Home: Sample Scripts: Batman in "Father's Day"

Batman in "Father's Day"
Written by Joe Edkin
Thanks to Bob Ingersoll for legal expertise.
Batman and all related characters are © and TM DC Comics, Inc. All rights reserved.

PAGE ONE

PANEL ONE

A dark alley in Gotham City at night. Low angle shot. Four thugs: FUSCO, COLT, ROX, and SMITTY, in the foreground. They are breaking into the back door of a liquor store. Over their heads, the figure of BATMAN is silhouetted against the full moon.
FUSCO: Hurry up!
COLT: Why couldn't he just buy the flippin' booze?
SMITTY: With what he's payin' us, who gives a crap?

PANEL TWO

BATMAN descends into the middle of the thugs, knocking out FUSCO and COLT. ROX is beginning to run away. SMITTY is pulling out a knife.
ROX: Frag! It's the Batman!
SFX: CRACK
SFX: THUNK

PANEL THREE

This is a page-width panel. SMITTY is on the left hand side of the panel. He is being hit in the jaw by BATMAN who is swinging his right fist to the left, causing Smitty to drop the knife and his face to be turned to the reader. This composition is very important as it links into the first panel of the next page. Beyond them, ROX is running away, his back to the readers.
BATMAN: Do yourself a favor. Stay down while I go after your buddy.
BATMAN: If you don't--you'll regret it.
SFX: WHAK

PAGE TWO

PANEL ONE

This is a page-width panel. This is the kitchen of Smitty's home. This is a small, dingy apartment. The kitchen is cramped and should have a "lived in" look--there are cups on the table. A checkered tablecloth on the table. There is a plant hanging in front of one of the windows (refer to diagram). This hanging plant is important--it is hanging properly in this shot. The window overlooks the brick wall of the neighboring building. The goal is to convey a lower middle-class existence--there is an oppressive air to this home, an air of hopelessness. Balance this off with a sense of home. As problematic as the relationship between Elaine and Smitty is (and it is very problematic--Smitty has been out of work for months, he's been drinking too much, and he has a violent temper. Now he has turned to a life of crime), Elaine tries to create the illusion of security for their daughter.
     ELAINE, dressed in jeans and sweatshirt, is on the left hand side of the panel. She is being hit across the face by SMITTY (who is breathless from having escaped from the Batman and whose face should be bruised from the beating he just took) who is swinging his open right hand to the left, causing Elaine's face to be turned to the reader. Smitty is angry and frustrated about his earlier job being botched, and he is taking it out on his wife. He should look murderously violent. This composition is very important as it links into the last panel of the previous page.
SMITTY: I toldja before--stop askin' where I been!
SFX: WHAK

PANEL TWO

NOTE: Panels two and three are on the middle tier of the page.
CINDY, the ten year old daughter of Elaine and Smitty, comes into the kitchen. ELAINE is propped up against the counter, gingerly touching her jaw where she was just hit. There is a small amount of blood trickling from her cut lip. SMITTY is drawing back to hit her again.
CINDY: Daddy! Please don't hurt mommy!

PANEL THREE

SMITTY turns to look at CINDY (who is in the foreground, back tot he reader). He is pointing, indicating that she should leave the room. ELAINE should look terrified, frightened that Smitty might hurt their little girl.
SMITTY: You go to bed!
SMITTY: NOW!

PANEL FOUR

NOTE: Panels four, five, and six are a triptych along the bottom tier of the page.
CINDY lying in her bed, eyes open and tearing. There is a clock on her night stand, indicating that the time is 11:35pm.
SMITTY (off panel): You ain't callin' nobody! SHUT UP!

PANEL FIVE

Same shot as previous. CINDY lying in her bed, eyes closed now. The clock reads 1:19am.

PANEL SIX

Same shot as the previous two. CINDY lying in her bed, eyes wide open at the scream from the kitchen. The clock reads 2:49am.
ELAINE (off panel): Oh my god--
ELAINE (Burst--off panel): NO!

