Written by
AKIVA GOLDSMAN
PRODUCTION DRAFT
----------------
June 24, 1994
1 EXT. ARKHAM ASYLUM - NIGHT 1
A castle of shadow. (OVER) RAIN, HOWLING evil wind.
Sudden lightning CRACKS, illuminates the aged structure,
the hanging metal sign.
2 INT. ASYLUM CORRIDORS - NIGHT 2
DR. BURTON, the Chief Psychiatrist moves down the old
hallway, face tense. He steps through a doorway into...
3 INT. MAXIMUM SECURITY - NIGHT 3
Security cells. Criminal maniacs sealed behind protective
casings.
A GUARD stands before a heavy door.
GUARD
Hell of a night, huh Doc?
BURTON
Hell's in here.
Hydraulics HISS. The cell door unseals.
4 INT. SECURE ISOLATION CELL 4
Small. Walls, ceiling, floor, padded. A single window
casts the room in pallid moonlight.
A figure sits in shadow, bound by the wraps and ties of a
straight jacket, gaze fixed out the window.
Lightning flashes, brightening the room. THUNDER CRACKS.
DR. BURTON
Mr. Dent...
No answer. Burton steps closer.
DR. BURTON
Counselor...
Still nothing. Another step.
DR. BURTON
Harvey....
Burton reaches towards the figure.
DR. BURTON
Harvey are you alright...
Burton touches his shoulder. Lightning flashes as...
THE BODY WHIPS around. An orderly, gagged, sits bound to
the chair with bedsheets.
The sheets around the chair have been rigged. Now they
yank him up so he spins frantically from the ceiling fan.
Lightning flashes again, illuminating a madman's scrawled
writing on the wall.
WRITING - CLOSE. "The Bat Must Die!" THUNDER
5 EXT. GOTHAM CITY SKYLINE - SUNSET - FALL 5
Gothic towers of granite and glass shimmer golden in the
late day sun.
6 MOVE IN towards the city as an executive helicopter 6
CROSSES FRAME. Through the window BRUCE WAYNE, still
handsome but a few lines starting to show, sits watching
a seatback video screen.
7 CONTINUE In over Gotham Harbor towards the skyline as 7
(OVER) A NEWSCASTER talks.
NEWSCASTER
...And in Gotham City, ex-District
Attorney Harvey Dent escaped from
Arkham Asylum for the Criminally
Insane.
8 CLOSER on a single building, its power generated by a 8
small but mighty dam below. A glowing sign reads Wayne
Enterprises.
NEWSCASTER (OVER)
Dent, once Gotham's leading
contender for Mayor, was horribly
scarred during an indictment hearing
over a year ago.
HOLD on a single window. MOVE IN
9 INT. BRUCE WAYNE'S OFFICE 9
Elegant. Oak. A wall monitor runs the same newscast.
10 INSERT SCREEN 10
Dent questions a crime boss on the stand. A thug throws a
vial of acid toward Harvey, searing half his face.
NEWSCASTER (OVER)
Dent, whose left-brain was damaged
during the assault, launched a
grizzly crime spree before being
captured by The Batman. He is
extremely dangerous. Repeat....
11 WIDER 11
Bruce Wayne ENTERS, his Armani suit the only thing fresh
about him, followed by a sudden stream of EXECUTIVES,
SECRETARIES, ASSISTANTS and GOTHAM SOCIETY MATRONS.
EXECUTIVE
The solar generator tests are back.
BRUCE
Uh... great, could you wait a
second...
ASSISTANT
The Mayor's office called again -
SOCIETY MATRON
Who are you asking to the circus -
SECRETARY
Five minutes to your inspection -
BRUCE
Stop!
Everybody freezes.
BRUCE
Okay, I want you all to just stand
here for fifteen seconds, okay?
Fifteen, everybody got it?
Folks nod.
BRUCE
Good. Nobody move, now.
And with that, Bruce turns and walks out.
BRUCE
(to himself)
I gotta give myself a raise...
12 INT. WAYNE ENTERPRISES - ELECTRONICS DIVISION - TWILIGHT 12
Endless work-spaces stretching into infinity.
Bruce, a Junior Exec ENTOURAGE trailing, tours an
assembly line where robotic arms weld laser tools.
FRED STICKLEY, a fuss-budget plant manager, leads.
STICKLEY
Your weekly inspections are a
departmental highlight.
BRUCE
Really?
(a warm smile)
You all need to get out more.
13 CRANE UP high over the factory floor, across acres of 13
assembly lines and work stations.
ANGLE DOWN on
14 INT. EDWARD NYGMA'S WORK STATION (CONTINUOUS) 14
A clutter of computer parts. Paperwork everywhere.
Rubik's cubes, games, dozens of puzzle books all boasting
the green suited caricature of "The Guesser".
15 MONITOR-CLOSE. A crossword puzzle.
Features reflect over the acrostic. The two images
resolve into one; the face itself is a puzzle.
16 REVERSE ANGLE 16
EDWARD NYGMA, awkward, brilliant and feverishly anxious
stares up at the screen, TALKING to himself.
EDWARD
We'll probably go to the house for
dinner. Yes. Yes. Maybe he'll throw
a little party in my honor.
Suddenly Edward BANGS his head against the desk-top.
Hard. A brief window on the inner Edward, all insecurity
and self loathing.
EDWARD
Idiot! Should have rented a tuxedo.
(suddenly calm)
Relax. I'm sure Wayne manor has
extra. After all, we're almost the
same size.
17 The opposing wall is a shrine to Bruce Wayne: newspaper 17
headlines, a GQ cover, magazine photos.
18 Approaching COMMOTION. 18
EDWARD
Oh my God. It's him.
19 INT. WAYNE ENTERPRISES - BREAK AREA 19
Workers greet the boss. Bruce is friendly, welcoming,
Edward appears on the edge of the group.
Stickley spots Edward. A cloud crosses his face.
STICKLEY
Well, Mr. Wayne, on to R&D?
Stickley rests his hand on Wayne's elbow. Begins to steer
him away. Not in time.
Edward steps forward. A man so uncomfortable, his very
skin seems to be a costume. He marches right up to Wayne,
takes his hand, fawning, the burning eyes of a sycophant.
BRUCE
Mr...?
EDWARD
Bruce Wayne. In the flesh.
BRUCE
(easy going)
Um...I'm pretty sure I'm Bruce
Wayne. And you are?
EDWARD
Nygma. Edward Nygma. You hired me.
Personally. Just like I tell
everyone.
(sotto voce)
Well, we've never actually met, but
your name was on the hire slip.
He still hasn't let go of Bruce's hand.
BRUCE
I'm gonna need that hand back, Ed.
EDWARD
What? Ah yes. Of course. I'm sorry.
It's just that...you're my idol.
(off Stickley)
And some people have been trying to
keep us apart.
BRUCE
Mr. Nygma, you'll forgive me for
being rude. But what exactly is on
your mind?
EDWARD
Precisely. What's on all our minds?
Brainwaves. The future of Wayne
Enterprises is Brainwaves!
It's hard to imagine anyone more awkward. The effect is
painful. Folks stare, mouths wide.
STICKLEY
(sotto voce)
I really do apologize, Mr. Wayne.
His project was terminated this
morning...
EDWARD
(ignoring Stickley)
Let me ask you something, Bruce.
What is man's greatest tool?
A few of the WOMEN SNICKER. For a second, Edward's face
twitches, a crack in the facade.
EDWARD
Man's greatest tool is...The mind.
20 Edward gestures to his cubicle. A rat's nest cluttered 20
with components of his Rube Goldberg-like invention.
21 EDWARD 21
Voila. While holographically
enhancing any TV picture, my
invention connects directly to the
viewer's brain, puts the audience
inside the show. Think of the
entertainment problems we can solve.
STICKLEY
I can think of a couple problems
that need solving right here.
A few more folks CHUCKLE. Edward looks around. Another
ripple of anxiety, another quick recovery.
EDWARD
Why be brutalized by an uncaring
world? My RES Box will give Joe Q
Public a realm where he is king.
(sultry)
Not that someone like you would need
it. Someone so intelligent. Witty.
Charming. But for the lonely, the...
STICKLEY
Paranoid? The psychotic?
