mess with me, CAMPBELL! CAMPBELL Aww, come on darling is that anyway to treat a customer? SELINA I'm paid up. You got your damn money. That's all you get from me, asshole. SELINA SLAMS her window. CAMPBELL takes a PULL from his BOTTLE And goes into the CATHOUSE. A moment later BRUCE crosses the street and follows him inside the— INT. CATHOUSE - NIGHT BRUCE cautiously enters. From upstairs— Bang, bang, bang. He hears the sound of a fist pounding a door. Voices echo down the empty stairwell. CAMPBELL (O.S.) Come on honey, you know that's not the way things work. It's just part of the price of doing business. SELINA (O.S.) Go away you fat pig. CAMPBELL (O.S.) What the hell? Who are you? You're a WHORE. This is what you DO. BRUCE puts a foot on the first step up to — INT. SELINA 'S APARTMENT - NIGHT CAMPBELL KICKS IN the door— CRACK! SELINA (backs away) You can't do this. I pay you. I've always paid you. CAMPBELL grabs SELINA 'S WRIST. SELINA kicks him in the crotch — THWACK. CAMPBELL BITCH! CAMPBELL SLAPS HER across the face, HARD. She CRASHES into a table covered with LEATHER BONDS, RUBBER GEAR. MASKS. CATS scamper in all directions. SELINA SCRAMBLES for the door. CAMPBELL JERKS her back into the room and SLAMS her against the wall. SELINA punches CAMPBELL — POP — in the face. CAMPBELL'S head snaps back and SELINA makes a break for the door. He puts a hand to his face and feels the blood. CAMPBELL (CONT'D) You're fucking dead. ENRAGED, CAMPBELL moves to block SELINA's escape. He punches her in the stomach. She collapses. CAMPBELL picks up her CRICKET BAT and starts smashing the place. SMACK — a lamp flies into the wall. BASH — a music box explodes into a million pieces. CAMPBELL (CONT'D) I've had it up to here with all the bitches like you. CAMPBELL is standing over SELINA now, CRICKET BAT in his hands. CAMPBELL (CONT'D) I'm going to show you once and for all. SELINA is TERRIFIED! CAMPBELL bends down and GRABS SELINA VICIOUSLY by the THROAT and— LIFTS HER OFF THE GROUND with one hand. She is CHOKING. CAMPBELL (CONT'D) You're mine to do with as I please, you understand that? And now it's going to please me to KILL YOU. He cocks the CRICKET BAT back, about to smash her brains out when— SUDDENLY BRUCE APPEARS IN THE ROOM. HIS FACE: a mask of UNHOLY RAGE. CAMPBELL What the fuck do you want? Get the hell out of here! BRUCE doesn't say a word. He just delivers an upper cut – SMACK — to CAMPBELL'S rib cage. A couple ribs go. A left hook— SMACK — to CAMPBELL'S face. The nose shatters. An elbow — SMACK — to CAMPBELL'S head. The jaw breaks. CAMPBELL stumbles back to the wall. FALLS to his knees. BRUCE isn't finished with CAMPBELL. He moves in. SELINA grabs the cricket bat— CRACK! SHE HITS BRUCE! A startled BRUCE staggers. Things - SELINA Sorry about that. - go — SELINA (CONT'D) But he's mine. - DARK. MUCH LATER: BRUCE slowly comes around. SELINA is gone. CAMPBELL lies smashed out on the floor in a puddle of blood. DEAD. RED LIGHTS FLASH from the street. Footsteps in the hall. Voices. COPS(O.S.) That one at the end of the hall. GORDON (O.S.) You go in yet? BRUCE holds his head, spins circles and looks for a way out. COP (O.S.) Just got here, only peeked through the door. Didn't want to disturb the scene. BRUCE tries to squeeze out the bathroom window— too small. INT. CATHOUSE. HALLWAY - DAWN GORDON (pulls down yellow police tape) Who called it in? COP A guy named CHI-CHI. Claims he's the property manager. More like a PIMP. GORDON steps on his MARLBORO. Just as he touches the knob — FLASS pushes past the uniformed officer. GORDON turns — INT. SELINA'S APARTMENT - DAWN BRUCE looks out the back window — cops everywhere. INT. CATHOUSE. HALLWAY - PAWN GORDON blocks the doorway-- FLASS What the hell are you doing here? GORDON It's my collar. FLASS Like hell it is. Get out of my way. GORDON doesn't move. FLASS muscles past GORDON and opens the door into— INT. SELINA'S APARTMENT - DAWN BRUCE looks out the bedroom window, it's a narrow air-shaft who's bottom opens in a rubbish-filled mini-courtyard. BRUCE looks over — THE FRONT DOOR IS OPENING. FLASS (O.S.) Jimmy-boy, I ain't kidding around now. GORDON backs into the apartment, he's been shoved. BRUCE makes a desperate play and throws himself out the window. He hangs four stories up by his fingers as inside — GORDON OK, have it your way. GORDON stands aside. FLASS Yeah, that's what I thought-- Then, confronted with the sight of his DEAD PARTNER — FLASS (CONT'D) Oh Christ! Outside the window BRUCE is slipping. He tries to get his feet on the window sill below while — GORDON (TO THE COP) I thought you said there were two bodies. COP (shrugs) That's what this CHI-CHI guy said. And that's what it looked like about three minutes ago. BRUCE can't reach the sill with his feet. GORDON squats down and inspects the body. A series of four — DEEP SCRATCHES — line CAMPBELL'S cheeks. BEAT COP (to GORDON) Girl who lives here goes by the name of Mistress SELINA. 21, 5'9" 120 pounds. Works an S&M dungeon, uh, obviously. She hasn't turned up yet. FLASS casually tosses the apartment, looks out the back window, opens a wall CLOSET, picks up some handcuffs— BRUCE can't hold on any more. HE SLIPS AND FALLS. While FLASS looks at the cuffs, GORDON (TO FLASS) You don't seem all that broken up. This IS you partner here, right? FLASS, angry, throws them back and SLAMS the CLOSET DOOR — Just at the moment BRUCE CRASHES into the rat-infested rubbish below. GORDON hearing something, takes a look out the window where BRUCE was hanging moments ago. FLASS This kind of shit happens everyday. I've learned to grieve in my own way, Jimmy-boy. GORDON (pulls head back in) And what, exactly, does that mean? FLASS It means I'm going to find her and put her in a box GORDON It's that simple, huh? FLASS Yup. In the air-shaft, BRUCE climbs out from under the filth and pushes open a basement window. GORDON Come ON. There's more going on here. She didn't do this alone. What was it? CAMPBELL wanted his graft in trade? That pimp get tired of paying you guys off? FLASS (to the beat cop) YOU. Get out. The BEAT COP leaves. FLASS (CONT'D) Listen Boy Scout, you need to think, long and hard about what you say and do on the job. You're in way over your head. Keep it up, and someone's going to get HURT. FLASS storms out. GORDON watches him go. EXT. CATHOUSE - MOMENTS LATER Cops loaf around the crime scene eating doughnuts. BRUCE tries to look inconspicuous on the sidewalk, hands in his pockets, head down. FLASS burst out of the building and slams into BRUCE. FLASS shoves BRUCE. FLASS Watch where you're going. PUNK. They hold eye contact for a tense moment. SELINA'S APARTMENT - MOMENTS LATER GORDON is alone with the body. He stands soaking up the details with a troubled look on his face. INT. GORDON'S APARTMENT, BEDROOM - NIGHT GORDON sits on the bed with his arm around his wife. She's crying. GORDON Honey, come on. I didn't mean it. It's just, raising a child in this hell hole. Maybe after my transfer goes through things will be different. ANN jerks her shoulder away and exits in a huff. Leaving GORDON alone with the— TV NEWS— NEWS ANCHOR, BRIAN Is Gotham City in the middle of a crime wave? Murder, prostitution, drugs, racketeering, all on the rise. The commissioner's office refuses to comment. On the TV: THOMAS WAYNE's crest, an INTERTWINED 'T' AND 'W.' NEWS ANCHOR, BRIAN When we return: Can the Wayne Corporation find the missing heir to THOMAS WAYNE's fortune before the 15 year deadline? GORDON pays no attention. INT. OUTSIDE COMMISSIONER LOEB'S OFFICE - DAY GORDON sits in the waiting room outside a door marked 'Police Commissioner GILLIAN LOEB'. Loud, muffled voices argue on the other side. LOEB's SECRETARY is doing a crossword puzzle, oblivious. The door opens, Gotham's young Assistant District Attorney, HARVEY DENT, stands in it yelling back into the office. DENT You can't protect him forever. ESTRADA will go down and you'll go with him. DENT slams the door and stomps off. The SECRETARY pushes a button on the INTERCOM. SECRETARY Commissioner Loeb, there's a Detective Gordon here to see you. LOEB (O.S.) Send him in. GORDON enters— INT. COMMISSIONER LOEB'S OFFICE – MOMENTS LATER GORDON musters all his confidence as he approaches LOEB who works an exercise spring in his beefy fist. GORDON Sir, I'm Detective James Gordon. I'm here about my transfer. LOEB I know who you are, Gordon. Chief Collins has told me all about you. Says you're another COWBOY, like your friend Dent there. Says you don't understand the way things are done. GORDON I've never met Assistant D.A. Dent, sir. And don't know why Chief Collins would say anything like that. LOEB (rubs temples) There's no transfer for you, Gordon. It's my responsibility to train young officers a proper respect for tradition, for the established order of things. You need to learn what it takes to be a cop in Gotham. GORDON If by 'tradition' you mean graft and— LOEB (interrupts) I suggest you be a little more selective in your manner of speech, detective. Things could get awfully difficult for you around here. And you don't want that, not for your lovely wife. GORDON'S jaw drops at the overt threat. LOEB (CONT'D) You're mine Gordon. Without saying a word GORDON turns and leaves — DEFEATED. INT. GORDON'S APARTMENT. BATHROOM - EVENING GORDON has his GUN in his mouth. He looks down at his SHAKING FIST. He opens it — EMPTY! This time HE'S LOADED THE BULLETS INTO THE GUN. The HAMMER pulls back — We hear the front door open and the sounds of ANN looking through the apartment for GORDON. Then she's at the door — ANN (O.S.) Jim. Jim, it's a boy. GORDON takes the GUN out of his mouth. It's like he has just heard her voice for the first time. He bursts out of the bathroom and ENGULFS his wife in a hug. GORDON A boy. We're going to have a baby boy. A smile crosses ANN'S lips. EXT. JUNK YARD BEHIND AL'S GARAGE - DAY BRUCE works like a FIEND. HE'S POSSESSED. Sweat soaks through his clothes as he HEAVES ENGINES into a giant CRUSHING MACHINE. He pulls the lever. Solid steel POPS and CRACKS like eggs. LITTLE AL watches, then approaches and shuts off the machine. LITTLE AL This can't go on. BRUCE What? LITTLE AL When was the last time you slept more than two hours in a row? BRUCE doesn't answer. LITTLE AL (CONT'D) That's what I thought. You're going to hurt yourself. You need time to sort stuff out. Consider yourself on