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| | ''The Warner Brothers Logo. Atmosphere fades and the surroundings darken to evening.<br> | | ''The Warner Brothers Logo. Atmosphere fades and the surroundings darken to evening.<br> |
| | The camera zooms suddenly into the top right-hand corner of sky surrounding the logo, and moves through the clouds.<br> | | The camera zooms suddenly into the top right-hand corner of sky surrounding the logo, and moves through the clouds.<br> |
| - | Opening Credits fly past.<br> | + | ''Opening Credits fly past.<br> |
| - | The camera slows, and we are-''<br> | + | The camera slows, and we are-<br>'''' |
| | | | |
| - | OVER RESEARCH FACILITY | + | EXT. OVER RESEARCH FACILITY |
| - | | + | |
| - | The camera catches up with a mysterious, dark aircraft-the Batwing. The plane’s cloaking device activates, and the plane gradually fades from view. The camera zooms into the invisible craft, and then-<br>
| + | |
| | | | |
| | + | ''The camera catches up with an aircraft-the Batwing. The plane’s cloaking device activates, and it gradually fades from view. The camera zooms into the invisible plane.'' |
| | INT. BATWING COCKPIT | | INT. BATWING COCKPIT |
| | | | |
| - | Alfred (over Batwing video feed): All set, Master Bruce?<br>
| + | ALFRED :( over Batwing video feed): All set, Master Bruce? |
| | | | |
| - | Batman: (nodding slowly) I’ve been wanting to find out what’s going on down there for a very long time.<br>
| + | BATMAN: (nodding slowly) I’ve been wanting to find out what’s going on down there for a very long time. |
| | | | |
| - | Cockpit hisses open slowly, and Batman steps out.<br> | + | Cockpit hisses open slowly, and Batman steps out. |
| | | | |
| - | Alfred (over Batman’s cowl radio): The photo-electric detection beams should be easy enough to clear.<br>
| + | ALFRED (over Batman’s cowl radio): The photo-electric detection beams should be easy enough to clear. |
| | | | |
| - | Batman’s POV: We see the heads-up-display change colour to reveal a thick lattice of slowly-moving lasers.<br> | + | Batman’s POV: The heads-up-display change colour to reveal a thick lattice of slowly-moving lasers. |
| | | | |
| - | Batman: (chuckles) Yeah.<br>
| + | BATMAN: As you might say, “Indeed” |
| | | | |
| | ''The cockpit closes behind him, and Batman is seemingly standing on nothing. He leaps off the plane’s surface. | | ''The cockpit closes behind him, and Batman is seemingly standing on nothing. He leaps off the plane’s surface. |
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| | EXT. HALEY’S CIRCUS-DURING PERFORMANCE | | EXT. HALEY’S CIRCUS-DURING PERFORMANCE |
| | | | |
| - | Announcer: (faintly) Please welcome our most prized act, residents of the Haley’s circus for five years now…The Flying Graysons!<br>
| + | ANNOUNCER: Please welcome our most prized act, residents of the Haley’s circus for five years now…The Flying Graysons! Be prepared for they’re stunning aerobatics – without the safety of a net! |
| | | | |
| - | ''The camera cuts to a trapeze high above the ground, showing a trio of aerialists.''<br> | + | ''Insert cut – three aerialists are perched on a trapeze post high above the ground'' |
| | | | |
| - | Dick Grayson: (laughs) Here we go again, Dad and Mom!<br>
| + | DICK GRAYSON: (laughs) here we go again, Dad and Mom! |
| | | | |
| - | John Grayson: All right, Robin!<br>
| + | JOHN GRAYSON: All right, Robin! |
| | | | |
| - | ''His parents smile. They leap off the trapeze together, all at once. Applause is audible in the background, and then the camera suddenly cuts to the POV of a sniper. The aerialists perform another jump. Both adults are in the scope. The sniper fires twice, and hits both parents. They fall slowly, and the camera cuts away before they hit the ground. The audience gasps, and the managers go into frenzy onstage.''
| + | MARY GRAYSON: Remember to smile! |
| | | | |
| - | Dick: (finishes jump) Dad! Mum! (climbs down from perch on the trapeze)<br>
| + | ''They leap off the trapeze one after the other, perform several somersaults and catch the trapeze at the other end at different times. Applause is audible in the background. The Grayson’s then perform another trick.'' |
| | | | |
| - | The sniper packs up and disappears from the circus. Dick stands over his parents’ bodies, distraught. Te audience hurriedly evacuates the circus tent.<br>
| + | INT. SPECTATOR’S STANDS |
| | | | |
| - | INT. OVER RESEARCH FACILITY
| + | ''The silhouette of an audience member is visible. He is holding what seems to be a cigarette lighter. He flips open the cap and pushes down. |
| | | | |
| - | Batman (to Alfred, over cowl radio): (checking altitude display) I’ve cleared most of it Alfred, but this is the hard part.<br>
| + | Insert cut - a close-up of the wires which hold the aerialists up. A small explosion goes off, severing the wires. John and Mary Grayson suddenly fall, with Dick left standing prepared to do another jump.'' |
| | + | |
| | + | DICK GRAYSON: NO! Dad… Mum… |
| | + | |
| | + | MARY GRAYSON: Robin… |
| | + | |
| | + | ''The camera cuts away before Dick Grayson’s parents hit the ground. Dick quickly descends from his position, while the frightened audience hurriedly evacuates the tent. The managers go onto frenzy onstage and Dick is left standing distraught over the bodies of his parents.'' |
| | + | |
| | + | INT. OVER RESEARCH FACILITY |
| | | | |
| - | ''The camera follows Batman down, through the last of the lasers. He nearly sets of one alarm. Batman then deploys a stronger blast from his jetpack, slowing him down. He tumbles and lands on the ceiling of one of the buildings. Suddenly, a searchlight beam washes over the roof.'' | + | ''Batman checks his altitude display as he falls.<br> |
| | + | The camera follows Batman down, through the last of the lasers. He nearly sets of one alarm. Batman then deploys a stronger blast from his jetpack, slowing him down. He tumbles and lands on the ceiling of one of the buildings. Suddenly, a searchlight beam washes over the roof.'' |
| | | | |
| - | Batman: (softly) Damn! (rolls under conveniently nearby water tank)<br>
| + | BATMAN: (softly) Damn! (Rolls under nearby water tank) |
| | | | |
| | ''Batman takes the moment to tune into the radio frequency of the security in the facility.'' | | ''Batman takes the moment to tune into the radio frequency of the security in the facility.'' |
| | | | |
| - | Security officer (over Batman’s cowl radio): “We have reports of an unidentified object, most likely a person making an entry into the compound via airdrop. We have traced a clear heat signature, but can find no trace of the drop vehicle. We advise that you…”<br>
| + | SECURITY OFFICER (over Batman’s cowl radio): “We have reports from sentry guards of an unidentified object making entry into the compound via airdrop. We advise that you…” |
| | | | |
| - | Batman switches off the radio and moves quickly and quietly to the roof access, remotely jamming the security camera at its entrance. Halfway down the stairs, Batman encounters three security personnel.<br> | + | ''Batman switches off the radio and moves quickly and quietly to the roof access. He notices a security camera, glancing up. Batman then approaches the stairs and makes it seem like he will descend them. |
| | | | |
| - | Security Man 1: We got him! (begins shooting)<br>
| + | He fishes a marble out from his utility belt and drops it down the stairs, making it sound as if he has gone down them. Batman then hides, standing flush to the wall.'' |
| | | | |
| - | Batman ducks and instinctively reaches into his utility belt for a batarang.<br>
| + | INT. STAIRWELL BASE |
| | | | |
| - | Security Man 2: Come on! (fires repeatedly at Batman’s hand)<br>
| + | ''A few guards enter the stairwell.'' |
| - |
| + | |
| - | Batman lets go of the Batarang in shock and winces slightly.<br>
| + | GUARD 1: You hear that? Come on. |
| | | | |
| - | Security Man 3: Heh heh, wish you stayed with Mommy eh?<br>
| + | GUARD 2: Sounds like the guy they were talking about on the radio. |
| | | | |
| - | ''Batman immediately produces two large batarangs which he uses to duel with his attackers, wielding them dangerously. The security men are in shock, since they know nothing about martial arts.''<br>
| + | GUARD 3: (laughs) the intruder is some shock jock? |
| | | | |
| - | Security Man 1: Whoa! Take it easy, man!<br>
| + | The security men make their way up quickly up the stairs. |
| | | | |
| - | ''Batman calmly twirls both weapons, displaying effortless skill. A few more shots ricochet off the walls of the stairwell as Batman fights his way down.''
| + | GUARD 2: Shut up and move. |
| | | | |
| - | Security Man 2: (over radio) Backup, backup!<br>
| + | The three reach the top of the stairs. |
| | | | |
| - | ''Batman slices Security Man 2’s gun clean in half with the sharp edge of the Batarang, then knocks him out with the blunt side, all in the same move, as the other two begin to panic. The Dark Knight then puts his batarangs away, instead producing the smaller ones he planned to use initially. Throwing them, he knocks out both escaping personnel.''<br>
| + | GUARD 2: Nobody? |
| | | | |
| - | Batman: (to self) The first fight is always the least spectacular.<br>
| + | GUARD 3: Maybe it’s a ghost. Maybe the same one that possessed boss to buy over this dump. |
| | | | |
| - | Alfred: (over cowl radio) I must say sir that your entrance did make up for it.<br>
| + | GUARD 1: Man, so long as I have a job I’m fine. |
| | | | |
| - | Batman: (Chuckles) routine enough, by my standards.<br>
| + | GUARD 3: Whatever. I’ll go have a look. |
| | | | |
| - | INT. BATCAVE<br>
| + | Guard 3 emerges out of the stairwell with his gun at the ready and is greeted by the frightening image of the Batman. |
| | | | |
| - | Alfred: (to Batman, looking at his POV through Batcomputer screen) All in a night’s work, Master Bruce?<br>
| + | GUARD 3: What the… |
| | | | |
| - | Batman: Yeah…<br> | + | ''Batman slices Guard 3’s gun clean in half with the sharp edge of a large Batarang, then knocks him out with the blunt side, all in the same move, as the other two begin to panic. Batman then puts his batarangs away, instead producing smaller ones.'' |
| | | | |
| - | ''We see the scene from Batman’s POV, through the computer screen. Batman walks over to the unconscious security men, gently fishing a PDA out from Security Man 1’s pocket. Batman inspects it carefully, turning it over in his hand.''<br>
| + | GUARD 1: (into radio) Backup! Backup! |
| | | | |
| - | Batman: (reading off sticker label) “Lacidemoib Biomedical…” never heard of it. Sounds like it’s a company computer.<Br>
| + | ''Throwing them, he knocks out both escaping personnel.'' |
| | | | |
| - | ''Batman switches the PDA on.''
| + | BATMAN: (to self) The first fight is always the least spectacular. |
| | | | |
| - | PDA’s electronic voice: Welcome, Nolan. Please enter your password.<br>
| + | ALFRED: (over cowl radio) I must say sir that your entrance did make up for it. |
| | | | |
| - | Alfred: These types usually carry the passwords on them…not like it matters much anyway.<br>
| + | ''Batman proceeds down the stairs and scans Guard 2 for any documents, performing a quick search of his uniform. He pulls out a PDA, examining it carefully. He then switches it on. The screen is blank.'' |
| | | | |
| - | INT. RESEARCH FACILITY
| + | BATMAN: Biometrics. |
| | | | |
| - | ''Batman scans the security man for any documents, performing a quick search of his uniform. Nothing. Then, Batman flips over the guard’s nametag. The numerals “228626” are scrawled in pen on the back.'' | + | ''Batman takes the finger of Guard 2, pressing it to the sensor. The screen then activates.'' |
| | | | |
| - | Batman: Thought so too, Alfred.<br>
| + | ALFRED: (Over cowl radio) So your personal code is not the only reason you keep them alive. |
| | | | |
| - | ''He punches in the code and begins interfacing. Soon, we see a map of the facility on the screen. Something catches Batman’s attention.''
| + | BATMAN: It’s still what I stick by. |
| | | | |
| - | Batman: (reading off map) “Holding Area”? What if… what if all this fuss has to do with this “holding area”? (Voice trailing off)<br>
| + | Batman’s POV: He opens file marked “site map”. We see a map of the facility on the screen. Something catches Batman’s attention. |
| | | | |
| - | ''Batman races to the “holding area” specified in the map, breathing heavily. GPS built into the map marks his location in the vicinity.''
| + | BATRMAN: (reading off map) “Holding Area”? What if all this fuss has to do with this “Holding area”? |
| | | | |
| - | Alfred: (over cowl radio) Slower sir, they might track you down.<br>
| + | ''Batman races to the “holding area” specified in the map. GPS built into the PDA’s map marks his location in the vicinity.'' |
| | | | |
| - | Batman: I think they might already have.<br>
| + | INT. RESEARCH FACILITY WALKWAY |
| | | | |
| - | ''The camera turns to reveal guards chasing Batman out of the building, shooting wildly and with guard dogs by their sides. | + | ''Batman stops flush to the wall of a walkway. Guards run past. Batman then continues on his way.'' |
| - | Batman deploys canisters of gas behind him, choking the pursuers. Determination is visible behind the one-way lenses of his cowl, partly masked by the noxious fog.
