! ! ! ! ! ! ! ! ! ! ! BACK ROOM PRODUCTIONS

BZN and BACK ROOM PRODUCTIONS Presents

BATMAN

“NINE LIVES”

WRITTEN BY LEE A. CHRIMES

CREATED FOR VS BY ADAM SCOTT

BASED ON CHARACTERS CREATED BY BOB KANE

AND APPEARING IN MAGAZINES PUBLISHED BY DC COMICS

FADE IN: EXT. FIRST BANK OF GOTHAM - EVENING The imposing, sturdy Art Deco of Gotham's primary banking institution sets the sunset scene, a small crowd gathered around the front steps and a smaller crowd within that surrounding a floodlit PODIUM, set up for a press conference. Microphones, TV news cameras and reporters, and a line of puffed up executive men and women hovering behind the raised stage like peacocks at feeding time. A middle-aged, balding man steps up to the podium, met by a series of CAMERA FLASHES - this is MARCUS HASLAM, and he is the proudest man in Gotham right now. HASLAM Thank you, thank you, ladies and gentlemen for your time here today, on the auspicious occasion of the unveiling of the First Bank of Gotham's all-new security vault. Singled out in the crowd is: BRUCE WAYNE Incognito, peering over shades at the Bank before looking down at his phone screen: Where the front page of the Gotham Broadcasting Company's news blog yells back at him: 'THE CATWOMAN STRIKES AGAIN' It's a story detailing a daring theft the day before, framed around a blurry CCTV image of the thief in question. And which just happens to have been penned by one Vicki Vale. Bruce looks back up at the Bank, a familiar grit in his jaw as he watches, discretely scanning the crowd.

ALFRED (O.S.) Thinking of taking in a stray? Bruce glances over his shoulder as ALFRED PENNYWORTH joins him, the butler nodding towards the story on Bruce's phone screen. Bruce gives him a mild look. BRUCE Aren't you supposed to be pretending to be my butler? ALFRED You're not supposed to be here. In disguise, remember? (MORE) 2. ALFRED (CONT'D) So if you're expecting me to bow and scrape then you've got another thing coming. BRUCE (amused) So noted. He looks back at the screen. Alfred cranes his neck for a look. ALFRED So back to my original question-- BRUCE She interests me. Let's call her a 'person of interest'. ALFRED This is the same person of interest who half-inched a priceless statuette the other evening? BRUCE The same. And she's got some skill. CUT TO: INT. MUSEUM - NIGHT BLACK AND WHITE, FIRST PERSON footage as we race up to a display case containing a jade CAT STATUETTE. BRUCE (V.O.) Highly agile, detailed knowledge of each of her targets and enough tech support to infiltrate security. Plus, her skills suggest she's been trained rather than picking it up as she went along. With a few discrete taps, two BLACK-GLOVED HANDS open a swing door in the side of the case, carefully removing the statue. CUT BACK TO: EXT. FIRST BANK OF GOTHAM - EVENING As before. Alfred looks amused. ALFRED A kindred spirit, then, only on the opposite side of the looking-glass. BRUCE Something like that. Bruce's attention drifts back to the press conference: 3.

HASLAM Thanks to advances in one hundred and twenty-eight bit security algorithms, courtesy of our friends at Wayne Enterprises, plus the latest in promethium alloys, we can now make a claim no other bank in the world can dispute... (pauses for effect) We have the world's first and only theft-proof vault! More FLASHES and a hubbub of a dozen reporters firing questions all at once. Haslam waves for them to quieten down, soaking up his moment in the limelight. ALFRED Ah, the unbreakable vault. BRUCE Pretty tempting target for someone looking to raise their profile. ALFRED And this is relevant to our work on the Brotherhood because...? BRUCE Because it's not just money the First Bank keeps. Their servers have all kinds of secure information - Wayne Enterprises keep a chunk of our data in there. That makes this a personal case. ALFRED And you're sure she'll make a move tonight? He picks out a handful of faces - the wealthy, pampered and publicity-seeking of Gotham, all assembled in a section of the crowd ring-fenced before the podium. His eyes linger on a WOMAN with long, black curly hair doing her best Audrey Hepburn in a large hat and glasses as she moves through the crowd, before Haslam continues: HASLAM Now I'm sure you'll all have plenty of questions, so... (gesturing) ... learned friends, members of the press, if you'd like to follow me, we can head in for a closer look. 4.

BRUCE (to Alfred) All these people, the circus, the distraction, the attention of the press. (shrugs) I would. ALFRED Really? BRUCE If I was trying to make a statement, sure. Theatricallity, deception - any of this ringing a bell? ALFRED I still think you're off your nut. (off his look) But you're probably right. The reasoning is sound. BRUCE (points) Come on. Haslam steps down off the podium, the group around him making to follow him into the bank. Bruce and Alfred start to head off, away from the crowd. BRUCE (CONT'D) She'll wait until tonight. Case the place out first, see what she's up against. Might even be in the crowd right now but there's no way for us to identify her yet. ALFRED Shall I go get your gear ready in the car, then?

BRUCE (nods) We can swing back this way later tonight after we've taken care of our other business. Besides, Lucius assures me that quick-access suit will be as easy as pulling on a pair of gloves. ALFRED I look forward to hearing whatever inventive curses your vocabulary produces when you try to get into it, then. 5.

Alfred peels away, and with a last gaze at the crowd outside the bank as Haslam's group head indoors, Bruce follows. As the journalists cluster together, FOCUS on one in particular - a harrassed-looking man, fiddling with a handheld audio recorder far too advanced for him. BUMP! He's jolted out of his daze as a TEENAGE GIRL rebounds from him. She's slim, pale, unassuming, and raises her hands to apologise with a sweet smile. Reporter nods back, stealing another glance at her as she moves away, before the crowd of onlookers engulfs her. TRACK the girl as she weaves through the hustle, soon arriving at the waiting Aubrey Hepburn lookalike, positioned carefully out of direct sight of any cops or cameras. A nod of recognition between them, the girl striding past without slowing: And slipping a PRESS PASS into the woman's hand, the practised manoeuvre done in an instant. GIRL Got you one without a photo. WOMAN Good girl. The girl melts back into the crowd with practiced ease. Heading towards the crowd of journalists, the woman quickly ditches her hat, slips off her coat and reverses it with a flourish before shrugging it back on. Letting her hair down out of its bun and pinning the press pass onto her lapel, the woman arrives at the security barricade looking every inch the newshound. As she follows the others inside, we

CUT TO: INT. BANK OF GOTHAM - FOYER - NEXT Haslam leads the gaggle, the high-vaulted ceilings hinting at the building's more illustrious past. Armoured glass booths and other anachronisms clash with the stonework facades. Haslam comes to a halt in the middle of the open space, the press and dignitaries clustering around. HASLAM Quick show of hands, who here today has any savings or valuables stored here at the First Bank? 6.

Swapped glances in the crowd before, one by one, pretty much everybody has their hand up. HASLAM (CONT'D) (grins) The aim of today's demonstration is to show that everyone from Gotham's elite all the way down to the little people can be safe in the knowledge the First Bank will keep their Benjamins safe and sound. (waves) If you'd like to follow me? He heads on, the crowd fanning out behind as murmured conversations fill the space. Unseen by all, our mystery woman slips round and into an alcove out of sight, already detached from the group. INT. BANK OF GOTHAM - CORRIDOR - NEXT Haslam leads the group down a lavish, red-carpeted corridor heading towards a set of heavy duty doors. Haslam is gushing enthusiastically to one of the reporters: HASLAM Nobody's ever attempted a design like this before. Karthain Security have outdone themselves this time! As the group continue and Haslam's rhetoric fades, the Woman reappears, carefully tailing them all towards the vault. The Woman pushes her hair back - revealing a BLUETOOTH EARPIECE hidden by her flowing locks. WOMAN (into earpiece) Camera jammers online? VOICE (filtered; through earpiece) All green. You're a ghost. WOMAN Always thought I was an Aries. She glances up to her left: A small CCTV CAMERA pivots lazily, the Woman cautiously moving out into its sweeping pattern. INT. BANK OF GOTHAM - SECURITY OFFICE - NEXT Where the camera's feed displays on one monitor among a bank of dozens. 7.

Where the Woman should be, there's merely a ripple, refracted light as if the lens was blurred. A ghost indeed. INT. BANK OF GOTHAM - VAULT ENTRANCE - NEXT Haslam strides into frame, leading the group down a plush hallway and heading up towards: THE VAULT An imposing, steampunk monstrosity of a bank vault, all sliding cogs and bolts framing a massive wheeled handle. More for show than practicality. Haslam whirls round theatrically, hands in the air like a side-show circus master, announcing: HASLAM Ladies, gentleman, friends, Romans and countrymen - the Vault! A ripple of APPLAUSE and more CAMERA FLASHES as he turns on his heel, hand indicating the Vault like a proud parent. Unnoticed, some of the cameramen start stepping discretely away from the others. One of the accompanying Security Guards unhooks his gun, eyes turning to the main doors. Two more from the crowd separate and step casually back towards the doors, quietly covering the exits, but Haslam is in full flow and ploughs on: HASLAM (CONT'D) That's right, what you see before you right now is-- CLICK! A chorus of GASPS from the crowd as the barrel of a HANDGUN slides into frame, pressing itself against Haslam's temples. VOICE You know... Follow the arm back to find STOCKS, a short, scruffy man removing a guard's cap with his other hand. STOCKS ... you might wanna do a double check on the security around the rest of the place too. The crowd are moved to SHOUTS and YELPS of alarm now as the bogus cameraman snap open their dummy cameras to reveal more GUNS - quickly encircling the group. Keeping the shaking Haslam at gunpoint, Stocks turns and checks the doors - getting a thumbs up from his accomplices. 8.

STOCKS (CONT'D) Alright, alright! (louder; over crowd) Calm down, please, everybody, we don't give a damn about any of you, we just want what's ours. He waves his gun towards the Vault. STOCKS (CONT'D) Nothing in there belongs to you. He JABS the gun against Haslam's plentiful waistline. STOCKS (CONT'D) You see, we, the 'little people' as my calorie-counting friend here described us, spend our lives working for people like you. He steps back towards the crowd, and as a terrified younger woman tries to shrink away from him, he quickly GRABS her. She cowers, WHIMPERING in fear as he pulls her close, casually waving his gun around while he speaks: STOCKS (CONT'D) And what happens? We bust our asses, every day, every year, making money that you get to put away in places like this. Only the thing is, well, we like money too. We really like money. That's the great irony of combining a capitalist society with a period of economic downturn, I guess. He leans in close to the shivering woman, close enough for her to smell his breath as he menaces her. STOCKS (CONT'D) So you can imagine the nasty, sour taste it leaves in our mouths when we hear about things like this. He turns, back to the crowd as he gesticulates towards the Vault with his gun, other arm tight around his hostage. STOCKS (CONT'D) A new, super-strong bank vault for you to keep all the lovely dollar bills we kill ourselves earning for you, putting me and mine one step further away from what is ours? (chuckles) You gotta admit, makes for some powerful motivation for us to-- 9.

Two muffled THUMPS from the other side of the room are followed by a voice announcing: WOMAN (O.S.) I hate to interrupt, but... Everybody SPINS round, revealing: The two goons by the door, slumping stunned to the ground. And standing over them: THE CATWOMAN Black bodysuit and fishbone corset. Chunky leather boots. Thick, curved goggles. Army and Navy gone cyberpunk. And a wicked smirk at finally becoming the centre of attention. CATWOMAN Could you hurry this along? I need to make a withdrawal. Blinking out of his surprise, Stocks SHOVES his hostage aside and brings his gun round: And Catwoman LEAPS into action - an acrobatic CARTWHEEL puts her in range of the first goon, CRASHING into him. He stumbles, and she snaps her wrist out - a BULLWHIP unfurling in one smooth, practiced motion. She CRACKS it to her left, and another goon drops his gun with a CRY of pain! CATWOMAN (CONT'D) (devilish) Wanna see me walk the dog? STOCKS What - just - get her! He lets off a few SHOTS and the crowd SCATTER in panic, Catwoman snaking left and right, using the mayhem as cover.

She BOUNCES off somebody, using the momentum to WALL JUMP up into the air and down with a driving PUNCH to floor another armed goon. Rolling over the back of one fleeing guest, she SCISSOR-KICKS the last goon to the floor. STOCKS (O.S.) (CONT'D) Hey! Catwoman spins - Stocks has Haslam back at gunpoint, his handgun pushed deep into the manager's jowls. STOCKS (CONT'D) Don't move, or I drop him! 10.

CATWOMAN (beat) Go ahead. He looks like he could survive the fall. Stocks hesitates, thrown, as Haslam's eyes bulge... CATWOMAN (CONT'D) (rolls eyes) Oh, for the love of... Too fast to track, she whirls on her heel, the bullwhip SNAPPING out of her hand. It strikes Stocks right between the eyes, poleaxing him flat onto his back. CATWOMAN (CONT'D) Actually, guy, yeah, killing is kinda bad. I'd appreciate it if it didn't happen while I was around. Before Haslam can recover, Catwoman is onto him - looping her whip round his neck like a leash. She hauls him back a step, closer to both the Vault and a side door for access. CATWOMAN (CONT'D) Now then, Mr. Haslam - or can I call you Marcus? Feels a little formal, I know, but-- GOON (O.S.) Don't move! One of the goons is back on his feet, blinking through the pain as he aims a SHOTGUN at Catwoman. A standoff - punctuated by ALARM BELLS starting to blare back up in the main bank foyer.

CATWOMAN Quite a shot you're hoping to make there. GOON Let him go and get down on the ground, now! Haslam WRIGGLES in her grip, and she tightens her hold. 11.

