BATMAN

                                           



                                     The Structure of BATMAN

OPENING SEQUENCE 

Low angle camera movements through a concrete maze which ends with an image of Batman's symbol embedded in concrete,
as the title credits scroll across the screen. 

[ This diffused image forces the audience to pay attention to what is happening on screen. ] 

EXT: MEIROPOLITAN SKYLINE: NIGHT 

The title "GOTHAM CITY" is superimposed over the image of the city. 

EXT: CITY STREET: NIGHT 

The streets are jammed with traffic. People walk along the street in front of a movie theater. The sound of a police siren is
heard. 

[Police siren alerts the audience to danger.] 

EXT: MONARCH THEATER: NIGHT 

A man with his wife and young son tries to hail a taxi in front of the theater. While he's talking to the cabby, another couple
jumps into the backseat of the cab. The man protests that this is his cab, but to no avail as the cab drives away. 

[ Empathy is generated for the man and his family. Many people in the audience have had similar situations occur to them, and
they feel this character has been treated unjustly. ] 

The man tries to hail other cabs. Not having any luck, the family decides to walk down the street. Tle young boy is looking at a
map of the city. His father tells him to put it away, because it'll make them look like tourists. 

[This is a clever way of presenting exposition to the audience, for they actually are tourists. Again, this will generate empathy for
the family, for they will be unprepared for survival in the urban jungle. ] 

A prostitute wearing a short black skirt and a red jacket propositions the young boy. The boy tries to tell his father that he's
going in the wrong direction, but the father refuses to believe him. They lose their way, and walk into a dark alley. 

[ A family with child, innocent of the ways of urban life, are injeopardy. The audience becomes emotionally involved in their
plight. ] 

EXT: ALLEY: NIGHT 

They walk down the alley. The husband is approached by a young bum who asks him for one dollar. He ignores the bum and
continues to walk forward. When he turns a corner, he is mugged. A gunman hits him over the head and knocks him to the
ground. The gunman points his pistol at the wife and tells her to keep quiet so that the boy won't get hurt. He then points the
gun at the boy. 

[ More empathy is created for the family, for they are in mortal danger. ] 

The bum joins the gunman as they grab the man's wallet and the woman's purse. They run away as the woman screams. 

[ In this first scene the major problem is introduced: urban crime. The mugging of the innocent man and his family fills the
audience with anger and a desire for revenge. The situation is very real, and it could easily happen to them or to people they
love. Although none of these characters will become the protagonist or antagonist the arena of the story has been set. ] 

EXT: ROOFTOP: NIGHT 

A figure in a black cape stands at the edge of the roof as the woman's screams echo through the alley. 

EXT: ROOFTOP: NIGHT 

The gunman and the young bum sit on the rooftop as they rifle through the woman's purse. They count all the cash they've
stolen. 

"All right! American Express. Don't leave home without it," says the gunman. The sound of a police siren echoes through the
streets. 

"Let's beat it, man. I don't like it up here," says the other. "I dunno, after what happened to Johnny Gobbs..." 

"Look, Johnny Gobs got ripped and walked off a roof, all right? No big loss." "That ain't what I heard. I heard the Bat got
him." 

[ Sets up the audience to expect a bat-like creature these villains fear. The audience hates these characters because they
robbed the family and pointed a gun at the child. They will like any character who brings these thieves to justice. ] 

"The Bat? Give me a break. There ain't no Bat." 

"Five stories, straight down, and there wasn't no blood in the body". 

"No shit. It was all over the pavement." 

In the background, Batman floats down onto the roof in the midst of smoke and steam. 

The punk is scared. "I'm getting out of here." 

"Hey man, listen to me! There ain't no bat! Hey, you want to cut this money or not? Now shut up. Shut up." 

The sound of someone walking on the roof .Suddenly Batman floats down towards them. The thieves look up and see Batman
above them. He spreads his wings and floats down towards the thieves. 

[ The mask over the face of the protagonist holds the audience's interest. They want to see his face. ] 

The gunman shoots three shots at Batman, who falls down onto the roof. The thieves run to the rooftop door in order to
escape, suddenly stop and turn to see Batman get up. He once again spreads his wings. Batman then kicks one of the punks in
the chest and knocks him through the door. The gunman tries to run away. Batman throws his boomerang and trips up the
gunman, who falls down. Batman drags him across the rooftop, lifts him up by his lapels and hangs him out over the edge of the
roof The gunman pleads for his life. 

"I'm not going to kill you, but I want you to do me a favor. I want you to tell your friends about me. 

[Protagonist displays the quality of mercy] 

"What are you?" cries the gunman. 

"I'm Batman." 

Batman throws the gunman down onto the rooftop, then jumps off the edge and floats down to, the ground. The gunman crawls
to the edge of the roof, peers over, and whimpers. 

[ Introduction of the protagonist, who is characterized a an avenger who punishes those who have committed crimes. He
appears to have supernatural qualities by surviving gunshots and flying off rooftops. He strikes terror into the heart of hardened
criminals, and reduces them to whimpering babes. The Protagonist's objective is to fight crime in Gotham City. ] 

INT: TESTIMONIAL DINNER: NIGHT 

At a political dinner Mayor Borg delivers a speech praising the new District Attorney, Harvey Dent. A poster of Dent hangs
from the wall behind the podium. 

"Across this nation the words "GOTHAM CITY" are synonymous with crime. Our streets are over run, our public official are
helpless. As Mayor, I promise to root out the source of this corruption: Boss Carl Grissom. Now our new District Attorney,
Harvey Dent, will carry out that promise." 

[ This scene establishes the plot arena: a city under siege from criminal elements] 

The Mayor introduces Harvey who stands up as the audience applauds. 

[This establishes the community support for the Mayor and the new District Attorney. It informs the audience who the "good
guys" are and for whom they should be applauding. Applause is as contagious as laughter. ] 

A TV camera records the action as Denton speaks. "People of Gotham City, I'm a man of few words, but those words will
count, and so will my actions. Police Commissioner Gordon has informed me that he has targeted those businesses that are a
front for the syndicate in the city." 

The camera scans the podium and show an empty seat behind Bruce Wayne's name plate. 

"Before the week is out we are going to knock down their doors and shed light on that nest of vipers. 

INT: JACK NAPIER'S APARTMENT: DAY 

On the wall hang paintings of seductive women. A man with his back to the camera tosses cards into the air as he watches
Harvey Dent speak on the Television set. Finally, the camera shows Jack Napier (Jack Nicholson) with his feet up on the
coffee table. An attractive blonde enters the room and lifts Jack's feet up off a copy of VOGUE magazine. 

[ The introduction of the antagonist, who is characterized as having a "flippant" attitude towards art and beauty. This anti-art
bias is the trait that the filmmaker hopes will turn the audience against Jack. It later becomes full blown after Jack's
transformation into the Joker, when the Joker and his band destroy art in the museum. ] 

Dent continues to speak on the television. "Together we can make this city safe for decent people." Jack responds with
"Decent people shouldn't live here. They'd be happier someplace else." 

The blonde sits down next to Jack and puts her arm around him.
"Pretty tough talk about Carl," she says. Jack becomes annoyed and brushes her hair away from his face.
"Don't worry about it. If this clown could touch Grissom, I'd have handed him his lungs by now."
"If Grissom knew about us, he might hand you something," says the woman.
"Don't flatter yourself, angel. He's a tired old man. He couldn't run this city without me." Jack stands up. "And besides, he
doesn't know."

[This small section of dialogue reveals the antagonist's disloyalty to his boss. He's having an affair with the boss's mistress. ] 

"You don't worry about anything, do you Jack?" asks the woman. 

Jack looks at himself in the mirror and laughs. The woman approaches him and places her hand on his shoulder as she says
"You look fine." Jack glares at her and says "I didn't ask." She removes her hand. 

[ This scene establishes Jack's attitude towards women and his superiority. He has extreme self-confidence, is prone to
violence, has contempt for art and beautiful women, who, like the paintings on his walls, are mere ornaments. He doesn't need
her, and doesn't fear letting her know this. ] 

EXT: CITY STREET: NIGHT 

A plain-clothes policeman speaks into a radio as the gunman, lying on a stretcher, is placed in an ambulance. "Yeah, yeah,
hanging on, hanging on." 

"No, no, let me guess. Giant menacing supernatural form ... like a bat," says a fat detective (ECKHARDT). He smokes a cigar
as he watches the raving gunman being lifted into the ambulance. 

"Yeah, that's it. What they seeing up there?" asks the plainclothes cop.
"Ah, they been drinking drano," says Eckhardt.
"It's a little weird, lieutenant."

A reporter walks onto the scene and hands a policeman some money. "Thanks for the tip, Dwight." 

[ This exchange is sufficient to notify the audience that the cop is being paid off by the reporter. Also establishes corruption in
the police force, an issue that will further be developed in the relationship between Eckhardt and Jack Napier. ]
Eckhardt sees the reporter, and reacts with disgust. "Christ, Knox."

"I hear we just had another Bat attack. What's that, eight sightings in just one month?" says Knox. 

[ Exposition is presented after the main action. It has also been established there is antagonism between Eckhardt and Knox.
This conflict creates interest in the scene for the audience, and causes them to pay close attention to the conversation. This is an
ideal situation for conveying expository information. ] 

"I hear that even the commissioner has opened a file. True?" Knox places the tape recorder under Eckhardt's mouth. 

"Sorry Knox, these two slipped on a banana peel," says Eckhardt as he bangs on the ambulance, indicating to the driver to
drive away. Suddenly, two policemen lead the other robber past Knox and Eckhardt. 

"I'm telling you, man, a giant bat," says the punk. 

"Don't be writing this stuff, Knox. It'll ruin your already useless reputation." 

[ Eckhardt's comments characterize Knox for the audience, who will believe what they hear about Knox until they see
otherwise. They already have seen Knox paying off a policeman. ] 

"Lieutenant, every punk in this town is scared stiff. You know what they say. They say he can't be killed. They say he drinks
blood..." 

[ Knox states this information to the audience so they will understand that the criminals fear Batman. ] 

"I say you're full of shit, Knox," says Eckhardt. He flips his cigar at Knox, then walks away. "Oh, you can quote me on that." 

[ This action reveals Eckhardt's contempt for Knox.] 

Knox continues to shout at him. "Lieutenant, is there a six foot bat in Gotham city. And if so, is he on the payroll? And if so,
what's he pulling down after taxes?" 

[ The scene ends on a comic note. The structure of the joke contains three questions. The third asks a question which is
appropriate when discussing a human being, but not in the case of a six-foot bat. The incongruity in this structure produces the
laughter. Robert Wuhl, who plays Knox, worked as a stand-up comic before being cast for this role. ] 

[This scene introduces an important minor character whose objectives and actions create a subplot that parallels the Batman
story. He acts as a foil to Bruce Wayne, and the audience is forced to compare their codes of behavior. The two stories
intertwine because both characters desire Vicki Vale. ] 

EXT: ALLEY: NIGHT 

Lt. Eckhardt walks into an alley. He stops, then turns around to see if he's being followed. A red light flickers above him,
creating a mood of danger in the audience. Jack Napier stands in the dark at the end of the alley. Jack tosses a package at
Napier. 

"Brought you a little snack, Eckhardt."
Eckhardt opens the package, then says, "Why don't you broadcast it?"

