1x00│ none but the brave

7/26/2019 1x00 NONE BUT THE BRAVE

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BACK ROOMPRODUCTIONS


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BZN and BACK ROOM PRODUCTIONS

Presents

!"#$"%


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NONE BUT THE BRAVE

CREATED FOR VS AND WRITTEN BYADAM SCOTT

BASED ON CHARACTERS CREATED BY

BOB KANE

AND APPEARING IN MAGAZINES PUBLISHED BY

DC COMICS


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FADE IN:

Starting LOW on the water. City lights reflected in murkyblackness. Camera RUSHES FORWARD and CRANES UPWARD to revealGOTHAM 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 cargoship 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 youngerbrother 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 RANGEROVER 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 wesee 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.

SLEDGEThat's good. Means I don't have togive you the lecture. Treat it withsome respect. And understand

what'll happen to your family ifanyone ever finds out where it camefrom. Right?


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The menace in his tone does the trick.

EXT. WAREHOUSE - NIGHT

Connor and Riley get into the sedan and drive off. RACK FOCUSback onto the Range Rover parked in the shadows.

INT. RANGE ROVER - NIGHT

The driver is a man in his late forties, balding and granite-faced, wearing a battered old leather jacket. One look intohis eyes tells us this is a man who has seen war and whoknows 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 hisphone. There's a new text message: 'EMERGENCY'.

From outside we hear the POLICE SIRENS getting closer.

EXT. GOTHAM DOCKS - NIGHT

The police cars SWARM the area around the warehouse. ADETECTIVE emerges from the lead car. In his fifties, craggyand careworn, with shrewd eyes that see everything.

This is DETECTIVE JIM GORDON.


Sledge absently shuffles a deck of cards. He looksnonchalantly up from his desk as Gordon enters, followed byuniformed cops. He looks up innocently.

SLEDGESome 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.

GORDONYou can make this so much easierand just tell me where the drugsare.

SLEDGEDetective, I'm sure I don't know

what you're talking about.

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UNIFORMED COP 1 (O.S.)Sir!

Gordon rushes over to where a pile of packing crates standstacked in the shadows.

GORDONOpen it.

The cop crowbars the lid off. Gordon rummages inside -- thenstops short as his hand emerges holding a TOY CAR.

SLEDGEYou can have that one wholesale.

Laughter all around. Gordon looks back at Sledge, fury in hiseyes. Knowing he's been beaten.

GORDONWho did it, Sledge? Who tipped youoff?

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 coolestnightclub in the city and, as evidenced by the line ofCLUBBERS waiting to get in, the most exclusive.

At the front of the line a FRAT BOY is attempting to gethimself and his way-too-glamorous date (KELLY) inside -

without much success.

FRAT BOYCome on, man, how much longer yougonna keep me waiting?

The DOORMAN remains impassive.

FRAT BOY (CONT'D)

This is lame, let's try somewhereelse.

KELLYYou promised me you could get usin.

FRAT BOYCome on, they're never gonna--

VROOM! The sound of an expensive car engine. Everyone turnsto see a sporty JAGUAR SKID SIDEWAYS into the street, SCREAMup to the doors and stop on a dime by the front door.

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The doors open. Three GORGEOUS GIRLS emerge, all wearing thesame dress in a different colour, each one hotter than thelast.

The last person out is a man - late twenties, devastatinglyhandsome, 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.

BRUCELadies. Shall we?

The doorman steps back to allow Bruce inside immediately. TheFrat Boy looks indignant.

FRAT BOYSo what, he's good enough for you

and we ain't?

Bruce hears that, stops. He catches Kelly's eye.

BRUCEAnd what's your name?

KELLY...Kelly.

BRUCE(holds out his hand)

Mine's Bruce. Care to join me?

FRAT BOYWe're good, thanks--

KELLY(megawatt smile)

Sure.

Bruce takes her hand and leads her inside. The Frat Boy looksamazed, then outraged.

FRAT BOY

Hey!

But they're already inside. The Frat Boy looks stunned - whatthe hell just happened? The doorman grins, loving it.

INT. NIGHTCLUB - NIGHT

HOUSE MUSIC THROBS. The dancefloor is packed and jumping. Theair reeks of exclusivity and money, and Bruce walks throughit all like royalty. He leads the entourage of girls throughto the VIP area.

KELLYI can't believe they just let youin like that.

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BRUCEOh 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 inone 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 thatgives him the best view of the entire club.

EXT. REAR ENTRANCE, NIGHTCLUB - NIGHT

The sedan is parked around the back. Connor sits in the frontseat, checking his watch, nervous.


BODIES WRITHE on the dancefloor. In the VIP area, Brucewatches everything as the girls party. Kelly is kissing hischeek, her hand inside his shirt, but he's taking no notice.


Connor still looks nervous. Behind him we see the Range Roverfrom the docks silently pull into the alley, it's lightsswitched off. Sinister in the darkness.


Where we see Riley moving through the crowds. Plying histrade. 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. Eyeszeroed onto Riley like a heat seeking missile.


Connor checks his watch again just as - SLAM! - the door isWRENCHED OPEN and the bald man from the other car grabs himand SLAMS him against the rear door.

CONNORHey--!

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BALD MAN(English accent, right inhis face)

Shut it if you know what's good foryou.

He pulls the baggie of needles from Connor's pocket.

INT. TOILETS, NIGHTCLUB - NIGHT

The girls Riley was talking to earlier unwrap one of thepinprick 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 hitsthe ground. The Bald Man stands there, grinning.

BALD MANCaught you a little fish.

BOUNCER 1Who the hell are you?

BALD MANName's Alfred Pennyworth, I workfor Mr Wayne. And this guy doesn't

know it yet but he's having areally bad night.

ALFRED drops the baggie of needles onto Connor's back.

At the bar, Riley sees it. And suddenly he looks worried ashell. He downs his drink in one go and heads off.

In the VIP area, Bruce sees all of this. Smiles. Gentlyremoves Kelly's hand from his shirt.

BRUCE

Ladies.

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.

KELLYWhere are you going?

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EXT. SIDE ENTRANCE, NIGHTCLUB - NIGHT

Riley emerges from the nightclub, shoves his hands in hispockets and walks off, trying to look natural.


Alfred heads back to the Range Rover, cool as ice. He looksup at the rooftop.

We see SOMETHING MOVE in the shadows.

ALFREDAlright 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. Hestops 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.

RILEYWho'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 looksup in terror--

-- in time to see a DARK SHAPE detach itself from a fireescape over his head and SLAM down in front of him.

A man. A man dressed in black body armour, long capebillowing behind him, a dark mask covering his face.

Iconic. Terrifying. Immediately recognisable.

BATMAN.

And Riley has never been more terrified in his life. He leapsto his feet, brings up his gun--

RILEY (CONT'D)Stay back!

WHAM! Something HITS him in the hand, making him drop thepistol to the ground.

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Riley spots the object on the ground - a THROWING STAR shapedlike a bat. Riley's eyes go wide in terror. He turns andruns, 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. BeforeRiley can react Batman grabs him and SLAMS him into the wallface-first.

Riley's too terrified to speak as Batman FRISKS him expertly,coming away with a small baggie of syringes. His mouth inchesfrom Riley's ear:

BATMAN(low, guttural)

Who gave you this?

