'The Batman' Screenplay by Tom Mankiewicz

[atomicbattery]

Please be warned- this is for ToM Locust, but I think could be of general interest.

Tom Mankiewicz was the first writer to have a crack at a serious big screen Batman back in the early eighties. The script drew heavy influence from the Englehart & Rogers run (Silver St. Cloud, Rupert Thorne), and from the 'Untold Legend of the Batman' miniseries. It did not contain the scene of Thomas Wayne in the batsuit at the charity costume party (more happily, it omits stuff like the Harvey Harris bit).

It isn't perfect- the Joker is weakly written, and Robin is awkwardly crammed into the third act- but it reflects the tone of the comics of the time, Gordon is an actual character, and the first third is a real attempt to explain the journey of Bruce Wayne the boy to Batman the man. The structure is similar to the first Superman film (not surprisingly, since Mankiewicz is largely credited with creating what became the final 'Superman' script), and the scenes of Batman on his first night out are more thrilling than any I've read in any Batman script.

Now, mind you I didn't want to spoil 'Begins' so I only treated myself to a couple of early scenes- between young Bruce and Thomas. And I thought that the tone was pitch-perfect.

I first read about Batman coming to the big screen back in high school. In 1983. Starlog magazine had an article about Mankiewicz writing 'The Batman' (for a summer 1984 release!). It's been a long time, but I think that- despite the rubber suit- Christopher Nolan may have made the movie that I wanted to see when I excitedly read that story all those years ago.

[C. Lee]

If it was for a specific person...it should have been in a PM. Since it is of general interest, I changed the title.

[lujho]

Yeah, I liked a lot obout this script, from what I can remember.

I think there's one bit where he's learning ballet as a young teen as a way to hone his skills, whi I always liked.

INT. BALLET STUDIO - DAY

A line of beautiful young would-be BALLERINAS perform the various
positions at the bar in a dance studio to the musical strains of Swan
Lake. A stern INSTRUCTRESS supervises, barking out the numbers.

CAMERA TRACKS past the female figures at the bar. In the middle of the
line, dressed in tight and a T-shirt - Bruce Wayne. Perspiring
heavily, he performs the set routine with amazing grace. A gorgeous
DANCER looks over her shoulder at him, whispers under her breath.

GIRL DANCER
Any of the guys ever make fun of
you?

BRUCE
(nice smile)
One guy. Once.

[MatchesMalone]

^ nice scene.

I liked Mankiewicz's script for the most part. Some of the sublte corniness I didn't like, and the fact that he completely set aside the urban legend angle (although granted, at that point, it was not in continuity).

[ultimatefan]

If you consider that the script was written in the early eighties, before Frank Miller, it isn´t so bad. But the second half, especially, has a lot of campy stuff. And it was that script that kinda started the whole Joker as the murderer of Bruce´s parents.

[atomicbattery]

ultimatefan, you may remember that Joe Chill is the murderer of Thomas and Martha Wayne in 'The Batman'. He IS part of a larger conspiracy involving the Joker and Rupert Thorne (I believe that the script shows the Joker giving Chill an envelope filled with cash).
I think that credit- or blame (ummm... I'll go with blame) for the idea of the Joker as the man who actually pulled the trigger in the murder of Bruce's parents must go to Tim Burton and Sam Hamm.

[CrimsonMist]

i enjoyed this script very much, but i felt they should have turned it into 2 movies. The 2nd half seems crammed(basically, everything from the introduction of the penguin should have been its own movie). They could have wrote an ending for the first half. The Penguin is only introduced to show what the Batmobile can do, which is so pre-crisis haha, but i enjoyed it.

I like how in the begining, they show Bruce and the girl after doing the in & out...which i think shows off that womanizer, playboy. I really loved the subway scene as well.

It was an interesting take on the Joker, but if you think about it, at the end, Batman is beating up like a 60 year old crazy guy. I would have prefered the joker be a creation in BATMAN's life time like in the pre-crisis comics.

but a great script. I actually wanna edit it alittle bit and make it abit more post crisis if thats possible at all

[DACrowe]

I've read it.

It does have some cool scenes and a few (and I use the term loosley) ideas ended up in Batman Begins

but on the whole it sucked. The story with Silver and all was fine, but Joker while a killer was still a comedian no different than Lex Luthor in Superman The Movie other than the fact that he took everything less seriously and his deaths (which were quite a few mind you) were as watered down as the ones in STM.

Penguin was window dressing.

Robin was annoying and basically the Robin from the Batman TV show of the '60s put on the big screen and only introduced into a third rushed act which outside of the death of Silver played its climax like one in that show with giant instruments and playing cards and all...ugh!

Lastly, while Batman started off a dark avenger of the night, he became a joke as the movie went out going to city parties and shaking hands with the city elders with a big smile (sound familiar?) and was far too slapstick humorous when he was younger making robots and and holograms with AI when he was 7 or 8 and some ****.



Terrible in the end, if not just plain mediocre, be happy it was ditched for Sam Hamm and be even happier that we are getting an even better origin movie than either this June too.

