"BATMAN" (Continue)

COP
... Who is this guy?

GORDON
(to Cop)
I don't know and until we find
out, keep a lid on it.

CUT TO:

EXT. AXIS CHEMICAL COMPANY - NIGHT (THAT MOMENT)

A BLACK SHADOW scurries across the roof. From the il-
luminated sign with its neon ace, WE PAN DOWN PAST the
chemical sluice TO a SECOND ACE... a card from Jack's
lucky deck, pierced by a neat, round bullet hole, bobbing
on the oily surface of the foul, polluted river.

Gradually, OTHER CARDS from the deck swirl past: a nine.
A deuce. A queen. And finally, a Joker -- SHOT CLEANLY
THROUGH THE FACE.

A BONE-WHITE HAND BREAKS THE SURFACE as we --

SHOCK CUT TO:

INT. GOTHAM GLOBE - CITY ROOM - DAY

A BANNER HEADLINE on the late edition of the Globe:
"BATMAN FOILS ROBBERY. JACK NAPIER DEAD. WHO IS MASKED
VIGILANTE?"

Behind the newspaper, feet propped up on his desk, is a
jubilant Knox. He's on the horn to Gordon.

KNOX
Yes, Commissioner. If there's no
Bat, then who dropped this guy
Napier into the acid? Wait a
minute, I want to get this on
tape.

He holds a tape recorder up to phone. Listens. A LOUD
CLICK as Gordon hangs up on him.

Vicki BUSTLES IN with sheaf of photographs. Starts to
hang them on wail. Making a photomontage of the city.
Cartoonist sticks head in door, tapes drawing of Batman
with arm on Knox's shoulder. GUY EXITS. Knox hangs up.

KNOX
Vicki Vale! (I'm) Nostradamus!

VICKI
Look at this, Allie.

Knox comes around. She points to her montage map.

VICKI
Here's the inner city, and here's
Axis Chemicals. Here are the
sightings so far.

KNOX
Did you do this? This is great.

VICKI
Maybe the Batman's got some sort
of flight pattern or something.

KNOX
Yeah, tonight we'll walk the
trail.

VICKI
Tomorrow maybe. I've got a date
with Bruce Wayne. Sorry.

KNOX
(shouting)
Bruce Wayne? No, A DATE is when
two normal people go out to enjoy
each other. A date for Bruce
WAYNE is when he goes out to a
restaurant with mirrors, by
HIMSELF!

She plants a kiss on his forehead.

VICKI
You're awfully sweet to be so
concerned but thanks anyway.

Vicki smiles and EXITS. Knox looks pole-axed.

KNOX
(irritated, picking
up phone)
Copy, get me the morgue.
(BEAT)
Morgue... give me all you got on
Bruce Wayne.

CUT TO:

EXT. BRUCE'S ESTATE - RIDING STABLES - SUNDOWN

Bruce and Vicki GALLOP UP on horseback. They dismount;
Bruce grooms his horse. Vicki watches.

VICKI
You're not bad on a horse.

BRUCE
Horses love me. I keep falling
OFF. Maybe that's why they love
me. You should see me, I'm one
big mass of bruises.

VICKI
(laughing)
Maybe we can arrange a little
examination?

Bruce, without missing a beat, puts the curry comb up on
a rail and turns to her.

BRUCE
Yeah, how about right now?

Vicki is caught in her own sexual trap.

VICKI
Just kidding.

BRUCE
You thought you had me, didn't
you?

Bruce smiles and walks past her up to the main house.
Vicki smiles.

EXT. WAYNE MANOR - PATIO - SUNDOWN

A broad patio behind the manor, looking out on the es-
tate. Bruce and Vicki ARRIVE from the stables. Alfred
APPEARS with a bottle of champagne, smiles discreetly at
Vicki, then DISAPPEARS. Bruce POPS the cork unhandily.

ALFRED
The historical Society called to
remind you of the banquet. Should
I say you'll be there?

BRUCE
Yes, absolutely... I'll be there.

Alfred starts to walk away. Bruce thinks.

BRUCE
Alfred... Which Society?

ALFRED
Historical.

BRUCE
Oh, yeah, right. Yes.

Alfred EXITS.

VICKI
That Alfred's great.

BRUCE
I can't find my socks without
him. Been with the family since
I was born.

Pouring, he tries, unsuccessfully to stifle a yawn.

VICKI
(amused, teasing him)
Am I keeping you up?

BRUCE
(slightly embarrassed)
I'm sorry. I've got a lot going
on at the moment.

VICKI
Like who?

BRUCE
(flustered)
No... Just business... I'll be
honest with you, I bore myself
silly, tell me about you.

VICKI
I take pictures. And I love doing
it. I feel naked without a camera.

BRUCE
(little smile)
Well we better get you one.
(as she smiles)
Go on.

VICKI
I'd been floating around for a
while, doing fashion. It was
alright... I don't know. Things
change.
(searching for an
explanation)
How old are you?

BRUCE
Just turned 35.

VICKI
You've probably had it happen too.
You know... you wake up one
morning and say, hey this is who
I am. I see things through
cameras. All kinds of things.
Not just long legs and great
skirts, but... things... You know?

BRUCE
I'm not sure.

VICKI
Well... I just picked up and left.

BRUCE
What did you see?

