|Written by Ali HS|
|Based on characters from DC Comics|
|Batman created by Bill Finger|
This script tells a short story of the Caped Crusader as he pursues three Arkham Asylum escapees: Scarecrow, Riddler, and Killer Croc, while dealing with the loss of a partner of his own — Jason Todd. As indicated by the title, the story unfolds during the Christmas month and portrays a jaded and closed-off Batman. The writer draws inspiration from certain elements of the comics, with stories like “Death in the Family” serving as a good example. The narrative focuses on the mystery aspect and the reclusive nature of the character, with various members of the Bat-family making appearances.
The writer intends the script to be read as a three-parted animated piece. Each part set on 23rd, 24th, and 25th of December respectively.
BLACK SCREEN.
CUE: “EVERYTHING MEANS NOTHING TO ME — BY ELLIOT SMITH.”
FADE IN:
CLOSE ON: CLOSED EYES — WE ZOOM BACK, REVEALING AN UNKNOWN FACE.
MALE, GINGER HAIRED, A ROUGH STUBBLE, BAGS UNDER HIS EYES AND A SMILE ON HIS FACE — EARPHONES PLUGGED INTO HIS EARS. He sways his head slightly, left and right, lost in the music.
We zoom back more…
INT. SUBWAY TRAIN, GOTHAM CITY — EVENING
EDWARD NYGMA — 35, wearing a black hoodie, blue jeans and a dark green backpack— sits alone in an empty subway train.
CHYRON — BOTTOM-LEFT PLACED: “DECEMBER 23rd.”
He opens his eyes, straightens his face and looks directly at us.
NYGMA (V.O): “Hi. My name is Edward Nygma. And I tell you, today’s going to be a very special day. Technically, tomorrow, because it’s still the 23rd. Today wasn’t…any good. ”
START FLASHBACK:
EXT. FOREST, GOTHAM CITY — EVENING
Nygma gets THROWN down in the middle of a dark forest by a large, tall, SCALY…creature standing off-screen.
NYGMA: “What? Come on! At least, drop me in the city! They’ll get to me here!”
THE CREATURE (O.S, with a gravelly and animalistic voice): “We’ve lost em, Nygma. And the deal was to take you out of the Asylum. That’s what we agreed to. Yer on yer own from now.”
The creature walks away off-screen, leaving Edward heartbroken.
NYGMA (V.O): “I was betrayed by a true friend of mine earlier. We became friends in a madhouse. I think that was my first mistake.”
INT. DARK ROOM, GOTHAM CITY — EVENING
Nygma stands by a closed window. Wearing nothing but an underwear, he gets thrown a pair of blue jeans — he catches and starts to wear them in a hurry.
NYGMA (V.O): “I don’t linger on it. Really, I don’t have to. Friends are like clothes, you take them for yourself whenever you like and you throw them out when you’re done. Or when they get dirty. Or when they get teared up. Or when you just get bored. Nonetheless, I have other friends. Friends. Huh.”
Blue jeans = done.
NYGMA: “Come on.”
A black hoodie gets thrown at him by someone off-screen; he catches it and starts to put it on.
NYGMA (V.O): “Friends isn’t the proper term for them. More like…puppets. Yeah, yeah, I know how that sounds.”
Black hoodie = done.
He adjusts his clothes.
NYGMA: “Okay. Good. This was just temporary. Where did you deliver the suit?”
MAN (O.S): “Well, sir. We have a little problem.”
NYGMA: “What? What problem?”
MAN (O.S): “Your suit. Uh, it was taken.”
NYGMA: “Taken by who?”
MAN (O.S): “After Batman attacked our gangs and took you to the Asylum, he damaged us damn good. A rogue member of our gang thought you were gone for good and ratted on a batch in downtown Gotham to the cops and convinced a batch of four in Uptown Gotham to rebel. They robbed some of your suits and are hold up in one of your buildings.”
NYGMA: “And you didn’t try to fight back?”
MAN (O.S): “We were weak. I mean, we are weak. With the cops on us and without you, we didn’t have much to go. But now, you’re here.”
NYGMA (smiling): “And who is the rat?”
MAN (O.S): “Jonathan. He was a new recruit. Just hired last month.”
NYGMA (V.O): “It makes me sound…like a manipulating mastermind who uses other people to the benefit of himself and cuts them off when he deems them useless. But the thing is…”
END FLASHBACK.
INT. SUBWAY TRAIN, GOTHAM CITY — EVENING
A wide, eerie smile on Nygma’s face as he stares into our soul.
NYGMA (V.O): “I am. And when a puppet decides to leave my control; my strings. When a son rebels against the father, the father has to take extreme measures in order to discipline the rebellious son. So, when other children look at him, they realize how severe papa can be when provoked.”
DING! The train stops and with it, the SONG does too.
The doors slide open; Nygma stands up and heads out.
INT. UNDERGROUND SUBWAY STATION, GOTHAM CITY — CONTINUOUS
He walks out and heads for the stairs. Walking straight and even pushing away the few pedestrians in the way.
NYGMA (V.O): “And there’s where I’m headed. I’m a master on his way to discipline his puppets. To remind them of their control.”
EXT. APARTMENT BUILDING, UPTOWN GOTHAM — NIGHT
Nygma stands facing a three-floored apartment building in the middle of a busy and snow-filled street. The exterior of the building seems expensive and is adorned with Christmas decorations.
NYGMA (V.O): “I got these fuckers that building to operate. It’s a smart building; it’s got automated lighting system, security system, energy management, etc. All that stuff of comfort and ease. Little did they know, I had it all in my hands.”
EXT. ROOFTOP, BUILDING — MINUTES LATER
Nygma settles by the edge of a rooftop overlooking the smart building; he takes out a LAPTOP and turns it on.
NYGMA (V.O): “They walked right into my cage. Every screen, the temperature, the locks, the metal doors. All of it can be accessed through my own laptop. I’ve always despised the common-criminal. Such basic, one-sided fools with zero taste for intelligence. Betraying ME? The RIDDLER?! Man.”
ON-SCREEN: The CLI appears and Nygma starts the coding.
NYGMA (V.O): “This is another consequence of having friends. You can’t really be friends with someone unless you invite them into your life in some sort of way. There’s always a chance of them betraying, biting you in the ass and snatching the part of your life you gave them access to. That’s why I have these contingencies.”
CLOSE ON LAPTOP’S KEYBOARD as Nygma’s fingers dance on the keys, navigating through layers of encrypted code. His eyes filled with passion.
NYGMA (V.O): “I only have one friend, really. And that is you. And by you, I obviously mean, me. I started talking to myself back when I was just a child. Even back then, I knew I was different than the world around me. The minds around me…so feeble. Weak. Pathetic. Like sheep, craving for guidance from an invisible shepherd that they pretend to know is there. Shutting down questions when asked.”
Nygma taps ENTER.
NYGMA (V.O): “And that’s it.”
Excited, Nygma looks over to the building.
NYGMA (V.O): “Now, we’ll see the game unravel.”
INT. LIVING ROOM, SMART BUILDING — NIGHT
JONATHAN — 35, black male, tattoos all over his body and a scar on his left eye — sits alone on a white couch in the large and fancy living room. He reads a book titled: “AMERICAN PSYCHO.”