RILEYI can't tell you, they'll kill me--

BATMANThey aren't here. I am. Who?

No answer. Batman SLAMS him against the wall again, hard.

BATMAN (CONT'D)Who?

RILEY(terrified)

DOMINO!

Batman lets go. Riley slumps to the ground, gibbering infear. POLICE SIRENS WAIL from OS. Batman looks up.

EXT. BACK STREET - NIGHT

A PATROL CAR screeches to a halt. Two beat cops emerge atspeed, guns drawn. They head into the alley.

EXT. ALLEY - NIGHT

Empty. No sign of Batman. The cops look around, seeingnothing. 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.

MONTOYAGod...

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REVEAL RILEY suspended upside down, hands behind his back,gibbering with fear. And on the wall, etched in white: a BATSYMBOL. 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 GothamCity, 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 asteel trap. This is someone to be respected, but right now wecan 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 anOLDER WOMAN. The impact knocks her flying. Quick as a flashone of them swipes her purse and they race off--

VICKIHey!

She rushes after them, but they're already gone down thestairs. Nobody moves in to stop them. People look bored bythe crime. Vicki realises this is an everyday occurrence. She

stops to help the woman up.

OLDER WOMANBless you, dear.

Vicki looks off in the direction the kids vanished. Anger inher eyes.

EXT. WAYNE MANOR - DAY

Establishing shot of an imposing manor house somewhereoutside the city limits.

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INT. HALLWAY, WAYNE MANOR - MORNING

Bruce descends the stairs, wearing only a pair of sweatpants. Scars cover his torso. He makes his way to a stoppedGRANDFATHER CLOCK. He moves the handles to a specific time.

CLICK. A panel in the wall opens. Bruce heads inside. Behindhim the panel slides shut and the hands on the clock rewindto 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 ofcomputers and workbenches.

Bruce approaches the computer, powers the screens on. His eyeis drawn to the baggie of Oblivion injectors taken from Rileythe night before.

Then he sits in his chair, turns slowly to face the otherway. Looking at something out of frame.

REVERSE ANGLE to reveal what he's seeing. The BAT-SUIT standsopposite him, like a mannequin. Under the lights we can seeit'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 startsbeeping. 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. Theinscription reads: FOR CONSPICUOUS GALLANTRY - ALFRED

PENNYWORTH, MAJOR, SPECIAL AIR SERVICE.

Beside it, a faded photograph sits in a frame - a youngerAlfred, in full military uniform, standing next to a handsomeyoung 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 waythrough the hall carrying a tray covered in breakfast. Heapproaches the grandfather clock.

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INT. BATCAVE - DAY

Alfred emerges, approaches Bruce, who's sitting at theworkbench and running data on three screens at once.

ALFRED

Spot of breakfast to help with theinvestigation.

Bruce glances at the tray - two plates with a messy pile ofscrambled eggs and sausages. He gives Alfred a look.

BRUCENot exactly Michelin star.

ALFREDHey, if you think I'm making youany of those stupid protein shakes

the meatheads use you've gotanother thing coming.

He grabs up one of the plates and digs in. Bruce gives him awry grin, picks up the second plate.

BRUCEThanks.

ALFREDAnything new?

BRUCE

Our friend last night confirmedwhat we thought.

ALFREDDomino?

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 thisOblivion business. It's more thanjust a coincidence.

ALFREDGood detective skills.

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BRUCEIt's amazing what people will tellyou 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 ashot of a beautiful woman with exotic, European features.

ALFREDCharming.

BRUCETeresa Holleran, CEO and publicface of Everhart Logistics. Sincethis started I've followed at leasta dozen threads and they've all ledright back to her.

ALFREDAnd you think she's Domino?

BRUCEIf it's not her then it's whoevershe's working for.

(leans back in his chair)And that's what we need to findout.

Alfred considers for a moment. Then nods.

ALFREDGood.

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

BRUCE

That's it? No lecture?

ALFREDWhen you first brought me here Ipromised I'd help you find thetruth about this, whatever thecost. Thomas Wayne was my friend as

well as your father. What happenedto him and your mother shouldn't gounanswered.

(goes back to hisbreakfast)

And even a stopped clock tells theright time twice a day.

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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 thecab stops at traffic lights. Homeless people sit in shopdoorways. Windows are boarded up. Graffiti everywhere.Downcast looks on the faces of the pedestrians.

CAB DRIVERSometimes I wonder if it's getting

worse. Others I think Gotham'salways been like this. People are

just better at seeing it now.

Vicki looks out of the window. Sees a car roll up to thecorner. A KID of no older than twelve moves over to the

window. Money changes hands. For a brief second we see aglimpse of an Oblivion injector.

The cab moves off. Vicki leans back in her seat. Moredepressed 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 canbe summed up by just one man.

INT. NEWSROOM, GBC BUILDING - DAY

Vicki walks alongside HORTEN SPENCE, the Executive Producerof GBC news, as they head through the newsroom. Spence is inhis fifties, steely eyed and shrewd, and his lingering gazeis making Vicki more than a bit uncomfortable.

SPENCEBruce Wayne.

VICKIWith respect, Mr Spence, I'm notsome gossip correspondent, myexperience in New York--

SPENCEDoesn't amount to much these daysfrom what I hear. Or was ArchieNelson telling lies about that?

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Vicki looks down, embarrassed. Spence grins, enjoying theeffect he's having on her.

VICKILook. Mr Spence, I'm a damn goodreporter. We both know that. And I

know I made a mess of things in NewYork--

(before he can dive in)--but now's not the time or placeto get into that. I came here tostart again and I'm grateful forthe opportunity, don't think I'mnot for a minute. But putting meonto something like this--

SPENCE-- would be a waste of material?

Let's get something clear, MissVale. I didn't want you here. We'vegot Mr Nelson to thank for that.But now that you are here and we'vegot to work together then the bestthing you can be doing is gettingto the bottom of exactly what'sgoing on with Bruce Wayne, andspecifically where he vanished offto. Five years, not a whisper. Thenlast year he came back. He's neverspoken about where he went, or why,or what he was doing there.

VICKII'm aware of that.

There's a coldness in her voice that takes Spence bysurprise. He presses on.

SPENCEYes, I heard about that. Iunderstand you and he had some ...shall we say past history?

Vicki flushes bright red.

VICKIThat's none of your damn--

SPENCEDo I take that as yes?

Vicki simmers down with what looks like a serious effort.

VICKII knew him at college. For a while.

SPENCEThere you are. You're practicallyhome and dry already.

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So unless you want to be typing upthe horse racing results or chasingdown this giant bat thing then Ithink 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 looksaround; the place looks like a fleapit, the kind of placeproper journalists come to die, and most of the staff lookthe same. She sighs.

VICKIWhat the hell did you do toyourself, 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 tobe 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 theone bit you remember is the giantbat?

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.

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SPENCE (CONT'D)


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INT. FRONT DESK, GOTHAM CITY POLICE STATION - DAY

Sledge signs for his possessions. Grins up at the sight ofGordon, 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.

FLASSOf course I let him go, we hadnothing to hold him on. Come on,Jim. Last night was embarrassingand we both know it, you made acomplete spectacle of yourself.

