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

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

PAGE ONE

PANEL ONE
A June night. An alley in New York City behind a liquor store. Four members of the Razers gang, TRENT, WEEZIL, JUAN, and MIKEL are trying to jimmy open a door. WEEZIL has the crowbar. All four wear distinctive coats bearing the colors of the gang.
JUAN: C'Mon, man--hurry up!
WEEZIL: Jus' keep me covered!

PANEL TWO
DAREDEVIL descends on his line into the alley behind TRENT, WEEZIL, JUAN, and MIKEL.
DAREDEVIL: Step away from the door.
TRENT: Frag--it's Daredevil!

PANEL THREE
JUAN hands a gun to MIKEL in the foreground as DAREDEVIL flips TRENT who tried to attack him.
JUAN: Man, you gotta take this. If I get caught with it, I'm dead!

PANEL FOUR
MIKEL and JUAN run away in the background as DARDEVIL subdues WEEZIL.

PAGE TWO

PANEL ONE
Establishing shot. A midtown Manhattan highrise--an expensive place to live. There needs to be at least one building as tall as the highrise next door, with an alley between them. (This is key to action at the end of the story.
KEN (from a corner apartment on the 33^rd floor--one with a window that faces the next door building): Where the hell did you get a gun?

PANEL TWO
Inside the living room of an upper floor apartment. KEN PENDLETON is holding the gun that he took from his son MIKEL as he glares at JUAN. Juan looks nervous.
MIKEL: It's not mine.
KEN: Of course it's not. It probably belongs to one of your gangbanger loser buddies.

PANEL THREE
Cut to the front door of the apartment building. DAVID PENDLETON is entering the building. The door is being held open for him by the DOORMAN.
CAPTION (Mikel): "Dad, why do you always make such a big flamin' deal out of everything?"
CAPTION (Ken): "Because joining a gang and carrying a gun is a big deal."
DOORMAN: Hi, David. Your brother and your dad are home tonight.

PANEL FOUR
DAVID gets into the elevator with MR. and MRS. LEMEY (who have been out walking their dog). Mrs. Lemey smiles at David.
CAPTION (Mikel): "Like--you're a fine one to talk, dad!"
CAPTION (unidentified to the reader, but it is Mikel speaking): Hey! What are you doin'! Watch it!
MRS. LEMEY: Nice night for a walk.
DAVID: Yeah.

PANEL FIVE
Inside the elevator looking past the backs of DAVID (middleground--closest the door) and MR. & MRS. LEMEY (foreground--they can be in shadow framing the shot) out on the 33^rd floor. A PERSON is running toward the fire stairs at the end of the hall. The door to apartment #3301 (this is the Pendleton apartment). The person is Juan, although his face should be hidden. We don't want the people on the elevator to know exactly what has happened.
     The door to the apartment across the hall is starting to open and MS. POLLAK is poking her head out tentatively, noticing the arriving elevator.
CAPTION (Unidentified, although this is Ken): "Omigod omigod omigod."
DAVID: This is my floor.
MS. POLLAK (to the people in the elevator): Did you hear something ?

PANEL SIX
DAVID approaches the open door to his apartment, puzzled that it would be open. MS. POLLAK has stepped into the hallway to address David. She is dressed for bed, clutching a flannel robe around herself modestly. (I'm not looking for titillation here.) David is more concerned with why the door to his apartment is open that what his neighbor is saying.
MS. POLLAK: It sounded like a gunshot!
DAVID: Dad? Mikel? Why's the door open?

PAGE THREE

NOTE: This page has a very specific layout to it that ties in to the Batman story being drawn in 2A. 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 Batman story.

SPLASH PAGE:
The living room of the Pendleton apartment. This apartment reflects wealth. Camera is eye level to DAVID who is standing in the door of the apartment, looking in facing the readers. In the foreground, MIKEL is lying on the floor. He is dead, a very bloody gunshot in his chest. KEN is standing over the body holding the smoking gun. DAVID has just arrived on the scene, so he has yet to absorb what she's seeing. His reaction is one of puzzlement. MS. POLLAK can be seen behind him as she peers over his shoulder (although we're not really drawing attention to her).  Leave room for title and credits at the top of the page.
LOGO: Daredevil
TITLE: in Father's Day
CREDITS: Joe Edkin, writer etc.
DAVID: Oh, Christ! What happened here?