CATWOMAN Oh. You're sweet. No, see, what I meant was, that's a sawed-off Winchester Thirty-Seven you're pointing at us, sub-twenty-seven inch barrel to fit it inside those dummy camera cases. Probably loaded with shot over slugs, enough recoil to leave a dent in your forearm too. Shooting that at this range... let's just say the odds aren't great for Marcus here to get to cash in his shares. (beat) You really want the heat from that? Another beat. SHOUTS and the sound of RUNNING FEET from within the bank and the corridor outside. A beat as the Goon and Catwoman lock stares - before: BATMAN (O.S.) Let me take that for you. The Goon whirls round - SLAM! One Bat-punch into his midriff, the shotgun WRENCHED from his hands before an ELBOW drives into the back of his neck. BATMAN expertly disarms the shotgun and tosses it aside - now it's just him and Catwoman. CATWOMAN Wow - the legendary Batman! (beat) Eh, thought you'd be taller. Batman looks impassive. Catwoman looks disappointed, carries on. CATWOMAN (CONT'D) (off goons) Sorry about those guys - definitely not with me. And you're gonna need to invest in some quieter boots if you want to keep sneaking-- Batman LUNGES forward, Catwoman barely dodging his attack as she's forced to PUSH Haslam to the floor! He SWINGS his cape round, briefly distracting her, before dropping to LEG SWEEP her. Catwoman is able to HOP over the attack, but as she SNAPS her whip back round, Batman closes the distance, SNAGGING the whip round his arm and pulling it taut. Off balance, Catwoman stumbles forward, narrowly avoiding a PUNCH from Batman. 12.

She jumps up, STRADDLING his shoulders and CHOPPING down until he releases the whip. Leaning right back, Catwoman uses her weight to pull Batman back and off balance, planting her hands on the floor and trying to JUDO TOSS him away! He's too heavy for that, Catwoman's miscalculation sending them both tumbling to the floor in a tangle of black limbs. Something delicate BREAKS within the folds of Catwoman's hood as she lands: INT. BANK OF GOTHAM - SECURITY OFFICE - NEXT And on the CCTV screen, with a crackle of distortion Catwoman is suddenly visible! The office is already in a state of high alert, but the scrambling guards don't have time to notice the battle raging on the Vault screens. EXT. MAJOR CRIMES UNIT - NIGHT Establishing shot of the building in downtown Gotham. INT. BULLPEN, MAJOR CRIMES UNIT - NEXT Where JIM GORDON is working late. RUNNING FEET sound from outside the office. He looks up sharply. INT. CORRIDOR, MAJOR CRIMES UNIT - NEXT DETECTIVE SARAH ESSEN makes her way up the corridor armed with a coffee -- and has to step smartly back as a tide of UNIFORMED COPS goes running down the corridor. ESSEN Hey, what the--? GORDON (O.S.) First Bank of Gotham, robbery in progress. She looks up to see Gordon approaching, pulling on his coat. GORDON (CONT'D) Unless you've got other plans. Essen grins as she falls into step beside Gordon. ESSEN Wouldn't dream of it. INT. BANK OF GOTHAM - THE VAULT - NEXT ALARMS ringing out, accompanied by SHOUTS and RUNNING FEET, all while Catwoman and Batman circle one another warily. 13.

CATWOMAN Think it's time we went our separate ways, handsome. BATMAN You're coming with me. CATWOMAN (tuts) Sorry, Bats. I outgrew my goth phase a long time ago. He SURGES forward but Catwoman's too quick: Peeling over into a series of BACKFLIPS, she scoops up her whip on the way back, quickly leaving Batman behind. Recovering, she takes aim and CRACKS her whip towards a panel on the wall as Batman advances: And with a piercing SHRIEK of grinding metal, several panels of STEEL BARS drop from the ceiling, trapping Batman on the other side! Haslam is on her side of the bars, and he lets out a fearful YELP as she hauls him back to his feet. CATWOMAN (CONT'D) (off bars) And this is why a girl does her research first. (blows kiss) A fra poco. And she's gone, dragging Haslam with her, leaving Batman to POUND a fist impotently against the solid steel bars. Stepping back, his mind races as the alarms blare on and the inbound security are mere seconds away. He goes to his UTILITY BELT, quickly producing a small, pistol-shaped device. Taking aim at the ceiling, he FIRES three shots: Three tiny wads of PLASTIC EXPLOSIVE splat into place around a SKYLIGHT higher up in the wall. Batman thumbs open a lid on the rear of the pistol to reveal the DETONATOR. And as a horde of armed guards flood into the corridor, he simultaneously tosses down a handful of PELLETS as he hits the switch: BOOM! SMOKE and DEBRIS rains down on him, a billow of thick smoke rushing back into the corridor courtesy of the SMOKE PELLETS, obscuring Batman from view. 14.

He quickly takes aim with his GRAPPLE and fires through the jagged HOLE blasted in the wall. A handful of the guards stumble through the smoke, COUGHING: Just in time to see the BLACK SHAPE that is Batman sail upwards and out through the hole. Open-mouthed, they can only stare as the man-sized bat seems to fly to freedom before their very eyes! PULL BACK as the rest of the guards make it through the smoke, but all they have is an empty cage as we CUT TO: EXT. FIRST BANK - ALLEYWAY - NEXT As Catwoman and the still-captive Haslam burst from a side access door and out into the narrow alley. As distant SIRENS start to echo more loudly, she gives Haslam a push to keep him moving. CATWOMAN You know, Marcus, next time you unveil a super duper high tech maximum security bank vault, try not to get so over-excited at her public debut that you share all her secrets with every tech magazine in the city. HASLAM What - b-but, I didn't-- Catwoman keeps him held firm while she readies a small hand- held GRAPPLING GUN. SIRENS are inbound. CATWOMAN Oh, please. You practically gave us a lock of its hair, you were so proud of yourself. I could've drawn a floor plan in my sleep. She takes aim at the nearest rooftop and FIRES, a hook on the end of a long tensile cord streaking up to the ledge. CATWOMAN (CONT'D) Hold this, would you? She pushes the gun into his hands: And with a CRY from Haslam, the duo are pulled up off the ground, screaming towards the rooftop at terrifying speed! Catwoman WHOOPS - this is her favourite part. 15.

EXT. ROOFTOP - NEXT Up on the rooftop, Haslam comes into view first, huffing and panting as Catwoman shoves him up the last few steps of a fire escape. CATWOMAN Quit bellyaching, you big baby! A little cardio won't kill you. Once he's clear, Haslam stumbles forward - then freezes, seeing something off frame that stops him cold. Catwoman follows him up onto the roof, not having noticed whatever it is yet: CATWOMAN (CONT'D) Like I said down there, I only need you for a minute and then you're free to... She trails off as her gaze falls on: BATMAN, moonlight tracing round his cape, cowl and body armour as he stares down at the duo. BATMAN Stand down. CATWOMAN For real? We just got all the way up here! Batman takes a step forward - and this time, Catwoman grabs Haslam and SHOVES him straight into Batman! His bulk knocks Batman back a few steps, and that's all the time Catwoman needs to scamper away and unhook her grapple from the edge of the roof. Pausing for effect as Batman pushes the flailing Haslam off him, she WINKS salaciously - then turns and FIRES the grapple. It connects with a solid THUNK on something off screen, and Catwoman launches herself off the rooftop! Batman surges to the edge, but Catwoman's already gone. He allows himself a brief laugh, impressed. HASLAM (O.S.) (timid) Er... excuse me? Hello? Batman turns - Haslam is sprawled pathetically on the rooftop like an overturned child. HASLAM (CONT'D) Is she... is she gone? 16.

A beat - then without another word, Batman SWOOPS his cape round as he makes his exit, dropping out of sight. EXT. BACK ALLEY - NIGHT Alfred's waiting by the Range Rover as Batman drops into frame. ALFRED Well? Bruce pulls the mask off, giving Alfred a frustrated look. Alfred nods, all traces of mirth gone. ALFRED (CONT'D) That's what I thought. CUT TO: EXT. FIRST BANK OF GOTHAM - LATER Now a melee of activity - the genuine news crews have now taken over coverage of the scene, blue and red flickering lights courtesy of the GCPD bathing the steps. Now back in her civilian guise, the Woman is sobbing her heart out as she tearfully recounts her experience to a waiting REPORTER and her cameraman. WOMAN (breathless) It - it was all over so fast, I - before any of us knew - she - that woman, she just... At the edge of the scene, Alfred's Range Rover slows as it passes the crowd, and within: INT. RANGE ROVER - NEXT Bruce scans the activity as Alfred drives.

He spots Gordon, on site and leading with authority as he barks orders to junior officers locking the scene down. A shout gets Jim's attention - and it's Haslam, shaken and stirred, a blanket round his shoulders as an EMT leads him down the bank's front steps. Bruce watches, thoughtful, before we CUT TO: INT. ROBINSON PARK - APARTMENT - NIGHT A lavish uptown apartment suite, a handful of rooms worth more than some people's houses. 17.

A window creaks open as the still-costumed Catwoman climbs in from the balcony outside, but before she gets a foot down: The LIGHTS flick on, and Catwoman's teenage accomplice from earlier - HELENA - stands, furious-looking at the switch. HELENA What. The hell, Selina. And SELINA KYLE exhales as she peels back her cowl, pushing the goggles back up on her head. SELINA Hi, honey, I'm home. Helena clucks after Selina as the weary thief makes for a chaise longue, throwing herself face first onto it. Helena scoops up the TV remote and turns the room's plasma screen on: It's GBC news coverage of the raid on the bank vault, hosted live on scene by our own VICKI VALE. VICKI (O.S.) -- in which the much-anticipated unveilling of the new vault was hijacked by not one but two attempts to rob it. Although the arrival of the Batman seems to have foiled the robbery questions have been asked-- HELENA (pointing at TV) Explain to me when 'rob the bank' turned into 'fight the Batman'? Selina waves a hand dismissively at her. SELINA Please. More like Bat... Guy. Looked like he'd have to flex a muscle just to grow stubble. HELENA (warning tone) Selina... With an aggrieved GRUNT, Selina sits back up, starting to strip out of her black, ninja-style fatigues. SELINA Helena, look. Was I being somewhat optimistic in thinking I could rip off a vault like that? Probably, yes. Shoot for the stars and-- 18.

HELENA (over her) And you might get halfway there, yeah, I know. So what about this? She grabs an iPad from a dresser table, holding it out to show Selina: The Gazette Online's front page piece on her. SELINA (scans article) Must be a different thief. Says here the police are looking for someone who weighs one twenty-five. C'mon. Seriously. Selina pauses by a mirror as she shrugs off the last wraps of fabric covering her body. Helena rolls her eyes, HUFFING loudly, as Selina gives her (tastefully concealed) form a quick inspection. SELINA (CONT'D) One eighteen, tops. HELENA Could you take this seriously for two seconds and not just crack jokes all the time? SELINA You just don't appreciate good comedy, Helena. HELENA Good comedy I appreciate. The jokes you tell are usually found on fortune cookies in Guantanamo. Selina ducks into the bathroom, but Helena keeps chasing: HELENA (CONT'D) It's already gotten too hot in Gotham. We need to move on. SELINA (O.S.) We don't have what we came for yet. I was hoping you might have had some more ideas on things to try. HELENA I did have an idea - to not rob the world's first un-robbable bank! SELINA (O.S.) You're no fun in your old age. 19.

HELENA Who says it's even here? Maybe we should try Bludhaven, or Central, or Coast, or even Starli- Selina emerges, wrapped up in towels, and snaps: SELINA Helena! This is my call, and my call is that we are not done in Gotham yet. Okay? Helena chews her lip, biting back a rebuke, but off Selina's raised eyebrow she turns and marches out of the room, grabbing her jacket on the way. Selina hears a SLAM from the apartment door - and sags, defeated, not having enjoyed that conversation. INT. BULLPEN, MAJOR CRIMES UNIT - NIGHT And it's with Gordon as he throws his coat over a chair and flops down into his seat, exhausted. ESSEN (O.S.) So was it him? He looks up to see Essen leaning against an office divider. GORDON Was what who? Taking that as an invitation, she pulls up a chair and sits opposite him. ESSEN You know who. GORDON (exhales) Unconfirmed sighting of the Batman by officers on scene, yes. His role in the attempted robbery is unknown at this time-- ESSEN Good PR. Well practiced. Wholly unbelievable. Only problem is it doesn't tally with what anyone else is saying, including the TV news. GORDON Do you believe everything you hear on the news? (rubs eyes) What do you want from me, Sarah? 20.

ESSEN Just something more like the truth. GORDON Alright... He leans across the desk, lowering his voice. GORDON (CONT'D) It was Jackson and Livingstone first on scene. They saw the Batman blow a hole in the vault ceiling with some kind of explosive, and then... ESSEN And then? GORDON (hesitant) They said... he flew away. A beat. Essen SNORTS with laughter and Jim leans back in his chair, knowing exactly how that sounded. ESSEN Did you stop to point out to Officers Jackson and Livingstone the 'man' element of 'Batman'? He's just a guy in a suit, Jim. Doesn't make him David Blaine. GORDON Either way, he got away. Bank manager claims he threw down with our Catwoman on the roof before she got away and he followed. ESSEN Fighting over the prize? GORDON What 'prize'? Nothing was taken. ESSEN That we know of. She rises, letting him get back to the unenviable task of filling out tonight's paperwork. ESSEN (CONT'D) Shame you didn't get chance to say 'hi', really. GORDON (already engrossed) Goodnight, Sarah. 21.

With a smirk, she leaves. STAY ON ESSEN as she rounds the corner - her smirk fading, replaced by a darker, troubled expression. BACK ON GORDON as he pauses, a sheaf of papers in his hand, before grabbing his coat and exiting the office. Essen watches him go, curious - then reaches for her phone to start typing a TEXT as we CUT TO: INT. BATCAVE - NIGHT ON ALFRED as he heads down one of the staircases etched out of the stone, a covered SILVER PLATTER in one hand. He reaches the main plateau and heads towards Bruce, who sits before his bank of media screens, silently absorbing the flow of visuals and information scrolling past. Alfred pauses, waiting for Bruce to acknowledge him, then with a grimace CLANGS the platter down on the computer desk. Bruce jolts, surprised, but Alfred calmly intones: ALFRED Supper's ready. Bruce pauses, then scoots over to lift the platter - revealing a bowl of beige SOUP and two rolls. BRUCE (sniffs soup) Vichyssoise? ALFRED I'm expanding my palette. Bruce shrugs, scooping a mouthful of the thick soup as Alfred checks over the explosive-firing pistol.

BRUCE (blinks) Isn't this supposed to be served cold? ALFRED (off pistol) I didn't even know you had one of these - is it a new order? 22.

