ANN
What haven't you done， Mr. Wayne？
Cured cancer？ Climbed Everest？
（no response）
You climbed Everest？
Bruce smiles， reaches out， punches off the recorder.
ANN （CONT'D）
That's……not much of an exclusive.
BRUCE
What did you have in mind？
ANN
Something slightly more……in depth.
BRUCE
Sort of like - "A Day in the Life
of Bruce Wayne？"
ANN
Exactly. You just go ahead and do
whatever you'd be doing naturally -
only make me a part of it.
BRUCE
Miss Daniel - I'll do my level best
to accommodate you.
INT. ANN'S APARTMENT - NIGHT
CAMERA CLOSE on Ann's sleeping face as she lies naked in bed， her features locked in a dreamy smile. She sighs contentedly as HER OWN VOICE IS HEARD from across the room.
ANN'S VOICE
……because there's nothing he hasn't
done and been the best at……
Bruce stands at the bedroom window， staring down absent-mindedly into the street as he finishes dressing. A LOUD CLAP OF THUNDER rolls across the city.
BRUCE'S VOICE
（from tape）
Sounds like a pretty boring guy.
Bruce punches off the recorder， then presses "rewind." He looks over at Ann's sleeping body， then down at the recorder again. He stops it， then presses "play."
ANN'S VOICE
（from tape）
……he's idle and jaded with no ambi-
tion left……
Bruce smiles to himself bitterly， exits silently.
EXT. APARTMENT STREET - NIGHT
Bruce crosses the street to a gleaming Aston-Martin sportscar. ANOTHER THUNDER CLAP！ Rain falls as he reaches into the car， takes out a topcoat and hat. He starts to pull the convertible top up， glances down the street：
PEOPLE scurry to avoid the rain. Down the block， across the street， a COUPLE with a YOUNG DAUGHTER look over nervously as a tough-looking BIKER on a huge Harley-Davidson rolls up parallel to them on the street.
BACK TO BRUCE
Adjusting the convertible top. Looking off again.
BACK TO BRUCE'S P.O.V.
Suddenly： the Biker hops the curb in front of the Family！ Pulling a gun， he herds them back into a dark alleyway.
BACK TO BRUCE
Eyes narrowing. His jaw twitches. A GUNSHOT RINGS OUT！ Bruce explodes across the street for the alleyway.
As Bruce arrives： the Young Girl bursts out screaming， runs past him. Bruce hesitates， then runs inside the alley.
ANGLE IN ALLEYWAY
The Man lies in the alley， being cradled by the Woman. Blood oozes from the side of his head Bruce arrives.
WOMAN
I……think he'll be all right. Our
daughter's run to call an ambulance.
Bruce hears the REVVING of a motorcycle. He looks off down the alley， eyes flashing with anger.
ANGLE DOWN ALLEY - HIS P.O.V.
The Biker grins at him from the far end of the alley， puts his Harley in gear， rolls off through the pouring rain.
BACK TO BRUCE
He makes his decision， takes off in pursuit.
WOMAN
Careful！ He's got a gun！
EXT. END OF ALLEYWAY
Bruce arrives at the alley corner， looks off：
ANGLE ON BIKER - HIS P.O.V.
The Biker hovers by the side of an apartment building， still grinning at Bruce through the rain. He rolls forward slowly， almost as if enticing Bruce to follow him， now disappears again.
BACK TO BRUCE
Bruce arrives at the rear of the building， which faces on a vacant dirt lot. He edges forward through the mud， turning the corner， suddenly coming face to face with：
The Biker. Still grinning. Switching off his Harley. Muscles bulging through his wet T-shirt as he dismounts.
BIKER
Congratulations， man.
（wide smile）
You caught me. Matter of fact……
The ROAR OF ENGINES is HEARD！ Bruce turns to see： TWO MORE BIKERS， rolling into position behind him. Bruce is hopelessly trapped.
BIKER （CONT'D）
……you caught all of us……
The other two Bikers now dismount and close in. The first Biker draws his gun. Biker #2 looks Bruce up and down critically， squinting at him through the rain.
BIKER #2
That's my raincoat you're wearing.
Take it off.
Biker #2 snaps his arm forward - a switchblade appears in his hand. He flicks it at Bruce who stands his ground， slicing a button off the front of his raincoat.
BIKER #2 （CONT'D）
Pick up the button， Wimpy. Then
lick it clean and hand me my coat.
Bruce stares icily， then slowly bends down to retrieve the button from the mud. Suddenly： Biker #1's foot flashes INTO FRAME， headed straight at Bruce's face！ In a lightning-quick move， Bruce grabs the swinging leg with both hands， rises， swings Biker #1 off the ground in a circle， sends him crashing into the motorcycles as his gun goes flying.
Biker #2， switchblade in hand， rushes Bruce. Biker #3 unhooks chains from his belt. Bruce sidesteps： the knife slashes through his raincoat， sending it billowing out behind him like a cape！ Biker #3 whistles the chains past Bruce's ear： He snatches them， karate-kicks Biker #3 in the stomach， simultaneously belting Biker #2 across the side of the head with the chains， knocking him unconscious.
