1x00 NONE BUT THE BRAVE

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BACK ROOM
PRODUCTIONS
BZN and BACK ROOM PRODUCTIONS

Presents
BATMAN
NONE BUT THE BRAVE
CREATED FOR VS AND WRITTEN BY
ADAM SCOTT
BASED ON CHARACTERS CREATED BY
BOB KANE
AND APPEARING IN MAGAZINES PUBLISHED BY
DC COMICS
FADE IN:
Starting LOW on the water. City lights reflected in murky
blackness. Camera RUSHES FORWARD and CRANES UPWARD to reveal
GOTHAM CITY, at once slick and modern yet dark and sinister.
Silence. Then, from OS, the sound of POLICE SIRENS.
EXT. GOTHAM CITY STREETS - NIGHT
A convoy of GCPD POLICE CARS scream through the streets.
EXT. GOTHAM DOCKS - NIGHT
Camera focuses on a small WAREHOUSE down by one pier. A cargo
ship is just casting off from the jetty.
Inside the warehouse, lights burn from an office. A beaten-up
sedan is parked outside.
INT. OFFICE, WAREHOUSE - NIGHT
Two street-level drug dealers, CONNOR (30s) and younger
brother RILEY (20s) stand nervously waiting.
Behind the desk a big man with a shaved head, SLEDGE,
methodically counts money spilled from a brown paper bag.
The convoy of cars makes a hard right turn.
EXT. WAREHOUSE - NIGHT
RACK FOCUS from the warehouse to reveal a blacked out RANGE
ROVER parked in the shadows of a nearby alley.
JUMP CLOSER to reveal a MAN inside. Watching everything.
Sledge puts a small case on the table. Opens it. Inside we
see lines of tiny PINPRICK SYRINGES, similar to what a doctor
would use for a blood sample.
CONNOR
(steps forward)
That's Oblivion, right?
He stops walking as Sledge gives him and Riley a hard look.
SLEDGE
That's good. Means I don't have to
give you the lecture. Treat it with
some respect. And understand
what'll happen to your family if
anyone ever finds out where it came
from. Right?
2.
The menace in his tone does the trick.
EXT. WAREHOUSE - NIGHT
Connor and Riley get into the sedan and drive off. RACK FOCUS
back onto the Range Rover parked in the shadows.
INT. RANGE ROVER - NIGHT
The driver is a man in his late forties, balding and granitefaced, wearing a battered old leather jacket. One look into
his eyes tells us this is a man who has seen war and who
knows how to handle himself.
He puts the car in gear and drives off, following the sedan.
Sledge pushes the money back into the paper bag. Checks his
phone. There's a new text message: 'EMERGENCY'.
From outside we hear the POLICE SIRENS getting closer.
The police cars SWARM the area around the warehouse. A
DETECTIVE emerges from the lead car. In his fifties, craggy
and careworn, with shrewd eyes that see everything.
This is DETECTIVE JIM GORDON.
Sledge absently shuffles a deck of cards. He looks
nonchalantly up from his desk as Gordon enters, followed by
uniformed cops. He looks up innocently.
SLEDGE
Some problem, Officers?
GORDON
(flashes badge)
Detective Gordon, GCPD, we have a
warrant to search the premises.
INT. WAREHOUSE - NIGHT
UNIFORMED COPS conduct a search of all the packing cases.
Gordon leads a handcuffed Sledge into the warehouse.
GORDON
You can make this so much easier
and just tell me where the drugs
are.
SLEDGE
Detective, I'm sure I don't know
what you're talking about.
3.
Sir!
UNIFORMED COP 1 (O.S.)
Gordon rushes over to where a pile of packing crates stand

stacked in the shadows.
Open it.
GORDON
The cop crowbars the lid off. Gordon rummages inside -- then
stops short as his hand emerges holding a TOY CAR.
SLEDGE
You can have that one wholesale.
Laughter all around. Gordon looks back at Sledge, fury in his
eyes. Knowing he's been beaten.
GORDON
Who did it, Sledge? Who tipped you
off?
Sledge just grins, shrugs innocently.
POUNDING HOUSE MUSIC kicks in and we CUT TO:
EXT. NIGHTCLUB - NIGHT
A converted building, once a factory, now the coolest
nightclub in the city and, as evidenced by the line of
CLUBBERS waiting to get in, the most exclusive.
At the front of the line a FRAT BOY is attempting to get
himself and his way-too-glamorous date (KELLY) inside without much success.
FRAT BOY
Come on, man, how much longer you
gonna keep me waiting?
The DOORMAN remains impassive.
FRAT BOY (CONT'D)
This is lame, let's try somewhere
else.
KELLY
You promised me you could get us
in.
FRAT BOY
Come on, they're never gonna-VROOM! The sound of an expensive car engine. Everyone turns
to see a sporty JAGUAR SKID SIDEWAYS into the street, SCREAM
up to the doors and stop on a dime by the front door.
4.
The doors open. Three GORGEOUS GIRLS emerge, all wearing the
same dress in a different colour, each one hotter than the
last.
The last person out is a man - late twenties, devastatingly
handsome, wiry, roguish. He holds himself in a way that tells
us this is his world and that we're all just living in it.
This is BRUCE WAYNE.
BRUCE
Ladies. Shall we?
The doorman steps back to allow Bruce inside immediately. The
Frat Boy looks indignant.
FRAT BOY
So what, he's good enough for you
and we ain't?
Bruce hears that, stops. He catches Kelly's eye.
BRUCE
And what's your name?
...Kelly.
KELLY
BRUCE
(holds out his hand)
Mine's Bruce. Care to join me?
FRAT BOY
We're good, thanks-KELLY
(megawatt smile)
Sure.
Bruce takes her hand and leads her inside. The Frat Boy looks
amazed, then outraged.
Hey!
FRAT BOY
But they're already inside. The Frat Boy looks stunned - what
the hell just happened? The doorman grins, loving it.
INT. NIGHTCLUB - NIGHT
HOUSE MUSIC THROBS. The dancefloor is packed and jumping. The
air reeks of exclusivity and money, and Bruce walks through
it all like royalty. He leads the entourage of girls through
to the VIP area.
KELLY
I can't believe they just let you
in like that.
5.
BRUCE
Oh they should, I own the place.
KELLY
(realising)
Bruce? Bruce Wayne?
BRUCE
(grins)
Helps not to know me.
(to the bartender)
Barney? Take care of my friends.
(to Kelly)
Now then.
He sits down, takes her by the waist and spins her around in
one fluid movement so she's sitting in his lap.
BRUCE (CONT'D)
What shall we talk about?
What she can't see is that Bruce has chosen the seat that
gives him the best view of the entire club.
EXT. REAR ENTRANCE, NIGHTCLUB - NIGHT
The sedan is parked around the back. Connor sits in the front
seat, checking his watch, nervous.
BODIES WRITHE on the dancefloor. In the VIP area, Bruce
watches everything as the girls party. Kelly is kissing his
cheek, her hand inside his shirt, but he's taking no notice.
Connor still looks nervous. Behind him we see the Range Rover
from the docks silently pull into the alley, it's lights
switched off. Sinister in the darkness.
Where we see Riley moving through the crowds. Plying his
trade. He approaches a gang of GIRLS, begins to talk quietly
with them. Money changes hands.
RACK FOCUS to reveal Bruce, watching from the VIP area. Eyes
zeroed onto Riley like a heat seeking missile.
Connor checks his watch again just as - SLAM! - the door is
WRENCHED OPEN and the bald man from the other car grabs him
and SLAMS him against the rear door.
Hey--!
CONNOR
6.
BALD MAN
(English accent, right in
his face)
Shut it if you know what's good for
you.
He pulls the baggie of needles from Connor's pocket.
INT. TOILETS, NIGHTCLUB - NIGHT
The girls Riley was talking to earlier unwrap one of the
pinprick syringes. One girl RAMS the injector into her palm.
Her eyes UNFOCUS immediately.
GIRL'S POV: everything distorts, moving in and out of focus,
frighteningly sharp to absolutely blurry in seconds.
The back door CRASHES open. BOUNCERS look up as Connor hits
the ground. The Bald Man stands there, grinning.
BALD MAN
Caught you a little fish.
BOUNCER 1
Who the hell are you?
BALD MAN
Name's Alfred Pennyworth, I work
for Mr Wayne. And this guy doesn't
know it yet but he's having a
really bad night.
ALFRED drops the baggie of needles onto Connor's back.
At the bar, Riley sees it. And suddenly he looks worried as
hell. He downs his drink in one go and heads off.
In the VIP area, Bruce sees all of this. Smiles. Gently
removes Kelly's hand from his shirt.
Ladies.
BRUCE
He kisses Kelly on the lips once, hard and passionate.

BRUCE (CONT'D)
If you'll excuse me.
He lifts Kelly out of his lap and heads off. Kelly looks up,
a little shocked.
KELLY
Where are you going?
7.
EXT. SIDE ENTRANCE, NIGHTCLUB - NIGHT
Riley emerges from the nightclub, shoves his hands in his
pockets and walks off, trying to look natural.
Alfred heads back to the Range Rover, cool as ice. He looks
up at the rooftop.
We see SOMETHING MOVE in the shadows.
ALFRED
Alright kid, your turn.
EXT. BACK STREETS - NIGHT
HIGH ANGLE. Riley walks away fast, head down, trying not to
attract attention.
Pause.
Then a BLACK SHAPE WHIPS PAST CAMERA, moving very fast.
Riley keeps walking. Then, from overhead, a WHOOSH sound. He
stops dead. Looks up and around him, terror on his face.
Nothing. Pause. He keeps walking.
WHOOSH. That sound again, from a lot closer this time.
RILEY
Who's there?!
No answer. Riley looks worried. He reaches into his pocket,
pulls out a small pistol-WHAM! Riley is YANKED BACKWARDS by an unseen force. He looks
up in terror--- in time to see a DARK SHAPE detach itself from a fire
escape over his head and SLAM down in front of him.
A man. A man dressed in black body armour, long cape
billowing behind him, a dark mask covering his face.
Iconic. Terrifying. Immediately recognisable.
BATMAN.
And Riley has never been more terrified in his life. He leaps
to his feet, brings up his gun-Stay back!
RILEY (CONT'D)
WHAM! Something HITS him in the hand, making him drop the
pistol to the ground.
8.
Riley spots the object on the ground - a THROWING STAR shaped
like a bat. Riley's eyes go wide in terror. He turns and
runs, charging down an alley-EXT. ALLEY - NIGHT
Riley runs for dear life, terror in his face-Batman SLAMS to the ground inches in front of him. Before
Riley can react Batman grabs him and SLAMS him into the wall
face-first.
Riley's too terrified to speak as Batman FRISKS him expertly,
coming away with a small baggie of syringes. His mouth inches
from Riley's ear:
BATMAN
(low, guttural)
Who gave you this?
RILEY
I can't tell you, they'll kill me-BATMAN
They aren't here. I am. Who?
No answer. Batman SLAMS him against the wall again, hard.
Who?
BATMAN (CONT'D)
RILEY
(terrified)
DOMINO!
Batman lets go. Riley slumps to the ground, gibbering in
fear. POLICE SIRENS WAIL from OS. Batman looks up.
EXT. BACK STREET - NIGHT
A PATROL CAR screeches to a halt. Two beat cops emerge at
speed, guns drawn. They head into the alley.
EXT. ALLEY - NIGHT
Empty. No sign of Batman. The cops look around, seeing
nothing. The first cop - STEPHENS - hears MOANING from above.
STEPHENS
(shining light upwards)
Hey Montoya - you seeing this?
The second cop - RENEE MONTOYA (20s, attractive, no nonsense)
points her own flashlight upwards.
God...
MONTOYA
9.
REVEAL RILEY suspended upside down, hands behind his back,
gibbering with fear. And on the wall, etched in white: a BAT
SYMBOL. Hold on Montoya as she registers this.
EXT. ROOFTOP - NIGHT
Looking down over the alley. Batman crouches on the edge,
sees the two cops on the ground.
As the flashlight beams ARC UPWARDS he turns and walks away,
LEAPING off the edge, vanishing into the darkness.
EXT. TRAIN LINE - DAY
The next morning. A train WHIPS past camera.
Camera RISES UP to give us our first daylight view of Gotham
City, crouching in the distance. And even now the place looks
dark and foreboding.
EXT. TRAIN STATION - DAY
Passengers disembark - families, businessmen, travellers,
commuters. Among them is a young woman travelling alone:
VICKI VALE.
Vicki's in her late twenties, attractive, with a mind like a
steel trap. This is someone to be respected, but right now we
can tell this is the last place in the world she wants to be.
She looks around. The station is vandalised and graffiti'd to
within an inch of it's life.
Across the platform, three young PUNKS on BMXs race past an
OLDER WOMAN. The impact knocks her flying. Quick as a flash
one of them swipes her purse and they race off-Hey!
VICKI
She rushes after them, but they're already gone down the
stairs. Nobody moves in to stop them. People look bored by
the crime. Vicki realises this is an everyday occurrence. She
stops to help the woman up.
OLDER WOMAN
Bless you, dear.
Vicki looks off in the direction the kids vanished. Anger in
her eyes.
EXT. WAYNE MANOR - DAY
Establishing shot of an imposing manor house somewhere
outside the city limits.
10.
INT. HALLWAY, WAYNE MANOR - MORNING
Bruce descends the stairs, wearing only a pair of sweat
pants. Scars cover his torso. He makes his way to a stopped
GRANDFATHER CLOCK. He moves the handles to a specific time.
CLICK. A panel in the wall opens. Bruce heads inside. Behind
him the panel slides shut and the hands on the clock rewind
to their previous positions.
INT. LIFT - DAY
Bruce stands in the mineshaft-style lift as it drops rapidly.
INT. BATCAVE - DAY
Bruce emerges from the lift. The cave is a massive space,
vanishing off into the distance in all directions. He hits a
switch. POWERFUL ARC LIGHTS flash on, revealing a cluster of
computers and workbenches.
Bruce approaches the computer, powers the screens on. His eye
is drawn to the baggie of Oblivion injectors taken from Riley
the night before.
Then he sits in his chair, turns slowly to face the other
way. Looking at something out of frame.
REVERSE ANGLE to reveal what he's seeing. The BAT-SUIT stands
opposite him, like a mannequin. Under the lights we can see
it's functional and utilitarian, armour plates held together
with braces and buckles.
The empty eyes seem to be watching him.
Bruce sits in silence for a moment. Then the computer starts
beeping. The words 'match found' have appeared.
INT. ALFRED'S QUARTERS, WAYNE MANOR - DAY
Alfred polishes his shoes. On the dresser we see a gleaming,
highly polished VICTORIA CROSS in a display box. The
inscription reads: FOR CONSPICUOUS GALLANTRY - ALFRED
PENNYWORTH, MAJOR, SPECIAL AIR SERVICE.
Beside it, a faded photograph sits in a frame - a younger
Alfred, in full military uniform, standing next to a handsome
young man in the uniform of the UNITED STATES MARINE CORPS.
He bears more than a passing resemblance to Bruce Wayne.
INT. HALLWAY, WAYNE MANOR - DAY
Alfred - now clad in a sombre butler's suit - makes his way
through the hall carrying a tray covered in breakfast. He
approaches the grandfather clock.
11.
INT. BATCAVE - DAY
Alfred emerges, approaches Bruce, who's sitting at the
workbench and running data on three screens at once.
ALFRED
Spot of breakfast to help with the
investigation.
Bruce glances at the tray - two plates with a messy pile of
scrambled eggs and sausages. He gives Alfred a look.
BRUCE
Not exactly Michelin star.
ALFRED
Hey, if you think I'm making you
any of those stupid protein shakes
the meatheads use you've got
another thing coming.
He grabs up one of the plates and digs in. Bruce gives him a
wry grin, picks up the second plate.
Thanks.
BRUCE
ALFRED
Anything new?
BRUCE
Our friend last night confirmed
what we thought.
Domino?
ALFRED
BRUCE
(nods)
That's three references now.
London, Bangkok, and now here.
He pushes away from the desk, moves over to a huge BULLETIN
BOARD set up on an easel. It's covered with papers photographs, maps, newspaper articles, scraps of evidence,
notes on post-its. At the centre of it all the word DOMINO.
BRUCE (CONT'D)
They're up to their necks in this
Oblivion business. It's more than
just a coincidence.
ALFRED
Good detective skills.
12.
BRUCE
It's amazing what people will tell
you if you ask them in the right
way.
Alfred's eyes wander over to the Bat Suit. Even without
someone wearing it it's an intimidating sight.
BRUCE (CONT'D)
Now we need to move up the ladder.
Look at this.
He flicks something onto the screen. Alfred looks, sees a
shot of a beautiful woman with exotic, European features.
Charming.
ALFRED
BRUCE
Teresa Holleran, CEO and public
face of Everhart Logistics. Since
this started I've followed at least
a dozen threads and they've all led
right back to her.
ALFRED
And you think she's Domino?
BRUCE
If it's not her then it's whoever
she's working for.
(leans back in his chair)
And that's what we need to find
out.
Alfred considers for a moment. Then nods.
Good.
ALFRED
Bruce is surprised. He swivels in his chair, looks at Alfred.

