BATMAN
Where were the other drugs going?
FLASS
I don’t know, I swear to God –
BATMAN
Swear to ME.
Batman drops Flass three flights down on the wire … pulls taut – whips him back up.
FLASS
(terrified whispers)
I never knew … never … shipments went to some guy for a couple days before they went to the dealers.
BATMAN
Why?
FLASS
There was something else in the drugs, something hidden –
BATMAN
What?
FLASS
I don’t know – I never went to the drop-off. It’s in the Narrows – cops only go there in force …
BATMAN
Do I look like a cop?
Batman drops Flass into a stack of garbage cans.
EXT. THE NARROWS – NIGHT 142
An island in Gotham River connected by five bridges. At one end is an insane asylum, the rest is a ramshackle labyrinth of crumbling public housing, makeshift additions growing like fungus. A walled city. Slick with rain.
Batman crouches, watching. Drops from his perch …
EXT. HOUSING PROJECT, THE NARROWS – MOMENTS LATER 143
Batman climbs silently along the wall, window to window. He stops at one, pulls a small black optic from his utility belt, extends it into a tiny periscope. Angles it to look in the window: in the darkened apartment, the furniture is stacked up around the walls. In the center is a large pile of stuffed rabbits.
The sound of a window opening, accompanied by noise: voices raised in anger. Batman looks over to the next window – a Little Boy climbs out onto the fire escape. He threads his legs through the railings, staring out at the Narrows. Batman allows himself to make a noise.
The Little Boy looks up, sees Batman – his eyes go wide. Batman puts his fingers to his lips.
LITTLE BOY
It’s you, isn’t it? (Looks next door.) You’re here to get that guy? They already took him. To the hospital.
Little Boy points to the asylum looming over the Narrows.
FEMALE VOICE
(from inside)
Get your ass back in here!
The Little Boy reluctantly rises, opens the window. Stops.
LITTLE BOY
The other kids won’t believe me.
Batman looks at the Little Boy. Hands him the optic. The Little Boy’s eyes light up as he takes it and climbs inside. Batman opens his own window.
INT. APARTMENT, NARROWS – CONTINUOUS 144
Batman picks up one of the toys from the pile. It has been split open. Noise at the door prompts him to melt into shadow.
Crane and two Thugs enter. Crane indicates the toys.
CRANE
Get rid of all traces.
THUG 1
Better torch the whole place.
Crane nods. Notices rain spattering off the sill of the open window. The Thugs pull out Molotov cocktails. Thug 1 pours gasoline onto the toys, then pours a trail into –
INT. BATHROOM – CONTINUOUS 145
Thug 1 sets the bottle on the toilet tank. Lifts the lid to pee … catches sight of something in the cracked mirror …
He opens his mouth to scream – Batman smashes him into the mirror.
INT. APARTMENT, NARROWS – CONTINUOUS 146
Thug 2 turns to the bathroom door, holding his lit Molotov cocktail.
A cord wraps around the bottle – yanks it into the shadows. Its fuse is extinguished. Thug 2 stares at the darkness.
Batman rips from the bathroom – Thug 2 tries to pull a gun – Batman smashes him to the ground.
Batman turns to Crane – now wearing his mask. Crane’s hand flashes towards Batman, who dodges a small puff of smoke. Batman moves for Crane – coughs, chokes – losing balance – gasping … Batman looks at Crane, sees a monster: flaming eyes, elongated limbs, spinning like a dervish …
Batman reels, in the throws of a hallucination. Crane smashes the bottle over him, soaking him with gasoline … Batman lurches for the windows, images assaulting his mind –
Insert cut: bats explode from the dark crevice.
Batman turns to Crane. Who holds a flaming lighter.
CRANE
Need a light?
Crane tosses the lighter at Batman … who bursts into flames.
Insert cut: Rã’s al Ghūl opens his box – bats burst forth.
Batman, in flames, spins – leaps desperately at the windows.
