Revised First Draft Screenplay

June 20, 1983

FADE IN:

SUPERIMPOSED ON A BLACK SCREEN:

WAYNE MANOR, NEAR GOTHAM CITY - 1960

EXT. WAYNE MANOR - SUNSET

A beautiful, sprawling suburban estate at sunset. Classic wrought-iron gates protect a winding driveway which snakes its way up through a neatly manicured lawn.

INT. WAYNE LIVING ROOM - NIGHT

ALFRED PENNYWORTH, the Wayne family butler, fluffs up a cushion in the large, elegant living room. A kind-looking man in his late forties with dark moustache and hair, he epitomizes the proper British moor domo, dressed in a morning coat and striped vest.

Alfred turns, straightens up a pile of thick-looking papers on the living room table. He picks up the top one, looks at it critically, but with satisfaction.

INSERT SHOT - CAMPAIGN POSTER

The thick-looking papers are, in fact, political campaign posters. They feature the face of a handsome, fortyish man, with the block lettered caption: DR. THOMAS WAYNE FOR CITY COUNCIL - A BETTER TOMORROW FOR GOTHAM.

DR. WAYNE'S VOICE

Bruce? Hurry up, son, we're going

to be late. Martha?

BACK TO SCENE

Alfred turns to look at DR. THOMAS WAYNE (the man on the poster) enters the room.

DR. WAYNE (CONT'D)

Now where's Martha? Alfred, have

you seen Mrs. Wayne?

ALFRED

I believe she was headed for Master

Bruce's laboratory. Sir.

Dr. Wayne checks his watch, exits, muttering.

DR. WAYNE

That nymphomaniacal hamster of his

must have given birth again...

INT. HALLWAY

Dr. Wayne heads down the hallway towards a door.

DR. WAYNE

Come on, everybody, the movie starts

in less than an hour. Let's not

keep you next city councilman

waiting...

INT. BRUCE'S LAB

Dr. Wayne opens the door. The makeshift lab room has a large work table crammed with beakers, test tubes, and other scientific equipment. BRUCE WYANE, aged ten, sits behind a microscope, peers down intently at a specimen on a slide. He does not look up as his father enters.

DR. WAYNE

(crossing)

Son, whatever you're looking at

couldn't possible be as pretty as

Audrey Hepburn, so...

Dr. Wayne puts his hand on Bruce's shoulder. Incredibly enough - it passes right through it! He recoils, shocked, reaches out to touch the body's head. His hand cuts right through the skull. Giggling is HEARD, O.S.

Young Bruce stands behind the door with his mother, MARTHA, a beautiful woman in her mid-thirties.

BRUCE

It's called a "holograph," dad. Two

Interconnecting laser beams...

(pointing)

There and there. Pretty neat, huh?

Dr. Wayne stares at the laser tubes, totally nonplussed.

MARTHA

Well, don't look at me. My side

of the family still can't figure out

why it gets dark at night. Ready to

go?

DR. WAYNE

(eyes narrowing)

How can I be sure you're the real

thing?

Martha kisses him warmly. He looks back, impressed.

DR. WAYNE (CONT'D)

Somewhat lifelike, I'll admit...

MARTH

That's all? Then hold on to your

socks, buster...

She kisses him again with passion. Bruce turns away with the typical self-consciousness of a pre-adolescent.

BRUCE

Oh, guy...

His parents break. Dr. Wayne looks down at him.

DR. WAYNE

Bruce, you may be the brightest ten

year old in Gotham City, or any-

where else, for that matter. But I

feel I ought to let you in on some-

thing.

(at Martha)

This - is definitely not a guy.

INT. PROJECTION BOOTH - NIGHT

A huge 35mm motion picture projector springs to life.

INT. THEATER

The shifting colored rays of a projected film knife though the blackness of the theater.

SCREEN VOICE

Sister, you make a beautiful nun.

ANGLE ON MOVIE SCREEN

The screen is filled by the face of AUDREY HEPBURN, dressed as a nun. We are watched The Nun's Story, as are:

ANGLE ON WAYNE FAMILY IN SEATS

Dr. Wayne, Martha, and Bruce, who downs the remains of his box of Good and Plenty.

EXT. GOTHAM MOVIE THEATER & STREET - NIGHT

Rumblings of distant thunder echo through the night sky. The Wayne family exits the theater, heads down a deserted street. Suddenly - a flash of lightning. A closer, louder clap of thunder. Dr. Wayne takes Martha's arm. Bruce straggles behind, staring at the pavement.

DR. WAYNE

I wish I hadn't parked so far away.

We're going to get soaked.

MARTHA

(over her shoulder)

Do try and keep up, Bruce. What on

earth are you staring at, anyway?

BRUCE

The cracks, Mom. It's bad luck to

step on one.

(does so)

Oh, darnit...

VOICE (O.S.)

Hold it, you people. Freeze!

A large man (JOE CHILL) partially hidden by shadows, points a gun at them. He stands in the sunken entrance to a deserted brownstone house, gestures with his weapon.

CHILL

Get down in here. Now.

MARTHA

(terrified)

Thomas...

DR. WAYNE

You're welcome to our money. Any-

thing we have. Okay?

Chill stares coldly. Dr. Wayne pulls out his money, takes off his watch. Martha and Bruce watch, petrified.

DR. WAYNE (CONT'D)

Here...just be careful with that

gun, will you? It could go off...

CHILL

You know something, Doc? You're

right.

DR. WAYNE

(expression changing)

Doc? How did you know I was a...

There is a deafening roar as Chill fires the gun, lifting Dr. Wayne off his feet, hurling him backwards.

BRUCE

Daddy!!

Martha screams. A bolt of lightning flashes. Chill turns.

CHILL

Let's have that necklace, lady...

MARTHA

Oh, my God!

Martha tries to escape but is jerked back by Chill's hand as it closes on her necklace. Bruce runs at Chill, grabs him by the leg, tries to pull him down.

BRUCE

Leave my mommy alone! Mommy!

Mommy!

Chill fires again! The necklace snaps free as Martha is jerked backwards, then crumples next to her husband.

CLOSE ON BRUCE

He kneels over his mother's body, pauses in shock, then looks up: the barrel of Chill's gun comes into frame.

CLOSE ON CHILL

The necklace in one hand, his gun in the other. He looks down at Bruce, his expression suddenly changing.

BACK TO BRUCE

He stares at Chill, his jaw inadvertently twitching with rage. A LOUD CLAP OF THUNDER rolls across the sky. Bruce's eyes have become steel, visible fury shooting forth from them in an almost demonic fashion.

Chill's gun hand suddenly starts to tremble. Incredibly, the savage face of this young boy has unnerved him.

CHILL

Stop...lookin' at me like that, kid...

(no response)

Stop looking at me like that!

Suddenly - A FLASH OF LIGHTNING! Rain begins to fall in sheets. Chill, runs up to the street, disappears into the rain-swept darkness.

ANGLE ON APARTMENT BUILDING

LIGHTS have flicked on in the apartment building across the street. FACELESS WITNESSES stand silhouetted in the windows, gazing down at the tragedy across the street.

CAMERA PUSHES IN on one particular window. A SHADOWY FIGURE half-emerges from the darkness, his face still hidden from us. All that is visible is an oversized pair of striped pants and a large white daisy stuck through the coat lapel. The Shadowy Figure pauses, then reaches out an arm and slowly lowers the window shade.

From behind the shade - an insane, maniacal giggle starts to rise. Tiny at first, but gradually building to a sudden explosion of cascading, frightening glee!

BACK TO BRUCE

Kneeling in the rain across the street, paralyzed with shock and grief. He looks up from the bodies of his parents as a COUPLE approaches along the pavement above.

BRUCE'S VOICE

Help...oh, please help me...