PAGE THREE

SPLASH PAGE

NOTE: This page has a very specific layout to it that ties in to the Daredevil story being drawn in 2B. I would like these two pages to have the same exact composition, therefore, you will need to consult with the artist for page three of the Daredevil story.
     The kitchen of Smitty's apartment. This is a small, dingy apartment. The kitchen is cramped and should have a "lived in" look--there are cups on the table. A checkered tablecloth on the table. There is a plant hanging in front of one of the windows (refer to diagram). This hanging plant is important--it is hanging properly in this shot. The window overlooks the brick wall of the neighboring building. The goal is to convey a lower middle-class existence--there is an oppressive air to this home, an air of hopelessness. Balance this off with a sense of home. As problematic as the relationship between Elaine and Smitty is (and it is very problematic--Smitty has been out of work for months, he's been drinking too much, and he has a violent temper. Now he has turned to a life of crime), Elaine tries to create the illusion of security for their daughter.
     Camera is eye level to CINDY who is standing in the door of the kitchen, looking in facing the readers. In the foreground, SMITTY is lying on the floor. He is dead, a very bloody stab wound in his chest. He is still wearing the wardrobe in which we saw him earlier. ELAINE is standing over the body holding a bloody carving knife. She is wearing sleepwear and a robe. The sleepwear is not intended to titillate--these are practical, modest flannel pajamas and a threadbare robe. The last thing on her mind this night was seducing her husband. There is a bruise on her jaw and a cut on her lip from where Smitty slapped her earlier that night. She has a look of horror on her face (she found the body--she did not commit the crime). Cindy has just arrived on the scene, so she has yet to absorb what she's seeing. Her reaction is one of puzzlement--she heard her mother screaming and wants to know what's happening.
    It is important to establish that the front door to the apartment can be seen behind Cindy. This will become important for a panel on page eight.
     Leave room for title and credits at the top of the page.
LOGO: BATMAN
TITLE: in Father's Day
CREDITS:  Joe Edkin, writer etc.
CINDY: Mommy?

PAGE FOUR

PANEL ONE

Page-wide panel. Thirty-six hours later. A courtroom in Gotham City. Day. Long shot. An overworked JUDGE is moving toward his seat behind the bench. The court CLERK announces the next case.
CLERK: Case #90876-0199. The people versus Elaine Potter. Charges are manslaughter in the second degree. The Honorable Judge Hilliard presiding.

PANEL TWO

High angle shot. Over the JUDGE's shoulder looking where ELAINE and HARKINS, a harried public defender, are standing behind a table.
JUDGE: How does your client plead, Mr. Harkins?
ELAINE: Not guilty, your honor.

PANEL THREE

High angle shot. Over the Judge's shoulder looking where WHITMORE, a thoroughly professional--and ambitious--prosecutor is standing behind a table.
JUDGE: Bail recommendation, Mr. Whitmore?
WHITMORE: Given the violence of the crime, the people fear that Mrs. Potter may pose a risk to her daughter.

PANEL FOUR

Page-wide panel. Eye level shot. Camera is in front of the two tables. We see WHITMORE on the left, ELAINE and HARKINS on the right. Behind them in the gallery, we should be able to see CINDY with her aunt SUSAN.
WHITMORE: The people ask that Mrs. Potter be held without bail.
ELAINE: No! I would never hurt my baby!

PANEL FIVE

Page wide panel. Extreme close up. CINDY's eyes on the right hand side of the panel with room for a word balloon to the left of her head. I know this is tight, but if you can work a reflection of ELAINE in handcuffs into Cindy's eyes, that would be way cool. However, this only works if you and whomever is drawing the next page can coordinate it.
    NOTE: The layout of this panel leads directly into the next panel at the top of the following page.
HARKINS (off panel): Your honor!
JUDGE (off panel): Save it for the trial, Mr. Harkins. The defendant is remanded to custody until trial Take her away.
CINDY: Mama...?

