Rachel fires the taser – the projectiles shoot into the dark shape, trailing wires, lodging in the shape’s chest where they spark, providing flickering illumination of a masked face …
Batman.
He calmly yanks on the wires, pulling the taser from Rachel’s grasp. She stares at Batman, disbelieving, as he pulls the projectiles from his chest and coils the wires.
BATMAN
Try mace.
He tosses the taser back to Rachel and nods at the Thin Man, lying unconscious beneath him.
Falcone sent them to kill you.
RACHEL
Why?
BATMAN
You rattled his cage.
Rachel peers at the silhouette, trying to see more. Batman tosses some photos onto the floor in front of her: Judge Faden and the Girls.
RACHEL
What’s this?
BATMAN
Leverage.
RACHEL
For what?
BATMAN
To get things moving.
RACHEL
Who are you?
BATMAN
Someone like you. Someone who’ll rattle the cages.
A train shoots overhead, strobing light onto the walkway, obscuring Rachel’s view … when it clears, Batman is gone.
MALE VOICE
(o.s.)
Ma’am? Is everything okay?
Rachel tears her eyes from the empty spot on the railing. A Transit Cop is at the foot of the stairs.
EXT. DOCKS – CONTINUOUS 122
Gordon approaches, coffee in hand: tied-up Thugs sit against the container full of drugs. Uniforms hold back a line of Press, who snap away at the surreal scene. Gordon crouches to look at the Thugs, curious.
UNIFORMED COP
(o.s.)
Falcone’s men?
GORDON
(shrugs)
Does it matter? We’ll never tie him to it, anyway.
UNIFORMED COP
(o.s.)
I wouldn’t be too sure of that.
Gordon looks up. The Uniformed Cop is pointing. At a harbor light trained on the heavens. Gordon rises, walks towards it. Two Cops stand there, staring.
Falcone is strapped to the light, unconscious, arms spread. Coat ripped, hanging from his arms in a strange pattern.
COP 1
The hell is that? Looks like …
Gordon follows their gaze up to where the beam of light casts Falcone’s shadow onto the clouds.
COP 2
Like a bat.
Gordon stares at the projection. It is a bat-symbol.
GORDON
Cut him down.
Gordon moves away, thinking. Something catches his eye. A block away. Halfway up a building. A black flag blowing in the wind … Not a flag … a dark figure, wearing a cape, sitting on a ledge … Batman. Watching.
INT. FINCH’S OFFICE – MORNING 123
Rachel tosses a newspaper onto Finch’s desk, beaming. The front page: a huge photo of Falcone strapped to the light.
RACHEL
No way to bury it now.
FINCH
Maybe so, but there’s Judge Faden –
RACHEL
I’ve got Faden covered.
FINCH
And this ‘bat’ they’re babbling about.
RACHEL
Even if these guys’ll swear in court to being thrashed by a giant bat … we have Falcone at the scene – drugs, prints, cargo manifests – this bat character gave us everything.
Finch considers. Grins.
FINCH
Damn right. Let’s get frying.
INT. BULLPEN, POLICE HEADQUARTERS – MORNING 124
Loeb addresses Captains, Sergeants, Lieutenants. Gordon at the back. Loeb holds up the paper, smacks the front page.
LOEB
Unacceptable. I don’t care if it’s rival gangs, Guardian Angels or the goddamn Salvation Army – get them off the street, and off the front page.
CAPTAIN SIMONSON
They say it was one guy … or thing.
LOEB
Dipping into their own supply – it was some asshole in a costume.
Gordon raises his hand. Loeb nods, cautious.
GORDON
This guy did deliver us one of the city’s biggest crime lords.
LOEB
(glares)
No one takes the law into their own hands in my city, understand?
INT. MASTER BEDROOM, WAYNE MANOR – DAY 125
Alfred opens the curtains. Wayne wakes, squinting.
WAYNE
(groggy)
Bats are nocturnal.