A HUMONGOUS TV is settled on the wall with a live debate show playing on it, titled: “POINT VS POINT.”
But Jonathan is invested in the book — mouth opened and eyes widened.
INT. BATHROOM, SMART BUILDING — CONTINUOUS
A bald white guy with tattoos on his back takes a shower in peace. Eyes closed and a smile — a happy face of a satisfied man. Spinning around, enjoying the warm water.
Let’s call him FRANK — 30.
As he enjoys his time in the shower, he starts to notice a subtle change in the temperature of the water.
The steam starts to thicken. It grows.
Frank furrows his brow, sensing an unusual warmth.
The water is getting hotter. Slowly.
Panic starts to kick in — what the heck is happening?
It gets hotter.
And hotter.
Frank JUMPS out of the water stream.
FRANK (shitting bricks; figuratively): “What the fuck?! Dude, what the fucking shit?!”
INT. LIVING ROOM, SMART BUILDING — MOMENTS LATER
Jonathan is INVESTED in the book.
FRANK (O.S): “JON! JON, YOU DICKHEAD!”
Frank comes running out of the bathroom, wearing a towel to cover his downstairs area — he’s furious.
Jonathan turns to Frank — confused.
JONATHAN: “What?!”
FRANK: “What kind of prank was that, huh?! You almost boiled the fuck outta me, man!”
JONATHAN: “What are you waffling about?”
FRANK: “The goddamn shower! You turned up the temperature, fuckhead.”
JONATHAN: “You’re out of your mind, I’m just reading my book.”
As Jonathan turns back to the book, another guy comes running out of another room. Short, white, bald , mid 20s — let’s call him JACK.
JACK (to Jonathan): “Dude! Are you messing with the tech and shit?!”
JONATHAN: “What the fuck is wrong with you two?!”
JACK: “I was taking the car out and the garage door got locked with those iron bars. And they can only be accessed through your fucking iPad and shit. Don’t fucking lie!”
JONATHAN: “What are you two talking about?! I’m fucking reading my book! It must’ve been a glitch or something!”
BOOM!
A LOUD SOUND OF A BLAST COMES FROM THE KITCHEN. All three flip to the kitchen door as two more guys come running out — both of them are twins — let’s call them KEVIN and BUZZ. Mid 20s. Both COUGHING their lungs out; following them a THICK cloud of smoke releases from the kitchen door.
Jonathan JUMPS to his feet — enraged.
JONATHAN: “WHAT THE FUCK ARE YOU GUYS DOING?!”
KEVIN: “DUDE! THE OVEN!”
BUZZ: “THE FUCKER EXPLODED!”
JONATHAN (bewildered): “What?”
BAM! The lights go out.
Confused and panicked, the guys circle up in the middle of the living room.
JONATHAN (nervous): “This has to be a glitch, man.”
BUZZ: “Ya can’t trust em tech nowadays! It was a good ass oven too! Fuck-”
JONATHAN: “To hell with the oven, Buzz!”
The TV screen GLITCHES — it goes STATIC
Catching the attention of the guys.
And then with a FLASH, the screen goes DARK.
BLACK.
A BLINKING BRIGHT GREEN QUESTION MARK APPEARS IN THE MIDDLE OF THE SCREEN.
JONATHAN: “Oh…”
A TEXT TYPES OUT ON THE SCREEN, READING: “Hi.”
KEVIN (O.S): “What the fuck?”
THE TEXT CONTINUES: “I am the voice of nightmares, my presence numbs the breath. In shadows I thrive, I am a silent harbinger of impending death. What am I?”
FRANK (terrified): “Hey…is that…”
JONATHAN: “Yeah, it’s a-”
Jonathan gulps.
JONATHAN (accepting his inevitable death): “It’s a riddle.”
KEVIN: “Wait…no. He’s not-”
The harsh realization hits.
KEVIN: “Oh, fuck. No.”
FRANK: “But he’s not supposed to come out. Right?”
Frank turns to Jonathan.
FRANK: “He’s…supposed to be in the Asylum. You said he was gone for GOOD!”
Jonathan just stands in shame.
The panic grows — Jack grabs his hair in regret.
JACK: “FUCK!”
KEVIN: “Guys! Look, calm down, okay? We just have to solve the riddle. Let’s focus on that, okay? Then maybe he’ll let us go!”
JACK (fuming): “DO YOU KNOW WHO THE FUCK ARE YOU TALKING ABOUT?! He’s the fucking Riddler. He never lets go.”
Jack KICKS the living room table in RAGE.
JACK: “SHIT! I never should’ve fucking joined you.”
JONATHAN: “It’s too late now. Kevin’s right. Let’s focus on the riddle. Guys, come on. What is it? What’s the voice of nightmares? Come on!”
BUZZ: “I DUNNO! How do ya expect us to think about fucking riddles?! He’s back!”
JONATHAN (as loud as can be): “WE ALL KNOW THAT, FOR FUCK’S SAKE!”
Silence. The guys turn to Jonathan.
FRANK: “Nah…I’m fucking out.”
Frank SPRINTS off to the stairs leading to the main door. Before he reaches it, a METAL DOOR falls in front of the main wooden door.
CLOSE ON: The smart door lock as BLINKING RED TEXT appears on its screen reading: “LOCKED.”
The dread of imminent doom fills Frank’s face.
BUZZ (O.S): “Hey, Frankie!”
Frank turns to the rest of the guys.
BUZZ: “Whazzup?”
FRANK (gulps): “We are locked inside.”
And then: METAL DOORS FALL AND BLOCK ALL DOORS SURROUNDING THEM — the kitchen, the bathroom, the bedrooms, etc — LOCKING them in the living room.
They look around in pure panic.
BUZZ: “Of course we are.”
Then — an ALARM BLARES as A COUNTDOWN IN RED TEXT APPEARS ON SCREEN, BELOW THE RIDDLE: “01:00 MINUTE.”
It starts counting down…
JONATHAN: “Guys, come on! THINK!”
Frank joins the rest — all engaged in thinking the answer.
A LIGHT BULB OF IDEA POPS IN KEVIN’S HEAD.
KEVIN: “Guys! What if it’s something like…like…”
FRANK: “WHAT?!”
KEVIN (panicking): “What if- wh- what if it’s…cold?”
JONATHAN: “Cold?”
DING! DING! DING!
BRIGHT GREEN TEXT POPS UP ON SCREEN: “CORRECT!”
They turn to it in and all let out sighs of relief.
ALL OF THEM: “Oh, fuck, yes! / Oh, yeah! / Thank God!”
After a small moment of victory, doubt fills Jonathan’s face — his eyebrows grit in confusion.
JONATHAN (confused): “Wait. What does that even mean?”
JUST THEN — THE TEMPERATURE OF THE ROOM STARTS TO PLUMMET. The lights DIM down. The GUYS visible react — SHIVERS all over their bodies.
KEVIN: “Shit shit shit!”
JACK: “Well, that’s what it fucking means, fuckhead!”
The temperature continues to drop.
The guys huddle together, attempting to conserve warmth.
NYGMA (V.O): “Like sheep. Pathetic, weak sheep.”
INT. LIVING ROOM, SMART BUILDING — LATER
CHYRON — BOTTOM-LEFT PLACED: “FIVE MINUTES LATER.”
