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JOKER GRAPHIC NOVEL ALAN MOORE THE KILLING JOKE (46 PAGES) PAGE 1 (PANEL) 1.

WELL, IVE CHECKED THE LANDING GEAR, FASTENED MY SEATBELT, SWALLOWED MY CIGAR IN A SINGLE G LP AND GRO ND MY SCOTCH AND SODA O T IN THE ASTRAY PROVIDED, SO I S PPOSE WERE ALL SET FOR TAKE OFF. BEFORE WE GO SCREECHING OFF INTO THOSE ANGRY CREATIVE SKIES FROM WHICH WE MAY BOTH WELL RET RN AS BLACKENED CINDERS, I S PPOSE A FEW PRELIMINARY NOTES ARE IN ORDER, SO SIT BACK WHILE I R N THRO GH THEM WITH ACCOMPANYING HAND MOVEMENTS FROM O T CHARMING STEWARDESS IN THE CENTRE AISLE. FIRSTLY, SINCE IM NOT ENTIRELY S RE HOW THESE GRAPHIC NOVELS ARE SET O T, MIGHT I S GGEST THAT IF THERE ARE END!PAPERS OF ANY KIND THEY MIGHT BE DESIGNED SO AS TO FLOW INTO AND O T OF THE FIRST AND LAST PANELS OF THE STORY. SINCE BOTH THE FIRST AND LAST PANELS CONTAIN A SIMPLE CLOSE! P IMAGE OF THE S RFACE OF A P DDLE RIPPLED BY RAIN, THEN MAYBE A SIMPLE ENLARGEMENT OF A BLACK AND WHITE RIPPLE EFFECT TO THE POINT WHERE IT BECOMES H GE AND ABSTRACT WO LD BE IN ORDER" AS WITH ALL MY VIS AL S GGESTIONS, BOTH HERE AND IN THE PANEL DESCRIPTIONS BELOW, PLEASE DONT FEEL BO ND IN BY THEM IN ANYWAY. THEYRE ONLY MEANT AS WORKABLE S GGESTIONS, SO IF YO CAN SEE A BETTER SET OF PICT RES THAN I CAN (WHICH ID SAY IS # ITE LIKELY, ALL THINGS CONSIDERED) THEN PLEASE FEEL FREE TO THROW O T WHAT IVE COME P WITH AND S BSTIT TE WHATEVER YO FEEL LIKE. I WANT YO TO FEEL AS COMFORTABLE AND NRESTRICTED AS POSSIBLE D RING THE SEVERAL MONTHS OF YO R BITTERLY BRIEF MORTAL LIFESPAN THAT YO LL SPEND WORKING ON THIS JOB, SO J ST LAY BACK AND MELLOW O T. TAKE YO R SHOES AND SOCKS OFF. FIDDLE ARO ND INBETWEEN YO R TOES. NOBODY CARES. ANOTHER GENERAL NOTE WO LD REGARD STYLE AND PRESENTATION. IVE ALREADY GONE INTO THIS IN THE SYNOPSIS, SO I WONT DWELL ON IT TOO M CH HERE, E$CEPT TO NDERLINE A CO PLE OF THE MORE IMPORTANT POINTS, ONE S CH POINT WO LD BE O R TREATMENT OF THE BATMAN AND HIS MYTHOS, INCL DING THE BATMOBILE, THE BATCAVE AND WHATEVER OTHER ELEMENTS MIGHT FIND THEMSELVES INCL DED IN THE STORY BEFORE ITS END. AS I SEE IT, THIS STORY ISNT SET IN ANY SPECIFIC TIME PERIOD. WE DIDNT SHOW ANY CALENDARS, OR ANY NEWSPAPERS WITH HEADLINES CLOSE ENO GH TO READ THE DATE. THE ARCHITECT RE AND THE SETTINGS IN GENERAL THAT WE SEE ARE EITHER OBVIO SLY OLD AND DATES, AS IN THE CARNIVAL SE# ENCES, OR HAVE AN AMBIG O S ORT OF LOOK TO THEM THATS

BOTH F T RISTIC AND ANTI# E AT THE SAME TIME, AS WITH THE FLEISCHER!S PERMAN%LANGS METROPOLIS LOOK THAT I SEE O R VERSION OF GOTHAM CITY AS HAVING, AT LEAST ON ITS PPER LEVELS. THE LOWER AND SEEDIER LEVELS OF GOTHAM ARE MORE INCLINED TOWARDS A TERRITORY SOMEWHERE BETWEEN DAVID LYNCH AND THE CABINET OF DR. CALIGARI, ALL PATCHES OF R ST AND MO LD AND HISSING STEAM AND DAMP, GLISTENING ALLEYWAYS. I IMAGINE THIS STRIP AS HAVING AN OPPRESSIVELY DARK FILM NOIR FEEL TO IT, WITH A LOT OF NPLEASANTLY TANGIBLE TE$T RES, S CH AS YO HABIT ALLY RENDER SO DELIGHTF LLY, TO GIVE THE WHOLE THING A REALLY INTENSE FEELING OF PALPABLE NEASE AND CRA&YNESS. SINCE I KNOW THAT YO LIKE SING LARGE AREAS OF BLACK ANYWAY, THEN MIGHT I S GGEST THAT WE SE THE DARK AND SHADOWY NAT RE OF O R BACKDROPS AND THE BLACKNESS OF THE BATMANS COST ME TO GIVE S AS MANY INTERESTING PRIMARILY!BLACK COMPOSITIONS AS WE CAN GET AWAY WITH" THE FACT THAT THE JOKER IS S CH A BLEACHED AND BLOODLESS WHITE PLAYS OFF INTERESTINGLY AGAINST THIS, I RECKON, SO PLEASE FEEL FREE TO GO COMPLETELY LOOPY WITH THE # INK ON THIS ONE. AS FAR AS THE CHARACTERS THEMSELVES GO, ILL DESCRIBE THEM IN DETAIL WHEN THEY MAKE THEIR APPEARANCES, B T MY ONLY GENERAL NOTE WO LD BE THAT LIKE THE LANDSCAPE AND THE VARIO S PROPS, THEY HAVE A SORT OF TIMELESS AND MYTHIC # ALITY TO THEM WHICH DOESNT FI$ THEM FIRMLY IN ANY ONE AGE!RANGE OR TIME!PERIOD. THE JOKER LOOKS EITHER OLD OR BADLY DEPRAVED, B T THEN HES ALWAYS LOOKED THAT WAY. THE BATMAN IS BIG AND GRIM AND OLDER THAN WE ARE, BECA SE AS I REMEMBER THE BATMAN HES ALWAYS BEEN BIGGER AND OLDER THAN I AM AND ILL FIGHT ANY MAN THAT SAYS DIFFERENT. GIVEN THIS TIMELESS AND MYTHIC # ALITY, IT ALSO STRIKES ME THAT THERE ARE CERTAIN ELEMENTS OF THIS STORY THAT HAVE STRONG OPERATIC ELEMENTS. BOTH THE BATMAN AND THE JOKER HAVE A POWERF L OPERATIC # ALITY TO THEIR APPEARANCE IN THAT THE JOKER IS AN E$TREME VERSION OF THE HARLE# IN FIG RE WITH THE BATMANS CAPE AND MASK LOOKING LIKE SOMETHING STRAIGHT O T OF DIE FLEDERMA S. I D NNO WHY I MENTION THIS E$CEPT TO NDERLINE THE SORT OF GRAND EMOTIONAL INTENSITY I WANT THIS BOOK TO HAVE WITH BOTH THE BATMAN AND THE JOKER BECOMING POWERF L AND PRECISE SYMBOLIC FIG RES IN A NIGHTMARISH AND ALMOST ABSTRACT LANDSCAPE. ANYWAY, BEFORE I WANDER OFF INTO A COMPLETELY IMPENETRABLE AESTHETIC FOG I S PPOSE WE O T TO ROLL O R SLEEVES P AND GET STRAIGHT DOWN TO B SINESS WITHO T F RTHER ADO. THIS FIRST PAGE AND A CO PLE OF THE S BSE# ENT ONES HAVE NINE PANELS APIECE, ALBEIT WITH VERY LITTLE OR NO DIALOG E TO CL TTER THEM P. I WANT THE SILENCE AND THE METRONOME!LIKE

VIS AL BEAT THAT THE PANELS WILL HAVE TO CREATE A SENSE OF TENSION AND INTRIG E AND S SPENSE WITH WHICH TO DRAG THE READER INTO THE STORY, WHILE STILL LEAVING S ENO GH ROOM TO SET P ALL THE NARRATIVE AND ATMOSPHERIC ELEMENTS THAT WE WANT TO ESTABLISH. IN THIS FIRST PANEL, WE HAVE A TIGHT CLOSE P OF THE S RFACE OF A P DDLE. (SEE" AND THERE WAS YO ALL WORRIED THAT I WO LDNT GIVE YO ANYTHING FASCINATING TO DRAW.) WE ARE SO CLOSE TO THE P DDLE AS TO SEE IT ONLY AS AN ALMOST ABSTRACT IMAGE OF WIDENING RIPPLES SPREADING ACROSS A SHADOWY AND BLACK LI# ID S RFACE. IT IS NIGHT TIME, AND THE RIPPLES THAT WE SEE IN THE FOREGRO ND ARE CA SED BY LARGE DROPLETS OF RAIN THAT FALL THRO GH THE FOREGRO ND IN DIAGONAL SLASHES. MAYBE WE CAN SEE ONE DROPLET AS ITS PRECISE MOMENT OF IMPACT WITH THE P DDLE, SO CLOSE ARE WE TO IT. ALTHO GH I DONT S PPOSE THAT THIS INFORMATION WILL MAKE M CH DIFFERENCE TO THIS C RRENT PANEL, FOR YO R F T RE REFERENCE IT IS MID NOVEMBER AND BITTERLY COLD. HERE, ALL WE SEE IS THE RAIN SPLASHING INTO THE P DDLE AND THE SILVERY WHITE RIPPLES SPREADING O T ACROSS THE DARKNESS. N' D()*'+,-. .. SAME SHOT, B T NOW WE P LL BACK MAYBE A FOOT OR MORE SO THAT WE CAN AT LEAST SEE A CO PLE OF THE P DDLES EDGES, DEFINING IT AS A P DDLE AND GIVING S SOME SENSE OF ITS LOCATION. THE P DDLE IS IN FACT SIT ATED AT THE BASE OF ONE OF THE STONE PILLARS%GATE! POSTS THAT FRAME THE GATES OF ARKHAM ASYL M, THESE PILLARS BEING SE INTO A BLACK RAILED FENCE OF WRO GHT IRON BEYOND WHICH ONLY DARK AND SHADOWY CYPRESS TREES, STRIPPED BY A T MN, ARE VISIBLE. IN THIS SECOND PANEL, WE CANT SEE VERY M CH OF THIS..J ST THE ASE OF ONE OF THE STONE GATE POSTS AND A LITTLE OF THE ROAD S RFACE IMMEDIATELY O TSIDE THE ASYL M GATES, WITH THE SI&EABLE P DDLE RESTING IN AN INDENTATION THEREOF. THE RAIN IS STILL FALLING AND SPLASHING INTO THE P DDLE, AND PERHAPS WE SEE AN A T MN LEAF BOWLING THRO GH THE PANEL SOMEWHERE. THE REAL POINT OF THIS PANEL IS THAT S DDENLY, REFLECTED IN THE P DDLE, WE SEE THE HEADLIGHTS OF A CAR THAT IS APPROACHING THE GATES FROM OFF!PANEL ABOVE. IN THE RIPPLED S RFACE OF THE P DDLE, EVEN THO GH THE LIGHTS ARE STILL IDENTIFIABLE AS REFLECTED HEADLIGHTS, THERE IS AN INTERESTING OSCILLATING DISPLAY OF LI# ID LIGHT AND SHADOW PATTERNS. N' D()*'+,-. /. WE P LL BACK STILL F RTHER SO THAT WE CAN SEE MOST OF THE STONE GATE PILLAR, THE BOTTOM OF WHICH WE SAW LAST PANEL, AND SO THAT WE CAN ALSO SEE THE OTHER PILLAR COMING INTO VIEW, P IN

THE RIGHT OF THE FOREGRO ND, WE CANNOT SEE THE TOP OF THIS FOREGRO ND PILLAR YET, OR THE METAL PLATE AFFI$ED TO IT, B T WE CAN NOW SEE THAT THE STONE PILLARS ARE ARRANGED ON EITHER SIDE OF A WRO GHT IRON GATE ONTO WHICH THE RAIN IS FALLING, DRIPPING MO RNF LLY FROM THE BLACK AND SINISTER IRONWORK. LOOKING BEYOND THE GATE AND ITS PILLARS WE CAN SEE THE RAILED IRON FENCE THAT THE GATE IS SET INTO STRETCHING AWAY TO THE END OF THE ROW, LOOKING BEYOND THE ROW OF RAILINGS AND INTO THE DARKNESS BEYOND WE CAN SEE THE APPROACHING HEADLIGHTS OF A LARGE DARK CAR. THE LIGHTS LOOK LIKE THE SMO LDERING AND WHITE HOT EYES OF SOME INSANELY VICIO S AND POWERF L NOCT RNAL PREDATOR, HISSING THRO GH THE RAIN TOWARDS THE ASYL M GATES. IN THE P DDLE, WHICH WE CAN SEE ALL OF NOW, THE HEADLIGHTS OF THE APPROACHING CAR ARE STILL VISIBLE, GETTING BIGGER AS THE CAR APPROACHES. N' D()*'+,-. 4. NOW WERE PROBABLY ON THE SECOND TIER. IN THIS PANEL WE HAVE P LLED BACK STILL F RTHER FROM THE P DDLE SO THAT WE CAN SEE ALL OF THE STONE GATE POSTS, INCL DING THE TOP OF THE ONE RIGHT IN THE RIGHT OF THE FOREGRO ND, TO WHICH IS AFFI$ED A CLEARLY VISIBLE METAL PLATE ENGRAVED WITH THE WORDS 0ARKHAM ASYL M FOR THE CRIMINALLY INSANE. THE PLATE LOOKS A LITTLE OLD AND TARNISHED IN PLACES, AND THE RAIN BEATS AGAINST IT MERCILESSLY AS IT FALLS. MOVING CLOSER FROM THE BACKGRO ND SINCE LAST PANEL, THE APPROACHING CAR HAS NOW MAYBE COME TO REST J ST O TSIDE THE ASYL M GATES, PERHAPS WITH ITS FRONT NEARSIDE TIRE ROLLING INTO THE P DDLE AS IT COMES TO A HALT. THE HEADLIGHTS ARE GLARING STRAIGHT AT S, SO THAT ALL WE CAN REALLY SEE BEHIND THEM IS A SHADOWY B LK REPRESENTING THE CAR. EVEN SO, THERE IS SOMETHING ODD ABO T THE CARS DESIGN THAT IS APPARENT EVEN THO GH WE CAN ONLY SEE THE VAG EST O TLINE. THE CAR IS IN FACT THE BATMOBILE, AND IN ORDER TO ACHIEVE THE SORT OF TIMELESS EFFECT THAT WERE AFTER I FIG RE WE SHO LD DESIGN A BATMOBILE THAT CONJ RES THE BEST ELEMENTS OF O R FAVO RITE VERSIONS. FOR MY PART, I ALWAYS LIKED THE FIFTIES VERSION, WITH THE LONG HOOD TERMINATING IN A BAT!FACED BATTERING RAM. MAYBE YO CO LD COMBINE THE BASIC CH NKYNESS AND PERIOD CHARM OF SOMETHING LIKE THAT WITH SOMETHING A BIT MORE SINISTER AND F T RISTIC.. DRAGGING IN DESIGN ELEMENTS FROM THE 0EIGHTIES AND 0NINETIES, FOR E$AMPLE. AS LONG AS ITS LONG AND BLACK AND DANGERO S!LOOKING WITH A BIG FIN STICKING P AT THE BACK THEN ILL BE CONTENT. ANYWAY, AS I SAID EARLIER, WE CANT SEE M CH MORE OF THE H GE CAR HERE THAN ITS SHAPE, CRO CHED THREATENINGLY BEHIND ITS HEADLIGHTS AS IT ROLLS TO A STANDSTILL

O TSIDE THE ASYL M GATES. N' D()*'+,-. PAGE 1. (PANEL) 1. NOW WE CHANGE ANGLE SO THAT WE ARE STANDING BETWEEN THE BATMOBILE AND THE RAILED FENCE OF THE ASYL M, WITH THE NOSE OF THE BATMOBILE POINTING AWAY FROM S FROM THE RIGHT OF THE FOREGRO ND TOWARDS THE LEFT OF THE BACKGRO ND, WHICH IS WHERE WE CAN SEE THE GATES OF THE ASYL M SIT ATED, THE HEADLIGHTS STILL GLITTERING PON THE LARGE P DDLE AT THE BASE OF THE NEAREST PILLAR. OVER IN THE RIGHT OF THE E$TREME FOREGRO ND WE CAN SEE A LITTLE OF ONE DOOR OF THE BATMOBILE, INCL DING THE HANDLE. OVER ON THE LEFT OF THE E$TREME FOREGRO ND WE CAN SEE THE SCALLOPED BLACKNESS OF THE BATMANS CLOAK HANGING DOWN INTO THE PICT RE AS HE STANDS J ST OFF PANEL TO THE LEFT. WE CAN ALSO SEE ONE OF HIS LONG GREY ARMS, DENSELY M SCLES, REACHIGN O T THRO GH THE RAIN TOWARDS THE CAR DOOR, WHERE WE SEE HIS BLACK!FINNED GLOVE J ST P SHING THE CAR DOOR CLOSED BEHIND HIM AS HE GETS O T, STANDING BESIDE HIS VEHICLE AND GA&ING TOWARDS THE ASYL M GATES THAT WE HAVE SEEN IN THE BACKGRO ND. THE GATS ARE CLOSED, B T WE CANNOT SEE ANY PADLOCK, SO PRES MABLY THE GATES HAVE BEEN LEFT OPEN IN ANTICIPATION OF THE BATMANS ARRIVAL. PERHAPS WE SEE A CO PLE MORE LEAVES, T MBLING FORLORNLY THRO GH THE WINDSWEPT NOVEMBER BACKGRO ND. IN THE FOREGRO ND, THE RAIN R NS DOWN THE SLEEK AND SHINY BLACK METAL SIDES OF THE BATMOBILE, DRIPPING FROM THE ODDLY!SHAPED WING!MIRRORS. N' D()*'+,-. 6. WE ARE NOW ACT ALLY INSIDE THE GRO NDS OF THE ASYL M, LOOKING DOWN ITS GENTLY C RVING FRONT DRIVEWAY TOWARD THE INSIDE OF THE GATES THAT WE SAW LAST PANEL. THE WET DRIVEWAY CLOSEST TO S IN THE E$TREME FOREGRO ND REFLECTS A BL ISH LIGHT CAST BY SOME SO RCE OFF PANEL. LOOKING BEYOND THAT TOWARDS THE GATES, WE SEE THE WEIRD AND NEARTHLY FIG RE OF THE BATMAN, SILHO ETTED AGAINST THE RAILS OF THE IRON GATE AS HE OPENS IT BY THE LIGHT OF THE STATIONARY BATMOBILE PARKED OFF!PANEL BEHIND HIM. ALL WE SEE OF THE BATMAN HERE AS HE SLIPS SILENTLY THRO GH THE GATE IS HIS SHAPE, WITH NO DETAIL VISIBLE AT ALL. BASICALLY, I DONT WANT TO GIVE A GOOD CLEAR SHOT OF THE BATMANS FACE NTIL PANEL 4 OF PAGE 1, SO NTIL THEN WELL HAVE TO R N THRO GH A REPERTOIRE OF TRICK SHOTS AND SHADOWY SCENES WHICH I THINK I HAVE PRETTY WELL WORKED O T. IN THIS C RRENT PANEL, ALL WE SEE IS HIS NMISTAKABLE SHAPE AGAINST THE