| + | |
| - | One guard dog escapes the fog, clawing at Batman and barking fiercely. Batman fights off the dog with his bare hands after a tense struggle and continues running.''<br>
| + | |
| | | | |
| | EXT. HOLDING AREA | | EXT. HOLDING AREA |
| | | | |
| - | ''The camera pans a bleak, mechanical space, which has the appearance of an abandoned biomedical research facility. Rows of large, metallic cabinets line the sides of the room. Faint blinking lights are the only sign that the area is somehow still in use. The camera follows Batman as he enters the room, still running. Batman slows down, now that he is alone, and pants. Silence. However, this silence is broken by a faint whimpering, which seems to be coming from behind the stark cabinets.''<br> | + | ''The camera pans a bleak, mechanical space, which has the appearance of an abandoned biomedical research facility. Rows of large, metallic cabinets line the sides of the room. Faint blinking lights are the only sign that the area is somehow still in use. The camera follows Batman as he enters the room, still running. Batman slows down, now that he is alone, and breathes. Silence. However, this silence is broken by a faint whimpering, which seems to be coming from behind the stark cabinets. |
| | | | |
| - | Batman: (to Alfred, over cowl radio) (slowly, but in a nervous manner) Did you catch that? <br> | + | Batman takes snapshots of the area with a miniature digital camera from his utility belt. He then quickly performs a thermal signature scan with another device.'' |
| | | | |
| - | Alfred: (over cowl radio) The microphone is sensitive enough, sir. I suggest you see what’s behind those cabinets.<br>
| + | ''Batman’s POV through thermal scanner: we see a strong heat signature coming from behind the cabinets.'' |
| | | | |
| - | Batman: (walks over to controls slowly) (running through possibilities) It could be some morbid experiment…cloning perhaps…animal mutations…<br>
| + | BATMAN: I’m in over my head Alfred. This is something serious. Whatever’s behind that is…organic. |
| | | | |
| - | Batman stands over the set of controls which allow him access to the cabinet. He stops and ponders what he should do next.<br>
| + | ALFRED: I suggest sir, you open it up and see what’s behind. |
| | | | |
| - | Batman: (slowly, unsteadily) I’ve had bad, bad experiences with concealed cabinets before, Alfred…<br> | + | ''Batman hears something and spins round with a Batarang at the ready. He sees a man in a lab coat enters the holding area, with a small army of guards behind him. His nametag notes him as a certain “Dr. Woodrue”.'' |
| | | | |
| - | ''His train of thought is interrupted by a barrage of machine-gun fire.
| + | DR. WOODRUE: Demon Bat. It is no surprise. I know you want to find out what’s in there, what has been keeping money coming in. |
| - | A figure in a lab coat enters the holding area, with a small army of guards behind him. His nametag notes him as a certain “Dr. Woodrue”.''
| + | |
| | | | |
| - | Batman: (looking for right words) Surprised?<br>
| + | Dr. Woodrue produces an odd looking weapon |
| | | | |
| - | Dr. Woodrue: Frankly, Demon Bat, it is no surprise. How the company suddenly shut down, how I disappeared from the wonderful biomedical scene…that was the surprise. I had expected you to visit a lot earlier, frankly. I know you want to find out what’s in there, what has been keeping money coming in.<br>
| + | BATMAN: That’s a DNA Neucleotide mutagen…The kind STAR labs tried to manufacture... |
| | | | |
| - | ''Dr. Woodrue produces an odd-looking weapon.''<br>
| + | DR. WOODRUE: …So you are smarter than you seem… |
| | | | |
| - | Batman: If that gets anywhere near my DNA…<br> | + | ''Batman ducks, activates the controls for the cabinet and flings the Batarang at the weapon as fast as he can. The cabinet doors open, and at the same time the fluorescent green substance within the weapon’s cartridges leaps up at Dr. Woodrue. Meanwhile, the guards raise their weapons, aiming them at Batman yet unsure whether or not to fire.'' |
| | | | |
| - | Dr. Woodrue: …So you are smarter than you seem…<br>
| + | DR. WOODRUE: Ahhh! |
| | | | |
| - | ''Batman ducks, activates the controls and flings a Batarang at the weapon as fast as he can. The cabinet doors open, and at the same time the fluorescent green substance within the weapon’s cartridges leaps up at Dr. Woodrue. Meanwhile, the guards raise their weapons, aiming them at Batman yet unsure whether or not to fire.''<br> | + | ''The substance fuses into Dr. Woodrue’s body, leaves begin sprouting and his skin turns to hard wood, in a slow, excruciating process. The camera quickly cuts away to where Batman’s attention now lies.'' |
| - | Dr. Woodrue: Ahhh!
| + | |
| | | | |
| - | ''The substance fuses into Dr. Woodrue’s body, leaves begin sprouting and his skin turns to hard wood, in a slow, excruciating process. However, that is not where Batman’s attention lies. He turns to the now open cabinets, but the camera does not yet follow his gaze.''<br>
| + | BATMAN: (slowly) Alfred… |
| | | | |
| - | Batman: (slowly) Alfred…<br> | + | ''The metallic cabinet opens to reveal children packed tightly into the cramped space of the metallic cabinets. Some are sleeping, while most look on in frightened silence. Batman reacts, shocked. |
| | | | |
| - | ''The camera pans, still keeping the suspense, to reveal children packed tightly into the cramped space of the metallic cabinets. Some are sleeping, while most look on in frightened silence. Realisation dawns on Batman.''
| + | The guards open fire viciously, interrupting Batman’s realisation. Fueled by anger at the situation, Batman charges in, taking them out with whatever skill he can muster. He scatters multiple flashbang and smoke grenades on the floor, casting all the guards into confusion as he continues his rampage. Some of them pull masks to their faces in time, and continue firing. By now, most of the children are deeply frightened and confused by the smoke and the gunfire. The camera moves around Batman as he continues to take out the guards, ripping off their masks. |
| - | | + | |
| - | Batman: It’s a child trafficking…<br>
| + | |
| - | | + | |
| - | ''The guards open fire viciously, interrupting Batman’s realisation. Fueled by anger at the situation, Batman charges in, taking them out with whatever skill he can muster. He scatters multiple flashbang and smoke grenades on the floor, casting all the guards into confusion as he continues his rampage. Some of them pull masks to their faces in time, and continue firing. By now, most of the children are deeply frightened and confused by the smoke and the gunfire. The camera moves around Batman as he continues to take out the guards, ripping off their masks.
| + | |
| | The last of the smoke dies down, and the camera reveals an army of unconscious guards, a writhing Dr. Woodrue and Batman standing in the middle of it all. | | The last of the smoke dies down, and the camera reveals an army of unconscious guards, a writhing Dr. Woodrue and Batman standing in the middle of it all. |
| - | Batman walks to the children in the cabinet, by the wall.''<br> | + | Batman walks to the children in the cabinet, by the wall.'' |
| | | | |
| - | Batman: (Touches one child’s hand) It’s going to be okay.<br>
| + | BATMAN: (Touches one child’s hand) it’s going to be okay. |
| | | | |
| - | ''Batman keys in a number into his wrist pad, making a phone call.''<br>
| + | Batman keys in a number into his right wrist pad, making a phone call. |
| | | | |
| | INT. GORDON’S OFFICE | | INT. GORDON’S OFFICE |
| | | | |
| - | ''The telephone rings in Gordon’s office. The camera zooms in to reveal this is not Gordon’s personal telephone, evident from the stark Bat-symbol, sleek, futuristic design and lack of interface. The phone continues beeping.''<br> | + | ''The telephone rings in Gordon’s office. The camera zooms in to reveal this is not Gordon’s personal telephone, evident from the stark Bat-symbol, sleek, futuristic design and lack of interface. The phone continues beeping.'' |
| | | | |
| - | Commissioner Gordon: (to himself) He doesn’t use that line often…<br>
| + | GORDON: (to himself) He doesn’t use that often… |
| | | | |
| - | Commissioner Gordon: (picks up phone) Hello?<br>
| + | GORDON: (picks up phone) Hello? |
| | | | |
| - | Batman: (over phone) (in a slightly shaky voice) This is important.<br>
| + | BATMAN: (over phone) (in a slightly shaky voice) This is important. |
| | | | |
| - | Commissioner Gordon: It always is with you, anyway. So why didn’t you just drop by like you always…<br>
| + | GORDON: It always is with you, anyway. So why didn’t you just drop by like you always… |
| | | | |
| - | Batman: GORDON! It’s a child trafficking ring.<br>
| + | BATMAN: GORDON! |
| | | | |
| - | Commissioner Gordon: (sits up) What?<br>
| + | GORDON: (sits up) What? |
| | | | |
| | INT. HOLDING AREA | | INT. HOLDING AREA |
| | | | |
| - | Batman: Whatever Dr. Woodrue’s being hiding…you told me to look into it. Now I know what’s going on, and it’s not pretty…<br>
| + | BATMAN: Whatever Dr. Woodrue’s being hiding…you told me to look into it. Now I know what’s going on, and it’s not pretty… |
| | | | |
| - | ''The camera turns to Dr. Woodrue, his grotesque transformation now complete.''<br>
| + | The camera turns to Dr. Woodrue, his transformation now complete. |
| | | | |
| - | …then again neither is he.<br> | + | …then again neither is he. |
| | | | |
| - | Commissioner Gordon: (over cowl phone) What do you want the PD to do?<br>
| + | GORDON: (over cowl phone) What do you want the PD to do? |
| | | | |
| - | Batman: Storm the compound, and get the children out of there. (Turns to anguished face of child) Immediately.<br>
| + | BATMAN: Storm the compound, and get the children out of there. (Turns to anguished face of child) Immediately. I’ve already disabled most of the security features. |
| | | | |
| - | Commissioner Gordon: (over cowl phone) Storm the facility? We need a warrant for that!<br>
| + | GORDON: (over cowl phone) Storm the facility? We need a warrant for that! |
| | | | |
| | INT. GORDON’S OFFICE | | INT. GORDON’S OFFICE |
| | | | |
| - | The screen on the telephone suddenly flickers to life with a video image. The children appear onscreen.<br> | + | The screen on the telephone suddenly flickers to life with a video image. The children appear onscreen. |
| | | | |
| - | Batman: (voice in background of video) This is your bloody warrant. I’ll meet you at the entrance.<br>
| + | BATMAN: (voice in background of video) This is your bloody warrant. I’ll meet you at the entrance. |
| | | | |
| - | ''The screen zaps off and Batman’s voice is cut''<br>
| + | The screen zaps off and Batman’s voice is cut. |
| | | | |
| | EXT. ENTRANCE OF RESEARCH FACILITY | | EXT. ENTRANCE OF RESEARCH FACILITY |
| | | | |
| - | ''Armoured vehicles crash through the electronic fence, the shock bouncing harmlessly off the plating. They are followed by a group of squad cars, and a few large police busses. Gordon steps out of an armoured vehicle and walks towards Batman.'' | + | ''Armoured vehicles crash through the electronic fence, now deactivated. They are followed by a group of squad cars, and a few large police busses. Gordon steps out of an armoured vehicle and walks over to Batman.'' |
| - | Batman: I guessed I could trust you.
| + | |
| | | | |
| - | Gordon: I’ve always trusted you. Heck, three quarters of my own police department don’t, but I do.<br>
| + | BATMAN: Thank you for coming. |
| | | | |
| - | Policemen rush into the facility in the background.<br>
| + | GORDON: That should be my line. |
| | | | |
| - | Gordon: We’ll clear the area, arrest anybody else and take away key personnel for interrogation.<br>
| + | Policemen rush into the facility in the background. |
| | | | |
| - | Batman: I doubt Dr. Woodrue’s in the mood.<br>
| + | GORDON: We’ll clear the area, arrest anybody else and take away key personnel for interrogation. |
| | | | |
| - | Gordon: I figured. He’s going straight to Arkham.<br>
| + | BATMAN: I doubt Dr. Woodrue’s in the mood. |
| | | | |
| - | Batman: It’s not just his mood…I won’t spoil the surprise for your officers.<br>
| + | GORDON: I figured. He’s going straight to Arkham. |
| | | | |
| - | Gordon: (shrugs) I’m no stranger to bizarre, since you came on the scene. Anyway, we’ll get the kids into the busses, and settle their situation soon enough. We’ll try and return them to their parents, or the original adoption agencies, whichever. My guess is that Woodrue was tricking potential foster parents, rich ones, into thinking that his was a legit adoption agency, then charging them way extra. These kids were most likely snatched from unsuspecting parents, or poached from other agencies.<br>
| + | BATMAN: It’s not just his mood…I won’t spoil the surprise for your officers. |
| | | | |
| - | Batman: Or even worse, child experimentation for his projects.<br>
| + | GORDON: I’m no stranger to the bizarre, since you came on the scene. Anyway, we’ll get the kids into the busses, and settle their situation soon enough. |
| | | | |
| - | Gordon: (shudders) Don’t want to consider that!<br>
| + | BATMAN: These kids were most likely snatched from unsuspecting parents, or poached from other adoption agencies. Maybe it’s child trafficking. Or even worse, child experimentation for his projects. |
| | | | |
| - | Batman: (reaches into utility belt) Here’s something I…retrieved from one of the guards. The map will tell you where the children are. It’s marked “holding area”.<br>
| + | GORDON: (shudders) Don’t want to consider that! |
| - |
| + | |
| - | ''Batman passes Gordon the PDA.''
| + | |
| | | | |
| - | Gordon: It’s been abrupt, as always, but…<br>
| + | BATMAN: (reaches into utility belt) Here’s something I…retrieved from one of the guards. The map will tell you where the children are. It’s marked “holding area”. |
| - | | + | |
| - | Batman: (smiles slightly)…Thanks?<br>
| + | |
| - | | + | |
| - | Gordon: Yeah. You go get some rest.<br>
| + | |
| - | | + | |
| - | ''A loud whoosh is audible, and the Batwing, hovering above the facility all the while, quickly descends into view, landing in the facility.''<br>
| + | |
| - | | + | |
| - | Gordon: Whoa!<br>
| + | |
| - | | + | |
| - | Batman: I’m on my way.<br>
| + | |
| - | | + | |
| - | ''Batman gets into the vehicle, which slowly disappears into the night.''<br>
| + | |
| - | | + | |
| - | Gordon: I gotta get me one of those.<br>
| + | |
| - | | + | |
| - | EXT. BATCAVE
| + | |
| - | | + | |
| - | ''The Batwing docks and the docking platform lowers into view. The cockpit hisses open once more, and Batman steps out of the craft. Alfred greets him with a tray of warm soup.