PAGE FOUR

PLEASE NOTE: This page includes key flashback elements, but I don't think it's necessary to do anything too gimmicky to set off the flashback panels. Rounding the corners should be sufficient, except for the first panel which should be done with no border. This will help create a visual link from the splash page into this page.

PANEL ONE--flashback
This is the borderless panel. It is a flashback to a time when Matt Murdock was in his teens and had his sight. The setting is a boxing ring. A bloodied BOXER is lying unconscious on the mat. BATTLING MURDOCK (Matt's father) has raised his gloved hands over his head in victory. YOUNG MATT is outside the ring, cheering his father on.
    The composition of this panel should be almost exactly that of the splash page, so coordinate with the artist of page three to work out the look.
YOUNG MATT: You did it, pop! You're the best boxer in the world. I wish I could fight like that.
MURDOCK: Not while I'm alive! You're gonna be better than me. A thinker--not a fighter.

PANEL TWO--flashback
Later, alley outside the backdoor of the gym. YOUNG MATT is walking beside BATTLING MURDOCK. There is a homeless man sitting on the pavement, his back leaning against the wall. Murdock is dropping change for the man.
YOUNG MATT: Dad--why do you always give that guy money?
MURDOCK: We got clothes, food, a roof over our heads. When you're blessed, you share the blessin's. It's the right thing to do.

PANEL THREE--flashback
Daytime. Busy NYC street. YOUNG MATT dives to push a BLIND MAN out of the way of an oncoming truck.
CAPTION (Matt): "I've always tried to live by that. That's why I risked my life to save another man's."
YOUNG MAN (Burst): LOOK OUT!

PANEL FOUR-- flashback
Multiple images of YOUNG MATT--now wearing dark glasses--honing his skills. He walks along a balance beam, punches a punching bag, and avoids a falling object.
CAPTION (Matt): "The accident caused me to be exposed to radiation that robbed me of my sight, but amplified my other senses."
CAPTION (Matt): "It also created a new sense--a radar sense--that allows me to anticipate movement and avoid danger."

PANEL FIVE--flashback
DAREDEVIL in action.
CAPTION (Matt): "When you were murdered, I became Daredevil to avenge your death."
CAPTION (Matt): "I was blessed with incredible skills, and I use those skills to protect the weak. It's the right thing to do."

PANEL SIX
In real time. MATT and KAREN in front of Battling Murdock's tombstone on a warm June Sunday afternoon--Father's Day to be exact. Matt is placing some flowers on the gravesite.
MATT: Happy Father's Day, pop. I miss you.
MATT (melded): The way you lived your life made me the man I am today. I hope you approve.

PAGE FIVE

PANEL ONE
In front of the tombstone of Matt's father on a warm June Sunday afternoon, KAREN places her hand on MATT's shoulder to comfort him. This is the panel that will serve to introduce/establish the characters of Matt and Karen for the readers. You could set this shot up with a portion of the tombstone in shadow in the foreground, Matt in the middle ground, Karen behind him. This way the characters can be facing out toward the reader as they look at the grave marker. NOTE: Coordinate with the artist of page four for the look of the tombstone.
KAREN: I'm sure where ever you're father is now, he's proud of you, Matthew Murdock.
KAREN: Just like I am.

PANEL TWO
KAREN and MATT embrace. Bring us closer to the characters and be sure to convey the warmth and tenderness between them.
MATT: Thanks. I needed to hear that.
MATT: I wish you could have met him. He would have liked you, Karen. I know it.

PANEL THREE
Here we pull back to a long shot. This is our first good look at the cemetery. As MATT and KAREN begin to walk away from his father's grave, we can see that there is a funeral taking place some distance away (within walking distance--we're not talking miles here). This is the funeral for Mikel Pendleton who was killed on page three. The funeral has drawn a crowd of maybe twenty, at least half of whom are members of the gang Mikel belonged to. (Hence, these characters are wearing the distinctive jackets/colors of the gang--although from this distance, we can't make out too many specific details.) Among the mourners are DAVID and TRENT. There is a minister reading the service.
MINISTER: ...And yea, though I walk through the valley of the shadow of death, I shall fear no evil...