WRO GHT IRON METAL WORK AS HE ENTERS THE GRO NDS OF THE ASYL M, THE LONG CAPE FLAPPING DISMALLY IN THE NOVEMBER WIND. RAIN STILL FALLS IN SLASHES THRO GH THE FOREGRO ND, BO NCING P FROM THE SMOOTH ASPHALT OF THE DRIVEWAY. N' D()*'+,-. PAGE 1. (PANEL) 2. REVERSE O R ANGLE AGAIN, SO THAT THE OPEN ASYL M GATE IS NOW IN THE E$TREME FOREGRO ND WITH RAIN DRIPPING FROM THE PEELING IRONWORK. LOOKING THRO GH THE OPEN GATE AND AWAY P THE DRIVE TOWARDS THE ASYL MS MAIN B ILDING, WE SEE A REAR VIEW OF THE BATMAN AS HE WALKS SOLEMNLY P THE DRIVE AWAY FROM S, THRO GH THE RAIN. HIS CAPE FLAPS ABO T HIM, ITS SHARP BLACK TIPS TRAILING THRO GH THE P DDLES AT HIS FEET AS HE WALKS. HIS BACK IS T RNED TO S, SO THAT WE CANNOT SEE HIS FACE, B T WE GET A SENSE OF HIS B ILD..HE IS BROAD SHO LDERED, WITH A MASSIVE CHEST AND ENO GH SLAB!LIKE M SCLE ON THE REST OF HIS PHYSI# E TO S PPORT IT. AS I SEE BATMAN HE ISNT LITHE AND ATHLETIC! LOOKING..HES A VERY BIG MAN, AND THE FACT THAT HE IS CAPABLE OF S CH ST NNING ATHLETICS DESPITE HIS SI&E IS WHAT IS REMARKABLE ABO T HIM. HE IS FAST, AGILE, INTELLIGENT AND HIDEO SLY POWERF L IN TERMS OF PHYSICAL STRENGTH, AND I WANT HIS PHYSI# E TO ECHO THIS IRON HARDNESS. I THINK THAT BATMAN HAS S FFERED A LITTLE FROM HIS PRO$IMITY WITH S PERMAN IN THAT ARTISTS AND WRITERS HAVE PERHAPS FELT COMPELLED TO PLAY P HIS INTELLECT AL CAPACITY, KNOWING THAT HE CANT COMPETE M SCLE!FOR!M SCLE WITH S PERMAN. HERE, ID LIKE TO RESTORE SOME OF THE B ILT!LIKE! A!BRICK!SHITHO SE BATMAN THAT I FONDLY REMEMBER FROM MY BOYHOOD. LOOKING BEYOND HIM HERE AS HE WALKS AWAY P THE DRIVE AWAY FROM S THRO GH THE RAIN WE CAN SEE THAT THERE IS A POLICE CAR PARKED P AT THE END OF THE DRIVE, RIGHT O TSIDE THE STEPS THAT LEAD P TO THE DO BLE DOORS OF THE ASYL MS MAIN ENTRANCE. ITS BL E LIGHT IS ONE (HENCE THE SO RCE OF THE BL E LIGHT OFF PANEL IN THE FOREGRO ND LAST PANEL) AND WE CAN SEE THERE ARE TWO DARK FIG RES LEANING P AGAINST ITS SIDE AND FACING S, EVEN THO GH WE CANT SEE WHO THEY ARE HERE. I FIG RE THAT THE BL E LIGHT ATOP THE POLICE CAR MIGHT PLAY INTERESTINGLY ARO ND THE EDGES OF THE BATMANS BI&ARRE SILHO ETTE AS HE WALKS TOWARDS THE PARKED CAR AND THE ASYL M DOORS BEYOND. THE TWO FIG RES, WHO PROBABLY WONT BE VERY VISIBLE HERE, ARE COMMISSIONER GORDON AND A NIFORMED PATROLMAN. GORDON LEANS AGAINST THE SIDE OF THE PARKED CAR AND SIPS A PLASTIC C P F LL OF STEAMING COFFEE WHILE THE PATROLMAN STAND MORE PRIGHT AND ALERT, PROBABLY IN AN AT!EASE POSITION. ALL OF THIS DETAIL, INCL DING THE

IDENTITIES OF THE TWO MEN, WILL NOT BE APPARENT HERE, B T IM GIVING IT TO YO FOR F T RE REFERENCE. BEHIND THE PARKED CAR THE ILL MINATED AND WEIRD FA3ADE OF ARKHAM ASYL M RISES S, ITS WINDOWS OMINO SLY BARRED. N' D()*'+,-. PAGE 1. (PANEL) 4. NOW WE ARE EVEN CLOSER TO THE POLICE CAR, LOOKING AT IT SIDE!ON SO THAT WE SEE THE NIFORMED OFFICER STANDING FACE ON TO S OVER ON THE LEFT AS HE STANDS WITH HIS BACK TO THE CAR AND COMMISSIONER GORDON FACE!ON OVER TO THE RIGHT, LEANING AGAINST THE CAR AND DRNKING HIS STEAMING COFFEE, MAYBE LOOKING P WITH A # I&&ICAL AND CONCERNED LOOK OVER THE RIM OF HIS C P TOWARDS THE E$TREME LEFT OF THE FOREGRO ND, WHERE WE CAN SEE THE BATMAN ENTERING THE PICT RE FROM THE LEFT, IN PROFILE. SINCE BATMAN IS ()) CLOSER TO S AND (5) TALLER THAN EITHER THE COMMISSIONER OR THE PATROLMAN IN THE BACKGRO ND WE CANNOT SEE THE TOP OF HIS HEAD HERE ABOVE THE BOTTOM OF THE NOSE AS THE FRONT OF HIM ENTERS THE PANEL ON THE LEFT. HIS EYES AND PPER HEAD ARE INVISIBLE BEYOND THE TOP PANEL BORDER AND ALL WE CAN REALLY SEE IS HIS MO TH, WITH THE BIG AND DETERMINED S# ARE JAW AND THE GRIM AND DISAPPROVING SCOWL OF THE LIPS. THE BATMAN DOES NOT APPEAR FROM HIS POST RE TO SO M CH AS GLANCE AT EITHER GORDON OR THE PARTOLMAN AS HE WALKS PAST THEM EVEN THRO GH BOTH OF THEM STEAL GLANCES AT HIM WITH DIFFERING LOOKS OF NEASE. THE PARTOLMAN LOOKS NEASY J ST TO BE IN THE BATMANS PRESENCE, WHILE GORDON LOOKS MORE CONCERNED ABO T THE BATMANS POSSIBLE STATE OF MIND. RAIN DRIPS FROM EVERYTHING, INCL DING THE BATMANS J TTING AND GRI&&LED CHIN. GORDON GIVES THE LARGELY!OFF!PANEL VIGILANTE A PENETRATING LOOK OVER HIS COFFEE C P, AND THE BL E LIGHT ATOP THE CAR WASHES OVER ALL OF THEM AS IT CIRCLES. N' D()*'+,-. 6. SAME SHOT E$ACTLY, ONLY NOW THE BATMAN HAS WALKED ACROSS THE PANEL AND IS ABO T TO DISAPPEAR OFF THE RIGHT HAND SIDE, WITH ONLY THE BACK OF HIS COST ME VISIBLE HERE AS HE DOES SO, HIS FACE ALREADY VANISHED OFF THE RIGHT OF THE PANEL. IMMEDIATELY BEYOND HIM, POLICE COMMISSIONER GORDON STARTS TO STRAIGHTEN P AWAY FROM THE SIDE OF THE PARKED POLICE VEHICLE, HANDING THE HALF!F LL COFFEE C P TO THE S RPRISED!LOOKING PATROLMAN WITHO T LOOKING AT HIM AS HE PREPARES TO FOLLOW THE BATMAN OFF!PANEL. THE SILVER HAIRED AND TRENCHCOATED FIG RE OF THE

COMMISSIONER DOESNT TAKE HIS YES OFF THE BATMAN FOR AN INSTANT AS HE PREPARES TO FOLLOW HIM P THE STEPS AND INTO THE INTERIOR OF THE ASYL M. THE PATROLMAN LOOKS BEM SED AS HE TAKES THE STEAMING C P N# ESTIONINGLY FROM THE POLICE COMMISSIONERS HAND. BATMAN WALKS SILENTLY ON WITHO T SAYING A WORD. N' D()*'+,-. PAGE .. (PANEL) 1. WE ARE NOW INSIDE THE RECEPTION LOBBY OF THE ASYL M. IT IS # ITE SOFTLY LIT, MAYBE WITH A S BD ED AMBER!YELLOW LIGHT, AND IN THE FOREGRO ND FACING AWAY FROM S WE SEE A YO NG RECEPTIONIST SEATED BEHIND THE RECEPTION DESK, POINTING WITH ONE TREMBLING HAND TOWARDS THE LEFT OF THE PANEL AS SHE GIVES DIRECTIONS TO THE BATMAN, WHO WE SEE STANDING FACING S IMMEDIATELY BEYOND THE DESK. HE IS ONCE MORE DECAPITATED BY THE PPER PANEL BORDER SO THAT WE CANT SEE HIM M CH BELOW THE CHEST AS HE STANDS THERE GA&ING DOWN AND LISTENING TO THE GIRL AS SHE GIVES HIM DIRECTIONS. THE RECEPTIONIST IS LOOKING P AT THE BATMANS OFF!PANEL FACE AND SHE LOOKS ABSOL TELY SCARED STIFF. ON THE DESK IN THE FOREGRO ND WE CAN MAYBE SEE A FEW ITEMS OF PERSON BRIC!A!RAC. THERE ARE A PACK OF MARLBORO CIGARETTES AND A LIGHTER, AND THERE IS MAYBE ONE OF THOSE ST PID LITTLE NOVELTY DESK ORNAMENTS THAT READS 0YO DONT HAVE TO BE CRA&Y TO WORK HERE..B T IT HELPS7 WE CAN PROBABLY ALSO SEE THE PAPERBACK BOOK THAT THE RECEPTIONIST HAS BEEN READING TO WHILE AWAY THE LONG, YELLOW!LIT HO RS OF HER TEDIO S NIGHT SHIFT. I IS 0THE COMEDIANS BY GRAHAM GREENE. LOOKING BEYOND THE GIRL, THE DESK AND THE BATMAN, WE CAN SEE THE FRONT DOORS OF THE ASYL M SWING OPEN AS POLICE COMMISSIONER GORDON ENTERS THE B ILDING IN THE WAKE OF THE SHADOWY AND SILENT VIGIL ANTE. AS HE COMES THRO GH THE DOORS HE LOOKS TOWARDS S AND TOWARDS THE BATMAN IN THE FOREGRO ND, # ICKENING HIS PACE TO KEEP P WITH THE LONGER! LEGGED AND YO NGER CRIME!FIGHTER. N' D()*'+,-. .. WE ARE STILL SLIGHTLY BEHIND THE RECEPTIONIST, B T MAYBE NOW WE HAVE CHANGED ANGLE SO THAT WE ARE LOOKING AT HER OVER HER OTHER SHO LDER. LOOKING PAST HER, WE CAN SEE THE BATMAN AND GORDON HEADING AWAY FROM S, DEEPER INTO THE BOWELS OF THE ASYL M, WITH THE BATMAN LEADING THE WAY AND GORDON STILL STR GGLING TO KEEP P. THEY ARE HEADING IN RO GHLY THE DIRECTION THAT THE RECEPTIONIST WAS INDICATING LAST PANEL. IN

THE FOREGRO ND, THE RECEPTIONIST IS TREMBLING WITH DELAYED SHOCK, MAYBE TRYING TO FISH A CIGARETTE FROM HER PACKET B T ENDING P SPILLING THE WHOLE PACK ALL OVER HER DESK AND HER LAP. SEE HOW IT LOOKS TO YO AND INCL DE IT IF IT LOOKS OKAY. DESPITE THE PREDOMINANCE OF THE RECEPTIONIST IN THE FOREGRO ND, THE MAIN POINT OF THE PANEL IS THE FIG RES OF THE BATMAN AND THE COMMISSIONER VANISHING DOWN THE CORRIDOR IN THE BACKGRO ND. N' D()*'+,-. PAGE .. (PANEL) /. NOW WE ARE IN THE DIMLY LIT AND SHADOWY CORRIDORS OF THE ASYL M, LINED WITH CELL DOORS THAT LEAD OFF TO EITHER SIDE. EACH DOOR LOOKS VERY TO GH AND REINFORCED, AND MAYBE EACH HAS A LITTLE PLATE AT THE FRONT WITH THE NAME OF THE PERSON DETAINED THEREIN, FOLLOWED BY A N MBER. PERHAPS, FOR E$AMPLE, WE CAN SEE A PLATE WITH THE LEGEND NIGMA, E. 82.. ON IT SOMEWHERE IN THE FOREGRO ND, J ST SO THAT THE READER GETS THE IDEA, WITH THE REST OF THE NAMEPLATES ON THE DOORS TOO FAR AWAY TO BE LEGIBLE. EACH DOOR ALSO HAS A SMALL RECTANG LAR WINDOW WITH THREE STO T BARS ACROSS IT. SINCE IT IS AFTER LIGHTS!O T HERE, THERE IS ONLY DARKNESS BEYOND THE BARRED WINDOWS, SAVE FOR WHATEVER NIGHT!LIGHTS THE INMATES MAY BE SING. HERE, WE ARE LOOKING STRAIGHT DOWN THE CORRIDOR FROM ALMOST A FLOOR! LEVEL SHOT. IN THE FOREGRO ND, VISIBLE ONLY P TO THE KNEES, WE SEE THE BOOTS AND LOWER LEGS OF THE BATMAN AS HE WALKS TOWARDS S DOWN THE CORRIDOR, CAPE TRAILING BEHIND HIM. LOOKING BEYOND HIM WE SEE COMMISSIONER GORDON IN RO GHLY A F LL!FIG RE SHOT AS HE FOLLOWS BEHIND, P FFING SLIGHTLY AS HE STR GGLES GAMELY TO CATCH P. THE ASYL M CORRIDOR IS LIT BY DIM CEILING LIGHTS ARRANGED AT INTERVALS SO THAT THERE ARE POOLS OF RELATIVE BRILLIANCE INTERSPERSED WITH STRETCHES OF TWILIGHT, IF YO KNOW THE EFFECT I MEAN. HERE, BATMANS FEET WALK REMORSELESSLY TOWARDS S. N' D()*'+,-. 4. NOW A HALF!FIG RE TO HEAD AND SHO LDERS SHOT OF BATMAN AND GORDON IN PROFILE AS THEY WALK ACROSS THE PANEL FROM LEFT TO RIGHT IN THE FOREGRO ND. BATMAN, IN THE LEAD, HAS ALREADY WALKED ACROSS THE PANEL AND IS ABO T TO VANISH O T OF ITS RIGHT HAND SIDE, WITH THE FRONT OF HIS HEAD ALREADY OFF PANEL AND ONLY THE BACK OF HIS COWL AND CAPE VISIBLE HERE. COMMISSIONER GORDON IS J ST ENTERING THE PANEL OVER TO THE

