Batman script
This is a half-hour, film-noir-type drama. It is a demonstration of how I personally think the Batman character could (or should) be portrayed.
The gimmick here is that you never really see Batman; and then only in shadow or only a glimpse so brief you wonder if you imagined it. I'm picturing this as a half-hour drama, concentrating on only one story at a time--quite a difference from current hour-long dramas where they spend time on multiple story lines.
"Just Like Family"
By Les Bonser
The characters in this script are trademarks of DC Comics.
SCENE - EXTERIOR, BUSY CITY STREET, DAY
POV is daytime street scene. It appears to be summertime. It's a large city, a gritty place with a wide variety of people. There are homeless street people wandering aimlessly amidst men and women in slick suits carrying briefcases as they rush from the subway station to their banks and offices.
Scene opens on CHIEF INSPECTOR BULLOCK as he walks along the street.
Bullock is 45 but looks older, heavy-set, and somewhat unkept. Several days stubble covers his chin. He wanders through this maze of people. He is carrying a paper bag and is engrossed in the cream-filled donut that he's eating. He slows down slightly as he gets to one building. He licks the cream off his fingers and then adjusts his tie. As he does so, he realizes he's dripped some of the filling on the tie. Bullock wipes it off with a finger and sucks the filling off his finger.
The five story, brick/stone building is surrounded by a number of modern glass skyscrapers. The ornate 1880's style script on the arch over the main entrance tells us this is the GOTHAM CITY POLICE HEADQUARTERS.
CAMERA pans back. We see several black and white police cars parked in front of the building. Cops and civilians enter and leave the building.
Bullock acknowledges several of the uniformed police officers as he hurries up the stairs and into the building.
SCENE - INTERIOR, POLICE HEADQUARTERS
Bullock walks into an old-style police department "bullpen." Uniformed and plain-clothes cops go about their business throughout the office. As he walks to his desk, LIEUTENANT RENEE MONTOYA gets his attention. Montoya is an attractive Hispanic female police officer, mid-20s, medium height.
MONTOYA: Hey, Bullock! You owe me twenty bucks. The Knights got their butts whooped last night.
BULLOCK: Yeah, yeah, the guys are bums. There's no way they can beat the Metros.
Montoya walks closer to Bullock and puts her hand on his shoulder in a friendly, but non-sexual fashion.
MONTOYA: Then why do you always bet they'll win? Huh?
BULLOCK: Hey, they're due!
Montoya holds out her hand and motions for her money. Bullock reluctantly reaches for his wallet and hands over the twenty dollar bill. Montoya smiles and leaves.
Bullock walks to the coffee counter at the side of the bullpen and pours a cup of coffee. On the counter is a copy of today's GOTHAM GAZETTE newspaper. Bullock takes the paper.
He walks to his desk, takes a long pull on the coffee and then sits down. He puts the cup on the desk. The desk is as unorganized and messy as you'd expect for someone that dresses as Bullock does.
Bullock spreads the paper open and scans a few pages. He then tears out the sports section. He drops the rest of the paper on his desk, covering a stack of messages. Very briefly, we see the top message is marked URGENT.
BULLOCK: (mumbles) The bums. I can't believe they lost. Again. (louder) I hope today's a quiet day.
POV changes to the remainder of the paper sitting on Bullock's desk. The CAMERA pans across the front page. The headline reads STOCK MARKET DOWN, GOTHAM UNEMPLOYMENT RISES. The CAMERA settles on a small article in the far right column.
CAMERA: (on newspaper) Headline reads ARKHAM OFFICIALS SILENT ABOUT LATEST BREAKOUT. First several lines read OFFICIALS AT ARKHAM ASYLUM REFUSED TO COMMENT ON THE LATEST PATIENT BREAKOUT. BELIEVED TO BE AT LARGE IN THE GOTHAM AREA IS THE HOMICIDAL JOKER. THE JOKER WAS COMMITTED TO ARKHAM AFTER BEING CAPTURED BY (CONTINUED ON PAGE A4)
SCENE - RUN TITLE
Title sequence should be something stark and quick, sort of like the current animated series. Simple block letters display the series name and the stars.
SCENE - TELEVISION SCREEN
A political ad. The text at the bottom reads: "Paid by the Friends of Mayor Grange."
