(Indicates cell.) But if you make yourself more than just a man … if you devote yourself to an ideal … if they can’t stop you … then you become something else entirely …
WAYNE
Which is?
Ducard moves to the door. Which opens to his touch.
DUCARD
A legend, Mr. Wayne.
A Guard steps aside to let Ducard pass.
Tomorrow you’ll be released. If you’re bored of brawling with thieves and want to achieve something, there’s a rare flower – a blue poppy – that grows on the Eastern slopes. Pick one of these flowers. If you can carry it to the top of the mountain, you may find what you were looking for in the first place.
WAYNE
And what was I looking for?
Ducard looks at Wayne with a glint in his eye.
DUCARD
Only you can know that.
The door slams shut.
Wayne lies in the darkness of his cell, staring up …
Shadows of bats cross his face, his eyes close and we are –
INT. BOTTOM OF THE OLD WELL – DAY (WAYNE’S MEMORY) 12
The last of the bats flutter up the well shaft … Young Bruce lies there, exhausted, weeping softly.
MALE VOICE
(o.s.)
Bruce?
Young Bruce looks up: a figure, long coat billowing, is lowered down the shaft … Thomas Wayne, Young Bruce’s father.
EXT. GARDENS, WAYNE MANOR – MOMENTS LATER 13
Thomas carries his son towards the house. At his side, a fifty-year-old man in a somber suit calmly coils a rope: Alfred.
ALFRED
Will we be needing an ambulance, Master Wayne?
THOMAS
(shakes head)
I’ll set the bone, then take him for X-rays later.
ALFRED
Very good, sir.
They pass a tearful Rachel standing with her mother, Mrs. Dawes, the housekeeper.
MRS DAWES
I’m very sorry, sir, I’ve told her –
THOMAS
Don’t worry. It’s fine.
Thomas nods at her, smiling. Bruce reaches out to Rachel as they pass. Hands her something. The arrowhead. She smiles.
INT. HALL, WAYNE MANOR – CONTINUOUS 14
Thomas carries Bruce up the main stairs. The house is vast and grand, but full of flowers.
ALFRED
Took quite a fall, didn’t we, Master Bruce?
Young Bruce looks up at Alfred. Manages a slight smile.
THOMAS
And why do we fall, Bruce? (Smiles gently.) So we can learn to pick ourselves up.
Wayne tumbles through the dust, rolling, bumping and we are –
SCENE OMITTED 15
EXT. DUSTY PLAIN – DAY 16
Wayne rolls along – a Chinese army truck speeding off. A Soldier tosses Wayne’s small pack after him. Wayne watches the truck speed off. Picks himself up. Grabs his pack. Turns to look across the plain to the distant foothills.
EXT. HIMALAYAN FOOTHILLS – DAY 17
A field of exquisite blue poppies. Wayne approaches. Picks one. Studies its brilliant blue in the cold sunshine.
EXT. TINY HAMLET, HIMALAYAS – DAY 18
Wayne, exhausted, freezing, hungry, wanders up the street. As locals see him they head inside. Doors slammed, bolted.
CHILD
(o.s.)
No one will help you.
Wayne turns to find a Young Child staring at him. The Child points at the blue flower pinned to Wayne’s chest. An Old Man appears at the Child’s side.
WAYNE
(weak)
I need food.
OLD MAN
Then turn back.
Wayne looks at the Old Man. Then carries on up the mountain.
EXT. MOUNTAIN – DAY 19
Wayne struggles through driving snow up an icy ridge …
He clears the ridge, flops down into the snow, painfully raises his scarf-wrapped face to the cutting wind to see a monastery perched on jagged rock.
EXT. HIMALAYAN FORTIFIED MONASTERY – DAY 20
Wayne climbs the steps to the vast doors of the monastery. Unwraps a severely frostbitten fist. Pounds desperately against the ice-covered wood, knocks echoing deep within.
A grinding noise from within. Wayne stops, straightens. The doors swing open to darkness …
INT. GREAT HALL, MONASTERY – CONTINUOUS 21
Wayne shuffles forward into a low-ceilinged wooden hall lit by flickering lamps. Hands trembling, Wayne pulls at brittle scarves. He starts as the doors thud shut behind him.
