O Niilismo é a desvalorização e a morte do sentido, a ausência de finalidade e de resposta ao “porquê”. Os valores tradicionais se depreciam e os "princípios e critérios absolutos dissolvem-se". "Tudo é sacudido, posto radicalmente em discussão. A superfície, antes congelada, das verdades e dos valores tradicionais está despedaçada e torna-se difícil prosseguir no caminho, avistar um ancoradouro".

De maneira bastante original Pecoraro, avalia o niilismo sob duas formas. O niilismo pode ser considerado como "um movimento “positivo” – quando pela crítica e pelo desmascaramento nos revela a abissal ausência de cada fundamento, verdade, critério absoluto e universal e, portanto, convoca-nos diante da nossa própria liberdade e responsabilidade, agora não mais garantidas, nem sufocadas ou controladas por nada". Mas também pode ser considerado como "um movimento “negativo” – quando nesta dinâmica prevalecem os traços destruidores e iconoclastas, como os do declínio, do ressentimento, da incapacidade de avançar, da paralisia, do “tudo-vale” e do perigoso silogismo: se Deus (a verdade e o princípio) está morto, então tudo é permitido".

Mas o que é, propriamente, o niilismo? Pecoraro lembra que os estudos mais importantes sobre o tema o consideram como "um fenômeno histórico, como um evento ligado à Modernidade e à sua crise". Sempre seguindo as páginas introdutórias do seu livro podemos afirmar que as as primeiras ocorrências do termo remontam à Revolução Francesa quando foram definidos como “niilistas” os grupos “que não eram nem a favor nem contra a Revolução”. Por outro lado, indo além "da pretensa paternidade do termo reivindicada por Turgueniev no conto "Pais e Filhos", o primeiro uso propriamente filosófico do conceito pode ser localizado, sem dúvida, no final do século XVIII, ao longo dos debates e das disputas que caracterizam a fundação do idealismo – mais especificamente na carta, escrita em 1799, de F. H. Jacobi a Johann Fichte na qual o idealismo é acusado de ser um niilismo. Filósofos como Schlegel e Hegel intervêm na discussão servindo-se do termo. Na Rússia, uma vez saído do restrito âmbito filosófico e literário para o plano social e político, o niilismo passa a designar um movimento de rebelião contra a ordem estabelecida, o atraso, o imobilismo da sociedade e os seus valores. É com Nietzsche - assinala Pecoraro - "que a reflexão filosófica sobre o niilismo alcança o seu mais alto grau, com um pensamento radical que mostra as origens mais remotas do fenômeno, como o platonismo e o cristianismo. Assim, não só diagnostica a doença do nosso tempo, como tenta indicar um remédio". O século XX é, como ele diz claramente, "o século do niilismo (...) que impregna a atmosfera cultural de toda uma época e transforma-se em uma “categoria” fundamental no laboratório filosófico contemporâneo". Dentre os autores e movimentos mais significativos que se defrontaram com o conceito, Pecoraro destaca: 1) Martin Heidegger e Ernst Jünger; 2) o renovado pela filosofia nietzschiana na França particularmente as reflexões de G. Deleuze; 3) a filosofia "desesperada e negativa" de Emil Cioran; 4) a visão de niilismo como essência do Ocidente de Emanuele Severino (pensador italiano); 5) a obra de Jacques Derrida; 6) as reflexões de Jean-Luc Nancy; 7) o “pensamento fraco” e a apologia do niilismo de Gianni Vattimo.

Concepção Nietzscheana de Niilismo

Niilismo-passivo - Segundo Nietzsche, o niilismo passivo, ou niilismo incompleto, podia ser considerado uma evolução do indivíduo, mas jamais uma transvaloração de valores, i.e., mudança nos valores. Através do anarquismo ou socialismo compreende-se um avanço; porém, os valores demolidos darão lugar para novos valores. É a negação do desperdício da força vital na esperança vã de uma recompensa ou de um sentido para a vida; opondo-se frontalmente a autores socráticos e, obviamente, à moral cristã, nega que a vida deva ser regida por qualquer tipo de padrão moral tendo em vista um mundo superior, pois isso faz com que o homem minta a si próprio, falsifique-se, enquanto vive a vida fixado numa mentira. Assim no niilismo não se promove a criação de qualquer tipo de valores, já que ela é considerada uma atitude negativa.

Niilismo-ativo - ou niilismo-completo, é onde Nietzsche se coloca, considerando-se o primeiro niilista de facto, intitulando-se o niilista-clássico, prevendo o desenvolvimento e discussão de seu legado. Este segundo sentido segue o mesmo rumo, mas propõe uma atitude mais activa: renegando os valores metafísicos, redireciona a sua força vital para a destruição da moral. No entanto, após essa destruição, tudo cai no vazio: a vida é desprovida de qualquer sentido, reina o absurdo e o niilista não pode ver outra alternativa senão esperar pela morte (ou provocá-la). No entanto, esse final não é, para Nietzsche, o fim último do niilismo: no momento em que o homem nega os valores de Deus, deve aprender a ver-se como criador de valores e no momento em que entende que não há nada de eterno após a vida, deve aprender a ver a vida como um eterno retorno: sem isto, o niilismo será sempre um ciclo incompleto...

Movimento Social na Rússia

Desenvolvimento

O fenômeno cultural russo conhecido como niilismo se desenvolveu durante o reinado de Alexandre II (1881-1885), czar de caráter liberal e reformista. A década de 1860 é considerada a década do niilismo. A perda da Guerra da Crimea (1854-1856), a abertura do regime ao exterior (abertura não só econômica, mas também cultural e ideológica) e as relativas liberdades concedidas pelo czar - por exemplo, na imprensa - propiciaram um ambiente adequado para o desenvolvimento dessa nova subcultura. De caráter fundamentalmente intelectual, o niilismo representou uma reação contra as antigas concepções religiosas, metafísicas e idealistas. Os jovens, retratados como rudes e cínicos, combateram e ridicularizaram as idéias de seus pais. Sua sinceridade atacava a ofensa e o mau gosto, e parece que esta atitude foi o que mais definiu esse movimento. Essa atitude negativa e de desprezo ficou perfeitamente retratada no personagem Bazarov do romance "Pais e Filhos", de Turgueniev, assim como pelo personagem Ivã Karamazov, na obra Irmãos Karamazovi, de Fiódor Dostoievski.

No extremo sentimentalismo de seus pais esses jovens só viam uma forma de hipocrisia. Observavam como seus românticos pais exploravam seus servos, maltratavam suas esposas e impunham uma disciplina estrita em seus lares e, paradoxalmente, logo depois se dedicavam a fazer poemas e exibir um comportamento ridículo, como ilustrou posteriormente o conhecido anarquista Kropotkin em suas "Memórias de um revolucionário" (1899). Os niilistas rechaçavam e abandonavam em nome do progresso tudo o que não podia ser justificado cientificamente, como superstições, preconceitos e costumes. Criticavam as posições esteticistas na arte por se regozijarem com a beleza do abstrato e por carecer de uma utilidade social real. Adotaram também uma postura ética utilitarista denominada "egoísmo racional", com base na qual buscaram redefinir as relações sociais em âmbitos como a amizade, o amor e o trabalho.

O niilismo foi um movimento cultural que influenciou a juventude aristocrática russa na segunda metade do século XIX. A maioria dos seus adeptos era a favor de reformas democráticas e da abolição da servidão do sistema do Kreopostnoje Pravo, razões pelas quais foram posteriormente perseguidos. Em suas Memórias de um Revolucionário, Piotr Kropotkin o descreve:

Em primeiro lugar, o niilista declarou guerra contra o que ele descreveu como "as mentiras convencionais da humanidade civilizada." Sinceridade absoluta era a sua marca registrada, e em nome dessa sinceridade ele renunciava, e pedia aos outros que também renunciassem, às supertições, preconceitos, hábitos e costumes que sua razão não pudesse justificar. Ele recusava a dobrar-se à autoridade exceto à da razão, e na análise de cada instituição social ou hábito ele se revoltava contra toda sorte de sofisma mais ou menos mascarado.

Essas pessoas não tinham nenhum ideal de reconstrução social em mente, nenhuma intenção revolucionária. Elas apenas queriam ensinar a massa de camponeses a ler, instruí-los, dar auxílio médico, e ajudá-los de qualquer forma a sair da escuridão e miséria, e aprender ao mesmo tempo quais eram seus ideais populares de uma melhor vida social.

George Kennan, um americano que visitou a Rússia czarista, também se surpreendeu com a idéia de que os niilistas russos eram "arremessadores de bombas", então prevalente nos países ocidentais. Para ele, aqueles eram apenas cidadãos pacíficos, que sinceramente esperavam que o governo melhorasse a situação de seus súditos.

Má fama

O governo czarista não discriminava os opositores pacíficos dos adeptos da violência, e a repressão policial sufocou o movimento. Em conexão com o recrudescimento do regime, um grupo chamado de Pervomartovtsi, pertencente ao Narodnaya Volya (Vontade do Povo) assassinou o Czar. Essa ação foi atribuída aos niilistas. Entretanto, esta afirmação não faz sentido: jamais houve uma organização formal que ligasse os niilistas, nem arcabouço teórico que os unificasse, e muito menos líderes tomando decisões como a de assassinar o Czar. O movimento niilista foi espontâneo, e estava muito mais ligado aos valores pessoais do que à actividade política propriamente dita.

Niilismo pós-Nietzsche

Como Nietzsche prevera, o assunto ganhou grande atenção, mas só quando do advento da Primeira Guerra Mundial e os avanços científicos. Nesta época sobrelavaram autores como Spengler e Max Weber. Mas, pouco mais tarde foram Heidegger e Habermas que discutindo o niilismo legaram brilhantes reflexões.

Naturalmente o termo encontrou novas significações e derivações, das quais podemos destacar o niilismo-existencialista de Sartre e o niilismo-gnóstico/niilismo-absurdista de Albert Camus, sendo que, este último, se aproxima do misticismo, enquanto Sartre reprova qualquer divinização.

O kitsch é um termo de origem alemã (verkitschen) que é usado para categorizar objetos de valor estético distorcidos e/ou exagerados, que são considerados inferiores à sua cópia existente. São freqüentemente associados à predileção do gosto mediano e pela pretensão de, fazendo uso de estereótipos e chavões que não são autênticos, tomar para si valores de uma tradição cultural privilegiada. Eventualmente objetos considerados kitsch são também apelidados de brega no Brasil. A produção Kitsch surge para suprir a demanda de uma classe média em ascensão, que não conseguia entender e aceitar a arte de vanguarda, com suas propostas inovadoras, mas desejava participar do "universo da arte. Esta parte da população não teve a sensibilidade artística educada e, portanto, não desenvolveu o gosto, mas queria parecer culta e apreciadora da arte, porque isto lhe conferia status social

Características do Kitsch
Princípio de Inadequação: Ao deslocamento, junta-se a inadequação da forma, do estilo, do contexto, da função, de uso. Desvio em relação à finalidade, tamanho (abridores de garrafa gigantes), falsificação de materiais (flores de plástico), estilos contextos (anjos barrocos de gesso, para estantes) figurações em objetos utilitários (pêra de cristal, como baleiro). Funções secundárias que acabam suplantando a função principal, funções múltiplas em um único objeto. A inexistência de uma relação do tema com a estrutura geral da obra.
Principio de Acumulação (ou Empilhamento): Objetos diversos sem um sentido, que possuem valor emocional e de baixo custo, que vão sendo acumulados sem uma unidade de adequação.(enfeites de geladeiras, cerâmicas, bibelôs). Além de tornar ambientes kitsch, também pode tornar pessoas em kitsch, quando ocorre o demasiado uso de enfeites ou adornos corporais. (brincos, colares, pulseiras, echarpes, etc).
Percepção Sinestésica: O maior uso dos sentidos para impressionar o espectador, imagem, som, aromas (cartões de namorados perfumados). Repetição exaustiva de mesmos signos com significados semelhantes.
Principio de Mediocridade: com tantos artifícios, inadequação, acumulação, percepção sinestésica, o kitsch chega próximo do vulgar, mas essa mediocridade facilita a absorção do consumidor. Nem feiúra nem beleza extremas: esses são valores absolutos, que fogem do intuito do kistch.
Principio de Conforto: o que não cria problemas agrada; enche a vida da sociedade de consumo de sensações, emoções e pequenos prazeres (objetos cotidianos).
O kitsch está em todas classes sociais; é um elemento de nivelação social e histórico consumido indiscriminadamente por todos. Independente das diferentes possibilidades de status que o objeto kitsch possa suscitar, agrupam-se o kitschem categorias: religioso (terços saturados de imagens), sexual (canetas com mulheres nuas), exótico (paisagens havaianas, indianas de fundo), doce (anões de jardim), amargo (cobras, esqueletos de plástico fluorescentes), político (insígnia de partidos políticos em chaveiros) e também as combinações entre estas.
O kitsch se propõe a valores sublimes. A literatura de mau gosto feita com intenções comerciais e que usam o "efeitismo" - o efeito, a emoção sentidos pelo leitor são esperados e iguais. Músicas, novelas e até a arquitetura: um edifício ou uma casa no estilo neoclássico, típico do século XIX, com falsa colunas gregas de concreto e falsos frontões é Kitsch porque deslocado no tempo, feito de materiais contemporâneos e inadequado ao uso. Uma construção neoclássica não responde às necessidades de vida do século XXI, precisando, para isso, ser adaptada, deformada, tornando-se, assim, simplesmente um cenário. Podemos citar o Castelo de Brennand, no Recife, ou a forma com que se autodenomina a cidade de Garanhuns em Pernambuco ("Suíça Brasileira").
Essas características conjugadas do Kitsch agem sobre nosso sentido nos causando um "curto-circuito" da sensibilidade.

Bibliografia
Moles, Abraham. O Kitsch. Ed. Perspectiva Eco, Umberto. "Apocalíptico e Integrados". Ed. Perspectiva Maria Lúcia de Arruda Aranha e Maria Helena Pires Marins. Temas de Filosofia. Ed. Moderna.
Para além das definições técnicas do que é o Kitsch, existe o sentido filosófico da palavra, que transcende as questões de gosto ou preferência artística. O escritor tcheco Milan Kundera, na sexta parte de seu romance "A Insustentável Leveza do Ser", reflete a este respeito lembrando que, após surgir na alemnaha do “sentimental século XIX”, esta palavra se espalhou pela maioria das línguas, perdendo pela repetição seu sentido metafísico original. Em essência, o Kitsch seria a tentativa de exclusão de tudo o que há de inaceitável e contraditório na existência humana. Seria, portanto, a negação absoluta (literal e figurada) da merda, em suas palavras.
Fazendo uma das mais originais reflexões a respeito da estética do Kitsch e suas raízes metafísicas, Kundera inicia seu raciocínio abordando o problema teológico da merda – segundo ele, mais penoso do que a questão do Mal. Afirmando que as únicas perguntas realmente sérias são aquelas que podem ser formuladas por uma criança, recorda suas dúvidas infantis frente às gravuras de Gustave Doré em uma edição do antigo testamento, mostrando-o como um senhor de espessa barba e expressão severa. Se Deus é a imagem modelo do homem – pensava ele – e, como nós, possuía boca, olhos e nariz, então deveria possuir intestinos que deveriam funcionar de forma semelhante aos nossos. A criança que ele era intuía o que havia de sacrílego nesta decoberta involuntária da fragilidade fundamental da antropologia judaico-cristã: “ou o Homem foi Criado à imagem e semelhança de Deus – e então Deus possui intestinos –, ou Deus não tem intestinos e não nos parecemos com ele”. Conclui em seguida: “”Deus dá liberdade ao Homem, e podemos admitir que ele não é o responsável pelos crimes da Humanidade. Mas a responsabilidade pela merda cabe inteiramente àquele que criou o homen, somente a ele.”
Mais adiante, Kundera retoma a alegoria teológica para identificar, enfim, o que para ele é a origem metafísica do Kitsch: o “Acordo Categórico com o ser”. Afirmando que, muito mais importante e real do que o debate entre os que crêem na criação divina do universo e os que crêem no acaso, é a diferença entre “(...) aqueles que contestam a existência tal como foi dada ao Homen (pouco importa como e por quem) e aqueles que aderem a ela sem reservas”. Identifica, assim, duas posturas básicas perante a vida: o hábito do questionamento frente aos fatos e às coisas; e a existência passiva, sem maiores questionamentos filosóficos. No primeiro caso, faz-se necessário uma genuína curiosidade pelas coisas e pela vida em si, uma imaginação no mínimo desperta, e uma boa dose originalidade e de interesse no inusitado. No segundo caso, basta aceitar e aderir sem reservas ao dito “senso comum”, adotando o “Acordo Categórico com o Ser” como parâmetro fundamental para a concepção da existência.
O “Acordo Categórico com o Ser” tem suas raízes no primeiro capítulo do gênese, segundo o qual o mundo foi criado como deveria ser, o ser humano é bom e, portanto, sua função é procriar. Para o autor Tcheco, tal noção está tão enraizada na cultura ocidental que pode ser visualizada por trás de todas as crenças européias, sejam elas Políticas, Religiosas, “Científicas” ou Artísticas. Para ele, a “objeção à merda”, tão comum na cultura oficial até bem pouco tempo atrás, é de ordem metafísica: “(...) defecar é dar uma prova cotidiana do caráter inaceitável da criação. (...) Ou a merda é aceitável (...), ou Deus nos criou de maneira inadmissível”. Assim, o “Acordo Categórico com o Ser” tem por ideal um mundo no qual a “merda” é ignorada, onde todos se comportam como se ela não existisse. Tal ideal estético é o que Milan Kundera identifica como KITSCH.
Tal raciocínio é extremamente original, já que permite aplicações mais amplas da noção de Kitsch, relacionando a sua estética com questões ideológicas, comportamentais, políticas, etc... Com tal artifício, o autor se vê munido de mais uma eficiente ferramenta, uma lente sob cujo prisma analisa, por exemplo, o Comunismo Soviético (“... o que a repugnava não era tanto a feiúra do mundo comunista... mas a máscra de beleza com que ele se disfarça, ... o kitsch comunista.”), o Olhar míope dos EUA sobre o resto do mundo (no episódio do Senador emocionado com os netos brincando no gramado, demonstrando compaixão e compreensão a uma “refugiada” Tcheca), a produção cultural da Europa Oriental (“... na mais cruel das épocas, os filmes soviéticos ... eram impregnados de uma incrível inocência... Eles descreviam o ideal comunista, enquanto a realidade ... era bem mais sombria.”), a política em geral (“O Kitsch é o ideal estético ... de todos os movimentos e partidos políticos.”) e a sociedade como um todo (“A fraternidade entre todos os Homens não poderá ter outra base senão o Kitsch”) Segundo esta noção, o Kitsch apela para o sentimentalismo, alimentando-se de imagens-chave – a Filha Ingrata, a Pátria Traída, as Dores do Amor, Homens Públicos beijando Criancinhas, a Heroína injustiçada, o Patriota Sacrificado, etc... – e ignorando o insólito, o original. A síntese perfeita desta passagem é o trecho:
“O Kitsch faz nascer, uma após a outra, duas lágrimas de emoção. A primeira lágrima diz:
– Como é bonito crianças correndo no gramado.
A segunda lágrima diz:
– Como é bonito ficar emocionado, junto com toda a humanidade, diante de crianças correndo no gramado.
Somente esta segunda lágrima faz com que o Kitsch seja o Kitsch.”
Outro aspecto interessante do raciocínio de Milan kundera é a identificação de várias espéces de Kitsch: o Kitsch católico, o Kitsch protestante, o Kitsch judeu, o Kitsch comunista, o Kitsch fascista, o Kitsch democrático, o Kitsch femisnista, o Kitsch europeu, o Kitsch americano... Todos com seus clichês e imagens-chave. O Mais discutido por ele é o Kitsch totalitário, numa crítica aos regimes ditatoriais e sua típica perseguição ao individualismo. Numa sociedade politicamente plural o indivíduo pode “proteger sua individualidade e o artista pode criar obras inesperadas”. Já em sociedades dominadas por um partido único, reina o Kitsch totalitário, que hostiliza toda a manifestação de individualidade (“toda discordância é uma cusparada no rosto sorridente da fraternidade”), ceticismo e a própria ironia (“porque no reino do Kitsch tudo deve ser levado a sério”), assim como indivíduos destoantes do contexto social tradicional, como homsexuais e mulheres independentes, mães solteiras, livres pensadores, etc... O Homem que interroga é identificado aqui como o verdadeira adversário do Kitsch totalitário. “A pergunta é como uma faca que rasga o pano de fundo do cenário para que se veja o que está por trás”.
Podemos fazer uma analogia interessante deste cenário político com o universo da cultura de massa atual, onde determinados “nichos de mercado” (em especial no campo da música popular) são dominados por poucas e grandes empresas do “entretenimento” que obedecem a regras – segundo alguns, na maioria das vezes arbitrárias – quase ditatoriais para distribuir e divulgar a produção cultural, encarada como um produto que deve se enquadrar nas exigências do mercado, baseando-se na pesquisa das tendências gerais de consumo (que, obviamente obedecem ao padrão médio das imagens-chave que formam o Kitsch de determinado grupo). É de conhecimento público a falta de originalidade e de conteúdo de boa parte das várias superproduções da cultura de massa atualmente, não raro disfarçada por uma máscara de pretensão e pseudo-sofisticação conceitual.
Todo grupo social, portanto tem seu Kitsch e necessita de certezas e verdades simples que possam ser assimiladas pelo maior número de pessoas possíveis. Desta forma é que, mesmo os grupos políticos que combatem o totalitarismo de um regime de partido único acabam por criar seu próprio Kitsch totalitário (que nega e exclui não só as imagens-chave do Kitsch rival, mas qualquer outra manifestação individual e original que não corresponda às suas próprias imagens-chave), sendo esta uma característica intrínseca não só do embate político, mas da maioria das relações entre grupos distintos, sejam eles culturais, religiosos, etc... Fazendo, novamente, uma analogia no campo da cultura de consumo em massa, é comum vermos hoje a consolidação de uma série de clichês no universo das iniciativas que deveriam ser uma alternativa ao monopólio das grandes corporações na produção cultural (musical, cinematográfica, literária). O surgimento de um, por assim dizer, "Kitsch underground", ou “Kitsch ant-Kitsch”
Por fim, o reconhecimento e a aceitação do autor de que, “por maior que possa ser nosso desprezo por ele, o Kitsch faz parte da condição humana” – identificando-o inclusive em Sabina, a personagem do romance que personifica a negação ao Kitsch – , nos dá uma pista sobre qual seria a maneira mais coerente de lidar com esta “realidade incômoda” aos espíritos mais sensíveis. Ao reconhecer o Kitsch como o que ele verdadeiramente é – mais uma fraqueza humana – , ele perde seu poder totalitário. No momento em que é reconhecido como mentira, ele passa para o contexto do não- Kitsch, e pode-se conviver com ele. Pode-se emocionar com um filme sentimental, pode-se empolgar com uma música dita “brega” sem necessariamente se estar rendendo à ditadura do Kistch. Isso só aconteceria no caso de se levar a sério as emoções despertadas pelas imagens-chave do Kitsch em questão, no caso de se deixar verter a “segunda lágrima de emoção” que torna o Kitsch o Kitsch.
Seriam a fuga obsessiva do Kitsch, a busca pretensiosa pela sofisticação e perfeição, bem como, por outro lado, o experimentalismo vazio e sem proposta novas formas de clichê anti- Kitsch, análogas à negação da merda pela moral ocidental? Será que atualmente, a verdadeira originalidade não está, inclusive, naquelas iniciativas livres que se dão o direito de brincar com o que é considerado Kitsch, utilizando-o como um elemento a mais de questionamento?

Guillaume Apollinaire, nascido Wilhelm Albert Vladimir Apollinaris de Kostrowitzky, (Roma, 26 de agosto de 1880 — Paris, 9 de novembro de 1918) foi um escritor e crítico de arte francês.
Filho de uma condessa polaca, desde 1902 foi um dos membros mais populares do bairro artístico parisiense de Montparnasse; foram seus amigos e colaboradores Pablo Picasso, Max Jacob, André Salmon, Marie Laurencin, André Derain, Blaise Cendrars, Pierre Reverdy, Jean Cocteau, Erik Satie, Ossip Zadkine, Marcel Duchamp e Giorgio de Chirico.
Em 1909 publicou o seu primeiro livro O encantador en putrefacción, baseado na lenda de Merlin e Viviane. Os seus poemas, O bestiário ou o cortexo de Orfeo (1911), Álcoois (1913) e Calligrammes (1918) reflectem a influência do simbolismo, com importantes inovações formais; ainda em 1913 apareceu o ensaio crítico Os pintores cubistas, em defesa do novo movimento como superação do realismo. Alistou-se como voluntário em 1914. Foi ferido gravemente na cabeça, morrendo dois anos depois, vítima da gripe.

O futurismo é um movimento artístico e literário, que surgiu oficialmente em 20 de fevereiro de 1909 com a publicação do Manifesto Futurista, pelo poeta italiano Filippo Marinetti, no jornal francês Le Figaro. Os adeptos do movimento rejeitavam o moralismo e o passado, e suas obras baseavam-se fortemente na velocidade e nos desenvolvimentos tecnológicos do final do século XIX. Os primeiros futuristas europeus também exaltavam a guerra e a violência. O Futurismo desenvolveu-se em todas as artes e influenciou diversos artistas que depois fundaram outros movimentos modernistas.

No primeiro manifesto futurista de 1909, o slogan era Les mots en liberté ("Liberdade para as palavras") e levava em consideração o design tipográfico da época, especialmente em jornais e na propaganda. Eles abandonavam toda distinção entre arte e design e abraçavam a propaganda como forma de comunicação. Foi um momento de exploração do lúdico, da linguagem vernacular, da quebra de hierarquia na tipografia tradicional, com uma predileção pelo uso de onomatopéias. Essas explorações tiveram grande repercussão no dadaísmo, no concretismo, na tipografia moderna, e no design gráfico pós-moderno.

A pintura futurista foi influenciada pelo cubismo e pelo abstracionismo, mas a utilização de cores vivas e contrastes e a sobreposição das imagens pretendia dar a ideia de dinamismo – deformação e desmaterialização por que passam os objetos e o espaço quando ocorre a ação. Para os futuristas, os objetos não se esgotam no contorno aparente e os seus aspectos interpenetram-se continuamente a um só tempo. Procura-se neste estilo expressar o movimento real, registrando a velocidade descrita pelas figuras em movimento no espaço. O artista futurista não está interessado em pintar um automóvel, mas captar a forma plástica a velocidade descrita por ele no espaço.
Seus primeiros seguidores foram Umberto Boccioni, Carlo Carrá e Luigi Russolo, que lançaram um manifesto no teatro Chiasella em Turim, em 8 de março de 1910.

Atari Teenage Riot foi uma banda alemã de hardcore digital (também chamada de technocore) formada em 1992 por Alec Empire, Hanin Elias e Carl Crack. Posteriormente Nic Endo uniu-se a banda. Altamente política, eles fundiram uma música bastante eletrônica, barulhenta e com pitadas de Techno, com guitarras distorcidas, ideais anarquistas, anti-nazistas e um vocal típicamente punk. Apesar de a sonoridade da banda ter sido rotulada por muito tempo como "eletrônica" o próprio Alec Empire dizia que não era um rótulo que o Atari Teenage Riot se encaixava pelo som da banda ser "Barulhento demais" segundo Alec.
Muitas vezes os lugares onde o Atari Teenage Riot tocava não suportavam tecnicamente as grandes distorções e o barulho feito pelo quarteto e muitos aparelhos simplesmente estouravam. Para Alec Empire o som do Atari Teenage Riot poderia ser chamado de "Riot Sound" (algo como som de revolta) e a canção do ATR gerava sempre tumultos.
Em 1999 em Berlin (cidade natal da banda) houve um grande tumulto envolvendo centenas de fãs do grupo e a Polícia local. O grupo chegou até a ser investigado pelo Verfassungschutz, uma repartição do serviço secreto alemão que investiga grupos que representam perigo para a sociedade. O Atari Teenage Riot chegou até ser preso em outra apresentação em Berlin, por terem "incitado as pessoas à violência" durante uma passeata anti-nazista em 1° de maio. A banda estava tocando a canção "Revolution Action" em um caminhão estacionado no meio do evento quando de repente começou uma briga entre a polícia e os manifestantes, que totalizavam cerca de 30.000 pessoas.
De acordo com Alec Empire, "frontman" da banda, "houve um grande distúrbio, e era difícil cantar por causa do gás lacrimogêneo. As pessoas jogavam pedras e a situação saiu do controle. Os policiais atiraram pedras em nós e depois acabamos presos." Depois de poucas horas, porém, a banda foi libertada sem ter que pagar qualquer tipo de fiança.

O "fim" dos Atari Teenage Riot
Uma das últimas apresentações do ATR foi no Brixton Academy em Londres um dos shows mais extremos do grupo. Carl Crack teve um ataque de pânico durante o vôo para Londres provavelmente devido ao seu envolvimento com drogas. Hanin Elias também teve problemas na Turnê e a banda se encontrava em um estado psicológico deplorável.
Em 9 de setembro de 2001, Carl Crack acabou sofrendo uma overdose e morreu aos 30 anos de idade. Carl sempre teve muitos problemas psicológicos desde sua adolescência. Após a morte de Carl a banda não se reuniu de novo. Hanin Elias partiu para trabalhar em seu projeto solo, assim como Alec Empire e Nic Endo (esses dois últimos continuam trabalhando juntos).