Screen shows a quiet family scene. A fireplace burns in the background. A WOMAN, late 30's, a MAN, early 40's, and a LITTLE GIRL, 6. The POV on the screen moves into a tighter shot. The woman speaks.
WOMAN: Hello, I'm Mayor Marion Grange. Gotham City has enjoyed unprecedented business growth over the last four years as a result of my being your mayor.
POV on the screen changes, scene tightens on Mayor Grange's face.
MAYOR GRANGE: I'm asking for your support in the upcoming election. My goals for my next term include improved schools, lower crime, and repairs to our city's decaying physical infrastructure.
POV on the screen changes, scene opens up slightly. Mayor Grange is holding her daughter. Her husband stands behind her, smiling.
MAYOR GRANGE: I'd like to make Gotham City not just a good place to run a business, but a good place to raise your family.
MAN'S VOICE (O. S.): Vote for Marion Grange, Mayor. This was a paid political announcement by the Friends of Mayor Grange committee.
SCENE - INTERIOR, POLICE HEADQUARTERS
CAMERA pans across the police bullpen to the larger corner office. The gold gilded name on the door reads: POLICE COMMISSIONER JAMES GORDON.
Door opens and a stout man walks out. He has salt and pepper hair with a matching mustache.
GORDON: (bellows) Bullock!
CAMERA shows Bullock at this desk, filling out the normal police department paperwork.
BULLOCK gets up from his desk and hurries to Gordon's side.
BULLOCK: Yeah, Commissioner.
GORDON heads back into his office and stalks around his desk. Bullock follows.
GORDON: I just spoke to Arkham. They confirmed it. He's out.
BULLOCK: Again.
GORDON: Again.
SCENE - MONTAGE OF POLICE WORK
Bullock checks out his weapon and holsters it. Montoya gets into police cruiser. Shots of police black and whites searching the city. Alternating shots of Bullock and Montoya questioning citizens in all sorts of settings; citizens always shrug or shake their heads.
SCENE - INTERIOR, GORDON'S OFFICE
Gordon is staring out of the window. The window is closed, but the blinds are open. It is nighttime outside the window.
MONTOYA: No one's seen him, sir.
GORDON: No leads at all?
BULLOCK: He's got white skin and green hair, Commish. I think people would remember that. Nobody's seen nothing.
GORDON: (softly) Damn.
SCENE - INTERIOR, PRESS CONFERENCE ROOM
Gordon stands at the front of the room, behind a simple podium.
REPORTER: Commissioner Gordon, are you able to comment on the reported escape of the serial killer known as the Joker?
GORDON: We have confirmed with Arkham that he did escape.
ANOTHER REPORTER: And what is the police department doing about this? The last time that lunatic escaped, fifteen people died!
GORDON: (sternly) We are conducting a routine search. An all-points- bulletin was issued and every police officer on duty is on the lookout for this individual.
AMBER GLEASON, a TV reporter, motions to her camera man to adjust his aim with his camera.
GLEASON: Commissioner Gordon? Amber Gleason, Channel 4 News. Has the police department communicated with the Batman yet? He is, after all, who captured the Joker the last three times he escaped...
GORDON: No comment.
Gordon turns and leaves the press conference amidst a rush of questions from the assembled reporters.
SCENE - INTERIOR, POLICE HEADQUARTERS OUTSIDE GORDON'S OFFICE
BULLOCK: Most of the day shift volunteered to work overtime to continue the search.
Gordon reaches for the door knob of the door to his office.
GORDON: Good. Keep me updated.
BULLOCK: We'll do, Commish.
Gordon opens his office door. We sense a movement in the dark office. Gordon flips on the lights. We see Gordon's POV; the window is now open, the blinds are moving slightly as if disturbed as someone rushed through them. We see a quick glimpse of black fabric as it moves through the window and is gone. It all happens so fast, we're not sure if maybe we just imagined it.
Gordon rushes to window and leans out for a better look. He obviously sees nothing and leans back in, his hands clinched tightly on the window frame.
GORDON: I hate it when you do that.
FEMALE VOICE (O.S.): But I thought you liked Chinese? Gordon spins around. There is a young woman standing in the doorway of his office. She is 25, attractive, medium tall, slim, with thick shoulder- length red hair. She is holding two bags of Chinese takeout in her hands.