[ This action establishes Eckhardt as being corrupt, and on the payroll of the criminals. ] 

"Shut up and listen," snaps Jack. "Harvey Dent's been sniffing around one of our front companies."
"That's my territory," says Eckhardt as he counts the money. "If there is a problem, I'll deal with it.
"Your problems are our problems," says Jack.
"I answer to Grissom, not psychos," answers Eckhardt.
"Why Eckhardt, you ought to think about your future," replies Jack. 

"You mean when you run the show. You ain't got no future, Jack.
You're an A-1 nut boy. Grissom knows it," says Eckhardt.

This makes Jack angry. He pushes Eckhardt back against the wall. Eckhardt pulls out his gun and points it at Jack. Bob, Jack's
crony, stands behind Jack as he points his gun at Eckhardt. 

[ Bob displays his loyalty by saving Jack's life. He will later be rewarded when the Joker kills him in a fit of rage. The murder of
loyal supporters is a common characteristic that most antagonists possess. ] 

Jack smiles and says, "You better be sure." Eckhardt lowers his gun. "See, you can make a good decision when you try," says
Jack. He laughs, then walks away. 

"Where have you been spending your nights?" mumbles Eckhardt as he watches Jack walk away. 

[ This scene establishes the relationship between Eckhardt and Jack, and provides the motivation for Eckhardt's revenge by
betraying Jack to Grissom. In the fight for power in this scene, Jack wins. ] 

EXT: CITY HALL: DAY 

A "HAPPY BIRTHDAY" banner hangs over City Hall. Mayor Borg, Police Commissioner Gordon and District Attorney
Harvey Dent exit from the building. 

"I don't care how deeply in debt this festival is, I want a parade. I want hot dogs, balloons, the whole schemer. We are going to
celebrate this 200 year anniversary, proudly and publicly," says the Mayor. 

"We may be celebrating this anniversary in bankruptcy court. This festival is already $250,000 in debt and we haven't seen one
balloon," replies Dent. 

"You fill this square with people, the businesses will come back here," says the Mayor. 

"A lot of people might stay away. They are scared," answers Police Commissioner Gordon. 

"They won't be scared when you get Grissom in that Court House, I promise you that," says Mayor Borg. 

[ This establishes that the community is terrorized by Grissom and his crime syndicate. They are so afraid that they won't even
come out for a parade. Grissom's activities are the cause for businesses leaving the city, and thereby destroying the economy.
The tax base is so small that the city government cannot even afford to hold a parade. The scene is designed to turn the
audience against the criminals.) 

INT: NEWSPAPER OFFICE: DAY 

Knox walks into the office and is heckled by the other reporters about bats.
"Well, Count Dracula!"
"They buried your story on the Batman. That's what they do with garbage."
"This is Pulitzer Prize stuff, guys," responds Knox.
"Knox, Knox, I got something for you," says another reporter as he hands Knox a drawing of a bat with a caption stating
"Have you seen this man?"
"Very funny," says Knox. "You should have more gore under the fangs, right? What a dick."

[ This humiliation scene is designed to create audience empathy for Knox. The audience sees him being ridiculed by his
co-workers, even though he is pursuing the truth. The audience can identify with Knox's position. If the audience knows that a
character is sincerely trying to get at the truth, but the other characters in the film will not believe him, then the audience will
have empathy for this character. ] 

When Knox approaches his desk he sees a woman's legs on the desktop.
"Hello, legs," says Knox.
"I'm reading your stuff," answers the woman from behind the newspaper.
"Well, I'm reading yours," responds Knox.
A blonde woman, wearing glasses, puts down the newspaper and says, "Hi, I'm Vicki Vale."
"Vicki Vale, yeah, photographer. Vogue. Cosmo. Look, you want me to pose nude, you're going to need a long lens," says
Knox.

[Knox attempts to avoid small talk. His humor consists of a double entendre with sexual overtones. ] 

"Actually, I was in Corto Maltese." 

Knox picks up a copy of TIME magazine. The cover has a picture of dead bodies with a headline reading "CORTO
MALTESE REVOLUTION." "Girl could get hurt doing this stuff. So what brings you here?" 

[ This establishes Vicki as being a serious reporter who has experience being in dangerous situations. ] 

"I'm here to see some of the wild life in Gotham city."
"Wild life? like what?"
"Like, bats."
"Who sent you?"

[ Knox thinks this is another effort to ridicule him. ] 

"Nobody, really. I like your story, and I like bats. My pictures and your words. Pulitzer Prize material," replies Vicki. 

[ Knox and Vicki share a common dream, a common objective: winning a Pulitzer Prize. This objective of public
acknowledgment for their work will be contrasted to the objectives of Batman, who seeks to rid the community of crime. In the
end Vicki will be forced to make a choice. ] 

"Okay, you're a visionary. You're also the only one who believes me. I need something tangible. Gordon's got a file on this. I
can't even get him on the phone." 

"Bruce Wayne's benefit. He'll be there right?" asks Vicki. "I don't seem to be on the guest list," says Knox. 

Vicki holds up two tickets for the benefit.
"Uh, Vale, will you marry me?" asks Knox.
"Nope!" replies Vicki.
"Will you buy me lunch?"
"Maybe."
"I eat light," says Knox.

They leave the office. 

[ Introduction of the "love interest" into the subplot, and establishes that Knox desires her, though she only has professional
interest in him. ] 

EXT: SKYSCRAPER: DAY 

Camera swoops up from the streets to the top floor. Creates an impression of power within the audience, setting them up for
the introduction of boss Carl Grissom. 

INT: GRISSOM'S OFFICE: NIGHT 

A newspaper with a photo of Harvey Dent on the front page lies on the desk in front of boss Grissom. The headline reads:
CRACKDOWN ON BOSSES. Grissom is angry. He slams his fist down on the newspaper. 

"Say this son-of-a-bitch makes a connection with us and Axis Chemicals. What kind of damage are we looking at?" asks
Grissom. 

"If he ties us into Axis Chemicals, we are dead and buried. We should move immediately", replies one of Grissom's men. 

"I say we break into the place, trash the records, and say it was a case of industrial espionage," answers Jack as he plays with
a deck of cards. 

[ The cards have become a visual prop that is associated with Jack. It will be used in the future to convey information about
him. ] 

"Jack, smart thinking. That's the way to go. In fact, I want you to handle this operation personally," says Grissom. 

Jack is not happy with the idea. "Me?" he answers as he holds the Joker in his hand. The elevator door opens and Alicia, the
blond who was in Jack's apartment, enters the room. Grissom notices her. 

"Hello, sweetheart. I wonder if you mind waiting in the next room." Grissom watches Alicia as she walks away. Alicia glances
at Jack, who smiles at her. Grissom watches this exchange, stares at Jack, then swallows hard. 

[ The audience is aware that both Jack and Alicia have betrayed Grissom. Suspense is created because they don't know if
Grissom is aware of their affair. The fact that Grissom swallows hard indicates that he suspects something is going on between
them. Yet, none of this is revealed verbally. ] 

"That's all, gentlemen," says Grissom. They all get up to leave. Jack approaches Grissom. "Carl, could you get someone else to
do this? Those fumes in that place..." 

"Jack, it's an important job. I need someone I can trust. You are my number one guy," says Grissom. 

[ This scene, which reveals the relationship between Grissom and Jack, will later be parodied with Jack and his henchman,
Bob. It also shows the irony of the situation with Grissom saying that Jack is the only person he can trust, when the audience
already knows that Jack has betrayed Grissom. The audience is also about to find out that Grissom has just set up Jack to be
killed by Eckhardt. The treachery inherent in the relationships of criminals is clearly revealed as one of their fundamental codes
of behavior. ] 

"Don't for get your lucky cards," says Grissom as he drops them into Jack's hat. Grissom watches Jack leave. "My friend, your
luck is about to change." Grissom picks up the phone and presses a button. A voice on the line says "Police Department."
"Get me Lt. Eckhardt," says Grissom.

[ The fact that Grissom just pressed a button instead of dialing the seven numbers needed to call a number establishes that he
makes this call often. The number is recorded in his phone's memory. ] 

EXT: BRUCE WAYNE'S CASTLE: NIGHT 

A car pulls up into the driveway of the mansion. 

[ This is an establishing shot which helps the audience make a transition from the previous scene. ] 

INT: BRUCE WAYNE'S CASTLE: NIGHT 

A party is taking place. People are huddled around a roulette wheel. A woman holds out a basket collecting contributions in
order to "SAVE THE FESTIVAL." A couple contributes some cash. 

[This establishes that the party is a charity ball for a worthwhile cause. ] 

A butler carrying a tray of glasses, walks through the room. He walks up to Knox and asks if he can help him. Knox takes a
glass of champagne and leaves a dollar bill on the tray. The butler says "Thank you." 

[ This socially inappropriate behavior generates humor. Knox is a "fish out of water."] 

Vicki, wearing a white dress, walks through the crowd. She taps a young man on the back and asks if he knows which person
at the party is Bruce Wayne. 

"Well, I'm not sure," responds the man, who really is Bruce Wayne.
"Thanks anyway," says Vicki as she walks away.

[This scene shows Bruce to be a character who is not willing to reveal his identity, a trait essential to Batman. It is also the first
encounter between the protagonist and love interest. Vicki has just met the person she has been searching for, but doesn't
recognize him. ] 

Bruce doesn't know what to do with the pen in his hand. After some hesitation, he sticks it into a plant. The butler has been
watching him and quickly retrieves the pen. 

[This brief action reveals the relationship between the butler and Bruce. The butler loyally watches after him. ] 

Bruce places a champagne glass on the edge of a roulette table as he watches Vicki walk through the crowd. The butler again
quickly picks up the glass. This second action establishes the reality of their relationship. ] 

Bets are placed at the roulette table as the Police Commissioner tosses the dice. The Mayor stands next to him and watches. 

[ Humor is generated by the inappropriate behavior of the Police Commissioner and Mayor, who are staunch fighters against
criminal behavior, gambling at the roulette table. ] 

Knox approaches the Commissioner. "How about that rumor that the Commissioner has a file on the Batman. That's not true, is
it?"
Knox has a tape recorder in his hand.

"Knox, for the ninth time, there is no bat! If there were, we would find him and arrest him." 

Harvey Dent approaches them. "Commissioner, how are things working out?" 

"Mr. Dent," says Knox, "I love that tie. Commissioner and I were just approaching the pros and cons of winged vigilantes.
What's your stand?"
"Mr. Knox, we have enough problems in this city without worrying about ghosts and goblins," replies Dent.
"That's not a denial," says Knox.

A man interrupts the Commissioner and points to a man in the corner. The Commissioner excuses himself, and quickly leaves
the table. 

Knox persists. "Isn't anyone going to go on record?" he approaches the Mayor. "Your honor, great suit."
"No comment," replies the Mayor as he walks away. 

[Humor is generated because while the response 'No comment' is appropriate and standard for a politician like the major, it is
completely inappropriate in this context where his wardrobe has just been praised. ] 

In another corner of the room, the commissioner approaches a policeman and says, "Robert, what's up?"
"Anonymous tip. Napier's clearing out Axis Chemicals." 

From another part of the room Knox signals to Vicki to watch the Commissioner. 

"Why wasn't I told about this. Who's in charge?" asks Gordon.
"Eckhardt, sir."
"Oh my God," says Gordon. "Come on, lets go."

Vicki observes the Commissioner leaving. 

INT: TROPHY ROOM: NIGHT 

Knox and Vicki, who are looking for Commissioner Gordon, enter Bruce Wayne's trophy room, which is filled with ancient
armor. 

"Living room, dining room, arsenal. Look at this stuff. Who is this guy?" asks Knox. 

"He gives to all these humanitarian causes, then collects this stuff," says Vicki. 