O modernismo brasileiro foi um amplo movimento cultural que repercutiu fortemente sobre a cena artística e a sociedade brasileira na primeira metade do século XX.
Em comparação com outros movimentos também denominados modernistas, foi desencadeado tardiamente, na década de 1920. O modernismo brasileiro resultou, em grande parte , da assimilação de novas tendências artísticas e culturais lançadas pelas vanguardas européias anteriormente à Primeira Guerra Mundial, tais como Cubismo e Futurismo. Pode-se dizer, contudo, empregando a simbólica lançada por um dos mais notáveis modernistas brasileiros, Oswald de Andrade, que a assimilação dos modernismos europeus pela vanguarda brasileira fez-se de maneira "antropofágica". Os modernistas no Brasil tenderam, portanto, a "filtrar" a influência dos seus colegas europeus, e a rearranjar os elementos artísticos provindos de fora de modo a ajustá-los às singularidades culturais brasileiras. O impacto mais notável do modernismo brasileiro deu-se no campo da literatura e das artes plásticas.
"Todo este sangue de mil raças / corre em minhas veias / sou brasileiro / mas do Brasil sem colarinho / do Brasil negro / do Brasil índio." --Sérgio Milliet
Tradicionalmente, considera-se a Semana de Arte Moderna realizada em São Paulo, em 1922, o ponto de partida do modernismo no Brasil. Todavia, não se pode afirmar que todos os participantes da Semana tenham sido modernistas: o pré-modernista Graça Aranha foi um dos oradores. Apesar de não ter sido dominante no começo, como atestam as vaias da platéia da época, este estilo, com o tempo, suplantou os anteriores. Era marcado por uma liberdade de estilo e aproximação da linguagem com a linguagem falada; os de primeira fase eram especialmente radicais quanto a isto.
Didaticamente, divide-se o Modernismo em três fases: a primeira fase, mais radical e fortemente oposta a tudo que foi anterior, cheia de irreverência e escândalo; uma segunda mais amena, que formou grandes romancistas e poetas; e uma terceira, também chamada Pós-Modernismo por vários autores, que se opunha de certo modo a primeira e era por isso ridicularizada com o apelido de neoparnasianismo.
Referências históricas
- Início do século XX: apogeu da Belle Époque. O burguês comportado, tranqüilo, contando seu lucro. Capitalismo monetário. Industrialização e Neocolonialismo.
- Reivindicações de massa. Greves e turbulências sociais. Socialismo ameaça.
- Progresso científico: eletricidade. Motor a combustão: automóvel e avião.
- Concreto armado: “arranha-céu”. Telefone, telégrafo. Mundo da máquina, da informação, da velocidade.
- Primeira Guerra Mundial e Revolução Russa.
- Abolir todas as regras. O passado é responsável. O passado, sem perfil, impessoal. Eliminar o passado.
- Arte Moderna. Inquietação. Nada de modelos a seguir. Recomeçar. Rever. Reeducar. Chocar. Buscar o novo: multiplicidade e velocidade, originalidade e incompreensão, autenticidade e novidade.
- Vanguarda - estar à frente, repudiar o passado e sua arte. Abaixo o padrão cultural vigente.

Primeira geração (1922-1930)
Caracteriza-se por ser uma tentativa de definir e marcar posições. Período rico em manifestos e revistas de vida efêmera. Um mês depois da SAM, a política vive dois momentos importantes: eleições para Presidência da República e congresso (RJ) para fundação do Partido Comunista do Brasil. Ainda no campo da política, surge em 1926 o Partido Democrático que teve entre seus fundadores Mário de Andrade. É a fase mais radical justamente em conseqüência da necessidade de definições e do rompimento de todas as estruturas do passado. Caráter anárquico e forte sentido destruidor. Principais autores desta fase: Mário de Andrade, Oswald de Andrade, Manuel Bandeira, Antônio de Alcântara Machado, Menotti del Picchia, Cassiano Ricardo, Guilherme de Almeida e Plínio Salgado.
Características
Busca do moderno, original e polêmico.
Nacionalismo em suas múltiplas facetas.
Volta às origens e valorização do índio verdadeiramente brasileiro.
“Língua brasileira” - falada pelo povo nas ruas.
Paródias - tentativa de repensar a história e a literatura brasileira.
A postura nacionalista apresenta-se em duas vertentes:
nacionalismo crítico, consciente, de denúncia da realidade, identificado politicamente com as esquerdas.
nacionalismo ufanista, utópico, exagerado, identificado com as correntes de extrema direita.

Manifestos e revistas

Revista Klaxon — Mensário de Arte Moderna (1922-1923)
Recebe este nome, pois klaxon era o termo usado para designar a buzina externa dos automóveis. Primeiro periódico modernista, é conseqüência das agitações em torno da SAM. Inovadora em todos os sentidos: gráfico, existência de publicidade, oposição entre o velho e o novo.
“— Klaxon sabe que o progresso existe. Por isso, sem renegar o passado, caminha para diante, sempre, sempre.”

Manifesto da Poesia Pau-Brasil (1924-1925)
Escrito por Oswald e publicado inicialmente no Correio da Manhã. Em 1925, é publicado como abertura do livro de poesias Pau-Brasil de Oswald. Apresenta uma proposta de literatura vinculada à realidade brasileira, a partir de uma redescoberta do Brasil.
“— A poesia existe nos fatos. Os casebres de açafrão e de ocre nos verdes da Favela sob o azul cabralino, são fatos estéticos.”
“— A língua sem arcaísmos, sem erudição. Natural e neológica. A contribuição milionária de todos os erros. Como falamos. Como somos.”

A Revista (1925-1926)
Importante veículo responsável pela divulgação dos ideais modernistas em Minas Gerais, apesar da vida breve. Teve apenas três números e contava com Drummond como um de seus redatores.
O texto para os céticos, publicado como editorial do primeiro número de “A Revista”, é um libelo contra os escritores engessados, que ele diz haver muitos no Brasil da época – “Assim Deus Nosso Senhor mandasse uma epidemia que os reduzisse à metade! - e é também um clamor para a mudança, perceptível em “Ação quer dizer vibração, luta, esforço construtor, vida".
Nascido na pacata cidade mineira de Itabira do Mato Dentro, em 31 de outubro de 1902, Carlos Drummond de Andrade mostrou interesse por escrever, publicando prosa e poesia em jornais e revistas locais. As impressões de sua cidade natal se fariam notar em muitas obras de sua intensa produção poético-literária.
Foi com a mudança para Belo Horizonte, no início da década de 1920, que a carreira literária de Drummond ganhou impulso. Ele começou a colaborar como cronista no jornal Diário de Minas e integrou-se ao movimento Modernista de seu Estado, com Pedro Nava, Emílio Moura e outros.
É nesse momento, em 1925, que ele funda “A Revista”, na qual o grupo modernista mineiro propunha uma reformulação dos padrões estéticos da literatura brasileira, influenciado pelas revistas modernistas feitas pelos paulistas e cariocas, uma revista cultural idealista em que modernistas do país inteiro coloriam suas páginas.
“A Revista” abrigou em suas páginas a novela de Mário de Andrade, Amar, verbo intransitivo, o poema panfletário de Manuel Bandeira, “Poética”, onde Bandeira declara sua aversão ao lirismo comedido, e a publicação de uma conferência proferida por Freud nos Estados Unidos, em que o psicanalista alerta o mundo para sua descoberta do inconsciente. Encerrava-se em 1926 essa aventura.
De forma poético-prosa, Drummond alega que os “moços” à frente da publicação estão prontos para vencer no que se propuseram a fazer, mas que, se perderem, aceitaram sem chamar de nomes o meio belo horizontino, pois “a derrota é ainda o menos feio dos pecados e o mais confessável”. Explica que aqueles tempos (nos quais ele escreve) o público já andava indiferente, devido a tantas produções artísticas novas, ao que ele chama de bluffs literários.
Em outro parágrafo, diz que são jovens e, não, românticos. Mesmo assumindo que para alguns um é o mesmo que o outro, Drummond diz que não são lunáticos e que se tiver que escolher algum romantismo, será o da mocidade, pois é o da ação. Eles são a favor da “ação intensiva em todos os campos” e também pela “renovação intelectual do Brasil, renovação que se tornou um imperativo categórico”.
Podemos dizer que os mineiros responsáveis pela “A Revista” olham para a tradição sem a esquecer, mas sem a obedecer, assim como para as vanguardas, que as consideram, mas também não as seguem.
O discurso panfletário de Drummond pode ser explicitado no trecho seguinte: “Contra esse opressivo estado de coisas é que a mocidade brasileira procura e deve reagir, utilizando as suas puras reservas de espírito e coração”.
A Revista, segundo o autor, era uma obra de refinamento interior, que deveria ser veiculada pelos meios pacíficos do jornal, tribuna e da cátedra, sendo isso o que nos faz democratas.
A talvez mais importante frase desse Editorial seja justamente a última, em que Drummond diz que depois da destruição “do jugo colonial e do jugo escravista, e do advento da forma republicana, parecia que nada mais havia a fazer senão cruzar os braços. Engano. Resta-nos humanizar o Brasil.” Pode-se dizer então que, para ele, a poesia não está alheia aos problemas sociais, como o veremos fazer, mais tarde, no poema sobre a pedra, que é uma completa subversão das formas instituídas, podendo o seu assunto ser levado ao âmbito social.
O editorial, publicado em 1° de Julho de 1925, é atemporal, sendo “moderno” até hoje.

Verde-Amarelismo (1926-1929)
É uma resposta ao nacionalismo do Pau-Brasil. Grupo formado por Plínio Salgado, Menotti del Picchia, Guilherme de Almeida e Cassiano Ricardo. Criticavam o “nacionalismo afrancesado” de Oswald. Sua proposta era de um nacionalismo primitivista, ufanista, identificado com o fascismo, evoluindo para o Integralismo de Plínio Salgado (década de 30). Idolatria do tupi e a anta é eleita símbolo nacional. Em maio de 1929, o grupo verde-amarelista publica o manifesto "Nhengaçu Verde-Amarelo — Manifesto do Verde-Amarelismo ou da Escola da Anta".

Manifesto Regionalista de 1926
1925 e 1930 é um período marcado pela difusão do Modernismo pelos estados brasileiros. Nesse sentido, o Centro Regionalista do Nordeste (Recife) busca desenvolver o sentimento de unidade do Nordeste nos novos moldes modernistas. Propõem trabalhar em favor dos interesses da região, além de promover conferências, exposições de arte, congressos etc. Para tanto, editaram uma revista. Vale ressaltar que o regionalismo nordestino conta com Graciliano Ramos, José Lins do Rego, José Américo de Almeida, Rachel de Queiroz, Jorge Amado e João Cabral - na 2ª fase modernista.

Revista Antropofagia (1928-1929)
Características Antropofágica: De degluticção, devoração crítica das vanguardas e culturas européias, de modo a recriá-las, tendo em vista a redescoberta do Brasil em sua autenticidade primitiva.
Representantes: Oswald de Andrade, Tarsila do Amaral, Raul Boppe, Antônio de Alcântara Machado e Oswaldo Costa (grande jornalista, modernista e nacionalista)...
Contou com duas fases (dentições): a primeira com 10 números (1928 e 1929) direção Antônio Alcântara Machado e gerência de Raul Bopp; a segunda foi publicada semanalmente em 16 números no jornal Diário de São Paulo (1929) e seu “açougueiro” (secretário) era Geraldo Ferraz. É uma nova etapa do nacionalismo Pau-Brasil e resposta ao grupo Verde-amarelismo. A origem do nome movimento está na tela “Abaporu” (O que come) de Tarsila do Amaral.
1ª fase - inicia-se com o polêmico manifesto de Oswald e conta com Alcântara Machado, Mário de Andrade (2º número publicou um capítulo de Macunaíma), Carlos Drummond (3º número publicou a poesia “No meio do caminho”); além de desenhos de Tarsila, artigos em favor da língua tupi de Plínio Salgado e poesias de Guilherme de Almeida.
2ª fase - mais definida ideologicamente, com ruptura de Oswald e Mário de Andrade. Estão nessa segunda fase Oswald, Bopp, Geraldo Ferraz, Oswaldo Costa, Tarsila, Patrícia Galvão (Pagu). Os alvos das críticas (mordidas) são Mário de Andrade, Alcântara Machado, Graça Aranha, Guilherme de Almeida, Menotti del Picchia e Plínio Salgado.
“SÓ A ANTROPOFAGIA nos une, Socialmente. Economicamente. Filosoficamente. / Única lei do mundo. Expressão mascarada de todos os individualismos, de todos os coletivismos. De todas as religiões. / De todos os tratados de paz. / Tupi or not tupi, that is the question.” (Manifesto Antropófago)
“A nossa independência ainda não foi proclamada. Frase típica de D. João VI: — Meu filho, põe essa coroa na tua cabeça, antes que algum aventureiro o faça! Expulsamos a dinastia. É preciso expulsar o espírito bragantino, as ordenações e o rapé de Maria da Fonte.” (Revista de Antropofagia, nº 1)

Tactics of a black bloc can include vandalism, rioting and street fighting, demonstrating without a permit, misleading the authorities, assisting in the escape of perpetrators arrested by the police, administering first aid to persons affected by tear gas in areas where protesters are barred from entering, building barricades, and attacking police.[4] However such blocs are not inherently violent; participants often use peaceful methods of protest as well. Although black blocking is usually connected with some form of direct action, some black blocs also participate in wholly symbolic action, as well as actions that fall entirely within traditional definitions of nonviolent protest. Property destruction carried out by black blocs tends to have symbolic significance: common targets include banks, institutional buildings, outlets for multinational corporations, gasoline stations, video-surveillance cameras, and private property.
There may be several black blocs within a particular protest, with different aims and tactics.[5] As an ad hoc group, they share no universally common set of principles or beliefs;[5].

O primeiro filme de ficção que pode ser chamado de punk, não só no visual mas também nos ideais, foi o britânico Jubilee, dirigido por Derek Jarman em 1977. Inicia com a rainha Elisabeth I numa viagem no tempo do século 16 até ao final dos anos 1970, quando encontra a Inglaterra imersa na anarquia, com violência reinando nas ruas e o Palácio de Buckingham como um estúdio para gravação de bandas punk. A estrutura do filme é episódica e mostra um grupo de niilistas em diversas situações. Há participações de Adam Ant dois anos antes de se tornar um cantor de sucesso e da banda Siouxsie & The Banshees em início de carreira. A trilha sonora ficou a cargo de Brian Eno.
Bandas nas telas
Roger Corman, o lendário diretor e produtor de filmes B, não poderia deixar de faturar alguns trocados com o gosto musical dos jovens. Resolveu atacar como produtor e, em 1979, concebeu um filme que se passava numa escola e tinha a música como tema central. O título deveria ser Disco High. Sim, seria sobre disco music. Por sorte, alguém o convenceu a utilizar o rock e o filme virou Rock ‘n’ Roll High School (alguns outros títulos foram considerados antes de se chegar a esse). Vários nomes foram cogitados para estrelar a parte musical do filme, entre eles Todd Rundgren, Cheap Trick, Tom Petty, Devo e Van Halen. Num dado momento, os Ramones foram sugeridos e acabaram escolhidos. Para dirigir o filme, foi contratado Allan Arkush, que ficou doente no final das filmagens e foi substituído por Joe Dante. Conta a história de uma garota grande fã dos Ramones e quer mostrar a letra que compôs para o grupo. Na sua escola, a nova diretora reprime o interesse dos alunos pelo rock. A banda aparece tocando várias músicas e ainda há vários outros astros na trilha sonora, como Chuck Berry, Devo, MC5, Brian Eno e Alice Cooper. É um filme muito divertido, que se tornou cult e influenciou inúmeros filmes escolares da década de 80. Essencial para qualquer um que goste de Ramones, mas infelizmente ainda não foi lançado em DVD no Brasil. Há uma continuação, de 1990, chamada Rock ‘n’ Roll High School Forever, mas nem chega perto do espírito do original.
Outra banda que estrelou um filme foi o The Clash em Rude Boy, de 1980, dirigido por Jack Hazan e David Mingay. É um semidocumentário sobre um rapaz que se torna roadie da banda. A história dele é ficção, os shows do The Clash são reais e as manifestações públicas também. O resultado final não agradou a banda, a parte ficcional é bem amadora, sendo que a produção nem circulou muito fora da Inglaterra. Só recentemente chegou em solo americano no formato DVD e tem uma opção no menu para ver somente as apresentações da banda, o que realmente interessa no filme.
Richard Hell é considerado um dos primeiros punks, foi baixista do Television e depois montou sua própria banda, o Richard Hell and The Voidoids, que lançou a canção "Blank Generation", um dos hinos de sua época. Esse é o mesmo título de um filme de 1980 dirigido pelo alemão Ulli Lommel. (Não confunda com The Blank Generation, média metragem de 1976.) A produção estrelada por Richard Hell, que também assina o roteiro, conta a história de uma jornalista francesa que se envolve com um astro punk. O diretor inspirou-se no filmes de Godard, com cortes abruptos e digressões sobre algum assunto, talvez por isso não tenha sido bem aceito na época. Desperta a curiosidade pelas cenas no CBGB, por mostrar a imagem que os punks tinham de si próprios e para ver o baterista dos Voidoids, Mark Bell, que depois se tornaria Marky Ramone.
Também existiam garotas que formavam bandas punks, é o que mostra o filme canadense Ladies and Gentlemen, The Fabulous Stains, dirigido por Lou Adler em 1981. Estrelado pelas jovens Diane Lane e Laura Dern, tem a participação de Steve Jones, Paul Cook, ambos do Sex Pistols, e Paul Simonon, do The Clash. O filme teve um lançamento pequeno nos cinemas e só encontrou seu público mesmo alguns anos depois, na televisão a cabo. Permanece inédito em DVD.
Filmes de Alex Cox
Alex Cox é um diretor britânico que expressou sua simpatia pelo punk em alguns de seus filmes. O primeiro foi Repo Man – A Onda Punk, de 1984, estrelado por Emilio Estevez, conta a história de um jovem punk que consegue um emprego como “repossesion man”, a pessoa encarregada de recuperar carros cujos compradores não pagaram suas prestações. A aventura segue quando recupera um carro com uma estranha maleta no porta-malas e é perseguido por alienígenas. Integrantes da banda Circle Jerks aparecem em pequenos papéis e participam da trilha sonora, que também inclui Suicidal Tendencies, Black Flag e Iggy Pop cantando a faixa-título.
No seu filme seguinte, Cox mergulhou de vez no punk ao contar a história do trágico romance entre Sid Vicious e Nancy Spungen. Ao invés de retratar de forma realista o baixista do Sex Pistols, preferiu foi colocar na tela a imagem pública e as lendas a respeito dele em Sid & Nancy – O Amor Mata, lançado em 1986. Tudo que se pensa a respeito do casal está no filme, que não se preocupa com a fidelidade a fatos históricos. Gary Oldman “incorpora” Sid Vicious de forma muito convincente e até canta algumas canções na trilha sonora. Estão presentes na trilha Joe Strummer, The Pogues e Circle Jerks, mas não há nenhuma canção do Sex Pistols ou de Sid Vicious. Para o papel de Nancy, várias atrizes foram testadas, entre elas estava a jovem Courtney Love que impressionou bastante o diretor, mas os investidores queriam uma atriz com mais experiência e a escolhida foi Chloe Webb, que se saiu bem no papel. Como consolação, Courtney ganhou o papel de uma das amigas junkies de Nancy. O filme foi execrado por John Lydon (ou Johnny Rotten, vocalista dos Pistols), que disse que era somente uma fantasia sobre a vida de Sid Vicious e que apresentava inúmeros erros. Quando perguntado se havia algo real no filme, Lydon respondeu: “Talvez o nome Sid”.
O trabalho seguinte de Alex Cox foi um faroeste chamado Straight to Hell, de 1987. Neste conseguiu escalar Courtney Love para papel principal e completando o elenco estão vários músicos: Joe Strummer, Elvis Costello e os integrantes das bandas Circle Jerks, The Pogues e Amazulu. Assim como a maioria dos filmes de Cox, a fita não foi bem recebida na época, mas teve seus fãs e não acabou esquecido. Alguns anos depois, Courtney Love formaria uma banda, conheceria Kurt Cobain e continuaria sua carreira no cinema, mas isso é uma história para ser contada mais para a frente.
Filmes sobre punks
Outra produção de Roger Corman, Suburbia, dirigida por Penelope Spheeris em 1984 (não confundir com subUrbia, de Richard Linklater), retrata um grupo de jovens punks que se rebelam contra suas famílias. A produção traz alguns músicos no elenco, como o jovem Flea, do Red Hot Chili Pepers, e a tem participação de bandas como T.S.O.L. e The Vandals.
A produtora Troma, responsável por diversos filmes B cheios de sangue e humor negro, lançou em 1996 uma versão punk de um clássico de Shakespeare com o título Tromeo and Juliet. Com uma história atualizada e carregada de violência e sexualidade, além de uma boa dose de irreverência, o filme é uma espécie de “clássico romântico” da produtora. O responsável pela narração da história é o Lemmy, do Motorhead.
Um bom registro sobre os punks foi feito em SLC Punk!, dirigido por James Merendino em 1998. Livremente baseado nas memórias do diretor, retrata a vida de jovens punks no meio da década de 80 em Salt Lake City, que não era um grande centro como outras cidades. O protagonista dirige-se várias vezes para a câmera apresentando personagens, situações e explicando seu ponto de vista com relação a vários conceitos. Seu grande amigo chama-se Heroin Bob, que não usa drogas e tem medo de agulhas. O cotidiano dos jovens é o foco dessa comédia dramática, como as festas, shows, amigos e brigas com outras tribos urbanas. A trilha sonora foi muito bem empregada e traz clássicos de The Stooges, Ramones, Velvet Underground, Dead Kennedys, The Specials e Blondie.

Pouco se sabe sobre a vida deste poeta. Nasceu no Uruguai, “nas costas da América, na foz do La Plata”, como indica no Canto I da sua obra-prima, onde também se identifica como “Montevidense”. Seu pai era chanceler do Consulado Francês no Uruguai. A sua mãe, francesa, morreu quando este tinha apenas vinte meses.
Em Outubro de 1859, foi estudar para França no colégio interno de Tarbes e, depois, no colégio de Pau, onde foi colega de Paul Lespès, uma das pessoas a que os “Chants” são dedicados e a cujo testemunho se deve o conhecimento a respeito de uma situação ocorrida numa aula de retórica do professor Gustave Hinstin. Este professor, que também consta na dedicatória do seu poema, tê-lo-ia repreendido publicamente de forma severa devido ao conteúdo de uma das suas “Poesias” – Ducasse ter-se-ia sentido extremamente injustiçado com a situação.
Foi também descoberta, em 1977, uma edição da Ilíada de Homero, em Espanha, com a seguinte inscrição na folha de rosto: “Propriedad del señor Isidoro Ducasse nacido en Montevideo (Uruguay) – tengo tambien “Arte de hablar” del mismo autor. 14 avril 1863.” – o que leva a crer que, apesar de ter escrito a sua obra maior em francês, utilizasse principalmente a língua espanhola.
Crê-se que o seu pseudónimo tenha sido inspirado no nome de um romance de Eugène Sue, “Latréaumont” (note-se que há uma leve diferença na grafia da palavra); a atribuição do título Conde poderá ser uma referência ao Marquês de Sade ou uma forma de se demarcar da burguesia, ainda que não existam quaisquer provas destas duas teses.
Morre aos 24 anos, em um hotel, de causa ignorada.

O seu poema em sessenta estrofes, Les Chants de Maldoror – (“Os Cantos de Maldoror”, em português) é considerado uma obra seminal no campo da literatura fantástica, ainda que hoje escape a qualquer classificação.
Os críticos e o público em geral dividem-se quanto à classificação da obra deste autor. Para uns, foi um génio da literatura universal – André Breton considerava-o uma “revelação total que parece exceder as possibilidades humanas”; Léon Bloy, por seu lado, classificava-o como louco, “uma ruína humana completa”. Contudo, o autor foi tornando-se uma referência, principalmente para intelectuais apreciadores do género mais subversivo da literatura, tornando-se um autor de culto.

