My First Comic Script

I recently wrote a Batman comic script for fun. I've read comics for years but this is the first time I ever tried to write one. Like most single issues, its only twenty pages long, but this brutal gothic tragedy still took me nine months to complete. Reading a comic script is just like reading a movie script; its a very cinematic medium. If you don't already read movie scripts for fun, I highly recommend it (and you have to do the voices).

I have presented my script below for your perusal, but before we begin, I'd like to introduce the main characters with a few of my illustrations:

Batman

He's a pop culture icon so I'm sure you already know everything you need to know about Batman. After witnessing the murder of his parents, Bruce Wayne vowed to rid Gotham City of the evil that took their lives. By day he is a billionaire philanthropist, and by night he uses his intellect, fighting skills, gadgets and the menacing persona of the Batman to strike fear into the hearts of criminals.

Veronica Vreeland

A socialite best known for her appearances in the celebrated TV show, Batman: The Animated Series. She's exuberant, cunning and wealthy, and frequently falls afoul of Batman's rogues gallery.

Edith Amary

An original character for this tale, Edith is an old friend of Veronica's. She's a respected but lonely psychiatrist.

The Scarecrow

Fear is the obsession of Jonathan Crane, the former Professor of Psychology who became the criminal supervillain known as the Scarecrow. He has engineered a toxin that drives victims into a frenzied state of fear, and remains one of the Batman's most enduring enemies.

LA BELLE DAME SANS MERCI

A Batman Story by

Daniel Cheeseman

Page 1.

Panel 1:

Splash page: The Gotham Gazette. Large black and white photograph of Batman at a chemical plant, standing over a terrified, unmasked Scarecrow. He has a black eye.

Headline: Nothing to Fear!

Sub-headline: The Batman gives Scarecrow a taste of his own medicine

by Alexander Knox

Spectacular scenes rocked Gotham City last night as the mysterious Caped Crusader fought to save the life of a captive professor aboard a burning dirigible. In a stunning climax at Axis Chemicals, the Dark Knight once more apprehended the self-proclaimed Master of Fear, Jonathan Crane, a.k.a The Scarecrow. For the full story, turn to Page 4 now!

Small Adverts appear down the right-hand side of the page. One of them is the story credits:

-Join Flass Security Services

Doormen got it made in Gotham!

-Start your Christmas Shopping now at Shreck’s Department Store

-DC Comics presents Batman in LA BELLE DAME SANS MERCI

Dan Cheeseman -Writer Dan Cheeseman – Pencils, Inks & Colours

Bottom of page:

Black and white academic head-and-shoulders picture of Crane. His hair is neat, he wears large glasses and a tweed suit.

Doctor Jonathan Crane

A retrospective by Warren Spacey

As with so many of our citizens, the tale of Jonathan Crane is a tragic one. As a boy, Jonathan was kept locked in an atrium by his Great-Grandmother, where he was pecked at continually by her trained, ravenous crows.

As a teenager, Crane murdered a young woman he’d been stalking, and paralysed her boyfriend, a star athlete.

Convinced that all humans are a cowardly and superstitious lot, Crane was dismissed from his position as Professor of Psychology at Gotham University for firing a revolver in a crowded classroom…

The comic page ends before the newspaper article does; it’s cut off.

CAPTION- VERONICA: A matter of weeks ago, my greatest fear was my trust fund running out.

Page 2.

Panel 1:

INTERIOR, VREELAND MANOR, DAY

Large panel. Veronica and Pierce lounge on a long, luxurious sofa. It’s like a Walter Crane illustration, except the opulence is faded; the Ming vase is cracked, Veronica’s gown sports a patch, etc. Veronica is reading the newspaper.

PIERCE: Yawn! Is that poor Dr Crane getting pummelled by Gotham’s favourite bully again, dear?

VERONICA: According to this article, ‘Poor Dr Crane’ would be Rich Dr Crane if he were allowed to publish his theories…

Panel 2:

Pierce looks alarmed and stands to leave.

PIERCE: If you’re thinking of getting involved with another of that costumed crowd, you can count me out.