| + | |
| - | Batman pulls of his mask, and sits down at the Batcomputer, sipping the soup.''<br>
| + | |
| - | | + | |
| - | Alfred: In a sense, I suppose. You’ve always had this non-human sheen, whenever you put on that suit. Everyone wears a mask, Master Bruce. Sometimes I think you take the concept a little far.<br>
| + | |
| - | | + | |
| - | Batman: It’s what makes this persona frightening, Alfred. It helps me do my job.<br>
| + | |
| - | | + | |
| - | Alfred: Yes, sir. Do pardon me.<br>
| + | |
| - | | + | |
| - | Batman: It’s okay…but…a human side…<br>
| + | |
| - | | + | |
| - | Alfred: (pauses)…Perhaps you have regained some of that tonight sir?<br>
| + | |
| - | | + | |
| - | Batman: I don't know Alfred.<br>
| + | |
| - | | + | |
| - | ''Batman gets up from the Batcomputer and goes to the changing area''.<br>
| + | |
| - | | + | |
| - | EXT. GOTHAM POLICE DEPARTMENT-THE NEXT DAY
| + | |
| - | | + | |
| - | ''Bruce Wayne lays a portfolio on the table.''<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: Thank you so much Mr Wayne...it's very kind of you to take Dick Grayson in.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (genuinely) I guess you could say he’s a kindred spirit.<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: Yes…I remember the night your parents passed away…and the look in your eyes. Exactly how Grayson looked.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: What happened with him, what exactly?<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: We’re looking into it at the moment. It’s been a very busy 16 hours for the boy. Frankly, I’ve been busy too. There was a large-scale operation late last night…Anyway, his parents were apparently murdered in the middle of a circus performance.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: …and he saw everything?
| + | |
| - | | + | |
| - | Commissioner Gordon: I’m afraid so. He was performing with them. Circus aerialists. He’s a gifted performer too; it’s definitely in his blood. Anyway, the murder seems to be the work of mob boss Tony Zucco. Hired a sniper when the circus manager couldn’t pay up.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Protection money?<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: (nods) You know how it is with these types. He messed up their prized act just to show his muscle. It’s just an educated guess at this stage, though, so we can’t be too sure.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: When can he be taken home?<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: The system’s always been fairly inefficient, but we’re making an exception for his case. Once all the papers are signed and the database is sorted out, we’re done. However, do expect to deal with a lot of media pressure, especially since you’re that high up the social ladder. They’ll want to get the scoop on why you’ve adopted an orphaned aerialist, and there’re sure to be lots of nasty rumours flying around. Not to mention the unearthing of your past.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (smiles) I’ve handled worse. Anyway, would he mind if I met him?<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: He’s a bit shaken up, just like you were back then. But he should be okay soon enough.<br>
| + | |
| - | | + | |
| - | INT. HALLWAY IN POLICE DEPARTMENT
| + | |
| - | | + | |
| - | ''The camera follows Gordon and Wayne as they make their way to the room where Grayson is waiting. A female officer is sitting with him.'' <br>
| + | |
| - | | + | |
| - | Renee Montoya: Hello sir. I was just telling him about Wayne.<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: Well, here he is. (motioning towards the door) Thanks, Renee.<br>
| + | |
| - | | + | |
| - | Female officer: Okay, commissioner.<br>
| + | |
| - | | + | |
| - | ''The female officer leaves the room.''<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: Dick, this is Mr Bruce Wayne, your foster father. He’s kindly offered to take you in.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (warmly) Hey (extends hand)<br>
| + | |
| - | | + | |
| - | Dick Grayson: (uncertain) Hello, Mr Wayne (shakes Bruce’s hand)<br>
| + | |
| - | | + | |
| - | Bruce Wayne: You can call me Bruce if you like. No need to be formal. Don’t worry, I’ve been through it all.<br>
| + | |
| - | | + | |
| - | Dick Grayson: (suddenly teary) I miss Mom and Dad… (voice trailing off)<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (hugs Dick Grayson) It’s okay… It’s alright…<br>
| + | |
| - | | + | |
| - | Commissioner Gordon: Let’s go get your papers.<br>
| + | |
| - | | + | |
| - | Dick Grayson: (wipes away tears) Okay…<br>
| + | |
| - | | + | |
| - | ''The three leave the room''<br>
| + | |
| - | | + | |
| - | EXT. WAYNE MANOR DRIVEWAY
| + | |
| - | ''
| + | |
| - | The stately manor comes into view, the audience have just enough time to take it in before the camera cuts to-''<br>
| + | |
| - | | + | |
| - | INT. WAYNE’S LIMOUSINE
| + | |
| - | | + | |
| - | Bruce Wayne: This is your new home…Wayne Manor<br>
| + | |
| - | | + | |
| - | Dick Grayson: (smiles uneasily) …It has a name?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) It’s been around for a long time, I didn’t name it.<br>
| + | |
| - | | + | |
| - | EXT. WAYNE MANOR ENTRANCE
| + | |
| - | | + | |
| - | ''Alfred is standing at the ready outside Wayne Manor. He opens the car door for Dick and Bruce.''<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (to Dick Grayson) This is Alfred. He’s the butler…and a good friend.<br>
| + | |
| - | | + | |
| - | Alfred: (in a friendly manner) Hello there, chap.<br>
| + | |
| - | | + | |
| - | Dick Grayson: Hey, Mr. Alfred.<br>
| + | |
| - | | + | |
| - | Alfred: Come in, I’ll show you to your room.<br>
| + | |
| - | | + | |
| - | ''The chauffer removes Grayson’s luggage from the back of the limousine.''<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (to chauffer) Thanks.<br>
| + | |
| - | | + | |
| - | ''The chauffer nods, and Bruce carries the bags into the house. The chauffer then gets back in, and then drives away to park the car.''<br>
| + | |
| - | | + | |
| - | INT. WAYNE MANOR
| + | |
| - | | + | |
| - | ''The camera sweeps across the hall, then follows the trio up the grand staircase''. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: (going up stairs with Dick and Alfred) I know you’ve been through a lot, so just take it easy. This will be a big change from your life at the circus.<br>
| + | |
| - | | + | |
| - | Dick Grayson: (nodding uneasily) I can already tell!<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) You’ll get used to it.<br>
| + | |
| - | | + | |
| - | Alfred: Master Bruce is a busy man, his work demands alot from him - but he's definitely not busy enough not to care for you.<br>
| + | |
| - | | + | |
| - | Dick Grayson: (to Alfred) How long have you been working here?<br>
| + | |
| - | | + | |
| - | Alfred: I see it more of living than working, chap, and ever since Master Bruce was in diapers.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Very funny Alfred. Anyway, Alfred helped me back after my parents died. Wouldn’t have been who I am today without him.<br>
| + | |
| - | | + | |
| - | INT. DICK’S NEW ROOM
| + | |
| - | | + | |
| - | ''The camera reveals a spacious but cosy private area, fashioned in much the same way as most of the stately Manor. The room is clean, but not spartan. The door opens, and Dick steps in.''<br>
| + | |
| - | | + | |
| - | Dick Grayson: (in slight awe) Wow!<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) It’s good that you like it so much. Alfred, why don’t you show him around the garage? You said you like motorcycles earlier…
| + | |
| - | <br>
| + | |
| - | | + | |
| - | EXT. GARAGE
| + | |
| - | | + | |
| - | ''The camera zooms out slowly to reveal a large, subterranean garage and workshop.''<br>
| + | |
| - | | + | |
| - | Dick Grayson: (in slight awe) How many are there?<br>
| + | |
| - | | + | |
| - | Alfred: 72, when I last checked.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) Cars are one of my…hobbies. I get to drive around prototypes nobody will ever get to buy in the market.<br>
| + | |
| - | | + | |
| - | Dick Grayson: That’s a fun job…but it can’t be better than at the circus… (voice trailing off in slight sadness).<br>
| + | |
| - | | + | |
| - | Alfred: (notices his sentimentality) Well, it isn’t Master Bruce’s job really. Anyway, you’ve had a busy day. Why don’t you get some rest?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (agrees) Yeah…we’ll continue the tour another day, Dick.<br>
| + | |
| - | | + | |
| - | INT. HALLWAY IN WAYNE MANOR
| + | |
| - | | + | |
| - | ''Dick is now alone in his room, leaving Bruce and Alfred to talk privately as they proceed elsewhere in the Manor.''<br>
| + | |
| - | | + | |
| - | Alfred: He’s a very nice chap, Master Bruce. Reminds me a lot of you back then, just a bit more wide-eyed.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (agrees) He’s taking it all very well. I would say he’s reasonably mature for his age.<br>
| + | |
| - | | + | |
| - | Alfred: Pardon me, Master Bruce, but you've always said that your truest persona was the Batman.
| + | |
| - | | + | |
| - | Bruce Wayne: (smiles slightly) Well Alfred, for the time being, Wayne Industries just won’t let me escape the late night board meetings.
| + | |
| - | | + | |
| - | INT. BATCAVE-THAT EVENING
| + | |
| - | | + | |
| - | ''Alfred enters the Batcave via an elevator. Bruce Wayne is seated at the Batcomputer, already in costume, except for his mask.''<br>
| + | |
| - | | + | |
| - | Alfred: Pardon me sir, but I believe this new addition to the family does take priority over your late night board meetings.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Something’s fishy with all this Tony Zucco business.<br>
| + | |
| - | | + | |
| - | Alfred: Come again, sir?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Tony Zucco, the presumed mastermind of the murder of Dick’s parents. Commissioner Gordon told me about it, that the circus manager refused to pay so-called "protection money"<br>
| + | |
| - | | + | |
| - | Alfred: Oh my…<br>
| + | |
| - | | + | |
| - | Bruce Wayne: I think it’s only best if I visit the crime scene myself. Who knows, maybe Zucco will actually show his face.<br>
| + | |
| - | | + | |
| - | Alfred: Come back quickly, sir…Master Dick is probably smarter than we all think…<br>
| + | |
| - | | + | |
| - | Bruce Wayne: …Not if you help me keep my secret.<br>
| + | |
| - | | + | |
| - | ''Bruce Wayne pulls the cowl over his head…his transformation into Batman complete for that evening. He walks towards the waiting Batmobile, and gets in. The Batmobile zooms off into the night. Alfred sighs, and proceeds back into the elevator, returning to Wayne Manor.''<br>
| + | |
| - | | + | |
| - | INT. WAYNE MANOR HALLWAY
| + | |
| - | | + | |
| - | Alfred walks along the hallway towards Dick Grayson’s room.<br>
| + | |
| - | | + | |
| - | Alfred: Master Dick? Master Dick? <br>
| + | |
| - | | + | |
| - | ''There is no reply. Alfred opens the door to his room and proceeds. It is empty.''<br>
| + | |
| - | | + | |
| - | Alfred: Master Dick?<br>
| + | |
| - | | + | |
| - | EXT. GARAGE
| + | |
| - | | + | |
| - | Dick Grayson: (to himself) 72 cars… I need a bike, I only know how to drive a bike…<br>
| + | |
| - | | + | |
| - | Dick Grayson runs over to the section of the garage where Bruce’s motorcycles are stored. He hesitates.<br>
| + | |
| - | | + | |
| - | Dick Grayson: It’s stealing…but I have to find out what happened to Mum and Dad… (voice trailing off)<br>
| + | |
| - | | + | |
| - | ''Dick finds a motorcycle that is small enough for his frame. He grabs one of many helmets and a jacket from the nearby maintenance rack, concealing his identity.
