Logline: A mentally ill loner, driven to the brink of madness by societal neglect and abuse, transforms into a murderous villain who becomes the symbol of a growing anti-establishment movement. See other logline suggestoins
Pass/Consider/Recommend/Highly Recommend
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Highly Recommend
Explanation: The Joker screenplay is a gripping, character-driven psychological thriller that delves deep into the origins and transformation of its titular protagonist. Through a masterful blend of realism and fantasy, the screenplay explores the social, psychological, and sociopolitical factors that contribute to Joker's radicalization, culminating in his chilling on-stage confession and the tragic consequences that follow. The screenplay's strengths lie in its nuanced character development, impactful pivotal scenes, and thought-provoking sociopolitical commentary. While some minor areas for improvement have been identified, the overall screenplay is highly recommended for its compelling storytelling and cinematic potential.
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
USP: This script's Unique Selling Proposition (USP) lies in its unique blend of dark humor, raw emotion, and gritty realism. The writer's voice creates a captivating and immersive atmosphere that explores themes of mental illness, societal inequality, and the search for identity. Each scene showcases the authenticity of the characters' actions and dialogue, adding freshness and depth to familiar situations. The script's compelling storytelling techniques, distinctive characters, and exploration of complex themes make it stand out in its genre. It will be of interest to its target audience by offering a thought-provoking and emotionally impactful narrative that resonates long after the story ends.
Overview
Genres:
Drama, Thriller, Comedy
Setting:
Contemporary,
Gotham City
Overview:
The screenplay demonstrates strong originality, creative character changes, and engaging dialogue. However, there are opportunities to enhance unpredictability and further explore relationships for a more immersive experience.
Themes:Mental Illness and Isolation, Violence and Chaos in Society, Identity and Self-Discovery, Social Inequality and Class Divide, Comedy and Tragedy
Conflict and Stakes:
The primary conflicts in this story revolve around Arthur's descent into madness, his search for identity and purpose, and the societal tensions and violence that arise as a result of his actions. The stakes include Arthur's personal well-being, his relationships, and the stability of Gotham City.
Overall Mood:
Dark, gritty, and unsettling
Mood/Tone at Key Scenes:
Scene
1:
Scene 1 has a mix of laughter, pain, tension, and unease.
Scene
2:
Scene 2 is one of humiliation and physical attack.
Scene
3:
Scene 3 starts light-hearted and playful, then becomes brutal and uncomfortable.
Scene
4:
Scene 4 is somber and bleak, reflecting the rundown and impoverished environment.
Scene
5:
Scene 5 is a mix of sadness, hope, and a touch of playfulness.
Character Transformation:
Arthur's transformation into the Joker is a standout feature that explores the nature of identity and madness.
Social Commentary :
The film's exploration of societal inequality and the consequences of neglect and abuse adds depth and relevance.
Performance :
Joaquin Phoenix's portrayal of the Joker is a standout feature that has garnered critical acclaim and awards recognition.
Comparable Scripts:
Joker (2019)
One Flew Over the Cuckoo's Nest (1975)
Taxi Driver (1976)
The King of Comedy (1982)
American Psycho (2000)
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-45, fans of psychological thrillers, comic book adaptations, and character-driven dramas.
Marketability: The Joker character has a strong fan base and the film explores relevant social themes...
The film has the potential to generate buzz and critical acclaim...
The film's unique take on the Joker character and its exploration of mental illness...
Profit Potential: High, due to the popularity of the Joker character and the potential for critical acclaim and awards recognition.
Scene Level Percentiles
The screenplay demonstrates strengths in character development, emotional impact, and plot, while areas for improvement include formatting, pacing, and external goal clarity. The writer's style appears to be intuitive, and with refinement, the screenplay has the potential to be highly impactful.
Robert McKee: "The audience doesn’t go to the movies to see plot; they go to feel emotion, to be moved."
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
Key Strengths
The screenplay excels in character development, with a percentile ranking of 98.20%. This indicates that the characters are well-rounded, engaging, and have a strong impact on the audience.
