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Saunders

Batman: Now I Lay Me...

Batman: Now I Lay Me ‌ By Rosswell Saunders

Contact Info: 1110 Pennsylvania Ave, Apt #3 Miami Beach, FL 33139 (757) 620-1609

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Page One Panel 1: One of three equal sized vertical panels reading from left to right all containing the same background viewed from the same fixed perspective. A shot of Commissioner Gordon walking down a deserted street at night. He is facing the reader with his eyes cast down to the street. His face is partially silhouetted (but not too much, we still need to know it’s Gordon). The angle is head on or just slightly elevated. To his left, panel right, is a dark alley. Silent panel.

Panel 2: Gordon is now standing up straight. His body is still facing the reader; however, his head and his attention are now directed panel right towards the alley. 1

SFX: BAM (small, like a trashcan lid.)

Panel 3: Gordon has turned and begun to walk into the alley. The front of his body (face, chest etc.) is eclipsed by the alley wall. We see only a side small portion of him, perhaps a leg, as he disappears into the darkness. Silent panel.


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Page Two Panel 1: Aerial shot, almost directly overhead, of Gordon walking down the alley. The walls are tight and very tall and the floor of the alley is littered with trash and garbage bags. The walls of the alley bisect the panel from bottom left to top right with Gordon walking along this same path. Silent panel.

Panel 2: The shot is back to ground level. Gordon is losing interest, looking like he’s about to turn around and go. 1

FIGURE (OP): LOOK AT YOU, GORDON… SO FEEBLE. IT’S REALLY QUITE PATHETIC.

Panel 3: The first of three thin panels, each running the horizontal length of the page. Gordon is looking around but clearly not seeing anything. 2

GORDON: WHO ARE YOU?! WHO’S THERE?!

Panel 4: Same panel size. Head on medium shot of a silhouetted figure. No discernable features at all. 3

FIGURE: YOU CAN’T EVEN FIGHT YOUR OWN BATTLES ANYMORE.

Panel 5: Same panel size. On the right side of the panel, in the foreground framing the shot, is a silhouetted or gloved hand holding a silver revolver. The alley retreats back to the left, and, on that side of the panel, we see Gordon from about the waist up and it is clear that he now sees his assailant.


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FIGURE: HAVING THE BATMAN DO YOUR JOB HAS MADE YOU SOFT. YOU’RE NOTHING BUT DEAD WEIGHT NOW.


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Page Three Panel 1: Head on or near head on shot. The figure has raised the gun to firing position. 1

FIGURE: TIME TO PUT YOU DOWN.

Panel 2: Head on or near head on shot. Gordon has ducked and is diving to the side, while simultaneously pulling his gun. His hand should be in his coat, the gun out of the holster but just barely.

Panel 3: All black except for two flashes(or just the sound effects) on either side of the panel. The left flash should be closer to the bottom of the panel, while the right should be either in the middle or near the top. 2

SFX: BACOOM

3

SFX: BACOOM

Panel 4: The figure is falling forward with the body positioned so a bit of a twisting motion is implied. 4

FIGURE: huu... huu...uhh(very weak)

Panel 5: A somewhat overhead shot as if someone where standing over the body looking down at it. The figure has fallen into the light, her back arched over several trash bags. We see her from about the waist up. It is Barbara Gordon (wife, not daughter) and she is dead. 5

GORDON: BARBARA...?


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Panels 6 & 7: An extreme, head-on close-up of Gordon’s eyes, with just a little bit of forehead visible, aligned as one panel across the bottom of the page, but divided in the middle by a vertical gutter. They look wild and confused. In the right panel, sweat beads on Gordon’s forehead.


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Page Four Panel 1: Splash Page. Full page head on shot of Gordon sitting up in his bed. The lights are off and it is still dark. He is looking right at the reader with the same look in his eyes as the previous page. Barbara Gordon can be seen sleeping to his left (panel right). 1

GORDON: BARBARA!

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TITLE: NOW I LAY ME: PART ONE


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Page Five Panel 1: A shot of Batman sitting atop one of Gotham’s many skyscrapers staring out over the city and into the night. The wind has caught his cape and it envelops most of his body. Only his head can be clearly distinguished. This is the dominant panel, comprising the entire page with all of the subsequent panels overlaid. 1

CAP: I‘VE SAT HERE SINCE DUSK, WATCHING THE NIGHT SLINK BACK INTO GOTHAM. BUT I KNOW IT’S JUST AN ILLUSION. THE NIGHT NEVER REALLY ENDS HERE. IT ONLY RETREATS, TAKING SHELTER IN THE DARK, SAVAGE GUTS OF THE CITY.