BRUCE
That's it? No lecture?
ALFRED
When you first brought me here I
promised I'd help you find the
truth about this, whatever the
cost. Thomas Wayne was my friend as
well as your father. What happened
to him and your mother shouldn't go
unanswered.
(goes back to his
breakfast)
And even a stopped clock tells the
right time twice a day.
13.
There's a simple resolve in his voice. Bruce nods,
understanding.
EXT. GOTHAM CITY STREETS - DAY
Rain hammers down. A yellow cab moves through traffic.
INT. BACK OF CAB - DAY
Vicki Vale sits in the back. She looks out the window as the
cab stops at traffic lights. Homeless people sit in shop
doorways. Windows are boarded up. Graffiti everywhere.
Downcast looks on the faces of the pedestrians.
CAB DRIVER
Sometimes I wonder if it's getting
worse. Others I think Gotham's
always been like this. People are
just better at seeing it now.
Vicki looks out of the window. Sees a car roll up to the
corner. A KID of no older than twelve moves over to the
window. Money changes hands. For a brief second we see a
glimpse of an Oblivion injector.
The cab moves off. Vicki leans back in her seat. More
depressed to be here than ever.
EXT. GBC BUILDING - DAY
Vicki gets out of the cab, pays the driver, then heads up
toward the doors of the Gotham Broadcasting Corporation.
SPENCE (PRELAP)
Right now, Miss Vale, your life can
be summed up by just one man.
INT. NEWSROOM, GBC BUILDING - DAY
Vicki walks alongside HORTEN SPENCE, the Executive Producer
of GBC news, as they head through the newsroom. Spence is in
his fifties, steely eyed and shrewd, and his lingering gaze
is making Vicki more than a bit uncomfortable.
SPENCE
Bruce Wayne.
VICKI
With respect, Mr Spence, I'm not
some gossip correspondent, my
experience in New York-SPENCE
Doesn't amount to much these days
from what I hear. Or was Archie
Nelson telling lies about that?
14.
Vicki looks down, embarrassed. Spence grins, enjoying the
effect he's having on her.
VICKI
Look. Mr Spence, I'm a damn good
reporter. We both know that. And I
know I made a mess of things in New
York-(before he can dive in)
--but now's not the time or place
to get into that. I came here to
start again and I'm grateful for
the opportunity, don't think I'm
not for a minute. But putting me
onto something like this-SPENCE
-- would be a waste of material?
Let's get something clear, Miss
Vale. I didn't want you here. We've
got Mr Nelson to thank for that.
But now that you are here and we've
got to work together then the best
thing you can be doing is getting
to the bottom of exactly what's
going on with Bruce Wayne, and
specifically where he vanished off
to. Five years, not a whisper. Then
last year he came back. He's never
spoken about where he went, or why,
or what he was doing there.
VICKI
I'm aware of that.
There's a coldness in her voice that takes Spence by
surprise. He presses on.
SPENCE
Yes, I heard about that. I
understand you and he had some ...
shall we say past history?
Vicki flushes bright red.
VICKI
That's none of your damn--
SPENCE
Do I take that as yes?
Vicki simmers down with what looks like a serious effort.

VICKI
I knew him at college. For a while.
SPENCE
There you are. You're practically
home and dry already.
(MORE)
15.
SPENCE (CONT'D)
So unless you want to be typing up
the horse racing results or chasing
down this giant bat thing then I
think we're all settled.
Vicki looks like she wants to strangle Spence right now.
Spence ignores it as he walks off.
Vicki sits down at her slightly battered desk. She looks
around; the place looks like a fleapit, the kind of place
proper journalists come to die, and most of the staff look
the same. She sighs.
VICKI
What the hell did you do to
yourself, Vale?
MALCOLM (O.S.)
Oh come on, it's not that bad.
She looks up at the new arrival: MALCOLM VOGEL, 20s,
perpetually cheerful.
MALCOLM (CONT'D)
Vicki Vale, right?
(extends his hand)
Malcolm Vogel, camera. I'm going to
be working with you.
Vicki shakes his hand as he sits down.
MALCOLM (CONT'D)
We're on Bruce Wayne, right?
(off her look)
Come on, it could have been worse-VICKI
(interrupting)
What's this about a giant bat?
Malcolm looks surprised.
MALCOLM
He went through all that and the
one bit you remember is the giant
bat?
INT. CELL, GOTHAM CITY POLICE STATION - DAY
The cell door rattles open. Sledge looks up from his bed.
DETECTIVE (O.S.)
Sledge. You're outta here.
Sledge grins as he gets to his feet.
16.
INT. FRONT DESK, GOTHAM CITY POLICE STATION - DAY
Sledge signs for his possessions. Grins up at the sight of
Gordon, who's stopped dead in a nearby doorway.
SLEDGE
You have yourself a good day now,
Detective.
He grins and walks off. Gordon looks irate.
GORDON (PRELAP)
You let him go?
INT. FLASS' OFFICE, GOTHAM CITY POLICE STATION - DAY
Gordon stands facing his boss, LIEUTENANT FLASS. Flass (50s,
tubby, greasy) tries to open a carton of milk as he speaks.
FLASS
Of course I let him go, we had
nothing to hold him on. Come on,
Jim. Last night was embarrassing
and we both know it, you made a
complete spectacle of yourself.
GORDON
With respect, sir, the intelligence
we had was rock-solid-FLASS
Clearly not. Ah!
He's managed to get the milk open. He looks back up.
FLASS (CONT'D)
If your intelligence was so rocksolid, how was it that the pipeline
seemed to have dried up at the
exact moment you arrived?
GORDON
Obviously somebody leaked it.
Flass stops dead midway through pouring milk into his coffee.
FLASS
Somebody like who?
GORDON
(dark)
That's what I'd like to know.
Flass looks up. Sees the look Gordon's giving him.
FLASS
I don't like what you're implying,
Gordon.
17.
GORDON
(innocent)
Not implying anything, sir. Just
stating a fact.
A hard look passes between the two men.
INT. BULLPEN, GOTHAM CITY POLICE STATION - DAY
Gordon makes his way back to his desk and sits down. Around
the office other cops are giving him shifty looks. Gordon
chooses to ignore them, but for a moment he allows himself to
look as utterly weary as he's feeling.
MONTOYA (O.S.)
That bad, huh detective?
Gordon looks up to see Renee Montoya approaching him.
GORDON
You've no idea, Renee.
(leans back)
So, how was your night?
She doesn't answer, looks around. Gordon raises his eyebrows.
Well?
GORDON (CONT'D)
She looks around to make sure nobody's listening, then leans

forward and lowers her voice.
MONTOYA
I think we had another one.
And now Gordon's interested. He leans forward.
GORDON
Tell me everything.
EXT. GOTHAM BACK STREET - DAY
An immaculate grey BENTLEY CONTINENTAL cruises to the bottom
of a seedy-looking street. We see a dilapidated BUILDING at
the end, surrounded by scaffolding and wire fencing. A sign
on the gates reads "GOTHAM CITY REFURBISHMENTS" -- and right
underneath a second sign reads "JOB SHUT DOWN".
Rising over the fences is an imposing structure - a vast
CLOCK TOWER, rising above every building in the area.
A BLACK MAN in his thirties waits by the gates. He's wiry
like a welterweight, but with eyes that reveal a deep
intelligence. As the Bentley approaches he opens the gates
and lets it in, locking the gates again afterwards.
18.
Bruce gets out of the back seat. He's followed a second later
from the front by Alfred, now dressed in a chauffeur's
uniform, complete with peaked hat, and he doesn't look happy
about the arrangement.
BLACK MAN
Nice threads.
ALFRED
Knock it off, Fox.
LUCIUS FOX grins at him and claps him on the shoulder.
LUCIUS
Always with the serious, Al. Step
into my office.
INT. CLOCK TOWER - DAY
A somewhat dingy space at the top of the building. Light
spills in from the empty clock face. Workbenches fill the
place, covered in gadgets and devices we can't recognise.
Lucius leads Bruce and Alfred inside.
BRUCE
How'd you like the new digs?
LUCIUS
It's dramatic, I'll give you that.
ALFRED
Haven't you noticed the stuff he's
asked you to build lately?
Dramatic's his thing.
BRUCE
(by rote)
Theatricality and deception are
powerful weapons.
ALFRED
Whoever told you that must have
been a right nutcase.
BRUCE
Oh he was. Doesn't stop him being
right.
Lucius drops into his chair, spins around to face them.
LUCIUS
So. What's your pleasure? Grapple
gun okay?
BRUCE
Worked great, thanks.
19.
LUCIUS
It ain't bad...
Lucius nods over to a workbench. A small pistol-like device
sits in pieces beside a coil of high-tensile wire.
LUCIUS (CONT'D)
...but I think we can do better.
BRUCE
That can wait. Alfred tell you what
we need?
Sure did.
LUCIUS
BRUCE
Good. I need you there tomorrow
night to help out.
Why?
ALFRED
(off Bruce's look)

I've already told you I can handle
this myself.
BRUCE
And I don't doubt it, but given
what's at stake here I want a
second pair of eyes on this. It's
too important to do otherwise.
Agreed?
Pause. Then Alfred nods, seeing the sense in Bruce's words.
Agreed.
ALFRED
LUCIUS
Looks like I better rent me a tux,
then.
BRUCE
Later. We've got other things to do
first.
Lucius raises his eyebrows.
Oh yes?
LUCIUS
BRUCE
Yeah. I want to make sure I'm
right. What can you do in the way
of listening devices?
Lucius grins.
20.
LUCIUS
Think I got just the thing.
EXT. WAYNE ENTERPRISES - DAY
An establishing shot of an imposing skyscraper, the WAYNE
ENTERPRISES logo on the side.
INT. LOBBY, WAYNE ENTERPRISES - DAY
A spacious, luxurious lobby, bustling with activity.
JACOB SYMES sweeps into the room. He's in his fifties, well
groomed, exudes power and confidence. He strides forward to
shake a proffered hand.
SYMES
Miss Holleran, my name is Jacob
Symes. Welcome to Wayne
Enterprises.
The hand belongs to a woman - whom we recognise from Bruce's
photo as TERESA HOLLERAN - and she shakes Symes's hand with a
polite smile.
TERESA
A pleasure to finally meet you, Mr
Symes.
In person she's strikingly beautiful with an exotic accent.
Symes finds it hard not to be immediately charmed by her.
The Bentley pulls to a halt outside. Bruce gets out of the
back door, buttons his jacket. Glances back at Alfred.
BRUCE
Watch the paint job when you park
it.
He walks off. Alfred gives his retreating back a "ha ha, very
funny" look before driving off.
INT. BOARDROOM, WAYNE ENTERPRISES - DAY
Symes pours coffee into two china cups, hands one to Teresa.
She's standing by the window, looking out across the city.
TERESA
It changes so much.
SYMES
The relentless march of time.
21.
TERESA
I remember coming here back in the
days when Thomas Wayne ran the
place. Even then the city seemed
different.
SYMES
I wish there was more we could do
to help prevent the decline.
Unfortunately these are the times
we live in. Crime is on the rise.
The police do what they can, but
there's no getting around it. The
city's going rotten to the core. We
need to make the best of it. Which
is why I'm talking about an
alliance between our two great
organisations.
TERESA
(coy smile)
So Wayne Enterprises gains a real
foothold in Europe and we get ...
what, exactly?
SYMES
Well, we make a fine cup of coffee.
(they both laugh)
No but seriously, this will benefit
both of us in so many-BRUCE (O.S.)
Teresa Holleran, as I live and
breathe!
They both look up as Bruce strides into the boardroom.
Symes's smile becomes fixed.
SYMES
(sotto)
Let me handle this.
Bruce sweeps forward, takes Teresa's hand and kisses her on
both cheeks.
BRUCE
Wow, you look well.
TERESA
So do you, Mr Wayne.
BRUCE
Bruce, please. Mr Wayne makes me
sound like my father.
SYMES
Which would frankly be no bad
thing.
22.
BRUCE
Ah ha, very good you old dog.
TERESA
I wasn't aware you'd be here,
Bruce.
BRUCE
I'm not.
(grins)
I'm a figment of your imagination.
Teresa laughs politely as Bruce presses on.
BRUCE (CONT'D)
Seriously, I'm just passing
through, I know you two have a lot
to talk about. How long are you
staying in Gotham for?
TERESA
A few days, possibly a week. Some
other business to take care of.
BRUCE
Excellent, then you must come to my
birthday party tomorrow night.
Everyone's gonna be there, it'll be
great, right Mr Symes?
SYMES
(smiles)
Absolutely. Bruce, could I have a
word with you since you're here?
BRUCE
Of course.
(to Teresa)
So you'll come? Oh please say you
will?
TERESA
(smiles)
How could I refuse?
Bruce grins in triumph.
Excellent.
BRUCE
INT. SYMES'S OFFICE, WAYNE ENTERPRISES - DAY

Located right off the boardroom. Teresa is visible looking
out of the window in the background as Bruce and Symes talk
in hushed tones.
23.
SYMES
Bruce, I thought we'd agreed you
were going to let me handle the
business side of the company?
BRUCE
And I am. My father trusted you to
do the right thing and I do as
well, that's not up for discussion.
I'm just trying to help, sweeten
the deal a little.
SYMES
Of course. So long as we're clear.
The 'don't step on my turf' undercurrent is obvious but Bruce
takes it in his stride.
BRUCE
Absolutely, and I'd never get in
your way. So why don't you go back
out there and do what you do best?
SYMES
Oh I will, trust me.
He flashes Bruce a conspiratorial grin as he walks out. Hold
on Bruce. His eyes find Teresa. A shrewd look there.
Teresa emerges from the front door, gets into a waiting car.
It drives off.
EXT. MONTPELLIER HOTEL - DAY
One of Gotham's swankiest hotels. Teresa gets out of the car,
heads up the stairs. The DOORMAN holds the door open for her.
DOORMAN
Welcome back, Ms Holleran.
Thank you.
TERESA
RACK FOCUS across the road. Reveal Alfred standing there,

watching her. He sends a text message before walking off.
EXT. GOTHAM CITY SKYLINE - DAY
As DAY TURNS TO NIGHT across the city.
INT. NEWSROOM, GBC HEADQUARTERS - NIGHT
Mostly deserted, the hacks heading home. Vicki sits alone at
her computer, flipping through articles on various websites,
including the GBC's own page and the Gotham Globe.
24.
Headlines jump out: "strange creature sighted in Gotham",
"Giant Bat strikes again", "The Bat-Man: Man or Myth?"
Vicki keeps reading, the interest palpable.
MALCOLM (O.S.)
Caught your interest?
Vicki looks up in surprise to see Malcolm approaching.
VICKI
Indulge me.
Alright.
MALCOLM
He grins, sits down opposite her.