The emotional impact of the screenplay is at 100%, suggesting that it effectively evokes emotions and creates a deep connection with the audience.
The plot of the screenplay is highly rated, with a percentile ranking of 81.53%. This indicates a well-structured and engaging storyline.
Areas for Improvement
The formatting score of 48.84% suggests that the writer could focus on improving the organization and presentation of the screenplay.
The pacing score is relatively low at 44.19%, indicating that the writer should work on maintaining a consistent and engaging pace throughout the story.
The external goal score is at 24.42%, suggesting that the writer could enhance the clarity and significance of the protagonist's external objectives.
Writer Style
Based on the high rankings in dialogue (70.72%) and character development (98.20%), it can be inferred that the writer's potential style lies in creating compelling and well-defined characters who engage in meaningful conversations.
Balancing Elements
To balance the screenplay more effectively, the writer can focus on improving the formatting and pacing, which have lower percentile rankings.
Enhancing the external goal score and ensuring it aligns with the overall plot can help create a better balance between internal and external conflicts.
Intuition Level
The writer's style appears to be more intuitive, as indicated by the high percentile rankings in emotional impact (100%) and character changes (100%).
Overall Assessment
The screenplay shows great potential with its strong character development, engaging plot, and emotional impact. However, improvements in formatting, pacing, and external goal clarity can further enhance its overall quality.
How this was done: Each criteria is ranked in comparison to scripts in our Vault
(such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other
produced scripts for each criteria.
How scenes compare to the Scripts in our Library
Note: The ratings are the averages of all the scenes.
Summary:The writer's voice is characterized by a unique blend of dark humor, raw emotion, and gritty realism, creating a captivating and immersive atmosphere that explores themes of mental illness, societal inequality, and the search for identity.
Best representation:
Scene 2 - Brutal Beating and Uncomfortable Laughter. This scene is the best representation of the writer's voice because it showcases the blend of dark humor, raw emotion, and gritty realism, while also exploring themes of societal inequality and the search for identity.
Memorable Lines:
Joker: You get what you fucking deserve! (Scene 39)
Joker: There is no punchline. It's not a joke. (Scene 37)
Arthur: Why don't you ask Randall about it? It was his gun. (Scene 14)
Arthur: I used to think my life was nothing but a tragedy, but now, now I realize it's all just a fucking comedy. (Scene 29)
Joker: GOOD NIGHT AND ALWAYS REMEMBER,-- THAT'S LIFE! (Scene 40)
Writing Style:
The writing style of the entire screenplay is characterized by a blend of dark humor, intense drama, and exploration of complex themes. It often combines moments of emotional depth with unexpected twists and explores the internal struggles of the characters.
Style Similarities:
Martin McDonagh
Quentin Tarantino
Other Similarities: The screenplay showcases a unique blend of humor and darkness, often juxtaposing contrasting elements to create tension and engage the audience. It also delves into the psychological journey of the characters and explores themes of acceptance, identity, and societal indifference.
Story Shape
Emotions Elicited
Screenplay Rating:
Highly Recommend
Executive Summary
The Joker screenplay is a gripping, character-driven psychological thriller that delves deep into the origins and transformation of its titular protagonist. Through a masterful blend of realism and fantasy, the screenplay explores the social, psychological, and sociopolitical factors that contribute to Joker's radicalization, culminating in his chilling on-stage confession and the tragic consequences that follow. The screenplay's strengths lie in its nuanced character development, impactful pivotal scenes, and thought-provoking sociopolitical commentary. While some minor areas for improvement have been identified, the overall screenplay is highly recommended for its compelling storytelling and cinematic potential.