VICKI
(sigh, BEAT)
A lot'a hotels. A little terror. A
little love once in a blue moon.

BRUCE
(pandering it)
A little terror. A little love.

VICKI
(softly)
It's out there. I was never in
the right place I guess.

Bruce looks around at his opulent estate, falls SILENT.

VICKI
You're a little elusive, Mr.
Wayne. I feel like there's a lot
going on in there.

BRUCE
Oh... not really.

VICKI
Come on, say what you're thinking.

BRUCE
I was just thinking how beautiful
you looked on that horse... and
that... it's kinda nice to have
someone here who notices things.

She finds herself irrevocably drawn in.

VICKI
(mischievous; offer-
ing her hand)
See... I do have an extraordinary
eye.

BRUCE
(taking her hand)
Two.

INT. WAYNE MANOR - NIGHT

A vast, darkened entry hall, framed by long semicircular
stairways on either side. Bruce and Vicki enter; she's
giddy.

VICKI
I feel like I'm in Paris in the
'30s. Is this fair? I'm half
drunk and you're not even --

BRUCE
Two drinks and I'm flying.

Vicky smiles. They stare into each other's eyes for a
moment, on the verge of kissing.

He's struggling with something. She touches him.

VICKY
Why are you afraid of flying?

He steps towards her and they begin a kiss which turns
into a passionate embrace. A FLASH OF LIGHTNING trans-
ports us to:

EXT. OFFICE BUILDING - ESTABLISHING - NIGHT

Broken windows, graffiti on the walls: a waterfront
rathole.

INT. DOCTOR'S OFFICE - NIGHT

TIGHT ON a face swathed in bandages. The patient sits
erect in a wooden chair, surrounded by the grimy para-
phernalia of an unlicensed gangland doctor.

The DOCTOR, a nervous little ferret, steps up with a
pair of scissors.

DOCTOR
Well, let's see how we did.

He begins to snip away. As the bandages come off, we
get:

JACK NAPIER'S POV

The last strands of gauze peel back. The DOCTOR stands
there, looking at his handiwork. His mouth falls open.
His eyes bug out. He GASPS.

JACK (O.S.)
Mirror.

The DOCTOR just stands there staring AT CAMERA, stock-
still, apparently transfixed by the sight of Jack's face.

JACK (O.S.)
Mirror.

ANGLE ON DOCTOR

He clears his throat, reaches apprehensively for a hand
mirror, and passes it OUT OF FRAME to Jack.

We hear a GASP and SOB. Two beats. Then, the sound of
GLASS SHATTERING as the mirror drops to the floor. The
DOCTOR gulps hard.

DOCTOR
You understand that the nerves
were completely severed -- Mr.
Napier --

Jack begins to LAUGH. The DOCTOR turns uneasily away,
gestures apologetically at his seedy equipment.

DOCTOR
-- You see what I had to work
with here --

More laughter. The trembling DOCTOR covers his face with
one hand, whining now, not daring to look at Jack.

DOCTOR
-- I'm sure that with proper recon
-- recon -- reconstructive
surgery --

A DOOR SLAMS. Jack is gone. The grateful DOCTOR breathes
a sigh of relief and steadies himself on an operating
table as Jack's AWFUL LAUGH ECHOES in the hall outside.

DOCTOR
(puzzled)
What's so funny?

INT. BRUCE WAYNE'S BEDROOM - NIGHT

Vicki is asleep. CAMERA PANS TO Bruce lying next to her.
He's silently looking at the cascade of her hair on the
pillow. He watches her face, perplexed. Grandfather
CLOCK CLANGS. He checks his watch, stands up and looks
out window. He's constrained. He stretches impatiently.

ON CLOCK FACE

TIME HAS PASSED. PAN TO VICKI -- sleeping. A RHYTHMIC
SOUND. She stirs, half-wakes. CAMERA PANS to see Bruce,
upside-down, SLIGHTLY SWAYING in inversion boots.

INT. GRISSOM'S PENTHOUSE - NIGHT

The private elevator HISSES open. JACK steps out,
bundled up in a trenchcoat, muffler, and slouch hat --
his face concealed from view. He plops in the big plush
swivel chair behind Grissom's desk.

GRISSOM (O.S.)
That you, sugar bumps?

Grissom WADDLES IN fresh out of the shower, a towel
wrapped around him. Using a smaller towel to dry his
hair, it's a moment before he sees the bundled-up figure
at his desk.

GRISSOM
Who the hell are you?

JACK
It's me. "Sugar Bumps."

GRISSOM
Jack?
(advancing
cautiously)
Thank God you're alive. I heard
you'd been...

JACK
Fried. Is that what you heard?

Jack stands and gestures him over to the empty chair.
Grissom moves when he sees the gun pointing at his belly.

JACK
YOU SET ME UP!
(beat)
Over a girl. You must be insane!

Grissom surreptitiously reaches for a desk drawer.

JACK
Don't bother.

GRISSOM
Your life won't be worth spit.

JACK
I been dead once already. It's
very liberating -- You have to
think of it as therapy.

GRISSOM
(beginning to panic)
Jack, listen -- we'll cut a deal --

JACK
Jack? Jack's dead, my friend.
You can call me Joker.