vacation. Go. LITTLE AL points to BRUCE'S door. INT. GREASY SPOON DINER - THE NEXT DAY GORDON looks tired, as if he's been up all night thinking. He hasn't touched his food. But he HAS piled an ashtray full of MARLBORO butts. The counter man, DAVE, fills his coffee cup. DAVE You OK, Jim? GORDON Thanks Dave, you ever notice how, sometimes, coming to a realization about something, you know, figuring out something important, only makes everything more difficult? DAVE Um, I guess. There was this one time my brother-in-law wanted to open a bar and the wife says... The conversation is interrupted by GORDON'S RADIO. RADIO Four-Sixteen. DUTTON HEIGHTS HOUSING PROJECTS. Hostage situation. Suspect armed and dangerous. SWAT teams have been deployed. Responding officers report to Commissioner Loeb on site. GORDON What the HELL is Loeb doing there? GORDON jumps to his feet and grabs his coat. DAVE What's up Jim, that's not even your beat? GORDON (running for the door) Loeb's an animal. It'll be a bloodbath. GORDON runs for the door and out onto — EXT. THE STREETS OP GOTHAM CITY - MOMENTS LATER GORDON drives like a madman through the run-down East End. SIRENS BLARING. LIGHTNING rips across the clear sky. A storm is rolling in. EXT. THE DUTTON HEIGHTS HOUSING PROJECTS - MINUTES LATER UNIFORMED POLICE OFFICERS hold back curious residents. A GUNMAN yells unintelligibly from the roof of the projects. GORDON arrives the same time as the TV NEWS VAN from Channel One Eyewitness News. Parked at the center of the police encampment: A SWAT VAN. Inside a half dozen men strap on BODY ARMOR and check their MACHINE GUNS. LOEB Ah, the COWBOY. Came to see how REAL policemen earn their pay? GORDON Where's the negotiator? The SWAT guys are climbing out of the van, ready for action. LOEB He's working a jumper on the Herzog Bridge. We don't have time to wait. Time is money, tax-payer's money. GORDON More like VOTERS' money. That's it, isn't it? You're here for the TV cameras. GORDON, disgusted, heads back toward his car. SOMEONE IN THE CROWD Oh my god he's got a baby! GORDON STOPS. LOOKS UP. The GUNMAN in fact holds a LITTLE BABY. LOOKS OVER. LOEB's SNIPERS have taken their positions. LIGHTNING. The GUNMAN is spinning around with the child in his arms, yelling at the lightening. The SNIPERS try to line up their shots. It's all happening too FAST. LOEB talks to the SNIPERS on a RADIO. LOEB Take your shots. SNIPER (on radio) The baby is in the way. It's a tough shot. LOEB Just do your job. SHOOT HIM! The GUNMAN waves a 9mm over the edge of the roof. The TV CAMERAS zooms in on the GUNMAN. The situation slips OUT OF CONTROL. SOMEONE IN THE CROWD Someone save the baby! GORDON (to himself) Aww, fuck it. GORDON steps out from behind the POLICE BARRICADE. LOEB Gordon! GET YOUR ASS BACK HERE, NOW! GORDON ignores him and holds up his REVOLVER with two fingers on its barrel. GORDON (SHOUTS) Hey! HEY YOU! I'm coming up! GORDON drops his WEAPON — THUD — and enters the building. The TV CAMERAS eat it up. Meanwhile, across town in - INT. BRUCE WAYNE'S APARTMENT - DAY BRUCE is A BALL OF NERVOUS ENERGY; Outside, the RAIN beats down on his window. He PACES back and forth. CRASH. LIGHTNING rips across the blue sky. He tries to write a letter. BOOM THUNDER rolls. He can't sit still. BRUCE (V.O.) October 3. Dear Father, It's only getting worse. It's tearing me apart. I'm afraid it's happening. I've let it out. Father, I've let you down. I may have KILLED A MAN last night. I may be a MURDERER. I am no better than he was, a monster. Back at the — INT. DUTTON HEIGHTS HOUSING PROJECTS - MOMENTS LATER GORDON creaks up the stairs. He approaches a DOOR that says "ROOF". He eases it OPEN. The scruffy GUNMAN yells up at TV NEWS HELICOPTERS. GUNMAN No identifying marks. A million losers never finish. His blond hair, going gray, sticks to his lips as he screams. GUNMAN (CONT'D) Spider nasty. Don't noise it. No gangrene lunch. GORDON steps out on the roof, hands open in front of him. The GUNMAN has a 9mm pressed into a LITTLE BOY'S MOUTH. HE HOLDS THE CHILD AGAINST HIS OWN CHEST. If he fires he will kill the child AND himself. The TERRIFIED child cries for his mother. GORDON Hi, my name is Jim. GORDON steps forwards to shake hands. The guy freaks — GUNMAN Loudmouth fraud. Liberty is an ape. TV NEWS CAMERAS circle overhead capturing the whole scene. GUNMAN (CONT'D) So I say to him, I say, "to him". GORDON point to the sky, acting angry — GORDON Umm, bad helicopters! Meanwhile back in— INT. BRUCE WAYNE'S APARTMENT - DAY BRUCE continues with his letter— BRUCE (V.O.) Please tell me what to do, Father. I'm afraid. BRUCE picks up the WOODEN BOX. He stares at it for a long moment then suddenly— THROWS IT AGAINST THE WALL - SMACK — it smashes the vacuum tubes of an electronics project - POP POP POP - overloaded circuits burn out more equipment. SPARKS EXPLODE from the blown FUSE BOX — BRUCE (screaming) Tell me what you want me to DO! — and SHOWER down onto the floor. The workshop plummets into DARKNESS except for one TV. It casts an eerie BLUE GLOW. BRUCE looks over at the TV NEWS — ON THE TV - GORDON is on the roof with the GUNMAN. The GUNMAN recoils and spins looking around, frantic. GORDON eases closer while he's distracted by the lightning. GUNMAN We're rich. Again. GORDON Where is your medication? You have to trust your doctors, trust in the system. GORDON slides closer to the GUNMAN with every word. GUNMAN Nice toilet. GORDON Everything will be fine if you just follow the program. But GORDON'S words seem hollow. They have no effect on the GUNMAN. GUNMAN I'll change him with my love. The GUNMAN jams the 9mm further into the child's mouth, he's about to pull the trigger. The HAMMER STARTS GOING BACK! GORDON acts without thinking. He throws a right cross — CRUNCH! — dropping the GUNMAN, knocking away his 9mm just as - BANG! - he pulls the trigger, missing the child. INT. BRUCE WAYNE'S APARTMENT - DAY Bruce FLINCHES at the sound of the gunshot. EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - DAY The TV cameras frame a close-up shot. The GUNMAN, now lying on the roof, reaches for the CHILD, an arm out-stretched. SMASH CUT: EXT. A GRAND THEATER - NIGHT BRUCE's FATHER lies in a puddle of blood, an arm outstretched, reaching for YOUNG BRUCE. He grabs the BOY'S hands and closes something inside them. FATHER (weakly) Your INHERITANCE. Use it wisely, son. YOUNG BRUCE kneels in silence with his dying parents. SMASH CUT: EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - DAY GORDON is on top of the GUNMAN raining punches down on his face — POW, POW, POW — until the GUNMAN stops struggling for the LITTLE BABY. INT. BRUCE WAYNE'S APARTMENT - MOMENTS LATER BRUCE is entranced by what he sees on the TV. EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - MOMENTS LATER GORDON, with the LITTLE BOY on his hip, emerges from the building to the cheers of the crowd just as - LIGHTNING - THE GOTHAM SKIES LET LOOSE A TORRENT OF RAIN ON THE DIRTY CITY. The TV news media ignores the storm and mobs GORDON. Jam in his face. BRUCE watches— REPORTERS You went against direct orders from the commissioner. Why didn't you follow normal police procedures? GORDON I don't like what passes for NORMAL in this town. CRIME is NORMAL in GOTHAM. CORRUPTION is NORMAL. The scum of this city have taken so much from us, our youth, our families. I've declared my WAR ON CRIME! (points into the camera) Now YOU must FIGHT BACK for what's been lost! AT THE SAME TIME: INT. BRUCE WAYNE'S APARTMENT-DAY THE WORDS ARE A REVELATION TO BRUCE. He tears himself away from the TV and digs wildly through the burning electronics until he has the scorched WOODEN BOX in his shaking fist. BRUCE NOW I understand. He RIPS opens the WOODEN BOX revealing his father's heavy, silver SIGNET RING balled up in old newspaper. It bares the intertwined initials - 'T' and 'W'. BRUCE runs out the door with the WOODEN BOX and up onto the — EXT. ROOFTOP OVER BRUCE WAYNE'S APARTMENT – MOMENTS LATER LIGHTNING. SHEETS OF RAIN fall on BRUCE's face as he slides the SIGNET RING on his wet finger and screams up into the storm — BRUCE Thank you Father. Thank you. I KNOW what I must DO. LIGHTNING fills the sky as we — CUT TO: EXT. DUTTON HEIGHTS HOUSING PROJECTS - SECONDS LATER — We hear THUNDER. GORDON extracted himself from the throng of MEDIA who now turn on LOEB. REPORTERS What was going through your head? Why did you try to stop Detective Gordon from saving that child? LOEB (uncomfortable) I assure you I had no intention of... GORDON'S heard enough. Turning away, he smiles and lights a MARLBORO. A PATROLMAN jogs up to him. PATROLMAN Sir, sir. Your gun He hands over GORDON'S SERVICE REVOLVER, the one he'd put in his mouth so often. PATROLMAN (CONT'D) Looks like the finish has worn off the barrel. GORDON Guess it's time for a new a new gun, huh? GORDON takes the weapon and heads to his car. EXT. EAST END SIDEWALK - THE NEXT DAY BRUCE, dressed in an overcoat, waits in a doorway while CHI CHI talks to SKINNY GIRL in fish-net stockings. CHI-CHI I don't care if you're pregnant with the second coming of Christ. I made the appointment and you'll be there. BRUCE (V.O.) October 4. Father, The trail begins with the pimp. He is only a guppy swimming in the cesspool but he knows where she is. I must find her. CHI-CHI leaves the SKINNY GIRL crying. BRUCE (V.O.) (CONT'D) She used me to KILL that man. And murder is not allowed. CHI-CHI passes BRUCE's doorway. FOUR DEEP SCRATCHES cross his cheek. BRUCE steps out. CHI-CHI (STARTLED) Oh, the retard. Get lost. BRUCE Where's Selina CHI-CHI SELINA? She's good as dead by now. Come around tomorrow. I'll have another dominatrix by then. BRUCE I don't want her for that. CHI-CHI Yeah? That's not what it looked like the other night. You guys got a little carried away with your games, huh? BRUCE You were THERE? You let her get away? CHI-CHI (fingers his cheek) Yeah she got away but they'll find her. She'll fry for killing that cop. BRUCE (grabs CHI-CHI) You're going to help me find her. Instantly CHI-CHI stabs at BRUCE with the switchblade. BRUCE floats to the side and stomps on the pimp's knee — CRUNCH — bending it in a way knees were never meant to bend. The PIMP writhes in pain on the ground — CHI-CHI You psycho! I know you. I've seen your face, man, you can't hide BRUCE walks away — BRUCE (V.O.) And so it begins. I will not let you down. Your