GORDONWith respect, sir, the intelligencewe 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 rock-solid, how was it that the pipelineseemed to have dried up at theexact moment you arrived?

GORDONObviously somebody leaked it.

Flass stops dead midway through pouring milk into his coffee.

FLASSSomebody like who?

GORDON(dark)

That's what I'd like to know.

Flass looks up. Sees the look Gordon's giving him.

FLASSI don't like what you're implying,Gordon.

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GORDON(innocent)

Not implying anything, sir. Juststating 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. Aroundthe office other cops are giving him shifty looks. Gordonchooses to ignore them, but for a moment he allows himself tolook as utterly weary as he's feeling.

MONTOYA (O.S.)That bad, huh detective?

Gordon looks up to see Renee Montoya approaching him.

GORDONYou've no idea, Renee.

(leans back)So, how was your night?

She doesn't answer, looks around. Gordon raises his eyebrows.

GORDON (CONT'D)Well?

She looks around to make sure nobody's listening, then leansforward and lowers her voice.

MONTOYAI think we had another one.

And now Gordon's interested. He leans forward.

GORDONTell 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 atthe end, surrounded by scaffolding and wire fencing. A signon the gates reads "GOTHAM CITY REFURBISHMENTS" -- and rightunderneath a second sign reads "JOB SHUT DOWN".

Rising over the fences is an imposing structure - a vastCLOCK TOWER, rising above every building in the area.

A BLACK MAN in his thirties waits by the gates. He's wirylike a welterweight, but with eyes that reveal a deepintelligence. As the Bentley approaches he opens the gatesand lets it in, locking the gates again afterwards.

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Bruce gets out of the back seat. He's followed a second laterfrom the front by Alfred, now dressed in a chauffeur'suniform, complete with peaked hat, and he doesn't look happyabout the arrangement.

BLACK MAN

Nice threads.

ALFREDKnock it off, Fox.

LUCIUS FOX grins at him and claps him on the shoulder.

LUCIUSAlways with the serious, Al. Stepinto my office.

INT. CLOCK TOWER - DAY

A somewhat dingy space at the top of the building. Lightspills in from the empty clock face. Workbenches fill theplace, covered in gadgets and devices we can't recognise.

Lucius leads Bruce and Alfred inside.

BRUCEHow'd you like the new digs?

LUCIUSIt's dramatic, I'll give you that.

ALFREDHaven't you noticed the stuff he'sasked you to build lately?Dramatic's his thing.

BRUCE(by rote)

Theatricality and deception arepowerful weapons.

ALFREDWhoever told you that must have

been a right nutcase.

BRUCEOh he was. Doesn't stop him beingright.

Lucius drops into his chair, spins around to face them.

LUCIUSSo. What's your pleasure? Grapplegun okay?

BRUCEWorked great, thanks.

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LUCIUSIt ain't bad...

Lucius nods over to a workbench. A small pistol-like devicesits in pieces beside a coil of high-tensile wire.

LUCIUS (CONT'D)...but I think we can do better.

BRUCEThat can wait. Alfred tell you what

we need?

LUCIUSSure did.

BRUCEGood. I need you there tomorrow

night to help out.

ALFREDWhy?

(off Bruce's look)I've already told you I can handlethis myself.

BRUCEAnd I don't doubt it, but given

what's at stake here I want asecond pair of eyes on this. It'stoo important to do otherwise.

Agreed?

Pause. Then Alfred nods, seeing the sense in Bruce's words.

ALFREDAgreed.

LUCIUSLooks like I better rent me a tux,then.

BRUCE

Later. We've got other things to dofirst.

Lucius raises his eyebrows.

LUCIUSOh yes?

BRUCEYeah. I want to make sure I'mright. What can you do in the wayof listening devices?

Lucius grins.

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LUCIUSThink 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, wellgroomed, exudes power and confidence. He strides forward toshake a proffered hand.

SYMESMiss Holleran, my name is Jacob

Symes. Welcome to WayneEnterprises.

The hand belongs to a woman - whom we recognise from Bruce'sphoto as TERESA HOLLERAN - and she shakes Symes's hand with apolite smile.

TERESAA pleasure to finally meet you, MrSymes.

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 theback door, buttons his jacket. Glances back at Alfred.

BRUCEWatch the paint job when you parkit.

He walks off. Alfred gives his retreating back a "ha ha, veryfunny" 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.

TERESAIt changes so much.

SYMESThe relentless march of time.

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TERESAI remember coming here back in thedays when Thomas Wayne ran theplace. Even then the city seemeddifferent.

SYMESI wish there was more we could doto help prevent the decline.Unfortunately these are the times

we live in. Crime is on the rise.The police do what they can, butthere's no getting around it. Thecity's going rotten to the core. Weneed to make the best of it. Whichis why I'm talking about analliance between our two greatorganisations.

TERESA(coy smile)

So Wayne Enterprises gains a realfoothold in Europe and we get ...

what, exactly?

SYMESWell, we make a fine cup of coffee.

(they both laugh)No but seriously, this will benefitboth of us in so many--

BRUCE (O.S.)Teresa Holleran, as I live andbreathe!

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.

BRUCEWow, you look well.

TERESASo do you, Mr Wayne.

BRUCEBruce, please. Mr Wayne makes mesound like my father.

SYMESWhich would frankly be no badthing.

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BRUCEAh ha, very good you old dog.

TERESAI wasn't aware you'd be here,Bruce.

BRUCEI'm not.

(grins)I'm a figment of your imagination.

Teresa laughs politely as Bruce presses on.

BRUCE (CONT'D)Seriously, I'm just passingthrough, I know you two have a lotto talk about. How long are you

staying in Gotham for?

TERESAA few days, possibly a week. Someother business to take care of.

BRUCEExcellent, then you must come to mybirthday party tomorrow night.Everyone's gonna be there, it'll begreat, right Mr Symes?

SYMES

(smiles)Absolutely. Bruce, could I have a

word with you since you're here?

BRUCEOf course.

(to Teresa)So you'll come? Oh please say you

will?

TERESA(smiles)

How could I refuse?

Bruce grins in triumph.

BRUCEExcellent.

INT. SYMES'S OFFICE, WAYNE ENTERPRISES - DAY

Located right off the boardroom. Teresa is visible lookingout of the window in the background as Bruce and Symes talkin hushed tones.

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SYMESBruce, I thought we'd agreed you

were going to let me handle thebusiness side of the company?

BRUCE

And I am. My father trusted you todo the right thing and I do as

well, that's not up for discussion.I'm just trying to help, sweetenthe deal a little.

SYMESOf course. So long as we're clear.

The 'don't step on my turf' undercurrent is obvious but Brucetakes it in his stride.

BRUCEAbsolutely, and I'd never get inyour way. So why don't you go backout there and do what you do best?

SYMESOh I will, trust me.

He flashes Bruce a conspiratorial grin as he walks out. Holdon 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.

DOORMANWelcome back, Ms Holleran.

TERESA

Thank you.

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 ather computer, flipping through articles on various websites,including the GBC's own page and the Gotham Globe.

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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.

VICKIIndulge me.

MALCOLMAlright.

He grins, sits down opposite her.