GORDON: Barbara! What are you doing here?
BARBARA: You're working late. What kind of daughter would I be if I didn't bring you dinner?
BARBARA GORDON walks into the office and puts the takeout bags on the desk. Gordon moves from the window and hugs his daughter.
BARBARA: Still talking to yourself, I see. Gordon looks at his desk. There is a file folder spread open on the desk. Gordon looks at the folder; it's the current case folder on the Joker. Camera pans down to allow us to see only the top of the page. It is a standard police report form. It reads as follows:
Name: Unknown. Alias(es): Joker. Incident Description: Patient known only as the "Joker" feigned illness and then overpowered a guard while...
Gordon moves to close the file folder before his daughter can read the contents.
GORDON: Barbara, you shouldn't be out at night by yourself.
BARBARA: Really, Daddy, I'm a big girl now. I can take care of myself.
SCENE - EXTERIOR, WAYNE MANSION, NIGHT
A number of cars are parked in front of a large, fancy mansion. People in tuxedos and gowns are exiting from the cars and walking into the mansion. There is obviously a society event taking place at the mansion.
SCENE - INTERIOR, WAYNE MANSION, ENTRY-WAY
BRUCE WAYNE greets his guests. Wayne is a tall, suave man in his early 30s. He has thick black hair, in a stylish cut. A square jaw frames his face. He looks like he was designed specifically to wear a tuxedo. A BEAUTIFUL WOMAN, mid-20s, hangs from Wayne's elbow. The beautiful woman is wearing a low-cut evening gown and shows a lot of cleavage.
WAYNE: Ah, Commissioner, welcome.
Wayne holds out his hand and shakes with Gordon. Gordon's daughter, Barbara stands beside her father.
GORDON: Looks like quite a party, Bruce.
WAYNE: Well, it is for charity, Jim.
Wayne takes Barbara's hand. He leans forward and kisses her on the cheek. She smiles.
BARBARA: Good to see you again, Mr. Wayne.
WAYNE: Please, Barbara, call me Bruce.
WAYNE turns to his date.
WAYNE: Karen, this is Police Commissioner Jim Gordon and his daughter, Barbara. Commissioner, Barbara, this is Karen Darling.
KAREN DARLING, Gordon and Barbara exchange greetings.
WAYNE: Karen is the model for our newest ad campaign.
BARBARA: Ad campaign?
WAYNE: Wayne Enterprises is announcing a new personal computer tomorrow.
BARBARA: Oh.
Wayne looks at Darling and smiles.
WAYNE: You know what they say. "Sex sells." It's about time computers were made sexy.
Barbara frowns.
Wayne sees another set of new guests coming in. He smiles at Gordon and Barbara.
WAYNE: Enjoy yourselves, Jim. Barbara.
GORDON: Thank you, Bruce.
Gordon and Barbara wander off into the main hall of the mansion as Wayne and Darling greet the next couple of guests.
BARBARA (under her breath): What a sexist.
GORDON (sternly): Barbara!
BARBARA: I'm sorry, Dad. But he is. Selling computers with some bimbo. It's sexist, I tell you.
GORDON: Give him a break. He's the richest man in Gotham. He can do anything he wants.
SCENE - INTERIOR, WAYNE MANSION, MAIN HALL
Wayne is standing amidst his guests, smiling and enjoying the party. He is holding a drink in one hand and he has the other around Darling's waist.
ALFRED PENNYWORTH, Wayne's butler makes his way through the crowd of people with ease. He approaches Wayne.
WAYNE: Alfred, is everything fine?
ALFRED: Yes, sir. The party is just fine. (Lowers his voice and whispers in Wayne's ear) Are you going out later? Wayne nods.
ALFRED: (still whispering) It's a quiet night. Perhaps you could use the rest.
Alfred nods discreetly toward Darling. She does not notice.
Wayne remains silent, but gives his butler a stern look.
ALFRED: Very well, sir. I'll attend to that immediately.
SCENE - INTERIOR, GORDON'S CAR, NIGHT
Gordon and his daughter Barbara are driving home after the party at Bruce Wayne's mansion. Gordon is driving.
GORDON: Really, Barbara, you shouldn't be so hard on Bruce.
BARBARA: I'm sorry, Dad, but you don't need sexy models to sell computers.