ALFRED
Bats, maybe … but even for billionaire playboys, three o’clock is pushing it. The price of leading a double life, I fear.
Alfred puts down a tray: water, fruit, newspaper.
Your theatrics made an impression.
WAYNE
Theatricality and deception are powerful weapons, Alfred. It’s a start.
Wayne glances at the paper. Gets out of bed, bare-chested. Alfred sees bruises across his torso and arms.
ALFRED
If those are to be the first of many injuries … it would be wise to find a suitable excuse. Polo, for instance.
Wayne throws Alfred a look.
WAYNE
I’m not learning polo, Alfred.
ALFRED
Strange injuries, a non-existent social life … these things beg the question of what, exactly, Bruce Wayne does with his time. And his money.
Wayne considers this.
WAYNE
What does someone like me do?
ALFRED
(shrugs)
Drive sports cars, date movie stars … Buy things that aren’t for sale.
Wayne looks at Alfred. Nods. Downs the water, stands straight, feet together – falls forward to the floor – into his dizzyingly fast push-ups. Alfred watches. Concerned.
Who knows, Master Wayne – if you start pretending to have fun, you might even have a little by accident.
INT. BOARDROOM, WAYNE ENTERPRISES – AFTERNOON 126
Earle, alone at the table. An Executive walks in, troubled.
EXECUTIVE
We have a situation.
EARLE
What kind of situation?
EXECUTIVE
Coastguard picked up one of our cargo ships last night. Heavily damaged. Crew missing, probably dead.
EARLE
What happened?
EXECUTIVE
Ship was carrying a prototype weapon. A microwave emitter …
EXT. CARGO SHIP AT SEA – DAY (FLASHBACK) 127
Establishing.
INT. SHIP – CONTINUOUS (FLASHBACK) 128
An industrial machine the size of a small van sits in a cargo bay, watched by a Security Guard.
EXECUTIVE
(voice-over)
It’s designed for desert warfare – it uses focused microwaves to vaporize the enemy’s water supply …
The Security Guard is grabbed from behind, neck snapped. Two Men approach the machine. Start switching it on …
INT. EARLE’S OFFICE, WAYNE ENTERPRISES – CONTINUOUS 129
EXECUTIVE
Looks like someone fired it up …
EARLE
(voice-over)
What caused the damage?
INT. CARGO BAY – NIGHT (FLASHBACK) 130
The two Men brace themselves against the machine as it shudders, emitting energy in a wave –
EXECUTIVE
(voice-over)
The expansion of water into steam creates an enormous pressure wave …
Pipes explode, belching steam … all over the ship, sailors are tossed around by exploding pipes and drains …
INT. EARLE’S OFFICE, WAYNE ENTERPRISES – DAY 131
EARLE
Where’s the weapon?
The Executive shifts, uneasy.
EXECUTIVE
It’s missing.
EXT. HOTEL RESTA
URANT, DOWNTOWN GOTHAM – EVENING 132
A Bugatti Veyron pulls up to the valet station. Wayne emerges.
VALET
Nice car.
WAYNE
You should see my other one.
Valets scramble to the passenger side. Open the door to find two Blondes, one on the other’s lap.
INT. HOTEL RESTAURANT – MOMENTS LATER 133
Floor-to-ceiling glass overlooking Gotham. A terrace with a decorative fountain. Earle and his Guests at a table. Earle sees Wayne enter with the Blondes. He sighs. Then waves.
EXT. SAME – LATER 134
The table is littered with bottles and empty plates.
FEMALE GUEST
At least he’s getting something done.
MALE GUEST
Bruce, help me out here.
Wayne turns from the Blondes. They stand up and walk over to the pool. Wayne smiles, turns to the Female Guest.
WAYNE
A guy who dresses up like a bat clearly has issues.
FEMALE GUEST
But he put Falcone behind bars.