BURNING. Massive flames. A dark shape emerges- The SYMBOL. Growing. Filling the screen with BLACKNESS.
CUT TO:
DAYLIGHT. Moving over the towers of downtown Gotham...
Closing in on an office building... On a large window...
Which SHATTERS to reveal-
INT. OFFICE, HIGH RISE -- DAY
A man in a CLOWN MASK holding a SMOKING SILENCED PISTOL
ejects a shell casing. This is DOPEY. He turns to a second
man, HAPPY, also in clown mask, who steps forward with a
CABLE LAUNCHER, aims at a lower roof across the street and
FIRES a cable across. Dopey secures the line to an I-beam
line- CLAMP on- sends a KIT BAG out then steps OUT the
window...
EXT. HIGH-RISE -- DAY
...into space. The men SLIDE across the DIZZYING DROP...
landing on the lower roof across the street.
EXT. DOWNTOWN GOTHAM -- DAY
A MAN on the corner, back to us, holding a CLOWN MASK. An
SUV pulls up. The man gets in, puts on his mask. Inside the
car- two other men wearing CLOWN MASKS.
GRUMPY
Three of a kind. Let's do this.
One of the Clowns looks up from loading his automatic weapon.
CHUCKLES
That's it? Three guys?
GRUMPY
There's two on the roof. Every guy
is an extra share. Five shares is
plenty.
CHUCKLES
Six shares. Don't forget the guy who
planned the job.
GRUMPY
Yeah? He thinks he can sit it out
and still take a slice then I get why
they call him the Joker.
Grumpy cocks his weapon. Bozo pulls the car over in front of
the GOTHAM FIRST NATIONAL BANK.
EXT. ROOFTOP, BANK -- CONTINUOUS
Dopey PRIES open an access panel-
HAPPY
Why do they call him the Joker?
DOPEY
I heard he wears make-up.
HAPPY
Make-up?
Dopey pulls out thick bundles of blue CAT 5 cables.
DOPEY
Yeah. To scare people. War paint.
EXT. BANK -- CONTINUOUS
Grumpy, Chuckles and Bozo get out of the car and march into
the bank CARRYING ASSAULT RIFLESINT.
BANK -- DAY
The Security Guard looks up- Grumpy FIRES into the ceiling.
Customers SCREAM. Chuckles CRACKS the Security Guard.
As Grumpy and Bozo round up the hostages, one of the TELLERS
presses a button mounted beneath her window- a SILENT ALARM.
EXT. ROOFTOP -- DAY
Dopey watches the alarm PING his handheld.
DOPEY
Here comes the silent alarm.
(touches a button)
And there it goes. That's funny. It
didn't dial out to 911- it was
trying to reach a private number.
Behind him, Happy RAISES his silenced HANDGUN.
HAPPY
Is it a problem?
DOPEY
No, no. I'm done here.
Happy SHOOTS. Dopey SLUMPS. Happy picks up his bag and
FORCES OPEN the roof access door...
INT. STAIRWELL, BANK -- DAY
...and speeds down the stairs, to the basement. He SLAMS
open the door...
2.
INT. VAULT ROOM, BANK -- DAY
...and comes face to face with a huge VAULT.
INT. LOBBY, BANK -- DAY
Bozo and Grumpy move down the line of hostages- Bozo hands
each Hostage OBJECTS from a bag. A GRENADE. Grumpy follows,
PULLING THE PINS.
GRUMPY
Obviously, we don't want you doing
anything with your hands other than
holding on for dear life.
BLAM. Chuckles is BLOWN OFF HIS FEET- Grumpy and Bozo DIVE
for cover- the Bank Manager steps out of his office, SHOTGUN
in hand. Hostages SCRAMBLE, CLINGING their grenades...
INT. VAULT ROOM, BANK -- DAY
Happy CLAMPS a DRILL to the vault- the bit SPINS- SLIDES into
the metal door- a BOLT of ELECTRICITY RIPS THROUGH THE DRILL,
THROWING HAPPY TO THE FLOORINT.
LOBBY, BANK -- DAY
Grumpy and Bozo cower as the Bank Manager FIRES again.
GRUMPY
He's got three left?
Bozo raises TWO fingers. Grumpy squeezes off a SHOT. The
Bank Manager FIRES. FIRES again. Grumpy looks at Bozo, who
nods. Grumpy JUMPS UP.
The Bank Manager FIRES- Grumpy GRUNTS as buckshot CLIPS his
shoulder. FALLS. The Bank Manager moves in for the kill,
FUMBLING for new shells. Bozo STANDS- SHOOTS him.
Bozo picks up the shotgun. Grumpy checks his wound- it's
superficial. He struggles to his feet.
GRUMPY
Where'd you learn to count?!
Bozo's mask stares him down. Grumpy heads for the stairs in
the back. Bozo starts loading fresh shells into the shotgun.
BANK MANAGER
You have any idea who you're stealing
from? You and your friends are dead.
Bozo looks down at him. Says nothing.
3.
INT. VAULT ROOM, BANK -- DAY
Happy at the vault door, barefoot, turning the tumblers with
hands stuffed into his SNEAKERS. Grumpy walks in.
HAPPY
They wired this thing up with 5,000
volts. What kind of bank does that?
GRUMPY
A mob bank. Guess the Joker's as
crazy as they say.
Happy shrugs. Grips the WHEEL BOLT and SPINS it.
GRUMPY
Where's the alarm guy?
HAPPY
Boss told me when the guy was done I
should take him out. One less share.
GRUMPY
Funny, he told me something
similar...
Happy FREEZES. The wheel SPINS to a STOP- the vault DOOR
CLUNKS OPEN- Happy GRABS for his weapon- SPINS to see Grumpy
SHOOT. Grumpy steps over Happy into the vault...
INT. VAULT, BANK -- DAY
...which is filled with an eight-foot MOUNTAIN OF CASH.
INT. LOBBY, BANK -- DAY
Grumpy walks into the lobby, straining under several DUFFELS
filled with cash. He DUMPS them. Looks at Bozo. LAUGHS.
GRUMPY
C'mon, there's a lot to carry...
INT. LOBBY, BANK -- DAY
Bozo walks back into the lobby with two more DUFFELS. Sets
them down on an ENORMOUS PILE. Grumpy looks at it.
GRUMPY
If this guy was so smart he would
have had us bring a bigger car.
Grumpy JABS his pistol in Bozo's back. Takes his weapon.
GRUMPY
I'm betting the Joker told you to
kill me soon as we loaded the cash.
4.
BOZO
(shakes head)
No. I kill the bus driver.
GRUMPY
Bus driver? What bus-
Bozo steps backwards. SMASH. Hostages SCREAM as the TAIL
END OF A YELLOW SCHOOL BUS ROCKETS through the front of the
bank, SLAMMING Grumpy into the teller's window.
Bozo picks up Grumpy's weapon. Another clown OPENS the rear
door of the bus. Bozo SHOOTS him. Then loads the bags onto
the bus. The wounded Bank Manager watches him. In the
distance: SIRENS.
BANK MANAGER
Think you're smart, huh? Well, the
guy who hired you's just do the same
to you...
Bozo slowly shakes his head.
BANK MANAGER
Sure he will. Criminals in this town
used to believe in things...
Bozo turns back to the Bank Manager. Crouches over him.
BANK MANAGER
Honor. Respect. What do you
believe, huh? What do you bel-
Joker slides a GRENADE into the man's mouth. A PURPLE THREAD
is knotted around the pin.
THE JOKER
I believe that what doesn't kill
you...
Bozo PULLS off his MASK. The Bank Manager GASPS. In the
reflections of the glass DEBRIS behind the Bank Manager we
see GLIMPSES of a SCARRED MOUTH and CLOWN MAKEUP. THE JOKER.
THE JOKER
...simply makes you stranger.
The Bank Manager's eyes go wide. The Joker rises, strolls
towards the bus, the purple thread attached to the grenade
pin UNRAVELLING FROM THE PURPLE LINING of his jacket as he
walks. The Joker climbs into the bus, SHUTS the rear door,
TRAPPING THE PURPLE THREAD...
EXT. SCHOOL, GOTHAM -- DAY
Kids pour out, heading onto a long line of school buses.
5.
INT. BANK -- CONTINUOUS
As the bus pulls out, the purple thread PULLS THE PINhostages
scream and scurry away from the Bank Manager, who
shakes with fear as, with a FIZZ, the grenade does not
explode, but SPEWS RED SMOKE.
EXT. BANK -- DAY
The School Bus pulls free of the Bank wall and pulls out onto
the street, SLIDING INTO THE LINE OF IDENTICAL BUSES HEADING
PAST THE BANK. The buses trundle past COP CARS racing up the
street... and we-
CUT TO:
EXT. MOVING OVER GOTHAM -- NIGHT
From the top of a brick building a SHAFT OF LIGHT comes on.
EXT. VARIOUS LOCATIONS -- CONTINUOUS
A PATROLMAN looks up at the BAT-SIGNAL. Smiles. A DEALER
standing beside a car spots the signal. Steps back.
DEALER
No, man. I don't like it tonight.
BUYER
What're you, superstitious? You got
more chance of winning the powerball
than running into him...
INT. MAJOR CRIMES UNIT, GOTHAM CENTRAL -- NIGHT
DETECTIVE RAMIREZ, female, rookie detective, 30's, makes
coffee, watching a news show on the television.
ON SCREEN: The host, MIKE ENGEL, lays into the MAYOR.
ENGEL
Mr Mayor, you were elected on a
campaign to clean up the city... when
are you going to start?
MAYOR
Well, Mike-
ENGEL
Like this so-called Batman- a lot of
people say he's doing some good
that criminals are running scared...
but I say NO. What kind of hero
needs to wear a mask? You don't let
vigilantes run around breaking the
law... where does it end?
6.
(MORE)
Yet, we hear rumors that instead of
trying to arrest him the cops are
using him to do their dirty work.
MAYOR
I'm told our men in the Major Crimes
Unit are close to an arrest.
RAMIREZ
Hey, Wuertz- the Mayor says you're
closing in on the Batman.
WUERTZ looks up, listless. Crumples up a paper.
WUERTZ
The investigation is ongoing.
He throws the paper at the trash. It rebounds off a board
headed 'BATMAN: SUSPECTS.' Lined with pictures: Abraham
Lincoln. Elvis. The Abominable Snowman.
EXT. ROOFTOP, MAJOR CRIMES UNIT -- NIGHT
Ramirez comes out onto the roof. LIEUTENANT GORDON sits by a
SEARCHLIGHT. She hands Gordon a cup of coffee.
RAMIREZ
Ever intending to see your wife
again, Lieutenant?
GORDON
I thought you had to go look after
your mother, detective.
RAMIREZ
They checked her back into hospital.
GORDON
I'm sorry.
RAMIREZ
(making light)
Least there she's got someone round
the clock. Unlike your wife.
(looks at bat-signal)
He hasn't shown?
Gordon gets up. Looks into the sky at the bat-signal.
GORDON
Often doesn't. But I like reminding
everybody that he's out there.
RAMIREZ
Why wouldn't he come?
GORDON
Hopefully... Because he's busy.
7.
ENGEL (cont'd)
EXT. PARKING GARAGE -- NIGHT
Two black SUV's pull onto the top floor. A large man emergesthe
CHECHEN. A BODYGUARD points at the sky. The Chechen
peers up at the BAT-SIGNAL. Shrugs.
CHECHEN
That's why we bring dogs.
BODYGUARD 2 opens the back door- three enormous ROTWEILERS
emerge, GROWLING. The Chechen crouches, KISSING the dogs.
CHECHEN
My little princes...
(to bodyguards)
The Batman's invisible to you
fools... but my little princes...
they can find human meat in complete
darkness.
The Chechen moves to the second SUV, reaches in and DRAGS out
a skinny, wild-eyed JUNKIE by his hair.
JUNKIE
(babbling)
No! No get 'em off me! Off me!
The Chechen drags the Junkie towards a battered white van.
The van's REAR DOORS OPEN... two armed THUGS emerge, carrying
BARRELS... a third hovers in the dark interior.
CHECHEN
Look! Look what your drugs did to my
customers!
VOICE (O.S.)
Buyer beware...
The figure emerges: SCARECROW. Wearing his mask.
SCARECROW
I told your man my compound would
take you places. I never said they'd
be places you wanted to go.
CHECHEN
My business is repeat customers.
SCARECROW
If you don't like what I have to
offer, buy from someone else.
Assuming Batman left anyone else to
buy from.
The Chechen frowns. THE DOGS START BARKING.
8.
BODYGUARD
(nervous)
He's here.
A BURLY THUG at the periphery is suddenly SUCKED into the
darkness. In his place a shadow straightens, revealing
POINTED BAT-EARS against the glittering skyline.
CHECHEN
Come on, sonofbitch- my dogs are
hungry, pity there's only one of
you...
A BODYGUARD to the side DISAPPEARS with a scream, and a
SECOND BAT-SHADOW appears.
The Chechen looks taken aback. Three more BAT-SHADOWS
appear... even the dogs stop growling.
BOOM! A hole appears in the SUV next to the Chechen. The
first bat-shadow steps into the light carrying a SHOTGUN.
CHAOS as men scatter and the rooftop erupts in GUNFIRE. The
Chechen TURNS as he hears one of his men SCREAM.
CHECHEN (CONT’D)
Loose the dogs!
A Bodyguard releases the DOGS- they RACE, SALIVATING, into
the darkness...
The Dogs RACE towards a Bat-Shadow- the first dog LEAPS, gets
its JAWS around the Bat-Shadow's throat...
Scarecrow ducks behind the van- holes PUNCHED in the side by
shotgun blasts right behind him. He starts to climb into the
driver's seat-
The muzzle of a shotgun is pressed to the back of his head- a
bat-shadow is behind him- he SPRAYS him with FEAR TOXIN- the
bat-shadow collapses to the ground, SCREAMING. The Cechnyan,
cowering from gunfire, looks down at him.
SCARECROW
Not the real thing.
CHECHEN
How you know?
SCARECROW
We're old friends.
A HUGE BLACK SHAPE SLAMS down onto a row of parked cars. The
BATMOBILE.
SCARECROW
That's more like it.
9.
The Chechen's men BLAST away at the front of the car: the
bullets SPARK off its monstrous surface harmlessly...
INT. BATMOBILE -- CONTINUOUS
The cockpit is EMPTY. One of the screens reads "LOITER".
The shooting STOPS. The screen switches to "INTIMIDATE"
EXT. PARKING GARAGE -- CONTINUOUS
The men STARE at the Batmobile for a quiet moment... BOOM!
The Batmobile CANNONS blast cars all around the men-
A bat-shadow lines up his shotgun on a running bodyguard-
CLUNK- a BLACK GAUNTLET grasps the barrel and BENDS it
upwards with a HOWL of tortured steel- the bat-shadow looks
into the face of the Batman. The REAL BATMAN.
The Bat-shadow STUMBLES BACKWARDS in terror, leaving the bent
shotgun in Batman's hand. Batman OPENS his hand, revealing a
PNEUMATIC MANGLE hidden in his palm-
Batman bears down on the dogs mauling another bat-shadow-
DRAWS his GRAPPLING GUN and SHOOTS his grapple into the fake
Batman's leg and RIPS him from the dogs, one dog HANGING ON
as Batman pulls the unconscious man away... the Chechen RUNS
down the ramp towards the exit...
As Batman KICKS the dog off the fake Batman- the Chechen gets
into his SUV- another dog LOCKS ITS JAWS around Batman's
forearm, RIPPING, TEARING- Batman SWINGS THE DOG OVER HIS
HEAD- SMASHES it against the ground- its jaws OPEN...
Batman rises, an engine RACES behind him- he can't turn in
time- BLAM- he's SLAMMED sideways by the speeding van.
INT. VAN -- CONTINUOUS
Scarecrow, driving, NODS at him and hits the gas... Batman
raises his hand, revealing his jointed mangle and pistons.
The mangle STRAIGHTENS and ROTATES from his palm to the knife
edge of his opened hand...
Batman CHOPS straight through the windshield- pulls his hand
out and CHOPS again- the mangle gets STUCK- Scarecrow steers
towards a column...
EXT. PARKING GARAGE -- CONTINUOUS
Batman can't free himself- he turns a dial on his forearm
piston- EXPLOSIVE BOLTS blow, freeing his gauntlet from the
mangle- he ROLLS free of the van as it SCRAPES the column and
barrels down the circular exit ramp.
Batman rises. A phony batman lying on the ground watches as
Batman climbs up to the edge of the ten-story corkscrew ramp
and stands there, waiting for something.
10.
After a moment he JUMPS... and falls... ten stories...
He's about to hit the exit ramp- the van appears- his cape
POPS OPEN- he SLAMS into the roof, CRUSHING the cab.
EXT. ROOFTOP, PARKING GARAGE -- MOMENTS LATER
The Chechen's men are lined up against the wall, bound with
zip-ties. So are the fake batmen. Batman DUMPS Scarecrow
next to the three "Batmen", RIPS his mask off.
"BATMAN"
We're trying to help you!
BATMAN
I don't need help.
SCARECROW
Not my diagnosis.
Batman silences Scarecrow with his boot. Turns to "Batman"
BATMAN
Don't let me find you out here again.
Batman moves towards the Batmobile.
"BATMAN"
You need us! There's only one of youit's
war out here!
Batman gets into the Batmobile.
"BATMAN"
What gives you the right?! What's
the difference between you and me?!
As the Canopy hisses shut-
BATMAN
I'm not wearing hockey pads.
The "Batman" looks down at his makeshift costume as the
Batmobile ROARS past.
EXT. BANK -- NIGHT
LIEUTENANT GORDON ducks the barrage of SHOUTED QUESTIONS from
press and picks his way into the lobby of the bank.
INT. LOBBY, BANK -- NIGHT
FORENSIC SPECIALISTS work the room. Ramirez hands Gordon
PRINTS- indicates the surveillance cameras.
RAMIREZ
He can't resist showing us his face.
11.
Gordon looks at the grainy blow-up of THE JOKER'S FACE:
sweating clown makeup plastered thick around the mouth.
GORDON
Put this out, by morning we can put a
big top over central holding and
sell tickets. What's he hiding under
that makeup?
Gordon approaches a FORENSIC PHOTOGRAPHER shooting Grumpy's
body. Gordon crouches to look at his clown mask. Batman
steps from the shadows. Gordon nods at Ramirez.
RAMIREZ
Give us a minute, please, people!
The Forensic team and Ramirez leave. Gordon hands Batman the
blow-up of the Joker.
BATMAN
Him again. Who are the others?
GORDON
Another bunch of small timers.
Batman pulls a DEVICE from his belt- moves to the bundles of
cash scattered near the clown's body. The device PINGS.
Batman picks up a BUNDLE. Hands it to Gordon.
BATMAN
Some of the marked bills I gave you.
GORDON
My detectives have been making drug
buys with them for weeks. This bank
was another drop for the mob. That
makes five banks- we've found the
bulk of their dirty cash.
BATMAN
Time to move in.
Gordon waves the photo.
GORDON
What about this Joker guy?
BATMAN
One man or the entire mob? He can
wait.
GORDON
We'll have to hit all banks
simultaneously. SWAT teams, backup.
Gordon holds up the bundle of banknotes.
12.
GORDON
When the new DA gets wind of this,
he'll want in.
BATMAN
Do you trust him?
GORDON
Be hard to keep him out.
Gordon bags the cash.
GORDON
I hear he's as stubborn as you.
But Batman is already gone.
INT. WAYNE PENTHOUSE -- MORNING
Alfred walks past soaring downtown views as he carries a
breakfast tray through the vast, empty penthouse. He stops,
looking at a still-made bed. Alfred sighs, turns.
EXT. RAIL YARDS -- MORNING
Alfred gets out of the Rolls carrying a thermos. He walks
towards a RAILWAY BRIDGE, stops at a FREIGHT CONTAINER
sitting, lopsided, on blocks. Alfred unlocks the RUSTY
PADLOCK AND CHAIN. Steps inside.
INT. FREIGHT CONTAINER -- CONTINUOUS
Alfred FUMBLES in the dark- bangs his elbow- A HISS as the
FLOOR LOWERS... Alfred sinks down into...
INT. BAT-BUNKER -- CONTINUOUS
The container floor lowers on a giant PISTON. Alfred steps
off into a large, LOW-CEILINGED CONCRETE CHAMBER. The
Batmobile sits in the middle. Machines- 3d printers, power
tools- dot the high-tech space. At one end, Wayne sits at a
bank of monitors watching CCTV footage of the bank robbery.
ALFRED
Be nice when Wayne Manor's rebuilt
and you can swap not sleeping in a
penthouse for not sleeping in a
mansion.
Alfred places a cup of coffee in front of Wayne, who is
STITCHING up a cut on his arm.
ALFRED (CONT’D)
(takes needle)
When you stitch yourself up you make
a bloody mess.
13.
WAYNE
But I learn from my mistakes.
ALFRED
You ought to be pretty knowledgeable
by now, then.
WAYNE
My armor... I'm carrying too much
weight- I need to be faster.
ALFRED
I'm sure Mr.Fox can oblige.
(looks at wound)
Did you get mauled by a tiger?
WAYNE
A dog.
(off look)
A big dog. There were more copycats
last night, Alfred. With guns.
ALFRED
Perhaps you could hire some of them
and take weekends off.
WAYNE
This wasn't exactly what I had in
mind when I said I wanted to inspire
people.
ALFRED
I know. But things are improving.
Look at the new District Attorney...
Wayne indicates a monitor: a handsome MAN in a suit.
WAYNE
I am. Closely. I need to know if he
can be trusted.
Alfred looks at other images- the D.A. at a meeting.
Campaigning. Helping someone out of a cab: RACHEL.
ALFRED
Are you interested in his
character... or his social circle?
WAYNE
Who Rachel spends her time with is
her business.
ALFRED
Well, I trust you're not following me
on my day off.
WAYNE
If you ever took one, I might.
14.
Alfred bites the thread. Examines his stitches. Looks at
the SCARS criss-crossing Wayne's shoulders.
ALFRED
Know your limits, Master Wayne.
WAYNE
Batman has no limits.
ALFRED
Well, you do, sir.
WAYNE
I can't afford to know them.
ALFRED
And what happens the day you find
out?
WAYNE
We all know how much you like to say
'I told you so'.
ALFRED
That day, Master Wayne, even I won't
want to. Probably.
INT. COURTROOM, SUPERIOR COURT -- DAY
HARVEY DENT bursts into the courtroom. Assistant D.A. RACHEL
DAWES, look up, ANNOYED.
DENT
Sorry I'm late, folks.
Rachel leans in to Dent, speaking under her breath.
RACHEL
Where were you?
DENT
Worried you'd have to step up?
RACHEL
I know the briefs backwards.
Dent pulls a large silver dollar out of his pocket. Grins.
DENT
Well, then, fair's fair: heads, I'll
take it. Tails, he's all yours.
Dent FLIPS. Shows it to Rachel- heads.
RACHEL
You're flipping coins to see who
leads?
15.
DENT
My father's lucky coin. As I recall,
it got me my first date with you.
RACHEL
I'm serious, Harvey, you don't leave
things like this to chance.
DENT
I don't.
(sincere)
I make my own luck.
Dent looks across at the defendant- SAL MARONI.
MARONI
I thought the DA just played golf
with the Mayor, things like that.
DENT
Tee-off's 1:30. More than enough
time to put you away for life, Sally.
The BAILIFFS lead a THIN MAN into the witness box. ROSSI.
INT. COURTROOM, SUPERIOR COURT -- DAY
Rossi takes a SIP of water. Dent works the room.
DENT
With Carmine Falcone in Arkham,
someone must've stepped up to run the
so-called family.
(Rossi nods)
Is this man in the courtroom today?
(Rossi nods again)
Could you identify him for us,
please?
Dent turns to Maroni, who is poker-faced. Dent smiles.
ROSSI
You win, counselor. It was me.
Dent's smile disappears. He turns back to Rossi.
DENT
I've got a sworn statement from you
that this man, Salvatore Maroni, is
the new head of the Falcone crime
family.
ROSSI
Maroni? He's a fall guy. I'm the
brains of the organization.
LAUGHS from the gallery. Dent turns to the JUDGE.
16.
DENT
Permission to treat the witness as
hostile?
ROSSI
Hostile? I'll show you hostile.
Rossi JUMPS UP, points a GUN at Dent's face. SCREAMS from
the gallery. Rossi PULLS the TRIGGER- the gun MISFIRES with
a POP. Dent steps forward, grabs the GUN- DECKS Rossi with a
RIGHT CROSS- unloads the GUN and sets it down in front of
Maroni.
DENT
Ceramic 28 caliber. Made in China.
If you want to kill a public servant,
Mr. Maroni, I recommend you buy
American.
Everyone STARES, open-mouthed, as Dent adjusts his tie. The
Bailiffs are wrestling Rossi from the box-
DENT (CONT’D)
But, your honor, I'm not done...
INT. LOBBY, DENT'S OFFICE, DA'S -- DAY
Rachel, excited, leads Dent through the lobby.
RACHEL
We'll never link the gun to Maroni,
so we can't charge him, but I'll tell
you one thing- the fact they tried to
kill you means we're getting to them.
DENT
Glad you're so pleased, Rachel. I'm
fine by the way.
Rachel turns to Dent. Smooths his lapels.
RACHEL
Harvey, you're Gotham's D.A.- if
you're not getting shot at, you're
not doing your job.
(smiles)
'Course if you said you were rattled
we could take the rest of the day...
DENT
Can't. I dragged the head of the
Major Crimes Unit down here.
RACHEL
Jim Gordon? He's a friend- try to be
nice.
17.
INT. DENT'S OFFICE -- DAY
Gordon stands as Dent enters. The two men shake.
GORDON
Word is you've got a hell of a right
cross. Shame Sal's going to walk.
DENT
Well, good thing about the mob is
they keep giving you second chances.
Dent picks up a bundle of bills from the heist.
DENT
Lightly irradiated bills. Fancy
stuff for a city cop. Have help?
GORDON
We liaise with various agencies-
DENT
Save it, Gordon. I want to meet him.
GORDON
Official policy is to arrest the
vigilante known as Batman on sight.
DENT
And that flood light on top of
M.C.U.?
GORDON
If you have any concerns about...
malfunctioning equipment... take them
up with maintenance, counselor.
Dent tosses the bills back onto his desk. Annoyed.
DENT
I've put every known money launderer
in Gotham behind bars. But the mob
is still getting its money out. I
think you and your "friend" have
found the last game in town and
you're trying to hit 'em where it
hurts: their wallets. Bold. You
gonna count me in?
GORDON
In this town, the fewer people know
something, the safer the operation.
DENT
Gordon, I don't like that you've got
your own special unit, and I don't
like that it's full of cops I
investigated at internal affairs.
18.
GORDON
If I didn't work with cops you'd
investigated while you were making
your name at I.A.- I'd be working
alone. I don't get political points
for being an idealist- I have to do
the best I can with what I have.
Dent looks at Gordon. Considering how to proceed.
DENT
You want me to back warrants for
search and seizure on five banks
without telling me who we're after?
GORDON
I can give you the names of the
banks.
DENT
Well, that's a start. I'll get you
your warrants. But I want your
trust.
GORDON
(rises)
You don't have to sell me, Dent. We
all know you're Gotham's white
knight.
DENT
(grins)
I hear they've got a different
nickname for me down at M.C.U..
Gordon smiles.
INT. BOARDROOM, WAYNE ENTERPRISES -- DAY
LUCIUS FOX, CEO of Wayne Enterprises, and the board listen to
LAU, 40s, CEO of L.S.I. Holdings.
LAU
In China L.S.I. Holdings stands for
dynamic new growth. A joint Chinese
venture with Wayne Enterprises will
be a powerhouse.
FOX
Well, Mr.Lau, I speak for the rest of
the board, and Mr.Wayne, in
expressing our own excitement...
The Chinese look to the head of the table: Wayne, ASLEEP.
19.
INT. HALLWAY, WAYNE ENTERPRISES -- DAY
Fox shows Lau to the elevator. He's joined by, REESE, 30s,
an ambitious M and A consultant lawyer.
LAU
It's OK, Mr.Fox. Everyone knows who
really runs Wayne Enterprises.
FOX
We'll be in touch as soon as our
people have wrapped up the diligence.
The elevator doors close. Reese frowns.
REESE
Sir, I know Mr.Wayne's curious how
his trust fund gets replenished but
frankly... it's embarrassing.
Fox heads for his office, Reese in tow.
FOX
You worry about the diligence, Mr.
Reese. I'll worry about Bruce Wayne.
REESE
It's done- the numbers are solid.
FOX
(smiles)
Do it again. Wouldn't want the trust
fund to run out, would we?
INT. BOARDROOM, WAYNE ENTERPRISES -- CONTINUOUS
Wayne is standing by the window.
FOX
Another long night?
(Wayne smiles)
This joint venture was your idea, and
the consultants love it, but I'm not
convinced. L.S.I.'s grown 8 percent
annually, like clockwork. They must
have a revenue stream that's off the
books. Maybe even illegal.
WAYNE
OK. Cancel the deal.
FOX
(looks at Wayne)
You already knew.
WAYNE
I needed a closer look at their
books.
20.
Fox looks at Wayne. Wry.
FOX
Anything else you can trouble me for?
WAYNE
I need a new suit.
FOX
(looks him over)
Three buttons is a little nineties.
WAYNE
I'm not talking about fashion,
Mr.Fox, so much as function.
Wayne pulls some diagrams. Fox looks them over.
FOX
You want to be able to turn your
head?
WAYNE
Sure make backing out of the driveway
easier.
FOX
I'll see what I can do.
INT. RESTAURANT -- NIGHT
Rachel and Dent at a table. Dent looks a little intimidated
by the surroundings.
DENT
It took three weeks to get a
reservation and I had to tell them I
worked for the government.
RACHEL
Really?
DENT
This city health inspector's not
afraid to pull strings.
Rachel smiles. Then, over Dent's shoulder, she sees Wayne
enter, accompanied by a beautiful woman.
DENT
What?
WAYNE
Rachel! Fancy that.
RACHEL
Yes, Bruce. Fancy that.
21.
WAYNE
Rachel, Natascha. Natascha, Rachel.
NATASCHA
(Russian accent)
Hello.
DENT
The famous Bruce Wayne. Rachel's
told me everything about you.
WAYNE
I certainly hope not.
RACHEL
Bruce, this is Harvey Dent.
WAYNE
Let's put a couple tables together.
DENT
I don't know if they'll let us-
WAYNE
They should! I own the place.
RACHEL
For how long? About three weeks?
WAYNE
How'd you know?
RACHEL
Natascha, aren't you...?
WAYNE
Prima ballerina for the Moscow
Ballet.
RACHEL
Harvey's taking me next week.
WAYNE
You're into ballet, Harvey?
RACHEL
No. He knows I am.
An extra table arrives.
INT. SAME -- LATER
They finish up dinner.
NATASCHA
No, come on- how could you want to
raise children in a city like this?
22.
WAYNE
I was raised here. I turned out OK.
DENT
Is Wayne Manor in the city limits?
Rachel gives Dent a withering look.
WAYNE
The Palisades? Sure. You know, as
our new D.A. you might want to figure
out where your jurisdiction ends.
NATASCHA
I'm talking about the kind of city
that idolizes a masked vigilante...
DENT
Gotham's proud of an ordinary man
standing up for what's right.
NATASCHA
Gotham needs heroes like you- elected
officials, not a man who thinks he's
above the law.
WAYNE
Exactly. Who appointed the Batman?
DENT
We did. All of us who stood by and
let scum take control of our city.
Wayne watches Dent. Sees his passion.
NATASCHA
But this is a democracy, Harvey.
DENT
When their enemies were at the gate,
the Romans would suspend democracy
and appoint one man to protect the
city. It wasn't considered an honor.
It was considered public service.
RACHEL
And the last man they asked to
protect the republic was named
Caesar. He never gave up that power.
DENT
Well, I guess you either die a hero
or you live long enough to see
yourself become the villain. Look,
whoever the Batman is, he doesn't
want to spend the rest of his life
doing this. How could he?
23.
(MORE)