MALCOLM (CONT'D)
It started about six months ago.
Rumours of this giant creature
prowling the rooftops at night and
attacking criminals as they went
about their unlawful business.
VICKI
Some kind of vigilante?
MALCOLM
Maybe. Some nut job in a costume.
Or who the hell knows, maybe the
crims were dipping too heavily into
their own Oblivion supply.
VICKI
But you don't believe that?
MALCOLM
(grins)
Hey, it's a good story.
Vicki nods slowly.
Yes it is.
VICKI
MALCOLM
Hold up, we're supposed to be on
Bruce Wayne, remember, why the
sudden interest in bats?
Vicki looks the other way, thinking.
VICKI
Like you said, it's a good story.
25.
EXT. MONTPELLIER HOTEL - NIGHT
Camera CRANES UP the side of the building to where a light
burns in a window, under:
TERESA (PRELAP)
No no no, that's unacceptable.
INT. TERESA'S ROOM, MONTPELLIER HOTEL - NIGHT
Teresa paces back and forth, cell phone to her ear.
TERESA
What the hell are we paying the
police for if we have to put up
with this kind of thing?
Focus on the window. We see the building over the road.
EXT. FIRE ESCAPE, BUILDING OPPOSITE - NIGHT
Batman crouches on a fire escape, pointing a LONG RANGE
MICROPHONE right at the window.
TERESA (O.S.)
I don't care how resourceful this
detective is, if we can't buy him
off then we'll have to deal with
him some other way.
INT. TERESA'S ROOM, MONTPELLIER HOTEL - NIGHT
Teresa happens to glance at the window. There's nothing
there. Pause. She looks confused but continues.
TERESA
Well regardless, I want it done.
Don't use our people, I don't want
it traced back to us.
EXT. FIRE ESCAPE, BUILDING OPPOSITE - NIGHT
Batman melts backwards into the shadows, lowers the
microphone. He touches the side of his cowl.
BATMAN
Alfred, did you get all that?
(pause)
The detective who went after the
Oblivion pipeline. I need his name.
EXT. GOTHAM CITY POLICE STATION - NIGHT
Gordon emerges from the front door, cell phone to his ear.
GORDON
(into phone)
Hey honey.
(MORE)
26.
GORDON (CONT'D)
(beat)
No, I've just got one or two
errands to run, then I'll be home
as soon as I can.
EXT. GROCERY STORE - NIGHT
Gordon parks his car, crosses the road and enters the store.
INT. GROCERY STORE - NIGHT
The place is pretty much deserted. Gordon waits as the CLERK
packs his groceries. The clerk picks up a teen-girl magazine
from the pile, looks askance at Gordon.
GORDON
For my daughter.
The clerk looks as though he doesn't believe him.
The door chimes - Gordon looks up as THREE MEN enter. Gordon
looks back at the clerk.
GORDON (CONT'D)
And a cup of coffee. Black.
The clerk moves off to make the coffee. Gordon looks around.
Catches sight of the three men in a reflective surface above
the counter.
Then something grabs his attention. He looks closer.
GORDON (CONT'D)
What the...?
The three men pull SKI-MASKS over their faces and rush around
the counter, pointing guns at the clerk.
SKI-MASK 1
NOBODY MOVE!
The clerk's hands go up-CLERK
Take what you want, man--
Shut up!
SKI-MASK 2
As one keeps the clerk covered, the other two turn their guns
on Gordon.
SKI-MASK 3
Should have got out when the going
was good, Jimbo.
GORDON
I know you. You're a cop.
The thug brings his gun up --
27.
Gordon moves fast - charging forward, HURLING the coffee
right into the thug's face, making him SCREAM OUT-The clerk ducks below the register, out of the way-Gordon whirls, SPINNING the thug's body around -- BANG! BANG!
-- the gunshots from the second thug hit the first, shielding
Gordon. Gordon HURLS the man's body into the second thug,
sending them both flying-The third thug is on top of Gordon in seconds - Gordon fights
back, a hard-learned style of dirty street brawling, kicking
the man HARD in the groin. He drops -- to reveal the second
Ski-Mask rising, gun pointed right at Gordon.
Gordon stops. Knowing this man has the drop on him.
SKI-MASK 2
Any last words?
GORDON
Not to you.
The gun points at Gordon's face. Gordon glares back, defiant,
not backing down-All the lights in the store CUT OUT.
WHAM! Something HUGE and BLACK EXPLODES into the store,
knocking the gun out of the thug's hand. Gordon is blown back
off his feet -- he looks up to see the thug grappling with a
HUGE BLACK SHAPE.
The thug drops unconscious to the ground. Gordon looks up -his eyes widen.
BATMAN stands over him, half in shadow. Gordon looks at the
spectral figure, awe in his eyes.
My God...
GORDON (CONT'D)
BATMAN
Look after your family, Detective.
And he's gone in a SWISH of cape.
The lights snap back on. Gordon's standing over the bodies of
the three thugs. He looks around in amazement.
What the hell just happened here?
INT. KITCHEN, GORDON'S HOUSE - NIGHT
A small yet cosy house in a nasty part of the city. BARBARA
GORDON stands at the stove cooking dinner. She's 17, pretty
but sensible, a good head on her shoulders.
28.
From OS the door opens.
BARBARA
Dad? Perfect timing, this is just
about-She stops as Gordon enters the house, white as a sheet. He
rushes forward to envelop her in a big hug.
GORDON
Thank God...
BARBARA
Dad, what's wrong?
Gordon holds his daughter tight to him.

GORDON
Nothing. Nothing's wrong at all.
EXT. STREET OUTSIDE GORDON'S HOUSE - NIGHT
Through the kitchen window we see Gordon hug Barbara tight.
REVEAL BATMAN, crouched on top of the building opposite. He
watches for a second before vanishing into the night.
EXT. GOTHAM CITY - MORNING
As the sun rises over the city the next day.
HARVEY (O.S.)
Ladies and gentlemen of the jury.
INT. COURTROOM, GOTHAM CITY COURTHOUSE - DAY
Court is in session. The prosecutor, HARVEY DENT, is on his
feet and pacing, making his closing remarks.
Harvey's in his late twenties, slim and handsome, and right
now he's on fine form, speaking directly to the JURY.
HARVEY
Today you have the chance to right
a terrible wrong, a wrong that has
so far gone unpunished.
He turns to the defendant, a nasty-looking man in an illfitting suit.
HARVEY (CONT'D)
This man, John Mitchell Hobbes,
murdered Fiona Willis, his
girlfriend of many years. And when
he had finished with Ms Willis, he
then turned his attention to her
son, Jayden, and would have killed
him too had not Ms Willis' father
happened to arrive home right at
that moment.
29.
He glances to the public gallery. Two devastated looking
GRANDPARENTS hold a four-year-old boy between them.
HARVEY (CONT'D)
You have heard his defence plead
mitigating circumstances. You have
heard them point to his
distinguished military record, and
say he was suffering from post
traumatic stress disorder and
therefore not conscious of his
actions. This is not true, and you
have seen evidence that proves that
John Mitchell Hobbes premeditated
this attack for months in advance.
Make no mistake.
He turns back to the jury.
HARVEY (CONT'D)
John Mitchell Hobbes is as close to
a truly evil person as any I have
had the misfortune to come across.
At the back of the courtroom, we see someone watching:
JESSICA CARLISLE, a proud, hard woman in her fifties, Gotham
City's District Attorney. Her eyes are on Harvey.
HARVEY (CONT'D)
And today, you have the chance to
ensure this evil never has such a
chance to manifest again.
Harvey goes back to his chair, catching Jessica's eye as he
does. A look passes between the two of them.
EXT. GOTHAM CITY COURTHOUSE - DAY
A flood of reporters rush up to greet HOBBES as he emerges
from the courtroom, smiling smugly, flanked by his lawyer.
REPORTER 1
Mr Hobbes, any comment to make?
HOBBES
I'd like to thank the ladies and
gentlemen of the jury for finding
the correct verdict today-Across the scene, Harvey's making his way down the steps,
clutching his briefcase. Anger in his eyes. He glances across
at Hobbes - Hobbes grins at him, gives him a jaunty wave.
Harvey bristles, like he wants to haul off and punch him one.
JESSICA (O.S.)
Don't let him get to you.
Jessica falls into step beside him.
30.
JESSICA (CONT'D)
You did everything you could.
HARVEY
Yeah? Wasn't enough, was it? That
man's a killer and we both know
he'll kill again. You know as well
as I do that jury was bought and
paid for-JESSICA
Well what else could we do?
Silence. Jessica gives him a reassuring smile.
JESSICA (CONT'D)
Just ... look after yourself, okay?
She squeezes his arm, walks off. Harvey watches her go, his
expression halfway between thoughtful and pissed off.
VICKI (O.S.)
Still not compromising on
principles, Dent?
Harvey looks up in amazement to see Vicki standing nearby.
Vale!
HARVEY
She grins as she rushes forward to hug him.

INT. DINER - DAY
An innocuously perky-looking diner in the rough end of town.
Vicki and Harvey sit at a corner table, burgers and drinks in
front of them. Vicki eats in silence as Harvey argues with
someone on his phone.
HARVEY
--then please explain to Lieutenant
Flass that if his office doesn't cooperate with us I'll hit him with a
subpoena so fast it'll make his
head spin. And believe me, that
won't be nearly as much fun as it
sounds.
(beat)
You're a lifesaver, Pam. Let me
know what you find.
He hangs up, looks back at Vicki, who's grinning at him.
What?
HARVEY (CONT'D)
31.
VICKI
Same old Harvey Dent. Polite and
charming one minute, threatening
blood-curdling things the next.
HARVEY
The price of getting anything done
in this town. So come on then, I
thought you'd vowed never to come
within two hundred miles of this
city again.
(off her look)
You were very exact about the two
hundred miles thing, that's how I
remember.
Pause. Vicki considers. Finally she puts her burger down,
looks up at Harvey.
VICKI
Everything went wrong in New York.
I don't want to talk about it.
Hey...
HARVEY
He reaches out his hand, puts it on top of hers.

HARVEY (CONT'D)
You once told me everyone was
entitled to one major screw-up in
their life, remember? Far as I was
concerned it was advice to live by.
And trust me, if I can come back
from what I had to deal with,
there's no way you can't do the
same.
Vicki smiles, appreciative.
VICKI
Thanks Harvey.
HARVEY
And they've set you on Bruce?
(she nods)
Yikes.
Yeah.
VICKI
She looks back at her food for a moment.

VICKI (CONT'D)
So ... how is he?
Harvey considers for a long moment before answering.
32.
HARVEY
Bruce is Bruce. One minute you
think you know him, the next he
goes and does something stupid or
brilliant or both at the same time.
Hell, I've probably known him
longer than you have and there's
times I swear I have no idea what's
going on inside his head.
VICKI
Did he say anything about where he
went? You know, after...
She trails off. Harvey smiles.
HARVEY
Bruce never says anything about
anything. You know what he's like.
...yeah.
VICKI
HARVEY
(smiles)
Why don't you ask him yourself?
It's his birthday party up at the
manor tonight, I've got a plus one
I can't seem to fill ... why don't
you come with me? It'll be fun.
Vicki considers for a long moment, looks like she's on the
point of turning him down, but...
Okay.
Really?
VICKI
HARVEY
VICKI
Sure, why not? One condition
though: what can you tell me about
a giant bat that's been spotted
beating up criminals in the city?
HARVEY
You're not serious?
Deadly.
VICKI
Harvey leans back in his seat, grins.

HARVEY
How much time have you got?
33.
INT. BRUCE'S BEDROOM, WAYNE MANOR - NIGHT
Bruce emerges from the shower, clad in a bathrobe. His
clothes for the party have been laid out on the bed.
He approaches the dressing table. Picks up a framed
photograph. It shows three figures - Bruce himself, Harvey
Dent and Vicki Vale - in graduation gowns and mortar boards,
grinning for the camera. Happier times. Bruce smiles.
Then his eye catches something else. A framed photograph
showing his parents, THOMAS and MARTHA WAYNE. Thomas is in
military uniform as they smile for the camera. We recognise
him as the other man in Alfred's picture from earlier.
Bruce picks up the photograph. Considers his parent's faces.
A small smile plays on his lips.
INSERT: Rain hammering down, dark and cold, an alley, three
figures, gloved hands holding a gun, two GUNSHOTS ring out-BACK TO SCENE. Bruce's smile vanishes. A knock on the door.
Bruce doesn't look up as Alfred enters, in his butler's suit.
ALFRED
It's almost time.
I know.
BRUCE
He puts the picture down. Alfred catches sight of it.