The relationship between Joker and Sophie could be further developed to provide more context and motivation for Joker's actions. The screenplay could explore their connection in greater depth. medium
( Scene 23
(Joker's interaction with Sophie in her apartment)
)
MissingElements
The screenplay could benefit from more details or explanation around the individuals who rescued Joker from the crashed police car and their motivations for doing so. medium
( Scene 41
(Joker's rescue from the crashed police car)
)
The tragic conclusion, where Joker indirectly causes the death of Bruce Wayne's parents, serves as a chilling bookend to the story and sets up intriguing narrative possibilities for potential sequels or spinoffs. high
( Scene 42
(The murder of the Waynes)
)
;
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
Arthur, a man in his 30s, shares his joke diary with an overworked social worker in a cramped and run-down office. The social worker reads a dark entry that upsets Arthur, leading to a discussion about his past hospitalization and request for increased medication. The scene ends with the sound of a broken down piano playing 'Temptation Rag.'
Arthur, now dressed up as a clown, stands in front of Kenny's Music Shop holding a sign that reads 'EVERYTHING MUST GO!' A group of boys point, laugh, and throw an empty Coke can at him. They surround Arthur, knock his sign out of his hands, and kick him, causing him to fall onto the sidewalk. The boys run off with Arthur's sign, and he chases after them, narrowly avoiding being hit by a taxi.
In this scene, the five boys run down a busy street and turn into an alley. Arthur almost misses the corner but catches up. Suddenly, one of the kids hits Arthur in the face, and the others join in, beating him while he's on the ground. Despite the brutal beating, Arthur continues to smile with his clown face. The scene transitions to Arthur on a city bus, where he tries to entertain a sad-eyed three-year-old boy. The boy's mother gets annoyed and asks Arthur to stop. Arthur starts laughing uncontrollably, causing discomfort to himself and the people on the bus. He hands a card to the woman explaining his condition, but she throws it on the ground. Arthur continues to laugh, covering his mouth with a scarf to muffle the sound.
Arthur walks through the litter-covered streets of The Bronx, passing by crowded sidewalks filled with the poor, elderly, and disenfranchised. He enters a run-down drug store and ignores a fight between two drunks. He then cuts through a garbage-filled alley and begins climbing a long, steep stairway between tenement buildings. Arthur checks his mailbox in the shabby lobby of his apartment building, finding it empty. He takes the graffiti-covered elevator up to his mom's apartment. The scene ends with Arthur taking out pills from various prescription bottles.
Arthur takes care of his mother, Penny, in their apartment. He sets food down in front of her while the TV plays the news. Penny expresses her disappointment in Thomas Wayne not responding to her letters and her hope for him to save the city. Arthur tries to convince her to eat and suggests she shouldn't watch so much television. They discuss Thomas Wayne's potential as a mayor and their hope for him. Arthur cuts up more food for his mother and then gets into bed with her to watch their favorite show, 'Live with Murray Franklin.'
Murray Franklin, a late 60's talk show host, notices Arthur in the audience and asks him to stand up. Arthur introduces himself and reveals that he lives with his mother, which causes the audience to laugh. However, Murray defends Arthur and shares his own experience of growing up without a father. Arthur talks about being the man of the house and his mother's belief in his purpose to bring joy and laughter. Murray and the audience applaud and cheer for Arthur.
Arthur imagines himself on a talk show set, where Murray Franklin invites him to join him on stage. After some hesitation, Arthur joins Murray and they take a bow together. Murray expresses his admiration for Arthur and tells him that he would give up everything to have a son like him. The scene ends with Murray giving Arthur a hug.
In the cramped locker room of a talent booking agency, Arthur, a party clown, grimaces in pain from bruises. Randall, a fellow clown, expresses concern and mentions the beating Arthur took. Arthur regrets his involvement and Randall warns him about the job's dangers. To protect himself, Randall gives Arthur a gun. Gary interrupts to inform Arthur that their boss wants to see him. The scene ends with Gary delivering the news.
Arthur walks into the messy office of Ha-Ha's Talent Booking to meet his boss, Hoyt Vaughn. Hoyt complains about Arthur not returning a sign from Kenny's Music and threatens to deduct the cost from Arthur's paycheck. The scene ends with Arthur smiling back at Hoyt, seemingly unaffected by the confrontation.
