BATMAN YEAR ONE
Screenplay
BY FRANK MILLER
FADE IN.
EXT. GOTHAM CITY, NIGHT
LIGHTNING RIPS across a jet-black SKY.
THUNDER CRASHES.
LIGHTNING casts GOTHAM CITY in stark relief. SIRENS WAIL.
CAR ALARMS SCREAM. A CACOPHONY.
LIGHTNING SILHOUETTES a menacing POLICE HELICOPTER, ROARING
downward like a monster insect.
LIGHTNING... SPARK? SHOWER. WILD.
REVEAL:
INT. DARK AREA - NIGHT
A sweating, tormented sleeper — BRUCE WAYNE.
His eyes hollowed, skin pale, he TOSSES and TURNS. Then
FLINCHES. 3 more times he —
FLINCHES
FLINCHES
FLINCHES. Then —
His EYES pop open WIDE
BRUCE WAYNE SCREAMS
It is the sound of INCOMPREHENSIBLE HORROR.
INT. BRUCE WAYNE'S APARTMENT - NIGHT
Awoken from his NIGHTMARE by the sound of his own scream,
disoriented, BRUCE goes to the sink and SPLASHES cold water
in his face.
BRUCE (V.O.)
Father. WHERE are you? What will I
DO?
His hands tremble. Distant THUNDER sounds.
EXT. EAST END SIDEWALK - MORNING
LITTLE AL, a gigantic, early middle-aged black man carries a
bag of doughnuts and two coffees.
He whistles as he walks through a run-down slum.
He stops and inserts a key at a grimy storefront: The sign
reads, AL and Son, Repair, Service, Salvage.
REVERSE SHOT OF: INT. AL'S GARAGE - MORNING
LITTLE AL hits the lights revealing a meticulously clean
auto repair shop
LITTLE AL
Bruce? Bruce? You here?
LITTLE AL continues his search in the—
EXT. JUNK YARD BEHIND AL'S GARAGE - MORNING
It's a dreary, dirty, isolated place.
Its sole occupant, BRUCE, loads large car parts onto a
flatbed TRUCK bearing the 'AL and Son' logo.
He carries the heavy transmissions and engine blocks on his
broad, muscular shoulders.
LITTLE AL
Morning sunshine.
BRUCE says nothing, he just STARES at LITTLE AL with
troubled, tired eyes.
LITTLE AL (CONT'D)
(Hands BRUCE a coffee)
OK twinkle toes. Let's take a look
at the job orders.
The two head up a wooden staircase over the garage and enter—
INT. BRUCE WAYNE'S APARTMENT - MORNING
It's the claustrophobic room of an obsessive compulsive.
Neatly organized electronic hobby projects line the walls—
POLICE SCANNERS, RADIOS and TVs. Their readouts and displays
provide the only light.
LITTLE AL opens the blackout curtains. Sunlight pours in.
LITTLE AL
(opens a ledger)
So the load on the truck is the
DiMotto order, right?
(BRUCE nods)
You finished the rebuild on that
caddie, and the tranny for Spencer.
(BRUCE nods some more)
I guess that's it, huh?
You know I COULD put in a couple
days, help you out down here, if
you want a break.
BRUCE
I'm fine.
LITTLE AL looks at BRUCE's pale skin and sunken eyes.
LITTLE AL
BIG AL would kick my butt if he
saw you now. You look terrible.
LITTLE AL puts his hand on BRUCE's shoulder.
LITTLE AL (CONT'D)
Those pills aren't working, are
they, son?
BRUCE
They're fine.
LITTLE AL
The nightmares stopped then?
BRUCE doesn't speak.
LITTLE AL (CONT'D)
Maybe you just need to air yourself
out a little bit. Go the park. Go
to the beach. Find yourself a
girlfriend.
BRUCE
I'm fine.
LITTLE AL
(frustrated) )
Yeah, fine. Right Here.
LITTLE AL hands BRUCE a wad of bills
LITTLE AL (CONT'D)
Listen, a man can't keep cooped up
in one place all the time. He's got
to keep moving, like a shark,
moving, moving, moving, or he dies.
You can't stay stuck in one place,
Bruce It just ain't HEALTHY.
LITTLE AL leaves.
As BRUCE closes the blackout curtain, his gaze lingers across
the street on the girls galore peepshow theater. From the
looks of it, the sleazy sex venue was once a GRAND THEATRE.
But now, on top of its classic, old-world facade, a pink
plastic sign promises 'GIRLS, GIRLS, GIRLS.' Out front,
prostitutes offer their wares.
CHI-CHI, a young PIMP with long, greasy hair and felt bell
bottoms, SLAPS a fat whore, she CRIES and APOLOGIZES.
Other whores usher men into a brownstone CATHOUSE next door.
BRUCE's gaze travels to a window directly across from his.
Inside the CATHOUSE, a long, lean black woman, SELINA, puts
handcuffs on a skinny man. She wears tight fitting, black
leather.
SELINA notices BRUCE and gives him a playful wave. He closes
the curtains. Leaving us alone in
INT. BRUCB WAYNE'S APARTMENT - MORNING
BRUCE sits and writes a letter.
BRUCE (V.O.)
September 4. Dear Father, I am
still confused. What are you trying
to tell me? What do you want from
me? Please, I don't understand.
Your son, Bruce.
Finished, BRUCE puts the letter in an ENVELOPE. Then, gets up
and goes back to work.
INT. JAMES GORDON'S APARTMENT. BATHROOM - NIGHT
THUNDER rolls on the night air.
In the sweaty palm of JAMES GORDON rest six bullets. GORDON
sits in his boxers on the toilet. In his mouth he holds his
SERVICE REVOLVER.
ANN (O.S.)
Honey, come to bed.
GORDON looks up at the door. He puts the gun, with its wet
barrel, into a holster with a badge clipped to the side and
leaves the bathroom.
ANN (O.S.) (CONT'D)
Hard time sleeping again, baby?
We hear bedsprings sag.
INT. POLICE PRECINCT. SOUADROOM - MORNING
GORDON gets off the elevator and walks through the busy
precinct room full of COPS.
As he passes, CONVERSATIONS STOP.
Men with shoulder holsters and badges on their hip watch
GORDON with obvious disdain.
GORDON puts his lunch in his desk and flips through papers.
He lights a MARLBORO.
INT. POLICE PRECINCT. HALL OUTSIDE EVIDENCE ROOM - DAY
A sign reads "Evidence Room". A YOUNG COP stares at GORDON
with bad intent through a Plexiglas window.
GORDON puts papers in the pass-through.
GORDON
This is for the Irwin case.
The YOUNG COP doesn't say a word.
As GORDON leaves, he passes the door to the evidence room.
It's half open.
We catch a quick glimpse inside—
two detectives stuff YELLOW ENVELOPES and stack BILLS
--before the door SLAMS shut.
INT. BATHROOM. POLICE PRECINCT - DAY
GORDON stands at a URINAL as DETECTIVE FLASS, about 40, blond
crew cut, enters
FLASS
I've got something for you Gordon.
GORDON
Come on Flass, I told you, I just
don't want it.
FLASS
Jimmy, Jimmy, Jimmy, you're going
to have to learn what it takes to
be a cop in this town
FLASS (CONT'D)
It makes the guys nervous when
someone doesn't participate. They
think you might say something.
GORDON
It's not like that, I just don't
need the money.
Maybe if I had kids like the other
guys, or had trouble making ends
meet it would be different.
FLASS
The guys are saying, 'maybe he
thinks he's better than we are.
Maybe he thinks he's superior.' Is
that how it is Jimmy? You think
you're some kind of saint?
GORDON
No, it's nothing like that.
FLASS
So you're not a saint, Gordon. Who
are you?
GORDON
I'm just a cop
FLASS
Yeah, that's right, you're one of
us
FLASS jams a yellow envelope into GORDON'S hand and leaves.
GORDON CRUSHES the YELLOW ENVELOPE.
INT. SQUADROOM. POLICE PRECINCT - MOMENTS LATER
FLASS jokes around the water cooler with a couple COPS.
Then, back at his desk he sees the YELLOW ENVELOPE spiked on
his message post.
FLASS registers a look of concern.
FLASS' partner DETECTIVE CAMPBELL, a fat cop in a wrinkled
suit, slaps him on the shoulder.
CAMPBELL
Come on, we'll deal with him later.
We got to make our rounds.
Together they leave and we—
CUT TO
EXT. GIRLS GALORE PEEPSHOW THEATER - EVENING
BRUCE carries a brown paper grocery bag in his arms.
THE WHORES do their thing: waving at cars, posing, vamping.
They see BRUCE in his BLUE JUMPSUIT.
FRENCH MAID
Hey there garage boy! Want to look
under my hood, check my fluid
levels.
CHEERLEADER
You can top me off anytime!
The youngest prostitute, HOLLY, joins in.
HOLLY
I'll show you why they say, "good
things come in small packages?"
SELINA
HOLLY! GET OVER HERE! He's a
neighbor, not a John. And the rest
of you, cut it out. You got nothing
better to do?
CHI-CHI (CUTS IN)
Yeah, like making me some MONEY.
Get to work.
CHI-CHI is interrupted by the honk of a horn.
DETECTIVE FLASS sits behind the wheel of an UNMARKED COP CAR
with a Ballantine Ale on his lap.
FLASS
Hey there CHI-CHI. How's business?
Next to him in the car sits DETECTIVE CAMPBELL.
CAMPBELL
(laughing, to CHI-CHI)
Hey, you know what, you're the only
HIPPY PIMP I ever seen.
FLASS
You got something for us
Greaseball?
CHI-CHI
Yeah, sure. Here you guys go.
CHI-CHI passes a YELLOW ENVELOPE through the window to FLASS.
FLASS flips through the bills inside.
FLASS
This it, Flowerpower? Looks kind of
light to me
CHI-CHI
It's the same as last week.