~Batman's looking for someone to take
up his mantle.
NATASCHA
Someone like you, Mr.Dent?
DENT
Maybe. If I'm up to it.
Natascha reaches up and covers the top half of Dent's face.
NATASCHA
But what if Harvey Dent is the caped
crusader?
DENT
If I were sneaking out every night
someone would've noticed by now.
Dent takes Rachel's hand. Rachel glances at Wayne. Awkward.
WAYNE
Well, you've sold me, Dent. I'm
gonna throw you a fundraiser.
DENT
That's nice of you, Bruce, but I'm
not up for reelection for three
years. That stuff won't start for-
WAYNE
I don't think you understand. One
fundraiser with my pals, you'll never
need another cent.
EXT. BACK ALLEY, HOTEL, DOWNTOWN -- DAY
A line of high-end AUTOS dispenses well dressed GANGSTERS.
INT. KITCHEN, HOTEL -- DAY
The Chechen walks through a METAL DETECTOR manned by two
CHINESE. A lean, African-American man, 50's, is being
wanded. This is GAMBOL. He nods at the Chechen, wary.
INT. CONFERENCE ROOM, HOTEL -- CONTINUOUS
Gotham's most notorious GANGSTERS. A door opens, and two
BURLY CHINESE enter, carrying a TV. They set it down on the
end of the table.
CRIME BOSS
The hell is this...?
The screen flickers to life: Lau. The room ERUPTS.
24.
DENT (cont'd)
LAU (ON T.V.)
Gentlemen, please. As you're all
aware, one of our deposits was
stolen. A relatively small amount:
68 million.
CHECHEN
Who's stupid enough steal from us?
LAU
I'm told the man who arranged the
heist calls himself Joker.
CHECHEN
Who the hell is that?
MARONI
Two-bit whack-job wears a cheap
purple suit and make-up. He's not
the problem- he's a nobody.
(looks at Lau)
The problem is our money being
tracked by the cops.
Murmurs of surprise.
LAU
Thanks to Mr.Maroni's well-placed
sources we know that police have
indeed identified our banks using
marked bills and are planning to
seize your funds today-
Everyone starts SHOUTING at once.
EXT. VARIOUS DOWNTOWN BANKS -- CONTINUOUS
Gordon sits in a SWAT van outside a bank. Stephens is
outside another. Ramirez a third...
SWAT teams CHECK WEAPONS and prepare move...
INT. SOCIAL CLUB, DOWNTOWN -- CONTINUOUS
Lau waits for the noise to subside.
CHECHEN
You promised safe, clean money
launder-
LAU
With the investigation ongoing, none
of you can risk hanging on to your
own proceeds. And since the
enthusiastic new D.A. has put all my
competitors out of business, I'm your
only option.
25.
MARONI
So what are you proposing?
LAU
Moving all deposits to one secure
location. Not a bank.
GAMBOL
Where, then?
LAU
Obviously, no one can know but me.
If the police were to gain leverage
over one of you everyone's money
would be at stake.
CHECHEN
What stops them getting to you?
LAU
As the money is moved I go to Hong
Kong. Far from Dent's jurisdiction.
And the Chinese will not extradite
one of their own.
From the back of the room comes LAUGHTER. It grows and
grows, until it fills the room. All eyes turn:
The Joker. Sweaty clown makeup obscuring the AWFUL SCARS
which widen his mouth into a PERMANENT, GHOULISH SMILE.
THE JOKER
I thought I told bad jokes.
GAMBOL
Give me one reason I shouldn't have
my boy here pull your head off.
The Joker pulls out a freshly sharpened pencil.
THE JOKER
How about a magic trick?
The Joker SLAMS the pencil into the table, leaving it
UPRIGHT.
THE JOKER (CONT’D)
I'll make this pencil disappear.
Gambol nods. His BODYGUARD MOVES at the Joker- who SIDESTEPSGRIPS
his head- SLAMS it, FACE DOWN, onto the table...
The Bodyguard goes LIMP and slides off of the table. The
PENCIL is gone. MAGIC. The Joker BOWS. Grins at Gambol.
26.
THE JOKER (CONT’D)
And by the way, the suit wasn't
cheap. You should know. You bought
it.
Gambol STANDS, furious. The Chechen stops him.
CHECHEN
Sit. I wanna hear proposition.
The Joker nods his thanks. Rises.
THE JOKER
A year ago these cops and lawyers
wouldn't dare cross any of you. What
happened? Did your balls drop off?
See, a guy like me-
GAMBOL
A freak.
Laughs. Which the Joker tries to ignore.
THE JOKER
A guy like me... I know why you're
holding your little group therapy
session in broad daylight. I know
why you're afraid to go out at night.
Batman. He's shown Gotham your true
colors. And Dent's just the
beginning.
(indicates Lau)
And as for his so-called plan- Batman
has no jurisdiction. He'll find him
and make him squeal.
(smiles at Lau)
I can tell the squealers every time.
CHECHEN
What you propose?
THE JOKER
It's simple. Kill the Batman.
Jeers. Laughter.
MARONI
If it's so easy why haven't you done
it already?
THE JOKER
Like my mother used to tell me- if
you're good at something, never do it
for free.
CHECHEN
How much you want?
27.
THE JOKER
Half.
Laughter. The Joker shrugs. Rises.
THE JOKER (CONT’D)
You don't deal with this now, soon
Gambol won't even be able to get a
nickel for his grandma-
GAMBOL
Enough from the clown.
Gambol gets up, MOVING at the Joker, who casually opens his
coat, revealing EXPLOSIVES wired to his chest. Gambol stops.
THE JOKER
Let's not blow this out of all
proportion.
Gambol stares at the Joker. Hard.
GAMBOL
You think you can steal from us and
just walk away? I'm putting the word
out- 5 hundred grand for this clown
dead. A million alive, so I get to
teach him some manners, first.
The Joker shrugs. Turns to the assembled.
THE JOKER
Let me know when you change your
minds.
The Joker strolls out. Maroni turns to Lau.
MARONI
How soon can you move the money?
EXT. VARIOUS BANKS DOWNTOWN -- CONTINUOUS
Gordon hurries up the steps to a bank. SWAT teams rush the
various banks.
LAU
I already have...
EXT. UNDERPASS, GOTHAM -- CONTINUOUS
A CHINESE MAN finishes loading a TRACTOR TRAILER with cash
boxes. The truck pulls out into a CONVOY.
INT. BANK VAULT -- CONTINUOUS
Gordon stands in an almost empty bank vault. Furious.
28.
LAU
For obvious reasons I couldn't wait
for your permission...
INT. SOCIAL CLUB, DOWNTOWN -- CONTINUOUS
The shot of Lau on the TV widens...
LAU
Rest assured, your money is safe.
He is already on his private jet.
IN THE SKY: THE BAT SIGNAL.
EXT. ROOF, POLICE STATION -- NIGHT
Batman emerges from the shadows. The man next to the glowing
spotlight turns: DENT.
DENT
You're a hard man to reach.
Gordon BURSTS onto the rooftop, weapon drawn. Sees Dent.
DENT
Lau's halfway to Hong Kong- if you'd
asked, I could have taken his
passport- I told you to keep me in
the loop.
GORDON
Yeah? All that was left in the
vaults were the marked bills- they
knew we were coming! As soon as your
office got involved, there's a leak-
DENT
My office?! You're sitting down here
with scum like Wuertz and Ramirez...
(off look)
Oh, yeah, Gordon- I almost had your
rookie cold on a racketeering beef.
GORDON
Don't try to cloud the fact that
clearly Maroni's got people in your
office, Dent.
Dent turns to Batman.
DENT
We need Lau back, but the Chinese
won't extradite a national under any
circumstances.
29.
BATMAN
If I get him to you, can you get him
to talk?
DENT
I'll get him to sing.
GORDON
We're going after the mob's life
savings. Things will get ugly.
DENT
I knew the risks when I took this
job, lieutenant. Same as you.
(turns to Batman)
How will you get him back, anyway?
Batman is gone. Dent looks around, startled. Gordon smirks.
GORDON
He does that.
INT. FOX'S OFFICE, WAYNE INDUSTRIES -- DAY
Fox gets up from behind his desk.
FOX
Our Chinese friend left town before I
could tell him the deal is off.
WAYNE
I'm sure you've always wanted to go
to Hong Kong.
Fox opens the door to a private elevator.
INT. PRIVATE ELEVATOR -- CONTINUOUS
Fox turns a key.
FOX
What's wrong with a phone call?
WAYNE
I think Mr.Lau deserves a more
personal touch.
INT. APPLIED SCIENCES DIVISION -- CONTINUOUS
Fox leads Wayne off the elevator and into the vast space.
FOX
For high altitude jumps, you need
oxygen and stabilizers. I must saycompared
to your usual requests,
jumping out of an airplane is pretty
straightforward.
30.
Lucius stops at a cabinet, pulls open a drawer and hauls out
an oxygen tank and ribbed rubber hosing.
WAYNE
How about getting back into the
plane?
FOX
I can recommend a good travel agent.
WAYNE
Without it landing.
FOX
That's more like it, Mr.Wayne.
He shuts the drawer. Moves off, thinking.
FOX
I don't think I have anything here.
The CIA had a program in the '60s for
getting their people out of hot
spots. Called Sky Hook. Now-
Fox opens a cabinet to reveal COMPONENTS OF A NEW BAT-SUIT.
ARMORED PLATING secured to mesh. Wayne lifts an arm.
FOX
Hardened kevlar plates on a titaniumdipped
fiber tri-weave for
flexibility...
Wayne examines DOUBLE BLADE SCALLOPS on the gauntlet...
FOX
You'll be lighter, faster, more
agile...
Wayne flinches as the BLADES FIRE, SPINNING LIKE THROWING
STARS, NARROWLY MISSING his ear, embedding themselves in a
filing cabinet. Fox looks at him.
FOX
Perhaps you should read the
instructions, first.
WAYNE
Sorry.
Fox picks up the chest, demonstrating its flexibility.
FOX
Now, there's a trade-off... the
spread of the plates gives you weak
spots. You'll be more vulnerable to
gunfire and knives.
31.
WAYNE
We wouldn't want things getting too
easy, would we?
(picks up suit)
How will it hold up against dogs?
Fox looks at him quizzically.
FOX
You talking chihuahuas or rotweilers?
(Wayne smiles)
It should do fine against cats.
INT. BAT-BUNKER -- DAY
Wayne examines a parachute harness. Alfred unfolds a diagram
of a NAVY CARGO PLANE with a giant "V" mounted on the front.
ALFRED
I found one. In Arizona. Very nice
man says it will take him a week to
get it running. And he takes cash.
What about a flight crew?
WAYNE
South Korean smugglers. They run
flights into Pyongyang, below radar
the whole way. Did you think of an
alibi?
Alfred looks quite pleased with himself.
ALFRED
Oh, yes.
EXT. BALLET -- NIGHT
Rachel and Dent arrive to find the box office SHUTTERED. A
sign:'PERFORMANCE CANCELED.' A newspaper story is taped to
the glass. Over a picture of BRUCE WAYNE ON A YACHT:
LOVE BOAT- Billionaire absconds with entire Moscow ballet.
EXT. DECK, WAYNE'S YACHT, THE CARIBBEAN -- DAY
Alfred, picks his way over twelve SUNBATHING BALLERINAS.
Wayne looks up from a newspaper. Alfred points to a SEAPLANE
gently touching down across the bay.
ALFRED
I believe your plane is here.
WAYNE
You look tired, Alfred. Will you be
all right without me?
A Ballerina rolls over- waves the suntan lotion at Alfred.
32.
ALFRED
If you can tell me the Russian for
'apply your own bloody suntan
lotion.’
Wayne tosses a large, waterproof kit bag into the water and
JUMPS in after it. Begins swimming over to the sea-plane.
INT. POOL HALL -- NIGHT
Gambol racks up. A bodyguard steps into the room.
BODYGUARD
Somebody here for you.
Gambol looks to the back- three rough customers are waiting.
BODYGUARD
They say they've killed the Joker.
They've come for the reward.
GAMBOL
They bring proof?
BODYGUARD
They say they've brought the body.
The bodyguards FLOP a BODY wrapped in garbage bags onto the
table. The BOUNTY HUNTERS wait in the corner. Gambol pulls
back one of the garbage bags, revealing the Joker's bloodied
face. Gambol spits. Turns to face the bounty hunters.
GAMBOL
So. Dead you get five hundred-
Behind Gambol, the Joker SITS UP- THRUSTS knives into the
bodyguards' chests. Gambol spins to see a crazy grin on the
Joker's spit-dribbled face-
THE JOKER
How about alive?
The Joker gets a switchblade in Gambol's mouth- SHARP METAL
PULLING THE CHEEK TAUT. The Bounty Hunters subdue the
remaining bodyguards.
THE JOKER
Wanna know how I got these scars? My
father was a drinker and a fiend.
He'd beat mommy right in front of me.
One night he goes off crazier than
usual, mommy gets the kitchen knife
to defend herself. He doesn't like
that. Not. One. Bit.
The Joker TUGS Gambols cheek with the blade.
33.
THE JOKER
So, me watching, he takes the knife
to her, laughing while he does it.
Turns to me and says 'why so
serious?' Comes at me with the knife-
'why so serious?' Sticks the blade
in my mouth- 'Let's put a smile on
that face' and...
The Joker looks up at the ASHEN FACES of the remaining Body
Guards. Smiles.
THE JOKER
Why so serious?
The Joker FLICKS his wrist- the Body Guards flinch as Gambol
goes down. The Joker turns to them.
THE JOKER
Now, our organization is small, but
we've got a lot of potential for
aggressive expansion... so which of
you fine gentlemen would like to join
our team?
The three bodyguards all nod. The Joker SNAPS a pool cue.
THE JOKER
Only one slot open right now- so
we're going to have try-outs.
The Joker drops the broken cue in the middle of the men.
THE JOKER
Make it fast.
The men stare at each other. Then at the jagged pool cue.
EXT.PENINSULA HOTEL, HONG KONG -- DAY
A HELICOPTER touches down on one of the hotel's twin
helipads. Two L.S.I. VPs approach, heads ducked. Fox gets
out- they shake hands, shouting over the engine-
VP
Welcome to Hong Kong, Mr.Fox! Mr.Lau
regrets he is unable to meet you in
person. But with his current legal
difficulties...!
FOX
I understand!
INT. LOBBY, L.S.I.HOLDINGS -- DAY
The VPs usher Fox towards security.
34.
VP
I'm afraid for security reasons I
have to ask for your mobile phone.
Lucius hands his phone to a SECURITY GUARD, who puts the
phone in a box underneath his station.
INT. L.S.I.HOLDINGS -- DAY
Fox and Lau eat lunch in a dining room overlooking the city.
LAU
I must apologize for leaving Gotham
in the middle of our negotiations.
This misunderstanding with the Gotham
police force... I couldn't let such
a thing threaten my company. A
businessman of your stature will
understand. But with you here... we
can continue.
FOX
Well, it was good of you to bring me
out here in such style, Mr.Lau. But
I've actually come...
A CELL PHONE rings. Fox pulls out a second, identical,
phone. Fox presses the off switch and places the phone by
his plate.
LAU
We do not allow cell phones in-
FOX
Sorry. Forgot I had it. So, I've
come to explain why we're going to
have to put our deal on hold...
Lau stares at Fox. Clearly furious. Fox smiles.
FOX
We can't afford to be seen to do
business with... well, whatever it is
you're accused of being. A
businessman of your stature will
understand.
Lau gets up. Silent. Fox retrieves his phone. Stands.
LAU
(cold)
I think, Mr.Fox, that a simple phone
call might have sufficed.
35.
FOX
Well, I do love Chinese food. And
Mr.Wayne didn't want you to think
we'd been deliberately wasting your
time.
LAU
Just accidentally wasting it.
FOX
(laughs)
That's very good- "accidentally".
Very good. I'll be sure and tell
Mr.Wayne that he was wrong about you
not having a sense of humor.
INT. LOBBY, L.S.I.HOLDINGS -- DAY
Lucius walks back through security. Nods at the VP, who
bows, offering Lucius his cell phone. Lucius shakes his
head, holds up the IDENTICAL PHONE. The VP smiles, nods,
puts the phone back into the tray with several others.
INT. HOLD, C-130 CARGO HAULER -- DAWN
Two SMUGGLERS steal glances at Wayne, crouched at the rear in
balaclava and flight suit. The COPILOT signals Wayne, who
pulls on his oxygen mask and stands up. The rear of the
plane OPENS. Wayne steps to the edge, then JUMPS.
EXT. SKIES ABOVE HONG KONG -- DAWN
Moving across the water towards Hong Kong harbor...
A tiny figure DROPS into frame, PLUMMETING towards the water-
SPEEDING past the highest floors of skyscrapers, seconds from
impact. Wayne PULLS the chute- DROPS into the water...
EXT. BENEATH FREEWAY, HONG KONG HARBOR -- DAY
Wayne pulls himself out of the water, dragging up his pack.
EXT. CENTRAL ESCALATORS -- DAY
Wayne stops halfway up the crowded commuter escalator. He
takes a camera and lines up a shot like any tourist.
FOX (O.S.)
There's a better view from the peak
tram.
Wayne turns to find Fox standing there, street map out.
WAYNE
How's the view from L.S.I.Holdings?
36.
FOX
Restricted. Lau's holed up in there
good and tight. Here...
Fox shows Wayne the phone. The display: a 3-d map of Lau's
office suite. Wayne takes the phone, impressed.
WAYNE
What's this?
FOX
I had R and D work it up- it sends
out high frequencies and records the
response time to map an environment.
WAYNE
(smiles)
Sonar. Just like a b-
FOX
Submarine. Like a submarine.
WAYNE
And the other device?
FOX
In place.
Wayne nods, moves away.
FOX
Mr.Wayne?
(Wayne turns)
Good luck.
EXT. HONG KONG -- NIGHT
Moving towards the tallest building in the glittering skyline
to find Wayne, crouched on the roof. The blades of his
gauntlets CLICK into place. He dons the helmet-like cowl.
His "cape" is in the form of a hard faceted PACK.
He stands- pulls two black boxes from his belt, CLICKS them
together and UNFOLDS them into a RIFLE-LIKE DEVICE. Batman
SCOPES a second, lower building. Adjust a setting and FIRESfour
times...
Four small STICKY BOMBS SLAP onto the glass of the lower
building. They have visible timers which are COUNTING DOWN.
INT. LOBBY, L.S.I.HOLDINGS -- NIGHT
Lucius' cell phone GLOWS in the box under the Security
Guard's desk. CHARACTERS race across the screen.
Then the monitor FLICKERS off, the lights DIM and all of the
security doors in the front of the building OPEN at once.
37.
The Guard grabs his radio- CALLS FOR HELP...
EXT. ROOFTOP OVERLOOKING L.S.I.HOLDINGS
Batman LAUNCHES into the glittering night, DROPPING from the
tall tower... his pack BURSTS OPEN, becoming his BAT WINGS-he
GLIDES down to the lower building, STREAKING around it,
BANKING HARD to line up with a window in the rear...
INT. LAU'S OFFICE, L.S.I.HOLDINGS -- NIGHT
Lau is talking on the phone, staring at a profit projection
on a flat screen monitor. Suddenly the room goes dark.
EXT. L.S.I.HOLDINGS -- CONTINUOUS
As Batman HURTLES towards the glass he COLLAPSES his wings,
WRAPPING his cape around himself and CANNONBALLING THROUGH
THE GLASSINT.
LAU'S OFFICE SUITE, L.S.I.HOLDINGS -- NIGHT
-ROLLING across the floor in a flurry of broken glass...
INT. LAU'S OFFICE, TOP FLOOR, L.S.I.HOLDINGS -- NIGHT
Lau pulls out a HANDGUN.
INT. HALLWAY, L.S.I.HOLDINGS -- NIGHT
Lau steps into the hallway. His BODYGUARDS are waiting for
him, carrying FLASHLIGHTS.
LAU
Where the hell are the cops?
BODYGUARD
Coming.
LAU
What the hell am I paying them for?
They head for the stairwell.
EXT. L.S.I.HOLDINGS -- NIGHT
A small ARMY of Hong Kong police lead by a HONG KONG
DETECTIVE descends on the building.
INT. MEZZANINE LEVEL, L.S.I.HOLDINGS -- NIGHT
Lau and his men make their way out onto the mezzanine.
Across the room, something makes a CRASHING SOUND. Lau's men
fan out, trying to cover the room with their flashlights.
Suddenly, one of the flashlights goes DARK. Then another.
Someone SCREAMS.
38.
Lau FIRES. Then FIRES again. The muzzle flash from his
weapon STROBES the room.
EXT. L.S.I.HOLDINGS, HONG KONG -- NIGHT
Cops SWARM into the building. A LOBBY SECURITY GUARD directs
the Hong Kong Detective where to go...
INT. OFFICE, L.S.I.HOLDINGS -- NIGHT
Lau LOCKS the door. RELOADS. The door is KICKED open. Lau
FIRES. No one is there.
Lau stares, finger restless on the trigger. From his righta
NOISE. He turns and FIRES.
In the muzzle FLASH: Batman, bearing down on him like a
demon.
Lau FIRES, and FIRES again as Batman TACKLES him. Batman
pulls out a SMALL PACK- STRAPS it onto Lau-
The COUNTER on the sticky bombs hits 0-
The Hong Kong Detective and the Cops BURST into the room- the
WALL AND CEILING BEHIND BATMAN AND LAU EXPLODES- revealing
the dawn sky above Hong Kong.
The Detective looks around as he hears a LOW RUMBLE...
Batman JERKS the RIPCORD on Lau's pack. Cops cower as a
WEATHER BALLOON EXPLODES out of the pack, unreeling high-test
nylon. The Cops cock their weapons.
Lau looks up. Bemused. The weather balloon is two hundred
feet up, swaying gently. The RUMBLE BUILDS...
Suddenly, a MASSIVE C-130 ROARS over. The large V on the
front of the plane SNAGS the line- Lau and BATMAN are YANKED
THROUGH THE HOLE IN THE CEILINGLau
SCREAMS as he and Batman SOAR UP INTO THE DAWN SKY...
The Detective looks up. Batman and Lau are gone.
INT. GORDON'S OFFICE, MCU, GOTHAM CENTRAL -- DAY
Gordon is looking through case files. Ramirez walks in.
RAMIREZ
You're gonna want to see this.
EXT. MCU -- DAY
Gordon follows Ramirez through a CROWD of excited cops. On
the ground, trussed like a chicken- Lau. A sign taped to his
chest: 'Please deliver to Lieutenant Gordon.'
39.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- DAY
Lau sits next to his sleazy lawyer, EVANS. Rachel walks in.
RACHEL
Give us the money and we'll deal.
LAU
The money is the only reason I'm
still alive.
Rachel leans forward, speaking softly. Clearly.
RACHEL
You mean when they hear that you've
helped us they're going to kill you?
EVANS
Are you threatening my client?
RACHEL
No, I'm just assuming your client's
cooperation with this investigation.
As will everyone.
(moves to the door)
Enjoy your stay in County, Mr.Lau.
LAU
Wait.
(Rachel stops)
I won't give you the money, but I'll
give you my clients. All of them.
RACHEL
You were a glorified accountant- what
could you have on all of them that we
could charge?
LAU
I'm good with calculation- I handled
all their investments. One big pot.
INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- DAY
Dent hits a buzzer. Turns to Gordon.
DENT
I've got it. RICO. If their money
was pooled we can charge all of them
as one criminal conspiracy.
GORDON
Charge them with what?
Rachel enters.
40.
DENT
In a RICO case if we can charge any
of the conspirators with a felony-
RACHEL
We can charge all of them with it.
Dent nods at Rachel, excited.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- DAY
Rachel comes back in.
RACHEL
Mr.Lau, do you have details of this
communal fund? Ledgers,
notebooks...?
LAU
(smiles)
Immunity, protection and a chartered
plane back to Hong Kong.
RACHEL
Once you've testified in open court.
So with your clients locked up, what
happens to all that money?
LAU
Like I said- I'm good with
calculation.
INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- CONTINUOUS
Dent and Gordon watch Lau.
GORDON
He can't go to County. I'll keep him
here in the holding cells.
DENT
What is this Gordon, your fortress?
GORDON
You trust them over at County?
DENT
I don't trust them here.
GORDON
Lau stays.
DENT
It's your call, Lieutenant. Be
right.
GORDON
I am, counselor.
41.
EXT. CITY HALL -- DAY
Dent stands in front of a small crowd of reporters.
REPORTER
The Chinese government claim their
international rights have been
broken.
DENT
I don't know about Mr. Lau's travel
arrangements...
INT. RESTAURANT -- CONTINUOUS
Dent's press conference plays on a TV in the corner.
DENT
(grins)
...but I'm sure glad he's back.
Maroni and the Chechen are watching the TV.
CHECHEN
I put word out. We hire the clown.
(off look)
He was right. We have to fix real
problem. Batman.
Maroni shakes his head. Spots Gordon walking over dangling a
pair of handcuffs. Nods at the TV.
GORDON
Our boy looks good on the tube.
MARONI
You sure you want to embarrass me in
front of my friends, Lieutenant?
GORDON
Don't worry, they're coming, too.
Gordon points out the window to a PRISON BUS.
EXT. VARIOUS DOWNTOWN AND OUTLYING LOCATIONS -- DAY
Prison buses in every neighborhood. COPS load them with
CRIMINALS. Stephens puts Crime Boss in a prison bus.
INT. COURTROOM A, GOTHAM MUNICIPAL COURTHOUSE -- DAY
JUDGE SURRILLO reads the list of charges.
JUDGE SURRILLO
...849 counts racketeering, 246
counts fraud, 87 counts conspiracy
murder...
42.
Judge Surrillo turns the page. A PLAYING CARD sits there. A
Joker. He glances at it, curious, puts it to one side.
JUDGE SURRILLO
...how do the defendants plead?
An ARMY of DEFENSE LAWYERS jostle YELLING ALL AT ONCE. The
STENOGRAPHER looks up, helpless.
INT. MAYOR'S OFFICE -- DAY
The MAYOR, COMMISSIONER LOEB, and Gordon look up as Dent
enters.
MAYOR
DENT! What was that circus?!
DENT
I asked Gordon to make some arrests.
LOEB
(looks at report)
Five hundred and-
GORDON
Forty-nine, sir.
Gordon nods at Dent, approving. Dent grins back.
MAYOR
549 criminals at once?! How did you
convince Surrillo to hear this farce?
DENT
She shares my enthusiasm for justice.
After all, she is a judge.
MAYOR
Even if you blow enough smoke to get
convictions out of Surrillo, you'll
set a new record at appeals for
quickest kick in the ass.
DENT
It won't matter. The head guys make
bail, sure... but the mid-level guys,
they can't, and they can't afford to
be off the streets long enough for
trial and appeal. They'll cut deals
that include some jail time. Think
of all you could do with 18 months of
clean streets.
The Mayor waves Gordon and Loeb out.
MAYOR
The public likes you, Dent. That's
the only reason this might fly.
43.
(MORE)
But that means it's on you. They're
all coming after you, now. Not just
the mob... politicians, journalists,
cops- anyone whose wallet's about to
get lighter. Are you up to it?
(Dent smiles)
You better be. They get anything on
you... those criminals will be back
on the streets...
The Mayor turns to look out of the window. Quiet.
MAYOR
Followed swiftly by you and me-
BANG! A DARK SHAPE CRACKS THE GLASS in front of the Mayor's
nose. Dent rushes to the window, looks out...
EXT. CITY HALL -- CONTINUOUS
PEDESTRIANS look up, someone SCREAMS, someone POINTS- five
stories up... SWINGING from a FLAGPOLE...
BATMAN. HANGING BY HIS NECK. DEAD. His mouth roughly
painted in a DEMONIC CLOWN SMILE.
EXT. CITY HALL -- MOMENTS LATER
"Batman" is lowered from the flagpole. The same fake Batman
we saw earlier. Pinned to his chest by a KNIFE, a PLAYING
CARD. A Joker. Gordon moves closer to the body. The card
has writing on it: WILL THE REAL BATMAN PLEASE STAND UP?
INT. WAYNE PENTHOUSE -- DAY
Wayne comes into the living room, excited. Alfred is
supervising party arrangements.
WAYNE
How's it going?
ALFRED
I think your fundraiser will be a
great success, sir.
WAYNE
And why do you think I wanted to hold
a party for Harvey Dent?
ALFRED
I assumed it was your usual reason
for socialising beyond myself and the
scum of Gotham's underbelly: to try
and impress Miss Dawes.
WAYNE
Very droll. But very wrong.
Actually it's Dent. You see-
44.
MAYOR (cont'd)
Wayne trails off as he spots something on the television: the
Batman HANGING as from a NEWS CAMERA, framed by a graphic
that reads 'BATMAN DEAD?'. Image cuts to Engel in the
studio.
ENGEL
...Police released video footage
found concealed on the body.
Sensitive viewers be aware: it is
disturbing.
The image cuts to a BLINDFOLDED MAN, wearing a makeshift
Batman costume- face bruised and bloody. In some kind of
bright, fluorescent-lit room.
VOICE
Tell them your name.
MAN
(weak)
Brian Douglas.
VOICE
Are you the real Batman?
MAN
No.
VOICE
Why do you dress up like him?
MAN
He's a symbol... that we don't have
to be afraid of scum like you...
VOICE
But you do, Brian. You really do.
You think the Batman's helped Gotham?
Brian nods uncertainly...
VOICE
Look at me.
(Brian looks down)
LOOK AT ME!
Brian looks up- the camera swings into the face of the Joker,
in CHALK-WHITE makeup, RED SMEAR of lipstick on his SCARS.
THE JOKER
This is how crazy Batman's made
Gotham. You want order in Gotham?
Batman has to go. So...
(leans in)
Batman must take off his mask, and
turn himself in.
45.
(MORE)
Every day he doesn't... people will
die. Starting tonight. I'm a man of
my word.
The tape cuts to STATIC.
Wayne turns to Alfred. Silent.
INT. WAYNE PENTHOUSE -- EVENING
Dent and Rachel get off the lift. Dent stands in awe of the
penthouse and its guests.
RACHEL
Now I've seen it all: Harvey Dent,
scourge of the underworld, scared
stiff by the trust fund brigade.
Rachel spots someone and darts off-
DENT
Rachel-
ALFRED
A little liquid courage, Mr.Dent?
Dent turns to see Alfred with drinks on a silver tray.
DENT
Thanks. Alfred, right?
ALFRED
Yes, sir.
DENT
Rachel talks about you all the time.
You've known her her whole life?
ALFRED
Not yet, sir.
DENT
(smiles, surveys crowd)
Any psychotic ex-boyfriends I should
be aware of?
ALFRED
Oh, you have no idea.
Alfred leaves Dent standing there, puzzled. The crowd REACTS
as a LOUD ROAR drowns conversation... Dent looks out-
EXT. HELIPAD, WAYNE PENTHOUSE -- CONTINUOUS
Wayne's CHOPPER touches down. He spills out with a clutch of
SUPERMODELS...
46.
THE JOKER (cont'd)
INT. WAYNE PENTHOUSE -- CONTINUOUS
Wayne and the supermodels come out of the helipad elevator-
WAYNE
Sorry, I'm late- glad you started
without me! Where's Rachel?!
Rachel cringes slightly. Wayne spots her.
WAYNE
Rachel Dawes- my oldest friend. When
she told me she was dating Harvey
Dent, I had one thing to say... the
guy from those god-awful campaign
commercials?
Laughter. Dent shifts, embarrassed.
WAYNE
'I Believe in Harvey Dent.' Nice
slogan, Harvey. Certainly caught
Rachel's attention. But then I
started paying attention to Harvey,
and all he's been doing as our new
D.A., and you know what? I believe