LEFT, THE BACK HALF OF HIM INVISIBLE OFF PANEL AS HE FOLLOWS AFTER THE GRIM AND SILENT CAPED FIG RE. LOOKING BETWEEN THE BATMAN AND GORDON WE GET A GOOD CLEAR SHOT OF THE CELL DOOR THAT THEY ARE J ST PASSING. THE PLATE ON THE FRONT READS DENT, H. 8211. ABOVE THE PLATE IS THE SMALL BARRED WINDOW. ONE OF THE HANDS CL TCHING THE O TER BARS FROM INSIDE IS A NORMAL FLESHTONE PIN. THE OTHER HAND IS A P TRESCENT AND CONTAMINATED GREEN. FROM THE SHADOWY RECESS BEYOND THE THREE BARS, TWO FACE STARES SILENTLY O T AT S. THE LIGHT FILTERING IN THRO GH THE CELL WINDOW PICKS O T ONLY THE DEFORMED HALF OF HIS FACE, PERHAPS, BILIO S GREEN AND TWISTED INTO A DERANGED SNARL OF MALICE AS HIS MISMATCHED EYES FOLLOW THE PASSAGE OF THE BATMAN AND THE COMMISSIONER ALONG THE GLOOMY CORRIDOR. N' D()*'+,1. NOW WE SE THE PANEL FROM TWO FACES POINT OF VIEW AS HE STANDS WITHIN HIS CELL, PEERING RO ND AS FAR AS HE CAN TO WATCH THE PAIR AS THEY T RN RIGHT DOWN AN ADJACENT CORRIDOR. ALL WE CANS EE OF TWO FACE HERE ARE HIS HANDS AS THEY HAND ONTO THE CELL WINDOWS BARS IN THE FOREGRO ND. LOOKING THRO GH THE BARS WE CAN SEE ACROSS THE CORRIDOR AND DOWN THE T RN!OFF THAT THE BATMAN AND GORDON HAVE TAKEN. THE BATMAN IS STILL IN THE LEAD AND FACING AWAY FROM S, ALMOST O T OF SIGHT. GORDON IS STR GGLING ALONG BEHIND, MAYBE DARTING AN AN$IO S GLANCE BACK OVER HIS SHO LDER TOWARDS S AND THE DEFORMED CRIMINAL FOLLOWING THE COMMISSIONER WITH HIS EYES FROM WITHIN THE CELL. N' D()*'+,6. NOW, OVER IN THE RIGHT OF THE FOREGRO ND WE CAN SEE A LITTLE OF THE DOOR OF A MA$IM M SEC RITY CELL. THE PLATE ON THE DOOR SAYS NAME NKNOWN 8481. IMMEDIATELY BEYOND THE DOOR, STANDING AT EASE WITH HIS BACK T RNED TO THE WALL THE DOOR IS SET INTO, WE CAN SEE SOME OF A SEC RITY G ARD. P TO YO WHETHER WE CAN SEE HIS HEAD, OR WHETHER HES SO CLOSE THAT ITS OFF PANEL ABOVE. THE MAIN THING ABO T HIM IS THE B NCH OF KEYS HANGING FROM HIS BELT BESIDE THE POWERF L!LOOKING HOLSTERED HANDG N. HE STANDS IN PROFILE, FACING TOWARDS THE LEFT OF THE PANEL FROM THE RIGHT. LOOKING PAST HIM WE CAN SEE THE BATMAN AND COMMISSIONER GORDON APPROACHING S DOWN THE LONG STRAIGHT CORRIDOR, WITH THE BATMAN STILL IN THE LEAD. BATMAN, AS HE WALKS, IS DIRECTLY BENEATH ONE OF THE OVERHEAD CEILING LIGHTS, SO THAT THE TOP OF HIS HOOD AND HIS SHO LDERS AND LIT, B T SO THAT HIS FACE AND THE REST OF HIS BODY ARE A MASS OF SOLID

SHADOW. GORDON, SOMEWHAT BETTER LIT AND MORE VISIBLE, FOLLOWS ALONG BEHIND. N' D()*'+,-. 2. NOW WE ARE BEHIND THE BATMANS RIGHT SHO LDER AS HE FACES AWAY FROM S, SO THAT ALL WE SEE OF HIM IS A LITTLE OF THE BACK OF HIS HEAD AND ONE SHO LDER, OVER TOWARDS THE LEFT OF THE PANEL. LOOKING PAST THIS, WE CAN SEE A THREE!# ARTER LENGTH SHOT OF THE SEC RITY G ARD AS HE WILLINGLY NLOCKS THE CELL DOOR FOR THE BATMAN. PERHAPS HE EVEN SAL TES WITH ONE HAND AS HE NLOCKS THE CELL DOOR WITH THE OTHER. ALSO IN THE MIDDLEGRO ND, B T A LITTLE MORE OVER TOWARDS THE RIGHT, WE CAN SEE COMMISSIONER GORDON. HE IS LOOKING P AT THE LARGELY OFF PANEL BATMAN WITH A SOMEHOW TRO BLED LOOK, TRYING TO DED CE SOMETHING FROM BATMANS E$PRESSION. THE SEC RITY G ARD, CONVERSELY, LOOK ALMOST HONO RED TO BE OPENING A DOOR FOR THE FAMO S BATMAN, PERHAPS STARING IN AWED ADORATION. N' D()*'+,-. 4. WE ARE NOW INSIDE THE CELL, LOOKING TOWARDS THE PARTLY OPEN DOOR FROM THE SEMI!DARKNESS WITHIN AS THE BATMAN ENTERS. THE LIGHT OF THE CORRIDOR BEHIND HIM THROWS HIM INTO SILHO ETTE AS HE STANDS FRAMED IN THE DOORWAY, ONCE MORE RENDERING HIS FACE INVISIBLE. MAYBE BEHIND HIM, THRO GH THE CLOSING DOOR, WE CATCH A GLIMPSE OF THE ASYL M SEC RITY G ARD AS HE P LLS THE DOOR # ICKLY SH T BEHIND THE BATMAN. AS I SEE THIS PICT RE, WE ARE PERHAPS LOOKING P AT BATMAN FROM A SLIGHTLY DEPRESSED ANGLE AS HE ENTERS WITH THE LIGHT BEHIND HIM. N' D()*'+,-. 6. WE HAVE NOW P LLED BACK F RTHER INTO THE CELL SO THAT WE CAN SEE THE BATMAN F LL FIG RE AS HE STANDS FACING S IN FRONT OF THE NOW!COMPLETELY!CLOSED DOOR, STILL WITH THE LIGHT BEHIND HIS HEAD AS HE STANDS WITH THE BARRED WINDOW POSITIONED NEATLY BEHIND HIS COWL, THROWING HIS FACE INTO DARKNESS. RIGHT IN THE FOREGRO ND OF THE PANEL WE SEE PART OF THE S RFACE OF A FOLD!DOWN CARD TABLE THAT HAS BEEN FOLDED DOWN FROM THE CELL WALL AND IS LIT FROM ABOVE BY THE RADIANCE OF AN OFF!PANEL WALL LAMP, WEAK AND YELLOWISH AND SICKLY. ENTERING THE PANEL OVER ON THE RIGHT ARE THE HANDS OF THE PERSON WHO IS SITTING J ST OFF PANEL IN THAT DIRECTION, FACING TOWARDS THE LEFT AND DEALING O T A HAND OF PATIENCE. THE CARDS, SOME OF WHICH ARE VISIBLE TO S HERE, ARE SPREAD O T IN COL MNS ON THE SMALL

TABLE BEFORE HIM, AND HE IS SYSTEMATICALLY PICKING P CARDS FROM THE DECK AND LAYING THEM DOWN ON ONE OF THE COL MN. HERE, WE SEE HIM WITH A CARD POISED, ABO T TO LAY IT DOWN ON THE END ROW. HIS HANDS HAVE LONG AND CLEVER FINGERS AS THEY DEFTLY MANIP LATE THE CARDS. THEY ARE ALSO CHALK!WHITE AND COMPLETELY DRAINED OF ANY TRACE OF LIVING COLOR. BATMAN J ST STANDS BY THE CELL DOOR AND STARES AT BOTH S AND THE OFF! PANEL OWNER OF THE HANDS. N' D()*'+,-. PAGE /. (PANEL) 1. THIS IS A F LL PAGE SPLASH PICT RE. WE HAVE CHANGED ANGLES SINCE THE LAST PANEL ON PAGE TWO SO THAT WE ARE STANDING WITH O T BACKS TO THE NOW OFF PANEL DOOR, LOOKING TOWARDS THE FOLD DOWN TABLE SO THAT WE CAN SEE THE TABLE, THE CARDS, THE WALL LAMP SET J ST ABOVE IT AND THE TALL AND GANGLY FIG RE SITTING H NCHED ON THE LEFT HAND SIDE OF THE TABLE, PLAYING CARDS. IT IS THE JOKER. HE SITS WITH HIS HEAD AND SHO LDERS LEANING BACK SLIGHTLY, SO THAT ONLY HIS WHITE HANDS ARE WITHIN THE CIRCLE OF THE STRONGEST LIGHT CAST BY THE SMALL WALL LAMP AS IT SHINES ONTO THE TABLE TOP. BEYOND THAT, HIS FORM IS MORE SHADOWY, ALTHO GH WE CAN STILL SEE CERTAIN KEY DETAILS PICKED O T BY THE WEEK LIGHTS THE GREEN GLINT OF THE HAIR AT HIS BROW!LINE WHERE THE LIGHT CATCHES IT, AND THE WHITENESS OF THE FOREHEAD BENEATH, WE CAN SEE A LITTLE OF THE BONE!WHITE BRIDGE OF THE NOSE, AND SIMILARLY THE PPER CHEEKS, ABOVE THE BONE. THE EYES, HOWEVER, AS WELL AS THE MO TH AND THE LOWER FACE IN GENERAL, ARE IN SHADOW. OVER ON THE RIGHT, WE SEE BATMAN AS HE DRAGS THE ROOMS ONLY OTHER CHAIR P TOWARDS THE SMALL TABLE, PREPARING TO SIT DOWN. HE IS STILL STANDING HERE, DRAGGING THE CHAIR INTO POSITION WITH ONE HAND. HIS PPER CHEST, HEAD AND SHO LDERS ARE ALL IN SHADOW, WELL ABOVE THE LIGHT CAST BY THE RELATIVELY LOW DOWN WALL LAMP MO NTED J ST ABOVE THE TABLE. THE WHOLE TOP OF THE PAGE IS SOLID BLACK, WITH THE ACT AL IMAGE AREA # ITE SMALL AND DOWN TOWARDS THE BOTTOM, IF THAT LOOKS OKAY. THE OPENING # OTE, RATHER THAN BEING IN A REG LAR CAPTION BO$, IS LETTERED IN WHITE ON BLACK ONTO THE SOLID AND APPRESSIVE DARKNESS AT THE TOP FO THE PAGE. AS THE BATMAN P LLS P A CHAIR, THE JOKER COMPLETELY IGNORES HIM AND CONTIN ES TO PLAY PATIENCE, NOT EVEN LOOKING P AS THE BATMAN DRAGS HIS CHAIR P TO THE TABLE. HIS WHITE HANDS DEFTLY SNAP A CARD DOWN ONTO ONE OF THE ROWS, HENCE THE SO RCE OF THE SMALL SO ND EFFECT, WHICH IS THE FIRST SO ND THAT WEVE HEARD. THE TITLE AND THE CREDITS ALL GO SOMEWHERE DOWN TOWARDS THE BOTTOM OF THE PAGE. CAPT. (WHITE ON BLACK)9 T:-;- <-;- =:->- =<' +,?> (@ ) *,@)=(A )>?*,BC

(SMALL) F.L. (CARD BEING PLAYED)9 D@)E TITLE9 THE KILLING JOKE CREDITS9 ALAN MOORE9 WRITER F BRIAN BOLLAND9 ARTIST F LEN WEIN9 EDITOR F GGGGGGGGGGGGG9 COLORIST F GGGGGGGGGGG9 LETTERER PAGE 4. (PANEL) 1. NOW ANOTHER NINE PANELS. IN THIS FIRST ONE WE ARE LOOKING ACROSS THE TABLE THRO GH THE EYES OF THE NOW OFF!PANEL JOKER AS HE STARES ACROSS AT THE BATMAN, WHO IS NOW SEATED ON THE OPPOSITE SIDE OF THE TABLE, HIS BLACK FINNED GLOVES RESTING CALMLY ON THE TABLETOP. BEYOND THAT, WE CAN ONLY SEE A GLIMPSE OF HIS CHEST, MAYBE WITH THE JET BLACK CLOAK HANGING OPEN SLIGHTLY TO REVEAL A SLIVER OF THE YELLOW AND BLACK EMBLEM BENEATH, ALTHO GH NOT ALL OF IT. OTHER THAN THAT, THE REST OF BATMAN IS COMPLETELY INVISIBLE IN THE SHADOWS BEYOND THE HALO OF THE LAMP MO NTED ABOVE THE CARD TABLE. PERHAPS IN THE DEEP SHADOWS OBSC RING BATMANS HEAD AND SHO LDERS WE CAN SEE TWO GLINTS OF WHITE WHERE HIS EYES ARE SIT ATED AS THE WALL LAMPS LIGHT REFRACTS FROM THE MIRROR CONTACT LENSES THAT HE WEARS TO MAKE HIS EYE SLITS LOOK BLANK AND WHITE ALL THE TIME. IN THE FOREGRO ND, ALL WE CAN SEE OF THE JOKER ARE HIS WHITE HANDS ENTERING THE PICT RE IN THE FOREGRO ND, PICKING P ANOTHER CARD AND ABO T TO LAY IT DOWN IN THE SAME FASHION AS BEFORE, STILL SEEMINGLY OBLIVIO S TO THE SHEER PRESENCE OF THE H GE DARK FIG RE SITTING OPPOSITE HIM ACROSS THE CARD TABLE. ALSO VISIBLE ON THE TABLE..AND I PROBABLY SHO LD HAVE MENTIONED THIS ON PAGE TWO OR THREE, FOR WHICH APOLOGIES..ARE THE TWO DISCARDED JOKERS FROM THE BACK THAT THE PALE L NATIC IS PLAYING WITH, LAYING FACE P ON TOP OF ONE ANOTHER. THE BLANCHED AND LEERING FACE ON THE CARD IS PERHAPS MODELED AFTER THE ORIGINAL PLAYING CARD DESIGN THAT GAVE JERRY ROBBINS THE IDEA FOR THE JOKER, WHICH I BELIEVE IS ILL STRATED IN STERANKOS FIRST BOOK OF COMICS. THE FACE IS EVIL AND PERVERTED AND DEPRAVED. THE BATMAN9 H-**'. THE BATMAN9 I A)B- =' =)*H. .. CHANGE ANGLE SO THAT WERE NOW J ST BEHIND THE BATMAN, OR BETTER STILL, LOOKING THRO GH HIS EYES SO THAT WE CAN ONLY SEE HIS WEIRILY GA NTLETED HANDS RESTING CALMLY ON THE CARD! COVERED TABLETOP, ACROSS THE TABLE, WE SEE THE JOKER SITTING SO THAT ONCE AGAIN ONLY HIS BROW, HAIRLINE, NOSE AND PPER CHEEKS ARE ILL MINATED, HIS EYES AND HIS E$PRESSION STILL INVISIBLE. WE CAN SEE HIS WHITE HANDS. ONE OF THEM PLACES THE CARD WE SAW HIM

PICK P LAST PANEL DOWN ON THE END OF A ROW, WITH A SMALL ACCOMPANYING SO ND EFFECT. HE CONTIN ES TO COMPLETELY IGNORE THE BATMAN. (SMALL) F.$. (CARD BEING PLAYED)9 D@)E PAGE 4. (PANEL) /. NOW WE LOOK DOWN ON THEM FROM ABOVE PERHAPS AS THEY SIT FACING EACH OTHER ACROSS THE TABLE. ALL WE CAN REALLY SEE OF THE JOKER ARE HIS WHITE HANDS AND A LITTLE OF THE TOP OF HIS HEAD AS HE SITS THERE BENEATH S. HE IS J ST PICKING P ANOTHER CARD, ABO T TO LAY IT DOWN. HE STILL SEEMS TOTALLY OBLIVIO S TO THE BATMANS PRESENCE. THE BATMAN9 II- 5--@ THINKING *)=-*?. A5',= ?', )@J B-. THE BATMAN9 A5',= <:)=> +'(@+ =' HAPPEN =' ,>, (@ =:- END. THE BATMAN9 W-;- +'(@+ =' KILL -)A: '=:-;, );-@= <-" 4. NOW A TABLE TOP SHOT, LOOKING FROM A POINT ON THE TABLE TOWARDS THE DOOR. IN SOME WAYS, THIS SINGLE IMAGE CONTAINS THE WHOLE OF THE FORTHCOMING STORY IN IT, AT LEAST SYMBOLICALLY, SO I S PPOSE ID BETTER DESCRIBE IT CAREF LLY. IN THE FOREGRO ND WE HAVE THE TABLE. THE BATMANS HANDS ENTER FROM THE LEFT OF THE PICT RE, LAYING CALMLY ON THE TABLE TOP, WHILE THE JOKERS BLEACHED HANDS ENTER THE PANEL FROM THE RIGHT, AND ARE J ST LAYING THE CARD WE SAW HIM PICK P LAST PANEL DOWN WITH A SNAP. LOOKING BEYOND THIS, ALONG THE LENGTH OF THE FAIRLY SMALL CELL, WE SEE THE CELL DOOR AND THE BARRED WINDOW. LOOKING IN THRO GH THE WINDOW, HIS FACE AN$IO S AS HE GLANCES INTO THE CELL AS IF TO CHECK P ON BATMAN, WE SEE COMMISSIONER GORDONS FACE. THE TWO ADVERSARIES FACE EACH OTHER ACROSS THE CARD TABLE IN THE FOREGRO ND WHILE LOOKING BETWEEN THEM WE SEE GORDONS FACE STARING O T FROM BEHIND BARS. ALSO ON THE TABLE IN THE FOREGRO ND WE SEE THE TWO DISCARDED JOKERS, LYING THERE FACE P AND LEERING HORRIBLY AT THE DARK CEILING OVERHEAD. (SMALL) F.$. (CARD BEING PLAYED) 9 D@)E 1. NOW WE REVERSE O R LAST PANEL SO THAT WE ARE O TSIDE THE BARRED WINDOW, IN THE CORRIDOR AND LOOKING IN THRO GH THE WINDOW (WHICH FILLS MOST OF THE PANEL) SO THAT WE SEE THE BATMAN AND THE JOKER SITTING FACING EACH OTHER ACROSS THE TABLE AT THE OTHER END OF THE ROOM, BOTH F LL FIG RE B T NOT LIT WELL ENO GH TO GIVE AWAY ANY FACIAL DETAILS. THE BATMAN CONTIN ES TO TALK CALMLY, SO FAR NRATTLED BY THE JOKERS

SEEMING OBLIVION TO HIS PRESENCE. THE JOKER PICKS P ANOTHER CARD, PREPARING TO LAY IT. THE BATMAN9 P-;:)E> ?',** H(** B-. P-;:)E> I** H(** ?',. P-;:)E> >''@-;. P-;:)E> *)=-;. THE BATMAN9 I K,>= <)@=-J =' H@'< =:)= IJ B)J- ) +-@,(@- )==-BE= =' =)*H =:(@+> OVER THE BATMAN (SAME BALLOON)9 )@J AVERT =:)= ',=A'B-. THE BATMAN9 J,>= ONCE. 6. WE NOW HAVE A SHOT OF ALMOST IDENTICAL TO PANEL ONE IN THAT WE ARE LOOKING THRO GH THE JOKERS EYES SO THAT WE CAN ONLY SEE HIS HANDS AS HE CALMLY AND DELIBERATELY LAYS ANOTHER CARD DOWN PON ONE OF THE ROWS. LOOKING ACROSS THE TABLE WE CAN SEE THE BATMAN, AND HE LOOKS AS IF HES GRAD ALLY STARTING TO GROW IRRITATED. HE IS LEANING FORWARDS, AND WE CAN SEE A LITTLE OF THE LOWER PART OF HIS FACE AS THE MO TH STARTS TO T RN DOWN INTO ANGRY SCOWL. ON THE TABLE!TOP, HIS HANDS B NCH INTO H GE BLACK FISTS. (SMALL) F.$. (CARD BEING PLAYED)9 D@)E 2. WE ARE NOW P AT THE END OF THE TABLE, LOOKING DOWN ITS LENGTH TOWARDS THE WALL AT APPRO$IMATELY THE EYE LEVEL OF THE MEN SEATED OFF PANEL TO EITHER SIDE OF IT. ALL WE CAN SEE ARE THEIR HANDS. ONE OF BATMANS HANDS S DDENLY WHIPS INTO THE PICT RE AND CATCHES THE JOKER ARO ND ONE SKINNY WHITE WRIST BEFORE HE CAN DRAW HIS ARM BACK. MAYBE THE S DDEN MOVEMENT DIST RBS A CARD SO THAT IT FL TTERS THRO GH THE AIR. BATMANS BLACK! GA NTLETED GRIP PON THE BONY WRIST LOOKS # ITE TIGHT AND # ITE PAINF L. THE JOKERS FINGERS FL TTER OPEN IN ALARM. (OFF) THE BATMAN9 A;- ?', LISTENING =' B-" I=> LIFE AND DEATH =:)= IB J(>A,>>(@+ :-;-. (OFF) THE BATMAN9 M)?5- MY J-)=:... 4. NOW WE ARE LOOKING THRO GH THE BATMANS EYES. ALL WE CAN SEE OF HIM IS HIS LEFT HAND WHICH HAS NOW RELEASED THE JOKERS WRITS AND IS INSTEAD POINTING MEANINGF LLY AT THE JOKER ACROSS THE TABLE. THE JOKER, STILL LEANING BACK IN THE SHADOWS, N RSES HIS TENDER WRIST AND GLARES AT THE BATMAN FROM THE SHADOWS, ON BATMANS BLACK GLOVE IN THE FOREGRO ND THERE IS A SMEAR OF SOME THICK WHITE GREASY S BSTANCE THAT THE BATMAN DOESNT APPEAR TO HAVE NOTICED YET, EVEN THO GHT HE READER CAN SEE THE SMEAR CLEARLY. (OFF) THE BATMAN9 ...B)?5- YO RS.