The guys are lying on the ground — shivering — clasping each other.
The temperature starts to rise.
Then — the metal door on the main door slides away and the main door opens.
Edward Nygma steps in.
He walks up the stairs and arrives in the living room.
The guys look up to the man — eyes filled with tears and hopes of mercy.
NYGMA (V.O): “Like dogs. Whimpering for life and shelter. Hoping for mercy.”
Nygma approaches their shivering bodies; he kneels down next to Jonathan and removes his backpack.
NYGMA (V.O): “Like cattle. Approaching their butcher. Aware of their fate yet with eyes of such innocence like they stand a fucking chance.”
He puts it on the ground, unzips it and takes out a CAPTIVE BOLT PISTOL.
He then gives Jonathan a look of pity — as Jon shivers, he moves his eyes towards Nygma.
Jonathan’s POV: Nygma looks at us like a God looks over a disobedient servant.
NYGMA: “Weren’t you the one with the whore wife? Came running to me when you needed to deal with her lover?”
Nygma puts the barrel in the center of Jonathan’s forehead.
NYGMA: “Goodbye.”
Nygma pulls the trigger — BAM! The bullet crosses through Jonathan’s forehead — Blood splatters on the floor and trickles down from the bullet hole.
We pan up to Nygma’s face — an unsettling smile on his face and soulless eyes.
NYGMA (V.O): “You don’t have to watch the rest of that. Just think about something else. Like riddles. Puzzles. Questions.”
EXT. APARTMENT BUILDING, UPTOWN GOTHAM — LATER THE NIGHT
HOLD TIGHT on the main door of the smart building.
It unlocks.
And slowly opens.
THE RIDDLER walks out — adorned in a sleek BLACK suit with small GREEN question mark all around. His BLACK bowler hat, GREEN eye mask, and gloves complete the enigmatic ensemble. He holds a dark green suitcase in his right hand and a GOLDEN CANE in his left.
With a WIDE smile on his face, he adjusts his collar and gives his whole suit a look of pride.
NYGMA (V.O): “You must be thinking. If tonight has been filled with so many betrayals — so many friends leaving — why is it so special? Well…”
We move closer to him — he looks up at us and smiles.
NYGMA (V.O): “It’s because tonight…it’s not just me who’s losing a friend.”
CHYRON — CENTER-PLACED: “PART TWO: ONE LAST QUESTION LEFT.”
EXT. SNOWY ROOFTOP, GOTHAM — NIGHT
CHYRON — BOTTOM-LEFT PLACED: “DECEMBER 24th.”
TIGHT ON THE BATSIGNAL SEARCHLIGHT as snow trickles on it peacefully.
A BLACK SHADOW moves across the light and we see: Batman — as he approaches the searchlight, confused.
He looks around the rooftop and finds absolutely no one. Silence. Absolute peace.
BRUCE (V.O): “The signal’s on but no Gordon. Who…called it?”
Doubt starts to kick in — he moves his eyes.
BRUCE (V.O): “This is the GCPD building. Only a cop can access it.”
He walks around the searchlight; his eyes searching for an answer. He stops behind the light and finds a small brown box with green QUESTION MARKS drawn on all its walls.
Batman kneels down and picks it up.
With a raised brow, Batman analyzes the box.
BRUCE (V.O): “The GCPD has a mole working for the Riddler.”
CLOSE ON: The Riddler box — a specific question mark seems elevated above others — as if it’s a button.
Batman presses it.
The box opens up entirely and reveals an incredibly tiny scroll sitting inside it, tied with an incredibly tiny string.
BRUCE (V.O): “This is new. Why this small? He usually wants his riddles to be noticed.”
Batman then takes out a HEAD-MOUNTED MICROSCOPE from his utility belt and wears it on his…well, head.
Batman’s POV: We ZOOM into the small piece of paper and see writing that reads: “Where the hands of fate stand still. In echoes of nothingness, where time silently spills. Gotham’s brave in a perilous manger, Unravel this and find a ____________.”
BRUCE (V.O): “Where the hands of fate stand still. In echoes of nothingness, where time silently spills. Gotham’s brave in a perilous manger…unravel this and find a….?”
Batman removes the head-mounted microscope and thinks — pondering on the riddle.
BATMAN: “Where the hands of fate stand still. In echoes of nothingness, where time silently spills…he’s describing an abandoned place, but what is it?”
Batman walks to the edge of the rooftop and puts the paper in his belt.
CLOSE ON BATMAN’S EYES AS THEY RACE LEFT AND RIGHT — POSSIBILITIES RUNNING IN HIS HEAD.
BATMAN: “Gotham’s brave in a perilous manger…Gotham’s brave…”
Confusion — his mind points to an answer…
BATMAN (hints of realization): “Gotham’s brave…”
HIS EYES WIDEN AS THE ANSWER — or a part of the answer — RINGS IN HIS HEAD.
BATMAN: “It’s Gordon…he’s in danger!”
Without hesitation, Batman JUMPS off the rooftop, widens his cape and GLIDES into the sky.
EXT. STREETS, GOTHAM CITY — A SECOND LATER
Batman lands before the BATMOBILE. He taps on his gauntlet and the car’s door slides open. He enters the car and closes it.
INT. BATMOBILE, GOTHAM STREETS — CONTINUOUS
The riddle runs on repeat on Batman’s lips as he turns the key and starts the car.
BATMAN (to himself; whispering): “Where the hands of fate stand still. In echoes of nothingness, where time silently spills. Gotham’s brave in a perilous manger…unravel this and find a…find a….”
The answer flashes into his head.
BATMAN: “Find a friend in danger.”
Batman KICKS the accelerator.
EXT. STREETS, GOTHAM CITY — CONTINUOUS
THE ENGINE ROARS!
FLAMES BURST FROM THE EXHAUST, THE WHEELS SPIN AND THE BATMOBILE TAKES OFF!
INT. BATMOBILE, GOTHAM STREETS —MOVING — CONTINUOUS
Batman sits FOCUSED, eyes determined on the road while his mind searches for answers.
BRUCE (V.O): “Where the hands of fate stand still. In echoes of silence, where shadows spill…what could it be? Hands of fate? Stand still?”
A hint pops up in his head.
BRUCE (V.O): “Hands of fate…maybe…a clock tower…”
His eyes widen — that must be it.
BRUCE (V.O): “Yes, that’s it. The Gotham Clock Tower was abandoned a month ago and was set for a rebuilt. That must be where he’s keeping Gordon.”
EXT. STREETS, GOTHAM CITY — CONTINUOUS
The Batmobile races and disappears into the darkness of the night.
EXT. WAYNE MANOR — NIGHT — TO ESTABLISH
A wide shot of the Wayne Manor — decorated in Christmas lighting.
BARBARA (PRE-LAP): “They’re not responding!”
INT. DINING ROOM, WAYNE MANOR — CONTINUOUS
Tension rises in the room as Dick, Kori, Alfred and Barbara stand alarmed. Dick stands leaning against a wall with Kori on his side. Alfred walks back and forth, dialing a call. Barbara is busy trying to call her parents.
BARBARA (dials once again): “Come on, come on!”
ALFRED (turns to Dick): “He’s not answering!”
BARBARA (puts the phone down): “Neither are they.”