EXT. WAREHOUSE, THE NARROWS – CONTINUOUS 147
Batman smashes through the window, cloak ablaze … Falling … Tries to activate his cloak – but only gets one side to pop open … the deployed wing causes him to spiral.
Insert cut: Young Bruce falling, falling in the well shaft –
Batman plummets, trailing flame, unopened wing fluttering with the violent flapping of –
Bats: screeching, flapping, fluttering darkness …
Batman’s stiff wing hooks a railing – slows him with a jolt – rips – dropping him to the ground with a crash …
Young Bruce hits the dirt at the bottom of the shaft –
– and a sizzle, as wet pavement damps the flames. Groaning, Batman rolls his burning Batsuit along the asphalt.
Two Men at a hole-in-the-wall store stare at Batman, astonished.
Batman, smoldering, looks up: the two Men loom, menacing. Batman lurches into an alley … the two Men look at each other, dumbfounded. Batman raises his grapnel-gun, fires up at the enclosed roof – rides up – punches his way through wire and metal, crawls onto his back, staring up at the skyscrapers of Gotham. Rain blurring his vision.
Insert cut: Young Bruce watches his father crumple.
Batman fumbles at his belt. Pulls out a tiny phone.
BATMAN
(hoarse)
Alfred?! Alfred?!
INT. ROLLS – LATER 148
Alfred drives, looks through the rear-view mirror at Batman, who lies in the back, flinching at invisible antagonists.
BATMAN
BLOOD! Alfred?! Blood! A sample – take a sa— sample – poisoned …
To Batman – the car is filled with bats … Mefistofele rises …
Young Bruce in the throes of his panic attack gulps air – turns to his Father, looks him in the eye and condemns him.
YOUNG BRUCE
(shouting)
We HAVE to go, NOW, Dad!!
Young Bruce drags his parents from their seats.
INT. MASTER BEDROOM, WAYNE MANOR – MORNING 149
Wayne awakes. Shivering. Red-eyed from crying. Alfred sits at his bedside, watching over him.
WAYNE
(hoarse)
How long was I out?
ALFRED
Two days. It’s your birthday.
WAYNE
(remembering)
I’ve felt these effects before … but this was so potent. Some kind of weaponized hallucinogen, administered in aerosol form …
FOX
(o.s.)
You are definitely hanging out at the wrong clubs, Mr. Wayne.
Wayne turns to see Fox sitting by the window.
ALFRED
I called Mr. Fox when your condition worsened after the first day.
FOX
I analyzed your blood, isolating the receptor compounds and protein-based catalysts.
WAYNE
Am I meant to understand all that?
FOX
No. I just want you to know how hard it was. Bottom line, I synthesized an antidote.
WAYNE
Could you make more?
FOX
Planning on gassing yourself again?
WAYNE
You know how it is, Mr. Fox … you’re out on the town, looking for kicks … someone’s passing around the weaponized hallucinogens.
Fox shakes his head at Wayne, getting up to leave.
FOX
I’ll
bring you what I have – but the antidote should serve as inoculation for now. (To Alfred.) Alfred, always a pleasure.
Alfred nods.
ALFRED
Lucius. (to Wayne) Get some more sleep.
INT. MAIN HALL, WAYNE MANOR – LATER 150
Tables of food and decorations fill the hall. Alfred is talking to Rachel at the front door.
ALFRED
Are you sure you won’t come in?
RACHEL
I have to get back. I just wanted to leave this …
Rachel is holding a small gift-wrapped package.
WAYNE
(o.s.)
Rachel?
She looks up to see Wayne standing there in his dressing gown. Alfred withdraws. Rachel looks at Wayne, his messed hair, red eyes.
RACHEL
Looks like someone’s been burning the candle at both ends.
Wayne doesn’t know what to say. Rachel reaches up to touch a bruise on his cheek.
Must’ve been quite an occasion.
