If you’ll recall, when we left things yesterday, the basic plot background for our hypothetical Batman I  was pretty well underway, and Bruce Wayne was hopping onto the back of a boxcar to make his way westward in preparation for catching a flight there that would mark his “official” return to Gotham City. Which probably, and quite naturally, makes you wonder why I would choose to kick this post off with the cover to the classic 1970s Batman origin story “There Is No Hope In Crime Alley!” by Denny O’Neil and Dick Giordano (who was in full Neal Adams rip-off mode at the time, like a lot of the comics industry).

Well, friends, that’s because I figure that this type of scene would give us the best opportunity to give this flick the closest thing I really want it to have to an “origin of the Batman” sequence, which would consist largely of flashbacks running across Bruce’s bat-brain as he takes in scenic views of the vast American landscape. Ideally, I wouldn’t think this montage would need to last more than four or five minutes, but it should hit on all the following key points:

It should start with the by-now-ubiquitous murder of young Bruce Wayne’s parents, followed by a scene of him dropping out of a prestigious prep school, followed by several scenes of intense martial arts and physical stamina training in a wilderness environment where he’s seen side-by-side with numerous other black-clad “ninja-type” guys (spoiler alert! This will be revealed to be Ra’s Al Ghul and his “League Of Shadows” outfit in the second film of our imaginary series), finally wrapping up with some scenes showing the Batman’s earliest exploits rounding up the Gotham crime lords as we laid out in our last little installment here.

I was giving some serious thought as to whether this flashback montage should be in black and white or color, and finally decided on the simple answer of : frankly, it doesn’t really matter. I’m sure a skilled director can pull it off either way and maybe making the whole thing B&W would be a little bit too obvious. In any case, that’s about as “deep” into the origins as we really need this story to go for our purposes. As the scene concludes, we can show Bruce jumping off the train into the quiet, just-post-dawn West Coast morning, and when we next join him, it will be an in entirely different, complete-media-circus-type atmosphere.

I suppose, short and sweet as it is, that’s probably as good a spot as any to leave things for today, since slow, steady, and methodical is our MO here with this series, I’ll just “tease” tomorrow’s installment by saying this — we’ll be leaving Bruce Wayne for a short while and meeting our other principal players, namely Jim Gordon, Harvey Dent, and Selina Kyle before we get back to the star of the show, so their various methods of introduction will be what we take a look at a short 24 hours (or less) from now.

Until then, as always, I welcome any thoughts, criticisms, concerns, critiques, etc. that you, dear reader, may have about today’s (admittedly rather brief) addition to this little ongoing blogging opus-of-sorts I’m in the midst of here.