Panel 3:

Close on Veronica, smiling like a Slytherin.

PIERCE, from off-panel: Promise you won’t, Vee?

VERONICA: I promise…

Panel 4:

INTERIOR, ARKHAM ASYLUM, NIGHT

Close on Crane. His sad face is striped with the shadows of the cell bars. He still sports a black eye. A shadow on the floor of his cell tells us that Batman is standing without, under artificial light, looking in.

CRANE: I suppose a monster like me is destined to spend his life alone in the dark, eh, Batman?

Panel 5:

INTERIOR, THE BATCAVE, NIGHT

Large panel. Panels 2, 3 and 4 sit in the middle like the filling in a sandwich. We can see almost the entire Batcave. The robot dinosaur, the giant penny, the Joker card. Small glass cases house Joe Chill’s gun, Thomas Wayne’s letter and Rorschach’s journal. Large glass cases contain suits old and new, belonging to Batman, Robin and Batgirl (might be nice to showcase a cool new suit here). Batman sits in the centre of it, staring at blank Batcomputer screens. His mask is off; his face is serious. An elbow is crooked on the arm of the chair so he can support his chin with his hand.

CAPTION- BATMAN: Monsters like us, Crane.

Page 3.

Panel 1:

We see a slightly sepia-toned flashback photo of Veronica and Edith in their college years. They’re laughing together.

CAPTION- VERONICA: Before I became Gotham’s foremost socialite, daddy made me attend Gotham University, where I’d been close friends with Psychology major Edith Amary. She was the hard-working type and didn’t have the funds to mix with my set, so we’d drifted apart. However, when I gave her a call, she was eager to see me again.

Panel 2:

EXTERIOR, FINGER’S FOOD CAFE, DAY

Juxtaposed with Panel 1 are Veronica and Edith reunited, at a swanky cafe. They’re older but sitting in similar poses and they’re still laughing.

EDITH: …And they were dressed as a vulture, a fox and a shark!

VERONICA: Oh darling, it’s been too long!

Panel 3:

Veronica is serious again. She points at the newspaper she’s brought.

VERONICA: Edie dear, you always admired the dashing Dr Crane, didn’t you?

EDITH: Yeah sure, before he became a maniac, he was my favourite professor! In all my years since, I’ve never met a mind like his.

Panel 4:

Veronica smiles and leans across the table towards Edith. Edith looks taken aback.

VERONICA: Well, I was thinking its high time you renewed your acquaintance.

EDITH: You don’t know what you’re messing with, Veronica. This man has an antisocial personality disorder. He’d kill us without a second thought.

Panel 5:

Edith’s POV. Veronica looks shrewd and calculating. She’s smirking as she speaks.

VERONICA: But he’s locked away in Arkham! We’d only be writing to him, dear! And I’d compensate you handsomely. We look after each other, remember?

Panel 6:

Veronica’s POV. Edith looks horror-stricken.

Page 4.

Panel 1:

INTERIOR, EDITH’S APARTMENT, DAY

We see Veronica leaning over Edith’s shoulder as she types on an old typewriter. Edith is concentrating, looks worried.

CAPTION- VERONICA: So that was the plan; flatter one of the world’s most notorious supervillains into telling us his wild, discredited theories, and then get rich off the book deal. We agreed to split everything 60/40 as it was my idea after all.

Panel 2:

INTERIOR, ARKHAM ASYLUM CELL, NIGHT

Crane reads the letters greedily in his cell.

Panel 3:

He writes back with equal fervour.

CAPTION- VERONICA: We wrote every letter together. We started gentle, reminding Crane of his best student, and how much the profession had suffered without him. Then we started talking about specific theories and let his desire to impress do the rest.

Panel 4:

INTERIOR, EDITH’S APARTMENT, DAY

Same shot of Veronica and Edith typing as Panel 1, but now they’re enjoying it. They have a glass of wine each and the palette is warmer. Veronica is encouraging Edith to write something flirty.

CAPTION- VERONICA: It was like old times. And Crane must have been taking lessons from Poison Ivy; he was much more charming than the newsreels would have you believe.