In this scene, Arthur expresses his frustration by furiously kicking and stomping on something in a back alley. He then observes a young couple on a city bus and walks through the dilapidated streets of The Bronx. Arthur encounters Sophie and her daughter in the elevator of his apartment building, where the lights flicker and the elevator shudders. Sophie expresses her frustration with the building, and Arthur mimics blowing his head off. Sophie and her daughter leave, while Arthur stays behind.
In this scene, Arthur takes care of his mom and they discuss the significance of the letters she receives. A panicked Arthur accidentally shoots a hole in the wall, leading him to apologize to his mom in her bedroom. Later, Arthur contemplates suicide while writing in his journal. Sophie confronts Arthur about following her, resulting in a brief conversation. The scene ends with Sophie making plans to see Arthur's stand-up comedy show.
In this scene, Arthur is in the locker room at Ha-Ha's Talent Booking, putting on his make-up. He pauses and stares at himself in the mirror, manipulating his facial expressions to mimic the tragedy and comedy masks. As he does this, an old-time folk recording of 'If You're Happy and You Know It' begins playing. The scene then transitions to Gotham General Hospital's Children's Ward, where Arthur is lip-syncing and strumming an air guitar to the song for a group of sick children. He accidentally drops his revolver on the floor, interrupting the performance. The main conflict in this scene is the internal struggle Arthur faces as he tries to make himself look happy while dealing with his own sadness. The dropping of his revolver creates a moment of tension and fear, but it is not resolved within this scene. The emotional tone of this scene is a mix of sadness, desperation, and a fleeting moment of joy. The significant visual elements include Arthur's transformation of his facial expressions, his lip-syncing and strumming an air guitar, and the dropping of his revolver. The scene ends with the revolver clattering to the floor, interrupting the performance and creating a moment of tension.
In this scene, Arthur, a clown, is fired over the phone for bringing a gun to work. He then rides the subway and witnesses three Wall Street guys harassing a young woman. After the woman leaves, Arthur's laughter draws the attention of the guys, leading to a physical assault. The conflict escalates as Arthur shoots two of the guys in self-defense, turning him into a fugitive. The scene ends with Arthur grabbing his belongings as the subway approaches a stop.
Arthur follows the Wall Street guy on an empty subway platform and shoots him. He then rushes through a run-down needle park and cleans off the blood and clown makeup in a public bathroom. Arthur goes to Sophie's apartment where they share a kiss. In the locker room at Ha-Ha's Talent Booking, his co-workers mock him. Arthur packs up his clown gear and leaves.
Arthur and Randall have a tense conversation in the stairway of Ha-Ha's Talent Booking. Randall questions Arthur about his comments regarding the subway killings, but Arthur denies knowledge. They discuss the killings and Arthur taunts Randall by mimicking shooting him. The conflict remains unresolved as Arthur continues down the stairs singing 'Send in the Clowns.'
In the kitchen of his mother's apartment, Arthur swallows pills while his mother watches Thomas Wayne being interviewed on TV. The interview discusses the recent subway murders and the victims connected to Wayne Investments. Arthur's mother believes they are family. The TV show also mentions the growing anti-rich sentiment in the city and the suspect being described as a clown. Thomas Wayne expresses his belief that the suspect is a coward hiding behind a mask, which amuses Arthur. The scene ends with Thomas Wayne stating that those who haven't made a good life for themselves are nothing but clowns.
Arthur meets with the Social Worker in the Department of Health office, where he learns that their funding has been cut and the office will be closing down. This means he won't be able to get his medication anymore. The scene is somber and resigned as Arthur expresses his frustration with the Social Worker's lack of understanding. The Social Worker delivers the news of the funding cut and apologizes to Arthur. The scene ends with Arthur realizing the implications of the funding cut and asking the Social Worker how he will get his medication, to which she apologizes.