EDWARD
(didn't miss it)
...The Box can change their lives.
(looking around)
Our stock coupons will spike.
Edward turns, actually CLAPS Stickley on the back.
EDWARD
Hell. Might even bring old Stickley
here a few extra bucks. Huh, Fred?
STICKLEY
Fred?
Bruce takes off his glasses, rubs his eyes in vague
disbelief, cleans the lenses.
EDWARD
Wayne Enterprises will spearhead an
entertainment revolution.
Edward removes his glasses, cleans them in exactly the
same manner as Bruce.
EDWARD
I just need a bit of additional
funding. For human trials. Let me
show you....
Bruce seems about to speak when suddenly -
22 THE BATSIGNAL 22
beams bright against the night clouds over Gotham City.
23 BRUCE 23
(time to move)
Maybe some other time..
EDWARD
I want you to know, we'll be full
partners in this, Bruce.
(waxing rhapsodic)
What talks we'll have, late into the
night. Now, I'm not used to business
travel, so go easy on me. As for
recognition, I'm sure after a time
I'll get used to it.
(a beat)
Look at us. Two of a kind.
Edward is suddenly aware of dozens of co-workers all
around him, SNICKERING and WHISPERING.
EDWARD
Bruce...?
Bruce's eyes dart again toward the Batsignal.
BRUCE
Call my secretary, she'll set
something up.
(turning)
Factory looks great, folks. Keep up
the good work.
EDWARD
(desperate)
Wait. You can't go.
BRUCE
We'll talk some other -
EDWARD
(sudden rage)
No. Don't leave me! My invention! I
need you!
Edward has grabbed Bruce's arm. The room goes dead quiet.
Bruce's eyes narrow. Then he dislodges gently.
BRUCE
I'm sorry, Edward. Just feels a bit
like mind manipulation. It raises
too many question marks.
Bruce heads off.
STICKLEY
Alright everyone, back to work.
(to Edward)
We'll discuss this later.
Edward stares after Bruce.
EDWARD
You were supposed to understand.
HOLD on this tiny man, all alone in the labyrinthine
work-place, eyes darkening now with growing obsession.
EDWARD
I'll make you understand.
24 INT. BRUCE WAYNE's PRIVATE OFFICE 24
Bruce ENTERS.
BRUCE
Lock.
25 THE DOOR - CLOSE. LOCKS. Bruce falls into a leather chair. 25
BRUCE
Capsule.
26 Suddenly the chair seat drops, fast, sliding into a 26
transport capsule.
27 INT. TRANSPORT TUNNEL 27
The capsule shoots through the underground tunnel, lights
WHIPPING past at near super-sonic speed.
28 INT. CAPSULE 28
Speed and time readouts appear on the windscreen beside
the craggy face of ALFRED PENNYWORTH.
BRUCE
Alfred...
29 ALFRED 29
I saw the signal, is. All is ready.
30 INT. BAT CAVE - COSTUME VAULT 30
Alfred watches the capsule arrive.
31 QUICK CUTS of glove, boot, and cape being donned. 31
32 INT. BATCAVE 32
FOLLOW Batman's feet as he steps up to the Batmobile.
ALFRED
I suppose I couldn't convince you to
take along a sandwich.
Batman jumps into the Batmobile.
BRUCE
(to Alfred)
I'll get drive-thru.
(to the car)
Go...
33 The car shoots a whitish-blue light from under it's 33
belly. Hub Caps and detailing glow as The Batmobile zooms
out of the cave.
34 INT. CAVE ACCESS TUBE 34
The car SHOOTS through a series of underground arches.
The car picks up speed, the blue-white fusion drive going
blue, then purple, then red. The single bat wing splits
into two as the car becomes a stealth bullet.
35 EXT. WAYNE ESTATE - NIGHT 35
The dark car WHIPS through a holograph of trees that
masks the entrance to the Batcave, SCREECHING onto...
36 EXT. FOREST ROADS - NIGHT 36
The car speeds towards Gotham.
37 ANGLE OUTSIDE THE WINDOW ON 37
The Batsignal, cutting the darkness.
PULL BACK TO REVEAL
38 INT. SECOND BANK OF GOTHAM - 22ND FLOOR - NIGHT 38
A worried THUG peers at the Batsignal out the skyscraper
window. Across a narrow abyss stands a skyscraper under
construction, all girders and scaffolding.
39 In f.g., a spinning silver dollar flips up into frame, 39
blocking out the Batsignal.
THUG 1
Bat should show any minute, Face.
A HAND catches the coin, flips it again.
40 WIDER 40
Witness the rakishly handsome profile of HARVEY TWO-FACE
DENT, the other side of his face hidden in shadow.
TWO-FACE
You. Sport. Any thoughts? Counting
on Batass to rescue you?
PULL BACK TO REVEAL
A SECURITY GUARD, laying on the floor, wrists and feet
bound, trembling with fear.
TWO-FACE
_We_ sure are.
GUARD
...You gonna kill me?
TWO-FACE
Might. Might not. Could say we're of
two minds on the subject.
GUARD
I got family. ...Please.
TWO-FACE
What say we flip for it?
Two-ace shoves the silver dollar under the Guard's nose.
One side shines in mint condition.
TWO-FACE
What could be fairer than the random
toss of an honest coin? Life...
The other side bears deep, disfiguring burns.
TWO-FACE
...or death.
GUARD
Please. I swear I won't say noth-
TWO-FACE
The coin _wants_ to decide.
41 Two-Face flips. The coin spins, gleaming, lands on the 41
floor only inches from the Guard's face.
42 Two-Face STOMPS the coin. Winks at the sweating Guard. 42
TWO-FACE
Exhilarating, isn't it? The
suspense? Sudden death or a new
lease on life? Really makes a man
live in the moment.
Two-Face removes his foot. Unblemished side up.
TWO-FACE
You're in luck. You get to live to
whimper another day.
The Guard SOBS with relief. Harvey's Thugs GRUMBLE.
Two-Face folds his jacket into a pillow, places it under
the Guard's head, now the nicest crook in the world.
TWO-FACE
That floor has got to be very hard.
Is that better?
GUARD
Uh, yeah. Thanks, Mr..uh...Face.
TWO-FACE
Just call us Harvey. Can we get you
a sandwich? A soft drink? Given all
the trouble we caused you, how about
we cut you in for a share of
tonight's haul?
THUG 2
Face! For cryin' out loud! You're
not gonna pay him--
Two-Face turns on Thug 2 with a vengeance, shooting out a
hand that pins the fellow's throat to the wall.
TWO-FACE
Did we ask your opinion? The coin
has rendered its verdict. This man
has a family to take care of. You
have a problem with that?
We now see for the first time the LEFT HALF OF HIS FACE:
hideously repulsive, an acid eaten mutilation of flesh.
THUG 2
Oh no, Face. Anything you say.
43 EXT. PAN-ASIA TOWN - STREET - NIGHT 43
Sweeping spots. Swat teams. Police wagons.
44 COMMISIONER GORDON, 50s, a man who's seen enough pain 44
for a lifetime, stands in his trademark trenchcoat,
lighting a cigarette.
Beside him stands a beautiful, professionally dressed
young woman. DR. CHASE MERIDIAN.
45 HIGH ABOVE 45
The Batmobile SCREECHES to a stop on a pedestrian bridge.
46 THE BATSIGNAL is suddenly obscured, flows for a moment 46
into the shape of Batman's cape as the Dark Knight leaps
47 down past the spotlight, lands face to face with Chase. 47
CHASE
Hot entrance.
Batman turns, all business as he speaks to Gordon.
BATMAN
Two-Face?
GORDON
Two guards dead. He's holding the
third hostage. Didn't see this one
coming.
CHASE
We should have, though.
The men turn to face her.
CHASE
_Two_ million dollars waiting to be
transferred from the _Second_ Bank of
Gotham on the _22nd_ How could Harvey?
_Two_-Face resist?
BATMAN
And you are?
GORDON
Batman, I'd like you to meet--
CHASE
(offering her hand)
Chase Meridian
GORDON
I asked Dr. Meridian to come to
Gotham to consult on this case. She
specializes...
BATMAN
...dual personalities. Abnormal
psychology. Washington's poster
child for the criminally insane. I
read your work.