MALCOLM (CONT'D)It started about six months ago.Rumours of this giant creatureprowling the rooftops at night andattacking criminals as they wentabout their unlawful business.

VICKISome kind of vigilante?

MALCOLMMaybe. Some nut job in a costume.Or who the hell knows, maybe the

crims were dipping too heavily intotheir own Oblivion supply.

VICKIBut you don't believe that?

MALCOLM(grins)

Hey, it's a good story.

Vicki nods slowly.

VICKIYes it is.

MALCOLMHold up, we're supposed to be onBruce Wayne, remember, why thesudden interest in bats?

Vicki looks the other way, thinking.

VICKILike you said, it's a good story.

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EXT. MONTPELLIER HOTEL - NIGHT

Camera CRANES UP the side of the building to where a lightburns 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.

TERESAWhat the hell are we paying thepolice 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 RANGEMICROPHONE right at the window.

TERESA (O.S.)I don't care how resourceful thisdetective is, if we can't buy himoff then we'll have to deal withhim some other way.

INT. TERESA'S ROOM, MONTPELLIER HOTEL - NIGHT

Teresa happens to glance at the window. There's nothingthere. Pause. She looks confused but continues.

TERESAWell regardless, I want it done.Don't use our people, I don't wantit 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.

BATMANAlfred, did you get all that?

(pause)The detective who went after theOblivion 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.

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(beat)No, I've just got one or twoerrands to run, then I'll be homeas 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 CLERKpacks his groceries. The clerk picks up a teen-girl magazinefrom the pile, looks askance at Gordon.

GORDONFor my daughter.

The clerk looks as though he doesn't believe him.

The door chimes - Gordon looks up as THREE MEN enter. Gordonlooks 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 abovethe 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 aroundthe counter, pointing guns at the clerk.

SKI-MASK 1NOBODY MOVE!

The clerk's hands go up--

CLERKTake what you want, man--

SKI-MASK 2Shut up!

As one keeps the clerk covered, the other two turn their gunson Gordon.

SKI-MASK 3Should have got out when the going

was good, Jimbo.

GORDONI know you. You're a cop.

The thug brings his gun up --

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Gordon moves fast - charging forward, HURLING the coffeeright 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, shieldingGordon. 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 fightsback, a hard-learned style of dirty street brawling, kickingthe man HARD in the groin. He drops -- to reveal the secondSki-Mask rising, gun pointed right at Gordon.

Gordon stops. Knowing this man has the drop on him.

SKI-MASK 2

Any last words?

GORDONNot 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 backoff 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 thespectral figure, awe in his eyes.

GORDON (CONT'D)My God...

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 ofthe 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. BARBARAGORDON stands at the stove cooking dinner. She's 17, prettybut sensible, a good head on her shoulders.

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From OS the door opens.

BARBARADad? Perfect timing, this is justabout--

She stops as Gordon enters the house, white as a sheet. Herushes forward to envelop her in a big hug.

GORDONThank God...

BARBARADad, what's wrong?

Gordon holds his daughter tight to him.

GORDONNothing. 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. Hewatches 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 hisfeet and pacing, making his closing remarks.

Harvey's in his late twenties, slim and handsome, and rightnow he's on fine form, speaking directly to the JURY.

HARVEYToday you have the chance to righta terrible wrong, a wrong that hasso far gone unpunished.

He turns to the defendant, a nasty-looking man in an ill-fitting suit.

HARVEY (CONT'D)This man, John Mitchell Hobbes,

murdered Fiona Willis, hisgirlfriend of many years. And whenhe had finished with Ms Willis, hethen turned his attention to herson, Jayden, and would have killedhim too had not Ms Willis' fatherhappened to arrive home right atthat moment.

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He glances to the public gallery. Two devastated lookingGRANDPARENTS 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 hisdistinguished military record, andsay he was suffering from posttraumatic stress disorder andtherefore not conscious of hisactions. This is not true, and youhave seen evidence that proves thatJohn Mitchell Hobbes premeditatedthis attack for months in advance.Make no mistake.

He turns back to the jury.

HARVEY (CONT'D)John Mitchell Hobbes is as close toa truly evil person as any I havehad the misfortune to come across.

At the back of the courtroom, we see someone watching:JESSICA CARLISLE, a proud, hard woman in her fifties, GothamCity's District Attorney. Her eyes are on Harvey.

HARVEY (CONT'D)And today, you have the chance toensure this evil never has such a

chance to manifest again.

Harvey goes back to his chair, catching Jessica's eye as hedoes. A look passes between the two of them.

EXT. GOTHAM CITY COURTHOUSE - DAY

A flood of reporters rush up to greet HOBBES as he emergesfrom the courtroom, smiling smugly, flanked by his lawyer.

REPORTER 1Mr Hobbes, any comment to make?

HOBBESI'd like to thank the ladies andgentlemen of the jury for findingthe correct verdict today--

Across the scene, Harvey's making his way down the steps,clutching his briefcase. Anger in his eyes. He glances acrossat 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.

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JESSICA (CONT'D)You did everything you could.

HARVEYYeah? Wasn't enough, was it? That

man's a killer and we both know

he'll kill again. You know as wellas I do that jury was bought andpaid for--

JESSICAWell 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, hisexpression halfway between thoughtful and pissed off.

VICKI (O.S.)Still not compromising onprinciples, Dent?

Harvey looks up in amazement to see Vicki standing nearby.

HARVEYVale!

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 infront of them. Vicki eats in silence as Harvey argues withsomeone on his phone.

HARVEY--then please explain to LieutenantFlass that if his office doesn't co-operate with us I'll hit him with a

subpoena so fast it'll make hishead spin. And believe me, that

won't be nearly as much fun as itsounds.

(beat)You're a lifesaver, Pam. Let meknow what you find.

He hangs up, looks back at Vicki, who's grinning at him.

HARVEY (CONT'D)What?

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VICKISame old Harvey Dent. Polite andcharming one minute, threateningblood-curdling things the next.

HARVEY

The price of getting anything donein this town. So come on then, Ithought you'd vowed never to come

within two hundred miles of thiscity again.

(off her look)You were very exact about the twohundred miles thing, that's how Iremember.

Pause. Vicki considers. Finally she puts her burger down,looks up at Harvey.

VICKIEverything went wrong in New York.I don't want to talk about it.

HARVEYHey...

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

HARVEY (CONT'D)You once told me everyone wasentitled to one major screw-up in

their life, remember? Far as I wasconcerned it was advice to live by.And trust me, if I can come backfrom what I had to deal with,there's no way you can't do thesame.

Vicki smiles, appreciative.

VICKIThanks Harvey.

HARVEYAnd they've set you on Bruce?

(she nods)Yikes.

VICKIYeah.

She looks back at her food for a moment.

VICKI (CONT'D)So ... how is he?

Harvey considers for a long moment before answering.

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HARVEYBruce is Bruce. One minute youthink you know him, the next hegoes and does something stupid orbrilliant or both at the same time.Hell, I've probably known him

longer than you have and there'stimes I swear I have no idea what'sgoing on inside his head.

VICKIDid he say anything about where he

went? You know, after...

She trails off. Harvey smiles.

HARVEYBruce never says anything about

anything. You know what he's like.

VICKI...yeah.