FLASS
Yeah? Well, you seem to be doing
pretty good for yourself. Maybe
it's time we talk to ESTRADA,
REEVALUATE our arrangement.
CAMPBELL
Or maybe SELINA can throw in a
little dark meat to make up the
balance. How about that?
CHI-CHI
Yeah, sure. SELINA, get over here!
SELINA reluctantly approaches the car.
CHI-CHI (CONT'D)
Give DETECTIVE CAMPBELL a date on
the house.
CAMPBELL
You can put away the toys, sweet
thing. I'll show you how a REAL MAN
does it.
SELINA
Forget it. You're not coming
anywhere near me.
She turns to walk away but CHI-CHI grabs her arm.
FLASS (LAUGHS)
Classic. One can't get his whores
to screw, the other can't get
screwed by a whore.
FLASS pulls away.
FLASS (CONT'D)
We don't have time for this. Got to
keep moving. More pick-ups to
make before quitting time. Ta-ta
ladies.
FLASS waves his BEER CAN farewell as he drives off.
CHI-CHI
What the hell was that? You made me
LOOK BAD. I got a REP to maintain.
I look weak, then scumbag crooked
cops take advantage, try to push me
around.
SELINA
You know the rules Nothing for
Free.
SELINA jerks her arm free and storms off.
But CHI-CHI grabs her again and SPINS HER AROUND.
CHI-CHI
Well maybe it's time we RE-EVALUATE
the rules.
Suddenly CHI-CHI is aware that BRUCE stands very close
glowering at the pimp.
PURE UNHOLY HATRED.
CHI-CHI
What the fuck you want, retard?
CHI-CHI flicks open his SWITCH BLADE.
SELINA
(to CHI-CHI)
Leave him alone.
CHI-CHI backhands her across the mouth.
BRUCE, oblivious to the knife, moves to take out CHI-CHI.
But SELINA catches BRUCE's eye and, WITHOUT SAYING A WORD,
tells BRUCE to "let it go".
BRUCE just turns and walks away— an obedient soldier.
CHI-CHI
That's what I thought. WIMP!
Selina watches BRUCE march back into—
INT. AL'S GARAGE - MOMENTS LATER
BRUCE KICKS open the door—
FLINGS groceries everywhere—
PUNCHES the plaster wall—
BRUCE (V.O.)
September 17. Father, it takes
everything I have just to contain
this fury. I can feel it in my
chest. It wants to ESCAPE. I'm
AFRAID of what I might do.
LITTLE AL is in the doorway.
LITTLE AL
What the hell's going in here. You
OK?
BRUCE
I'm fine.
BRUCE tries to push past LITTLE AL and out of the garage. But
LITTLE AL grabs his wrist.
LITTLE AL
Bruce.
BRUCE
What do YOU want?
LITTLE AL
Don't you give me lip, boy. I know
what you're going through. You
can't hide it from me.
BRUCE
You don't know ANYTHING.
LITTLE AL
Come on. I've got something for
you.
LITTLE AL pushes aside a work bench, digs out a key and opens
a dirty, disused door.
BRUCE
Your father's office?
LITTLE AL says nothing. The two men go inside—
INT. BIG AL'S OFFICE - DAY
It's like a tomb. Dusty, unused and preserved. LITTLE AL sits
at the desk and starts opening drawers.
LITTLE AL
(without looking)
Sit down Bruce.
BRUCE sits on a dusty chair.
LITTLE AL finds what he's looking for, shoe-box. He turns to
BRUCE
LITTLE AL (CONT'D)
You know, Bruce, BIG AL worked HARD
to put me through med school. He
dreamed of giving me more than that
garage. But he NEVER said a WORD
after the war.
LITTLE AL (CONT'D)
He understood what happens to a man
who's SEEN too much of this world's
evil. Do you know what I'm talking
about Bruce.
BRUCE nods.
LITTLE AL (CONT'D)
When we found you out in the scrap
pile you were scared, more of a
wild animal than a boy, really. And
you had something with you, do you
remember that?
BRUCE says 'Yes' with his eyes.
LITTLE AL (CONT'D)
(laughs)
You wouldn't let it go... Took BIG
AL three months to even get a look
at it. You cried for weeks when he
took it from you. He said you
weren't ready to have it. You
called it your INHERITANCE.
LITTLE AL puts a hand on BRUCE's shoulder.
LITTLE AL (CONT'D)
When BIG AL was up in that
hospital, he asked me watch over
you, made me promise, and I have.
You're like my boy, Bruce.
LITTLE AL gives BRUCE's shoulder a squeeze.
LITTLE AL (CONT'D)
But now you're scaring me. There's
something going on in your head,
and while I can't say I know
exactly what it is, I can tell you
this: A man has got to know who he
is before he can confront his
demons.
LITTLE AL open the shoe box and removes a smaller WOODEN BOX
with a heavy brass latch
LITTLE AL (CONT'D)
Maybe your INHERITANCE can help you
figure it out.
LITTLE AL places the WOODEN BOX on BRUCE'S knee.
BRUCE just stares at it.
LITTLE AL (CONT'D)
Not ready yet, huh' I understand
LITTLE AL stands up and waits. After a moment BRUCE stands up
and they both walk back into—
INT. LITTLE AL'S GARAGE - MOMENTS LATER
LITTLE AL locks the door behind them.
LITTLE AL
You take all the time you want.
It's late. I'm going home. I hope
you can find some comfort in this,
Bruce. Sleep well.
LITTLE AL leaves BRUCE staring at the WOODEN BOX.
INT. BRUCE WAYNE'S APARTMENT - NIGHT
BRUCE writes another letter.
BRUCE (V.O.)
September 22. Dear Father, I almost
slipped today. God help me if I
lose control. Little Al gave me
back my inheritance. What should I
do with it? Please tell me. I
don't know how much longer I can go
without your help. Please send
instructions. Your loving son,
Bruce.
BRUCE signs the letter and puts it in an ENVELOPE. Puts a
stamp on the envelope.
BRUCE gets ready for bed and turns in. He doesn't sleep, just
stares at the WOODEN BOX from his bed.
INT. SELINA'S APARTMENT - NIGHT
SELINA's apartment is painted to look like a dungeon. The
tools of her trade line the walls— WHIPS, CUFFS, A CRICKET
BAT FOR SPANKING. CATS lounge all over the place.
HOLLY sits cross-legged in an electric chair. She paints her
toe nails and watches SELINA pace the cramped room.
SELINA
There has to be more to it than
this.
HOLLY
This what?
SELINA
LIFE! Jesus, there has GOT to be
more out there than just PIMPS and
JOHNS. We spend our lives on our
backs shuttling money from one to
the other, FOR WHAT?
HOLLY
I don't know, what?
SELINA
Nothing! Don't you see, we're being
used. We're stuck here and for all
our work, we have nothing. While
they're getting rich. I'm sick of
it, I'm not going to take it
anymore.
HOLLY
What are you going to do? Run off?
Marry a John?
SELINA
HA! Have you seen the guys who come
here for my services? Shit. What
I'd give to meet a real man.
HOLLY
(rising)
Got to go. My 10:30 should be here.
(at the door)
You know, maybe there are no real
men. Maybe the whole world IS just
PIMPS and JOHNS. Ever think of
that?
HOLLY leaves.
SELINA
(to self)
Then I'll have to find my own way
out.
She closes her door. And we—
CUT TO:
EXT. A MAGNIFICENT THEATER - NIGHT
We're on the steps of a magical old-world movie palace. It's
bright, clean, hyper-real— a dream.
A BOY, about 8, leaves a showing of Zorro with his MOTHER and
FATHER. He goofs around with an imaginary sword.
BOY
En guard! En guard!
MOTHER
(Her best Fay Rae
imitation.)
Oh Brave Zorro, Save us!
FATHER
Yes, but can Zorro fly?
FATHER grabs his BOY and throws him in the air. The BOY
freaks out with laughter.
The BOY is caught under his arms and again tossed upwards,
and into a —
NIGHTMARE
The sky darkens. The boy registers FEAR and falls—
- falls -
- falls -
- and SLAMS HARD onto a grimy sidewalk puddled with BLOOD.
His parents STRUGGLE with a MUGGER in the alley.
FATHER (CONT'D)
Get away from her you monster
The MUGGER shoves FATHER back.
MOTHER
(slaps at MUGGER)
No! Get off me. You can't
have it.
MUGGER grabs MOTHER VICIOUSLY by the THROAT and she's
choking.
PEARLS bounce on the pavement.
FATHER takes a swing at the MUGGER.
MUGGER
Crazy bastards.
BANG!
BOY FLINCHES.
Blood sprays on his face.
BANG!
BANG!
BANG!
BRUCE WAYNE's body FLINCHES in his cot with each shot.
We're back in—
INT. BRUCE WAYNE'S APARTMENT - NIGHT
BRUCE shoots upright in bed.
BRUCE WAYNE'S MOUTH SNARLS, in torment.
BRUCE WAYNE'S FISTS lay in his lap. The fists QUAKE. UNHOLY
RAGE.
He goes and takes the WOODEN BOX in his shaking, sweaty
hands. His thumb is about to open the heavy brass latch BRUCE
is interrupted by a clanking sound from the street.
EXT. THE GIRLS GALORE PEEPSHOW THEATER - NIGHT
The sleazy sex venue was—
THE GRAND THEATER FROM BRUCE'S NIGHTMARES.
Only now, instead of a young BOY walking the sidewalk with
his parents—
CAMPBELL, the fat detective, staggers around in the street.
DRUNKENLY he throws a RUSTY MUFFLER up at SELINA'S WINDOW.
CAMPBELL
Rapunzel, Rapunzel, let down your
hair!
Her window opens.
SELINA
You picked a BAD night to mess with
me, CAMPBELL!
CAMPBELL
Aww, come on darling is that anyway
to treat a customer?