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CAP: PLACES THE LIGHT HAS SURRENDERED…

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CAP: OR FORGOTTEN.

Panel 2: Shot of Batman’s hand as he shoots a batcable into the air. Panel is overlaid over Panel One. 3

BATMAN: IT’S 4 O‘CLOCK. TIME FOR MY APPOINTMENT.

Panel 3: Shot of Batman from behind and perhaps just above as he swings through the city. Panel is overlaid over Panel One, below Panel Two. Silent Panel.

Panel 4: Extreme long shot, peripheral, of multiple image Batman running and leaping across the rooftops of several smaller buildings with the final, “true” Batman jumping off the last building and into the air. 4

CAP: I TELL MYSELF I CAN MAKE A DIFFERENCE, THAT THIS CITY IS


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NOT BEYOND REDEMPTION. BUT DEEP DOWN, I KNOW THE TRUTH… 5

CAP: THIS IS HELL…


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Page Six Panel 1: Head on shot of Batman’s hand(s) and feet as he lands from his jump in the previous panel. A little dust hangs in the air. 1

SFX: THUD

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CAP: AND I’M JUST ANOTHER DEVIL.

Panel 2: Batman is kneeling next to the lip of a roof. The actual roof begins two or three feet below the top of the façade giving him a small wall to hide behind. His hands are fishing around in his utility belt.

Panel 3: Close-up of Batman looking through a pair of binoculars. 3

CAP: SPEAKING OF DEVILS, THESE ARE RIGHT ON TIME.

Panel 4: A full shot through the binoculars. The panel should span the full width of the page. It is a shot of the front of what looks like an abandoned warehouse. A drug deal is taking place. There are four central characters involved. On the left are two men, dressed in flashy suits, standing by a late-model, American luxury car. They are Eddy Fatoon and Carmine Veretti. Eddy is small but clearly the boss with a bit of Joe Pesci thing going on. Carmine is a giant brute of a man. He is holding an open brief case, which he seems to be showing to the individuals standing across from them. This second group, situated on the right side of the panel, consists of a black man and a blond woman, dressed in nice, yet somewhat more reserved clothing, standing in front of a German import. They seem more serious than the other two. They should all be in the


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foreground. If there is any room left in the panel, it might be nice to throw a few thugs for each side in the background. Silent panel.

Panel 5: (Binoculars) Close-up of Eddy and Carmine. They are both wearing cocky looks along with a lot of jewelry. They are clearly mafia. 4

CAP: AS EXPECTED, EDDY FATOON AND CARMINE VERETTI. WALKING MAFIA STEROTYPES. STILL DANGEROUS, THOUGH.

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CAP: I MUST SAY EDDY, I’M IMPRESSED. ONLY OUT OF PRISON THREE DAYS AND YOU’VE ALREADY PULLED A DEAL TOGETHER. WHAT HAVE YOU GOT FOR ME THIS TIME? DRUGS? GUNS?

Panel 6: (Binoculars) Close-up of the man and woman on the right of panel 4. They seem to have their minds totally focused on one thing, business. 6

CAP: AND WHO DO WE HAVE HERE? LOOKS LIKE PHOENIX CARTEL. MY, MY, EDDY, WE’RE MOVING UP IN THE WORLD.

Panel 7: (Binoculars) Back to a full shot comparable to the one in panel 3. The woman from the Phoenix Cartel throws a kilo of cocaine to Carmine. 7

CAP: HERE WE GO…

Panel 8: (Binoculars) Close-up of Carmine touching his pinky to his tongue. He is sampling the drugs. 8

CAP: CRIMINALS AND THERE DRUGS…LIKE KIDS AND CANDY.


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Panel 9: (Binoculars) Close-up of Carmine and Eddy. Carmine gives his boss a thumbsup. Silent panel.


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Page Seven Panel 1: (Binoculars) Panel size and general shot composition are the same as panel 3 on page six. Eddy has turned around and is walking off panel with the money as Carmine is pulling out his gun. The two individuals from the Phoenix Cartel have looks of total shock on their face. 1

CAP: THAT WAS DUMB EDDY, EVEN FOR YOU. LOOKS LIKE THAT’S MY CUE.