PAGE FIVE

PANEL ONE

Page wide panel. Extreme close up. YOUNG BRUCE WAYNE's eyes on the left hand side of the panel with room for a word balloon to the right of his head. I know this is tight, but if you can work a reflection of the THUG grabbing at the pearl necklace around MARTHA WAYNE's neck. However, this only works if you and whomever is drawing the previous page can coordinate it.
     This is a flashback to the death of Bruce Wayne's parents. Therefore, this is twenty years ago in Crime Alley that fateful night.
    NOTE: The layout of this panel follows directly from the last panel at the bottom of the previous page.
THUG (off panel): Gimme those pearls!
THOMAS (off panel): Leave her alone!

PANEL TWO

THOMAS moves in on the THUG who shoots him the chest as a horrified MARTHA and YOUNG BRUCE look on.
THUG: I warned you!
SFX: BLAM!

PANEL THREE

MARTHA reaches out to the falling THOMAS, but the THUG shoots her. YOUNG BRUCE watches in terror.
MARTHA: THOMAS!
THUG: Stay back!
SFX: BLAM!

PANEL FOUR

Classic overhead shot of YOUNG BRUCE as he cries, kneeling on the ground between the dead MARTHA and THOMAS as the THUG runs away. The scene is lit by a streetlamp.
YOUNG BRUCE: MOTHER! FATHER!

PAGE SIX

Note: Please coordinate with the artist of page seven to work out the design/blocking/spatial relationships within the cemetery scene, as well as the costumes worn by all the characters.

PANEL ONE

Cut to the cemetery, present day. Daytime in late spring, with a gentle rain falling--Father's Day to be exact. Adult BRUCE WAYNE reaches out to touch the grave stone of his parents. Bruce casts a (symbolic) SHADOW OF BATMAN on the headstone. Bruce is dressed in a charcoal gray, double-breasted suit and a light black trench coat that is hanging open. He doesn't seem to mind or notice the rain.
BRUCE: Mother--father--
BRUCE: Your deaths shaped the man I became.

PANEL TWO

Reverse angle shot, headstone in the foreground. Over the edge of the grave marker, we see BRUCE. He is looking at the headstone, thereby facing the audience. Over his shoulder is a symbolic shot of BATMAN swinging on a rope.
BRUCE: I never would have become the Batman--
BRUCE: I would not have dedicated my life to fighting crime if you had not been murdered.

PANEL THREE

BRUCE turns away from the grave marker.
BRUCE: Never again...
BRUCE: Someone has to protect the innocents.

PANEL FOUR

Pull back for a long shot. On the left side of the panel, BRUCE has begun to walk away from his parent's grave towards his limo and ALFRED. Alfred is dressed in his driving gear, with jodhpurs and driving cap. He is holding an umbrella. On the right side of the panel, a funeral is going on. This is the funeral for Cindy's father. CINDY and her Aunt SARAH are there, but the distance makes it impossible to make out specific details, although we can see Sarah is holding an umbrella to protect her niece from the falling rain. The funeral has not gathered many mourners--four or five (including Cindy and Sarah) at the most. There is a minister reading the service. The limo is upstage center, between Bruce and the funeral.
MINISTER: On this Father's Day, we lay to rest the body of Smith Potter...

PAGE SEVEN

NOTE: Please coordinate with the artist of page six to work out the design/blocking/spatial relationships for the cemetery scene, as well as the costumes worn by all the characters.

PANEL ONE

BRUCE (who is dressed in a charcoal gray, double-breasted suit and a black trench coat that is hanging open) and ALFRED (who is dressed in his driving gear, with jodhpurs and driving cap, and is holding an umbrella) by the limousine in the cemetery on a rainy day. Bruce's head is bowed as he mutters to himself. Alfred is holding the door to the vehicle open for him.
BRUCE (muttering): No other child should have his parents stolen from him.
ALFRED: You said something, Master Bruce?