He flings away the hat. RIPS THE MUFFLER from his face.
And -- as Grissom gasps in shock -- stands revealed in
his full horrendous glory.

His flesh is bleached bone-white. His hair is a luminous
seaweed-green. And his cheeks are torn and puckered from
the bullet wound, TWISTING HIS MOUTH INTO A HIDEOUS,
PERPETUAL HARLEQUIN'S GRIN.

JACK
And as you can see, I'm much
happier.

Jack begins to GIGGLE, building to hysterical LAUGHTER.
Grissom makes a lunge towards his desk drawer. Jack
FIRES. AND FIRES AGAIN UNTIL THE CLIP IS EMPTY.

EXT. GRISSOM'S BUILDING - NIGHT

We TILT UP the facade of the skyscraper, arriving finally
at the TOP FLOOR: a PLATE GLASS WINDOW spiderwebbed with
cracks where Jack's bullets hit.

INT. GRISSOM'S PENTHOUSE - NIGHT (THAT MOMENT)

Darkness. JACK -- or, as we'll know him from this moment
on, The JOKER -- sits in Grissom's swivel chair and
surveys the moon-drenched city.

JOKER
(nostalgically)
Gotham City. It always brings
a smile to my face.

As he swivels in the chair he notices a copy of the Globe
(now blood-splattered) lying on Grissom's desk. The head-
line catches his eye. WINGED FREAK TERRORIZES GOTHAM'S
GANGLAND. He picks up the paper and starts HUMMING.

JOKER
Watch it, Batman. Wait'll they
get a load of me.

DISSOLVE TO:

INT. BRUCE WAYNE'S BEDROOM - DAY

Bruce is asleep, his legs over the back of a chaise
lounge. Vicki is dressing. Alert.

VICKI
Bruce. I'm late, but I've a
proposition.

Bruce sits up wearily.

VICKI
I'll make us lunch tomorrow.
At my apartment. I'll show you
same of my photos. Will you come?

He's stretching. A hesitation flashes in his eyes.

BRUCE
Sure. Oh no... I -- I can't make
it.

Vicki stops brushing her hair. Checks out his vibes.

VICKI
Oh. Is anything wrong?

BRUCE
No -- I -- I've got a real
important meeting.

VICKI
Well... later in the day?

BRUCE
No... I... I've got to leave town
for a few days.

Vicki wonders, but continues.

VICKI
Well... when you get back.

Bruce thinks. No answer. Not wanting too much vulner-
ability herself, she lightens it up.

VICKI
Hey, I've got to get moving. See
you.

She pecks him on the cheek and breezes by him.

BRUCE
Yeah. I'll see you.

DOOR SHUTS. Bruce thinks.

IN HALLWAY - ON ALFRED

Alfred shows her out the door.

ALFRED
So nice to see you again, Miss
Vale.

VICKI
Yeah. I guess I'll see you when
you guys get back.

ALFRED
Back, ma'am? We're here for quite
a while I believe.

VICKI
Oh... never mind. See you.

But she noticed. And it hurt a little. Bruce was lying.

INT. ALICIA'S APARTMENT - NIGHT

Alicia, with an armload of dress bags, ENTERS -- and is
startled by a VOICE FROM BEHIND.

JOKER (O.S.)
Honey!

She pivots. Her eyes widen. She SHRIEKS.

Sitting cross-legged in an easy chair is The Joker. He's
in a smoking jacket and slippers, reading the paper, a
dry martini at his side.

JOKER
You wouldn't believe what happened
to me today.

Alicia faints.

INT. PENTHOUSE SUITE - NIGHT

GANGLORDS stare at Joker at the head of the table.

JOKER (O.S.)
So that's how it is, gentlemen.
Until Grissom resurfaces... I'm
the acting President. And I say
we start with this Anniversary
festival and run this city into
the ground.

Joker's dressed in a big slouch hat. His FACE is layered
with flesh-toned makeup, and his HAIR's been rinsed black.
But he can't conceal his ghoulish SMILE. VINNIE RICORSO
is the smartest of the bunch. He doesn't believe Joker
for a minute.

RICORSO
Why don't we hear this from
Grissom?

ROTELLI
How come you re wearing that stupid
smirk?

JOKER
Because life's been good to me.

CARMINE ROTELLI, an exceptionally oily mobster, speaks up:

ROTELLI
What if we say no?

JOKER
Nobody wants a war, Carmine. If
we can't do business, we shake
hands... and that's it.

ROTELLI
Yeah?

JOKER
Yeah.

ROTELLI stands up and extends a hand. Joker shakes.
A JOY BUZZER's concealed in Joker's palm.

40,000 VOLTS course through ROTELLI's body. He drops
back into his seat a blackened husk, SMOKE pouring out
from his sleeves and shirt collar.

A SQUAD OF ARMED THUGS BURSTS INTO THE ROOM. These THUGS
have all been specially selected and distinctively STYLED
by the JOKER. (NOTE: these are the first of Joker's
creations We now begin to see Joker restyling every-
thing in his world.)

BOB's now Joker's number two man, staying close to him.

JOKER
Carmine got a little hot under the
collar.

The Joker begins to LAUGH at his own joke.

RICORSO
(getting up to leave)
... You're insane!

JOKER
(affronted innocence)
Haven't you heard of the healing
power of laughter?