HARVEY(smiles)

Why don't you ask him yourself?It's his birthday party up at the

manor tonight, I've got a plus oneI can't seem to fill ... why don'tyou come with me? It'll be fun.

Vicki considers for a long moment, looks like she's on thepoint of turning him down, but...

VICKIOkay.

HARVEYReally?

VICKISure, why not? One conditionthough: what can you tell me about

a giant bat that's been spottedbeating up criminals in the city?

HARVEYYou're not serious?

VICKIDeadly.

Harvey leans back in his seat, grins.

HARVEYHow much time have you got?

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INT. BRUCE'S BEDROOM, WAYNE MANOR - NIGHT

Bruce emerges from the shower, clad in a bathrobe. Hisclothes 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, HarveyDent 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 photographshowing his parents, THOMAS and MARTHA WAYNE. Thomas is in

military uniform as they smile for the camera. We recognisehim 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, threefigures, 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.

ALFREDIt's almost time.

BRUCEI know.

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

ALFREDNever stops hurting, does it?

BRUCEYou have no idea.

ALFREDI think we both know that's nottrue, Bruce.

Bruce turns to face Alfred. Sees the older man giving him a

stern look.

BRUCEIf I'm right about Teresa we mightbe closer to finding out the truththan we've ever been.

ALFREDThen let's hope you're right.

BRUCEAnd if I'm not?

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ALFREDThen we move on and find anotherlead to explore.

(beat)But for what it's worth, I thinkyou're right. Every stone we've

turned over this past year,Domino's been right there. And ifthey were behind what happened thenI want to see them taken down justas much as you do.

BRUCEThanks, Alfred. It's...

He trails off, unable to find the words. Alfred knows. Henods, letting Bruce off easy.

ALFREDCome on. You're going to be latefor your own party.

He turns and walks out. Bruce looks back at the photo of hisparents. Then he looks up at his reflection in the mirror andsmiles to himself.

BRUCEYes. 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 ofa taxi. She looks stunning and wasn't even trying. Her eyestravel up the vast expanse of the manor.

HARVEYChanged a lot since you were lasthere?

VICKIActually, no. It's reassuring.

Harvey grins, offers his arm,

HARVEYShall we?

Vicki gives him a "you're such a goof" look but takes his armanyway and lets him lead her inside.

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INT. BALLROOM, WAYNE MANOR - NIGHT

Inside the place is packed and bouncing. Serious money ondisplay here - the great, good and wealthy of Gotham city allgathered in one room.

A more than statistically usual number of the femalepopulation look to be supermodels on their night off.

Alfred stands off to one side. His eyes are fixed on JacobSymes, chatting to Teresa. She laughs at something he says.

A slightly DRUNK MAN blunders up to Alfred.

DRUNK MANGet a refil?

ALFRED

(sharply)Piss off out of it and get yourown.

The man gets the hint, moves off. Alfred's eye catches abundle 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 allthe displays. They've got the whole manor under surveillance.

Lucius moves from one screen to another with a practisedease, fingers working the controls like a concert pianist.

LUCIUSFor the next few hours, this placeis my bitch.


Alfred's eyes stay on Symes and Teresa.

ALFREDKeep it that way.

Across the room, Teresa looks around at the party. Symesrolls his eyes slightly.

SYMESYes, I know. You'll have to forgiveMr Wayne, he likes to be somethingof a showman.

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TERESAOh I quite understand, Mr Symes.And I also know that he's verylucky to have someone like youlooking after his interests.

SYMES(smiles)

Maybe one of these days he'llappreciate this.

Teresa laughs at this.

CUT TO Vicki and Harvey. WAITERS circulate with trays ofchampagne - Harvey snags two, hands one to Vicki.

VICKISo is this not your scene anymore?

HARVEY(off her tone)

Meaning?

VICKIYou. By all accounts you're just as

much of a party animal as you wereat college on the one hand,crusading champion of law and orderat 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 andlaughing with a big guy in an ill-fitting suit.

HARVEY (CONT'D)That's my boss, District AttorneyJessica Carlisle. Guy she's talkingto? That's Rupert Thorne.

VICKI(eyes widen)

As in--?

HARVEYYup. The one and only. Keep lookingaround. You'll see all the greatand the good here, champions ofindustry, commerce, politicians,rich playboys like our friendBruce. In a room like this you'renever more than two handshakes awayfrom organised crime. Depressingthought if you let it fester.

(looks back to Vicki)

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I'm standing up on the side of lawand order because if I don't then

who's going to?

Vicki nods, digesting this.

VICKIAnd Bruce?

HARVEYHe's one of the good guys. In hisown 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 outacross the crowd, every inch the man of the moment.

BRUCE (CONT'D)First of all, I want to thank youall for coming. It means a lot thatyou've all come tonight, to help mecelebrate my birthday.

Applause from the crowd. Bruce waits for it to quiet down.

BRUCE (CONT'D)

Thank you. I feel privileged thatyou're all here, especially sincethere's some very important people

missing here tonight. The first ismy guardian, Doctor LeslieTompkins. The woman who raised me,and the women to whom I oweeverything. Words can't describe

what she means to me, noradequately express how differentlythings might have gone without herguidance. Wherever she is in the

world, she knows how important sheis to me, and I wish she was hereright now.

(beat)Secondly, there are two otherpeople missing here tonight. Twovery special people.

(beat)My parents.

On Vicki as she reacts to this.

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42/101

BRUCE (CONT'D)Thomas and Martha Wayne. Sixteenyears to the day now since they

were taken from us. A senseless actof violence.

On Alfred. That dark look in his eyes once again.

BRUCE (CONT'D)To this day nobody has everanswered for that crime. To thisday I still don't know why ithappened.

Symes watches with concern, as does Harvey.

BRUCE (CONT'D)But now is not the time for such a

thing. My parents would have wantedme to live my life and to be happy.The fact that I'm here at all isdown to you. All of you. Everysingle one of you in this room hasplayed a part in making me the manI am today, and for that I willalways be grateful. So that'senough from me - I want everyone tohave a good time, to spare athought for my parents, and toreflect on how far we've come. Ithink we've all earned it.

HUGE APPLAUSE breaks out. Bruce descends the stairs, grabs achampagne glass from a waiter. Looks up as Harvey approaches.

HARVEYHappy birthday, Bruce.

BRUCEHarvey!

He brings his friend in for a big hug.

BRUCE (CONT'D)Thanks for coming.

HARVEYYou think I'd miss this? I broughtyou something too.

BRUCEWell I'm hoping it's that car fullof strippers somebody told me'sparked outside--

VICKI (O.S.)Sorry to disappoint.

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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.

BRUCEHey, 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 thefirst time he actually looks upset.

EXT. GROUNDS, WAYNE MANOR - NIGHT

The guests' cars are parked off to one side. The CHAUFFEURSstand 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 MitchellHobbes, 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 forthe invitation.

BRUCENo thanks are necessary, the morethe merrier in fact. And you appearto be missing a drink.

TERESAI'm fine, really--

SYMES (O.S.)Allow me, Bruce.

Symes enters carrying drinks. He hands one to Teresa.

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BRUCEAlways coming to the rescue.

SYMESThat's why you pay me the bigbucks.

Over Bruce's shoulder, Teresa's spotted Hobbes in thedoorway. He gestures with a flick of the head.