Panel 2: Shot of the fighting and mayhem that has resulted from Eddy’s betrayal. Lots of gunfire. 2

SFX: (gun fire as needed)

Panel 3: Shot of Batman swinging into the middle of the fray and booting one of the participants in the chin as the others look on in fear. It should be presented from an extremely low angle as if to suggest that the reader is seeing things from the criminals’ point of view. 3

SFX: THWACK

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THUG#1: UHFF...

Panel 4: Shot of Eddy getting in his limo. He’s already seated and closing the door after himself. 5

CAP: DAMN. EDDY’S GETTING AWAY. DOESN’T MATTER. I DON’T MIND THE OCCASSIONAL HOUSE CALL.


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Panel 5: Shot of Batman and another hood. This time Batman has the thug by the hair and has pulled his head back, exposing his neck. He is chopping him directly in the Adam's apple. 6

CAP: AFTER I’VE FINISHED WITH MY OTHER PATIENTS, OF COURSE.

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THUG#2: ack...

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SFX: CHOP

Panel 6: Long shot of Batman looking out at the reader. He is standing with several criminals in shambles at his feet. Multiple thugs, including Carmine, from behind, are converging on him. The panel should be thin, stretching the full width of the page. Silent panel.


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Page Eight Panel 1: Shot of Gordon coming through the doors of the police station. He looks rather haggard. Silent panel.

Panel 2: Shot of Gordon from the side as he walks past the many desks of his officers, all of whom, like him, look fatigued. Gordon is at the far right edge of the panel. Silent panel.

Panel 3: Close shot of Bullock sitting at his desk. Gordon has just walked by him and Bullock is trying to get up to talk to him. In his haste to get up, he’s knocked over his coffee. Gordon might need to be in just the edge of the panel for framing purposes. Perhaps not even Gordon really, but just the back of his trench coat as it trails behind him. 1

BULLOCK: OH...AH. HEY COMMISH...

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SFX: (coffee)WHSSH

Panel 4: Shot of a cross section of Gordon’s office. The commissioner is hanging his coat on the coat rack in the corner behind his desk, his back to the door. Bullock has finally caught up to him and is leaning in through the doorway, only his upper body showing. 3

BULLOCK: HEY, YOU DON’T LOOK SO GOOD. LEMME GUESS. HAD SOME KINDA NIGHTMARE LAST NIGHT. AM I RIGHT?

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GORDON: YEAH, YOU’RE RIGHT.


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Panel 5: Shot of Gordon looking over his shoulder back in the direction of Bullock who is off-panel. He has a puzzled look on his face. 5

GORDON: BUT HOW’D YOU KNOW THAT?


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Page Nine Panel 1: Shot of Bullock, now standing in the office, looking a little surprised. 1

BULLOCK: YOU MEAN YOU DON’T KNOW? JEEZ COMMISH...YOU REALLY GOTTA START WATCHIN’ THE TV IN THE MORNIN’S.

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BULLOCK: ‘PARENTLY EVERYBODY IN THE CITY WAS HAVIN’ UM LAST NIGHT.

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BULLOCK: ME... I HAD THIS ONE WHERE I WAS LIVIN’ WITH MY EX AGAIN AN’ SHE TURNED INTO THIS VULTURE SEE, AN’ THEN...

Panel 2: Shot of Gordon who is now sitting at his desk. He is starting to look a little annoyed with Bullock. 4

GORDON: THAT’S MORE THAN ENOUGH BULLOCK.

Panel 3: Head-on shot of Detective Montoya standing in the doorway. She’s knocking on the door. 5

SFX: KNOCK KNOCK

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MONTOYA: ‘SCUSE ME COMMISSIONER. I’M NOT INTERRUPTING AM I?

Panel 4: Shot of Gordon at his desk again. Should be comparable to the shot in panel 2, but Gordon is not looking so annoyed. 7

GORDON: NO, RENEE. COME IN.


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GORDON: WHAT’VE YOU GOT FOR ME?

Panel 5: Shot of Montoya who has now come into the room and is standing next to Bullock. He seems somewhat irritated that she has interrupted his conversation. 9

MONTOYA: WELL SIR, IT SEEMS THAT THERE WAS SOME TROUBLE IN THE WAREHOUSE DISTRICT LAST NIGHT. EDDY FATOON’S BOYS GOT INTO IT WITH SOME INDIVIDUALS WE BELIEVE TO BE ASSOCIATED WITH THE PHOENIX CARTEL.