CHASE
I'm flattered. Not every girl makes
a super-hero's night table. You
might have some interesting insights
into Two-Face.
BATMAN
Why's that?
CHASE
Let's just say I could write a hell
of a paper on a grown man who
dresses like a flying rodent.
BATMAN
Bats aren't rodents, Dr. Meridian.
CHASE
I didn't know that. See? You _are_
interesting. And call me Chase. By
the way, do you have a first name? Or
do I just call you bats?
GORDON
May I remind you two we have a
psychopathic murderer on the loose
here?
A titanic BOOM rocks the night.
48 SEARCHLIGHTS race up the skeletal skyscraper to REVEAL.. 48
A giant CRANE and WRECKING BALL. The wrecking ball
SMASHES again into the bank building.
49 INT. BANK OF GOTHAM - NIGHT 49
The already crumbling wall behind Two Face EXPLODES. Two-
Face checks his watch, unfazed, as the giant wrecking
ball CRASHES into the room within inches of the villain.
TWO-FACE
Right on schedule.
Two-Face's men scramble to the hole, attach chains to...
50 EXT. CONSTRUCTION SITE - NIGHT (CONTINUOUS) 50
...an even thicker chain dangling 30 stories from the
roof of the construction site.
FOLLOW THE CHAIN UP as it yanks tight, revealing...
A BLACKHAWK HELICOPTER already atop the construction
site, perched on steel beams. REVVING its mighty rotors.
51 A giant winch aboard the Blackhawk starts to haul the 51
safe chain over pulleys up into a cargo hatch.
52 INT. - SECOND BANK OF GOTHAM. 22ND FLOOR, NIGHT 52
Thug 1 stares out the window.
THUG 1
The Bat's taking the bait! What now?
53 Harvey flips the coin. 53
54 FOLLOW THE COIN as Two-Face snatches it from mid-air, 54
slaps it on his wrist. Bad side up.
55 ANGLE ON - Two-Face's left side. Scarred, gloating evil. 55
TWO-FACE
At last, The Bat dies!
The chains suddenly yank the safe towards the hole in the
wall. Thug 2 gestures to the Guard on the floor.
THUG 2
What about him?
TWO-FACE
Kill him too.
Thug 2, grinning, draws a GUN from his waistband.
GUARD
Wait! You said you'd let me go!
TWO-FACE
Never heard of a double-cross?
56 A DING from the elevators. 56
The Thugs and Harvey all whirl, machine guns coming up,
open FIRE, armor piercing bullets punching holes in the
metal doors, shredding anyone inside.
THE GUARD lays bound on the floor. Suddenly a clamp-ended
bat-cable drops from above. With a tiny CLICK, the smart-
clamp hooks onto the Guard's wrist bindings.
57 ELEVATORS 57
HARVEY AND THUGS empty magazines. Re-load.
TWO-FACE
Come on in, the water's fine.
All stand watching as the now perforated elevator doors
slide, jerking, open to reveal...an empty elevator.
The skylight overhead EXPLODES and, in a rain of glass,
Batman drops to the floor on a Batrope.
58 THE GUARD is apparently attached to the Batrope's other 58
end because, as the Caped Crusader comes down, the Guard
shoots up, hoisted fast to the safe rooftop above.
59 FIRE DOORS 59
BLOW open. Two SWAT teams burst in, armed for bear.
SWAT LEADER
Police! Freeze!
TWO-FACE
Not the guest list we had in mind.
Boys, the party's over.
Two-Face drops a SMOKE GRENADE. Then he leaps directly
out the hole in the wall. His Thugs take off after him.
60 EXT. CONSTRUCTION SITE - NIGHT (CONTINUOUS) 60
The Thugs come leaping through the hole, using the now
rising safe as a springboard to close the windy gap, roll
to safety on the construction site next door. They
scatter, begin scaling various beams and girders.
61 INT. BANK 61
Swat Teams race through the smoke in close pursuit, come
up short at the edge of the urban precipice. The safe has
risen too high, now, to serve as a springboard, so the
cops drop, begin FIRING across the gap. Suddenly...
A DARK WING explodes out of the smoke behind them, flying
across the abyss.
62 INT. CONSTRUCTION SIGHT 62
A Thug fires at the figure hurling towards him. Batman
lands on the Thug's chest, smashing him to the floor.
Suddenly, from above, BULLETS CRACK off the girders
beside the Caped Crusader's head.
63 REVERSE ANGLE 63
TWO-FACE glides upward, riding the wrecking ball as it
overtakes the safe, shooting down at Batman.
64 BATMAN starts scaling the scaffolding after Two-Face. 64
He's climbing fast but Harvey has too great a lead.
65 BATMAN - POV. A motorized gantry is carrying one of the 65
Thugs up to the roof.
66 Batman FIRES a Batarang. The bat-shaped clamp bites into 66
the wooden base of the rising gantry.
He toggles the launcher into winch mode, is hoisted fast
towards the rising gantry above.
67 ON THE GANTRY 67
The riding Thug leans down, sees the rising shadow, grabs
the Batrope in both hands and flips over the gantry.
68 ON THE BATROPE 68
The Thug slides fast down to kicking range, draws back
his boot to dispatch Batman.
Batman hits a switch on his launcher, increasing the
winch speed, shooting him higher, faster. He grabs the
Thug's foot in his hand, shoves him up so his head CRACKS
against the bottom of the gantry. Batman swings the
unconscious Thug onto a hanging construction hook,
leaving him dangling in mid-air by his nose ring, hoists
himself up onto...
69 THE GANTRY 69
From the scaffolding above, a Thug drops to one end of
the gantry, nun-chucks spinning madly.
Behind Batman, another Thug drops INTO FRAME, drawing a
machine pistol.
Batman reaches forward, grabs the Thug's spinning nun-
chuck, stunning his face with the wooden sticks. In a
single move, Batman spins and lets the weapon fly into
the pistoled assailant, knocking him flat.
70 BATMAN - POV. Two-Face has reached the chopper. 70
71 INT. HELICOPTER - NIGHT 71
Two-Face climbs into the chopper's cargo bay.
TWO-FACE
(to the pilot)
Let's fly.
72 EXT. GANTRY - NIGHT 72
Batman sees the helicopter start to rise, pulling the
safe overhead along with it.
73 Batman jumps, drops through the abyss between the two 73
buildings, landing on...
74 A HIGH TENSION WIRE - CLOSE. The wire bends like a bow, 74
shooting Batman like an arrow straight into the air.
75 Batman grabs the rising chain, slides down it's links so 75
he is standing atop the safe.
76 He FIRES a Batarang into the bank wall, making an anchor, 76
attaches the Bat-cable to the hitch atop the safe.
77 INT. HELICOPTER - NIGHT 77
The chopper is straining against Batman's bank-embedded
tether. Two-Face looks down in fury.
TWO-FACE
The man is taking his job
_much too seriously_.
78 EXT. TOP OF SAFE - NIGHT 78
Batman palms a compartment on his utility belt and a
small delivery mechanism SNAPS a tiny acetylene torch
into his gloved hand.
A BLUE FLAME ignites. Batman starts to cut the chains.
79 EXT. CONSTRUCTION SITE - NIGHT 79
Batman's torch slices the last link. Batman reaches up
and grabs the winch chain, is jerked suddenly upward with
the now un-tethered chopper as...
80 THE SAFE 80
now freed, swings like a pendulum on it's anchor line,
arcing straight for the hole in the bank wall from which
it was originally drawn.
81 INT. BANK BUILDING 81
The safe comes flying through the hole, sliding across the
floor and SLAMMING back into place before the bewildered
faces of the SWAT team.
82 INT. HELICOPTER - NIGHT 82
Two-Face stares out the side of the chopper.
TWO-FACE
That was our money.
Two-Face grabs the controls from the pilot.
TWO-FACE
He wants to play. Fine, let's play.
83 Two-Face pulls back on the throttle, the chopper shooting 83
straight up into the sky like a rocket.
84 EXT. GOTHAM SKY - NIGHT 84
Batman hangs from the chain, trailing the chopper, a wing
of shadowy quicksilver disappearing into the night.
85 EXT. ARKHAM SQUARE - NIGHT - ESTABLISHING 85
Gotham's Times Square. Tall. Narrow. The crawl of bumper-
to-bumper traffic. Glutted with neon signs and giant
animated billboards.