BRUCE (not listening) She said 'this is why a girl does her research first.' She knew where that panel was to activate the shutters. He moves from one keyboard to another, dozens of windows open on the main monitor screen. BRUCE (CONT'D) She was there, Alfred. At the press conference. She got inside somehow, took a look around first. ALFRED I thought the only ones who went in for a look at the vault were-- BRUCE Big spenders, a few CEOs, handful of Haslam's buddies... and the press. On one screen, replayed footage shows the harassed Reporter from earlier arguing with security at the bank barricade. BRUCE (CONT'D) So now I just need to find her. (beat) There was something else she said, at the bank... Another screen BEEPS, and Bruce heads over to it, his train of thought broken. ALFRED How do we do that? We don't even know what she looks like. BRUCE Actually... (taps a button) Lucius, you there? LUCIUS (filtered; through com) Ready an' willing, Mr. Wayne. INTERCUT WITH: INT. CLOCK TOWER - NIGHT Where LUCIUS FOX sits at his own console - a sleeker version of Bruce's messy setup, bathed in green from several screens and monitors as he wheels his chair along to another terminal. 23.

On screen, an identikit-style program is busy flicking through data and small screen grabs scrolling past it. LUCIUS (typing) Transmitting the data now. Back in the Batcave, Bruce looks up as the identikit program appears on one of his screens. Next to the console, Bruce's cowl is plugged into the computer itself, downloading information. Another BEEP - and the wireframe image on screen starts to refresh into a photofit image of Selina! BRUCE (off Alfred's look) Cameras in the cowl's eyepieces can capture high resolution footage in real time. Even though it was too fast for my own eyes to register it, I got close enough to her in the fight for the cowl to be able to map out the approximate contours of her face, even underneath her hood. Add that to the existing CCTV footage of her in action to date that the computer's trawled through, however hazy or inconclusive, and... ALFRED Alright, I get the picture. LUCIUS (grins) And we don't need to have seen her close up. Lucius taps a few commands into the computer - the image of Selina zooms back as the screen replays multi-angle footage of the press conference. Bruce leans back in his chair, templing his fingers. BRUCE We just need to see if she was there... Success - a freeze frame of Selina passing the barricade, then another of her with the EMTs afterwards. Different appearance both times but recognisably her. 24.

BRUCE (CONT'D) ...and see where she went after the show was over by tracking her on any other camera feeds that picked her up. LUCIUS (typing) On it. Accessing schematics. A top-down map of the city flips up, red dots tracing paths back through the streets, until: A flashing red dot - at ROBINSON PARK. ALFRED (shakes head) Where do you get these wonderful toys? LUCIUS That'd be me, Alfred. I make them. ALFRED So who is she? LUCIUS (studying screens) Absolutely no idea. She's a ghost. No file, no record, no trace of her in any database. I can leave some programs running, see if they pull anything up... BRUCE Do it but don't make it a priority. If she's smart, she'll be well hidden from the usual sources. ALFRED (beat) Still doesn't explain why she went to all the trouble of breaking in, only to try and steal the bank manager rather than the anything from the vault. BRUCE (taps his neck) She left a tracer on him. Subdermal, just in the fat of his neck. Saw the mark on his skin but didn't have time to get to it. Probably planning on using it to remotely access the bank systems next time Haslam's in his office. (MORE) 25. BRUCE (CONT'D) Wayne Enterprises servers are in that vault too, remember. This was never about breaking into anything. ALFRED And the armed robbers? BRUCE Wrong place, wrong time. They were plenty surprised by her appearance - nobody's that good an actor. (into comm) Lucius, cheque is in the mail. LUCIUS Add an extra zero and we'll see if there's a next time. Bruce cuts the call, rises from his chair and PATS Alfred on the arm as he moves away. BRUCE Just need to pay attention to the details, Alfred. ALFRED (as Bruce exits) Tracking down vigilante gangs is one thing, kid, but when all's said and done you're not paid by the police to cover up their deficiencies. Bruce stops at that, turns back to face him. BRUCE I can't have what I do escalating, Alfred. I'm doing this for a purpose, not to be anybody's role model - good or bad. Maybe this 'Catwoman' saw me on the news and thought dressing up would be cool. (moving away) You said it yourself - maybe we can do some good for this city. Even if it's by accident. INT. VICKI'S OFFICE, GBC - NIGHT Where VICKI VALE keeps her head down, hair tied back and glasses on as she manages a busy PC screen covered in open internet browser windows. She's perusing the list of potential Brotherhood suspects, but it seems to be slow, frustrating going so far. 26.

Someone walks by and Vicki quickly opens her emails to cover the screen - false alarm. She exhales, noticeably uncomfortable with whatever she's doing, when: Her phone RINGS. Grateful for the distraction, she scoops up the handset: VICKI Vale, GBC. HARVEY (O.S.) 'The Catwoman'? INTERCUT WITH: INT. HARVEY'S OFFICE - NIGHT Also working late is HARVEY DENT, but given the drawn blinds, glass of cognac and CIGAR, he's been off duty for a while. HARVEY It's a little comic book, don't you think? Vicki smirks, leaning back in her chair. VICKI I'm gonna go ahead and assume you had better opening lines than that, but chose not to use them for the excellent reason you're about to give me... HARVEY Then again, you're the one who came up with 'The Batman' so it's not exactly a surprise. VICKI Is this going anywhere? HARVEY Somewhere very serious, actually. I'm playing the role of the concerned friend. Should Bruce be concerned about his crown jewels? VICKI Depends which ballerina he's stepping out with this week. HARVEY (grins) With a talented thief on the prowl, is extra security something we should all be investing in? 27.

VICKI Not much else to tell you so far. High class cat burglar with a taste for the rare and shiny. Good at cracking security systems, seems to be against killing anybody who gets in her way, so who knows - maybe a classic crook with a heart of gold. No real pattern to where she strikes so far. HARVEY You're sure she's a 'she'? VICKI CCTV from previous crime scenes seems to suggest that from her profile and build, yeah. Besides, 'Cat Man' sounds like he might have a trademark dispute on his hands. HARVEY So there's footage of her already? Enough to maybe get an ID? VICKI Are you mining me for classified information not currently available via the press? And weren't you meant to be at that opening ceremony thing earlier? HARVEY Had to miss it. Had a thing. And I could just be asking a friend if she knows anything cool she'd like to share with me. Vicki pauses, glancing back towards her PC screen - then shrugs. What the hell. VICKI Okay, there is one cool thing. (relishing) She uses a whip. HARVEY Alright, now I'm definitely interested. So, what, light S&M on the side too? VICKI (rolls eyes) As in a bullwhip, Indiana Jones style. Uses it like a grappling hook when she's not bitch-slapping security with it. That 'cool' enough for you to leave me alone? 28.

HARVEY Cold as ice. END INTERCUT: Vicki senses somebody behind her and turns round: JIM GORDON stands, coat over his arm, just by the partition around her desk. He glances over his shoulder as the last late night newshound exits the floor. VICKI (over him) Uh, Harvey? I'm gonna have to call you back. See you soon, okay? HARVEY (O.S.) See you soon, Vale. Vicki hangs up, Gordon nodding graciously. GORDON Miss Vale. I was hoping we could have a word. VICKI If it's about the other night at the Stacked Deck, I swear he said he was eighteen. GORDON (small smile) No, this is about helping me catch a thief. Vicki sits back in her chair, intrigued. VICKI Go on. GORDON Given that you seem to be the city's resident expert on the subject for now... I need you to help me set a trap for the Catwoman. And off Vicki's reaction, we CUT TO: EXT. WAYNE ENTERPRISES - DAY Establishing shot of the vast building in the heart of Gotham. INT. EXECUTIVE FLOOR, WAYNE ENTERPRISES - DAY JACOB SYMES gets off the elevator, heads towards his office. Then he stops, seeing the another door slightly open. 29.

A frown. INT. BRUCE'S OFFICE, WAYNE ENTERPRISES - NEXT Bruce sits at his desk, going through schematics for the vault on his computer. SYMES (O.S.) Bruce. He looks up to see Symes entering, smiling. SYMES (CONT'D) I didn't know you were going to be in today. BRUCE Wasn't planning on being. Just wanted to check some things after last night. SYMES Ah, yes. Bit embarrassing for the bank, that. BRUCE And us, given our technology's been used to build the vault. SYMES Why? The vault wasn't breached, whatever else might have happened nobody can accuse us of slipshod work there. Bruce closes the laptop, looks up at Symes. BRUCE Yet. SYMES (laughs) What have I told you, Bruce, let me worry about things like that. BRUCE You're not the one who'll answer to the shareholders. SYMES If you like, I can get someone to walk you through the specs-- BRUCE No, it's fine. (gets to his feet) I think I've got everything I need. Now if you'll excuse me... 30.

SYMES (smiles) Heavy afternoon planned? BRUCE (matches the smile) Something like that. EXT. GOTHAM - STREET - DAY On Bruce and Alfred, dressed in casual clothing as they sip coffees on a street corner. They're at the edge of the prestigious Robinson Park area - the waterfront and pier just beyond, high rise luxury apartment buildings clustered ahead. ALFRED You realise this is all circumstantial so far. BRUCE Noted. ALFRED We have an approximate photofit that is a near match for somebody at the scene yesterday, along with dozens of other people. BRUCE Also noted. ALFRED And so now you have us about to tail her for the day because... Bruce pauses mid-sip as two figures emerge from the gated community across the road: SELINA AND HELENA

They stop to have a quick pow-wow as the gates close. BRUCE Call it a hunch, with full 'told you so' rights later. ALFRED (off Helena) Accomplice? BRUCE Would explain a few things. The girls separate, heading different ways, and after a glance of silent conversation Bruce and Alfred split to follow - Bruce on Selina, Alfred on Helena. 31.

EXT. GOTHAM - STREETS - NEXT Alfred trails Helena as she wanders down a shopping high street - Helena pauses to look in a few windows at enviously expensive dresses and accessories. Alfred knows his way around this - blending seamlessly into the background every time she stops, keeping his target in sight at all times. EXT. GOTHAM - NEWSSTAND - NEXT Bruce, meanwhile, has looped round ahead of Selina and is casually reading a newspaper as she turns a corner. Not looking her way, he steps out into her path at the last second, head still in his paper, and: WHUMP! The two collide, Selina staggered back as Bruce drops his coffee and paper (with added theatricality). SELINA BRUCE Oh! I didn't - are you - I'm sorry, I wasn't - A beat before they both share a chuckle. Bruce scoops up his paper, but the coffee is a goner. SELINA I'm afraid your shares in Starbucks just dropped by a point. BRUCE They'd put too much 'caff' in my decaf anyway. (extends hand) Bruce Wayne. Selina pauses before shaking his hand, a cheeky smile spreading across her features. SELINA Irena Gallier. And here I was thinking you were just another mindless Gothamite! BRUCE Oh, I'm one of those, too. I'm just undercover today. SELINA I don't know what the typical etiquette is here, Mr. Wayne - BRUCE Bruce. Please. 32.

SELINA Bruce... but usually when one person spills another's drink, it's on them to replace it. BRUCE I have a better idea. I know a great place just near here that serves the best coffee in... well, this block, at least. Let's get each other a drink and call it even. Unless you had somewhere else to be...? SELINA (hesitates; shakes head) What the hell. Not every day you get your drinks paid for by Gotham's favourite son. BRUCE 'Drinks' plural? She just waggles her eyebrows at him before heading off, leaving Bruce to follow. INT. GIORDANO'S - NEXT A rustic, bubbly cafe hidden amongst the big city buildings - lo-fi decor adding to the charm as Bruce and Selina sit at a small table in one corner. BRUCE (continuing) ... but as it turns out, the chalet owner didn't share his son's attitude towards open party invitations, so he shuts down the ski lift while we're all halfway up the mountainside. Bear in mind I'm still dressed for the pool and carrying the beer at this stage.

Selina LAUGHS, enjoying his easy company. BRUCE (CONT'D) I'll come back to the tale of our daring escape from a Swiss mountainside after you tell me a little about yourself, Irena. SELINA Not much to tell, really - dad was a drunk, mom had confidence issues so my sister and I got out of there first chance we could. (MORE) 33. SELINA (CONT'D) I've made a few friends here and there over the years which helped pay the bills, but these days... BRUCE I was going to ask how a young lady like yourself affords a place at Robinson. SELINA (beat; grins) Some of those friendships pay the bills better than others. BRUCE So what do you do all day? SELINA Could ask the same of you. BRUCE (shrugs) I do have my own company. Does its best to keep me busy. SELINA And a stately home that must be worth a fair amount just on its own, I imagine? BRUCE Not as much as you'd think. The other day I had to burn some Rembrandts from the gallery just to heat up some bathwater. She chuckles again - both circling each other in the conversation, probing and guarding their own cards. EXT. GOTHAM - STREETS - NEXT Helena crosses the street, approaching the same newsstand where Bruce and Selina had their incident. From over the road, Alfred watches as Helena buys a newspaper, scans through it, holds on one story then tucks it under her arm and heads off. Curious, Alfred follows from the opposite side of the street, keeping level pace with her. INT. GIORDANO'S - NEXT Bruce and Selina still in conversation. SELINA Everybody's heard the stories about you, Bruce. (MORE) 34. SELINA (CONT'D) Your parents, your time away - have to say, I was expecting to find somebody more.. BRUCE Handsome? SELINA Damaged. It's not meant as an insult, but it stops Bruce anyway. SELINA (CONT'D) It's like you're sitting in front of me now, smiling and laughing, telling jokes, getting to know me... and I don't feel like I'm talking to a real person at all. BRUCE So what are you talking to? SELINA I don't know. (beat) A mask, maybe. A disguise. She smiles to reassure him, reaching across the table to give his arm a little squeeze. SELINA (CONT'D) That's something I can relate to. A charged beat between them. EXT. GIORDANO'S - NEXT Outside, at that same moment, Helena walks past and happens to glance inside - spying Bruce and Selina together. INT. GIORDANO'S - NEXT

Selina catches Helena in her peripheral vision, eyes flicking her way for a second. Selina suddenly backs off, the moment broken with Bruce as she gathers up her things. SELINA I, uh, I have to go. Sorry. (getting up) Thanks for the coffee. Really was the best place on this block. BRUCE Can I at least--? 35.