| + | |
| - | Dick starts the bike, and then speeds off out of the garage. The garage door opens automatically.''<br>
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | ''Alfred attempts to use the Manor’s closed-circuit camera system to track down Dick Grayson. Suddenly, the image of Grayson leaving the Wayne Manor garage flashes across the screen.'' <br>
| + | |
| - | | + | |
| - | | + | |
| - | Alfred: (to Batman, over cowl radio) Master Bruce, I take back what I said about him being a “nice chap”.<br>
| + | |
| - | | + | |
| - | Batman: (over cowl radio) I was expecting this…sort of. Never mind, I’ll take care of it. <br>
| + | |
| - | | + | |
| - | Alfred: I remember you having tracking devices built into all of the bikes and cars in case someone got their hands on them…<br>
| + | |
| - | | + | |
| - | Batman: (over cowl radio) Activate it. The transmission will be fed into the Batmobile too.<br>
| + | |
| - | | + | |
| - | Alfred: (reaching over to activate tracking device) …Never thought your possessiveness would come in handy…<br>
| + | |
| - | | + | |
| - | INT. BATMOBILE
| + | |
| - | | + | |
| - | Batman: …Never thought so either.<br>
| + | |
| - | | + | |
| - | ''Batman interfaces with the GPS tracking system, and Dick Grayson on his bike shows up following the same path Batman is…towards the abandoned Haley’s Circus grounds.''<br>
| + | |
| - | | + | |
| - | Batman: …He’s still a good kid…<br>
| + | |
| - | | + | |
| - | Alfred: (over cowl radio) (sighs) Somewhat, Master Bruce…<br>
| + | |
| - | | + | |
| - | EXT. ENTRANCE OF HALEY’S CIRCUS GROUNDS
| + | |
| - | | + | |
| - | ''The now-derelict area has been partially scavenged by squatters, even though it has only been two days. The tent, however, is more or less standing. The area has been taped off by police, but even they seem to have neglected the grounds. The Batmobile drives through the gates.<br>
| + | |
| - | The Batmobile stops and Batman emerges. Producing a gadget, he performs a heat scan of the area. A faint signature shows up on the screen of the device. Instead of starting after the figure, Batman slips into the shadows.<br>
| + | |
| - | Some time later, Dick Grayson’s motorcycle appears. He seems to notice that someone had beaten him to the grounds, but does not spot the Batmobile or its owner. He has some difficulty dismounting the bike, but removes his helmet and runs into the tent once he’s off.<br>
| + | |
| - | When Dick Grayson is cleared from view, Batman proceeds stealthily into the abandoned big-top after him.<br>''
| + | |
| - | | + | |
| - | INT. ABANDONED BIG-TOP
| + | |
| - | | + | |
| - | ''The camera follows Dick Grayson as runs into the abandoned tent. Out of the corner of his eye, he spots a moving figure. Squinting, he seems to recognize the face. A flash and then-''<br>
| + | |
| - | | + | |
| - | INT. ROOM IN GOTHAM POLICE HEADQUARTERS-FLASHBACK
| + | |
| - | | + | |
| - | Commissioner Gordon: (to Dick Grayson) We believe this is the man who ordered the killing of your parents…<br>
| + | |
| - | | + | |
| - | The commissioner pulls out a photograph of Tony Zucco. Dick Grayson stares, wide-eyed... <br>
| + | |
| - | | + | |
| - | INT. ABANDONED BIG-TOP
| + | |
| - | | + | |
| - | ''We are brought back to Grayson’s reality. He recognizes Zucco from the photograph and is filled with rage. He activates the trapeze using a switch and jumps on. The trapeze creaks to life, and Dick is soon brought up to height. Leaping, he catches hold of the other end of the trapeze, closer to where Zucco is standing. Zucco begins to run, but Dick grabs hold of him. It is revealed that Grayson is surprisingly strong for someone of his age.'' <br>
| + | |
| - | | + | |
| - | Tony Zucco: (afraid) Hang on! I mean, let me go!<br>
| + | |
| - | | + | |
| - | Dick Grayson: Maybe when we’re higher up.<br>
| + | |
| - | | + | |
| - | He leaps once more. Zucco’s coat drops, and falls slowly to the floor of the tent. In the meantime, Batman is watching.<br>
| + | |
| - | | + | |
| - | Alfred: (over cowl radio) Don’t you think you should do something, Sir?<br>
| + | |
| - | | + | |
| - | Batman: The boy’s skills are impressive. I believe he can handle this. <br>
| + | |
| - | | + | |
| - | Tony Zucco: Why are you doing this?<br>
| + | |
| - | | + | |
| - | Dick Grayson: Why did you kill my parents!? (punches Zucco)<br>
| + | |
| - | | + | |
| - | Tony Zucco: Look kid…(pulls out a gun) Might as well give it a rest, eh?<br>
| + | |
| - | | + | |
| - | The trapeze continues to travel upwards to the rafters of the tent.<br>
| + | |
| - | | + | |
| - | Dick Grayson: If you shoot me, not only will you have one more Grayson’s blood on your hands, I’ll let go, and you’ll fall.<br>
| + | |
| - | | + | |
| - | Tony Zucco: (glances down) alright kid…hold it steady…<br>
| + | |
| - | | + | |
| - | Dick Grayson: YOU hold it steady! (knocks gun out of Zucco’s hand)<br>
| + | |
| - | | + | |
| - | ''The camera follows the gun down, till it hits the circus floor. A metallic clattering rings out through the empty tent.''<br>
| + | |
| - | | + | |
| - | Dick Grayson: I can let go now…but even then your death can’t change anything…<br>
| + | |
| - | | + | |
| - | ''Tony Zucco looks up in anguish. Dick Grayson stares back at him with scorn.<br>
| + | |
| - | Flipping a switch on the trapeze platform, Dick slowly lowers the platform down to the floor.<br>
| + | |
| - | Tony Zucco, startled, gets up, then runs off into the night.<br>
| + | |
| - | Dick Grayson kneels helplessly on the floor.<br>
| + | |
| - | Batman appears out of the shadows.''<br>
| + | |
| - | | + | |
| - | Batman: That was a very noble thing you did. <br>
| + | |
| - | | + | |
| - | Dick Grayson: (realizing) (frustrated and angry) You were there…all the time! Why didn’t you do anything? Why didn’t you catch him? <br>
| + | |
| - | | + | |
| - | Batman: Tell me now: why did you let him go? <br>
| + | |
| - | | + | |
| - | Dick Grayson: Because…because…nothing can change it that my parents are now dead. <br>
| + | |
| - | | + | |
| - | Batman: Coming to realise that is half the battle won. <br>
| + | |
| - | | + | |
| - | ''Sirens can be heard in the background''<br>
| + | |
| - | | + | |
| - | Dick Grayson: You…called them? <br>
| + | |
| - | | + | |
| - | Batman: (nods) let’s get you home. <br>
| + | |
| - | | + | |
| - | ''Batman brings Grayson over to the Batmobile.'' <br>
| + | |
| - | | + | |
| - | EXT. ENTRANCE OF HALEY’S CIRCUS
| + | |
| - | | + | |
| - | Dick Grayson: I took a bike…<br>
| + | |
| - | | + | |
| - | ''Batman points a remote control at the motorcycle, and it automatically drives itself back to Wayne Manor.''<br>
| + | |
| - | | + | |
| - | Dick Grayson: (getting into the Batmobile) who are you, anyway?<br>
| + | |
| - | | + | |
| - | Batman: (Getting into the car as well) I’ll explain on the way.<br>
| + | |
| - | | + | |
| - | INT. BATMOBILE-DRIVING BACK TO WAYNE MANOR
| + | |
| - | | + | |
| - | Dick Grayson: Am I in any kind of trouble?<br>
| + | |
| - | | + | |
| - | Batman: No. You would had you killed him.<br>
| + | |
| - | | + | |
| - | Dick Grayson: Anyway, I stay at Wayne Manor now.<br>
| + | |
| - | | + | |
| - | Batman: (nods) I know where that is.<br>
| + | |
| - | | + | |
| - | Dick Grayson: You said you’d tell me who you are.<br>
| + | |
| - | | + | |
| - | Batman: Question is: can I trust you? <br>
| + | |
| - | | + | |
| - | Dick Grayson stares at Batman uncertainly.<br>
| + | |
| - | | + | |
| - | Batman: (voice trailing off) You’re my son…I guess I can…<br>
| + | |
| - | | + | |
| - | Batman slowly removes his cowl, revealing his identity to the passenger.<br>
| + | |
| - | | + | |
| - | Dick Grayson: (Gasps) Why didn’t you tell me earlier?!<br>
| + | |
| - | | + | |
| - | Batman: I didn’t know whether or not to. I guess now, you’re ready to know.<br>
| + | |
| - | | + | |
| - | Dick Grayson: Then why did you take me in? Why did you adopt me if you thought it would disrupt your work? <br>
| + | |
| - | | + | |
| - | Batman: One reason why I adopted you was because…we’re so alike. However, without proper guidance, I wandered…the death of my parent’s had driven me to near insanity. Alfred helped to ease me along. I thought that maybe I could give you the guidance I lacked, and prevent revenge from twisting you into a monster.<br>
| + | |
| - | | + | |
| - | Dick Grayson: But you’re not a monster…not that much at least…<br>
| + | |
| - | | + | |
| - | Batman: What can I say, Dick? Gotham’s overrun with monsters, they just need another one to balance it all.<br>
| + | |
| - | | + | |
| - | ''The Batmobile veers off to a concealed route, driving through the forest surrounding Gotham’s outskirts, then through a secluded waterfall and into the Batcave.''<br>
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | Dick Grayson: Whoa!<br>
| + | |
| - | | + | |
| - | ''The car comes to a stop, and the doors automatically open.''<br>
| + | |
| - | | + | |
| - | Batman: We call this place the Batcave. It’s where Alfred hangs out when he’s not dusting the statues.<br>
| + | |
| - | | + | |
| - | Alfred: I heard that, Master Bruce.<br>
| + | |
| - | | + | |
| - | ''Dick Grayson emerges from the vehicle, and gives Bruce Wayne an unexpected hug.'' <br>
| + | |
| - | | + | |
| - | Dick Grayson: Thanks for everything, Mr Wayne. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: It's okay. go get some rest.<br>
| + | |
| - | | + | |
| - | ''Dick Grayson proceeds up to Wayne Manor proper.''<Br>
| + | |
| - | | + | |
| - | Alfred: So, no more late-night board meetings?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: In theory, yes.<br>
| + | |
| - | | + | |
| - | Alfred: So what made you tell him?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: He showed signs that he was ready. He didn’t kill Zucco when he had the chance. He’s ready.<br>
| + | |
| - | | + | |
| - | Alfred: To be a… (looking for the right words) sidekick sir?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) That’s still a bit of a comic book idea, don’t you think?<br>
| + | |
| - | | + | |
| - | Alfred: Just a thought, sir…<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Then again…his skills are extraordinary, and he’s quite a sensible fellow…maybe one day.<br>
| + | |
| - | | + | |
| - | Alfred: Quite right, sir.<br>
| + | |
| - | | + | |
| - | INT. BRUCE WAYNE’S BEDROOM-THE NEXT DAY
| + | |
| - | | + | |
| - | ''Bruce Wayne is just about to get up from bed, as Alfred enters with a tray of early morning tea and the newspaper.'' <br>
| + | |
| - | | + | |
| - | Alfred: Rise and shine, Master Bruce <br>
| + | |
| - | | + | |
| - | Bruce Wayne: (yawns) Good morning Alfred. (gets up from bed)<br>
| + | |
| - | | + | |
| - | Alfred: Rather interesting headline today, sir. <br>
| + | |
| - | | + | |
| - | ''Bruce Wayne takes the newspaper, labelled “The Gotham Globe”. The headline reads “Gotham’s ‘Most Eligible’ Adopts”.'' <br>
| + | |
| - | | + | |
| - | Bruce Wayne: (mutters) Just as Commissioner Gordon said… <br>
| + | |
| - | | + | |
| - | Alfred: Do notice that “Most Eligible” is in inverted commas. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: Very funny, Alfred.<br>
| + | |
| - | | + | |
| - | Bruce pulls on a shirt and gets out of bed. <br>
| + | |
| - | | + | |
| - | Alfred: Either way, you have a very busy day ahead of you. And Master Dick will be coming along? <br>
| + | |
| - | | + | |
| - | Bruce Wayne: Yes. That way they’ll get their picture, and odds are we won’t be harassed any further. <br>
| + | |
| - | | + | |
| - | Alfred: Shall I wake Master Dick, then? <br>
| + | |
| - | | + | |
| - | Bruce Wayne: Go ahead. I’ll be waiting at breakfast. <br>
| + | |
| - | | + | |
| - | INT. DINING ROOM IN WAYNE MANOR
| + | |
| - | | + | |
| - | ''Dick Grayson comes down the stairs in a tailored suit.'' <br>
| + | |
| - | | + | |
| - | Bruce Wayne: You look great! <br>
| + | |
| - | | + | |
| - | Dick Grayson: Sorta…didn’t get enough sleep… <br>
| + | |
| - | | + | |
| - | Bruce Wayne: You’ll get used to it. I did. Anyway, have your breakfast and we’ll get into the car. <br>
| + | |
| - | | + | |
| - | Dick Grayson: Where are we going? School’s out at the moment. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: Thank goodness for that. A little tour of Wayne Enterprises shouldn’t hurt. There’ll be lots of reporters about though. <br>
| + | |
| - | | + | |
| - | Dick Grayson: Something else I have to get used to?<br>
| + | |
| - | | + | |
| - | Bruce Wayne: Sorta.<br>
| + | |
| - | | + | |
| - | EXT. OUTSIDE WAYNE ENTERPRISES HEADQUARTERS
| + | |
| - | | + | |
| - | ''Reporters, photojournalists and paparazzi have clogged up the area in front of the WE building, all wanting to get a good shot of Dick Grayson. The limousine pulls up and Bruce Wayne with his ward emerge. The cameras start flashing in frenzy. The reporters then ask many questions simultaneously; none clear enough for the viewers to catch. The camera then follows the duo into the building, while the media is shut outside.'' <br>
| + | |
| - | | + | |
| - | Lucius Fox: Good to see you Bruce … (attention turns to Dick) and you too. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: Dick, meet Lucius Fox, CEO of Wayne Enterprises. He still enjoys hanging around R&D, where he first started off. <br>
| + | |
| - | | + | |
| - | Dick Grayson: Hi, sir. <br>
| + | |
| - | | + | |
| - | Lucius Fox: (chuckles) Follow me, we’ve got things to check out. <br>
| + | |
| - | | + | |
| - | INT. LABORATORY
| + | |
| - | | + | |
| - | ''The camera follows Bruce, Lucius and Dick to a large laboratory in the headquarters. The camera pans to reveal a mammoth tank filled with water, containing a small robot.'' <br>
| + | |
| - | | + | |
| - | Lucius Fox: What we have here are actually two innovations. The tank is actually a pressure simulator, able to copy, almost exactly, the pressure that will be exerted onto this unmanned vehicle at the depths in which it will operate. The vehicle is designed to withstand the extreme pressure simulated here in the tank and will face it soon enough in the open oceans. A remotely-operated vehicle, this will go where it isn’t safe for people to explore, and will be controlled from a distance.<br>
| + | |
| - | | + | |
| - | Bruce Wayne: That’s quite impressive…<br>
| + | |
| - | | + | |
| - | Dick Grayson: Yeah. <br>
| + | |
| - | | + | |
| - | Lucius Fox: We already have a couple of maritime technology-related businesses on the waiting list. At the moment, it isn’t perfect, but is going pretty well. <br>
| + | |
| - | | + | |
| - | Bruce Wayne: How about a demonstration? <br>
| + | |
| - | | + | |
| - | Lucius Fox: That…can be arranged. (to Dick) How would you like to try? <br>
| + | |
| - | | + | |
| - | Dick Grayson: That’d be cool… <br>
| + | |
| - | | + | |
| - | Lucius Fox: (chuckles) Follow me then. <br>
| + | |
| - | | + | |
| - | ''The three go over to a console nearer to the large tank.'' <br>
| + | |
| - | | + | |
| - | Lucius Fox: Basically you just manipulate the joystick over here, while paying attention to the video feeds from the five cameras built into the ROV. It’s a rather simple system compared to the predecessors. Here, I’ll set the pressure for you (Lucius toggles the controls) The ROV will now behave as if it were at a depth of 2000 metres. <br>
| + | |
| - | | + | |
| - | Dick Grayson gingerly moves the joystick. The ROV moves as the joystick does. However, Dick’s hand slips and the vehicle slams into the wall of the tank.
| + | |
| | | | |
| - | Dick Grayson: Sorry!
| + | Batman passes Gordon the PDA. |
| - | | + | |
| - | Lucius Fox: No worries kid, the only thing that can damage the glass is an intense pulsar wave.
| + | |
| - | | + | |
| - | Bruce Wayne: (chuckles) An intense pulsar wave…
| + | |
| - | | + | |
| - | Lucius Fox: It is existing technology, Bruce, but technology that would take too long to explain.
| + | |
| - | | + | |
| - | INT. DICK’S ROOM – THAT NIGHT
| + | |
| - | | + | |
| - | Dick Grayson is fiddling with photographs of his dead parents. He is visibly less traumatized, but still noticeably sad. A knock on his door is heard.
| + | |
| - | | + | |
| - | Dick Grayson: (looks up from the photographs) Uh huh?
| + | |
| - | | + | |
| - | Bruce Wayne opens the door and walks in.
| + | |
| - | | + | |
| - | Bruce Wayne: It must be…uh…a little strange, isn’t it, knowing the truth now. (Chuckles)
| + | |
| - | | + | |
| - | Dick Grayson: I don’t know if I can get used to it…not only that, but living this life. All the attention and everything… It’s not that I’m ungrateful for you bringing me in…
| + | |
| - | | + | |
| - | Bruce Wayne: …I understand. I was wondering if there’s something more I can offer you, out of all this emptiness.
| + | |
| - | | + | |
| - | Alfred steps in
| + | |
| - | | + | |
| - | Alfred: If I may, sir, you know full well…
| + | |
| - | | + | |
| - | Bruce Wayne: (suddenly stern) It’s a serious matter, what we discussed…
| + | |
| - | | + | |
| - | Dick Grayson: There’s more with regards to Batman that I can do, more than just keeping the secret.
| + | |
| - | | + | |
| - | Alfred: You told me he’s ready, sir…
| + | |
| - | | + | |
| - | Dick Grayson: …and helping you is something I very much want to do…
| + | |
| - | | + | |
| - | Bruce gets up.
| + | |
| - | | + | |
| - | Bruce Wayne: (sighs) we’ll talk about this later.
| + | |
| - | | + | |
| - | Dick Grayson looks slightly distraught and a little confused. Alfred, sensing this, puts a reassuring but trembling hand on his shoulder.
| + | |
| - | | + | |
| - | Alfred: Don’t worry about Master Bruce…I think I may have troubled him with this subject. It’s not any of your doing, Master Richard. (sighs) I’ll tell you the truth: I think you have it in you, and I think Master Bruce feels the same way too.
| + | |
| - | | + | |
| - | Dick Grayson understands and smiles.
| + | |
| - | | + | |
| - | Dick Grayson: (smiles slightly) Alright Alfred.
| + | |
| - | | + | |
| - | Cut to –
| + | |
| - | | + | |
| - | INT. PENA DURO PRISON HALLWAY CONT.
| + | |
| - | | + | |
| - | The prison hallway is very much dilapidated, with yellowing walls and flaking paint. The only signs of modern day technology are the complex locks and the secure doors of cells that hold highly wanted criminals in this wing of the maximum security prison. A lone prison warden holding a newspaper walks past the cells, heading towards one at the very end. We see the door open, but what lies inside is not at all clear.