[DACrowe]

P.S. It was supposed to be the "companion ccopy" to Superman The MOvie. You know like the little sort of spin-off in many ways and I do think that Tom underplayed Bats to Supes in this for personal favorite reasons, or just which he enjoyed writing better, because this was easily the more inferior script.

P.P.S. Joe Chill did kills Bruce's parents in The Batman, but because he was hired to by Joker, who then dispatched Chill, so Joker indirectly killed them and then on top of that the reason why? Joker turned out to be dirty political muscle for Rupert Thorne who was running for City Council against Thomas Wayne. So in essence it wasn't a random act of violence, it was a political manuevere done by Thorne and Joker and his gang carrying it out because Joker is apparently Rupert Thorne's ***** in the movie (post change which we never see because he exists before Bruce is even a teenager).



As I said it has a few great moments but it is ultimately medoicre.

[atomicbattery]

I agree DACrowe- great moments but ultimately mediocre.

In its favor, it is the only Batman script I've read where I felt that the writer truly dug into the comics for inspiration. The finale, for instance, features giant props out of Sprang and Finger, which were also used in the Rogers-Englehart run, and while you realize that it probably wouldn't work on screen, it's nice to feel like you're reading the work of a writer who may actually have opened a few Batman comics.

As I said before, I only read a couple of Begins scenes because I didn't want to spoil it, but I know that Goyer has done his Batman homework, the scenes I did read felt absolutely right, and Nolan appears to have shot some spectacular stuff.

I was so excited when I read that Starlog article as a kid. I thought that a great Batman movie was a year and a half away. Turns out it was more like twenty plus- but hey, better late than never.

[Triad]

I remember reading that Starlog issue...Man, does that take me back!
P.S.- "Nicely said" to all the posts here!

[The Guard]

It wasn't that bad. We're talking about 1983. The script nailed the feel of the comics at that point in time, and the years before. The Joker was a comedian in THE BATMAN? Gee, if only he was always serious in the comics. The Penguin was window dressing? No, The Penguin got about the same treatment Scarecrow's getting in BATMAN BEGINS, and he was everything he'd always been in the comics in that script. Robin felt a little tacked on, but it worked fairly well at the same time. The script had a fairly serious tone, NAILED the origin, NAILED Batman and Gordon's first few interactions, NAILED his first night out, and had a great take on Bruce Wayne's parents and his relationship with them, and was also clearly partial inspiration for The Tumbler's rooftop drive. The villainsd worked together well, and the love interest worked pretty well, too, with Sliver St. Cloud. I think they even managed to use The Laughing Fish storyline. It's pretty darn good, and it nailed the mythos to that point, considering it doesn't have YEAR ONE and THE DARK KNIGHT RETURNS to draw from.

[Maxwell Smart]

It wasn't that bad. We're talking about 1983. The script nailed the feel of the comics at that point in time, and the years before. The Joker was a comedian in THE BATMAN? Gee, if only he was always serious in the comics. The Penguin was window dressing? No, The Penguin got about the same treatment Scarecrow's getting in BATMAN BEGINS, and he was everything he'd always been in the comics in that script. Robin felt a little tacked on, but it worked fairly well at the same time. The script had a fairly serious tone, NAILED the origin, NAILED Batman and Gordon's first few interactions, NAILED his first night out, and had a great take on Bruce Wayne's parents and his relationship with them, and was also clearly partial inspiration for The Tumbler's rooftop drive. The villainsd worked together well, and the love interest worked pretty well, too, with Sliver St. Cloud. I think they even managed to use The Laughing Fish storyline. It's pretty darn good, and it nailed the mythos to that point, considering it doesn't have YEAR ONE and THE DARK KNIGHT RETURNS to draw from.

I agree 100%. Heck, I think with the proper re-writes it could have even made a good flick today.http://www.superherohype.com/forums/images/smilies/redface1.gif

[graveyardtramp]

Yeah, I also agree that it is not bad, considering it was pre-DARK KNIGHT RETURNS and YEAR ONE, most people still had the 1966 TV image of Batman in their heads, and it was only a few years after Mankiewicz's work on the SUPERMAN movie (which also started out as a serious screenplay that reverted to campiness once the villains were introduced).

And I liked the line an impressed Alfred delivers after the young Bruce Wayne performs an amazing acrobatic routine while blindfolded:

"Why sir, you were as blind as a bat."

[atomicbattery]

triad- You remember that Starlog?! 'Return of the Jedi' Preview on the cover!

I used to take the streetcar once a month to the comics shop. Jeff, the owner, knew I was a big Batman fan. He said 'check this out' when I walked in and handed me the article. I think that he later regretted it. I asked him every month after that for five years if he'd heard anything new about the movie.

Ah, the days before the internet.

OK, Grandpa's done reminiscing, you kids can go back out and play.

[Two-Face]

And I liked the line an impressed Alfred delivers after the young Bruce Wayne performs an amazing acrobatic routine while blindfolded:

"Why sir, you were as blind as a bat."


That's funny!! I can see Michael Caine saying that in Begins...