He begins to LAUGH again, removes his hat and mops sweat
from his brow, exposing a patch of CHALK-WHITE FLESH --
to the bewilderment of the ONLOOKERS.

JOKER
Now GET OUT OF HERE -- And give it
some thought.

Gangsters are ESCORTED OUT by the Joker's thugs. Joker
grabs a copy of the Globe.

JOKER
Bob, I want you to take a camera
and follow this reporter Knox.
Find out what he knows about
Batman. You got to learn to USE
people, Bob.

BOB
Yes sir.

BOB EXITS, leaving the JOKER alone with the charred
corpse of ROTELLI. The Joker ADDRESSES THE BODY.

JOKER
Your pals, they're not such bad
guys. What d'you say we give 'em
a couple of days to come round?
(pause; apparently
listening to the
corpse)
No?
(listens again)
Grease 'em now?
(seems shocked)
Okay.
(shakes his head mock
sorrowfully)
You're a vicious bastard, Rotelli.
I'm glad you're dead.

INT. NEWSPAPER MORGUE - DAY

Vicki looks through filing cabinets. She's intense.
Over her shoulder a FILE APPEARS with BRUCE WAYNE on it.
Knox has it.

VICKI
I'm looking for that.

She grabs it and looks through the very thin file.

KNOX
I thought we were a team here.
I'm losing confidence in you --
going out with this weirdo.

VICKY
Speaking strictly professionally
right? This wouldn't be personal
issue for you would it?

KNOX
I just want you to do your job.

VICKI
I AM doing my job.

KNOX
Me too. I'm protecting my partner.
The guy collects weird weapons in
Japan, probably roller skates
through the female population like
a bulldozer.

VICKI
Where does it say that, Knox?
There's nothing in this file but
social puffery. No photos, no
history. Nothing. That's strange.
Where's he get his money? What's
he do all day? Who is he?

She tosses the file on the floor angrily. EXITS.

KNOX
Who cares?

DISSOLVE TO:

EXT. WAYNE MANOR - NEXT MORNING

Vicki in car a block from the Manor. She looks through
her telephoto lens. After a few BEATS -- Bruce Wayne
emerges from the gates, walking. He's dressed incognito.
He carries a package.

Vicki FOLLOWS him.

CAMERA FOLLOWS ACTION THROUGH:

EXT. GOTHAM STREETS - DAY

As Bruce walks through the city. He puts on sunglasses
and seems interested in not being seen.

Vicki follows along, at a distance.

EXT. BAD STREET - DAY

The neighborhood is now bad. Few people are around.
Bruce ENTERS a blind alley.

Vicki steals up to corner to see what he's doing.

EXT. BLIND ALLEY - DAY

Bruce looks at the trash-scattered alley. He looks up
at the sky, then down at a corner. He kicks away a Coke
can, cleans off a spat.

ON VICKI

puzzled she raises her camera.

ON BRUCE

He unwraps the package.

Vicki strains to see what he's holding.

Bruce moves a bit and reveals TWO LONG-STEMMED ROSES.

Vicki raises camera and SOFTLY CLICKS THE SHUTTER.

ON BRUCE

He kneels and places the roses as if at a shrine. He
holds his hand on his eyes for a BEAT.

Vicki looks and CLICKS again. What is he doing?

ON BRUCE

He stands and kicks the can back out toward the street.
He heads out the alley. Where's Vicki? When he passes
by where she was. She's gone.

EXT. ANOTHER STREET - DAY

Bruce walks down Broad Street which leads into the City
Square.

CAMERA LINGERS -- Vicki follows at a distance.

ON BRUCE

As he enters the City Square.

A PAINTED STREET MIME walks alongside him, feeling his
way along an imaginary wall. He is not very good at it,
and in spite of his heavy makeup you can tell that he's
rather ugly.

A COMMOTION catches Bruce's eye. He steps back to the
edge of the gathered crowd.

EXT. CITY HALL - THAT MOMENT

RICORSO -- the CRIMELORD from the boardroom -- emerges
flanked by a LAWYER and a pair of BODYGUARDS. They're
met by a group of REPORTERS. Including Knox.

ON VICKI

She peers around. Looking for Bruce. Can't see him.

REPORTER
So what is this affidavit you've
filed? Grissom gave you all of
his businesses?

RICORSO
Mr. Grissom asked me, as a personal
favor, to take over the operation
of his businesses until he returned.

KNOX
Jeezez, that's a pretty big gift.
You must have been VERY close.
Did you do a little time together
as children?

Ricorso sneers. OTHERS LAUGH.

KNOX
I smell fresh ink, guys. I'm sure
you can prove all this? Why am I
asking? Of course you can.

ANGLE ON VICKI

Getting closer.

ANGLE ON BRUCE

Something catches his eye.

HIS POV - A HALF A DOZEN STREET MIMES

converging on the scene. Something's very wrong. (These
are Joker's men.)

Vicki ARRIVES next to Knox.

ANGLE ON BOB

taking photos of Knox and Vicki from edge of the crowd.

ON LAWYER - TIGHT

LAWYER
We have witnesses.
Grissom's signature is perfectly
legitimate.

VOICE (O.S.)
It's legitimate! I saw him. I
was THERE!

Crowd parts as a LARGE MIME steps up to Ricorso. Ricorso
frowns.