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) Here’s your paper. (Shrugs) Don’t get why you don’t read the local ones anyway.
| + | |
| - | | + | |
| - | The camera turns to reveal who the warden is speaking to – a grotesquely muscular figure, bolted to the prison wall and with a peculiar – almost sinister - system of tubes carrying a substance networked around his body, leading into his masked head.
| + | |
| - | | + | |
| - | Bane: (In Spanish) Just give me the newspaper and get out of here.
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) be happy they allow you this luxury, and don’t pick on me either.
| + | |
| - | | + | |
| - | The Prison Warden thrusts the paper into his face. Bane examines the English headlines: EXCLUSIVE FROM GOTHAM CITY: FIRST PICTURES OF THE “FLORONIC MAN” – CRIMINAL DOCTOR’S SHOCKING APPEARANCE AFTER ENCOUNTER WITH BATMAN.
| + | |
| - | | + | |
| - | Bane: (In Spanish) (Growling) Batman…many things I’ve heard about him…how he terrorizes by fear…
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) Much like you used to in this prison…why they bolted you up in the first place…
| + | |
| - | | + | |
| - | Bane: (In Spanish) The Demon Bat who haunts my dreams…I’m going to Gotham to find out more.
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) (laughs) What makes you think I’m letting you out?
| + | |
| - | | + | |
| - | Bane: (In English) You don’t need to.
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) What?
| + | |
| - | | + | |
| - | The mysterious substance in the tubes surges and Bane suddenly breaks free from his constraints in one dramatic display of strength. The Prison Warden is taken aback.
| + | |
| - | | + | |
| - | Prison Warden: (In Spanish) (confused and afraid) They were supposed to hold you…
| + | |
| - | | + | |
| - | Bane: (In English) Supposed.
| + | |
| - | | + | |
| - | Bane grabs hold of the warden before he can call for backup, then mercilessly slams him into the ground. The other prisoners, hearing this commotion, all start yelling in Spanish for Bane for to free them.
| + | |
| - | | + | |
| - | Bane: (In Spanish) Inferior fools.
| + | |
| - | | + | |
| - | Bane runs, slamming his full force into the side wall of his prison cell. The camera cuts to -
| + | |
| - | | + | |
| - | EXT. OUTSIDE PENA DURO PRISON
| + | |
| - | | + | |
| - | The Prison guards scramble to secure the area outside the prison, but they are all a step behind the burly figure. Bane moves with surprising agility, accompanying his strength. He stops short of the electric fence, briefly studying how he can overcome this obstacle. Bane then ducks into a ditch, dug by desperate prisoners long ago.
| + | |
| - | | + | |
| - | Bane: (Quietly to self) (In English) Never thought I’d be using the same ditch dug by desperate convicts…
| + | |
| - | | + | |
| - | A prison guard, dressed in metallic armour shines a torch in the direction of Bane’s hiding place, seemingly noticing something.
| + | |
| - | | + | |
| - | Armoured Prison Guard: (In Spanish) Hello?
| + | |
| - | The prison guard draws his standard issue revolver and points it in the direction of Bane, as he steps forward cautiously.
| + | |
| - | | + | |
| - | BANE’S POV:
| + | |
| - | | + | |
| - | Armoured Prison Guard: (In Spanish) (Speaking into radio) I may have found him…over here…
| + | |
| - | | + | |
| - | Bane hears – and sees – all of this from the ditch, but takes no action.
| + | |
| - | When the guard steps close to the fence, Bane suddenly rises from the ditch and in one strong movement takes the guard with his hands, slamming him into the electric fence full force. The guard attempts to shout for help, but is overcome by the shock. The shock has partially fused his armour to the fence, the rest of his unconscious form hanging limply. Bane admires his handiwork for a second, and then runs off to another hiding place.
| + | |
| - | More prison guards arrive, accompanied by bloodhounds. They see their colleague fused to the electric fence.
| + | |
| - | | + | |
| - | Prison Guard 1: (In Spanish) (Speaking into radio) we have discovered Armoured Prison Guard (reading off armour plate) C-31 fused into the electric fence. Requesting deactivation of the fence to extricate victim.
| + | |
| - | | + | |
| - | Voice Over Radio: (In Spanish) What? Are you crazy? Deactivate the fence? He got himself into this mess, we can’t compromise prison security.
| + | |
| - | | + | |
| - | Prison Guard 1: (In Spanish) (Speaking into radio) Please sir, we might be able to save him. We have the equipment coming soon. And you don’t need to deactivate the other one.
| + | |
| - | | + | |
| - | Two more guards arrive carrying a toolbox and a medical kit.
| + | |
| - | | + | |
| - | Voice Over Radio: (In Spanish) (sighs) Okay…just for a few minutes! Better make sure our fugitive does not escape.
| + | |
| - | | + | |
| - | Prison Guard 1: (In Spanish) (Speaking into radio) Thank you sir.
| + | |
| - | | + | |
| - | A series of alarms sounds, signalling the deactivation of the fence to the guards. They stand at the ready, in order to prevent any convicts from escaping during this crucial moment of weakness. With a mechanical buzz, the fence is deactivated and the team quickly gets to work extricating their injured colleague from his armour.
| + | |
| - | Some distance away, Bane takes advantage of this moment of weakness planned all along, and crashes through the fence with his full strength and into the concrete wall behind it. This concrete wall houses sentry towers at each corner, and the guards feel the shock. He discovers another electric fence he never knew existed. This time, five more guards emerge from camouflaged hatches in the prison grounds, ready to apprehend Bane.
| + | |
| - | | + | |
| - | INT. PRISON SECUTRITY CONTROL ROOM
| + | |
| - | | + | |
| - | The control room bears some semblance of comfort, and is filled with high technology. The head of security observes the happenings through video screens and thick observation glass.
| + | |
| - | | + | |
| - | Security Head: (In Spanish) (Through microphone) That’s right men, get him!
| + | |
| - | | + | |
| - | The security head than reactivates the electric fence, trapping Bane in two layers of electricity. On both sides he is faced with heavily armed guards.
| + | |
| - | | + | |
| - | Bane: (In Spanish) Interesting efforts.
| + | |
| - | | + | |
| - | Bane instinctively punches at the rest of the concrete, repeatedly.
| + | |
| - | | + | |
| - | Security Head: (In Spanish) (Through microphone) That’s it! Deadly force authorized! Evacuate the sentry towers immediately!
| + | |
| - | | + | |
| - | INT. SENTRY TOWER
| + | |
| - | | + | |
| - | Sentry Guard 1: (In Spanish) Whoa! You feel that?
| + | |
| - | | + | |
| - | Sentry Guard 2: (In Spanish) It’s the escaped fugitive, the one with the steroids pumped into his head!
| + | |
| - | | + | |
| - | Voice From Below: (In Spanish) Get down! He’s breaking the wall!
| + | |
| - | | + | |
| - | Sentry Guard 1: (In Spanish) that’s ridicul...
| + | |
| - | | + | |
| - | A strong rumble interrupts the Sentry Guard’s words. The other guard is already scrambling down the access hatch.
| + | |
| - | | + | |
| - | EXT. BELOW SENTRY TOWER
| + | |
| - | | + | |
| - | Several snipers have gathered and are attempting to shoot at Bane, readying their weapons. Before they can take aim, Bane fells the weakened concrete structure, grunting heavily, pushing half towards the prison and half the other direction. This takes out both electric fences and collapses into most of the prison itself. Plenty of commotion is audible. Bane takes advantage of the mess to escape from the compound.
| + | |
| - | | + | |
| - | EXT. PENA DURO PRISON GARAGE
| + | |
| - | | + | |
| - | Bane runs into the garage, stealing one of the police motorcycles and driving off.
| + | |
| - | | + | |
| - | INT. SANTA PRISCA SLUMS
| + | |
| - | | + | |
| - | Bane’s stolen motorcycle winds through the dilapidated slums of Santa Prisca, as the poverty-ridden citizens warily look on. As the camera follows the motorcycle, Bane slowly arrives in the more opulent half of the island, headed towards the docks.
| + | |
| - | | + | |
| - | EXT. SANTA PRISCA DOCKS
| + | |
| - | | + | |
| - | Bane sizes up a massive luxury cruise liner, the Madison Julie. He dismounts his motorcycle and climbs up the side of the cruise liner unnoticed.
| + | |
| - | | + | |
| - | INT. MADISON JULIE LIFEBOAT DECK
| + | |
| - | | + | |
| - | Bane climbs on board the deck, snooping among the lifeboats. He comes across a deck worker.
| + | |
| - | | + | |
| - | Deck Worker: Hey! What are you…?
| + | |
| - | | + | |
| - | Bane grabs the deck worker, coolly snapping his neck and tossing him overboard. He then hides in one of the lifeboats, hiding under the tarp.
| + | |
| - | Soon, sirens are audible.
| + | |
| - | | + | |
| - | EXT. SANTA PRISCA DOCKS
| + | |
| - | | + | |
| - | Police coastguard speedboats begin encircling the cruise liner and other craft around the docks, alerted to Bane’s presence.
| + | |
| - | | + | |
| - | Coast Guard officer: (over loudspeaker) (In Spanish) All boat-owners, please do not exit the docks. We are searching for a wanted fugitive. Please do not be alarmed.
| + | |
| - | | + | |
| - | A coastguard speedboat swerves next to the Madison Julie, right under the lifeboat deck.
| + | |
| - | | + | |
| - | | + | |
| - | INT. POLICE COASTGUARD SPEEDBOAT (OFFICER’S POV)
| + | |
| - | | + | |
| - | A lifeboat comes tumbling down, in slow motion, from the deck of the cruise liner, crushing the speedboat and the policemen in it.
| + | |
| - | The other coast guard personnel on the other speedboats go into frenzy, immediately circling the cruise liner, pointing their guns upwards.
| + | |
| - | Bane jumps onto one of the speedboats, crushing a section of the boat and tossing the guards overboard, after punching them each. He then assumes control of the speedboat, speeding off and winding around the other speedboats. The coast guard personnel persist in shooting at him, but because of the speed he is unable to aim straight.
| + | |
| - | | + | |
| - | INT. MADISON JULIE COMMAND BRIDGE
| + | |
| - | | + | |
| - | Captain: We’ve got to move off, or else we will be behind schedule.
| + | |
| - | | + | |
| - | Assistant Captain: But you heard what the coast guard guy said…we can’t move off. In fact, this missing lifeboat may have something to do with it (points to monitor display)
| + | |
| - | | + | |
| - | Captain: Missing lifeboat? Never mind, it’s been a while already. Just go ahead.
| + | |
| - | | + | |
| - | Assistant Captain: Okay sir…
| + | |
| - | | + | |
| - | EXT. MADISON JULIE STERN
| + | |
| - | | + | |
| - | The ships large propellers begin to spin.
| + | |
| - | Meanwhile, Bane leads the pursuing personnel towards these large spinning propellers. At the last possible moment, he veers off, misleading the coast guard boats right into the propellers. The anguished faces of the personnel are visible, though they have realised this too late. The boats splinter into wood, metal and glass, consumed by the propellers. The screams of those on board can be heard as well.
| + | |
| - | Bane smiles slightly and jumps back onto the moving cruise liner as the boat he commandeered gets sucked into the propellers as well. He then climbs back onto the lifeboat deck, hiding under the tarp of another lifeboat.
| + | |
| - | The camera follows the cruise liner as it disappears into the mist.
| + | |
| - | | + | |
| - | INT. THE BATCAVE
| + | |
| - | | + | |
| - | Alfred, Bruce Wayne and Dick Grayson are gathered around the Batcomputer.
| + | |
| - | | + | |
| - | Bruce Wayne: I’ve given it some thought, and Alfred and I have decided to offer you this opportunity.
| + | |
| - | | + | |
| - | Alfred: For lack of a better word, how would you like to be…a sidekick?
| + | |
| - | | + | |
| - | Dick Grayson: (eyes light up) A sidekick?
| + | |
| - | | + | |
| - | Bruce Wayne: To work alongside me, yes. You have skills that, if honed properly, can be put to great use on the mean streets. Heck, I’ll admit there are some areas in which you best me, especially when it comes to your acrobatic skills.