Biker #3 lunges at Bruce from behind！ Bruce spins， grabbing his arm， twisting the knife away， catching it in his other hand as he trips Biker #3， sends him sprawling in the mud. Bruce now straddles him， knife in hand.
CLOSE ON BIKER #3
Blinking in fear， his head pressed into the mud next to the button.
BRUCE
Your turn to pick up the button，
scumbag……
Biker #3's arm slowly starts forward as Bruce steps on it.
BRUCE （CONT'D）
With your mouth.
Biker #3 shuts his eyes in humiliation as： THE SOUND OF A SIREN IS HEARD！
ANGLE ON SIDE OF BUILDING
TWO POLICEMEN round the corner of the apartment building， now stop， stare in astonished silence at：
The Three Bikers， sprawled in the mud near their machines. Bruce has completely disappeared.
EXT. ALLEYWAY ENTRANCE - NIGHT
A paramedic van is parked at the entrance. Umbrella-holding ONLOOKERS watch. A gurney with the wounded Man is wheeled out. The Woman and the Young Girl follow.
Bruce appears at the edge of the crowd， collar still up， hat adjusted low over his face He stares.
The Paramedics stop. One leans down， examines the Man， then covers his face with the sheet. The Woman turns away in silence. The Young Girl clings to her.
Bruce watches， his eyes filled with tears. He turns， walks off as CAMERA RACKS FOCUS to the pouring rain.
EXT. WAYNE MANOR - NIGHT
CAMERA RACKS BACK from the rain to Bruce， standing by the Aston-Martin in front of Wayne Manor.
INT. LIVING ROOM - NIGHT
Bruce enters the empty living room. His expression is numb. He pauses， lost in thought. Then， moving as if by instinct， he heads for the stairs leading to the basement.
INT. BASEMENT HALLWAY - NIGHT
Bruce descends the stairs， walks down the hallway to a door. He stops， looks down at the heavy padlock which seals it shut. His eyes close in pain， remembering an earlier time.
INT. YOUNG BRUCE'S LAB - NIGHT
Seen through dim half-light： his childhood lab is coated with dust - a room obviously left unused for years. We hear A KEY TURNING IN THE LOCK. The door to the lab swings open. Bruce trains a flashlight on the interior of the musty room. He enters， finds a light switch， flips it on.
The lab table is much as we remember it， crammed with old test tubes， beakers， etc. Bruce crosses， stares down， lost in his past， then switches on the holograph machine. He stares - stunned and amazed as：
THE HOLOGRAPH FIGURE OF TEN-YEAR-OLD BRUCE WAYNE SPRINGS TO LIFE！ An exact visual reproduction of the Child who used to be. The Young Boy peers down through a cobwebbed microscope in precisely the position we first saw him.
Bruce's eyes fill with tears - he shuts them tightly as he hears a VOICE from long ago.
YOUNG BRUCE'S VOICE
It's called a holograph， Dad.
Pretty neat， huh？
One laser beam suddenly shorts out with age： the image of Young Bruce disappears. The second beam continues to burn， its energy directed at a disintegrating basement wall.
Bruce slumps at the other side of the table， oblivious， his face buried in his hands.
OVERLAPPING IMAGES AND VOICE START TO APPEAR ON THE SCREEN.
Martha Wayne - giggling with Young Bruce， then kissing her husband passionately.
DR. WAYNE'S VOICE
This - is definitely not a guy.
Thomas Wayne - his face twisted in anguish as Chill's bullet blows.
MARTHA'S VOICE
Oh， my God！ No！！
A SHARP CRACK！ - As a piece of something crumbles away.
ANGLE ON BRUCE
Looking up. Staring across the room：
The remaining laser beam has eaten away a piece of the basement wall - there is a dull ECHOING THUD as the plaster hits the bottom of some unseen cavernous space below.
BACK TO BRUCE
Rising. Crossing curiously to the hole in the wall. Training his flashlight torch through it.
ANGLE DOWN HOLE - HIS P.O.V.
AN IMMENSE CAVERN trails down and away into the blackness. A network of aged timbers intersect themselves， shoring up the side of the foundation.
BACK TO BRUCE
Staring. Playing his flashlight against the visible parts of the underground cavity. He picks up a beaker from the lab table， then lets it fall through the hole. There is an interminable wait. Finally - the impact of SHATTERING GLASS.
ANGLE BACK THROUGH HOLE
Seen from inside： the torch beam shines. Suddenly - a long length of rope is tossed through. Bruce appears in the opening. He wriggles through， hanging on to the rope.
Bruce expertly shimmies down the rope， a man completely at home in an action he knows well. The beam from the torch dances across the walls of the cavern： high-ribbed， jagged walls， suggesting some sort of labyrinth beyond. The rope has played out. Bruce hangs by the end， looks down， lets himself fall to the cavern floor below.
He rises， plays the torch against the sides of the cave.