NEW GUY
I saw it all, he raised his dead
hand and signed the paper in his
own blood. And he did it with
this pen!

Mime pulls out a ridiculously long quill pen. Ricorso
gapes in puzzlement at him.

TIGHT ON NEW GUY

Underneath the white skull cap -- it's the Joker.

JOKER
(lifting his wig)
Hello, Vinnie -- it's me, your
uncle Bingo, time to pay the
check!

Joker HURLS the sharp-tipped pen right into Ricorso's
throat. Ricorso falls, clutching his throat.

Someone SCREAMS, reporters SCATTER as MIMES FIRE MACHINE
GUNS IN THE AIR.

Vicki dives behind a parked car. She looks back to see
Bruce, standing frozen, rooted to the ground. He's
watching, transfixed.

Mayhem prevails.

ANGLE ON BRUCE

BRUCE is still frozen to the spot and exposed to the
"mimes."

A FEW FEET AWAY

Vicki crouches behind the car and beckons to him.

VICKI
Bruce! Get DOWN!

He totally ignores her and BEGINS TO WALK. At first
slowly, then faster, right toward the Joker.

ANGLE ON BODYGUARDS

ON JOKER

He LAUGHS at the DIN and walks as if immortal through the
mayhem. (He never sees Bruce.)

ON BRUCE

He's walking the same way, still at a distance from
Joker. But his recognition of him is growing.

ON JOKER

He reaches his car. DRIVER rushes to get him out of
there.

Bruce now gets close enough to see Joker's face through
the window. Joker's car SPEEDS AWAY past him.

Other cars containing other mimes SPEED AWAY, too. A
SILENCE DESCENDS. Only the SOUNDS OF CRYING and ebbing
fear.

Bruce stands looking after Joker.
Suddenly Vicki is there.

VICKI
Bruce...?

No answer. He hardly seems to notice she is there.

Bruce turns to her. Sweat pouring down his face. Looks
right into her eyes. She looks at him and sees the signs
of deep trauma in his eyes.

BRUCE
I'm sorry, Vicki...

He turns and DISAPPEARS into the crowd.

VICKI
Bruce!

CUT TO:

INSERT - TELEVISION SCREEN

A TV CREW broadcasting live from the massacre site.

The minicam angle WIDENS to include HARVEY DENT and the
Mayor. The ANCHORWOMAN thrusts a mike in Mayor's face:

ANCHORWOMAN
Does this gang war dampen the
city's plans for the 200th
anniversary festival?

MAYOR
The festival opens. The police
are going to stop these gangsters.

ANCHORWOMAN
Mr. Dent, what do you think of
the theory that the mysterious
'Batman' is a mob enforcer killing
these men?

Suddenly there is a terrific SCREAM OF RAGE from O.S.
and the TV SCREEN SHATTERS.

JOKER'S BOARD ROOM

The CAMERA PULLS BACK from the smashed and smoking TV,
placing us in the JOKER's BOARD ROOM.

JOKER's in his swivel chair holding an extendible/re-
tractable pincer on the end of which is a boxing glove
making a fist. By squeezing the handle of this he has
punched the "fist" through the TV screen. BOB ENTERS.

JOKER
(furious)
Batman! BATMAN! Can somebody
please tell me what kind of a
world we live in where a man
dressed as a bat gets my airtime!?
This city needs an enema!

He STORMS OUT of the office into:

INT. AXIS CHEMICAL COMPANY - DAY

LOW ANGLE ON the JOKER. He rushes along a catwalk high
above the refinery floor. He passes a COUPLE OF UGLY,
CRIMINALLY-MINDED SCIENTISTS in white coats, holding
sheets of calculations.

JOKER
(SHOUTING over the
noise)
Have we shipped a million of these
things?

SCIENTIST
Yes SIR!

JOKER
Ship it all. Untangle the knots,
roll the wheels, I've got my blood
up!

The Scientists look at each other and RUSH into action.

Joker BANGS OPEN THE DOOR TO:

INT. JOKER'S LAIR - DAY

A dank, windowless room in the bowels of Axis Chemical.
Joker is HUMMING, insanely.

THE CAMERA TRAVELS PAST collages of photographs; each
photograph cut from scenes of war.

The CAMERA CONTINUES DOWN a stack of folders. On one
document are the initials C.I.A. On the front of the
folder can be read "DDID NERVE GAS -- RESULTS OF
PRELIMINARY EXPERIMENTATION" and stamped across it,
"DISCONTINUED 1977." Finally, we see the photos of dead
soldiers, lips drawn back in chemical-induced grimaces.

JOKER
Losing is a bad habit, Bob. So
much to do and so little time.

BOB STEALS IN and offers some photographs.

BOB
Here's the photos.

Joker looks them over.

TIGHT ON PHOTOS

Joker shuffles through. Stops on Knox.

JOKER
Who's this dud?

BOB
That's Knox.

JOKER
Bad tie. No style.

ON A PHOTO OF VICKI WITH KNOX

JOKER
Stop the press!! Who is that?

BOB
That's Vicki Vale, she's the
photographer working with Knox.

TIGHT ON JOKER

He's licking his lips. Looking Vicki up and down.

JOKER
THAT WOMAN has style!! Jeezus
Marimba! A lovely beast like
that could get a man up and
running.