86 The helicopter ROARS into view. BATMAN hangs on for dear 86
life as the city rushes past.
87 A SERIES OF SHOTS as street folks look up in wonder. 87
88 SIGN - CLOSE. For Ginsu Knives. A couple of giant hands 88
make fast work of a steak on a smoking barbecue.
The chopper swings Batman _through_ the ad, falling blades
just missing him, dragging him through the thick smoke.
The chopper swings across the square, heading for...
89 ANOTHER SIGN - CLOSE. This time a tremendous set of 89
clacking teeth turn yellow to white each time the cap
lifts off of a giant tube of toothpaste.
90 The chopper barrels straight for the opening mouth. 90
At the last moment the chopper banks, whipping the
dangling Batman inside the mouth.
91 The mouth closes on the Caped Crusader. 91
92 The chopper pulls away, the chain pulling like floss 92
through the closed teeth.
93 INT. MOUTH 93
Batman, still clutching the chain, is flying towards the
barricade of closed teeth.
94 EXT. ARKHAM SQUARE - MOUTH SIGN 94
Batman SMASHES through the two front teeth.
95 BATMAN - CLOSE. His face suddenly bathed in an ever 95
brightening yellow glow.
96 INT. CHOPPER 96
TWO-FACE'S POV - THROUGH THE WINDSHIELD
Dead ahead, another sign. This one is essentially a giant
neon sun, the Wayne Tech logo burning bright yellows and
reds over the message Solar: The Power of the Future.
97 Harvey GUNS the chopper's engines. 97
PILOT
Face!!!
98 EXT. GOTHAM SKY 98
The chopper BLOWS straight through the nova, neon
EXPLODING like stars in all directions.
99 INT. HELICOPTER 99
As the Pilot, in the b.g. regains control of the chopper,
Harvey walks to the hold, looks down through the hatch at
the dangling chain below. No Batman.
TWO-FACE
Ah, to finally be rid of that pointy
eared, steroid eating, rubber
suited, cross dressing, night rat...
100 THROUGH THE WINDSHIELD 100
a familiar blue cape falls down over the plexi-glass.
PILOT
Uh...boss....
Harvey spins, draws his machine pistol.
PILOT
No!
Too late. Harvey SPRAYS wildly, blowing holes in the
windshield and Pilot as well.
101 EXT. HELICOPTER 101
The cape slips off the windscreen
102 INT. HELICOPTER 102
The chopper dives. Two-Face staggers towards the pilot's
chair. He rests free the corpse, regains control.
A FIST SMASHES through the side window into Harvey's jaw.
BATMAN
Harvey, you need help. Give it up.
103 EXT. HELICOPTER 103
Batman stands on one of the struts, begins trying to
climb into the open side of the speeding bird.
TWO-FACE
Words of wisdom from our ex-friend?
Harvey SLAMS Batman's face with his foot. He goes down.
TWO-FACE
Mano a Mano a Bato.
Batman pulls himself back up. Grabs Harvey's foot. Flips
him to the floor. Drags him half way out of the bird.
BATMAN
Surrender.
TWO-FACE
Ever been to Arkham, Batman? You'd
feel right at home. You took a year
of my life. So I'm here to pay you
back. There's only one way out of
this waltz. One of us dies.
BATMAN
I won't kill you, Harvey.
Batman gets Harvey by the throat.
TWO-FACE
Batman doesn't kill? Bullshit.
(epiphinous)
You're a killer too.
Somehow Harvey's words seem to shake Batman a beat. It's
all the distraction Harvey needs. He SMASHES Batman
across the face.
Batman slips, falls out of sight.
104 WINDSHIELD - CLOSE. Lady Gotham is coming up fast. 104
105 EXT. HELICOPTER 105
Batman hangs by one hand from the support strut, the bird
hurling towards the giant statue.
106 INT. HELICOPTER 106
Harvey locks "The Club" onto the controls, fixing the
chopper on it's deadly course.
107 Batman hoists himself into the chopper through the open 107
side in time to see Harvey standing over the cargo hatch.
TWO-FACE
Goodbye old pal.
With that Harvey leaps through the cargo hatch.
108 Batman stares frozen in disbelief as Two-Face plummets to 108
the dark water below.
109 Then a sudden flurry of expanding color caught in Lady 109
Gotham's lighthouse beam, and a parachute opens over Two-
Face, unfolding into a giant Yin-Yang.
110 BATMAN - POV - The windshield SHATTERS into the statue. 110
111 EXT. HELICOPTER - LADY GOTHAM - NIGHT 111
The helicopter EXPLODES into the left side of Lady
Gotham's face. A tremendous fireball splits the night.
112 EXT. GOTHAM SKY - NIGHT 112
Batman is falling. Still. Eyes closed. Maybe dead.
FLASHES OF
113 (OVER) A SCREAM. Two SHOTS. A pair of roses hit pavement. 113
114 A BOY runs through a storm, a book clutched in his hands. 114
115 A FALL down a narrow stone chute, into a cave. 115
116 A BAT, huge, evil, SCREECHING. 116
TWO-FACE'S WORDS (OVER) - "YOU'RE A KILLER TOO."
117 BATMAN FALLING - CLOSE 117
Batman plummets towards the water. His eyes open.
118 EXT. GOTHAM HARBOR (CONTINUOUS) 118
Batman SPLASHES into the harbor. Dark. Still.
Then, a familiar cowl breaks the surface, GASPING for
breath. Batman stares up at the sky.
119 PAN UP 119
Lady Gotham's one beautiful face now burns the night.
120 INT. WAYNE ENTERPRISES - NIGHT 120
Dark, save the light from a single cubicle.
121 INT. EDWARD'S WORK STATION - NIGHT 121
Edward sits hunched over his desk, working on his
invention. Sweat beads his brow, lips MUMBLING furiously.
EDWARD
(obsessive repetition)
Too many questions. Too many
questions.
Edward glances up at the picture of Bruce Wayne.
EDWARD
I'll show you it works.
STICKLEY (O.S.)
What the hell is going on here?
Stickley stands before Edward's cubicle. Not happy.
STICKLEY
Your project is terminated. I'm
calling security.
Stickley turns to go. Mistake. Edward CRACKS Stickley on
the head with a coffee pot. Down he goes.
EDWARD
Caffine'll kill you.
122 INT. EDWARD'S CUBICLE - MINUTES LATER 122
Stickley awakens to find himself strapped in a swivel
chair. Edward is placing an elaborate computerized
headband over Stickley's head. (OVER) a small TV hooked
into Edward's contraption runs a fishing show.
EDWARD
This won't hurt a bit.
(musing)
At least I don't think it will.
Edward reaches for a small transceiver fused to the TV.
STICKLEY
Goddamnit, you press that button
and-
123 Too late. A green beam explodes from the TV screen, 123
engulfing Stickley.
124 IN THE BEAM - a small holographic representation of the 124
fisherman reeling in a prize bass.
125 STICKLEY - POV - As far as Fred is concerned he's on the 125
shore, the fisherman's catch flapping in his face.
126 The TV signals begin to waver and tremble. 126
EDWARD
Loosing resolution. More power.
He increases the power toggle. BACKFIRE. A sudden white
light shoots back into the TV and up, surrounding Ed.
STICKLEY - CLOSE. His eyes dull, glaze over.
EDWARD - CLOSE. The effect on him seems to be quite the
opposite. Invigorating, sexual.
THE BEAM-FLARES. A tiny nova. Overload. Both men SCREAM.
All light vanishes.
EDWARD - CLOSE. His face buried in his hands.
Edward peers up from his hands.
Look into his eyes. One thing is sure. Edward Nygma has
gone power mad, totally insane.
EDWARD
(game show host)
Fred Stickley. Come on down. You're
the next contestant on I Want Your
Brain.
(Wayne-like)
Nygma your machine has unexpected
side effects. A feed back loop has
caused your brain to absorb
Stickley's neural energy.
(hyper)
Stickley, I've had a break-
through! And a breakdown? Maybe.
Nevertheless. I'm smarter. Hell, I'm
a genius. More than a genius.
Several geniuses. Genae. Genie.
Ed rises, BABBLES a dazed Fred's lips with his finger.