PANEL TWO

BRUCE stops short of getting into the limousine. He is looking away from ALFRED, his attention on the funeral taking place nearby. Alfred is holding the umbrella so that it covers Bruce and himself.
BRUCE: I was just talking to myself, Alfred.
ALFRED: Ah, yes. One of your more endearing qualities, sir. Perhaps this is not the best place for you to spend Father's Day.
ALFRED: Are you ready to depart?

PANEL THREE

Change the angle so that we can see that BRUCE is looking in the direction of the funeral. Perhaps you can frame this shot with Bruce on one side and ALFRED on the other, framing the funeral. Although she is too distant to be clearly scene by the readers, CINDY is center of the small funeral. All sight lines should make it clear that she is the focus of Bruce's and the reader's attention.
BRUCE: The young girl over there--I recognize her.

PANEL FOUR

We've zoomed in on CINDY (you could almost consider this Bruce's POV). This is a full figure shot of the girl as she stands beside her aunt SALLY, holding the woman's hand. Only part of Sally's body is in the shot as she relates to Cindy.
CAPTION (Bruce): She's Cindy Potter. According to reports, her mother killed her father.

PANEL FIVE

BRUCE climbs into the limo as ALFRED holds the door for him.
ALFRED: But that's not what you think...?
BRUCE: I met Cindy's father the night he died. He was trying to break into a liquor store on fourth street. He got away from me.

PANEL SIX

ALFRED at the wheel of the limo. Behind him, we see BRUCE in the backseat. Rain runs down the windshield.
ALFRED: How unusual, sir.
BRUCE: I'm partially responsible for that child being without her parents...

PAGE EIGHT

PANEL ONE

BATMAN behind the wheel of the Batmobile. This panel could have a similar layout to the last panel of the previous page to give us a visual transition. It is now night.
CAPTION (Bruce's continuing): "...If Mrs. Potter did not kill her husband, I have to make sure that she isn't convicted..."

PANEL TWO

Establishing shot, night, a run down neighborhood in Gotham (think Brooklyn). The housing project/hi-rise where the Potters had their apartment. There is a full moon that can be glimpsed through the cloud that are parting. The Batmobile comes to a stop in front of the building. It is late at night, so the streets are deserted and very few lights are on in the complex or neighboring buildings. There are puddles of the recently fallen rain on the street. Everything has a sheen from dampness.
CAPTION (Bruce's line being completed): "...I owe the girl that much."

PANEL THREE

BATMAN kneeling on the floor of the Potter kitchen examining the blood stain. He is using a flashlight as the apartment is dark. Set this shot up so that we can see through the door into the living room. The front door is open and Batman has obviously crossed the "Crime scene" police tape.
BATMAN (in Thought): Cindy should be safe with her mother's sister...

PANEL FOUR

BATMAN examines the hanging plant over the table which is in a corner with windows at right angles. Out side one of the windows is a fire escape. (See diagram.) The plant is not hanging properly, tilted toward the window where the fire escape is.
BATMAN (T): ...but if Elaine Potter did not kill her husband...

PANEL FIVE

BATMAN notices that there is dirt from the plant on the window sill, with a hand smudge in the dirt. The heel of the hand is clearly visible--it was a man's hand--and it is aimed out the window. This implies to Bats that someone may have knocked the plant over coming in or out of the window.
BATMAN (T): ...then I will make sure that mother and daughter are reunited.

PANEL SIX

BATMAN looks at the window's lock. It is broken. This indicates to him that someone may have come in from the fire escape to commit the crime.
BATMAN (T): The plant. The broken lock. Someone else has been here.

PAGE NINE

PANEL ONE

Establishing shot, night, downtown Gotham--specifically police headquarters. On the roof of the police station is the SILHOUETTE OF BATMAN. (NOTE: consult with the artist of page ten to coordinate the set and building design.)
BULLOCK (in police station): I'm leaving for the night, Commissioner.
GORDON (in police station): I have some files to review. I'll shut off the lights when I leave, Bullock.