loving son, Bruce. He's got a new spring in his step. ON THE TV — CHANNEL ONE EYEWITNESS NEWS runs a Special Report. THE ANCHORMAN delivers his lines under the title 'SUPER COP'. ANCHOR, BRIAN Detective James Gordon wowed the city of Gotham by single-handedly rescuing a small child from the hands of an escaped mental patient and possible avoiding needless bloodshed and mayhem at the hands of this city's notoriously violent SWAT team. His comments to the press highlighted a growing rift between various departments within the police force. He hinted at charges of police corruption and promised to wage a one-man war on crime. I don't know about you Sandy, but this reporter finds such straight talk very refreshing. CO-ANCHOR JANE Indeed Brian. Now let's take a look at sports — We pull back WIDER to see the TV plays in — INT. GORDON'S APARTMENT - EVENING GORDON and ANN are watching on the sofa. ANN is stunned. ANN This is a big deal. They're going to want you on talk shows, you know? You're going to need a new suit. GORDON (laughing) Let's go celebrate! ANN Honey, we can't. It's late, we've already eaten. GORDON Then, let's get a drink. ANN(LAUGHS) Jim! Hello? I'm with child. GORDON Oh, sorry. Right. Then dinner, Friday. How's La Bonne Maison sound? ANN Ooh, Fancy. It's a date. ANN pulls her husband down on top herself, kissing him. INT. BRUCB WAYNE'S APARTMENT - NIGHT The TV NEWS plays in the back ground as BRUCE applies a fake scar onto his cheek. BRUCE(V.O.) November 8. Dear Father, the pimp knew my face. A distracting scar will hopefully mask my identity. BRUCE puts on the overcoat and wide-brimmed, concealing hat. BRUCE (V.O.) (CONT'D) Tonight I begin your revenge. I will rid this city of its cancer. I will draw the scum to me and make them pay. BRUCE hold up his FIST and on it — BRUCE (CONT'D) Father, tonight I am declaring war! Your loving son, Bruce. — HIS FATHER'S SIGNET RING. EXT. EAST END PARK - NIGHT BRUCE has a tourist map in his hands, he acts lost. A pair of MUGGERS saunter out of the night. They circle. MUGGER #I Need some help mister. Maybe you're lost? BRUCE says nothing, just soaks in the atmosphere of violence. MUGGER #1 You could use a guide to show you where the bad places are. MUGGER #2 Yeah, to protect you from the bad elements. BRUCE cracks a gentle smile. MUGGER #2 (CONT'D) We'll take care of you mister. But you have to give us a tip. (holds out hand) NOW! MONEY! One of the assailants becomes impatient and SHOVES BRUCE. There is no delay in cause and effect. The shove sparks an almost ORGASMIC release of RAW, PENT UP VIOLENCE from BRUCE. HE EXPLODES - CRACK! CRACK! CRACK! CRACK! BRUCE PUNCHES MUGGER #1 in the CHEST, rapid-fire brutal, RIBS CRUNCH. MUGGER #2 steps into the fray. BRUCE neatly SNAPS HIS ARM - CRUNCH — and SWINGS an ELBOW — POP — SHATTERING MUGGER #2'S FACE. He SLAMS to the PAVEMENT in sudden, surprised PAIN. BRUCE stands over both the fallen MUGGERS and breathes in a huge lung-full of the crisp, clear night air. A calm washes over him. BRUCE Here's your tip. He delivers a final kick and walks off into the night — A CHANGED MAN. EXT. EAST END ALLEY - NIGHT SKINHEADS divide the contents of a BLOODY PURSE. A BEATEN WOMAN lies sobbing on the ground by some trash cans. SKINHEAD #1 You took the credit cards last time. Then, suddenly aware of someone else in the alley, they turn to see BRUCE standing over them. SKINHEAD #2 Looks like it's going to be a good night, boys. The SKINHEADS descend on BRUCE. BRUCE Yes. It does. BRUCE tears into the SKINHEADS with all the joy of a child on Christmas. BRUCE punches the SKINHEADS in the face, his father's SIGNET RING crushes flesh against bone, leaving a deep BLOODY MARK. EXT. EAST END STREET - NIGHT A greasy junky holds a FAKE PEARL NECKLACE up to his DEALER. GREASY JUNKY But that's all I got. DEALER Then you'll have to go get something else. Won't you' PAY-PHONE rings. The DEALER answers BRUCE appears behind the drug DEALER at his PAY-PHONE. DEALER (CONT'D) Can't you see I'm doing business here? Wait your turn. BRUCE I'm done waiting. BRUCE grabs the DEALER'S HEAD by the hair and SLAMS IT — BASH! BASH! BASH! — into the METAL PAY-PHONE. BRUCE (CONT'D) Welcome to my war. The dealer slides to the ground. BRUCE walks off. His FAKE SCAR hangs half off his cheek. The sun is just beginning to peek over the worn rooftops. INT. BRUCE WAYNE'S APARTMENT - MORNING BRUCE sleeps. DEEP. SOUND. RESTFUL. A comforted smile teases the edges of his lips. INT. LA BONNE MAISON - EVENING ANN and GORDON enjoy a nice dinner together in one of Gotham's finest restaurants. ANN To my Super Cop. GORDON To the most beautiful woman in Gotham. Clink. GORDON (CONT'D) Things are going to be different, baby. I feel it. (notices something) SHIT! ANN (worried) What it is honey? GORDON I don't believe it. GORDON watches as Commissioner LOEB and Emilio ESTRADA are lead to a private dining room along with several scantily clad, exotic-looking women. ESTRADA hands the waiter a hundred dollar bill. His face is an emotionless mask, perfectly smooth and featureless, the result of a compulsive addiction to cosmetic surgery. ANN Who IS that with Commissioner Loeb? He looks like a zombie. GORDON stands up and starts dumping bills on the table. ANN (CONT'D) JIM? What's the matter, honey? GORDON drags wife from the restaurant. EXT. SIDEWALK OUTSIDE LA BONNE MAISON - EVENING GORDON is livid. GORDON I can't believe he's so blatant. ANN Who? What's the matter? GORDON Christ! Don't you read the papers? That was Emilio ESTRADA. "Gotham's Golden Pimp". The one Harvey Dent had up on charges 6 months ago. And now he's eating at La Bonne Maison with my Police Commissioner. OK? That's what's the MATTER. ANN, hurt, jerks her hand free and walks ahead. GORDON realizes he's crossed the line. He's pissed at himself for scaring his wife. He lashes out and KICKS a nearby trash can. GORDON (CONT'D) Dammit! GORDON jogs to catch up and gently takes ANN'S arm. ANN I'm your wife, not some rookie cop you can treat any old way you want. GORDON I'm sorry I snapped at you. (sighs) Look. Those are BRUTAL and VICIOUS men. And they are making this city a bad place to live, to raise OUR son. It's just, I don't know what to do. I get angry. I get angry for US. For the BABY. ANN (touches his cheek) I know. But what can you do? You're just one man. You can't carry the whole city on you back. GORDON There is something I CAN do. I can go over their heads. I can go to the Mayor. ANN Is that safe? GORDON (shakes head) No. GORDON puts his coat over ANN'S shoulders, they walk off. BRUCE writes a letter — BRUCB (V.O.) October 12. Dear Father, it's working. I've engaged the enemy, made progress. But I've only struck at their front line, the grunts. Tonight, I start climbing their chain of command. Then BRUCE opens a binder full of meticulous notes, drawings, charts, and reports. He turns to a STREET MAP marked with red 'x's and scowls at it. EXT. THE COMET LOUNGE. EAST END GOTHAM - NIGHT This is easily the lowest ranking drinking establishments in Gotham. Most of the bar's patrons originate from the Gotham City Corrections Facility located directly across the street. Flickering neon sign: "First beer free with release papers." BRUCE watches from a doorway as newly released prisoners make a bee-line from the jail into the COMET LOUNGE. BRUCE steps over a pair of drunks on the sidewalk and into — INT. THE COMET LOUNGE - NIGHT The place emanates PURE MENACE. The patrons consist of doomed addicts hunkered over their drinks, deflated whores and working-class thugs with overly attentive eyes. MURDER seems an everyday occurrence. BRUCE takes a table away from the sodden trio on the stage, accompanying a floor show of TRANSVESTITE singers and dancers who double as waitresses. Once seated, BRUCE is visited by a flock of waitresses and waiters. They sit on his lap, rub up against him, play with his hair. TRANSVESTITE #L And what have we here? TRANSVESTITE #2 Ooh, big. WAITER Honey, you want a private show? TRANSVESTITE #L Hey, back off. I saw him first. WAITRESS Can I get you something? BRUCE Beer. TRANSVESTITE #1 See those little doors over there? For $50 I'll blow your mind. BRUCE No thanks. WAITER He don't want what you got, skank. BRUCE You don't have what I'm looking for either. BRUCE stuffs small bills in their sagging bras. The money attracts attention. TRANSVESTITE #2 Come on baby, I can cheer you up. BRUCE I doubt it. The waitress returns with a beer. WAITRESS That will be $2, honey. BRUCE pulls out a HUGE ROLL OF BILLS and peels off a FIFTY. BRUCE Keep it. The waitress registers FEAR at the sight of all that money. She barely has her money before more than a dozen THUGS set upon BRUCE from all angles with KNIVES, CLUBS, BOTTLES and POOL QUEUES. BRUCE JUMPS TO HIS FEET. The table, chair, and transvestites tumble to the ground. The FIRST GUY swings a POOL QUEUE baseball bat style. BRUCE ducks under it and — CRUNCH — comes up with a knee into the guy's groin. The SECOND GUY gets an elbow to the nose. The THIRD, FOURTH and FIFTH GUYS move in together. BRUCE drops those three with a series of vicious rabbit punches to their faces — POP, POP, POP. But it's with numbers six through 16 that he runs into trouble. They work as a team and surround BRUCE. The first one smashes BRUCE with a chair — Then, another clocks him in the head with a whiskey bottle — And a third belts him in the jaw with brass knuckles. BRUCE staggers back. The men descend and beat him to the ground. We lose sight of BRUCE under a rain of KICKS, PUNCHES, BOTTLES and SWINGING POOL QUEUES. Then suddenly BRUCE — EXPLODES — through the ATTACKERS, line-backer style, sending them sprawling. He breaks across the room and through a door marked 'EXIT'. The room goes silent — beat — then breaks into laughter. BRUCE has cornered himself inside the — INT. WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT The small, dirty room has no windows. The only other doors open onto toilet stalls and a cleaning closet full of mops, buckets and CLEANING SUPPLIES. BRUCE (V.O.) It was almost a stupid death — Then his eyes fall on the CLEANING SUPPLIES. BRUCE (V.O.) (CONT'D) - were it not for your birthday gifts, those chemistry sets I so loved. BRUCE rifles through the chemicals. BRUCE (V.O.) (CONT'D) Ammonia, borax, bleach, peroxide, baking soda. Thank you, Father. BRUCE grabs a PLASTIC JUG and