GORDON: Bruce Wayne is a businessman. He's just doing what everyone else is doing. He's probably not even the one that chose the ad campaign. Wayne Enterprises probably has a dozen vice presidents that do nothing but think up ads.
BARBARA: You sound like you're making apologies for him.
GORDON: I'm not. I'm just saying he's not the villain you think he is.
BARBARA: Daddy, are you still trying to play matchmaker? That date you setup for Bruce and I last New Year's was the worst date I've ever had.
GORDON: Just first date jitters. It wouldn't hurt you to try again.
BARBARA: Great. Next thing, you'll be setting me up with Batman. I happen to like being single.
BARBARA is interrupted as a cellular phone rings. GORDON reaches into his suit jacket and pulls out the phone. He opens it.
GORDON (into phone): Gordon here.
There's a brief pause as Gordon listens on the phone. His expression darkens as he listens.
GORDON (into phone): I'll be there in about 15 minutes.
GORDON closes the phone and puts it away.
A pause as Gordon's mood darkens even more. Barbara watches her father.
BARBARA: What's wrong?
GORDON: Mayor Grange's daughter was just kidnapped.
BARBARA: Oh, my god.
Another pause. Gordon turns the car onto a side street. His mood does not improve. Barbara watches her father's face.
BARBARA: What is it, Dad?
GORDON (pauses): The babysitter's dead.
Barbara's face drains of color. She looks sick to her stomach.
GORDON (continues): It looks like the Joker.
SCENE - EXTERIOR, GOTHAM CITY MAYOR'S MANSION, NIGHT
Note: No dialogue in this scene--just images.
Scene where Gordon and Barbara arrive at the Mayor's Mansion. Ambulance and police cars are in the driveway. Gordon walks over to where two paramedics have a stretcher. There's a body on the stretcher, covered head-to-toe with a white sheet. Gordon talks briefly with one of the paramedics and then pulls the sheet back.
A very quick glance of the victim's face. A young blonde WOMAN, early 20s; the babysitter. Her face is contorted into a grotesque smile. Although her eyes are wide-open, as if frightened, it's obvious she's dead.
Gordon drops the sheet back over the babysitter's face. The two paramedics wheel the body to the ambulance. Bullock and Montoya brief Gordon. Barbara comforts Mayor Marion Grange and her husband.
Gordon joins them. He places his hand on Mr. Grange's shoulder in a manly, but comforting gesture.
End of scene, camera backs away from Gordon, Barbara and the Granges. As the scene enlarges, we still see the police cars. The ambulance pulls away. A three-quarters moon lights the night sky. On the roof of the mansion, we barely see a dark figure standing next to one of the window outcroppings. A wind blows across the scene; we see the upper limbs of the trees sway in the breeze. A bit of black fabric (maybe a cape?) flutters in the breeze and moves randomly into and out of the shadow.
CUT TO:
SCENE - EXTERIOR, GOTHAM CITY MAYOR'S MANSION, NIGHT, ROOF-TOP POV, LOOKING DOWN
We see the same scene, but from the roof-top point of view. Barbara continues to comfort Mayor Grange as Bullock and Montoya walk toward Gordon and stand silently waiting for the Commissioner to give them orders.
MAN'S VOICE (O.S.): (gravely voice, quiet) You're out there somewhere, Joker. I'm coming for you.
SCENE - INTERIOR, A DARK ROOM
A LITTLE GIRL, 6 years old, sits tied to a chair. A single bare lightbulb hangs above her head. She's the same little girl from the Mayor Grange TV spot. The little girl is wearing "Little Mermaid" pajamas and her brown hair is mussed slightly, as if she was just pulled from bed. The little girl looks absolutely terrified, her eyes wide and bloodshot from crying.
We hear someone walk into the room, but do not yet see anyone.
The little girl looks up, more terrified.
LITTLE GIRL: Please don't hurt me.
MAN'S VOICE (O.S.): (Laughs) I won't hurt you.
LITTLE GIRL: I want to go home. I want my mommy and daddy.
MAN'S VOICE (O.S.): You don't have a mommy anymore. I'm your daddy now.
LITTLE GIRL: (crying) No you ain't. I want my mommy and daddy.
Camera rotates around and we now see the man from the Girl's POV. He is tall and very, very thin. He stands in the shadow outside the light from the single bulb.