DICK: “This must be why he left.”
Barbara FLIPS around in rage.
BARBARA: “THEN HE SHOULD’VE TOLD ME! It’s MY family!”
DICK (walking towards Barbara): “Barbara, calm down. I’ll put on the suit and track him down.”
BARBARA: “I’m coming with you.”
DICK: “Okay…we’ll go together. (Turns to Alfred and Kori) You two, head to the cave and keep sharp ears on the intercom. As soon as Bruce or anyone from the Gordons call, connect them to us.”
Dick turns to Barbara and puts his hand on her shoulder.
DICK: “Don’t worry. We’ll head to your house first. Nothing will happen to them. Nothing.”
Barbara nods nervously.
BARBARA: “Okay.”
EXT. STREETS, GOTHAM CITY — NIGHT
The Batmobile SKIDS to a halt right outside the abandoned clock tower.
Batman comes out of the car and glances the TALL, OLD GOTHAM CLOCK TOWER.
INT. GOTHAM CLOCK TOWER, GOTHAM CITY — CONTINUOUS
The main door CREAKS open and the silhouetted Batman stands in the doorway, casting a LARGE SHADOW on the ground.
EERIE SILENCE which is broken as Batman steps into the dark building, shrouded in shadows. Cobwebs capture the corners and the air is thick with dust.
He looks around the place — rats and dust. Dust and rats. Remains of disused clock faces. Nothing too extraordinary. His sight then raises upwards and we see…
OVERHEAD SHOT: A SPIRAL OF STAIRS AS WE ZOOM UPWARDS FROM BATMAN. The GRAND CLOCK FACES AND GEARS, cracked and weathered, gaze down like ancient sentinels.
Batman removes his torchlight and turns it on; he heads for the stairs and starts the journey upwards.
MOMENTS LATER:
He walks through the long stairwell, each step echoing through the vast space. Broken glass crunches beneath his boots as he scours the place with his torch, searching Gordon. His torchlight beam lands on a FRESHLY DRAWN GREEN ARROW — POINTING UPWARDS.
Batman looks up and continues the journey.
INT. TOP FLOOR, GOTHAM CLOCK TOWER, GOTHAM CITY — SECONDS LATER
Batman arrives at the top floor and faces the hanging, abandoned clock gears.
Batman’s POV: We search for clues and hints in the darkness with the torchlight beam until we come across a small box — the same box Batman found under the Batsignal.
Batman approaches the box; he kneels and picks it up.
BRUCE (V.O): “I knew it. Nygma always have levels to his game.”
Batman puts the torchlight in his mouth, removes the HEAD-MOUNTED MICROSCOPE from his belt and wears it.
He opens the box and finds ANOTHER piece of paper inside.
Batman’s POV: We zoom into the paper and find another riddle: “Yet within the fate’s core, no friend revealed. Clues and hints has their faces concealed. On the bridge towards madness, find a puzzle to rearrange. Remember, it is Gotham’s pathway to hell, a house of hope estranged.”
Batman gets to his feet — almost stumped.
BRUCE (V.O): “Right…”
EXT. ALLEYWAY, GOTHAM CITY — NIGHT
NIGHTWING and BATGIRL — both in their classic costumes — land together in an enclosed alleyway; they walk towards its end and see a suburban home across the street. It’s the Gordons residence.
EXT. PORCH, GORDON’S HOUSE, GOTHAM CITY — CONTINUOUS
Batgirl approaches the main door on the porch while Nightwing stays behind in the front yard, looking out.
She opens the door and enters — after a second, Nightwing follows.
INT. LIVING ROOM, GORDON’S HOUSE — CONTINUOUS
They enter the house shrouded in darkness — Batgirl flicks on the lights.
OVER THE SHOULDERS: The house is empty — dead silence. The couches are in place. No signs of struggle.
Nightwing then enters and gives it all a look.
NIGHTWING: “The kidnapping must’ve happened extremely recently. I called the department, they confirmed that Jim did indeed leave but it’s possible he didn’t get home.”
BATGIRL: “It doesn’t look like they struggled. I’ll check the rooms.”
Batgirl SPRINTS for the bedrooms while Nightwing heads for the kitchen.
INT. KITCHEN, GORDON’S HOUSE — CONTINUOUS
Nightwing enters the kitchen and starts the search — checking the drawers in speed — SCOURING through the cabinets.
BATGIRL (O.S): “Nightwing!”
Alarmed, Nightwing follows Batgirl’s voice.
INT. BEDROOM, GORDON’S HOUSE — CONTINUOUS
Nightwing enters the room in a hurry.
OVER THE SHOULDERS: They find the room scattered — BROKEN BED & FURNITURE — stuff thrown around. A MESS.
BATGIRL: “Sarah tried to fight back.”
NIGHTWING: “Yes. I tried to call Batman but he’s busy.”
BATGIRL: “He’s not gonna respond. He thinks he can do it all on his own.”
JUST THEN — A BUZZ ON NIGHTWING’S EARPHONE — he presses it and answers.
NIGHTWING (to the earphone): “Yeah?”
The caller responds.
NIGHTWING (to the earphone): “Okay, Alfred. I’ll let you know when I meet.”
Nightwing ends the call by tapping his ear and turns to Batgirl.
BATGIRL: “Got Batman’s location?”
NIGHTWING: “Yeah, he’s at the abandoned Gotham Clock Tower.”
They exit the room.
INT. LIVING ROOM, GORDON’S HOUSE — CONTINUOUS
They walk in hurry — Nightwing leading.
BATGIRL: “What is he doing there?”
NIGHTWING: “No idea.”
They exit the house.
EXT. STREETS, GOTHAM CITY — NIGHT
Batman exits the clock tower and paces for the car.
NIGHTWING (O.S): “Batman!”
He stops midway and turns around — OVER THE SHOULDERS: He’s faced with NIGHTWING and BATGIRL, standing beside each other — Nightwing leans on a street light as Batgirl stands straight, enraged.
BATMAN: “What are you two doing here?”
NIGHTWING: “I think you know that already.”
Silence.
BATGIRL (steps toward Batman; teeth clenched): “My father and mother are missing. They haven’t been responding for hours. Aren’t you aware?”
BATMAN: “I am. It’s the Riddler. He kidnapped them earlier this night. He probably got him shortly after me and Nightwing met with Gordon to get intel for Scarecrow.”
Batgirl stops inches away from Batman’s face — looking up to him with fiery eyes.
BATGIRL: “And you kept all of that to yourself?! It’s my damn family.”
BATMAN: “You don’t need to worry. I will get them home by the end of the night. I’m currently following his trail.”
NIGHTWING (moves forward): “And we want to be involved.”
BATMAN: “It’s too dangerous.”
BATGIRL: “And it’s my damn family.”
Batman pauses — he considers.
BATMAN: “It’s his basic point-to-point race. I found his first riddle by the Batsignal on the GCPD building and that pointed to the Gotham Clock Tower. And arriving here, I found another riddle.”
Batman takes out the latest piece of paper and offers it to Batgirl — she takes it.
Nightwing approaches her by the shoulder.
OVER THE SHOULDERS: They read the riddle together — “Yet within the fate’s core, no friend revealed. Clues and hints has their faces concealed. On the bridge towards madness, find a puzzle to rearrange. Remember, it is Gotham’s pathway to hell, a house of hope estranged.”