PANEL TWO

Establishing shot of Commissioner GORDON seated at his desk working at his computer. His face is lit by the monitor. There is a desk lamp also putting out a small pool of light. Make sure there is a "Commissioner James Gordon" name plate visible on his desk as I doubt that I'll I.D. him in the course of the dialog. There is a window to the right of his desk. The shadow of BATMAN is on the wall behind Gordon.
BATMAN (off panel): I need information, Gordon.
GORDON: What else is new?

PANEL THREE

BATMAN stepping into the office through the window as GORDON swivels in his chair to face his visitor. The room is steeped in shadows, so give Batman an eerie, intimidating look.
BATMAN: Tell me about the Potter murder case.
GORDON: Smith "Smitty" Potter was a two bit hood and a wife beater--although Mrs. Potter never followed through with pressing charges.
GORDON: Too bad for her...

PANEL FOUR

Close up of GORDON.
GORDON: Potter was found with two stab wounds to the chest and Mrs. Potter standing over the body with the murder weapon in her hand.

PANEL FIVE

Close up of BATMAN.
BATMAN: The night Potter was killed, I left three of his associates for the police. I want to talk to them.

PANEL SIX

GORDON looking at his computer screen as BATMAN waits on the window sill.
GORDON: You're too late. Willie Fusco, Daniel Colt, and Stan Rox have already been released on bail.
GORDON (melded balloon): Interesting--Judge Hilliard presided over that arraignment and Mrs. Potter's.

PAGE TEN

PANEL ONE

GORDON sits up from the computer, starting to turn toward the window. It is important that he is not facing the window yet, nor should the readers see the window. Gordon's face is lit by the monitor. There is a desk lamp also putting out a small pool of light. Make sure there is a "Commissioner James Gordon" name plate visible on his desk as I doubt that I'll I.D. him in the course of the dialog. The window is to the right of his desk. (NOTE: consult with the artist of page nine to coordinate the set and building design.)
GORDON: I can't see why you'd be interested in this case--it's a domestic crime. Nothing special...

PANEL TWO

Cut to the exterior of the police station outside Gordon's window. The SHADOW OF BATMAN falls against the side of the building, indicating that he has swung away on his line. (Whether or not we see Gordon inside the window is up to you, but I kinda like the idea that we don't see him in this shot.)
GORDON (from inside office): I hate it when he does that.

PANEL THREE

Cut to Gotham Park. A WOMAN is walking her dog. The dog is barking at something hidden in the bushes.
    Please coordinate with the artists of pages eleven and twelve to work out the look of the park and the blocking of this sequence.
WOMAN: What is it, Karl? A rat?
DOG: GRRRRRRRRR

PANEL FOUR

FUSCO steps out of the bushes, holding a gun. The WOMAN backs away, the dog growling.
FUSCO: Depends on who ya ask!
WOMAN: Please--don't hurt me. I'll give you anything you want.
DOG: ruf ruf ruf ruf ruf ruf

PANEL FIVE

FUSCO is knocked over by something dark and moving quickly (Batman, but this should not be immediately obvious), causing him to drop his gun. The dog is going nuts. The WOMAN is in about the same position as she was in the previous panel.
SFX: WHUNK
SFX (DOG): ruf ruf ruf ruf ruf

PAGE ELEVEN

Please coordinate with the artists of pages ten and twelve to work out the look of the park and the blocking of this sequence.

PANEL ONE

Gotham park at night. BATMAN is kneeling over the prone thug FUSCO, holding the creep by the shirtfront. Batman should look terrifying here, making the cowering WOMAN fear for her own life. Her dog is going nuts. Batman is looking up at the woman, warning her to leave.
BATMAN: Go. Now.
BATMAN: Find a safer place to walk your dog at night.
SFX (DOG): ruf ruf ruf ruf ruf

PANEL TWO

BATMAN in the foreground, almost nose to nose with the frightened FUSCO. Batman is at his most intimidating. In the background, the WOMAN and her dog are running away.
BATMAN: Five nights ago you and Smitty Potter tried knocking over a liquor store. He wound up dead.