SELINA
I'm paid up. You got your damn
money. That's all you get from me,
asshole.
SELINA SLAMS her window.
CAMPBELL takes a PULL from his BOTTLE
And goes into the CATHOUSE.
A moment later BRUCE crosses the street and follows him
inside the—
INT. CATHOUSE - NIGHT
BRUCE cautiously enters. From upstairs—
Bang, bang, bang.
He hears the sound of a fist pounding a door. Voices echo
down the empty stairwell.
CAMPBELL (O.S.)
Come on honey, you know that's not
the way things work. It's just part
of the price of doing business.
SELINA (O.S.)
Go away you fat pig.
CAMPBELL (O.S.)
What the hell? Who are you? You're
a WHORE. This is what you DO.
BRUCE puts a foot on the first step up to —
INT. SELINA 'S APARTMENT - NIGHT
CAMPBELL KICKS IN the door— CRACK!
SELINA
(backs away)
You can't do this. I pay you. I've
always paid you.
CAMPBELL grabs SELINA 'S WRIST.
SELINA kicks him in the crotch — THWACK.
CAMPBELL
BITCH!
CAMPBELL SLAPS HER across the face, HARD.
She CRASHES into a table covered with LEATHER BONDS, RUBBER
GEAR. MASKS.
CATS scamper in all directions.
SELINA SCRAMBLES for the door.
CAMPBELL JERKS her back into the room and SLAMS her against
the wall.
SELINA punches CAMPBELL — POP — in the face.
CAMPBELL'S head snaps back and SELINA makes a break for the
door. He puts a hand to his face and feels the blood.
CAMPBELL (CONT'D)
You're fucking dead.
ENRAGED, CAMPBELL moves to block SELINA's escape. He punches
her in the stomach. She collapses.
CAMPBELL picks up her CRICKET BAT and starts smashing the
place. SMACK — a lamp flies into the wall. BASH — a music box
explodes into a million pieces.
CAMPBELL (CONT'D)
I've had it up to here with all the
bitches like you.
CAMPBELL is standing over SELINA now, CRICKET BAT in his
hands.
CAMPBELL (CONT'D)
I'm going to show you once and for
all.
SELINA is TERRIFIED!
CAMPBELL bends down and GRABS SELINA VICIOUSLY by the THROAT
and—
LIFTS HER OFF THE GROUND with one hand.
She is CHOKING.
CAMPBELL (CONT'D)
You're mine to do with as I please,
you understand that? And now it's
going to please me to KILL YOU.
He cocks the CRICKET BAT back, about to smash her brains out
when—
SUDDENLY BRUCE APPEARS IN THE ROOM.
HIS FACE: a mask of UNHOLY RAGE.
CAMPBELL
What the fuck do you want? Get the
hell out of here!
BRUCE doesn't say a word. He just delivers an upper cut –
SMACK — to CAMPBELL'S rib cage. A couple ribs go.
A left hook— SMACK — to CAMPBELL'S face. The nose shatters.
An elbow — SMACK — to CAMPBELL'S head. The jaw breaks.
CAMPBELL stumbles back to the wall. FALLS to his knees.
BRUCE isn't finished with CAMPBELL. He moves in.
SELINA grabs the cricket bat—
CRACK!
SHE HITS BRUCE!
A startled BRUCE staggers.
Things -
SELINA
Sorry about that.
- go —
SELINA (CONT'D)
But he's mine.
- DARK.
MUCH LATER:
BRUCE slowly comes around.
SELINA is gone.
CAMPBELL lies smashed out on the floor in a puddle of blood.
DEAD.
RED LIGHTS FLASH from the street.
Footsteps in the hall.
Voices.
COPS(O.S.)
That one at the end of the hall.
GORDON (O.S.)
You go in yet?
BRUCE holds his head, spins circles and looks for a way out.
COP (O.S.)
Just got here, only peeked through
the door. Didn't want to disturb
the scene.
BRUCE tries to squeeze out the bathroom window— too small.
INT. CATHOUSE. HALLWAY - DAWN
GORDON
(pulls down yellow police
tape)
Who called it in?
COP
A guy named CHI-CHI. Claims he's
the property manager. More like a
PIMP.
GORDON steps on his MARLBORO. Just as he touches the knob —
FLASS pushes past the uniformed officer. GORDON turns —
INT. SELINA'S APARTMENT - DAWN
BRUCE looks out the back window — cops everywhere.
INT. CATHOUSE. HALLWAY - PAWN
GORDON blocks the doorway--
FLASS
What the hell are you doing here?
GORDON
It's my collar.
FLASS
Like hell it is. Get out of my way.
GORDON doesn't move.
FLASS muscles past GORDON and opens the door into—
INT. SELINA'S APARTMENT - DAWN
BRUCE looks out the bedroom window, it's a narrow air-shaft
who's bottom opens in a rubbish-filled mini-courtyard.
BRUCE looks over —
THE FRONT DOOR IS OPENING.
FLASS (O.S.)
Jimmy-boy, I ain't kidding around
now.
GORDON backs into the apartment, he's been shoved.
BRUCE makes a desperate play and throws himself out the
window. He hangs four stories up by his fingers as inside —
GORDON
OK, have it your way.
GORDON stands aside.
FLASS
Yeah, that's what I thought--
Then, confronted with the sight of his DEAD PARTNER —
FLASS (CONT'D)
Oh Christ!
Outside the window BRUCE is slipping. He tries to get his
feet on the window sill below while —
GORDON (TO THE COP)
I thought you said there were two
bodies.
COP
(shrugs)
That's what this CHI-CHI guy said.
And that's what it looked like
about three minutes ago.
BRUCE can't reach the sill with his feet. GORDON squats down
and inspects the body. A series of four — DEEP SCRATCHES —
line CAMPBELL'S cheeks.
BEAT COP
(to GORDON)
Girl who lives here goes by the
name of Mistress SELINA. 21, 5'9"
120 pounds. Works an S&M dungeon,
uh, obviously. She hasn't turned up
yet.
FLASS casually tosses the apartment, looks out the back
window, opens a wall CLOSET, picks up some handcuffs—
BRUCE can't hold on any more. HE SLIPS AND FALLS.
While FLASS looks at the cuffs,
GORDON
(TO FLASS)
You don't seem all that broken up.
This IS you partner here, right?
FLASS, angry, throws them back and SLAMS the CLOSET DOOR —
Just at the moment BRUCE CRASHES into the rat-infested
rubbish below.
GORDON hearing something, takes a look out the window where
BRUCE was hanging moments ago.
FLASS
This kind of shit happens everyday.
I've learned to grieve in my own
way, Jimmy-boy.
GORDON
(pulls head back in)
And what, exactly, does that mean?
FLASS
It means I'm going to find her and
put her in a box
GORDON
It's that simple, huh?
FLASS
Yup.
In the air-shaft, BRUCE climbs out from under the filth and
pushes open a basement window.
GORDON
Come ON. There's more going on
here. She didn't do this alone.
What was it? CAMPBELL wanted his
graft in trade? That pimp get tired
of paying you guys off?
FLASS
(to the beat cop)
YOU. Get out.
The BEAT COP leaves.
FLASS (CONT'D)
Listen Boy Scout, you need to
think, long and hard about what you
say and do on the job. You're in
way over your head. Keep it up, and
someone's going to get HURT.
FLASS storms out.
GORDON watches him go.
EXT. CATHOUSE - MOMENTS LATER
Cops loaf around the crime scene eating doughnuts. BRUCE
tries to look inconspicuous on the sidewalk, hands in his
pockets, head down. FLASS burst out of the building and slams
into BRUCE. FLASS shoves BRUCE.
FLASS
Watch where you're going. PUNK.
They hold eye contact for a tense moment.
SELINA'S APARTMENT - MOMENTS LATER
GORDON is alone with the body. He stands soaking up the
details with a troubled look on his face.
INT. GORDON'S APARTMENT, BEDROOM - NIGHT
GORDON sits on the bed with his arm around his wife.
She's crying.
GORDON
Honey, come on. I didn't mean it.
It's just, raising a child in this
hell hole. Maybe after my transfer
goes through things will be
different.
ANN jerks her shoulder away and exits in a huff.
Leaving GORDON alone with the—
TV NEWS—
NEWS ANCHOR, BRIAN
Is Gotham City in the middle of a
crime wave? Murder, prostitution,
drugs, racketeering, all on the rise.
The commissioner's office refuses to comment.
On the TV: THOMAS WAYNE's crest, an INTERTWINED 'T' AND 'W.'
NEWS ANCHOR, BRIAN
When we return: Can the Wayne Corporation
find the missing heir to THOMAS WAYNE's
fortune before the 15 year deadline?
GORDON pays no attention.
INT. OUTSIDE COMMISSIONER LOEB'S OFFICE - DAY
GORDON sits in the waiting room outside a door marked 'Police
Commissioner GILLIAN LOEB'.
Loud, muffled voices argue on the other side. LOEB's SECRETARY
is doing a crossword puzzle, oblivious.
The door opens, Gotham's young Assistant District Attorney,
HARVEY DENT, stands in it yelling back into the office.
DENT
You can't protect him forever.
ESTRADA will go down and you'll go
with him.
DENT slams the door and stomps off. The SECRETARY pushes a
button on the INTERCOM.
SECRETARY
Commissioner Loeb, there's a
Detective Gordon here to see you.
LOEB (O.S.)
Send him in.
GORDON enters—
INT. COMMISSIONER LOEB'S OFFICE – MOMENTS LATER
GORDON musters all his confidence as he approaches LOEB who
works an exercise spring in his beefy fist.
GORDON
Sir, I'm Detective James Gordon.
I'm here about my transfer.
LOEB
I know who you are, Gordon. Chief
Collins has told me all about you.
Says you're another COWBOY, like
your friend Dent there. Says you
don't understand the way things are
done.