EDWARD
(short order cook)
Yo. Charlie. Gimmie an order of
brain deep-fry. Extra well done.
Hold the neurons.
(a scientist)
Patient exhibits symptoms of psycho
neural overload. Notation: obviously
higher settings can be dangerous to
the subject.
(pacing)
Riddle me this, Fred. What is
everything to someone and nothing to
everyone else? Your mind of course.
And now mine pumps with the power of
yours.
(urban)
New from Brain-bok. Da pump. Think
faster. Reason higher. Out-cog-nate
every homey on the court of life. Da
pump. Yeah.
(Shakespearian)
Ho! Mark. I sense an odd penchant
for the anagramatic. The acrostic.
The crypto-graphic. What doth this
bode? Answer me Marcutio, you little
runt.
(gourmet)
Fred, I must confess you were a
wonderful appetizer. Simply divine.
But now I yearn for a meal of
substance. The main course. A wide
and varied palette. Ah, to taste the
mind of a hero. A nobleman. A poet.
(Groucho)
A chick in a short skirt wouldn't be
so bad either.
STICKLEY
...Fired...your fired...your fired.
You understand?! Fired!!
EDWARD
I don't think so.
Edward savagely sends Stickley careening across the slick
floor still strapped to the swivel chair.
127 Stickley heads straight for the huge round window. 127
128 Edward seems like he has regrets as he dashes after 128
Stickley. The chair...
129 SMASHES THROUGH THE ROUND WINDOW 129
It teeters on the edge of the building, dam and RUSHING
water below. Stickley is being held on the precipice by
the long wire attached to his headband. It is really only
this that Edward came to save.
130 EDWARD 130
Fred. Babe. _You_ are fired. Or should
I say Terminated!
He yanks the invention from Stickley's head and he
crashes below to certain death. Ed races back to...
131 EDWARD'S CUBICLE 131
EDWARD
Question marks, Mr. Wayne?
He stands staring at the picture of Bruce Wayne.
EDWARD
My work raises too many question
marks?
In a frenzy, Edward begins tearing up the magazines lying
on his desk, ripping out individual words, pasting them
quickly onto a blank piece of paper.
EDWARD
Two years. 3.5762 percent of my
estimated lifespan toiling for your
greater glory and profit.
He SMASHES the framed GQ cover of Bruce on the floor.
EDWARD
Well, let me ask you some questions,
Mr. Smarter Than Thou. Why are you
so debonair? Successful? Richer than
God? Why should you have it all and
not me? Yes, you're right, there are
too many questions, Bruce Wayne.
Edward STOMPS on the picture, pulverizing the glass.
EDWARD
Like why hasn't anybody put you in
your place? And it's time you came
up with some answers. Starting right
now!
A SERIES OF IMAGES-
132 (OVER) A SCREAM. SHOTS. Roses fall to the pavement. 132
133 A YOUNG BOY stands staring into a parlor where two 133
coffins rest. Thomas and Martha Wayne. Dead leaves whip
through the hallway.
134 SMALL HANDS touch a leather bound book. Suddenly the 134
pages are splattered with blood. Wind blows out two
flickering candles.
135 THE BOY runs through a dark, stormy night, the book 135
clutched in his hands. He slips. A sinkhole.
136 A FALL down a narrow chute. The boy lands in a dark cave. 136
137 A GIANT MONARCH BAT, fangs bared, SCREECHES towards us. 137
TWO-FACE (V.O.)
You're a killer too.
138 INT. WAYNE MANOR - BRUCE'S BEDROOM - MORNING 138
In his bed, Bruce wakes, trying to blink away the images.
Alfred draws the curtains, welcoming rich autumn sun.
ALFRED
The dreams again, sir?
BRUCE
I think they're getting worse.
ALFRED
It's a wonder you sleep at all.
As Bruce sits up, Alfred notices a fresh set of bruises.
ALFRED
What a marvelous shade of purple.
Bruce shoots him a look.
ALFRED
Really, sir, if you insist on trying
to get yourself killed each night.
Alfred picks up Bruce's carelessly-tossed Batsuit from
the floor. Ripped, dented, punctured.
ALFRED
...Would it be a terrible imposition
to ask you to take better care of
your equipment?
BRUCE
Then you'd have nothing to complain
about.
ALFRED
Hardly a worry, sir.
Alfred brings a robe, holds it out for Bruce.
ALFRED
Commissioner Gordon phoned. There's
been an accident at Wayne
Enterprises.
139 INT. - WAYNE ENTERPRISES - MORNING 139
As the window is replaced in b.g., Edward Nygma stands
SOBBING before the head of personnel. With augmented
brain power apparently comes augmented acting talent.
EDWARD
(inconsolable)
Why? Oh, why? I can't believe it.
Two years. Working in the same
office. Shoulder to shoulder, cheek
to cheek, ---we're talking face, by
the way---and then this.
(handing her a note)
I found this in my cubicle. You'll
find the handwriting matches his
exactly as does sentence structure
and spelling.
(suddenly sobbing again)
I couldn't possibly continue on
here. The memories. I'll just get my
things.
140 ANOTHER ANGLE 140
Edward slips out a side door, quickly avoiding Bruce and
Gordon as they walk towards Bruce's office.
GORDON
We've questioned everyone who worked
on the floor. Computer records show
no one going in or out after
Stickley.
BRUCE
Computer records can be forged.
I'll have my people pull up --
A cop hands Gordon the forged note.
GORDON
Suicide. With all due respect, leave
the police work to us. We'll be in
touch.
As the Commissioner exits, Bruce heads into his office,
followed by his secretary, MARGARET.
141 INT. BRUCE'S OFFICE (CONTINUOUS) 141
MARGARET
The society matrons of Gotham have
called a record thirty-two times.
Not to mention the press. I think
that if they don't know soon who you
plan to take to the charity circus,
the world will most surely come to
an end.
Bruce notices an envelope on his desk.
BRUCE
What's this?
MARGARET
I don't know. I didn't see anyone...
BRUCE
No postmark. No stamp.
Bruce opens the envelope.
142 LETTER - CLOSE. A photo of Bruce. Below: letters cut from 142
newspapers and magazines read:
(RIDDLE#1) (to be written)
signed -The Riddler
143 Bruce raises an eyebrow. 143
BRUCE
The Riddler? Why can't anyone in
this town have a normal name?
Phone RINGS. Bruce hits a switch and a desk video-phone
lights into life. Alfred.
ALFRED
Channel 12, sir.
Bruce presses a button and Alfred's image shrinks to a
small box in the corner, superimposed atop a TV picture.
144 ON SCREEN - 144
A talk show in progress. A radiant black host: VONDELLE
MILLIONS talks to a panel of experts.
VONDELLE
--joined us, we're talking about the
mutilation of Lady Gotham, caused
late last night by Batman-
145 BRUCE 145
_Excuse_ me?!
VONDELLE
-- will take up to nine months to
repair. Today's topic: Batman-crime-
fighter or criminal?
BATMAN
How 'bout Two-Face? Anyone here
heard of him?
The shot WIDENS to reveal the panel.
146 ON SCREEN - Our first expert: DR. JANISLAUS ROYCE. 146
ROYCE
Batman is a major cause of crime in
Gotham. So-called super-villains
seek him out hoping to prove
themselves in violent conflict.
Batman does not deter crime, he
invites it.
VONDELLE
I'm sure our audience objects to
your gender bias. Batperson.
The second expert PIPES in, DR. DAVID AIMS.
AIMS
What is the Dark Knight's credo?
Batman does not kill? What of those
slain during his fight with Jack
Napier aka Joker? Or in his
Christmas conflict with the orphan
Cobblepot? Batman belongs behind
bars, not his morally disadvantaged
victims.
CHASE (O.S.)
Bull (bleep)!
147 WIDER 147
Chase sits at the end of the panel.
VONDELLE
What did you say?
CHASE
Which part of the word didn't you
understand?
148 Watching, Bruce sits a little straighter, more hopeful. 148
BRUCE
I could like this woman.
149 CHASE 149
Batman is a _reaction_ to the crime in
this city, not a creator of it!
Without him many more would be dead.
Batman is a true hero...
VONDELLE
Hey, Doc, got the hots for Batman?