Hahahaha!!!

[ultimatefan]

It wasn't that bad. We're talking about 1983. The script nailed the feel of the comics at that point in time, and the years before. The Joker was a comedian in THE BATMAN? Gee, if only he was always serious in the comics. The Penguin was window dressing? No, The Penguin got about the same treatment Scarecrow's getting in BATMAN BEGINS, and he was everything he'd always been in the comics in that script. Robin felt a little tacked on, but it worked fairly well at the same time. The script had a fairly serious tone, NAILED the origin, NAILED Batman and Gordon's first few interactions, NAILED his first night out, and had a great take on Bruce Wayne's parents and his relationship with them, and was also clearly partial inspiration for The Tumbler's rooftop drive. The villainsd worked together well, and the love interest worked pretty well, too, with Sliver St. Cloud. I think they even managed to use The Laughing Fish storyline. It's pretty darn good, and it nailed the mythos to that point, considering it doesn't have YEAR ONE and THE DARK KNIGHT RETURNS to draw from.
Like I said, for a pre-Miller Batman script it wasn´t so bad, but it´s very campy and silly at times, moreso in many ways than Mankiewicz´s Superman script.

[Wolverine_05]

For anybody who wants to read it, I know I will when I have some time, it's here: http://www.scifiscripts.com/scripts/batmanscript1.txt

[MatchesMalone]

I was actually rather pleased with the first act of the script. It was the complete tonal and structural change of the last act that killed this script for me. Why spend 40 minutes of a film building up a serious, dark interpretation of the character only then to destroy that characterization with camp and sillyness in the last act? Inconsistent tone, and rather lame, plodding structure as if the writer didn't know how to finish this script.

[Rambo, John J]

Cheers Wolverine

[Antonello Blueberry]

I think that credit- or blame (ummm... I'll go with blame) for the idea of the Joker as the man who actually pulled the trigger in the murder of Bruce's parents must go to Tim Burton and Sam Hamm.
Sam Hamm was vehemently against the idea of Joker being the killer of Batman's parents. That was a rewrite asked by Burton and Jon Peters, during the writers' strike when Hamm was no longer working on the project.

[Soap]

I haven't read the whole script yet, but I really enjoyed Bruce's first outings as Batman. They were done quite well.

[ultimatefan]

Sam Hamm was vehemently against the idea of Joker being the killer of Batman's parents. That was a rewrite asked by Burton and Jon Peters, during the writers' strike when Hamm was no longer working on the project.
That´s one of the biggest issues I have with Burton´s take. I never read Hamm´s first draft, which is said by some to be great, but this shows how important the colaboration between writer and director is.

[lujho]

I was actually rather pleased with the first act of the script. It was the complete tonal and structural change of the last act that killed this script for me. Why spend 40 minutes of a film building up a serious, dark interpretation of the character only then to destroy that characterization with camp and sillyness in the last act? Inconsistent tone, and rather lame, plodding structure as if the writer didn't know how to finish this script.


True. And that's pretty much exactly how I feel about Superman The Movie. The complete tonal shift as soon as it gets to Metropolis. Okay, everything with Superman is great, but EVERYTHING regarding Lex... ugh, I hate it. Were the same serious tone maintained throughout I'd feel the movie was the almost perfect Superman movie everyone else seems to feel it is. As it is, it's... well, not as good as it could have been.

I really need to read Mank's Batman script again now. I really do remember loving the early stuff.

I could be off base here, but Guard, I read a script for the first episode of a Year One show you did. I thought it was great, was this Batman script an influence in any way?

[Riven]

I haven't read that script by Mankiewicz, but from what I've heard (there was a pretty extensive script review of it at IGN), I didn't like it.

B89, for all its flaws, had a superior script.

[Soap]

The part where Bruce chases the biker after mugging a couple with their young daughter and shooting the man, and the first outings as Batman particularly the part on Subway with the thug and the teenage couple I realy liked. It showed more of Batman starting out and help the people (much like the first Batman part in B89) instead of just focusing on the Main Villain straight away.

[lujho]

Yeah, I actually miss that from the Begins script - Batman stopping a few small, normal crimes. Maybe something like that has been added suring filming?

[David Ford, RPD]

Sam Hamm was vehemently against the idea of Joker being the killer of Batman's parents. That was a rewrite asked by Burton and Jon Peters, during the writers' strike when Hamm was no longer working on the project.

Jon Peters did a re-write?:)

I would've loved to be in the room when that re-write occured.

[ultimatefan]

Jon Peters did a re-write?:)

I would've loved to be in the room when that re-write occured.
He demanded one... for him to actually do it he´d have to have enough brains to type it...

[David Ford, RPD]

He demanded one... for him to actually do it he´d have to have enough brains to type it...

What I find funny is that Peters isn't able to read. I just though that would damper is a screenwriting session.

[JTIZZLEVILLE]

my favorite part of the script...

EXT. BEACH - DAWN

The first orange rays of the sun stab upwards through the clouds in a
brilliant sunrise. The bright red Ferrari is parked in the sand on the
top of a high dune. The VOICES of BRUCE and CINDY drift up from below.