(OFF) THE BATMAN9 I J'@= D,**? ,@J-;>=)@J <:? ',;> >:',*J 5- >,A: ) FATAL ;-*)=('@>:(E, 5,= I J'@= <)@= ?',; M RDER '@ B?C PAGE 4. (PANEL) 6. NOW WE ARE LOOKING AT BATMAN VERY CLOSE P FROM THE FRONT SO THAT WE CAN SEE HIS CHEST AND HIS RAISED HANDS AND THE LOWER HALF OF HIS FACE, BE WE CANNOT SEE HIS EYES OR THE REST OF THE PPER PART OF HIS HEAD. HE IS LOOKING DOWN AT HIS GLOVES AND AT THE THICK WHITE PANCAKE MAKE8 P PON THEM WHERE HE TO CHED THE JOKER. HIS MO TH STARTS TO T RN DOWN INTO A S SPICIO S SCOWL EVEN AS HIS SENTENCE TRAILS OFF INTO SILENCE. (SMALL) THE BATMAN9 ..:)@J>.. PAGE 1. (PANEL) 1. SEVEN PANELS ON THIS PAGE, PERHAPS WITH THREE SMALL ONES AT THE TOP, A BIG WIDE DRAMATIC ONE IN THE MIDDLE AND THREE SMALL ONES AGAIN NDERNEATH THAT. SEE WHAT LOOKS EST TO YO . IN THIS FIRST ONE WE ARE LOOKING AT THE TABLE END ON FROM A CO PLE OF FEET AWAY, SO THAT WE SEE BOTH THE PROTAGONISTS MAYBE THREE # ARTER FIG RE, ON EITHER SIDE OF THE TABLE. THE BATMAN IS NOW STANDING, AND IS REACHING COLDLY AND DELIBERATELY ACROSS THE TABLE, WITHO T SAYING A WORD, TO GRASP THE FRONT OF THE JOKERS SHIRT OR OVERALL OR WHATEVER PEOPLE WEAR IN ARKHAM, AND SLOWLY TO HA L THE JOKER FORWARD INTO THE CIRCLE OF LAMPLIGHT CAST BY THE WALL LAMP. THE JOKER, NABLE TO RESIST THE RELENTLESS T G OF THE BATMANS GRIP ON HIS JACKET FRONT, LOOKS NERVO S AND TAKEN ABACK AS HES DRAGGED FORWARDS INTO THE LIGHT. LJOKERM9 H!:-?.. .. SAME ANGLE, B T NOW WE CLOSE IN A LITTLE SO THAT THE BATMAN IS LARGELY OFF PANEL APART FROM HIS HANDS. WE CAN SEE THE JOKERS FACE # ITE CLEARLY AS HES DRAGGED INTO THE LIGHT. THE HAIR IS GREEN, THE FLESH IS WHITE, THE LIPS ARE RED AND THE FACE IS BONY AND LANTERN JAWED, B T IT ISNT THE JOKER. THE EYES ARENT ANYWHERE NEAR CRA&Y ENO GH. BATMANS BLACK!GLOVED HAND DRAGS THE IMPOSTER RELENTLESSLY FORWARDS EVEN AS HIS OTHER HAND ENTERS THE PICT RE AND MOVES TOWARDS THE JOKERS FACE, FINGERS O TSTRETCHED AS IF TO STROKE IT. THE JOKER LOOKS NDERSTANDABLY SCARED SHITLESS. JOKER9 HEY7 WAIT ) B(@,=-7 D'@= ?', TO CH B-7 I +'= RIGHTS7 JOKER9 Y',;- @'= )**'<-J ='C

PAGE 1. (PANEL) /. WE ARE NOW LOOKING THRO GH THE BATMANS EYES SO THAT WE CAN ONLY SEE HIS HANDS AND THE PHONEY JOKERS FACE AS ITS DRAGGED INTO THE GLARE OF THE LAMPLIGHT. THE GLOVED HAND THAT WE SAW REACHIGN FOR THE JOKERS FACE LAST PANEL HAS NOW WIPED ITS FINGERTIPS IN A LONG SMEAR DOWN ONE SIDE OF THE WHITE FACE, DOWN THE CHEEK AND MAYBE DOWN OVER ONE CORNER OF THE LIPS. THE WHITE GREASE PAIN COMES OFF ON THE TIPS OF BATMANS GLOVES, REVEALING THE PERFECTLY ORDINARY PINK SKIN BENEATH. THE RED LIPSTICK IS SM DGED DOWN HORRIBLY OVER THE CHIN, LIKE BLOOD, AS THE LEATHER GLOVE WIPES RO GHLY ACROSS IS. THE FAKE JOKERS EYES ARE OPEN WIDE, THE P PILS TINY PINPRICKS OF PREGNANT TERROR. (SMALL) JOKER9 C=',A: B-.. 4. BIG PANEL. FOR THE FIRST TIME WE SEE A GOOD CLEAR SHOT OF THE BATMANS FACE AS HE L NGES ACROSS THE TABLE AND SAVAGELY DRAGS THE FAKE JOKER O T OF HIS CHAIR AND ACROSS THE TABLE SO THAT THEIR FACES ARE ONLY INCHES APART. THE BATMAN IS A NIGHTMARE FROM HELL, HIS TEETH GRITTED IN A TERRIBLE AND F RIO S RAGE AND HIS WHITE EYES SMO LDERING LIKE A F RNACE. THE BLACK MASS OF HIS CAPE SHIFTS ABO T HIM WITH THE S DDEN MOVEMENT, AND THE CELL DANCES WITH GROTES# E AND DEFORMED SHADOWS AS THE TWO NEARTHLY LOOKING CREAT RES LOOK FACE TO FACE BENEATH THE DIM LIGHT. THE PHONEY JOKER STARTS TO SCREAM IN BLIND MORTAL TERROR. THE BATMAN9 WHERRRRRE IS HE" JOKER9 AAAAAAAA7 O: GOD, @'C 1. NOW THE THREE SMALL CLOSING PANELS. IN THIS FIRST ONE IN THE SE# ENCE WE C T TO J ST O TSIDE THE CELL DOOR, TO WHERE COMMISSIONER GORDON IS WAITING WITH THE NIFORMED ASYL M SEC RITY G ARD. BOTH THE MEN LOOK STARTLED AS THEY HEAR THE S DDEN PROAR ISS ING O T THRO GH THE BARRED WINDOWS IN THE CELL DOOR. COMMISSIONER GORDON GEST RES RGENTLY AND IMPATIENTLY THAT THE G ARD SHO LD NLOCK THE DOOR, HIS FACE F LL OF HORROR AS HE GA&ES AT THE DOORS BLANK FA3ADE. THE SEC RITY MAN LOOKS STARTLED AND O T OF HIS DEPTH HERE. THE BALLOONS BELONGING TO THE BATMAN AND THE PSE DO JOKER ISS E O T INTO THE CORRIDOR THRO GH THE BARRED WINDOW IN THE CELL DOOR HERE. (OFF) THE BATMAN9 DO YO REALISE" D' ?', ;-)*(N- <:)= ?',I- >-= FREE" WHERE IS HE"

(OFF) JOKER9 EEEEEEEEGH7 G-= :(B OFFA B-7 GORDON9 D-); G'J, :-> +'@- BERSERK. OE-@ =:)= DOOR, B)@7 PAGE 1. (PANEL) 6 NOW WE ARE BACK INSIDE THE CELL. OVER TO THE RIGHT OF THE E$TREME FOREGRO ND, THE BATMAN HAS DRAGGED THE FAKE JOKER O T FROM HIS CHAIR BY THE TALE AND HAS DRAGGED HIM ACROSS THE ROOM TO SLAM HIM SAVAGELY P AGAINST THE WALL. WE CAN SEE A LITTLE OF THE BACK OF THE BATMANS CAPE HANGING DOWN IN THE RIGHT FOREGRO ND MAYBE, WITH ONE OF THE PSE DO JOKERS TERRIFIED HANDS FLAILING O T HELPLESSLY AS HES PINIONED TO THE WALL BY THE GREAT DARK SLAB OF MASS AND M SCLE WHOSE TEMPER HES ARO SED. LOOKING PAST THIS, OVER IN THE BACKGRO ND WE SEE THAT THE DOOR OF THE CELL IS NOW OPEN AGAIN AND THAT COMMISSIONER GORDON IS R NNING INTO THE CELL, SHO TING O T TO THE BATMAN AS HE COMES, HIS FACE TENSE AND ANGRY, THE SEC RITY G ARD FOLLOWS A CO PLE OF PACES AFTER HIM, LOOKING E$TREMELY WORRIED. GORDON9 OKAY, =:)=> ENO GH7 GORDON9 YO H@'< =:- *)<> ;-+);J(@+ B(>=;-)=B-@= 'D INMATES )> <-** )> I J'7 ID ?', :);B '@- HAIR '@ :(> HEAD.. 2. FINAL PANEL. WE HAVE MORE OR LESS THE SAME SHOT AS LAST PANEL, E$CEPT WEVE MAYBE CLOSED IN J ST FRACTIONALLY, WE STILL CANNOT SEE M CH OF BATMAN, WHO IS OFF THE RIGHT PANEL BORDER, AND WE CAN NO LONGER SEE ANY OF THE HELPLESS PSE DO JOKER AT ALL. ALL WE SEE OF BATMAN IS ONE BLACK GLOVED HAND REACHING CAS ALLY BACK INTO THE PICT RE FROM OFF PANEL RIGHT AND HANDING SOMETHING TO THE ST NNED AND BEWILDERED COMMISSIONER GORDON, WHO HAS STOPPED DEAD IN HIS TRACKS TO LOOK AT WHAT THE BATMAN IS HOLDING O T FOR HIM TO TAKE. IT IS A BRIGHT GREEN WIG. IT HANGS FROM BETWEEN BATMANS BLACK FINGERS LIKE SOME H GE AND E$OTIC LIME!COLO RED HAIRY SPIDER. GORDONS HANDS ARE STARTING TO RISE A TOMATICALLY TO TAKE THE WIG FROM BATMAN, EVEN AS HE GAPES AT IT IN ST NNED AND WIDE! EYED INCOMPREHENSION. THE BATMANS BALLOONS ISS E FROM OFF PIC. (OFF) THE BATMAN9 C'BB(>>('@-;, (D ?',;- CONCERNED )5',= (=, (=> YO RS. T)H- CARE 'D (=. (OFF) THE BATMAN9 NOW, ?', <:(BE-;(@+ *(==*- >B-); 'D >*(B-, IB +'(@+ =' )>H ?', E'*(=-*? K,>= '@- B';- TIMEC PAGE 6. (PANEL) 1.

THERE ARE FIVE PANELS ON THIS PAGE. WE HAVE CHANGED SCENE TO THE GRO NDS OF AN OLD AND WRETCHED DIS SED CARNIVAL ON THE O TSKIRTS OF GOTHAM, EVEN THO GH WE CANT REALLY SEE M CH OF THE CARNIVAL ITSELF HERE. ALL WE SEE HERE, IN THE FOREGRO ND ARE A PAIR OF SMARTLY TAILORED SLEEVES AND A PAIR OF GLOVED HANDS RESTING ON THE HANDLE OF A WALKING CANE. THE HAND, THE SLEEVES AND THE CANE ALL BELONG TO THE JOKER, WHO IS STANDING J ST OFF PANEL TO THE RIGHT OF THE PICT RE, MAYBE WITH J ST THE FRONT OF HIS JACKET SHOWING. AS TO HOW HES ATTIRED, ILL LEAVE THAT P TO YO . I FIG RE HE SHO LD BE DRESSED FOR O TDOORS ON A NOVEMBER EVENING..MAYBE A LONG TRENCH COAT OR SOMETHING, B T ILL LEAVE THE SPECIFICS P TO YO , DEPENDING ON WHAT LOOK YO WANT TO GIVE HIM. IT STRIKES ME THAT THE P RPLE S IT OF THE JOKERS HAS BEEN ARO ND FOR SO LONG, EVEN WITH THE VARIO S STYLISTIC ADDITIONS MADE BY PEOPLE LIKE NEAL ADAMS AND MARSHALL ROGERS, THAT IS ALMOST AMO NTS TO A NIFORM, J ST LIKE REG LAR S PER HEROES HAVE. THIS SEEMS A PITY, SINCE THERES NO REAL REASON WHY THE JOKER SHO LDNT CHANGE HIS O TFIT OCCASIONALLY AT ALL. IF YO WANT, YO CO LD DRESS THE JOKER IN SOMETHING NLIKE ANYTHING HES EVER BEEN SEEN IN BEFORE AND PERHAPS MORE IN KEEPING WITH THE BLACK AND NIHILISTIC MANIAC THAT WERE ATTEMPTING TO PORTRAY HERE. THE JOKER AS I SEE HIM IS A CREAT RE WHO HAS LOOKED INTO THE ABSOL TE PITS OF THE H MAN E$ISTENCE AND HAS BEEN DRIVEN TO INSANITY BY WHAT HE SEES THERE. MAYBE YO CO LD SOMEHOW DRESS HIM TO REFLECT THIS AND ALSO COME P WITH A MORE STYLISH AND STARTLING VIS AL APPROACH AT THE SAME TIME" SEE WHAT YO THINK ANYWAY, AND IF THE OLD P RPLE S IT LOOKS BEST THEN PLEASE SE IT. ANYWAY, IN THIS C RRENT PANEL THE JOKER IS MORE OR LESS OFF PANEL OVER ON THE RIGHT, STANDING MOTIONLESS AND STARING AT SOMETHING OFF PANEL OVER ON THE LEFT. WALKING TOWARDS S FROM THE BACKGRO ND ACROSS A SCR BBY FIELD OF DARK GRASS EDGED IN THE FAR BACKGRO ND BY A COPSE OF E# ALLY DARK NIGHT!TIME TREES, WE SEE A MAN OF ABO T THIRTY FIVE, WHOSE NAME IS MITCH M. MITCH M IS A SEEDY AND CRIMINAL ESTATE AGENT WHO SPECIALI&ES IN PROPERTY DEALS WITH THE NDERWORLD. HE TOO IS DRESSED AGAINST THE NOVEMBER CHILL AS HE WALKS ACROSS THE GRASS..WHICH IS MOSTLY M D AND P DDLES AND LITTER..TOWARDS THE ELEGANT FIG RE STANDING OFF PANEL IN THE FOREGRO ND AND ALSO TOWARDS S. HE HAS HIS HANDS DEEP IN THE POCKET OF HIS CAR COAT OR WHATEVER HES WEARING, AND HIS BREATH FOGS ON THE NOVEMBER AIR, HE ATTEMPTS AN NEASY SMILE OF HOPEF L CAMARADERIE, DIRECTED AT THE OFF!PANEL FIG RE IN THE FOREGRO ND AS HE APPROACHES HIM. CAP. 9 LW:-;- IS :-"M MITCH M9 AH7 THERE ?', );-7