dumps hand fulls of BORAX and BAKING SODA into it, topping it off with a blast of DRY PROPELLANT from a fire extinguisher. Outside the door in — INT. THE COMET LOUNGE - NIGHT The men taunt him. ATTACKER #1 When you're done powdering your nose, can I have a free date? ATTACKER #2 Don't forget to wash your titties. Meanwhile, inside — INT WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT BRUCE picks the TOILET CAKE out of a filthy toilet and shatters it against the porcelain sink. He drops that into the PLASTIC JUG and starts mixing liquids in an empty BEER BOTTLE — AMMONIA, BLEACH, PEROXIDE. BRUCE stabs the PLASTIC JUG with a SCREW DRIVER while outside the door in – INT. THE COMET LOUNGE - NIGHT The men, now done with their taunting, approach the door INT. WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT BRUCE holds the PLASTIC JOG in one hand and the BEER BOTTLE in the other. HE takes a deep breath and dumps the liquid into the PLASTIC JOG — INT. THE COMET LOUNGE - NIGHT Suddenly the door BURSTS OPEN. A tattered and beaten BRUCE stands holding the PLASTIC JUG. He tosses the PLASTIC JUG at a thug but it misses and slides under the pool tables — BRUCE It's over. You people should get out of here, (beat) It isn't safe. The THUG whips out a LONG SCALLOPED KNIFE and comes at BRUCE. THUG WITH KNIFE Let's see what you had for lunch. Under the pool table the PLASTIC JUG BUBBLES AND STEAMS. The men raise their pool queues and encircle BRUCE. BRUCE Have it your way. BRUCE jerks a neon beer advertisement off the wall as he leaps up onto a pool table. The sign shatters. SPARKS SHOWER DOWN WHOOSH! The LOW-LYING GASSES go up in BLUE-HOT FLAMES. Every man standing on the floor collapses in agony — pants on fire, legs scorched. BRUCE casually steps from his pool table onto the bar — BRUCE Gentlemen, thank you for the dance. — walks down the bar and hops out the front door. INT. BRUCE WAYNE'S APARTMENT - MORNING A badly beaten BRUCE finishes his letter with a bruised fade and a black eye swollen almost shut. BRUCE (V.O.) Tonight I learned that I am nothing more than a LUCKY AMATEUR. To climb the ladder of crime, I will need protection, weapons, technique. I need to cultivate an advantage if I'm to take my war up the ladder of crime to the bosses, to the GENERALS. But what should that advantage be, Father. How will I find it? Your loving son, Bruce. BRUCE finishes the letter, folds it, puts it into an envelope and stamps it. He looks at it for a moment then adds it to a CARDBOARD SHIPPING BOX with hundreds just like it. INT. MAYOR NOONE'S OFFICE - DAY Mayor Noone greets GORDON at the door to his gilded, wood panelled office. NOONE I hear you have some disturbing news regarding the East End precinct detective Gordon. GORDON Yes, sir. I'm afraid so. NOONE First let me say how impressed I am that you've come forward. I know how hard these situations can be. I want you to know I admire your bravery and integrity. We need more men like you on the force. GORDON Thank you sir. I'm not trying to be a hero or anything. It's just that... Well, things are out of control. NOONE Of course, I understand. Have a seat. Now tell me everything. Why did you come to my office? It's not the normal route. Why bypass internal affairs? GORDON I believe the problem goes beyond the East End precinct, far higher. I've seen the money, been offered bribes — almost forced to take them. NOONE I see. GORDON I can name names. I am willing to testify. I believe my current notoriety with the news media makes this the perfect time to bring this matter to the public. If we hold a press conference... NOONE (interrupting) Whoah, slow down, Jim. I'm afraid it's not as simple as that. We have to be very careful how we present our case. Now who have you told about what you know? Who knows you've contacted me? GORDON No one. I mean besides my wife. I don't know what sort of repercussions I'd face if they knew I was here. NOONE Good. The fewer people who know the better. You may be in serious danger if these corrupt officers knew we were working together. GORDON Yeah. OK. What do you want me to do? NOONE For now, I'll see what I can do on my end. I want you to lay low, act normal. I'll contact you when it's time for us to make our move. GORDON But sir, there has to be something I can do to help us prepare our case. At least I can document what I see. NOONE Do nothing to jeopardize your safety. Keep clear of the officers involved. Let them think it's business as usual in Gotham while we work up a plan of action. GORDON (nods) OK. NOONE (stands and offers hand) Good. You'll see, we'll get these guys. NOONE sees GORDON to the door. INT. GOTHAM PUBLIC LIBRARY - DAY BRUCE brings a huge pile of books to the busy young LIBRARIAN at the checkout counter. LIBRARIAN Understanding Ballistics, Improvised Munitions, Explosives: Step By Step, Guerrilla Warfare, Neurochemistry, Thrown Weapons Handbook, 101 Sucker Punches... (laughs) Looks like you're starting a war. BRUCE says nothing. She looks up for the first time, sees his bruised face LIBRARIAN (CONT'D) You know what? Why don't you just take these. You look trustworthy. Bring them back whenever you like. The LIBRARIAN slowly backs away from the counter. EXT. GOTHAM PUBLIC LIBRARY - DAY BRUCE leaves with his arms full of books. BRUCE (V.O.) November 15. Dear Father, I am ready for the next level. I realize now violence alone is not enough. I must become a detective, a scientist, a scholar of crime. BRUCE dumps the books into the Al and Son Garage truck. INT. ARMY/NAVY STORE - DAY BRUCE shops: AMMO BELTS, HUNTING KNIFES with boot sheath, COMBAT BOOTS, BINOCULARS. BRUCE (V.O.) I will need tools to give me an edge. BRUCE holds up a heavy HELMET DEVICE with wires sticking out. EXT. HARDWARE STORE - DAY BRUCE wheels a shopping cart out of a MEGA-BOX STORE to his TRUCK. There he loads his purchases into the back: SPRAY PAINT, SAW, TIN SNIPS, RAZORS, DUCT TAPE, INDUSTRIAL GLUE. BRUCE (V.O.) I will no longer rely on strength alone. BRUCE starts the TRUCK. INT. SPORTING GOODS STORE - PAY A CLERK eyes BRUCE warily as he charges through the place, looking everything over. BRUCE holds up a white FIELD HOCKEY MASK. Glares at it. BRUCE (V.O.) Father, I can feel myself TRANSFORMING. At the checkout counter, THE CLERK stares numbly as across the counter slide a GOALIE'S MASK, a PADDED GLOVES, SHIN GUARDS, and a bright-red catcher's CHEST PROTECTOR. CLERK Credit or cash, dude? BRUCE Cash. Keep the change. BRUCE slaps a wad of TWENTIES on the counter. EXT. EAST END PARKING LOT, BEHIND MEGAMART - NIGHT GORDON pulls up to a small gang of young GANG MEMBERS slinging DRUGS from the parking lot. THEY SCATTER. GORDON steers to block the escape of one GANG MEMBER, O'NEIL. GORDON Hey, O'NEIL! O'NEIL! Come here. I ain't going to do nothing. I just want to talk to you. O'NEIL I'm paid up man. Right on time. GORDON I know. I know. Get in. O'NEIL gets into the passenger side. GORDON (CONT'D) Things going OK down here these days? O'NEIL (suspicious) Yeah. GORDON Officer CRAMDEN been taking care of you? O'NEIL. What is this? GORDON Think of it as quality control. We just want to make sure you're getting everything you're paying for. A happy drug dealer is a profitable drug dealer. So you're up to, what, $200 a week now. O'NEIL $250 papa, and I still get the Mexicans biting into my turf. I told CRAMDEN, he said he'd take care of it but he spends all his time sampling the merchandise down at the LAB. GORDON The lab, huh? O'NEIL Yeah, he's over there PARTYING while them Mexicans are out slinging product by MY Doughnut King. GORDON That so? O'NEIL (COCKY) YEAH. That's SO. And I want to know what you're going to DO about it. GORDON Oh, I know just how to take care of this situation. GORDON grabs O'NEIL and SMASHES his face into the dashboard. GORDON (CONT'D) Take me to the lab. GORDON jams the dealer's head under the dash and cuffs him. EXT. RUNDOWN WAREHOUSE DISTRICT - NIGHT GORDON puts the car in park and watches a low-slung warehouse. Suspicious looking men stand outside. GORDON (V.O.) (CONT'D) Corruption Log, day six. Despite the mayor's advice, I am finding it harder and harder to remain a quiet observer. GORDON - with the cuffed O'NEIL - drives off. INT. POLICE PRECINCT HOUSE. BOOKING STATION - LATER. Jail cells line the walls of the large room. The prisoners, cocky and defiant, taunt the police and laugh. They call the cops PUSSIES and FAGGOTS. GORDON shoves the bruised O'NEIL into the BOOKING STATION. GORDON (V.O.) I've transcribed testimony from one Trey O'NEIL, appendix 17, describing the officer Jonathan CRAMDEN as an enforcer for East End drug dealers. GORDON drags O'NEIL to the BOOKING STATION amid ANGRY STARES from the other officers present — GORDON (V.O.) (CONT'D) I am playing a dangerous game. These men are serious. But I will not sit by any longer. I can't. I have a son to think about now. — including one officer with the name "CRAMDEN" stitched into his uniform. INT. BRUCE WAYNE'S APARTMENT - NIGHT BRUCE reads a recipe from the Anarchist's Handbook and mixes a tar-like substance on his scarred and blackened STOVE. BRUCE (V.O.) October 29. Dear Father, I will be as devious as my enemy. Chemistry projects BUBBLE on every burner. BRUCE very carefully pours yellow liquid into a glass vial. BRUCE (V.O.) (CONT'D) I will learn his tricks. He draws a milky substance from a Pyrex beaker into a vicious looking SYRINGE. BRUCE fires a COPPER WIRE out of a BLACK TUBE. BRUCE (V.O.) (CONT'D) I will follow his lead. BRUCE carries a frying pan caked in GRAY GOO out into the Junkyard. He puts it on a pile of car parts. Inserts a fuse, LIGHTS IT, and gets away fast — BOOM! — a huge EXPLOSION lights the night sky and sends debris flying in all directions. BRUCE (V.O.) I will show them no mercy. Your loving son, Bruce. BRUCE smiles at the smoking crater. INT. GOTHAM JUSTICE BUILDING GARAGE - NIGHT GORDON'S footsteps echo through the empty garage. He puts his key in the car door then, turns at a SOUND. A baseball bat drags across the concrete FLOOR. GORDON pivots as more BASEBALL BATS approach from every direction. Shadowed figures surround GORDON. FLASS You know the ORDERS, dudes. Just enough to keep him out of the HOSPITAL. And out of the PAPERS. We don't want no TROUBLE for our HERO COP making it into the PAPERS. A baseball bat SLAMS into GORDON'S SIDE. We see