NIGHTWING (looks up to Batman): “What do you make of this?”
BATMAN: “I don’t know yet. It’s…”
BATGIRL (O.S): “Maybe it’s referring to the Arkham Bridge.”
Both Batman and Nightwing turn to Batgirl — pause — maybe she’s onto something.
BATGIRL (casual): “The first two sentences are just fillers but the third one is pretty clear. ‘On the bridge towards madness, find a puzzle to rearrange.’ On the bridge towards madness. Arkham Bridge literally leads to the Arkham Asylum. Gotham’s pathway to hell, a house of hope estranged.”
Batman and Nightwing share a look — she cooked.
BATMAN: “Let’s go.”
Batman turns to the Batmobile and enters the car — Nightwing follows but then stops midway.
NIGHTWING (turns to Batgirl): “Batgirl…”
BATGIRL (stern; turning around): “I’ll pick up my bike and meet you two on the bridge.”
Batgirl then takes out her grappling gun, shoots the hook and takes off in the air.
Nightwing gets in the Batmobile as well.
INT. BATMOBILE, GOTHAM STREETS — CONTINUOUS
Batman starts the car as Nightwing wears his seat belt.
NIGHTWING: “Now, you see why you need us?”
BATMAN: “There’s no time for this.”
NIGHTWING (smirks; sarcastic): “Of course, there isn’t. There never is.”
Batman shoots Nightwing a glare before kicking the accelerator.
EXT. STREETS, GOTHAM CITY — CONTINUOUS
The Batmobile FIRES the exhaust and SHOOTS off into the city — like a ROCKET.
INT. BATMOBILE, GOTHAM STREETS — MOVING — CONTINUOUS
Batman and Nightwing sit in silent — both stern.
NIGHTWING: “Did you mean it?”
BATMAN: “What?”
NIGHTWING: “When you said the Bruce I knew died the night Jason died. Did you mean it?”
No response — a long pause.
NIGHTWING: “Bruce?”
BATMAN: “Focus on the riddles. They’re on the dashboard. Both of them.”
NIGHTWING: “We’ll have to talk. Once these Arkham escapees are dealt with.”
EXT. ARKHAM BRIDGE, GOTHAM CITY — NIGHT — TO ESTABLISH
We move over the famous, humongous ARKHAM BRIDGE —the bridge is tall with two colossal towers adorned with gothic architecture and their shadows being cast on the roads below. Mild traffic fills the road.
EXT. ROAD, ARKHAM BRIDGE, GOTHAM CITY — CONTINUOUS
The Batmobile parks in the middle of the bridge; Batman and Nightwing exit the vehicle.
Batman gazes up the towers.
NIGHTWING (O.S): “So, where should we check?”
BATMAN: “You go beneath the bridge, check the cross bracing. If you end up finding a clue, call me.”
Batman grabs Nightwing by the shoulders and squeezes them.
BATMAN: “Call me. Do not engage without my permission, do you understand?”
NIGHTWING: “Okay, will do.”
Batman removes his grappling gun, shoots the hook and flies up in the shadows — soaring through the thick snow and disappearing darkness of the night.
EXT. TOWERS, ARKHAM BRIDGE, GOTHAM CITY — CONTINUOUS
He reaches the top, pulls himself onto the cold concrete floor and gets to his feet — standing as a tall silhouette against the moonlit sky.
OVER THE SHOULDERS: He looks over the rooftops, analyzing the gothic gargoyles.
CLOSE ON HIS EYES AS HE TAPS HIS TEMPLE AND A WHITE LIGHT APPEARS BEFORE HIS EYES.
Batman’s POV: NIGHT-VISION ACTIVATES — HE SCANS THROUGH THE DARKNESS.
He then JUMPS from one tower, takes out his grappling gun mid-air, shoots the hook and swings onto another.
Pulling himself up again, he raises his wrist and taps his gauntlet, activating microphone.
BATMAN (over comms): “Nightwing, found anything yet?”
NIGHTWING (V.O, over comms): “No, but Batgirl just arrived. We’ve actively searching.”
BATMAN: “Good.”
He scours through the towers — his eyes searching for clues and hints but finding absolutely nothing.
BATGIRL (V.O, over comms): “Hey…what is that?”
Batman pulls up his gauntlet.
BATMAN (over comms): “What?”
NIGHTWING (V.O, over comms): “There is a…coffin. Stuck in the cross bracing. With a question mark on it.”
BATMAN (louder than usual): “Do not touch it! I’m coming down!”
EXT. ROAD, ARKHAM BRIDGE, GOTHAM CITY — CONTINUOUS
Batman jumps off the towers and GLIDES down to the ground — swiftly.
He reaches the bridge’s railing, jumps off to the deck and then swings onto the cross bracing.
EXT. CROSS BRACING, ARKHAM BRIDGE, GOTHAM CITY — CONTINUOUS
He sees Nightwing and Batgirl hanging side-by-side, holding onto the bracing.
He moves forward gently and approaches the coffin. Tapping his temple, he activates THERMAL IMAGING vision. He kneels next to the coffin and analyzes.
NIGHTWING (O.S): “What do you see?”
BATMAN: “Doesn’t emit enough heat to be a bomb. But it does emit heat. Divided throughout the body. Enough heat to be a human.”
Batgirl approaches Batman’s side — eager to look inside.
BATMAN: “Stay back.”
BATGIRL: “Open the coffin.”
Batman unlocks the coffin; he sighs to prepare himself and then lifts the casket head.
And reveal: BARBARA EILEEN GORDON — tied up with chains and her mouth covered with a green silk cloth. Clothes torn apart and wounds on her head — She lies unconscious and jumbled up in the coffin.
Batgirl lurches forward.
BATGIRL (panicked): “Oh, my god!”
Batman takes a step backwards and lets Batgirl assess the body. She checks her pulse.
BATGIRL (with a relieved sigh): “She’s alive. Thank God, she’s alive.”
Batman and Nightwing share a glance — a look of relief.
INT. HOSPITAL ROOM, GOTHAM CITY — LATER
Barbara E. Gordon lies unconscious on the hospital bed; bandaged and wearing an oxygen mask. Nurses surround her, attending to her.
We zoom back from the bed and out from the room by passing through a GLASS WALL.
INT. CORRIDOR, HOSPITAL ROOM, GOTHAM CITY — CONTINUOUS
Reveal — OVER THE SHOULDERS: Batgirl and Nightwing stand shoulder-to-shoulder, gazing through the glass at the injured Barbara.
BATGIRL (pissed off): “Where is he?”
NIGHTWING: “Back in the cave. He’s analyzing the coffin.”
BATGIRL: “He should’ve told me about this earlier.”
NIGHTWING: “Nothing could’ve been any different. She’s safe now. We need to go and help him find Gordon.”
Beat — Batgirl takes a moment to digest; she sighs, turns away and starts to walk away.
BATGIRL: “Let’s go then.”
INT. BATCAVE — LATER THE NIGHT
Bruce, shirtless, sits by the Batcomputer.
CLOSE ON his eyes as they stay focused on the screen. In their reflection, we see the MAP of GOTHAM CITY.