TERESA(smiles)

Well, thank you gentlemen, ifyou'll excuse me.

She moves off. Bruce and Symes watch her go.

BRUCE

Exquisite, isn't she?

SYMES(fatherly)

Bruce...

BRUCERelax, Jacob, I don't mix business

with pleasure.

SYMES(grins)

I should hope not. You know,

sometimes I think your father wasright. He answered his country'scall. The company was runningsmoothly, the money was pouring in,he could have done anything he

wanted, but he chose to serve as amedic in the Marine Corps, dedicatehis life to a higher purpose.

BRUCEYou telling me I should sign up?

SYMESI'm telling you that we're all puton this earth to do somethingimportant. Your father knew that. Ithink it's a lesson to consider.

He claps Bruce on the shoulder and moves off. Bruce catchesAlfred's eye. Alfred nods - we're on it. Then Bruce spotsHarvey and Vicki off to one side, talking. A look of regreton Bruce's face.

CUT TO Harvey and Vicki. Harvey sees Bruce looking.

HARVEYHe's got that look.

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VICKIYou don't have to apologise forhim.

HARVEYI feel like I do. Bruce is--

VICKIJust like he always was. You said.I guess I just didn't realise whatthat 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 wrapsher arms around herself against the cold.

BRUCE (O.S.)Vicki...

She looks up as Bruce approaches.

BRUCE (CONT'D)Come back inside, it's freezing out

here.

VICKII've called a cab.

BRUCEHere.

He shrugs off his jacket and drapes it around her. Vickilooks as though she's going to object for a moment, then sheaccepts the gesture.

VICKIThanks.

BRUCEIt's good to see you again, Vicki.Been far too long.

VICKIYeah, well that's what happens whenyou just up and vanish one day

without so much as an explanation.

BRUCE(ouch)

...yeah, I guess I deserve that.

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And I'm sorry. The comment aboutthe strippers was--

VICKINot you.

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

VICKI (CONT'D)You might be able to fool all thesepeople, Bruce, but you can't fool

me, I've known you for too long.You act this part of the playboybut that's all it is - an act. It'snot the real you. I've seen thereal you. I liked the real you.

(beat)So I don't know why you're

pretending to be something you'renot.

A cab's drawing up. Vicki hands Bruce's jacket back.

VICKI (CONT'D)Thanks.

(beat)My boss wants me to get aninterview with you. That's my wholereason for existing, according tohim.

BRUCEName a time and place.

VICKINo. No, me coming here was a badidea, 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 Alfredapproaching fast.

ALFREDYou need to see this.

INT. UPSTAIRS ROOM, WAYNE MANOR - NIGHT

Bruce and Alfred cluster around Lucius at the computer. Onthe screen we see Hobbes signalling to Teresa while she wastalking to Bruce and Symes. She crosses over to him.

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BRUCE (CONT'D)


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LUCIUSAnd then we do this...

He ZOOMS IN on the image as Hobbes and Teresa talk togetherin 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 meoutside.

Alfred glances at Bruce.

ALFRED

Domino One?

LUCIUSWait.

The screen changes, showing Teresa and Hobbes walking acrossthe garden.

TERESA (O.S.)This is big, I want everyone downby Five Elms so we don't--

The audio cuts off. Lucius looks up at Bruce.

LUCIUSThat'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.

ALFRED

Five Elms?

BRUCEIt's a factory complex, down in OldTown. Long abandoned. Owned byEverhart 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 pullingoff his jacket.

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ALFREDAt least let me come with you.

BRUCENo. I can handle this.

ALFREDJust be careful. These peoplearen't the sort to be messed with.

BRUCENeither 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, supervisedby SLEDGE. Teresa and Hobbes stalk over towards the cases.

TERESALet me see.

The goon looks at Sledge, who nods. One box is opened.


Batman crouches on top of the roof opposite the factory. Seesthe lights inside.

He stands, holding the small pistol we saw earlier in Lucius'lab. He fires a GRAPPLING HOOK across to the oppositebuilding.


Hobbes glances up at the sound. A frown.


Batman clips the wire to his belt before stepping out intospace, riding the zip-line across to the other building.


The packing case is opened, straw pulled out to reveal vialsof a clear liquid. Teresa holds one up to the light.

TERESAAnd you're sure this is correct?

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SLEDGEDomino One, as requested. Performsperfectly in all the tests. They'vetold us--

TERESA

Make doubly sure.(dangerous look at him)

Don't forget who you're workingfor.

Sledge flushes, cowed.

SLEDGEI'll be sure.

TERESAGood.

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

HOBBESContinue.

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 definitelyheard something.

SLEDGEWhat is it?


Teresa picks up the phone, about to dial. WHAM! Somethinggrabs the phone from her hands, FLATTENS her against the wall-- Batman's mouth is right next to her ear.

BATMANDon't make a sound.


Sledge continues to supervise the unloading of the crates.Hobbes glances over to the office. No sign of Teresa.

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Batman still has Teresa pinned up against the wall.

TERESAPlease, I don't know anything--

BATMANYou're lying to me. There's ways todeal with that.

Pause. Then Teresa smiles.

TERESAYou honestly have no idea what'sgoing on here, do you?

BATMAN

Five seconds to tell me what I needto know.

TERESAWhat you need to know is that youwere a dead man from the moment youentered this place. You just neverrealised it.

Pause. Then a small PUFF of gas sprays into Teresa's facefrom Batman's gauntlet. She passes out immediately. Batmanlays 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. Everyonelooks up in alarm.

SLEDGEThere'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 1Hey, what the--?

SLAM! Something grabs him from behind and smashes him intothe ground.

As everyone pulls their guns, Hobbes draws a small devicefrom his coat, looking like a modified asthma inhaler.

HOBBESFind the boss, get her out of here.

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Teresa comes back to consciousness. She picks herself up.


Sledge and Hobbes.

SLEDGEBut what about--?

HOBBESLeave 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 theguards at speed.

CUT BACK TO Hobbes. He loads the vial into the inhaler. Apause. Then he bites down on the device, inhaling thecompound.

WHACK! WHACK! WHACK! Quick shots, the images almost STROBING -- Batman takes out goons one after the other, moving withincredible 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.

HOBBES (CONT'D)Well then.

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

TERESAIt's me.

(glances out of thewindow)

He's here.

EXT. STREET CORNER - NIGHT

Where we find Flass standing by his car. His eyes widen.

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FLASSYou've got to be kidding me.

TERESA (O.S.)Oh don't worry.


Teresa looks through the window. Sees Hobbes and Batmantrading blows on the floor below.

TERESAI don't think he's going to be aproblem 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.

HOBBESWhat? You thought this was allabout some street drug?

He charges again. Batman lays into him, several giganticPUNCHES -- Hobbes shrugs them off as though they're nothing.

HOBBES (CONT'D)

Surprise!

He SLAMS the flat of his hand out, sending Batman sprawlingbackwards. As Batman falls he rips down one of the arclights. It SMASHES on the concrete, fire catching the strawpacking material from the case.


Teresa sees the fire starting to spread. She gets to her feetand walks quickly out of the door.