BRUCE'S VOICE
(sleepy; affectionate)
Good morning...

CINDY'S VOICE
Mmm...

BRUCE'S VOICE
Want to go for a swim?

CINDY'S VOICE
(pleased)
I don't think I can walk...
(soft purr)
Where'd you learn to do all that?

BRUCE'S VOICE
Here. Last night. It's strange,
but once I get the hang of something
I just can't seem to stop.
(beat)
Sorry.

CINDY'S VOICE
(dreamy)
Oh...that's okay...

not really. but it made me smile when i first read it.

[The Guard]

And thats the problem I had with THE BATMAN, too. The complete devolvement of the last act. They go for this serious story, and while serious things do happen, they're kind of glossed over. I mean, Silver St. Cloud dying was handled well. But the fight before, and Batman killing Rupert Thorne with a giant thumbtack right after it happens? Come on. It was clearly campy in places, but then, so were the comics. The whole "giant props" thing didn't exactly go out in the 60's, it was a staple of Batman comics for a long time. Now, I didn't like it. But I still think the script NAILED that aspect of the mythos as they were in the comics. They got the giant dinosaur and penny in the cave, all the little things that made Batman comics so interesting back then.

[TheVileOne]

Oh I remember this script. It was pretty bad. I think Sam Hamm's script was a big improvement.

I think Goyer handled the origin stuff a lot better in Begins.

Needless to say guys, you should be happy with the movie we got in 1989 and not the one this script suggested.

[Two-Face]

Why was Batman was keeping giant Two-Face coin in the Batcave? I thought that was way over "campy" top.

[DACrowe]

Look I don't care if it didn't have TDKR or Year ONe, or The Longest Halloween, or The Killing Joke to pull from, it still had freaking Danny O'Neal to draw from and Adams and not to mention Kane and Finger in the very early days.

And yes, several scenes were handled very well, but I think that Batman Begins handles the origin, the parents (especially Thomas Wayne), Alfred, and the training much better. I say they're the saem about the first night out, but the warehouse scene in the BB script (which we get the ever shortest glimpse of in the trailer) is just well more frightening and works better.

What do you mean you liked the handling of the origin? It was all comedic, Batman's parents are dead and it felt like a cross between a child's dream comedy (rich enough to do whatever he wants and his techers having to keep up with him, literally) and a bad Rocky training scene (gag...ring bars) and not to mention that Bruce Wayne talked like he was from Pleasentville in it, for hte most part, and he made damn robots and holographic imagery at the age of 8! 8! And his parents being killed for political gain and pre-planned and orchestrated by the Joker is far worse than anything Burton did to the origin of Batman and Joker in '89.

And Joker is a "comedian" of sorts, but very ccreepy. You know like in the comics, like in B'89, like in the O'Neal comics, like in B:TAS,, while the Joker did kill about 5 people in The Batman script, he came off as well...Gene Hackman in Superman. All camp and cheese, Hackman killed one person in STM and tried to kill millions more, but no one took him seriously, and it would have been taht way for the Joker but worse, he would put out bad one-liners like he was doing stand-up for 7 year olds. It reeks of Otis.

And let's not forget that the PEnguin WAS window dressing. He was presented in a boring manner tacked on in the third act just as much as was Robin in the script. H ehad no personality and was there because people could go "Hey there is the Burgess Meredith character from the old TV show!" Ugh! Scarecrow will be very memorable for his small screentime and very affective and creepy in BB which is more than I could say of that adaptation of The Penguin.

And Batman going to charity functions was very much in the same root of the '60s TV show and later B&R.

In fact the only thing I felt it did superior was the romance, which BR topped, but B'89 and BF didn't. BB will more than likely top it, because for the first time this will seem like Bruce Wayne in love which is the hope and promise of it (like Catwoman) but the ultimate crushing ofi t at the end and he he is silent for a moment and then puts it in a "lockbox" (which is very unhealthy for the psychosis but who cares this a movie about a grown man dressed as a bat) and then moves on. Very well done.




And I am much happier wit hSam Hamm's treatment than that. Which was made as a companion piece to STM and it sure felt it, as the inferior version. At least with B'89, if not a BB, Burton and Hamm amde Batman his own and just as dynamic as Superman but in a completely different story structure and development pacing and overall tone and film. They broke the chain of Adam West, Schumaucher chained us back, and Nolan is hopefully not only going to break that chain but go somewhere where neither director before went...to the comic books.

[The Guard]

[Look I don't care if it didn't have TDKR or Year ONe, or The Longest Halloween, or The Killing Joke to pull from, it still had freaking Danny O'Neal to draw from and Adams and not to mention Kane and Finger in the very early days.

He did draw from all those sources.

And yes, several scenes were handled very well, but I think that Batman Begins handles the origin, the parents (especially Thomas Wayne), Alfred, and the training much better.

In comparison to what we know about Post-Crisis, yes. THE BATMAN is more of a Pre-Crisis tale.