Bruce Wayne enters and watches them from behind. 

Knox, as crude as ever, says "He probably does it to get chicks. They like him for his big charity balls."
Vicki joins in. "And don't leave out his very large bank roll."
"Don't forget, the more they got, the less they're worth," says Knox.
"Then this guy must be the most worthless guy in America.

Knox looks up at one of the pieces of armor. "Check this out. He must have been King of the Wicker people. Oh, and where
did this come from?"

"I have no idea," says Vicki.
"It's Japanese," says Bruce, as he smiles.
"How do you know?" asks Knox in a mocking manner.
"Because I bought it in Japan," replies Bruce.
"Who are you?" asks Knox.
"Oh, sorry, I'm Bruce Wayne," says Wayne as he shakes Knox's hand. Vicki stares at Wayne with amazement.

"Alexander Knox," replies Knox.
"Oh, I read your work. I like it, like it a lot."
"Can I have a grant?" replies Knox.

"Vicki Vale," says Vicki as she holds out her hand.
"Bruce Wayne," replies Bruce.
"Are you sure?" asks Vicki.
"Yeah, this time," he replies in a hesitant, timid manner.
"I've seen your photographs from Corto Maltese," replies Bruce.
"Yeah?"
"You have a wonderful eye," continues Wayne.

[ Bruce's knowledge of Vicki's work contrasts sharply with Knox's initially response, which was to classify her as a fashion
photographer for Vogue or Cosmo. They have become rivals for Vicki's affections. ] 

"Some people think she has two," interjects Knox. 

A butler interrupts them. "Mr. Wayne, we have to open a few more cases of champagne. Will that be all right?"
"Oh, sure, go ahead. Open, what? Six?" says Bruce as he looks at Knox and Vicki for confirmation.
"Yeah, right, six are good," says Knox as he smirks at Vicki.

Bruce turns to Vicki, "Anyway, you going to stay in Gotham for a while?"
"I'd like to," says Vicki. "I'm intrigued by Alex's giant bat story, so I..."
"Oh, right, Batman. That's a little light after the war in Corto Maltese," says Bruce. "And what do you do for a living," snaps
back Vicki.

Alfred enters and approaches Bruce. "Commissioner Gordon was compelled to leave ... very unexpectedly, sir."
"Will you two excuse me," says Bruce.
"I think this way, sir," says Alfred.
"Alfred, they need more wine in the front. Miss Daly needs a copy of the menu ... Oh, and give Knox a grant," says Bruce as
he leaves.

Vicki stands in awe of Bruce Wayne. 

"Nice talking with you Wayne. The rich, you know why they are so odd. Because they can afford to be. Look at this mirror.
Maybe it should be Bruce Vain." Knox looks into the mirror and fixes his tie. 

Reverse shot on the mirror reveals a video camera recording the activity in the room. A room contains monitors which show
the activity taking place in the various rooms. Bruce sits in front of a monitor and replays a tape of the conversation between
Robert and Commissioner Gordon. He listens to them discussing Axis Chemicals. 

EXT: AXIS CHEMICALS: NIGHT 

Police cars pull up by the entrance. Eckhardt passes out photos of Jack Napier.
"All right, get a good look. This is the guy. Shoot to kill. Know what I mean? All right, move out."

The police draw their guns and enter the plant. Silhouettes of gangsters show them throwing objects onto the floor. Jack's men
rifle through the files and throw boxes onto the floor. The cut open the safe using a welding torch. Bob stands next to the safe
as it is opened. The safe is empty. Jack looks into it. 

"We've been ratted out here boys. Watch yourselves," says Jack. 

They exit the office. A policeman pulls out a gun and shouts at them to freeze. The gangsters fire at him, and a gun battle begins.
Jack runs up a staircase. A metal garage door rolls upward to reveal Commissioner Gordon with a team of policemen. Gordon
walks up to Eckhardt who is shouting orders to the police through a bullhorn. 

"What the hell is going on?" asks Gordon.
"Christ, what are you trying to do? Blow the collar?" says Eckhardt. "I'm in charge here, not Carl Grissom," replies Gordon. He
takes the bullhorn from Eckhardt and shouts to the officers. "This is Commissioner Gordon. I want him taken alive. Any man
who opens fire on Jack Napier will report to me." Eckhardt slinks away. 

Jack runs up to the factory's control board and pulls down some switches. This tilts over some of the containers holding the
chemicals. 

The sound of gunfire fills the air. Two of the gangsters laugh at the havoc they are creating. Suddenly, Batman floats down from
the ceiling and confronts them. They fire at him. Batman then pulls out his "bat discs." He throws one at a gangster, hits him, and
pulls him over a rail. Batman leaves him hanging in midair. From below Commissioner Gordon looks up and sees the gangster
swaying in midair. He also sees Batman standing above them. 

"Oh my God," says Gordon. 

Jack runs, picks up an axe and smashes it into one of the metal containers. Toxic chemicals pour out and flow towards the
police, who shoot at Jack as he runs up the staircase. The gunfight continues. One gangster turns to escape and Batman
punches him in the face, knocking him down to the floor. Jack runs up the stairs and Batman follows. Jack, with gun in hand,
spots an exit sign. Below, Commissioner Gordon gives his men instructions and tells them all to be careful. 

[ Shows that Gordon cares for his men, which creates audience empathy for him. Jack will attempt to kill Gordon, which
creates audience hostility for him. Batman will save Gordon's life, which will make the audience like him. ] 

Jack aims his gun down at Gordon and is about to kill him when Batman floats down and kicks the gun out of Jack's hand.
Batman then grabs Jack by the collar. "Jesus!!!" says Jack. 

Jack's cohort, Bob, then puts a gun to Gordon's head, and shouts to Batman "Let him go, or I'll do Gordon." 

[ This is the second time that Bob saves Jack's life. He will murder for him.] 

Batman puts Jack down. 

"Nice outfit," snickers Jack. Jack then picks up his gun and turns to shoot Batman. But Batman has quickly disappeared, which
leaves Jack baffled. 

Bob shouts up to Jack. "Come on, Jack, let's go."
Jack looks around the factory and spots Eckhardt. Eckhardt starts to walk away as Jack shouts at him. 

"Eckhardt, think about the future!" 

[ Even before his transformation into the Joker, Jack habitually utters ironic statements. After his transformation, this
characteristic becomes grotesquely exaggerated. ] 

Jack then shoots Eckhardt, who falls against a tank and dies. 

[ Although Jack kills Eckhardt, the audience feels Eckhardt deserves this because he is corrupt and set Jack up to be killed.
The audience had no empathy for Eckhardt. But this scene still establishes Jack as a cold-blooded murderer. ] 

Jack walks backwards, then sees Batman watching him. He fires at Batman, who quickly raises his hand to deflect the bullet.
The bullet ricochets off a metal tank and hits Jack in the face. He screams out in pain, grabs his face with his hands, and falls off
the railing. Jack desperately hangs on for life, his face scarred by the bullet. Batman grabs his hand and tries to hold him, but
Jack slips away and falls into a vat of green toxic chemicals. Commissioner Gordon watches this from below. 

[ It's important that Batman does not cause the disfigurement of the Joker. Such an act would cause the audience to turn against
him. Instead, Jack brought it upon himself when he tried to murder Batman. Batman even makes an effort to save Jack's life,
which increases the audience's regard for him. ] 

"God damn, we had him. Hold it right there!" Gordon yells at Batman. Batman looks around and sees the police approaching.
He throws some pellets onto the floor, then as the smoke fills the area, he pulls himself up to the ceiling and makes his escape. 

"Who is this guy?" asks a policeman.
"I don't know," says Gordon, but until we find out, we better keep a lid on it."

[ This was the first confrontation between the protagonist and the antagonist.] 

EXT: AXIS CHEMICAL: NIGHT 

Batman stands on the roof near the AXIS red neon sign. Green liquid flows out of the two large pipes into the river. 

Jack's playing cards float in the sewage waters around the plant. 

[The prop, the cards, locate Jack for the audience.] 

Jack's hand, fingers curled, reaches up out of the water. 

[ This is the end of the first act. The protagonist has beaten the antagonist, but the antagonist is still alive, and the audience
knows that the battle will continue. ] 

INT: NEWSPAPER OFFICE: DAY 

Knox talks into the phone as Vicki sits by.
"If there is no bat, then who dropped this Napier guy into the acid? Suicide? Wait a minute, I want to get this on tape. Hello?
Hello?" Knox puts down the phone and speaks to Vicki. "Okay, what have you got?" Together they look at a city map. 

"Here's the inner city. Here's Axis Chemicals. Here's the sightings so far. Maybe Batman has some kind of flight pattern. That's
all I can think of," says Vicki. 

"Very good," says Knox. "Tonight I'll take you to dinner and then we'll walk the trail."
"No can do," says Vicki. I have a date with Bruce Wayne."
"Wayne? The guys a stiff. He's a rich stiff, but you can do much better," says Knox.
"Thanks for being so concerned," says Vicki. "Goodbye!"

EXT: BRUCE WAYNE'S CASTLE: NIGHT 

The gates are closed and a car is in the driveway. 

INT: BRUCE WAYNE'S CASTLE: NIGHT 

Wayne is having super with Vicki in the formal dinning room. They sit at opposite ends of an enormously large table. 

"How's the soup," asks Wayne.
"Excuse me?" responds Vicki, not hearing his comments.

[ Her response emphasizes the distance between them. There relationship will transform from the formality and "distance" of
this initial setting to the "intimacy" of the kitchen. ] 

"It's great. Could you pass the salt," yells Vicki.
"Sure," says Bruce. He gets up and walks the length of the table in order to bring her the salt, then walks back to his chair. Two
solitary candles stand on the table. 

"Did you have a hard time finding the house?" asks Bruce. 

[ This is a strange question for him to ask given that she was at his party the other night. ] 

"No, no problem," answers Vicki. "Do you like eating here?"
"Oh, yeah," replies Bruce. "You want to know the truth. I don't think I've ever been here before." 

Vicki laughs. 

[ The laughter is caused by Bruce never being in one of the rooms in his house. This is a very strange situation. Most people
would never have this problem, and is a very unexpected situation that is not appropriate for most human beings. But given his
wealth, it could be true, and herein lies the conceptual incongruity that produces the laughter. ] 

"You want to get out of here?" asks Bruce.
"Yes," replies Vicki. They pick up their plates and leave. 

INT: KITCHEN: NIGHT 

[ This is a less formal and more intimate environment. The spatial relationships reinforce the audience's belief that the two
characters are becoming "closer."] 

Alfred tells Vicki a story about young Bruce. "There was young master Bruce leading his pony with me on it's back like a sack
of old potatoes, covered in mud and nursing a sprained ankle." Vicki laughs. "That was the first and last time that I gave him a
riding lesson." 

[ Vicki's laughter relieves the tension in the scene. Notice that the scene starts at the very end of the story. The message of the
scene is not background knowledge of the past, but Alfred's fondness for Bruce, and the intimate relationship they share. This
is not a master versus servant situation. ] 

Bruce is embarrassed and covers his face. 

[ This embarrassment makes Bruce appear to be vulnerable and generates audience empathy for him. ] 

"Well, I think I've embarrassed him long enough. I'm off to bed, but please leave everything. I'll tidy up in the morning. Good
night, Miss. Good night, Sir." 

"Good night, Alfred," says Bruce. Alfred leaves the room.
"He's really wonderful. He loves you a lot," says Vicki.
"Alfred's a great one. I couldn't find my socks without him."