MITCH M9 H)I- ?', :)J ) A:)@A- =' (@>E-A= =:- PROPERTY )@J J-A(J- (D (=> <:)= ?', <-;- LOOKING D';" PAGE 6. (PANEL) .. NOW WE HAVE A BIGGER PANEL, SHOT FROM BEHIND THE FIG RES OF THE JOKER AND OF MITCH M, WHO HAS NOW APPROACHED THE JOKER SO THAT HES ONLY A FEW PACES AWAY, SLIGHTLY TO THE REAR B T LOOKING IN THE SAME DIRECTION THAT THE JOKER IS LOOKING. ONCE AGAIN, WE CAN ONLY SEE A BACK VIEW OF THE JOKER, J ST STANDING THERE OVER TO THE LEFT OF THE PANEL, MAYBE EVEN WITH HIS HEAD ONCE MORE OFF THE PANEL BORDER, DEPENDING WHAT LOOKS BEST. THE IMPORTANT THING IS THAT WE DONT SEE HIS FACE YET AS HE STARES DIRECTLY AWAY FROM S. MITCH M, OVER MORE TO THE RIGHT, IS T RNING HIS HEAD SO THAT WE CAN MAYBE SEE HIM IN PROFILE AS HE LOOKS AT THE JOKER WITH A SORT OF # I&&ICAL AND CRESTFALLEN LOOK, HIS SMILE DISSIPATING INTO DISAPPOINTMENT AS HE HEARS THE JOKERS OPINION OF HIS PROPERTY. SAID PROPERTY IS WHAT WE ARE LOOKING AT AS WE GA&E BETWEEN THE TWO FIG RES IN THE FOREGRO ND. WE SEE THE FRONT OF THE R INED AND ABANDONED AM SEMENT PARK%F NFAIR%CARNIVAL OR WHATEVER WITH ITS OPEN FRONTED STALLS AND ITS SIDESHOWS AND ITS PEELING POSTERS AND PAINTWORK AND ITS LONELY LITTLE CL STERS OF COIN!OPERATED AM SEMENT ARCADE MACHINES. I DONT REALLY CARE WHAT YO SHOW HERE, SO LONG AS WE GET A GOOD ATMOSPHERIC INTROD CTORY SHOT OF THIS GROTES# E AND EVIL!LOOKING R N DOWN CARNIVAL. IT LOOKS DIRTY AND DARK AND SORDID AND GA NTED, LOOSE SHEETS OF DAMP AND SEMI!ROTTED TARPA LIN FLAPPING MO RNF LLY FROM SOME OF THE STALLS AND RIDES. SINCE WE NEED TO SEE BOTH A LA GHING SAILOR MACHINE AND A POSTER ADVERTISING THE FREAK SHOW IN FAIRLY CLOSE PRO$IMITY TO EACH OTHER IN O R NE$T OB T! ONE PANEL, MAYBE YO CO LD INTROD CE THEM BY S# EE&ING THEM INTO THE BACKGRO ND HERE, J ST TO GIVE A HIT OF SOLID VIS AL CONTIN ITY. THE ODD LEAF BLOWS PAST, AND, AS I SHO LD HAVE POINTED O T LAST PANEL, IT IS STILL RAINING, ALTHO GH PERHAPS A LITTLE LESS SO THAT WHEN WE SAW BATMAN ARRIVING AT THE ASYL M ON PAGE ONE, IT LOOKS GRIM AND WINDSWEPT AND DERELICT. JOKER9 W-**, (=> GARISH, GLY, )@J DERELICTS :)I- ,>-J (= D'; ) TOILET. JOKER9 T:- RIDES );- J(*)E(J)=-J =' =:- E'(@= 'D 5-(@+ LETHAL, )@J A',*J -)>(*? MAIM '; KILL (@@'A-@= *(==*- CHILDREN. MITCH M9 O:. S' ?', J'@= *(H- (=" /. NOW WE HAVE O R FIRST CLOSE P OF THE JOKERS FACE. HE LOOKS O T OF THE PANEL, STARING AT THE OFF PANEL R IN OF THE CARNIVAL, AND HE SMILES, WRINKLES CREASING THE WHITE FLESH ARO ND HIS

COLD, DEAD, MALICIO S EYES AND ARO ND THE BLOODY SLASH OF HIS DISTENDED AND SMILING LIPS. HIS BILIO S GREEN HAIR BLOWS IN THE NIGHT BREE&E AND HE LOOKS SO DELIGHTED THAT HE CO LD ALMOST BE IN LOVE. LOOKING OVER THE JOKERS SHO LDER WE CAN PERHAPS SEE A GLIMPSE OF MITCH M AS HE LOOKS ON AT THE JOKER, NERVO SLY AND NEASILY, FROM THE NEAR BACKGRO ND. (INCIDENTALLY, I SHO LD HAVE MENTIONED SOMEWHERE IN MY DESCRIPTION ON THE PREVIO S TWO PANELS THAT THE JOKER HAS A HAT WITH HIM..MAYBE A SLO CH HAT OR MAYBE SOMETHING MORE NCONVENTIONAL. HE ISNT WEARING IT, B T HE CARRIES IT WITH HIM AS HE WALKS ARO ND ON HIS INSPECTION OF THE CARNIVAL. SORRY I FORGOT ABO T IT.) HERE, WE SEE HIS GREEN HAIR BLOWING LIKE SEAWEED IN THE BREE&E AS HE SMILES A DEATHLY AND HIDEO S SMILE O T OF THE PANEL AT S. JOKER9 D'@= LIKE (=" JOKER9 IB CRA&Y D'; (=. 4. NOW, IF THIS COMPOSITION WORKS O T OKAY, WE HAVE CHANGED ANGLE AND P LLED BACK FROM THE JOKER SLIGHTLY, SEEING HIM HERE AS HE WALKS AMONGST THE VARIO S SOILED AND SEMI!ROTTED EDIFICES THAT MAKE P THE DIS SED AM SEMENT PARK. IN THE BOTTOM FOREGRO ND, J ST AS AN INCIDENTAL DETAIL HERE, WE HAVE A D STY GLASS CASE CONTAINING ONE OF THOSE AWF L 0LA GHING SAILOR FIG RINES, ITS ROSY PAPER MACHE CHEEKS STARTING TO PEEL AND ROT, ONE EYE ALREADY CAVED IN COMPLETELY AND STAINS ON ITS LITTLE BL E NIFORM. LOOKING BEYOND THIS WE SEE MAYBE A THREE # ARTER LENGTH SHOT OF THE JOKER AND MITCH M AS THE PAIR WANDER THRO GH THE F NFAIR, WITH MITCH M FOLLOWING NERVO SLY BEHIND THE DIST RBING AND GROTES# E WHITE FACED FIG RE, AN$IO SLY TRYING TO FINALI&E THE DETAILS OF THE P RCHASE. THE JOKER, AS HE STANDS HERE IS FACING SLIGHTLY AWAY FROM S. HE HAS HIS CANE NDER HIS ARM AND HIS HAT IN HIS GLOVED HANDS, AND HE IS LOOKING P AT A TORN AND ANCIENT OLD FREAK SHOW POSTER P ON A DISPLAY BY ONE OF THE BOOTHS OVER IN THE BACK GRO ND. ALTHO GH WE CANNOT SEE IT TOO CLEARLY HERE MAYBE, ONE OF THE MAIN ATTRACTIONS FEAT RED ON THE POSTER IS A FAT LADY. THERE IS A PICT RE OF HER, OBESE AND MO NTAINO S, SEATED ON A STOOL, WITH THE LEGEND LSEE THE FAT LADY7M AT THE TOP AND LGALS, BE GLAD IT AINT YO 7M LETTERED ALONG THE BOTTOM, NDER THE PICT RE. LIKE I SAY, THIS WONT BE TERRIBLY CLEAR AND VISIBLE HERE, I DONT S PPOSE, B T THE JOKER IS POSITIONED SO THAT HES STANDING ALMOST DIRECTLY BETWEEN S AND THE POSTER AS HE GA&ES AT IT, HOLDING HIS HAT IN HIS HANDS AND STILL SMILING A SMILE OF REPTILIAN SATISFACTION, NOT LOOKING AT MITCH M AS HE MAKES HIS REPLY. IN THE FOREGRO ND, THE LEPRO S SMILE OF THE SAILOR ECHOES THAT ON THE JOKERS FACE AS IT STARES O T OF ITS

COBWEBBED AND DIRTY CASE. MITCH M9 Y',..." Y', ;-)**? <)@= =' B Y (=" A@J =:- PRICE I B-@=('@-J, (= (>@= ='' STEEP.." JOKER9 T'' STEEP" M? J-); SIR, )> I *''H )= (= IB B)H(@+ ) KILLINGC 1. FOR THIS FINAL PANEL WE CLOSE IN FROM O R LAST SHOT NTIL WE CAN J ST SEE A LITTLE OF THE JOKERS MIDSECTION AS HE STANDS OVER TOWARDS THE RIGHT OF THE PANEL, LOOKING SLIGHTLY AWAY FROM S TOWARDS THE POSTER WITH HIS HAT VISIBLE CLASPED IN HIS HANDS IN FRONT OF HIM. LOOKING BEYOND HIS DECAPITATED FIG RE WE CAN SEE THE POSTER, WITH THE PICT RE OF THE SEATED FAT LADY OVER TO THE LEFT AND THE LEGENDS # OTED ABOVE SEE THE FAT LADY AND LGALS, BE GLAD IT AINT YO 7M (OFF) JOKER9 ..)@J ANYWAY, MONEY (>@= ;-)**? ) E;'5*-B. (OFF) JOKER9 N'= THESE J)?>. PAGE 2. (PANEL) 1. THESE NE$T TWO PAGES CONSTIT TE O R FIRST FLASHBACK OF THE ISS E, SO I S PPOSE A GENERAL NOTE PON THE FLASHBACKS IS IN ORDER. I FIG RE IT WO LD LOOK NICE IF THEY WERE VIS ALLY DIFFERENT IN APPROACH TO THE MAINSTREAM OF THE BOOK..EITHER BY THE ADOPTION OF A DIFFERENT APPROACH TO THE COLORING OR TO THE INKING OR TO THE PAGE DESIGN OR SOMETHING..IM S RE YO KNOW THE SORT OF THING I MEAN. ALSO, SINCE THE NARRATIVE IN THESE FLASHBACK SE# ENCES IS FAIRLY NB RDENED WITH THE PRESENCE OF PEOPLE IN COST MES AND S PERHEROES IN GENERAL, MAYBE WE CAN TREAT THESE SCENES A BIT MORE REALISTICALLY, EVEN IT IF ITS A REALISM THAT BECOMES NPLEASANTLY NSETTLING AND DIST RBING AND TINGED WITH INSANITY PON OCCASIONS. ONCE AGAIN, I S PPOSE IM THINKING VERY M CH OF ERASERHEAD FOR THESE SCENES SHOWING THE POSSIBLE EARLY YEARS OF THE JOKERS LIFE..AS I SEE IT, THESE FLASHBACK SCENES LOOK AS IF THEY TOOK PLACE ABO T TWENTY YEARS BEFORE THE EVENTS IN THE REST OF THE BOOK, WHICH CO LD MAYBE BE AFFECTED SOLELY BY THE COLOR SCHEME WE SE IF WE ST CK TO YELLOWS OR SENIAS OR SOMETHING LIKE THAT. THE SETTINGS ARE ALL COMPOSED WITH HORRIBLY FASCINATING AND YET SORDIDLY M NDANE DETAILS, ALONG WITH A LOT OF CLA STROPHOBIC CL TTER. IN THESE OPENING SCENES, WE ARE IN THE DESPERATELY GRIM ONE ROOM FLAT SHARED BY THE EARLY MODEL JOKER, BEFORE HIS GHASTLY TRANSFORMATION, AND HIS YO NG AND PREGNANT WIFE. WHOSE NAME IS JEANNIE. IN THIS FIRST PANEL, WE HAVE A COMPOSITION WHICH MIRRORS ALMOST E$ACTLY THAT SED IN THE LAST PANEL ON PAGE SI$. IN THE FOREGRO ND, OVER ON THE RIGHT, WE CAN

SEE A LITTLE OF THE MIDSECTION OF A YO NG MAN IN FAIRLY DOWN!AT! HEEL CLOTHING, MOST CONSPIC O SLY, WE CAN SEE HIS HANDS. THEY ARE PERHAPS A LITTLE GR BBY, WITH DIRT BENEATH THE FINGERNAILS, B T BASICALLY THEY SEEM PINK AND N SED TO WORK. THE FINGERS ARE LONG, SENSITIVE AND ARTISTIC, AND THE HANDS THEMSELVES SEEM TO BETRAY A SORT OF NERVO SNESS. HERE , WE SEE THEM NERVO SLY HOLDING A BATTERED OLD TRILBY THAT LOOKS AS IF ITS LONG SINCE LOST ITS WAR WITH THE RAIN. THE HANDS CL TCH THE BRIM, TOYING WITH IT NCOMFORTABLY AS THE OFF PANEL PERSON STANDS THERE HOLDING HIS HAT AT WAIST OR CROTCH LEVEL, WHEREVER WE SAW THE JOKER HOLDING HIS HAT IN THE LAST PANEL OF PAGE SI$. LOOKING BEYOND THIS, WE CAN SEE THE TERRIBLE CRAMPED NTIDY ROOM THAT THE YO NG MAN AND HIS WIFE SHARE. THE WALLPAPER IS PEELING AND WAS IN ANY CASE AWF L TO START WITH. IN THE ROOM THERE IS A WASHBASIN, A SMALL GAS STOVE, TWO CHAIRS A SMALL TABLE AND A CRAMPED LOOKING DO BLE BED THAT WO LD PERHAPS SLEEP ONE PERSON COMFORTABLY. THE ROOM IS SO SMALL THAT WE CAN PROBABLY EVEN SEE A LOT OF THIS DETAIL IN THE FIRST PANEL. THERE IS A SMALL WINDOW IN THE ROOM, WITH GRIMY GLASS AND FADED C RTAINS THAT ONCE HAD A PATTERN AND NOW BARELY RETAIN ITS GHOST. THE WINDOW LOOKS O T ONTO A RED BRICK WALL SIT ATED SI$ FEET AWAY ACROSS THE ALLEY. THE ROOM IS LITTERED WITH ALL SORTS OF ST FF..FOOD, NEWSPAPERS, DIRTY WASHING. MAYBE THERE IS A LINE HANGING SOME WHERE IN THE ROOM..MAYBE OVER A RADIATOR.. ON WHICH SOME RECENTLY WASHED MENS NDERWEAR (THE BIG WHITE BAGGY OLD FASHIONED KIND THAT MY FATHER SED TO ENJOY AND PROBABLY STILL DOES FOR ALL I KNOW OF THE MATTER) IS HANGING TO DRY. THERE IS A SMALL AND INEFFECTIVE!LOOKING ELECTRIC FIRE, PERHAPS, OR ANY OTHER M NDANE AND SORDID!LOOKING DETAILS THAT YO FEEL LIKE THROWING IN. SITTING TOWARDS THE LEFT, PON ONE OF THE WOODEN CHAIRS POSITIONED MORE OR LESS E$ACTLY THE SAME AS THE FAT LADY WAS PON THE FREAK SHOW POSTER, WE SE THE YO NG MANS WIFE, JEANNIE. SHE IS SI$ MONTHS PREGNANT, AND OBVIO SLY HASNT BOTHERED TO DRESS THAT MORNING, STILL WEARING HER HO SECOAT, NIGHT GOWN AND SLIPPERS. SHE LOOKS # ITE SICKLY AND WASHED O T, AND THE FACT THAT HER BODY IS NAT RALLY # ITE SMALL AND SLIGHT TENDS TO EMPHASISE THE STATE OF HER PREGNANCY. HER HAIR IS LONG AND LANK AND GREASY! LOOKING, AND WHILE SHE ISNT NATTRACTIVE, SHES CERTAINLY NO BEA TY. CMON BRIAN, YO COMPLACENT OLD BASTARD, HERES A CHALLENGE FOR YO R JADED SENSIBILITIES9 DRAW AN AVERAGE! LOOKING WOMAN. SHE LOOKS P WITH A HOPEF L E$PRESSION AS THE YO NG MAN ENTERS THE ROOM, HAT IN HAND, P IN THE FOREGRO ND. JEANNIE9 W-**" JEANNIE9 H'< J(J (= GO" D(J =:-? *(H- ?',; ACT"

PAGE 2. (PANEL) .. NOW THE MAN HAS CROSSED THE ROOM SLIGHTLY AND WE HAVE CHANGED ANGLES SO THAT THE WOMAN IS SEATED IN THE FOREGRO ND AND WE ARE LOOKING PAST HER AT THE MAN AS HE STANDS THERE WITH HIS BACK TO S, HANGING P HIS HAT AND MAYBE HIS JACKET PON A COAT PEG, OR PERHAPS J ST ON THE BACK OF A CHAIR IF THERE ARE NO COAT PEGS. EVEN THO GH HE HAS HIS BACK TO S SO THAT WE CANT SEE HIS FACE WE CAN STILL SEE MORE OF HIM THAN WE CO LD LAST PANEL..HES VERY TALL AND LANKY AND GANGLY, AND HE DOESNT REALLY CARRY HIS NGAINLY BODY TO THE BEST EFFECT, AS IF HE FEELS AWKWARD IN IT. HES MAYBE TWENTY TWO YEARS OLD, WITH A FAIRLY NR LY MOP OF BLACK HAIR THATS C T IN SOME SORT OF NEB LO S STYLE VAG ELY REMINISCENT OF THE DEPRESSION, PERHAPS SHAVED SLIGHTLY AT THE SIDES AND THE BACK OF THE NECK. SEE WHAT LOOKS BEST. THE YO NG MAN M MBLES TO THE COAT PEGS AS HE REPLIES TO HIS WIFE, NOT LOOKING AT HER. IN THE FOREGRO ND, ALTHO GH JEANNIE IS FACING MOSTLY AWAY FROM S, WE CAN STILL SEE A LITTLE OF HER FACE. SHE LOOKS SLIGHTLY CRESTFALLEN. (I SHO LD HAVE MENTIONED LAST PANEL THAT THERE IS EITHER A HANGING WALL MIRROR, OLD FASHIONED AND CRACKED, OR PERHAPS A WALL MO NTED BATHROOM CABINET WITH A MIRROR SET INTO THE FRONT, P ON THE WALL ABOVE JEANNIES HEAD, BEHIND HER AS SHE SITS OVER BY THE WALL. SINCE WERE BEHIND HER HERE THIS MIRROR OR CABINET ISNT VISIBLE IN THIS PANEL, B T I THO GHT ID BETTER MENTION IT ANYWAY.) YO NG MAN9 W-**, =:-?, ,:..=:-? SAID =:-? B(+:= CALL B-. YO NG MAN9 I D NNO. I, I +'= NERVO S )@J B->>-J ,E ) P NCHLINE. JEANNIE9 O:. /. WE CLOSE IN NOW PON THE YO NG MAN AS HE WHEELS RO ND ANGRILY ON HIS WIFE SO THAT WE SEE HIM F LL!FACE FOR THE FIRST TIME. HE ISNT SO M CH ANGRY AS DESPERATE AND PSET AND DEPRESSED, AND HIS EYES LOOK MISERABLE EVEN AS HE SNAPS AGGRESSIVELY AT HIS WIFE. HE IS LONG!FACED AND LANTERN JAWED, B T STILL HAS A LOOK OF INNOCENCE ABO T HIM. HES PROBABLY NEVER BEEN AND NEVER WILL BE CALLED A HANDSOME MAN, B T THE FACE HAS A SORT OF YO THF L HONESTY ABO T IT, DESPITE ITS PEC LIARITIES, AND IS NOT TOTALLY NLIKABLE OR NSYMPATHETIC. ABOVE ALL, IT LOOKS WORRIED AND TWITCHY AND NERVO S, AND WE CAN PERHAPS IMAGINE HOW S CH A FRAIL AND EMINENTLY MOCKABLE PHYSICAL APPEARANCE AS A BOY MIGHT HAVE EASILY LEAD TO SOMEONE DEVELOPING A LINE OF PATTER TO FORESTALL A BEATING ALONG WITH A GENERAL NE ROTICISM AND SENSE OF ISOLATION, P RELY THRO GH BEING FRIENDLESS. WE DONT REALLY HAVE TO SEE