The couple stop, stare down at the scene.

BRUCE

It's...my mom and dad. Please...I

think they're dead.

The couple exchange a quick, horrified glance, then hurry off down the street.

BACK TO BRUCE

Sobbing uncontrollably now, tears mixing with the rain. In the distance: the low whine of an approaching siren. CAMERA RISES into the night sky:

A FLASHING BOLT OF LIGHTNING RIPS ACROSS THE SCREEN: the residue remains in the night sky - a searing yellow dot. ANOTHER BOLT OF LIGHTNING - another yellow dot. Then a deafening clap of thunder as the gray-black clouds arrange themselves into a dark and eerie silhouette. The siren grows louder, piercing shrilly through the rumblings of the storm. The SILHOUETTE becomes more familiar now, as the billowing clouds form themselves into a dark cape. The dots of lightning begin to pulsate as they evolve into two searing yellow eyes.

This then, is the signal of the future presence of the Dark Redeemer of the Night. The Black Wraith. The Avenger of Countless Wrongs...

THE BATMAN

DISSOLVE THROUGH TO:

EXT. HILLSIDE CEMETERY NEAR GOTHAM - DAY

A beautiful rolling hill overlooking Gotham City. As CAMERA TRACKS through the trees, tombstones begin to appear. We are in the middle of an immaculate pastoral graveyard. Down below in the distance an endless line of black limousines snakes its way up a winding road. CAMERA CONTINUES TO TRACK, finally HOLDING ON:

The unfilled graves of Thomas and Martha Wayne. Dark-suited FUNERAL ATTENDANTS wait silently by the caskets.

EXT. GOTHAM CITY - DAY - ESTABLISHING SHOT

A hot sun showers a blazing glow on the throbbing metropolis of Gotham City, choked with cars, buses, PEDESTRIANS, and the attendant pollution. A great American city going through the routine performances of its daily mundane chores.

EXT. NEWSSTAND - DAY

CAMERA CLOSE on an oversized pair of striped pants standing in front of a corner newsstand.

VOICE

A copy of the Trib, please.

CLOSE ON GOTHAM TRIBUNE

An edition of the Gotham Tribune is handed over. The headlines scream: DR. & MRS. THOMAS WAYNE GUNNED DOWN IN SENSELESS ROBBERY/KILLING. "Political hopeful was well ahead in latest polls."

An insane giggle rises, O.S. CAMERA PANS UP from the front page to the horrified face of a NEWS VENDOR, staring in disbelief at the person reading the Tribune.

CLOSE ON JOKER - HIS P.O.V.

We see the hideous face of THE JOKER. A revolting perversion of a human being with a chalk-white complexion, ruby red lips, and a startling shock of green hair. He continues to giggle as he reads. A CONFEDERATE stands behind. The Vendor continues to stare as The Joker suddenly notices.

JOKER

Something wrong?

VENDOR

Your...face. It's...

JOKER

Familiar? Maybe we met in Toledo.

VENDOR

I never been to Toledo.

JOKER

Neither have I. Must have been two

other guys.

(taking one out)

Have a cigar?

VENDOR

Gee, thanks.

The Vendor takes the cigar, lights it. The Joker and his Confederate move off down the street.

JOKER

Want to hear a good one? What's

black and white and dead all over?

CONFEDERATE

A newspaper, Boss, but ain't it

black and white and read all over?

Suddenly - there is a tremendous explosion!

ANGLE ON CORNER NEWSSTAND

The corner newsstand has virtually disappeared. Thousands of pages drift down through the air into the debris.

BACK TO JOKER

JOKER

No...

EXT. HILLSIDE CEMETERY - DAY

The procession of limousines has started back down the hill from the funeral. Alfred stands alone by a black Rolls Royce, looks off sadly as:

Young Bruce Wayne gently places a flower on each of his parent's graves, then turns. His eyes are glassed over, but tears do not fall. He crosses to Alfred who puts a protective arm around him.

ALFRED

It's unfair, of course. But some-

times, Master Bruce, one simply has

to...accept conditions as they are,

and...make the best of them.

BRUCE

(softly)

Why?

ALFRED

Why? Why, because...

(nice smile)

I don't know, really.

BRUCE

(deadly)

Neither do I.

Alfred helps the boy into the car. The Rolls Royce heads back down the hill toward Gotham City.

INT. THORNE CAMPAIGN HEADQUARTERS - DAY

Telephones RING! Typewriters CLACK! A campaign poster features the face of RUPERT THORNE, an earnest-looking man with a granite-hard face. Underneath is a logo: Rupert Thorne: He'll make our streets safe again."

The headquarters is a beehive of activity. AIDES rush back and forth as a door marked Private bursts open and Thorne appears. Hr grins with an oily manner.

THORNE

(to AIDE)

Are they all out there?

AIDE

We're waiting for The Evening

Sentinel, Mr. Thorne...

THORNE

Screw The Sentinel. I gotta make

The six o'clock news.

(adjusts his tie)

What's the name of Wayne's kid?

AIDE

Bruce.

Thorne nods, heads for the door, mumbling to himself.

THORNE

Our hearts go out to the Wayne

Family, particularly their young

Son, Bruce...Bruce...Bruce...

EXT. CAMPAIGN HEADQUARTERS - DAY

A throng of REPORTERS and TV remote units snap to attention as Thorne appears on the steps of his campaign headquarters. He silences a cacophony of overlapping questions with upraised hands, terminally sincere.

THORNE

I didn't want to win like this. Not

through tragedy. But it's cruelly

ironic...

EXT. GOTHAM - DAY

A more downbeat section of Gotham's business district. CAMERA CLOSES on a specific building: The Monarch Playing Card Company. THORNE'S VOICE CONTINUES OVER:

THORNE'S VOICE

...that a good man like Thomas Wayne

who spoke up so forcefully for the

rights of criminals should himself

become the ultimate victim.

INT. JOKER'S LAIR - DAY

A huge room, garishly decorated in a clown motif. The wallpaper is one contiguous deck of cards. There are harlequin chairs, jesters, and open Jack-In-The-Box, etc.

A MAN sits in a chair at the end of the room, facing away from CAMERA. He watches Thorne on a TV set.

THORNE

(from TV)

But his murderer will be caught and

executed, I promise you! It's time

the scum of our society see that we

mean to have law and order on the

streets of Gotham City!

Suddenly - the set goes mute. The Man in the chair swivels around slowly: It is JOE CHILL!

The Joker stands at the entrance to the room, lowers a remote control box. He grins at Chill. Chill stares back nervously, clearly frightened by The Joker's maniacal presence.

CHILL

I was...headed for the airport.

They said you wanted to see me.

Something...wrong?

JOKER

Wrong? I thought we'd celebrate. I

thought you'd like to join me in a

drink.

CHILL

(visibly relieved)

Why not...

The Joker leads him to a table, suddenly glowers darkly.

JOKER

You know, I'm disappointed in you,

Joe. Very disappointed.

CHILL

(swallowing)

You...are?

JOKER

I said, "Would you like to join me

in a drink." Then you're supposed

to say, "Sure there'll be room

enough for both of us?"

(giggle)

Get it?

(louder giggle)

"Room enough..."

CHILL

Yeah...sure...I get it now...

JOKER

You're a quick study, Joe.

The Joker claps him on the back as they sit at the table. The Confederate enters with two glasses on a tray. One contains a clear liquid. The other - a bilious, thick yellow concoction. The Joker edges it across the table toward Chill who eyes it suspiciously.

JOKER (CONT'D)

Drink up.

Chill examines the yellow liquid, wary.

CHILL

How come...you ain't drinkin' this...

JOKER

Good question. I like lemonade...

He takes it from Chill, hands him the clear liquid. They both down their drinks. The Joker giggles insanely.