Arthur, with changed hair and looking nervous, walks down a hallway towards the stage of a comedy club. He sees Sophie in the audience. On stage, Arthur starts laughing uncontrollably but tries to compose himself and tells a joke. Sophie laughs in the audience, creating a tense and awkward moment. The scene ends with Sophie laughing as the music swells.
Arthur and Sophie leave a comedy club and pass a newsstand with headlines about the Wall Street Guys. Sophie expresses her belief that the rich guys deserved to be killed. They go to a run-down donut shop where they appear happy. Arthur returns to his mother's apartment and finds her passed out. He wakes her up and they dance together. Arthur finds a letter addressed to Thomas Wayne and secretly reads it, discovering that he may be Thomas Wayne's son.
Arthur confronts his mother, Penny, about not telling him that he is Thomas Wayne's son. Penny explains her past relationship with Thomas Wayne and the potential consequences of their connection being known. The scene ends with Arthur falling face first into the bathroom and crashing onto the floor.
In this scene, Arthur reads a tabloid on a metro train and sees a sketch of his clown face on the cover. He learns about Thomas Wayne's run for office and a protest planned at Wayne Hall Gala. Arthur goes to Wayne Manor and interacts with young Bruce Wayne, giving him a magic wand that turns into flowers. Alfred confronts Arthur and denies him access to Mr. Wayne. Arthur reveals his belief that Thomas Wayne is his father, causing Alfred to laugh. In a fit of rage, Arthur tries to choke Alfred but stops when he sees Bruce's horrified reaction. The scene ends with Arthur fleeing Wayne Manor with the magic wand.
Arthur returns to his neighborhood in the Bronx at night to find chaos with garbage everywhere, loud kids, and a drunk person. He sees an ambulance outside his building and rushes to his unconscious mother's side. The paramedics wheel her down the steps and into the ambulance while asking Arthur questions. Later, outside the hospital, two detectives approach Arthur and question him about the subway killings and his firing from Ha-Ha's. Arthur explains he is a party clown. The scene ends with Arthur walking towards the sliding glass doors but slamming into them.
Penny lies unconscious in a hospital bed while Arthur sits beside her, distraught. Sophie comforts him and offers to get coffee. Meanwhile, Murray Franklin's monologue plays on the TV, mocking Arthur's stand-up performance. As Arthur watches himself on TV, he becomes increasingly upset and walks towards the TV in a trance. Murray Franklin continues to make fun of Arthur, and the studio audience laughs. Arthur hears the laughter directed at him and looks up at the television, consumed by emotional distress.
Arthur lies in his mother's bed, reaching out towards the TV as the news anchor reports on the anger and resentment in the city. Clown protesters are interviewed, expressing their frustration. Thomas Wayne is also interviewed, expressing his desire to help the people. Arthur sits up, leaning closer to the screen to make sure he's seeing correctly. The scene ends with Arthur still watching the TV, processing the information he has just heard.
In this scene, the movie screen playing 'Modern Times' fades to black and reveals the Gotham Philharmonic playing Chaplin's silent movie score in front of a high society crowd. Meanwhile, Arthur heads towards an angry mob of protesters in front of the Center for Performing Arts. He watches the crowd for a moment before a fight breaks out between a protester and two cops. Amidst the chaos, Arthur slips into Wayne Hall unnoticed and walks through the empty lobby.
Arthur confronts Thomas Wayne about being his father in the balcony of Wayne Hall during a black-tie event. Thomas Wayne reveals that Arthur was adopted and his mother is mentally ill. Arthur laughs at the revelation, angering Thomas Wayne who punches him in the face.
In this scene, Arthur wakes up to a message from Shirley Woods inviting him to be a guest on the Murray Franklin show. Excited, Arthur agrees to come on the show. He then heads to Arkham State Hospital to access his mother's records but is told he needs a release form. Frustrated, Arthur tries to take the file by force but fails and runs away with it, leaving the clerk watching him escape.