WAYNE
(sheepish)
Well, it is my birthday …
RACHEL
I know – I’m sorry, I can’t come tonight. I was just dropping off your present.
Rachel’s phone rings.
Rachel Dawes. What?! Who authorized that?! Get Crane there right now – don’t take no for an answer … and call Dr. Lehmann, we’ll need our own assessment on the Judge’s desk by morning.
Rachel hangs up. Wayne looks at her.
WAYNE
What’s wrong?
RACHEL
It’s Falcone. Dr. Crane moved him to Arkham Asylum on suicide watch.
WAYNE
You’re going to Arkham now? It’s in the Narrows, Rachel.
Rachel gives him a look.
RACHEL
You have yourself a great time – some of us have work to do.
She hurries past him. Stops. Turns. Looks at him, softer. Hands him his present.
Happy birthday, Bruce.
She races out the door. Wayne opens the present: a note saying ‘Finders keepers.’ And the arrowhead. Wayne watches her go, thinking.
INT. HALLWAY, WAYNE MANOR – LATER 151
Wayne hurries down the hallway. Alfred in pursuit.
ALFRED
But Master Wayne, the guests will be arriving.
Wayne turns.
WAYNE
Keep them happy until I arrive. Tell them that joke you know.
Wayne hurries off. Alfred watches him go, exasperated.
INT. STUDY – CONTINUOUS 152
Wayne steps to the piano, hits four notes – a large, ornate mirror swings open. Wayne steps through.
INT. STONE STAIRCASE – CONTINUOUS 153
Wayne descends. Arrives at the top of the wrought-iron spiral staircase, steps onto the dumb waiter at its center.
Wayne pulls a lever, releasing the lift which plummets vertiginously down the center of the spiraling stair.
INT. BATCAVE – CONTINUOUS 154
The lift hits the bottom with a great rattle of chains. Wayne moves to a padlocked box. Opens it: the Batsuit hangs there – a phantom, black eyes staring back at him.
He reaches for it.
INT. APPLIED SCIENCES DIVISION – EVENING 155
Fox consults a mass spectrometer.
EARLE
(o.s.)
Having fun?
Fox swings around in his chair. Earle is standing there.
FOX
Bill. What’s a big shot like you doing in a place like this?
EARLE
Has Wayne been around much?
FOX
In and out. Nice kid.
EARLE
Forget about kissing his ass to get back in, Lucius. Despite the name, he’s only an employee.
FOX
You came all the way down here to tell me that?
Earle shifts, uncomfortable.
EARLE
Actually, I need information. The Wayne Enterprises 47-B, 1-ME.
Fox turns to his computer. Starts typing.
FOX
It’s a microwave emitter … designed to vaporize an enemy’s water supply …
EARLE
I know all that. Any other applications?
Fox turns from his computer, thinking.
FOX
Well, as I recall, rumor was, they tested dispersing water-based chemical agents into the air … (Looks at Earle.) But that would be illegal, wouldn’t it?
EARLE
Cut the crap, Fox. I need everything on the project development up to my office right away.
Earle walks off.
FOX
What happened … you lose one?
EARLE
(turns, cold)
I’m merging Applied Sciences with Archiving. You’re top of the early retirement list … (Smiles at reaction.) Didn’t you get the memo?
EXT. ARKHAM ASYLUM, THE NARROWS – EVENING 156
Rachel’s car crosses the bridge to the Narrows.
INT. CORRIDOR, ARKHAM ASYLUM – MOMENTS LATER 157
An Orderly talking to a Nurse at one end. Further along, Rachel stands looking through a wire-reinforced window: inside a cell, Falcone strapped to the bed, staring at the ceiling, mumbling.
FALCONE
Scarecrow … s-scarecrow … s-s …
Crane hurries along the corridor, heading for Rachel.
CRANE
Ms. Dawes, this is most irregular. I’ve nothing to add to the report I filed with the judge.