PANEL FOUR
MOURNERS in the foreground, including DAVID who is elbowing MARIO (a gang member) as KAREN and MATT approach behind them. (They are not on a path that would take them into the group of mourners, but would pass behind them.) David has recognized Matt.
DAVID (Whispering): Mario, look--that's the slimebucket who's defending my father in court!

PANEL FIVE
DAVID and MARIO have slipped away from the funeral and are now blocking MATT and KAREN's way in a threatening manner.
MARIO: Yo! What the frag are you doin' here?
KAREN: We don't want any trouble...

PAGE SIX

PANEL ONE
In the cemetery, removed from the funeral that is going on, MARIO and DAVID confront MATT. Mario is pushing Matt, his hands against Matt's chest. KAREN is outraged by this.
MARIO: You shoulda thought o' that before you showed your ugly faces here.

PANEL TWO
KAREN, in an attempt to help Matt maintain his secret, puts herself between MARIO and MATT. Mario now has one hand on Karen.
KAREN: Stop it! He can't see!
MARIO: Whattsa matter, man? You gotta hide behind your bitch ?

PANEL THREE
MATT strikes MARIO's hand with his cane, causing the punk to release KAREN.
MATT: I don't have to hide behind anyone.

PANEL FOUR
MATT moves in front of KAREN to shield her as he confronts MARIO and DAVID. Mario is very obviously angry and David is uncomfortable with this.
MATT: Obviously you have something to say. Say it and let us move on.
MARIO: Fine--we know you're the 'wipe who's defending Ken Pendleton.
MARIO: Mikel has friends. You get his killer off--

PANEL FIVE
DAVID tries to calm MARIO, but Mario pushes David away.
DAVID: Mario--
MARIO: No, Davey--Mikel was your brother. This gotta be said...

PANEL SIX
Tight shot on MARIO looking very threatening.
MARIO: If Pendleton beats the rap, The Razers will make sure you, your bitch, and Pendleton pay for his killin' Mikel.

PAGE SEVEN

PANEL ONE
In the cemetery, KAREN and MATT walk away, watched by MARIO and DAVID in the background.
KAREN: What was that all about?
MATT: The case I'm working on right now. Ken Pendleton allegedly killed his older son Mikel.

PANEL TWO
KAREN and MATT continues walking.
KAREN: Ken Pendleton? I know that name. He was a constant topic of discussion when I did my radio show.
KAREN (melded balloon): The guy's a sleaze. It's about time someone put him away.
KAREN (separate balloon): Did he do it?

PANEL THREE--flashback
The visiting room in the jail. KEN is pacing, angry that his bail request was denied. MATT is seated at a long table with his brief case in front of him. Ken's back is to Matt at this point.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. It should have a steady look. This is the sound that Matt is perceiving.
KEN: I can't believe that fraggin' judge didn't give me bail! Fraggin' cops have it in for me. It was fixed!

PANEL FOUR--flashback
KEN turns to face MATT, leaning on the table top with his fists.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. It should have a steady look.
KEN: I tell ya, Murdock--there was another kid in the apartment when Mikel died. The police never listened to me!
MATT (in Thought): I can hear his heartbeat. It's regular. He's telling me the truth.

PANEL FIVE--flashback
MATT's face is directed at KEN as he speaks.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. It should have a steady look.
MATT: You told the police this, and they didn't investigate?
KEN: They laughed it off--said I'd "say anything to save my sorry ass."

PANEL SIX--flashback
KEN should look frustrated as he answers MATT's question, but not enough that his heartbeat changes.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. It should have a steady look.
KEN: The gun belonged to the kid!
MATT (T): Heartbeat's rock steady.
MATT: I'll look into it, Mr. Pendleton.