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MONTOYA: THEY APPARENTLY HAD A DEAL GOING, BUT SOMETHING WENT WRONG. BATMAN JUMPED IN AND ENDED THE FIGHTING.


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Page Ten Panel 1: Two-thirds of a page aerial long shot (interior) of the Bat-mobile pulling into the Batcave. 1

MONTOYA (OP): WE HAVE UNITS DOWN THERE RIGHT NOW CLEANING UP.

Panel 2: Batman in mid-air jumping out of the car. Silent panel.

Panel 3: Close-up of his face as he takes off his mask. He looks exhausted. Silent panel.


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Page Eleven Panel 1: The first of a four panel sequence which makes up this page. All panels in the sequence are of equal size and all span the width of the page. Shot of Bruce Wayne exiting the Batcave through the secret entrance hidden behind the grandfather clock in his study. Silent panel.

Panel 2: Shot of Bruce walking up the stairs as viewed from the ground floor. Silent panel.

Panel 3: Overhead shot of Bruce standing in front of his bed. Silent panel.

Panel 4: Same shot as the previous panel; however, now Bruce is laying face down on his bed still in his clothes as if he had fallen on it. His legs are hanging off just below the knees. Silent panel.


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Page Twelve Panel 1: Inlay in the top, left corner of panel 2. Shot of Bruce sitting up in bed holding his head with one hand. He is under the covers and is not wearing a shirt. The light is coming through the window at a harsh angle suggesting that it is late afternoon. Silent panel.

Panel 2: Bruce enters the kitchen in his robe. He has a puzzled look on his face as if he’s looking for someone. 1

BRUCE: ALFRED...

Panel 3: Close-up of several pots and pans cooking on the stove. It seems someone is making breakfast. 2

BRUCE: ...YOU IN HERE?

3

SFX: SSSHH

Panel 4: Shot of Bruce walking down a small hallway passing several doors. Silent panel.

Panel 5: Close-up of Bruce standing in front of a door and knocking on it. The reader should be looking somewhat over his shoulder. 4

SFX: (soft) KNOCK KNOCK KNOCK

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BRUCE: ALFRED?

Panel 6: Close-up of just Bruce’s feet from the knee down. He is now standing in a dark


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room. The door he came through is open behind him and light is pouring in through it. There is an envelope on the floor in front of him. Silent panel.

Panel 7: Close-up of the envelope in Bruce’s hand. Silent panel. 6

ENVELOPE: (In neat, cursive letters) BRUCE

Panel 8: Medium shot of Bruce coming around a corner. Silent panel.

Panel 9: Shot of the envelope falling from Bruce’s hand. Silent panel.


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Page Thirteen Panel 1: This shot should take up about three-fourths of the page. It is a personified shot, through Bruce’s eyes, of Alfred laying on his bathroom floor. He is on his back and his head is propped up awkwardly against the bathtub. His wrists are slit and he is dead. Blood is covering the floor. Silent panel.

Panel 2: This panel should be a sliver at the bottom of the page. It is an extreme closeup of Bruce’s face as he is lying on his side in bed, eyes open looking out at the reader. His expression is impossible to read.


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Page Fourteen Panel 1: This page opens to a large shot of Alfred laying out Bruce’s clothes. Light is pouring into the room through the window much like in panel 1 of page twelve. Silent panel.

Panel 2: Another shot of Alfred, but this time a little tighter in. He is now looking over his shoulder and out at the reader clothes still in hand. 1

ALFRED: AH...FINALLY UP. SLEPT POORLY I TRUST?

Panel 3: Shot of Bruce sitting up in bed. He has been under the covers and his shirt is off. 2

BRUCE: WHAT? HOW’D YOU...

Panel 4: A wide shot of Alfred with his back slightly to us. He is standing in the right most third of the panel and has his hand stretched out holding a remote. He has turned on the tv, center panel. The foot of Bruce’s bed can be seen in the bottom of the panel. 3

ALFRED: SIR, PERHAPS YOU’D LIKE TO WATCH THE NEWS.

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SFX: (remote) CLICK

5

SFX: (tv) VREN

Panel 5: Shot of just the television. A short, half bald man is standing in front of a weather map. The map is tightly focused on Gotham. 6

WEATHERMAN: SO TO SUM UP, TOMORROW WILL BE PARTLY


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CLOUDY WITH ONLY A 15% CHANCE OF PRECIPITATION. 7

WEATHERMAN: BACK TO YOU KATHY.