JEANNIE IN THIS PANEL, AND HER BALLOON CAN ISS E FROM OFF PANEL, NLESS YO PARTIC LARLY FEEL LIKE DRAWING HER. HERE, O R MAIN EMPHASIS IS ON THE FACE OF THE YO NG MAN AS HE T RNS RO ND AND SNAPS AT HIS WIFE, HIS EYES WO NDED AND H RT AND LOOKING FOR A FIGHT. ABOVE THE SCENE, A FLY SPECKED BARE LIGHT B LB STARES DOWN, LYNCHED ON THE END OF A DIRTY BROWN FLE$ THAT HANGS FROM THE PEELING WHITEWASH OF THE CEILING. YO NG MAN9 W:)= J' ?', MEAN, LO:M" (OFF") JEANNIE9 I..I J(J@= B-)@ ANYTHING. YO NG MAN9 Y-> ?', J(J. T:- <)? ?', SAID (=9 LO:M. L(H- THAT. 4. NOW WE HAVE RO GHLY A SIDE ON SHOT OF THE TWO OF THEM, BOTH MORE OR LESS F LL FIG RE. JEANNIE IS SEATED OVER TO THE LEFT, IN PROFILE, FACING RIGHT. THE YO NG MAN IS OVER TO THE RIGHT OF PANEL, LOOKING ANGRILY AND DISTRA GHTEDLY DOWN AT JEANNIE HAVING CROSSED THE TINY ROOM TOWARDS HER SINCE LAST PANEL. I DONT SEE HIM AS A VIOLENT MAN, SO HIS FISTS ARENT B NCHED P OR ANYTHING LIKE THAT. THE LONG AND NERVO S HANDS J ST FLAP ARO ND AGITATEDLY AS HE REMONSTRATES. JEANNIE T RNS HER HEAD TO ONE SIDE, AWAY FROM HIM AND TOWARDS S, CHEEKS FL SHING WITH ANGER. BEHIND THEM, THE GLY ROOM SITS AND LISTENS, ABSORBING EVERY WORD. JEANNIE9 J->,>, )** I SAID <)>... YO NG MAN9 Y', >)(J LOHM. A> (@ LOH, >' ?', J(J@= +-= ) JOB"M A> (@ LOH, >' :'< );- <- +'(@+ =' D--J =:- BABY"M YO NG MAN9 Y', =:(@H IM @'= <';;(-J )5',= =:)=" 1. NOW WE ARE BEHIND AND FRACTIONALLY ABOVE THE YO NG MAN AS HE STANDS THERE FACING HIS WIFE, LOOKING DOWN OVER HIS BONEY SHO LDER AT HER. AS HE STANDS THERE, I FIG RE HE HAS HIS HEAD T RNED TO ONE SIDE, PROBABLY THE LEFT, HIS EYES S# INCHED SH T AND HIS TEETH GRITTED IN IMPOTENT SELF!LOATHING AND F TILE ANGER. NOW HE MAYBE B NCHES HIS FIST P, B T THE ANGER IS OBVIO SLY DIRECTED AT HIMSELF RATHER THAN HIS WIFE. IN THE BACKGRO ND, JEANNIE LOOKS P AT HIM. THE CROSSNESS HAS GONE FROM HER FACE TO BE REPLACED BY A SORT OF PAINED CONCERN. SHE WINCES AS IF IN EMPATHY WITH THE PAIN HE IS OBVIO SLY FEELING. YO NG MAN9 Y', =:(@H, ?', =:(@H I J'@= CARE, =:)= (=> )** ) 5(+ JOKE =' B- '; >'B-=:(@+C PAGE 2. (PANEL) 1. (FROM OVER) YO NG MAN9 J--N, I :)I- =' +', I :)I- =' +' )@J STAND ,E =:-;-, )@J @'5'J?

LA GHS, )@J ?', =:(@H, ?', =:(@H IC 6. FINAL PANEL. ANOTHER SIDE ON SHOT FROM SOME FEET BACK. THE YO NG MAN SINKS TO HIS KNEES, RAPPING HIS ARMS ARO ND HIS WIFES PREGNANT BELLS AND PRESSING HIS CHEEK AGAINST IT. HE IS CRYING. JEANNIE LOOKS DOWN MATERNALLY WITH A LOOK OF SOMEHOW PATRONI&ING COMPASSION, AND STOKED HIS HAIR AS IF HE WERE A CHILD WITH A BR ISED KNEE. YO NG MAN9 O: GOD. YO NG MAN9 O: G'J, IB SORRYC JEANNIE9 O: BABYC PAGE 4. (PANEL) 1. NOW WE HAVE A SHOT WHICH CLOSES IN PON O R LAST F LL FIG RE PANEL SO THAT NOW ALL WE REALLY SEE IS THE YO NG MANS BLEAK! EYED AND TEAR!STREAKED FACE AS IT RESTS AGAINST THE SWELL OF HIS WIFES BELLY. APART FROM HER BELL, ALL WE CAN SEE OF JEANNIE IS HER HAND ENTERING THE PICT RE FROM ABOVE, STILL STROKING HIS HAIR AND CALMING HIM. YO NG MAN9 I J'@= B-)@ =' =)H- (= ',= '@ YO . Y',;- >,5!>,DD-;(@+ ENO GH, 5-(@+ B);;(-J =' ) LOSER. JEANNIE9 H'@-?, =:)=> @'=.. YO NG MAN9 I=> TR E. I A)@= S PPORT ?',. O J-)@@(-, <:)= );- <- +'(@+ =' DO" .. NOW WE HAVE A SHOT THAT SHOWS THE BOTTOM OF THE STAIRCASE IN THE LODGING HO SE THAT THE YO NG CO PLE ARE C RRENTLY LIVING AT. WE ARE LOOKING P AT THE DINGY STAIRCASE TOWARDS THE FIRST LANDING, WHERE WE CAN SEE AN ELECTRIC LIGHT SHINING ON ONE PEELING WALL, BALLOONS BELONGING TO THE YO NG MAN AND HIS WIFE ISS E FROM THE TOP OF THE STAIRS, SINCE THEIR ROOM IS ON THE FIRST FLOOR. AT THE BOTTOM OF THE STAIRS, PEERING S SPICIO SLY PWARDS FROM THE SHADOWS OF THE DIRTY HALLWAY TOWARDS THE YELLOW!LIT PSTAIRS LANDING, WE SEE A HIDEO SLY DECREPIT AND MISERABLE!LOOKING OLD LADY. STARING PWARDS, SHE SCOWLS, CL TCHING HER FILTHY HO SECOAT ABO T HER. A MANGEY!LOOKING CAT R BBING AGAINST HER VARICOSE AND STOCKINGED LEG. (OFF) JEANNIE9 I=** 5- OKAY. JEANNIE9 J NIOR <'@= 5- :-;- D'; )@'=:-; THREE MONTHS, )@J I =:(@H MRS. B RKISS <(** *-= =:- RENT +' ) *(==*- *'@+-;. S:- D--*> SORRY D'; B-. (OFF) YO NG MAN9 S:- :)=-> ME. /. NOW WE ARE BACK IN THE ROOM. JEANNIE STILL SITS IN HER CHAIR,

OVER IN THE FOREGRO ND, B T THE YO NG MAN HAS RECOVERED HIMSELF AND HAS RISEN AND WALKED TO THE WINDOW. WE SEE HIM HERE WITH HIS BACK TO S AS HE STARES O T THRO GH THE FILTHY GLASS AT THE RED BRICKS A FEW FEET AWAY. IN THE FOREGRO ND, JEANNIE HAS T RNED HER HEAD SLIGHTLY AWAY FROM S TO LOOK TOWARDS HIS BACK. YO NG MAN9 S:- A'B-> ',= (@=' =:- HALLWAY =' SCOWL )= B- -I-;?=(B- I +' PSTAIRS. YO NG MAN9 T:(> :',>- >=(@H> 'D CATLITTER )@J OLD PEOPLE. YO NG MAN9 II- +'= =' +-= ?', ',= 'D :-;- 5-D';- =:- BABY A'B->C 4. NOW WE ARE O TSIDE THE FILTHY WINDOW LOOKING IN. MAYBE IT IS RAINING, O TSIDE IN THE FOREGRO ND. LOOKING IN THRO GH THE WINDOW, IN THE FOREGRO ND WE SEE THE YO NG MAN WHO HAS NOW T RNED SO THAT HE IS IN PROFILE TO S ON THE OTHER SIDE OF THE GLASS. HIS E$PRESSION IS INTENSE AND DETERMINED, AND HIS EYES ARE B RNING AND SERIO S, DESPITE THE APPARENT LEVITY OF HIS COMMENT. JEANNIE, SITTING THERE BENEATH THE CRACKED MIRROR OR MIRROR!FACED BATHROOM CABINET, IN THE ROOM BEHIND HIM, DOESNT APPEAR TO SEE THE INTENSITY AND DETERMINATION IN HER H SBANDS EYES, AND HEARS ONLY HIS JOKE. SHE LA GHS, AND LOOKS HAPPY, THERE IN HER GRIM LITTLE ROOM. YO NG MAN9 I K,>= <)@= -@',+: MONEY =' +-= >-= ,E (@ ) J-A-@= NEIGHBO RHOOD. YO NGMAN9 T:-;- );- +(;*> '@ =:- STREET <:' -);@ =:)= (@ ) WEEKEND <(=:',= :)I(@+ =' =-** ) >(@+*- JOKE. JEANNIE9 HA HA HA HA. 1. THE YO NG MAN HAS NOW T RNED COMPLETELY AWAY FROM THE WINDOW AND TAKEN A PACE BACK ACROSS THE ROOM TOWARDS HIS SEATED WIFE. WE CAN ONLY SEE A LITTLE OF HIS MID SECTION, WITH ONE OF HIS LONG!FINGERED HANDS REACHING O T SLIGHTLY AS JEANNIE REACHES P TO TAKE HIS HAND AND P LL HIM TO HER, BOTH HER ARMS E$TENDED. SHE SMILES AND LOOKS LOVINGLY P AT HIM AS SHE REACHES O T FOR HIM, AND THERE IS A PROMISE OF SE$ IN THE AIR, THERE IS THE DISMAL LITTLE BED SIT ROOM. ALTHO GH WE CANNOT SEE M CH OF THE YO NG MAN IN THE FOREGRO ND AS WE LOOK DOWN PAST HIM AT HIS WIFE, WE CAN SEE HIS HEAD AN SHO LDERS REFLECTED IN THE MIRROR%BATHROOM CABINET THAT IS MO NTED ON THE WALL BEHIND HIS WIFES HEAD. BECA SE THE MIRROR, WHATEVER FORM YO DECIDE IT TAKES, IS FAIRLY DIRTY AND NCLEANED, THE REFLECTION OF THE YO NG MANS FACE IN IT LOOKS MORE SHADOWY, PARTIC LARLY ARO ND THE EYE SOCKETS. JEANNIE SMILES.

JEANNIE9 H'@-?, J'@= WORRY. N'= )5',= ANY 'D (=. I >=(** *'I- ?',, ?H@'<" J'5 '; NO K'5, ?',;- +''J (@ =:- SACK.. JEANNIE9 ..)@J ?', H@'< :'< =' B)H- B- LA GH. 6. IN THIS FINAL PANEL, WE HAVE C T O T OF THE FLASHBACK AND THE COLORING%INKING%PANEL DESIGN OR WHATEVER HAS RET RNED TO NORMAL. WE ARE AT THE CARNIVAL AGAIN, STANDING DIS SE NDER THE NIGHT!TIME NOVEMBER SKY, AND WE HAVE A PANEL ALMOST IDENTICAL IN COMPOSITION TO THE PANEL ABOVE. IN THE RIGHT OF THE FOREGRO ND WE SEE A LITTLE OF THE JOKERS MIDSECTION. LOOKING DOWN PAST HIM SLIGHTLY WE CAN SEE THAT HE IS STANDING LOOKING DOWN PON THE DIRTY GLASS CASE CONTAINING THE HIDEO SLY AFFLICTED SAILOR MANNIKIN. WE CAN SEE THE GLY LITTLE DOLL SITTING THERE AND SMILING P AT S, AND WE CAN SEE THE LEGEND ON THE FRONT OF ITS CASE IN OLD FASHIONED PENNY ARCADE LETTERING9 THE LA GHING SAILOR, AND THEN NE$T TO THAT OR NDER IT 0J ST P T A PENNY IN THE SLOT. THE JOKER, WHO WE CAN SEE A LITTLE OF IN THE FOREGRO ND ON THE RIGHT, IS REACHING O T WITH ONE HAND AND TRAILING HIS GLOVED FINGERTIPS OVER THE DIRTY GLASS OF THE MACHINE. WE CAN SEE HIS HEAD AND SHO LDERS REFLECTED IN THE GLASS CASE, J ST AS WE SAW THE YO NG MAN REFLECTED IN THE MIRROR LAST PANEL. THE JOKERS FACE LOOKS S ALLY SOLEMN AND REFLECTIVE, WITH NO TRACE OF THE S AL SMILE. N' D()*'+,-. PAGE 6. (PANEL) 1. NOW WE ARE BACK WITH MR. MITCH M AND HIS GHASTLY CLIENT IN THE GRO NDS OF THE DESOLATE ABANDONED CARNIVAL. IN THIS PANEL, MITCH M IS IN THE FOREGRO ND, FACING S. GROTES# EY, HE IS SITTING PON ONE OF THOSE LITTLE KIDDIE RIDES THAT ROCK BACK AND FORTH WHEN YO P T A COIN IN THE SLOT, AS IF TO DEMONSTRATE ITS ST RDYNESS AND STABILITY. HE GRINS IND LGENTLY TO HIMSELF. THE ACT AL DESIGN OF THE RIDE SHO LD BE SOMETHING SLIGHTLY GROTES# E AND WEIRD AND NSETTLING, IF YO HAPPEN TO HAVE EITHER REFERENCE OR A PARTIC LARLY STONG MEMORY OF SOME S CH DEVICE THAT YO ONCE SAW. I RECALL THE ONES DESIGNED TO LOOK LIKE REINDEERS AS BEING THE WORST, PARTIC LARLY IF YO ALLOWE D FOR PART OF THE INANE CARTOON FACE TO BE ROTTED AWAY WITH THE PAINT PEELING AWAY IN STRIPS. PERHAPS THE ANIMAL THAT THE RIDE DEPICTS CO LD HAVE A SORT OF FLEISCHER ST DIOS LOOK TO IT, SINCE I ALWAYS THO GHT THAT THEIR CARTOON ANIMALS COMBINED C TENESS WITH A VERY DARK AND DERANGED SORT OF # ALITY, WHICH WO LD FIT IN NICELY HERE. LOOKING PAST MITCH M AS HE SITS FOOLISHLY ASTRIDE HIS GRINNING AND LEERING MECHANICAL RIDE, WE

CAN SEE THE JOKER. HE HAS T RNED AWAY FROM THE LA GHING SAILOR, ALTHO GHWE CAN STILL SEE THE GLASS CASE STANDING J ST BEYOND THE JOKER AS HE T RNS TO FACE S, PROVIDING A VIS AL LINK WITH THE LAST PANEL ON PAGE EIGHT. THE JOKER STARES COLDLY AT MITCH MS T RNED BACK, AND MAYBE IT WO LD BE BEST IF YO CO LD SE THE SHADOWS TO SOMEHOW OBSC RE THE LOWER HALF OF HIS FACE SO THAT WE CANNOT SEE THE GRIN HERE..PERHAPS J ST THE GLINT OF HIS MAD WHITE EYES STARING FROM THE SHADOWS WO LD BE ENO GH. MITCH M, IN THE FOREGRO ND, FEELS HIMSELF TO BE ON CH MMY TERMS WITH THE JOKER AND DOESNT LOOK RO ND AT HIS CLIENT AS HE SPEAKS. ABO T THEM, THE DISMAL DEAD CARNIVAL STRETCHES. MITCH M9 YH@'<, IB POSITIVE ?', <'@= REGRET =:(> E,;A:)>-. MITCH M9 T:- E*)A- (>@= THAT J(*)E(J)=-J. S'B- 'D =:- RIDES );- >=(** E;-==? ST RDYC MITCH M9 R-)**?, =:(> A',*J 5- '@- HELL 'D ) C);@(I)*. .. CHANGE ANGLE NOW SO THAT WE ARE LOOKING AT BOTH THE JOKER AND MITCH M FROM THE REAR. MITCH M IS STILL SITTING ON HIS RIDE, FACING AWAY FROM S. THE JOKER HAS WALKED P BEHIND HIM SO THAT HE IS STANDING ON THE ESTATE AGENTS RIGHT SIDE AS WE SEE HIM HERE, IF YO CAN GET THAT TO WORK WITH THE SPEECH BALLOONS, MAYBE BY HAVING THEM P AT THE TOP OF THE PICT RE OR SOMETHING, FACING AWAY FROM S B T T RNED SLIGHTLY SO THAT WE SEE HIM IN PROFILE AS HE STANDS LOOKING DOWN AT THE MAN ON THE MECHANICAL RIDE, WE CAN SEE THAT THE JOKER IS SMILING. HE HAS HIS LEFT HAND RESTING PON MITCH MS SHO LDER AS HE STANDS BESIDE THE SEATED MAN, AND WITH HIS RIGHT HAND HE IS REACHING RO ND THE FRONT TO SHAKE MITCH MS RIGHT HAND. IF WE CAN SEE ANY OF MITCH MS FACE AS HE LOOKS P AT THE JOKER HE LOOKS A LITTLE TAKEN ABACK B T AN$IO S TO APPEAR FRIENDLY. P TO YO WHETHER WE CAN SEE THE ACT AL HANDSHAKE OR NOT. IF YO CAN GET THE DIALOG E BALLOONS TO WORK WITH THE JOKER ON THE RIGHT THEN PLEASE FEEL FREE TO REVERSE THE WHOLE SHOT SO THAT WERE LOOKING AT THE PAIR FROM THE FRONT. I LEAVE IT P TO YO . JOKER9 O:, ?',;- SO ;(+:=. JOKER9 T:)@H> =' ?',; >B''=: >)*->B)@>:(E )@J ?',; >(*I-; ='@+,- ?',I- A'BE*-=-*? SOLD B- '@ =:- E*)A-. L-=> SHAKE '@ (=. MITCH M9 :..<-**, S RE. I=> B? PRIVILEGEC /. WHICHEVER ANGLE YO FINALLY DECIDED THE LAST SHOT WAS TAKEN FROM, THIS PANEL IS DEFINITELY SEEN FROM THE BACK. THE HANDSHAKE IS OVER AND THE JOKER WITHDRAWS HIS HAND WITH A SMALL, FASTIDIO S SMILE. THERE IS SOMETHING ATTACHED TO THE