ON-SCREEN: THREE GREEN DOTS FLICKERING ON THE MAP OF GOTHAM — ONE IN UPTOWN GOTHAM — ONE IN MIDTOWN GOTHAM — ONE IN DOWNTOWN GOTHAM.
DICK (O.S): “What’s that?”
Bruce spins around in his chair to see: Dick and Barbara standing together — in their costumes but masks off — Dick moves forward, looking at the screen.
DICK: “Those are all amusement parks.”
BRUCE: “Yes. Abandoned amusement parks. Their addresses were carved into the coffin’s interior. How’s her condition?”
DICK: “She’s stable.”
BARBARA: “And what is it supposed to tell us? Three possible locations where he’s keeping dad?”
DICK: “Most probably. He wants us to visit each of them. He probably has prepared traps for each of us. Puzzles to solve. That’s his shtick.”
BRUCE: “No. The ones in Uptown and Midtown Gotham were recently sold to Wayne Enterprises and they’re set for destruction to make place for hospitals, clinics. The one in downtown Gotham, however, was just recently bought by a company named Quizzical Ventures, LLC.”
DICK: “Oh. Well.”
BARBARA: “Owned by Riddler. So the one in downtown is where he has dad.”
BRUCE: “Most probably but we can’t make assumptions.”
DICK: “Well, I’ll stretch a bit and we’ll go.”
BARBARA: “We’re going now.”
BRUCE (gets up): “We’re not going anywhere — I am. You’ll stay here. Riddler wanted me to find out the location. He led me to it so that must mean he has plans for me and me alone. I don’t want either of you involved in this. This could be dangerous.”
BARBARA (dashes forward; chest pumped up): “HE HAS MY FATHER, BRUCE! You’re not turning me away, whatever you say. I AM coming.”
BRUCE: “You don’t know what traps Riddler has set for me.”
BARBARA: “And you do?”
BRUCE (stresses): “You don’t understand! I cannot let you come. You don’t know what Riddler can do!”
BARBARA: “Wasn’t it you who taught me — taught US — to protect ourselves and our families, no matter what? Wasn’t it you who trained me? Who took me in? Who took Dick in? And now, you’re acting like we’re strangers!”
Bruce stays quiet — he just moves past her and heads for the Batsuit chamber.
BARBARA (O.S): “Stop right there, Bruce!”
Bruce halts — infuriated.
BRUCE: “There’s no time, Barbara.”
She comes up to him — face to face.
BARBARA (harsh): “Answer me. Why shouldn’t I come? Come on. Go ahead.”
Bruce stares at Barbara — with a stare speaking volumes of emotion.
His mouth opens but no words come out. He moves past her, almost ignoring her. But then he stops.
A small pause.
BRUCE (voice breaking; weak): “I can’t afford to lose anyone anymore. I will bring him back, Barbara. I will save him.”
Bruce walks away, trying to hide his tears. He approaches the Batsuit chamber and stands against one of Batsuits — his reflection matching the Batsuit inside. His eyes scream rage — tears down his face.
BRUCE (to himself): “This time.”
EXT. STREETS, GOTHAM CITY — LATER THE NIGHT
The Batmobile parks outside an abandoned amusement park titled: “Shadow Haven Park.”
Batman exits the car and approaches the rusted metal gates — gives them a look.
He pushes them and they CREAK open — the noise almost cringing.
EXT. SHADOW HAVEN PARK, GOTHAM CITY — CONTINUOUS
Batman enters and eyes the weathering structures around him.
It’s dark and cold. No electricity.
Barren. Winds blow through the rides and snow cover most of the area.
CLOSE ON: His sharp gaze scanning the eerie landscape.
Faded banners flap gently, their colors muted by years of neglect.
Batman approaches the towering Ferris wheel, its skeletal structure casting long shadows. He examines the rusted framework, his gloved fingers tracing the peeling paint.
He then turns around and his eyes catch something off-screen. Curious, he removes the torch from his belt and walks towards the structure.
CLOSE ON: THE TORCHLIGHT BEAM FLASHES ACROSS A GREEN ARROW PAINTED ON A WALL — POINTING LEFT.
Batman approaches it closer.
BRUCE (V.O): “It’s fresh. Drawn recently.”
He turns left and sees…
OVER THE SHOULDERS: ANOTHER GREEN ARROW ACROSS SOME DISTANCE, DRAWN ON A DECAYING FOOD STAND — POINTING RIGHT.
Batman approaches the decaying food stand — he scans its decaying contents. Nothing special there.
He turns right and finds a CLOSED INDOOR RIDE, titled: “THE RIDE OF QUESTIONS!” Its exterior is decorated with question marks, deteriorating, and GREEN FRESH PAINT on its main doors, saying: “In the house of riddles, where mysteries entwine. Inside these walls, a friend of thine.”
We MOVE WITH HIM as Batman approaches the doors — his eyes focused on the words — his mind focused on his friend.
He pushes the doors and steps into-
INT. ‘THE RIDE OF QUESTIONS’ INDOORS RIDE — CONTINUOUS
Batman steps into the eerie darkness of the ride, his sharp eyes scanning the cryptic surroundings with the torchlight. The interior is dimly lit by faint, flickering bulbs, the air is thick with the scent of mystery.
OVER THE SHOULDERS: Directly in front of Batman, a RIDE TRACK descends into a dark cave and a car sits on the track. Waiting for him.
Batman approaches the car — alarmed — and finds a red LETTER sitting on the seat.
He picks it up and opens it: A small paper pops out from the letter — he takes it out and written on it, he sees: “Take a seat, it’s almost done. The end result of your overnight run. Prepare your eyes and your mind, the last act has just begun.”
Batman puts the letter in his belt and stands on the car — and then BAM!
The electricity comes on and the ride LIGHTS UP!
LOUD CARNIVAL MUSIC BLASTING ON FULL VOLUME! Batman FLINCHES, covering his ears.
The car JERKS — making Batman fall on the seat and then it starts to move in speed.
OVER THE SHOULDERS: The dark cave is now lightened with NEON GREEN QUESTION MARKS, GLOWING in the dark — we enter the cave.
THEN — with a LOUD VOICE!
RIDDLER (V.O, through speakers): “GOOD EVENING, BATMAN! And an early Merry Christmas!”
Batman looks around — scanning the cave. He finds CCTV cameras on the roof.
BATMAN: “You’re watching.”
RIDDLER (V.O, through speakers): “Of course, I am. Pfft! You know, I’m ALWAYS watching!”
BATMAN: “No, you’re not. Not when you’re locked behind bars. And that’s where you’ll be by the end of the night. I destroyed most of your gang. You don’t have anything!”
RIDDLER (V.O, through speakers): “UGH! You’re ruining the mood, man! Just listen and experience!”
BATMAN: “Cut the bullshit! Tell me where Gordon is!”
RIDDLER: “RELAX! You will see him. It’s just…you know, things are supposed to happen before that. This is the time of the year! It’s nearly Christmas! Now let me introduce you to this place, ahem! Welcome to the RIDE OF QUESTIONS! A ride MADE for you! A gift of myself to you, Batman!”
The car moves forward.
THEN — the neon green questions marks turn RED!
The music STOPS!
The car HALTS in its place — shaking Batman.
A door on the roof FALLS open and a male DOLL with a rope attached to it DROPS down in front of Batman, swinging.