MAN: Your mommy wants everyone in Gotham to have a happy family. (Laughs uncontrollably) She said so on TV.
LITTLE GIRL: You're not my daddy. (cries again)
The man steps closer. We see his face now; his wild hair is bright green and the skin of his face is chalk white and pulled tightly over the bones underneath. His lips are bright red and are pulled back into a grotesque smile by the tight scar tissue over his cheekbones. The JOKER looks like a nightmarish version of a clown.
JOKER: Yes, I am. I'm going to have a family now. Just like the Mayor wants.
The Joker breaks out in uncontrolled laughter. When he stops, as suddenly as he began, he seems surprised. The laughter is obviously some sort of seizure and he has little control over it.
JOKER: I used to have a little girl. Just like you. And a wife. (Laughs again, this time shorter than before). I used to have a wife and little girl, before this.
Joker holds his hands up over his face. The gesture emphasizes his appearance.
GIRL: (cries)
JOKER: And now I have a little girl again. What is your name?
GIRL: (still crying, talks between sobs) Jessica. My name is Jessica Grange.
JOKER: Don't cry Jessica. Daddy Joker won't hurt you. Jessica continues to cry. Joker looks down, unable to figure the child out. Then, inspiration strikes. He kneels down in front of the girl and frowns. The scarring on his face prevents him from truly frowning.
JOKER: Let's turn that frown to a smile.
Joker holds his hand up in front of his face, like a mime. He raises it up, revealing a smile. He moves the hand down, and frowns again. Hand goes up again, a smile. The clown-like gesture has little effect on the child.
JESSICA: (crying, weakly) Please. (pause, then weaker) Please.
SCENE - INTERIOR, SEEDY BAR, NIGHT
A dark and seedy bar. Only a few people linger in the bar this late.
TONY "THE PIG" LA MOTTA, early 50s, stands at the bar. Tony the Pig is a short, overweight man with an upturned flat nose and small, squinty eyes. He looks like his namesake.
TONY THE PIG: (to bartender) Give me another for the road.
The bartender pours one more cheap whiskey into the shot glass in front of Tony the Pig. The bartender pauses. Tony reaches into his pocket and lays a couple dollar bills on the bar. The bartender grabs the bills and walks back to his station at the end of the bar.
Tony the Pig downs the shot glass of whiskey with one gulp and then grimaces as the whiskey burns its way into this stomach. He then hitches up his pants and turns from the bar. He nods to the bartender. The bartender ignores him.
SCENE - EXTERIOR, QUIET STREET, BAD PART OF TOWN
Tony the Pig walks down the street, happy with himself. He's slightly inebriated and feeling good.
He walks past a dark alley. A black gloved hand reaches out and catches Tony's collar. Tony the Pig is pulled into the alley.
SCENE - EXTERIOR, DARK ALLEY
Tony the Pig is pushed up against the wall of the alley. The POV is on Tony's face; we can't see the person holding him there. All we see are a pair of strong, gloved hands. The gloves extend back over most of the forearms and there are three sharp points extending from the backside of each gauntlet.
By the look on Tony the Pig's face, we can see he's scared. He's breathing hard and sweating heavily.
TONY THE PIG: I don't know nothin', man! Honest!
BATMAN: (harshly, gravely serious voice) Where's the Joker?
TONY THE PIG: Honest! I don't know. I didn't even know that he broke out again. Really!
The hands push Tony the Pig harder. He actually squeals in fear.
BATMAN: (harshly again) Where would he hide?
TONY THE PIG: I don't work for him anymore. I've gone straight. Dear God, you have to believe me. I don't know.
BATMAN: (still harsh) If you've gone straight, why are you sweating so much?
TONY THE PIG: I... I don't like heights.
Batman releases Tony. Tony the Pig drops at least three feet to the pavement. He loses his footing and stumbles. The hands reach down and pull him back to his feet.
CUT TO:
SCENE - EXTERIOR, DARK ALLEY, TONY THE PIG'S POV
Although the Batman is standing at arm's length (about two feet) in front of Tony, we can barely make him out; he blends into the darkness so well. We see a strong jaw. The mouth and jaw are the only parts of the face that are exposed. The rest is covered by a dark cowl. The cowl is topped by a long pair of bat ears; which make the tall man seem even taller.