SILHOUETTES as a DOZEN MEN swing BASEBALL BATS at the helpless GORDON. He doesn't have a chance against the bastards. When they finish, he's lying on the ground BLEEDING. FLASS (CONT'D) This is just a warning. Wouldn't want your pretty wife to get hurt because of your stubbornness, Jimmy. FLASS drops his BLACK AND YELLOW BASEBALL BAT on GORDON. They leave, laughing and DRAGGING BATS on the concrete floor. Slowly, GORDON gets to his feet and heads home to the — INT. HALLWAY OUTSIDE GORDON'S APARTMENT - LATER GORDON drags his battered body slowly down the hall to his door. He enters. ANN (O.S.) Oh my God, JIM! The door swings shut. INT. CHOP-SHOP. EAST END - NIGHT BRUCE enters a large, dirty GARAGE where young men dismantle expensive SPORTS CARS. BRUCE (V.O.) November 2. Dear Father, you always told me, if a job is difficult, then I'm using the wrong tools. Today I test that theory. All eyes fall on the tall stranger as he flings open his long OVERCOAT. He's wearing the brightly colored SPORTS GEAR under his coat and the CATCHER'S MASK under his wide-brimmed hat. BRUCE (CONT'D) Put these on. He tosses a pile of HANDCUFFS on a work bench. The thieves, STUNNED for a moment, break out laughing. They attack with the tools of their trade — BUTANE TORCHES, CUTTERS, HAMMERS. BRUCE takes a terrible beating but he gives back at least twice what he's getting. Until an UNDER-BOSS pulls out a GUN. BRUCE SLAMS a handful of GLASS VIALS into the gunman's chest. WHITE PHOSPHOROUS EXPLOSIONS blinds the would be shooter, burns his clothes and face. BRUCE (CONT'D) OK, that's enough fun for now. BRUCE throws another handful of VIALS at the criminals — POP, POP, POP — the men instantly fall to their hands and knees vomiting as BRUCE makes his exit. EXT. ALLY BEHIND THE CHOP-SHOP – MOMENTS LATER BRUCE'S catcher's mask FLIES through the air and SHATTERS against stone WALL. BRUCE (V.O.) Too much protection, just slowed me down. The chest protector slips into a dumpster. INT. BRUCE WAYNE'S APARTMENT - LATER BRUCE, naked, SEWS STITCHES INTO HIS STOMACH with a NEEDLE AND THREAD. DEEP CUTS on his back ooze blood, they're stitched up only as far around as he can reach. BRUCE (V.O.) (CONT'D) I have the tools but not the methodology. Something is still missing. Father. I need an edge, an advantage — ON THE TV - Under the words SPECIAL REPORT — TV NEWS ANCHOR, BRIAN Criminals are a superstitious and cowardly lot. It's obvious this vigilante is trying to scare and intimidate them with violence. TV NEWS CO-ANCHOR, JANE That's Right BRIAN, the vigilante marks his victims with a wound shaped lake a BAT. An obvious reference to the occult. They show victims with MARKS ON THEIR FACES. BRUCE looks at his father's SIGNET RING and picks something (a piece of flesh?) out of it with the SEWING NEEDLE. The TV shows a scared MUGGER in Gotham Prison's Hospital. MUGGER I make a few MISTAKES and I get THIS? I get MARKED! People won't even TALK to me! I been MARKED by the BAT! TV NEWS ANCHOR, BRIAN But you know, JANE, not everyone thinks the vigilante is the bad guy here. A lot of Gotham's common citizens are happy to see those people get what they deserve. TV NEWS CO-ANCHOR, JANE Thanks for that report, BRIAN. Up next, THE BAT-MAN Vigilante: Friend or Foe? BRUCE (V.O.) Yes Father. Now I see. Thank you. Your loving son, Bruce. BRUCE looks over at the pile of supplies left over from his shopping spree. BRUCE SMILES WIDE. He's missing all his front teeth. INT. COMMISSIONER LOEB'S OFFICE - THE NEXT DAY Mayor NOONE storms into LOEB's office. He's pissed. MAYOR NOONE Loeb, what the hell is going on here? Police officers beaten in the precinct parking garage? This is an officer who has come to me with serious accusations against this department. How do you think that looks? LOEB Mayor, sit down. (Mayor sits) You should leave this to me. Frank. MAYOR NOONE But Gillian, our operations. He knows too much, and he isn't backing off. Maybe we should slow things down. If he goes to the press... LOEB (interrupts) And maybe you need to remember who's running this show. I'll say when we slow things down, which will be NEVER, AND how we handle Gordon. MAYOR NOONE He was at my office again. Said he's making a file documenting what he knows. I tried to get it but he wouldn't hand it over. He's a loose cannon. There's no telling what he might do. LOEB Don't you worry, Frank. I'm putting Gordon where he can't do any harm. LOEB smiles. INT. BRUCE WAYNE'S APARTMENT - DAY BRUCE cuts a HOCKEY MASK in half and spray-paints it black along with the AMMO BELT, the GROIN PROTECTOR and KNIFE. He paints a pair of STEEL DENTURES white. BRUCE (V.O.) November 6. Dear Father, it's all coming together. I can feel it. BRUCE welds a familiar but primitive BAT LOGO into a pair of brass knuckles. He tries them on over a pair of HEAVY LEATHER GLOVES with razor blades fitted into the side-seams. BRUCE (V.O.) (CONT'D) I have everything I need. BRUCE fills the ammo belt with: ROPE, DUCT TAPE, LOCK PICK SET, dangerous looking STUN GRENADES — BRUCE (V.O.) (CONT'D) All the pieces are falling into place. — SYRINGES labeled 'stimulant', 'pain killer', 'truth serum', 'fear toxin' — BRUCE (V.O.) (CONT'D) Everything is changed. I am reborn. — SMOKE BOMBS, also home made and dangerous looking - BRUCE (V.O.) (CONT'D) I will show them no mercy. — THROWING KNIVES, PEPPER SPRAY, SMELLING SALTS, TAPE RECORDER, BINOCULARS, SEWING KIT, and SUPER-GLUE. BRUCE (V.O.) (CONT'D) Father, you will have your revenge! Bruce puts on the LEATHER GLOVES and - click - the AMMO BELT around his waist. COMMISSIONER LOEB'S OFFICE - DAY GORDON stands at attention before LOEB's huge, walnut desk. He's swollen and bruised. GORDON You wanted to see me, sir? LOEB Yes, Gordon. I heard about the unfortunate incident the other day. (sarcastic) Funny, you'd think a trained police officer would have no problem with thugs in the precinct garage. GORDON Yes, you would. LOEB is taken back. Was that some kind of jab? He continues. LOEB I'm reassigning you. GORDON suppresses a smile, hopeful. LOEB (CONT'D) The press has its panties in a bunch, asking questions, hounding me. LOEB enjoys it, draws it out. LOEB (CONT'D) And because you seem to need a, umm, SAFER environment. I'm putting you on THE BAT-MAN vigilante case. GORDON scowls. Pure rage. INT. GORDON'S APARTMENT - THAT NIGHT GORDON pounds on an old TYPEWRITER at the kitchen table. MARLBOROS overflow an ash tray. ANN stands behind him in a nightgown, hands on his shoulders. ANN Honey, can't this wait? GORDON This file is my only chance. They put me on THE BAT-MAN case to get rid of me. I can't let Loeb push me aside that easily. I've got to compile the evidence Noone needs to take them down. ANN OK, honey. But come to bed soon. She gives him a kiss and leaves. GORDON resumes typing. GORDON (V O.) Section fourteen: Commissioner Loeb. Based on interviews and my direct contact with the commissioner, I believe it is possible the commissioner's involvement goes far deeper than the kickback slush fund. Loeb may be CONTROLLING all organized crime in Gotham City. As of now these allegations are mere speculation, I don't have the resources to pursue that line of inquiry. GORDON sighs, lights another MARLBORO and goes back to work. INT. GOTHAM JUSTICE BUILDING. BASEMENT - MORNING, GORDON walks down dark stairs, along a long corridor, down more stairs, past dripping pipes, through a door, down another hallway with flickering lights, to the door to — INT. GORDON'S NEW OFFICE - MORNING On the walls hang maps with numbered pins, police sketches of THE BAT-MAN and photos of the MARKS on victims' faces. As GORDON enters, a young police officer, MERKEL, jumps up. MERKEL Good morning, sir. Three more came in last night sir. GORDON Let me guess, we'll find all of them in the prison wing at Gotham Mercy. MERKEL Yup. All three, admitted last night. GORDON We better hit the road then. I can get my coffee on the way. GORDON leaves. MERKEL runs after him pulling on his coat. INT. GOTHAM MEMORIAL HOSPITAL. SECURITY WARD - LATER GORDON and MERKEL meet Dr. Wallace as they pass through security. They talk as they walk through the busy ward. Everywhere beaten men lie cuffed to hospital beds. Some in traction, or horrible looking braces. Almost all bear the MARK OF THE BAT. GORDON Morning doctor. I hear you have a few more guests for us to talk to. DR, WALLACE Merkel. Gordon. Your lacerations seem to be healing nicely. GORDON (ignoring the remark) So what do you have for us today' DR WALLACE Couple guys from an electronics store heist. Broken clavicle, some ribs, dislocated shoulder, concussion and about 12 hours surgery between 'em. GORDON And the other one? DR, WALLACE A pusher from Stilmore Heights. He'll need some dental work and he took about 75 stitches but he's OK. We have him in isolation if you want to talk to him. GORDON Yeah? DR. WALLACE Seems he was made to eat his own product. We've had to keep him away from the general population. The doctor stops to inspect the chart for a man in bandages. GORDON (to MERKEL) Do you notice anything about these men? MERKEL You mean the mark of the bat? GORDON No, I'm talking about their spirit. These men are broken. Scared. MERKEL looks around. HE'S RIGHT! Some of the criminals are even crying. Just then the doctor opens a door for the cops. DR. WALLACE Here's your drug dealer. In the corner of the padded room cowers the former shell of a once-tough street pusher. His haunted eyes are framed by stitched-up wounds that still very much resemble a bat. INT. HARVEY DENT'S OFFICE - LATER Harvey DENT opens a door bearing the words, "HARVEY DENT, ASSISTANT DISTRICT ATTORNEY" for GORDON. The two men enter together. GORDON carries a note pad. DENT You're kidding me! I'm THE BAT-MAN vigilante? My wife will love this. GORDON Hey, you're young, you work out. And I've seen your record. You have no love of organized crime. I saw the ESTRADA trial on TV. DENT Yeah, well he's still on the streets, isn't he. If I was the vigilante, ESTRADA would be making license plates right now, not running Gotham's prostitution racket. GORDON Yeah, it must be FRUSTRATING. (flipping through notes) You know, ESTRADA's operation has been hit quite a few times. A detective was even killed at one of his brothels. DENT I heard. Detective CAMPBELL. No big loss for the department from what I understand. GORDON smiles at that. GORDON