CHILL

What's...so funny...?

JOKER

Man walks into a doctor's office,

says, "Are you the doctor's nurse?"

she says, "Yes." He says, "Oh, is

the doctor sick?"

The Joker slams the table in glee, out of control.

CHILL

No offense, Joker, but that's not

very...

Chill stops. The corners of his mouth twitch, then rise involuntarily. He snickers. Again. Starts to giggle. The Joker's eyes narrow. His smile becomes cruel.

JOKER

The doctor says, "I can sure you. The

disease is hereditary." The patient

says, "Then send the bill to my father."

Chill instantly explodes with laughter!

JOKER (CONT'D)

He says, "Help me, Doctor, I've got

amnesia." Doctor says, "How long

have you had it?" He says, "How

long have I had what?"

Chill is on his feet now, convulsed in glee. He sinks to his knees, out of control, then collapses on the floor.

JOKER (CONT'D)

And this one will kill you! I just got

back from a pleasure trip. I drove my

mother-in-law to the airport...

CLOSE ON CHILL

Dead. His mouth frozen in a grotesque grin. The Joker stares down blankly.

JOKER

But seriously, folks...

He looks off, presses the remote control box, activates the sound on the television again.

CLOSE ON TV

Rupert Thorne leans in with an oily look.

THORNE ON TV

In the meantime, our hearts go out

to the Wayne family, particularly to

their young son, Bruce...

BACK TO JOKER

Watching Thorne. His face twists into a cruel smile.

THORNE

(thoughtful pause)

And I'd like to think that one day

Thomas Wayne will look down on this

earth and this city and say...

As Thorne and The Joker speak simultaneously.

THORNE & JOKER

"You know what? I was wrong. That

Rupert Thorne is one heck of a city

councilman."

The Joker explodes in laughter! His terrifying guffaws propel him off the chair onto the floor.

EXT. WAYNE MANOR - DAY

A large truck with the logo "GOTHAM GYMNASTICS" starts down the driveway to the gates, moving away from Wayne Manor.

INT. MANOR EXERCISE ROOM - DAT

Alfred and Bruce stand in a newly outfitted exercise room. The equipment has been expertly installed: rings, parallel bars, balancing beam, weight machines, etc. Bruce is in a T-shirt and shorts. He gazes at the impressive array.

ALFRED

One hardly knows where to begin.

BRUCE

Those rings seem simple enough.

Bruce crosses to the rings, leaps, catches hold, tries to hoist himself up. His eyes bulge! He tries again, then drops to the floor in a heap.

ALFRED

Perhaps if we lowered them.

BRUCE

(grim stare)

If you'll excuse me now, Alfred.

I'll see you at dinner.

ALFRED

Yes, Sir.

Alfred leaves, closing the door. Bruce turns, glares up at the rings like deadly enemies. He jumps again, catches hold, starts to hoist himself up, straining with the effort. The veins standing out on his forehead. Slowly, painfully, he begins to inch himself higher and higher.

INT KARATE STUDIO - DAY

Bruce is dressed in a martial arts outfit, tensely faces a thick pine board being held by a Japanese INSTRUCTOR.

INSTRUCTOR

...but you must believe, really

believe you can do it. The mind

is more powerful than the fist, and

the fist is more powerful than the

board. Understood?

Bruce nods earnestly, sets himself. With a blood-curdling SCREAM -- he lashes out! Then - an instantaneous second SCREAM as his fist crumples against the unyielding board.

INSTRUCTOR (CONT'D)

Let's go over it again...

EXT. MOUNTAIN ROAD - SUNRISE

A tree-lined winding road at dawn. Bruce jogs along easily, his right hand encased in a plaster cast. Jogging next to him, huffing and puffing: an exhausted FRENCH PROFESSOR.

BRUCE

I am happy...

FRENCH PROFESSOR

(panting)

Je suis heureux...

BRUCE

Je suis heureux...to make your

acquaintance.

FRENCH PROFESSOR

(gasping)

De...faire votre connaissance...

BRUCE

De faire votre connaissance...

Bruce looks ahead toward a bend in the road. Alfred stands by the Rolls Royce, checking his watch. The spent Professor peels off to the side as Bruce continues on.

BRUCE

Merci, mon Professeur! Tommorrow at

Six again, okay?

The Professor manages a feeble wave, collapses by the side of the road in front of Alfred who administers a thermos of hot coffee and a croissant to the stricken man.

ANGLE AROUND OTHER SIDE OF BEND.

Another jogger has joined Bruce around the bend - an older man, his bearded RUSSIAN PROFESSOR.

BRUCE

Dobroye utro, Boris...I am happy...

BORIS

Ochen priyatno...

BRUCE

Ochen priyatno...To make your

acquaintance.

BORIS

Vam...poznakomit...

The two of them jog off into the distance.

BORIS' VOICE

(already winded)

Bozhe moy!...

EXT. WAYNE MANOR LAWN - DAY

Bruce stands facing a large, brightly colored archery target on the lawn of Wayne Manor. From O.S., behind his back, WE HEAR A WHIRRING SOUND.

CLOSE ON ARROW GUN

A gleaming STEEL ARROW "clicks" into the firing slot of an automatic-fire Gatling Gun device. Suddenly - it fires!

BACK TO BRUCE

Wheeling around to face the on-rushing whizzing arrow - lifting a heavily padded hand to catch it in mid-air!

HE MISSES! The arrow "thunks" into his chest, directly over his heart! Bruce sighs, removes the arrow, jerking it out of his hidden protective vest.

BRUCE

Darn...

ANOTHER ARROW whizzes at him! Bruce drops to one knee, this time almost catching it as the steel tip rips away a piece of the heavy padding on his hand.

CLOSE ON ALFRED AT WINDOW

Alfred watches from a window, shaking his head, appalled, now returns to his housekeeping.

INT. EXERCISE ROOM - DAY

Bruce is on the rings again. By now using them with considerable expertise, swinging his body in somersaults, then performing the difficult "Iron Cross" maneuver. He pauses at full extension, then swings back, launches himself towards the parallel bars.

Catching the bars expertly, he performs a complicated routine, pausing at the top to look across the room:

A thin balance beam sits below, ten feet away.

Bruce swings back one more time on the upper parallel bar, then flies through the air for the beam! His feet land on top for one split, tenuous second. He teeters - then crashes heavily to the floor. Shaking his head to clear the cobwebs, he stares back at the beam, determined.

EXT. WAYNE MANOR - DAY

Alfred exits the rear of Wayne Manor onto the lawn, looks around, mystified.

ALFRED

Master Bruce? Luncheon is served!

Alfred hears a CUMBLING SOUND, looks up as a piece of brick falls, narrowly missing him.

ANGLE ON BRUCE - ALFRED'S P.O.V.

Bruce is scaling the side of the house! A thick rope encircles the chimney of Wayne Manor as Bruce makes his way up the structure, hand over hand. Suddenly: the old brick chimney STARTS TO CRUMBLE! The rope jerks free as bricks fly everywhere and Bruce tumbles heavily down to the lawn at Alfred'' feet.

Bruce looks up, grins sheepishly. Alfred glances back up at the demolished chimney, then back down at Bruce again.

ALFRED

Santa will be heartbroken.

INT. KARATE STUDIO - DAY

A TERRIFYING SCREAM! A PINE BOARD is smashed to smithereens by a lightning-quick fist!

Bruce wheels to FACE CAMERA. HE IS NOW SEVENTEEN YEARS OLD. Cool, clear eyes flick in the opposite direction as:

Two STUDENTS charge him! He flips one over his head, flips the other while simultaneously spinning around to face the Instructor who closes ranks from behind.

The fight is furiously expert - hands and feet working like windmills. Bruce is parrying every thrust the

Instructor has to offer, countering every move, but is nonetheless being backed into a corner.