Panel 5:

INTERIOR, EDITH’S APARTMENT, NIGHT

Edith writes to Crane on her own, eagerly, by candlelight.

Panel 6:

Close on bottom of letter:

Signs, ‘All My Love, Edith’

Panel 7:

INTERIOR, ARKHAM ASYLUM CELL, NIGHT

Crane hugs the letter, his eyes closed, a happy smile on his face

Page 5.

Panel 1:

INTERIOR, EDITH’S APARTMENT, NIGHT

Edith is typing. Veronica walks in and clocks the pile of paper next to her

VERONICA: Edie! There’s nearly a thousand pages here! Why are you still writing to that whack job?

Panel 2:

Edith blushes and her eyes fill with tears

EDITH: Because he’s sweet and kind! I don’t want to take advantage of him anymore! Let’s burn this book and never speak of this again!

Panel 3:

Veronica grabs the pile of paper. Her face is a mask of fury.

VERONICA: Like hell we will! I want you to break it off with Crane; I can’t have you two conspiring against me! I know what these freaks are like!

Panel 4:

Edith is standing now, angry. Veronica is calm again.

EDITH: And if I don’t?

VERONICA: Then I cut you off; no more money. And when I tell everyone about that malpractice daddy covered up for you all those years ago, you’ll never work in Gotham again!

Panel 5:

Edith is at the typewriter, tears streaming down her face. Veronica is standing over her, instructing her<

CAPTION- VERONICA: We wrote the final letter together, though the mood couldn’t have been more different.

Panel 6:

INTERIOR, ARKHAM ASYLUM CELL, NIGHT

Crane reads the letter.

Panel 7:

Crane’s face changes to manic rage.

Page 6.

Panel 1:

INTERIOR, GOTHAM CITY GRAND BALLROOM, EVENING

Large panel. It’s a swanky soiree. Waiters attend with drinks and canapés. Veronica is back in the pink; she’s wearing lots of sparkling jewellery and a glittery dress. She’s the centre of attention. Pierce is there, looking smug as usual. Some of Veronica’s audience are rolling their eyes. Bruce stands at the edge of the crowd in a dark suit, looking serious.

GUEST: So, are you back in the General’s good graces again, Veronica?

VERONICA: Actually, darling, I funded the publication of a best-selling book! I always did have an eye for talent, you know.

Panel 2:

A flunky appears at Veronica’s elbow. She looks annoyed

FLUNKY: Telephone for you, Ms Vreeland!

Panel 3:

Veronica stands in an empty hallway and holds an old-fashioned phone to her ear. She looks angry.

VOICE from phone: Good evening, Veronica, this is your doctor speaking. I understand you’ve become afflicted with a nasty case of aporophobia?

VERONICA: You’re not my doctor!

Panel 4:

INTERIOR, A DARK ROOM

Scarecrow’s eyes and teeth glow in the dark as he holds a phone to his ear. His speech appears as jagged text. Edith’s speech bubble comes from off-panel.

SCARECROW: Well then, how about your business partner?

EDITH: Veronica! Help!

Panel 5:

Close on Veronica, still holding the phone. She looks terrified.

Page 7.

Panel 1:

EXTERIOR, GCPD ROOFTOP, NIGHT

Commissioner Gordon stands by the lit Bat-Signal with his hands in his pockets. Storm clouds linger overhead.

CAPTION- BATMAN: I can tell already from Gordon’s body language. Another dangerous patient has escaped Arkham Asylum.

BATMAN (from off-panel): Trouble, Jim?

Panel 2:

At the edge of the panel, we see Gordon’s head and shoulders from behind; he’s turned to face a shadow. We can barely make out the Batman; only his eyes are easy to see.

GORDON: Well, I didn’t call you here for your eloquent small talk. The Scarecrow has escaped from Arkham.

Panel 3:

Batman perches on the edge of the building, preparing to leave. Gordon stands behind him, a finger raised and his mouth wide, as if trying to get the last word in.

GORDON: …And Veronica Vreeland’s staff have reported she’s gone missing.

Panel 4:

Just Batman’s head and shoulders. It begins to rain. Batman is looking back over his shoulder at Gordon.