PANEL THREE

Close shot of FUSCO's hand reaching for his gun.
FUSCO: I didn't have nothin' to do with it! His bitch did it!

PANEL FOUR

BATMAN punches FUSCO in the face before the thug can grab hold of his gun.
BATMAN: Wrong move, punk.
SFX: WHAK

PAGE TWELVE

Please coordinate with the artists of pages ten and eleven to work out the look of the park and the blocking of this sequence.

PANEL ONE

BATMAN picks up FUSCO by the front of his shirt.
BATMAN: I think someone else was in the apartment that night. Tell me who, or I'll assume it was you.

PANEL TWO

BATMAN pins FUSCO high against a tree (Fusco's feet don't touch the ground) and threatens him.
BATMAN: You don't want that.
FUSCO: It was the guy who hired us to hit the liquor store. He was pissed that you broke up the job. He killed Smitty, Rox, and Colt.
FUSCO (melded): He let me walk away. Said fate was with me. I don't know why.

PANEL THREE

BATMAN lowers FUSCO to the ground.
BATMAN: Who hired you?
FUSCO: I never saw him--he stayed in the shadows. We met him at an abandoned store downtown.
BATMAN: Show me.

PANEL FOUR

FUSCO and BATMAN in an alley downtown. The Batmobile is mostly hidden in the shadows of the alley.
FUSCO: That's the place over there. Don't make me go with you. He said he'd kill me if he ever saw me again.
BATMAN: There's only one place where you'll be safe.

PANEL FIVE

BATMAN glowers at FUSCO.
BATMAN: You tried to mug that woman in the park. Turn yourself in now or I will find you again.

PAGE THIRTEEN

PANEL ONE

BATMAN crosses the street (toward the reader and the storefront) as FUSCO dashes from the alley in another direction (presumably to turn himself in). Batman is speaking into a cell phone.
BATMAN: Gordon? I'm at 4224 Division Street.

PANEL TWO

Low angle shot from behind BATMAN, looking up at the building as he speaks into the cell phone. Batman has stopped to look at the seemingly innocuous building. The building is three stories tall. The first floor is a leather shop. There is an "Out of Business" sign in the dusty window. There are four windows on each of the second and third floors. The only lights in the building comes from the two middle windows on the second floor. The light is coming from lots of candles.
BATMAN: I've located Smitty Potter's killer. He's also killed Daniel Colt and Stan Rox.

PANEL THREE

Inside the leather shop. There are old displays, mannequins, and trash around, all covered with a think layer of dust. BATMAN is cautiously entering the store. He is lowering the cell phone, using a flashlight to illuminate his way.
ELECTRONIC (Gordon from phone): I'll get some cars over there right away.

PANEL FOUR

BATMAN looks behind the counter of the store to discover the corpses of ROX and COLT. Rats look up at Batman, angry that their meal has been disturbed. Rox and Colt were each shot twice in the chest.

PANEL FIVE

BATMAN moves into the buck room of the store where he finds a flight of stairs.

PAGE FOURTEEN

NOTE: The first three panels can be the top third to half of the page. The main weight of the page has to be panel four--the shocker of the story.

PANEL ONE

Exterior. Night. Gotham city police station. COMMISSIONER GORDON and other POLICE OFFICERS getting into police cars.
GORDON: --killer at 4224 Division Street. Presumed armed and dangerous --

PANEL TWO

BATMAN at the top of the stairs on the second floor.

PANEL THREE

BATMAN approaches a mostly closed door. Dappled light (from candles) can be seen through the crack around the door. Batman is slowly reaching out to open the door all the way.