The Instructor moves in for the kill as Bruce suddenly vaults up and over him in a seven-foot backflip! Grabbing the man's black belt from behind for leverage, he hoists the Instructor over his head, then sends the bewildered man flying through the air, crashing onto the mat in a heap.

Bruce looks over, suddenly concerned. He holds the Instructor's black belt in his hands. The Instructor is half-dazed, in some pain. His eyes suddenly pop open - he grins broadly back at Bruce.

INSTRUCTOR

That's okay. Keep it.

INT. BALLET STUDIO - DAY

A line of beautiful young would-be BALLERINAS perform the various positions at the bar in a dance studio to the musical strains of Swan Lake. A stern INSTRUCTRESS supervises, barking out the numbers.

CAMERA TRACKS past the female figures at the bar. In the middle of the line, dressed in tight and a T-shirt - Bruce Wayne. Perspiring heavily, he performs the set routine with amazing grace. A gorgeous DANCER looks over her shoulder at him, whispers under her breath.

GIRL DANCER

Any of the guys ever make fun of

you?

BRUCE

(nice smile)

One guy. Once.

INT. BROKERAGE FIRM - DAY

A stock ticker jumps to life. CAMERA PANS the oak-panelled walls of a room, PAST portrait paintings of sever-looking BROKERS in three-piece suits.

BROKER'S VOICE

...the sizeable trust fund left you

by your father, the late Dr. Thomas

Wayne. Now we admit that young

Bruce here has made a few lucky

guesses in the past..

CAMERA HOLDS on a board room conference table: two impeccably turned-out BROKERS face Alfred and Bruce.

BROKER (CONT'D)

...but the time has come for us to

insist on control. We appeal to

you, Mr. Pennyworth, as the executor

of this estate.

ALFRED

It was Dr. Wayne's intention for his

son to achieve self-reliance at the

earliest possible age. With that in

mind, I suggest you accept the lad's

"lucky guesses" as instructions.

BRUCE

Let's hold on to our oil stocks for

now. I see a chance of gasoline

prices rising to sixty, even seventy

cents a gallon.

BROKER

(tolerant smile)

Why not a dollar?

BRUCE

And I'd like to transfer our mutual

funds into the development of the

computer chip. I've been experi-

menting with them, and...

BROKER

Computer...

BRUCE

Chip.

BROKER #2

Sounds like an after-school snack

for machines. Anything else?

BRUCE

As a matter of fact, there is.

Yesterday, I had this most delicious

hamburger at this new little place

called MacDonald's...

The two Brokers exchange a totally exasperated look.

EXT. MONUMENT VALLEY - DAY

CAMERA PANS a campsite with pup tents and a burnt-out campfire to a van featuring the logo: Gotham High School Mountaineering Club.

ANGLE ON ROCK NEEDLE

A towering needle-like rock shoots up from the desert floor. CAMERA PUSHES IN: we see the outlines of THREE CLIMBERS connected by a rope, halfway up he jagged face.

CLOSE ON CLIMBERS

The wind howls. The FIRST CLIMBER drives a piton into the rock face, attaches his line, looks down.

TWO CLIMBERS below struggle mightily. The drop to the desert floor beneath is dizzying. Climber #2 looks up.

CLIMBER #2

Don't look down, for Chrissake!

CLIMBER #1

I'm trying to see if I can spot

Bruce...

CLIMBER #2

Will you forget about him? He wan-

dered off, that's all - in one of

his famous moods.

CLIMBER #1

(drives in piton)

Who knows? Maybe the great Bruce

Wayne finally found something he's

too scared to tackle...

ANGLE ON ROCK NEEDLE - HELICOPTER SHOT

HELICOPTER ZOOMS UP and around to the far side of the needle - one lone figure struggles up the absolutely sheer opposite face of the cliff, a few feet from the top.

CLOSE ON BRUCE

His jaw set - eyes clear. The bitter wind whips through his hair. He drives in his final piton, hoists himself up onto the tiny circular crest of the needle.

HELICOPTER CAMERA RISES. The majestic valley spreads out below us. In the center - the lonely figure of Bruce Wayne - self-reliance and victory personified.

INT. WAYNE MANOR LIVING ROOM - NIGHT

It is late. Alfred relaxes in an easy chair, reading an edition of the Gotham Tribune.

The headline screams: JOKER STEALS KALAHARI DIAMOND - Master of Mirth Strikes Again.

Alfred puts down the paper, stifling a yawn. He hears A MUTED VOICE from upstairs, rises curiously.

INT. BRUCE'S BEDROOM - NIGHT

Bruce is spread-eagled on the bed, fully clothed - fast asleep. A VOICE drones from a bedside tape recorder.

TAPE VOICE

An atom with a magnetic dipole ex-

posed to a nonuniform magnetic field

undergoes a linear force in addition

to its tendency toward orientation...

Alfred stops in the doorway with a sympathetic look.

TAPE VOICE (CONT'D)

The use of an atomic beam makes

possible an observation of an

induced transition...

Alfred switches off the tape, adjusts a quilted coverlet over Bruce with a paternal smile.

INT. EXERCISE ROOM - DAY

CAMERA PANS past the balancing beam, parallel bars, and exercise rings to Bruce, who faces them confidently, but this time with a big difference - HE IS BLINDFOLDED. He takes a tentative step forward, gauging his distance, then leaps up into the air - grabbing the rings with perfect accuracy! He performs a series of difficult routines with clockwork precision, then swings through the air to the parallel bars, latching on to the lower one, then propelling himself up to the higher one. His gyrations become faster, gaining speed and momentum. Suddenly - he launches himself toward the balance beam!

Bruce lands on the end of the beam like a cat - keeping his balance, having calculated the exact distance to the inch. He steps forward with total security, travels the length of the beam with the ease of a pedestrian. Reaching the end, he does a complete forward somersault, lands solidly on his feet. Bruce removes his blindfold, stares back at the path he's just taken, amazed by himself.

ALFRED'S VOICE

Incredible!

Bruce turns. A proud Alfred beams from the doorway.

ALFRED

Why, you were blind as a bat, Sir.

CAMERA PUSHES IN on Bruce's grinning face as WE HEAR:

PRINCIPAL'S VOICE

...many talented, successful gradu-

ates of Gotham High, but none like

this young man. Holder of the

highest scholastic average in the

history of the school...

EXT. GOTHAM HIGH SCHOOL GROUNDS - DAY

CAMERA PANS the front lawn of Gotham High School. It is Graduation Day. STUDENTS and proud PARENTS sit in chairs facing a rostrum, from where the PRINCIPAL speaks:

PRINCIPAL

...eight athletic letters and

Captain of five teams, your Class

Valedictorian - Bruce Wayne!

Applause. Bruce rises in his cap and gown, makes his way to the rostrum. A confident presence glows behind his clear eyes. A self-assuredness without ego. A natural grace which exudes the maturity of a man twice his age. CAMERA PANS TO the figure of Alfred, who beams with pride.

BRUCE

Thank you, Principal Peters. Fellow

students, welcome parents, honored

faculty and guests...

EXT. BACK FO SCHOOL BUILDING - DAY

Bruce hurries down the steps in his black cap and gown, diploma in hand. A pretty COED (CINDY) passes.

CINDY

Great speech, Bruce. I sure hope

you're coming to Deedee's tonight...

BRUCE

Thanks, Cindy, but I don't think I

can make it. Marshall McLuhan is

giving a talk at the University.

CINDY

Bruce...

He turns. Cindy looks at him shyly, then moves closer.

CINDY (CONT'D)

I...hope you don't mind me saying

this, Bruce, but...well, I guess all

the girls feel the same way...

BRUCE

Feel...?