BATMAN: Do you think the two could be linked?

Panel 5:

Just Gordon’s head and torso. He tilts his head to the side. His mouth is open and his waving a hand in a half-shrug.

GORDON: No idea. She left a party early and was last sighted withdrawing a ridiculous sum from the Gotham National Bank. For all we know, she’s just buying herself a new ivory back scratcher. What do you think?

Panel 6:

Long panel. Batman dives off the roof spectacularly.

CAPTION- BATMAN AT TOP OF PANEL: This doesn’t make sense. Crane isn’t interested in money.

BATMAN at bottom of panel: In any case, I think Vreeland is in over her head. Again.

Page 8.

Panel 1:

INTERIOR, PIERCE CHAPMAN’S MANOR, NIGHT

Pierce stumbles in, a little drunk. The house is dark, but we can still make out that its far fancier than Veronica’s. He doesn’t notice a nearby window, which has a small, smashed pane and has been lifted part-way. The rain is heavier now.

PIERCE: Carruthers! Where are you? I want my breakfast!

Panel 2:

Close on Pierce’s eyes, narrowed

PIERCE: Is that you, Carruthers?

Panel 3:

Blurry humanoid shape down the hallway.

Panel 4:

Same shot as Panel 3 but shape is closer now and we can see its Batman.

Panel 5:

Batman’s POV. Pierce recoils, falling backwards to the floor. Batman’s arms reach towards him from off-panel. His fingers are long and creepy, as in Arkham Asylum: A Serious House on Serious Earth.

PIERCE: B-Batman?!

Panel 6:

We’re behind Pierce, facing Batman. Batman looms over Pierce, his hands clutching his victim’s shirt collar.Pierce is awkwardly kneeling.

BATMAN: Veronica Vreeland has disappeared. What’s her connection to Crane?

PIERCE: S-Scarecrow? She was using him! She appealed to his vanity and published a book of his theories to get her fortune back! That’s all I know, I promise!

Panel 7:

Just Batman’s head and shoulders. His body is facing us but his head is turned to the side; Batman is looking away from Pierce, thinking.

CAPTION- BATMAN: I know where they are.

Pages 9. & 10.

Panel 1.

EXTERIOR, GOTHAM BAY, NIGHT

Splash page (no pun intended). The Batboat zooms through the water, kicking up spray. We see it from only about a foot above. It’s a ¾ angle, as used in car photography. It’s still raining. The lights of Gotham and the Bat-Signal glow in the distance.

SERIES OF THREE CAPTIONS– BATMAN: He could have taken her to the Asylum, but it isn’t madness she’s frightened of.

He could have taken her to the Narrows, but you never know what you’ll find there.

He had to lead her somewhere she was guaranteed to meet desperate criminals– the kind that would tear her apart for her ill-gotten fortune.

Page 11.

Panel 1:

EXTERIOR, GOTHAM BAY, NIGHT

We see the Batboat from the rear, approaching Blackgate, which sits high atop jagged cliffs.

BATMAN CAPTION: Blackgate Prison.

Panel 2:

EXTERIOR, CLIFFS SURROUNDING BLACKGATE

A bald, heavily tattooed woman dressed in a cobbled-together Batgirl costume (no mask or sleeves) aims a sniper rifle

Panel 3:

Close on the Batboat cockpit, Batman visible inside, steering and gritting his teeth. The shot ricochets off the bulletproof glass.

SFX: Ping!

BATMAN CAPTION: Crane has recruited some new thugs here. Fast work.

Panel 4:

A skinny, elderly man in a makeshift Nightwing costume helps an overweight, muscular man in a Robin costume load a bazooka. We’re seeing them from the side, standing on the cliffs. They’re about as tall as the panel.

Panel 5:

’Robin’ takes aim. Close on his face and the bazooka as he looks down the sight.

Panel 6:

A high angle on the Batboat driving towards us. The rocket hits the water nearby, kicking up spray; the shot missed. A curving white line shows the path of the rocket from the cliffs to the bay.

SFX: SPLOSH!

Page 12.