PALM, A BIT LIKE A JOY B &&ER, ALTHO GH IM NOT S RE HOW CLEARLY WELL BE ABLE TO SEE IT. MAYBE IF WEVE CLOSED IN SO THAT WE SEE BOTH THE JOKER AND MITCH M IN HALF FIG RE SHOT HERE THEN WELL BE ABLE TO ET A GOOD CLEAR SHOT OF THE DEVICE IN THE JOKERS RIGHT PALM. AS I SAID, ITS LIKE A JOY B &&ER E$CEPT FOR THE FACT THAT IT HAS A SHORT B T WICKEDLY SHARP NEEDLE PROTR DING FROM ITS CENTRE. THE JOKER IS MAYBE EVEN IN THE PROCESS OF REMOVING THE DEVICE WITH THE CAREF L FINGERS OF HIS OTHER HAND. HIS FACE LOOKS OLD AND INCREDIBLY EVIL. MITCH M, OVER TOWARDS THE LEFT, SITS ON HIS ODD!LOOKING MECHANICAL RIDE IN AN NCOMFORTABLY CRAMPED LOOKING POSITION, FACING AWAY FROM S. AS THE JOKER SPEAKS HE IS SMILING SOFTLY TO HIMSELF AND INDEED TALKING MORE TO HIMSELF THEN MITCH M, NOT EVEN REALLY LOOKING AT THE SEATED AND MOTIONLESS MAN. JOKER9 I@J--J (= IS. JOKER9 N)=,;)**?, I <'@= 5- PAYING ?', )@?=:(@+. M? COLLEAG ES E-;>,)J-J ?',; PARTNER =' >(+@ =:- @-A->>);? DOC MENTS K,>= 'I-; )@ HO R )+'. T:E;'E-;=?> B(@- ALREADY. JOKER9 Y',;- HAPPY <(=: =:)=, I =)H- (=" PAGE 6. (PANEL) 4. NOW WE HAVE A SIDE ON SHOT, WITH THE BACK OF MITCH M AND THE RIDE THAT HES ON OVER ON THE E$TREME RIGHT OF THE PANEL, WITH BOTH MITCH MS FACE AND THE FACE OF THE MECHANICAL CRITTER HES RIDING OFF PANEL HERE. THE JOKER IS T RNED IN PROFILE SO THAT HES FACING TOWARDS THE LEFT OF THE PANEL, STARTING TO WALK AWAY FROM THE MAN SITTING THERE WITH HIS KNEES P ON THE GHASTLY LITTLE ROCKING DEVICE. AS HE STEPS AWAY, THE JOKER IS CAREF LLY DROPPING THE LITTLE SPIKED JOY B &&ER INTO AN INTERIOR POCKET OF HIS COAT, COMPLETELY WITHO T COMMENT. HIS SMILE IS SMALL AND SATISFIED AND # IET. BEHIND HIM, MITCH M DOESNT MOVE. JOKER9 I A)@ SEE =:)= ?', );-. IB SO +*)J. JOKER9 Y', H@'<, <:-@ ?', >-- =:- IMPROVEMENTS I :)I- E*)@@-J D'; =:(> E*)AI** +,);)@=-- ?',** 5- )5>'*,=-*? SPEECHLESS7 JOKER9 A@J (@A(J-@=)**?, =:)=> ) LIFETIME +,);)@=--C 1. NOW THE JOKER IS WALKING TOWARDS S THRO GH THE M D OF THE ABANDONED CARNIVALS MIDWAY, SO CLOSE TO S HERE THAT HIS HEAD AND SHO LDERS ARE OFF PANEL ABOVE, FROM WHENCE HIS VOICE BALLOON ISS ES. LOOKING BEYOND HIM, WE SEE MITCH M, STILL SEATED IN THE SAME CRAMPED AND NGAINLY POSITION ON HIS RIDE, STILL FACING AWAY FROM S. HE HASNT MOVED. (OFF) JOKER9 W-**, I B,>= DASH. T:-;-> E# IPMENT =' :(;-, E*,> WORKERS

<:'** >,(= =:- +-@-;)* TONE 'D =:- ->=)5*(>:B-@=C (OFF) JOKER9 ..)@J =:-@, 'D A',;>-, II- ?-= =' >-A,;- B? MAIN ATTRACTION. (OFF) JOKER9 DO D--* D;-- =' >=(AH ARO ND. 6. IN THIS FINAL PANEL, OVER ON THE LEFT, WE ARE LOOKING AT MITCH M FROM FAIRLY CLOSE P AS HE SITS FACING S ASTRIDE HIS CHIPPED AND PEELING CARTOON ANIMAL. HIS MO TH IS CONTORTED INTO A HORRIBLE RICT S, THE CORNERS P LLING P TO THE CHEEKS AND THE LIPS PEELING ACK AWAY FROM THE CLENCHED AND GRINDIN TEETH. A SINGLE TRICKLE OF BLOOD ESCAPES THE CORNER OF MITCH MS MO TH AND DRIBBLES DOWN HIS CHIN, ISS ING FROM A POINT WITHIN HIS MO TH WHERE HIS BACK TEETH HAVE BITTEN THRO GH HIS TONG E AS THE JAWS LOCKED TOGETHER. DESPITE THE GHASTLY SMILE, MITCH MS GLA&ING EYES STARE O T AT S FILLED WITH AN ABOMINABLE LOOK OF PAIN AND S RPRISE AND FRO&EN TERROR, SITTING THERE PATHETICALLY PON HIS RIDE, STONE COLD DEAD. LOOKING BEYOND MITCH MS GHASTLY AND GRINNING DEAD FACE IN THE FOREGRO ND WE CAN SEE THE JOKER FROM THE REAR, F LL!FIG RE AS HE STROLLS CAS ALLY INTO THE BACKGRO ND. AS HE GOES, HE SETTLES HIS HAT ONTO HIS HEAD AND PERHAPS TWIRLS HIS CANE JA NTILY. IN THE FOREGRO ND, THE HORRIFIED EYES OF THE DEAD MAN STARE O T AT S FROM A GRINNING FACE THAT IS ALREADY STARTING TO DRAIN OF COLO R. N' D()*'+,-. PAGE 18. (PANEL) 1. NOW WE C T S DDENLY ACROSS TO THE BATCAVE TO CHECK P ON WHAT THE BATMAN IS DOING SINCE DISCOVERING THE JOKERS ABSENCE FROM THE ASYL M. AS FAR AS O R TREATMENT OF THE BATCAVE GOES, I FIG RE WE SHO LD FOLLOW THE SAME GENERAL G IDELINES AS WE HAVE IN O R APPROACH TO THE BATMOBILE AD TO BATMAN HIMSELF. IN OTHER WORDS, I RECKON WE SHO LD TRY TO MAKE IT A SORT OF TIMELESS AND IDEALISED VERSION OF WHAT WE THINK THE BATCAVE O GHT TO LOOK LIKE. AS I SEE IT, ITS VERY BIG AND VERY STRANGELY LIT, AND THERE ARE MAYBE PLACES WHERE THE STALAGMITES HAVE GROWN P INTO THE DESCENDING STALACTITES TO FORM PILLARS OF ODDLY!CONTO RED LIMESTONE. ALSO, THERE ARE WEIRD CORAL!LIKE O TCROPPINGS OF ACC M LATED BAT G ANO HERE AND THERE. THE CEILING IS NEVEN, HIGHER IN SOME PLACES THAN OTHERS, AND BATS WHEEL ABO T THE HIGHEST CHAMBERS. AS FAR AS THE ACT AL DPCOR OF THE BATCAVES FITTINGS GOES, I RECKON WEVE GOT TO INCL DE THE TYRANNOSA R AND THE GIANT PENNY AND WHATEVER ELSE YO CAN REMEMBER, AND ID LIKE A FEW PROPS THAT REALLY STRIKE A STRONG NOSTALGIC CHORD FOR THE BATMAN OF THE FIFTIES AND

EARLY SI$TIES. AS AN E$AMPLE, PERHAPS SOMEWHERE WE CO LD SEE A STANDING BOARD WITH A DISPLAY OF VARIO S DIFFERENT TYPES OF BATARANG ATTACHED TO IT. (I THINK THERE WAS EVE A STORY IN WHICH THE VARIO S DISPARATE BATARANGE WERE DETAILED, IF LEN CO LD DIG IT O T FOR YO . I THINK IT WAS REPRINTED IN ONE OF THE ANN ALS.) OTHER NOSTALGIC TO CHES MIGHT INCL DE A SHOT OF OLD FASHIONED BO$ FILES AND A MICROSCOPE, ALONG WITH THE BATBOAT OR WHATEVER ELSE YO FEEL LIKE DRAWING. CONTRASTED WITH THIS NOSTALGIA THERE IS AT LEAST ONE LARGE AND LTRA SOPHISTICATED ARRANGEMENT OF GIANT COMP TER SCREENS THAT IS PROBABLY MORE ADVANCED THAT A LOT OF THE ST FF WEVE PREVIO SLY SEEN IN THE BATCAVE, J ST TO PRESERVE THE SENSE OF ANACHRONISM THAT WERE AFTER. IN THIS FIRST PANEL, OVER ON THE LEFT, WE CAN SEE THE BATMANS BLACK FINNED GA NTLET HOLDING ONE OF THE JOKER CARDS THAT WE LAST SAW ON THE FOLD DOWN TABLE AT ARKHAM ASYL M, WITH THE JERRY ROBBINS ORIGINAL JOKER DESIGN ON THEM. THE WHITE GRINNING FACE STARING O T OF THE PANEL AT S FROM THE CARD IS POSITIONED SO THAT IT ECHOES THE PALE AND GRINNING FACE OF THE POISONED MITCH M IN THE LAST PANEL ON PAGE NINE. LOOKING BEYOND THIS WE GET A GOOD CLEAR ESTABLISHING SHOT OF THE BATCAVE STRETCHING AWAY FROM S WITH ALL ITS SHADOWY MARVELS ON DISPLAY. IN THE FOREGRO ND, THE OFF!PANEL BATMAN HOLDS THE PLAYING CARD STEADILY AS HE STARES DOWN INTO THE DEPRAVED AND BLANCHED EYES OF THE CLOWN ON THE PASTEBOARD S RFACE. N' D()*'+,-. .. NOW WE CHANGE ANGLES AND ALSO DIP DOWN A BIT SO THAT WERE LOOKING P SLIGHTLY. WERE RO ND THE FRONT OF THE BATMAN NOW AS HE STANDS THERE IN THE BATCAVE, STARING PENSIVELY AND GRIMLY AT THE PLAYING CARD HE HOLDS BEFORE HIM. HE IS STILL WEARING HIS HOOD, CAPE AND COMPLETE BATMAN GEAR, AND HIS E$PRESSION IS VERY SERIO S AND SOLEMN AND DARK AND THO GHTF L. IN THE FOREGRO ND, WE CAN SEE THAT THE BATMAN IS STANDING BESIDE A LOWISH TABLE OR WORKS RFACE PON WHICH A FRAMED PICT RE IS STANDING IN A PROP! P FRAME. WE CAN ONLY SEE A LITTLE OF THE BACK OF SAID PICT RE HERE, TOWARDS THE FOREGRO ND. LOOKING P PAST IT WE SEE THE BATMAN AS HE LOOKS DOWN AT THE CARD IN HIS HAND, E$PRESSION TRO BLED AND SHADOWY. N' D()*'+,-. /. NOW WE HAVE A CLOSE P OF THE BATMANS FINNED GLOVE AS HE LAYS THE CARD DOWN PON THE WORK S RFACE OR TABLE IN FRONT OF THE

FRAMED PICT RE, WHICH WE CAN NOW SEE THE FRONT OF IN ITS ENTIRETY. THE PICT RE IS BASICALLY A D PLICATE OF THE PIN P THAT APPEARED ON THE BACK OF THE VERY FIRST GIANT BATMAN ANN AL, WITH THE ENTIRE BATMAN FAMILY AS WAS STANDING THERE AND SMILING AT S, INCL DING BATWOMAN AND THE ORIGINAL BATGIRL, ACE THE BATHO ND AND BAT!MITE AND GOOD OLD CH BBY!CHEEKS ROBIN. I FIG RE IT WILL LOOK REALLY HANGING AND INCONGR O S IN THE STRANGE AND DARK ATMOSPHERE THAT WERE SETTING P HERE, AS BATMAN SNAPS THE CARD DOWN ONTO THE TABLE%WORK S RFACE, THE SMALL SO ND EFFECT ISS ES FROM IT, J ST TO EMPHASI&E THE SILENCE OF THE REST OF THE PAGE. (SMALL) F.$. (CARD BEING PLACED DOWN)9 D@)E PAGE 18. (PANEL) 4. NOW WE P LL RIGHT BACK FROM A LONGSHOT, SO THAT WE SEE THE BATMAN F LL FIG RE AS HE WALKS ACROSS THE BATCAVE TOWARDS THE GIANT ARRAY OF COMP TER SCREENS MENTIONED EARLIER, OF WHICH W CAN PROBABLY ONLY SEE A LITTLE HERE, LOOMING P IMPRESSIVELY OVER ON THE RIGHT IN CONTRAST TO THIS, MAYBE THIS WO LD BE THE BEST PLACE THE SHOW THE DINOSA R SC LPT RE TOWARDS THE BACKGRO ND, J ST TO CONTRAST THE ANTI# E BEAST WITH THE LTRA MODERN STYLISHNESS OF THE SLEEK AND WEIRDLY DESIGNED COMP TER SET! P. AS THE BATMAN WALKS SILENTLY AND P RPOSEF LLY ACROSS THE CAVE TOWARDS THE ARRANGEMENT OF GIANT SCREENS WE CAN SEE THAT HE IS P LLING ONE OF HIS BLACK GA NTLETS OFF AS HE WALKS. APPENDED TO THE SCREEN SYSTEM, WHETHER ITS VISIBLE HERE OR NOT, THERE IS A SMALLER MONITOR SCREEN WITH A SWIVEL CHAIR SET IN FRONT OF IT.. N' D()*'+,-. 1. NOW ANOTHER CLOSE P OF THE BATMANS HAND, NGLOVED NOW, AS HE P NCHES O T A PROGRAMME ON THE KEYBOARD IMMEDIATELY BENEATH THE SMALL MONITOR SCREEN. ON THE MONITOR SCREEN THE FOLLOWING WORDS BECOME VISIBLE9 JOKER CLASSIFICATION DELTA O!. PRINT FILE ENLARGEMENT ALL SCREENS. THE BATMANS REMOVED GLOVE LIES NEAR THE CONSOLE. N' D()*'+,-. 6. NOW A BIGGER PANEL SHOWING A VIEW OF THE BATMAN FROM THE BACK AS HE STANDS THERE WITH HIS BACK TO S, IMMEDIATELY BEHIND THE EMPTY CHAIR IN FRONT OF THE MONITOR SCREEN. HE IS LOOKING P AT THE H GE COMP TER SCREENS THAT DOMINATE THE PICT RE. THERE

ARE SEVERAL OF THEM, CONSTANTLY CHANGING, AND THEIR LIGHT FLOODS THE ENTIRE VISIBLE AREA OF THE BATCAVE, THROWING THE STANDING FIG RE OF THE BATMAN INTO SHARP SILHO ETTE AS HE STANDS THERE WITH HIS HAND RESTING ON THE CHAIR BACK, ST DYING THE SCREENS ABOVE HIM. SOME OF THE SCREENS SHOW DIFFERENT SHOTS OF THE JOKER, TAKEN AT VARIO S POINTS D RING HIS PAST. SOME SCREENS SHOW MERELY ENLARGEMENTS OF PRINTED PAGES OF PERSONAL DETAILS. AMONGST THE DETAILS THAT WE CAN SEE HERE ARE REAL NAME9 NKNOWN, FOLLOWED BY AGE9 NKNOWN AND RELATIVES9 NKNOWN. THE BATMAN IS # ITE A SMALL FIG RE DOWN A THE BOTTOM OF THE PICT RE, WITH THE GIANT SCREENS DOMINATING THE IMAGE. N' D()*'+,-. PAGE 11. (PANEL) 1. NOW, OVER ON THE LEFT MAYBE WE CAN J ST SEE A LITTLE OF THE BATMAN VISIBLE ENTERING THE PANEL FROM OFF PIC ON THE LEFT, RIGHT P IN THE FOREGRO ND. MAYBE J ST HIS HANDS OR SOMETHING AS HE STANDS THERE CONTEMPLATING THE SCREENS, WHICH WE CAN SEE A LITTLE OF OVER ON THE RIGHT. ON THE PART OF THE SCREEN THAT WE CAN SEE HERE ARE THE WORDS PLACE OF BIRTH9 NKNOWN FOLLOWED BY ACTIVITIES PRIOR TO COMMENCEMENT OF CRIMINAL RECORD9 NKNOWN. LOOKING BETWEEN THE BATMAN ON ONE SIDE OF THE PICT RE AND THE COMP TER ON THE OTHER WE CAN PERHAPS SEE A LONG AND WINDING FLIGHT OF STONE STAIRS THAT LEAD DOWN INTO THE BATCAVE FROM A POINT HIGH P ON ONE SIDE OF THE SHEER WALLS. AT THE TOP OF THE STAIRS THERE IS THE OPEN RECTANGLE OF A DOOR, WITH YELLOW ELECTRIC LIGHT SHINING THRO GH IT FROM BEYOND. STANDING FRAMED IN THE DOORWAY, POISED AT THE TOP OF THE STEPS AND ABO T TO DESCENT, WE SEE THE SILLHO ETTE OF ALFRED, HOLDING A TRAY. THIS TINY IMAGE REALLY THE FOC S OF THIS PARTIC LAR PANEL. N' D()*'+,-. .. NOW WE &OOM RIGHT IN PON ALFRED SO THAT WE SEE HIM HALF FIG RE TO HEAD AND SHO LDERS AS HE STAND THERE AT THE TOP OF THE STEPS WITH THE LIGHT BEHIND HIM, LOOKING DOWN ON HIS MASTER, ALONE IN THE SHADOWS OF THE BATCAVE. AS HE GA&ES DOWN AT THE MAN BENEATH HIM. ALFREDS E$PRESSION IS AT ONCE CONCERNED AND PITYING. N' D()*'+,-. /. NOW A SHOT FROM ABOVE, LOOKING DOWN ON ALFRED AS HE STARTS TO