| + | |
| - | | + | |
| - | Alfred: Though I do have to warn you, Master Bruce’s work is no joke, with very little dividends…
| + | |
| - | | + | |
| - | Bruce Wayne: Besides bringing criminals to justice, of course.
| + | |
| - | | + | |
| - | Dick Grayson: Good enough for me.
| + | |
| - | | + | |
| - | Alfred: Then of course, we need a name.
| + | |
| - | | + | |
| - | Bruce Wayne: Just as I adopted “Batman”.
| + | |
| - | | + | |
| - | Dick Grayson: How about Robin? My parents had that nickname for me.
| + | |
| - | | + | |
| - | Bruce Wayne: Batman and Robin…sounds like a bad film. Anyway…
| + | |
| - | | + | |
| - | Alfred: (smiles) with the right costume, it just might work.
| + | |
| - | | + | |
| - | Bruce Wayne: Right. Let’s get to work then.
| + | |
| - | | + | |
| - | A montage of Dick’s training begins.
| + | |
| - | The camera moves around Dick and Bruce in combat, employing various martial arts techniques.
| + | |
| - | An ice pick penetrates a foam wall, as the camera zooms out to reveal Bruce and Dick scaling a simulated wall of ice.
| + | |
| - | Dick somersaults into a pool of water, while Bruce Wayne observes.
| + | |
| - | Bruce throws a batarang at a target, a move which Dick perfectly imitates.
| + | |
| - | Dick examines a simulated crime scene, gathering evidence as he would in an actual scenario.
| + | |
| - | Dick pores over various books covering subjects related to crime-fighting.
| + | |
| - | Dick struggles for a gas mask in a simulated gassing chamber and Bruce stands nearby watching his apprentice.
| + | |
| - | Bruce opens a cupboard of spare parts for his costumes. All three stand over the costume, forging an “R” insignia into the suit and colouring it. The plates are then affixed onto an undershirt measured to fit its wearer.
| + | |
| - | Alfred clasps a gauntlet around Dick’s arm.
| + | |
| - | Dick puts on his costume for the first time. He smiles.
| + | |
| - | | + | |
| - | Bruce Wayne: It’s been a while now, and I’m proud to say you’re ready. Not surprisingly, the training was minimal enough, and you’ve made it through. Congratulations, Dick, or should I call you…
| + | |
| - | | + | |
| - | Dick Grayson: (smiles)…Robin.
| + | |
| - | | + | |
| - | EXT. MADISON JULIE
| + | |
| - | | + | |
| - | The cruise liner is well into its journey. Bane is still hiding in one of the lifeboats. As the sip nears the American west coast, Bane lowers the lifeboat into the water. As it touches the water, he stops and thinks. To provide a valid reason for the absence of his lifeboat, he delivers a strong punch to the hull of the ship. He continues this until the hull integrity is dramatically weakened.
| + | |
| - | | + | |
| - | INT. MADISON JULIE COMMAND BRIDGE
| + | |
| - | | + | |
| - | Assistant Captain: Sir, we’re receiving unknown damage to the hull. It’s becoming increasingly serious.
| + | |
| - | | + | |
| - | Captain: Let me have a look at that (peers into computer display). This is strange indeed.
| + | |
| - | | + | |
| - | Assistant Captain: Apparently, one lifeboat has already been lowered.
| + | |
| - | | + | |
| - | Captain: Wasn’t there a missing lifeboat earlier in the trip?
| + | |
| - | | + | |
| - | Assistant Captain: This is a different one, sir. I believe the risk presented is sufficient for us to call an evacuation, and lower all the rest of them.
| + | |
| - | | + | |
| - | Captain: Agreed. Sound the alarms and call the passengers to the lifeboat decks immediately.
| + | |
| - | | + | |
| - | EXT. MADISON JULIE PORTSIDE
| + | |
| - | | + | |
| - | There is a frenzy of activity as the lifeboats are quickly lowered from the sinking ship. Bane is already far enough from the ship, approaching Gotham Docks.
| + | |
| - | | + | |
| - | INT. MADISON JULIE COMMAND BRIDGE
| + | |
| - | | + | |
| - | Assistant Captain: (wearing life vest and running towards the lifeboat decks) At least we’re pretty nearby land. Gotham docks is a few miles off.
| + | |
| - | | + | |
| - | Captain: (doing the same) All the better then. I’m one captain who’s not going down with the ship
| + | |
| - | | + | |
| - | Assistant Captain: I’ve never seen anything like this before. What do you suppose caused the damage?
| + | |
| - | | + | |
| - | Captain: Let’s talk in the lifeboat, shall we?
| + | |
| - | | + | |
| - | EXT. MADISON JULIE
| + | |
| - | | + | |
| - | The last of the lifeboats are lowered, as the ship begins to sink dramatically, breaking in half at the point where Bane had shredded its hull.
| + | |
| - | | + | |
| - | INT. GORDON’S OFFICE
| + | |
| - | | + | |
| - | Commissioner Gordon sits at his office sipping coffee while watching the evening news.
| + | |
| - | | + | |
| - | News Reporter: (on television) The luxury cruise liner Madison Julie has mysteriously sunk off the coast of Gotham Docks. At this time, the exact details of the incident are not known, though it is estimated that the majority of the passengers and crew have escaped safely. Apparently, two lifeboats were reported missing before the sinking. Criminal analysts suspect a connection to the recent escape of Bane, a criminal held in the maximum security Pena Duro prison in Santa Prisca, from which the cruise liner originated. Gotham police and coast guard are currently helping to organize the passengers who have survived the sinking.
| + | |
| - | | + | |
| - | Gordon turns off the television and dials a number on his phone.
| + | |
| - | | + | |
| - | EXT. GOTHAM DOCKS
| + | |
| - | | + | |
| - | Detective Renee Montoya picks up her ringing cellular phone.
| + | |
| - | | + | |
| - | Renee Montoya: Hello?
| + | |
| - | | + | |
| - | Commissioner Gordon: (over the phone) Renee? I was just watching the news. Keep an eye on the survivors, and if this “Bane” character is one of them, don’t let him escape.
| + | |
| - | | + | |
| - | Renee Montoya: Sir? I don’t quite follow.
| + | |
| - | | + | |
| - | Commissioner Gordon: He’s an escapee from Pena Duro Prison and is believed to have caused the sinking of the ship.
| + | |
| - | | + | |
| - | Renee Montoya: Why would he do that? And how?
| + | |
| - | | + | |
| - | Commissioner Gordon: My guess is to distract us from what he’s really about to do, whatever that is. Also, he seems to have super-human powers according to prison personnel. He apparently received genetic enhancements that were supposed to kill him.
| + | |
| - | | + | |
| - | Renee Montoya: If that’s the case Sir, we have a lot more on our hands.
| + | |
| - | | + | |
| - | Commissioner Gordon: All I know is we don’t want him running around Gotham.
| + | |
| - | | + | |
| - | Renee Montoya: Will do sir.
| + | |
| - | | + | |
| - | Renee puts down her phone and walks towards a police temporary shelter with the news.
| + | |
| - | | + | |
| - | EXT. GOTHAM ALLEYWAY
| + | |
| - | | + | |
| - | The camera follows Bane, on a stolen motorcycle, winding his way through the quiet streets. He turns into a narrow alleyway, dismounts the bike and enters a dilapidated apartment building.
| + | |
| - | | + | |
| - | Walking up the stairs, he comes to a door and rings the doorbell.
| + | |
| - | | + | |
| - | INT. APARTMENT UNIT BEDROOM
| + | |
| - | | + | |
| - | A young, Hispanic woman wakes up, glances at the clock and then dresses in a bathrobe, proceeding to check who is outside the door.
| + | |
| - | | + | |
| - | EXT. OUTSIDE APARTMENT UNIT
| + | |
| - | | + | |
| - | The door opens. The woman rubs her eyes, and then stands in shock.
| + | |
| - | | + | |
| - | Maria: Antonio?
| + | |
| - | | + | |
| - | Bane: Nobody’s called me that for so long.
| + | |
| - | | + | |
| - | The couple passionately embraces.
| + | |
| - | | + | |
| - | Maria: I saw it on the news…
| + | |
| - | | + | |
| - | Bane: The cruise liner?
| + | |
| - | | + | |
| - | Maria:…but I never expected you to turn up at my doorstep. How’d you find me?
| + | |
| - | | + | |
| - | The pair enters the apartment unit.
| + | |
| - | | + | |
| - | Bane: Old-fashioned research.
| + | |
| - | | + | |
| - | Maria: I missed you…I thought I was never going to see you again.
| + | |
| - | | + | |
| - | Bane: I thought the same too…I was just happy back then that they released you.
| + | |
| - | | + | |
| - | Maria: It still hasn’t been easy…a prisoner living in a free world.
| + | |
| - | | + | |
| - | Bane: Anything is easy compared to Pena Duro, Maria. You’ve managed well…and you still look as beautiful as I remember.
| + | |
| - | | + | |
| - | Maria: Don’t be silly Antonio…
| + | |
| - | | + | |
| - | Bane: Anyway, I needed someplace where I can be safe, and someone who can help me. Where the police won’t come looking for me. That’s why I came here.
| + | |
| - | | + | |
| - | Maria: Why did you come to Gotham anyway? I’m sure it wasn’t only because of me.
| + | |
| - | | + | |
| - | Bane: Don’t flatter yourself Maria.
| + | |
| - | | + | |
| - | Maria: (shrugs) I try not to.
| + | |
| - | | + | |
| - | Bane: I’ve been meaning to come here for a while…this Batman…I believe he is the Demon Bat who haunts my dreams.
| + | |
| - | | + | |
| - | Maria: The nightmares you’ve been having since you were young…
| + | |
| - | | + | |
| - | Bane: Yes. Also, I have to avenge something terrible Batman has done.
| + | |
| - | | + | |
| - | Maria: Are you talking about Dr Woodrue? He was never kind to you in the first place.
| + | |
| - | | + | |
| - | Bane: When he worked at Pena Duro…he was the one who made me what I am. I’ve become so much. I think I owe him something.
| + | |
| - | | + | |
| - | Maria: You became a monster…now he’s become one too. I think you shouldn’t waste your time.
| + | |
| - | | + | |
| - | Bane: Look. I need you to help me here. I will deduce the identity of whoever this Batman is, but I need your help.
| + | |
| - | | + | |
| - | Maria: (sighs) I suppose… (smiles) anyway, I’ve never had company in a while…I wouldn’t mind you sleeping in.
| + | |
| - | | + | |
| - | The couple embraces and kisses again
| + | |
| - | | + | |
| - | Bane: You have an extra bed?
| + | |
| - | | + | |
| - | Maria: Not that I’d want you sleeping in one. I’m sure you can squeeze into mine.
| + | |
| - | | + | |
| - | Bane: (smiles) I’d love to.
| + | |
| - | | + | |
| - | The bedroom door closes.
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | Bruce, Dick and Alfred all watch the news being replayed on the giant Batcomputer screen. Bruce then sits down and interfaces with the Batcomputer, researching something.
| + | |
| - | A blinking Bat-Signal in the corner of the Batcomputer monitor indicates that Batman is wanted.
| + | |
| - | | + | |
| - | Alfred: A meeting with the Commissioner, Master Bruce?
| + | |
| - | | + | |
| - | Bruce Wayne: Something to do with this recent incident, no doubt.
| + | |
| - | | + | |
| - | Dick: Can I come along? I’ve already been training for three days.
| + | |
| - | | + | |
| - | Bruce Wayne: I’d rather you take a break. It’s been a long night for you.
| + | |
| - | | + | |
| - | Bruce walks over to the costume section and suits up.
| + | |
| - | | + | |
| - | Dick: Come back soon.
| + | |
| - | | + | |
| - | Alfred: Don’t worry about Master Bruce. As for you, it’s time for bed.
| + | |
| - | | + | |
| - | Batman gets into the Batmobile and zooms out through the waterfall and into the night.
| + | |
| - | | + | |
| - | EXT. GCPD HEADQUARTERS ROOF
| + | |
| - | | + | |
| - | The Bat-signal has been activated and Commissioner Gordon stands next to it, scanning the skies for any sign of Batman.
| + | |
| - | Batman appears right behind him.
| + | |
| - | | + | |
| - | Commissioner Gordon: Another busy night.
| + | |
| - | | + | |
| - | Batman: And another madman.
| + | |
| - | | + | |
| - | Commissioner Gordon: This whole thing is making my head spin. If some criminal wants to escape, why choose Gotham? And why take a cruise liner down with him? The fact that he’s supposedly got superpowers of some kind makes it all the more bizarre.
| + | |
| - | | + | |
| - | Batman: Exactly what I was thinking. I’ve been doing some research and everything sort of adds up. No real name is stated. This Bane character was put in Pena Duro to serve his father’s sentence after he died.
| + | |
| - | | + | |
| - | Commissioner Gordon: People do those things?
| + | |
| - | | + | |
| - | Batman: Unfortunately yes. The database says he became too powerful and too intelligent, ruling as a “king” of the prison.
| + | |
| - | | + | |
| - | Commissioner Gordon: Where do the superpowers come in?
| + | |
| - | | + | |
| - | Batman: I’m not all that sure. What I do know is that he received genetic enhancements of some kind which had killed all previous test subjects, but made him stronger.
| + | |
| - | | + | |
| - | Commissioner Gordon: So what ties him to Gotham?
| + | |
| - | | + | |
| - | Batman: I haven’t been able to find out yet. I’m guessing that he has some contacts here, maybe personnel who were ex-convicts at Pena Duro. His psychological profile states that he’s been having nightmares of a “demon bat” ever since he was a boy. (pauses to think) That’s exactly what Dr Woodrue called me that night.
| + | |
| - | | + | |
| - | Commissioner Gordon: You mean that Floronic Man? What could he have to do with Bane?
| + | |
| - | | + | |
| - | Batman: Maybe that’s something for you to look into.
| + | |
| - | | + | |
| - | Batman reaches into his utility belt and produces a thumb drive.
| + | |
| - | | + | |
| - | Batman: I’ve compiled everything else into this. Have a look at it sometime, run some names through your database.
| + | |
| - | | + | |
| - | Commissioner Gordon retrieves the device and turns it around in his hands.
| + | |
| - | Commissioner Gordon: Right. I’ll tell you when…
| + | |
| - | | + | |
| - | Gordon turns around to find Batman has disappeared.
| + | |
| - | | + | |
| - | Commissioner Gordon: (sighs) I do hate it when he does that.