I say they're the saem about the first night out, but the warehouse scene in the BB script (which we get the ever shortest glimpse of in the trailer) is just well more frightening and works better.

Yes. But the point is, THE BATMAN still nailed the first night out. There's not "one version" of that tale. THE BATMAN got the "wants to help people" aspect right. BATMAN BEGINS and BATMAN got the "taking down organized crime" aspect of it right. I'm not comparing BATMAN BEGINS and THE BATMAN. I'm saying THE BATMAN got things right.

What do you mean you liked the handling of the origin?

He makes a vow. He trains from a young age to be the best he can be. He's a driven, capable man, and he's even developed his "mask" at this point. They nailed it. BATMAN BEGINS nails a different aspect of it, the fighting.

[quote]It was all comedic, Batman's parents are dead and it felt like a cross between a child's dream comedy (rich enough to do whatever he wants and his techers having to keep up with him, literally) and a bad Rocky training scene (gag...ring bars) and not to mention that Bruce Wayne talked like he was from Pleasentville in it, for hte most part, and he made damn robots and holographic imagery at the age of 8! 8! And his parents being killed for political gain and pre-planned and orchestrated by the Joker is far worse than anything Burton did to the origin of Batman and Joker in '89.

Yes, there are some lighthearted moments. I've already said it wasn't that dark. And yes, Bruce is portrayed as uber-capable, almost a genius. It works, because later on, he utlizes these inventions as Batman and invents other things. Just like he did in the comics. I hate to keep coming back to that, but...

And Joker is a "comedian" of sorts, but very ccreepy. You know like in the comics, like in B'89, like in the O'Neal comics, like in B:TAS,, while the Joker did kill about 5 people in The Batman script, he came off as well...Gene Hackman in Superman. All camp and cheese, Hackman killed one person in STM and tried to kill millions more, but no one took him seriously, and it would have been taht way for the Joker but worse, he would put out bad one-liners like he was doing stand-up for 7 year olds. It reeks of Otis.

I don't have time to point out why that's not true, and why they NAILED The Joker as he was written in that time period. I will later on tonight.

And let's not forget that the Penguin WAS window dressing. He was presented in a boring manner tacked on in the third act just as much as was Robin in the script.

True, but you're completely ignoring the fact that I keep pointing out that that's what The Penguin WAS back then. He had gimmicks, and past that, he was a common crook.

He had no personality

Yes he did.

And Batman going to charity functions was very much in the same root of the '60s TV show and later B&R.

It was also something he did once in the comics. He wasn't always a creature of the night all the time. As I recall, that's not quite what happens. He's accepting an award or something. The key to the city, I believe.

And I am much happier wit hSam Hamm's treatment than that.

So am I, but that doesn't change the fact that THE BATMAN is a solid read. You forgot to mention that James Gordon becomes DAVID Gordon in THE BATMAN. There are weaknesses. There are also many strengths.

So BATMAN BEGINS will be better than THE BATMAN was in 1983? Big surprise. Gosh, it's almost like David Goyer has almost EVERYTHING that defines Post-Crisis Batman AND THE BATMAN and previous Batman scripts to draw from, as well as FOUR BATMAN films, several animated series, and countless action movies that have been made since then. Friend, THE BATMAN absolutely NAILED the feel of Batman from his creation to the time it was written. There's no real argument against that. Has the character itself been improved upon since then? Yes. But nothing will change that THE BATMAN got a LOT right.

[TheVileOne]

I still don't think that script would've worked as a movie. It was way too bloated. And Batman had so much sex in it, almost like, they were trying to hold up a sign or something saying, "HE'S NOT GAY! REALLY!"

[Maxwell Smart]

And thats the problem I had with THE BATMAN, too. The complete devolvement of the last act. They go for this serious story, and while serious things do happen, they're kind of glossed over. I mean, Silver St. Cloud dying was handled well. But the fight before, and Batman killing Rupert Thorne with a giant thumbtack right after it happens? Come on. It was clearly campy in places, but then, so were the comics. The whole "giant props" thing didn't exactly go out in the 60's, it was a staple of Batman comics for a long time. Now, I didn't like it. But I still think the script NAILED that aspect of the mythos as they were in the comics. They got the giant dinosaur and penny in the cave, all the little things that made Batman comics so interesting back then.

I'd love to see what a certain someone could do with a re-write of the third act. Wink wink..

[newwaveboy87]

the scripts first 2/3 is greatness....but like what's been said before the final act was forced and awkward

everything was, fairly, serious and dark and then we get to a part where Joker kidnaps them and holds them hostage on a giant typewriter....LAME

but i did think it was interesting that Joker was responsible for the creation of Robin in the script. it's pretty damn good, and with a couple of rewrites and changes it could've been something really great

[The Guard]

I still don't think that script would've worked as a movie. It was way too bloated.