At the far end, on a raised platform, sits a dark, robed figure: Rā’s al Ghūl. Wayne moves unsteadily towards him.
WAYNE
(hoarse)
Rā’s al Ghūl?
Armed Warriors of various races emerge from the shadows, their dress a mixture of modern combat and ethnic dress.
DUCARD
(o.s.)
Wait.
The Warriors hold. Wayne looks at the source of the command: Ducard leans against a nearby pillar.
Wayne reaches into his layers of clothing. Pulls out the blue poppy. Holds it out, shaking.
Rā’s al Ghūl starts to speak in Urdu. Ducard translates.
What are you seeking?
WAYNE
I … I seek … the means to fight injustice. To turn fear against those who prey on the fearful
Ducard takes the flower. Considers its delicate blue petals. Puts the flower into his buttonhole. Rā’s al Ghūl speaks.
DUCARD
(translating)
To manipulate the fears of others you must first master your own. (His own words.) Are you ready to begin?
WAYNE
(trembling with fatigue)
I … I can barely –
Ducard kicks him – Wayne crashes to the floor.
DUCARD
Death does not wait for you to be ready …
Wayne crawls, gasping. Ducard strikes him in the ribs.
Death is not considerate, or fair. And make no mistake – here, you face death …
Ducard turns – whips his leg in a fearsome roundhouse kick aimed straight at Wayne’s neck – but Wayne blocks the kick with a lateral movement of his forearm. He stares at Ducard, eyes blazing. Ducard smiles.
Wayne rises. Assumes a martial stance. Ducard strikes – Wayne blocks and parries, driving his body through pain into a series of fluid, skilled moves …
Tiger Crane … Ju Jitsu … (Smiles.) Skilled. But this is not a dance –
Ducard’s head smashes Wayne’s cheek – Wayne falters – Ducard smashes him in the groin – slams Wayne’s chin, sends him down hard.
And you are afraid …
Ducard crouches at Wayne’s side. Looks into his glazed eyes.
(Curious.) But not of me.
Ducard pulls the flower from his lapel. Leans in close to replace it on Wayne’s chest, his lips at Wayne’s ear …
Tell us, Wayne …
Violent flapping, screeching black bats – swarming, chittering.
(Voice-over, whispers.) What do you fear?
Young Bruce’s eyes open, and we are –
INT. BRUCE’S BEDROOM, WAYNE MANOR – DAWN (WAYNE’S MEMORY) 22
Young Bruce, breathing hard. Light cuts across the bedclothes. He looks to the door. Thomas is there.
THOMAS
(gentle)
The bats again?
Young Bruce nods. Thomas approaches. Sits on the bed.
You know why they attacked you? (Off look.) They were afraid of you.
YOUNG BRUCE
Afraid of me?
THOMAS
You’re a lot bigger than a bat, aren’t you? All creatures feel fear.
YOUNG BRUCE
(smiles)
Even the scary ones?
Thomas smiles back, reaches into his dressing-gown pocket.
THOMAS
Especially the scary ones. (Thinks.) Here, let me
show you something – (Freezes.) But you can’t tell anyone, right?
Young Bruce nods, eager. Thomas pulls out a long jewel case. He opens it: pearls glow in the half-light.
For your mother.
Young Bruce grins. Thomas winks at him, snaps the case shut –
INT. ELEVATED TRAIN (MONORAIL) – EVENING (WAYNE’S MEMORY) 23
Looking out to Gotham. Young Bruce, reflected in the glass, stares out in wonder at the city. His parents beside him, dressed up – Martha idly stroking her pearls.
The brand-new train car is crowded with Gothamites.
YOUNG BRUCE
Did you build this train, Dad?
THOMAS
(nods)
Gotham’s been good to our family … but now the city’s suffering. People less fortunate than us are enduring very hard times. So …
Thomas draws a circle in the condensation on the window.