in Harvey Dent. On his watch, Gotham
can feel a little safer. A little
more optimistic. So get out your
checkbooks and let's make sure that
he stays right where all of Gotham
wants him...
(raises his glass)
All except Gotham's criminals, of
course. To the face of Gotham's
bright future- Harvey Dent.
Dent smiles accepting the toast.
INT. CORRIDOR, MCU -- EVENING
Ramirez catches up to Gordon, holding paperwork.
RAMIREZ
That Joker card pinned to the body?
Forensics found three sets of D.N.A..
GORDON
Any matches?
RAMIREZ
All three.
Gordon STOPS. Turns to face her.
RAMIREZ
The D.N.A. belongs to Judge Surrillo,
Harvey Dent and Commissioner Loeb.
47.
GORDON
The Joker's telling us who he's
targeting- get a unit to Surrillo's
house, tell Wuertz to find Dent- get
them both into protective custody.
Where's the Commissioner?
RAMIREZ
City hall.
GORDON
Seal the building. No one in or out
till I get there.
EXT. DECK, WAYNE'S PENTHOUSE -- EVENING
Wayne walks out to the edge of the balcony and looks over
Gotham. Hears someone behind him- Rachel.
RACHEL
Harvey may not know you well enough
to understand when you're making fun
of him. But I do.
WAYNE
(shakes his head)
I meant every word.
Wayne moves closer to Rachel. Takes her arm.
WAYNE
The day you once told me about, the
day when Gotham no longer needs
Batman. It's coming.
Rachel looks at Wayne. Conflicted. He moves closer.
RACHEL
You can't ask me to wait for that.
Wayne takes Rachel's arms, looking at her, excited.
WAYNE
It's happening now- Harvey is that
hero. He locked up half the city's
criminals, and he did it without
wearing a mask. Gotham needs a hero
with a face.
DENT
You can throw a party, Wayne, I'll
give you that. Thanks again. Mind
if I borrow Rachel?
Rachel glances back at Wayne as she moves to Dent. Wayne
watches them head inside.
48.
EXT. STREET, GOTHAM HEIGHTS -- EVENING
Two MEN in suits knock at a Brownstone. The door is opened
by Judge Surrillo. The two Men hold up BADGES.
EXT. CITY HALL -- EVENING
Gordon enters through a tight police presence at the doors.
INT. POLICE COMMISSIONER'S OFFICE -- EVENING
Gordon enters to find Loeb, flanked by armed cops.
COMMISSIONER LOEB
Gordon, what are you playing at?
Gordon checks the window. Turns to his men.
GORDON
We're secure. I want a floor-byfloor
search of the entire building.
(turns to Loeb)
I'm sorry, sir. We believe the Joker
has made a threat against your life.
LOEB
Gordon, you're unlikely to discover
this for yourself, so take my wordthe
Police Commissioner earns a lot
of threats...
Loeb pulls a bottle of whisky and a tumbler from a drawer.
LOEB
I found the appropriate response to
these situations a long time ago...
EXT. STREET, GOTHAM HEIGHTS -- EVENING
The second man is waiting by the Judge's car.
SURRILLO
Gordon wants me to go right now?
MAN 1
These are dangerous people, Judge.
Even we don't know where you're
going.
He hands Surrillo a sealed envelope. Opens the car door.
MAN 2
Get in, then open the envelope.
It'll tell you where you're headed.
Surrillo climbs in. Watches them drive away. She opens the
envelope- pulls out a sheet of paper. One word on it:
49.
'UP'.
Surrillo's car EXPLODES, heaving the car upwards on a
FIREBALL.
A PASSERBY is thrown to the ground. After a moment, BURNING
DEBRIS flutters down on him. PLAYING CARDS. JOKERS.
INT. POLICE COMMISSIONER'S OFFICE -- CONTINUOUS
Loeb pours himself a glass of whisky.
LOEB
You get to explain to my wife why I'm
late for dinner, Lieutenant.
GORDON
Sir, the Joker card had a trace of
your D.N.A. on it-
A bang at the door. Gordon pulls his weapon, then opens it.
STEPHENS
Just the normal number of bad guys in
the building- and they're all city
employees. Here's a list.
LOEB
How'd they get my D.N.A.?
Gordon looks at Stephens's list.
GORDON
Somebody with access to your house or
office must've lifted a tissue or a
glass...
Gordon, realizing, spins around-
GORDON
Wait-
But Loeb is already CHOKING- he DROPS his tumbler onto the
desk- the spilled whiskey is SMOKING, eating into the wood.
GORDON
Get a medic!
Loeb COLLAPSES.
INT. KITCHEN, WAYNE PENTHOUSE -- EVENING
Dent pulls Rachel into the kitchen, away from the crowd.
DENT
You cannot leave me on my own with
these people.
50.
RACHEL
The whole mob's after you and you're
worried about these guys?
DENT
Compared to this, the mob doesn't
scare me. Although, I will say: them
gunning for you makes you see things
clearly.
RACHEL
Oh, yeah?
DENT
Yeah. It makes you think about what
you couldn't stand losing. And who
you want to spend the rest of your
life with...
Rachel looks at Dent. Smiles.
RACHEL
The rest of your life, huh? That's a
pretty big commitment.
DENT
Not if the mob has their way.
RACHEL
Don't.
DENT
Okay. Let's be serious. What's your
answer?
Rachel looks at him.
RACHEL
I don't have an answer.
INT.LIVING ROOM, PENTHOUSE -- NIGHT
Half the guests are on their cell phones. An ASSISTANT DA
turns to his COLLEAGUE.
ASSISTANT DA
Surrillo and Loeb?
There is a KNOCK at the front door. Alfred opens it it find
Detective Wuertz, who holds up his badge. Alfred beckons him
in- there is a SHOTGUN at the back of his head held by-
The Joker- purple suit, make up. With friends. The Joker
SMASHES Wuertz over the head- steps over him, RACKING the
shotgun.
51.
THE JOKER
Good evening. We're the
entertainment.
INT. KITCHEN, WAYNE PENTHOUSE -- NIGHT
Rachel is looking at Dent. Torn.
DENT
I guess no answer isn't "no".
RACHEL
I'm sorry, Harvey. I just...
DENT
It's someone else, isn't it?
Wayne is moving up behind him. Fast-
DENT
Just tell me it's not Wayne. The
guy's a complete-
Rachel's eyes go wide as Wayne puts Dent in a SLEEPER HOLDRACHEL
What are you doing?!
Dent SLUMPS, unconscious in Wayne's arms.
WAYNE
They've come for him.
From the main room- A SHOTGUN BLAST followed by SCREAMS.
Wayne stuffs Dent in a closet- puts a mop through the
handles. Rushes past Rachel-
WAYNE
Stay hidden.
INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT
The Joker and his THUGS pour into the room, weapons raised.
INT. HALLWAY, WAYNE PENTHOUSE -- NIGHT
A THUG appears in front of Wayne, toting a shotgun.
THUG
Hands up, pretty boy.
Wayne FLIPS the shotgun around in the man's hands- uses it as
a fulcrum to SNAP his forearm- SMASHES him in the jaw with
the stock without breaking step, field stripping the shotgun
and tossing the pieces in different directions.
52.
INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT
The Joker moves through the terrified guests. Smiling.
THE JOKER
I only have one question: where is
Harvey Dent?
(silence)
I'll settle for his loved ones...
A distinguished Gentleman steps into the Joker's path.
GENTLEMAN
We're not intimidated by thugs.
The Joker stops. Stares at the man. SMILES AFFECTIONATELY.
THE JOKER
You know, you remind me of my father.
(GRABS him)
I hated my father.
The Joker has his blade in the Gentleman's mouth.
RACHEL
Stop!
The Joker drops the Gentleman. Turns to Rachel.
THE JOKER
Hello, beautiful. You must be
Harvey's squeeze.
(runs his knife across her
cheek)
And you are beautiful. You look
nervous- it's the scars isn't it?
Wanna know how I got them? I had a
wife, beautiful like you. Who tells
me I worry too much. Who says I need
to smile more. Who gambles. And
gets in deep with the sharks. One
day they carve her face, and we've
got no money for surgeries. She
can't take it.
(presses knife into her
cheek)
I just want to see her smile again.
I just want her to know I don't care
about the scars. So I put a razor in
my mouth and do this to myself...
And you know what?
(starts laughing)
She can't stand the sight of me...
(or crying)
She leaves! See, now I see the funny
side. Now I'm always smiling.
53.
INT. MASTER BEDROOM, WAYNE PENTHOUSE -- NIGHT
Wayne walks in. A COUPLE are hastily putting themselves back
together, alerted by the noise.
MALE GUEST
What's going on out there, Wayne?
Wayne doesn't answer. He walks into a closet and pulls at a
FALSE WALL. Wayne steps into the safe room.
FEMALE GUEST
Thank god- you've got a panic room.
The door SLAMS shut and seals with a HISS.
MALE GUEST
Wait! You can't-
FEMALE GUEST
You've got to be kidding me.
INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT
The Joker raises his knife from Rachel's cheek. She SLUGS
him. He smiles.
THE JOKER
A little fight in you. I like that.
BATMAN
Then you're going to love me.
The Joker turns. Batman catches him with a BLOW, spins him
down and DISARMS him- the Joker's men jump him- Batman takes
them out two at a time- DISARMING thugs- BREAKING forearmsthe
Joker CLICKS a BLADE from the toe of his shoe and KICKSJABBING
BETWEEN THE PLATES OF ARMOR covering Batman's ribcage-
Batman HURLS the Joker across the room. One of the Joker's
men LUNGES- Batman lays him out cold.
The Joker has another knife pressed to Rachel's neck.
BATMAN
Drop the knife.
THE JOKER
Sure. Just take off your mask and
show us all who you are...
Rachel shakes her head at Batman. The Joker raises his
shotgun to the side and BLOWS OUT the pane of glass next to
him. The Joker dangles Rachel out the window.
BATMAN
Let her go.
54.
THE JOKER
(laughs)
Very poor choice of words...
He lets her DROP- Rachel falls onto a SLOPING GLASS ROOFsliding
towards the edge Batman DIVES after her-
EXT. BUILDING -- NIGHT
They DROP- Batman FIRES his grapple, SNAGGING Rachel's ankleactivates
one wing of his cape- They SPIN and SLOW- Batman
envelopes Rachel- they SLAM into the hood of a passing taxi.
INT. TAXI -- CONTINUOUS
The DRIVER SCREAMS as Batman and Rachel hit the roof- ROLL
down the windshield- onto the pavement. Alive.
INT. CAR -- CONTINUOUS
The Joker looks back as his car SPEEDS away. He's breathing
hard, EXHILARATED. He touches the blood running down his
sweaty white makeup. SMACKS the back of the driver's seat-
DRIVER
What do we do about Dent?
THE JOKER
I'm a man of my word.
EXT. TAXI -- CONTINUOUS
Rachel opens her eyes.
BATMAN
Are you alright?
RACHEL
Let's not do that again, okay?
(looks around)
Is Harvey-?
BATMAN
He's safe.
Rachel lies back, breathing. Looks up at Batman.
RACHEL
Thank you.
INT. MAJOR CRIMES UNIT, GOTHAM CENTRAL -- DAY
STEPHENS is talking to Gordon, subdued.
STEPHENS
Jim, it's over.
55.
GORDON
As long as they don't get to Lau,
we've cut off their funds.
STEPHENS
But the prosecution's over.
STEPHENS
No-one's standing up in front of a
Judge while judges and police
commissioners are getting blown away.
GORDON
What about Dent?
STEPHENS
If he's got any sense, Dent's halfway
to Mexico by now.
The door BURSTS OPEN. Dent. Fire in his eyes.
DENT
So where do you keep your trash?
Gordon looks at Dent. Impressed.
INT. SPECIAL HOLDING AREA, MCU, GOTHAM CENTRAL -- DAY
Lau looks up as Dent walks in, holding a bullet proof vest.
DENT
You're due in court- I need you alive
long enough to get you on the record.
LAU
No way. You can't protect me- you
can't even protect yourselves.
Dent THROWS the heavy vest at Lau.
DENT
Refuse to cooperate on the stand- you
won't be coming back here- you'll go
to county. How long do you calculate
you'll last in there?
INT. BAT-BUNKER -- DAY
Wayne sits at his video screens- they all play the Joker's
video with different IMAGE TREATMENTS and SOUND TUNINGS.
Wayne turns to Alfred. Indicates the screens.
WAYNE
Targeting me won't get their money
back. I knew the mob wouldn't go
down without a fight, but this is
different. They've crossed a line.
56.
ALFRED
You crossed it first, sir. You've
hammered them, squeezed them to the
point of desperation. And now, in
their desperation they've turned to a
man they don't fully understand.
Wayne gets up from his monitors, raises the bat-cabinet.
WAYNE
Criminals aren't complicated, Alfred.
We just have to figure out what he's
after.
ALFRED
Respectfully, Master Wayne, perhaps
this is a man you don't fully
understand, either.
ALFRED
(looks at Wayne)
I was in Burma. A long time ago. My
friends and I were working for the
local government. They were trying
to buy the loyalty of tribal leaders,
bribing them with precious stones.
But their caravans were being raided
in a forest north of Rangoon by a
bandit. We were asked to take care
of the problem, so we started
looking for the stones. But after
six months, we couldn't find anyone
who had traded with him.
WAYNE
What were you missing?
ALFRED
One day I found a child playing with
a ruby as big as a tangerine.
(shrugs)
The bandit had been throwing the
stones away.
WAYNE
So why was he stealing them?
ALFRED
Because he thought it was good sport.
Because some men aren't looking for
anything logical, like money... they
can't be bought, bullied, reasoned or
negotiated with.
(grave)
Some men just want to watch the world
burn.
Wayne stares at Alfred. Reaches for the bat-suit.
57.
EXT. SKYLINE OF GOTHAM -- DAWN
MOVING over the city we hear myriad RADIO CALLS going out
over the ether. CLOSE IN on a lonely figure on top of a
skyscraper. The Batman. Listening with his million dollar
earpieces. From the babble, ONE VOICE EMERGES.
DISPATCH (O.S.)
Your name, sir. Please state-
VOICE (O.S.)
8th at orchard. You'll find Harvey
Dent there.
EXT. 8TH STREET AT ORCHARD -- DAWN
An UNMARKED and a SQUAD CAR screech to a halt. Gordon and
Ramirez get out, lead two UNIFORMS into the building.
INT. APARTMENT, EIGHT AVE. -- CONTINUOUS
The door SMASHES OPEN, Gordon- gun drawn- takes in the scene.
TWO DEAD MEN sitting at the kitchen table. They each have a
HAND OF CARDS, as if in the middle of a game. ALL JOKERS.
Gordon and Ramirez STARE at the CRUDE LEERS carved into their
faces. Their DRIVERS LICENSES are pinned to their chests.
VOICE
Check the names.
GORDON
(checks licenses)
Patrick Harvey. Richard Dent...
RAMIREZ
Harvey Dent.
BATMAN
I need ten minutes with the scene
before your men contaminate it.
RAMIREZ
Us contaminate it? It's because of
you that these guys are dead in the
first place-
GORDON
Ramirez.
She stands down. Batman moves past the bodies to the wall.
Finds an embedded stray bullet. He pulls a SAWING DEVICE
from his belt- THRUSTS it into the wall and starts cutting
around the bullet.
GORDON
That's brick- you're gonna try and
take ballistics off a shattered
bullet?
58.
BATMAN
No. Fingerprints.
Ramirez looks at Gordon. Is he serious? Gordon points-
GORDON
Whatever you're gonna do, do it fast,
'cos we know his next target...
Batman looks- a campaign poster: RE-ELECT MAYOR GARCIA. The
Mayor's image has a MANIC CLOWN'S GRIN and "HA,HA,HA".
INT. FOX'S OFFICE, WAYNE ENTERPRISES -- DAY
Fox is at his desk. Reese enters.
FOX
What can I do for you, Mr. Reese?
REESE
You asked me to do the diligence on
the L.S.I.Holdings deal again. I
found irregularities.
FOX
Their CEO is in police custody.
REESE
Not with their numbers. With yours.
A whole division of Wayne Industries
disappeared, overnight. So I went
down to the archives and started
pulling old files.
He pulls out a folded blueprint. Slides it across the desk.
REESE
My kids love the Batman. I thought
he was pretty cool, too. Out there,
kicking some ass.
Fox picks up the piece of paper. Unfolds it. It's an old
BLUEPRINT. The image is unmistakable: THE TUMBLER.
REESE
Changes things when you know it's
just a rich kid playing dress up.
Reese points to the approval box in the corner of the page.
REESE
Your project. Don't tell me you
didn't recognize your baby pancaking
cop cars on the evening news. Now
you're getting sloppy. Applied
Sciences was a small, dead departmentwho'd
notice?
59.
(MORE)
But now you've got the entire R and D
department burning cash, claiming
it's related to cell phones for the
army. What are you building him now?
A rocket ship? I want ten million a
year. For the rest of my life.
Fox looks at him. Even. Folds up the blueprint.
FOX
Let me get this straight. You think
that your client, one of the
wealthiest and most powerful men in
the world, is secretly a vigilante
who spends his nights beating
criminals to a pulp with his bare
hands...
(deadpan)
And now your plan is to blackmail
this person?
Reese stares at Fox. Who smiles. And slides the blueprint
across the desk.
FOX
Good luck.
Reese looks at it. Then at Fox. Swallows. Slides it back.
INT. BAT-BUNKER -- DAY
Wayne hands Alfred a RIFLE BULLET scribed with a GRID. He
slots it into a clip, then loads it into a COMPUTER
CONTROLLED GATTLING GUN. He puts on ear protectors. Hits a
button.
The rifle WHIRS to life- dollying sideways, BLASTING BULLETS
into a series of identical BRICK WALL SAMPLES.
ALFRED
I'm not sure you made it loud enough,
sir.
As the wall samples still smoke, Wayne steps up, carrying the
sample from the crime scene. Comparing its spread to the new
samples, he selects two and carries them to an X-RAY SCANNER.
The machine gives the samples a 3-axis scan- HI-RES 3-D
IMAGES of the bullet fragment arrays come up on the screen...
INT. APPLIED SCIENCES DIVISION -- DAY
The same image of the bullet fragment on a screen. Fox hits
a key and the computer 'reassembles' the bullets according to
the identifying grid on each fragment.
FOX
Here's your original scan...
60.
REESE (cont'd)
A bullet fragment array pops on screen.
FOX
Here's it reverse-engineered...
Fox hits a button and the unmarked bullet fragments are
reassembled. Wayne spins the roughly-shaped bullet puzzle-
WAYNE
And here's a thumb print.
Fox looks at the screen, impressed. Thinks.
FOX
I'll make you a copy.
(troubled)
Mr.Wayne, did you reassign R and D?
WAYNE
Yes. Government telecommunications
project.
FOX
I wasn't aware we had any new
government contracts. Can you-
WAYNE
Lucius. I'm playing this one pretty
close to the chest.
FOX
Fair enough.
Fox looks at Wayne as he leaves. Uneasy.
INT. BAT-BUNKER -- CONTINUOUS -- INTERCUT
Wayne examines the fingerprint-
WAYNE
I've run it through all the databases
and came up with four possibles.
Wayne gets up to let Alfred sit.
WAYNE (CONT’D)
Cross-reference the addresses.
Look for Parkside and around.
Wayne opens a HYDRAULIC DOOR, revealing a gleaming MV AUGUSTA
BRUTALE. As he moves the bike onto the lift...
ALFRED
Got one. Melvin White, aggravated
assault, moved to Arkham twice- 1502
Randolph Apartments, just off State-
61.
WAYNE
Overlooking the parade.
Wayne and the bike rise on the lift.
EXT. PARKSIDE AVENUE -- DAY
The avenue has been blocked off. Onlookers line the
sidewalks. POLICE march past in dress uniform. Engel does a
stand-up on the sidewalk.
ENGEL
With no word from the Batman- even as
they mourn Commissioner Loeb, these
cops have to be wondering if the
Joker is going to make good on his
threat to kill the Mayor today...
On the buildings above, POLICE SNIPERS scan the crowd.
Gordon keys his radio-
GORDON
How's it looking up top?
POLICE SNIPER
We're tight. But frankly... there's
a lot of windows up here.
Gordon looks up at the myriad buildings overlooking the
podium.
EXT. GOTHAM STREETS -- CONTINUOUS
Wayne maneuvers the Ducati through the traffic. He pulls up
near a parade barricade- dismounts and slips into an alley.
INT. TENEMENT -- CONTINUOUS
Some of the building's hard-luck TENANTS eye Wayne as he
counts doors down the hallway. He finds 1502...
EXT. PARKSIDE AVENUE -- LATER
A SEA OF POLICE fills the Avenue. In the center, three
grieving families and an HONOR GUARD. The Mayor at the
podium. Gordon behind. Dent is seated with Rachel.
THE MAYOR
...and as we recognize the sacrifice
of these officers, we must remember
that vigilance is the price of
safety.
INT. TENEMENT -- CONTINUOUS
Wayne enters: EIGHT MEN IN UNDERSHIRTS, bound, gagged,
blindfolded. A SNIPER SCOPE on a tripod at the window.
Wayne moves to the first man, RIPS the tape from his mouth.
62.
MAN
(breathing hard)
Took... they took our guns, our
uniforms...
EXT. PARKSIDE AVENUE -- CONTINUOUS
Gordon scans the crowd. The Mayor wraps up- the Honor Guard
steps forward, raises weapons...
EXT. ROOFTOP OVERLOOKING PARKSIDE -- CONTINUOUS
A POLICE SNIPER scans the windows of the tenement...
INT. TENEMENT -- CONTINUOUS
Wayne RACES to the window, looks through the SCOPE to see:
EXT. STATE STREET -- CONTINUOUS
THE HONOR GUARD TURN THEIR WEAPONS ON THE MAYOR. One SMILES,
flesh-colored makeup over his scars. THE JOKER.
Gordon LEAPS FORWARD- they FIRE- GORDON TAKES SHOTS TO THE
BACK as he SLAMS the Mayor to the ground-
EXT. ROOFTOP OVERLOOKING PARKSIDE -- CONTINUOUS
The Police Sniper SPOTS Wayne at the window- SHOOTSINT.
TENEMENT -- CONTINUOUS
Wayne DUCKS as SHOTS erupt around the window-
EXT. PARKSIDE -- CONTINUOUS
PANDEMONIUM erupts-One of the honor guard is TAGGED IN THE
LEG- GOES DOWN. The others MELT into the CHAOS.
On the podium, Stephens rolls Gordon over... he is not
moving.
EXT. SIDE STREET OFF PARKSIDE -- MOMENTS LATER
CHAOS. Dent approaches an ambulance sitting in the alley.
Two cops jump out and run over to their commander. Dent
steps up into the back.
INT. AMBULANCE -- CONTINUOUS
The Joker's thug sits there. Handcuffed. A PARAMEDIC
bandages his leg. Cops run past, barking orders.
DENT
Tell me what you know about the
Joker.
63.
The Joker's thug looks at Dent. Smirks. Dent looks down.
Exasperated. Looks back up at the Joker's Thug. Spots
something- moves closer- the man's uniform... his name tag...
OFFICER RACHEL DAWES.
Dent, breathing hard, looks around: the paramedic jumps out,
rushing to help a FALLEN OFFICER. Dent spies the keys in the
ignition. Jumps into the driver's seat...
EXT. GORDON'S HOUSE -- DUSK
Barbara Gordon stands in the doorway, scared. Stephens and a
UNIFORMED OFFICER stand in front of her.
STEPHENS
I'm sorry, Barbara.
James Gordon pushes past his mother to look at Stephens.
Barbara tries to push him back inside.
BARBARA
Jimmy, go play with your sister...
James stays just inside the door.
STEPHENS
I'm sorry.
Barbara stares at Stephens. Then looks past him.
BARBARA
Are you out there?! Are you?!
James spots something- Batman, perched in the shadows.
BARBARA
You brought this on us! This
craziness! You did! You brought
this...!
She collapses into Stephens's arms. Batman hangs his head.
EXT. ROOF, MCU -- NIGHT
Detectives from MCU stand around the lit bat-signal.
STEPHENS
Switch it off- he ain't coming.
He doesn't want to talk to us. God
help whoever he does want to talk to-
INT. NIGHTCLUB -- NIGHT
Strobe lights. Pounding music. Maroni is in a booth at the
side with his MISTRESS. His bodyguards are around the table.
64.
MISTRESS
(shouting over music)
Can't we go someplace quieter! We
can't hear each other talk!
MARONI
I don't wanna hear you talk.
MISTRESS
(can't hear)
What?!
One of Maroni's Bodyguards DROPS- Maroni looks over- in the
strobe lights- Batman SAVAGES his bodyguards- people RUN,
TERRIFIED. Maroni starts to get out of his seat- Batman
LANDS like a panther on the table in front of him-
INT. MCU -- NIGHT
Rachel moves through the chaotic bullpen at MCUEYEWITNESSES,
civilian and cop are being questioned.
Rachel's phone rings.
RACHEL
Harvey, where are you?!
INTERCUT with Dent in an INDISTINCT interior setting.
DENT
Where are you?
RACHEL
Where you should be- at Major Crimes
trying to sort through all the-
DENT
Rachel, listen to me. You're not
safe there.
RACHEL
This is Gordon's unit, Harvey-
DENT
Gordon's gone, Rachel.
RACHEL
He vouched for these men-
DENT
And he's gone. The Joker's named you
next.
Rachel looks around the bullpen. Eyeing the detectives.
DENT
Rachel, I can't let anything happen
to you. I love you too much.
65.
(MORE)
Is there someone, anyone in this city
we can trust?
RACHEL
Bruce. We can trust Bruce Wayne.
DENT
Rachel, I know he's your friend but-
RACHEL
Trust me, Harvey, Bruce's penthouse
is now the safest place in the city.
DENT
Okay. Go straight there. Don't tell
anyone where you're going. I'll find
you there.
Wider shows us we are-
INT. BASEMENT, CONDEMNED BUILDING -- CONTINUOUS
DENT
I love you.
Dent hangs up the phone. TAPED to a chair in front of Dentthe
Joker's Thug, blindfolded. Dent RIPS off the
blindfold...
EXT. FIRE ESCAPE -- NIGHT
Maroni opens his eyes. Batman is holding him by the collar.
BATMAN
I want the Joker.
MARONI
(looks down)
From one professional to another-if
you're trying to scare someone, pick
a better spot. From this height the
fall wouldn't kill me.
BATMAN
I'm counting on it.
Batman lets go. Maroni FALLS. And SCREAMS.
EXT. SIDEWALK -- NIGHT
Maroni NAILS the pavement. CLUTCHES at his leg, which is
badly broken. Batman FLIES down, landing over him- hauls him
up. Maroni HOLLERS in pain.
BATMAN
Where is he?
MARONI
I don't know, he found us-
66.
DENT (cont'd)
BATMAN
He must have friends.
MARONI
Friends? You met this guy?
BATMAN
Someone knows where he is.
Maroni looks up at Batman. Sneering.
MARONI
No one's gonna tell you anythingthey're
wise to your act- you got
rules... the Joker, he's got no
rules. No one's gonna cross him for
you. You want this guy, you got one
way. And you already know what that
is. Just take off that mask and let
him come find you.
Batman DROPS Maroni.
MARONI
Or you want to let a couple more
people get killed while you make up
your mind?
INT. BASEMENT, CONDEMNED BUILDING -- NIGHT
Dent shows the Joker's Thug a GUN. Bullets. Loads the gun.
SHOVES it in his face-
DENT
You wanna play games?
Dent PUSHES the gun against the thug's head with REAL MALICE.
Pulls it away and FIRES. The Thug FLINCHES. Dent puts the
gun barrel against the thug's temple-
JOKER'S THUG
(rattled)
You wouldn't...
And pulls his lucky coin out of his pocket.
DENT
No. I wouldn't. That's why I'm not
going to leave it up to me.
(shows him coin)
Heads- you get to keep your head.
Tails... not so lucky. So, you want
to tell me about the Joker?
The Thug, scared, says nothing. Dent FLICKS the coin into
the air. SLAPS it onto the back of his gun hand (aiming with
wrist horizontal). Dent shows him the coin. Heads. The
Thug exhales, SHAKING.
67.
DENT
Go again?
JOKER'S THUG
(sobbing)
I don't know anything!
DENT
You're not playing the odds, friend.
Dent tosses the coin again. This time IT DOESN'T LAND. Dent
looks up. Batman is there.
BATMAN
You'd leave a man's life to chance?
DENT
Not exactly.
BATMAN
His name's Schiff, Thomas. He's a
paranoid schizophrenic, a former
patient at Arkham. The kind of mind
the Joker attracts.
Batman moves away from Schiff.
BATMAN
What do expect to learn from him?
Dent is shivering with frustration.
DENT
The Joker killed Gordon- and, and
Loeb. He's going to kill Rachel...
BATMAN
You're the symbol of hope that I
could never be. Your stand against
organized crime is the first
legitimate ray of light in Gotham for
decades. If anyone saw this,
everything would be undone- all the
criminals you got off the streets
would be released. And Jim Gordon
will have died for nothing.
Batman hands Dent his lucky coin.
BATMAN
You're going to call a press
conference. Tomorrow morning.
DENT
Why?
68.
BATMAN
No one else will die because of me.
Gotham is in your hands, now.
DENT
You can't! You can't give in!
But Batman is gone.
INT. BEDROOM, WAYNE PENTHOUSE -- NIGHT
Rachel watches Gotham through the window. Wayne enters.
RACHEL
Harvey called. He says Batman is
going to turn himself in.
WAYNE
I have no choice.
RACHEL
You honestly think it's going to stop
the Joker from killing?
WAYNE
Perhaps not. But I've got enough
blood on my hands. I've seen, now,
what I would have to become to stop
men like him.
Rachel looks at Wayne. She cannot help him.
WAYNE
You once told me that if the day came
when I was finished...
Wayne moves towards her.
WAYNE
We'd be together.
RACHEL
Bruce, don't make me your one hope
for a normal life-
Wayne takes her in his arms.
WAYNE
But did you mean it?
RACHEL
Yes.
They kiss. Then separate. She looks sadly into his eyes.
RACHEL
But they won't let us be together
after you turn yourself in.
69.
Wayne nods. Leaves. She watches him go.
INT. BAT-BUNKER -- DAWN
Alfred shovels DOCUMENTS into an incinerator- blueprints,
designs, files. He pauses, looking down at a book.
ALFRED
Even the logs?
WAYNE
Anything that could lead back to
Lucius or Rachel.
Alfred tosses the book onto the fire. STARES at Wayne.
WAYNE
People are dying, Alfred. What would
you have me do?
Alfred looks into Wayne's eyes with a fearsome gaze.
ALFRED
Endure, Master Wayne. Take it.
They'll hate you for it, but that's
the point of Batman... he can be the
outcast. He can make the choice no
one else can face. The right choice.
Wayne shakes his head.
WAYNE
Today I've found out what Batman
can't do. He can't endure this.
(rueful smile)
Today you get to say 'I told you so'.
ALFRED
Today, I don't want to.
(beat)
Although I did bloody tell you.
Wayne sinks the Bat-suit, Alfred closes the incinerator.
They head for the lift.
ALFRED
I suppose they'll lock me up as well.
Your accomplice.
WAYNE
Accomplice? I'm going to tell them
the whole thing was your idea.