ALFRED
Never stops hurting, does it?
BRUCE
You have no idea.
ALFRED
I think we both know that's not
true, Bruce.
Bruce turns to face Alfred. Sees the older man giving him a
stern look.
BRUCE
If I'm right about Teresa we might
be closer to finding out the truth
than we've ever been.
ALFRED
Then let's hope you're right.
BRUCE
And if I'm not?
34.
ALFRED
Then we move on and find another
lead to explore.
(beat)
But for what it's worth, I think
you're right. Every stone we've
turned over this past year,
Domino's been right there. And if
they were behind what happened then
I want to see them taken down just
as much as you do.
BRUCE
Thanks, Alfred. It's...
He trails off, unable to find the words. Alfred knows. He
nods, letting Bruce off easy.
ALFRED
Come on. You're going to be late
for your own party.
He turns and walks out. Bruce looks back at the photo of his
parents. Then he looks up at his reflection in the mirror and
smiles to himself.
BRUCE
Yes. Fashionably.
EXT. WAYNE MANOR - NIGHT
The house is lit up and spectacular against the night sky.
MUSIC swells from inside. Out the front cars arrive,
disgorging passengers before being driven away by valets.
Wayne Manor is clearly the place to be tonight.
Harvey Dent, clad in a tuxedo, helps Vicki out of the back of
a taxi. She looks stunning and wasn't even trying. Her eyes
travel up the vast expanse of the manor.
HARVEY
Changed a lot since you were last
here?
VICKI
Actually, no. It's reassuring.
Harvey grins, offers his arm,
Shall we?
HARVEY
Vicki gives him a "you're such a goof" look but takes his arm
anyway and lets him lead her inside.
35.
INT. BALLROOM, WAYNE MANOR - NIGHT
Inside the place is packed and bouncing. Serious money on
display here - the great, good and wealthy of Gotham city all
gathered in one room.
A more than statistically usual number of the female
population look to be supermodels on their night off.
Alfred stands off to one side. His eyes are fixed on Jacob
Symes, chatting to Teresa. She laughs at something he says.
A slightly DRUNK MAN blunders up to Alfred.
DRUNK MAN
Get a refil?
ALFRED
(sharply)
Piss off out of it and get your
own.
The man gets the hint, moves off. Alfred's eye catches a
bundle of BALLOONS up in one corner.
ALFRED (CONT'D)
Fox, how're we looking?
INT. UPSTAIRS ROOM, WAYNE MANOR - NIGHT
Lucius Fox sits in front of a mass array of computer
monitors. CCTV footage of the entire house and grounds on all
the displays. They've got the whole manor under surveillance.
Lucius moves from one screen to another with a practised
ease, fingers working the controls like a concert pianist.
LUCIUS
For the next few hours, this place
is my bitch.
Alfred's eyes stay on Symes and Teresa.
ALFRED
Keep it that way.
Across the room, Teresa looks around at the party. Symes
rolls his eyes slightly.
SYMES
Yes, I know. You'll have to forgive
Mr Wayne, he likes to be something
of a showman.
36.
TERESA
Oh I quite understand, Mr Symes.
And I also know that he's very
lucky to have someone like you
looking after his interests.
SYMES
(smiles)
Maybe one of these days he'll
appreciate this.
Teresa laughs at this.
CUT TO Vicki and Harvey. WAITERS circulate with trays of
champagne - Harvey snags two, hands one to Vicki.
VICKI
So is this not your scene anymore?
HARVEY
(off her tone)
Meaning?
VICKI
You. By all accounts you're just as
much of a party animal as you were
at college on the one hand,
crusading champion of law and order
at the DA's office on the other.
HARVEY
Yeah, well someone's got to do it.
(nods OS)
See over there?
Vicki's gaze follows Harvey's. She sees Jessica talking and
laughing with a big guy in an ill-fitting suit.
HARVEY (CONT'D)
That's my boss, District Attorney
Jessica Carlisle. Guy she's talking
to? That's Rupert Thorne.
VICKI
(eyes widen)
As in--?
HARVEY
Yup. The one and only. Keep looking
around. You'll see all the great
and the good here, champions of
industry, commerce, politicians,
rich playboys like our friend
Bruce. In a room like this you're
never more than two handshakes away
from organised crime. Depressing
thought if you let it fester.
(looks back to Vicki)
(MORE)
37.
HARVEY (CONT'D)
I'm standing up on the side of law
and order because if I don't then
who's going to?
Vicki nods, digesting this.
And Bruce?
VICKI
HARVEY
He's one of the good guys. In his
own way.
Vicki still doesn't look convinced.
BRUCE (O.S.)
(calling out)
Excuse me, ladies and gentlemen...
All eyes turn as Bruce descends the stairs, looking out
across the crowd, every inch the man of the moment.
BRUCE (CONT'D)
First of all, I want to thank you
all for coming. It means a lot that
you've all come tonight, to help me
celebrate my birthday.
Applause from the crowd. Bruce waits for it to quiet down.
BRUCE (CONT'D)
Thank you. I feel privileged that
you're all here, especially since
there's some very important people
missing here tonight. The first is
my guardian, Doctor Leslie
Tompkins. The woman who raised me,
and the women to whom I owe
everything. Words can't describe
what she means to me, nor
adequately express how differently
things might have gone without her
guidance. Wherever she is in the
world, she knows how important she
is to me, and I wish she was here
right now.
(beat)
Secondly, there are two other
people missing here tonight. Two
very special people.
(beat)
My parents.
On Vicki as she reacts to this.
38.
BRUCE (CONT'D)
Thomas and Martha Wayne. Sixteen
years to the day now since they
were taken from us. A senseless act
of violence.
On Alfred. That dark look in his eyes once again.
BRUCE (CONT'D)
To this day nobody has ever
answered for that crime. To this
day I still don't know why it
happened.
Symes watches with concern, as does Harvey.
BRUCE (CONT'D)
But now is not the time for such a
thing. My parents would have wanted
me to live my life and to be happy.
The fact that I'm here at all is
down to you. All of you. Every
single one of you in this room has
played a part in making me the man
I am today, and for that I will
always be grateful. So that's
enough from me - I want everyone to
have a good time, to spare a
thought for my parents, and to
reflect on how far we've come. I
think we've all earned it.
HUGE APPLAUSE breaks out. Bruce descends the stairs, grabs a
champagne glass from a waiter. Looks up as Harvey approaches.
HARVEY
Happy birthday, Bruce.
Harvey!
BRUCE
He brings his friend in for a big hug.

BRUCE (CONT'D)
Thanks for coming.
HARVEY
You think I'd miss this? I brought
you something too.
BRUCE
Well I'm hoping it's that car full
of strippers somebody told me's
parked outside-VICKI (O.S.)
Sorry to disappoint.
39.
Only now does Bruce notice Vicki standing beside him.
BRUCE
(amazed)
Vicki?
VICKI
(coldly)
Happy birthday, Bruce. Great party.
She stalks off. Bruce knows he's put his foot in it.
BRUCE
Hey, Vicki, wait-But she's gone. Harvey claps him on the shoulder.
HARVEY
Smooth, Bruce. Real smooth.
He moves off. Bruce watches Vicki's retreating back. For the
first time he actually looks upset.
EXT. GROUNDS, WAYNE MANOR - NIGHT
The guests' cars are parked off to one side. The CHAUFFEURS
stand around smoking cigarettes, checking their phones.
CLOSE on a mobile phone. A text message on the screen:
DOMINO ONE.
Reveal the man holding the phone - and it's John Mitchell
Hobbes, from the courthouse.
The party's in full swing. In the midst of it all, Bruce
(trying not to show how rattled he is after his conversation
with Vicki) stands talking to Teresa.
TERESA
...no really, Bruce, it's a lovely
party, I wanted to thank you for
the invitation.
BRUCE
No thanks are necessary, the more
the merrier in fact. And you appear
to be missing a drink.
TERESA
I'm fine, really-SYMES (O.S.)
Allow me, Bruce.
Symes enters carrying drinks. He hands one to Teresa.
40.
BRUCE
Always coming to the rescue.
SYMES
That's why you pay me the big
bucks.
Over Bruce's shoulder, Teresa's spotted Hobbes in the
doorway. He gestures with a flick of the head.
TERESA
(smiles)
Well, thank you gentlemen, if
you'll excuse me.
She moves off. Bruce and Symes watch her go.
BRUCE
Exquisite, isn't she?
SYMES
(fatherly)
Bruce...
BRUCE
Relax, Jacob, I don't mix business
with pleasure.
SYMES
(grins)
I should hope not. You know,
sometimes I think your father was
right. He answered his country's
call. The company was running
smoothly, the money was pouring in,
he could have done anything he
wanted, but he chose to serve as a
medic in the Marine Corps, dedicate
his life to a higher purpose.
BRUCE
You telling me I should sign up?
SYMES
I'm telling you that we're all put
on this earth to do something
important. Your father knew that. I
think it's a lesson to consider.
He claps Bruce on the shoulder and moves off. Bruce catches
Alfred's eye. Alfred nods - we're on it. Then Bruce spots
Harvey and Vicki off to one side, talking. A look of regret
on Bruce's face.
CUT TO Harvey and Vicki. Harvey sees Bruce looking.
HARVEY
He's got that look.
41.
VICKI
You don't have to apologise for
him.
HARVEY
I feel like I do. Bruce is-VICKI
Just like he always was. You said.
I guess I just didn't realise what
that meant.
She hands Harvey her empty glass.
VICKI (CONT'D)
Thanks for the invitation, Harvey.
She heads off. Harvey looks back at Bruce. He shrugs.
EXT. WAYNE MANOR - NIGHT
Vicki waits for a taxi at the bottom of the steps. She wraps
her arms around herself against the cold.
Vicki...
BRUCE (O.S.)
She looks up as Bruce approaches.

BRUCE (CONT'D)
Come back inside, it's freezing out
here.
VICKI
I've called a cab.
Here.
BRUCE
He shrugs off his jacket and drapes it around her. Vicki

looks as though she's going to object for a moment, then she
accepts the gesture.
Thanks.
VICKI
BRUCE
It's good to see you again, Vicki.
Been far too long.
VICKI
Yeah, well that's what happens when
you just up and vanish one day
without so much as an explanation.
BRUCE
(ouch)
...yeah, I guess I deserve that.
(MORE)
42.
BRUCE (CONT'D)
And I'm sorry. The comment about
the strippers was-Not you.
VICKI
She turns to face him, looks him in the eyes.

VICKI (CONT'D)
You might be able to fool all these
people, Bruce, but you can't fool
me, I've known you for too long.
You act this part of the playboy
but that's all it is - an act. It's
not the real you. I've seen the
real you. I liked the real you.
(beat)
So I don't know why you're
pretending to be something you're
not.
A cab's drawing up. Vicki hands Bruce's jacket back.
VICKI (CONT'D)
Thanks.
(beat)
My boss wants me to get an
interview with you. That's my whole
reason for existing, according to
him.
BRUCE
Name a time and place.
VICKI
No. No, me coming here was a bad
idea, I can see that.
She gets into the cab. Looks up at him.
VICKI (CONT'D)
Take care of yourself, Bruce.
She closes the door. The cab drives off. Bruce watches it go,
thoughtful. Then, across the lawn, he spots something else Teresa heading back to her car, with Hobbes.
A frown on Bruce's face. Then he looks up to see Alfred
approaching fast.
ALFRED
You need to see this.
INT. UPSTAIRS ROOM, WAYNE MANOR - NIGHT
Bruce and Alfred cluster around Lucius at the computer. On
the screen we see Hobbes signalling to Teresa while she was
talking to Bruce and Symes. She crosses over to him.
43.
LUCIUS
And then we do this...
He ZOOMS IN on the image as Hobbes and Teresa talk together
in a secluded corner.
HOBBES (O.S.)
Domino One is in effect.
TERESA (O.S.)
Right now?
(off his look)
Give me ten minutes, then meet me
outside.
Alfred glances at Bruce.
ALFRED
Domino One?
Wait.
LUCIUS
The screen changes, showing Teresa and Hobbes walking across

the garden.
TERESA (O.S.)
This is big, I want everyone down
by Five Elms so we don't-The audio cuts off. Lucius looks up at Bruce.
LUCIUS
That's as good as the audio gets,
sorry-But Bruce has already turned and walked off.
INT. HALLWAY, WAYNE MANOR - NIGHT
Alfred follows Bruce down the hallway.
Five Elms?
ALFRED
BRUCE
It's a factory complex, down in Old
Town. Long abandoned. Owned by
Everhart Logistics. That must be
where they're keeping the Oblivion.
Bruce manipulates the hands of the grandfather clock.
INT. BATCAVE - NIGHT
The lift doors open. Bruce and Alfred emerge, Bruce pulling
off his jacket.
44.
ALFRED
At least let me come with you.
BRUCE
No. I can handle this.
ALFRED
Just be careful. These people
aren't the sort to be messed with.
BRUCE
Neither am I.
He looks up into the empty eyes of the batsuit.
EXT. INDUSTRIAL ESTATE - NIGHT
Starting on the imposing sight of the GOTHAM BRIDGE before we
TILT DOWN to reveal a vast factory complex. A car pulls up.
Hobbes and Teresa emerge, heading inside.
INT. FACTORY - NIGHT
GOONS unload PACKING BOXES into the back of vans, supervised
by SLEDGE. Teresa and Hobbes stalk over towards the cases.
TERESA
Let me see.
The goon looks at Sledge, who nods. One box is opened.
Batman crouches on top of the roof opposite the factory. Sees
the lights inside.
He stands, holding the small pistol we saw earlier in Lucius'
lab. He fires a GRAPPLING HOOK across to the opposite
building.
Hobbes glances up at the sound. A frown.
Batman clips the wire to his belt before stepping out into
space, riding the zip-line across to the other building.
The packing case is opened, straw pulled out to reveal vials
of a clear liquid. Teresa holds one up to the light.
TERESA
And you're sure this is correct?
45.
SLEDGE
Domino One, as requested. Performs
perfectly in all the tests. They've
told us-TERESA
Make doubly sure.
(dangerous look at him)
Don't forget who you're working
for.
Sledge flushes, cowed.
SLEDGE
I'll be sure.
Good.
TERESA
She turns and walks away. Hobbes looks back to Sledge.

Continue.
HOBBES
Everyone gets back to work.