Panel 1:

INTERIOR, BATBOAT, NIGHT

Large panel. We’re looking over Batman’s shoulder. In front of him are dozens of buttons, levers and the bat-shaped steering wheel. Through the windscreen, we can see the cliffs approaching and the tiny shapes of Scarecrow’s thugs standing on them. Batman pushes a large, important-looking button.

Panel 2:

EXTERIOR, CLIFFS SURROUNDING BLACKGATE, NIGHT

Small panel. In the foreground stand the thugs, with their backs to us. They aren’t blocking our view of the approaching Batboat.

Panel 3:

Small panel. It’s the same shot except the Batboat is sinking into the water; maybe only a bit of the cockpit roof and the fin on top can be seen.

Panel 4:

Small panel. Same shot again except now the Batboat has disappeared below the water. The thugs are looking at each other, shocked.

Panel 5:

We’re underwater with the Batboat which is now a Bat-Submarine. It is firing a torpedo, which has only so far made it a metre from the submarine.

Panel 6:

The torpedo hits the cliffs below the thugs, sending them tumbling into the water. As with the bazooka, we can see the path the torpedo took.

SFX: KAPOWWW!

Page 13.

Panel 1:

Large panel. Batman stands on the cliffs. A man in a suit is laying before him, in a pool of blood. The bodies of guards lay nearby. Their faces are frozen masks of terror. In the distant background, we can see the thugs treading water.

BATMAN CAPTION, TOP OF PAGE: Warden Crichton. Scarecrow must have taken over the entire prison.

BATMAN: Alfred?

ALFRED TRANSMISSION: Yes, Master Bruce?

BATMAN: Alert the Commissioner; he needs to get a SWAT team over to Blackgate.

ALFRED TRANSMISSION: Well, I was busy dusting the dinosaur and the giant penny, but I shall make this my new priority, sir.

Panel 2:

Small panel. Close on Batman’s hands. Batman tries the front door.

BATMAN CAPTION: Locked.

Panel 3:

Small panel. Batman sprays the door with explosive gel (as in the Arkham video games).

Panel 4:

Batman is crouching in the foreground behind a pillar. In the background, we can see the doorway he was just standing at. His finger is on the trigger of a remote device.

Panel 5:

The doorway fills the frame. The doors explode inwards.

SFX: BOOOOM!

Page 14.

Panel 1:

INTERIOR, BLACKGATE PENITENTIARY

A crowd of inmates stand in the foyer. They are in the foreground with their backs to us. Brown gas swirls around their feet. Facing us and the inmates, standing in the smouldering doorway, is Batman. He looks terrifying; all exaggerated proportions.

BATMAN CAPTION: Scarecrow is buying himself time with these thugs. I need to get past them and leave them to the cops.

Panel 2:

An inmate with eyes like Nicholas Cage swings a drainpipe at Batman, who is already ducking. Batman stands to the left of the panel, with the inmate on the right. Their bodies are facing us, as in a play.

BATMAN CAPTION: Scarecrow has been experimenting on the inmates.

Panel 3:

Same angle as Panel 2. Batman punches the inmate in the belly; he creases, grimacing in pain. A second inmate stands behind Batman, his arm already in motion. He’s trying to punch him in the back of the head.

BATMAN CAPTION: They’re attacking out of fear.

Panel 4:

Same angle again. The first inmate hits the floor as Batman sidesteps the incoming punch and lands one on the second inmate with the back of his fist, not even looking at him. It’s a wide panel and we can see the crowd of inmates closing in. On the wall is a public address system.

SCARECROW VIA P.A. SYSTEM (same jagged font as before): Looks like your new friends are suffering from chiroptophobia, eh Batman?

Panel 5:

A low angle of the crowd looking up all around us as Batman grapples up to the high ceiling. They’re sweating and screaming.

SCARECROW VIA P.A. SYSTEM: As one of your more colorful adversaries, I haven’t spent much time here, but it’s growing on me.

Panel 6:

Batman climbs into a ventilation shaft.

SCARECROW VIA P.A. SYSTEM: Blackgateis perfect for studying fears of incarceration, water, heights…

BATMAN CAPTION: He’s in the tower.