GORDON
I've never met Assistant D.A. Dent,
sir. And don't know why Chief
Collins would say anything like
that.
LOEB
(rubs temples)
There's no transfer for you,
Gordon. It's my responsibility to
train young officers a proper
respect for tradition, for the
established order of things. You
need to learn what it takes to be a
cop in Gotham.
GORDON
If by 'tradition' you mean graft
and—
LOEB
(interrupts)
I suggest you be a little more
selective in your manner of speech,
detective. Things could get awfully
difficult for you around here.
And you don't want that, not for
your lovely wife.
GORDON'S jaw drops at the overt threat.
LOEB (CONT'D)
You're mine Gordon.
Without saying a word GORDON turns and leaves — DEFEATED.
INT. GORDON'S APARTMENT. BATHROOM - EVENING
GORDON has his GUN in his mouth.
He looks down at his SHAKING FIST.
He opens it — EMPTY!
This time HE'S LOADED THE BULLETS INTO THE GUN.
The HAMMER pulls back —
We hear the front door open and the sounds of ANN looking
through the apartment for GORDON.
Then she's at the door —
ANN (O.S.)
Jim. Jim, it's a boy.
GORDON takes the GUN out of his mouth.
It's like he has just heard her voice for the first time. He
bursts out of the bathroom and ENGULFS his wife in a hug.
GORDON
A boy. We're going to have a baby
boy.
A smile crosses ANN'S lips.
EXT. JUNK YARD BEHIND AL'S GARAGE - DAY
BRUCE works like a FIEND. HE'S POSSESSED.
Sweat soaks through his clothes as he HEAVES ENGINES into a
giant CRUSHING MACHINE.
He pulls the lever. Solid steel POPS and CRACKS like eggs.
LITTLE AL watches, then approaches and shuts off the machine.
LITTLE AL
This can't go on.
BRUCE
What?
LITTLE AL
When was the last time you slept
more than two hours in a row?
BRUCE doesn't answer.
LITTLE AL (CONT'D)
That's what I thought. You're going
to hurt yourself. You need time to
sort stuff out. Consider yourself
on vacation. Go.
LITTLE AL points to BRUCE'S door.
INT. GREASY SPOON DINER - THE NEXT DAY
GORDON looks tired, as if he's been up all night thinking.
He hasn't touched his food. But he HAS piled an ashtray full
of MARLBORO butts.
The counter man, DAVE, fills his coffee cup.
DAVE
You OK, Jim?
GORDON
Thanks Dave, you ever notice how,
sometimes, coming to a realization
about something, you know, figuring
out something important, only makes
everything more difficult?
DAVE
Um, I guess. There was this one
time my brother-in-law wanted to
open a bar and the wife says...
The conversation is interrupted by GORDON'S RADIO.
RADIO
Four-Sixteen. DUTTON HEIGHTS
HOUSING PROJECTS. Hostage
situation. Suspect armed and
dangerous. SWAT teams have been
deployed. Responding officers
report to Commissioner Loeb on
site.
GORDON
What the HELL is Loeb doing there?
GORDON jumps to his feet and grabs his coat.
DAVE
What's up Jim, that's not even your
beat?
GORDON
(running for the door)
Loeb's an animal. It'll be a
bloodbath.
GORDON runs for the door and out onto —
EXT. THE STREETS OP GOTHAM CITY - MOMENTS LATER
GORDON drives like a madman through the run-down East End.
SIRENS BLARING.
LIGHTNING rips across the clear sky. A storm is rolling in.
EXT. THE DUTTON HEIGHTS HOUSING PROJECTS - MINUTES LATER
UNIFORMED POLICE OFFICERS hold back curious residents.
A GUNMAN yells unintelligibly from the roof of the projects.
GORDON arrives the same time as the TV NEWS VAN from Channel
One Eyewitness News.
Parked at the center of the police encampment: A SWAT VAN.
Inside a half dozen men strap on BODY ARMOR and check their
MACHINE GUNS.
LOEB
Ah, the COWBOY. Came to see how
REAL policemen earn their pay?
GORDON
Where's the negotiator?
The SWAT guys are climbing out of the van, ready for action.
LOEB
He's working a jumper on the Herzog
Bridge. We don't have time to wait.
Time is money, tax-payer's money.
GORDON
More like VOTERS' money. That's it,
isn't it? You're here for the TV
cameras.
GORDON, disgusted, heads back toward his car.
SOMEONE IN THE CROWD
Oh my god he's got a baby!
GORDON STOPS. LOOKS UP.
The GUNMAN in fact holds a LITTLE BABY. LOOKS OVER.
LOEB's SNIPERS have taken their positions.
LIGHTNING.
The GUNMAN is spinning around with the child in his arms,
yelling at the lightening. The SNIPERS try to line up their
shots.
It's all happening too FAST.
LOEB talks to the SNIPERS on a RADIO.
LOEB
Take your shots.
SNIPER
(on radio)
The baby is in the way. It's a
tough shot.
LOEB
Just do your job. SHOOT HIM!
The GUNMAN waves a 9mm over the edge of the roof.
The TV CAMERAS zooms in on the GUNMAN.
The situation slips OUT OF CONTROL.
SOMEONE IN THE CROWD
Someone save the baby!
GORDON
(to himself)
Aww, fuck it.
GORDON steps out from behind the POLICE BARRICADE.
LOEB
Gordon! GET YOUR ASS BACK HERE,
NOW!
GORDON ignores him and holds up his REVOLVER with two fingers
on its barrel.
GORDON (SHOUTS)
Hey! HEY YOU! I'm coming up!
GORDON drops his WEAPON —
THUD
— and enters the building.
The TV CAMERAS eat it up.
Meanwhile, across town in -
INT. BRUCE WAYNE'S APARTMENT - DAY
BRUCE is A BALL OF NERVOUS ENERGY;
Outside, the RAIN beats down on his window.
He PACES back and forth.
CRASH.
LIGHTNING rips across the blue sky.
He tries to write a letter.
BOOM
THUNDER rolls.
He can't sit still.
BRUCE (V.O.)
October 3. Dear Father, It's only
getting worse. It's tearing me
apart. I'm afraid it's happening.
I've let it out. Father, I've let
you down. I may have KILLED A MAN
last night. I may be a MURDERER. I
am no better than he was, a
monster.
Back at the —
INT. DUTTON HEIGHTS HOUSING PROJECTS - MOMENTS LATER
GORDON creaks up the stairs.
He approaches a DOOR that says "ROOF". He eases it OPEN.
The scruffy GUNMAN yells up at TV NEWS HELICOPTERS.
GUNMAN
No identifying marks. A million
losers never finish.
His blond hair, going gray, sticks to his lips as he screams.
GUNMAN (CONT'D)
Spider nasty. Don't noise it. No
gangrene lunch.
GORDON steps out on the roof, hands open in front of him.
The GUNMAN has a 9mm pressed into a LITTLE BOY'S MOUTH.
HE HOLDS THE CHILD AGAINST HIS OWN CHEST. If he fires he
will kill the child AND himself.
The TERRIFIED child cries for his mother.
GORDON
Hi, my name is Jim.
GORDON steps forwards to shake hands. The guy freaks —
GUNMAN
Loudmouth fraud. Liberty is an ape.
TV NEWS CAMERAS circle overhead capturing the whole scene.
GUNMAN (CONT'D)
So I say to him, I say, "to him".
GORDON point to the sky, acting angry —
GORDON
Umm, bad helicopters!
Meanwhile back in—
INT. BRUCE WAYNE'S APARTMENT - DAY
BRUCE continues with his letter—
BRUCE (V.O.)
Please tell me what to do, Father.
I'm afraid.
BRUCE picks up the WOODEN BOX. He stares at it for a long
moment then suddenly—
THROWS IT AGAINST THE WALL -
SMACK
— it smashes the vacuum tubes of an electronics project -
POP
POP
POP
- overloaded circuits burn out more equipment.
SPARKS EXPLODE from the blown FUSE BOX —
BRUCE
(screaming)
Tell me what you want me to DO!
— and SHOWER down onto the floor.
The workshop plummets into DARKNESS except for one TV. It
casts an eerie BLUE GLOW.
BRUCE looks over at the TV NEWS —
ON THE TV
- GORDON is on the roof with the GUNMAN.
The GUNMAN recoils and spins looking around, frantic. GORDON
eases closer while he's distracted by the lightning.
GUNMAN
We're rich. Again.
GORDON
Where is your medication? You have
to trust your doctors, trust in the
system.
GORDON slides closer to the GUNMAN with every word.
GUNMAN
Nice toilet.
GORDON
Everything will be fine if you just
follow the program.
But GORDON'S words seem hollow. They have no effect on the
GUNMAN.
GUNMAN
I'll change him with my love.
The GUNMAN jams the 9mm further into the child's mouth, he's
about to pull the trigger.
The HAMMER STARTS GOING BACK!
GORDON acts without thinking.
He throws a right cross —
CRUNCH!
— dropping the GUNMAN, knocking away his 9mm just as -
BANG!
- he pulls the trigger, missing the child.
INT. BRUCE WAYNE'S APARTMENT - DAY
Bruce FLINCHES at the sound of the gunshot.
EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - DAY
The TV cameras frame a close-up shot. The GUNMAN, now lying
on the roof, reaches for the CHILD, an arm out-stretched.
SMASH CUT:
EXT. A GRAND THEATER - NIGHT
BRUCE's FATHER lies in a puddle of blood, an arm
outstretched, reaching for YOUNG BRUCE. He grabs the BOY'S
hands and closes something inside them.
FATHER
(weakly)
Your INHERITANCE. Use it wisely,
son.
YOUNG BRUCE kneels in silence with his dying parents.
SMASH CUT:
EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - DAY
GORDON is on top of the GUNMAN raining punches down on his
face — POW, POW, POW — until the GUNMAN stops struggling for
the LITTLE BABY.