CUT TO the upper floors. A shape moves in the darkness.
Batman, watching below.
His eyes fix on Teresa as she makes her way to the office.
INT. OFFICE, FACTORY - NIGHT
Teresa makes her way into the darkened office.
As the crates get unloaded, something moves above them.
Hobbes' head whips up. Knowing this time that he definitely
heard something.
SLEDGE
What is it?
Teresa picks up the phone, about to dial. WHAM! Something
grabs the phone from her hands, FLATTENS her against the wall
-- Batman's mouth is right next to her ear.
BATMAN
Don't make a sound.
Sledge continues to supervise the unloading of the crates.
Hobbes glances over to the office. No sign of Teresa.
46.
Batman still has Teresa pinned up against the wall.
TERESA
Please, I don't know anything-BATMAN
You're lying to me. There's ways to
deal with that.
Pause. Then Teresa smiles.
TERESA
You honestly have no idea what's
going on here, do you?
BATMAN
Five seconds to tell me what I need
to know.
TERESA
What you need to know is that you
were a dead man from the moment you
entered this place. You just never
realised it.
Pause. Then a small PUFF of gas sprays into Teresa's face
from Batman's gauntlet. She passes out immediately. Batman
lays her gently down onto the ground.
He looks out at the factory beyond.
All the lights SNAP OFF, plunging the building into darkness.
The only light comes from the street lights outside. Everyone
looks up in alarm.
SLEDGE
There's someone here.
CUT TO two goons standing by packing boxes. One of them is
YANKED back into the darkness by an invisible force.
GOON 1
Hey, what the--?
SLAM! Something grabs him from behind and smashes him into
the ground.
As everyone pulls their guns, Hobbes draws a small device
from his coat, looking like a modified asthma inhaler.
HOBBES
Find the boss, get her out of here.
47.
Teresa comes back to consciousness. She picks herself up.
Sledge and Hobbes.
SLEDGE
But what about--?
HOBBES
Leave this to me.
His voice tells Sledge he's going to enjoy this. Sledge nods,
hurries out of there.
CUT TO the outskirts of the factory. The black, shadowed form
of Batman moves quickly around the circle, taking out the
guards at speed.
CUT BACK TO Hobbes. He loads the vial into the inhaler. A
pause. Then he bites down on the device, inhaling the
compound.
WHACK! WHACK! WHACK! Quick shots, the images almost STROBING - Batman takes out goons one after the other, moving with
incredible speed.
CUT TO Hobbes. WHAM! Batman drops to the ground behind him.
Hobbes turns. Sees Batman standing there. A truly terrifying
sight in the half darkness.
And Hobbes grins, spreading his arms wide.
Well then.
HOBBES (CONT'D)
CLOSE on his eyes. We see specks of RED in the whites, as

though bloodshot - except it's GLOWING faintly.
Batman barely has time to notice this before Hobbes CHARGES,
knocking him backwards.
Teresa crouches in the darkness, cell phone to her ear.
TERESA
It's me.
(glances out of the
window)
He's here.
EXT. STREET CORNER - NIGHT
Where we find Flass standing by his car. His eyes widen.
48.
FLASS
You've got to be kidding me.
TERESA (O.S.)
Oh don't worry.
Teresa looks through the window. Sees Hobbes and Batman
trading blows on the floor below.
TERESA
I don't think he's going to be a
problem for much longer.
WHAM! Batman hits the ground, hard. He rolls -- Hobbes' boot
SLAMS into frame where his face was just seconds ago.
Batman rises, brings his fists up. Sees Hobbes advancing,
grinning wildly.
HOBBES
What? You thought this was all
about some street drug?
He charges again. Batman lays into him, several gigantic
PUNCHES -- Hobbes shrugs them off as though they're nothing.
Surprise!
HOBBES (CONT'D)
He SLAMS the flat of his hand out, sending Batman sprawling

backwards. As Batman falls he rips down one of the arc
lights. It SMASHES on the concrete, fire catching the straw
packing material from the case.
Teresa sees the fire starting to spread. She gets to her feet
and walks quickly out of the door.
WHAM! WHAM! WHAM! Powerhouse blows connect with Batman -- and
even with the armour we can see this is getting to him.
Hobbes grabs Batman's cowl, HEADBUTTS him. Batman hits the
ground, hard.
Batman looks up at Hobbes as he advances. From Batman's POV
Hobbes is blurred, out of focus.
HOBBES
Nice outfit, I gotta tell you.
Batman glances around. Sees the fire spreading.
49.
A convoy of POLICE CARS flashes past camera.
INT. FLASS' CAR - NIGHT
Flass is in the lead car, loading his pistol.
INT. BULLPEN, GOTHAM CITY POLICE STATION - NIGHT
Gordon's working late. He looks up as Montoya runs in.
MONTOYA
That Bat thing's been spotted,
Flass is leading a squad.
Gordon's on his feet in seconds.
Where?
GORDON

Hobbes KICKS Batman hard in the stomach, sending Batman
flying. He CRASHES into a wall of PACKING CASES. He looks up
as Hobbes advances again.
From OS we hear POLICE SIRENS approaching. Batman looks up at
the sound. Hobbes sees it.
HOBBES
Yeah, that's right man - they're
coming for you!
Batman HURLS something into Hobbes' face -- FLASH! BLINDING
LIGHT staggers Hobbes backwards. Batman fires his grappling
gun upwards. Hobbes recovers from the flash in time to see
Batman rappelling upwards, towards a skylight.
EXT. ROOF OF FACTORY - NIGHT
CRASH! Batman SMASHES UPWARDS from the skylight, landing hard
on the roof.
Hobbes grins, shoves his hands in his pockets and walks away.
EXT. ROOF OF FACTORY - NIGHT
Batman gets to his feet with some difficulty. It's clear he's
in a lot of pain. He looks across the roof -- sees the
flashing lights of the police cars approaching.
Close on his face. What we can see behind the cowl is in
pain, frustrated. Knowing he's lost this round.
50.
INT. VICKI'S BEDROOM - NIGHT
A ringing phone wakes Vicki. She checks the caller ID,
answers drowsily.
Malcolm?
VICKI
MALCOLM (O.S.)
You need to get down to Old Town,
right now - that giant bat's been
spotted by Five Elms.
Vicki's fully awake in seconds.
EXT. BACK ALLEY - NIGHT
The Range Rover pulls to a halt.
Alfred emerges, in his leather jacket, ready for a fight.
ALFRED
Bruce? Bruce!
BRUCE (O.S.)
(very weak)
Here...
Alfred rushes forward, finds Bruce crouching behind an
overflowing dumpster. His mask's off and we see the bruises
and cuts on his face. Alfred recoils at the state he's in.
ALFRED
Christ alive...
Alfred helps Bruce to the car with some effort.
TV NEWS FOOTAGE
Various shots - the fire at Five Elms, the fire department
putting out the blaze, the heavy police presence.
VICKI (O.S.)
Police have so far declined to
comment on how the fire started but
from what I've been hearing they
appear to be treating the incident
as very suspicious.
CUT TO Vicki, standing some distance from the burning
building (visible in the background), addressing the camera.
VICKI (CONT'D)
Far more concerning are the rumours
currently circulating involving
some kind of gangland retaliation
with at least two confirmed
fatalities--
51.
INT. BRUCE'S BEDROOM, WAYNE MANOR - NIGHT
Bruce sits on his bed, shirt off. Bruises cover his torso.
Alfred's cleaning his wounds. Bruce absently watches Vicki's
news report on the small TV.
VICKI (O.S.)
--nor indeed of the alleged
presence of the giant bat-like
creature that has been the stuff of
urban legend in Gotham for the last
six months. Questions will need to
be asked about-Bruce switches off the TV.
Vicki gives her address to camera. In the background, the
building is still burning.
VICKI
(address to camera)
For right now, whatever happened
here at Five Elms is a mystery. For
GBC news, this is Vicki Vale. Back
to you in the studio, Dan.
Malcolm clicks off the camera.
Nice one.
MALCOLM
Vicki smiles.
INT. BRUCE'S BEDROOM, WAYNE MANOR - DAY
Bruce WINCES in pain as Alfred works.
ALFRED
Shut your wailing, kid, you'll
live. I thought the point of all
that armour was to stop this kind
of thing happening.
It was.
BRUCE
ALFRED
So what happened? How many were
they?
One.
BRUCE
ALFRED
The scourge of Gotham's criminal
underworld taken down by one guy?
52.
BRUCE
(annoyed)
He'd taken something, not Oblivion,
something else. He inhaled it.
Alfred's head whips up, interested.
Inhaled?
ALFRED
BRUCE
Yeah. He was strong. I've never
fought anything like...
Alfred looks away, considering.
ALFRED
Interesting.
What?
BRUCE
ALFRED
(looks back)
I'll let you know. Right now you
need to consider-BRUCE
Don't give me the lecture, Alfred,
you being there wouldn't have made
any difference.
ALFRED
Maybe not, but you're missing the
point. Why are we doing this?
Alfred--
BRUCE
ALFRED
Answer the bloody question.
The snap gives Bruce pause. He looks away.
BRUCE
To find out who killed my parents,
and why.
ALFRED
Exactly. You once said we were
partners, in this to the death.
That's why I'm here, playing
butler, hiding in plain sight. I'm
willing to do that because it's the
right course to get us where we're
going.
(MORE)
53.
ALFRED (CONT'D)
And if this Domino business gets us
there then fair enough, but you
can't afford to get into the habit
of thinking you can just punch
things and get answers. Last night
proved that point.
BRUCE
So what would you have me do?
ALFRED
What I've been trying to get you to
do since day one. Use those
detective skills of yours.
(beat)
Failing that here's a basic
principle of martial arts. Use your
opponent's strength against them.
Think about it.
He gets to his feet.
BRUCE
Where are you going?
ALFRED
(calling back)
I'll let you know if I find
anything.
He stops at the door, turns to look back at Bruce.
ALFRED (CONT'D)
None but the brave deserve the
victory. Think about it.
BRUCE
Lots of things to think about
today.
ALFRED
Stop being a smartarse, it doesn't
suit you.
He shuts the door. Bruce sits still for a moment, thinking.
EXT. INDUSTRIAL ESTATE - MORNING
The sun is coming up. Vicki and Malcolm are behind the cordon
with the other journalists; police and fire department are
still out in force. Montoya strides forward, on cordon duty.
MONTOYA
Come on, back off, there's nothing
to see here.
54.
VICKI
Vicki Vale, GBC News, you didn't
find the giant bat then?
MONTOYA
Is that what you're peddling? Get
outta here.
VICKI
That's not a denial.
Montoya gives her a filthy look and walks off. Vicki grins.
VICKI (CONT'D)
That'll do.
MALCOLM
You really think this giant bat's
behind all this?
VICKI
You're telling me you don't?
Something funny's going on here.
Her phone buzzes. She reads the caller ID: Spence.
Great.
VICKI (CONT'D)
She shoves it back in her pocket.

MALCOLM
That good, huh? You know, we're
gonna need to make a start on this
Bruce Wayne business, if only to
keep him off our backs.
I know.
VICKI
Hold on her conflicted face for a moment.

EXT. MONTPELLIER HOTEL - DAY
A beat to establish.
TERESA (PRELAP)
I don't know what else to tell you,
Detective.
INT. TERESA'S ROOM, MONTPELLIER HOTEL - DAY
Teresa sits on the sofa, looking frustrated.
TERESA
I already gave a statement about
what I saw.
55.
Reveal the man sitting opposite her. Gordon.
GORDON
I understand. I'd just like to hear
it again. In your own words.
INT. LOBBY, MONTPELLIER HOTEL - DAY
HIGH ANGLE, looking down from the balcony. Flass enters,
flanked by two uniformed cops.
PULL BACK to reveal Gordon watching grimly from the upper
floor. He turns and moves off.
INT. TERESA'S ROOM, MONTPELLIER HOTEL - DAY
Flass sits as Teresa paces, angry.
TERESA
This was never supposed to happen.
FLASS
I'll deal with Gordon, get him to
back off.
TERESA
Gordon's only part of it, if your
men had done their job properly the
other night then he wouldn't be-FLASS
Alright, take it easy. You've been
given a job to do, it needs to be
done, far as I can see this doesn't
change anything.
Teresa rounds on him, angry as hell.
TERESA
You don't understand what this
means. Everything has changed now.
We need to accelerate the program.
FLASS
In the face of all of this?
TERESA
Exactly. Too many mistakes have
been made. It's time we ended this,
once and for all.
EXT. BACK OF MONTPELLIER HOTEL - DAY
Gordon gets into his car. Sits still for a moment,
thoughtful. Then puts the car into gear and drives off.
56.
INT. CORRIDOR, JUSTICE DEPARTMENT - DAY
Harvey Dent makes his way back to his office, juggling
coffee, briefcase and legal papers. He stops short, spotting
Gordon lurking by the door.
HARVEY
Can I help you?
GORDON
(shows his badge)
Detective Gordon, GCPD. I hear
you're the man to speak to about
giant bats?
A shrewd look from Harvey.
INT. HARVEY'S OFFICE, JUSTICE DEPARTMENT - DAY
Harvey SLAPS a file down on his desk in front of Gordon.
HARVEY
There's not much. It's all hearsay
and uncorroborated.
Gordon opens the file, begins flipping through pages.
HARVEY (CONT'D)
Earliest reference is about six
months. Then a few weeks, nothing,
then another. Then another, closer
in. Next thing we're averaging two
to three a week. If this thing's
real, he's accelerating his plans.
GORDON
Did you report this to the police?
HARVEY
I'm an assistant DA, of course I
reported it to the police. From the
way they spoke to me afterwards
you'd have thought I was asking
them to investigate the Jersey
Devil.
(leans in closer)
So what's your interest, Detective?
Gordon looks up at Harvey. Considers.
GORDON
I've heard about you, Counsellor.
HARVEY
That sounds promising.
57.
GORDON
Gotta say I never thought much sounded like you were Bruce Wayne's
wingman, all the stories were about
hard partying.
And?
HARVEY
GORDON
So I checked you out. You surprised
me. Your conviction rate is
exceptional. Figured you stood a
closer look.
HARVEY
I've got a few rich friends and I
like to have a good time. That
doesn't mean I'm not good at what I
do.
How good?
GORDON
HARVEY
Very good. And I sense you're doing
the same as me, Detective.
GORDON
And how's that?
HARVEY
Making the best of a bad job.
Gordon considers again. Then nods. A new respect there.
GORDON
Maybe we can do business then, Mr
Dent.
HARVEY
Maybe we can at that.
INT. BRUCE'S BEDROOM, WAYNE MANOR - DAY
Bruce is running through his exercises, doing lightning-fast
press-ups. From OS the doorbell rings.
EXT. FRONT DOOR, WAYNE MANOR - DAY
Bruce, now wearing a dressing gown, opens the front door.
Stops in surprise at the sight of-Vicki.
BRUCE
Vicki's standing on the doorstep, looking awkward. She looks

into his eyes.
58.
VICKI
About last night. I'm sorry, Bruce.
Bruce considers. Then steps back from the door.
BRUCE
You'd better come in.
INT. KITCHEN, WAYNE MANOR - DAY
Bruce brews two fantastically strong coffees from an antique
machine, hands one to Vicki. He joins her at the counter. She
eyes his injuries.
VICKI
What the hell happened there?
BRUCE
You should see the other guy.
VICKI
I don't want to know, do I?
(quickly)
See, there I go again, I'm being
judgemental-BRUCE
It's fine. Honestly.
(beat)
Harvey told me you got yourself
into some trouble. In New York, I
mean.
(she nods)
Anything I can do to help?
VICKI
Not really. Not that I'm not
grateful or anything but-BRUCE
You want to fight your own battles.
(off her look)
Yeah. That's the Vicki Vale I
remember.
She looks up at him.
VICKI
There is one thing you can do for
me. That interview. I know I've no
right to ask after everything but
it'd buy me a lot of goodwill and
that's something I could really use
right now.
Bruce considers for a moment. Then he grins, sly.
59.
BRUCE
One condition.
Bruce...
VICKI
BRUCE
Trust me. You'll like this.
INT. GARAGE, WAYNE MANOR - DAY
Bruce flicks on the light. Cars of every description, from
classic Bentleys to ultra-modern Lamborghinis, as far as the
eye can see. Bruce leads Vicki through to the back.
VICKI
What are we doing down here?
Bruce whips a COVER off something.
Surprise.
BRUCE
Vicki looks in amazement at a gorgeous red MOTORCYCLE. She