The JOKER, excitedly HUMMING AWAY begins to cut Vicki's
picture out of the others. Leaving a border around her.
He then fills in border with crayons.

BOB
She's been dating some guy named
Wayne.

JOKER
She's gonna trade up! Damn! It's
hard to stay inside the lines!

Joker pastes Vicki's picture onto a board.

JOKER
I'm gonna get me a NEW girl,
Bobbie.

THE CAMERA PULLS BACK to reveal that the JOKER is sur-
rounded, wall to wall, by a collage of pictures of war
and destruction. The huge collage forms a birds-eye-
view map of Gotham.

JOKER
I've got a mind to make some
mayhem. Phone book!

INT. WAYNE MANOR - BRUCE'S STUDY - DAY

Alfred uses a feather duster. BRUCE ENTERS, obviously
distraught and exhausted. Very concerned, Alfred takes
his coat and hands Bruce a hot towel. Bruce wipes his
hands.

ALFRED
Miss Vale called. She was rather
concerned.
(matchmaking a bit)
I've noticed that there is a
certain weight that lifts when
she's here.

BRUCE
Why don't you marry her, Alfred?

ALFRED
That's not exactly what I had in
mind, sir.

BRUCE
I can't go on with that, Alfred.
(as Alfred nods)
Napier's alive. He's running
Grissom's men. I gotta find out
everything the police have on him.

ALFRED
Yes, sir.

BRUCE
She's good isn't she?

Bruce smiles. Alfred smiles sadly, too.

INT. VICKI' S APARTMENT - DAY (THAT MOMENT)

Puzzled, Vicki looks through her photos of Bruce and
his flowers.

ON SEVERAL PHOTOS

of Bruce along his puzzling route.

TILT UP: Vicki dials Knox.

VICKI
Allie. I want you to check
something for me. Okay? Find out
what's so special about the alley
at Pearl and Phillips Streets.
'Bye.

She hangs up. Looks at photos.

VICKI
What's up with you, Mr. Wayne?

PHONE RINGS. SHE PICKS IT UP.

TONY (V.O.)
Vicki, this is Tony. We have a
session scheduled and the client
INSISTS that you shoot it.

VICKI
Me? Tony, I'm kind of busy.

TONY (V.O.)
The client says he has information
about Batman.

Vicki puzzles. Chews her lip.

VICKI
Batman? When's the session?

TONY (V.O.)
This afternoon at 3:00.

VICKI
Alright, I'll be there.

She hangs up and thinks.

INT. PHOTOGRAPHER'S STUDIO - DAY

ROWS OF MAKEUP in startling profusion: mascara, blusher,
eyeliner, lipstick. BEAUTIFUL MODELS giggle into their
makeup mirrors as VICKI wanders past.

In a corner of the studio, TONY, a gaunt, tubercular
British art director, is dressing a swimsuit layout with
two SUPERMODEL5. They all AD LIB GREETINGS to VICKI.

TONY
Come on, girls, magic Vicki is
here. Shine it. Think of the
money. That's it.

Vicki gets out her camera.

VICKI
Tony. Who's this client that
knows about Batman?

TONY
Never met him. All I know is
he pays cash.

VICKI
What's his name?

TONY
Mr. Kerr.

VICKI
Mr. Kerr? What's his first name?

TONY
Joseph, Joe Kerr.

A look of fear comes over Vicki's face.

As Vicki looks on, the SUPERMODELS freeze in place
simultaneously, a strange, STRICKEN LOOK on their faces.

TONY
Jesus! Hurry up! Vicki's
expensive. Show her some bones.

Suddenly the girls are LAUGHING -- but the laughter is
unnatural, involuntary. Vicki, sensing that something is
terribly wrong, lays a hand on Tony's arm.

The MODELS, now wearing HUGE SMILES, go into VIOLENT
SPASMS.

TONY
Is this some sort of joke? -- OH
MY GOD!

The SUPERMODELS PITCH TO THE FLOOR, shuddering convul-
sively, their LIPS drawn back in FRIGHTFUL, FROZEN,
CHEMICAL-WARFARE-TYPE GRINS. Vicki GASPS.

CUT TO:

INT. TELEVISION STUDIO - EVENING

The "ACTION NEWS" set, with anchors BECKY NARITA and
PETER McELROY.

BECKY
The fashion world was stunned
today by the sudden deaths of
models Candy Walker and Amanda
Keeler. Cause of death has been
attributed to a violent allergic
reaction, although authorities
have not ruled out the possibility
of drug use. Peter?

PETER
... and plans continue for the
city's 200th birthday as Mayor
Borg announced the unveiling of a
statue of John T. Gotham, Gotham's
founder --

A TECHNICIAN'S HAND passes a slip of paper INTO FRAME.

PETER
This just in. Three mysterious
deaths at a beauty parlor in --

Off to the left, BECKY begins to LAUGH. PETER FROWNS.

PETER
Becky! This is hardly the --
(his eyes widen)
BECKY!!

An O.S. CRASH. PETER jumps out of his seat, mouth agape
in horror.

BECKY HAS GONE INTO CONVULSIONS. CAMERA WHIPS RIGHT AND
LEFT as she jerks out of her seat and TOTTERS UNCONTROL-
LABLY across the set, LAUGHING INSANELY.