Page 15.

Panel 1.

EXTERIOR, BLACKGATE PRISON, NIGHT

Establishing shot. We’re looking down on Blackgate from slightly above. The corner closest to us is a tall, gothic watchtower. It’s raining hard and forked lightning is striking in the distance.

Panel 2.

INTERIOR, BLACKGATE PRISON WATCHTOWER, NIGHT

We’re slightly above the characters. Their bodies are facing us but their heads are turned towards each other. Scarecrow is holding a flaming torch and gesturing conversationally with his other hand. The light casts weird shadows, making his mask appear even more frightening. Edith is seated in an electric chair, covered in cobwebs.

SCARECROW: You know, my dear, killers like Falcone, Thorne or Cobblepotwould be long dead if the Wayne family hadn’t used their political influence to keep capital punishment illegal in this state.

EDITH: I don’t care what you do to me, Jonathan. I still love you.

VERONICA (from off-panel): Let her go, Crane!

Panel 3.

Edith’s POV. Veronica stands in the middle of the room, wearing a trench coat and holding a large briefcase. Both Edith and Scarecrow have turned to face her.

SCARECROW: Ah, Ms. Vreeland. How good of you to join us. Be a dear and hand over my money, will you?

Panel 4.

We’re off to the side of the action, as in a side-scrolling computer game. Veronica (on our left) throws the case at Scarecrow’s feet (on our right).

Panel 5.

Close on Scarecrow and the case. We’re looking over Scarecrow’s shoulder. Scarecrow opens the case. Its full of $100 bills.

SCARECROW: I didn’t become a psychiatrist for the money or fame, Ms. Vreeland. Unlike you, I have integrity.

Panel 6.

Full body shot of Scarecrow, at a ¾ angle. He lowers the torch, setting light to the corner of the open case. The money begins to smoulder.

Page 16.

Panel 1.

Scarecrow’s POV. Veronica is facing us, holding a large pistol with a straight arm. She looks professional (probably trained to shoot by General Vreeland). Her body is facing sideways. The trench coat flaps in the breeze.

VERONICA: Crane! Put the fire out and release Edith. Now.

Panel 2.

Same angle. Batman steps from the shadows behind Veronica.

BATMAN: Put the gun down, Veronica.

Panel 3.

Close on Veronica from waist up. Veronica fires the gun. She looks shocked, as if she didn’t know she had it in her.

SFX: BLAM!

Panel 4.

Close on Scarecrow’s upper half. He winces as the bullet passes through his arm.

Panel 5.

Close on Edith, wincing too. The bullet hits her in the heart, spraying blood.

Page 17.

Panel 1.

Scarecrow stands over Edith, shaking. Through his mask, we can see he’s crying. Blood pours down his arm, and from Edith’s chest. With his good arm, he’s freeing Edith from her restraints.

The torch lays discarded at his feet. The money is consumed in fire now, and the fire is spreading to the exposed wooden floorboards.

SCARECROW (Font now normal): No, no, no...I never meant for this…

Panel 2.

Close on Edith. We’re viewing her from above. She’s laying back in the chair. She smiles. She looks in pain but at peace.

EDITH (Small font): Goodbye, Jonathan.

Panel 3.

Close on Edith. She lays lifeless in the electric chair. Her eyes remain open, staring at nothing.

Panel 4.

Edith’s former POV. Veronica is still standing as she was, but her muscles are looser; she seems weighed down by the smoking gun she’s still holding out in front of her. Tears pour down her cheeks. Batman is now standing close to her, just behind her. His face shows no emotion.

Panel 5.

Closer on them both; from waist up. Batman grabs the gun from Veronica’s hand. Its neither a violent nor a caring movement; it’s just done efficiently. Veronica watches him as he does it.

Page 18.

Panel 1.

The fire rises. Veronica’s POV. Scarecrow looks over his shoulder and sees Batman approaching him.

Panel 2.

Same angle as Panel 1. Scarecrow flees towards the balcony. Batman pursues him, also running now.

Panel 3.