Yeah, well I have a list of dates and times. I'd like you to account for your whereabouts. DENT (takes the list) Sorry detective, I was in DC at a convention for three of these dates and my wife will tell you I was home with her for most of the rest. I'm not your BAT-MAN. Wish I was but I'm not. GORDON No you don't. He's a dangerous psychopath. And when I catch him, he's going down hard. DENT I'm surprised to hear you say that Gordon. I hear you're one of few remaining good cops on the force. GORDON Oh Christ, not you too. You of all people should know, we live in a society of laws. This guy isn't a hero. He thinks he's above the law. He's a terrorist. Plain and simple. GORDON lights another MARLBORO. INT. UPHOLSTERY DISTRICT CATHOUSE - NIGHT SELINA and HOLLY now live in a large warehouse divided by plywood into dozens of small rooms for prostitutes. Their cubicle sports a sagging bed and a gaudy pink paint-job. The ceiling is chicken wire. Hundreds of voices — arguing, copulating, flirting — fill the cavernous space around and above their cubicle. Selina wears a blonde wig. It's dinner time, SELINA: Tuna from a can, HOLLY: Pizza. HOLLY SELINA, I don't like it here. SELINA Hush. Keep your voice down. I'm Mistress Kitty now. You have to remember that. No one can know who we are. HOLLY I'm sorry. SELINA Look, I don't like it any better than you, OK? But I've got an idea. We can change things — for real this time. HOLLY What are you going to do? SELINA I'm going to take a little something back from those bastards. I'm going to make them pay. HOLLY Can't we just leave town, go somewhere where CHI-CHI and the cops can't find us? SELINA Come on HOLLY. If it isn't CHI-CHI, it's going to be someone else. (moves closer to HOLLY) Now, I've been talking to some of the girls who work down on Franklin street. They say sometimes city limos pick up girls down there for parties. I figure we get a camera... HOLLY (interrupting) You're SCARING me. SELINA Yeah, well, maybe it's TIME we did some scaring. SELINA finishes her tuna and throws the can to a black cat. INT. GORDON'S CRAMPED, NEW OFFICE - NIGHT GORDON smokes a cigarette and watches a small monitor set up on his desk. MERKEL stands behind him with his coat on. The security tape, CHOPPY and GRAINY, shows the inside of a jewelry store. Four men climb through a broken window and begin stuffing their pockets with gems. GORDON Watch this. He scares the crap out of them. Suddenly they all jump in surprise. A dark SHADOWY FIGURE enters the frame. It's THE BAT-MAN but we can't make out exactly what he looks like. To us he's just a big, black hulk. The men back away, SCARED. THE SHADOWY FIGURE LEAPS ON THEM. There's a fight but it's over very quickly. The SHADOWY FIGURE leaves the thieves TWITCHING on the floor. MERKEL Jesus. The guy is BRUTAL. GORDON Yeah. BRUTAL and VICIOUS. MERKEL Shouldn't you call it a night? GORDON I've still got a little more work to do. MERKEL All right. Well, good night, sir. MERKEL leaves. GORDON hits rewind. EXT. GIRLS GALORE PEEPSHOW THEATER - NIGHT GORDON sits in his parked car between Al and Son's Garage and the CATHOUSE. CHI-CHI yells at the girls as he hobbles down the steps and gets in his car. A moment later he pulls out. GORDON stubs out his cigarette and pulls out after him. From a nearby ROOFTOP a large shadowy silhouette watches them both. INT. HARVEY DENT'S OFFICE - DAY GORDON bursts in unannounced. GORDON Harvey, I need a favor DENT Good morning to you too, Jim. GORDON I need a search warrant. DENT You don't need a warrant to search my place, Jim. You're always welcome. Come over tonight and dig through my underwear drawer for a mask and cape. GORDON Sorry, you're not a suspect anymore, Harvey. You're just not BAT-MAN material. DENT My wife will be so disappointed. She's really into the suit. GORDON Yeah, OK. I didn't need to hear that. (gets serious) It's not a BAT-MAN thing, Harvey. I've got a hunch. DENT A hunch? Aren't you supposed to stick to THE BAT-MAN case? GORDON That's what I need you for. I can't request it myself. DENT OK, I'm listening GORDON After we spoke, I got to thinking about the CAMPBELL murder. He was killed INSIDE one of ESTRADA's cathouses, just before the vigilante appeared. And ESTRADA's prostitution ring has been hammered by the vigilante. DENT So you think ESTRADA can lead you to THE BAT-MAN? GORDON Or the other way around. It doesn't matter. DENT I still don't get it. GORDON Look, I just want to take a look inside one of ESTRADA's warehouses. OK? DENT Hey. OK. You got it. I'll put the request in front of Judge Gillen this afternoon. Jim, this BAT-MAN thing is really getting to you, huh? GORDON The guy's slippery and he's getting better. Doing bigger and bigger criminals. He's changing his M.O., using a random pattern so we can't catch him. And he's been working on his disguise. It's... TRANSFORMING. SMASH CUT: EXT. ROOFTOPS - NIGHT A shadow runs across the gravel toped surface, and leaps to the next roof. Seen from below as a fast, fluttering blur against a cloud filled night-sky. He's going from high buildings to lower ones, jumping and rolling into the shadows. A window opens, a confused person looks out . CONFUSED PERSON You see that Harold? HAROLD (O.S.) Betty, ferchristsake, close the window. You'll catch your death. Betty closes the window and gets back to her life. We follow his progress but have trouble seeing him. We catch a glimpse as he LEAPS from a high building across an alley onto the fire escape on the other side. Then he's gone over the lip of the roof. This is THE BAT-MAN's environment, elevator rooms dripping with tar, the water towers, the TV antennas, ABANDONED mattresses, old chairs, cable TV hookup boxes, the crisp night air, alone. THE BAT-MAN (V.O.) The new identity changes everything, Father. I have an edge. I stay off the streets, work only at night. I stab fear in their hearts. I HAVE BECOME THEIR NIGHTMARE! Then we finally get a good look at THE BAT-MAN decked out in his new threads. He's MASSIVE, TERRIFYING, SPECTACULAR. He stands on the edge of a high roof, silhouetted against a giant full moon, watching an — EXT. EAST END WAREHOUSE. PARKING LOT - NIGHT Below GORDON and a bunch of UNIFORMED COPS file out of a warehouse. GORDON balls up a search warrant and throws it into the gutter, DISGUSTED. The cops drive off moments before CHI-CHI arrives in his car and hobbles on crutches inside the — INT. EAST END WAREHOUSE – NIGHT CHI-CHI makes his way through rows of stacked cardboard boxes and rolls of carpet. Then it's, slowly and painfully, up a flight of wooden stairs to an office, the kind with glass windows overlooking the warehouse and high glass skylights. In the office, five young men drape themselves over leather sofas, smoking, and throwing potato chips at a group of young, malnourished women who cower on the floor. SANCHEZ, an older, fat man, sits behind a desk on the phone. SANCHEZ (into the phone) They just left. Yeah, they had a warrant. Bunch of pussies. I told them they're house cleaners. Hey, what can they do? The girls have papers. Nobody greets CHI-CHI as he enters. No one offers him a seat. SANCHEZ (CONT'D) Yeah, they look good too. No, I got the Russian ones. Oh yeah? No shit! The shipment from Honk Kong or the Mainland? Well I hope they're as good as these. SANCHEZ hangs up. SANCHEZ (CONT'D) So, CHI-CHI. Leg still hurt? CHI-CHI Well sometimes when it's wet out I get this... SANCHEZ (interrupting) No one cares. What's our take for the week? CHI-CHI We did OK. CHI-CHI crutches over and puts a yellow paper bag from a department store on SANCHEZ 's desk. SANCHEZ (looks in the bag) OK? What the hell is OK? We don't pay you for OK. We want good. We want great. We want freaking excellent out of you! CHI-CHI There's been problems lately. Business is off. This vigilante is keeping the Johns away. He's got everyone scared to... CRASH! A shower of glass drops from an overhead skylight. THE BAT-MAN lands on SANCHEZ' desk. A terrifying demon of the night. Pure menace. THE BAT-MAN Gentlemen, I'm here to ask you a few questions. The men are stunned— paralyzed by fear until SANCHEZ pulls an UZI from a holster and fires a volley at THE BAT-MAN. BUT HE'S GONE. The bullets strike CHI-CHI in the CHEST. HE GOES DOWN. THE BAT-MAN is in the air, he somersaults over the men on the sofas. Smoke Bombs fly from his fingers. POP. POP. POP. POP. Then it's all shadows and confusion. Guns fire. BAM. BAM. BAM. Bones CRACK. People SCREAM. Guns - CLICK. CLICK. CLICK. - empty. Finally a body smashes through the plate glass onto the warehouse floor. A chimney effect takes place. The smoke, no longer trapped, is quickly sucked out the broken skylight, leaving THE BAT-MAN and SANCHEZ the lone people on two feet. SANCHEZ, in shock, clicks his empty gun. The women break for the door and scatter into the night. A man clutches his throat and writhes on the desk. Without ever removing his eyes from SANCHEZ, THE BAT-MAN draws a knife and jabs it into the choking man's throat. Instant tracheotomy. The man can breathe, he slides, relieved, to the floor. THE BAT-MAN Now then, where is your boss. THE BAT-MAN grabs SANCHEZ by the head with both hands THE BAT-MAN (CONT'D) Where is ESTRADA? SANCHEZ Down... docks... new girls... shipment THE BAT-MAN throws SANCHEZ to the floor. SMASH CUT: EXT. DARK STREETS - NIGHT A black LINCOLN CONTINENTAL drives through the bleak, barren streets of Gotham at BREAK-NECK SPEED. It is no ordinary LINCOLN CONTINENTAL — It's the BAT-MOBILE. Its windows are tinted opaque. Heavy, steel bumper modifications have been welded to the chassis. The hood has been chopped back to make room for the super-charged school bus engine that powers it. And it drives without headlights. LIKE A CAR POSSESSED, reckless and demonic. INT. 6-STORY WAREHOUSE. NEAR GOTHAM DOCK - MOMENTS LATER Armed guards playing cards at a table. At the service entrance, a guy draws back the peep hole in a reenforced steel door just as — CLANG! The door FLIES OFF IT'S HINGES and skids, sparking across the parking lot on a chain behind the BAT-MOBILE. The guards rush outside, guns at the ready. The LINCOLN CONTINENTAL does a skidding 180 dragging the heavy door. The BAT-MAN accelerates, then stomps the brakes. The heavy STEEL DOOR flies past him SMASHING into the guards. Meanwhile, attracted by the noise. More armed men rush down the staircase. Enter