approaches slowly, reaches out a hand.
Is this--?
VICKI
BRUCE
(nods)
Yours. The one you totalled the
night before I left.
Vicki runs her hands across it in amazement.
VICKI
You rebuilt it?
BRUCE
Got most of the pieces back easily
enough. I was always hoping to give
it back to you but then...
(trails off, grins)
This is my condition.
Vicki looks up. Realises.
VICKI
Oh no no no no no...
BRUCE
We never finished the race that
night. And it's been bugging me for
years. So that's the deal. I'll do
the interview if we get to finish
unfinished business.
(MORE)
60.
(beat)
Deal?
BRUCE (CONT'D)
Pause.
Then Vicki looks back to the bike and up at Bruce. A wicked
grin on her face.
ROCK MUSIC kicks in on the soundtrack.
EXT. WAYNE MANOR - DAY
The gates open. Two motorcycles - Vicki's red and Bruce's
black - SCREAM out of the gates and into the road.
EXT. COUNTRY ROADS - DAY
The two motorcycle speed up the roads, overtaking the few
solitary cars and trucks, going very fast.
TILT UP to reveal the massive bulk of the city in the
distance.
EXT. GOTHAM BRIDGE - DAY
The two bikes peel over the bridge, slaloming in and out of
traffic, going dangerously fast towards the city.
EXT. GOTHAM CITY STREETS - DAY
The bikes just manage to get through a red light and scream
off through the streets, cutting corners, moving with the
speed and precision of professional racers. Camera TRACKS
WITH the bikes as they go in and out of traffic, from the
gentrified streets of the new town and towards the slums of
the old.
Bruce glances over his shoulder for a second. Sees Vicki just
moments behind him.
On Vicki. Eyes shining behind her helmet.
They race past an intersection. Two COP CARS see them go past
-- in seconds the sirens kick in and the cars give chase.
Vicki looks back -- sees the cops approaching, struggling to
catch up.
She looks back at Bruce. He signals, follow me. Vicki lowers
her head and guns the engine.
Bruce leads the two of them deeper into old town, dodging
past cars and pedestrians, a dangerous turn around a tight
corner. He looks in his wing mirror - the cop car is still
behind the corner. He turns and vanishes down an alley, Vicki
following him.
61.
EXT. BACK ALLEY - DAY
Bruce and Vicki skid to a halt at the bottom of the alley.
Bruce holds a hand up - wait. Vicki remains still.
A moment later the two cop cars scream by at the top of the
alley, right past them.
Bruce and Vicki listen as the sirens recede into the
distance.
Pause.
Then, as one, they both start LAUGHING. They pull their
helmets off - Vicki's face is flushed, both of them high on
the adrenaline and the sheer insanity of what just happened.
INT. DINER - DAY
The same perky diner we saw Harvey and Vicki in earlier.
Bruce and Vicki sit together at a table in the back. Bruce
sees the look on Vicki's face.
What?
BRUCE
VICKI
I've been back in town less than a
week and both you and Harvey have
brought me here. I'm starting to
feel like a cheap date.
BRUCE
But you're not, and that's because
we all know these are the best
burgers in the city.
VICKI
(grins)
There is that, yes.
She picks at her french fries, grins at Bruce.
What?
BRUCE
VICKI
Thank you. This was just what I
needed.
BRUCE
It's a good burger.
VICKI
Not just that. This. All of it.
Including nearly getting arrested.
62.
BRUCE
Occupational hazard if you're going
to hang around with me, Harvey
should have warned you.
VICKI
Why did you do it?
(off his look)
Leave, I mean.
Bruce doesn't look comfortable. He looks down at his plate.
Vicki realises this was the wrong time to ask.
I'm sorry.
VICKI (CONT'D)
BRUCE
No, it's a fair question.
(looks up at her)
After my parents died, I was a
mess. Well, you knew that. Nothing
made sense in my life. Nothing at
all.
(beat)
Things got better in college. I got
anchored. I had Harvey, I had you,
and things started going right for
a change. Then things went wrong
with us, you were moving to New
York-Bruce...
VICKI
BRUCE
I'm not blaming you. God knows I
can't have been the easiest person
to be around. But still...
He trails off.
VICKI
What happened?
Close on Bruce's face:
INSERT: Quick shots -- a brawl, fists flying, a younger Bruce
cowering on the ground, a KNIFE glinting in the moonlight-BRUCE
I'd rather not talk about it.
Afterwards, leaving seemed like the
only option.
INSERT: Younger Bruce stowing away in the back of a truck,
getting out of Gotham, shaking in fear, blood on his hands-Vicki leans over the table towards him.
63.
VICKI
So where did you go?
BRUCE
Everywhere, really. Stowed away on
a fishing trawler, wound up in Nova
Scotia. From there I met someone
who flew me to Europe. Lived in
Paris for a while, got a job at a
vineyard in Burgundy...
(beat)
It was nice, actually, all of it.
Back here I was Bruce Wayne, prince
of the city, Gotham's favourite
son, I couldn't move without
drawing attention. I got the chance
to be someone else. To wear a mask.
To see who I really was. It was
liberating, in a lot of ways. I
learned a lot about myself.
Like what?
VICKI
On Bruce's face-INSERT: A monastery - younger Bruce, with his shirt off,

fighting MASKED FIGURES-BRUCE
Lots of things.
INSERT: A bar somewhere in Eastern Europe -- Bruce brawling
with the locals, vicious, dangerous, Bruce defeating all
comers-BRUCE (CONT'D)
Self-reliance. Humility. Respect.
INSERT: Bruce locked in a tiny underground hole, a grated
door locked over his head - he looks up at the full moon over
him-Fear.
BRUCE (CONT'D)
INSERT: A darkened cavern, deep beneath the surface -- BATS

circling around -- Bruce stands at the centre of them,
flaming torch in hand, sheer abject terror on his face-Bruce looks up at Vicki. Smiles.
BRUCE (CONT'D)
And to value the most important
things for what they're truly
worth.
64.
INSERT: Younger Bruce moving through a bar -- finding a man
in a corner -- sitting down opposite him -- the man looks up - it's Alfred, bearded, staring into a glass, looking as
despondent as Bruce-INSERT: The back streets of a slum -- Bruce and Alfred
fighting CHINESE THUGS-Vicki leans in closer.
VICKI
So why did you come back?
Pause.
BRUCE
Because I realised this is where I
need to be. Because this is where I
can do some good.
How?
VICKI
INSERT: PUSHING IN on the cowl of the batsuit, empty eyes

staring out, terrifying.
Bruce smiles.
BRUCE
I'm sure I'll figure something out.
EXT. DINER - DAY
Bruce and Vicki emerge from the diner, walk slowly across to
where their bikes are parked.
Listen--
VICKI
BRUCE
Keep it.
(off her look)
I mean it, it's yours anyway.
Vicki smiles. She leans up and kisses Bruce on the cheek.
Thank you.
VICKI
Bruce smiles. A shared moment between the two of them. Then

Vicki steps away, climbing onto her bike.
BRUCE
See you around sometime?
Vicki grins as she revs the engine.
65.
VICKI
Well that depends on if you can
catch me, doesn't it?
And with that she's gone, vanishing into the traffic. Bruce
watches her go with a grin - what a girl. Then his phone
rings. He checks the caller ID, answers.
Alfred?
BRUCE
ALFRED (O.S.)
His name's John Mitchell Hobbes.
INT. BATCAVE - DAY
Bruce and Alfred stand in front of the computer bank, the
screens showing Hobbes in military uniform.
ALFRED
Formerly Major Hobbes, US Army
Scientific Research Division
specialising in new forms of
combat. Recently got off a murder
charge despite the best efforts of
your friend Mr Dent. Details a bit
sketchy, the record's been
filleted, but the last thing he was
involved with was an operation
known as Project Hercules.
(off Bruce's look)
The mandate was to create a drug to
increase a soldier's strength.
Sound familiar?
BRUCE
Where did this come from?
ALFRED
That's my business. The important
thing is where Project Hercules was
getting their tech from, and this
took a bit of homework, but when
you go far enough down the shell
company line you get to...
He hits a button. A spreadsheet appears on the monitor. Bruce
leans in and looks. Doesn't seem the slightest bit surprised
at what he sees.
BRUCE
Wayne Enterprises.
INSERT: From earlier - Bruce and Alfred fighting thugs in a
Chinese alley - and now, behind them, we catch a glimpse of a
van, the back of it overflowing with BOXES marked with the
logo of WAYNE ENTERPRISES.
66.
Alfred steps toward Bruce.
ALFRED
Your father never got involved in
the day-to-day running of Wayne
Enterprises, even after your
grandfather died. He was a doctor,
he wanted to serve his country, so
he left the company to the board,
to the likes of Symes. It was a
decision he later came to regret.
(beat)
He once told me that he was sure
someone near the top was using his
company for some sinister end. He
decided to take action, to find out
what was happening. Asked me to
help him.
(beat)
He and your mother were killed the
day before he was due to take back
control of the company and find out
what the hell was going on. A
random act of senseless crime by a
perpetrator who was never caught.
(beat)
If I'm right, this is the kind of
stuff your father was onto. If I'm
right, this could tie it all back
to the beginning.
Bruce sits down in his chair. Looks up at the numbers.
BRUCE
Oblivion. Domino. Project Hercules.
They all tie back to Wayne
Enterprises.
ALFRED
Something is rotten in the state of
Denmark, Mr Wayne. What do you want
to do about it?
Bruce considers. Then looks up. Determination in his eyes.
INT. HOBBES' APARTMENT - NIGHT
Hobbes is sprawled in front of the TV, eating pizza and
watching the football on TV.
INT. BASEMENT, APARTMENT BUILDING - NIGHT
The fuse box is wrenched open. Alfred uses a pair of BOLT
CUTTERS on the wires.
67.
INT. HOBBES' APARTMENT - NIGHT
WHAM -- all the lights go out. Hobbes is on the alert
instantly, leaping to his feet. His eyes fall onto the table
in his kitchen - the INHALER visible there, alongside another
small vial of weaponised Oblivion. He crosses toward it---And doesn't get more than five paces before -- WHACK -Batman appears out of nowhere and SMASHES him in the face,
sending him sprawling to the ground.
Hobbes POV: Batman looms over him. He crouches down. The
black cape SWEEPS around and we
CUT TO BLACK:
BLACK SCREEN
BATMAN (O.S.)
John Mitchell Hobbes.
SLAM IN ON:
Hobbes face. Eyes open. Terrified.
Camera PULLS BACK and TURNS COMPLETELY OVER to reveal that
Hobbes IS DANGLING UPSIDE DOWN from:
EXT. GOTHAM BRIDGE - NIGHT
The very top of the bridge, looking straight down at lines of
fast-moving traffic in both directions and the endless
blackness of the river below.
Hobbes is dangling from a line. He looks up to see Batman
crouched nearby, his face inches from his own.
HOBBES
(terrified)
Please...
BATMAN
Looking for this?
He holds up the inhaler and the small vial of Oblivion.
BATMAN (CONT'D)
I'm going to ask you some
questions. I want the truth. If I
don't like what I hear-Hobbes DROPS straight down, SCREAMING -- about five feet
before being YANKED back into place by Batman.
BATMAN (CONT'D)
Start talking.
Hobbes looks into Batman's cowl, terrified.
68.
Gordon's back at his desk, working his way through files,
tying up the information Harvey gave him with the police's
own files. Creating a timeline of giant bat sightings.
His phone rings. A blocked number. Odd. Gordon answers.
Yes?
GORDON
The voice that answers is ELECTRONICALLY MUFFLED.

MUFFLED VOICE (O.S.)
Detective Gordon.
Gordon sits up sharply at the voice.
EXT. PARKING LOT, GOTHAM CITY POLICE STATION - NIGHT
Gordon moves to a quiet corner before putting the phone back
to his ear.
GORDON
Who is this?
A friend. We met the other night.
Gordon's eyes widen.
You.
Yes.
GORDON
EXT. ROOFTOP - NIGHT

Batman crouches in the shadows, phone to his ear, scrambling
device in place.
BATMAN
I've got some information you'll
find very useful. Listen very
carefully.
EXT. BACK ALLEY - NIGHT
A police car skids to a halt. Gordon gets out, with Montoya
and her partner Stephens trailing in his wake. All three hold
guns and flashlights.
MONTOYA
So what're we looking for here?
69.
GORDON
Beats me. I suspect we'll know it
when we see it.
STEPHENS (O.S.)
Hey detective!
They both race over to join the other cop.
STEPHENS (CONT'D)
This what you're looking for?
TILT UP to reveal a terrified Hobbes, dangling upside down
above the alley, bound and gagged.
Montoya looks at Gordon. His face is split by a wide grin.
GORDON
Well I'll be damned.
He shares a look with Montoya.
INT. BOARDROOM, WAYNE ENTERPRISES - NIGHT
Symes storms in to find Bruce mixing himself a drink.
Bruce--
SYMES
BRUCE
Good timing, you want one?
SYMES
I've just heard from Teresa
Holleran, she said you called her
and said-BRUCE
We're pulling out of negotiations
with Everhart Logistics, yes that's
correct. Drink?
He turns to face Symes.
SYMES
And you didn't inform me because?
BRUCE
Because I knew you'd fight me on
this one.
SYMES
Bruce, a decision like this needs
to come through me-BRUCE
Actually it doesn't. Not with me
being a majority shareholder.
(MORE)
70.
BRUCE (CONT'D)
Don't make me pull rank on this
one, Jacob, the decision's already
been made.
Symes looks as though he'd like to throttle Bruce.
BRUCE (CONT'D)
Besides, I'm sure you'll agree this
is the right decision. The adverse
publicity, the fact that Everhart
seems to be in some hot water with
the police right now - we don't
want the Wayne Enterprises name
anywhere near any of this, do we?
Bruce--
SYMES
BRUCE
No. The decision's been made.
(turns to face Symes)
I'm happy to leave the running of
the company up to you ninety-nine
percent of the time, but this is
once where I'm making the decision.
Understood?
He downs his drink and walks out. Symes watches him go. A
thoughtful look in his shrewd eyes.
INT. BENTLEY - NIGHT
Alfred watches in the mirror as Bruce climbs in back.
ALFRED
You enjoyed that didn't you?
Bruce grins as Alfred drives off.
EXT. GOTHAM STREETS - NIGHT
As the Bentley cruises through the streets.
BRUCE (PRELAP)
Without the inhaler it didn't take
much for our friend Hobbes to spill
his guts.
INT. BENTLEY - NIGHT
Alfred watches Bruce carefully in the mirror.
BRUCE
It's happening tomorrow night. A
big shipment of the weaponised
Oblivion's being delivered into
Domino's hands at the docks.
71.
ALFRED
Teresa Holleran?
BRUCE
She'll be there personally to
supervise the delivery.
EXT. GOTHAM CLOCK TOWER - NIGHT
The Bentley pulls to a halt outside the clock tower.
INT. GOTHAM CLOCK TOWER - NIGHT
Lucius regards the bottle of weaponised Oblivion that Bruce
took from Hobbes.
BRUCE
Can you do it?
LUCIUS
Not gonna have a lot of time. It'll
be close.
BRUCE
Anything you can do will be a huge
help, Lucius. I'm sorry to put you
in this position-LUCIUS
Are you kidding me?
Lucius puts down the bottle, turns in his chair to face
Bruce.
LUCIUS (CONT'D)
I knew what I was signing up for
when you brought me into this
thing. Far as I'm concerned, I'm in
for the long haul.
He nods at Alfred, who's standing across the room.
LUCIUS (CONT'D)
Just don't make the mistake of
thinking you two are the only ones
with a personal stake in this.
Pause. Then Bruce claps Lucius on the shoulder.
Thank you.
BRUCE
CUT TO Alfred. He's examining a device broken down into

pieces on a workbench. He looks up as Bruce approaches.
ALFRED
Might have to ask him if I can
borrow this.
72.
BRUCE
We do this right we can move in
fast, take the drugs, Domino and
the buyer all in one go. And be one
step further up the ladder.
ALFRED
I do hope you were listening to me
this morning.
(off Bruce's look)
Know your limitations. You can't do
this on your own.
BRUCE
I know. Which is why I won't be
there alone.
Alfred looks up at that. He's impressed.
INT. GORDON'S HOUSE - NIGHT
Gordon sits on the sofa in shirtsleeves, all his Batman
research spread out in front of him. He rubs his eyes. Trying
to make sense of it all.
BARBARA (O.S.)
Hope you're hungry.
He looks up as Barbara enters, carrying a plate of stew.
Barbara--
GORDON
BARBARA
No buts, dad, when was the last
time you ate some real food?
GORDON
(smiles)
Honey, it's not that I don't
appreciate you doing this, but you
don't have to cook for me or
anything, that's not your job.
BARBARA
I know. It's mom's. But since she
took off and isn't here to do it
then someone's got to take care of
you.
The resolve in her face is genuine. Gordon smiles.
GORDON
I love you, kiddo.
He takes the plate of stew from her. Takes a mouthful. Looks
up into her expectant face. Forces a weak smile.
73.
It's good.
GORDON (CONT'D)
Barbara looks thrilled.