[ This displays Bruce's "helpless little boy" attributes, which also generates audience empathy for him. ] 

"He sort of reminds me of my grandfather," says Vicki.
"Were you close to him?"
"I used to spend my summers with him and my grandmother. They had a house on the lake. Nothing like this, but it was fun."

[ Sharing of similar experiences increases their intimacy. ] 

"Yeah. What about your family," asks Vicki.
"Well, actually, Alfred is my family," replies Bruce as he pours her another glass of wine.
"You know, this house and all this stuff really doesn't seem you at all." "Some of it's very much me. Some of it isn't".

[ When in doubt, utter a tautology. At least you'll never be accused of saying something false. ] 

"That dining room is definitely not you," responds Vicki.
"No, the dining room isn't."

INT: SURGERY ROOM: NIGHT 

Bloody rags and gloves hang on the wall of a filthy operating room setup in a rundown basement. A patient sits in a chair with
his back to the audience. 

[ This increases the suspense and forces the audience to play close attention to the action. ] 

"Let's see how we did," says a Doctor as he unwraps the bandages from the patients face. The patient shakes his hands with
impatience, then unwraps the bandages himself. Finally, he tears off all the bandages. 

"Well?" asks the patient. His face is still hidden from the audience. 

"My God," says the Doctor. 

Red lights flash in the window behind the doctor. 

[ This psychologically instills fear and a sense of danger in the audience. ] 

"Mirror, mirror!!" The doctor gives the patient the mirror. The patient looks into the mirror, then slowly begins to laugh. 

"You understand that the nerves were completely severed, Mr. Napier," says the Doctor. Jack laughs hideously, then smashes
the mirror against the end table. 

"You see what I had to work with here," the Doctor says as he points to the bloody instruments. 

Jack gets up from the chair, knocks the light into the wall. It smashes, and the room becomes dark. Jack laughs wildly as he
walks up the staircase. 

[The audience still has not seen his face, and this keeps them locked into the scene. ] 

INT: BRUCE WAYNE'S MANSION: NIGHT 

[ Staircases provide for a smooth transition image. ] 

Bruce and Vicki are both drunk as they walk up the staircase, which is darkly lit. Vicki stops and leans against the wall. 

"An awful lot of stairs in this place. My feet are killing me." Vicki takes off one of her shoes. Bruce helps her by taking off the
other. Bruce is wearing eyeglass, which makes him less threatening.
"I feel a little drunk and you're not anything," says Vicki.
"Hey, one drink and I'm flying," replies Bruce.
"Why are you afraid of flying," says Vicki as she grabs him by the tie. Bruce throws her shoe on the staircase, then kisses her.

[The protagonist and love interest consummate their relationship.] 

INT: GRISSOM'S BATHROOM: NIGHT 

Carl Grissom wipes his face with a towel as he exits his bathroom. He walks to his desk and stares out the window at Gotham
City. He throws his towel onto a chair and pours himself a drink. The elevator door opens behind him. Jack (THE JOKER)
stands in the shadows. 

"Is that you, sugar bumps?" asks Grissom. He then looks at the reflection in the dark glass and says "Who the hell are you?" 

"It's me, sugar bumps," says the Joker. 

"Jack! Oh, thank God you're alive. I heard you've been..."
"Fried? Is that what you heard. You set me up for a woman.

A woman! It makes me insane," screams the Joker. 

Grissom has a drink. Jack slowly walks out from the shadows. Grissom drinks nervously as he walks back to his desk. he puts
down the glass and reaches for his gun. Jack quickly pulls out his own gun. 

"Don't bother," says Jack.
"Your life won't be worth spit!" screams Grissom.
"I've been dead once already," says Jack. "It's liberating. You should think of it as therapy."
"Jack, listen," says Grissom. "Maybe we can cut a deal."
"Jack? Jack is dead, my friend," says the Joker, as he steps out from the shadows. He takes off his hat and reveals his hideous
white face, green hair and red smiling lips as he points his gun at Grissom.
"You can call me Joker," says Jack, "and as you can see, I'm a lot happier." he laughs, then shoots Grissom. The Joker dances
insanely as Grissom falls dead in the chair. The Joker continues to shoot Grissom until he runs out of bullets. The then laughs,
throws his hat up into the air, and says "Oh, what a day." 

[ This scene completes the transformation of Jack into the Joker and shows his revenge upon Grissom. The audience retains
sympathy for Jack because he was horribly disfigured due to Grissom's efforts to have him killed. The scene ends on a
humorous note because the Joker, after committing murder, makes a inappropriately light casual comment.] 

INT: BEDROOM: DAY 

Vicki is sleeping. her head is on a pillow next to Bruce. He takes her into his arms and is pensive. The clock at the end table
displays 3:00, indicating that some time has passed. Vicki opens her eyes to see Bruce swinging upside down from a bar in the
middle of the room. He sleeps as if he were a bat. 

INT: GRISSOM'S OFFICE: NIGHT 

The Joker sits in Grissom's chair. There are bullet holes in the window behind him. "Gotham City, always brings a smile to my
face," says the Joker. 

[It's the Joker's sense of humor that maintains the audience's sympathy for him. This is not empathy. They don't identify with
him, nor do they ever desire to become what he his. But they can sympathize with him and pity him because of his
disfigurement. ] 

Joker glances at a blood splattered newspaper with headlines stating "WINGED FREAK TERRORIZES GOTHAM
GANGLAND."
"Winged freak ... terrorizes. Wait till they get a load of me," says the Joker as he laughs. 

INT: BRUCE'S BEDROOM: DAY 

Vicki wakes Bruce.
"Hey, I got an idea. How about lunch at my place? I'll show you some photos," says Vicki.
"Sure, okay...wait a minute. I can't do it today," says Bruce.
"Okay, we'll do it later in the day."
"Hold on a second. I can't make it then either. I have a very important meeting today," says Bruce.
"What's wrong?" asks Vicki.
Bruce jumps up off the couch. "Nothing's wrong. I just have to go out of town on business for a few days."
"Okay, we'll do it when you get back."
"All right."
"I got to go. I'm late. Goodbye," says Vicki. She kisses him then leaves the room. 

INT: STAIRCASE: DAY 

Running down the staircase Vicki meets Alfred.
"Alfred!" says Vicki.
"It's nice to see you again," replies Alfred.
"You, too. Well, I'll talk to you guys when you get back."
"Back, Miss Vail? We're going to be here for quite a while."
"Well, goodbye."

[ Vicki is upset because she knows that Bruce has lied to her. Girl meets boy, girl loses boy. The road to true love is strewn
with obstacles. It don't come easy. ] 

INT: JACK'S APARTMENT: DAY 

[Now, let's see how the antagonist's love life is coming along.] 

Alicia is carrying packages as she walks into the apartment. The Joker is sitting on the chair waiting for her. 

"Honey, you'll never believe what happened to me today," says the Joker. 

[ Humor is generated by a banal statement inappropriately uttered in a bizarre situation. ] 

The Joker, with white face and green hair, wearing a purple jacket and sipping a glass of champagne, laughs as he watches
Alicia faint and collapse onto the floor. 

[ Alicia falls for the Joker. ] 

INT: GRISSOM'S OFFICE: DAY 

The criminal syndicate representatives sit around the conference table. 

"So, gentlemen," says the Joke, "that's how it is. Till Grissom resurfaces, I'm the acting president, and starting with this
anniversary festival, we run this city into the ground." 

[The irony of "Grissom resurfacing" produces a snicker. The scene is also started at the latest moment possible: with the last line
of the Joker's speech. ] 

"Why don't we hear this from Grissom?" asks a fat gangster.
"Yeah, and what's with that stupid grin," asks Antonio. 

Jack is wearing flesh colored makeup to cover his white skin. He is also wearing a purple hat and an orange shirt.
"Life's been good to me," laughs Jack. 

[Again, irony, the Joker's primary mode of expression, produces laughter. It also generates audience sympathy because he can
laugh at his own misfortune. ] 

"What if we say no," says Antonio. Jack gets up from his chair and walks towards Antonio. "Well, Tony, nobody wants a war.
If we can't do business, we'll just shake hands, and that'll be it." "Yeah?" says Antonio.
"Yeah," replies Jack, as he holds out his hand. Tony shakes Jack's hand and becomes electrocuted. Steam and smoke rises up
from his hand.
"Wow, wow, oh, I got a live one here," laughs the Joker. Smoke fills the room as flames leap out of Tony's collar.
"Oh, there'll be a hot time in the old town tonight," laughs the Joker. He dances as the charred body of Antonio falls to the
chair. 

The door bursts open as Bob and the Joker's men rush into the room. The are all carrying machine guns which they aim at the
other gangsters sitting around the table. 

"Antonio got a little hot under the collar," says the Joker as he laughs and waves his hat at Antonio.
"You crazy," says the fat gangster.
"Ain't you heard of the healing power of laughter," says the Joker.
He wipes the sweat from his brow, thereby removing some of the fleshy makeup. "Now get out of here! You think it over,"
says the Joker.

"Move it," shouts Bob as the Joker's men usher the other gangsters at of the room. 

Joker approaches Bob. "Bob, I want you to go down to the Globe and follow that reporter Knox and see what he knows
about this Batman, and Bob, remember," says the Joker as he grabs Bob by both shoulders, "you're my number one guy." 

"Yes sir," says Bob, as he puts on his dark glasses, straightens up like a soldier, and marches out of the room. The Joker
snickers and mocks Bob. 

[ This is a parody of the earlier scene where Grissom set the Joker up to be killed. ] 

The Joker then walks to the charred body of Antonio. "Your pals are not bad people. Maybe we ought to give them a couple
of days to think it over? What, grease them now? Okay. You are a vicious bastard, Retali. I'm glad you're dead." The Joker
laughs as he tightens Antonio's tie. "I'm glad you're dead." 

[ This scene establishes both the power and ruthlessness of the Joker as the antagonist. He has no inhibitions about destroying
fellow "businessmen" who may interfere with his plans. ] 

INT: NEWSPAPER OFFICE: DAY 

Vicki is searching through a filing cabinet. Knox hands her a file that has Bruce Wayne's name written on it.
"I need that," says Vicki.
"I'm losing confidence in you," says Knox. "I thought we were a team."
"This wouldn't be a personal issue for you, would it."
"I just want you to do your job."
"I am doing my job."
"Me, too. I'm protecting my partner," replies Knox.
"There's nothing in these files. No photos. No history, no nothing! Who is this guy?" asks Vicki as she bands the file back to
Knox. "Who cares? Forget about Bruce Wayne. Go onto Batman," says Knox. 

[ Conflict is generated in Vicki's relationship with Knox. Her objective is to find out everything that she can about Bruce
Wayne. Knox's objective is to find out all that he can about Batman. Of course, the irony in the situation is that the audience
knows Bruce Wayne is really Batman. ] 

EXT: WAYNE'S ESTATE: DAY 

Wayne leaves his house and enters his car. He drives out of the gate. Vicki sits in her car and watches Bruce as he drives away
from his estate. 

EXT: CITY STREET: DAY 

Vicki parks her car and follows Bruce Wayne as he walks into an alley. Bruce stops in front of a deserted hotel, takes two
roses out from under his coat, places them on the ground, then walks away. After he has left, Vicki picks up the two roses and
watches Bruce walk away. 

[A mystery captures the audience's attention.] 

EXT: CITY HALL: DAY 

Knox, surrounded by a crowd of reporters, holds a microphone in his hand. "They should be out here any second. I can't wait
to hear the explanation for this one," says Knox. 