But she's hurrying away, Bruce turning in his seat to watch her leave: And through the front window, sees her meet Helena outside, the two exchanging a few heated words before moving on. Alfred comes into view, looking inside the cafe, spotting Bruce - Bruce NODS, signalling Alfred to continue the tail. EXT. GOTHAM - STREET - NEXT Getting close enough to eavesdrop, Alfred mingles with a line waiting at a bus stop as Selina and Helena carry on talking. HELENA What were you doing talking to him? SELINA I was just having coffee, Helena. It's called 'priming a mark.' HELENA Looked like the other kind of coffee to me. SELINA (grunts) I've set up the meeting for tonight. Our esteemed friend will be there. I've done the hard part. HELENA I still don't like this plan. SELINA Neither do I, but mashing our respective skulls together didn't magic any alternatives into being, did it? HELENA (louder) These are bad people, Selina! I don't want you getting involved with them! Selina glances around, concerned at Helena's rising volume, and pulls her by the arm into a nearby alleyway. Grimacing as they move out of range, Alfred has to quickly dash a few steps over to the lip of the alley, listening: EXT. GOTHAM - ALLEY - NEXT Selina and Helena round on each other, tempers flaring. SELINA I know you have doubts, Helena-- 36.

HELENA 'Doubts'? After what we know these people have done? Selina... this isn't worth dying for. SELINA (suddenly firm) Yes it is. Helena hesitates, and Selina goes from anger to compassion: SELINA (CONT'D) You have to trust me. Nothing's come through from our remote link to the First Bank's data servers yet - we have to try other methods until something sticks. HELENA (wavering) It's not... I just don't think - SELINA Helena... we have to know. HELENA You don't have to do this for me. Any of it. SELINA Everything I do - every job I take, every risk I take, every unpleasant or dangerous thing I have to do... it's all for you. Always for you. Helena looks away, stubborn, but Selina pulls her in for a hug. After a moment, Helena relents and returns it. SELINA (CONT'D) You know you're still the best thing I ever stole.

Alfred narrows his eyes at the tender moment, peeling away from the edge of the alley and leaving the girls to it. As they pull back, Selina notices the newspaper under Helena's arm. SELINA (CONT'D) What's in there? HELENA Huh? Oh, this? Uh... nothing. It can wait. Selina smiles, nodding for Helena to follow as she walks away. 37.

Helena exhales then follows - CLOSE on the newspaper story on the page under her arm: 'PRICELESS ANTIQUE DIAMOND ON DISPLAY FOR ONE NIGHT ONLY' HOLD on this for a moment before: VICKI (PRELAP) Well, there we are. INT. VICKI'S OFFICE, GBC - DAY The same headline, displayed on a computer screen. Vicki sits at her desk, Gordon standing over her shoulder. GORDON Good, that's good... VICKI A bit obvious, no? GORDON I could give you a complicated fishing metaphor about lures and bait and whatnot but-- VICKI Surely she'll see right through it on those grounds. (grins) And I never thought of you as much of a fisherman. GORDON (smiles) I'm a complicated person. Vicki returns the smile as she clicks the screen off. VICKI Well, let's see where it gets us. Nothing ventured, nothing gained, right? Gordon doesn't answer. His eyes are fixed on the screen - which show the images of the Brotherhood suspects we saw Vicki working on the previous night. GORDON Looks involved. VICKI What? (sees) Oh, yeah, right-- She clicks the images off quickly. 38.

VICKI (CONT'D) Just some research for a story. Gordon notes her uncomfortable look. Vicki smiles, fronting it out. VICKI (CONT'D) Something else I can help you with, Lieutenant? Gordon doesn't look convinced but knows he's not going to get anymore. He pulls on his coat. GORDON I'll be in touch. Thank you, Miss Vale. VICKI Anytime. Gordon heads off. Vicki looks back at the screen, now blank. Her expression wondering. CUT TO: EXT. WAYNE MANOR - NIGHT A beat to establish before: INT. BATCAVE - NIGHT Alfred heads down a stone staircase to find Bruce standing in front of the bat-suit, contemplative. ALFRED This is a bad idea. We don't have anywhere near enough intel to know what she's up to. BRUCE We won't get it from her anyway. She's too smart for that. (off his look) 'Irena Gallier' was the main character in the movie remake of 'Cat People'. ALFRED Thought that was a Bowie song? Bruce says nothing, staring at the suit, deep in thought. ALFRED (CONT'D) You're serious about this, aren't you? No answer. 39.

ALFRED (CONT'D) So you're just going to follow 'Irena' and see what happens? Without trying to learn who she's meant to be meeting or why? BRUCE She needs help. Alfred joins Bruce, his expression serious. ALFRED No, what she needs is a comfy two- by-four cell at Blackgate. She's a criminal. BRUCE She's in Gotham for a reason beyond simple larceny, and we need to know what that is. A beat as they stare each other out - before Alfred backs off, knowing he won't win this one. BRUCE (CONT'D) She's a lot more like me than you think. ALFRED She's not your responsibility. Or your fault. That - (off Batsuit) - is your symbol. You didn't create this Catwoman character. She did. Bruce looks back towards his suit, imposing and backlit as smoke wisps around it, as we CUT TO: EXT. GOTHAM - STREETS - NIGHT Selina rides a jet black MOTORCYCLE through traffic, weaving easily between slower cars. Pools of light bathe her, colourful neon strips reflecting from the bodywork. She turns up a road leading towards a quieter end of town, all warehouses and industrial units. EXT. GOTHAM - INDUSTRIAL ESTATE - NEXT Slower, Selina cruises down a bumpy access road, passing wire fences and security signs - not somewhere you want to be caught trespassing, given the warnings all around. She veers off towards a flat patch of concrete circled by run- down factory units, and waiting there are: THREE CARS 40.

Lights on, a handful of MEN in suits and overcoats standing in the spotlight. Some of them reach into their jackets as Selina rolls up to a stop a few feet away - hired goons, armed and ready. Selina stops, puts down the kickstand and removes her helmet, shaking her hair loose with a flourish. THROUGH NIGHT-VISION Watching the scene from a short distance away is: EXT. INDUSTRIAL ESTATE - ROOFTOP - NEXT Batman, lowering a pair of binocular goggles and studying the scene through narrow, cautious eyes. BATMAN (mutters) What are you up to... He stands, taking his grapple gun from his belt and taking aim, ready to swoop in for a closer look. As he FIRES, waits for the distant CLICK and pulls the line taut before SWINGING off the rooftop, we return to: EXT. INDUSTRIAL ESTATE - NEXT Selina raises her hands, two of the goons heading over to pat her down for weapons. She lets out a little gasp of surprise as they start manhandling her, milking the moment for full effect. SELINA Careful there, Juliano, momma's gonna need all those parts in working order some day. The bodyguards are not amused, stony faces looking back at her as they finish their inspection. One waves to one of the parked cars, and a door opens to let an overweight MAN clamber out, tailored suit too tight for his ample form. This is CARLUCCIO FALCONE, and at his appearance Selina sags a little, clearly expecting somebody else. SELINA (CONT'D) Oh, come on, guys - what is this? I asked to meet Carmine and you send me this bottom-rung guido? (to Carluccio) No offence. 41.

CARLUCCIO (spreads hands) I am what you get, Miss Kyle. Carmine decided this particular phase of our dealings required a more hands-on approach. Selina crosses her arms, fuming. Overhead, Batman silently climbs up onto a gantry running along the outside of one of the factories overlooking the meeting below. SELINA I did everything you asked. I got you into the First Bank's systems - which, by the way, would've gone a lot smoother if you'd been able to keep that crew of amateurs from gatecrashing my evening. CARLUCCIO We don't control every crook in town, Miss Kyle. Just the ones on the payroll. SELINA And now I drive all the way out here to the ass crack of nowhere on a freezing cold night... wasn't bringing you the Batman enough? Batman stiffens, his senses suddenly ringing every kind of alarm bell: And a horde of gun-toting THUGS start to pour out all around him - above, below, at the far end of the gantry - surrounding him in moments! Some of the Falcone men down below bring up powerful hand- held SPOTLIGHTS, illuminating Batman where he stands.

One of the bodyguards hands Carluccio a MEGAPHONE as Selina backs up a few steps. CARLUCCIO (through megaphone) Thanks for joining us! The boss sends his best regards - oh, and hopes you enjoy your new life at the bottom of the Sprang River. Selina watches as the crowd of armed thugs close in on Batman, the full weight of the situation hitting her. SELINA (under her breath) Sorry, Bats, it was you or me... 42.

CARLUCCIO (O.S.) Oh, Miss Kyle? She turns - as Carluccio and his guards draw guns on her too! CARLUCCIO (CONT'D) The boss also requested we thank you for your contribution to his work in Gotham by reserving you a spot on the riverbank right next to Batman. (shrugs) No offence. Selina's eyes widen as the trio advance on her: Meanwhile, up on the gantry Batman grits his teeth, ready for a tough fight as the first wave of Falcone goons take aim... Before the first burst of MACHINE GUN FIRE, Batman is ready with a SMOKE PELLET. As a burst of thick, choking white smoke sends stray bullets flying and leaves the closest goons coughing, Batman SURGES out of the cloud: WHAP! One kevlar-plated ELBOW to the jaw of one goon tips him up and over the edge of the gantry with a SHOUT! He whips round, his CAPE swirling in a wide arc to throw another goon off his aim. Batman plants his hands on the gantry to push himself up and gain extra leverage for a double-booted KICK that floors the closest assailant, knocking him flat. ON SELINA as she uses the moment of distraction to SPIN KICK the closest guard's gun away, and with a flash her WHIP is unfurled and ready in her hand. SNAP! She latches it round the next guard's hand, and as he starts to squeeze the trigger she YANKS it away from her. The guard's gun FIRES - catching the other guard in the shoulder and dropping him with a CRY of pain! ON BATMAN as he charges two thugs racing up the nearest staircase with a YELL, barrelling into them at top speed and using them as buffers as the trio BOUNCE back down the steps! More thugs are waiting at ground level, but now he has some room to breathe Batman is in his element. He LAUNCHES himself at one, gloved fist SMACKING twice into the man's abdomen before he grabs his arm and WHIPS him round towards three more thugs. 43.

They all go down, but Batman is already on the move again, driving a KNEE into the groin of a thug as he wrenches his gun away. GUNFIRE chases him - single shots, scattered bursts, but Batman is moving too fast to take a hit. ON SELINA as she SWEEPS the remaining bodyguard's legs from under him, lunging for a shrinking Carluccio. The floored guard manages to grab her legs and PULL her down, Carluccio scrambling away and racing back for his car! SELINA Carluccio! Get back here, damn it! Selina tries to get back up but the guard grapples her, his strength overpowering her struggles. She manages to get a hand free and SWIPES it back across his face - small CLAWS in her glove leaving a trio bloody scratches in their wake! The guard GROWLS in pain, pinning Selina down and clamping his hands around her throat. ON BATMAN as he spots Selina in trouble - and two more SUVs inbound, no doubt full of reinforcements. He TAPS the side of his cowl, and two snug PANELS drop down, covering his ears. He grabs something from his belt and turns to face the next wave of goons - he's now holding a small BOX, with a single button and two dials. He hits the button - and a piercing SHRIEK sounds out, like a rape alarm cranked up past eleven! The goons clutch their ears, stumbling blindly as the noise throws their balance.

That gives him room to close in on Selina - who is busy being CHOKED by the furious guard! Batman SLAMS his forearm against the back of the guard's neck, THROWING him off Selina with a ROAR. GASPING, she looks up at her saviour, and for a moment she seems unsure if she's his next target, until: BATMAN (extends hand) Let's go. 44.

Selina hesitates - then hears a SCREECH and looks round: The other two SUVs have pulled to a halt, another ten armed Falcone men clambering out even as their comrades lie bruised and sprawled all around. Selina makes her choice - she grabs Batman's hand and lets him pull her to her feet. BATMAN (CONT'D) We need to-- SELINA Shut up and get on! She runs back over to her bike, leaping on and KICK-STARTING the engine. Batman pauses - then hurries over, barging Selina off the handlebars as he takes the driver's seat. SELINA (CONT'D) Hey! This is my-- BATMAN Hang on. He GUNS the throttle, kicking up a SPRAY of sharp gravel as he turns the bike in a slow arc: And the first few inbound Falcone thugs get a faceful of hot dirt that stops them in their tracks! Batman sets the bike straight and lets the power out evenly, the bike ROARING away back down the access road. A few guards manage to take aim and OPEN FIRE: Bullets PUNCH into the road around the fleeing duo, but with a few swerves they're soon out of range, Batman SLIDING the bike out onto the main road: EXT. GOTHAM - STREETS - NIGHT

Selina checks over her shoulder - no-one in pursuit. Batman keeps his head down as he accelerates, driving calmly and quickly onwards. SELINA (shouting) Nice moves! Never figured you for a biker. All these gadgets and you don't even have your own car yet? Batman shoots her a look back over his shoulder that shuts her up. Selina gets the message, holding tight round his waist as Batman speeds on into the night. 45.

ON THE SIDEWALK, a familiar figure emerges from the Gotham Youth Shelter, now closed down for the night: BARBARA GORDON She has her phone out, stepping back from the frontage of the shelter to get a shot of it at night. She hears the ROAR of the approaching motorbike and turns with a frown - there's nobody else around this part of town at this time of night. So when Batman and Selina round the corner, slowing right down to make a sharp 90-degree turn, Barbara's eyes pop right out of their sockets! Almost reflexively, she gets her phone up and manages to capture a few seconds of VIDEO: Batman and Selina on the bike, tearing off into the distance. In seconds, they're gone. Silence falls across the street. Barbara blinks - returns to her senses. Quickly starts working the video into a text message. BARBARA Oh, you are never gonna believe this! INT. BULLPEN, MAJOR CRIMES UNIT - NIGHT Where Gordon is working at his desk, scanning through police network updates for any news on the trap he set. He looks up as a bustle of GCPD Officers hurries past, followed by Essen, whom he flags down. GORDON What's going on? SARAH Did you miss the call? Gunfire followed by a confirmed Batman sighting, out past Port Adams dockyard. (sparkling) He was on a motorbike. And he wasn't alone. Come on, Jim! Meet you outside. She's gone, pulling on her coat as she follows the officers out. Gordon stays at his desk, a dark look crossing his features as he processes this news. If he was paying attention, he'd notice his phone BEEP softly as a text from Barbara comes in. 46.