Wayne watches as, behind them, one of the Blondes slips off her dress and lowers herself into the pool … the other one, giggling, follows her lead.
MALE GUEST
And now the cops are trying to bring him in, so what does that tell you?
FEMALE GUEST
They’re jealous?
Wayne nods, considering. The Maître D’ sidles up, annoyed.
MAÎTRE D’
Sir, the pool is for decoration, and your friends do not have swimwear.
WAYNE
Well, they’re European.
MAÎTRE D’
I’m going to have to ask you to leave.
Wayne takes out his checkbook. Starts writing.
(Contemptuous.) It’s not a question of money.
WAYNE
(looks up, smiling)
I’m buying this hotel. And making some new rules for the pool area.
The Maître D’ stares at Wayne. Dumbstruck. The Blondes beckon Wayne. He walks to the edge of the pool. Earle turns away, shaking his head. Behind him, out of focus, Wayne is pulled into the pool.
EXT. HOTEL – LATER 135
Wayne and the Blondes, wet hair, in white hotel robes, waiting. The Valet pulls up in the Bugatti. The Blondes climb in. Wayne turns to the valet station.
RACHEL
(o.s.)
Bruce?
Wayne turns. Rachel is there, dressed for dinner. Beautiful.
WAYNE
Rachel.
RACHEL
I’d heard you were back. (Looks at robe.) What are you doing?
WAYNE
Just … swimming. (Changes subject.) It’s good to see you.
RACHEL
I missed you – you were gone a long time.
WAYNE
I know, did you …? I mean, how are things … for you?
RACHEL
The same. The job’s getting worse.
WAYNE
Can’t change the world on your own.
RACHEL
What choice do I have? You’re too busy … swimming.
Wayne stares at her.
WAYNE
Rachel, all this … it’s not all I am, inside I’m … different.
BLONDES
(from car)
Come on, Bruce! We have some more hotels we want you to buy!
Rachel glances at the Blondes. Then back to Wayne.
RACHEL
Bruce, deep down, you may be the same great little kid you used to be … but it’s not who you are underneath … (Pokes his chest.) It’s what you do that defines you.
Rachel moves past him. Wayne stands there, eyes burning.
INT. COUNTY JAIL, RECEIVING – DAY 136
Crane, briefcase in hand, is buzzed through thick steel and glass doors and met inside by a Prison Official. They walk.
PRISON OFFICIAL
Dr. Crane, thanks for coming down …
CRANE
Not at all. So he cut his wrists?
PRISON OFFICIAL
Probably looking for an insanity plea, but if anything happened …
CRANE
Of course, better safe than sorry.
INT. INTERVIEW ROOM, COUNTY JAIL – CONTINUOUS 137
Crane enters. Falcone sits at a table, wrists bandaged. Crane places his briefcase on the table. Falcone smiles.
FALCONE
Dr. Crane, it’s all too much, the walls are closing in, blah, blah, blah. Couple more days of this food, it’ll be true.
CRANE
What do you want?
FALCONE
I wanna know how you’re gonna convince me to keep my mouth shut.
CRANE
About what? You don’t know anything.
FALCONE
I know you wouldn’t want the cops taking a closer look at the drugs they seized. I know about your experiments on the inmates at your nuthouse … (Off look.) I don’t get into business with someone without finding out their dirty secrets. Those goons you hired … I own the muscle in this town.
Falcone leans forward. Looks Crane in the eye.
I’ve been smuggling your stuff in for months, so whatever he’s got planned, it’s big. And I want in.
Crane studies Falcone. Considering. Sighs.
CRANE
I already know what he’ll say … that we should kill you.
Falcone leans forward, glaring at Crane with contempt.
FALCONE
Even he can’t touch me in here. Not in my town.
Crane shrugs. Leans forward. Pops the locks on his briefcase. Smiles at Falcone.
Crane reaches into his briefcase. Inside is a breathing apparatus attached to a small burlap sack mask.