THE BAT-MAN — THE BAT-MAN Two options: Tonight you men can go to prison or to the prison hospital, the choice is yours. The first goon to recover LEVELS A SHOTGUN. THE BAT-MAN throws a VICIOUS KICK to the guy's CROTCH before he can fire. THE BAT-MAN (CONT'D) That's the one I HOPED you'd pick. THE BAT-MAN leaps into the fray Taloned claws sink into a man's shoulder, he screams as he's THROWN THROUGH A WINDOW. Another thug swings a bat. THE BAT-MAN kicks him in the chest, grabs his bat from mid air and flings it — CRUNCH — into the face of another gunner across the room. A guy gets the drop on THE BAT-MAN with a machine gun. THE BAT-MAN (V.O.) (CONT'D) There are seven working defenses from this position. Three of them disarm with minimal contact. Three of them kill. The other just HURTS! CRACK! He throws a MAIMING SIDE-KICK into a guy's hip. THE BAT-MAN (V.O.) (CONT'D) He's young, Father. He'll probably walk again. But he'll stay SCARED. THE BAT-MAN puts a foot between another's shoulder blade and — CRACK — JERKS BOTH WRISTS BACK UNTIL THEY CROSS. THE BAT-MAN (V.O.) (CONT'D) Fear clouds their judgement, makes them stiff and clumsy. Guys keep pouring down the stairs. THE BAT-MAN throws one OVER THE RAIL. Another goes THROUGH A WINDOW. THE BAT-MAN (V.O.) (CONT'D) They are like rag dolls to me now. To be thrown aside and forgotten. A third gets CRUSHED UNDERFOOT as THE BAT-MAN continues to climb, floor by floor, to the top. It's been a tough fight. He's sweated through his clothes, lost his cape but the action only makes him stronger. A GLOW OF EXCITEMENT shines off him. THE BAT-MAN (V.O.) (CONT'D) There is only one man I am looking for tonight. He's the GENERAL! And, now, before him ESTRADA tries to muster some composure. He's run out of men to fight for him and stands surrounded by half-starved Asian women with hate in their eyes. THE BAT-MAN (CONT'D) Ah, ESTRADA. At last we meet face to face. Such as it is. You're coming with me. I have a lot of questions for you. ESTRADA is backing to the wall in pure fear. THE BAT-MAN's gloved hand covers his eyes. Everything goes DARK. EXT. 6-STORY.WAREHOUSE. NEAR GOTHAM DOCKS - LATER Close up of a syringe. The tip makes a dimple in ESTRADA's neck. THE BAT-MAN This is Hydro-strychnine-sulfate, you can think of it as a cross between truth serum and the worst acid trip of your life. Makes the stuff they had a Woodstock feel like aspirin. THE BAT-MAN presses the sinister syringe into ESTRADA's carotid artery. There's an immediate change in ESTRADA's attitude. EXT. SIX STORY WAREHOUSE - MORNING An obviously drugged ESTRADA, duct taped to a 6th floor flag pole, rants loudly. A few cops stand around looking up at the spectacle. A crowd has gathered. ESTRADA yells to anyone who will listen— ESTRADA We get the girls from overseas. They work for us. Loeb takes money, he runs the show. The trains run on time. Keeps the show on the road. Police say, you do your job, we do your job. No wait. I do my job you pay me. Something like that. ESTRADA (CONT'D) We go to parties sometimes. I have a nice car. CORRUPT COP (to a junior cop) Cut him down before someone hears him. The cop cuts him down and we cut forward to — INT. GOTHAM JUSTICE BUILDING. BOOKING DESK - MORNING GORDON rages at a desk sergeant. GORDON This man is a known felon. He's on the MOST WANTED LIST. We have numerous witnesses who heard him confessing to serious racketeering and corruption operations. You can't just let him go! DESK SERGEANT He walks. I got my orders. GORDON (kicking the desk, hard) Dammit! DENT pulls GORDON off. . DENT Jesus, Jim, calm down. What do you expect, the man was assaulted, drugged, kidnapped. Nothing he says is admissible in court. No sane person will prosecute. GORDON Bull. It was Loeb who sprung him to cover his own butt. GORDON stomps off in a rage. EXT. THE GOTHAM JUSTICE BUILDING - MORNING THE BAT-MAN sits in his LINCOLN CONTINENTAL across the street from the police station. In the morning light it looks more like a souped-up limo than a demon car - ALMOST. THE BAT-MAN is totally messed up. His clothes hang in tatters. Blood puddles in the foot-well of the car. He listens to the tapes of ESTRADA's 'confession' — ESTRADA (V.O.) (on tape) Loeb runs the whole thing, uses cops as bagmen to collect and distribute the money. He's into everything, numbers, drugs, girls, guns. You name it, he gets a cut. Hey, you don't look like my mother. Click. THE BAT-MAN turns off the machine and looks out his tinted window. GORDON storms out of the precinct house. A dazed and rumpled looking ESTRADA (newly released) and FLASS (his releaser) share a smile at GORDON'S obvious fury. THE BAT-MAN (V.O.) The enemy is everywhere, even HERE. These so called policemen nurture the cancer, they breed it in men like ESTRADA and turn it lose on my streets. It looks like ESTRADA is only another soldier. The real generals live in there. THE BAT-MAN looks up at the GOTHAM JUSTICE BUILDING and says out loud — THE BAT-MAN It's your turn Loeb. I'm coming after YOU. With a painful effort, THE BAT-MAN puts the car in gear. THE BAT-MAN (V.O.) So I must climb higher still. Your loving son, Bruce. The LINCOLN drives off. EXT. EAST END SIDEWALK - MORNING LITTLE AL walks down the same crappy sidewalk as before with his coffees and doughnuts. EXT. JUNK YARD BEHIND LITTLE AL'S GARAGE - MORNING LITTLE AL enters a transformed junk yard. Piles of junk have been moved. Rearranged. LITTLE AL Bruce? All around LITTLE AL sees evidence of TARGET PRACTICE, STRANGE DEVICES and SMALL EXPLOSIONS. There's the LINCOLN CONTINENTAL with BLOOD POOLED ON THE SEAT. He follows BLOOD DROPLETS up the wooden stairs that lead to BRUCE's apartment. The door hangs slightly ajar. LITTLE AL pushes it open and enters. INT. THE BAT-MAM'S LAIR - MORNING BRUCE's apartment has been TRANSFORMED into a crime fighting command center. There's a HUGE FLOW chart describing Gotham's crime organizations, people's names, rank, jobs and police involvement. Pictures of LOEB and ESTRADA hang from the wall with duct tape. Crime fighting gear lays piled on the tables (and is that CHI-CHI's paper department store bag of money?). In a series of metal lockers we can see the progression of BRUCE's suits, belts, weapons and disguises. Some broken. Many caked with blood. LITTLE AL finds THE BAT-MAN lying UNCONSCIOUS ON THE FLOOR. He's lost a lot of blood. INT. THE BAT-MAN'S LAIR - HOURS LATER BRUCE comes around in his bed. His eyes flutter and then snap open. He's momentarily confused. LITTLE AL sits nearby drinking a coffee. BRUCE You... didn't call the police? LITTLE AL Nope. BRUCE looks at his bandages. Not a bad job at all. He tries to sit up. Too painful. LITTLE AL Settle down boy, let me tell you something. I seen a lot of people get cut all to pieces in the jungle. And after, I seen even more come home all cut up on the inside. Now, they trained me to heal a man on the outside with bandages and thread. But there ain't nothing anyone can do for those wounds on the inside. You just stay the hell out of the way and hope they sort it out for themselves. I've been wondering when you were going to go off. But this? This is something else. (beat) You know it's a lucky thing we're the same blood type. LITTLE AL holds up his arm. He's got a transfusion hose going from it into BRUCE. LITTLE AL (CONT'D) If we weren't, I'd have HAD to take you to the hospital. And they would have thrown your ass in Arkham Asylum. INT. AKKHAM ASYLUM - AFTERNOON GORDON follows an orderly through the large, time-worn Victorian building. Strange sounds emanate from doors lining the hallways — WHIMPERING. GIGGLING. SOBBING. A pair of ORDERLIES pass wheeling a young, very pale man in a straight jacket. He has green-ish hair. ORDERLY #1 (laughs) You're joking. GORDON watches them go by before knocking on an office door marked, "Dr. Patricia Holcomb, MD, Ph.D. Director.' INT. PATRICIA HOLCOMB'S OFFICE - AFTERNOON. Patricia Holcomb is a handsome woman reaching early middle age with all the dignity that could be expected of someone who spends their lives surrounded by the criminally insane. GORDON Thank you for seeing me doctor. I'll try not to take up much of your time. DOCTOR HOLCOMB Not at all detective. I've been following your vigilante case with some interest. An intriguing mind. I look forward to hosting it, if that's possible. GORDON You say that as if you don't think we're going to catch him. DOCTOR HOLCOMB I'm not sure you can, not alive anyway. I've read the files you sent over. They describe a man who inhabits a delusional world of great danger and violence. GORDON Danger and violence. Sounds about right for the East End. DOCTOR HOLCOMB Ah, but this mind inhabits a world more horrible than the East End. A world so threatening and dangerous that it's had to create a new persona, a new IDENTITY to cope. GORDON This guy's become a demon in order to fight his demons. DOCTOR HOLCOMB Exactly. Now, normally this kind of delusion represents the terminal stage of a suicidal psychosis. GORDON He's trying to kill himself? DOCTOR HOLCOMB Yes and no. Something is keeping it going. A quest or a mission of some sort. Much like the crusaders in ancient Europe who were capable of great feats by virtue of their belief or faith. GORDON You mean flying? X-ray vision? DOCTOR HOLCOMB Nothing like that I assure you. More like mothers lifting cars off children during emergencies. Or even monks and Yogis who's faith allows them to do incredible things with their bodies. GORDON So how do I catch him before his faith does any more "great feats" to the citizens of this city? DOCTOR HOLCOMB I'm afraid that's your problem Detective. My job is knowing what makes them thick, not what makes them run. I will tell you this though, that mind is starting to enjoy its work. It's capable of anything. GORDON Come on doctor, what do I DQ? How do I stop him before he kills someone? DOCTOR HOLCOMB I suppose you strike at the weaknesses. What is this great delusion protecting? It didn't just come into being over night. It started long ago with a young boy being terribly, terribly hurt. GORDON Huh. Interesting. Thank you doctor. GORDON stands to go. EXT. ARKHAM ASYLUM, PARKING LOT - MOMENTS LATER GORDON, lost in thought, digs for his keys. He's startled by JANET SELLING. JANET SELLING Detective Gordon, Detective Gordon. Wait up a second. JANET SELLING, Channel One