EXT. GOTHAM - OUTSKIRTS - LATER Batman brings the bike to a stop, the city limits a little way behind them. Safe for now on a quiet country road. He waits as Selina swings one leg round to dismount, then turns the engine off and steps off the bike. She's made it two steps before she turns round to ATTACK - but Batman is ready, GRABBING her wrist before she can bring her claws down. She pushes but he's got the measure of her, giving him a moment to study her CLAWS: BATMAN Nice touch. Part of the image? She YANKS her hand free, stepping away and rubbing her wrist with a grimace. SELINA Figured me out already, huh? (no response) Look, I didn't come up with that cheesy 'Catwoman' name, alright? Blame the tabloids. BATMAN Seems to fit. SELINA (beat) Okay, listen, about all that back there, I was just-- BATMAN Selling me out to Falcone? SELINA (huffs) For all the good that did me. I was trying to cut a deal. They have something I need. (beat) No hard feelings? BATMAN We'll work on that. What do they have that you need? SELINA Why do you want to know? BATMAN Fair to say you're an enemy of Carmine now. Enemy of my enemy... 47.

SELINA (mocking) Aw, are we best buds now? Please. I wouldn't touch you to scratch you. She turns to start walking away, not caring where she goes, when Batman calls out: BATMAN A fra poco. She stops. Batman approaches. BATMAN (CONT'D) I realised where I'd heard that before. (beat) Carmine Falcone. It's a saying his associates use at the end of their business. A code phrase to signifiy a done deal. And there's only one way you'd know about that. He rounds on her, Selina knowing she's busted. BATMAN (CONT'D) So I'm going to take you somewhere you can tell me everything you know, and maybe then we can find a way to help each other. SELINA What, do you have some kind of secret lair or something? BATMAN Or something. SELINA (exhales) If I try to run, you're just gonna keep chasing me, aren't you?

No response. Selina throws her hands up in defeat. SELINA (CONT'D) Fine. Whatever. Take me to your Bat- whatever and let's get this over with so I can get out of this city. She heads back over to the bike, Batman following. INT. VICKI'S OFFICE, GBC - NIGHT Where Vicki is also buzzing, working at a laptop in a larger office where other GBC reporters man a bank of consoles and news feeds from around the city. 48.

Amateur footage of Batman and Selina's motorbike ride through the streets, albeit brief, has filled every channel. Vicki rests her chin on her hand, staring at one image on her screen: A blurred shot taken from a camera phone, but unmistakably Batman with Selina as his pillion passenger. It's the very same shot Barbara took a little earlier. VICKI (sotto) What the hell are you up to... A call for her attention snaps her back to reality, Vicki switching to professional mode as she begins compiling an edit of the various snippets of footage. EXT. GOTHAM - COUNTRYSIDE - NIGHT Off the reservation now, Batman powering the bike down a dark, tree-lined country road in the middle of nowhere. Behind him, Selina looks around but has no clue where she is right now - especially when Batman turns off the bike's main headlight! SELINA Hey! Why are you - can you even see anything? BATMAN Trust me. Batman is driving on instinct - he could drive down these roads blindfolded. This is Wayne turf. He pulls off, the bike's suspension thumping as he bounces down a dirt track, turning left and right again. Totally lost, Selina can only cling on and hope for the best as Batman drops down onto a narrow stone path running alongside a fast-flowing river.

With mere inches to spare, she tenses up as Batman accelerates down the path - seeming to head straight for a stone WALL directly ahead! SELINA Uh... hate to question your judgement, but... No reply. Batman SPEEDS UP. SELINA (CONT'D) (alarmed) What are you doing?! 49.

The wall is seconds away - nowhere to go on the path, no sign of slowing from Batman! Selina lets out a CRY of fear a moment before impact: INT. TUNNEL - CONTINUOUS But the bike POWERS THROUGH and into an excavated tunnel, water dripping from above as the tunnel dips down and beneath the rover overhead! Selina throws a look back - sees a HOLE where the stone wall was SHIMMER as a projection of the wall fills the space. Jaw hanging, Selina looks like a woman who just realised what kind of a mess she's got herself into this time. INT. BATCAVE - UPPER LEVEL - NEXT Batman brings the bike to a halt atop a circular platform, killing the engine and stepping off. He tosses the KEYS back to Selina as she takes a moment to look around: Jagged, cavernous walls, the distant SQUEAK and FLUTTER of innumerable BATS nestled up within the stalactites. The river from earlier opens into a WATERFALL that flows down and into the hidden depths far below. Selina turns to see Batman descending a stone staircase towards the circle of jerry-rigged computer consoles, and after a last look round starts to follow him. Batman reaches for a large GENERATOR SWITCH on the wall: BATMAN Watch your step. He PULLS it down - FLOODLIGHTS blaze up, Selina stopping sharply, right at the edge of a long drop below.

SELINA I am deep in the rabbit hole right now, aren't I...? BATMAN Try to stay focused. I can't have you being distracted right now. Too many people are looking for you, trying to lure you out. SELINA Oh, what, like with that fake 'one night only' jewel exhibit? (scoffs) (MORE) 50. SELINA (CONT'D) Please. I could smell the 'trap' on that one like yesterday's jumpsuit. BATMAN (beat) Carmine is part of an group known as the 'Brotherhood'. They're responsible for the organisation behind the organised crime of this city. Hands in every pocket in Gotham, high and low. Selina looks to one side - gets a quick look at the increasingly busy BULLETIN BOARD, detailing Batman's work on the Brotherhood problem. SELINA Looks like you have plenty to go on already. BATMAN What I don't have is enough of the right kinds of information. I need to go deeper, get access to the kinds of secrets Carmine only passes between other agents at his level. And for that... SELINA (catching up) You need a thief. And in return? If I help you, what? You don't tie me up in a pretty little bow and toss me to the MCU? Thanks, but I'll take my chances. BATMAN I don't just need a thief. I need someone who's been inside his inner circle. Knows their way around. Can get in and out without any trouble. (beat) Does that sound like you? Selina folds her arms and steps away, chewing it all over. She looks out across the vast, uncharted abyss that is the Batcave as Batman steps into frame behind her. BATMAN (CONT'D) Maybe even somebody who broke into the most secure bank in Gotham just to place a remote transmitter on the manager... 'Miss Kyle'. Selina turns, Batman managing not to crack a sly grin at dropping that truth on her. 51.

BATMAN (CONT'D) In return... I'll help you with whatever you need from Carmine. SELINA Don't you want to know why I'm here first? What it is I need? Batman stares at her, silent. His answer left unsaid. SELINA (CONT'D) (beat) If you've gotten this far, you must know about Helena by now, right? BATMAN Your accomplice? SELINA She's... she's a Falcone. An illegitimate daughter. (off his silence) She doesn't know. Selina exhales, pacing back towards the computer. SELINA (CONT'D) When she was still just a toddler, I... took her. From Carmine. BATMAN Is he the--? SELINA I don't know. (off look) All of this I'm doing is to protect her. She thinks I'm trying to rip off the Falcones and get one last score before we disappear, but it's more than that. She needs a future. A birthright. And security that nobody will ever come after her. She's innocent in all of this. She points - to a surveillance shot of CARMINE FALCONE up on the bulletin board. SELINA (CONT'D) And he can give it to me. BATMAN So if Carmine isn't the father... SELINA That's one of the things I need to know. I need to make sure Helena's safe, whatever happens. (MORE) 52. SELINA (CONT'D) That she has enough to get through life without ever having to resort to the things I - we do. Selina looks up at Carmine's picture as Batman moves in close behind her. BATMAN Why did you steal a child from one of the most powerful men in Gotham? SELINA (simply) I had a promise to keep. She half turns, finds Batman scrutinising her. SELINA (CONT'D) And it's Selina. Selina Kyle. (off look) Please. Your Bat-computery thing probably already figured that part out. Figured I'd save you time. (beat) So what do you need me to steal? Batman allows himself a small GRIN. INT. CORRIDOR, WAYNE MANOR - NIGHT Alfred is waiting as Bruce emerges from the grandfather clock that conceals the entrance to the cave. ALFRED This is a bad idea. BRUCE Alfred-- ALFRED Let me rephrase. This is quite possibly the worst idea since the health and safety guy at Chernobyl decided to see what would happen if he pressed that one particular button. BRUCE You wanted to see how close we could get to the Brotherhood. (beat) Let's see how far this gets us. ALFRED I was right, you've gone off your thinkbox. 53.

BRUCE And since when has that ever stopped us before? He grins. Alfred knows he's not going to win this one. CUT TO: INT. FALCONE MANSION - CORRIDOR - NIGHT Where a pale, sweaty Carluccio hustles down a long, velvet- lined corridor, heading for a large set of double doors: INT. MANSION - CARMINE'S OFFICE - NEXT He pushes through and enters Carmine's business chambers - a large study, the spoils of a successful lifestyle lived well off the radar. CARMINE FALCONE himself is lounging back in his chair, reading a broadsheet newspaper. The balcony doors are open behind to let an early evening breeze into the room. Breathless, Carluccio comes to a halt a few feet away from Carmine's expansive mahogany desk. He waits - not a flicker of response from Carmine. CARLUCCIO Boss, I-- CARMINE Tsst. Carmine carries on reading, taking his time to finish the article, then lowers the paper. CARMINE (CONT'D) Carluccio! Didn't hear you come in. CARLUCCIO Boss, we've got a major problem, it's--

CARMINE The Batman, yes, I know. (off his look) News travels faster than your body does, my friend. Carmine nods to his TABLET, then turns his attention properly onto Carluccio. CARMINE (CONT'D) And the girl? Carluccio shakes his head. Carmine bristles, and Carluccio lets out an audible GULP. 54.

CARMINE (CONT'D) She's a complication, Carluccio. And you know how I feel about those. CARLUCCIO We'll get her, boss. CARMINE It was a mistake to bring her as close as we did. We've given her enough ammunition to damage us. Carmine rises, pacing over to the window. CARMINE (CONT'D) Next time I see you, I expect it to be with better news. Carluccio nods - almost BOWING unconsciously - before backing quickly away and exiting the office, glad to escape. Once he's gone, Carmine turns towards the balcony and asks: CARMINE (CONT'D) Did you get all that? And it's Jacob Symes who emerges from the shadows outside. SYMES This appears to be a notable thorn in your side, Carmine. Should we be concerned? CARMINE It's a loose end. Nothing more significant than that. But one I could use some resource with. SYMES Anything particular in mind? How big a problem could this mystery woman cause us?

CARMINE Us, not much. Me personally, quite a lot. So consider it a professional favour. SYMES (considers) I know somebody who can help. Let me ask the group what they think, and if they agree to it I'll make a phone call. Carmine grunts, extracting a cigar from a box on the table, chopping and lighting it with practiced motions. 55.

CARMINE I know what you're thinking. First Carmine Falcone gets embarrassed by the Batman in his own goddamned house. And now this. SYMES It crossed my mind. CARMINE And the Master? Did it cross his mind too? Symes says nothing - which is all the answer Carmine needs. CARMINE (CONT'D) (exhales smoke) Try not to enjoy having me over a barrel too much, eh? SYMES (fighting a grin) I'll try. Relax, Carmine. We'll take care of it. Symes nods to take his leave and exits as we CUT TO: EXT. ROOFTOP - NIGHT Where Batman stands, cape billowing majestically, alongside Selina - now suited up as CATWOMAN - the duo looking across the street to: AN OFFICE BUILDING High-rise, nondescript, a few lights still on. Batman hands Catwoman his binoculars, but with a SNORT she produces a pair of her own - more high-tech than his.

CATWOMAN No need to get jealous. I just have a better relationship with my suppliers. BATMAN (dry) I need to get into their secure network. Can't be hacked from outside, has to be done at an access point. Hardline only. CATWOMAN Mm-hmm. And what was the part you were having trouble with? 56.

He throws her a look, but it bounces right off. Catwoman pulls her goggles down, completing the look. CATWOMAN (CONT'D) Okay. I'll get in, get you the dish on this 'Brotherhood' thing, meet you up on the roof in twenty. There's a steadily louder RATTLE approaching - a MONORAIL is heading their way, passing between the two buildings on elevated rails. BATMAN (louder; over noise) Selina, we should synchronise - CATWOMAN (shouts) What? I can't - I can't hear you! She can hear him just fine, but it's her way of excusing herself from the conversation. Before Batman can follow up, she draws her GRAPPLE GUN, takes aim across the street and SHOOTS: Catwoman SWINGS out across the street - and lands with a three-pointer on the roof of the passing monorail as it slows to a halt at the platform just below! She takes a second to reel her line back in, then takes aim again and FIRES: This time the rappel line allows her to swing right onto the face of the office building: CLOSE ON CATWOMAN as she uses a pad on her belt to trigger CLIMBING CLAWS, which pop out of her boots and gloves. She lands lightly against the wall with a series of CLICKS as her claws latch into place.

Bracing her weight with each stage of the climb, she starts to quickly scale the sheer wall. ON BATMAN as he crouches down, watching. ALFRED (O.S.) (filtered, through earpiece) Are you there? BATMAN Yes. INTERCUT WITH: 57.

INT. RANGE ROVER - NIGHT Parked down a side-street, Alfred in the driving seat and watching Catwoman through binoculars. ALFRED Can I get an update? BATMAN Yeah, she's... she's really good. ALFRED Eyes on the prize, kid. BATMAN Who says they're not? ALFRED (firm) You're the one who came up with this idiotic plan. We're here for intel on the Brotherhood, not to start a vigilante speed dating club. Stick to the plan. EXT. ROOFTOP - NIGHT Bruce rises, back to business, and aims for the roof with his own GRAPPLE GUN. INT. OFFICES - CORRIDOR - NIGHT Catwoman appears outside the window looking in, checking the coast is clear before producing a small GLASS CUTTER. She creates a palm-sized opening, then slips a thin telescopic arm gadget through to lift the window latch. Sliding it open enough to slip inside, she pushes the window closed behind her and hustles to the cover of a doorway. She reaches up and taps her goggles to activate the built-in communicator: CATWOMAN Helena? You ready? HELENA (filtered) You're all clear. Catwoman darts out of the shadows, hurrying along. INT. OFFICES - CORRIDOR - NEXT Catwoman pauses in the shadows as a wrinkly old SECURITY GUARD ambles past a junction up ahead. 58.