Bruce Wayne walks up to the crowd. The fat gangster walks out from city hall.
"So what's this affidavit you filed," asks a reporter. "Grissom gave you all his businesses?" 

"Mr. Grissom asked me as a personal favor to take over the operation of all his businesses until he returns," says the gangster.
"That's a pretty big favor. You two must have been very close," responds Knox. A crowd gathers. "Very close," says the
gangster.
"Did you do a little time together as children?" asks Knox as he laughs.

Vicki walks into the crowd. Suddenly white faced mimes approach the crowd. Bob, the Joker's henchman, hides behind a
column as he takes a photo of Vicki. 

"I smell fresh ink, guys," says Knox. "Now you can prove this. What am I asking?" says Knox. 

"We have witnesses," says the gangster. "Grissom's signature is perfectly legitimate. 

The Joker, wearing a top hat, comes out of the crowd. "It is legitimate. I saw it. I was there. I saw it all. He reached up with his
dead hand and signed it with his own blood, and he did it with this pen. Hello Vinny, it's your uncle Bingo. Time to pay the
check."
The Joker throws the poisoned quill into Vinny's neck as Bruce Wayne watches. 

"The pen is truly mightier than the sword," states the Joker. 

[Again, humor is generated because a well-known quotation is uttered in an inappropriate context. ] 

The other white-faced mimes take out their machine guns and shoot the policemen guarding the entrance to City Hall. A
getaway car pulls up to the curb as the crowd falls down to the ground for cover. Bruce, as if in a semi-trance, approaches the
Joker. Vicki calls out to him, but he doesn't hear her. He continues to stare at the Joker. The Joker waves at Bruce from within
the getaway car as it drive away. Vicki runs up to him as Knox watches from behind. Bruce looks at her, says nothing, then
walks away. 

[Bruce realizes that Jack Napier is still alive, and that his fight with the antagonist is not over yet. ] 

EXT: CITY HALL: DAY 

The police carry a blue stretcher past a reporter who is interviewing the Mayor in front of TV cameras. 

"Doesn't gang war dampen the plans for the 200 Anniversary festival," asks the reporter. "The festival opens," says the Mayor.
"The police are going to stop these gangsters." 

[This reinforces in the audience's mind the idea that there is a serious threat to the community. ] 

"Mr. Dent, what do you think about the theory that Batman is a mob enforcer killing everyone." 

Suddenly, a T.V. Monitor that is displaying the above scene is smashed by a huge boxing glove controlled by the Joker. 

INT: JOKER'S APARTMENT: NIGHT 

"BATMAN! BATMAN!" says the Joker. "Can somebody tell me what kind of world we live in where a man dressed up as a
bat gets all my press!" 

Bob stands behind the Joker. "This town needs an enema!" says the Joker as he blows a party horn. 

[ The Joker's objective is to gain recognition for his deeds.] 

INT: BRUCE WAYNE'S MANSION: DAY 

Alfred is pouring some water into a glass as Bruce enters the room. "Alfred, can I have a glass of.. water." 

[This shows the audience that Alfred knows Bruce better than perhaps Bruce knows himself] 

"I'm relieved that you're home, sir. Miss Vale telephoned. She was rather concerned. I feel that there is a certain weight that
lifts when she is here."
"Alfred, why don't you marry her?" 

"That's not exactly what I had in mind."
"I can't go over that right now."
"If not now, when?"

"I just found out that Jack Napier is still alive. He's running Grissom's men. I need all the information that the police have on
him."
"Yes, sir." 

[This establishes Bruce's priorities: fighting crime is more important than romance. ] 

"Thank you," says Bruce. "Alfred, she is great, isn't she?"
"Yes, sir."

INT: VICKI'S APARTMENT: DAY 

Vicki is sitting at her desk while she is dialing a number on her phone.
"City room, Knox," says Knox on the other end of the phone.

"Hi," says Vicki. "Find out something for me. Find out what's so special about the alley of Pearl and Phillips streets." Vicki
stares at a photo of the alley.

INT: JOKER'S OFFICE: DAY 

Pictures of smiling dead men in uniforms are scattered on a desk top along with an envelope that has "CIA -
DISCONTINUED 1977 DDIA NERVE GAS" written on it. 

The Joker sits at a different desk and cuts up pictures as Bob walks up to him. Scraps of paper litter the floor. 

"So much to do and so little time," says the Joker.
"The photos," says Bob.
"So is that?"
"It's Knox," says Bob.
"Bad tie, bad style," responds the Joker. He next turns to a picture of Vicki.
"Stop the press. Who is that?"
"That's Vicki Vale, the photographer working with Knox."
"That girl has style. A lovely girl like that running around could put ???? in a man's stride."
"She's dating some guy named Wayne."
"She's about to trade up," says the Joker as he cuts her picture out of the photo. "It's hard to stay inside the lines. I'm about to
get a new girl, Bobby. I'm of a mind to make some mooky. Phone book."
"Yes sir," says Bob.
"So much to do and so little time," repeats the Joker. 

Cuttings are scattered over the floor around him as he spins around the room. 

[ The joke lies in his comments about not having enough time is incongruous with his cutting up paper scraps and spinning
around the room, which is a waste of time. The point of this scene is that the new objective of the antagonist is the love interest
of the protagonist. A classic dramatic structure has been established. ] 

EXT: AXIS CHEMICALS: NIGHT 

A truck pulls up to the gate. Two workmen open the gate, and the truck drives out. 

[Establishes that shipments are being made.] 

INT: AXIS CHEMICALS: NIGHT 

An engineer examines vats of chemicals as they go by on an assembly line. The Joker stands on a ledge above him.
"Have you shipped a million of those things?"
"Yes sir!"
"Ship them all," says the Joker. We're going to take them out a whole new door." 

INT: TV NEWSCAST: NIGHT 

ACTION NEWS is on screen. 

"Ten seconds to transmission. Five, four, three, two, one," says the announcer. "Hear music."
"Good evening," says the news woman, Becky. "The fashion world was shocked today by the sudden death of models Candy
Walker and Amanda Keeler." 

Two photos of the dead models appear on the screen. They both have hideous smiles on their faces. The TV screen splits with
the man on the left and the woman on the right. 

"The cause of death has been attributed to a violent allergic reaction, although the authorities have not ruled out the possibility of
drug use. Peter." 

"And plans continue for the city's 200th Birthday, as Mayor Berg announced today," says Peter. "This just in. Three mysterious
deaths at a beauty parlor in Gotham." 

Becky laughs and begins to smile. 

"At a beauty parlor in Gotham today," continues Peter, as Becky laughs outrageously, then falls off her chair. The staff calls for
paramedics. 

Suddenly the TV image is transformed as the Joker appears. He is in a supermarket and he dances down the aisle.
"New and improved Joker products with the new secret ingredient, SMYLEX. Let's go over to our blind taste test," says the
Joker.
"Love that Joker!" say two models with hideous smiles.

A man is tied to a chair. Titles stating "NOT AN ACTOR" flash across the screen. 

[A parody of the standard commercial format] "Oh no, he don't look happy," says the Joker. He's been using BRAND X. But
with the new Joker brand, I get a grin again and again." 

A different man, dead, but with a wide grin, sits in a chair. Becky, the female announcer, lies dead on the floor with the same
hideous grin spread across her face. 

The Joker sits on a beach chair between the two grinning models. "That luscious tan, those ruby lips, and hair color so natural,
that only your undertaker knows for sure." 

[Joke produced by a simple switch of "undertaker" for the standard "hairdresser."] 

Bruce Wayne watches the commercial. 

"I know you're saying, where can I get those fine new items? Well that's the gag. Chances are you bought them already," laughs
the Joker.
"Love that Joker!" says a woman's voice. 

Bruce continues to watch from his desk. 

"So remember, put on a happy face," says the Joker. 

[The Joker's prima-facie objective is to gain the celebrity status of having his own line of cosmetics, even if it involves poisoning
most of Gotham City. He'll become famous even if he has to destroy the community in order to gain "respect".] 

Alfred enters. "The information you requested, sir."
Bruce shuts off the TV, then reads through the file on Jack Napier.
"Jack Napier. Assault with a deadly weapon at age 15. Result of psychological profile: violent mood swings, highly intelligent,
emotionally unstable. Aptitudes include science, chemistry and art. Chemistry?" says Bruce, as he becomes pensive. The red
and black design behind Bruce creates a mood of danger.
"Alfred, let's go shopping."
"Yes sir," says Alfred.

[ Bruce's objective is to solve the murders] 

NEWSPAPER HEADLINES 

"COSMETIC SCARE IN GOTHAM"
"PRODUCT TAMPERING CLAIMS 13 LIVES"
"WHO IS THE MYSTERIOUS JOKER"

[ The Joker has knocked BATMAN off the front page and gained the recognition he think he deserves.] 

INT: ACTION NEWS: DAY 

The woman announcer appears without makeup and with unkempt hair, while the man has blemishes on his face. 

[The humor is generated by their inappropriate appearance on a TV News Show, yet their appearance is understandable given
the cosmetic scare. ] 

"Six new deaths with no clues as to the Joker's deadly weapon," says the female announcer. "And what is the pattern: Food,
alcohol, or beauty and hygiene products- cologne, mouthwash, underarm deodorant?"
"And worst yet, there maybe no pattern," says the female announcer.
"The search goes on through Gotham's shopping nightmare."

[ The whole community is in danger because of the Joker's lust for power.] 

INT: MAYOR'S OFFICE: DAY 

"We're going to have a festival if I have to get a shotgun and get the people there myself Do you hear the words coming out of
my mouth, Dent! The festival is on! And you find out what this madman is poisoning us with and fast! Do you read me?" says
Mayor Borg. 

Dent is on the telephone. "We're working on it. I need all the help that I can get!" 

INT: WAYNE'S MANSION: DAY 

A hat is placed on the table near an answering machine. A hand presses a button on the machine and a recorded message plays
back. 

[ This type of image engages the view and forces them to pay attention to the action. They wonder who has pressed the button.
] 

"Bruce? Hi, it's Vicki. Sorry, but I'm going to be 10 minutes late at the museum. I'll seeyouwhen I get there. Bye." 

Alfred calls Bruce. "Mr. Wayne, a message from Miss Vale. She'll be ten minutes late meeting you at the museum." 

"Thanks. Wait a minute, Alfred. I'm not meeting her today," says Bruce. 

INT: JOKER'S APARTMENT: DAY 

The Joker is putting flesh colored makeup on in front of a mirror. Alicia, wearing a white mask on her face, asks Jack where
he's going.
"Daddy's going to make some art, darling," says the Joker as he laughs. 

[ By now the audience is aware that the Joker's twisted sense of humor foreshadows danger. ] 

EXT: FRONT OF MUSEUM: NIGHT 

Vicki, dressed in a white coat, enters the museum. 

[A transition scene that establishes the location] 

INT: MUSEUM: NIGHT 

Vicki walks into the main lobby, speaks with the guard, then walks up the staircase. She approaches the head waiter and says
"Excuse me. Mr. Wayne's table?"
"He hasn't arrived yet. We have a table waiting."
Vicki sits down at the table and takes off her coat to reveal that she's wearing a baby blue dress. 

Time passes. Vicki taps her fingers on the table as she waits. She looks at her watch. The waiter approaches with a package. 

"Miss Vale, this just arrived for you." 

The package has a blue and orange bow, with a note stating "URGENT." She opens it up and it contains a gas mask with a
note stating "PUT THIS ON RIGHT NOW!" 