A black cape hangs over the Batman's shoulders and drapes over his chest. Through the opening of the cape, we can barely make out a stylized bat symbol on his chest. The symbol is pure black against a dark gray background. We see Batman raise his hands up to grab Tony the Pig again. The camera moves back and forth as Tony squirms in the Batman's grip.
BATMAN: Where did he hide out last time?
TONY THE PIG (O.S.): On the ... a old warehouse, on the waterfront.
In the blink of the eye, Batman is gone. Tony slumps down against the wall and looks down. The pavement under him is wet. He's pissed his pants.
SCENE - EXTERIOR, AN ABANDONED WAREHOUSE, LONG HIGH SHOOT
A jet black car pulls up outside the warehouse. The car is something like a Dodge Viper or maybe a Corvette; a sporty car, but rather plain in all black with no accents or distinguishing accessories. It parks in the shadow beside the building. We see a figure get out of the car. The figure pauses, looking around. We can't really make out the figure in the dark shadow, but it appears as though he's wearing all black.
He heads for the door.
There is a brief point where the figure moves from the shadow, into moonlight, and then into shadow again. The figure is covered entirely in a long black cape and has a hood over his head. At the top of the hood are two long bat-ears rising from the sides of his head. The cape bellows out as he walks quickly; it disguises the man's shape, but we can tell he is tall and has broad shoulders. The whole scene happens so quickly, we're not sure we really saw anything.
SCENE - INTERIOR, ABANDONED WAREHOUSE, FLOOR-LEVEL OF DARK HALLWAY
Rat scurries across POV. A thick layer of dust covers everything.
Suddenly, a black mass steps into view, obscuring the camera; we hear the "clump" of a boot. The mass moves away from the camera as another boot comes into view about two feet in front of the camera. We realize it's a pair of boots. A moment later, another step, tentative, slow, methodical. A black cape hangs down to below the calf, obscuring the person's legs. The bottom of the cape is saw-toothed.
SCENE - INTERIOR, ABANDONED WAREHOUSE, DARK HALLWAY
We see the Batman from behind, slowing advancing through the hallway. The scene is extremely dark and we can't make out any real details. Just movement. At each opening and doorway, the Batman looks cautiously to the right and left; searching.
SCENE - INTERIOR, A DARK ROOM
Jessica Grange is still tied to the chair. She is crying softly, but tired. She slumps against the chair, held upright by the rope that holds her to the chair. Her little head rests on her shoulder.
We hear a floorboard squeak slightly.
Jessica wakes slightly and looks up, in fear.
BATMAN (O.S.): (quietly, a more normal voice) Are you okay?
Jessica is now fully awake and terrified again. She starts crying again.
A moment passes.
The Joker walks into the room.
JOKER: Are you ever going to stop crying?
The Joker looks down at the little girl. Then, as if sensing something, he turns.
The Batman steps out of the shadow and advances on the Joker.
JOKER: Oh, shit! (Laughs)
Still half hidden by the shadow outside the single bare lightbulb, the Batman slugs the Joker straight on the chin.
The Joker drops like a stone.
In the distance, we can hear police sirens.
SCENE - EXTERIOR, AN ABANDONED WAREHOUSE, LONG HIGH SHOOT
The black car pulls away from the warehouse.
A few seconds later, two police cars, sirens blaring and lights flashing, pull up from the opposite direction. Two officers emerge from each car. The four police slowly advance on the building.
A split second later, a single unmarked police car pulls up. A flashing red light is attached to the top of the car. Lieutenant Montoya and Chief Detective Bullock exit from the car.
SCENE - EXTERIOR, AN ABANDONED WAREHOUSE
MONTOYA: Hey, Harvey, want to make a bet on what we find?
BULLOCK: Nah, I'd just lose again.
Montoya and Bullock follow the uniformed officers into the warehouse.
SCENE - EXTERIOR, AN ABANDONED WAREHOUSE
Montoya emerges from the warehouse, carrying Jessica Grange in her arms. Bullock follows closely behind her.
MONTOYA: It's a shame you didn't bet me. I'd have won.
BULLOCK: That's why I don't bet you anymore. You're always right.
Two of the uniformed police officers emerge a moment later, dragging a semi-conscious Joker. The Joker is handcuffed at the wrists and ankles, with his hands behind him.
END