CINDY

It's just that everybody thinks

you're great...great looking and

everything...but you never seem to

have time for any...fun.

BRUCE

Fun? What...kind of fun?

Cindy stares into his eyes with a mixture of hunger and innocence. She leans in, kisses him softly and deeply on the mouth. Bruce's eyes bulge with surprise, then slowly flutter shut. They finally break.

CINDY

(passionate whisper)

275...7634...

Bruce smiles, slides by, heads down the steps. Cindy watches wistfully.

EXT. GOTHAM STREETS - DAY

The Rolls Royce makes its way through the crowded streets.

INT. ROLLS ROYCE - DAY

Bruce stares out the window. Alfred drives on, takes a small notebook from his pocket, reads.

ALFRED

You have your guitar lesson at four,

following which, you wanted time to

finish your article for The Scien-

tific American. Tonight, Marshall

McLuhan lectures at...

Alfred stops. Bruce is lost in another world.

ALFRED (CONT'D)

Are you all right, Sir?

BRUCE

Hmm?

Bruce turns from the window. Alfred notices something.

ALFRED

Is that blood on your lip?

Bruce frowns curiously. He wipes his lip with his finger, then licks it thoughtfully.

BRUCE

Lipstick.

ALFRED

(shocked)

Lipstick?

BRUCE

Lipstick.

Alfred smiles uncomfortably. The Rolls stops at a light. Bruce notices something out the window.

ANGLE OF SHOWROOM - HIS P.O.V.

An elegant foreign car showroom. In the window, its front grill grinning back at Bruce - a BRIGHT RED FERRARI.

BACK TO ROLLS ROYCE.

BRUCE

(muttering)

275-7634...

ALFRED

Beg pardon?

BRUCE

Do you know what's wrong with me,

Alfred?

ALFRED

I can't imagine a thing, Sir.

BRUCE

I never have time for any fun.

EXT. BEACH - DAWN

The first orange rays of the sun stab upwards through the clouds in a brilliant sunrise. The bright red Ferrari is parked in the sand on the top of a high dune. The VOICES of BRUCE and CINDY drift up from below.

BRUCE'S VOICE

(sleepy; affectionate)

Good morning...

CINDY'S VOICE

Mmm...

BRUCE'S VOICE

Want to go for a swim?

CINDY'S VOICE

(pleased)

I don't think I can walk...

(soft purr)

Where'd you learn to do all that?

BRUCE'S VOICE

Here. Last night. It's strange,

but once I get the hang of something

I just can't seem to stop.

(beat)

Sorry.

CINDY'S VOICE

(dreamy)

Oh...that's okay...

CAMERA PUSHES IN on Ferrari as the ROAR of a powerful racing engine is heard, gather in intensity.

EXT. GOTHAM RACETRACK - DAY

A gleaming red Formula One racing car ROARS ACROSS THE FINISH LINE to the waving of a black-checkered flag and the WILD CHEERS of the CROWD.

ANGLE ON WINNER'S CIRCLE

WE SEE THE ADULT BRUCE WAYNE sitting in his racing machine, holding up a trophy under a banner: WINNER - GOTHAM 500.

Flashbulbs pop! FANS cheer! A BUXOM MISS GOTHAM leans in to pose for pictures with Bruce and share champagne from the trophy cup. A disgruntled MARIO ANDRETTI elbows his way through the throng to shake hands with the winner.

MARIO ANDRETTI

Hell of a race, Bruce.

BRUCE

Thanks, Mario.

ANDRETTI

Remember how you told me this was

just a hobby? Well keep it that way

and let the rest of us make a

living, okay?

Miss Gotham leans in, hugs Bruce tightly, giggles, then whispers something in his ear. Bruce looks up.

BRUCE

(at Miss Gotham)

That's your hobby?

(grins)

No kidding.

INSERT SHOT - GOTHAM TRIBUNE

The Gotham Tribune cartwheels INTO FRAME: The headline reads: PRESIDENT DECLARED - I AM NOT A CROOK!

Farther down the page is a smaller headline, reading: BRUCE WAYNE DECLARES - I AM NOT THE FATHER! Millionaire playboy cleared in Miss Gotham paternity suit.

EXT. GOTHAM COURTHOUSE - DAY

A throng a REPORTERS waits with a predominantly FEMALE CROWD at the entrance to Gotham Courthouse.

Bruce suddenly appears in the Courthouse doorway as a LOUD CHEER rises from the Female Crowd. He elbows his way through them, Alfred at his side. FLASHBULBS POP! The Women scream and reach out at him, trying to tear off a souvenir. REPORTERS yell overlapping questions.

BRUCE

Sorry, no comment. Sorry...

ALFRED

(at hysterical Woman)

Madame, do try to compose yourself...

They reach the sidewalk and the car. Alfred heads for the front door as Bruce jostles his way inside the back.

INT. ROLLS - DAY

Bruce slams the door shut behind him, turns, stops, stares: Already sitting in the back seat is a beautiful FEMALE REPORTER, legs crossed, perfectly composed, with a portable tape recorder settled on her lap.

REPORTER

Ann Daniel. Gotham Tribune.

BRUCE

(reaching for door handle)

Bruce Wayne. Nice to have met you.

He tries the door - there's another scream from the Female Crowd who press around the car anticipating his exit. Two ANGRY FEMINISTS raise protesting placards threateningly as Bruce slams the door shut again.

BRUCE (CONT'D)

(at Alfred)

Go.

EXT. STREET - DAY

The Rolls lurches its way out of the Crowd into traffic.

INT. ROLLS - DAY

Bruce stares ahead in silence. ANN studies him with a wry smile, then pushes the "record" button on her machine.

BRUCE

Are you going to play some music?

ANN

You know what they say about Bruce

Wayne?

(no response)

That he's idle and jaded, with no

ambition left - because there's

nothing he hasn't done and been the

best at.

BRUCE

Sounds like a pretty boring guy.

ANN

What haven't you done, Mr. Wayne?

Cured cancer? Climbed Everest?

(no response)

You climbed Everest?

Bruce smiles, reaches out, punches off the recorder.

ANN (CONT'D)

That's...not much of an exclusive.

BRUCE

What did you have in mind?

ANN

Something slightly more...in depth.

BRUCE

Sort of like - "A Day in the Life

of Bruce Wayne?"

ANN

Exactly. You just go ahead and do

whatever you'd be doing naturally -

only make me a part of it.

BRUCE

Miss Daniel - I'll do my level best

to accommodate you.

INT. ANN'S APARTMENT - NIGHT

CAMERA CLOSE on Ann's sleeping face as she lies naked in bed, her features locked in a dreamy smile. She sighs contentedly as HER OWN VOICE IS HEARD from across the room.

ANN'S VOICE

...because there's nothing he hasn't

done and been the best at...

Bruce stands at the bedroom window, staring down absent-mindedly into the street as he finishes dressing. A LOUD CLAP OF THUNDER rolls across the city.

BRUCE'S VOICE

(from tape)

Sounds like a pretty boring guy.

Bruce punches off the recorder, then presses "rewind." He looks over at Ann's sleeping body, then down at the recorder again. He stops it, then presses "play."

ANN'S VOICE

(from tape)

...he's idle and jaded with no ambi-

tion left...

Bruce smiles to himself bitterly, exits silently.

EXT. APARTMENT STREET - NIGHT

Bruce crosses the street to a gleaming Aston-Martin sportscar. ANOTHER THUNDER CLAP! Rain falls as he reaches into the car, takes out a topcoat and hat. He starts to pull the convertible top up, glances down the street:

PEOPLE scurry to avoid the rain. Down the block, across the street, a COUPLE with a YOUNG DAUGHTER look over nervously as a tough-looking BIKER on a huge Harley-Davidson rolls up parallel to them on the street.