They power down, leaving the Bat-bunker in darkness.
70.
INT. PRESS ROOM, SUPERIOR COURT -- DAY
A capacity crowd of REPORTERS, COPS, and PUBLIC. Dent is at
the podium. Wayne sits in the crowd.
DENT
Ladies and Gentlemen, thank you for
coming. I've called this press
conference for two reasons. Firstly,
to assure the citizens of Gotham that
everything that can be done over the
Joker killing is being done.
Secondly, because the Batman has
offered to turn himself in-
The crowd REACTSHECKLER
So where is he?!
DENT
But first. Let's consider the
situation: should we give in to this
terrorist's demands? Do we really
think that-
REPORTER
You'd rather protect an outlaw
vigilante than the lives of
citizens?!
The crowd noisily assents. Dent calmly motions quiet.
DENT
The Batman is an outlaw...
INT. WAYNE PENTHOUSE -- CONTINUOUS
Rachel is watching the press conference on TV.
DENT (O.S.)
But that's not why we're demanding he
turn himself in. We're doing it
because we're scared. We've been
happy to let Batman clean up our
streets for us until now-
INT. PRESS ROOM, SUPERIOR COURT -- CONTINUOUS
HECKLER
Things are worse than ever!
Wayne looks at the Heckler. At the angry crowd. Dent leans
over the podium. Impassioned.
DENT
Yes. They are. But the night is
darkest just before the dawn.
71.
(MORE)
And I promise you, the dawn is
coming.
(the crowd quiets)
One day, the Batman will have to
answer for the laws he's broken- but
to us, not to this madman.
The crowd seems moved by his words, then, a CHANTCOP
HECKLER
NO MORE DEAD COPS!!
Appreciative noise.
REPORTER
WHERE IS THE BATMAN?
People take up the chant. Dent has lost them. He knows it.
DENT
So be it.
(turns to officers)
Take the Batman into custody.
At this, a HUSH DESCENDS. Wayne is sitting towards the back.
Hungry eyes scan the room. Wayne starts to rise... DENT
OFFERS HIS OWN WRISTS TO THE OFFICERSDENT
I am the Batman.
A beat. Wayne stares.
INT. WAYNE PENTHOUSE -- CONTINUOUS
Rachel STARES as Dent is arrested on TV. Appalled.
INT. WAYNE PENTHOUSE -- DAY
Rachel comes up to Alfred. Upset.
RACHEL
Why is he letting Harvey do this,
Alfred?
ALFRED
I don't know. He went down to the
press conference-
RACHEL
And just stood by?!
ALFRED
Perhaps both Bruce and Mr.Dent
believe that Batman stands for
something more important than a
terrorist's whims, Miss Dawes, even
if everyone hates him for it.
72.
DENT (cont'd)
(MORE)
That's the sacrifice he's making- to
not be a hero. To be something more.
RACHEL
Well, you're right about one thingletting
Harvey take the fall is not
heroic.
Rachel holds out an ENVELOPE.
RACHEL
You know Bruce best, Alfred... give
it to him when the time is right.
ALFRED
How will I know?
RACHEL
It's not sealed.
Alfred takes the envelope. Rachel gives him a kiss.
RACHEL
Goodbye, Alfred.
ALFRED
Goodbye, Rachel.
INT. CELL, MCU -- EVENING
A Detective unlocks the cell and lets Rachel inside.
DENT
I'm sorry, I didn't have time to talk
this through with you.
RACHEL
Don't offer yourself as bait, Harvey.
DENT
They're transferring me to central
holding. This is the Joker's chance,
and when he attacks, Batman will take
him down.
RACHEL
No. This is too dangerous-
The Detective knocks. Dent rises.
EXT. COURTYARD MCU -- EVENING
Detectives stare at Dent as he is led, shackled, to the
waiting CONVOY. Stephens begins CLAPPING- a handful join in,
but most remain silent. Rachel follows him to the back of an
armored vehicle.
73.
ALFRED (cont'd)
RACHEL
He's using you as bait- but he
doesn't know if he can get the Jokerhe's
failed so far.
DENT
How do you know what he's thinking?
RACHEL
(beat)
I just do, okay? Harvey, this isn't
just about you, what about all the
people counting on you to turn this
city around? Tell everyone the truth-
Dent kisses her. Pulls out his LUCKY COINDENT
Heads I go through with it.
RACHEL
This is your life... you don't leave
something like this to chance...
Dent tosses it at her- Rachel catches it. Looks. Heads.
DENT
(sincere)
I'm not.
She turns it over: IT IS DOUBLE-HEADED. She looks up- the
DOORS CLOSE on his smile. She shakes her head. Torn.
RACHEL
You make your own luck.
As SWATS file into the back of the support vehicles-
ACTING COMISSIONER
We get this guy to County and he's
their problem. The streets along
your route will be cleared. The
convoy stops FOR NO REASON...
INT. ARMORED CAR -- CONTINUOUS
A Swat with a shotgun climbs into the cab. Pulls on his
mask. Looks over at the DRIVER, who's already wearing his.
SHOTGUN SWAT
Hope you've got some moves.
EXT. TENTH AVENUE, DOWNTOWN -- CONTINUOUS
The convoy ROCKETS past a roadblock.
74.
INT. ARMORED CAR -- CONTINUOUS
The Swats are staring at Dent, fascinated. He smiles.
EXT. INTERSECTION -- CONTINUOUS
An Officer holding up traffic. A TRUCK pulls up.
OFFICER
You wait like everybody else, pal.
A SHOTGUN BLAST sends the Officer flying. A second blast
illuminates the shooter's face: the Joker.
INT. LEAD PATROL CAR, CONVOY -- CONTINUOUS
The SWAT behind the wheel of the lead black-and-white slows
as he sees something burning in the intersection ahead.
EXT. AVENUE -- CONTINUOUS
Overhead, a police HELICOPTER checks the route, hovering
above a burning FIRE TRUCK, BLOCKING the road.
INT. ARMORED CAR -- CONTINUOUS
The Driver is all business. The radio CRACKLES.
RADIO
All units, be advised. All units
will exit down Cheviot west and
proceed north on lower 5th avenue.
SHOTGUN SWAT
Lower 5th? We'll be like ducks in a
barrel down there.
EXT. SURFACE STREETS -- CONTINUOUS
The convoy disappears down the exit ramp.
EXT. LOWER FIFTH AVENUE -- NIGHT
The convoy rolls through the subterranean streets. A GARBAGE
TRUCK pulls up behind and casually SWIPES the rear vehicles
of the convoy off the road...
INT. ARMORED CAR -- CONTINUOUS
SHOTGUN SWAT
Get us out of here!
The Driver NAILS the gas-
EXT. LOWER FIFTH -- CONTINUOUS
The Garbage Truck pushes hard on the armored car, ramming its
rear bumper, FORCING it forward.
75.
INT. ARMORED CAR -- NIGHT
The Driver watches the Truck fill his rear view. Shotgun
Swat picks up the radio.
SHOTGUN SWAT
We've got company back here-
EXT. LOWER FIFTH AVENUE -- NIGHT
A SECOND TRUCK SMASHES into the SWAT van at the head of the
convoy, SMASHING it through the concrete barriers and INTO
THE RIVER. The truck is branded "LAUGHTER" but and "S" has
been spayed at the front to make "SLAUGHTER" with "HA, HA,
HA" all over the side...
The Joker's Truck DODGES between the support columns and into
the oncoming lane- pulls alongside the armored car.
The Driver looks over. The cargo door on the truck slides
open. Inside, the Joker, holding a machine gun.
The armored car LOCKS up its brakes, but the garbage truck
pushes it forward as the Joker fires- BULLETS slamming into
the side of the vehicle-
INT. REAR CABIN, ARMORED CAR -- CONTINUOUS
Dent is calm as the SWATS FLINCH from the bullet indentations-
INT. UP FRONT, ARMORED CAR -- CONTINUOUS
Shotgun SWAT STARES at the Joker.
INT. REAR TRAILER OF TRUCK -- NIGHT
The Joker drops his machine gun and picks up and RPG. He
stops- SEES something up ahead, racing towards the second
truck- the BATMOBILE. The Joker stares, fascinated, as-
EXT. LOWER FIFTH -- CONTINUOUS
-THE BATMOBILE PLOWS STRAIGHT INTO THE SECOND TRUCK- the lowprofile
car sending the truck UP INTO THE CONCRETE CEILINGthe
Batmobile carries on through, as the TRUCK DISINTEGRATES.
INT. TRUCK -- NIGHT
The Joker looks back to the batmobile, amused.
JOKER'S THUG
Is that him-?
THE JOKER
Anyone could be driving that thingstay
on Dent.
The Joker lines up his RPG and prepares to fire-
76.
INT. ARMORED CAR -- CONTINUOUS
Shotgun SWAT's eyes go wide at the Joker's weapon- the Driver
JAMS the brakes-
EXT. LOWER FIFTH -- CONTINUOUS
The Armored Car CRASHES BACK against the Garbage Truck,
BRAKING, SCRAPING, SLOWING just enough- the RPG SLAMS into
the SQUAD CAR in front of them and EXPLODES- the armored car
BURSTS through the fireball and continues.
EXT. LOWER FIFTH -- CONTINUOUS
The Batmobile SPINS around to rejoin the pursuit.
INT. JOKER'S TRUCK -- NIGHT
The Joker turns his men to RELOAD his RPGTHE
JOKER
Do me up-
Turns back- levels his RPG out the window. Aims.
INT. BATMOBILE -- NIGHT
Batman watches as the Joker prepares to fire. Several rows
of cars separate them. He toggles the afterburner.
INT. PASSENGER CAR -- NIGHT
Two small children in the back of the car watch as the
Batmobile ROCKETS overhead.
EXT. LOWER LEVEL STREET -- NIGHT
The Joker steadies the RPG and FIRES- the Batmobile CRASHES
down into the open space between the two vehicles- taking the
hit from the RPG which EXPLODESThe
rear of the Batmobile EXPLODES- SPINNING the FLAMING car-
INT. ARMORED CAR -- NIGHT
SWATS react to the EXPLOSION. Dent is calm.
INT. CAB OF JOKER'S TRUCK -- CONTINUOUS
The Driver takes a DEBRIS HIT to the head-
INT. TRUCK -- CONTINUOUS
The Joker CACKLES with delight as he is THROWN AROUND the
rear of the trailer-
77.
INT. BATMOBILE -- CONTINUOUS
Batman WRESTLES the pod controls, SPINNING on the GYROEXT.
LOWER LEVEL STREET -- CONTINUOUS
The Batmobile flips over to come to rest in a smoking heapthe
front end intact, rear wheels scattered across the
roadway. A small crowd gathers.
EXT. LOWER LEVEL STREET -- CONTINUOUS
The Joker JUMPS down from the truck, still giggling like a
kid- looks back at the Batmobile's destruction-
THE JOKER
Whoever he was... he ain't now.
The Joker YANKS his dead driver out of the cab, JUMPS over
him to take the wheel and pull back onto the roadway.
EXT. LOWER LEVEL STREET -- CONTINUOUS
The armored car pulls ahead, the Joker's truck in hot
pursuit.
INT. ARMORED CAR -- CONTINUOUS
Shotgun SWAT glances in the rear view mirror, slaps the dash-
SHOTGUN SWAT
Let's get topside- we need that air
support!
EXT. LOWER LEVEL STREET -- CONTINUOUS
The armored car PULLS onto a RAMP, heading up. The Joker's
Truck follows.
EXT. LOWER LEVEL STREET -- CONTINUOUS
People stare at the smoking wreck, inching closer...
INT. BATMOBILE -- CONTINUOUS
Batman adjusts his position. Hits a button-
BATMOBILE VOICE
Damage catastrophic. Initiate eject
and self-destruct.
Arm guards GRAB Batman's forearms as EXPLOSIVE BOLTS FIRE all
around the pod...
BATMOBILE VOICE
Goodbye.
78.
EXT. LOWER LEVEL STREET -- CONTINUOUS
The crowd JUMPS- PANELS of the front of the car BLOW OUTThe
crowd stares, OPEN-MOUTHED, as Batman EMERGES, HOISTED UP
AND OUT of the flaming car by the FRONT POD- LEVERING OVER
the FRONT WHEEL... the pod PUSHES the OTHER WHEEL IN FRONT to
form a type of MOTORCYCLEThe
BAT-POD SHOOTS FORWARD, bursting free as the Batmobile
DETONATES, DYING in a MASSIVE FIREBALL... Batman's cape
SUCKS TOGETHER, forming a TIGHT PACK on his shoulders, clear
of the CHURNING REAR TIRE of the bat-pod...
EXT. PARKSIDE -- CONTINUOUS
The armored car races down the street- the CHOPPER dips low.
PILOT
We're back on point- and ready to
give some of their own medicine-
INT. POLICE CHOPPER -- CONTINUOUS
A Cop pulls out an ASSAULT RIFLE. COCKS it-
INT. CAB OF JOKER'S TRUCK -- CONTINUOUS
The Joker FIGHTS with the truck's gearbox, turns to his Thug-
THE JOKER
Tee 'em up.
The Thug GRABS his radio.
EXT. FIRE ESCAPE -- CONTINUOUS
A Joker Thug in clown mask loads up the cable gun seen in the
bank heist.
EXT. SECOND FIRE ESCAPE -- CONTINUOUS
Another thug loads his own cable gun...
INT. PASSENGER CAR, LOWER LEVEL STREET -- NIGHT
A motorist stares through his rear-view mirror, transfixed,
as the bat-pod TEARS past. He YELPS as the bat-pod SMASHES
the wing mirror from his car.
EXT. LOWER LEVEL STREET -- NIGHT
Batman accelerates, oblivious to the STACCATO of CLEAVED wing
mirrors as the bat-pod RAZORS through traffic- CROSSES a BUSY
INTERSECTION- The bat-pod CUTS off the crowded lower level
street, ROARING over into the PARKING LANES-
79.
Batman squeezes his triggers- BLASTING at PARKED CARS,
BLOWING them out of the way, literally CANNONING A PATH for
the pod...
EXT. TRAIN STATION -- CONTINUOUS
The Bat-Pod CANNONS through the glass doors and RACES through
the station/mall- COMMUTERS screaming and diving out of the
way-
The Bat-Pod races up the stairs and onto the upper street-
EXT. PARKSIDE -- CONTINUOUS
The Joker's Thugs FIRE THE CABLES ACROSS THE STREET AT
SEVENTH FLOOR LEVEL... they pull TAUT as the Chopper
approaches, unawares... the Chopper CATCHES on the cables,
GOING DOWN in a FIERY BALL that BARRELS along the street
towards the armored car...
INT. ARMORED CAR -- CONTINUOUS
The Driver steers around the flaming wreckage as the Shotgun
SWAT SHUTS HIS EYESEXT.
NARROW ALLEY -- CONTINUOUS
The Bat-pod TEARS down a narrow alley blocked with DUMPSTERSCANNONS
the dumpsters to make a path-
INT. CAB OF JOKER'S TRUCK -- NIGHT
The Joker hands the wheel to his man- takes a submachine gun-
THUG
Boss?
The Joker looks ahead to see the Bat-pod emerge from the
alley in a cloud of fire, SKIDDING SIDEWAYS IMPOSSIBLY- it
RACES TOWARDS THEMTHE
JOKER
Guess it was him.
EXT. PARKSIDE -- NIGHT
The Bat-pod RACES straight at the Joker's truck- FIRES A
HARPOON at the Joker's truck- it IMPACTS low, below the
bumper-
INT. TRUCK -- CONTINUOUS
The Joker's Thug DUCKS, then comes back up, beaming.
JOKER'S THUG
He missed!
80.
EXT. PARKSIDE -- CONTINUOUS
Batman SWERVES past the Joker's truck, SLALOMS, wrapping the
CABLES around a LAMP POST, SPINNING to a halt to watch...
EXT. PARKSIDE -- CONTINUOUS
The cable goes TAUT, RIPPING one post from its foundationthe
TRUCK'S FRONT WHEELS CATCH, FLIPPING IT END OVER END...
The Joker crawls from the wreckage. He jumps over the median
and starts waving his pistol at oncoming traffic. Batman
GUNS the bat-pod and rides it up and over the median.
INT. ARMORED CAR -- NIGHT
The Driver slows the car, pulls to the side.
SHOTGUN SWAT
What the hell are you doing?
EXT. PARKSIDE -- NIGHT
The Joker walks towards the Bat-pod, which SPEEDS towards
him. He is FIRING his gun RANDOMLY at the oncoming traffic.
THE JOKER
Hit me. Come on. Hit me.
Batman watches as the Joker holds out his arms. Waiting for
impact. There is no room to go around him.
Batman LOCKS UP THE BRAKES.
The Joker watches as Batman DUMPS the bike, rather than
smashing into him. Batman SLAMS into the wall.
The Joker's thug reach Batman first. He is unconscious. The
first Thug pulls at the mask. An ELECTRIC SHOCK from the batsuit
THROWS him back. The Joker LAUGHS. Flicks his
switchblade. Crouches-
VOICE
Drop it.
THE JOKER
Just give me a second.
The gun is COCKED. The Joker drops the knife. Sits. Looks
back. Behind them is the armored car. The man standing over
him is the Driver. He pulls off his helmet.
It's JIM GORDON. Back from the dead.
GORDON
We got you, you son of a bitch.
81.
INT. ARMORED CAR -- MOMENTS LATER
Dent looks up as the door swings open to reveal Gordon. Dent
GRINS.
DENT
Lieutenant, you do like to play it
pretty close to the chest...
GORDON
We got him, Harvey.
Dent nods. Respect in his eyes. They shake hands.
EXT. PARKSIDE -- NIGHT
A small army of cops have sealed off the roadway. Gordon
pulls away in the squad car containing the Joker.
REPORTERS clamor for an interview with Dent, who is being
helped out of the van by the SWATS. Ramirez pushes through
the pack, shoving reporters aside.
RAMIREZ
Let him be! He's been through enough-
Dent follows Ramirez to a squad car- Wuertz is in the
driver's seat. Dent smiles at Ramirez as she opens the rear
door.
DENT
Thanks, detective- I've got a date
with a pretty upset fiancée.
RAMIREZ
I figured, counselor.
Ramirez shuts the door on Dent. Signals Wuertz to pull out.
INT. HOLDING, MCU, GOTHAM CENTRAL -- NIGHT
The Joker sits in a holding cage. His makeup has run, his
clothes a mess- but his calm lends him an odd dignity. COPS
SMASH their night sticks against the bars near the Joker's
head. The Joker does not flinch.
GORDON
Stand away! All of you. I don't
want anything for his mob lawyer to
use, understand? Handle this guy
like he's made of glass.
The Mayor walks in. Shakes Gordon's hand.
MAYOR
Back from the dead.
82.
GORDON
I couldn't chance my family's safety.
The Mayor looks over at the Joker in his cage.
MAYOR
What do we got?
GORDON
Nothing. No matches on prints, DNA,
dental. Clothing is custom, no
labels. Nothing in his pockets but
knives and lint. No name, no other
alias... nothing.
MAYOR
Go home, Gordon. The clown'll keep
till morning. Get some rest- you're
going to need it. Tomorrow, you take
the big job.
(off look)
You don't have any say in the matter.
(louder, for all)
Commissioner Gordon.
The cops in M.C.U. start CHEERING.
EXT. GORDON HOME -- NIGHT
Gordon rings the bell. Barbara answers it, dressed in black.
GORDON
I couldn't tell you. I couldn't risk-
She SLAPS Gordon. He grabs her, holds her tight as she sobs.
INT. HOLDING, MCU, GOTHAM CENTRAL -- NIGHT
The Joker's men are processed. In the harsh light, the men
look a little ridiculous in their clown make-up. DETECTIVE
MURPHY turns to Stephens.
DETECTIVE MURPHY
Look at these ugly bastards.
One of the men, walks over, clutching at his belly.
FAT THUG
I don't feel good.
DETECTIVE MURPHY
You're a cop killer. You're lucky to
be feeling anything below the neck.
Alone in his cage, the Joker smiles at this.
83.
INT. KIDS' BEDROOM, GORDON HOME -- NIGHT
Gordon crouches by his son's beside. He reaches out to touch
James Jr's cheek. James's eyes open. Staring at his dad as
if still dreaming.
JAMES
(whispers)
Did Batman save you, dad?
Gordon looks at his son. A little pride seeps in.
GORDON
Actually, this time I saved him.
Gordon's phone rings-
INT. MAJOR CRIMES UNIT, GOTHAM CENTRAL -- NIGHT
Gordon PUSHES through the swarm of detectives crowded into
the observation room. The Joker can be seen through the
glass, as well as on a large MONITOR. Sitting there. Calm.
GORDON
Has he said anything, yet?
Ramirez shakes her head. Gordon PUSHES through a door...
INT. INTERROGATION, MCU, GOTHAM CENTRAL -- NIGHT
The Joker, in near darkness. Gordon walks in. Sits.
THE JOKER
Evening, Commissioner.
GORDON
Harvey Dent never made it home.
THE JOKER
Of course not.
GORDON
What have you done with him?
THE JOKER
(laughs)
Me? I was right here. Who did you
leave him with? Your people?
Assuming, of course, that they are
your people not Maroni's...
(off look)
Does it depress you, Lieutenant, to
know how alone you are?
Gordon can't help glancing at the mounted CAMERA.
84.
THE JOKER
Does it make you feel responsible for
Harvey Dent's current predicament?
GORDON
Where is he?
THE JOKER
What time is it?
GORDON
What difference does that make?
THE JOKER
Depending on the time, he might be in
one spot.
(smiles)
Or several.
Gordon stands. Moves to the Joker. Undoes his handcuffs.
GORDON
If we're going to play games, I'm
going to need a cup of coffee.
THE JOKER
The good cop, bad cop routine?
Gordon pauses, hand on the doorknob.
GORDON
Not exactly.
Gordon steps out. The overhead lights COME ON. BATMAN IS
BEHIND HIM. The Joker BLINKS in the HARSH WHITE LIGHT.
WHAM! The Joker's face HITS the table- comes up for air-
CRACK! CRACK! To the head. Batman is in front of him. The
Joker stares, fascinated. Bleeding.
THE JOKER
Never start with the head... victim
gets fuzzy. Can't feel the next-
CRACK! Batman's fist SMACKS down on the Joker's fingers.
THE JOKER
(calm)
See?
BATMAN
You wanted me. Here I am.
THE JOKER
I wanted to see what you'd do. And
you didn't disappoint...
(laughs)
You let five people die.
85.
(MORE)
Then you let Dent take your place.
Even to a guy like me... that's cold-
BATMAN
Where's Dent?
THE JOKER
Those mob fools want you gone so they
can get back to the way things were.
But I know the truth- there's no
going back. You've changed things.
Forever.
BATMAN
Then why do you want to kill me?
The Joker starts LAUGHING. After a moment he's laughing so
hard it sounds like SOBBING.
THE JOKER
Kill you? I don't want to kill you.
What would I do without you? Go back
to ripping off Mob dealers? No
you...
(points)
You. Complete. Me.
BATMAN
You're garbage who kills for money.
THE JOKER
Don't talk like one of them- you're
not, even if you'd like to be. To
them you're a freak like me... they
just need you right now.
He regards Batman with something approaching pity.
THE JOKER
But as soon as they don't, they'll
cast you out like a leper.
The Joker looks into Batman's eyes. Searching.
THE JOKER
Their morals, their code... it's a
bad joke. Dropped at the first sign
of trouble. They're only as good as
the world allows them to be. You'll
see- I'll show you... when the chips
are down, these civilized people...
they'll eat each other.
(grins)
See, I'm not a monster... I'm just
ahead of the curve.
Batman GRABS the Joker and pulls him upright.
86.
THE JOKER (cont'd)
INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
One of the Detectives moves for the door. Gordon stops him.
GORDON
He's in control.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
Batman HOISTS the Joker up by the neck.
BATMAN
Where's Dent?
THE JOKER
You have these rules. And you think
they'll save you.
BATMAN
I have one rule.
THE JOKER
Then that's the one you'll have to
break. To know the truth.
BATMAN
Which is?
THE JOKER
(smiles)
The only sensible way to live in this
world is without rules. Tonight
you're going to break your one
rule...
Batman leans in to the Joker.
BATMAN
I'm considering it.
THE JOKER
There are just minutes left- so,
you'll have to play my little game if
you want to save...
(with relish)
...one of them.
BATMAN
Them?
THE JOKER
For a while I thought you really were
Dent, the way you threw yourself
after her-
Batman DROPS the Joker- RIPS up a bolted-down chair-
87.
INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
Gordon MOVES for the door-
INT. OBSERVATION ROOM, MCU -- CONTINUOUS
Batman JAMS the chair under the doorknob- PICKS up the Joker
and HURLS him into the two-way glass. The glass SPIDERS.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
The Joker, bleeding from nose and mouth, LAUGHS at Batman.
THE JOKER
Look at you go... does Harvey know
about you and his-?
The Joker SMASHES into the wall- SLIDES to the floor. Batman
stands over him, a man possessed-
BATMAN
WHERE ARE THEY?!
He GRABS the Joker, holding him close-
THE JOKER
Killing is making a choice...
Batman PUNCHES the Joker across the face. HARD.
BATMAN
WHERE ARE THEY?!
The Joker FEEDS off Batman's anger. Loving it.
THE JOKER
...you choose one life over the
other. Your friend, the district
attorney. Or his blushing bride-tobe.
Batman PUNCHES the Joker again. The Joker LAUGHS.
THE JOKER
You have nothing. Nothing to
threaten me with. Nothing to do with
all your strength...
(spits a tooth)
But don't worry, I'm going to tell
you where they are. Both of them,
and that's the point- you'll have to
choose.
The Batman stares at the Joker...
THE JOKER
He's at 250 52nd Boulevard. And
she's on avenue X at Cicero.
88.
Batman DROPS him.
INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
Batman RACES past Gordon.
GORDON
Which one are you-
BATMAN
Dent knew the risks.
Gordon looks back- the Joker is bloody, but grinning.
EXT. MCU, GOTHAM CENTRAL -- NIGHT
Several cops see Batman climb onto the bat-pod and TEAR off.
EXT. STREETS, GOTHAM -- NIGHT
Batman SWERVES into oncoming traffic, CHAOS in his wake.
EXT. GOTHAM CENTRAL -- NIGHT
Gordon and his men SCRAMBLE into their cars...
INT. BASEMENT APARTMENT -- NIGHT
Black.
RACHEL
Can anyone hear me?
Harvey Dent opens his eyes. He's bound to a chair in a
dingy, unfurnished basement apartment.
DENT
Rachel? Rachel is that you?
RACHEL
(sobbing)
Harvey. You're OK. I thought...
Her voice is coming from a speakerphone on the floor.
DENT
It's OK, Rachel. Everything's going
to be just fine.
He looks around. Behind him, metal BARRELS, hooked up to a
car battery, with a TIMER counting down: five minutes.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
The Joker sits, smiling, content. Stephens guards the door.
THE JOKER
I want my phone call.
89.
STEPHENS
That's nice.
THE JOKER
How many of your friends have I
killed?
STEPHENS
I'm a twenty year man. I can tell
the difference between punks who need
a little lesson in manners, and the
freaks like you who would just enjoy
it.
(quiet)
And you killed six of my friends.
INT. HOLDING AREA, MCU, GOTHAM CENTRAL -- NIGHT
The Fat Thug shuffles to the bars, where a COP stands guard.
FAT THUG
(agony)
Please. My insides hurt.
COP
Step away from the bars.
FAT THUG
The boss said he would make the
voices go away. He said he would go
inside and replace them with bright
lights. Like Christmas.
COP
That's great. Please step-
The Fat Thug COLLAPSES. The Cop grabs his radio.
INT. WAREHOUSE -- NIGHT
Rachel is bound to a chair. Behind her are barrels identical
to the ones behind Dent.
DENT
Can you move your chair?
RACHEL
No. Harvey, we don't have much time-
The timer connected to the bomb reads 2.47... 2.46...
INT. BASEMENT APARTMENT -- NIGHT
Dent DRAGS his chair, inching closer to the barrels.
DENT
Look for something to free yourself.
90.
The chair JAMS against a ridge in the floor. Dent STRAINS to
reach the timer. Inches shy.
RACHEL
They said only one of us was going to
make it. That they'd let our...
(pause)
Our friends choose...
Dent strains... THE CHAIR, AND DENT, TOPPLE OVER- KNOCKING
OVER A BARREL.
RACHEL
Harvey? What's happening?
Dent, one side of his face pressed against the bare floor,
watches the open barrel SPEW DIESEL FUEL around him-
DENT
Nothing. I'm trying to...
Dent contorts his head to keep from swallowing any.
EXT. STREETS, GOTHAM -- NIGHT
The bat-pod SKIDS SIDEWAYS, WHEELS FLIPPING as the gyro keeps
Batman upright on the tumbling bike- it comes to rest- guns
lined up with a fire exit- BLOWS the door off its hinges-
JUMPS off the bike-
EXT. 52ND STREET, GOTHAM -- NIGHT
Gridlock. Gordon SWERVES onto the sidewalk. People SCATTER.
INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT
The Joker sits like a kid kept after class. He smiles.
THE JOKER
You know why I use a knife,
Detective? Guns are too quick. You
don't get to savor all the little
emotions. See, in their last
moments, people show you who they
really are...
Stephens tries hard to ignore him. It isn't working.
THE JOKER
So, in a way, I knew your friends
better than you ever did.
(smiles)
Would you like to know which of them
were really cowards?
91.
STEPHENS
(rolls up sleeves)
I know you're going to enjoy this.
But I'm going to enjoy it more.
Stephens PUNCHES the Joker in the gut.
INT. BASEMENT APARTMENT -- NIGHT
Dent is half submerged in diesel fuel.
RACHEL
Harvey, in case... I want you to know
something...
Dent CHOKES, his emotions overwhelming him.
DENT
Don't think like that, Rachel.
They're coming for you.
RACHEL
I know, but I don't want them to...
INT. WAREHOUSE -- NIGHT
Rachel looks at the timer. Ten seconds left.
RACHEL
I don't want to live without you.
Because I do have an answer, and my
answer is yes...
INT. HOLDING AREA, MCU, GOTHAM CENTRAL -- NIGHT
A MEDIC CUTS away the Fat Thug's shirt- his belly has large
INCISION, which has been closed with crude looking STITCHESMEDIC
He's got some kind of... contusion...
A RECTANGULAR SHAPE is visible under the skin above his
navel.
INT. DETECTIVE'S ROOM, MCU, GOTHAM CENTRAL -- NIGHT
Stephens shuffles out into the room, a piece of BROKEN GLASS
held to his THROAT by the Joker. Cops draw their weapons.
STEPHENS
This is my own damn fault. Just
shoot him.
DETECTIVE MURPHY
What do you want?
THE JOKER
I want my phone call.
92.
The Detectives look at each other. One of them pulls out his
cell phone. TOSSES it to the Joker, who begins to dial.
INT. HOLDING AREA, MCU, GOTHAM CENTRAL -- NIGHT
The Medic gingerly PRESSES the rectangle. It illuminates, a
soft blue light visible through the skin.
COP
Is that a... phone?
INT. DETECTIVE'S ROOM, MCU, GOTHAM CENTRAL -- NIGHT
The Joker presses SEND. At the end of the room, the door to
the holding area EXPLODESINT.
HALLWAY, TENEMENT -- NIGHT
Batman SPRINTS down the hall- stops at a door- KICKS it-
EXT. 52ND STREET, GOTHAM -- NIGHT
Cars PULL UP- Gordon gets out, carrying a fire ax-
INT. HALLWAY, TENEMENT -- NIGHT
Batman KICKS- the door gives- Batman SMASHES it open-
INT. BASEMENT APARTMENT -- NIGHT
...Batman BURSTS through the door- Dent looks up in horror-
DENT
NO! Not me... Why did you come for
me?!
Batman STARES at Dent. The Joker lied. The counter hits 5
seconds. Batman DRAGS Dent out- Dent FIGHTS to stay-
DENT
RACHEL!
RACHEL
Harvey? Harvey, it's okay...
DENT
RACHEL!!!
EXT. 52ND STREET, GOTHAM -- NIGHT
Gordon, axe in hand, RUNS towards the entrance-
INT. WAREHOUSE -- NIGHT
Rachel can hear Dent. The counter runs out.
93.
RACHEL
(calm)
Somewhere-
AN EXPLOSION. ALL-CONSUMING.
EXT. 52ND STREET, GOTHAM -- NIGHT
The BLAST HURLS Gordon backward onto the hood of his car- THE