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | The Batmobile returns back into the cave. Batman steps out and removes his cowl.
| + | |
| - | | + | |
| - | Alfred: So how did the meeting with Gordon go, Sir?
| + | |
| - | | + | |
| - | Bruce Wayne: I’m going to be spending the rest of tonight doing some research.
| + | |
| - | | + | |
| - | Alfred: (sighs) Very well then Sir.
| + | |
| - | | + | |
| - | Bruce Wayne: I’m going to see how good this piece of work is at throwing up helpful coincidences.
| + | |
| - | | + | |
| - | Bruce Wayne gets to work on the Batcomputer.
| + | |
| - | | + | |
| - | INT. MARIA’S APARTMENT – THE NEXT DAY
| + | |
| - | | + | |
| - | Maria begins to awake, sitting up in her bed and drawing the sheets close to her. Bane is already up and getting dressed.
| + | |
| - | | + | |
| - | Bane: Thanks for letting me stay the night.
| + | |
| - | | + | |
| - | Maria: As long as you want to, Antonio
| + | |
| - | | + | |
| - | She pulls him near and they kiss passionately.
| + | |
| - | | + | |
| - | Maria: So, what’s on the agenda today, my lovely fugitive?
| + | |
| - | | + | |
| - | Bane: Tonight…I bait the Bat.
| + | |
| - | | + | |
| - | Maria: Do I come along?
| + | |
| - | | + | |
| - | Bane: No. It might be too dangerous. You can, however help me with some reading up.
| + | |
| - | | + | |
| - | Maria: That happens to be my specialty.
| + | |
| - | | + | |
| - | Maria slips out of bed and gets dressed. Bane admires her form, while we see her from behind.
| + | |
| - | | + | |
| - | Maria: (smiles) but first, breakfast. And do stop ogling.
| + | |
| - | Bane: (smiles) Can’t help it.
| + | |
| - | | + | |
| - | INT. GORDON’S OFFICE
| + | |
| - | | + | |
| - | Commissioner Gordon taps away at the keyboard while looking through the files passed to him by Batman the night before.
| + | |
| - | | + | |
| - | Renee Montoya: What’s this, Commissioner?
| + | |
| - | | + | |
| - | Commissioner Gordon: Some information that’s been compiled for me by a…reliable source.
| + | |
| - | | + | |
| - | Renee Montoya: The Batman, sir?
| + | |
| - | | + | |
| - | Commissioner Gordon: If they’re steroid-pumped supervillains running through Gotham, you can rest assured Batman will be pulled into the mix. He’s been helpful thus far…
| + | |
| - | | + | |
| - | Renee Montoya: This sounds like something big.
| + | |
| - | | + | |
| - | Commissioner Gordon: Something even the Batman can’t handle on his own… I hope he’s got a sidekick somewhere in the wings of that cave.
| + | |
| - | | + | |
| - | | + | |
| - | INT. WAYNE MANOR DINING HALL
| + | |
| - | | + | |
| - | Bruce Wayne and Dick Grayson are sitting down to breakfast.
| + | |
| - | | + | |
| - | Alfred: Good morning sirs. How did the research go last evening, Master Bruce?
| + | |
| - | | + | |
| - | Bruce Wayne: A few unsettling facts have been unearthed. (Turns to Dick Grayson) Soon, you’ll be out there working alongside me.
| + | |
| - | | + | |
| - | Dick Grayson: Yes!
| + | |
| - | | + | |
| - | Bruce Wayne and Alfred glare at the young charge.
| + | |
| - | | + | |
| - | Dick Grayson: I know…it’s serious work…could get myself into serious danger…facing criminally insane madmen.
| + | |
| - | | + | |
| - | Bruce Wayne: I’m glad you’re aware. But I didn’t train you for no reason, and you’re ready. I’d like you to come along as soon as the alarm is raised.
| + | |
| - | | + | |
| - | Dick Grayson: Are we going to confront this Bane guy?
| + | |
| - | | + | |
| - | Bruce Wayne: I’d want to hope not, but that’s likely enough. You’ll have a look at the info later today.
| + | |
| - | | + | |
| - | Dick Grayson: A muscle-bound freakshow…doesn’t sound too bad to me.
| + | |
| - | | + | |
| - | Bruce Wayne: He’s both immensely strong and very intelligent. You’ll – we’ll – need to be very careful.
| + | |
| - | | + | |
| - | INT. BATCAVE – THAT NIGHT
| + | |
| - | | + | |
| - | An alarm indicating that Batman is needed sounds.
| + | |
| - | | + | |
| - | Batman: Just as I thought. Robin! Suit up!
| + | |
| - | | + | |
| - | Robin: (pulling on his mask) I’m on it!
| + | |
| - | | + | |
| - | Both jump into the Batmobile as it speeds off into the night.
| + | |
| - | | + | |
| - | INT. BATMOBILE
| + | |
| - | | + | |
| - | Batman: What is it Commissioner?
| + | |
| - | | + | |
| - | Commissioner Gordon: (over Batmobile monitor) It appears that there’s been a break-in at Wayne Industries R&D.
| + | |
| - | | + | |
| - | Batman: Of all places.
| + | |
| - | | + | |
| - | Commissioner Gordon: I see you’ve brought along the sidekick.
| + | |
| - | | + | |
| - | Batman: Commissioner, meet Robin.
| + | |
| - | | + | |
| - | Robin: Good evening, Sir.
| + | |
| - | | + | |
| - | Commissioner Gordon: (chuckles) Nice chap. I have a daughter around his age.
| + | |
| - | | + | |
| - | Batman: Matchmaking already?
| + | |
| - | | + | |
| - | Commissioner Gordon: Anyway, you’d better hurry. I believe the perp is Bane.
| + | |
| - | | + | |
| - | Batman: Just as I suspected.
| + | |
| - | | + | |
| - | Commissioner Gordon: Apparently he’s already taken out most of the Wayne Enterprises security in that area. I’ve sent some of my men there.
| + | |
| - | | + | |
| - | Batman: Good.
| + | |
| - | | + | |
| - | EXT. WE HEADQUARTERS
| + | |
| - | | + | |
| - | Police vans and SWAT units surround the building, while two police helicopters hover around it cautiously.
| + | |
| - | A police helicopter comes close to the side of the building, shining its blinding searchlight into the vicinity.
| + | |
| - | | + | |
| - | INT. WE HEADQUARTERS
| + | |
| - | | + | |
| - | Bane brings his arm up to shield himself from the light. Once he realises that a police helicopter is out the window, he punches through the glass. The helicopter tries to back away, but the windscreen is shattered. Bane then forcefully pulls the pilot out of the helicopter. The chopper inadvertently rams into the side of the building and explodes.
| + | |
| - | | + | |
| - | INT. BATMOBILE
| + | |
| - | | + | |
| - | Batman: We have a lot on our hands this evening.
| + | |
| - | | + | |
| - | Robin: Then let’s get going.
| + | |
| - | | + | |
| - | The canopy of the Batmobile slides forward and the duo are propelled into the air by jetpacks built into the seats. The police personnel look up, pointing and shouting.
| + | |
| - | | + | |
| - | INT. WE HEADQUARTERS
| + | |
| - | | + | |
| - | Batman and Robin remove their jetpack apparatus. Batman puts a finger to his lips, and produces a gadget, scanning the area in front of them. He points forward and activates his night-vision goggles. Robin nods and does the same.
| + | |
| - | | + | |
| - | INT. LABORATORY
| + | |
| - | | + | |
| - | (Batman’s POV) we see a biochemist’s laboratory in harsh night-vision.
| + | |
| - | Robin scans the area and alerts Batman to a particular spot. A safe marked “plant-metahuman DNA sample” has been destroyed, and the contents emptied out.
| + | |
| - | | + | |
| - | Batman: (realizing) The serum Dr Woodrue invented…
| + | |
| - | | + | |
| - | Robin: You mean Bane has this stuff now?
| + | |
| - | | + | |
| - | Batman: I’m afraid so…but we can still make it.
| + | |
| - | | + | |
| - | The pair bolt out of the lab door and into another laboratory, the one Lucius Fox brought them to see a few days ago. The lights suddenly come on.
| + | |
| - | (Batman’s POV) Batman is momentarily blinded and struggles to deactivate his night-vision goggles.
| + | |
| - | | + | |
| - | Robin: Batman! Look out!
| + | |
| - | | + | |
| - | Bane rushes in, seemingly out of nowhere, grabbing hold of Batman and smashing him into the laboratory walls.
| + | |
| - | | + | |
| - | Bane: Demon Bat! It’s an honour to finally meet you.
| + | |
| - | | + | |
| - | Batman: What do you want with me?
| + | |
| - | | + | |
| - | Bane: What I want… (Holds up the vial of serum) …I already have. But what you did to Dr Woodrue I cannot accept.
| + | |
| - | | + | |
| - | Batman: What has that got to do with you anyway?
| + | |
| - | | + | |
| - | Bane: Dr Woodrue turned me into what I am today…you left him deformed and unrecognizable.
| + | |
| - | | + | |
| - | Batman: He didn’t care for you at all.
| + | |
| - | | + | |
| - | Bane: That much I agree with you. But how can I hate a man who has given me such powers? That is why I’ve decided to help him. You got him into this mess. So with the life of this…boy here you will pay.
| + | |
| - | | + | |
| - | Bane grabs hold of Robin, screaming. He opens the lid of the pressure simulator and throws him in. Robin hits the water, struggling to get out.
| + | |
| - | | + | |
| - | Batman: Robin…
| + | |
| - | | + | |
| - | Bane toggles the instruments by the pressure simulator, adjusting the pressure. Robin’s face shows his agony as his lungs begin to be crushed by the pressure.
| + | |
| - | Bane smiles.
| + | |
| - | | + | |
| - | Bane: There is no way you can save him now, but I’ll leave you to try. Until then…
| + | |
| - | | + | |
| - | Bane punches a hole in the wall and leaps out of the building, crushing a few cars under him. He then jumps onto a modified motorcycle and prepares to take of.
| + | |
| - | | + | |
| - | Lucius Fox (in flashback): An intense pulsar wave…
| + | |
| - | | + | |
| - | Batman, remembering Fox’s words, pulls out a gadget from his utility belt and throws it at the strengthened glass. The device attaches itself to the simulation chamber. A pulsar wave is emitted and the glass warps slightly, before shattering and releasing torrents of water. Robin slides out, coughing. Batman feels his pulse, and then performs CPR on a barely conscious Robin. He then attaches a mask to Robin’s face.
| + | |
| - | | + | |
| - | Batman: This will regulate the pressure. Just relax.
| + | |
| - | | + | |
| - | Batman, carrying Robin in his arms, then jumps out of the window and onto the waiting Batmobile, elevated via hydraulics. He seats Robin by his side, and returns the vehicle to regular height. Batman begins pursuing Bane.
| + | |
| - | | + | |
| - | EXT. GOTHAM STREET
| + | |
| - | | + | |
| - | The Batmobile whizzes around a corner, as stunned onlookers point at the vehicle. Turning on to the freeway, Batman spots Bane’s motorcycle just ahead. A police helicopter joins the Batmobile at the scene, keeping its searchlights trained on Bane.
| + | |
| - | | + | |
| - | INT. BATMOBILE
| + | |
| - | | + | |
| - | Batman: Why must there always be a chase? This isn’t some cut-rate action flick, Alfred
| + | |
| - | | + | |
| - | Alfred: (over cowl radio) It almost turned into action-horror as far as I’m concerned, Master Bruce.
| + | |
| - | | + | |
| - | Batman: Quite right.
| + | |
| - | | + | |
| - | Robin begins to awake.
| + | |
| - | | + | |
| - | Robin: Where…am I?
| + | |
| - | | + | |
| - | Batman: In the Batmobile. Bane almost drowned you and crushed your lungs.
| + | |
| - | | + | |
| - | Robin: Where is he now?
| + | |
| - | | + | |
| - | Batman: Right in front of us.
| + | |
| - | | + | |
| - | EXT. GOTHAM FREEWAY
| + | |
| - | | + | |
| - | The Batmobile winds around a few vehicles, pulling up behind Bane’s motorcycle. Bane suddenly swings the motorcycle beside the Batmobile.
| + | |
| - | INT. BATMOBILE:
| + | |
| - | | + | |
| - | Bane, now just outside the Batmobile, raises a hand in greeting.
| + | |
| - | | + | |
| - | Batman: What the…
| + | |
| - | | + | |
| - | | + | |
| - | EXT. BATMOBILE
| + | |
| - | | + | |
| - | Bane delivers a strong punch through the glass of the Batmobile’s side window.
| + | |
| - | | + | |
| - | INT. BATMOBILE
| + | |
| - | | + | |
| - | Batman gasps as Bane’s hand tightens around his throat. Batman immediately adjusts the throttle so the Batmobile is at the same speed as Bane’s motorcycle. He then struggles, attempting to loosen his assailant’s grip.
| + | |
| - | | + | |
| - | Robin: Batman!
| + | |
| - | | + | |
| - | Bane begins to pull Batman out of the vehicle through the side window.
| + | |
| - | Batman grunts in pain, the breath nearly knocked out of him completely.
| + | |
| - | Robin reaches into his own utility belt and produces a birdarang. He plunges the sharp weapon into Bane’s arm. Bane grunts and lets go of Batman’s throat slightly. Robin shoves Bane’s hand out of the vehicle window. Robin then adjusts the throttle so the Batmobile speeds past Bane, and then activates the autopilot as Batman sits unconscious.
| + | |
| - | | + | |
| - | Robin: We all take turns to get knocked out, huh?
| + | |
| - | | + | |
| - | Robin searches the dashboard for a button. He then presses it, and a medical harness drops down from the ceiling. He attaches it to Batman and it delivers 100% Oxygen, whilst pumping on Batman’s chest.
| + | |
| - | Having attended to Batman, Robin then keys “Batcave” into the destination computer. The Batmobile reacts, and steers itself back.
| + | |
| - | | + | |
| - | Robin: I suppose that’s enough for now.