BACK TO BRUCE

Adjusting the convertible top. Looking off again.

BACK TO BRUCE'S P.O.V.

Suddenly: the Biker hops the curb in front of the Family! Pulling a gun, he herds them back into a dark alleyway.

BACK TO BRUCE

Eyes narrowing. His jaw twitches. A GUNSHOT RINGS OUT! Bruce explodes across the street for the alleyway.

As Bruce arrives: the Young Girl bursts out screaming, runs past him. Bruce hesitates, then runs inside the alley.

ANGLE IN ALLEYWAY

The Man lies in the alley, being cradled by the Woman. Blood oozes from the side of his head Bruce arrives.

WOMAN

I...think he'll be all right. Our

daughter's run to call an ambulance.

Bruce hears the REVVING of a motorcycle. He looks off down the alley, eyes flashing with anger.

ANGLE DOWN ALLEY - HIS P.O.V.

The Biker grins at him from the far end of the alley, puts his Harley in gear, rolls off through the pouring rain.

BACK TO BRUCE

He makes his decision, takes off in pursuit.

WOMAN

Careful! He's got a gun!

EXT. END OF ALLEYWAY

Bruce arrives at the alley corner, looks off:

ANGLE ON BIKER - HIS P.O.V.

The Biker hovers by the side of an apartment building, still grinning at Bruce through the rain. He rolls forward slowly, almost as if enticing Bruce to follow him, now disappears again.

BACK TO BRUCE

Bruce arrives at the rear of the building, which faces on a vacant dirt lot. He edges forward through the mud, turning the corner, suddenly coming face to face with:

The Biker. Still grinning. Switching off his Harley. Muscles bulging through his wet T-shirt as he dismounts.

BIKER

Congratulations, man.

(wide smile)

You caught me. Matter of fact...

The ROAR OF ENGINES is HEARD! Bruce turns to see: TWO MORE BIKERS, rolling into position behind him. Bruce is hopelessly trapped.

BIKER (CONT'D)

...you caught all of us...

The other two Bikers now dismount and close in. The first Biker draws his gun. Biker #2 looks Bruce up and down critically, squinting at him through the rain.

BIKER #2

That's my raincoat you're wearing.

Take it off.

Biker #2 snaps his arm forward - a switchblade appears in his hand. He flicks it at Bruce who stands his ground, slicing a button off the front of his raincoat.

BIKER #2 (CONT'D)

Pick up the button, Wimpy. Then

lick it clean and hand me my coat.

Bruce stares icily, then slowly bends down to retrieve the button from the mud. Suddenly: Biker #1's foot flashes INTO FRAME, headed straight at Bruce's face! In a lightning-quick move, Bruce grabs the swinging leg with both hands, rises, swings Biker #1 off the ground in a circle, sends him crashing into the motorcycles as his gun goes flying.

Biker #2, switchblade in hand, rushes Bruce. Biker #3 unhooks chains from his belt. Bruce sidesteps: the knife slashes through his raincoat, sending it billowing out behind him like a cape! Biker #3 whistles the chains past Bruce's ear: He snatches them, karate-kicks Biker #3 in the stomach, simultaneously belting Biker #2 across the side of the head with the chains, knocking him unconscious.

Biker #3 lunges at Bruce from behind! Bruce spins, grabbing his arm, twisting the knife away, catching it in his other hand as he trips Biker #3, sends him sprawling in the mud. Bruce now straddles him, knife in hand.

CLOSE ON BIKER #3

Blinking in fear, his head pressed into the mud next to the button.

BRUCE

Your turn to pick up the button,

scumbag...

Biker #3's arm slowly starts forward as Bruce steps on it.

BRUCE (CONT'D)

With your mouth.

Biker #3 shuts his eyes in humiliation as: THE SOUND OF A SIREN IS HEARD!

ANGLE ON SIDE OF BUILDING

TWO POLICEMEN round the corner of the apartment building, now stop, stare in astonished silence at:

The Three Bikers, sprawled in the mud near their machines. Bruce has completely disappeared.

EXT. ALLEYWAY ENTRANCE - NIGHT

A paramedic van is parked at the entrance. Umbrella-holding ONLOOKERS watch. A gurney with the wounded Man is wheeled out. The Woman and the Young Girl follow.

Bruce appears at the edge of the crowd, collar still up, hat adjusted low over his face He stares.

The Paramedics stop. One leans down, examines the Man, then covers his face with the sheet. The Woman turns away in silence. The Young Girl clings to her.

Bruce watches, his eyes filled with tears. He turns, walks off as CAMERA RACKS FOCUS to the pouring rain.

EXT. WAYNE MANOR - NIGHT

CAMERA RACKS BACK from the rain to Bruce, standing by the Aston-Martin in front of Wayne Manor.

INT. LIVING ROOM - NIGHT

Bruce enters the empty living room. His expression is numb. He pauses, lost in thought. Then, moving as if by instinct, he heads for the stairs leading to the basement.

INT. BASEMENT HALLWAY - NIGHT

Bruce descends the stairs, walks down the hallway to a door. He stops, looks down at the heavy padlock which seals it shut. His eyes close in pain, remembering an earlier time.

INT. YOUNG BRUCE'S LAB - NIGHT

Seen through dim half-light: his childhood lab is coated with dust - a room obviously left unused for years. We hear A KEY TURNING IN THE LOCK. The door to the lab swings open. Bruce trains a flashlight on the interior of the musty room. He enters, finds a light switch, flips it on.

The lab table is much as we remember it, crammed with old test tubes, beakers, etc. Bruce crosses, stares down, lost in his past, then switches on the holograph machine. He stares - stunned and amazed as:

THE HOLOGRAPH FIGURE OF TEN-YEAR-OLD BRUCE WAYNE SPRINGS TO LIFE! An exact visual reproduction of the Child who used to be. The Young Boy peers down through a cobwebbed microscope in precisely the position we first saw him.

Bruce's eyes fill with tears - he shuts them tightly as he hears a VOICE from long ago.

YOUNG BRUCE'S VOICE

It's called a holograph, Dad.

Pretty neat, huh?

One laser beam suddenly shorts out with age: the image of Young Bruce disappears. The second beam continues to burn, its energy directed at a disintegrating basement wall.

Bruce slumps at the other side of the table, oblivious, his face buried in his hands.

OVERLAPPING IMAGES AND VOICE START TO APPEAR ON THE SCREEN.

Martha Wayne - giggling with Young Bruce, then kissing her husband passionately.

DR. WAYNE'S VOICE

This - is definitely not a guy.

Thomas Wayne - his face twisted in anguish as Chill's bullet blows.

MARTHA'S VOICE

Oh, my God! No!!

A SHARP CRACK! - As a piece of something crumbles away.

ANGLE ON BRUCE

Looking up. Staring across the room:

The remaining laser beam has eaten away a piece of the basement wall - there is a dull ECHOING THUD as the plaster hits the bottom of some unseen cavernous space below.

BACK TO BRUCE

Rising. Crossing curiously to the hole in the wall. Training his flashlight torch through it.

ANGLE DOWN HOLE - HIS P.O.V.

AN IMMENSE CAVERN trails down and away into the blackness. A network of aged timbers intersect themselves, shoring up the side of the foundation.

BACK TO BRUCE

Staring. Playing his flashlight against the visible parts of the underground cavity. He picks up a beaker from the lab table, then lets it fall through the hole. There is an interminable wait. Finally - the impact of SHATTERING GLASS.

ANGLE BACK THROUGH HOLE

Seen from inside: the torch beam shines. Suddenly - a long length of rope is tossed through. Bruce appears in the opening. He wriggles through, hanging on to the rope.