TECHNICIANS rush the sound stage in a frenzy. BECKY
spins like a dervish and LURCHES BACKWARD over the news
desk in a death spasm, giving us a quick look at the
grisly Joker's grin etched on her now-lifeless face.

PETER
KILL THE CAMERA!! KILL THE --

Suddenly, CRACKLING VIDEO STATIC wipes out the screen. A
moment later, we're looking at:

SPLITSCREEN CLOSEUP - THE SUPERMODELS

Their gorgeous faces sprout BIG, ANIMATED-CARTOON GRINS
as a BOUNCY TUNE -- "Put on a Happy Face" -- comes up
underneath.

MODELS
(cartoon voice)
... Love that Joker!

INT. SUPERMARKET - DAY

MUSIC CONTINUES as a deranged pitchman -- The Joker --
pushes his shopping cart down the aisle. He waves
merrily in time to the music.

INT. STUDIO - VIDEO CONTROL BOOTH - THAT MOMENT

TECHNICIANS swarm the booth. The studio feed has been
JAMMED. Every monitor shows the Joker's PROMO.

DIRECTOR
WHERE'S IT COMING FROM??

TECHNICIAN
I DON'T KNOW!

CLOSEUP - THE JOKER

He thrusts a brightly-colored package AT the CAMERA.

JOKER
... new improved Joker brand.
With my secret sauce... SMYLEX!
(a sweep of the hand)
Let's go to our blind taste test.

TIGHT ON ANONYMOUS MAN

GAGGED AND BLINDFOLDED, tied to his chair, squirming,
struggling. On the table before him is a package label-
led "BRAND X." A SUPERIMPOSED TITLE reads: "NOT AN
ACTOR."

JOKER
Ooh. He's not happy! He's been
using Brand X! But with new
improved Joker brand...

ANGLE WIDENS to include a BLINDFOLDED CORPSE, limp in his
chair, GRINNING HORRIFICALLY.

JOKER
... I get a GRIN -- AGAIN AND
AGAIN!!

INT. GOTHAM BEDROOM - THAT MOMENT

A YOUNG MAN watching TV as he dresses for a date. He's
got an aerosol deodorant poised under one arm. He looks
down at the can, suddenly uncertain. Could it be...?

INSERT - TV SCREEN - THE JOKER

Lounging beside a full-sized photo of a Jokerized SWIM-
SUIT MODEL -- with GREEN HAIR and CHALK-WHITE FLESH.

JOKER
That luscious tan, those ruby lips
-- and hair color so natural, only
your undertaker knows for sure!

INT. GOTHAM KITCHEN - THAT MOMENT

A FAMILY in their kitchen, eyeing a 12-inch portable as
MOM serves dinner. They dig in automatically, then
FREEZE with their forks in midair.

EXT. STREET - SERIES OF SHOTS - NIGHT

DELIVERY TRUCKS, bearing colorful manufacturers' logos,
drive through the city bringing tainted products to
market.

JOKER (V.O.)
I know what you're saying. Where
can I buy these fine new items?
-- Well, that's the deal, folks,
chances are... you've bought 'em
already!

INT. WAYNE MANOR - STUDY - NIGHT

Bruce tired, is glued to the tube. Onscreen, the Joker
leers -- gives the camera a BIG JUICY WINK.

JOKER (V.O.)
So if you did... remember, put on
a happy face!!

MUSIC TAG (V.O.)
(SINGING)
Joker Brand. We're changing the
face of -- Gooootham!

MUSIC UP. VIDEO SNOW fills the screen as the jammed
transmission ends. Alfred ENTERS, adds something to the
folder in front of Bruce. Bruce reads.

BRUCE
Assault with deadly weapon age
15. Nice guy.
(continues looking)
Psychological testing -- high
intelligence, unstable, aptitudes
science, chemistry and -- art.
Chemistry?

ON BRUCE

He looks at a photo of Napier.

BRUCE
Let's go shopping, Alfred.

SERIES OF SHOTS

-- The Gotham Globe cartwheeling INTO FRAME:

PANIC GRIPS GOTHAM
Contaminated Products Claim 13 Lives
WHO IS THE MYSTERIOUS "JOKER"?

-- An ANCH0RWOMAN on the evening news. Her complexion
is curiously sallow. BLACK BAGS show under her eyes.

ANCHORWOMAN
... six new deaths, with no clues
as to the Joker's deadly weapon.

-- An ANCHORMAN with a BIG UGLY ZIT on his nose:

ANCHORMAN
-- and what is the pattern?
Foods, alcohol, or beauty and
hygiene products. Cologne,
mouthwash, underarm deodorant --

-- The original ANCHORWOMAN, whose look is now 100 percent
natural. Her hair is frizzy. Her eyebrows are miss-
ing altogether. Every wrinkle on her face is plainly
visible.

ANCHORWOMAN
Or worse yet, there may BE no
pattern. The search goes on
through Gotham's shopping nightmare.

DISSOLVE TO:

INT. DENT'S OFFICE - DAY

The Mayor is distraught. Dent is on the phone.

MAYOR
We're having this festival if I
have to carry a shotgun and get
people there myself.

Dent hangs up.

MAYOR
Do you hear the words coming out
of my mouth, Dent? The festival
is ON. You find out what this
madman is poisoning us with and
fast. DO I make myself CLEAR?