The Guard pauses to YAWN, scratching his wiry beard and wholly oblivious to the thief lurking in the shadows. Once he's gone, she slips out into the corridor proper. Moving without a sound, Catwoman arrives at a passcode-locked doorway, retrieving her PDA and sliding a blank ID card-sized piece of plastic into the unit. CATWOMAN All set with the card. HELENA (O.S.) (filtered) Okay, give this a second. NUMBERS start to rapidly flick through sequences on the lock's keypad display, until the door opens with a CLICK: INT. OFFICES - UTILITY ROOM - NEXT Home to air conditioning control units and other building utilities, Catwoman steps to a FUSE BOX mounted on the wall. CATWOMAN At the fuse box. HELENA (filtered) You just need to disconnect the circuits I tell you and it'll knock out security for the whole site. Producing a small motorised screwdriver, she quickly unscrews the front panel, pops off the box lid and scans the dizzying mess of wires and circuit boards inside. Reaching into her pocket, Catwoman pulls out a PDA, its orange screen displaying a moving diagram of the fuses, highlighting the one she needs. Taking hold, Catwoman gives the fuse a quick TUG - there's a loud CLUNK as the building power shuts down above her.

With a grin, she packs her tools away and exits: INT. OFFICES - SERVER ROOM - NEXT A panel in the ceiling is pulled up and away, allowing Catwoman to drop silently into the room a moment later. CATWOMAN Directions to the goods? HELENA (filtered) We need any hardline access point, so those'll be the ones closest to the central server. 59.

Catwoman scans the room - row after row of black, air-cooled SERVER UNITS, coloured lights blinking on each. CATWOMAN (shivers) It's like an Apple silent disco in here. HELENA (filtered) Twelve minutes and counting. Catwoman approaches the central cluster of units, removing a panel from one to reveal a crowded assortment of patch bays, data ports and slots for circuit boards. CATWOMAN Found it. Good call. HELENA (filtered) Hey, I keep telling you - this is what I do. Rest is up to you. Catwoman takes a gadget from her backpack - a card reader attached to a bulky unit by a thick data cable. She clips it into the server unit and hits a few commands - numbers flash rapidly across the display. HELENA (CONT'D) (filtered) How does it look? CATWOMAN Busy bee is buzzing happily. Just need to sit tight and wait for-- VOICE (O.S.) Don't... don't move! She slowly turns to see:

A younger SECURITY GUARD, hands shaking as he aims his handgun at her. CATWOMAN (mutters) Way to watch the cameras, Helena... Luckily, the card gadget blinks GREEN at that point - data successfully transferred. Keeping her movements obscured, she unclips it from the server and turns round. She straightens, deftly wedging the card gadget up behind her backpack, out of sight. 60.

Raising her hands submissively, she advances a few steps, walking with her hips. CATWOMAN (CONT'D) (purrs) I'm sorry, I didn't catch your name? GUARD (blinks) I said - I said 'don't move'! Not taking his eyes off her, the Guard fumbles at his belt for his radio - dropping it. CATWOMAN (gestures) You, ah, want me to get-- GUARD Stay right there! Adrenaline coursing, both hands now on his gun, the Guard kneels down, reaching a hand to the floor to scrabble around for the radio. Catwoman watches, amused, as he finally retrieves it, bringing it up to thumb the intercom button. CATWOMAN You seem new at this. Let me give you a hand. WHAM! Her long leg arcs round in a KICK, knocking the radio from his hand. Hooking his arm with her leg and using it to pull him closer, she CHOPS the gun from his other hand and smoothly pivots back to face him, grabbing his shirt. CATWOMAN (CONT'D) Later, sweetie.

She KISSES him - then SHOVES him to the floor and takes off, streaking back out through the exit! The stunned Guard needs a few seconds to recover his wits, before scooping up his radio and yelling into it: GUARD Intruder alert! Intruder alert! He races back into-- 61.

INT. OFFICES - MAIN STAIRWELL - NEXT Hurrying over to the edge of a balcony overlooking the staircases connecting the other mezzanine floors, the Guard sees a BLUR as Catwoman tears through the building. GUARD Unidentified intruder on the twenty- second floor! He races after her. INT. OFFICES - CORRIDOR - NEXT ALARM KLAXONS wail and ring now as Catwoman races down a long, carpeted corridor. Two more GUARDS appear ahead of her, but she puts her head down and keeps running as they take aim: She SPRINGS to one side as the first Guard SHOOTS, the bullet SHATTERING a vase on a display table! Catwoman kicks off one wall, then the next to SOMERSAULT over both Guards, landing perfectly behind them. As the Guards turn, Catwoman SNAPS her wrist - unfurling her bullwhip, ready to strike! CATWOMAN Last chance to scram, boys. The Guards bring their guns up, but she's too quick - one CRACK of the whip disarms them both, and she closes in: An ELBOW to one's throat, her momentum carrying her round to bring her back leg up and REVERSE KICK the second. Both guards stumble backwards, Catwoman vaulting over them and back down the corridor before they even hit the ground. INT. OFFICES - BALCONY - NEXT

Catwoman races towards the edge of a balcony level as another GUARD chases her. GUARD She's on fourth, heading west! She hops up onto the balcony ledge as SHOTS are fired after them, LEAPING into the air: And grabbing onto a hanging LIGHT FIXTURE, using the momentum to swing across to a TENSION GRAPHIC on the far wall. Releasing the fixture and CARTWHEELING forward, Catwoman's climbing claws GLINT as she pops them back out: 62.

Allowing her to snag the fabric of the banner and TEAR all the way down it, slicing through to arrive safely at the level below! INT. OFFICES - CORRIDOR - NEXT Catwoman rounds a corner and comes to an ELEVATOR set into one wall. Using her claws to force the doors open, she leans in and looks up: The lift shaft is EMPTY all the way to the top. CATWOMAN Fourteenth floor, government secrets and Gotham's dirty laundry... going up. Catwoman readies her grapple, steps onto the edge of the elevator doorway and FIRES upwards. The hook CLICKS as it latches onto something further up, and Catwoman is launched up into the air, speeding up the shaft! EXT. OFFICES - ROOFTOP - NEXT Catwoman BURSTS out of a fire exit, alarms now raising hell behind her. Whip in hand, she takes aim at a TELEPHONE CABLE that passes overhead between the two buildings. More Guards appear behind her, but she's moving too fast for them to draw a bead on her. Bullets PUNCH furrows into the rooftop as she gets enough space to CRACK the whip: It SNAGS round the cable, Catwoman pulling hard - and she SWINGS up in a wide circle, giving her plenty of speed to sail out into space: EXT. ROOFTOP - CONTINUOUS

And safely onto the opposite rooftop, where she rolls out of sight and presses herself up against a low wall. The Guards pile out onto the office building's rooftop, several exhausted from the chase - but of Catwoman, there is no sign. She allows herself a smile as the defeated Guards head back inside the building to continue their search, before irritation flickers across her features as she remembers: 63.

CATWOMAN (into earpiece) You'd better have at least three different excuses for how you missed that guard sneaking up on me, Helena. (beat) Helena? Annoyance changes to concern. EXT. ROOFTOP - LATER Batman emerges from the shadows as Catwoman drops nimbly down into view from a fire escape. BATMAN What happened over there? CATWOMAN An unexpected situation. I improvised. Nobody died. She tosses him a USB FLASH DRIVE. CATWOMAN (CONT'D) That's everything I ripped off their server. Didn't sort through it, didn't see a thing. (raises hands) You'll never prove it in court. BATMAN Thank you, Selina. He looks down as he takes a custom-built PDA from his belt, inserting the flash drive. Unnoticed, Catwoman backs up a few steps until she's at the edge of the rooftop. A familiar RATTLING sound can be heard. CATWOMAN So anyway, gotta split. Need to check on a thing of importance. BATMAN (shakes head) Not yet. We still need to-- As he looks up - Catwoman steps back and drops out of sight! BATMAN (CONT'D) Selina! Batman races to the edge - and sees her drop neatly onto the roof of another METRO TRAIN passing below. 64.

She waves back at him as the train picks up speed and carries her quickly out of his range. With an impressed smirk, he consults his PDA - and his smirk turns to a broader grin as he scans the drive's contents. CUT TO: EXT. CLOCK TOWER - NIGHT Craning up the side of the imposing building. LUCIUS (PRELAP) I don't care where this came from, Bruce-- INT. CLOCK TOWER - NIGHT Lucius has the drive plugged into his computer rig. Lines of data run down his screen. LUCIUS If this is half as good as it looks when we get it decrypted this could be the motherlode. Bruce and Alfred stand behind him, Bruce back in his street clothes. ALFRED And what exactly do you think this'll prove? BRUCE If we can get a definite link between Carmine Falcone and the Brotherhood ... more than enough. ALFRED (not convinced) Uh-huh. And your lady-friend?

Bruce glances up at Alfred. BRUCE She did good. ALFRED Not exactly what I asked. BRUCE No. It's not. INT. ROBINSON PARK - APARTMENT - NIGHT Catwoman swings in through the window in a practised move, pulling off her goggles and pushing back her cowl. 65.

SELINA Helena? Helena! No sign of her. Worried, Selina hurries over to the desk where Helena's laptop sits, hooked up to another device: And on screen she finds an automated program hooked up to play pre-recorded voice prompts based on Selina's own conversation with her. Stunned, Selina hits 'Play': HELENA (filtered; through laptop) Hey, I keep telling you - this is what I do. Rest is up to you. Selina's hand goes to her mouth - what the hell is going on? Desperate, she races around the apartment, calling out: SELINA Helena! Where are you? She spots a NEWSPAPER over by the window with a NOTE on top of it. Selina rushes over, picks it up and reads. The newspaper has the front page story of the priceless jewel about to be exhibited in one of Gotham's galleries. It's circled in red. The note reads (as Selina scans down it): HELENA (V.O.) I've gone to get us our big score. Wish me luck! Back soon and then we can get the hell out of this city before it kills us both. Helena. SELINA Oh, baby... no... Selina's hands curl into FISTS, crumpling the paper in them as we

CUT TO: EXT. CLARKE GALLERY - FRONT ENTRANCE - NIGHT The Gallery used to be a stately home and so looks the part - marble arches, three storeys and lots of tall, thick windows reflecting the full moon in the sky. It's past closing time, however, so the place is dark. Cloud covering the moon, nothing but the dim glow from nearby streetlamps. INT. GALLERY - TOP FLOOR - NEXT From within a plushly-carpeted corridor, a high-pitched SCRAPING sound can be heard as we PAN ALONG: 66.

HELENA Is outside at one of the line of windows circling this part of the tower, hanging by a rope and harness line. She's decked out all in black - her heist gear. She's using a GLASS CUTTER to make a fist-shaped hole in the window, carefully removing the circle of glass once done. She reaches in through the hole she made, unlocking the from and lifting the window enough for her to slip through. HELENA (whispers) Piece of the proverbial. She pulls down a pair of Selina's GOGGLES - a little too big, the strap pulled tight to keep them in place - and after a quick scan she moves off. CUT TO: EXT. CLOCK TOWER - NIGHT Bruce and Alfred head back to the waiting car. ALFRED So now what? BRUCE Well I figured since the night's young we could-- His phone buzzes. BRUCE (CONT'D) Hold that thought. He pulls the phone out of his pocket. ALFRED Gordon. (Bruce has frozen) Bruce? BRUCE No. No it's not. And from his tone Alfred knows this isn't good news. CUT TO: EXT. GOTHAM - ROOFTOP - NIGHT Where Selina, decked out in her Catwoman gear, paces anxiously up and down. Glittering city lights in all directions, plus a thick FOG settling in. 67.

There's a muffled WHUMP behind her, and she whirls round to see BATMAN behind her, having just swung in. BATMAN What's the--? SELINA (surges over) You have to help me. Please. And straight away Batman knows this is serious. BATMAN What's going on, Selina? SELINA It's Helena, she - I didn't know, and - damn it, I should have listened to her! Batman takes a chance, reaching out to take her arms and keep her in place. He tenses - but she doesn't fight back. BATMAN Tell me everything. Slowly. SELINA (exhales) It's Helena. She's gone after - remember that exhibit at Clarke Gallery? The one I said was a pretty obvious trap? BATMAN Yes, I - (catches up) She's gone after it. She steps away from him, hands up through her hair, fighting back tears. SELINA If anything happens to her, I - I can't, she has to be-- BATMAN Why ask me? She turns to face him. Batman stands, impassive. BATMAN (CONT'D) If it is a trap, it'll be the GCPD. I can't help you against them. That's not how this works. She rails on him, angry, stabbing a finger towards him. 68.

SELINA You told me you'd help! You said, and I will quote your smartass words exactly back at you, "I'll help you with whatever you need." BATMAN "From Carmine", is what I said. She PUSHES him, raging, and Batman is startled enough to not react in time. SELINA Damn you! Call yourself one of the good guys? What the hell good are you if you won't take a night off from your insane crusade to save an innocent girl? She strides away, pushing her hair into her cowl and readying her grapple gun even as she wipes away tears of frustration. CATWOMAN To hell with you. I'll go get her my damn self. She raises her grapple to fire - but Batman's hand GRABS the gun, lowering it back down. A long beat as they stare each other down, before: BATMAN I'll hold them off. That's all. CATWOMAN (exhales; soft) Thank you. BATMAN Let's go. He turns and takes aim with his own grapple, and as he FIRES the hook towards us we CUT TO: INT. GALLERY - UPPER LEVEL - NIGHT Where Helena crouches down at the edge of a corner, peeking round slowly into the corridor ahead: Where a SECURITY GUARD paces slowly away from her, flashlight swinging. She grins - this is too easy - and scampers across to the far side, giving her a better vantage point on a CCTV CAMERA mounted up on the wall ahead. 69.

She withdraws a small box from her pocket, fiddling with dials on its surface as she watches a small green LED screen showing a modulating frequency. She hears a CLICK, and looks up to see the camera light is off - safe to proceed. After a quick check back and forth, she gets up and scurries onwards. INT. VAN - NEXT However, Helena is unaware that she's being watched by a different camera, its feed displaying on a monitor that's part of a bank of a dozen more. PULL BACK to find ourselves in a cramped MCU van, with Gordon and Essen watching the monitors carefully. A handful of Armed Response officers are on standby behind. ESSEN (off screen) There she is, right on cue. GORDON (squints) Looks... smaller. Based on the previous footage, I mean. ESSEN Maybe she's on a diet? Doesn't matter. That's our girl. She reaches for her radio: ESSEN (CONT'D) All units, this is Detective Essen. Target on site, heading for location one. Hold back, do not engage until I give the signal. And then it's Gordon's turn to address the other officers:

GORDON Watch all the exits. She's slippery but she doesn't know we're here. Any way she tries to run, I want at least two of you in her way. The officers nod, exiting the van and leaving the two detectives to watch their screens. ESSEN Problem with me running point on this one, Lieutenant? 70.