BARBARA
Experiment I'm trying out.
Barbara misses Gordon's look of "keep your experiments to
yourself" as she sits down. She looks at the papers.
BARBARA (CONT'D)
This bat-thing again?
(no answer)
Is he real?
(no answer)
Is he a bad guy?
Gordon looks down at the papers. Considers.
GORDON
I really don't know.
EXT. GORDON'S HOUSE - NIGHT
Gordon heads back to his car. He's just about to unlock the
door when:
BATMAN (O.S.)
Detective Gordon.
Gordon freezes. Over his shoulder we make out Batman's
silhouette.
EXT. BALCONY, VICKI'S APARTMENT - NIGHT
Vicki sits on the balcony, typing notes on her laptop.
MOVEMENT behind her. She starts to turn -- catches a brief
glimpse of a SHADOWED BLACK FIGURE before:
BATMAN (O.S.)
Don't turn around, Miss Vale.
Vicki freezes, her expression terrified.
Gordon remains stock still.
GORDON
We've charged Hobbes with
possession with intent to
distribute.
Good.
BATMAN (O.S.)
74.
GORDON
Who was he?
BATMAN (O.S.)
A small fish. A sign of goodwill.
Vicki can feel Batman's presence behind her.
VICKI
You're real. I knew you were.
BATMAN (O.S.)
You're a reporter. A good one.
VICKI
Are you here to hurt me?
Pause.
No.
BATMAN (O.S.)
Vicki visibly relaxes.

VICKI
Then ... then why...?
BATMAN (O.S.)
I need you to do something.
Gordon and Batman.
GORDON
A small fish implies there's a
bigger fish.
BATMAN (O.S.)
Tomorrow evening. Bring as many men
as you can get, those you know are
loyal.
GORDON
And what am I going to get in
return?
BATMAN (O.S.)
You're a good cop. One of the few.
I'm going to give you what you want
the most.
Which is?
GORDON
75.
BATMAN (O.S.)
A chance to do your job. A chance
to do some good.
And from his expression we know Gordon is interested.
Vicki and Batman.
Why?
VICKI
BATMAN (O.S.)
Because I want everyone to see.
See what?
VICKI
BATMAN (O.S.)
The truth. Be there.
VICKI
(turns in her chair)
How will I--?
He's gone. Nowhere to be seen. Vicki turns back, realises her
hands are shaking.
Gordon turns.
GORDON
And what can--?
He stops. Batman is gone. He rolls his eyes.
Right...
GORDON (CONT'D)
He heads back inside the house.

INT. ALFRED'S CAR - NIGHT
Parked over the road from the clock tower. Alfred watches as
Lucius scurries over the road and gets inside.
Well?
ALFRED
Lucius holds up a small metal box.

LUCIUS
Did you ever doubt me?
Alfred opens the box. Inside we see three VIALS of a dark
blue liquid.
76.
LUCIUS (CONT'D)
So come on. Who the man?
Alfred holds one vial up to the light. Grins after a moment.
ALFRED
Should do very nicely.
CRANE SHOT, looking down over the sweeping expanse of
Gotham's vast shipyards.
Camera CLOSES IN on the same warehouse we saw in the
beginning. Teresa stands on the jetty, flanked by Sledge.
ARMED GUARDS patrol the area, everyone on high alert.
Everyone's looking nervous.
Clearly nobody is taking any chances.
Teresa looks out to sea. In the distance we can see the
lights of a ship approaching.
INT. MALCOLM'S APARTMENT - NIGHT
A hammering on the door. Malcolm opens the door to find Vicki
standing on his doorstep. Sees the look on her face.
Vicki?
MALCOLM
VICKI
Get your camera and come with me.
Now.
Malcolm sees her expression and decides not to argue.
The ship continues to close in. Teresa watches, grim-faced.
Gordon very deliberately loads bullets into his gun. Places
it inside his holster.
The ship is docking. Teresa looks up as a car draws up. Her
expression tightens. She looks nervous.
He's here.
SLEDGE
The car door opens. A handsome MAN in a DARK SUIT emerges.

Their eyes meet across the expanse of the docks.
77.
EXT. GOTHAM ROOFTOPS - NIGHT
We're in the POV of something moving across the rooftops,
heading in the direction of the docks, moving very fast.
The back of the van is being unloaded. Boxes and packing
crates piled into the warehouse. Teresa stands with the
SUITED MAN, watching everything.
SUITED MAN
Not bad, Teresa.
TERESA
Always the tone of surprise.
CUT TO a nearby rooftop. Batman crouches in the shadows, long
range microphone pointed down at Teresa and the Suited Man.
Give
only
pull
both
SUITED MAN (O.S.)

me some credit. I wasn't the
one who didn't think you could
this off. You've done well, we
know that.
CUT TO Teresa as the man turns back to her.

SUITED MAN (CONT'D)
Just as we know how pleased we know
the Master will be.
Teresa actually looks pleased by this herself.
CLUNK. Lights go out across the dock. Teresa and the others
look up sharply.
SUITED MAN (CONT'D)
What is it?
He's here.
TERESA
EXT. STREET CORNER - NIGHT

Gordon's car is parked at the side of the road. Inside we see
Gordon sitting with Montoya.
MONTOYA
Not that I don't appreciate the odd
off-the-books assignment on my
night off, Detective, but why-Trust me.
GORDON
He grins at Montoya, who mirrors it, seeing his confidence.
78.
The armed guards move deeper into the shadows, moving between
the packing cases, eyes skinned.
There's nobody there.
Then, from OS, movement. A SCREAM.
DISPATCH (PRELAP)
All units within a five block
radius of the Gotham docks...
INT. GORDON'S CAR - NIGHT
Gordon and Montoya look up sharply as the radio squawks.
DISPATCH (O.S.)
I've got reports of some sort of
firefight, shots fired, I repeat,
shots fired.
MONTOYA
(looking up at Gordon)
Is this it?
GORDON
I think it just might be.
(snatches up the radio)
This is Detective Gordon, I've got
this, all units converge and wait
for my orders.
He slams the car into gear.
FAST SHOTS. SMOKE BILLOWS. BULLETS HAMMER into packing cases.
Batman stalks around the edges of the setup, taking out the
armed guards with skill and stealth.
CUT TO Teresa. She looks back at Sledge.
TERESA
Secure the shipment.
Sledge nods and hurries inside the warehouse. Teresa looks
back at the Suited Man.
SUITED MAN
You assured me this wouldn't be a
problem.
TERESA
It won't be.
And she pulls an INHALER from her pocket.
79.
Driving at speed into the docks. Alfred parks in a secluded
area. Reaches back into the back seat - picks up a long,
thin, slightly battered WOODEN CASE.
He gets out of the car, moving with purpose.
Batman takes two guards down with lightning-fast moves. One
of them tries to make a run for it - Batman FIRES his
GRAPPLING GUN, grabbing the man by the leg and YANKING him
backwards and upwards, vanishing SCREAMING out of sight.
WHAM! Something BELTS Batman from behind. He drops into a
fighting crouch, spins around --- to see Teresa standing there. The same manic red glow in
her eyes we saw from Hobbes earlier.
TERESA
Care to pick on someone your own
size?
She CHARGES FOWARD-Batman's grappling gun FIRES UPWARDS - Teresa GRABS hold of
him just as Batman ROCKETS UPWARDS, the pair of them shooting
forward to land on the deck of the cargo ship.
EXT. DECK OF CARGO SHIP - NIGHT
Batman and Teresa hit the deck, hard. Batman's on his feet in
seconds -- moves just quickly enough to avoid a kick to the
face from Teresa.
She grins, feral - she's enjoying this.
TERESA
Now we see.
And she CHARGES. Batman parries, fighting back - it's fast,
all fists and boots, the two perfectly matched.
Teresa's martial arts movements are wild and brutal,
counterbalanced by Batman's exact and methodical blows.
SIRENS SCREAM as the convoy of cop cars screams to a halt.
Gordon's out first, gun in hand, eyes on the Domino thugs.
GORDON
FREEZE! GCPD!
80.
The thugs open fire. Gordon takes cover behind the door of
his car as the cops return fire.
Sledge looks up through the window. Sees Gordon leading the
charge. Something like fear in Sledge's eyes.
Batman and Teresa continue to fight, oblivious to the gun
battle going on below.
Teresa's moves are fast, fluid and brutal. Batman's on the
back foot -- he defends himself, using his armoured gauntlets
to ward off blows.
His eye falls onto the roof of a nearby SHIPPING OFFICE.
EXT. FIRE ESCAPE - NIGHT
Alfred charges up the steps two at a time, wooden case in
hand, emerging out onto-EXT. ROOF OF SHIPPING OFFICE - NIGHT
-- where he's greeted by a spectacular view of the cargo ship
below, where Batman and Teresa are still going at it hammer
and tongs.
Alfred looks down. Sees Batman duelling with Teresa. Then
further down, to where the gun battle is still going on
between Gordon's cops and the Domino thugs.
Pause.
Then Alfred drops to the ground, opens up the case. Begins
assembling the BULKY OBJECT from inside.
INT. MALCOLM'S CAR - NIGHT
Malcolm drives with Vicki riding shotgun. He turns the car
around a corner-WHOA!
MALCOLM
He slams the brakes on.

Vicki and Malcolm get out.
They're back some distance but they've got a perfect view of
the dockside and the gun battle that's still raging.
CUT TO Gordon. He scores a precision hit, downing one of the
thugs.
81.
GORDON
Alright, let's move!
The cops press their advantage, moving in.
CUT TO Vicki and Malcolm. Malcolm's hoisting his camera up
onto his shoulder.
MALCOLM
I'll never call this place dull
again!
Vicki's eyes go upwards. She spots something. Her jaw drops.
There!
VICKI
MALCOLM
(looks up)
What the--?
He stops in his tracks. His jaw drops too.
REVERSE ANGLE to reveal what he's looking at. Batman and
Teresa, on the deck of the ship, fighting full tilt.
MALCOLM
Jesus, he's real!
VICKI
(slaps his arm)
Shoot, dammit, shoot!
Malcolm's already on it.

The office door is kicked open -- Sledge leaps to his feet,
fires two shots -- BANG! BANG --- BANG! Sledge HOWLS and drops the gun -- he's been shot in
the arm, close to the elbow of his gun hand. As he collapses
to the ground he looks up to see Gordon walking in, gun
pointed right at Sledge's face.
GORDON
You about done?
Pause. Then Sledge nods grudgingly, knowing he's beaten.
Gordon permits himself a thin smile.
Where Batman and Teresa are still properly going at it.
Teresa continues to batter Batman backwards. Batman throws
something -- BANG! -- a BIG FLASH OF WHITE LIGHT blinds
Teresa for a second, letting Batman get in there with some
big blows--
82.
EXT. ROOF OF SHIPPING OFFICE - NIGHT
Alfred works with skill and precision. He snaps a stock and a
barrel into place.
Reveal now the weapon is a SNIPER RIFLE.
Batman presses his advantage - but Teresa's ready for him,
sending him flying backwards with a massive kick. As Batman
stumbles, Teresa grins at him - and LEAPS upwards, climbing
up the side of a nearby SHIPPING CRANE.
Malcolm's still filming.
MALCOLM
Are you seeing this?
Vicki says nothing - she's watching in stunned silence.
Batman LEAPS upwards, climbing up the side of the crane
towards Teresa - she kicks out, sending him backwards - he
recovers quickly, going right after her.
Alfred snaps the telescopic sight into place. Then reaches
into the case and removes the metal box Lucius gave him
earlier. He removes one of the vials of clear liquid and
loads it into the rifle.
Then he turns back to face the ship. Raises the rifle to his
shoulder.
Batman takes several HUGE PUNCHES from Teresa, sending him
stumbling backwards -- he's just feet from the edge of the
platform-EXT. GOTHAM DOCKS - NIGHT
Vicki watches in growing horror-EXT. ROOF OF SHIPPING OFFICE - NIGHT
Alfred takes careful aim.
Teresa grins as she advances on Batman.
83.
TERESA
Is that all you've got?
She KICKS OUT again -- Batman falls backwards, vanishing over
the edge--!
As Vicki sees Batman going over the edge.
No...
VICKI