PAGE EIGHT

PANEL ONE
MATT and KAREN walking through the cemetery on the sunny June afternoon. In the far distance, Mikel's funeral continues.
MATT: I talked to the police who investigated the shooting. They never followed up on the other lead.
MATT: They'd been trying to make a case against Pendleton for racketeering, but never could make it stick.

PANEL TWO
MATT and KAREN continues to walk through the cemetery.
MATT: The District Attorney thinks his case is airtight. If he can't get Pendleton for racketeering, he'll get him for murder.
KAREN: Yeah--but did he do it?

PANEL THREE--flashback
The visiting room of the jail. KEN is pacing as MATT, seated at the table with his briefcase in front of him, listens.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. It should have a steady look. This is the sound that Matt is perceiving.
PLEASE NOTE--coordinate with the artist of page seven for the look of the visiting room and the EKG reading.
KEN: You think I'd do anything on purpose to hurt my boys?

PANEL FOUR--flashback
KEN turns to assert his innocence to MATT.
Along the bottom of this panel is an EKG line, indicating Ken's heartbeat. This has a spike in it that indicates to Matt that Ken is lying.
KEN: I swear, Murdock--I didn't murder my son.
MATT (in Thought): His heartbeat skipped! He's not telling me the whole truth!

PANEL FIVE
MATT and KAREN walk through the gate of the cemetery onto a sidewalk. This cemetery is in Brooklyn.
MATT: I honestly don't know. All I do know he's not telling me everything.
KAREN: If he's as dirty as everyone thinks, then why not just let him be sent up the river? Does it matter why?

PANEL SIX
Close up of MATT. This sums up his feelings about the law and justice, so make him look very sincere.
MATT: I wish it were that easy, but the police didn't investigate the case properly. The system has to be protected--or else no one is safe.

PAGE NINE

PANEL ONE
Establishing shot. Exterior of the NYC courthouse. Summer day.
KEN (inside the courthouse): Murdock, I want you to put me on the stand!

PANEL TWO
Prep room off the courtroom where the trial is being held. MATT consults with KEN.
MATT (in Thought): I can't put him on the stand if I know he's not telling the truth.
MATT: There's no need to do that. The prosecution hasn't made their case.

PANEL THREE
MATT in the courtroom, addressing the JURY.
CAPTION (Matt): "Just let me go directly to my closing."
MATT: Ladies and gentleman of the jury, you have heard from several witnesses who told you that there was another person running through the hall that night right after the fatal gunshot was fired.

PANEL FOUR
MATT pointing to DAVID in the gallery as he addresses the JURY. David is glaring at Matt.
MATT: One of those witnesses was the deceased's own brother.

PANEL FIVE
MATT addressing the JURY.
MATT: The police did not investigate this lead because they thought it would ruin their airtight case. They were more concerned with getting a conviction than discovering the truth.
MATT: Don't let them get away with it.

PANEL SIX
Medium close shot of the JURY FOREMAN.
JUDGE (off panel): Has the jury reached its verdict?
JURY FOREMAN: Yes, your honor. We find the defendant--

PAGE TEN

PANEL ONE
Page-width panel. Inside the courtroom as the verdict is read. KEN is excitedly shaking MATT's hand. The PROSECUTOR looks disgusted. DAVID and MARIO look angry. You could take this shot from behind the jury box looking out toward the lawyers' tables and the gallery with the JURY FOREMAN standing left, partially cropped and/or in silhouette.
JURY FOREMAN: --Not guilty.

PANEL TWO
KEN congratulates MATT. Behind them, DAVID and MARIO glare at this sight.
KEN: You were brilliant, man. I should hire you for all my legal work.
KEN: Let me take you to dinner to celebrate.

PANEL THREE
MATT walks past DAVID and MARIO, leaving KEN looking surprised that his offer has been refused.
MATT: I did what I had to do, Mr. Pendleton. I don't see any cause to celebrate.
MARIO (whispering to David): We're not gonna let them get away with this!

PANEL FOUR
NYC, summer night. It's late, so there aren't people on the street. Exterior of a restaurant. Shot is framed by TWO MEMBERS of the Razers gang who are watching from an alley across the street. MATT and KAREN are walking out of the restaurant.
KAREN: Are you proud of yourself for putting a creep like Ken Pendleton back out on the street?
MATT: Pendleton may belong in jail--but not for murder.