CRANE
Would you like to see my mask?
He pulls the mask out of the case. Holds it up.
I use it in my experiments. Probably not very frightening to a guy like you. But those crazies …
Falcone stares at Crane, uneasy. Crane puts on the mask. It is a sack with eye holes and twine stitching for a mouth.
… they can’t stand it …
FALCONE
When did the nut take over the asylum –?
Whump – a cloud of white smoke shoots out of Crane’s briefcase. Falcone pushes his chair back, coughing, surprised.
CRANE
They scream and cry …
Falcone looks up at Crane in his mask.
Through Falcone’s eyes: tiny lizard tongues flick out of the holes in Crane’s mask.
… much as you’re doing now.
Crane towers over Falcone, flaming eyes and flaming mouth …
Falcone screams.
INT. CORRIDOR OUTSIDE INTERVIEW ROOM – MOMENTS LATER 138
Crane emerges with his briefcase. The Prison Official hovers outside. Screams echo from inside the room.
CRANE
Oh, he’s not faking. Not that one.
The Prison Official nods gravely. Crane leans in.
I’ll talk to the Judge, see if I can get him moved to the secure wing at Arkham. I can’t treat him here.
EXT. BACK ALLEY, GORDON’S APARTMENT – CONTINUOUS 139
Through the window: Gordon’s pregnant wife, Barbara, tries to get their two-year-old to eat. Gordon kisses her, picks up the trash. Comes out into the dark. Thunder rolls around.
BATMAN
(o.s.)
Storm’s coming.
Gordon looks up: Batman is crouched in the fire escape.
GORDON
The scum’s getting jumpy because you stood up to Falcone.
BATMAN
It’s a start. Your partner was at the docks with Falcone.
GORDON
He moonlights as a low-level enforcer.
BATMAN
They were splitting the shipment in two. Only half was going to the dealers.
GORDON
(surprised)
Why? What about t
he other half?
BATMAN
Flass knows.
GORDON
He won’t talk.
BATMAN
He’ll talk to me.
Gordon looks up. Close on Batman, in the shadows.
GORDON
Commissioner Loeb set up a massive task force to catch you. He thinks you’re dangerous.
BATMAN
What do you think?
Gordon gets to his feet, dusts off his pants.
GORDON
I think you’re trying to help …
Gordon looks up. But Batman is gone.
… but I’ve been wrong before.
EXT. CARGO SHIP, DOCKS – NIGHT 140
Three men walk through the canyons of shipping containers, checking the tags with a flashlight. They stop at one.
FINCH
This is the one I’m talking about.
DOCK EMPLOYEE 1
What’s your problem with it?
FINCH
It shouldn’t exist. This ship left Singapore with 246 containers and arrived with 247. I’m guessing there’s something I’m not supposed to find in there.
Dock Employee 1 takes Finch by the arm, conspiratorial.
DOCK EMPLOYEE 1
Listen, counselor … we know the way things work in this town. You and me … we don’t want to know what’s in Mr. Falcone’s crate.
Finch looks at Dock Employee 1. Smiles.
FINCH
Things are working different. Open it.
Dock Employee 1 shrugs. Hauls the doors open. Finch looks inside: the industrial machine the size of a small van.
His torch picks out the Wayne Enterprises logo on the side.
What the hell is this thing?
Behind him: Dock Employee 2 raises a silenced gun – fires. Dock Employee 1 helps drag the body into the container.
EXT. FALAFEL STAND, SURFACE STREET – NIGHT 141
Raining. Flass stuffs falafel into his mouth. Grabs a banknote from the Vendor. Flass walks down a dark street.
Yanked from the pavement, he’s pulled up between buildings, falafel falling, up and up until face-to-face with … The Batman. Rain pouring off his cowl. Holding Flass by his ankle. Flass is screaming.
THE DARK KNIGHT TRILOGY: The Complete Screenplays with Storyboards Page 8