Gas seeps through the vents. A waiter collapses, as do customers at the next table. People become poisoned by the fumes.
Some fall over the banister and others face forward into their food. 

Suddenly, the museum door slams open. People are laying all over the museum floor. The Joker enters wearing a French
artist's cap and surrounded by his band of thugs.
"Gentlemen," he says. "Let's broaden our minds. Lawrence."

Lawrence, carrying a large radio, turns it on as the Joker leads a dance parade into the museum. They destroy pieces of art
accompanied to the sound of the music. They knock statues off their platforms and spray paint on works of art. 

[The destruction of beauty and art establishes the Joker's evil character.] 

Bob pulls out a knife and is about to slash a German painting of slabs of meat hanging on hooks surrounding a bearded man,
when the Joker stops him.
"Bob, I kinda like this one."

The Joker sees Vicki at the table. His thugs set up candles and a bottle of champagne. They then shut off the music. 

"You can take that off now, I think," says the Joker. Vicki removes the mask. 

"Beautiful, in an old fashioned kind of way. But I think we can make you more today. "The Joker then uses his flame throwing
lighter to light some candles. "Is that your portfolio?" he asks. "I'm meeting someone who'd like to see my work," says Vicki. 

The Joker pages through her portfolio. "Crap, crap, crap." When he finally comes to pictures of dead people he says "Oh,
that's good work. The skulls, the bodies, you give it all such a glow. I don't know if it's art, but again I like it." 

[Again, a cliché is used in an inappropriate situation, and this generates the humor.] 

"Let me tell you what I'm thinking about, sweety. I was in the bath one day when I realized that I was destined for greatness.
You know how concerned people are about appearances. This is attractive, that is not. Well, that's all behind me. I make art
until someone dies. See, hee, hee, I'm the world's first fully functioning homicidal artist." 

"What do you want?" asks Vicki.
"My face on the one-dollar bill," replies the Joker. 

[Fame, public recognition?] 

"You must be joking," says Vicki.
"Do I look like I'm joking. Listen, we mustn't compare ourselves with other people. We're artists. For instance, let me
challenge you with a little piece I did. Bob! Alicia! You will take pictures and record my work. You will join me in the avant
guarde of a new aesthetic," says the Joker. 

"Jack you said I could watch you improve the paintings," says Alicia. 

"Oh, I'm in trouble now," laughs the Joker.
"Why is she wearing a mask?" asks Vicki.
"Well, she's just a sketch, really. Alicia, sit down. Show the lady why you're wearing a mask. You see, Miss Vale, Alicia's been
made over in line with my new philosophy. Now, like me, she's a living work of art."

Alicia removes her mask to show her acid scared face. Vicki recoils from her with horror and jumps out of her chair. 

"I'm no Picasso, but do you like it," asks the Joker.
"Great. So what can I do for you?" asks the terrified Vicki.
"A little song, a little dance, Batman's head on a lance," replies the Joker. "Tell me, what do you know about..." says the Joker
as he flutters his arms.
"I don't know anything about Batman."
"How about a little you and me?"
"You're insane!"
"I thought I was a Pisces. Come on, let's make up. Have a little whiff of my posey." 

The Joker backs Vicki against the wall and sprays some acid at her. It misses her face and hits the brick wall behind her, where
it sizzles. Vicki throws a pitcher of water into his face. 

"Oh, I'm melting, I'm melting," says the Joker as he mimics the sequence from the WIZARD OF OZ. He jumps around with his
hands over his face as if he's in pain. Vicki attempts to comfort him. He then suddenly removes his hands, reveals his white face
behind the washed out makeup and says "BOO!" 

Suddenly, Batman crashes down through the skylight in the ceiling. He floats down next to Vicki, grabs her in his arm, and
points a gun at the Joker. He then fires the gun. It shoots out two arrows that embed into the walls in opposite directions,
connected by a metal wire.
"Hold on," Batman says to Vicki. They slide along the wire down from the balcony and across the museum lobby over the
heads of the Joker's thugs. They crash through the front door of the museum. 

The Joker watches them escape, then says "Where does he get those wonderful toys?" 

[ These childlike statements produce humor and help to maintain some audience sympathy for the Joker. Although he's an
insane murderer who likes to disfigure people, he still makes the audience laugh. The audience will always like a character who
has a sense of humor. ] 

EXT: MUSEUM: NIGHT 

Batman and Vicki run down the stairs in front of the museum.
"Get in the car," says Batman.
"Which one?" asks Vicki. Then she sees the Batmobile. They quickly get into it as the Joker's thugs run out of the museum after
them."

Batman drives away pursued by the thugs. 

[The mandatory chase scene, with mandatory car crashes.] 

The Batmobile speeds through the streets chased by the Jokers men. Batman fires a hook into a metal grid which enables him
to make a very sharp left turn. The thugs cars then pile up into a huge traffic accident. Police cars drive up to the accident.

A large vehicle blocks Batman's getaway route. Batman and Vicki get out of the Batmobile and run down an alley. Batman
speaks the word "SHIELDS" into his wrist watch communicator, and shields go up around the Batmobile. The thugs cars pull
out of the pileup and pursue Batman. They fire their guns at them, as Batman and Vicki run into a dead end alley. 

"How much do you weigh?" asks Batman.
"About 108, 1 think," says Vicki.

Batman quickly shoots a hook up into the air above them. It wraps around a metal girder that spans the alley. He then latches
the end of a wire wench to his belt. 

"Hold on," he says to Vicki.
The wench pulls them up into the air just in time to avoid being run over by a car driven by thugs.
Batman and Vicki stop in midair.
"See that thing on my belt?" says Batman. "Grab it. Whatever you do, don't let go!" Vicki screams as the pulley pulls her up
into the air. Batman uses his cape to float down into the alley. He hits a garbage can and falls onto the pavement. The thugs
jump up, hit him on the head, then fire two shots into his body at close range.

"No blood," says one thug.
"Hey, who is this guy?" asks another.
"Check his wallet," says a third.
"Wait a minute."
"Some kind of body armor. He's human after all."
"Take off the mask," says Bob.

Vicki, watching this scene from the rooftop, prepares to photograph Batman's face. As one of the thugs starts to pull on his
mask, Vicki's flashbulb goes off. The thugs look up and fire their guns at her. Suddenly, Batman jumps up and fights with the
thugs, quickly knocking two of them out. An acrobatic thug wielding slashing swords attacks Batman. After several defensive
moves that block the swords Batman kicks the thug in the face and knocks him to the ground. 

Bob, who has been hiding behind some garbage cans, get up with one knife in hand. Batman motions with his finger for Bob to
come forward. Bob glances down at the knife in his hand, then drops it and runs away.

[Humor in this sequence] 

Vicki, watching this from above, quickly hides the film in her bra. 

"Shields open," says Batman into his communicating device. The Batmobile activates and drives forward, being controlled by
remote control.

Vicki climbs down a ladder.
"You weigh more than 108," says Batman.
"Oh, really," she says.

[Joke consists of a woman lying about her weight during a life and death situation. ] 

The Batmobile races towards Batman who stands in the middle of the street. He says "stop", and the car stops inches before
hitting him.

[Jeopardy and danger.] 

EXT: COUNTRY ROAD: NIGHT 

Batman and Vicki ride through the forest in the Batmobile.
"Where are we going?" asks Vicki, but Batman doesn't respond. They then drive towards a mountain. Vicki screams,
expecting them to crash, but instead they drive right through. The side of the mountain was a holographic image designed to
camouflage the entrance to Batman's cave. 

INT: BATCAVE: NIGHT 

The Batmobile stops inside. Batman and Vicki get out of the car. Batman flips a power switch. Lights come on showing that
they are standing on a ledge. The cave is filled with Bats. 

"Bats," says Vicki.
"They're good survivors," says Batman.

Vicki follows Batman into his cave. Batman sits down in front of a set of monitors. "What is all this?" asks Vicki.
"The police have got it wrong. They're looking for one product. The Joker has tainted hundreds of chemicals at the source."
"Then the whole shipment of products would be poisoned and we'd be dead," says Vicki. "No, the poison only works when
the components are mixed. Hair spray won't do it alone, but hair spray mixed with lipstick and perfume would be toxic and
untraceable," says Batman. "How did you figure this out?" asks Vicki. 

Batman throws an envelope at her.
"Take that to the press," says Batman.
"I might have some trouble with that. A lot of people think that you're as dangerous as the Joker," says Vicki.
"He's psychotic," replies Batman.
"Some people say the same thing about you."
"What people?"
"Well, let's face it. You're not exactly normal, are you?" replies Vicki.
"It's not exactly a normal world, is it?"
"Why did you bring me here? You could have sent that stuff to the press yourself"
"You're right. There's something else you have that I want."
"What?" asks Vicki.
Batman quickly lifts up his cape. Bats flutter. 

[ Batman's objective in this scene was the obtain the film from Vicki ] 

INT: BEDROOM: DAY 

Vicki, lying alone in the bed, suddenly wakes up. She clutches onto her chest and says "Ah, he took the film."
The phone rings and Vicki answers it.
"Vale, where have you been. Are you all right?" asks Knox.
"If I bring something to you, can we make the evening edition?"
"Just barely. Is it hot?"
"Yeah, real hot. Bye."
"Copy," shouts Knox.

EXT: STREET: DAY 

Police cars are parked on the street as a newspaper truck pulls up. Newspapers are thrown onto the ground. The headlines
read "BATMAN BREAKS JOKER'S POISON CODE." 

INT: TV MONITOR: NIGHT 

The male announcer has blemishes on has face. "Avoid the following combinations: deodorants with baby powder, hair spray
and lipstick. Safe products are flying in as Gotham City goes on a forced fast, and all of Gotham is considering what to make of
Batman: friend or foe?" 

INT: JOKER'S APARTMENT: NIGHT 

The Joker and Bob watch this announcement.
"I have given a name to my pain, and it is Batman," says the Joker as he shoots his television set.
"We must possess strength to inflict pain, Bob. We've got a flying mouse to kill and I want to clean my claws."

INT: BATMAN'S CAVE: NIGHT 

"Sir, Miss Vale called again. Dare I suggest that your present course of action might strengthen her resolve. She is quite
tenacious," says Alfred.

"You're right about that."
"And if I may say so, quite special, quite special. You might try telling her the truth," says Alfred as he gives Bruce a cup of
coffee.

INT: VICKI VALE'S APARTMENT: DAY 

Bruce rings the doorbell. Vicki opens the door. Bruce offers her flowers. 

"Hi, may I come in," says Bruce.
Vicki leaves the door ajar as she walks back into the apartment. Bruce enters and closes the door behind him.
"Nice apartment," says Bruce. "Lots of space. Listen, I came over to clear up a few things."
"I don't know who you think you are. You hurt me! I called you and I called you, and you lied about leaving town," says Vicki.
"Let me tell you..."
"Let me tell you," snaps Vicki. "You invited me out. We went to dinner. I trusted you. I slept with you. I don't believe I did that
and then you wouldn't return my phone calls. You must be some kind of jerk."
Vicki won't let Bruce talk. Finally, he pushes her down into a chair.

"You're a real nice girl and I like you a lot, but for right now, shut up. There is something that I have to tell you." Bruce has
difficulty expressing himself "You know how people have different sides of their personality. Sometimes a person will actually
have to lead a different life."
"Oh my god, you're married," says Vicki.