HOOTS and HOLLERS from the audience.
CHASE - CLOSE. Busted.
150 On screen, a graphic: BATMAN: CRIMEFIGHTER OR CRIMINAL? 150
VONDELLE
What do you think? Call us at...
A HAND reaches up and SNAPS off the TV. The screen goes
black to reveal a reflection in the glass: Two-Face.
PULL BACK TO REVEAL
INT. TWO-FACE'S HIDEOUT - DAY
Two-Face turns away, disgusted.
TWO-FACE
Batman, Batman, Batman. God, we want
that man's blood on our hands.
151 WIDER 151
LEATHER sits to one side of Harvey. Ruby lipstick, tight
leather outfit, a choker o spikes, razor blade earrings,
stroking a muzzled black doberman.
LEATHER
Oh you are most obscene, my
frightful grotesque.
Another set of arms entwine Two-Face.
LACE, a submissive blonde in Victoria's Secret's lacy
best nuzzles his good side, pets a white kitten.
LACE
Don't listen to her. You're every
girl's dream.
LEATHER
Waste Dorothy and Toto here, you and
me can get down to business.
Harvey SLAPS Leather, hard.
LEATHER
Harder, baby. Hit me again.
TWO-FACE
No.
LEATHER
(hotter still)
Sadist.
He turns now to Lace, caresses her face gently.
WIDEN TO REVEAL
Two-Face's hideaway, divided straight down the middle.
Lace's half is all light and order. Leather's domain
looks like an S&M club.
TWO-FACE
Too many bats to fry to think about
fun. We wanna take him apart limb by
hyper-extended limb. Feel his bones
crunch in our hands. Beat him until
he's as black and blue as that
ridiculous rubber suit.
Without thinking, Harvey steps over the Laceland. His
demeanor instantly changes, now more reasoned and calm.
TWO-FACE
On the other hand, perhaps something
slow, a delicious incursion of
despair, a campaign to shatter his
psyche and bring him crumbling to
his knees.
He wanders back across to Leatherland.
TWO-FACE
Hell. Why wait? Rupture his organs.
Shatter his spine. Still have time
for a late dinner.
Back in Laceland.
TWO-FACE
But simple murder? It's just too
damn simple. Besides, it's been
done. No. We need a plan.
Back to Leatherland.
TWO-FACE
Yes. Something senseless, brutal,
savage, violent.
Back to Laceland, stopping to add...
TWO-FACE
Yet witty.
152 EXT. WAYNE MANOR - NIGHT 152
Edward peddles a bicycle down a service road towards
Wayne Manor, an envelope jutting from his shirt pocket.
153 INT. BATCAVE - NIGHT 153
Alfred stands over a cage of bats. A hand-held scanner
producing distance readings.
Bruce sits before his Master Console.
BRUCE
How's the sonar coming, Alfred?
ALFRED
A few hitches sir, but I'm confident
we'll have a prototype in no time.
BRUCE
It'll never work.
ALFRED
I believe you said the same thing
about the Batmobile.
(OVER) a doorbell RINGS. Alfred disappears upstairs.
154 BRUCE - OVER THE SHOULDER 154
Bruce works a keyboard, manipulating the images on
various screens.
155 SCREEN ONE - Replays the CNN story on Two-Face 155
156 SCREEN TWO - Replays the Vondelle Williams show. 156
157 SCREEN THREE - Runs news footage of Chase. 157
158 As Alfred returns, Bruce splits the Chase screen, a list 158
of psychiatric texts scrolling beside her portrait.
ALFRED
Scholarly research?
BRUCE
She has an excellent mind.
ALFRED
If I misinterpreted your interest in
the lady, I humbly apologize--
BRUCE
I wonder if she'd go out with me.
ALFRED
Apology hastily retracted.
Bruce freezes the image of Vondelle Williams over the
familiar graphic: Batman: Crimefighter or Criminal?
BRUCE
They don't understand. They think I
became Batman to fight crime.
Bruce leans back, closes his eyes, his past never far.
BRUCE
Do you remember the night I fell
into that cave and the bat chased
me?
ALFRED
Your parents' wake. Rain fell like
tears.
BRUCE
...The night Batman was born.
(a beat)
What was I doing in the fields that
night, Alfred? What sent me running
out into that storm? I keep dreaming
about it but I just can't remember.
ALFRED
I don't know, sir. Your dear
parents. Suddenly gone. So much
loss...
BRUCE
I remember the bat, though. His
scream. Those eyes. i was sure the
fear would kill me.
(a beat)
In time I came to believe that if I
became a monster, that if I was
feared, I wouldn't be scared
anymore. I was wrong.
(off the screen)
They think I became Batman to fight
crime. I became Batman to fight the
fear. And instead I became the fear.
Alfred hands him an envelope.
ALFRED
Perhaps it's time you paid a bit
more attention to Bruce Wayne. There
was no one at the door, just this.
Within, (RIDDLE #2). His expression darkens.
159 EXT. UGLY TENEMENT - BAD NEIGHBORHOOD - NIGHT 159
(OVER) SOUNDS OF POUNDING
160 INT. HALLWAY OUTSIDE EDWARD'S APARTMENT - NIGHT 160
The source of the POUNDING -- MRS. LUCERTOLA, Ed's
middle-aged, no-bullshit landlady.
MRS. LUCERTOLA
Ya wanna cough up your rent, or do I
post an eviction notice?
Locks TURN. The door opens a crack. Edward peeks out.
EDWARD
Mrs. Lucertola. What a surprise.
Come in. I was just sitting down to
write the check.
161 INT. EDWARD'S APARTMENT - NIGHT 161
Mrs. Lucertola barges inside -- then stops, aghast.
HER POV-
Five people might live here. Sports magazines. Stock
market tickers. Half completed paintings and sculptures.
Blueprints. In the corner an old circus booth containing
a manikin of the green-clad, can wielding Guesser.
MRS. LUCERTOLA
What is it exactly that you do, Mr.
Nygma?
EDWARD
My dear Ms. Lucertola. Italian,
isn't it? For lizard. How fitting. I
think the question better asked:
what is it that I don't do?
Ed guides Mrs. Lucertola to a sofa before the TV.
EDWARD
Most recently I have devised a way
to change the destiny of mankind and
the world as we know it, all in my
favor of course.
MRS. LUCERTOLA
The rent Nygma!!!
EDWARD
Might I persuade you to take a seat
on this couch? To indulge me in a
little experiment?
He shoves her down.
MRS. LUCERTOLA
Hey, I got no time for-
Edward clamps a new, streamlined headband on her head.
EDWARD
Showtime.
He clicks on the TV. An evening soap.
MRS. LUCERTOLA
My favorite story.
Atop the TV rests a small box. The next generation of his
Remote Encephalographic Stimulator.
EDWARD
Yes. TV. Balm to the minds of the
masses. The great deadener. If only
it were more lively. But wait. I can
help.
He hits a switch on the Box and the familiar beam engulfs
his landlady, the holographic image of the screen's
kissing couple now hovering in mid-air before her.
MRS. LUCERTOLA
Oh my lord.
EDWARD
Not quite. But I'm getting there.
162 MRS. LUCERTOLA - POV - She might as well be sitting on the 162
foot of the bed as the two lovers' embrace heats up.
Edward waves his hand in front of her eyes. Nothing. The
same dazed expression that Stickley wore.
EDWARD
Now this is much better. No pain.
Just a little holographic TV to keep
your mind off the fact...
Edward PLANTS an ELECTRODE on his forehead.
EDWARD
...That I'm taking your mind.
(professional)
Not your thoughts, mind you. Just
your neural energy, simply sucking
some IQ points as it were.
A GREEN-BLUE aura forms around Edward's head.
EDWARD
(announcer)
His intelligence jumps. Ms. Lizard
don't know it. The crowd goes wild.
(CEO)
Boys, I want one of these babies in
every home.
(Clinton)
It's the new information super
highway and, pay attention now kids.
I'm the on ramp.
(ad-man)
From their brains to the TV to my
brain, with no commercial
interruptions!
(announcer)
There are seven million brains in
the Naked City...
(menacing)
...and they're all mine!
163 EXT. MUNICIPAL POLICE COMPLEX - DAY 163
Gothic. Active. Bruce enters the complex.