GORDON (spreads his arms) The floor's yours, Detective. Show me what you can do. Essen grins. In spite of everything, she's enjoying this. ESSEN Who knows, maybe the Batman'll show up and we can take two scalps in one night? Gordon manages not to betray any emotion, nodding. GORDON Yeah... maybe. As Gordon rises and exits the van, Essen studies his reaction as we CUT TO: INT. GALLERY - MAIN HALL - NEXT Helena slinks silently across a narrow lighting rig set into the ceiling, pausing to look down into: The main display hall of the gallery, where a spotlight DISPLAY CASE forms the centrepiece of the room. Within, resting on a velvet cushion, is a huge DIAMOND, easily several hundred carats, shining majestically under the mini spotlights. HELENA And there she is... She adjusts her goggles: HELENA'S POV: Allowing us to see through her lenses as she ZOOMS IN on the diamond, examining both it and the security around it. ON HELENA as she quickly unhooks a RAPPEL LINE, fixing it to the lighting gantry and then around her waist. Flipping neatly over, she DROPS the twenty feet down to fall level with the front of the case. There's a KEYPAD at the edge of the sliding front panel, so Helena draws a small AEROSOL from her belt, SPRAYING it over the numbered buttons. FINGERPRINTS appear as the particles from the spray highlight them, and after studying them for a beat, Helena types: 71.

And the panel CLICKS, allowing Helena to flip herself upright on the rappel line and slide the panel open. She grabs the open sides of the case to pull herself closer, examining the prize within: The diamond is a lot bigger this close up, and Helena's grin fades as she realises getting the thing out of here may prove to a bigger challenge. With a shrug, she reaches into the case, gingerly lifting the diamond and listening for any pressure-sensitive alarms. OVERHEAD as the shadows of several GCPD OFFICERS move into position, flanking her on all sides. Helena is focused on lifting the heavy diamond out of the case, and once clear she brings round a CASE on her belt, sliding the jewel neatly inside it. As she closes the lid: ESSEN (O.S.) (amplified) GCPD! Freeze! Helena's head snap up, alarmed - as a dozen armed officers appear at ever balcony facing the main hall, guns trained and loaded with a chorus of CLICKS! Hand-mounted SPOTLIGHTS fall on her, Helena shielding her eyes from the glare. ON GORDON as he peers down at the trapped Helena, Essen by his side, megaphone in hand. GORDON My God - she's just a kid... ESSEN (into megaphone) Lower yourself - slowly - to the ground and remain where you are! Helena looks all round, frantic - but she's cut off, guns pointed at her from every direction. HELENA Okay! I... I'm coming down! She moves her hands slowly towards her rappel line: But unseen by the officers, deftly removes a small BLACK BOX from her pocket. With slow movements, she brings herself down a few inches - then she suddenly STAMPS her hand against a catch on her belt, dropping her the last few feet to the ground! Before the officers can react, she presses the single button on the box - and a deafening SIREN blares out! 72.

It's tuned to every officer's comms unit in the hall, sending every one of them reeling with a supersonic blast of sound right into their eardrums! Essen's megaphone lets out a piercing WAIL that has both her and Gordon staggering back, hands over their ears. The few seconds it gifts Helena are enough for her to take off, streaking across the hall and charging towards the nearest two officers! Using her momentum, and echoing Selina's moves, she half- jumps and bounces off two other cabinets to get some air: Then SLAMS the jewel case across one officer's helmet before SHOULDERBARGING him into the other! Both men go down, giving Helena a clear run to the nearest fire door. She SLAMS it open with her shoulder and pushes outside: EXT. GALLERY - COURTYARD - NEXT Only to come skidding to a halt as she spills out of the gallery entrance: A dozen more SQUAD CARS are blocking her escape, RED AND BLUE LIGHTS washing over the scene as even more armed officers take aim at her! OFFICER (V.O.) (through megaphone) Lay down on the ground or we will open fire! Helena pulls up sharply, wide eyes scanning left and right, searching for a way out - but she's trapped. Trembling, she starts to slowly raise her hands as the officers surrounding her begin to close in...

Before several small CANNISTERS are suddenly launched into the ranks of the police, exploding into thick streams of GAS! In seconds, the area around the squad cars is engulfed in choking white smoke, the officers stumbling and coughing through the haze. Taken aback, Helena retreats a few steps, unsure - only to hear the doors open behind her! She turns - it's Gordon and Essen, hesitating for a beat as they survey the scene, guns in hand... And as we look towards Helena, arms still raised and framed by the rising cloud of smoke behind her, a DARK SHAPE emerges from within, closing fast: 73.

BATMAN Arms out and cape pulled taut, turning him into a bat-winged GLIDER as he SWOOPS down into frame! CUT TO Gordon and Essen, reacting to this. GORDON Okay, that's new... Helena's outstretched arms make her easy to GRAB as Batman rockets past, carving a tunnel of displaced air through the smoke as Helena disappears upwards with a startled YELP. Stunned, Gordon and Essen scramble out to get a better look - but Batman is already gone. The first few officers stumble out from the smoke, eyes watering and lungs burning, to find the two detectives staring dumbfounded towards the heavens. ESSEN Well... I guess our friend Batman just picked a side at last. Gordon doesn't look like he can quite believe what he saw before we CUT TO: EXT. OVER GOTHAM - NIGHT Helena clings to Batman for dear life, his gaze fixed ahead as the duo glide serenely above the city down below. HELENA Okay, I... I don't know what's happening right now, or if you've just captured me or saved me or what, but... um, don't drop me? Batman glances to the side - and sees a pair of POLICE HELICOPTERS, searchlights slicing through the night, fanning out in a search pattern below. Batman banks into a turn, veering away from us as Helena lets out a fresh CRY of fear. EXT. GOTHAM - ROOFTOP - NEXT Pulling his wings in and leaning back to reduce speed, Batman manages a neat landing down onto a rooftop, Helena pulling away from him and stumbling backwards. As he pops catches to release the wing tension and retract his cape, Batman still cuts an intimidating figure as he looms over her, framed by the night. 74.

Helena backs away, hands reflexively going to the jewel case still slung around her belt. HELENA If this is all you want... you can have it. Just let me go, alright, I don't want any-- A hand falls on her shoulder, and Helena whirls round, fist raised to strike: But it's Selina, cowl down, who pulls Helena into a grateful, relieved embrace before she can speak. Helena snaps to her senses, pushing away from Selina, staring in open-mouthed shock as Batman paces round to stand closer. HELENA (CONT'D) How did - what is - why did you--? BATMAN We need to keep moving. SELINA Give her a second, okay? She's not like us. This isn't her life. HELENA (anrgilly) The hell it isn't! She brings round the jewel case, opening the lid: HELENA (CONT'D) Look! See that? I got it. We're done. Now we can get the hell out of Gotham, like we should have done days ago. (to Batman) Feel free to try and stop us. He stares her down for a beat - then reaches and grabs the diamond out of the case before she can react! HELENA (CONT'D) Hey! That's-- Batman lifts the gem - and then smashes it down against the rugged roof surface. Helena boggles as the supposedly priceless diamond shatters into pieces. BATMAN Real diamonds don't do that. SELINA It was a setup, honey. A trap. 75.

Ignoring her shock, Batman advances, addressing Selina: BATMAN We don't have time for this. Gordon wouldn't have just sent a few cars if he was this serious about catching you. HELENA Okay, first of all - the diamond, what the hell - and second, oh, hey, Selina, how about we talk about the fact you appear to be hanging out with the fricken' Batman?! SELINA Helena, listen to me. There are things I can't-- HELENA No, damn it! Stop trying to shut me up, just like you always do! Something beyond big is going down, and I order you to tell me what it is, right now! Helpless, Selina glances at Batman - but he steps away, more concerned with their escape. Selina looks back at Helena - her expression somewhere between rage and pleading - before she lowers her head. SELINA Helena, I... BATMAN Get down! He charges over - a heartbeat before one of the HELICOPTERS rounds an office building up ahead, its searchlight quickly falling on the trio!

Batman shoves the women protectively behind him, grabbing another pistol-shaped gadget from his belt and taking aim. INT. HELICOPTER COCKPIT - NEXT Where the passenger's eyes bulge as he sees Batman pointing what looks like a GUN at them! OFFICER Look out! He's gonna shoot! He raises his own RIFLE as the helicopter pilot pushes the chopper into a swerve: 76.

EXT. ROOFTOP - NEXT Batman lets the helicopter swing to the side, spying the GCPD officer aiming his rifle his way - before he pulls the trigger on his own weapon. There's a PULSE of electrical blue light from the gadget - and the helicopter suddenly DROPS several feet! INT. HELICOPTER COCKPIT - NEXT As everything electrical has shut down, the engine stalled and the helicopter pitched into a spiral. The armed officer SHOUTS as the pilot wrestles for control! EXT. ROOFTOP - NEXT ON BATMAN as he nudges Selina and Helena to keep moving, tossing the spent and smoking gadget aside. SELINA Did you just-- BATMAN Low yield EMP. Their systems'll be back on in a few seconds. Move! The trio make a break for it, Selina and Batman both firing grapple lines up to higher ground. Selina takes a moment to embrace Helena with her free arm. SELINA You're an idiot. HELENA So are you. Selina KISSES her cheek. A beat as Helena stands between them, the other two waiting for her to pick a side. HELENA (CONT'D) (to Batman) No offence, but... And she grabs onto Selina, who smiles proudly before pulling on her line and taking a running JUMP off the roof. Batman glances behind him - the once-stricken helicopter is rising again, TWO MORE closing in on their position. He takes a step back, the rushes forward to SWING out across thin air, following the girls as we CUT TO: 77.

INT. SQUAD CAR - NEXT Gordon drives, Essen on the radio as he speeds through inner city traffic, his eyes on the helicopters overhead. ESSEN Say again, Bravo Two? PILOT (filtered; through radio) -- fired some kind of electrical device at us, almost crashed us into the side of Killinger's! ESSEN (to Gordon) Not pulling his punches tonight, is he? GORDON (dark) No, he is not. He pulls a SHARP LEFT, wheels screeching in protest as Gordon fights to keep pace with the helicopters. ESSEN Careful, Jim! The aim is for us to get there in a police car, not an ambulance. Focused, Gordon doesn't respond as we CUT TO: EXT. GOTHAM ROOFTOPS - NEXT Dashing across the roof of a sky rise city apartment complex, Selina pulls the other two to a halt, pointing: SELINA That way.

BATMAN (shakes head) We can't go deeper east, we'll be cut off by the river! SELINA We need to get to Robinson Park. HELENA Our stuff? But you always told me to cut and-- 78.

SELINA Run, when you have to, yes, but trust me, Helena - there's important stuff there. Things we can't leave without. (glances at Batman) Things we came here for. And then you'll never have to see us again. Pinky promise. Batman GRUNTS, and Selina moves him a few steps away from Helena, lowering her voice. SELINA (CONT'D) Thank you. I appreciate you've done a lot tonight. BATMAN Maybe too much. SELINA What, the cops? Please. They'll get over it. Half of them hate you anyway, right? BATMAN You're not helping. SELINA I know. Sorry. She looks back, smiling fondly at Helena. SELINA (CONT'D) So maybe this will help. And in one fluid move, she wraps her arms round Batman's necks and pulls him in for a deep, lingering KISS. Batman is too surprised to react, Selina pulling away with a devilish smirk before he can kiss back.

SELINA (CONT'D) That's for saving us both. (beat) Bruce. It takes Batman a second to react to what she's just said. BATMAN (blinks) Wait, how--? Selina hurries over to the edge of the rooftop and raises her grapple - before she lowers it, frowning. HELENA What is it? What's wrong? 79.

SELINA It's too far... my line won't make that, and if we have to go round we'll take too long. BATMAN I'll do it. He steps forward, reaching for Helena - but she steps back. HELENA What? No way! Look, I'm sure under that hood and makeup you're a real happy camper and all, but if you think I'm gonna trust you-- They're interrupted as two helicopters rise up into view, searchlights reaching for the trio! Selina quickly looks Helena up and down - then yanks the goggles and empty case from her. HELENA (CONT'D) Hey! What the-- SELINA They're after the Catwoman, right? She fixes on the goggles and pulls up her cowl - now every inch the feline fatale again. SELINA (CONT'D) So let's give them what they want. And she takes off, running away from the duo - and straight into the searchlights! HELENA No! Helena tries to follow but Batman pulls her away, aiming his grapple gun and FIRING.

Helena's outstretched hand reaches for nothing as she and Batman SWING AWAY: ON SELINA as she pauses for a beat in the searchlights, glancing back to check that Helena is safely away. With a smirk, she BLOWS A KISS at the helicopters and then sprints away, both choppers veering off in pursuit. EXT. ROOFTOP - NEXT Helena and Batman climb up a short fire escape to the roof, Helena dashing to the far edge to watch Selina's escape: 80.

DOWN BELOW, and Selina is able to leap across gaps between closer buildings: But on the streets, more SQUAD CARS are joining the chase, an ever-growing phalanx of sirens and lights filling the city. HELENA We have to help her! She rounds on Batman, who is adjusting his grapple. BATMAN We will, but first I have to get you to safety. HELENA No, damn it! She doesn't stand a chance out there! Half the cops in Gotham are after her! BATMAN She can take care of herself! HELENA And I can't? Is that what you're saying? I broke into that gallery single-handed and you're telling me I need the big bad Batman to hold my hand all the way home? BATMAN The gallery was a setup, you-- Quick as a flash, while he's distracted, Helena has closed in and GRABBED one of the gadgets from his belt! BATMAN (CONT'D) Wait! Don't-- HELENA 'Don't' what? What does this do? Huh? 'Cause I don't know.

She waves it at him, trying to be menacing - it's a snub- nosed object with a pistol grip. HELENA (CONT'D) So what happens if I pull the trigger? Does it explode? Do you explode? BATMAN Helena... put it down. HELENA Not until we're going back for Selina. The apartment can wait. 81.