… we built a new, cheap public transportation system to unite the city …
Thomas draws spokes through the circle, creating a wheel. Thomas taps his diagram at the central hub of the wheel, then points through the glass to a tall 1930s skyscraper.
… and at the center … Wayne Tower.
YOUNG BRUCE
Is that where you work?
THOMAS
No, I work at the hospital. I leave the running of our company to better men.
YOUNG BRUCE
Better?
THOMAS
Well, more interested men.
ANNOUNCER
(over loudspeaker)
Wayne Station. Wayne Station next.
EXT. GOTHAM – CONTINUOUS 24
The monorail train turns inwards on a ‘spoke’ … shooting towards the central station at the base of Wayne Tower.
EXT. WAYNE PLAZA – MOMENTS LATER 25
Young Bruce clings to his father’s hand as they walk through the rush-hour crowds. Young Bruce stares up at the magnificent Wayne Tower, watching the setting sun set fire to the gold lettering of the WAYNE ENTERPRISES name.
Rich orchestral strings rise, and we are –
INT. GOTHAM OPERA HOUSE – LATER 26
A gilded house packed to the rafters for Boito’s Mefistofele. Young Bruce seated between his parents. On stage: witch-like creatures cavort. Dark birds on wires descend, flapping.
Young Bruce stares, uneasy, at their violent motions.
Insert cut: bats explode from a dark crevice.
Young Bruce starts breathing faster, staring fixedly.
Screeching, flapping black bats swarm all around …
Young Bruce, gulping panic breaths, looks around for an exit – they’re in the middle of a row. He grabs his dad’s arm.
YOUNG BRUCE
(desperate whisper)
Can we go?!
Thomas stares at his son, confused. Martha looks over. Young Bruce looks at his father, pleading. Thomas nods. They make their way along the row, Thomas nodding apologies…
EXT. SIDE ALLEY, GOTHAM OPERA HOUSE – CONTINUOUS 27
The Waynes emerge from a side exit. Martha crouches before Bruce, tries to meet his eyes. He stares down, ashamed.
MARTHA
Bruce, what’s wrong?
THOMAS
He’s fine.
Martha looks up. Thomas gives her a conspiratorial look.
I just needed a bit of air. Bit of opera goes a long way, right, Bruce?
Young Bruce looks up at his dad, who winks. Young Bruce smiles gratefully.
Come on.
Thomas, coat over his arm, ushers his family down the dark alley, heading for the welcoming glow of the main boulevard.
A figure emerges from the shadows in front of them. A Man. With a gun. Shifting uneasily. Skinny. Hungry. Desperate.
MAN
Wallet, jewelry! Fast!
THOMAS
(calm tone)
That’s fine, just take it easy.
Thomas hands Young Bruce his coat, then reaches for his wallet. The Man jerks the gun at Thomas, eyes darting. Young Bruce stares up at the gun trembling in the Man’s hand.
Here you go.
The Man grabs at the wallet but fumbles it. It falls. The Man glances down at the wallet, then back to Thomas, scared.
(Reassuring tone.) It’s fine, it’s fine …
The Man crouches for the wallet, eyes on Thomas.
… just take it and go.
The Man feels for the wallet, looks at Martha. Her pearls.
MAN
I said jewelry!!
She starts pulling off her rings. The Man jerks the gun at her neck. Thomas steps protectively in front of his wife.
THOMAS
Hey, just –
Boom. Young Bruce flinches. Thomas looks down at his bleeding
chest. Then back to the Man, saddened.
Thomas crumples. Martha screams. The Man reaches for Martha’s pearls – but she scrambles desperately for Thomas.
MARTHA
THOMAS!! THOMAS!!
MAN
Gimme the damn …
But Martha flails, trying to grab her fallen husband.
The Man shoots her. Then yanks at her necklace, which breaks. Spilling pearls all over the asphalt.
The Man stands. Turns to Young Bruce. Who stares at him. Uncomprehending. The Man cannot bear the boy’s gaze …
And then he runs. Young Bruce looks at the bodies of his parents, drops to his knees, head down: pearls dot the asphalt beneath him. Some of them are bloody.
Young Bruce starts to shiver.