164 INT. POLICE COMPLEX - CHASE'S OFFICE 164
Comfortable. Well appointed. Degrees on the walls.
Chase opens her door to Bruce Wayne.
CHASE
Mr. Wayne. Chase Meridian.
The sparks he felt from her as Batman don't fly.
CHASE
How can I help you, Mr. Wayne?
BRUCE
Somebody's been sending me love
letters. Commissioner Gordon thought
you might give me your expert
opinion.
Chase spread the `Riddler' letters before her. Bruce
TAPS his fingers absentmindedly as he watches her read.
CHASE
Psychiatrists make you nervous?
BRUCE
Just ones this beautiful.
CHASE
The infamous Wayne charm. Does it
ever shut off?
BRUCE
On occasion. Usually at night.
Bruce stops tapping, examines books on aberrant behavior.
The Dark Side. Turns a tiny wicker doll over in his hand.
BRUCE
Still play with dolls, Doctor?
CHASE
She's a Malaysian dream warden. She
stands sentry while you sleep and
calms your dreams.
(off Bruce's expressions)
Need one?
BRUCE
Me? No. Only things that need
calming in my dreams are the
Rockettes.
Chase holds his eyes a beat. Not buying. But she lets it
go, looks back over the letters.
CHASE
My opinion. This letter writer is a
total wacko.
BRUCE
Wacko? That a technical term?
CHASE
Patient apparently suffers from
acute obsessional syndrome with
potential homicidal styles. Work
better for you?
BRUCE
So what you're saying, this guy's a
total wacko, right?
CHASE
(a slight smile)
Exactly.
He notices batman research on her desk. Spots a framed
print hanging on the wall. A bat.
BRUCE
You have a thing for bats?
Chase follows his gaze.
CHASE
That's a rorschach, Mr. Wayne.
People see what they want to.
Bruce looks back up. In fact, just an ink blot. Only he
saw a bat within it's bleeding lines.
CHASE
I think the question would be, do
you have a thing for bats?
BRUCE
So, this Riddler, he's dangerous?
CHASE
What do you know about obsession?
BRUCE
Not much.
CHASE
Obsession is born of fear. Recall a
moment of great terror in your life.
Say you associate that moment
with...
(random)
...a bat. The bat's image becomes a
cancer of the mind, grows more real
than your daily life. Can you
imagine something like that?
BRUCE
It's a stretch but I'll manage.
CHASE
The letter writer is obsessed with
you. His only escape may be...
BRUCE
To kill me.
CHASE
You understand obsession better than
you let on.
BRUCE
No insights here, doc. Just trying
to get comfortable on your couch.
(checking his watch)
Oops. Times up.
CHASE
That's usually my line.
BRUCE
Look, I'd love to keep chatting-
CHASE
Would you? I'm not so sure.
BRUCE
But I'm going to have to get you out
of those clothes.
CHASE
Excuse me.
BRUCE
And into a black dress.
Bruce throws her startled expression his best smile.
BRUCE
Tell me, Doctor, do you like the
circus?
Despite herself, Chase smiles back.
165 A SIGN - CLOSE - Gotham Hospital Charity Circus.
WIDER
166 EXT. HIPPODROME - NIGHT 166
Immense. On the lapping edge of Gotham Harbor.
Searchlights sweep the sky. FLAGS flutter on the
Hippodrome's oval roof, Limos spill Gotham's finest. The
night of the season.
167 INT. CENTER RING 167
THE FLYING GRAYSONS -- Mother, Father, and two sons all
wearing colorful red and green outfits with yellow cape-
-- race out to greet the crowd. They discard their capes,
cartwheel to four guywires.
RINGMASTER
Ladies and gentlemen. Seventy feet
above the ground, performing feats
of aerial skill without a net, the
Flying Graysons!
The lights dim. Spots follow each Grayson as hoist cables
whisk them up to the trapezes and high wire.
168 ON THE TRAPEZE 168
Dad and Chris Grayson hang by their knees, upside down on
opposite trapezes.
169 Mom jumps to Chris' hands, hangs in mid-air. Chris swings 169
back and forth, building momentum, then sends her to Dad
in a poetic double somersault.
170 BELOW 170
The Hippodrome is packed solid.
171 VIP SECTION 171
Bruce and Chase in evening finery take their seats amidst
a barrage of flashing photographers. The Gotham Society
matrons crowd for a photo op.
CHASE
(off the flashes)
I'm surprised you aren't blind by
now.
BRUCE
(as if he were)
I'm sorry. Who are you?
Chase smiles. The Press and Matrons disappear.
BRUCE
Now we can just sit back and watch
the show like normal folks.
RINGMASTER (OVER)
Tonight's benefit has raised
$375,000 for Gotham Children's
Hospital. Let's thank our largest
single donor: Bruce Wayne.
SPOTLIGHT finds Bruce and Chase. WILD APPLAUSE.
CHASE
(through her smile)
Like normal folks.
BRUCE
(deadpan)
What? This isn't normal?
172 RINGMASTER 172
And now Richard, the youngest Flying
Grayson, will perform The _Quadruple_
Flying Somersault!
173 DICK GRAYSON, handsome, only happy when he is in flight, 173
jumps to his father's hands, hangs in air.
174 DICK'S POV - The world flips, dizzying, four times. 174
175 Chris catches Dick's hands. Shaky. One hand slips free. 175
The Crowd GASPS. Dick dangles for an instant.
176 Chris hoists Dick to safety. An uproarious OVATION! 176
177 CHASE watches Bruce. He's riveted, eyes like a child's. 177
BRUCE
That kid is amazing.
CHASE
I don't get you Bruce Wayne.
BRUCE
Me? I'm easy. Especially after a
couple of martinis.
CHASE
The glib, cavalier routine, it
really is an act, isn't it?
BRUCE
Don't believe it. I'm just skin
deep.
But he holds her eyes and in the smile that passes
between them, sweet electricity. Maybe something more.
178 THE RINGMASTER stands watching the Graysons feats of 178
aerial wonder. Something catches his eye.
179 A GLOVED HAND extends through the curtain leading 179
backstage, beckons him with a single finger.
180 THE RINGMASTER - CLOSE. Puzzled. Steps out of the ring. 180
181 BACK TO BRUCE AND CHASE 181
BRUCE
Look, I'm rock climbing Sunday. How
about coming along?
CHASE
Bruce, much to my surprise, you seem
like a really great guy...
BRUCE
But...
CHASE
Well, I met someone...
BRUCE
Fast work. You just moved here.
CHASE
You could say he kind of dropped out
of the sky and bang-. I think he
felt it too.
BRUCE
He sure did.
CHASE
What?
BRUCE
(awkward)
I said I'm sure he did.
Bruce looks towards...
182 CENTER RING 182
A TINY CAR, horn HONKING away, ROARS into the middle ring
and begins dislodging clowns, all tumbling out of the
cars and over each other.
183 A new Ringmaster steps into the arena. Two-Face. 183
TWO-FACE
Ladies and gentlemen, and I do use
the term loosely, your attentions
please. Tonight, a new act for your
amusement. We call it Massacre Under
the Big Top.
184 His thugs slip out of their clown costumes and seal every 184
exit.
185 They pull machine guns and start SHOOTING over the 185
audience's heads. PANIC. SCREAMS.
186 TWO-FACE 186
People, people. Show some grace
under pressure. A little decorum,
please.
(into his mike)
_SHUT UP_!!!
187 More machine gun BURSTS as Thugs move into sentry 187
positions at each section of bleachers. Folks quiet.
188 TWO-FACE 188
If we may direct your attention...
189/90 A Thug trains a spot on a crate hung in the rafters. 189/90
191 TWO-FACE 191
Inside that wooden box: two hundred
sticks of TNT.
(showing a box)
In our hand: a radio detonator.
Two-Face presses a button.
192 DETONATOR - CLOSE. A digital countdown. 3:00. 2:59. 2:58... 192
193 TWO-FACE 193
You have three minutes.
194 THE MAYOR 194
What the hell do you want?
195 TWO-FACE 195
Want, Mr. Mayor? Just one little
thing. Batman. Bruised. Broken.
Bleeding. In a word: dead.
Two-Face turns, showing his good side.
TWO-FACE
Who do we have assembled before us?