Panel 6: Another shot of just the television. The reader now sees an anchor woman, notes in hand. 8

KATHY: THANKS JACK. AND NOW FOR THOSE OF YOU JUST TUNING IN, AN UPDATE ON THE BIZARRE SLEEP PHENOMENON WHICH TOOK PLACE IN GOTHAM LAST NIGHT.

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KATHY: CITY AND POLICE OFFICIALS ARE STILL BAFFLED AS TO THE CAUSE OF THE RASH OF NIGHTMARES WHICH STRUCK THE CITIZENS OF GOTHAM CITY LAST NIGHT.


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Page Fifteen Panel 1: The first of three panels which compose this page. Each is a third of the page and runs its width. Another shot of Kathy the anchor woman; however, this time we not only see the screen of the tv, but the table it is sitting on as well as the rest of its immediate surroundings in the room. 1

KATHY: AND SO GOTHAM IS LEFT WONDERING...WAS THIS A FREAK OCCURRENCE ‌

Panel 2: Shot of the room similar to the one in panel 4 on the previous page. Bruce is crossing in front of the bed and quickly striding towards the door panel left. 1

KATHY: OR WILL TONIGHT BE ANOTHER SLEEPLESS NIGHT?

Panel 3: A medium shot of Alfred. He is now picking up the suit he had just laid out. 2

ALFRED: I SHOULD HAVE KNOWN TO LAY OUT HIS WORK CLOTHES.


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Page Sixteen Panel 1 (Left Column): (Begins a six panel sequence. On the left there will be a column of three panels, each a television screen on a different day. On the right, also stands a column of three panels each showing Batman at a different place on the day corresponding to the panel to which it is juxtaposed. These columns should be arranged on a black background. The shots should be of large enough size to easily make out their content; however, there should be lots of negative black space with very little feeling of precise gutters) Shot of Kathy. It’s the next day. 1

KATHY: AFTER TWO SLEEPLESS NIGHT, A WEARY GOTHAM FINDS ITSELF IN THE MIDDLE OF A ...

Panel 2 (Right Column): Shot of Batman leaning over the edge of a concrete bulkhead. Tonight he is checking the water in the reservoir. Contrary to the weatherman’s prediction, it’s raining. Panel 3 (Left Column): Shot of Kathy. She is looking very bad. Large bags under her eyes. She is slouching in her chair. 2

KATHY: ...FOURTH NIGHT PLAGUED WITH HORRIBLE NIGHTMARES. MOST GOTHAMITES FIND THAT THEY SIMPLY CANNOT SLEEP FOR FEAR OF...

Panel 4 (Right Column): Shot of Batman in a warehouse examining various foods.

Panel 5 (Left Column): Shot of Kathy. She can barely keep her eyes open.


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KATHY: UH ..HUH? OH... A WEEK HAS NOW PASSED SINCE THE TERRIBLE SLEEP EPIDEMIC BEGAN IN GOTHAM AND THERE SEEMS TO BE NO END IN SIGHT.

Panel 6 (Right Column): Shot of Batman as he stands atop one of the taller buildings in Gotham testing the night air.


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Page Seventeen Panel 1: Another screen shot, small like the ones on the previous page, horizontally centered with lots of black to the left and right sides. It’s still Kathy. 1

KATHY: MANY GOTHAMITES HAVE CHOSEN TO LEAVE THE CITY…

Panel 2: A larger shot than the last one though still not totally occupying the entire horizontal space of the page. It too is centered. Our “eye” has pulled back and we are now looking at not just one screen with Kathy on it, but several. It has become clear that we are looking at a series of stacked televisions all playing the same station. 2

KATHY: RATHER THAN SUFFER FURTHER SLEEP DEPRAVATION, OR WORSE…

Panel 3: The shot has pulled back even more and we can now see even more televisions stacked upon one another all depicting Kathy. We can also see that they are located in a store window. It is night and there is a lanky, average-height man (hithto referred to as the anonymous man until the reveal on page 22) in a trench coat and a hat walking by the window towards panel left. He is standing in the left third of the panel, his collar up against the rain and the brim of his large and somewhat pointy, though disheveled, hat is pulled low so that we can’t really see his face. The panel should now utilize the entire horizontal space of the page and should take up whatever vertical space is left. 3

KATHY: FACE THE CRIPPLING NIGHTMARES SET TO SPRING UPON THEM SHOULD THEY NOD OFF.