Way too bloated? Come on now. BATMAN BEGINS will have Ducard, Ra's Al Ghul, The Scarecrow, Carmine Falcone being taken down, the entire origin sequence with Lucious Fox, and in addition, will feature a car chase, action at Arkham and a final plot against Gotham, and several encounters with Ra's Al Ghul. It has a romantic/friendship subplot and a subplot about Earle and Bruce having to reclaim Wayne Enterprises. As THE BATMAN is set up, THE BATMAN works fine, because it's basically a series of escalating events in Gotham City, not a single master plan by a villain.

And Batman had so much sex in it, almost like, they were trying to hold up a sign or something saying, "HE'S NOT GAY! REALLY!"

I think there were three scenes that implied he slept with women. These occur at key moments in his life, and the last one before Silver helps him realize that for all his talents, he's still not doing what he set out to do.
He was supposed to be showing his playboy side, what with the buying of cars and sleeping with hot women and all. They were showing him as one. It was also apparently part of his dark side, and his intense nature coming out, and part of how he released his energy. So he liked women. So what? That's just like the comics, back when Batman used to have a heart and long for love as much as the next man.

I'd love to see what a certain someone could do with a re-write of the third act. Wink wink..

Akiva Goldsman?

Someone said something about The Joker being too silly. The way Joker is portrayed in THE BATMAN is exactly like he was in the comics, a cold-blooded killer whose jokes are only funny to him. He's a big deal in Gotham here, he's pretty much a mob boss. He does his "Joker crimes" to amuse himself and terrorize Gotham, which includes using Kops, utiliziing disguises for himself, and an appearance at the opera, all things he's done in the comics before. And as far as him not being a threat, hardly. The Joker kills a news vendor with an exploding cigar early in the script, he kills Joe Chill later on, leaving him dead with a ghoulish grin, he kills The Mayor of Gotham with another kind of smile toxin, and it's hinted that something else happens at the opera, and more people are in danger or die. Sam Hamm's killed more people. BUt for 1983, this version of The Joker nailed his methods of operation, and his character.

The Silver St. Cloud romance/love triangle/quartet story is done much better than love interests in the previous franchise were done, or movies in general. Silver in this script is smarter, sexier, and more determined than most love interests I've seen in THE BATMAN. She's just all around cool, and a great character with plenty of depth for a love interest, who has a real impact on Bruce Wayne. She actively seeks out what's wrong with Bruce, and why, and tries to be a friend/lover to him, even after she knows he may be Batman. They talk more than any previous love interests have, and the discussions they have do have a lot of meaning. It's fantastic. You see them level with each other, and be honest with each other, and you see real emotion on Bruce's part.

As far as The Penguin goes, they nailed him. He's everything he ever was in the comics: A gimmicky crook who tries to be more than he is and gets foiled more often than not. THE BATMAN showcases his odd nature, his opulant, excessive lifestyle, he talks like The Penguin always has, and he has his gimmicks (birds, umbrellas, etc) and thugs to do his bidding. He and The Joker work well together in their scenes.

Dick Grayson becoming Robin is thrown in, but it's very well done, and never feels fake. There's real emotion to Bruce and Dick's encounter and in how much Bruce cares about Dick and his situation, and a lot of intensity in the death of the Graysons and Bruce and Dick's reactions to this. The duality that both of them share is explored, and there's a good conflict for Dick to overcome before he becomes Robin. His entrance is classic Robin, too.

Councilman Rupert Thorne is also portrayed well. He's a great political character. He's used his connections with The Joker to more or less own Gotham, and is a cold hearted son of a ***** who did what he had to do to reach the top and continues to do so. He even sacrifices the woman he wants (Silver) as bait for The Joker to nail The Batman, and is responsible for her death when he tries to kill Bruce/Batman.

Also, despite this script having a bit of camp, we get to see the effects that becoming The Batman has on Bruce Wayne. We see him get injured and healing. We see him struggling to come to grips with his crusade and facing depression because of it. We see how much he cares for the innocents of Gotham. We see how his relationship with Alfred is strained.

Anyway, something interesting I've found over the years after reading this scrpt, aside from obvious influences it had on BATMAN...THE BATMAN seems to have influenced or preceded some things. Example: This, I believe, was in SPIDER-MAN

EXT. FLAMING BUILDING - NIGHT

A TOWERING INFERNO engulfs a building in a poor section of town.
Flames shoot out of the upper floors as a DISTRAUGHT MOTHER pleads with
the FIREMEN.

MOTHER
But my baby! My baby's still in
there!

FIRE CAPTAIN
It's impossible, lady! I can't send
My men into that tinderbox!

FIREMAN
(staring up in awe)
Look!!

ANGLE ON BATMAN - THEIR P.O.V.

The Batman lands on top of the burning building! Hooking his nylon
cord securely, he shields his face with his cape, then launches himself
downwards, swinging straight through a window in a SHOWER OF GLASS AND
FLAMES!

After an agonizing moment - he reappears! He cradles a BAWLING BABY in
his arms, covers it with his cape, then quickly shimmies down into the
street.

And for those of you who read the BATMAN BEGINS script...

ANGLE ON BRUCE

Looking up. Staring across the room:

The remaining laser beam has eaten away a piece of the basement wall -
there is a dull ECHOING THUD as the plaster hits the bottom of some
unseen cavernous space below.