WHAM! WHAM! WHAM! Powerhouse blows connect with Batman -- andeven with the armour we can see this is getting to him.Hobbes grabs Batman's cowl, HEADBUTTS him. Batman hits theground, hard.

Batman looks up at Hobbes as he advances. From Batman's POVHobbes is blurred, out of focus.

HOBBESNice outfit, I gotta tell you.

Batman glances around. Sees the fire spreading.

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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.

MONTOYAThat Bat thing's been spotted,Flass is leading a squad.

Gordon's on his feet in seconds.

GORDONWhere?


Hobbes KICKS Batman hard in the stomach, sending Batmanflying. He CRASHES into a wall of PACKING CASES. He looks upas Hobbes advances again.

From OS we hear POLICE SIRENS approaching. Batman looks up atthe sound. Hobbes sees it.

HOBBES

Yeah, that's right man - they'recoming for you!

Batman HURLS something into Hobbes' face -- FLASH! BLINDINGLIGHT staggers Hobbes backwards. Batman fires his grapplinggun upwards. Hobbes recovers from the flash in time to seeBatman rappelling upwards, towards a skylight.

EXT. ROOF OF FACTORY - NIGHT

CRASH! Batman SMASHES UPWARDS from the skylight, landing hardon 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'sin a lot of pain. He looks across the roof -- sees theflashing lights of the police cars approaching.

Close on his face. What we can see behind the cowl is inpain, frustrated. Knowing he's lost this round.

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INT. VICKI'S BEDROOM - NIGHT

A ringing phone wakes Vicki. She checks the caller ID,answers drowsily.

VICKI

Malcolm?

MALCOLM (O.S.)You need to get down to Old Town,right now - that giant bat's beenspotted 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.

ALFREDBruce? Bruce!

BRUCE (O.S.)(very weak)

Here...

Alfred rushes forward, finds Bruce crouching behind anoverflowing dumpster. His mask's off and we see the bruisesand cuts on his face. Alfred recoils at the state he's in.

ALFREDChrist alive...

Alfred helps Bruce to the car with some effort.

TV NEWS FOOTAGE

Various shots - the fire at Five Elms, the fire departmentputting out the blaze, the heavy police presence.

VICKI (O.S.)

Police have so far declined tocomment on how the fire started butfrom what I've been hearing theyappear to be treating the incidentas very suspicious.

CUT TO Vicki, standing some distance from the burningbuilding (visible in the background), addressing the camera.

VICKI (CONT'D)Far more concerning are the rumourscurrently circulating involvingsome kind of gangland retaliation

with at least two confirmedfatalities--

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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'snews report on the small TV.

VICKI (O.S.)--nor indeed of the allegedpresence of the giant bat-likecreature that has been the stuff ofurban legend in Gotham for the lastsix months. Questions will need tobe asked about--

Bruce switches off the TV.


Vicki gives her address to camera. In the background, thebuilding is still burning.

VICKI(address to camera)

For right now, whatever happenedhere at Five Elms is a mystery. ForGBC news, this is Vicki Vale. Backto you in the studio, Dan.

Malcolm clicks off the camera.

MALCOLM

Nice one.

Vicki smiles.

INT. BRUCE'S BEDROOM, WAYNE MANOR - DAY

Bruce WINCES in pain as Alfred works.

ALFREDShut your wailing, kid, you'lllive. I thought the point of allthat armour was to stop this kind

of thing happening.

BRUCEIt was.

ALFREDSo what happened? How many werethey?

BRUCEOne.

ALFREDThe scourge of Gotham's criminalunderworld taken down by one guy?

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BRUCE(annoyed)

He'd taken something, not Oblivion,something else. He inhaled it.

Alfred's head whips up, interested.

ALFREDInhaled?

BRUCEYeah. He was strong. I've neverfought anything like...

Alfred looks away, considering.

ALFREDInteresting.

BRUCEWhat?

ALFRED(looks back)

I'll let you know. Right now youneed to consider--

BRUCEDon't give me the lecture, Alfred,you being there wouldn't have madeany difference.

ALFREDMaybe not, but you're missing thepoint. Why are we doing this?

BRUCEAlfred--

ALFREDAnswer the bloody question.

The snap gives Bruce pause. He looks away.

BRUCETo find out who killed my parents,and why.

ALFREDExactly. You once said we werepartners, in this to the death.That's why I'm here, playingbutler, hiding in plain sight. I'm

willing to do that because it's theright course to get us where we'regoing.

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(MORE)


57/101

And if this Domino business gets usthere then fair enough, but youcan't afford to get into the habitof thinking you can just punchthings and get answers. Last nightproved that point.

BRUCESo what would you have me do?

ALFREDWhat I've been trying to get you todo since day one. Use thosedetective skills of yours.

(beat)Failing that here's a basicprinciple of martial arts. Use youropponent's strength against them.

Think about it.

He gets to his feet.

BRUCEWhere are you going?

ALFRED(calling back)

I'll let you know if I findanything.

He stops at the door, turns to look back at Bruce.

ALFRED (CONT'D)None but the brave deserve thevictory. Think about it.

BRUCELots of things to think abouttoday.

ALFREDStop being a smartarse, it doesn'tsuit 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 cordonwith the other journalists; police and fire department arestill out in force. Montoya strides forward, on cordon duty.

MONTOYACome on, back off, there's nothingto see here.

53.

ALFRED (CONT'D)


58/101

VICKIVicki Vale, GBC News, you didn'tfind the giant bat then?

MONTOYAIs that what you're peddling? Get

outta here.

VICKIThat's not a denial.

Montoya gives her a filthy look and walks off. Vicki grins.

VICKI (CONT'D)That'll do.

MALCOLMYou really think this giant bat's

behind all this?

VICKIYou're telling me you don't?Something funny's going on here.

Her phone buzzes. She reads the caller ID: Spence.

VICKI (CONT'D)Great.

She shoves it back in her pocket.

MALCOLMThat good, huh? You know, we'regonna need to make a start on thisBruce Wayne business, if only tokeep him off our backs.

VICKII know.

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.

TERESAI already gave a statement about

what I saw.

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Reveal the man sitting opposite her. Gordon.

GORDONI understand. I'd just like to hearit 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 upperfloor. He turns and moves off.

INT. TERESA'S ROOM, MONTPELLIER HOTEL - DAY

Flass sits as Teresa paces, angry.

TERESAThis was never supposed to happen.

FLASSI'll deal with Gordon, get him toback off.

TERESAGordon's only part of it, if your

men had done their job properly theother night then he wouldn't be--

FLASS

Alright, take it easy. You've beengiven a job to do, it needs to bedone, far as I can see this doesn'tchange anything.

Teresa rounds on him, angry as hell.

TERESAYou don't understand what this

means. Everything has changed now.We need to accelerate the program.

FLASSIn the face of all of this?

TERESAExactly. Too many mistakes havebeen 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.

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INT. CORRIDOR, JUSTICE DEPARTMENT - DAY

Harvey Dent makes his way back to his office, jugglingcoffee, briefcase and legal papers. He stops short, spottingGordon lurking by the door.

HARVEYCan I help you?

GORDON(shows his badge)

Detective Gordon, GCPD. I hearyou're the man to speak to aboutgiant 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.

HARVEYThere's not much. It's all hearsayand 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 twoto three a week. If this thing'sreal, he's accelerating his plans.