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CAP: THIS IS THE DEAD LAND THIS IS CACTUS LAND

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Page Eighteen Panel 1: A long peripheral shot of the anonymous man walking down an urban sidewalk surrounded by tall, cold buildings. 1

CAP: HERE THE STONE IMAGES ARE RAISED, HERE THEY RECEIVE THE SUPPLICATION OF A DEAD MAN’S HAND

2

CAP: UNDER THE TWINKLE OF A FADING STAR.

Panel 2: A shot of the anonymous man, from behind, as he walks around a corner. 3

CAP: IS IT LIKE THIS

4

CAP: IN DEATH’S OTHER KINGDOM

Panel 3: A shot, from behind, of feet and legs, perhaps halfway up the calf though still below the knee, walking up a broad, stone staircase. 5

CAP: WAKING ALONE AT THE HOUR WHEN WE ARE TREMBLING WITH TENDERNESS

6

CAP: LIPS THAT WOULD KISS

Panel 4: The shot pulls way back from Panel 3 and we now see that the anonymous man is walking up the long, stone stairs which lead to the front door of a Gotham Police Precinct. The stairs are flanked at the base by two large statues of some sort, lions will work, whatever. Make sure that the sign for the Police station is clearly visible. 7

CAP: FORM PRAYERS TO BROKEN STONE.


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Page Nineteen Panel 1: Establishing shot of the interior of the station. In the foreground, there should be at least a portion of the back of the anonymous man’s head (with hat still on of course) to frame the shot. As we look over his shoulder, we see the waiting room. It’s a simple rectangular room, much deeper than it is wide. The walls to the left and the right are lined with chairs, most of which are full of people waiting to speak with an officer. At the far end of the room, opposite the door, is a small counter behind which two police officers are attempting to help two different citizens, one of whom is very animated. Silent panel.

Panel 2: A medium shot of three of the chairs lining the right wall. The center chair is occupied by a man, business type. He is wearing a suit, but has taken off the jacket and folded it over his crossed knee. He attempts to read a paper, though his efforts are in vain. It seems the working class woman sitting next to him, in the chair to the right (panel right), is doing her best to make impossible. She is determined to deliver an account of why she is in the police station, if not to a cop, then to this man. The anonymous man is walking in front of the pair, presumably to sit in the empty chair next to them. 1

WOMAN: … SO I SAYS, “OH YEAH. IF YOU GOTTA GUN THEN LETS SEE IT!”

2

MAN: oh yeah …

3

WOMAN: YEAH! AND HE SAYS HE DON’T GOTTA SHOW ME NOTHIN’ …


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Panel 3: This panel is a 45 degree angle shot of the trio. The woman is now in the foreground with her left shoulder pointed at the reader in a near perpendicular position. Her body partially obscures that of the man sitting next to her (and to whom she is still speaking) and his body and the paper he is reading all but totally obscure the anonymous man who is now seated in the next chair. Our only solid clue that he has taken this position is his hat which is peaking out over top of the other two. 4

WOMAN: SO I SAYS, “THEN I DON’T GOTTA GIVE YOU NOTHIN’!”

5

MAN: uh huh…

6

WOMAN: WELLLL, THEN HIS FACE, IT GETS ALL RED-LIKE …

Panel 4: This should be a long thin panel that spans the horizontal width of the page. It is a tight head on shot. Occupying the left third of the panel and facing straight out towards the reader is Scarecrow’s left knee. In his hand, which is resting on his knee, he is holding some kind of small capsule, maybe the size of a finger. Making up the remaining two thirds of the panel are the knees of the man sitting next to the anonymous man, the bottom of his paper jutting into the frame between his legs. A small amount of thin gas is emanating from the container in the anonymous man’s hand. It has wafted towards the business man and has begun to creep up under the edge of his paper. 7

WOMAN (OP): SO RED I THOUGHT HE MIGHT BE HAVIN’ A HEART

ATTACK OR SOMETHIN’.

Panel 5: A close-up of the man’s face. It need not be his whole face, maybe just from


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the bridge of his nose down to his neck. The gas has moved up passed his chin and is approaching his nose though he seems not to notice. 8

WOMAN (OP): AND THEN HE SAYS REAL QUIET …

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WOMAN (OP): “LADY,” HE SAYS, “JUST CAUSE I AIN’T GOT NO GUN DON’T MEAN I AIN’T DANGEROUS.”