PANEL FOUR

This is a money shot--one of the payoffs to the story. This panel should be one-half to two-thirds of the page.
     We are looking past BATMAN into the lighted room. It is decorated for a Father's Day party with banners and a cake on a table in the center of the room. Seated at the table is the MUMMIFIED CORPSE of Harvey Dent's father. (Of course, neither Batman nor the reader will understand the significance of the corpse at this particular moment.) The corpse is wearing a conical party hat. There is a banner hanging behind the corpse which reads "Happy Father's Day." Part of the decorating motif is the leather belts hanging like streamers throughout the room.

PANEL FIVE inset panel

This is an inset panel in the upper left hand corner of panel three. It is a close up of BATMAN's horrified reaction.

PAGE FIFTEEN

PANEL ONE

TWO-FACE walks into the room from a darkened adjoining room. He is carrying a whiskey bottle with a bow on it. This is the first time we see TF, so make it dramatic--a full body shot. He is annoyed to see that his private party has been crashed.
TWO-FACE: Batman!
TWO-FACE: Hasn't anyone ever told you that it's rude to crash a private party?

PANEL TWO

BATMAN points at the corpse in the center of the room, asking TWO-FACE about its identity. Two-Face lifts the bottle of whiskey and gestures to the decorations.
     The room itself is a macabre vision. (NOTE: Consult with the artist of pages fourteen and sixteen to work out the layout of the room and the blocking.) It is decorated for a Father's Day party with banners and a cake on a table in the center of the room. Seated at the table is the mummified corpse of Harvey Dent's father. (Of course, neither Batman nor the reader will understand the significance of the corpse at this particular moment.) The corpse is wearing a conical party hat. There is a banner hanging behind the corpse which reads "Happy Father's Day." Part of the decorating motif is the leather belts hanging like streamers throughout the room.
BATMAN: Who is this, Two-Face?!
TWO-FACE: My father. This is all for him, of course.

PANEL THREE

BATMAN is appalled--sure, he's witnessed many gruesome crimes, but the notion that a son could kill his father is horrific to him. TWO-FACE has moved closer to the CORPSE, speaking with clinical coldness.
BATMAN: You killed him?
TWO-FACE: No. The whiskey killed him years before I had the chance.
TWO-FACE (melded balloon): It's no less than he deserved.

PANEL FOUR

NOTE: Panels four and five are the bottom third of the page. Each panel is the same size. Panel four is in real time. Panel five is a flashback to Harvey's childhood. Consult with the artists of page sixteen and seventeen to develop a cohesive look to the flashbacks.

BATMAN dives for TWO-FACE who is still holding the bottle of whiskey.
BATMAN: You're going back to Arkham Asylum!

PANEL FIVE flashback

YOUNG HARVEY is running in the living room of the house where he grew up. His father MR. DENT is sitting on the couch watching TV. Next to Mr. Dent is a bottle of whiskey on a TV tray table. Harvey is on a collision course with the table.
MR. DENT: Harvey! What have I told you about running in the house?

PAGE SIXTEEN

NOTE: This page is a six panel grid. The left hand side is real time. The right hand side are flashbacks to Harvey Dent's childhood. Consult with the artists of page fifteen and seventeen to develop a cohesive look to the flashbacks.

PANEL ONE

BATMAN collides with TWO-FACE, causing TF to drop the whiskey. TWO-FACE is more concerned with the whiskey than he is with Batman.
TWO-FACE: Watch what you're doing!

PANEL TWO flashback

YOUNG HARVEY collides with the TV tray next to MR. DENT, causing the whiskey bottle to fall.
MR. DENT: Watch what you're doing!

PANEL THREE

TWO-FACE pushes away from BATMAN, his eyes on the broken whiskey bottle on the floor, its contents spilling out.
TWO-FACE: Now look what you've done!
TWO-FACE: The coin will have to decide what to do next.
SFX (small--approaching police cars outside): weeeoooo weeeooooo

PANEL FOUR flashback

MR. DENT kneeling on the floor in front of the sofa. The whiskey bottle has fallen on its side, spilling out its contents. YOUNG HARVEY is looking on with tears in his eyes.
MR. DENT: You stupid little puke! Now look what you've done!
MR. DENT: It's up to the coin what will happen to you!