ENTIRE WAREHOUSE IS AN ENORMOUS EXPLOSIONINT.
BASEMENT APARTMENT -- NIGHT
Batman wraps his cape around Dent and hurls them both through
the door. Dent is SCREAMINGEXT.
52ND STREET, GOTHAM -- NIGHT
Gordon picks himself up. The warehouse is an inferno. He
heads for it anyway. Five of his men have to RESTRAIN HIM.
EXT. ALLEYWAY, GOTHAM -- NIGHT
A SECOND EXPLOSION- Batman COVERS Dent as the FIREBALL HITS
them- IGNITING the diesel soaking Dent's left side- he starts
BURNING. And stops screaming. Batman ROLLS Dent on the wet
pavement... Dent SIZZLES. Silent.
INT. SPECIAL HOLDING AREA, MCU, GOTHAM CENTRAL -- NIGHT
The Joker walks to the bars of another cell. Grins.
THE JOKER
Hello there.
In his cell. Terrified. Lau.
EXT. AMBULANCE -- CONTINUOUS
Dent is wheeled into an ambulance, bandages held to his face.
His one visible eye STARES BLANKLY, oblivious to the panic-
EXT. 52ND STREET -- CONTINUOUS
Gordon watches the fire. DEBRIS blows across the asphalt.
Gordon picks up two pieces: SINGED JOKER CARDS. In place of
the Joker's face is a PHOTO OF LAU. A POLICE SERGEANT
approaches.
SERGEANT
Dent's alive, Jim. Just. But back
at M.C.U.... the Joker's gone...
GORDON
With Lau?
(the Cop nods)
The Joker planned to be caught. He
wanted me to lock him up in M.C.U..
94.
EXT. STREET, DOWNTOWN GOTHAM -- DAWN
A squad car BLAZES down the street. The Joker sticks his
head out the window like a dog, feeling the wind...
INT. KITCHEN, WAYNE PENTHOUSE -- DAWN
Alfred sits at a table reading the letter from Rachel.
RACHEL (V.O.)
Dear Bruce, I need to explain...
EXT. 52ND STREET -- DAWN
Water. Smoldering blackness. The FIRE CREWS extinguish the
last flames of the devastated building. A FIREMAN nudges his
COLLEAGUE, pointing out something in the devastation...
RACHEL (V.O.)
...I need to be honest and clear.
I'm going to marry Harvey Dent...
INT. INTENSIVE CARE UNIT -- DAWN
Glimpses of Dent's damaged face as SURGEONS surround him.
RACHEL (V.O.)
I love him, I want to spend the rest
of my life with him...
EXT. 52ND STREET -- DAWN
The Firemen watch a statue-like figure amidst the charred
ruins. The Batman.
RACHEL (V.O.)
When I told you that if Gotham no
longer needed Batman we could be
together, I meant it...
INT. MCU, GOTHAM CENTRAL -- DAY
Gordon surveys the wreckage of MCU. The bodies.
RACHEL (V.O.)
But I'm not sure the day will come...
EXT. 52ND STREET -- DAWN
Batman bends to the ground on one knee, his black glove
spread against the smoldering debris.
RACHEL (V.O.)
...when you no longer need Batman. I
hope it does, and if it does I will
be there...
95.
He spots something. DENT'S TWO-HEADED COIN. Blackened,
SCARRED. Batman turns it over. The other side is PRISTINE.
INT. KITCHEN, WAYNE PENTHOUSE -- DAWN
Alfred reads.
RACHEL (V.O.)
...but as your friend. I'm sorry to
let you down...
INT. HOSPITAL ROOM -- DAWN
Dent, heavily bandaged, hooked up to various machines.
Batman stands at the foot of his bed. Watching.
RACHEL (V.O.)
If you lose your faith in me, please
keep your faith in people...
BATMAN
I'm sorry, Harvey.
Batman puts DENT'S DAMAGED COIN on the bedside table.
INT. KITCHEN, WAYNE PENTHOUSE -- CONTINUOUS
RACHEL (V.O.)
Love, now and always, Rachel.
Alfred finishes the letter. Tears in his eyes, he folds it
back into its envelope. Places it on the breakfast tray.
INT. WAYNE PENTHOUSE -- DAWN
Alfred moves through the silent space, stepping past the cowl
and gauntlets lying on the cold marble. He approaches Wayne,
half-undressed, slumped in a chair watching Gotham.
ALFRED
I prepared a little breakfast.
Nothing. Alfred sets down the tray. The envelope is propped
against the silver teapot.
ALFRED
Very well.
WAYNE
Alfred?
ALFRED
Yes, Master Wayne?
Wayne turns, a desperate look in his eye.
96.
WAYNE
Did I bring this on us? On her? I
thought I would inspire good, not
madness-
ALFRED
You have inspired good. But you spat
in the face of Gotham's criminalsdidn't
you think there might be
casualties? Things were always going
to have to get worse before they got
better.
WAYNE
But Rachel, Alfred...
ALFRED
Rachel believed in what you stood
for. What we stand for.
Wayne looks up at Alfred. Alfred picks up the cowl.
ALFRED
Gotham needs you.
WAYNE
Gotham needs its hero. And I let the
Joker blow him half to hell-
ALFRED
Which is why for now, they'll have to
make do with you.
Alfred hands him the cowl. Wayne looks at him.
WAYNE
She was going to wait for me. Dent
doesn't know. He can never know...
Alfred glances at the envelope. Takes it off the tray.
WAYNE
What's that?
ALFRED
It can wait.
Alfred puts the envelope in his pocket.
WAYNE
That bandit, in the forest in
Burma... Did you catch him?
(Alfred nods)
How?
ALFRED
(uneasy)
We burned the forest down.
97.
EXT. DOWNTOWN GOTHAM -- DAY
A national guard helicopter ROARS over Gotham General.
INT. HOSPITAL ROOM -- DAY
Dent. Bandaged. Sedated. Coming up for air. Sees
something on the table: his coin. He fumbles for it,
marvelling at its shiny face. Remembering.
INSERT CUT: RACHEL CATCHES THE COIN.
Dent turns the coin over. The other side is devastated. He
STARES at the scarred face. Starts ripping his bandages.
INT. WAYNE PENTHOUSE -- DAY
Alfred comes up to Wayne. Points him to the TV.
ALFRED
You need to see this.
On screen: Engel, in his studio, addresses the camera.
ENGEL
...he's a credible source- an A and M
lawyer for a prestigious consultancy.
He says he's waited as long as he can
for the Batman to do the right
thing...
The shot cuts to REESE, nodding.
ENGEL
Now he's taking matters into his own
hands. We'll be live at five with
the true identity of the Batman, stay
with us...
INT. HOSPITAL ROOM -- CONTINUOUS
Gordon ENTERS. Dent STARES to one side. He looks normal.
GORDON
I'm sorry about Rachel.
(nothing)
The Doctor says you're in agonizing
pain but you won't accept medication.
That you're refusing skin grafts-
DENT
Remember the name you all had for me
when I was at Internal Affairs? What
was it, Gordon?
GORDON
Harvey, I can't-
98.
DENT
SAY IT!
Dent's anger makes Gordon flinch. He looks away. Ashamed.
GORDON
(small)
Two-face. Harvey two-face.
Dent turns to face Gordon- the left side of Dent's face is
DESTROYED- skin blackened and shriveled. Molars visible.
The eye a ball and socket. Dent manages a small smile with
the good side of his face.
DENT
Why should I hide who I am?
GORDON
I... I know you tried to warn me.
I'm sorry. Wuertz picked you up- was
he working for them?
(nothing)
Do you know who picked up Rachel?
(nothing)
Harvey, I need to know which of my
men I can trust.
Dent looks at Gordon. Cold.
DENT
Why would you listen to me now?
GORDON
I'm sorry, Harvey.
DENT
No. No you're not. Not yet.
Gordon takes a last look at Dent. Then leaves.
INT. CORRIDOR, HOSPITAL -- CONTINUOUS
Gordon steps out. Someone is there. Maroni. On crutches.
Gordon stares at him. Cold. Maroni shifts, awkward.
MARONI
This craziness. This is too much.
GORDON
You should have thought of that
before you let the clown out of the
box.
MARONI
You want him, I can tell you where
he'll be this afternoon.
99.
EXT. ABANDONED DOCKS -- DAY
The Chechen gets out of his SUV. Looks at a RUSTED HULK.
The Chechen, bodyguards, and dogs, head up the gangplank.
INT. RUSTED HULK -- CONTINUOUS
They pass into a huge hold. In the middle: A BILLION
DOLLARS. The pile is thirty feet high. Standing on top- the
Joker. At his feet, bound, is Lau. The Chechen laughs.
CHECHEN
Like I say- not so crazy as you look.
The Joker jumps from the top, slides down the pile.
THE JOKER
I told you- I'm a man of my word.
(looks around)
Where's the Italian?
The Chechen shrugs. Pulls out a cigar. Lights it.
CHECHEN
More for us. What you do with all
your money, Mr.Joker?
The Joker GRABS a can of GASOLINE from his thug.
THE JOKER
I'm a man of simple tastes. I like
gunpowder. Dynamite...
He is SPLASHING gasoline onto the money.
THE JOKER
...gasoline...
The Chechen, FURIOUS, steps forwards. The Joker turns. JABS
his gun in the Chechen's face. The Chechen's bodyguards
REACT. The Joker's men DRAW on them.
THE JOKER
And you know what they have in
common? They're cheap.
CHECHEN
You said you were a man of your word.
The Joker PLUCKS the cigar from the Chechen's lips.
THE JOKER
I am.
The Joker tosses the cigar at the pile.
THE JOKER
I'm only burning my half.
100.
The Chechen watches the money catch fire.
THE JOKER
All you care about is money. This
city deserves a better class of
criminal, and I'm going to give it to
them. This is my town now. Tell
your men they work for me.
The Joker crouches down to the Chechen's dogs. They GROWL.
CHECHEN
They won't work for a freak.
The Joker takes out a knife. Tosses it to his man.
THE JOKER
Cut him up and offer him to his
little Princes. Let's show him just
how loyal a hungry dog is.
The Joker's men GRAB the Chechen.
THE JOKER
It's not about money. It's about
sending a message...
The Joker watches the towering FLAMES. Lau screams.
THE JOKER
Everything. Burns.
The Joker pulls out a phone...
INT. TELEVISION STUDIO -- DAY
Reese has a confident air. Engel is taking calls.
CALLER 1 (O.S.)
I wanna how much they're gonna pay
you to say who Batman really is.
REESE
That's simply not why I'm doing this.
ENGEL
Caller, you're on the air.
CALLER 2 (O.S.)
Harvey dent didn't want us to give in
to this maniac- you think you know
better than him?
ENGEL
Guy's got a point- Dent didn't want
Batman to give himself up, is this
the right thing to do?
101.
REESE
If we could talk to Dent now he might
feel differently-
ENGEL
And we wish him a speedy recovery.
God knows we need him, now. Let's
take another call-
OLD LADY (O.S.)
Mr.Reese, what's more valuable: one
life, or a hundred?
REESE
I guess it would depend on the life.
OLD LADY (O.S.)
OK. Let's say it's your life. Is it
worth more than the lives of several
hundred others?
REESE
Of course not.
OLD LADY (O.S.)
I'm glad you feel that way. Because
I've put a bomb in one of the city's
hospitals. It's going off in sixty
minutes unless someone kills you.
ENGEL
Who is this?
OLD (O.S.)
Just a concerned citizen-
(drops pitch to the
JOKER'S VOICE)
-and regular guy...
INT. MAJOR CRIMES UNIT, GOTHAM CENTRAL -- CONTINUOUS
Gordon and his men are gearing up to take down the Joker. A
Detective turns up the TV in the bullpen-
THE JOKER (O.S.)
I had a vision. Of a world without
Batman. The mob ground out a little
profit and the police tried to shut
them down, one block at a time...
and it was so... boring. I've had a
change of heart. I don't want
Mr.Reese spoiling everything, but why
should I have all the fun? Let's
give someone else a chance...
Reese looks around, twitching. Sweating.
102.
THE JOKER (O.S.)
If Coleman Reese isn't dead in sixty
minutes, then I blow up a hospital.
Of course, you could always kill
yourself, Mr.Reese. But that would
be the noble thing to do. And you're
a lawyer.
The line rings off. Engel is speechless.
Gordon turns to the uniform COPS.
GORDON
Call in every officer- tell them to
head to their nearest hospital and
start evac and search. Call the
transit authority, school board,
prisons- get every available bus down
to a hospital- the priority is Gotham
General- wheel everybody out of that
place right now- my hunch is that's
where the bomb is.
DETECTIVE MURPHY
Why?
GORDON
That's where Harvey Dent is.
The Uniforms SPRINT off. Gordon turns to his Detectives.
UNIFORMED COP
Where are we going, sir?
On screen: Reese is a deer in the headlights.
GORDON
To get Reese.
INT. WAYNE PENTHOUSE -- DAY
Wayne and Alfred move to the elevator.
WAYNE
I need you plugged in, checking
Gordon's men and their families.
ALFRED
Looking for?
WAYNE
Hospital admissions.
ALFRED
Will you be taking the batpod, sir?
103.
WAYNE
In the middle of the day? Not very
subtle, Alfred.
ALFRED
The Lamborghini then.
(watches Wayne go)
Much more subtle.
EXT. GOTHAM STREETS -- DAY
Wayne's Lamborghini TEARS through downtown.
INT. HOSPITAL -- CONTINUOUS
CHAOS. PATIENTS and STAFF running around. COPS and TRAFFIC
WARDENS try to manage the evacuation. The COPS stationed
outside Dent's room, look around, unsure-
NURSE
Sir, are you going to help?!
Two Cops move to help wheel gurneys around the corner.
INT. LOBBY, TELEVISION STUDIO -- DAY
Gordon and his men escort Reese out of the elevator- Engel
follows with a camera crew. As they approach the glass doors
Gordon looks out at an angry crowd.
ENGEL
Commissioner?! You really think
someone would try to-
Gordon SPOTS an OLD MAN raising a PISTOL- Gordon THROWS Reese
to the ground as SHOTS SHATTER the laminated glass of the
lobby. The Crowd SURGES in all directions-
GORDON
Get the cars around back!
Gordon hauls Reese to the stairwell.
INT. LAMBORGHINI -- CONTINUOUS
Wayne SLOWS past the chaos outside the television station.
WAYNE
I saw O'Brien and Richards...
INT. BAT-BUNKER -- CONTINUOUS
Alfred types at the computer station.
ALFRED
Nothing on them. No immediate family
members admitted to a Gotham
hospital.
104.
INT. STAIRWELL, TELEVISION STUDIO -- CONTINUOUS
Gordon pulls the shaken Reese down the stairs...
REESE
(shaken)
They're trying to kill me.
...and into a police VAN...
INT. POLICE VAN -- CONTINUOUS
Gordon throws Reese in the back. Smiles.
GORDON
Well, maybe Batman will save you.
The van PEELS out. Heads onto the streets.
EXT. HOSPITAL -- CONTINUOUS
Cops load patients onto BUSES. A TV van pulls up, Engel and
his Cameraman jump out. One of Dent's guards, POLK, looks
into a SCHOOL BUS. Turns to the Cop loading it.
POLK
Okay, don't put anyone else on.
(gets on radio)
Davis, I got space, bring him out.
(no answer)
Davis?
Polk heads back towards the hospital, against the flow.
INT. LAMBORGHINI -- CONTINUOUS
Wayne trails the police van from a distance.
WAYNE
I saw Burns and Zachary... and a
patrolman I don't know.
ALFRED
Burns is clean... Zachary...
WAYNE
There's at least one I don't knowsend
the information to Gordon-
INT. POLICE VAN -- CONTINUOUS
Gordon's phone BEEPS. He looks at a text: WATCH OUT. COPS
WITH RELATIVES IN GOTHAM HOSPITALS- BURKE, RAMIREZ, TILL...
INT. DENT'S HOSPITAL ROOM -- CONTINUOUS
Polk enters the room. No Davis. Just a REDHEADED NURSE,
back towards him, reading Dent's chart.
105.
POLK
Ma'am, we're going to have to move
him, now.
(nothing)
Ma'am?
The Redhead TURNS- it is the Joker, silenced pistol in hand.
He FIRES.
EXT. GOTHAM STREETS -- CONTINUOUS
The Lamborghini zips around a car to get closer to the van.
INT. POLICE VAN -- CONTINUOUS
Gordon is reading his phone: ERIKSON, BERG. Gordon looks up
sharply. Considers the uniformed cop nervously fingering his
shotgun.
GORDON
Berg, isn't it?
The young cop, BERG, looks up. Sweating.
BERG
Commissioner?
GORDON
You okay, son?
Berg nods. Looks at his watch.
INT. HOSPITAL ROOM -- DAY
The Joker draws closer to Dent's bed. Dent STRAINS at the
leather cuffs binding him to the bed.
THE JOKER
I don't want there to be any hard
feelings between us, Harvey.
The Joker loosens Dent's restraints.
THE JOKER
When you and Rachel were being
abducted I was sitting in Gordon's
cage. I didn't rig those charges-
DENT
Your men. Your plan.
THE JOKER
Do I really look like a guy with a
plan, Harvey? I don't have a
plan...The mob has plans, the cops
have plans. You know what I am,
Harvey?
106.
Dent's hand is TREMBLING.
THE JOKER
I'm a dog chasing cars... I wouldn't
know what to do with one if I caught
it. I just do things. I'm just the
wrench in the gears. I hate plans.
Yours, theirs, everyone's. Maroni
has plans. Gordon has plans.
Schemers trying to control their
worlds. I'm not a schemer, I show
the schemers how pathetic their
attempts to control things really
are. So when I say that you and your
girlfriend was nothing personal, you
know I'm telling the truth...
Hands him the pistol. Dent holds it to the Joker's head.
EXT. INTERSECTION, GOTHAM STREETS -- CONTINUOUS
Wayne ROARS past a line of traffic to settle in a few cars
back from the police van, sitting at a red light.
INT. LAMBORGHINI -- CONTINUOUS
Wayne studies the intersection- spots a PICKUP jostling for
position on the cross street.
INT. POLICE VAN -- CONTINUOUS
Gordon watches Berg, mentally tracing the trajectory of his
shotgun barrel as Berg fiddles with his gun. Gordon starts
trying to subtly unholster his own weapon.
GORDON
I'm gonna need your weapon, son.
Berg looks at Gordon.
BERG
What?
INT. LAMBORGHINI -- CONTINUOUS
Wayne watches the driver of the pickup staring intently at
the police van. Lining it up.
INT. POLICE VAN -- CONTINUOUS
Reese looks from Berg to Gordon. Berg looks at Gordon,
trembling, the barrel of his gun inching lower in the car.
BERG
Why? Because my wife's in hospital?
GORDON
Yeah. That would be why.
107.
INT. DENT'S HOSPITAL ROOM -- CONTINUOUS
The Joker leans in, pressing his head to the gun's barrel.
THE JOKER
It's the schemers who put you where
you are. You were a schemer. You
had plans. Look where it got you. I
just did what I do best- I took your
plan, and I turned it on itself.
Look what I've done to this city with
a few drums of gas and a couple of
bullets. Nobody panics when the
expected people get killed. Nobody
panics when things go according to
plan, even if the plan is horrifying.
If I tell the press that tomorrow a
gangbanger will get shot, or a
truckload of soldiers will be blown
up, nobody panics. Because it's all
part of the plan. But when I say
that one little old mayor will die,
everybody loses their minds!
Introduce a little anarchy, you upset
the established order and everything
becomes chaos. I'm an agent of
chaos. And you know the thing about
chaos, Harvey?
Dent looks into the Joker's eyes. Finding meaning.
THE JOKER
It's fair.
Dent looks down at the coin in his hands. Turns it over,
feels it's comforting weight. Shows the Joker the good side.
DENT
You live.
He turns the coin over. The flip side is deeply SCARRED.
DENT
You die.
The Joker looks at the coin. Looks at Dent, admiringly.
THE JOKER
Now you're talking.
Dent FLICKS the coin into the air. Catches it. Looks.
EXT. INTERSECTION, GOTHAM STREETS -- CONTINUOUS
The light turns GREEN. The police van pulls into the
intersection- the pickup GUNS IT, RACING AT IT...
108.
INT. LAMBORGHINI -- CONTINUOUS
Wayne FLOORS it, YANKS the wheel to pull up onto the sidewalk-
INT. POLICE VAN -- CONTINUOUS
Berg licks his lips, nervous.
BERG
Mr.Reese?
EXT. INTERSECTION, GOTHAM STREETS -- CONTINUOUS
The pickup BARRELS at the van, FULL TILT- at the last second
Wayne's Lamborghini SLIPS alongside the van- the pickup
SMASHES INTO THE LAMBORGHINIINT.
POLICE VAN -- CONTINUOUS
As the van JOLTS with the impact Gordon LEAPS forward,
PUSHING UP Berg's shotgun barrel, which FIRES into the roof-
Gordon SMASHES Berg on the head with his sidearm.
EXT. INTERSECTION, GOTHAM STREETS -- CONTINUOUS
Gordon's men pull the pickup driver from his cab- Gordon
crouches down to the Lamborghini wreck to help pull Wayne
from the car. Gordon recognizes him as he pulls him free.
GORDON
You okay, Mr.Wayne?
Wayne looks at him, woozy. Sits on the curb.
WAYNE
Call me Bruce. I think so.
GORDON
That was a brave thing, you did.
WAYNE
Trying to catch the light?
GORDON
You weren't protecting the van?
Wayne turns- sees the police van as if for the first time.
Reese steps down, dazed.
WAYNE
Why? Who's in it?
Reese locks eyes with Wayne. Nods. Gordon sizes up Bruce
Wayne and his crushed sports car.
GORDON
You don't watch a whole lot of news,
do you, Mr.Wayne?
109.
WAYNE
(shrugs)
It can get a little intense. Think I
should go to hospital?
GORDON
Not today, I wouldn't.
INT. CORRIDOR, HOSPITAL -- CONTINUOUS
The Joker walks calmly through the mostly deserted building.
As he walks he pulls a DETONATOR from his pocket. Strolling
along he PUSHES THE BUTTON... STAGGERED EXPLOSIONS BURST INTO
THE CORRIDOR BEHIND HIM LIKE DEMOLITION BLASTS... the Joker
just walks out the door...
EXT. HOSPITAL -- CONTINUOUS
The Joker STROLLS down the steps- WINDOWS BLOW OUT IN SERIESPeople
DIVE for cover- Engel PILES into a school bus-
The Joker walks across the parking lot- THE BUILDING
COLLAPSING BEHIND HIM...
EXT. INTERSECTION, GOTHAM STREETS -- CONTINUOUS
Gordon hears the EXPLOSION.
GORDON
Gotham general...
(grabs his phone)
Did you get Dent out?
COP (O.S.)
I think so-
EXT. HOSPITAL -- CONTINUOUS
The Cop cowers as DEBRIS and SMOKE BLAST across the street-
INT. SCHOOL BUS -- CONTINUOUS
The Joker gets onto the bus. Nods at his man at the wheel.
EXT. HOSPITAL -- CONTINUOUS
All eyes are on the collapsed building. One school bus pulls
out from the line of other buses. Heads down the street.
INT. BAR, GOTHAM HEIGHTS -- DAY
An empty neighborhood dive, the local DRUNK passed out at the
bar, BARTENDER, watching BREAKING NEWS on the TV.
BARTENDER
Sweet Jesus. D'you see this, Mike?
They blew up a hospital...
110.
Detective Wuertz, at a booth looks up at the TV, bored.
BARTENDER
Shouldn't you be out there, you know,
doing something?
WUERTZ
It's my day off.
The Bartender shuts the register.
BARTENDER
I gotta take a leak, keep an eye on
things, will ya?
The Bartender steps out. The back door OPENS again.
WUERTZ
What? You need me to shake it for-
He TRAILS off as someone sticks a gun in his face: Harvey
Dent. Standing in shadow. He sits.
DENT
Hello.
WUERTZ
Dent, I thought you was...dead...
Dent leans into the light. The left side of his face is
HIDEOUSLY BURNED, cheek gone, blackened teeth and gums.
DENT
Half.
Dent picks up Wuertz's drink. Takes a SIP. Wuertz watches
the bare muscles RETRACT as Dent SWALLOWS.
DENT
Who picked up Rachel, Wuertz?
WUERTZ
It must've been Maroni's men-
Dent SLAMS the glass back on the table- Wuertz FLINCHES.
DENT
You, of all people, are gonna protect
the other traitor in Gordon's unit?
WUERTZ
I don't know- he'd never tell me.
(stares at Dent)
I swear to God, I didn't know what
they were gonna do to you-
111.
DENT
Funny, I don't know what's going to
happen to you, either.
Dent pulls his coin from his pocket. FLIPS it. Wuertz
watches it SPIN. It lands on the table. Scarred side up.
The drunk at the bar STIRS at the GUNSHOT.
EXT. GOTHAM GENERAL -- DAY
Gordon, manic, surveys the scene with a Cop-
GORDON
You must know how many were insideyou've
got patient lists, roll calls-
COP
Sir! Sir. Take a look at what we're
dealing with. Cops, National Guard-
(gestures at buses)
We're showing 50 missing- but that
building was clear. These buses are
heading off to other hospitals- my
guess is we missed one.
GORDON
Yeah? What's your guess about where
Harvey Dent is?
The cop says nothing.
GORDON
Keep looking. Keep it to yourself.
INT. FOX'S OFFICE WAYNE INDUSTRIES -- DAY
Fox is watching the news. His intercom buzzes.
VOICE (O.S.)
Mr.Fox? Security is showing a breakin
at the R and D department.
INT. CORRIDOR OUTSIDE RESEARCH AND DEVELOPMENT -- DAY
Fox watches two security men force the door. He enters
alone.
INT. LAB, RESEARCH AND DEVELOPMENT -- DAY
Fox enters the dimly-lit room. At one end is an
extraordinary array of thousands of tiny monitors. Fox
approaches, fascinated, as they quietly display architectural
patterns individually and in concert. The images become a
MAP.
BATMAN
Beautiful. Isn't it?
112.
Fox nods, staring at the monitors as Batman approaches.
FOX
Beautiful. Unethical. Dangerous.
You've turned every phone in the city
into a microphone...
Lucius presses a key. The BABBLE of a MILLION CONVERSATIONS
at once fills the room. Every cell phone in the city.
BATMAN
And high frequency
generator/receiver.
FOX
Like the phone I gave you in Hong
Kong. You took my sonar concept and
applied it to everybody's phone in
the City. With half the city feeding
you sonar you can image all of
Gotham.
(turns to Batman)
This is wrong.
BATMAN
I've got to find this man, Lucius.
FOX
But at what cost?
BATMAN
The database is null-key encrypted.
It can only be accessed by one
person.
FOX
No one should have that kind of
power.
WAYNE
That's why I gave it to you. Only
you can use it.
Lucius looks at Batman. Hard.
FOX
Spying on thirty million people
wasn't in my job description.
Batman points to a TV screen. Fox turns. ON SCREEN: the
Joker shakes his head above a graphic "LATEST THREAT"...
THE JOKER
What does it take to make you people
want to join in..?
113.
EXT. SITUATION TENT AT GOTHAM GENERAL -- CONTINUOUS
Gordon watches a screen. Grave.
THE JOKER
You failed to kill the lawyer... I've
got to get you off the bench and into
the game. So, here it is...
INT. BAR, DOWNTOWN -- CONTINUOUS
The bar, packed with business people watches the TV. SILENT.
THE JOKER
Come nightfall, this city is mine,
and anyone left here plays by my
rules. If you don't want to be in
the game, get out now.
Bar patrons start moving... The Joker reaches for the camera-
THE JOKER
But the bridge-and-tunnel crowd are
in for a surprise.
CUT TO STATIC. The bar patrons look around, confused.
INT. LAB, RESEARCH AND DEVELOPMENT -- CONTINUOUS
Fox turns from the TV to look at Batman.
BATMAN
Trust me.
Fox stares at Batman.
BATMAN
This is the audio sample.
He plugs a USB dongle into the console. A sample of the
Joker's voice from the call-in news program plays.
BATMAN
If he talks within range of any phone
in the city, you'll be able to
triangulate his position.
Lucius toggles a menu. The city is an open book- People
working, eating, sleeping. Lucius shakes his head.
BATMAN
When you've finished, type your name
to switch it off.
FOX
I'll help you this one time...
Lucius sits at the console. Batman moves off-
114.
FOX
But consider this my resignation.
Batman turns. Fox looks at him, serious.
FOX
As long as this machine is at Wayne
Industries, I won't be.
EXT. VARIOUS LOCATIONS -- DUSK
Gothamites POUR out of the city, on foot and by car... the
BRIDGES and TUNNELS are deserted, but for BOMB SQUAD search
teams.
INT. CITY HALL -- CONTINUOUS
Gordon briefs the Mayor.
GORDON
My officers are going over every inch
of the tunnels and bridges, but with
the Joker's threat they're not and
option.
MAYOR
Land routes East?
GORDON
Backed up for hours. Which leaves
the ferries with thirty thousand
waiting to board. Plus, corrections
are at capacity, so I want to use a
ferry to take some prisoners off the
island.
MAYOR
The men you and Dent put away? Those
aren't people I'm worried about.
GORDON
You should be- they're the people you
least want to be stuck with in an
emergency. Whatever the Joker's
planning, it's a good bet that
Harvey's prisoners might be involved.
I want 'em out of here.
EXT. FERRY TERMINAL -- DUSK
At the ferry terminal, National Guardsman watch over the
THIRTY THOUSAND jostling, scared people waiting to board the
two MASSIVE FERRIES to Seven Sisters. Grumbles turn to YELLS
as 800 PRISONERS are loaded onto a ferry by shotgun-toting
CORRECTIONS OFFICERS.
115.
CIVILIAN
That ain't right! We should be on
that boat.
NATIONAL GUARDSMAN
You want to ride across with them, be
my guest.
EXT. BROWNSTONE -- DUSK
Maroni climbs into the back of a limo.
INT. LIMO -- DUSK
Maroni settles back into his seat. The car pulls away.
MARONI
Don't stop for lights, cops, nothing.
DENT
Going to join your wife?
Maroni STARTS. Someone is in here with him. Harvey Dent-
Two Face- leans forward, clutching a pistol.
DENT
You love her?
MARONI
Yes.
DENT
Can you imagine what it would be like
to listen to her die?
MARONI
Take it up with the Joker. He killed
your woman. Made you... like this...
DENT
The Joker's just a mad dog. I want
whoever let him off the leash.
Maroni looks at Dent. Worried.
DENT
I took care of Wuertz, but who was
your other man inside Gordon's unit?
Who picked up Rachel? It must've
been someone she trusted.
MARONI
If I tell you, will you let me go?
DENT
It can't hurt your chances.
116.
MARONI
It was Ramirez.
Pulls out his coin. Dent cocks the pistol...
MARONI
But you said-
DENT
I said it couldn't hurt your chances.
Dent FLIPS it. Looks: good side. He shrugs.
DENT
Lucky guy.
Maroni looks confused. Dent FLIPS the coin again. Looks
down at the coin. Shakes his head.
DENT
But he's not.
MARONI
Who?
Dent smiles. PUTS HIS SEAT BELT ON.
DENT
Your driver.
Dent presses the barrel of the revolver behind the shadow of
the driver. Maroni LUNGES, SCREAMING. Dent FIRES.
EXT. BRIDGE -- DUSK
The Limo SWERVES off of the bridge, SOARS out over the canal,
and PANCAKES into the RETAINING WALL.
EXT. FERRY TERMINAL -- DUSK
CIVILIANS CRAM their way onto one ferry. Finally, the
COMMANDER of the National Guard unit SIGNALS to his men to
STOP BOARDING and CAST OFF.
The two FERRIES set off across the river, heading for the
lights of the distant shore of the mainland.
INT. BRIDGE, PRISONER FERRY -- NIGHT
The FIRST MATE looks out the window, at the second ferry. It
is DEAD in the WATER. He turns to the PILOT [PRISON FERRY].
FIRST MATE
They've lost their engines.