News. Can I have a word with you? GORDON Sorry, I'm in a rush here. JANET SELLING It'll only take a second. I want to ask about allegations of corruption in the precinct. I'm hoping you'll corroborate some of the rumors I've been hearing. GORDON I really AM in a hurry. JANET SELLING A hurry to what, chase a mental case? Doesn't it ANGER you that you've been put out to pasture while all through the department corruption is running rampant. GORDON SPINS on her, furious. Then catches himself and smiles. SHE GOT HIM. GORDON OK, what do you want to know? SELLING smiles and takes out a note pad. EXT. GOTHAM JUSTICE BUILDING - NIGHT THE BAT-MAN climbs up a black iron DRAIN SPOUT in the rain. It's DIRTY, SLIPPERY, DANGEROUS work. Gotham City spreads out, glittering and twinkling, far below. INT GOTHAM JUSTICE BUILDING. LOEB'S OFFICE - NIGHT LOEB sits in a red leather club chair drinking brandy as Mayor NOONE paces the room. MAYOR NOONE You see Channel One News? They just ran a big police corruption story. Someone's talking. It's that damn Gordon, I'm telling you. LOEB We're going to have to take drastic measures with that detective. But right now we've got bigger problems. Our friends on the street are making some seriously unhappy noises about this vigilante. MAYOR NOONE For Christ's sake, Gillian! Things are slipping into chaos. What's going on around here? LOEB I don't know, exactly. For now, our boys on the force are keeping our associates calm. But I'd like to meet face-to-face, let them air their concerns, do a little damage control. MAYOR NOONE (smiles) Sounds like you're talking about one of your parties. LOEB Yeah, I talked to ESTRADA he'll bring some girls. MAYOR NOONE All his girls are so — PRISSY. LOEB Don't worry, I know you like 'em more, umm, assertive. We'll find you a party favor. I'll see to it myself. And by the way, here. LOEB tosses a yellow envelope like the one FLASS tried to give to GORDON, only fatter, at the mayor. LOEB (CONT'D) The precinct guys wanted you to have this. The mayor flips through it, smiles. We pan out the window to — EXT. GOTHAM JUSTICE BUILDING – MOMENTS LATER A large gargoyle sits hunched on the granite facade of the justice building. Wrapped in his cape, THE BAT-MAN remains unmoving in the cold, pouring rain. Pigeons walk around on the ledge next to him, cooing and pecking at bird excrements and smog fallout. A wire runs along the ledge leading to a small contact microphone attached to the window. THE BAT-MAN grins. THE BAT-MAN (to self) Oh boy, we've been invited to a party. He reels in his contact mic. INT. HARVEY DENT'S OFFICE - MORNING GORDON bursts in, interrupting. It's becoming a pattern with these two. DENT What's up Jim. You look terrible. GORDON (paces the room) My office was ransacked. They were at my apartment too. Broke the locks, tossed the place. They tried to make it look like burglars but I think it was Flass and his crew looking for my file. DENT I'm not surprised, after that news story, you're likely to be public enemy number one to those guys. In fact, that file MAY be only thing keeping you alive at this point. GORDON Great, because they FOUND it and they TOOK it. DENT Here sit down, have some coffee. You got to get out of town, disappear for a while. GORDON Right, I'll go up to a cabin in the woods and die of multiple, accidental hunting gunshot wounds to the back. DENT Jesus, calm down Jim. Just take it easy. There has to be something you can do. GORDON Nope. It's business as usual for me. I play the good soldier, stay low and hunt for my BAT-MAN. DENT They don't want you to catch the vigilante, they would give you some manpower if they did. And when you capture the guy, they're going to crucify you on the news. This guy's becoming a saint to some people. GORDON He's a terrorist, Harvey. A DANGEROUS PSYCHOPATH. Who knows how far he'll take his personal war on crime. DENT Yeah, it's really scary to think how far a guy will go to rid this town of crime. DENT meant that as a JAB but GORDON missed it. EXT. FRANKLIN STREET - NIGHT A limo rolls through the darkened streets. As it passes nasty, SKANKY whores fly into a frenzy. They desperately prostrate themselves before the car. ALL BUT ONE. She's different. Confident and attractive where the others twitch and vamp, PITIFUL and HORRID. IT'S SELINA. She's dressed in knee-high black boots, black leather pants, a leather halter top. She wears her wig and carries a whip. INT. THE LIMO - NIGHT LOEB assesses SELINA. LOEB (to the driver) That one. And the next thing you know SELINA is inside — INT. LOEB'S MANSION. MASTER BEDROOM - NIGHT LOEB lives in a beautiful, old-world mansion, one of the many benefits he's received from his long career of graft. SELINA lies on his FOUR POSTER BED in his tacky mirror-and silk bedroom. LOEB Make yourself at home darling. I have some business to attend to, then I'll introduce you to a good friend of mine. He's eager to meet you. The moment LOEB leaves, descending the grand staircase, SELINA dumps her purse on the bed — cuffs, whips, rubber ball and a SMALL CAMERA with a long TRIGGER CORD. She finds a hiding place for the CAMERA and strings the CORD under the headboard. Then she casually begins to case the place — turns over the CERAMICS to read the brand, checks out the SILVER HAIR BRUSH. She grabs a SATIN PILLOW CASE and fills it with loot. She peeks through a gilded door it leads to a staircase. Intrigued, SELINA descends to another door that leads to — INT. LOEB'S PRIVATE STUDY - NIGHT SELINA cautiously enters the room. INT. LIVING ROOM. LOEB'S MANSION - NIGHT Off-duty cops and gangsters party with ESTRADA's exotic looking whores. Drugs in high piles cover silver platters. ESTRADA talks to FLASS by a lion statue. Beautiful women bear trays with expensive liquor. LOEB makes his entrance, followed by Mayor NOONE. LOEB's guests stand as he takes a glass and clinks it. LOEB Gentlemen I've brought a guest with me this evening. Mayor NOONE would like to express his gratitude for the civil way you've all conducted your business these last few years. Isn't that right mayor? MAYOR NOONE Yes, indeed. I am very grateful for the restraint you've shown by keeping your businesses localized to your own, umm, areas of expertise and I would like to pledge to you all — LOEB (interrupting) All right, fine. Down to business. LOEB takes a seat in a big leather club chair by the fire. NOONE looks around for a chair, finds none and wanders over towards the BAR. But unbeknownst to the party, one more person is in attendance. He's — EXT. OUTSIDE IN THE BUSHES - NIGHT THE BAT-MAN has his contact microphone attached to the window of the living room. He listens intently to the conversation taking place inside - INT. LIVING ROOM. LOEB'S MANSION - NIGHT LOEB holds forth, the center of attention. LOEB Our topic of discussion this evening: THE BAT-MAN. A MURMUR goes through the gangsters. While nearby in — INT. LOEB'S STUDY - NIGHT SELINA roots around. She checks out STATUES, lifts CARPETS, tosses the odd GOLD CIGAR CLIPPER into her PILLOW CASE. INT. LIVING ROOM. LOEB'S MANSION - NIGHT LOEB continues — LOEB Gentlemen I know THE BAT-MAN has caused some problems for our operations. But his activities must be kept in proper perspective. He is an annoyance, nothing more. A temporary fly in a very rich ointment. GANGSTER #1 Are you CRAZY? Do you know how many of my boys that PSYCHO has hospitalized? GANGSTER #2 It is absolutely preposterous that you would even think about leaving this nut case to ruin our businesses like this. After what he's done to our OPERATIONS. Meanwhile, SELINA continues to rifle through — INT. LOEB'S STUDY. LOEB'S MANSION - NIGHT She's made her way into the DESK DRAWER. She finds CASH, a SILVER PLATED GUN, a SAFE DEPOSIT BOX KEY. Some PAPERS grab her attention — GORDON'S. She reads a little bit, finally she just dumps the whole drawer, PAPERS and all, into the PILLOW CASE. INT. LIVING ROOM. LOEB'S MANSION - NIGHT The arguing continues. LOEB Think of the big picture. Sooner or later, we'll get lucky and someone will put a bullet in this nut. Until then, the media love him. He gives the impression that the city is getting safer. The men, starting to catch his drift, nod. EXT. OUTSIDE IN THE BUSHES - NIGHT THE BAT-MAN has heard all he cares to hear. He's about to crash the party with the HAND GRENADE he holds in his fist — two inches from his mouth dangles its circular pin. Suddenly his head snaps to the side. He's heard something that we haven't. He's not at all pleased. Close up shot of the pin being replaced. INT. LIVING ROOM. LOEB'S MANSION - NIGHT The conversation continues. LOEB This 'war on crime' forms the perfect cover for our operations. We don't want to jeopardize them now that the money is really starting to pour in. Shouts and stomping feet interrupt LOEB's appeal. INT. LOEB'S STUDY - NIGHT Three armed security guards burst into the room and catch SELINA, red handed trying to pry open a locked cabinet. She's tripped an alarm. SELINA turns and without missing a beat assumes a regal air. SELINA How DARE you enter without knocking. The men look confused as she approaches. Once she is close enough to the guards, she whips off her leather belt and — CRACKS — the first one across the face with the buckle, knocking his gun free. Then — RIPS — her long nails across the second's face. INT. HALLWAY OUTSIDE LOEB'S STUDY - NIGHT Three more guards rush toward the door, GUNS DRAWN. INT. LOEB'S STUDY - NIGHT They burst in to find SELINA securing the two guards together in a very complicated and painful looking way with her belt. SELINA Hello, my miserable little pets. But these guards aren't falling for it — BAM! BAM! BAM! BAM! — they open fire. SELINA dives behind the desk. Bullets rips into the antique mahogany. The dust settles. The guards LAUGH and move in for the kill. When suddenly — CRASH! A BLACK LINCOLN CONTINENTAL SMASHES into the study, taking out a wall of WINDOWS. CHAOS. CONFUSION. GUNFIRE. SHOUTS. The back end of the LINCOLN FISHTAILS, demolishing the antique DESK and two GUARDS. The front end of the LINCOLN SCREECHES to a stop, a WHEEL an inch from SELINA's face. The DOOR of the LINCOLN SWINGS OPEN. SELINA looks up, stunned to see THE BAT-MAN standing up through the moon roof of the car. He holds a BLACK TUBE. A security guard levels his UZI at the pair but before he can get off a shot — THANG — 