INT. BRUCE WAYNE'S APARTMENT - MOMENTS LATER
BRUCE is entranced by what he sees on the TV.
EXT. DUTTON HEIGHTS HOUSING PROJECTS. ROOF - MOMENTS LATER
GORDON, with the LITTLE BOY on his hip, emerges from the
building to the cheers of the crowd just as -
LIGHTNING
- THE GOTHAM SKIES LET LOOSE A TORRENT OF RAIN ON THE DIRTY
CITY.
The TV news media ignores the storm and mobs GORDON. Jam in
his face. BRUCE watches—
REPORTERS
You went against direct orders from
the commissioner. Why didn't you
follow normal police procedures?
GORDON
I don't like what passes for NORMAL
in this town. CRIME is NORMAL in
GOTHAM. CORRUPTION is NORMAL. The
scum of this city have taken so
much from us, our youth, our
families. I've declared my WAR ON
CRIME!
(points into the camera)
Now YOU must FIGHT BACK for what's
been lost!
AT THE SAME TIME:
INT. BRUCE WAYNE'S APARTMENT-DAY
THE WORDS ARE A REVELATION TO BRUCE.
He tears himself away from the TV and digs wildly through the
burning electronics until he has the scorched WOODEN BOX in
his shaking fist.
BRUCE
NOW I understand.
He RIPS opens the WOODEN BOX revealing his father's heavy,
silver SIGNET RING balled up in old newspaper.
It bares the intertwined initials - 'T' and 'W'.
BRUCE runs out the door with the WOODEN BOX and up onto the —
EXT. ROOFTOP OVER BRUCE WAYNE'S APARTMENT – MOMENTS LATER
LIGHTNING.
SHEETS OF RAIN fall on BRUCE's face as he slides the SIGNET
RING on his wet finger and screams up into the storm —
BRUCE
Thank you Father. Thank you. I KNOW
what I must DO.
LIGHTNING fills the sky as we —
CUT TO:
EXT. DUTTON HEIGHTS HOUSING PROJECTS - SECONDS LATER —
We hear THUNDER.
GORDON extracted himself from the throng of MEDIA who now
turn on LOEB.
REPORTERS
What was going through your head?
Why did you try to stop Detective
Gordon from saving that child?
LOEB
(uncomfortable)
I assure you I had no intention
of...
GORDON'S heard enough. Turning away, he smiles and lights a
MARLBORO.
A PATROLMAN jogs up to him.
PATROLMAN
Sir, sir. Your gun
He hands over GORDON'S SERVICE REVOLVER, the one he'd put in
his mouth so often.
PATROLMAN (CONT'D)
Looks like the finish has worn off
the barrel.
GORDON
Guess it's time for a new a new
gun, huh?
GORDON takes the weapon and heads to his car.
EXT. EAST END SIDEWALK - THE NEXT DAY
BRUCE, dressed in an overcoat, waits in a doorway while CHI
CHI talks to SKINNY GIRL in fish-net stockings.
CHI-CHI
I don't care if you're pregnant
with the second coming of Christ.
I made the appointment and you'll
be there.
BRUCE (V.O.)
October 4. Father, The trail begins
with the pimp. He is only a guppy
swimming in the cesspool but he
knows where she is. I must find
her.
CHI-CHI leaves the SKINNY GIRL crying.
BRUCE (V.O.) (CONT'D)
She used me to KILL that man. And
murder is not allowed.
CHI-CHI passes BRUCE's doorway. FOUR DEEP SCRATCHES cross his
cheek. BRUCE steps out.
CHI-CHI (STARTLED)
Oh, the retard. Get lost.
BRUCE
Where's Selina
CHI-CHI
SELINA? She's good as dead by now.
Come around tomorrow. I'll have
another dominatrix by then.
BRUCE
I don't want her for that.
CHI-CHI
Yeah? That's not what it looked
like the other night. You guys got
a little carried away with your
games, huh?
BRUCE
You were THERE? You let her get
away?
CHI-CHI
(fingers his cheek)
Yeah she got away but they'll find
her. She'll fry for killing that
cop.
BRUCE
(grabs CHI-CHI)
You're going to help me find her.
Instantly CHI-CHI stabs at BRUCE with the switchblade. BRUCE
floats to the side and stomps on the pimp's knee —
CRUNCH
— bending it in a way knees were never meant to bend. The
PIMP writhes in pain on the ground —
CHI-CHI
You psycho! I know you. I've seen
your face, man, you can't hide
BRUCE walks away —
BRUCE (V.O.)
And so it begins. I will not let
you down. Your loving son, Bruce.
He's got a new spring in his step.
ON THE TV —
CHANNEL ONE EYEWITNESS NEWS runs a Special Report. THE
ANCHORMAN delivers his lines under the title 'SUPER COP'.
ANCHOR, BRIAN
Detective James Gordon wowed the
city of Gotham by single-handedly
rescuing a small child from the
hands of an escaped mental patient
and possible avoiding needless
bloodshed and mayhem at the hands
of this city's notoriously violent
SWAT team. His comments to the
press highlighted a growing rift
between various departments within
the police force. He hinted at
charges of police corruption and
promised to wage a one-man war on
crime. I don't know about you
Sandy, but this reporter finds such
straight talk very refreshing.
CO-ANCHOR JANE
Indeed Brian. Now let's take a look
at sports —
We pull back WIDER to see the TV plays in —
INT. GORDON'S APARTMENT - EVENING
GORDON and ANN are watching on the sofa. ANN is stunned.
ANN
This is a big deal. They're going
to want you on talk shows, you
know? You're going to need a new
suit.
GORDON
(laughing)
Let's go celebrate!
ANN
Honey, we can't. It's late, we've
already eaten.
GORDON
Then, let's get a drink.
ANN(LAUGHS)
Jim! Hello? I'm with child.
GORDON
Oh, sorry. Right. Then dinner,
Friday. How's La Bonne Maison
sound?
ANN
Ooh, Fancy. It's a date.
ANN pulls her husband down on top herself, kissing him.
INT. BRUCB WAYNE'S APARTMENT - NIGHT
The TV NEWS plays in the back ground as BRUCE applies a fake
scar onto his cheek.
BRUCE(V.O.)
November 8. Dear Father, the pimp
knew my face. A distracting scar
will hopefully mask my identity.
BRUCE puts on the overcoat and wide-brimmed, concealing hat.
BRUCE (V.O.) (CONT'D)
Tonight I begin your revenge. I
will rid this city of its cancer. I
will draw the scum to me and make
them pay.
BRUCE hold up his FIST and on it —
BRUCE (CONT'D)
Father, tonight I am declaring war!
Your loving son, Bruce.
— HIS FATHER'S SIGNET RING.
EXT. EAST END PARK - NIGHT
BRUCE has a tourist map in his hands, he acts lost.
A pair of MUGGERS saunter out of the night. They circle.
MUGGER #I
Need some help mister. Maybe you're
lost?
BRUCE says nothing, just soaks in the atmosphere of violence.
MUGGER #1
You could use a guide to show you
where the bad places are.
MUGGER #2
Yeah, to protect you from the bad
elements.
BRUCE cracks a gentle smile.
MUGGER #2 (CONT'D)
We'll take care of you mister. But
you have to give us a tip.
(holds out hand)
NOW! MONEY!
One of the assailants becomes impatient and SHOVES BRUCE.
There is no delay in cause and effect. The shove sparks an
almost ORGASMIC release of RAW, PENT UP VIOLENCE from BRUCE.
HE EXPLODES - CRACK! CRACK! CRACK! CRACK!
BRUCE PUNCHES MUGGER #1 in the CHEST, rapid-fire brutal, RIBS
CRUNCH.
MUGGER #2 steps into the fray. BRUCE neatly SNAPS HIS ARM -
CRUNCH
— and SWINGS an ELBOW —
POP
— SHATTERING MUGGER #2'S FACE.
He SLAMS to the PAVEMENT in sudden, surprised PAIN.
BRUCE stands over both the fallen MUGGERS and breathes in a
huge lung-full of the crisp, clear night air.
A calm washes over him.
BRUCE
Here's your tip.
He delivers a final kick and walks off into the night — A
CHANGED MAN.
EXT. EAST END ALLEY - NIGHT
SKINHEADS divide the contents of a BLOODY PURSE.
A BEATEN WOMAN lies sobbing on the ground by some trash cans.
SKINHEAD #1
You took the credit cards last
time.
Then, suddenly aware of someone else in the alley, they turn
to see BRUCE standing over them.
SKINHEAD #2
Looks like it's going to be a good
night, boys.
The SKINHEADS descend on BRUCE.
BRUCE
Yes. It does.
BRUCE tears into the SKINHEADS with all the joy of a child on
Christmas.
BRUCE punches the SKINHEADS in the face, his father's SIGNET
RING crushes flesh against bone, leaving a deep BLOODY MARK.
EXT. EAST END STREET - NIGHT
A greasy junky holds a FAKE PEARL NECKLACE up to his DEALER.
GREASY JUNKY
But that's all I got.
DEALER
Then you'll have to go get
something else. Won't you'
PAY-PHONE rings. The DEALER answers
BRUCE appears behind the drug DEALER at his PAY-PHONE.
DEALER (CONT'D)
Can't you see I'm doing business
here? Wait your turn.
BRUCE
I'm done waiting.
BRUCE grabs the DEALER'S HEAD by the hair and SLAMS IT —
BASH! BASH! BASH!
— into the METAL PAY-PHONE.
BRUCE (CONT'D)
Welcome to my war.
The dealer slides to the ground.
BRUCE walks off. His FAKE SCAR hangs half off his cheek. The
sun is just beginning to peek over the worn rooftops.
INT. BRUCE WAYNE'S APARTMENT - MORNING
BRUCE sleeps.
DEEP. SOUND. RESTFUL.
A comforted smile teases the edges of his lips.