PANEL FIVE
MATT and KAREN walk across the street as BEN and four other Razers (FRANK, WEEZIL, ROO, and GABE) step out of the alley. The Razers are armed with knives and bludgeons. They are not carrying guns.
MATT: I'm just glad it's over.
BEN: It ain't over yet, shyster--

PAGE ELEVEN

PANEL ONE
GABE grabs KAREN as BEN address MATT. Ben is holding a knife in a threatening manner. ROO and FRANK hold on to Matt's arms. (He's allowing this so they can get off the street and he can move freely.)
BEN: You was warned what would happen to you an' your piece if Pendleton got off!
MATT (in Thought): Better get this off the street before I do anything.

PANEL TWO
FRANK and ROO pull MATT into the alley. BEN and WEEZIL follow, knives at the ready.
BEN: Anyone messes with the Razers pays the price!

PANEL THREE
Now in the alley, MATT feels free to act. He pulls FRANK and ROO together, causing their heads to collide.
MATT: You're right--there's a price to be paid.
SFX: WUNK!

PANEL FOUR
MATT does a flying kick into WEEZIL's jaw.
MATT: But we're not paying it!

PAGE TWELVE

PANEL ONE
KAREN drives her elbow in GABE's gut, causing him to double over.
GABE: Whuf!

PANEL TWO
With WEEZIL, ROO, and FRANK lying on the ground and GABE doubled over in pain, MATT kicks the knife out of BEN'S hand.
MATT: Give it up.
MATT: I know you're angry, but this won't solve anything.

PANEL THREE
MATT moves closer to the nervous, now-disarmed, BEN.
MATT: Either you let me and my girlfriend leave and your drop this once and for all--

PANEL FOUR
MATT nose to nose with BEN.
MATT: --or I'll make sure you go to prison for a very long time.

PANEL FIVE
KAREN and MATT walking out of the alley. Matt is loosening his tie.
MATT: If they came after me, then they'll be going after Pendleton too.

PAGE THIRTEEN

PANEL ONE
KAREN safely in the back seat of a cab. Looking past her out the back window, we can see DAREDEVIL swinging away.
CAPTION (Matt): "I've got to make sure this doesn't spin out of control!"

PANEL TWO
Elsewhere in the city. DAVID is walking down the street with MARIO and other members of the Razers gang (TRENT, JUAN, and LESTER).
MARIO: When you're a Razer, you look after your own. We're all brothers.
MARIO: That's why we hid Juan during the trial. If the cops found out about him or his gun, he woulda been sent up.

PANEL THREE
MARIO puts his arm around DAVID. JUAN is on David's other side.
MARIO: And when someone kills one of your brothers, you gotta do something.
JUAN: Mikel was your blood, but he was a brother to all of us. Your father shot him dead.

PANEL FOUR
MARIO places the gun in DAVID's hand.
MARIO: If you gonna be a Razer, you gotta do the right thing.
MARIO: You gotta show the world they can't screw with the Razers.

PANEL FIVE
Tight shot of MARIO speaking to DAVID. There is a seductive air (seductive, not sexual) to this.
MARIO: You gotta show your father he can't screw with us!

PAGE FOURTEEN

PLEASE NOTE--somewhere within the first five panels, you need to establish the placement of the living room window. It should be to the right of the gang members.

ALSO NOTE--This is also an unusual page for me in that it has seven panels. Panels one and two don't require a lot of space--they're used to establish place and movement. Therefore, panels one, two, and three could be on the top tier of the page. Panel six is there to build tension. It also doesn't require a lot of emphasis (and, in fact, could be cut for space if need be). Technically, the key panels are three and seven. Three sets up spatial relationships and seven is the surprise.

PANEL ONE
Exterior of the building where the Pendleton apartment is. KEN is getting out of a cab.
CAPTION (David): "I won't let you down."

PANEL TWO
KEN walks into his darkened apartment.