Batman inspects the doll.
BATMAN: “What the hell is this?”
RIDDLER (V.O, through speakers): “This is Ryan. He is 56 years old. He is a good man. He has a good family and he works for the betterment for society. Take him.”
BATMAN: “Why?”
RIDDLER (V.O, through speakers): “Because I say so.”
Batman sighs — infuriated; he detaches Ryan from the rope and puts him next to himself.
Then with another JERK — the car continues moving and the lights turn back green.
We move with Batman — his sight turns to the Ryan; he stares at the doll; it looks strikingly similar to Gordon.
Batman raises a brow in confusion.
RIDDLER (V.O, through speakers): “Ryan is a brave. Ryan is happy. Ryan is satisfied with his life. But the people he works for are not good people. They are happy. They are satisfied with their lives. But they are not good people. Ryan knows this but he can’t do anything.”
BATMAN: “What is this?”
RIDDLER (V.O, through speakers): “It’s a doll.”
BATMAN (annoyed): “I will break your damn ribs. Answer the question, what does this mean?”
Riddler chuckles.
RIDDLER (V.O, through speakers): “Have patience, Dark Detective. The story needs to play out.”
The car moves — silence for a good while as Batman just waits for another clue.
BATMAN: “You’re wasting time.”
RIDDLER (V.O, through speakers): “Oh, we have time. Don’t worry.”
Then: Again, the car halts with a JERK — the light go red and the music stops.
Another door opens and another doll falls, hanging right in front of Batman’s face.
RIDDLER (V.O, through speakers): “And now…this is Dylan. He is…well, no one knows how old he is. He is an excellent martial artist. But he is also a bad man. A bully. He has a bad family just like him and they all work for the deterioration of society. Though, he thinks he’s good — his methods and the results of his methods contradict his own thoughts. He beats bad guys and to heal them of their broken mind, he sends them to hell. He’s bad. Take him.”
Frustrated, Batman snatches the doll from the rope — the lights turn normal and the cars continues to move.
And it moves.
Silence for a good while.
Nothing but the creaking of the car wheels running on the rusty ride track.
It stops.
But the lights stay green.
RIDDLER (V.O, through the speakers): “Dylan approaches Ryan. Hold them up, please.”
Batman glares — he’s done with this game.
RIDDLER (V.O, through the speakers): “Do it. Or else…pain. Nothing but pure pain.”
BATMAN: “I can take it.”
RIDDLER (V.O, through the speakers): “But your friend can’t.”
Batman clenches his teeth — frustrated to his spine.
He holds up both dolls.
TIGHT ON THE DOLLS: He holds them both facing each other.
RIDDLER (V.O, through speakers): “Dylan asks Ryan for help. He aims to accomplish a big mission, a dangerous mission, and he needs Ryan to do the work for him. Ryan hesitates but he realizes the corruption in the institutions he works for.”
Pause.
RIDDLER (V.O, through speakers): “Ryan agrees. Ryan goes out with Dylan to do the mission. They face some problems. But they end up completing. Some time passes and they become good friends.”
Batman raises his brows — suspicion kicks in.
RIDDLER (V.O, through speakers): “The institutions start to suspect their friendship. The bad guys they fight catch on.”
Batman lowers them a bit.
RIDDLER (V.O, through speakers): “One night, Ryan gets kidnapped by Dylan’s enemies. They plan to torture and kill him to weaken Dylan. And they do so. Throw away Ryan, please.”
Batman doesn’t respond — his stare scream raging fire.
BATMAN: “What are you trying to say?”
RIDDLER (V.O, through speakers): “Throw Ryan away.”
Batman hesitates but does so.
RIDDLER (V.O, through speakers): “Now Dylan is alone. Dylan is sad. You’d expect Dylan to take a break. Give up on his mission of bullying…now that he is weakened. But he continues on. Not only does he resumes his ruthless, unjust mission but he becomes harsher. He becomes cruel. And then one day, the grief of causing an innocent soul to die catches up to him. He returns to his home and kills himself. Throw Dylan away.”
Batman gives Dylan one last look before throwing him away.
BATMAN: “What was the point of that?”
RIDDLER (V.O, through speakers): “A mirror.”
BATMAN: “What?”
RIDDLER (V.O, through speakers): “You’ll see.”
BATMAN: “Great. Are we done?”
RIDDLER (V.O, through speakers): “Almost.”
The car continues to run…
OVER THE SHOULDERS: Batman watches as the car reaches a closed metal door.
It halts and jerks once again — shaking Batman.
RIDDLER (V.O, through speakers): “Behind this door, your friend awaits his final breath. No riddle to solve, just the dance of death.”
Batman steps off the car and approaches the door.
BAM! The metal door releases smoke and slowly slides open…revealing a DARK ROOM inside.
Batman steps in and looks around; nothing visible.
RIDDLER (V.O, through the speakers): “I should’ve known…”
BATMAN: “Known what?”
RIDDLER (V.O, through the speakers): “All those battles of wits between us. Competitions.”
BATMAN: “All those battles…that I won.”
RIDDLER (V.O, through the speakers): “So it’s not just me who has been looking at this wrong.”
Pause — Batman stands confused.
RIDDLER (V.O, through the speakers): “I’ve spent years trying to break down your psyche. Put forward riddles and puzzles, harder each time. But you crossed them all. I almost thought you actually were better than me. But then I realized, we were fighting on unfair grounds.”
BAM! The metal door behind Batman shuts close and the lights come on.
And reveal — we are in a…
INT. HALL, ‘THE RIDE OF QUESTIONS’ INDOORS RIDE — CONTINUOUS
Batman stands in a LARGE HALL — long METAL BARS stand in the middle of the hall, dividing the room in two halves.
The half where Batman stands is plain — no vents, no windows and a closed door behind him.
The other half has a GOLDEN THRONE in the center on which the RIDDLER sits, holding his cane, a microphone and a remote. To the throne’s right stands a CAGE with JAMES GORDON chained inside — shirtless, multiple bruises and lacerations around his torso and blood dripping down his mouth, and a black eye.
To the throne’s left stands used, broken furniture and above it a closed vent.
Batman’s sight immediately catches Gordon.
BATMAN: “Jim!”
RIDDLER (O.S): “He’s a little delirious. The amount of beating he got kinda fucked his brain a bit. Don’t worry, he still remembers you. Kept calling out to you…and his girl Barbara. Don’t know which one.”
BATMAN (enraged): “Let him go. Get this over with.”
RIDDLER: “Not so fast. You see Batman…I’ve never had friends.”
BATMAN: “Not surprising.”
RIDDLER (chuckles): “Heh…dickhead.”
Pause — Riddler gets to his feet.
RIDDLER: “It was right in front of me. The method to really break Batman. I’ve never had friends so I don’t know how it feels to connect to someone — to another human. I’ve always been invested in riddles — mazes to solve, puzzles to decipher. And all along, I thought you were the same.”
Riddler approaches Batman — swinging his cane around.
RIDDLER: “The Batman. The Dark Knight. The Caped Crusader. Someone to be this dedicated with his mission, they had to be alone. Focused. Disconnected from everyone else. Like me.”
Riddler smiles ear-to-ear.