INT. LA BONNE MAISON - EVENING
ANN and GORDON enjoy a nice dinner together in one of
Gotham's finest restaurants.
ANN
To my Super Cop.
GORDON
To the most beautiful woman in
Gotham.
Clink.
GORDON (CONT'D)
Things are going to be different,
baby. I feel it.
(notices something)
SHIT!
ANN
(worried)
What it is honey?
GORDON
I don't believe it.
GORDON watches as Commissioner LOEB and Emilio ESTRADA are
lead to a private dining room along with several scantily
clad, exotic-looking women. ESTRADA hands the waiter a
hundred dollar bill.
His face is an emotionless mask, perfectly smooth and
featureless, the result of a compulsive addiction to cosmetic
surgery.
ANN
Who IS that with Commissioner Loeb?
He looks like a zombie.
GORDON stands up and starts dumping bills on the table.
ANN (CONT'D)
JIM? What's the matter, honey?
GORDON drags wife from the restaurant.
EXT. SIDEWALK OUTSIDE LA BONNE MAISON - EVENING
GORDON is livid.
GORDON
I can't believe he's so blatant.
ANN
Who? What's the matter?
GORDON
Christ! Don't you read the papers?
That was Emilio ESTRADA. "Gotham's
Golden Pimp". The one Harvey Dent
had up on charges 6 months ago. And
now he's eating at La Bonne Maison
with my Police Commissioner. OK?
That's what's the MATTER.
ANN, hurt, jerks her hand free and walks ahead.
GORDON realizes he's crossed the line. He's pissed at himself
for scaring his wife. He lashes out and KICKS a nearby trash
can.
GORDON (CONT'D)
Dammit!
GORDON jogs to catch up and gently takes ANN'S arm.
ANN
I'm your wife, not some rookie cop
you can treat any old way you want.
GORDON
I'm sorry I snapped at you.
(sighs)
Look. Those are BRUTAL and VICIOUS
men. And they are making this city
a bad place to live, to raise OUR
son. It's just, I don't know what
to do. I get angry. I get angry
for US. For the BABY.
ANN
(touches his cheek)
I know. But what can you do? You're
just one man. You can't carry the
whole city on you back.
GORDON
There is something I CAN do. I can
go over their heads. I can go to
the Mayor.
ANN
Is that safe?
GORDON
(shakes head)
No.
GORDON puts his coat over ANN'S shoulders, they walk off.
BRUCE writes a letter —
BRUCB (V.O.)
October 12. Dear Father, it's
working. I've engaged the enemy,
made progress. But I've only struck
at their front line, the grunts.
Tonight, I start climbing their
chain of command.
Then BRUCE opens a binder full of meticulous notes, drawings,
charts, and reports. He turns to a STREET MAP marked with
red 'x's and scowls at it.
EXT. THE COMET LOUNGE. EAST END GOTHAM - NIGHT
This is easily the lowest ranking drinking establishments in
Gotham. Most of the bar's patrons originate from the Gotham
City Corrections Facility located directly across the street.
Flickering neon sign: "First beer free with release papers."
BRUCE watches from a doorway as newly released prisoners make
a bee-line from the jail into the COMET LOUNGE.
BRUCE steps over a pair of drunks on the sidewalk and into —
INT. THE COMET LOUNGE - NIGHT
The place emanates PURE MENACE.
The patrons consist of doomed addicts hunkered over their
drinks, deflated whores and working-class thugs with overly
attentive eyes. MURDER seems an everyday occurrence.
BRUCE takes a table away from the sodden trio on the stage,
accompanying a floor show of TRANSVESTITE singers and dancers
who double as waitresses.
Once seated, BRUCE is visited by a flock of waitresses and
waiters. They sit on his lap, rub up against him, play with
his hair.
TRANSVESTITE #L
And what have we here?
TRANSVESTITE #2
Ooh, big.
WAITER
Honey, you want a private show?
TRANSVESTITE #L
Hey, back off. I saw him first.
WAITRESS
Can I get you something?
BRUCE
Beer.
TRANSVESTITE #1
See those little doors over there?
For $50 I'll blow your mind.
BRUCE
No thanks.
WAITER
He don't want what you got, skank.
BRUCE
You don't have what I'm looking for
either.
BRUCE stuffs small bills in their sagging bras. The money
attracts attention.
TRANSVESTITE #2
Come on baby, I can cheer you up.
BRUCE
I doubt it.
The waitress returns with a beer.
WAITRESS
That will be $2, honey.
BRUCE pulls out a HUGE ROLL OF BILLS and peels off a FIFTY.
BRUCE
Keep it.
The waitress registers FEAR at the sight of all that money.
She barely has her money before more than a dozen THUGS set
upon BRUCE from all angles with KNIVES, CLUBS, BOTTLES and
POOL QUEUES.
BRUCE JUMPS TO HIS FEET. The table, chair, and transvestites
tumble to the ground.
The FIRST GUY swings a POOL QUEUE baseball bat style.
BRUCE ducks under it and —
CRUNCH
— comes up with a knee into the guy's groin.
The SECOND GUY gets an elbow to the nose.
The THIRD, FOURTH and FIFTH GUYS move in together.
BRUCE drops those three with a series of vicious rabbit
punches to their faces — POP, POP, POP.
But it's with numbers six through 16 that he runs into
trouble. They work as a team and surround BRUCE.
The first one smashes BRUCE with a chair —
Then, another clocks him in the head with a whiskey bottle —
And a third belts him in the jaw with brass knuckles.
BRUCE staggers back. The men descend and beat him to the
ground.
We lose sight of BRUCE under a rain of KICKS, PUNCHES,
BOTTLES and SWINGING POOL QUEUES. Then suddenly BRUCE —
EXPLODES
— through the ATTACKERS, line-backer style, sending them
sprawling.
He breaks across the room and through a door marked 'EXIT'.
The room goes silent —
beat
— then breaks into laughter.
BRUCE has cornered himself inside the —
INT. WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT
The small, dirty room has no windows. The only other doors
open onto toilet stalls and a cleaning closet full of mops,
buckets and CLEANING SUPPLIES.
BRUCE (V.O.)
It was almost a stupid death —
Then his eyes fall on the CLEANING SUPPLIES.
BRUCE (V.O.) (CONT'D)
- were it not for your birthday
gifts, those chemistry sets I so
loved.
BRUCE rifles through the chemicals.
BRUCE (V.O.) (CONT'D)
Ammonia, borax, bleach, peroxide,
baking soda. Thank you, Father.
BRUCE grabs a PLASTIC JUG and dumps hand fulls of BORAX and
BAKING SODA into it, topping it off with a blast of DRY
PROPELLANT from a fire extinguisher.
Outside the door in —
INT. THE COMET LOUNGE - NIGHT
The men taunt him.
ATTACKER #1
When you're done powdering your
nose, can I have a free date?
ATTACKER #2
Don't forget to wash your titties.
Meanwhile, inside —
INT WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT
BRUCE picks the TOILET CAKE out of a filthy toilet and
shatters it against the porcelain sink. He drops that into
the PLASTIC JUG and starts mixing liquids in an empty BEER
BOTTLE — AMMONIA, BLEACH, PEROXIDE.
BRUCE stabs the PLASTIC JUG with a SCREW DRIVER while outside
the door in –
INT. THE COMET LOUNGE - NIGHT
The men, now done with their taunting, approach the door
INT. WOMEN'S BATHROOM. THE COMET LOUNGE - NIGHT
BRUCE holds the PLASTIC JOG in one hand and the BEER BOTTLE
in the other. HE takes a deep breath and dumps the liquid
into the PLASTIC JOG —
INT. THE COMET LOUNGE - NIGHT
Suddenly the door BURSTS OPEN.
A tattered and beaten BRUCE stands holding the PLASTIC JUG.
He tosses the PLASTIC JUG at a thug but it misses and slides
under the pool tables —
BRUCE
It's over. You people should get
out of here,
(beat)
It isn't safe.
The THUG whips out a LONG SCALLOPED KNIFE and comes at BRUCE.
THUG WITH KNIFE
Let's see what you had for lunch.
Under the pool table the PLASTIC JUG BUBBLES AND STEAMS. The
men raise their pool queues and encircle BRUCE.
BRUCE
Have it your way.
BRUCE jerks a neon beer advertisement off the wall as he
leaps up onto a pool table.
The sign shatters.
SPARKS SHOWER DOWN
WHOOSH!
The LOW-LYING GASSES go up in BLUE-HOT FLAMES.
Every man standing on the floor collapses in agony — pants on
fire, legs scorched.
BRUCE casually steps from his pool table onto the bar —
BRUCE
Gentlemen, thank you for the dance.
— walks down the bar and hops out the front door.
INT. BRUCE WAYNE'S APARTMENT - MORNING
A badly beaten BRUCE finishes his letter with a bruised fade
and a black eye swollen almost shut.
BRUCE (V.O.)
Tonight I learned that I am nothing
more than a LUCKY AMATEUR. To climb
the ladder of crime, I will need
protection, weapons, technique. I
need to cultivate an advantage if
I'm to take my war up the ladder of
crime to the bosses, to the
GENERALS. But what should that
advantage be, Father. How will I
find it? Your loving son, Bruce.
BRUCE finishes the letter, folds it, puts it into an envelope
and stamps it. He looks at it for a moment then adds it to a
CARDBOARD SHIPPING BOX with hundreds just like it.
INT. MAYOR NOONE'S OFFICE - DAY
Mayor Noone greets GORDON at the door to his gilded, wood
panelled office.
NOONE
I hear you have some disturbing
news regarding the East End
precinct detective Gordon.
GORDON
Yes, sir. I'm afraid so.
NOONE
First let me say how impressed I am
that you've come forward. I know
how hard these situations can be.
I want you to know I admire your
bravery and integrity. We need more
men like you on the force.