EXTERIOR, BLACKGATE TOWER, NIGHT

The pouring rain ricochets as it hits the balcony. Scarecrow stands up against the balustrade, facing us and Batman. He’s holding a flintlock pistol and its pointed at Batman. His other hand clutches his forehead. He’s still crying. Batman stands two metres from him. His ready arms and hands are splayed and his cape swirls about him, as in Neal Adams’ artwork.

SCARECROW: To fear love is to fear life, Batman, and those who fear life are already dead.

Panel 4.

Scarecrow leaps from the balcony.

Panel 5.

Long panel. We’re down at sea-level and see Scarecrow splash into the water. White lines indicate his trajectory from the tower down to the water.

Page 19.

Panel 1.

EXTERIOR, BLACKGATE TOWER, NIGHT

Batman stands with his hands rested on the balustrade. His head is turned up and to the side, so he can see the tower behind him. It’s totally engulfed in flame.

Panel 2.

INTERIOR, BLACKGATE TOWER, NIGHT

Batman charges through the fire, towards us. Smoke billows around him. He holds his cape with his arms crossed in front of him, to protect himself.

Panel 3.

At the foot of the electric chair, Veronica sits cradling Edith’s lifeless body in her lap. She’s bent over her, sobbing. The chair is consumed in fire. The fire has spread to the hair and clothing of both women too. Batman is at the very edge of the panel, rushing towards them. We’re looking over his shoulder.

Panel 4.

We’re seeing the action from about a foot above and a couple of feet away. Batman seizes Veronica by the arm. She scowls and cries still. She’s pulling away from him.

VERONICA: No, leave me!

Panel 5.

Edith’s former POV. Batman is walking away from us, towards the doorway. He has Veronica over his shoulder. She’s clawing at him with one hand and reaching for Edith with the other.

Page 20

EXTERIOR, GOTHAM CEMETERY, DAY

Panel 1.

It’s a stark Autumn morning. The few remaining leaves are falling from the trees. Veronica stands all in black at Edith’s grave. She has her back to us so we can see Edith’s name clearly on the stone. Veronica’s posture is slightly hunched with grief, but she doesn’t look pathetic.

Panel 2.

Now we can see the back of the gravestone and Veronica’s body is facing us. We can also see she’s wearing a veil. Bruce approaches from her left, also in funeral garb, holding out a hand as if about to place it on her shoulder. His face is sympathetic.

BRUCE: Veronica, I’m so sorry.

Panel 3.

We can see them both from a similar angle but we’re closer on them now. We can only see them from the waist up. Veronica has swivelled rapidly towards Bruce and gesticulates wildly. Bruce’s hand stays in mid-air as he leans back slightly from this sudden move.

VERONICA: Why? You didn’t shoot her!

BRUCE: You mustn’t blame yourself, Vee…

Panel 4.

Close on Veronica’s face, now quite visible beneath the veil. She’s suffered burns and the hair protruding from her hat is wild and patchy. She’s angry.

VERONICA: And I don’t! It was Crane who brought us there! It was Crane who left me penniless! It was Crane who poisoned me with his toxin, no matter what Gotham General says! It was Crane who killed Edith!

Panel 5.

Veronica’s POV. We’re looking directly at Bruce now. Just his head and shoulders. His arms are down by his sides and his back is straight. His jaw is set; it’s clear that this is the man behind the bat.

BRUCE: Don’t worry, Veronica. Scarecrow will get what’s coming to him.

Panel 6.

Large panel. We’re just in front of Veronica, looking at her face-on. She is leaving the graveyard. The veil is gone. Black, mascara-laden tears fall down her burnt cheeks. She looks determined. Bruce remains in the distance behind her, at Edith’s graveside. He is sadly watching her go.

CAPTION- VERONICA: He certainly will, Bruce. It’s all I’ve got left. My greatest fear is failing you now, Edith. If it’s the last thing I do, I will kill Jonathan Crane.

The end! If you've made it this far, thanks for sticking with it. Let me know what you thought on Wix, Twitter, Instagram or our Facebook page. See you next time, same Bat-Time, same Bat-Channel!