GORDONDid you report this to the police?

HARVEYI'm an assistant DA, of course Ireported it to the police. From the

way they spoke to me afterwardsyou'd have thought I was asking

them to investigate the JerseyDevil.

(leans in closer)So what's your interest, Detective?

Gordon looks up at Harvey. Considers.

GORDONI've heard about you, Counsellor.

HARVEYThat sounds promising.

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GORDONGotta say I never thought much -sounded like you were Bruce Wayne's

wingman, all the stories were abouthard partying.

HARVEYAnd?

GORDONSo I checked you out. You surprised

me. Your conviction rate isexceptional. Figured you stood acloser look.

HARVEYI've got a few rich friends and Ilike to have a good time. That

doesn't mean I'm not good at what Ido.

GORDONHow good?

HARVEYVery good. And I sense you're doingthe same as me, Detective.

GORDONAnd how's that?

HARVEYMaking the best of a bad job.

Gordon considers again. Then nods. A new respect there.

GORDONMaybe we can do business then, MrDent.

HARVEYMaybe we can at that.

INT. BRUCE'S BEDROOM, WAYNE MANOR - DAY

Bruce is running through his exercises, doing lightning-fastpress-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--

BRUCEVicki.

Vicki's standing on the doorstep, looking awkward. She looksinto his eyes.

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VICKIAbout 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 antiquemachine, hands one to Vicki. He joins her at the counter. Sheeyes his injuries.

VICKIWhat the hell happened there?

BRUCE

You should see the other guy.

VICKII don't want to know, do I?

(quickly)See, there I go again, I'm beingjudgemental--

BRUCEIt's fine. Honestly.

(beat)Harvey told me you got yourselfinto some trouble. In New York, I

mean.(she nods)

Anything I can do to help?

VICKINot really. Not that I'm notgrateful or anything but--

BRUCEYou want to fight your own battles.

(off her look)Yeah. That's the Vicki Vale I

remember.

She looks up at him.

VICKIThere is one thing you can do for

me. That interview. I know I've noright to ask after everything butit'd buy me a lot of goodwill andthat's something I could really useright now.

Bruce considers for a moment. Then he grins, sly.

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BRUCEOne condition.

VICKIBruce...

BRUCETrust me. You'll like this.

INT. GARAGE, WAYNE MANOR - DAY

Bruce flicks on the light. Cars of every description, fromclassic Bentleys to ultra-modern Lamborghinis, as far as theeye can see. Bruce leads Vicki through to the back.

VICKIWhat are we doing down here?

Bruce whips a COVER off something.

BRUCESurprise.

Vicki looks in amazement at a gorgeous red MOTORCYCLE. Sheapproaches slowly, reaches out a hand.

VICKIIs this--?

BRUCE(nods)

Yours. The one you totalled thenight before I left.

Vicki runs her hands across it in amazement.

VICKIYou rebuilt it?

BRUCEGot most of the pieces back easilyenough. I was always hoping to giveit back to you but then...

(trails off, grins)This is my condition.

Vicki looks up. Realises.

VICKIOh no no no no no...

BRUCEWe never finished the race thatnight. And it's been bugging me foryears. So that's the deal. I'll dothe interview if we get to finishunfinished business.

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(beat)Deal?

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'sblack - 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 thedistance.

EXT. GOTHAM BRIDGE - DAY

The two bikes peel over the bridge, slaloming in and out oftraffic, 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 thespeed and precision of professional racers. Camera TRACKS

WITH the bikes as they go in and out of traffic, from thegentrified streets of the new town and towards the slums ofthe old.

Bruce glances over his shoulder for a second. Sees Vicki justmoments 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 tocatch up.

She looks back at Bruce. He signals, follow me. Vicki lowersher head and guns the engine.

Bruce leads the two of them deeper into old town, dodgingpast cars and pedestrians, a dangerous turn around a tightcorner. He looks in his wing mirror - the cop car is stillbehind the corner. He turns and vanishes down an alley, Vickifollowing him.

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BRUCE (CONT'D)


65/101

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 thedistance.

Pause.

Then, as one, they both start LAUGHING. They pull theirhelmets off - Vicki's face is flushed, both of them high onthe 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. Brucesees the look on Vicki's face.

BRUCEWhat?

VICKII've been back in town less than a

week and both you and Harvey havebrought me here. I'm starting tofeel like a cheap date.

BRUCEBut you're not, and that's because

we all know these are the bestburgers in the city.

VICKI(grins)

There is that, yes.

She picks at her french fries, grins at Bruce.

BRUCEWhat?

VICKIThank you. This was just what Ineeded.

BRUCEIt's a good burger.

VICKINot just that. This. All of it.Including nearly getting arrested.

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BRUCEOccupational hazard if you're goingto hang around with me, Harveyshould 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.

VICKI (CONT'D)I'm sorry.

BRUCENo, it's a fair question.

(looks up at her)After my parents died, I was amess. Well, you knew that. Nothingmade sense in my life. Nothing atall.

(beat)Things got better in college. I gotanchored. I had Harvey, I had you,and things started going right fora change. Then things went wrong

with us, you were moving to NewYork--

VICKIBruce...

BRUCEI'm not blaming you. God knows Ican't have been the easiest personto be around. But still...

He trails off.

VICKIWhat happened?

Close on Bruce's face:

INSERT: Quick shots -- a brawl, fists flying, a younger Brucecowering on the ground, a KNIFE glinting in the moonlight--

BRUCEI'd rather not talk about it.Afterwards, leaving seemed like theonly 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.

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VICKISo where did you go?

BRUCEEverywhere, really. Stowed away ona fishing trawler, wound up in Nova

Scotia. From there I met someonewho flew me to Europe. Lived inParis for a while, got a job at avineyard in Burgundy...

(beat)It was nice, actually, all of it.Back here I was Bruce Wayne, princeof the city, Gotham's favouriteson, I couldn't move withoutdrawing attention. I got the chanceto be someone else. To wear a mask.To see who I really was. It was

liberating, in a lot of ways. Ilearned a lot about myself.

VICKILike what?

On Bruce's face--

INSERT: A monastery - younger Bruce, with his shirt off,fighting MASKED FIGURES--

BRUCELots of things.

INSERT: A bar somewhere in Eastern Europe -- Bruce brawlingwith the locals, vicious, dangerous, Bruce defeating allcomers--

BRUCE (CONT'D)Self-reliance. Humility. Respect.

INSERT: Bruce locked in a tiny underground hole, a grateddoor locked over his head - he looks up at the full moon overhim--

BRUCE (CONT'D)Fear.

INSERT: A darkened cavern, deep beneath the surface -- BATScircling 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 importantthings for what they're truly

worth.

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INSERT: Younger Bruce moving through a bar -- finding a manin a corner -- sitting down opposite him -- the man looks up -- it's Alfred, bearded, staring into a glass, looking asdespondent as Bruce--

INSERT: The back streets of a slum -- Bruce and Alfred

fighting CHINESE THUGS--

Vicki leans in closer.

VICKISo why did you come back?

Pause.

BRUCEBecause I realised this is where Ineed to be. Because this is where I

can do some good.

VICKIHow?

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

1x00│ none but the brave

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