Gotham's finest. Rich, Influential.
Smart. One of you must know who
Batman is. Hell, we'd lay odds one
of you _is_ Batman.
Two-Face spins, offers his evil side.
TWO-FACE
So, unless the bat is surrendered to
us post haste, we're off on a
proverbial killing spree. City wide
mayhem and murder. Starting tonight.
With all you lovely folks as our
very first corpses to be. You have
three ---well just under three---
minutes.
196 BRUCE, his eyes riveted on the bomb. No secret is worth 196
innocent lives. He stands.
Chase, misunderstanding, tries to pull Bruce back down.
WIDER
Suddenly everyone jumps up, SHOUT and SCREAM, point
towards the rafters.
197 REVERSE ANGLE 197
The Graysons scale the scaffolding, heading for the bomb.
TWO-FACE
Boys! Move, move, move!
(a beat)
Cannot get good help these days.
198 Any Thugs not standing sentry fan out, speed up guywires. 198
199 CHRIS 199
(to Dick)
Go! We'll hold them off!
Mom, Dad and Chris swing from trapeze to guywire to
platform, trying to delay the Thugs who are actually
well-trained gymnasts.
200 Dick launches himself from trapeze to trapeze, bounces 200
off the high wire, grabs a catwalk and hoists himself up.
201 Bruce uses the distraction to hop the rail, race through 201
the SCREAMING CROWD.
202 THE TIME - CLOSE. 1:03. 1:02. 1:01. 202
203 ON THE TRAPEZE 203
204 A Thug grabs Dad Grayson by the leg. Dad manages a jump 204
to another trapeze.
205 Mom's not so lucky. A Thug punches her off the uppermost 205
platform. She falls in mid-air.
206 FOLKS in the audience SCREAM. 206
207 BRUCE moves fast towards one of the sentry Thugs. 207
208 MOM snags a wildly swinging trapeze with one leg, wraps 208
her ankle around a rope, hanging over the floor.
209 A THUG points to the Time Clock 0:45. 0:44. 0:43. 209
210 THE THUGS quit the fight, slide down ropes and guywires. 210
211 DAD AND CHRIS form a human chain to reach Mom. Dad 211
anchors Chris who swings out towards Mom. Mom swings her
trapeze to gather momentum.
212 IN THE RAFTERS 212
Dick has reached the Bomb. Begins un-lashing the crate.
213 ON THE CIRCUS FLOOR 213
The Thugs begin to pour through the trap door. A few
thrill-seekers fire their MACHINE GUNS over the crowd.
214 THE TIMER - CLOSE. 0:15. 0:14. 0:13. 214
215 DICK scales a service ladder, vies with a roof hatch. 215
216 TRAPEZE - CLOSE 216
Dan and Chris make their final swing. Mom lets go and
sails gloriously towards Chris. Below them, no net.
217 BRUCE taps the watching Thug on the shoulder. He spins. 217
BRUCE
Show's over.
A punch and the guy is out. Bruce starts for Two-Face.
Another Thug springs up before him, blocking his way.
218 TWO-FACE stares up at the dangling Graysons. He reaches 218
into his pocket. Pulls out a familiar coin.
TWO-FACE
Day in, day out, it always comes
down to the same old question.
Life...
(flips the coin)
Or death.
He looks down. Scarred side up. He draws his gun.
TWO-FACE
Our kinda day.
219 BRUCE fells the other Thug. Starts to sprint across the 219
ring towards Two-Face.
220 AT THE ROOF 220
Dick shoves the hatch open, climbs out.
221 TIMER - CLOSE. 0:10. 0:09. 0:08. 221
222 MOM spots the pointing gun far below. She SCREAMS. 222
223 BRUCE races for the aiming Two-Face. Almost there. 223
Another Thug hits him broadside, knocking him flat.
224 TWO-FACE FIRES. Twice, the first bullet cutting, the 224
225 second severing the rope that holds the Graysons. 225
TWO-FACE
Never did like the circus. Too many
freaks.
226/27 Two-Face disappears down the tunnel. Bruce struggles 226/27
to his feet. A CHARGE blows inside the escape hatch,
filling the access-way with fire. No way out.
228 CLOCK - CLOSE. 0:07. 0:06. 228
229 EXT. HIPPODROME ROOF - CONTINUOUS - NIGHT 229
Dick scrambles onto the roof, begins whipping the bomb
rope like a sling.
230 INT. HIPPODROME - CONTINUOUS - NIGHT 230
CLOCK - CLOSE. 0:05. 0:04. 0:03.
231 EXT. HIPPODROME ROOF - CONTINUOUS - NIGHT 231
Dick let's fly, the bomb soaring out towards the harbor.
232 THE BOMB hits the water. Sinks. A beat. The night is 232
split by a funneling EXPLOSION.
233 INT. HIPPODROME - NIGHT 233
Dick swings excitedly down onto the catwalk. He freezes
at the rail.
DICK
No!!!!
DICK - CLOSE. On his face, his life's end.
234 DICK'S POV -- STRAIGHT DOWN 234
The dead bodies of his mother, father and brother. Bruce
Wayne stands over them, looking up at the boy.
235 BRUCE - CLOSE. His face a tragic echo of Dick's pain. 235
236 EXT. - WAYNE MANOR - NEXT AFTERNOON 236
A police car heads towards the manor. Dick Grayson, pack
on his back, winds his motorcycle behind the cruiser.
Bruce comes out to greet Gordon. Dick, slightly
awestruck, dismounts, wanders into the house.
GORDON
It's good of you to take him in.
He's been filling out forms all day.
He hasn't even eaten.
Bruce nods, watches Gordon drive off. Heads into...
237 INT. WAYNE MANOR FOYER - LATE DAY 237
As Bruce ENTERS through the open door, Alfred arrives
from the other direction.
ALFRED
Welcome, Master Grayson. I'm Alfred.
DICK
How ya doin', Al?
ALFRED
(mouthing)
Al?
DICK
(to Bruce)
Big house. How many rooms?
BRUCE
Gee, I'm not sure.
(across the foyer)
Alfred? How many rooms? Total?
ALFRED
Ninety-three, including the sauna.
BRUCE
Take any three you like. After you
get settled we can...
238/39 But Dick isn't listening, stares instead over 238/39
Bruce's shoulder as Gordon's cruiser disappears out of
sight.
DICK
Okay. I'm outta here.
BRUCE
Excuse me.
DICK
I figure telling that cop I'd stay
here saved me a truckload of social
service interviews and good will. So
no offense but thanks. See ya.
Dick heads toward the door. Alfred slips away.
BRUCE
Where will you go? The circus is
halfway to Metropolis by now.
DICK
I got no place at the circus without
my family. I'm going to get a fix on
Two-Face. Then I'm going to kill
him.
BRUCE
Listen, Dick. Killing Two-Face won't
take the pain away. It'll make it
worse.
DICK
Look, spare me the sermons, okay.
You're just some rich guy who is
trying to do a good deed. You don't
even know me.
Bruce stares beyond Dick, into his own past.
BRUCE
It's not just the sadness. Is it?
The shame is worse. Feeling like
somehow you should have saved them.
Dick is looking at Bruce now.
BRUCE
You're right. I don't know you. But
I'm like you.
Just then Alfred returns with a tray. Rare London broil.
Baby potatoes. Fresh greens. An aromatic feast.
ALFRED
Oh, is the young master leaving?
Pity. I'll just toss this away then.
Perhaps the dogs are hungry -
Alfred turns, heads up the stairs.
ALFRED
I'll set this up in the guest suite.
Just in case.
Dick follows, led by his nose.
Bruce smiles, nods slowly, heads into...
240 INT. - WAYNE LIBRARY 240
Bruce touches a vase of fresh roses. Stares at framed
photos of Thomas, Martha, of himself, younger. Happy.
With no knowledge of the future.
241 He turns. Suddenly their coffins are in the middle of the 241
room again, the still corpses white in death. He's a
boy.
There on the desk. A leather bound book. (OVER) THUNDER
CRACKS.
242 THE FRONT DOOR flies open. An evil wind whips the house. 242
243 THE BOOK is splattered with blood. 243
244 THE WINDOW explodes, shattering glass, and out of the 244
darkness flies a huge, evil bat.