117.
PILOT [PRISON FERRY]
Get on the radio and tell 'em we'll
come back for them once we dump these
scumbags-
Suddenly, the control panel FLICKERS and DIES.
PILOT [PRISON FERRY]
Get down to the engine room.
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
The First Mate skirts around the PRISONERS and CORRECTIONS
OFFICERS...
INT. ACCESS CORRIDOR, PRISONER FERRY -- NIGHT
The First Mate opens the door to the engine room. STOPS.
HUNDREDS OF BARRELS OF DIESEL FUEL. And a small, wrapped
PRESENT, topped with a BOW.
INT. BRIDGE, PRISONER FERRY -- NIGHT
The Pilot [Prison Ferry] is holding the small present. His
radio CRACKLES.
PILOT [PASSENGER FERRY] (O.S.)
Same thing over here- enough diesel
to blow us sky high. And a present.
EXT. ELEVATED ROADWAY, DOWTOWN GOTHAM -- CONTINUOUS
Batman sits on the bat-pod, cape blowing. Listening.
BATMAN
Fox? There's something going on on
the ferries...
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
As cold scared Families watch, the NATIONAL GUARD COMMANDER
UNWRAPS that ferry's present. Inside, he finds a crude
REMOTE DETONATOR.
NATIONAL GUARD COMMANDER
Why would they give us the detonator
to our own bomb?
Up in the wiring at the ceiling, a CELL PHONE taped in to the
P.A. rings and answers.
THE JOKER (O.S.)
Tonight, you're all going to be part
of a social experiment.
ON BOTH FERRIES: CIVILIANS, PRISONERS, CREW, AND NATIONAL
GUARDSMEN ALL LISTEN AS THE JOKER'S VOICE RINGS OUT.
118.
INT. LAB, WAYNE ENTERPRISES -- NIGHT
Lucius Fox looks up as the console CHIMES.
FOX
I'm zeroing in.
THE JOKER (O.S.)
Through the magic of diesel fuel and
ammonium nitrate, I'm ready right now
to blow you all sky high. Anyone
attempts to get off their boat, you
all die...
FOX
His voice is on the ferry, but that's
not the source...
EXT. ROOFTOPS ABOVE GOTHAM -- NIGHT
Batman looks out, across the entire city skyline.
BATMAN
Do you have a location on the Joker?
FOX
It's west...
Batman FIRES UP the bat-pod- his cape SHRINKS into its pack
form as he PEELS OUT, ROARING into the night.
THE JOKER (O.S.)
But we're going to make things a
little more interesting than that.
Tonight, we're going to learn a
little bit about ourselves...
INT. GORDON HOME -- CONTINUOUS
Barbara Gordon answers the phone.
RAMIREZ (O.S.)
Barbara, it's Anna Ramirez-
BARBARA
Hi, Anna-
RAMIREZ (O.S.)
Listen carefully, there's no time.
Jim needs you to pack up and get the
kids in the car right away.
BARBARA
But the units outside-
119.
RAMIREZ (O.S.)
Barbara, those cops can't be trusted.
Jim needs you away from them as soon
as possible. I'll call them off for
10 minutes, you'll have to move fast-
BARBARA
But where-
RAMIREZ (O.S.)
I'm going to give you an address- Jim
will meet you there...
EXT. MCU -- CONTINUOUS
Ramirez is holding the phone.
RAMIREZ
250, 52nd street. Leave as soon as
the patrol car pulls out.
Dent is holding a gun at Ramirez's head. She hangs up.
DENT
She believe you?
Ramirez nods.
DENT
She trusts you. Just like Rachel
did.
RAMIREZ
I didn't know-
DENT
'What they were gonna do'? You're
the second cop to say that to me.
What, exactly, did you think they
were going to do?
RAMIREZ
I'm sorry- they got me early on. My
mother's medical bills and my-
DENT
Don't!
Dent FLIPS his coin.
RAMIREZ
I took a little from them- once
they've got you, they keep you. I'm
sorry.
Dent looks at his coin. Good side.
120.
DENT
Live to fight another day, officer.
Dent CRACKS her on the head with his gun.
INT. BRIDGE, PRISONER FERRY -- NIGHT
The Pilot [Prison Ferry] tries the radio. It's DEAD.
PILOT [PRISON FERRY]
He killed the radio.
THE JOKER (O.S.)
There's no need for all of you to
die. That would be a waste. So I've
left you both a little present.
EXT. PENTHOUSE, PREWITT BUILDING -- NIGHT
The Joker stares out over the harbor, at the ferries.
Talking into a cell phone. Holding a detonator, with TWO
BUTTONS.
THE JOKER
Each of you has a remote to blow up
the other boat.
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
The Prisoners and Corrections Officers listen. Appalled.
THE JOKER (O.S.)
At midnight, I blow you all up. If,
however, one of you presses the
button, I'll let that boat live. You
choose. So who's it going to be-
Harvey Dent's most wanted scumbag
collection... or the sweet innocent
civilians?
(beat)
Oh, and you might want to decide
quickly, because the people on the
other boat may not be quite so noble.
The Joker HANGS UP. The Pilot [Prisoner Ferry] looks down at
the remote in his hands. Prisoners begin YELLING and
PUSHING. The WARDEN takes the remote from the Pilot- COCKS
his shotgun. His men level their weapons at the crowd.
EXT. FERRY TERMINAL -- CONTINUOUS
Gordon looks out at the ferries. His phone rings.
BATMAN
I have the Joker's location-
121.
EXT. GOTHAM STREETS -- CONTINUOUS
Batman ROARS along on the bat-pod.
BATMAN
Prewitt building. Assemble on the
building opposite.
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
The National Guard Commander is holding the remote. Several
passengers take a step towards him. He PULLS his weapon.
NATIONAL GUARD COMMANDER
Stay back.
A BUSINESSMAN clutching his briefcase speaks up.
BUSINESSMAN
Who are you to decide? We ought to
talk it over, at least.
Other passengers agree. A MOTHER with two KIDS speaks up.
MOTHER
We don't all have to die. Why should
my babies die? Those men had their
chance-
NATIONAL GUARD COMMANDER
We're not talking about this...
PASSENGER 1
They're talking over the same exact
thing on the other boat.
PASSENGER 2
If they're even bothering to talk.
Let's put it to a vote.
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
As the Prisoners grow angrier, a CORRECTIONS OFFICER FIRES
his shotgun into the air. The Prisoners back off. Slightly.
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
A GUARDSMAN on this boat passes around a hat. People drop
CHITS into it. Passengers filling out chits eye each other.
People on their phones say goodbye to loved ones.
The Pilot [Passenger Ferry] looks out across the water to the
other Ferry. Looks up at the clock. Ten to midnight...
STARES down at his blank chit.
122.
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- NIGHT
Gordon and his SWAT team leaders set up SNIPER and SCOPE
positions on the balustrade.
INT. GARAGE, PREWITT BUILDING -- CONTINUOUS
A SWAT stands beside the empty school bus.
SWAT
We've found our missing bus.
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS
Gordon looks at the SWAT LEADER.
GORDON
Then we have a hostage situation.
They look across at the large windows of the Prewitt
Building. The Joker's men, in crude, homemade CLOWN MASKS
are clearly visible, automatic weapons in hand.
SWAT SNIPER
I got hostages!
They look through his scope. Crouched deeper in the room,
PATIENTS, DOCTORS, and NURSES, huddled.
GORDON
It's a shooting gallery. Why'd he
choose a spot with such big windows?
BATMAN
He likes the view.
Batman gestures towards the view of the ferries.
SWAT LEADER
We have clear shots on five clowns.
Snipers take them out, smash the
windows- a team rappels in, a team
moves in by the stairwells. 2 or 3
or three casualties, max.
GORDON
(barely hesitates)
Let's do it.
BATMAN
It's not that simple. With the
Joker, it never is.
GORDON
What's simple, is that every second
we don't take him, those people on
the ferries get closer to blowing
each other up!
123.
BATMAN
That won't happen.
GORDON
Then he'll blow them both up!
There's no time- we have to go in now-
BATMAN
There's always a catch with him-
GORDON
That's why we can't wait- we can't
play his games-
Batman turns.
BATMAN
I need five minutes. Alone-
GORDON
No. There's no time. We have clear
shots.
Gordon pulls his gun. Batman turns back. The SWATS watch.
GORDON
Dent's in there with them. We have
to save Dent! I have to save Dent!
(to SWAT Leader)
Get ready-
Batman LEAPS from the building, OPENS his cape- SOARS across
the gulf between the two buildings- Gordon puts his weapon
away. Curses softly. Turns to the SWAT leader.
GORDON
Two minutes. Then you breach.
EXT. PREWITT BUILDING -- CONTINUOUS
Batman LANDS against the glass two floors below-
BATMAN
Fox. I need picture.
INT. LAB, RESEARCH AND DEVELOPMENT -- CONTINUOUS
Fox hits some keys-
FOX
You've got p.o.v. on alpha channel,
omni on beta-
124.
EXT. PREWITT BUILDING -- CONTINUOUS
SMOKED GLASS EYEPIECES slip down over Batman's eye holes.
Batman's SONAR P.O.V.: the layers of the building dissolve,
levels of TRANSPARENCY PULSING rhythmically... Batman can see
the people inside the building...
INT. PENTHOUSE, PREWITT BUILDING -- NIGHT
The Joker is standing by the window, looking out at his
handiwork. The Chechen's DOGS start BARKING. He SMILES.
EXT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
Batman reaches into his utility belt, SPRAYS PLASTIC onto the
glass- lets it harden- PUNCHES the window-which BREAKS
QUIETLY as the pieces stick to the laminate- he slips inside-
INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
Batman's eyes glow white as he uses his sonar to look THROUGH
the corner: AN ARMED CLOWN IS LEANING AGAINST THE CORNER...
EXT. ROOFTOP, PREWITT BUILDING -- CONTINUOUS
A six man SWAT team prepares to rappel from the roof.
INT. STAIRWELL, PREWITT BUILDING -- CONTINUOUS
A SWAT team moves up the stairs.
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS
Gordon's phone rings.
GORDON
Hello? Barbara, calm down-
DENT (O.S.)
Hello, Jim.
GORDON
Harvey? What the hell's going on?
DENT (O.S.)
You're about to know what my
suffering is really like...
Gordon looks across at the Prewitt penthouse...
GORDON (O.S.)
Where are you? Where's my family?!
DENT
Where my family died.
Click. Gordon looks at the SWAT leader. Pale.
125.
SWAT LEADER
Red Team. Go!
Gordon moves to the door off the roof.
INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
Batman GRABS the Armed Clown, drops him, silently. He goes
to disarm him- THE WEAPON IS DUCT-TAPED TO THE CLOWN'S HANDS.
Batman RIPS off the clown mask:
STARING, FRIGHTENED EYES- MOUTH DUCT-TAPED SHUT... it's
ENGEL.
Batman looks up: Four more clowns line the windows, weapons
duct-taped to their hands. On SONAR: he looks into where the
hostages are crouched... the "PATIENTS" and "DOCTORS" are
carrying weapons- these are the Joker's men... Above them
SWATS RAPPEL FROM THE ROOFTOP. ~In the stairwells, two more
teams prepping.
BATMAN
Don't. Move.
Engel nods, terrified.
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS
The SWATS line up the clowns in their sights...
INT. STAIRWELL, PREWITT BUILDING -- CONTINUOUS
The SWAT team arrives at the penthouse fire exit. They
spread CHARGES across the inner wall-
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS
The SWAT Leader checks his watch.
SWAT LEADER
Go! Go! Go!
A SWAT Sniper zeroes in on a clown- the clown DISAPPEARS- the
Sniper looks up, confused-
INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
Batman yanks the clown along the floor using his grapple gunthe
clown takes down the two next to him- Batman leaps for
the nearest two as SHOTS SHATTER the glass-
EXT. PREWITT BUILDING -- CONTINUOUS
The SWATS rappel down the building- SWING in through the
broken windows-
126.
INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
The "hostages" reel from the BLAST- The SWATS SWOOP inaiming
weapons at the clowns, throwing PERCUSSION GRENADESBatman
takes out the SWATS with fists and BATARANGSThe
last SWAT aims at BATMAN- behind him a "DOCTOR" raises a
shotgun... behind the "Doctor" Batman can see through the
wall at SWATS preparing to breach... Batman VAULTS over the
SWAT into a two-foot kick into the "Doctor's" chest-
INT. STAIRWELL, PREWITT BUILDING -- CONTINUOUS
The Swats BLAST OUT THE WALL- the team leader steps up to the
hole... the BAT-GRAPPLE FIRES out-lodging in his kevlar
vest... he is YANKED, SCREAMING, through the door. The rest
of his team look at each other. Steel themselves. Move in
through the hole...
INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS
As the SWATS race in they find Engel, terrified, next to a
pile of unconscious "hostages", and their team leader, one
end of an absailing rope tied around his waist. Batman is on
them, weaving KICKING, PUNCHING, and, with one hand, clipping
carabinners looped to the absailing rope onto their webbing
of vests.
Batman steps back- picks up the team leader- SWAT weapons aim
at him- he hurls the Team Leader out the window... the SWATS
watch him go... the rope pays out... one by one they are
YANKED out of the window...
EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS
A SNIPER watches through his scope as the six man SWAT team
soars out of the window and drops. The line snaps taut and
they hang, like a mountaineering team in crisis. Batman,
crouched in the broken window, secures the line.
SNIPER
What the hell's he doing?
Batman looks right at the sniper- Raises his grapple gun-
BAM. The bat grapple smashes into the Sniper's scope- the
rifle is YANKED out of his hands.
INT. PREWITT BUILDING -- CONTINUOUS
Batman races past a dazed Engel...
ENGEL
(pathetic)
Thanks.
...into the main office. The Joker is there.
127.
THE JOKER
You came. I'm touched.
BATMAN
Where's the detonator?
The Dogs LEAP at Batman- SMASH him to the ground...
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
The Pilot [Passenger Ferry] finishes counting the votes.
Reads the verdict.
PILOT [PASSENGER FERRY]
The tally is 196 votes against.
(looks down)
And 340 votes for.
The passengers avoid eye contact with each other.
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
The Corrections Officers are in a phalanx in the corner,
facing off against hundreds of menacing Prisoners.
PRISONER 1
Do you wanna die!
The Warden and his men look at each other. At the clock.
INT. PENTHOUSE, PREWITT BUILDING -- NIGHT
Batman WRESTLES with the Rotweilers- a blinding mass of
Batman, black fur and bared teeth-
The Joker POPS a switchblade. Moves in to the mass- Batman
KICKS OFF the last of the dogs- the Joker JABS his knife into
Batman's RIBSTHE
JOKER
All the old familiar places.
Batman recoils in pain. The Joker BUTTS him- KNEES him-
ENERGY explodes from his lean frame- he KICKS the injured
Batman back towards the glass...
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
The Pilot [Passenger Ferry] looks at the remote in his hands.
PILOT [PASSENGER FERRY]
I voted for it. Same as most of you.
Doesn't seem right that we should all
die...
Someone calls out from the back.
128.
PASSENGER 3
So do it!
PILOT [PASSENGER FERRY]
I didn't say I'd do it. Don't
forget. We're still here. Which
means they haven't killed us, yet,
either.
He sets the remote down on a bench in the front of the
lounge. The other passengers and guardsmen stare at it...
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
A HUGE, TATTOOED PRISONER pushes his way to the front. He
walks towards the Warden, who is sweating, looking at the
remote.
TATTOOED PRISONER
You don't wanna die. But you don't
know how to take a life. Give it to
me.
The Warden looks at the remote. At the clock.
TATTOOED PRISONER
These men will kill you and take it,
anyway. Give it to me, you can tell
people I took it by force... give it
to me and I'll do what you should
have done ten minutes ago.
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
Everyone stares at the remote. One minute left. The
Businessman stands. Walks over and picks it up.
BUSINESSMAN
No one wants to get their hands
dirty. Fine. I'll do it. Those men
on that boat made their choices.
They chose to murder and steal. It
makes no sense for us to die, too.
He looks at the other passengers. No one makes eye contact.
INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT
The Warden slowly hands him the REMOTE. The Prisoner looks
at it. He looks the Warden in the eye...
Then TOSSES the remote out the window.
Warden, prisoners and officers are stunned.
129.
EXT. PENTHOUSE, PREWITT BUILDING -- NIGHT
Batman FLIES backwards THROUGH THE WINDOW- glass flying- the
Joker KICKS out a wooden brace holding up the STEEL FRAMEBatman's
arms fly up as it comes crashing down onto his necksaved
by his protective gauntlets. Batman GRUNTS as the
Joker STEPS onto the steel beam...
THE JOKER
If we don't stop fighting, we're
going to miss the fireworks.
BATMAN
There won't be any fireworks.
Batman STRUGGLES to keep the beam from CRUSHING his neck...
INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT
The Businessman stares at the remote in his hands. Finally,
he puts it down. Sits down. Waits to die.
The clock strikes MIDNIGHT.
EXT. PENTHOUSE, PREWITT BUILDING -- NIGHT
Batman indicates the clock... twelve o'clock.
BATMAN
What were you hoping to prove? That
deep down, we're all as ugly as you?
The Joker looks at the clock...
INT. BOTH FERRIES -- CONTINUOUS
The Passengers brace. Look at the clock. Confused...
INT. PREWITT BUILDING -- CONTINUOUS
The smile disappears from the Joker's face.
BATMAN
You're alone.
The Joker CROUCHES down, hovering above Batman's face and
arms. Shows him the remote.
THE JOKER
Can't rely on anyone these days.
The Joker ARMS the remote...
THE JOKER
Have to do everything yourself. I
always have- and it's not always
easy...
130.
(MORE)
(smiles, remembering)
You know how I got these scars?
Batman looks up at him.
BATMAN
No. But I know how you get these-
Batman's SCALLOP BLADES FIRE OUT OF HIS GAUNTLET, nailing the
Joker in the chest and arm- he STAGGERS back- Batman, freed,
leaps forward- KICKS HIM OVER THE EDGE- GRABS the remote-
The Joker GIGGLES as he FALLS, enjoying the ride. Something
SLAMS into his leg, and he JERKS to a stop- BATMAN'S GRAPPLE.
The Joker HOLLERS in pain as Batman HAULS him up.
THE JOKER
Just couldn't let me go, could you?
I guess this is what happens when an
unstoppable force meets an immovable
object. You truly are incorruptible,
aren't you?
Batman secures the Joker UPSIDE DOWN. The Joker is LAUGHING.
THE JOKER
You won't kill me out of some
misplaced sense of selfrighteousness...
and I won't kill you
because you're too much fun. We're
going to do this forever.
BATMAN
You'll be in a padded cell, forever.
THE JOKER
Maybe we can share it. They'll need
to double up, the rate this city's
inhabitants are losing their minds...
BATMAN
This city just showed you it's full
of people ready to believe in good.
The Joker looks up at him. A twinkle in his eye.
THE JOKER
Till their spirit breaks completely.
Until they find out what I did with
the best of them. Until they get a
good look at the real Harvey Dent,
and all the heroic things he's done.
(indicates ferry)
Then those criminals will be straight
back onto the streets and Gotham will
understand the true nature of
heroism.
(off look)
131.
THE JOKER (cont'd)
(MORE)
You didn't think I'd risk losing the
battle for the soul of Gotham in a
fist fight with you? You've got to
have an ace in the hole. Mine's
Harvey.
Batman hauls the Joker up, nose to nose.
BATMAN
What did you do?
THE JOKER
I took Gotham's white knight. And I
brought him down to my level. It
wasn't hard- madness is like gravity.
All it takes is a little push.
Joker laughs. Batman leaves him to the SWATS.
BATMAN
Lucius. Find Harvey Dent.
EXT. BURNT WAREHOUSE, 52ND STREET -- NIGHT
Gordon gets out of his car, gun drawn. Makes his way into
the blackened wreck of a building...
INT. BURNT WAREHOUSE, 52ND STREET -- NIGHT
Gordon peers into the darkness.
GORDON
Dent?
No reply. Gordon makes his way deeper. Up the stairs.
INT. SECOND FLOOR, BURNT WAREHOUSE -- NIGHT
Gordon spots Barbara and their two children huddled together.
He moves towards them- Barbara is shaking her head-
WHAM! Dent cracks Gordon over the head with his gun. Dent
disarms Gordon, rolls him over. He turns to look at the
ENORMOUS hole in the floor. From this side, in the
moonlight, Dent looks completely normal.
DENT
This is where they brought her,
Gordon. After your people handed her
over. This is where they bound her.
This is where she suffered. This is
where she died.
GORDON
I know. I was here. Trying to save
her.
Dent TURNS, revealing his dark side.
132.
THE JOKER (cont'd)
DENT
But you didn't, did you?
GORDON
I couldn't.
DENT
Yes, you could.
DENT
If you'd listened to me- if you'd
stood up against corruption instead
of doing your deal with the devil.
GORDON
I was trying to fight the mob-
Dent MOVES towards Gordon.
DENT
You wouldn't dare try to justify
yourself if you knew what I'd lost.
Have you ever had to talk to the
person you love most, wondering if
you're about to listen to them die?
You ever had to lie to that person?
Tell them it's going to be all right,
when you know it's not? Well, you're
about to find out what that feels
like. Then you'll be able to look me
in the eye and tell me you're sorry.
Dent turns- steps over to Barbara- puts the gun to her temple-
GORDON
Harvey. Put the gun down. You're
not going to hurt my family.
DENT
No, just the person you need most.
(cocks gun)
So is it your wife?
GORDON
Put the gun down.
Dent moves the gun to point at Gordon's little girl.
GORDON
Please, Harvey...
Dent moves to James Gordon. Brushes the hair out of the
boy's eyes with the muzzle. Gordon SNAPS.
GORDON
Goddamit. Stop pointing that gun at
my family, Dent.
133.
DENT
We have a winner.
Dent pulls the boy away from his mother.
BARBARA
No! Jim stop him! Don't let him!
Dent walks James past Gordon to the edge of the burnt floor.
He touches the raw wood at the edge of the floor.
GORDON
I'm sorry, Harvey. For everything.
But, please. Please don't hurt him.
SIRENS.
EXT. BURNT WAREHOUSE, 52ND STREET -- CONTINUOUS
Cop cars descend on the warehouse.
INT. SECOND FLOOR, BURNT WAREHOUSE -- CONTINUOUS
Dent looks at Gordon, FURIOUS.
DENT
You brought your cops?
GORDON
All they know is there's a situation.
They don't know who, or what.
They're just creating a perimeter.
DENT
You think I want to escape?! There's
no escape from this-
Dent indicates his face. His suffering.
GORDON
No one needs to escape, because no
one's done anything wrong. And
nobody has to.
Dent chuckles. A macabre sight.
DENT
I've done plenty wrong, Gordon. Just
not quite enough. Yet.
Dent squeezes the gun a little tighter against the little
boy's neck. The boy WHIMPERS.
BATMAN
You don't want to hurt the boy, Dent.
Dent turns. Batman steps from the shadows.
134.
DENT
It's not about what I want. It's
about what's fair.
(to Gordon and Batman)
You thought we could be decent men in
an indecent world. You thought we
could lead by example. You thought
the rules could be bent but not
break... you were wrong. The world
is cruel.
(shows his coin)
And the only morality in a cruel
world is chance. Unbiased.
Unprejudiced. Fair.
BATMAN
Nothing fair ever came out of the
barrel of a gun, Dent.
DENT
(shows the coin)
His boy's got the same chance she
had. Fifty-fifty.
Batman steps closer, desperate, trying to reach Dent.
BATMAN
What happened to Rachel wasn't
chance. We decided to act. We
three. We knew the risks and we
acted as one. We are all responsible
for the consequences.
Dent looks at Batman. Pleading.
DENT
Then why was it only me who lost
everything?
Batman looks into Dent's eyes. Emotional.
BATMAN
It wasn't.
DENT
(furious)
The Joker chose me!
BATMAN
Because you were the best of us. He
wanted to prove that even someone as
good as you could fall.
DENT
(bitter)
And he was right.
135.
BATMAN
But your fooling yourself if you
think you're letting chance decide.
You're the one pointing the gun,
Harvey. So point it at the people
who were responsible. We all acted
as one. Gordon. Me. And you.
Dent is listening, the wheels in his deranged mind turning.
DENT
Fair enough.
Dent eases his grip on the boy.
DENT
You first.
He points the gun at Batman. FLIPS the coin. TAILS. He
SHOOTS. Batman COLLAPSES to the ground, clutching his gut.
DENT
My turn.
He points the gun at his own head. FLIPS the coin. HEADS.
He looks a little disappointed.
Finally, he points the gun back at Gordon's son.
DENT
Your turn, Gordon.
GORDON
You're right, Harvey. Rachel's death
was my fault. But punish me-
DENT
I'm about to. Tell your son it's
going to be all right, Gordon. Lie.
Like I lied.
Gordon looks up. Pained. Locks eyes with his son.
GORDON
It's going to be all right, son.
Dent FLIPS the coin. High. Dent's eyes FOLLOW the coin up-
Batman HURLS himself at Dent and the boy.
All three of them VANISH over the edge. A TERRIBLE CRASHthen
silence, but for the sound of DENT'S COIN, SPINNING on
the floor at the edge of the hole.
Gordon, horrified, RUNS to the edge- peers down-
Dent lies at the bottom of the hole, his neck broken. DEAD.
The coin stops spinning, GOOD SIDE UP.
136.
Gordon's son swings into view, HANGING from Batman, who is
holding onto a JOIST with all his strength...
Gordon reaches down to GRAB his son- HAULS him up...
Batman FALLS..., dropping and dropping, SMASHING THROUGH
protruding WOOD and PIPES... He lands HARD near Dent.
EXT. BURNT WAREHOUSE, 52ND STREET -- CONTINUOUS
The cops prepare to STORM the front door.
INT. BURNT WAREHOUSE, 52ND STREET -- CONTINUOUS
Gordon races down the stairs. Rushes over to Batman.
JAMES
Dad, is he okay?
Gordon crouches at Batman's side. The Batman GRASPS Gordon's
arm. STAGGERS to his feet.
GORDON
Thank-you.
BATMAN
You don't have to-
GORDON
Yes, I do.
Gordon and Batman stare down at Dent's body. Grave.
GORDON
The Joker won.
Gordon stares down at SCARRED SIDE of Harvey Dent.
GORDON
Harvey's prosecution, everything he
fought for, everything Rachel died
for. Undone. Whatever chance Gotham
had of fixing itself... whatever
chance you gave us of fixing our
city... dies with Harvey's
reputation. We bet it all on him.
The Joker took the best of us and
tore him down. People will lose all
hope.
BATMAN
No. They won't.
(looks at Gordon)
They can never know what he did.
137.
GORDON
(incredulous)
Five dead? Two of them cops? We
can't sweep that under-
BATMAN
No. But the Joker cannot win.
Batman crouches to Dent's body.
BATMAN
Gotham needs its true hero.
Gently, he turns Dent's head so the good side of his face is
up. Gordon looks from Dent's face to Batman. Understanding.
GORDON
You? You can't-
BATMAN
Yes, I can.
Batman stands. Faces Gordon.
BATMAN
You either die a hero or live long
enough to see yourself become the
villain. I can do those things
because I'm not a hero, like Dent. I
killed those people. That's what I
can be.
GORDON
(angry)
No, you can't! You're not!
Batman hands Gordon his police radio.
BATMAN
I'm whatever Gotham needs me to be.
INSERT CUT: GORDON STANDS AT A PODIUM AT DENT'S FUNERAL.
BEHIND HIM IS A LARGE PHOTOGRAPH OF DENT SMILING.
GORDON
...a hero. Not the hero we deservedthe
hero we needed. Nothing less
than a knight. Shining...
GORDON (V.O.)
They'll hunt you.
BATMAN (V.O.)
You'll hunt me.
138.
INSERT CUT: GORDON, ON THE ROOF OF GOTHAM CENTRAL, AXE IN
HAND, WATCHED BY AN ASSORTMENT OF COPS AND REPORTERS...
BATMAN (V.O.)(CONT’D)
You'll condemn me, set the dogs on
me...
GORDON TAKES THE AXE TO THE BAT SYMBOL- SPARKING, SMASHING...
BATMAN (V.O.)(CONT’D)
...because it's what needs to happen.
INSERT CUT: ALFRED HOLDS THE LETTER FROM RACHEL. THINKING.
BATMAN (V.O.)(CONT’D)
Because sometimes the truth isn't
good enough...
INSERT CUT: ALFRED BURNS THE ENVELOPE FROM RACHEL.
BATMAN (V.O.) (CONT’D)
...sometimes, people deserve more.
INSERT CUT: LUCIUS FOX TYPES HIS NAME INTO THE SONAR MACHINE.
INSERT CUT: FOX HITS THE "X". THE MACHINE FLASHES RED "SELFDESTRUCT
WARNINGS". THEN DIES. FOX SMILES TO HIMSELF.
Batman hurries off. LIMPING into the shadows.
JAMES
Batman?!
James RUNS down the stairs to join father-
JAMES (CONT’D)
Why's he running, Dad?!
Gordon stares after Batman.
GORDON
Because we have to chase him...
EXT. WAREHOUSE -- CONTINUOUS
As Cops race into the buildings the DOGS get the scent and
pull away from the doorway, following the SHADOW into the
stacks of shipping containers...
INT. WAREHOUSE -- CONTINUOUS
James looks at his father, confused.
JAMES
He didn't do anything wrong!
Gordon stares after the Batman. The sound of the dogs
becoming louder and more ferocious.
139.
JAMES (CONT’D)
Why, dad? Why?!
GORDON
Because...
EXT. DOCKSIDE ROOFTOPS -- CONTINUOUS
The Batman LURCHES between shipping containers. STUMBLING.
BLEEDING. He makes it to the bat-pod...
GORDON (V.O.)
...he's the hero Gotham deserves...
but not the one it needs right now.
So we'll hunt him, because he can
take it. Because he's not our
hero...
The bat-pod streaks through Gotham's underground streets, the
Batman's cape fluttering behind. A wraith...
GORDON (V.O.)
...he's a silent guardian, a watchful
protector... a dark knight.
The Batman races up a ramp into a blinding light-
CUT TO BLACK.
CREDITS.
END.