Batman hesitates, sizing her up - then with a lick of his lips and a grimace, turns and aims his grapple towards the fleeing Selina. BATMAN (curt) Let's go. Helena steps in and wraps her arms around him - keeping her grip firmly on the gadget and aimed his way. With a glance her way, Batman JUMPS, the duo swinging out of frame as we CUT TO: EXT. DEPARTMENT STORE - NIGHT Where Selina is clambering rapidly up a fire escape, criss- crossing the outside wall of a multi-storey department store. The searchlights keep losing her as she nimbly cuts corners and jumps up levels, but a glance down below shows: A horde of COPS flooding up the escape ladders, closing fast and forcing her to go ever upwards. She pauses as she passes a huge wall-mounted billboard, advertising a Macy's sale. SELINA Aw, man! Right when I'm on my way outta town, too... Forcing herself to continue, she's a few rounds of stairs from the top. EXT. ROOFTOPS - NEXT Out of breath but pushing on, Selina makes it to the roof - and then a look round shows she may have made a bad call.

Every other adjacent building is too far to grapple over to, and there's no other way off the roof except back down. Selina hurries to the closest edge, scanning for anything she can use to flee: And another HELICOPTER rises up right in front of her, blocking any chance of exit. It rotates on its axis to present its side - where Gordon and Essen are waiting, headphones on as Gordon raises a megaphone and calls out: 82.

GORDON There's nowhere to go! Lay down on the roof and put your hands behind your head! IN THE HELICOPTER, as Essen shouts over the rotor noise: ESSEN Did she get taller? ON SELINA as the reality finally hits her - she's not getting out of this one. She lets out a sigh, but manages a smile knowing Helena got away first. She raises her hands, pulling off her goggles and shaking out her hair. SELINA Alright, you got me. I'll go quietly but only if you let me sing a little song while I'm doing it. Gordon waves to the pilot to close in, the helicopter banking to hover over to above the roof. Selina stays put, hair buffeted by the rotors, as in the background the first few officers make it to the top of the fire escape. Selina closes her eyes, the scene falling to SLOW MOTION as the rotors hum hypnotically overhead: Before a grapple line and hook SLAMS into the rooftop by her feet, startling Selina back to alertness! She looks up: ACROSS THE STREET, Batman stands, Helena by his side, having secure the grapple line like a tightwire between the two buildings. ON SELINA as a handheld device slides to the end of the line, and without wasting another beat she races for it. In the helicopter, Essen frantically waves to the pilot to cut her off, the helicopter angling sharply to try and block her path with its rotors. ON BATMAN as he holds his hand out to Helena. BATMAN May I? She hesitates - then passes him the gadget. Batman flicks a safety catch off and aims it towards the helicopters before he FIRES. 83.

Three large round PELLETS speed through the air before opening with a POP: Gossamer-thin strands of adhesive spray out like party streamers, wrapping themselves around several sections of Gordon's helicopter. Thrown off balance, it LURCHES sideways and CRASHES belly first onto the roof! Selina makes it to the line, hooks her hands through the device and kicks off from the roof: And the motorised zipline WHIRRS her across the gap between buildings, Selina LAUGHING delightedly! ON THE HELICOPTER as a sore but unharmed Gordon and Essen clamber out. GORDON You okay? ESSEN I'm fine, I'm fine. (looking over 'copter) What did he hit us with? GORDON I have no idea. He looks towards the opposite building - Selina is halfway across the gap between buildings, her momentum slowing as the incline of the cable increases. GORDON (CONT'D) (grim) I'm not even sure who he is any more... ESSEN I'll tell you what he's not. (off look) On our side. ON SELINA as the handrail labours, meeting a steeper climb than it's used to. ON HELENA at the edge of the roof, urging Selina to reach them faster, yelling back at Batman: HELENA Can't you make that thing go any faster? Batman nudges past her, expression troubled at Selina's vulnerable position. 84.

BATMAN (sotto) Come on, damn it... ON SELINA, grimacing now as her grip weakens - still suspended a long way above the street below. She glances behind her - ON THE ROOFTOP, a cluster of GCPD officers can do nothing but watch her escape. SELINA Well... guess there are worse ways to spend an evening, right? TELESCOPIC SCOPE P.O.V. Green night vision, the hanging Selina lined up neatly in the centre of CROSSHAIRS. ON SELINA as she notices a RED DOT on her chest, just having time to frown, puzzled, before: CRACK! The GUNSHOT echoes out around them, Selina taking a sharp breath, her body stiffening. ON HELENA as her eyes bulge. ON BATMAN as he charges to the edge of the roof: BATMAN No!! ON GORDON AND ESSEN as they react: ESSEN What the--? GORDON (into radio) Who did that? Who fired that shot? Who fired that shot?! ON SELINA as BLOOD fountains from the gunshot wound on her chest. Selina wilts, one hand slipping free of the handrail, leaving her dangling above the streets! HELENA (screams) Selina!! Batman snaps back to his senses, rapidly assembling something from components snatched from his utility belt. 85.

ON GORDON as he and the officers track the direction of the gunshot, another helicopter further away already moving to investigate. HELENA's hands are over her mouth, helplessly watching Selina clinging to the cable. HELENA (CONT'D) Oh my God... Selina... BATMAN Move! Batman surges past - DIVING off the rooftop - and clipping a shorter grapple from his belt directly onto the cable! The momentum carries him out across the space, closing rapidly on the stricken Selina as we CUT TO: INT. DARKENED ROOM - NEXT And as the sniper sits back from his rifle, he's revealed as one of Carluccio's bodyguards - the same one sporting three CLAW MARKS on his cheek from his earlier tussle with Selina. He has his phone at the ready, listening: SYMES (O.S.) Is it done? BODYGUARD It's done. INT. SYMES'S OFFICE, WAYNE ENTERPRISES - NEXT Where Symes is watching everything on his laptop. SYMES Then you are released from your contract.

INT. DARKENED ROOM - NEXT As a police searchlight GLARES perilously close to his window, the Bodyguard starts rapidly disassembling the rifle, his job done. CUT TO: EXT. ROOFTOPS - NEXT Batman makes it to Selina, pulling sharply on his gun to brake his approach, free hand reaching for her. 86.

Just as his hand closes around her forearm, she loses her grip on the handrail - and DROPS with a lurch, Batman straining to keep hold of her! GORDON AND ESSEN watch, reduced to spectators. Selina's already weak and fading, Batman struggling for purchase as her arm keeps sliding through his grip, courtesy of her jumpsuit. BATMAN (grimacing) Hang on! I've... I've got you! He ROARS, trying to haul her up, but he can't get enough of a grip to pull her to safety. SELINA It's okay... it's okay... BATMAN Selina, stay with me! ON HELENA who can only watch, horrified. Batman keeps trying but Selina is slipping perilously close to falling, no matter how hard he tries. SELINA Listen to me... BATMAN Just hold on! I've - SELINA Bruce. Batman hesitates - and Selina smiles. SELINA (CONT'D) Figured it out... pretty early on. Might wanna try... a little harder... at your disguise. Batman doesn't answer, his eyes never leaving her. SELINA (CONT'D) Promise me something. (beat; woozy) Helena. Just... take care of her. She's... she's my... Batman's whole body is shaking, desperately trying to keep Selina in his grasp. SELINA (CONT'D) She's my daughter... 87.

And Selina slips out of Batman's grip at last. BATMAN (roars) Noo!! ON HELENA as she drops to her knees, SCREAMING. Batman reaches out - But Selina just falls away from him. Hair fanning out poetically around her. ESSEN GASPS as Gordon's eyes are locked on the plummeting Selina. GORDON Oh, God... Batman stares, unable to process what just happened. Unable to take his eyes off Selina until she disappears from view. He tears his gaze away, eyes falling on Gordon watching from the rooftop. A beat as the two allies lock stares. And then Batman grabs onto the handrail, releases his grapple and turns to FIRE a line back up to the rooftop where Helena waits. Batman is hauled up and away in moments, the sound FADING around Gordon as he watches Batman escape. EXT. ROOFTOP - NEXT Helena is in a huddle, SOBBING, as Batman drops down onto the terrace. Head bowed, he approaches her. BATMAN Helena... I'm - And with a SHRIEK of pure fury, she LASHES out at him with one of Selina's climbing claws!

Caught off balance, the claws RAKE across Batman's chest plate, knocking him to the floor. HELENA Why didn't you save her? (raging) Why didn't you save her?! Batman is winded - those claws took a chunk out of him. HELENA (CONT'D) This is on you. She trusted you, and you let her die! Helena pulls down her goggles and fixes the other climbing claw in place. The transformation complete. 88.

HELENA (CONT'D) I'll be back for you. Better start watching your back. She's off, vaulting over the edge of the roof, down onto the edge of an adjacent hotel multi-storey car park, vanishing into the shadows in moments. Wincing, Batman gets to his feet. He looks towards the direction Helena escaped in, before detective mode takes over - scanning the trajectory of the sniper shot. BRUCE (PRELAP) By the time I'd located the apartment, he was long gone. INT. BATCAVE - MORNING Bruce sits in his chair, cowl and gloves off. Head down. Alfred waits respectfully nearby, letting him speak. BRUCE I'll keep an eye on the scene, but there'll be no police trail to follow. No witnesses. ALFRED But it had to be Carmine. BRUCE There's no other obvious option. (beat) One more reason to add to the list. Bruce spins round in his chair, opening up some data stream windows on the main console screen. ALFRED And Helena? If Selina was actually her mother, who's the father? BRUCE That's something else I'll have to find out. ALFRED You don't need me to tell you it's not a top priority... BRUCE ... but you're going to anyway. (beat) I'll protect her. I made a promise. ALFRED Might be tricky for Batman to keep an eye on her, considering she blames you for her mother's death. 89.

BRUCE Then it'll come from Bruce Wayne. I hear he's good at that kind of thing. ALFRED Have to find her first. BRUCE When she's ready... she'll find me. Bruce falls silent, absorbing himself in his work, and Alfred takes the hint to give him some time. Alfred is at a staircase leading back to the surface, pausing to call back: ALFRED Oh, and Jim Gordon left a message on the secure text number. Something about a helicopter repair bill? Bruce bows his head, rolling back in his chair to meet Alfred's stern gaze. ALFRED (CONT'D) You burned a lot of bridges tonight. Ones we may never get a second chance to rebuild. Bruce doesn't answer. Doesn't need to. ALFRED (CONT'D) I just hope she was worth it. He heads back upstairs, Bruce watching him leave. Turning back to the console, he brings up some camera footage - captured from his cowl, earlier that evening. It's Selina coming in for the kiss.

Bruce taps to pause the image, freeze framing on a smiling Selina gazing into the camera. He stares up at the flickering image on screen, rubbing his face with his hands before we CUT TO: INT. VICKI'S APARTMENT - MORNING Sipping a coffee (one of many judging by the empty cups), with dark-rimmed eyes Vicki continues to work on the data from Batman. 90.

She rubs her eyes - this has been a long few days - but when she looks back at the screen, that moment's break has let her spot something she was missing before. VICKI Wait a second... She leans forward, journalistic instincts firing up and overtaking her tiredness. She brings up the front page of a children's charity website, opening a 'Donors' tab and scanning down the list. CLOSE on her finger as she traces down to names one by one: VICKI (CONT'D) Jacob Symes... Jessica Carlisle... Carmine Falcone? Opening up a search engine window, she types in the name of the charity - 'the Blackwell Trust' - and browses the first page of results. Dummy links. Flat pages with repeated information. Japanese spam sites. VICKI (CONT'D) This charity doesn't exist... She sits back, processing this. VICKI (CONT'D) So what is it for? Her phone BEEPS - it's a text from Gordon. "Thanks for your help with the Gazette story. Tell your guy there I owe him one. Not a good end to the story, however. Watch the first editions for more. Jim." Curious, Vicki glances outside, realising at last that it's now sunrise.

EXT. GOTHAM STREETS - MORNING Where an imposing black town car moves through the streets. INT. BACK OF CAR - MORNING A buzzing phone. Symes takes it out of his pocket, reads the message. A frown. MAN'S VOICE (O.S.) Now that doesn't look good. Symes glances sideways at his passenger - the SUITED MAN. 91.

SYMES It looks as though someone has been sniffing around the Blackwell Trust. SUITED MAN Who? SYMES A reporter. Vicki Vale. The Suited Man smiles. Looking pleased. SUITED MAN Well now. That's interesting CUT TO: INT. ROBINSON PARK - APARTMENT - MORNING Helena, tearful but her eyes still burning with unfocused anger, is stuffing her belongings into bags. Selina's Catwoman gear is safely stowed into one bag, glimpsed for a moment as Helena zips it up. She moves to the bureau to pack away the laptop and other electronics, when she notices an unplayed video message, waiting to be opened. She hesitates, finger over the trackpad, then hits 'Play': ON SCREEN - Selina appears, settling down before the camera. From the background, she recorded this at this very laptop. SELINA Hi. It's - well, it's me. Obviously. So if you're seeing this, it means I didn't come back after a run in time to cancel it, and so that means... She offers a little shrug. Not wanting to say it. Helena sits down, staring at the screen. SELINA (CONT'D) I'm recording this on... well, it's our first night in Gotham. You're out getting snacks. Hopefully those little white Hostess donuts with the sprinkles that I like. She chuckles, and Helena lets out a laugh, already full off too many emotions. SELINA (CONT'D) I've been meaning to do this for a while, just as a... I don't know, a failsafe, or whatever. (MORE) 92. SELINA (CONT'D) Guess I put it off until now because... I'm scared. Scared of the thought of not being with you any more. Helena bows her head, lip trembling. SELINA (CONT'D) Helena... there's something I have to tell you. About your dad. (beat) About me. Selina runs a hand through her hair, exhaling. Helena looks back up, intrigued. SELINA (CONT'D) And about what you're owed by the world. Because, believe me, when you're done listening to all this... there's gonna be a whole hell of a lot for you to process. And if I'm gone... that means it's on you to take it, kiddo. Helena sits forward, glued to this last moment with Selina. SELINA (CONT'D) But don't worry. (grins) I'm gonna tell you everything you need to know. And as Helena manages to share the grin, wiping her eyes, we: BLACK OUT:

BZN and BACK ROOM PRODUCTIONS Presents

BATMAN

“NINE LIVES”

WRITTEN BY LEE A. CHRIMES

CREATED FOR VS BY ADAM SCOTT

BASED ON CHARACTERS CREATED BY BOB KANE

AND APPEARING IN MAGAZINES PUBLISHED BY DC COMICS