DESCEND THE STONE STAIRS TOWARDS THE MAIN BODY OF THE CAVE BELOW, STILL CARRYING THE TRAY ( PON WHICH, I SHO LD MENTION, IS A SMALL SILVER TEA POT AND A TEA C P, ALONG WITH A PLATE OF CL B SANDWICHES.) AS HE DELIVERS HIS MATERS S PPER. LOOKING DOWN BEYOND ALFRED WE SEE THE MAIN BODY OF THE CAVE BELOW S, WITH THE BATMAN STILL STANDING STARING P AT THE COMP TER SCREENS, FAIRLY SMALL BENEATH S. WE CAN SEE THAT AS HE STANDS THERE, HE HAS HIS HANDS P AND IS STARTING TO P LL BACK THE POINTEY!EARED HOOD FROM OFF THE TOP OF HIS HEAD, REVEALING THE FACE BENEATH, EVEN THO GH WE WONT BE ABLE TO SEE IT FROM THIS DISTANCE. N' D()*'+,-. PAGE 11. (PANEL) 4. NOW ALFRED HAS REACHED THE BOTTOM OF THE STONE STAIRS AND IS WALKING AWAY FROM S ACROSS THE FLOOR OF THE BATCAVE PROPER TOWARDS THE FIG RE OF THE BATMAN, WHO STANDS WITH HIS BACK T RNED TOWARDS S IN THE MIDDLEGRO ND, STILL STARING P AT THE SCREEN. ALL WE CAN SEE ON THE PORTION OF THE GIANT SCREENS THAT IS E$POSED HERE ARE THE WORDS 9 NKNOWN 9 NKNOWN 9 NKNOWN ARRANGED IN A COL MN ON THE RIGHT OF THE SCREEN. AS THE BATMAN STANDS THERE HE HAS HIS HOOD COMPLETELY OFF, SO THAT IT HANGS DOWN HIS BACK WITH THE EARS POINTING DOWNWARDS AND THE EYES EMPTY. WE STILL CANNOT SEE BR CE WAYNES FACE HERE. HE DOESNT LOOK RO ND AS HE HEARS ALFRED APPROACHING. N' D()*'+,-. 1. NOW WE CHANGE ANGLES SO THAT WE SEE BR CE FROM THE FRONT, HEAD AND SHO LDERS. HIS FACE NMASKED, IS LIT BY THE HARSH BRILLIANCE OF THE OFF!PANEL COMP TER SCREENS. IT IS A STRANGELY WIDE!BONED FACED, THE EYES SET DEEP AND FAR APART AND THE JAW ALMOST S# ARE. THE EYES ARE DARK AND NBLINKING, AND THE E$PRESSION ON THE THIN LIPS IS GRIM. AS HE STARES P AT THE OFF! PANEL SCREEN THRO GH STEELY AND SLITTED EYES, THE BATMAN IS ABSENTLY P LLING HIS REMAINING GLOVE OFF. BEHIND HIM, WE SEE ALFRED PLACING THE TRAY DOWN PON A CONVENIENT WORK TOP, GLANCING AN$IO SLY ACROSS AT HIS MASTERS BACK WITH A CONCERNED E$PRESSION AS HE DOES SO. BR CE DOESNT LOOK RO ND. ALFRED9 Y',; REFRESHMENTS, >(;. ALFRED9 M)>=-; BR CE" ALFRED9 I> =:-;- )@?=:(@+ F RTHER I A)@ )>>(>= <(=:, '; <(** =:)= 5- ALL" 6. NOW WE SEE BOTH MEN F LL FIG RE, WITH BR CE STILL STANDING STARING P AT THE SCREENS WITH A DARK AND TRO BLED E$PRESSION

WHILE ALFRED STANDS BEHIND HIM. ALFRED IS HELPING TO REMOVE BR CES CLOAK FROM HIS SHO LDERS IN A MANSERVANTLY FASHION. BR CE DOESNT LOOK RO ND AT ALFRED AS HE DOES THIS, B T CONTIN ES TALKING AND GA&ING P AT THE SCREEN PARTLY VISIBLE OVER TO THE RIGHT, ON WHICH WE CAN J ST SEE A PART OF THE BOTTOM OF THE JOKERS FACE, MAYBE SEEN AT AN OBSC RING AND DISTORTING ANGLE HERE. THE BATMAN9 N'. T:)=> )**. THE BATMAN9 II- 5--@ =;?(@+ =' D(+,;- ',= <:)= :- (@=-@J> =' DO. I=> )*B'>= IMPOSSIBLE. THE BATMAN9 I J'@= KNOW :(B, A*D;-J. A** =:->- YEARS, )@J I J'@= H@'< <:' HE (> )@?B';- =:)@ HE H@'<> <:' I )B. PAGE 11. (PANEL) 2. IN THIS FINAL PANEL, ALFRED HAS T RNED AWAY FROM HIS MASTER AND IS NOW LEAVING. HE WALKS TOWARDS S IN MAYBE A HALF!TO THREE # ARTER FIG RE SHOT OVER ON THE RIGHT OF THE PICT RE IN THE FOREGRO ND. AS HE WALKS, HE IS CARRYING THE CAPE AND MASK OF THE BATMAN COST ME OVER HIS ARM, WHERE IT DANGLES EERILY. AS HE WALKS TOWARDS S, HE CANNOT HELP DARTING AN AN$IO S LOOK BACK OVER HIS SHO LDER TOWARDS THE SOLITARY FIG RE WHO STANDS IN THE NEAR BACKGRO ND, F LL FIG RE, GA&ING P AT THE GIANT SCREENS. ON THE GIANT SCREEN THAT WE CAN SEE HERE, THE WHOLE IMAGE AREA IS FILLED WITH A CLOSE P OF THE JOKERS GRINNING RED LIPS AND E# INE TEETH, ENLARGED HERE TO HORRIFIC PROPORTIONS. BR CE STANDS IN FRONT OF THESE H GE LIPS, STARING P AT THEM AND FACING AWAY FROM S. HE IS NO LONGER WEARING GLOVES, CAPE OR MASK..J ST THE BASIC GRAY NIFORM, BLACK TR NKS AND BLACK BOOTS. HE PERHAPS STANDS WITH HIS HANDS FOLDED IN FRONT OF HIM AS HE LOOKS P PERSIVELY INTO THE SMILE OF HIS ENEMY, LIT EERILY FROM THE FRONT BY THE BRIGHT RADIANCE ISS ING FROM THE SCREEN. THE BATMAN9 H'< A)@ =<' E-'E*- HATE ' B,A: <(=:',= KNOWING -)A: '=:-;" PAGE 1.. (PANEL) 1. NOW E C T TO THE HO SE OR APARTMENT OF COMMISSIONER JAMES GORDON. IT IS THE SAME NIGHT, AND GORDON IS ENJOYING A # IET EVENING IN, IN THE COMPANY OF HIS DEVOTED DA GHTER BARBARA. IN THIS FIRST PANEL, ALL WE CAN SEE OF GORDON ARE HIS HANDS AS WE LOOK DOWN AT THEM THRO GH HIS EYES AS HE SITS THERE IN A COMFORTABLE ARMCHAIR (WHICH WONT BE VISIBLE HERE). ALL WE MAINLY SEE HERE IS THE FRONT PAGE OF THE GOTHAM E$AMINER, WHICH GORDON IS HOLDING IN HIS LAP. (IF THERE IS A MORE WELL! KNOWN GOTHAM EVENING PAPER..THE ONE VICKI VALE WORKS FOR, FOR

INSTANCE..THEN PERHAPS LEN CO LD FIND O T ITS NAME AND PASS IT ON TO YO . A VICKI VALE BY LINE ON THE FRONT PAGE ARTICLE WO LD HELP TO DRAG ANOTHER MINOR ELEMENT OF THE BATMAN MYTHOS INTO THE STORY, EVEN IF ONLY TEN O SLY. SEE WHAT YO THINK.) THE HEADLINE READS 0ASYL M SEC RITY PROAR AS MANIAC ESCAPES AGAIN, WITH A FAIRLY RED NDANT PHOTOGRAPH OF THE JOKERS EMPTY CELL APPENDED TO IT. A SMALLER S B HEADLINE LOWER DOWN READS 0CRIME!FIGHTER NAVAILABLE FOR COMMENT, RIGHT NE$T TO A SCOWLING HEAD AND SHO LDERS PHOTOGRAPH OF THE BATMAN. ONE OF GORDONS HANDS IS HOLDING THE PAPER, WHILE HIS RIGHT HAND, ENTERING THE PICT RE AT THE BOTTOM RIGHT CORNER, IS HOLDING A PAIR OF SCISSORS WITH WHICH HE IS APPARENTLY GOING TO CLIP THE STORY FROM THE NEWSPAPER. HIS BALLOONS COME FROM OFF PIC. (OFF) GORDON9 I HATE =:(>. (OFF) GORDON9 W:-@-I-; <- JAIL :(B, I =:(@H LP*-)>- G'J, KEEP :(B =:-;-.M T:-@ :- ESCAPES )@J <- )** >(= ;',@J :'E(@+ :- <'@= J' )@?=:(@+ TOO )<D,* =:(> =(B-. (OFF) GORDON9 I HATE (=. .. NOW WE P LL BACK SO THAT WE ARE NOW BEHIND GORDON, STANDING BEHIND HIS COMFY ARMCHAIR AND LOOKING DOWN OVER HIS SHO LDER. WE CAN STILL SEE THE FRONT PAGE OF THE APPEAR AS GORDON STARTS TO C T O T THE CLIPPING, AND WE CAN ALSO SEE THAT RIGHT IN FRONT OF GORDONT CHAIR THERE IS A GLASS COFFEE TABLE. STANDING ON THE TABLE THERE IS A PAST APPLICATOR AND ALSO AN OPEN SCRAP!BOOK. LOOKING PAST THIS WE SEE THE REST OF THE SPACIO S LIVING ROOM, INCL DING A DOOR AWAY P A SHORT OPEN! PLAN HALL IN THE BACKGRO ND. WALKING TOWARDS THE SEATED COMMISSIONER, F LL FIG RE IS HIS DA GHTER BARBARA. SHE IS CARRYING A TRAY PON WHICH THERE ARE TWO STEAMING M GS OF COCOA AND MAYBE A PACKET OF SOME INDIGENO S AMERICAN COOKIE. SHE SCOLDS HER FATHER, SMILING WITH HER LIPS P RSED KNOWINGLY AS SHE DOES SO. SHE IS ABO T TO P T THE TRAY DOWN PON THE ONLY E$ISTING CLEAR SPACE ON THE COFFEE TABLE, P ONE END. BARBARA9 D)J, K,>= ONCE A',*J ?', *-)I- ?',; <';H )= =:- OFFICE )@J RELA$" I B)J- ?', COCOA. GORDON9 THANK ?',, S<--=:-);=. I** J;(@H (= <:-@ II- E)>=-J =:(> *)=->= CLIPPING (@. /. CHANGE ANGLE SO THAT NOW WE CAN J ST SEE A LITTLE OF BARBARAS FRONT AS SHE BENDS SLIGHTLY TO PLACE THE TRAY DOWN ON THE COFFEE TABLE, CAREF LLY AVOIDING THE OPEN SCRAPBOOK. ALTHO GH SHE KEEPS HER EYE MINDF LLY ON THE TRAY OF HOT BEVERAGE AS SHE P TS IT DOWN, SHE CONTIN ES TO TALK TO HER FATHER. LOOKING PAST BARBARA OVER ON THE RIGHT AND OVER THE

GLASS TABLE TOP WE CAN SEE GORDON SITING FACING S IN THE MIDDLE GRO ND. HE HAS CLIPPED O T THE FRONT PAGE ITEM AND PICKED P THE PAST APPLICATOR, WITH WHICH HE IS LIBERALLY SPREADING PASTE PON THE BACK OF THE PIECE OF NEWSPAPER, PERHAPS WEARING A SLIGHTLY ABS RD FROWN OF CONCENTRATION. HE DOESNT LOOK AT BARBARA AS SHE SPEAKS TO HIM. BARBARA9 YH@'<, I D',@J =:)= CATWOMAN >A;)E5''H ?', >)(J <)> MISSING. I= <)> 5-:(@J =:- WARDROBE. PAGE 1.. (PANEL) /. (FROM OVER) BARBARA9 S'B- J)? ?', ',= =' *-= B- <';H ',= ) E;'E-; FILING >?>=-B, *(H- <- ,>-J )= =:- LIBRARY. GORDON9 HBB. 4. NOW WE CHANGE ANGLES AGAIN FOR A SHOT FROM OVERHEAD. BARBARA HAS STRAIGHTENED P AND HAS PICKED P HER OWN C P OF COCOA AS SHE DOES SO, HOLDING IT IN ONE HAND. WITH THE OTHER HAND SHE POINTS REPROACHF LLY DOWN AT THE TABLETOP, WHERE THE COMMISSIONER IS SMOOTHING THE G MMED NEWSPAPER CLIPPING ONTO THE WAITING PAGE OF THE SCRAP BOOK. AS BARBARA POINTS O T, HES SED TOO M CH GL E. GORDONS HEAD IS T RNED TO ONE SIDE, AWAY FROM BARBARA, AS IF HE HEARS A NOISE FROM OFF!PANEL. (I DONT WANT TO SE A KNOCK!KNOCK SO ND EFFECT HERE, AND I FIG RE WE CAN PROBABLY GET IT OVER WITH J ST THE PICT RE AND THE DIALOG E. IF YO DISAGREE WHEN YO GET IT DRAWN P THEN CALL ME AND WE CAN WORK IT O T.) BARBARA9 ;;+:. L''H, ?', ,>-J ='' B,A: PASTE7 I=> )** >Q,(J+(@+ ,@J-; =:- -J+-> 'D =:- CLIPPING. Y',;- +'(@+ =' +-= (= '@ ?',; PANTSC GORDON9 B);5);), ?',;- F SSIER =:)@ ?',; MOTHER <)... GORDON9 W)> =:)= =:- DOOR" 1. CHANGE ANGLE AGAIN. ONCE MORE WE ARE LOOKING THRO GH GORDONS EYES AS THE SCRAPBOOK AS HE HOLDS IT P TO LOOK AT IT, OPENING IT TO THE VERY FIRST PAGE OF ALL PON WHICH IS PASTED A VERY OLD AND YELLOWING NEWSPAPER CLIPPING. THE CLIPPING HAS A BL RRY!LOOKING PHOTOGRAPH OF THE BATMAN IN THE SAME POST RE AND COST EM AS BOB KANE ORIGINALLY DEPICTED HIM IN THE LAST PANEL OF THE M CH!REPRINTED BATMAN ORIGIN STORY, CRO CHED ON A ROOF WITH HIS CAPE SPREADING O T IN TWO SEPARATE WINGS. THE HEADLINE OF THE PIECE READS LBAT!GARBED VIGILANTE CRITICALLY INJ RES M RDERERM WITH A SMALLER S B!HEADLINE BELOW THAT READS LDISFIG RED HOMICIDAL MANIA IN HOSPITALM. THESE CLIPPINGS RELATE TO THE VERY FIRST RECORDED APPEARANCE OF THE JOKER.

GORDONS BALLOONS COME FROM OFF!PANEL IN THE FOREGRO ND AS HE COMMENTS PON THE OLD AND FADED CLIPPING. LOOKING PAST THE PAPER WE CAN SEE BARBARA AS SHE WALKS AWAY FROM S TOWARDS THE DOOR, STILL CARRYING HER M G OF COCOA IN ONE HAND. WE CAN SEE THE DOOR ITSELF BEYOND HER IN THE FAR BACKGRO ND. BARBARA9 Y-):. I=** 5- COLLEEN D;'B )A;'>> =:- >=;--=. T'@(+:=> ',; YOGA CLASS. BARBARA9 CB'@, D)J..COMPANY7 T(J? ?',; SCRAPBOOKS )<)?. (OFF) GORDON9 H-:. L''H )= THIS '@-. F(;>= =(B- =:-? MET. N'< <:)= YEAR <)> =:)=" 6. NOW WE CAN NO LONGER SEE GORDON AT ALL, SINCE WE HAVE PANNED ACROSS TO THE DOOR WHERE WE NOW SEE BARBARA STANDING, FACING THE DOOR IN A THREE # ARTER TO HALF!FIG RE SHOT. SHE IS REAHING O T WITH ONE HAND AND STARTING TO OPEN THE DOOR, HOLDING THE C P OF COCOA IN THE OTHER HAND. AS SHE OPENS THE DOOR SHE IS GLANCING BACK OVER HER SHO LDER CAS ALLY AS SHE SPEAKS TO HER FATHER, SEATED OFF PANEL AS FEW PACES BEHIND HER. SHE SMILES WEARILY B T IND LGENTLY. GORDONS BALLOON ISS ES FROM OFF! PANEL BEHIND HER AS SHE STARTS TO OPEN THE DOOR. BARBARA9 W-**, I ;-B-B5-; ?', J->A;(5(@+ =:- WHITE FACE )@J =:- GREEN HAIR =' B- <:-@ I <)> TEN. SA);-J =:- HELL ',= 'D B-. (OFF) GORDON9 I =:',+:= ?',J 5- INTERESTED. BARBARA9 Y-):, <-**, I :)J >'B- (@=-;->=(@+ NIGHTMARES.

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