RIDDLER: “Man, I was wrong. I’ve always thought your weakness lies in you. But like any other human, it exists in multiple parts.”
BATMAN: “What is the point of all of this?”
Riddler chuckles — struggling to keep himself from laughing.
RIDDLER: “Robin.”
Pause — the word stuns Batman a bit.
RIDDLER: “You think we didn’t know? His disappearance and the change in your attitude ever since. Plus, there were rumors.”
Riddler turns around and heads back to the throne.
RIDDLER (sinister smile): “That the Clown got to him.”
Riddler sits back in his throne.
RIDDLER: “Now, that…also explains his disappearance.”
Batman grits his fingers — rage fuming in his eyes.
RIDDLER: “No, way! You can’t tell me that’s all it took for you to break your one rule. Seriously?! MAN! I thought you were different. Special. Like me. But no. You’re like everyone else. Broken in parts. Sentimental.”
Riddler clenches his teeth — stressing.
RIDDLER: “Soft.”
BATMAN (controls himself): “Come on. Get this over with. Give me your riddles.”
RIDDLER: “What riddles?”
BATMAN: “Riddles I have to answer in order to release Gordon.”
Riddler chuckles again; then the chuckles turns into a LAUGH!
A MANIACAL, CRAZY LAUGH!
RIDDLER (starts to calm down): “Oh, Lord! Oh, Jesus! Man! To be fair, I don’t blame you…that’s what I do, right? That’s my shtick. Hehe. Well, not today. Not anymore.”
BATMAN: “No…”
RIDDLER: “Because after tonight, there will be no Batman. You will die with Gordon. No, not by my hands. But your own.”
BATMAN: “No, this can’t be it!”
RIDDLER: “This is it, Dylan. This is the end of the run. This is the final move…and you’ve lost. The games we’ve been playing. The cat-and-mouse runs. The runs always ending with you catching me and throwing me into that cesspool of an hospital. A joke for an healing place.”
Riddler leans forward — pure HATRED on his face.
RIDDLER: “You’ve lost. The true target was never this…(points at his head)…it was always that (points at Gordon).”
Riddler stands up, whips out a REVOLVER from his pocket, and aims it at Gordon.
BATMAN (O.S): “NO!”
Riddler pauses — turns to Batman; pride in his eyes.
BATMAN: “You cannot end it like this! This is a game. We both get to play!”
RIDDLER: “This is not a game, Batman. This was never a game. All the clues, the ones you found at the clock tower and the bridge, they weren’t supposed to be difficult.”
Batman LURCHES forward; he grabs onto the bars.
BATMAN: “You can’t do this!”
RIDDLER (smirks): “Go on. Beg for mercy.”
THEN — the LIGHTS GO OUT!
COMPLETE DARKNESS FILL THE HALL!
RIDDLER (O.S): “What the hell?! HEY!? WHAT ARE YOU DOING?!”
BAM!
The lights come back on and NIGHTWING stands ahead of Gordon while BATGIRL stands behind him, unchaining her father.
Nightwing THROWS his stick at Riddler’s hand, hitting the gun and disarming him. He then DASHES towards Riddler and kicks him in the chest, throwing him off the throne — he snatches his remote and taps a button.
The metal bars LIFT UP — slowly — allowing Batman to cross.
Batman walks over and approaches Riddler.
Riddler’s POV: Batman and Nightwing stand above us like Gods.
His breathing start to race — his eyes fume.
RIDDLER: “NO!”
He tries to stand up but Batman puts his foot on his chest — pushing him down.
BATMAN: “No.”
He then grabs Riddler by his collar and LIFTS him up.
BATMAN (slight tears in his eyes): “It is over.”
RIDDLER: “No…not yet! Not before some action!”
The metal door SLIDE open — Nightwing collects his stick and prepares himself.
Batman turns around and sees: EIGHT RIDDLER GOONS — wearing green spandex with purple masks and question marks around the body — enter the hall through the metal door.
He turns back to Riddler and HEADBUTTS him, knocking him out.
Batgirl looks at the goons — all holding metal rods, sticks, bats and chains. Her worried sight turns to Batman and Nightwing.
BATMAN: “Don’t worry. Take care of him.”
Batman and Nightwing share a glance.
NIGHTWING: “We’ll take care of them.”
The Dynamic Duo CHARGES for the goons and a BRUTAL fight ENSUES!
- The Goons engage with their weapons — Batman and Nightwing RACE through them, knocking them out one-by-one.
- A goon swings his bat — Batman DUCKS and lands a HARD hit in the ribs and a knee to the face. A PAINFUL knockout.
- Nightwing DODGES the goons’ attacks while returning the hits with his sticks — harder.
- BATMAN LANDS RUTHLESS UPPERCUTS, HOOKS, CROSSES — HE BREAKS KNEES, RIBS, NOSES AND CHINS — HURRYING THROUGH THE CROWD LIKE AN UNCONTROLLED FORCE OF NATURE!
- Nightwing fluidly KNOCKS out the goons with his acrobatic punches, kicks and flips.
After a long, painful session of kicking-ass, Batman and Nightwing rests — standing in the midst of shattered, unconscious goons.
They share a look — Nightwing smiles, reminded of the old days, while Batman just lets out a slight smirk and even trying to hide that.
THEN — ANOTHER RIDDLER GOON ENTERS THE HALL, HOLDING A SHOTGUN!
Batman notices him — alarms goes off in his head.
BATMAN (taking out a Batarang from his belt): “NIGHTWING, GET OUT OF THE WAY!”
Nightwing JUMPS and rolls away AS Batman THROWS THE BATARANG AT THE GOON — IT SLICES THROUGH THE GOON’S FOREARM; THE GUN DROPS DOWN TO THE FLOOR.
Batman CHARGES the goon — he TACKLES him to the ground and gets on top of him.
HE PUMMELS DOWN ABSOLUTE HELL ON THE GOON! PUNCH AFTER PUNCH AS HE SCREAMS IN PURE RAGE!
After a second — Batman pauses; he glances at the goon’s broken face.
CLOSE ON: Batman’s eyes — TEARS fill up as his eyelids twitch; memories of the past…
Batman’s POV: THE JOKER lies in the goon’s place — same broken face — but he smiles through the wounds as blood gurgles out of his mouth.
BATMAN (out of breath): “I…didn’t…kill…you…”
Joker just smiles.
BATMAN: “You…are…alive…”
Joker chuckles — he’s not believing it.
Batman FORCES himself to pull back.
He stands up and gets off the goon’s body — panting like a wolf.
The goon just stares at Batman — tears RUNNING down the sides of his face.
Batman points at the goon — as if he’s warning him.
The goon waits.
BATMAN (still panting): “Not…my…son.”
He pulls back his hand — calming down.
A pause — Batman steps back; he relaxes.
Nightwing stands up, gazing at Batman; waiting for him to look back.
But he doesn’t.
BATMAN (to Nightwing and Batgirl; without looking at them): “Come on. I’ll prepare the car. Bring Gordon with you. The night’s not over yet. Croc is out there. Call the cops and tie Riddler before leaving.”
Batman exits the hall — leaving Nightwing staring at him.
But he brushes it off; he turns and hurries towards Batgirl.
CUT TO BLACK.
WHITE TEXT — CENTER-PLACED: “TO BE CONTINUED.”