RACHEL
Well, I have questions about your report. (Off look.) Such as, isn’t it convenient for a fifty-two-year-old man with no history of mental illness to have a complete psychotic breakdown just when he’s about to be indicted?
CRANE
(motions)
You can see for yourself, there’s nothing convenient about his symptoms.
Rachel considers Falcone’s terrified gaze.
RACHEL
What’s ‘scarecrow’?
CRANE
Patients suffering delusional episodes often focus their paranoia onto an external tormentor, usually one conforming to the Jungian archetypes. (Shrugs.) In this case, a scarecrow.
EXT. ARKHAM ASYLUM – CONTINUOUS 158
Batman, upside down, clings to the wall above the window at the end of the corridor. He racks audio-focus through the Orderly’s conversation, settling on Crane’s voice.
INT. CORRIDOR, ARKHAM ASYLUM – CONTINUOUS 159
Rachel looks at Falcone, mumbling, delusional.
RACHEL
He’s drugged.
CRANE
(nods)
Psychopharmacology is my primary field – I’m a strong advocate.
Crane turns to Falcone. Staring.
Outside, he was a giant. In here, only the mind can grant you power.
RACHEL
You enjoy the reversal.
CRANE
I respect the mind’s power over the body. It’s why I do what I do – ultimately, I’m just trying to help.
RACHEL
(hard)
I do what I do to put scum like Falcone behind bars, not in therapy. I want my own psychiatric consultant to have full access to Falcone, including bloodwork to find out exactly what you have him on.
Crane stares at her. Shrugs.
INT. ELEVATOR – CONTINUOUS 160
Crane steps in, Rachel follows. He puts a key into the panel.
CRANE
First thing tomorrow, then.
RACHEL
Tonight. I’ve already paged Dr. Lehmann over at County General.
Crane turns the key.
CRANE
As you wish.
The elevator descends. The doors open onto:
INT. DESERTED WING, SUB-LEVEL ARKHAM ASYLUM – CONTINUOUS 161
A long, decrepit corridor. Water dripping, clearly disused. Crane steps off the elevator. Rachel follows, perturbed.
INT. ABAND
ONED HYDROTHERAPY ROOM – CONTINUOUS 162
Rachel follows Crane into a vast room.
Tables stretch off into the room, covered in bags of powder, scales, aluminum barrels and dozens of Inmates working the powder, refining it. Two Inmates are pouring powder from one of the barrels into a large hole in the floor. One of them looks up: Zsaz. Rachel stares at his vacant eyes.
CRANE
This is where we make the medicine. Perhaps you should have some. Clear your head.
He turns, but Rachel is gone. Crane smiles …
INT. DERELICT CORRIDOR, DISUSED WING – CONTINUOUS 163
Rachel races into the elevator …
INT. ELEVATOR – CONTINUOUS 164
Rachel hits the second floor button. Nothing. She hits all the buttons, floors, the alarm … all dead without the key.
The door opens to Crane’s masked face. He reaches out.
CRANE
Let me help you …
A small puff of gas sprays from his sleeve. Rachel recoils, coughing, choking. She looks up at Crane:
The eyeholes of the burlap mask are flaming.
Rachel screams.
INT. ABANDONED HYDROTHERAPY ROOM – CONTINUOUS 165
The Thugs drag Rachel into the room. Crane turns Rachel’s face to look up at his mask. She gulps panic breaths.
CRANE
Who knows you’re here?
Rachel shakes her head.
WHO KNOWS?!!
Rachel pulls away, burying her head in her arms.
The lights go out.
The Thugs look around, unnerved. Crane pulls off his mask.
(Fascinated.) He’s here.
FIRST THUG
Who?
CRANE
The Batman.
The Thugs exchange nervous glances.
FIRST THUG
What do we do?
CRANE
What anyone does when a prowler comes around. (Off look.) Call the police.
THE DARK KNIGHT TRILOGY: The Complete Screenplays with Storyboards Page 9