BACK TO BRUCE

Rising. Crossing curiously to the hole in the wall. Training his
flashlight torch through it.

ANGLE DOWN HOLE - HIS P.O.V.

AN IMMENSE CAVERN trails down and away into the blackness. A network
of aged timbers intersect themselves, shoring up the side of the
foundation.

BACK TO BRUCE

Staring. Playing his flashlight against the visible parts of the
underground cavity. He picks up a beaker from the lab table, then lets
it fall through the hole. There is an interminable wait. Finally -
the impact of SHATTERING GLASS.

ANGLE BACK THROUGH HOLE

Seen from inside: the torch beam shines. Suddenly - a long length of
rope is tossed through. Bruce appears in the opening. He wriggles
through, hanging on to the rope.

Bruce expertly shimmies down the rope, a man completely at home in an
action he knows well. The beam from the torch dances across the walls
of the cavern: high-ribbed, jagged walls, suggesting some sort of
labyrinth beyond. The rope has played out. Bruce hangs by the end,
looks down, lets himself fall to the cavern floor below.

He rises, plays the torch against the sides of the cave.

ANGLE ON BEAM - HIS P.O.V.

The beam searches into crannies, exploring dark gray walls. It comes
across a large patch of solid black.

BACK TO BRUCE

Looking curiously.

BACK TO BLACK PATCH

As the beam hits the black patch fully - dozens of yellow eyes appear.
The entire mass LAUNCHES ITSELF INTO CAMERA with a terrifying screech
and the sound of beating wings.

BACK TO BRUCE

His jaw drops, stunned, as THE COLONY OF BATS swarm over him! He
stumbles, protecting his face. The torch drops to the floor. Its
shaft of light dances crazily around the cavern.

From O.S. - a low moan is heard from Bruce. It rises, gathers in
volume and intensity, gradually becoming a deep, booming guttural roar
- at once a scream of total pain and a cry of defiance. The terrified
bats scream back in a maze of hot and cold light bouncing off beating
black wings.

INT. ALFRED'S BEDROOM - NIGHT

The wind and rain batter against Alfred's partially open bedroom
window. Mixed with the sounds - a strong echo of the roar from the
cavern. Alfred's eyes pop open. He rises groggily, makes his way to
the window, closes it. CAMERA HOLDS on window, PANS UP to the moon.

DISSOLVE THROUGH TO:

EXT. CEMETERY - CLOSE ON MOON - NIGHT

A FLASHING LIGHTNING BOLT: CAMERA PANS DOWN from the moon through the
raging storm to the graves of Thomas and Martha Wayne in the country
cemetery, high on the hill.

Kneeling between them is Bruce - fists clenched, head bowed, tiny
rivulets of water running off his face and body - totally lost in
silent prayer.

BRUCE'S VOICE
I've worked hard to make you proud of
me. To become the kind of person
whose presence could make a difference
in the world. But one man can only do
only so much, Father. Mother, to-
night I saw the sign I thought would
never come. Now - for the first time
I realize I must...be...more...than
a man.

And for those of you who like Goyer's take on The Batmobile.

EXT. STREET - NIGHT

The Batmobile is about to become a sandwich as Batman suddenly squeals
the vehicle into a parking building! The Hood Cars do respective 180's
and follow suit.

INT. PARKING BUILDING - NIGHT

The Batmobile roars around hairpin turns, ascending the levels of the
parking building like a sportscar.

The Hood Cars screech after him, gaining speed. They pursue Batman
higher and higher, threading the narrow openings through the lines of
parked cars, tearing off side mirrors, doors, and fenders on their way
by.

ANGLE ON HIGHER LEVEL

The Batmobile, reaching the level just under the roof, squeals around a
corner, catches the fender of a parked car, and spins out of control!

Batman slams on the brakes as the Batmobile skids and turns to face:

The two Hood Cars, which have stopped so that they are completely
blocking off the exit ramps, up and down. The OCCUPANTS stare in
amazement as the Batmobile suddenly roars at them!

INT. BATMOBILE - NIGHT

Batman's jaw sets as he looks forward.

ANGLE THROUGH WINDSHIELD

A sign at the bottom of a narrow ramp leading to the roof screams in
red letters: WRONG WAY - DO NOT ENTER - SEVERE TIRE DAMAGE!

BACK TO PARKING LEVEL

The Batmobile shoots up the wrong-way ramp!

CLOSE OF METAL TEETH

As the Batmobile's tires make contact with the viciously protruding
metal teeth - ALL FOUR TIRES BLOW! The vehicle roars on, flub-a-
dubbing up toward the roof.

EXT. ROOF - NIGHT

The Batmobile exits onto the roof as the two Hood Cars, appearing from
the proper ramp, fan out to flank it.

ANGLE ON PENGUIN IN AIR

The Penguin takes up a position in mid-air just above and past the
roof, "clucking" with glee as he sees the Batman is hopelessly trapped.

BACK TO ROOF

The two Hood Cars close in on the Batmobile from either side. Batman
is running out of room.