GORDON
Thank you sir. I'm not trying to be
a hero or anything. It's just
that... Well, things are out of
control.
NOONE
Of course, I understand. Have a
seat. Now tell me everything. Why
did you come to my office? It's not
the normal route. Why bypass
internal affairs?
GORDON
I believe the problem goes beyond
the East End precinct, far higher.
I've seen the money, been offered
bribes — almost forced to take
them.
NOONE
I see.
GORDON
I can name names. I am willing to
testify. I believe my current
notoriety with the news media makes
this the perfect time to bring this
matter to the public. If we hold a
press conference...
NOONE
(interrupting)
Whoah, slow down, Jim. I'm afraid
it's not as simple as that. We have
to be very careful how we present
our case. Now who have you told
about what you know? Who knows
you've contacted me?
GORDON
No one. I mean besides my wife. I
don't know what sort of
repercussions I'd face if they knew
I was here.
NOONE
Good. The fewer people who know the
better. You may be in serious
danger if these corrupt officers
knew we were working together.
GORDON
Yeah. OK. What do you want me to
do?
NOONE
For now, I'll see what I can do on
my end. I want you to lay low, act
normal. I'll contact you when it's
time for us to make our move.
GORDON
But sir, there has to be something
I can do to help us prepare our
case. At least I can document what
I see.
NOONE
Do nothing to jeopardize your
safety. Keep clear of the officers
involved. Let them think it's
business as usual in Gotham while
we work up a plan of action.
GORDON
(nods)
OK.
NOONE
(stands and offers hand)
Good. You'll see, we'll get these
guys.
NOONE sees GORDON to the door.
INT. GOTHAM PUBLIC LIBRARY - DAY
BRUCE brings a huge pile of books to the busy young LIBRARIAN
at the checkout counter.
LIBRARIAN
Understanding Ballistics,
Improvised Munitions, Explosives:
Step By Step, Guerrilla Warfare,
Neurochemistry, Thrown Weapons
Handbook, 101 Sucker Punches...
(laughs)
Looks like you're starting a war.
BRUCE says nothing.
She looks up for the first time, sees his bruised face
LIBRARIAN (CONT'D)
You know what? Why don't you just
take these. You look trustworthy.
Bring them back whenever you like.
The LIBRARIAN slowly backs away from the counter.
EXT. GOTHAM PUBLIC LIBRARY - DAY
BRUCE leaves with his arms full of books.
BRUCE (V.O.)
November 15. Dear Father, I am
ready for the next level. I realize
now violence alone is not enough. I
must become a detective, a
scientist, a scholar of crime.
BRUCE dumps the books into the Al and Son Garage truck.
INT. ARMY/NAVY STORE - DAY
BRUCE shops: AMMO BELTS, HUNTING KNIFES with boot sheath,
COMBAT BOOTS, BINOCULARS.
BRUCE (V.O.)
I will need tools to give me an
edge.
BRUCE holds up a heavy HELMET DEVICE with wires sticking out.
EXT. HARDWARE STORE - DAY
BRUCE wheels a shopping cart out of a MEGA-BOX STORE to his
TRUCK. There he loads his purchases into the back: SPRAY
PAINT, SAW, TIN SNIPS, RAZORS, DUCT TAPE, INDUSTRIAL GLUE.
BRUCE (V.O.)
I will no longer rely on strength
alone.
BRUCE starts the TRUCK.
INT. SPORTING GOODS STORE - PAY
A CLERK eyes BRUCE warily as he charges through the place,
looking everything over. BRUCE holds up a white FIELD HOCKEY
MASK. Glares at it.
BRUCE (V.O.)
Father, I can feel myself
TRANSFORMING.
At the checkout counter, THE CLERK stares numbly as across
the counter slide a GOALIE'S MASK, a PADDED GLOVES, SHIN
GUARDS, and a bright-red catcher's CHEST PROTECTOR.
CLERK
Credit or cash, dude?
BRUCE
Cash. Keep the change.
BRUCE slaps a wad of TWENTIES on the counter.
EXT. EAST END PARKING LOT, BEHIND MEGAMART - NIGHT
GORDON pulls up to a small gang of young GANG MEMBERS
slinging DRUGS from the parking lot.
THEY SCATTER.
GORDON steers to block the escape of one GANG MEMBER, O'NEIL.
GORDON
Hey, O'NEIL! O'NEIL! Come here. I
ain't going to do nothing. I just
want to talk to you.
O'NEIL
I'm paid up man. Right on time.
GORDON
I know. I know. Get in.
O'NEIL gets into the passenger side.
GORDON (CONT'D)
Things going OK down here these
days?
O'NEIL
(suspicious)
Yeah.
GORDON
Officer CRAMDEN been taking care of
you?
O'NEIL.
What is this?
GORDON
Think of it as quality control. We
just want to make sure you're
getting everything you're paying
for. A happy drug dealer is a
profitable drug dealer. So you're
up to, what, $200 a week now.
O'NEIL
$250 papa, and I still get the
Mexicans biting into my turf. I
told CRAMDEN, he said he'd take
care of it but he spends all his
time sampling the merchandise down
at the LAB.
GORDON
The lab, huh?
O'NEIL
Yeah, he's over there PARTYING
while them Mexicans are out
slinging product by MY Doughnut
King.
GORDON
That so?
O'NEIL (COCKY)
YEAH. That's SO. And I want to know
what you're going to DO about it.
GORDON
Oh, I know just how to take care of
this situation.
GORDON grabs O'NEIL and SMASHES his face into the dashboard.
GORDON (CONT'D)
Take me to the lab.
GORDON jams the dealer's head under the dash and cuffs him.
EXT. RUNDOWN WAREHOUSE DISTRICT - NIGHT
GORDON puts the car in park and watches a low-slung
warehouse. Suspicious looking men stand outside.
GORDON (V.O.) (CONT'D)
Corruption Log, day six. Despite
the mayor's advice, I am finding it
harder and harder to remain a quiet
observer.
GORDON - with the cuffed O'NEIL - drives off.
INT. POLICE PRECINCT HOUSE. BOOKING STATION - LATER.
Jail cells line the walls of the large room. The prisoners,
cocky and defiant, taunt the police and laugh. They call the
cops PUSSIES and FAGGOTS.
GORDON shoves the bruised O'NEIL into the BOOKING STATION.
GORDON (V.O.)
I've transcribed testimony from one
Trey O'NEIL, appendix 17,
describing the officer Jonathan
CRAMDEN as an enforcer for East End
drug dealers.
GORDON drags O'NEIL to the BOOKING STATION amid ANGRY STARES
from the other officers present —
GORDON (V.O.) (CONT'D)
I am playing a dangerous game.
These men are serious. But I will
not sit by any longer. I can't. I
have a son to think about now.
— including one officer with the name "CRAMDEN" stitched into
his uniform.
INT. BRUCE WAYNE'S APARTMENT - NIGHT
BRUCE reads a recipe from the Anarchist's Handbook and mixes
a tar-like substance on his scarred and blackened STOVE.
BRUCE (V.O.)
October 29. Dear Father, I will be
as devious as my enemy.
Chemistry projects BUBBLE on every burner.
BRUCE very carefully pours yellow liquid into a glass vial.
BRUCE (V.O.) (CONT'D)
I will learn his tricks.
He draws a milky substance from a Pyrex beaker into a vicious
looking SYRINGE.
BRUCE fires a COPPER WIRE out of a BLACK TUBE.
BRUCE (V.O.) (CONT'D)
I will follow his lead.
BRUCE carries a frying pan caked in GRAY GOO out into the
Junkyard. He puts it on a pile of car parts.
Inserts a fuse, LIGHTS IT, and gets away fast —
BOOM!
— a huge EXPLOSION lights the night sky and sends debris
flying in all directions.
BRUCE (V.O.)
I will show them no mercy. Your
loving son, Bruce.
BRUCE smiles at the smoking crater.
INT. GOTHAM JUSTICE BUILDING GARAGE - NIGHT
GORDON'S footsteps echo through the empty garage. He puts his
key in the car door then, turns at a SOUND.
A baseball bat drags across the concrete FLOOR.
GORDON pivots as more BASEBALL BATS approach from every
direction.
Shadowed figures surround GORDON.
FLASS
You know the ORDERS, dudes. Just
enough to keep him out of the
HOSPITAL. And out of the PAPERS. We
don't want no TROUBLE for our HERO
COP making it into the PAPERS.
A baseball bat SLAMS into GORDON'S SIDE.
We see SILHOUETTES as a DOZEN MEN swing BASEBALL BATS at the
helpless GORDON.
He doesn't have a chance against the bastards.
When they finish, he's lying on the ground BLEEDING.
FLASS (CONT'D)
This is just a warning. Wouldn't
want your pretty wife to get hurt
because of your stubbornness,
Jimmy.
FLASS drops his BLACK AND YELLOW BASEBALL BAT on GORDON.
They leave, laughing and DRAGGING BATS on the concrete floor.
Slowly, GORDON gets to his feet and heads home to the —
INT. HALLWAY OUTSIDE GORDON'S APARTMENT - LATER
GORDON drags his battered body slowly down the hall to his
door. He enters.
ANN (O.S.)
Oh my God, JIM!
The door swings shut.
INT. CHOP-SHOP. EAST END - NIGHT
BRUCE enters a large, dirty GARAGE where young men dismantle
expensive SPORTS CARS.
BRUCE (V.O.)
November 2. Dear Father, you always
told me, if a job is difficult,
then I'm using the wrong tools.
Today I test that theory.
All eyes fall on the tall stranger as he flings open his long
OVERCOAT.
He's wearing the brightly colored SPORTS GEAR under his coat
and the CATCHER'S MASK under his wide-brimmed hat.
BRUCE (CONT'D)
Put these on.
He tosses a pile of HANDCUFFS on a work bench.
The thieves, STUNNED for a moment, break out laughing.