Mayor catches a glimpse of himself in mirror. Checks to
see that HIS mouth isn't grimacing.

DENT
We're working on it.

INT. ARMORY - DAY

Alfred oils a blow gun. Bruce ENTERS.

ALFRED
Oh, sir, did you see the message
from Miss Vale. She'll be ten
minutes late in meeting you at the
museum.

Bruce puzzles.

BRUCE
Am I... I'm not meeting her...?

INT. ALICIA HUNT'S APARTMENT - THAT MOMENT

A bone white hand pats a white cheek. The Joker's rinsed
his hair black and is applying makeup. He's done it
before, many times. He's getting ready for a date. A
drugged voice intrudes.

ALICIA (O.S.)
Jack? Where are you going?

As he looks up at the mirror, we get a quick glimpse of
Alicia, her face is covered by a shiny white porcelain
doll's mask.

JOKER
Daddy's going to make some art.

INT. FLUEGELHEIM MUSEUM - NIGHT

A few PATRONS are viewing paintings in a square, open
atrium, enclosed on all four sides by a BALCONY. One
story up, overlooking the atrium, there's a TEA ROOM --
an airy, fern-filled dining room popular with tourists.

INT. FLUEGELHEIM - TEA ROOM - NIGHT

Vicki enters with her camera bag and portfolio -- ready
for a confrontation with Bruce.

VICKI
I'm Vicki Vale -- I had a message
to meet Bruce Wayne here.

MAITRE D'
Yes, he has not arrived. We have
a table waiting.

INT. TEA ROOM - NIGHT (TWENTY MINUTES LATER)

Vicki sipping on a gin and tonic, checks her watch. A
WAITER brings her a small parcel, wrapped in brown paper,
bearing a single word: URGENT.

WAITER
Miss Vale, this just arrived for
you.

As the WAITER leaves, she tears off the wrapper. Inside
is a small white box and a NOTE -- SCRIBBLED IN CRAYON.

DEAR V. VALE,
PUT THIS ON RIGHT NOW.

Vicki opens the box to find a MINIATURE GAS MASK.

A strange HISSING NOISE. A few feet away, PURPLE SMOKE
billows from air-conditioning vent.

TRAYS OF FOOD CRASH TO THE FLOOR as WAITERS pass out.
ART LOVERS drop forks, go face down in their pasta salad.

Vicki hurriedly fits the gas mask over her nose and mouth.
Within seconds, she's the only one conscious in the room.

INT. MUSEUM - ATRIUM - THAT MOMENT

PURPLE SMOKE plumes up as we TILT DOWN toward the floor
of the atrium. PATRONS lie sprawled on the floor,
twisted at odd angles, out cold.

The doors BURST OPEN and IN WALKS Joker, looking dapper
in his street makeup and BIG PURPLE POP ARTIST'S HAT.
He is surrounded by his entourage of UGLY GOONS. One is
carrying a huge GHETTO BLASTER which is thumping out
MUSIC, others are toting battles of champagne and glasses,
and all have cans of aerosol paint sticking out of their
packets. This is a moving nonstop party. The Joker
wanders past the artwork examining it with an apprecia-
tive eye.

JOKER
Okay, everybody, let's broaden our
minds.

Stepping over collapsed PATRONS, he stops at "BLUE BOY"
and holds up a PEARL-HANDLED CANE to get a better
perspective. Then he pulls a THIN, SHARP SWORD from the
head of the cane and carves a BIG JOKER SMILE in the
canvas.

Manet's barmaid, a Degas ballerina -- all get the Zorro
treatment. Behind him, his UGLY CRONIES go to work,
spraying paint on every canvas The Joker has missed.

He cocks an eyebrow at Edvard Munch's "THE SCREAM."

JOKER
I kinda like this one. Leave it.

INT. TEA ROOM - NIGHT (MOMENT LATER)

Vicki at her table, still wearing the gas mask, scared
as hell. The Joker saunters over and pulls up a chair.
He is flanked by TWO UGLY HENCHMEN, one carrying a pair
of CANDLESTICKS, the other, the GHETTO BLASTER.

JOKER
I think it's safe to take that off.

As Vicki, terrified, removes the gas mask, The Joker
signals to the two UGLY GOONS who swiftly place the
GHETTO BLASTER and CANDLESTICKS on the table and EXIT.

The Joker reaches for his lighter and switches on the
GHETTO BLASTER which produces romantic MUSIC. A LONG
JET OF FLAME shoots out of the lighter as he lights the
candles.

JOKER
(seductively)
You're beautiful.

VICKI
(nervous)
Thank you.

JOKER
In an old fashioned sort of way.
I'm sure we can make you more --
today.

The Joker moves his chair a little closer to Vicki.

JOKER
THIS your portFOLIO!

VICKI
... Yes I'm meeting a friend who
I wanted to see my work...

He leafs through. Magazine covers of celebrities, heads
of state and exotic vistas.

JOKER
Crap. Crap. Crap, crap, craaap
... Ahhh. Now here's good work.

The COMBAT PHOTOS from Corto Maltese.

JOKER
The skulls. The bodies. You give
it all such a glow.
(smirking)
I dunno if it's art, but I like it.

Vicki is squirming, but she doesn't care to argue with
him.

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