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WOMAN (OP): AND THAT’S WHEN I KNEW …

Panel 6: An extreme close-up of the man’s face, so close that all we really see are his eyes and his nose with a little bit of the Scarecrow’s gas still curling underneath it. His eyes are wide open in surprise and fear. His pupils have dilated. The gas is taking hold. 11

WOMAN (OP): I WAS IN TROUBLE.


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Page Twenty Panel 1: A long shot of the man and the waiting room. He is coughing as he stumbles forward out of his chair. The woman who has been talking at him this whole time is looking puzzled and alarmed. 1

SFX: COUGH

2

SFX: COUGH

3

WOMAN: YOU OK?

PANEL 2: A full, head to foot shot of the man. He is occupying most of the space in the panel. He is now standing up relatively straight though his knees are buckling inward towards one another. His hands are stretched out before him somewhat like a surgeon waiting for his nurse to put his gloves on. He is staring down at his arms with a look of absolute horror on his face. 4

MAN: SNAKES! I…I’M COVERED IN SNAKES!

Panel 3: A shot of the anonymous man from the chest down. He is filling the left half of the panel. In the right half sits the now empty chair once occupied by the now hysterical business man. The anonymous man’s left hand is outstretched and is nonchalantly placing a letter in the vacant seat. 5

MAN (OP): H..H…HELP ME!

Panel 4: Close-up of the envelope as it lies in the chair. 6

ENVELOPE: BATMAN


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MAN (OP): PLEASE! SOMEONE ‌

Panel 5: A large panel taking up perhaps the final fourth or so of the page. It is an extreme long shot of the door out of the station. In the foreground, the frightened, shuttering man is lying curled up on the floor surrounded by police and concerned onlookers all of whom are unaware of the anonymous man who is slipping out the door. 8

MAN: (whimpering) ‌ GET THEM OFF.


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Page Twenty-One Panel 1: Head on, extreme long shot. The panel should be slender and run the width of the page. The anonymous man is standing at the base of the stairs with his arm in the air. He is hailing a cab. Silent panel.

Panel 2: Exact same panel size and shot. But now there is a taxi parked in front of him. We see only his hat and some of his head peeking over the roof. Silent panel.

Panel 3: Exact same panel size and shot. This time though, the man is gone and only the back of the cab can be seen as it has moved left and nearly off panel. Silent panel.

Panel 4: Aerial shot of a warehouse type structure in a rural, wooded area. A cab is parked in front. Silent panel.

Panel 5: Close-up of the driver-side of the taxi. The door to the building can be seen in the background. It seems the cabby has been gassed as well. He is sitting in his seat staring out the window looking pale and catatonic. The anonymous man can be seen disappearing into the door of the structure. Silent panel.

Panel 6: Full shot of the anonymous man standing in the doorway his face still hidden in the shadows. 1

ROCCO (OP): HEY… WH …WHO’S THERE?!


Saunders

Batman: Now I Lay Me...

Page 38

Panel 7: A shot of two henchmen sitting at a table playing cards. They are both staring out at the reader presumably looking at their guest. On the left is Rocco. He is big and mean looking with deep-set eyes and a low brow that makes him look something like an ape. The anonymous man has startled him. The man on the right, Simon, is smaller, though not scrawny. His eyes are bright and intelligent, a well-rounded, dependable agent. He is giving Rocco somewhat of a look. 2

ROCCO: OH, IT … IT’S YOU BOSS.

3

SIMON: LOOKS LIKE YOU GAVE ROCCO A BIT OF A SCARE.

4

ROCCO: YEA BOSS. I…I COULDN’ T SEE YA SO GOOD OVER THERE.

5

ANONYMOUS MAN (OP): STARTLED YOU, DID I? WELL DON’T BE EMBARRASSED ROCCO.


Saunders

Batman: Now I Lay Me...

Page 39

Page Twenty-Two Panel 1: Full page close-up of the anonymous man. Big Reveal, it’s the Scarecrow. He is displaying a large grin and is looking rather sinister. 1

SCARECROW: I TEND TO HAVE THAT EFFECT ON PEOPLE.

2

CAP: THE EYES ARE NOT HERE THERE ARE NO EYES HERE IN THIS VALLEY OF DYING STARS IN THIS HOLLOW VALLEY THIS BROKEN JAW OF OUR LOST KINGDOMS. The Hollow Men T. S. Elliot

Batman - Now I Lay Me  

Batman fan script.