[This is funny because in most situations of this type Vicki's response would be correct. But here she completely
misunderstands Bruce's problem. ] 

"No, I'm not married," he says as he takes off his coat. "You see, my life is really complex. All right listen, you know how a
normal person gets up and goes downstairs, eats breakfast and kisses somebody goodbye and goes to a job and ... you
know..."
"No," says Vicki.

Bruce is upset. "All right, look, Vicki, what I'm trying to tell you is..."
"Hey, it's all right, you can tell me..."
"Okay."

Suddenly the doorbell rings. 

"I'll be right back," says Vicki. She goes to the door and Bruce silently practices saying that he is Batman. Thugs kick open the
door. The Joker stands in the doorway. Vicki screams. One thug holds a large radio on his shoulder, which is playing the song
"Beautiful Dreamer." Bob carriers a wrapped present.

"Miss me? Nice place you got here. Lot's of space," says the Joker. 

[The antagonist's entrance parallels and parodies that of the protagonist.] 

Bruce quickly hides. 

"Vicki, we must have a talk. I'm very upset. We were having dinner. I was a man doing well with a beautiful woman, and
without so much as an apology you ran off with that side show phony." 

Bruce finds a metal tray and places it under his jacket. 

"You know, Vicki, I recently had a tragedy in my life," says the Joker. He places Alicia's mask on the mantle. "Alicia threw
herself out of the window."
"Oh my god."
"But you can't make an omelet without breaking some eggs," he says as he smashes the mask. 

Vicki picks up a bowl for protection just as Bruce walks around the corner. The Joker notices him.
"Well, Miss Vale, another Rooster in the Hen House? Take thy beak from out my heart."
"Bruce," says Vicki.
"Bruce Wayne, nest pas?" says the Joker.
"Most of the time," says Bruce as he approaches the Joker. The thugs pull out their guns, but the Joker stops them.
"I know who you are," whispers Bruce. "Let me tell you about this guy I know, Jack. Mean kid, bad seed. Hurt people."

"I like him already," laughs the Joker. 

[ The humor is generated by the surprise expression of a socially inappropriate attitude.] 

"The only problem was he got sloppy. Crazy. He started losing it. He had a head full of loose wiring. Couldn't keep it straight
up here. He was the kind of guy who couldn't hear the train until it was two feet from him." Bruce picks up a poker from the
fireplace.
"You know what happened Jack. He made mistakes. Then, he had his lights knocked out. You want to get nuts. Come on,
let's get nuts." 

Bruce waves the poker at the Joker, and the Joker responds by taking out a gun and pointing it at Bruce. 

"Tell me something my friend. You ever dance with the Devil in the pale moon light?" says the Joker. 

"What?" says a stunned Bruce. 

"I always ask that of all my prey. I just like the sound of it." He then shoots Bruce as Vicki watches and screams. 

"Never rub another man's rhubarb. Why is it every time I come for you, somebody always gets in the way?" he asks Vicki. "I
need a moment alone, boys." 

"I'm only laughing on the outside, my smile is just skin deep, if you can see inside I've been crying, you might join me for a
weep." The Joker then laughs, dances out of the apartment, and in the hallway gives a raspberry before he leaves." 

Vicki runs to Bruce, but he is no longer lying on the floor. She finds the metal tray with the bullet hole in it, but Bruce is no
where to be seen. She then opens the box that the Joker brought her. Out pops a hand holding dead roses. Vicki faints and
falls to the floor. 

[This is the end of Act Two. The Joker (the antagonist) believes he has killed Bruce just as at the end of the first act Batman
(the protagonist) believes that he has killed Jack Napier. In a standard structure, the protagonist triumphs over the antagonist at
the end of the first act, and the antagonist triumphs over the protagonist at the end of the second act. Neither of these victories
are decisive. This structure forces the protagonist to enter the third act motivated for a complete final victory over his
antagonist. ] 

[ The following scenes are designed to ensure that the audience will be unambiguous in their empathy for Batman and desire to
see the Joker defeated.] 

INT: NEWSPAPER OFFICE: NIGHT 

Knox and Vicki are sitting in the office. 

"You wouldn't believe it. You really wouldn't," says Vicki. 

"Well while you were out entertaining I was finding out about your. street corner. Vale, I think that your friend Wayne is really
screwed up," says Knox. 

"More good news." 

"Here." Knox turns on a monitor which shows newspaper headlines.
"THOMAS WAYNE MURDERED. ONLY CHILD SURVIVES." Bruce's young face appears on the front page. 

"Oh my god. His parents were murdered in that alley. That's why he went there," says Vicki.
"Poor kid watched the whole thing happen in front of him," says Knox.
"Look at the look on his face. That's the same look at city hall."
"What do you suppose something like that does to a kid?" says Knox. Vicki gets up and leaves.
"Vale, don't get personal," shouts Knox.

[ The revelation of the deep rooted motivation of Bruce Wayne/Batman ] 

INT: WAYNE'S STUDY: NIGHT 

Bruce stares at a map. AXIS CHEMICALS is circled. The Batman costume hangs in a safe. Alfred stands next to it. 

"Alfred, did you get the file on my parents."
"It's on your table, sir."
Bruce picks up the folder.
"What's on your mind, Alfred?"
"I have no wish to fill my few remaining years grieving for the loss of old friends, or their sons."
Alfred leaves the room.

EXT: CITY HALL: DAY 

Mayor Borg, with Harvey Dent and Police Commissioner Gordon walk down the steps towards a microphone. They appear
on four TV monitors. 

"The 200 Anniversary Birthday Gala has been indefinitely postponed. We simply cannot guarantee public safety," says the
Mayor. The screen splits in half, with the Mayor on one side and the Joker on the other.

[ The well-being of the community has been placed in jeopardy by the Joker. ] 

"Joker here." "We've got interference. Call the obie unit," says a studio technician.

"Now you fellows have said some pretty mean things, some of which was true under that fiend Boss Grissom," says the Joker.
"He was a thief, and a terrorist, but on the other hand he had a tremendous singing voice."

[ Standard "three-item setup", with the third item being unexpected and incongruous with the first two. ] 

"He's dead now, and he left me in charge. Now I can be theatrical, and maybe a little rough, but one thing I am not is a killer.
I'm an artist. I love good parties. So ... truce." 

INTERCUT 

Motorcycle gang partying.
Construction workers shoveling sand into a cement mixer.
A Bar with people drinking and watching TV.

"Comos, ah, Festival," says the Joker. "And I got a surprise for Gotham City. At midnight I will dump $20 million in cash on the
crowd. Don't worry about me. I've got enough."

"We are not prepared to discuss any deals," says the Mayor. The Joker quickly wipes him off the screen.

[He who controls the media, controls access to the community. ] 

"You heard it folks. $20 million. And there will be entertainment. The Big Dukero, with me in one corner and the man who
bought real terror to Gotham City, BATMAN." 

[ The antagonist publicly invites the protagonist to engage in the final battle. ] 

INTERCUT 

Bruce watches the Joker on several monitors. 

"Can you hear me. Just the two of us. Mano on mano. I have taken off my makeup, let's see if you can take off yours." 

Bruce freezes the Jokers image on the monitor. He picks up the file on his family's murder. "POLICE REPORT
UNSOLVED." Bruce opens it to the newspaper headlines: "THOMAS WAYNE MURDERED." he takes off his glasses and
remembers. 

FLASHBACK- EXT: MONARCH THEATER: NIGHT 

This is a dream like memory sequence that is shot in slow motion. 

People are leaving the theater, including Bruce's father, mother, and himself as a young child. As they walk into an alley, two
men follow them. Young Bruce carries the popcorn. He turns to see a young gunman. A thief pulls the pearls from Bruce's
mother's neck. Bruce's father tries to fight him. The young Joker shoots the father and mother, as pearls and popcorn fall into a
puddle of water. The young Bruce watches as the Joker, with a wide grin, points the gun at him. 

"Tell me kid, you ever dance with the Devil by the pale moon light?" The young Joker smiles insanely and mockingly laughs at
the young boy as he cocks his pistol. The other thief tries to restrain him. "Let's go ... let's go Jack!" 

"See you around, kid," says the Joker as he walks away. 

[ Structurally, this is a standard audience setup to emotionally prepare them for the final battle. They must clearly support the
protagonist during the climax. In this scene they empathize with the young boy watching his parents being murdered, and they
hate the antagonist for his mocking laughter. Whatever sympathy and fondness they had for the Joker prior to this, has now
been destroyed. It is critical that this scene occurs at this point in the story where it will retain emotional weight in the audience
during the climax. If this scene were located in the beginning of the story, it's impact on the audience would have been
weakened by this time, and they might consider Batman and the Joker to be morally equivalent. It also merges Batman's pursuit
of justice with personal revenge, which creates a powerful motivation force with which the audience can easily identify. ] 

INT: WAYNE'S STUDY: NIGHT 

Bruce watches Jack's frozen face on the monitor, for the identification with his parent's murders is complete. Alfred leads Vicki
up the staircase as Bruce comes out of his memories. Vicki is dressed in white. Bruce sees her, then jumps out of his chair. 

"Hi. Tell me if I'm crazy, but that just wasn't another night for either of us, was it? Why won't you let me in? Why?" asks Vicki. 

"You got in."
"I love you, since I et you, but I don't know what to think of all this. I really don't."
"Look, sometimes I don't know what to think of all this. It's just something I have to do."
"Why?" asks Vicki.
"Because nobody else can! Look, I tried to avoid all this, but I can't. It's not a perfect world. This is how it is."

[A reluctant hero generates more empathy than the egotist whose objective is to save the world. ] 

"It doesn't have to be a perfect world. I just got to know, are we going to try to love each other?" asks Vicki. 

The photo of Jack stands behind them, and will be the major obstacle to their union. 

"I'd like to, but he's out there right now, and I've got to go to work," says Bruce. The door opens to reveal the Batman
costume. Bruce slowly lifts up Batman's headgear. 

[The protagonist makes a choice: he is willing to risk losing personal happiness for the good of the community. ] 

EXT: AXIS CHEMICAL: NIGHT 

The Batmobile crashes through the gate with guns blaring. Thugs shoot at him. 

INT: AXIS CHEMICAL: NIGHT 

Inside the factory the Batmobile stops as the shields rise up to protect the car. Round bombs roll out from the car and drop at
the feet of the thugs. They stare at the bombs. 

EXT: AXIS CHEMICAL: NIGHT 

The bombs explode. 

INT: AXIS CHEMICAL: NIGHT 

The factory explodes into flames as the Batmobile escapes from the inferno and drives out of the gate. The Batmobile stops in
front of Batman who has been operating it by remote control. A helicopter appears overhead. The Joker, with a microphone in
hand, laughs at Batman. 

"JR Birdman- miss me?" laughs the Joker. He waves goodbye as the helicopter flies away. EXT: CITY STREET: NIGHT 

The Joker's balloons float through the air, as the Joker rides down the street on a float that carries a sign stating "200 YEAR
ANNIVERSARY." His thugs throw money out to the gathering crowd. People dance to music in front of City Hall. The crowd
runs after the money floating down through the air as the Joker dances. Vicki, with Knox, get out of her car and photograph the
parade. 

"Gotham greed," says Knox. 

INTERCUT: 

Batman, in his Bat Plane, flies over Gotham City. 

Music blares through the streets. The songs emphasize the concept of TRUST. 

"And now folks," yells the Joker, "it's time for who do you trust. Hubba, hubba, money, money. Who do you trust. Me? I'm
giving away free money and where is Batman? He's at home washing his tights." The Bat Plane flies over the street. 

"Winged bat that flies through the night and finds me ready! Bob, masks."
"Masks! Put them on now."