Alfred remains unflappable as he lines up his shot.
Batman dangles over the edge, holding on by one hand. He
looks up as Teresa approaches, grinning down at him.
TERESA
Who are you?
Batman says nothing. Tries to get a better hold -- he brings
his other hand up but Teresa kicks it away.
She raises her foot to stamp on Batman's fingers-EXT. ROOF OF SHIPPING OFFICE - NIGHT
Alfred FIRES.
BANG! The shot catches Teresa in the neck - a HYPODERMIC DART
filled with the clear liquid from earlier.
The effect is immediate - Teresa STAGGERS BACKWARDS as if
drunken, all the strength having left her body.
Alfred lowers his rifle. A small smile of triumph.
Vicki looks up, her eyes tracing the path of the bullet back
to the roof of the shipping office.
Alfred collects the case and vanishes smartly out of frame.
84.
Teresa's on her knees. She pulls the dart out of her neck.
Realises what's happened. A moment of horror.
A shadow crosses her. She looks up to see Batman standing
over her.
Silence for a beat. Then:
My turn.
BATMAN
Teresa SNARLS, EXPLODING upwards like a sprinter out of the

blocks, heading right for Batman-Batman side-steps -- Teresa overbalances--- and goes sailing right over the edge!
Vicki and Malcolm REACT in horror-EXT. DECK OF CARGO SHIP - NIGHT
Teresa falls, head-first, straight down toward the murky
water below-TWANG! Something grabs her around her ankle. She's WRENCHED
back upwards -- Batman's grappling hook pulls her up until
she's upside down, facing the terrifying visage of Batman.
Please--
TERESA
BATMAN
Who are you working for?
TERESA
I can't tell you-Batman lets go. Teresa SCREAMS as she drops -- SNAP! -- the
line goes taut again, pulling her back upwards.
BATMAN
Who are you working for? Who did
you bring the Oblivion in for? Who
ordered the hit on Thomas and
Martha Wayne?
TERESA
(terrified)
The Brotherhood!
Batman REACTS to this.
85.
The battle's long over. Sledge, handcuffed, is being loaded
onto an ambulance. The Domino thugs sit handcuffed on the
ground, under heavy guard.
Gordon moves among them, heading for the pile of boxes. Renee
Montoya stands nearby, crowbar in hand.
MONTOYA
Care to do the honours, Detective?
GORDON
(gestures)
Be my guest.
Montoya grins as she crowbars one of the boxes open.
Gordon!
FLASS (O.S.)
Gordon looks up to see Flass approaching from a nearby car,

looking angry in the extreme.
FLASS (CONT'D)
Care to explain what the hell this
is all about?
GORDON
Working an anonymous tip. I know
I'm supposed to run this stuff by
you but the intel seemed rock
solid.
FLASS
Remember what happened the last
time you had rock solid intel? I
told you to stay the hell away from
this place-Sir!
MONTOYA (O.S.)
Gordon and Flass look up. Montoya's got the box open. Inside
we see vials of the clear liquid from earlier.
Gordon gives Flass an innocent look.
Convinced?
GORDON
FLASS
Now look, Gordon, you can't just-WHAM! Something SLAMS down between them - and it's Teresa,
upside down, bound and gagged, dangling from a wire,
struggling and SCREAMING. Flass rushes forward to help her.
86.
FLASS (CONT'D)
What the hell--?
Sir!
MONTOYA
She's pointing upwards. Gordon and Flass look up. Flass'

mouth drops open.
FLASS
Oh my God...
CUT TO Vicki and Malcolm nearby. Malcolm's filming. Vicki
watches, awestruck.
REVERSE ANGLE. And we see what they're seeing.
BATMAN.
Standing on the edge of the ship, illuminated by the ship's
lights. Tall against the night sky. Cape flowing behind him.
Iconic. Terrifying. Unmistakable.
HOLD for a long moment, taking in everyone's reactions.
Nobody can quite believe what they're seeing.
MONTOYA
He's real...
Vicki looks at Malcolm.
VICKI
Are you getting this?
MALCOLM
Oh God yes...
Gordon looks up at Batman. Across the distance their eyes
seem to meet.
A moment.
Then Batman turns and walks away, vanishing into the night.
Gordon turns back to Flass.
Sir?
GORDON
Flass looks too dumbstruck to speak.

EXT. ALLEY BEHIND DOCKS - NIGHT
Alfred's car is parked out of sight.
Something hits the ground behind it.
87.
Alfred's in the driver's seat. He doesn't react as the back
door opens and a figure gets in.
Well?
ALFRED
In the back seat, Bruce pulls off his mask. His face is
flushed, shining. Wholly alive in the moment.
We did it.
BRUCE
Alfred grins as he starts the car.

ALFRED
Well done, kid. Well done.
EXT. ALLEY BEHIND DOCKS - NIGHT
And the car drives off into the night.
VICKI (PRELAP)
...last night in a dangerous
running battle between Gotham City
Police and the forces of a criminal
organisation known as the Domino
syndicate...
CUT TO:
NEWS BULLETIN
Footage of the police gunfight.
VICKI (O.S.)
...now revealed to have been
operating behind the cover of
Everhart Logistics, with CEO Teresa
Holleran arrested last night at the
scene of the crime.
CUT TO Teresa being led away in handcuffs,
CUT TO a new shot. Shaky camera footage, showing Batman and
Teresa fighting on the deck of the ship.
VICKI (O.S.) (CONT'D)
Far more stunning, however, was the
presence of this individual at the
docks. For months now there has
been speculation about a giant batlike creature having been sighted
in Gotham city...
88.
INT. COURTROOM, GOTHAM CITY COURTHOUSE - DAY
Harvey checks his notes. Looks across at the defendant
sitting across from him - John Hobbes.
All rise.
COURT CLERK (O.S.)
Harvey stands along with everyone else as the JUDGE enters to

begin the trial. Harvey glances over his shoulder. Jessica
sits a few rows back. She catches his eye. They share a
smile. Round two.
VICKI (O.S.)
...but until now these have been
little more than stories. An urban
legend...
INT. BARBARA'S BEDROOM - DAY
Barbara sits on her bed, watching the news on her TV.
VICKI (O.S.)
Now, no more.
Barbara smiles, looking intrigued.
BARBARA
Now we're talking...
INT. SYMES'S OFFICE, WAYNE ENTERPRISES - DAY
Jacob Symes watches on his iPad.
VICKI (O.S.)
While his identity is unknown, his
intentions were clear, seen here
assisting the police in taking down
the Domino Syndicate in their plan
to flood Gotham with the deadly new
designer drug Oblivion.
INT. BULLPEN, GOTHAM CITY POLICE STATION - DAY
All the assembled cops stand watching. Flass looks angry but
he's keeping a lid on it. Gordon and Montoya share a grin.
VICKI (O.S.)
We don't know who he is. We don't
know why he's doing this.
INT. CORRIDOR, GOTHAM CITY POLICE STATION - DAY
Gordon watches as Sledge, his arm in a sling, is processed.
VICKI (O.S.)
But he seems to be standing up for
the people of Gotham.
89.
INT. BATCAVE - DAY
Bruce watches on the computer screen, with Alfred standing
beside him.
VICKI (O.S.)
And we know that the people are
referring to him simply as...
(pause)
The Batman.
Bruce leans back in his chair. Looks over at where the Batsuit stands in the corner. He looks pleased.
BRUCE
The Batman...
Behind him, Alfred rolls his eyes and walks off.
INT. NEWSROOM, GBC HEADQUARTERS - DAY
Vicki sits at her desk, watching the report on her computer.
VICKI (O.S.)
For GBC News, this is Vicki Vale.
Dan, back to you in the studio.
Vicki allows herself a grin of triumph.
Vale!
SPENCE (O.S.)
Vicki looks up to see Spence approaching. From his desk

Malcolm pulls a face.
MALCOLM
Brace for impact.
Vicki turns to Spence, flashes a megawatt smile.
VICKI
Something I can do for you?
SPENCE
I don't know how you did it but
we've had affiliates from all over
the country on the phone all day,
everyone and their brother wants to
run the footage-VICKI
See what happens when you assign me
to a do-nothing story?
(grins)
Imagine what would happen if you
gave me something I could get my
teeth into.
90.
Spence grins, knowing he's been beaten.
SPENCE
What do you want?
VICKI
My own office. The right to
investigate my own stories. My own
budget. Editorial control.
(off his look)
Or I could go and work for NBC and
take the footage with me. Your
call.
Malcolm COUGHS loudly into his hand.
VICKI (CONT'D)
And him. I want him too. He's
pretty good.
Spence looks between the two of them.
VICKI (CONT'D)
That's the offer. Take it or leave
it.
EXT. GBC BUILDING - DAY
Vicki emerges, crosses over to where the red motorbike is
parked by the side of the road.
BRUCE (O.S.)
Decided to keep it?
Vicki looks back. Sees Bruce standing nearby.
BRUCE (CONT'D)
Don't suppose I could tempt you to
another race?
Vicki smiles as she pulls on her helmet.
VICKI
I think I've got enough excitement
in my life for the moment, thank
you.
BRUCE
So I've seen. 'The Batman'.
What?
VICKI
BRUCE
(shrugs)
Nothing. I kinda like it.
Vicki looks pleased. She gets onto the bike.
91.
BRUCE (CONT'D)
So you'll be going back to New York
then? Returning a hero?
VICKI
I don't know. Maybe I'll stick
around here for a while yet.
Really?
BRUCE
VICKI
Yeah.
(grins)
Things seem to have gotten
interesting around here.
She KICKS the engine into life.
VICKI (CONT'D)
See you around, Bruce.
I hope so.
BRUCE
Vicki's bike PEELS off, vanishing into the streets. Bruce

watches until she's out of sight.
INT. BENTLEY - DAY
Alfred's at the driver's seat, in chauffeur's uniform
complete with peaked cap. He glances in the mirror as Bruce
gets into the back.
ALFRED
Made quite a name for yourself.
(off his look)
That was the plan, wasn't it?
BRUCE
Acting on some sound advice from a
friend.
Alfred looks pleased as he starts the engine.
Home?
ALFRED
BRUCE
Not just yet.
(looks up)
We've got a lot of work to do,
Alfred. Something tells me we're
only at the beginning of this
thing.
Alfred nods, understanding.
92.
ALFRED
Then it looks like we'd better get
started.
BRUCE
Yes. Yes it does.
Hold on his face for a long moment before we
BLACK OUT:
BLACK SCREEN
SUITED MAN (O.S.)
Things have changed.
INT. BROTHERHOOD CHAMBER - NIGHT
A darkened room, the floor and walls made of shiny black
material. THIRTEEN CHAIRS sit in a circle, facing inwards.
Eleven are occupied. Two are not. The place feels like a
temple, something vaguely Masonic about the design.
The SUITED MAN from the docks sits in one chair. He nods at
one of the empty seats.
SUITED MAN
Teresa Holleran has been captured
by the enemy. She's in police
custody right now.
He looks at one of the chairs. Jessica Carlisle sits there.
JESSICA
We can acquit when she goes to
trial-SUITED MAN
Too dangerous.
Agreed.
FLASS (O.S.)
Flass sits in another chair.

FLASS (CONT'D)
This is my problem.
INT. CELL, GOTHAM CITY POLICE STATION - DAY
Teresa sits on the bunk, eyes downcast, beaten. The cell door
rattles open. She looks up as Flass enters.
FLASS (V.O.)
I was supposed to keep the cops
away from the docks. I didn't
succeed.
93.
Flass removes a silenced pistol from his pocket. Teresa's
eyes go wide in fear.
Wait.
TERESA
The door CLANGS shut, cutting off the view. From OS we hear
two SILENCED SHOTS.
FLASS (V.O.)
I'll make sure she never gets the
chance to say anything.
INT. BROTHERHOOD CHAMBER - NIGHT
As before. Jessica addresses the room.
JESSICA
And Detective Gordon?
FLASS
We've made one move already. Jim's
a good cop. Knows what he's doing.
(beat)
We'll have to be more careful next
time.
SYMES (O.S.)
And what if she's talked already?
Jacob Symes leans forward from one of the chairs.
SYMES
I don't have to
how much we all
our presence is
(CONT'D)
remind you all just
stand to lose if
discovered.
SUITED MAN
All valid concerns. But right now
they're secondary.
He nods towards the other vacant chair. This one is bigger
and more ornate than the others.
SUITED MAN (CONT'D)
Right now we have a bigger problem
to worry about.
DISSOLVE TO:
Batman's face. Cold and dangerous. And we are:
EXT. ROOFTOPS, GOTHAM CITY - NIGHT
Batman crouches on the edge of the building, looking out over
the city. POLICE SIRENS sound below.
94.
SUITED MAN (V.O.)
The Master is most upset about the
presence of this ... Batman.
Batman LEAPS out into the street, cape extending like wings.
SUITED MAN (V.O.)
And he wants something done about
it.
Batman flies straight into camera as we
BLACK OUT:
BATMAN
GRAPHICS
JT VAUGHN
PRODUCER
LEE A. CHRIMES
CO-EXECUTIVE PRODUCER
CO-EXECUTIVE PRODUCER
PETE D. GASKELL
KYLE MACDONALD
EXECUTIVE PRODUCER
ADAM SCOTT

1x00 NONE BUT THE BRAVE

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1x00 NONE BUT THE BRAVE

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!

BZN and BACK ROOM PRODUCTIONS

NONE BUT THE BRAVE

CREATED FOR VS AND WRITTEN BY

BASED ON CHARACTERS CREATED BY

UNIFORMED COP 1 (O.S.)

Gordon rushes over to where a pile of packing crates stand

He kisses Kelly on the lips once, hard and passionate.

Bruce is surprised. He swivels in his chair, looks at Alfred.

Vicki simmers down with what looks like a serious effort.

She looks around to make sure nobody's listening, then leans

(off Bruce's look)

INT. SYMES'S OFFICE, WAYNE ENTERPRISES - DAY

RACK FOCUS across the road. Reveal Alfred standing there,

He grins, sits down opposite her.

Gordon holds his daughter tight to him.

She grins as she rushes forward to hug him.

He reaches out his hand, puts it on top of hers.

She looks back at her food for a moment.

Harvey leans back in his seat, grins.

He puts the picture down. Alfred catches sight of it.

He brings his friend in for a big hug.

She looks up as Bruce approaches.

He shrugs off his jacket and drapes it around her. Vicki

She turns to face him, looks him in the eyes.

The screen changes, showing Teresa and Hobbes walking across

She turns and walks away. Hobbes looks back to Sledge.

Everyone gets back to work.

CLOSE on his eyes. We see specks of RED in the whites, as

He SLAMS the flat of his hand out, sending Batman sprawling

INT. FACTORY - NIGHT

She shoves it back in her pocket.

Hold on her conflicted face for a moment.

Vicki's standing on the doorstep, looking awkward. She looks

Vicki looks in amazement at a gorgeous red MOTORCYCLE. She

On Bruce's face-INSERT: A monastery - younger Bruce, with his shirt off,

INSERT: A darkened cavern, deep beneath the surface -- BATS

INSERT: PUSHING IN on the cowl of the batsuit, empty eyes

Bruce smiles. A shared moment between the two of them. Then

The voice that answers is ELECTRONICALLY MUFFLED.

EXT. ROOFTOP - NIGHT

CUT TO Alfred. He's examining a device broken down into

Barbara looks thrilled.

Vicki visibly relaxes.

He heads back inside the house.

Lucius holds up a small metal box.

The car door opens. A handsome MAN in a DARK SUIT emerges.

SUITED MAN (O.S.)

CUT TO Teresa as the man turns back to her.

EXT. STREET CORNER - NIGHT

He grins at Montoya, who mirrors it, seeing his confidence.

He slams the brakes on.

Malcolm's already on it.

EXT. ROOF OF SHIPPING OFFICE - NIGHT

Teresa SNARLS, EXPLODING upwards like a sprinter out of the

Gordon looks up to see Flass approaching from a nearby car,

She's pointing upwards. Gordon and Flass look up. Flass'

Flass looks too dumbstruck to speak.

Alfred grins as he starts the car.

COURT CLERK (O.S.)

Harvey stands along with everyone else as the JUDGE enters to

Vicki looks up to see Spence approaching. From his desk

Vicki's bike PEELS off, vanishing into the streets. Bruce