PANEL THREE
KEN turns on the lights to find DAVID pointing a gun at him. Behind him are MARIO, JUAN, TRENT, and LESTER.
KEN: What the--?
KEN: Son? What do you think you're doing?
DAVID: You shouldn't have killed Mikel, dad.

PANEL FOUR
Over David's shoulder, following his outstretched arms as he points the gun at KEN.
KEN: C'mon, boy--you know I didn't mean to do it!

PANEL FIVE
Reverse angle shot. Over KEN's shoulder at DAVID, MARIO, and the other gang members as possible.
MARIO: Don't listen to him, David.
MARIO: If you're gonna be one of us, pull the trigger!

PANEL SIX
Extreme close up of David's finger tightening on the trigger.

PANEL SEVEN
Similar shot to panel five, but you don't need Ken in the foreground. The key element to capture is the gang's surprise at Daredevil's billy club having just come crashing through the window. Key characters are DAVID and MARIO. Others as will fit.
SFX (window breaking): CRASH

PAGE FIFTEEN

PANEL ONE
Money shot. This is probably the most dramatic shot we'll get of DAREDEVIL in the course of the story. He is swinging into the living room of the Pendleton apartment through the window he just broke with his billy club.
DAREDEVIL: Put the gun down, son.

PANEL THREE
MARIO, a few feet to the left of DAVID, addresses David. David is still holding the gun aimed at his father. LESTER, JUAN, and TRENT are behind David.
MARIO: The police couldn't punish your father, Davey--it's up to you.

PANEL FOUR
Reverse angle shot. DAREDEVIL, a few feet to the right of DAVID, addresses the young man. David is still aiming the gun at KEN who is sweating nervously.
DAREDEVIL: You pull that trigger, and you'll be a killer too.
DAREDEVIL: Is that what you want?

PANEL FIVE
DAVID, facing the readers with DAREDEVIL to his right and MARIO to his left, lowers the gun. (This could be taken straight on or as a slightly low-angle shot.)

PAGE SIXTEEN

PANEL ONE
MARIO, who is to the left of DAVID, has moved closer to David and takes the gun out of his hand.
MARIO: You're weak, Davey-boy! Your brother would be ashamed!

PANEL TWO
MARIO aims the gun at KEN as DAREDEVIL reaches out to stop him. Daredevil is to the left of Mario and DAVID. LESTER and TRENT are behind David, starting to move toward DD.
DAREDEVIL: STOP!

PANEL THREE
LESTER and TRENT block DAREDEVIL's path as MARIO pulls the trigger.
SFX: BLAM!
DAREDEVIL (Burst): NO!

PANEL FOUR
DAREDEVIL pushes LESTER and TRENT aside as KEN crumples to the floor. MARIO is still aiming the gun at KEN.
MARIO: You kill one of us--you die, bastard!

PANEL FIVE
DAREDEVIL tackles MARIO as DAVID kneels beside his bleeding father KEN.
KEN: David-- help me--

PAGE SEVENTEEN

PANEL ONE
Cut to the bedroom in Matt's apartment. KAREN is lying in bed as DAREDEVIL slips through the window. She has heard him and is facing the window.
KAREN: Is it over?
DAREDEVIL: Yes.

PANEL TWO
DAREDEVIL sits on the bed beside KAREN, removing his mask.
KAREN: Were you able to save him?
DAREDEVIL: I guess that depends on how you define "save."

PANEL THREE
Page-wide panel. Hospital room. KEN is lying in the bed as DAVID stands beside him. This image is to the right of the panel.
KEN: David?

PANEL FOUR
This is an inset panel. KAREN, behind DAREDEVIL, puts her arms around him, leaning her chin on his shoulder.
DAREDEVIL (these balloons can cross into panel three): He'll live.
DAREDEVIL: I think I was far too late to save him, though.

PANEL FIVE
Hospital room. KEN looks up at DAVID.
KEN: I knew you couldn't kill me, son.
DAVID: You're right. I couldn't.
DAVID: But I can't be your son any more, either.

PANEL SIX
DAVID walking out of KEN's room into the hallway.
KEN: David! David, wait!
DAVID: Good-bye.
CAPTION (Daredevil): "I just hope I wasn't too late to save his son."
CAPTION: End.