The Joker's thugs put gas masks over their faces as the Joker takes out an orange remote control device.
"And now comes the part where I relieve you, the little people, of the burden of your failed and useless lives. But, as the plastic
surgeon always said, if you got to go, go with a smile."

[ The Joker reveals his true contempt for the community and all of humanity.] 

He activates the remote control device as he places a gas mask over his mouth. The "Big Nosed" balloon lifts up it's head as
gas emits from it. Vicki, through high-powered photographic lens, sees the tanks of poisonous gas under the balloon. 

"Oh my god, Gas. he's going to kill everybody," says Vicki.
"Get in the car," shouts Knox.

Vicki gets into the car and rolls up her window. A dead man falls onto the wind shield. Poisoned people, clutching the Joker's
money, collapse in the street. 

Knox takes a baseball bat out of the trunk of the car and beats on the thugs who are holding onto the balloons. The balloons
start to lift some of the thugs up into the air.

The Bat Plane flies down into the city through the canyons of skyscrapers. 

Two thugs fall from a balloon and crash through signs and into an Action TV truck. The crowd panics. Vicki tries to drive
away. Knox jumps onto the hood of the car. She slams on the brakes and he rolls off the hood and smashes into the garbage
cans. Vicki runs out of the car and tries to revive the unconscious Knox. 

Batman activates hooks in the front of the Bat Plane and swoops down towards the parade. He captures all the balloons within
the hooks then flies them up into the night sky.
"My balloons," says the Joker. "Those are my balloons."

Far out over the river Batman releases the balloons, which then float upwards where they can do no harm. 

The Joker gets down off the float. Bob, his faithful companion, stands next to him. "He stole my balloons! Why didn't someone
tell me that he had one of those things. Bob, gun!" 

Loyal Bob gives the Joker his gun. The Joker then shoots Bob dead. 

[ It is a standard trait of the antagonist to murder even his most loyal supporters, in this case, Bob, who had saved his life in two
prior scene. How can anyone in the audience still support a character who murders his own loyal supporters.] 

"I'm going to need a minute or two alone, boys," says the Joker. 

The crowd runs in front of the Monarch Theater. 

[The story's climax scene will occur near the place where the Joker killed Batman's parents. ] 

The Bat Plane flies up towards the moon, pauses in mid flight, becomes the Batman symbol, then zooms back down towards
the city. 

The thugs shoot into the crowd as it panics. Batman readies his machine guns and bombs. The Joker walks in front of his float
and watches the Bat Plane fly towards him. 

"Come on, come on, you gruesome son-of-a-bitch. Come to me." 

Batman stares at the Joker and gets him into his bombsights. Batman fires at him but the bullets miss. The Joker suddenly takes
a long barreled gun from out of his pants and shoots at the Bat Plane. He hits it and it explodes. 

Vicki watches as the Bat Plane crashes. The Joker watches as the plane, engulfed in smoke, descends towards the street. The
plane crashes and slides into the steps of a Cathedral where it explodes. Vicki runs up to the flaming Bat Plane and opens the
hood, but no one is inside. The Joker approaches and points a gun at her head. 

"Darling, I've got to get you to the church on time," says the Joker.
He leads her up the steps, then speaks into his communication device.
"Gotham City Cathedral, transportation for two. Five minutes." He then looks up to the top of the Cathedral and says, "Better
make it ten."
"Okay, ten minutes," says a voice.

The Joker leads Vicki into the Cathedral, as Batman drags himself out of the ruins of the flaming Bat Plane. 

[ In the final climax scene, the antagonist has possession of the love interest. The protagonist must fight in order to defeat him
and get his woman back. ] 

INT: CATHEDRAL: NIGHT 

The Joker leads Vicki to the stairway. Batman enters the Cathedral. The Joker and Vicki walk up the staircase, as Batman
walks near the wooden church pews. He stumbles and falls into the pews. They knock into each other. The Joker hears the
noise and knows that he's being followed. Batman walks into the staircase and starts up after the Joker. 

[ The staircase is a major obstacle designed to weaken the already hurt Batman.] 

Vicki trips and loses her shoe. The Joker picks it up tosses it down the center of the stairwell. This shows the depth of the
distance. The shoe lands on the stairs near Batman. The Joker reaches the Belfry and walks past two huge bells. 

EXT: CITY STREETS: NIGHT 

Police cars race towards the Cathedral. Commissioner Gordon and several police officers run into the Cathedral. 

INT: BELFRY: NIGHT 

The Joker pushes up the trap door as he and Vicki enter the Belfry. Holding a pistol in his hand, the Joker squeezes acid from
the flower in order to destroy the wood and bolts that brace a bell. The bell falls down into the stairwell, just barely missing
Batman. It blocks the stairway entrance so that the police cannot enter. 

[ The protagonist must confront the antagonist alone.] 

INT: CATHEDRAL: NIGHT 

Batman continues up the staircase. Commissioner Gordon and his men try to move the bell, but fail. Batman continues upward.
He passes Vicki's shoe, then her jacket. Gordon leads the police out of the Cathedral. On the steps he tells the police to point
a searchlight to the top of the tower. A searchlight shines its light on the tower. 

INT: BELFRY: NIGHT 

Batman enters through the trap door up into the Belfry. 

"It can be truly said that I have a bat in my Belfry. Shall we dance?" says the Joker. 

An acrobatic thug does somersaults as he charges towards Batman. Knives protrude from his feet as he approaches Batman,
who quickly holds out a metal plate that hits the thug in the groin. The thug collapses onto the floor, while the Joker, with gun in
hand, dances on the balcony with Vicki. 

Another thug jumps down at Batman, misses him and crashes through the floor to his death below. 

A huge thug grabs Batman from behind and throws him through a wooden wall. He then picks up a rope that has a wooden
pulley on its end and viciously swings it at Batman. They slug it out as the Joker continues to dance with Vicki. The thug hits a
brick column with the rope pulley. It knocks some bricks down into the stairwell. 

[ Jeopardy ] The huge thug stands over the stairwell's edge and looks down for Batman who can't be seen. 

The Joker stops dancing, then takes out a gun and points it at his head. 

"You know, without you I just can't go on," he says to Vicki as he pulls the trigger. Vicki screams. A flag with the word
"BANG" pops out of the gun as the Joker laughs. 

[ The antagonist terrorizes the love interest, which turns the audience against him.] 

The huge thug continues to look over the ledge for Batman. He pushes the bell in order to get a better view. The bell swings
back and hits him in the head. Batman jumps down on him from above. The thug catches him and throws him into the staircase.
He pounds on Batman and knocks him down into the stairwell. The thug leans over and Batman wraps his legs around the
thugs neck, slams his head into the bell, then tosses him down into the stairwell where he falls to his death. 

The Joker continues to dance with Vicki. He kisses her on the arm. "Although we were made for each other, beauty and the
beast, if anyone else calls you beast I'll rip his lungs out," says the Joker. 

Vicki sees Batman walk behind the Joker. She then plays up to him. "Mr. Joker. You say such beautiful things. You're so
powerful. And purple, I just love purple." 

"Excuse me, you ever dance with the Devil in the pale moon light?" asks Batman as he punches the Joker in the face and
knocks him into the bell. "I could kill you." 

"You idiot," says the Joker. "You made me. Remember, you dropped me into that vat of chemicals. That wasn't easy, and
don't think I didn't try."
"I know you did," says Batman as be punches the Joker in the stomach, then throws him into a wall. he pulls him up and hits
him again. The Joker gets up holding his nose, then drops chattering teeth onto the floor. The Joker then punches Batman in the
stomach, but just hurts his hand.
"You killed my parents," says Batman.
"What? What are you talking about?"
"I made you, you made me first."
"Hey bat breath," says the Joker. "I was a kid when I killed your parents. I said you made me, you gotta say I made you. How
childish can you get." The Joker puts on a pair of glasses. You wouldn't hit a guy wearing glasses, would you?"

Batman punches him in the face and knocks him off the ledge. Both Batman and Vicki lean over the ledge in order to see the
Joker. he quickly grabs their arms and pulls them over. Vicki screams as the Joker laughs. 

The Joker stands on the ledge over Vicki and Batman who are hanging on for dear life. Behind him is a grinning gargoyle. The
Joker looks at the gargoyle. "What are you laughing at?" 

Searchlights from the streets below flood the tower top. 

"Here, let me lend you a hand," says the Joker. Vicki grabs for it but it's a fake hand that comes off of the Joker's arm. She
screams and starts to fall as Batman grabs onto her. The Joker stomps on the ledge knocking off pieces of concrete. 

"Oh, they don't make them like they used to, do they, Batman." 

The Jokers helicopter flies towards the tower as the Joker continues to dance. "Well, it's time to retire. Feel free to drop in,"
says the Joker. 

The helicopter drops a rope ladder. The Joker grabs it and starts up the ladder. 

"Sometimes I just kill myself," says the Joker. 

[ This line sets the audience up to believe that the Joker is really responsible for his own death, which is necessary to relieve
Batman from any moral blame.] 

Batman throws a grappling hook around the leg of the Joker and the other end around the gargoyle. The Joker hangs onto the
ladder in midair as the helicopter pulls him away from the ledge. As the helicopter starts to fly away, the Joker is held back by
the gargoyle until finally the gargoyle is pulled loose from the ledge. The Joker struggles to hold on but finally the weight of the
gargoyle is too much. His hands slip from the rope and he falls to his death on the streets below. 

Batman starts to pull Vicki up but the ]edge gives in and they both fall. Batman shoots a grappling hook which catches against a
brick column and stops their fall. They swing in mid- air, held up by the cable, as the searchlight below shines on them. 

EXT: CITY STREET: NIGHT 

The police gather around the body of the Joker, which lies stretched out on the pavement. Laughter is heard coming from the
Joker. Gordon lifts into his pocket and takes a laugh box out from inside his jacket. 

[The music on the soundtrack plays the "BEAUTIFUL DREAMER" song from KING KONG. The last image of the Joker on
the pavement is a parody of the beauty and the beast theme from the KING KONG movie. ] 

EXT: CITY HALL: DAY 

Police Commissioner Gordon makes a speech in front of City Hall.
"Our police have rounded up all the Joker's men. Their reign of crime is over. Public safety in Gotham City is no longer a
laughing matter." 

Vicki is watching the speech as Knox walks up to her.
"Hey Vale, aren't you covering this press conference?"
"No," replies Vicki.
"What about our Pulitzer Prize? What about us? What about your picture of Batman?"
Vicki kisses Knox on the check. "Take care Allie."

Harvey Dent next speaks to the crowd. "We received a letter from Batman this morning. Please inform the citizens of Gotham
that Gotham City has earned a rest from crime. But if the forces of evil should rise again to cast a shadow over the heart of the
city, call me." 

"Question," asks Knox. "How do we call him?"
"He gave us a signal," says Gordon, as he activates the searchlight with the Bat signal which reflects across the sky.

[The protagonist wins the admiration of the community.] 

Vicki, walking alone, sees the signal. She turns to see Alfred standing by Bruce's car. Alfred waves to her. 

"I thought champagne would be in order, Mame." 

"Hi, Alfred," says Vicki. She gets into the car. 

"Mr. Wayne told me to tell you he might be a bit late," says Alfred. 

"I'm not surprised," says Vicki, as she smiles. Alfred drives her away. 

[The protagonist wins the woman he loves. ] 

EXT: CITY SKYLINE: NIGHT 

The Bat signal reflects against the night sky, as a solitary vigilant Batman stands on a nearby ledge. 

THE END