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | The Batmobile arrives in the cave. Batman and Robin emerge from the vehicle, dazed.
| + | |
| - | | + | |
| - | Alfred: I suppose you had a rough night, sirs?
| + | |
| - | | + | |
| - | Robin: Beginner’s luck…
| + | |
| - | | + | |
| - | Batman: Or lack thereof. At least now we know full well what we’re up against.
| + | |
| - | | + | |
| - | Alfred: Indeed. I suggest that the two of you get some rest before you go up against this Bane again.
| + | |
| - | | + | |
| - | INT. MARIA’S APARTMENT
| + | |
| - | | + | |
| - | Bane enters through the door. Maria, in a bathrobe, greets him.
| + | |
| - |
| + | |
| - | Maria: Antonio! How did it go?
| + | |
| - | | + | |
| - | Bane: Well enough.
| + | |
| - | | + | |
| - | Maria: You’ll be pleased to know that while you were out, I’ve gathered some very interesting results…on the possible identity of the Batman.
| + | |
| - | | + | |
| - | Bane: This might help you: he was with…an apprentice of sorts. I nearly killed him, but he is rather skilled. I’d guess 12 or 13 years of age.
| + | |
| - | | + | |
| - | Maria: (smiles) Interesting. Come over here…
| + | |
| - | | + | |
| - | The pair goes into her study where she has been doing the research.
| + | |
| - | | + | |
| - | Maria: Using information available to anybody, I was able to shortlist the candidates down to one name.
| + | |
| - | | + | |
| - | Bane: For sure?
| + | |
| - | | + | |
| - | Maria: Have a look for yourself. First, I had a look at Gotham’s mainframe and whittled it down to the male population. From there, I got the 68% who fitted the Batman’s possible age of 18-35.
| + | |
| - | | + | |
| - | Bane: Good. Go on.
| + | |
| - | | + | |
| - | Maria: Then, only Gotham’s economical elite would be able to acquire the advanced gadgetry that Batman employs.
| + | |
| - | | + | |
| - | Bane: And of course, every vigilante of his sort must have a valid origin.
| + | |
| - | | + | |
| - | Maria: Precisely. I then checked the records for a personal tragedy in the lives of any one of the candidates. It turns out (pulls out a newspaper clipping) that only a certain Bruce Wayne had an experience of this sort.
| + | |
| - | | + | |
| - | Bane: (reading off the print) “Thomas and Martha Wayne murdered…”
| + | |
| - | | + | |
| - | Maria: And what you just mentioned about a young apprentice bodes well with this more recent snippet.
| + | |
| - | | + | |
| - | Bane reads off the computer, showing the Gotham Globe’s archive.
| + | |
| - | | + | |
| - | Bane: “Gotham’s ‘Most Eligible’ Adopts”…
| + | |
| - | | + | |
| - | Maria: So?
| + | |
| - | | + | |
| - | Bane: (smiles) I think we have our man.
| + | |
| - | | + | |
| - | Maria: Aren’t you going to thank me?
| + | |
| - | | + | |
| - | Bane: I suppose I’ll shower first.
| + | |
| - | | + | |
| - | Maria: (smiles) Right. I’ll be waiting.
| + | |
| - | | + | |
| - | INT. BATCAVE
| + | |
| - | | + | |
| - | Batman: You’ve done a good job tonight, Dick.
| + | |
| - | | + | |
| - | Dick Grayson: I did nearly get killed.
| + | |
| - | | + | |
| - | Batman: (smiles) Another thing I’m sure you’ll get used to.
| + | |
| - | | + | |
| - | Dick Grayson: (sarcastically) Yippee.
| + | |
| - | | + | |
| - | Batman removes his cowl and sits down at the Batcomputer.
| + | |
| - | | + | |
| - | Bruce Wayne: You go catch some sleep. I’ll be up soon.
| + | |
| - | | + | |
| - | Dick Grayson: Thanks. See you in the morning Alfred.
| + | |
| - | | + | |
| - | Alfred: Goodnight, Master Dick.
| + | |
| - | | + | |
| - | Suddenly a wave flashes across the Batcomputer screen.
| + | |
| - | | + | |
| - | Bruce Wayne: It’s the Commissioner.
| + | |
| - | | + | |
| - | He hurries to put on his cowl.
| + | |
| - | | + | |
| - | Commissioner Gordon: (over Batcomputer screen) You did well tonight. Don’t worry about him escaping.
| + | |
| - | | + | |
| - | Batman: The last thing on everyone’s mind, I’m sure.
| + | |
| - | | + | |
| - | Commissioner Gordon: (chuckles) Anyway, I’ve got interesting news to report.
| + | |
| - | | + | |
| - | Batman: About his ties to Dr Woodrue? I already know: he stole the DNA sample from his weapon to reverse-engineer a cure.
| + | |
| - | | + | |
| - | Commissioner Gordon: Well, we guessed the same. The real news is this: it seems as if Bane may be taking shelter with an ex-convict from Pena Duro, released two years ago.
| + | |
| - | | + | |
| - | Batman: Name?
| + | |
| - | | + | |
| - | Commissioner Gordon: We only have a first name: Maria.
| + | |
| - | | + | |
| - | Batman: A woman?
| + | |
| - | | + | |
| - | Commissioner Gordon: We suppose they are romantically connected.
| + | |
| - | | + | |
| - | Batman: She’d have to be pretty warped to fall for him.
| + | |
| - | | + | |
| - | Commissioner Gordon: You know what regular prison does to people, what more Pena Duro.
| + | |
| - | | + | |
| - | Batman: Indeed. Is she the only possible associate he has?
| + | |
| - | | + | |
| - | Commissioner Gordon: The most likely. He spent his whole life in the prison, and she’s the only ex-convict living here in Gotham.
| + | |
| - | | + | |
| - | Batman: Why was she put in?
| + | |
| - | | + | |
| - | Commissioner Gordon: The file says she’s an explosives and firearms expert, and has a genius-level IQ. The Santa Prisca police employed her to do administration for their bomb squad when she was just 16, fresh out of school. The next year she blew the headquarters up, for no apparent reason.
| + | |
| - | | + | |
| - | Batman: Where in Gotham is she staying?
| + | |
| - | | + | |
| - | Commissioner Gordon: We’ve got the place on surveillance and I’m planning to send two SWAT teams in tomorrow night. Everyone’s tied up with the incident at Wayne Enterprises.
| + | |
| - | | + | |
| - | Batman: (nods) That sounds good.
| + | |
| - | | + | |
| - | Commissioner Gordon: Don’t mind me, but I’d rather you not turn up. It could complicate matters.
| + | |
| - | | + | |
| - | Batman: I understand. Just be careful, I’m very sure they were expecting this sooner or later.
| + | |
| - | | + | |
| - | Commissioner Gordon: Of course. You take care.
| + | |
| - | Batman: Goodnight, Commissioner.
| + | |
| | | | |
| - | The image of the Commissioner dissolves.
| + | GORDON: It’s been abrupt, as always but… |
| | | | |
| - | Alfred: Do you think they can root him out, Sir?
| + | ''A loud whoosh is audible, and the Batwing, hovering above the facility all the while, gently descends into view, now hovering just above the ground'' |
| | | | |
| - | Batman: I hope so, but doubt it. He was careful not to tell me where the house is.
| + | GORDON: (taken aback) You jumped in from that? |
| | | | |
| - | Alfred: Pardon me Sir, but as it says in the Good Book: “Unless the Lord guards the house, the watchman stays awake in vain”.
| + | BATMAN: The photo-electric detection beams prevented me from getting closer and I hoped I would achieve the element of surprise. |
| | | | |
| - | Batman: Isn’t that the same passage which says “For the Lord gives his beloved sleep?”
| + | GORDON: Oh. |
| | | | |
| - | Alfred: You know what I mean sir.
| + | BATMAN: I’m on my way. |
| | | | |
| - | Batman: (sighs) you’re right. | + | ''Batman climbs into the vehicle, which slowly disappears into the night.'' |
| | | | |
| - | Batman proceeds into the changing area to remove his Batsuit, and Alfred proceeds up into Wayne Manor proper.
| + | GORDON: I gotta get me one of those. |
Welcome! Here we have J's epic fan-fiction screenplay written in the style of most actual movie scripts! Disclaimer: in much the same way as our work with Star Wars, Batman and all related characters and elements are the property of DC Comics. The Warner Brothers logo is the property of Warner Brothers Studios.
To help you read it easier, the script has been broken into parts. Part one is, well, a scroll or two away. Links to the rest are here.
We know it's terribly long, so to convince you to read on further here's a synopsis.
Batman: Masked Souls chronicles how young circus aerialist Dick Grayson came into the care of foster father Bruce Wayne (who secretly is Batman) as well as his first adventures as the Boy Wonder. The personal struggle of Dick Grayson's, as well as the tragic loss of his parents, is one that Batman understands well.
The story's main supervillain is Bane, a highly intelligent convict who posseses the powers of super-strength. He escapes from a high-security prison, destroying the prison and a luxury cruise liner on the way, in order to venture to Gotham to confront the Batman for himself. A mysterious connection between Bane and a twisted biochemist is revealed. Bane is also assisted by the alluring Maria, with whom he became romantically involved while they were in prison together.
Together, they stymie the Gotham Police Department. After a break-in into Wanye Industries Headquarters, during which Robin was nearly killed, everyone knows they have more on their hands than they bargained for. The story's climatic finale, in which Bane ventures to break the Bat in his own headquarters, proves the ultimate test if The Dark Knight and his apprentice will choose to show mercy under the intense circumstances.
They story draws its influences heavily from the comcis and, though not intended, can take place during the continuity of the Batman Begins storyline. Many elements have also been altered, and a new character in the form of Maria is introduced. Expeect plenty of action and what I hope is a sufficeintly gripping storyline. Eschewing the camp and homo-erotic undertones of Batman Forever and Batman and Robin, the relationship between Bruce and Dick is seen as purely foster father-son. Also, Bane finally gets to talk! He is portrayed as more intelligent than the ghastly Batman and Robin incarnation.
EXT. OVER RESEARCH FACILITY
BATMAN: (nodding slowly) I’ve been wanting to find out what’s going on down there for a very long time.
ALFRED (over Batman’s cowl radio): The photo-electric detection beams should be easy enough to clear.
Batman’s POV: The heads-up-display change colour to reveal a thick lattice of slowly-moving lasers.
EXT. HALEY’S CIRCUS-DURING PERFORMANCE
ANNOUNCER: Please welcome our most prized act, residents of the Haley’s circus for five years now…The Flying Graysons! Be prepared for they’re stunning aerobatics – without the safety of a net!
INT. SPECTATOR’S STANDS
Insert cut - a close-up of the wires which hold the aerialists up. A small explosion goes off, severing the wires. John and Mary Grayson suddenly fall, with Dick left standing prepared to do another jump.
INT. OVER RESEARCH FACILITY
SECURITY OFFICER (over Batman’s cowl radio): “We have reports from sentry guards of an unidentified object making entry into the compound via airdrop. We advise that you…”
He fishes a marble out from his utility belt and drops it down the stairs, making it sound as if he has gone down them. Batman then hides, standing flush to the wall.
INT. STAIRWELL BASE
GUARD 3: Maybe it’s a ghost. Maybe the same one that possessed boss to buy over this dump.
GUARD 3: Whatever. I’ll go have a look.
Guard 3 emerges out of the stairwell with his gun at the ready and is greeted by the frightening image of the Batman.
BATMAN: Biometrics.
ALFRED: (Over cowl radio) So your personal code is not the only reason you keep them alive.
Batman’s POV: He opens file marked “site map”. We see a map of the facility on the screen. Something catches Batman’s attention.
BATRMAN: (reading off map) “Holding Area”? What if all this fuss has to do with this “Holding area”?
INT. RESEARCH FACILITY WALKWAY
EXT. HOLDING AREA
Batman takes snapshots of the area with a miniature digital camera from his utility belt. He then quickly performs a thermal signature scan with another device.
BATMAN: I’m in over my head Alfred. This is something serious. Whatever’s behind that is…organic.
DR. WOODRUE: Demon Bat. It is no surprise. I know you want to find out what’s in there, what has been keeping money coming in.
Dr. Woodrue produces an odd looking weapon
BATMAN: That’s a DNA Neucleotide mutagen…The kind STAR labs tried to manufacture...
DR. WOODRUE: …So you are smarter than you seem…
DR. WOODRUE: Ahhh!
The guards open fire viciously, interrupting Batman’s realisation. Fueled by anger at the situation, Batman charges in, taking them out with whatever skill he can muster. He scatters multiple flashbang and smoke grenades on the floor, casting all the guards into confusion as he continues his rampage. Some of them pull masks to their faces in time, and continue firing. By now, most of the children are deeply frightened and confused by the smoke and the gunfire. The camera moves around Batman as he continues to take out the guards, ripping off their masks.
The last of the smoke dies down, and the camera reveals an army of unconscious guards, a writhing Dr. Woodrue and Batman standing in the middle of it all.
Batman walks to the children in the cabinet, by the wall.
INT. GORDON’S OFFICE
GORDON: It always is with you, anyway. So why didn’t you just drop by like you always…
INT. HOLDING AREA
BATMAN: Whatever Dr. Woodrue’s being hiding…you told me to look into it. Now I know what’s going on, and it’s not pretty…
The camera turns to Dr. Woodrue, his transformation now complete.
BATMAN: Storm the compound, and get the children out of there. (Turns to anguished face of child) Immediately. I’ve already disabled most of the security features.
INT. GORDON’S OFFICE
The screen on the telephone suddenly flickers to life with a video image. The children appear onscreen.
BATMAN: (voice in background of video) This is your bloody warrant. I’ll meet you at the entrance.
EXT. ENTRANCE OF RESEARCH FACILITY
GORDON: We’ll clear the area, arrest anybody else and take away key personnel for interrogation.
BATMAN: I doubt Dr. Woodrue’s in the mood.
GORDON: I figured. He’s going straight to Arkham.
GORDON: I’m no stranger to the bizarre, since you came on the scene. Anyway, we’ll get the kids into the busses, and settle their situation soon enough.
BATMAN: These kids were most likely snatched from unsuspecting parents, or poached from other adoption agencies. Maybe it’s child trafficking. Or even worse, child experimentation for his projects.
BATMAN: (reaches into utility belt) Here’s something I…retrieved from one of the guards. The map will tell you where the children are. It’s marked “holding area”.
BATMAN: The photo-electric detection beams prevented me from getting closer and I hoped I would achieve the element of surprise.