Bruce expertly shimmies down the rope, a man completely at home in an action he knows well. The beam from the torch dances across the walls of the cavern: high-ribbed, jagged walls, suggesting some sort of labyrinth beyond. The rope has played out. Bruce hangs by the end, looks down, lets himself fall to the cavern floor below.

He rises, plays the torch against the sides of the cave.

ANGLE ON BEAM - HIS P.O.V.

The beam searches into crannies, exploring dark gray walls. It comes across a large patch of solid black.

BACK TO BRUCE

Looking curiously.

BACK TO BLACK PATCH

As the beam hits the black patch fully - dozens of yellow eyes appear. The entire mass LAUNCHES ITSELF INTO CAMERA with a terrifying screech and the sound of beating wings.

BACK TO BRUCE

His jaw drops, stunned, as THE COLONY OF BATS swarm over him! He stumbles, protecting his face. The torch drops to the floor. Its shaft of light dances crazily around the cavern.

From O.S. - a low moan is heard from Bruce. It rises, gathers in volume and intensity, gradually becoming a deep, booming guttural roar - at once a scream of total pain and a cry of defiance. The terrified bats scream back in a maze of hot and cold light bouncing off beating black wings.

INT. ALFRED'S BEDROOM - NIGHT

The wind and rain batter against Alfred's partially open bedroom window. Mixed with the sounds - a strong echo of the roar from the cavern. Alfred's eyes pop open. He rises groggily, makes his way to the window, closes it. CAMERA HOLDS on window, PANS UP to the moon.

DISSOLVE THROUGH TO:

EXT. CEMETERY - CLOSE ON MOON - NIGHT

A FLASHING LIGHTNING BOLT: CAMERA PANS DOWN from the moon through the raging storm to the graves of Thomas and Martha Wayne in the country cemetery, high on the hill.

Kneeling between them is Bruce - fists clenched, head bowed, tiny rivulets of water running off his face and body - totally lost in silent prayer.

BRUCE'S VOICE

I've worked hard to make you proud of

me. To become the kind of person

whose presence could make a difference

in the world. But one man can only do

only so much, Father. Mother, to-

night I saw the sign I thought would

never come. Now - for the first time

I realize I must...be...more...than

a man.

A FLASHING LIGHTNING BOLT WIPES THE SCREEN!

DISSOLVE THROUGH TO:

EXT. GOTHAM SKY - NIGHT

The remaining gossamer wisp of a transparent cloud pulls away from a glowing FULL MOON over Gotham City.

INT. GOTHAM SUBWAY STATION - NIGHT

An express train roars through a seedy subway station.

INT. SUBWAY CAR - NIGHT

A well-scrubbed TEENAGE COUPLE sit together holding hands. The BOY is dressed in a dinner jacket, the GIRL is a chiffon party dress with a prominent orchid corsage pinned to it. They exchange a nervous glance, looking across the car at:

A TOUGH-LOOKING THUG who sits opposite them, his muscular arms bulging through a torn windbreaker. He grins across at the nervous Teenagers menacingly, exposing yellow teeth, then sneaks a sideways look at: A THICKLY-BUILT TRUCKDRIVER-TYPE who stares straight ahead.

These are the only four people in the car.

The subway slows for the next stop. The Truckdriver-Type rises disinterestedly, crosses the car, looks down at the Teenagers who are none too happy with his departure.

TRUCKDRIVER-TYPE

Have a nice time at the prom, kids?

BOY

Yes, thank you, Sir.

The subway doors hiss open. The Truckdriver-Type smiles and exits. The Teenagers looks across the car worried.

The car pulls out of the station. The Thug rises, crosses the car, grabs hold of a vertical pole to steady himself, smirks down at the Teenagers.

THUG

You smell good enough to eat, Sweet-

heart.

BOY

(nervous bravado)

If you've got something to say,

Mister, talk to me, okay?

THUG

I was talking to you - Sweetheart.

A knife drops out of the Thug's sleeve into his hand, its razor-sharp blade glinting in the light. The Teenagers freeze with terror.

THUG (CONT'D)

Maybe it's that flower that smells

so good.

The Thug plucks the corsage off the trembling Girl's bodice, holds it up to his nose, inhales deeply, shaking his head.

THUG (CONT'D)

Nope. Still can't place it.

VOICE

Funny. I can smell you from way

over here.

The Thug wheels, stares off at the end of the car, his jaw dropping open. The Teenagers' eyes bulge in disbelief.

CLOSE ON CHEST

A golden circle with the black figure of a bat sits in the middle of a steel-gray skin-tight fabric stretched across a massively muscled chest.

VOICE

Give the lady back her flower.

BACK TO SCENE

The Thug looks his unseen adversary up and down cautiously, unsure of whether to laugh or obey.

THUG

Okay...sure. Just wanted to have a

little fun. I...

With a sudden lightning move he flips the switchblade in his hand, sending it whizzing in the direction of the Voice.

CLOSE ON KNIFE

The knife whistles through the air TOWARD CAMERA. Suddenly a black-gloved hand miraculously snatches it out of mid-air, spinning it, then sends it flying back!

The switchblade pierces the corsage, jerking it out of the Thug's hand, sticking it into the wall where it quivers behind him. The Thug freezes, turning white.

VOICE

Now then. I think you said you

wanted to have a little fun.

EXT. GOTHAM SUBWAY STATION - NIGHT

The express wheezes to a stop at the next station. A MIDDLE-AGED COUPLE waits for the doors to open, then enter the car. They suddenly stop, staring in amazement:

The Thug stands spread-eagled in the middle of the car, both wrists cuffed to overhanging metal handholds. The center vertical pole disappears up one pants leg, finally reappearing out of the collar of his shirt.

The teenage Boy passes the amazed Couple, confidently dusting his hands. He reaches back for the Girl who sniffs her corsage, then follows him out of the car.

EXT. POLICE HEADQUARTERS - NIGHT

Gotham Police Headquarters. CAMERA TRACKS PAST cubicles and offices, CLACKING, RINGING, DETECTIVES interrogating SUSPECTS, etc., catching up with DAVID GORDON, the Commissioner of Police, a gruff-looking man in his middle fifties who pauses to light a cheap cigarette.

Heading toward him from the other direction: SERGEANT HALEY, a smooth-faced kissass in his thirties.

GORDON

What's up Haley?

HALEY

Pretty slow, Commissioner. Half a

dozen muggings, some kids on PCP,

and...oh, yeah. Looks like we got a

transvestite prowling the southside

subway system.

GORDON

Full moon tonight. Pervo heaven.

Gordon walks through his office door, Haley following.

INT. GORDON'S OFFICE - NIGHT

The extremely cluttered office of an immensely overworked civil servant.

HALEY

From his description, this guy could

make it as a float in the Rose

Parade. Big black cape, black

boots, black hood over his head...

A squawk box intercom crackles on Gordon's desk.

INTERCOM VOICE

Hostage situation, Commissioner.

Man holding two women near 3rd and

Grand. SWAT's on the way.

HALEY

...and get this - a big yellow moon

on his chest with a cockamamy bat in

the middle.

GORDON

(into intercom)

Get my car. I'm going down there.

HALEY

Funny thing is, the guy takes on

this big goon with a knife...

GORDON

(chomping cigar)

You come along too, Haley. I may need

to swap someone for those women.

EXT. DOWNTOWN ALLEY & STREET - NIGHT

Police cars barricade a major avenue, their spotlights trained on a dead-end alley. A SWAT LIEUTENANT speaks through a mike.

SWAT LT.

Come on out of there, Wells! Come

out of we're coming in after you!

WELLS' VOICE

I got hostages! You get one minute

to clear out or I blow'em away!

From behind: Commissioner Gordon's car screeches to a stop. Gordon piles out, followed by Haley.

GORDON

How bad is it, Lieutenant?

SWAT LT.

We're screwed, Sir. That's a dead-

end alley in there. No way to get

behind him.