INT. POLICE STATION – NIGHT 28
Chaos: Reporters and Cops vying for a piece of the crime of the decade. In the Captain’s office, Young Bruce. Bewildered, forgotten. Still clutching his father’s overcoat.
MALE VOICE
(o.s.)
Is that your father’s?
Young Bruce looks up: a young beat cop stands over him – Jim Gordon (twenty-nine). Gordon crouches, reaches for the coat. Young Bruce huddles over it, protective.
GORDON
(reassuring)
It’s okay.
Gordon’s tone prompts Young Bruce to trust him. Gordon takes the coat, drapes it gently across Young Bruce’s shoulders.
MALE VOICE
(o.s.)
GORDON! You gotta stick your nose into everything?!
Gordon turns to Captain Loeb, who glares at him.
CAPTAIN LOEB
Outta my sight.
Gordon nods at Young Bruce, whose eyes wish Gordon would stay. Gordon leaves. Loeb turns to Young Bruce.
Good news … we got him, son.
Young Bruce looks up at him, dazed. Uncertain.
EXT. GROUNDS, WAYNE MANOR – DAY 29
Two open graves. Mourners disperse, guided by Security Guards. Alfred stands with Young Bruce. A man approaches, Earle (forty-seven). He nods at Alfred, crouching.
EARLE
(indicates Alfred)
You’re in excellent hands, Bruce. And we’re minding the empire. When you’re all grown up, it’ll be waiting.
EXT. WAYNE MANOR – LATER 30
Mourners file towards the gates. Rachel walks with her mother. Looks up at Bruce’s high window. Sees him watching. Waves. Young Bruce pauses, then returns the wave.
INT. BRUCE’S BEDROOM – CONTINUOUS 31
Alfred enters. Looks tenderly at Young Bruce’s back.
ALFRED
I thought I’d prepare a little supper.
No response. Alfred turns.
Very well.
YOUNG BRUCE
(o.s.)
Alfred?
Alfred turns back. Young Bruce is looking at him with tears pouring down his cheeks. Alfred tilts his head.
ALFRED
(voice catching)
Master Bruce?
YOUNG BRUCE
It was my fault, Alfred.
Alfred’s mouth opens.
I made them leave the theater –
ALFRED
Oh
, no, no, no –
Alfred moves to Young Bruce, taking the boy in his arms.
YOUNG BRUCE
If I hadn’t got scared –
ALFRED
No, no, Master Bruce. Nothing you did. Nothing anyone ever did can excuse that man.
Alfred holds Young Bruce away to look directly into his eyes.
It’s his, and his alone. Do you understand?
Young Bruce nods. Then buries his face in Alfred’s chest, sobbing.
YOUNG BRUCE
I miss them, Alfred. I miss them so much.
ALFRED
(whispering)
So do I, Master Bruce. So do I.
Tears well in Alfred’s eyes as he holds the boy.
DUCARD
(voice-over)
And do you still feel responsible?
EXT. BALCONY, MONASTERY – DAY 32
Ducard and Wayne stand overlooking the glacier.
WAYNE
My anger outweighs my guilt.
Ducard nods. Understanding. Then leads Wayne into –
INT. MAIN CHAMBER, MONASTERY – DAY 33
Warriors spar in various groupings around the different levels.
DUCARD
You have learned to bury your guilt with anger. I will teach you to confront it. And to face the truth. You know how to fight six men. We can teach you how to engage six hundred. You know how to disappear. We can teach you to become truly invisible.
WAYNE
Invisible?
On Ducard’s order, two Ninjas drop silently behind Ducard and Wayne.
DUCARD
The Ninja understands that invisibility is a matter of patience and agility.
Ducard shows Wayne the Ninja’s hand-spikes.
A mezzanine level stacked with boxes and bottles. Ninjas pour powders into packets, mixing compounds. Ducard takes a pinch of a powder – throws it down – bang! Wayne flinches – Ducard smiles.
Ninjitsu employs explosive powders.
THE DARK KNIGHT TRILOGY: The Complete Screenplays with Storyboards Page 3