ANGLE ON BEAM - HIS P.O.V.
The beam searches into crannies， exploring dark gray walls. It comes across a large patch of solid black.
BACK TO BRUCE
Looking curiously.
BACK TO BLACK PATCH
As the beam hits the black patch fully - dozens of yellow eyes appear. The entire mass LAUNCHES ITSELF INTO CAMERA with a terrifying screech and the sound of beating wings.
BACK TO BRUCE
His jaw drops， stunned， as THE COLONY OF BATS swarm over him！ He stumbles， protecting his face. The torch drops to the floor. Its shaft of light dances crazily around the cavern.
From O.S. - a low moan is heard from Bruce. It rises， gathers in volume and intensity， gradually becoming a deep， booming guttural roar - at once a scream of total pain and a cry of defiance. The terrified bats scream back in a maze of hot and cold light bouncing off beating black wings.
INT. ALFRED'S BEDROOM - NIGHT
The wind and rain batter against Alfred's partially open bedroom window. Mixed with the sounds - a strong echo of the roar from the cavern. Alfred's eyes pop open. He rises groggily， makes his way to the window， closes it. CAMERA HOLDS on window， PANS UP to the moon.
DISSOLVE THROUGH TO：
EXT. CEMETERY - CLOSE ON MOON - NIGHT
A FLASHING LIGHTNING BOLT： CAMERA PANS DOWN from the moon through the raging storm to the graves of Thomas and Martha Wayne in the country cemetery， high on the hill.
Kneeling between them is Bruce - fists clenched， head bowed， tiny rivulets of water running off his face and body - totally lost in silent prayer.
BRUCE'S VOICE
I've worked hard to make you proud of
me. To become the kind of person
whose presence could make a difference
in the world. But one man can only do
only so much， Father. Mother， to-
night I saw the sign I thought would
never come. Now - for the first time
I realize I must……be……more……than
a man.
A FLASHING LIGHTNING BOLT WIPES THE SCREEN！
DISSOLVE THROUGH TO：
EXT. GOTHAM SKY - NIGHT
The remaining gossamer wisp of a transparent cloud pulls away from a glowing FULL MOON over Gotham City.
INT. GOTHAM SUBWAY STATION - NIGHT
An express train roars through a seedy subway station.
INT. SUBWAY CAR - NIGHT
A well-scrubbed TEENAGE COUPLE sit together holding hands. The BOY is dressed in a dinner jacket， the GIRL is a chiffon party dress with a prominent orchid corsage pinned to it. They exchange a nervous glance， looking across the car at：
A TOUGH-LOOKING THUG who sits opposite them， his muscular arms bulging through a torn windbreaker. He grins across at the nervous Teenagers menacingly， exposing yellow teeth， then sneaks a sideways look at： A THICKLY-BUILT TRUCKDRIVER-TYPE who stares straight ahead.
These are the only four people in the car.
The subway slows for the next stop. The Truckdriver-Type rises disinterestedly， crosses the car， looks down at the Teenagers who are none too happy with his departure.
TRUCKDRIVER-TYPE
Have a nice time at the prom， kids？
BOY
Yes， thank you， Sir.
The subway doors hiss open. The Truckdriver-Type smiles and exits. The Teenagers looks across the car worried.
The car pulls out of the station. The Thug rises， crosses the car， grabs hold of a vertical pole to steady himself， smirks down at the Teenagers.
THUG
You smell good enough to eat， Sweet-
heart.
BOY
（nervous bravado）
If you've got something to say，
Mister， talk to me， okay？
THUG
I was talking to you - Sweetheart.
A knife drops out of the Thug's sleeve into his hand， its razor-sharp blade glinting in the light. The Teenagers freeze with terror.
THUG （CONT'D）
Maybe it's that flower that smells
so good.
The Thug plucks the corsage off the trembling Girl's bodice， holds it up to his nose， inhales deeply， shaking his head.
THUG （CONT'D）
Nope. Still can't place it.
VOICE
Funny. I can smell you from way
over here.
The Thug wheels， stares off at the end of the car， his jaw dropping open. The Teenagers' eyes bulge in disbelief.
CLOSE ON CHEST
A golden circle with the black figure of a bat sits in the middle of a steel-gray skin-tight fabric stretched across a massively muscled chest.
VOICE
Give the lady back her flower.
BACK TO SCENE
The Thug looks his unseen adversary up and down cautiously， unsure of whether to laugh or obey.
THUG
Okay……sure. Just wanted to have a
little fun. I……
With a sudden lightning move he flips the switchblade in his hand， sending it whizzing in the direction of the Voice.
CLOSE ON KNIFE
The knife whistles through the air TOWARD CAMERA. Suddenly a black-gloved hand miraculously snatches it out of mid-air， spinning it， then sends it flying back！
The switchblade pierces the corsage， jerking it out of the Thug's hand， sticking it into the wall where it quivers behind him. The Thug freezes， turning white.
VOICE
Now then. I think you said you
wanted to have a little fun.