They attack with the tools of their trade — BUTANE TORCHES,
CUTTERS, HAMMERS.
BRUCE takes a terrible beating but he gives back at least
twice what he's getting.
Until an UNDER-BOSS pulls out a GUN.
BRUCE SLAMS a handful of GLASS VIALS into the gunman's chest.
WHITE PHOSPHOROUS EXPLOSIONS blinds the would be shooter,
burns his clothes and face.
BRUCE (CONT'D)
OK, that's enough fun for now.
BRUCE throws another handful of VIALS at the criminals —
POP, POP, POP
— the men instantly fall to their hands and knees vomiting as
BRUCE makes his exit.
EXT. ALLY BEHIND THE CHOP-SHOP – MOMENTS LATER
BRUCE'S catcher's mask FLIES through the air and SHATTERS
against stone WALL.
BRUCE (V.O.)
Too much protection, just slowed me
down.
The chest protector slips into a dumpster.
INT. BRUCE WAYNE'S APARTMENT - LATER
BRUCE, naked, SEWS STITCHES INTO HIS STOMACH with a NEEDLE
AND THREAD.
DEEP CUTS on his back ooze blood, they're stitched up only as
far around as he can reach.
BRUCE (V.O.) (CONT'D)
I have the tools but not the
methodology. Something is still
missing. Father. I need an edge,
an advantage —
ON THE TV -
Under the words SPECIAL REPORT —
TV NEWS ANCHOR, BRIAN
Criminals are a superstitious and
cowardly lot. It's obvious this
vigilante is trying to scare and
intimidate them with violence.
TV NEWS CO-ANCHOR, JANE
That's Right BRIAN, the vigilante
marks his victims with a wound
shaped lake a BAT. An obvious
reference to the occult.
They show victims with MARKS ON THEIR FACES.
BRUCE looks at his father's SIGNET RING and picks something
(a piece of flesh?) out of it with the SEWING NEEDLE.
The TV shows a scared MUGGER in Gotham Prison's Hospital.
MUGGER
I make a few MISTAKES and I get
THIS? I get MARKED! People won't
even TALK to me! I been MARKED by
the BAT!
TV NEWS ANCHOR, BRIAN
But you know, JANE, not everyone
thinks the vigilante is the bad guy
here. A lot of Gotham's common
citizens are happy to see those
people get what they deserve.
TV NEWS CO-ANCHOR, JANE
Thanks for that report, BRIAN. Up
next, THE BAT-MAN Vigilante: Friend
or Foe?
BRUCE (V.O.)
Yes Father. Now I see. Thank you.
Your loving son, Bruce.
BRUCE looks over at the pile of supplies left over from his
shopping spree.
BRUCE SMILES WIDE.
He's missing all his front teeth.
INT. COMMISSIONER LOEB'S OFFICE - THE NEXT DAY
Mayor NOONE storms into LOEB's office. He's pissed.
MAYOR NOONE
Loeb, what the hell is going on
here? Police officers beaten in the
precinct parking garage? This is an
officer who has come to me with
serious accusations against this
department. How do you think that
looks?
LOEB
Mayor, sit down.
(Mayor sits)
You should leave this to me. Frank.
MAYOR NOONE
But Gillian, our operations. He
knows too much, and he isn't
backing off. Maybe we should slow
things down. If he goes to the
press...
LOEB
(interrupts)
And maybe you need to remember
who's running this show. I'll say
when we slow things down, which
will be NEVER, AND how we handle
Gordon.
MAYOR NOONE
He was at my office again. Said
he's making a file documenting what
he knows. I tried to get it but he
wouldn't hand it over. He's a loose
cannon. There's no telling what he
might do.
LOEB
Don't you worry, Frank. I'm putting
Gordon where he can't do any harm.
LOEB smiles.
INT. BRUCE WAYNE'S APARTMENT - DAY
BRUCE cuts a HOCKEY MASK in half and spray-paints it black
along with the AMMO BELT, the GROIN PROTECTOR and KNIFE.
He paints a pair of STEEL DENTURES white.
BRUCE (V.O.)
November 6. Dear Father, it's all
coming together. I can feel it.
BRUCE welds a familiar but primitive BAT LOGO into a pair of
brass knuckles. He tries them on over a pair of HEAVY LEATHER
GLOVES with razor blades fitted into the side-seams.
BRUCE (V.O.) (CONT'D)
I have everything I need.
BRUCE fills the ammo belt with: ROPE, DUCT TAPE, LOCK PICK
SET, dangerous looking STUN GRENADES —
BRUCE (V.O.) (CONT'D)
All the pieces are falling into
place.
— SYRINGES labeled 'stimulant', 'pain killer', 'truth serum',
'fear toxin' —
BRUCE (V.O.) (CONT'D)
Everything is changed. I am
reborn.
— SMOKE BOMBS, also home made and dangerous looking -
BRUCE (V.O.) (CONT'D)
I will show them no mercy.
— THROWING KNIVES, PEPPER SPRAY, SMELLING SALTS, TAPE
RECORDER, BINOCULARS, SEWING KIT, and SUPER-GLUE.
BRUCE (V.O.) (CONT'D)
Father, you will have your revenge!
Bruce puts on the LEATHER GLOVES and - click - the AMMO BELT
around his waist.
COMMISSIONER LOEB'S OFFICE - DAY
GORDON stands at attention before LOEB's huge, walnut desk.
He's swollen and bruised.
GORDON
You wanted to see me, sir?
LOEB
Yes, Gordon. I heard about the
unfortunate incident the other day.
(sarcastic)
Funny, you'd think a trained police
officer would have no problem with
thugs in the precinct garage.
GORDON
Yes, you would.
LOEB is taken back. Was that some kind of jab? He continues.
LOEB
I'm reassigning you.
GORDON suppresses a smile, hopeful.
LOEB (CONT'D)
The press has its panties in a
bunch, asking questions, hounding
me.
LOEB enjoys it, draws it out.
LOEB (CONT'D)
And because you seem to need a,
umm, SAFER environment. I'm putting
you on THE BAT-MAN vigilante case.
GORDON scowls. Pure rage.
INT. GORDON'S APARTMENT - THAT NIGHT
GORDON pounds on an old TYPEWRITER at the kitchen table.
MARLBOROS overflow an ash tray. ANN stands behind him in a
nightgown, hands on his shoulders.
ANN
Honey, can't this wait?
GORDON
This file is my only chance. They
put me on THE BAT-MAN case to get
rid of me. I can't let Loeb push me
aside that easily. I've got to
compile the evidence Noone needs to
take them down.
ANN
OK, honey. But come to bed soon.
She gives him a kiss and leaves. GORDON resumes typing.
GORDON (V O.)
Section fourteen: Commissioner
Loeb. Based on interviews and my
direct contact with the
commissioner, I believe it is
possible the commissioner's
involvement goes far deeper than
the kickback slush fund. Loeb may
be CONTROLLING all organized crime
in Gotham City. As of now these
allegations are mere speculation, I
don't have the resources to pursue
that line of inquiry.
GORDON sighs, lights another MARLBORO and goes back to work.
INT. GOTHAM JUSTICE BUILDING. BASEMENT - MORNING,
GORDON walks down dark stairs, along a long corridor, down
more stairs, past dripping pipes, through a door, down
another hallway with flickering lights, to the door to —
INT. GORDON'S NEW OFFICE - MORNING
On the walls hang maps with numbered pins, police sketches of
THE BAT-MAN and photos of the MARKS on victims' faces.
As GORDON enters, a young police officer, MERKEL, jumps up.
MERKEL
Good morning, sir. Three more came
in last night sir.
GORDON
Let me guess, we'll find all of
them in the prison wing at Gotham
Mercy.
MERKEL
Yup. All three, admitted last
night.
GORDON
We better hit the road then. I can
get my coffee on the way.
GORDON leaves. MERKEL runs after him pulling on his coat.
INT. GOTHAM MEMORIAL HOSPITAL. SECURITY WARD - LATER
GORDON and MERKEL meet Dr. Wallace as they pass through
security. They talk as they walk through the busy ward.
Everywhere beaten men lie cuffed to hospital beds. Some in
traction, or horrible looking braces. Almost all bear the
MARK OF THE BAT.
GORDON
Morning doctor. I hear you have a
few more guests for us to talk to.
DR, WALLACE
Merkel. Gordon. Your lacerations
seem to be healing nicely.
GORDON
(ignoring the remark)
So what do you have for us today'
DR WALLACE
Couple guys from an electronics
store heist. Broken clavicle, some
ribs, dislocated shoulder,
concussion and about 12 hours
surgery between 'em.
GORDON
And the other one?
DR, WALLACE
A pusher from Stilmore Heights.
He'll need some dental work and he
took about 75 stitches but he's OK.
We have him in isolation if you
want to talk to him.
GORDON
Yeah?
DR. WALLACE
Seems he was made to eat his own
product. We've had to keep him away
from the general population.
The doctor stops to inspect the chart for a man in bandages.
GORDON
(to MERKEL)
Do you notice anything about these
men?
MERKEL
You mean the mark of the bat?
GORDON
No, I'm talking about their spirit.
These men are broken. Scared.
MERKEL looks around. HE'S RIGHT! Some of the criminals are
even crying.
Just then the doctor opens a door for the cops.
DR. WALLACE
Here's your drug dealer.
In the corner of the padded room cowers the former shell of a
once-tough street pusher. His haunted eyes are framed by
stitched-up wounds that still very much resemble a bat.
INT. HARVEY DENT'S OFFICE - LATER
Harvey DENT opens a door bearing the words, "HARVEY DENT,
ASSISTANT DISTRICT ATTORNEY" for GORDON.
The two men enter together. GORDON carries a note pad.
DENT
You're kidding me! I'm THE BAT-MAN
vigilante? My wife will love this.
GORDON
Hey, you're young, you work out.
And I've seen your record. You have
no love of organized crime. I saw