EXT. DEAD-END ALLEY

A pockmarked thug (WELLS) holds one YOUNG WOMAN roughly, trains his gun on ANOTHER. He squints out into the light.

WELLS

Thirty seconds, Pig! Then I spill

one lady's brains on the street!

Twenty-five...

CAMERA PANS DOWN to the pavement behind Wells.

WELLS (V.O.) (CONT'D)

Twenty!...

A manhole cover rises, moves aside silently.

WELLS (V.O.) (CONT'D)

Fifteen!...

BACK TO WELLS

WELLS (CONT'D)

Ten!...

WOMAN

No! Please!

Wells cocks the gun, sticks it at her head.

WELLS

Five! Four!...

VOICE

Three...two...one...

Wells spins in astonishment:

An ominous hulking shadow looms in the darkness behind him. TWO PULSATING YELLOW EYES pierce through the blackness.

VOICE

I just counted you out, Wells.

Wells fires! The Shadow swings the manhole cover up as the bullet ricochets off it harmlessly. Wells prepares to fire again. The manhole cover suddenly explodes out of the darkness! One swing of a massively muscled arm - one sickening "clang" - and it's over.

ANGLE ON STREET

SWAT LT.

Let's go!

The Police rush toward the alley, Gordon and Haley bringing up the rear, as the two Women emerge.

WOMAN WOMAN #2

He saved us! A giant black Eight fee tall! monster from the sewers!

The Police storm into the alley as Gordon and Haley comfort the panting Women.

WOMAN WOMAN #3 He had black wings... And...and yellow eyes...

GORDON

Well, of course he did...You can

both calm down now, ladies. The

nightmare's over...

WOMAN

Huge arms...thick black gloves...

HALEY

(suddenly)

With a bright yellow moon on his

chest?

WOMAN #2

That's right...

HALEY

And a black bat flying right in the

middle of it!

WOMAN

That's right!

The Women are led away by Paramedics. Haley cocks his head questioningly at Gordon as they proceed into the alley.

GORDON

Forget it. That airhead from the

subway could never have made it to

the north side of town this fast.

HALEY

Maybe there's more than one of them.

Maybe we're dealing with some sort

of secret society of cross-dressers.

Wells is led past them, still groggy, as they arrive at the open manhole and peer down into the forbidding blackness.

GORDON

Get after him, Haley.

HALEY

(gulping)

Me, Sir?

GORDON

Well, you're the only one with an

accurate description!

Haley reluctantly lowers himself into the open manhole as Gordon turns, yells down the alleyway.

GORDON (CONT'D)

Comb the area! I want every squad

car available! We're looking for

the mother of all psychos in a party

costume!

Gordon turns back, looks down into the empty manhole where Haley has now disappeared.

HALEY'S VOICE

(from manhole)

You don't think he...bites, do you,

Sir?

EXT. GOTHAM APARTMENT HOUSE - HIGH SHOT - NIGHT

CAMERA LOOKS DOWN from the roof of a Gotham skyscraper at the windows of a forty-story apartment house below.

CAMERA HOLDS on a pair of glass doors leading out to a rosetta-carved stone balcony. Clearly visible through the doors: AN ELDERLY COUPLE lie face down on the floor of their living room, guarded by a masked BURGLAR holding a shotgun. ANOTHER BURGLAR has managed to open a wall safe and begins stuffing valuables into a gunny sack.

CAMERA ZOOMS BACK!

We are some thirty stories higher across a wide avenue.

A black-gloved hand ENTERS FRAME, holding a thin, clear nylon cord with a tiny barbed fishhook on the end.

The other gloved hand steadies a gleaming titanium rifle barrel with an infrared scope. The fishhook is threaded through the chamber.

A flap is opened in a thick, compartmentalized black belt. The moonlight glints off a cylindrical silver gas cartridge.

ANGLE ACROSS STREET THROUGH SCOPE

Seen through the magnified infrared scope: the cross hairs of the rifle sight settle in on the head of the Burglar holding the shotgun.

The cross hairs pause - then suddenly lower to the balcony. The rifle FIRES with an audible "hiss" of compressed gas.

ANGLE ON ROSETTA BALCONY

As the fishhook whistles through a hole in the rosetta stone framework of the balcony. On impact with the floor it pops open - expanding to ten times its size, having now become an effective grappling hook.

INT. APARTMENT - NIGHT

The Burglar with the shotgun turns at the muffled metallic NOISE, looks through the glass doors at the empty balcony.

EXT. BALCONY FLOOR

The grappling hook inches across the balcony floor, catching a firm hold against the stone.

EXT. SKYSCRAPER ROOF - NIGHT

The nylon cord has been pulled taut - it disappears down into the blackness at a dizzying height, some four hundred feet above the avenue and crisscrossing traffic lights below.

Black-gloved hands take hold of the cord, testing it.

EXT. SKY - NIGHT

An ominous BLACK SHADOW, cape billowing out behind in an eerie silhouette, passes in front of the glowing yellow ball of the full moon.

ANGLE DOWN CORD AT BALCONY

The balcony and double glass doors WHISTLE UP AT CAMERA at a dizzying speed, growing larger by the millisecond!

INT. APARTMENT - NIGHT

The Burglar has finished his work at the safe. He nods to the other Burglar who grins, then cocks his shotgun, pointing it down at the helpless Couple on the floor.

The flicker of an outside SHADOW flits across the room - the Burglar blinks, wheels with his shotgun!

Suddenly: the double doors explode with a hail of shattering glass! Almost simultaneously - the shotgun FIRES!

INT. GORDON'S CAR - NIGHT

A surly Gordon looks over as his intercom crackles.

INTERCOM VOICE

Commissioner, this is Sergeant

Havemeyer. I'm on the fortieth

floor of the Gotham Arms. Our boy

has struck again. Cape, boots, hood

-- the whole drill.

GORDON

(snatches intercom)

When?

HAVEMEYER'S VOICE

Just now. The owners tripped a

silent alarm. We responded and

heard a gunshot as we were running

down the hallway. The victims are

fine. Sonofabitch cold-cocked both

perpetrators.

GORDON

Atta boy, Havemeyer. Hold him for

questioning till I get there.

HAVEMEYER'S VOICE

Can't do that, Sir. He's...already

left.

GORDON

But you were right outside the door...

HAVEMEYER'S VOICE

He left...by the window, Sir.

GORDON

By the window? Goddamnit, Man,

you're on the fortieth floor!

HAVEMEYER'S VOICE

That's...affirmative, Sir.

GORDON

You get back to headquarters pronto,

Mister! I want your urine checked

for drugs!

HAVEMEYER'S VOICE

Yes, Sir.

Gordon slams down the intercom in disgust.

GORDON

Maybe it's something in the water.

Maybe the whole city's on drugs.

EXT. GOTHAM STREETS - NIGHT

Police SIRENS everywhere. A squad car rolls slowly down the street, its spotlight searching the doorways and alleys.

INT. SQUAD CAR - NIGHT

The COP DRIVER yawns, turns to his PARTNER who works the spotlight, now notices something.

COP DRIVER

What's that?

PARTNER

Wino...

(out the window)

Go back to sleep, Ace!

Suddenly: A WHISTLING SOUND through the air! The two Cops blink, snap their heads forward as the searchlight is trained on:

ANGLE ON BATMAN - THEIR P.O.V.

THE BATMAN! - Seen in his majestic totality for the very first time. A truly awesome figure from his black cowl to his gleaming black boots. His huge, dark cape billows out ominously behind him.

BACK TO SQUAD CAR

COP DRIVER

Holee shit...

PARTNER

Let's get him!

BACK TO SCENE

The squad car lurches forward! Batman whirls, runs down an alley. The squad car swings, pulls in af