INT. BATMOBILE - NIGHT

Silver looks through the windshield in despair!

ANGLE THROUGH WINDSHIELD

The edge of the roof looms up rapidly!

SILVER'S VOICE
Oh, my God!

She looks over at Batman whose JAW SUDDENLY TWITCHES!

EXTREME CLOSE ON SILVER

She has seen his jaw twitch! She stares in disbelief, realizing the
implications.

SILVER
(whisper)
Oh, my God...

BATMAN
Hang on!

Batman presses a RED BUTTON!

EXTREME CLOSE ON EXHAUST

The Batmobile's twin turbine engines EXPLODE WITH A WHITE FLAME! Jet-
propelled afterburners ignite!

WIDER ANGLE

The Batmobile has reached the edge of the roof, now LAUNCHES ITSELF
into space in an upwards arc!

[TheVileOne]

Way too bloated? Come on now. BATMAN BEGINS will have Ducard, Ra's Al Ghul, The Scarecrow, Carmine Falcone being taken down, the entire origin sequence with Lucious Fox, and in addition, will feature a car chase, action at Arkham and a final plot against Gotham, and several encounters with Ra's Al Ghul. It has a romantic/friendship subplot and a subplot about Earle and Bruce having to reclaim Wayne Enterprises. As THE BATMAN is set up, THE BATMAN works fine, because it's basically a series of escalating events in Gotham City, not a single master plan by a villain.


Begins does do all that. I read the first draft, and it wasn't perfect. It had potential, but I still think it needed a lot of polishing. However, I think with all those elements you mentioned in mind, it managed to keep great focus on Batman, and I think that's the important thing.

The Batman script just came off as somewhat more convoluted to me, there was just way too much going on and it just didn't seem to fit together, where as in the draft I read for Batman Begins...things seem to mesh quite well IMHO...for the most part :) .


I think there were three scenes that implied he slept with women. These occur at key moments in his life, and the last one before Silver helps him realize that for all his talents, he's still not doing what he set out to do.
He was supposed to be showing his playboy side, what with the buying of cars and sleeping with hot women and all. They were showing him as one. It was also apparently part of his dark side, and his intense nature coming out, and part of how he released his energy. So he liked women. So what? That's just like the comics, back when Batman used to have a heart and long for love as much as the next man.


I just thought the scene in the car after his graduation was just...a little too indulgent for my tastes. I just think its better when you know, you want Batman to get laid...but he doesn't. And I didn't really get that whole dark side and nature coming out of him in the bedroom. If anything it comes out of him being Batman.

Though I will say, there are moments in Goyer's first draft that kind of reminded me of this script.

[The Batman]

parts of the batman script are better than begins, imo.

Mank supposedly did a rewrite after this as well...

[DACrowe]

I will not argue it completely, but I will say that The Batman had great moments but was ultimately mediocre, Batman was not, and I hope Batman Begins will not be either now.

[The Guard]

I don't know, I think it was fantastic. Mediocre implies it had nothing really touching or exceptional about it. That's just not the case. It was easily on par with what we saw from SUPERMAN or even BATMAN, given the source material it was working from.

[Maxwell Smart]

I don't know, I think it was fantastic. Mediocre implies it had nothing really touching or exceptional about it. That's just not the case. It was easily on par with what we saw from SUPERMAN or even BATMAN, given the source material it was working from.

I agree. Honestly, even in the post-DKR world I think with some modifications it still could have made a good film.

[DACrowe]

I do miss that giant type-writer in BB now. ;) :p

[Maxwell Smart]

I do miss that giant type-writer in BB now. ;) :p

Um, notice that the word modifications is in there, chief.

[ron bond 007]

I would have loved to seen this made into a movie back in 1984 better than what Tim Burton or Joel Schumacher would have done. Though I prefer Schumacher's Batman films. I heard it was going to be epic like the Superman films. What I really liked about it was Robin was going to appear at the end in full costume and would have set the stage for sequels. I really like Robin. I have always thought Batman was fun with Robin when I used to watch the Batman cartoons when I was a kid. And of course the Joker was in it too. However I don't seem to recall a Batmobile or Batplane being in this version but I heard it was going to be like the Batman comics of the 70's/80's and was going to feature Bruce's girlfriend Siver St.Cloud.

I also heard it was going to be a two-picture series similar to Superman I & II. Batman and Robin would have been a team throughout the sequel.

:wow: :word:

[El Payaso]

Though I prefer Schumacher's Batman films.
I really like Robin.
I have always thought Batman was fun with Robin

:woot:

[AndrewGilkison]

I heard Mank did a rewrite on this script, and that that draft was much better than this one.

[superdupersuper]

yes the mank did do a rewrite and it didnt have much or any camp at all

same with the superman and superman 2

if you watch superman and superman 2 donner cut back to back now, you will see little if any camp at all, Richard donner didnt even properly finish part 2 nor part 1, he was actually forced to finish part 1 earlier because of the salkinds. Had he had more time, both movies would have been near on perfect. screw them salkinds!

i think makiewicz script would have been fine and would have been the best.