PANEL FIVE

The coin lands scarred side up in TWO-FACE's good hand as he pulls one of the belt streamers down with his scarred hand. This is gonna be a tricky shot, cuz I don't want to lose sight of BATMAN as he prepares for another attack. Good luck!
TWO-FACE: The coin says you'll have to be punished for ruining my father's party--
TWO-FACE: Just like I had to punish Fusco, Rox, and Smitty.
SFX (from outside, police cars approaching): weeeoooo weeeoooo

PANEL SIX flashback

The coins lands heads up in MR. DENT's left hand as he begins to remove his belt with his right hand. YOUNG HARVEY is backing away in fear.
MR. DENT: Heads up! You'll have to be punished!
YOUNG HARVEY: Please, father! Don't hurt me! I'll be good!
YOUNG HARVEY: Please don't hurt me...!

PAGE SEVENTEEN

NOTE: Panels one and two are the top third of the page. Each panel is the same size. Panel one is in real time. Panel two is a flashback to Harvey's childhood. Consult with the artists of page fifteen and sixteen to develop a cohesive look to the flash backs.

PANEL ONE

TWO-FACE swings the belt in his hand at BATMAN who easily ducks out of the way.
BATMAN: You let Elaine Potter take the blame for killing Smitty!
TWO-FACE: She got what she deserved. She didn't protect her baby!
SFX: WeeeooooWeeeeooooo

PANEL TWO flashback

YOUNG HARVEY cowers as MR. DENT moves in on him, belt raised. MRS. DENT is in the background, looking away.
YOUNG HARVEY: Mommy, help me!
YOUNG HARVEY (small lettering, his voice growing weaker): Mommy?
MR. DENT: Stop sniveling and take what you deserve, you little snot!

PANEL THREE

From his angle lower than TWO-FACE, BATMAN delivers a powerhouse uppercut blow to TF's chin, sending the villain flying backwards toward the cake as COMMISSIONER GORDON and POLICE OFFICERS burst through the door, guns drawn.

PANEL FOUR

TWO-FACE lies on top of the now flattened cake looking up at the CORPSE and cowering. This would probably work best as a high angle shot looking down on how pathetic Two-Face is in context of the memory of his father.
TWO-FACE: I'm... I'm sorry, father! I didn't mean to ruin your party.
TWO-FACE: Please don't hurt me. Please!
TWO-FACE (smaller lettering to imply his voice is trailing off): Don't hurt me...

PAGE EIGHTEEN

PANEL ONE

Establishing shot. Gotham City Police Station. Dawn.
GORDON (from inside his office): Dent's father used a two-headed coin to decide whether or not to punish him...

PANEL TWO

GORDON and HARKINS in Gordon's office. Gordon is at his desk signing a report.
GORDON: ...Heads up meant a beating. Tragic really.
HARKINS: Perhaps--but it doesn't excuse him from killing Smith Potter and framing my client.

PANEL THREE

GORDON closes the folder as he looks up at HARKINS.
GORDON: Elaine has been released. She's free to go.

PANEL FOUR

Outside the police station. ELAINE is walking out with HARKINS. CINDY has broken away from her aunt SALLY and is running to greet her mother. (The two of them were on the way to meet Elaine.)
CINDY: Mommy! I was afraid I'd never see you again!

PANEL FIVE

High angle shot. BATMAN poised on a gargoyle on the police station looking down on ELAINE hugging CINDY, SALLY and HARKINS looking on.
ELAINE: It's all right, sweetheart. I'll never leave you.

PANEL SIX

BATMAN swings away. There is a symbolic head of THOMAS WAYNE overlooking the panel as Batman recalls something his father once said to him.
THOMAS: Don't worry, Bruce. No matter what happens, your mother and father will always be with you.
CAPTION: --End--