Arthur races through Arkham State Hospital, clutching files in his hands. He finds his mother's psychiatric assessment from years ago and is transported to a younger Penny being questioned by Dr. Stoner. Penny denies allegations of abuse and expresses her distrust of hospitals. Arthur witnesses the events unfold and ends the scene staring at his mother.
Arthur walks up a long, steep concrete stairway in the pouring rain towards his building. He enters the elevator and sees Sophie miming blowing her head off. Arthur enters Sophie's unlocked apartment and sits on the couch. Sophie comes out of her daughter's bedroom and questions why he is there. Arthur reveals that he had a bad day and mimics a gun to his head. He then walks down the hallway to his mother's apartment. In his mother's apartment, Arthur sits alone on the couch and laughs. The scene transitions to a hospital room where Arthur is sitting close to his mother, holding her hand. He asks her about his real name and where he came from. When she struggles to answer, he becomes angry and proclaims that his life is a tragedy but now realizes it's a comedy.
In this scene, Arthur is alone in a hospital room behind a blue divider curtain, where he does something to his mother on the other side. He then moves to his mother's apartment and studies a VHS tape of a talk show, imitating the guests. Holding a gun to his head, he repeatedly practices a joke, unsure of whether to cross or uncross his legs. This internal conflict reflects Arthur's introspective and dark contemplation of his identity and purpose. The scene ends with Arthur repeating his routine, mimicking the talk show guest and practicing the joke.
In this scene, Arthur dyes his hair green and applies his mother's lipstick before being interrupted by Randall and Gary. They discuss the rally at City Hall and the police investigation. Suddenly, Arthur violently attacks and kills Randall with scissors, repeatedly slamming his head against the wall. Gary, terrified, leaves while Arthur smokes a cigarette.
In this scene, Arthur/Joker prepares a package for Sophie and leaves it at her door. He then transforms into the Joker with his iconic green hair, white grease paint, red nose, blue peaks, and red lipstick. As he dances down a steep stairway, Detective Burke and Garrity try to talk to him, but he evades them by running away.
Joker tries to escape from two cops in the Bronx, running through the streets and accidentally running into a black guy wearing Joker makeup. He manages to evade the cops by blending in with a crowd of clowns on a train platform. However, chaos ensues when a fight breaks out on the crowded train and the cops are attacked by a mob of protesters. Amidst the violence, Joker walks away, takes off his mask, and disappears into the crowd.
In this scene, Murray Franklin and his producer, Gene Ufland, walk through an empty hallway in Franklin Theater. They discuss a potential guest for the show, whom Gene believes is too risky to have on. Murray dismisses Gene's concerns as a goof. The scene ends with Murray and Gene continuing their conversation about the potential guest.
Joker, cleaned up and in his stage makeup, meets with Murray Franklin and Gene Ufland in the dressing room of the Franklin Theater. They discuss Joker's appearance on the show and his motivations. Despite Gene's objections, Murray decides to have Joker on the show. The scene ends with Murray and Gene leaving the dressing room, having decided to have Joker on the show, and Joker requesting to be introduced as 'Joker'.
Joker, backstage at a talk show, tries to watch the show through a slim gap in the curtain. Murray Franklin finishes talking to Dr. Sally Friedman and jokes about his wife, making the audience laugh. Murray introduces Joker as the next guest. Joker adjusts the gun in his waist and takes a deep breath. However, when Joker finally comes out on stage, he trips over the curtain and almost falls on Murray. He sits down next to Murray but can't get comfortable. Murray asks Joker about his look, but Joker is mesmerized by the lights and doesn't answer. Murray tries again, asking about the clown look, but Joker responds with an awkward comment. Murray laughs and shuts the dressing room door in Joker's face, ending the scene with tension and awkwardness.
In this scene, the technical director informs the director that Joker has nothing to say. The director contacts the producer to discuss whether to continue the interview. Meanwhile, on the talk show set, Murray Franklin tries to salvage the interview by asking Joker about his political stance and new material. Joker responds with a dark joke that shocks the audience and the host, leaving them confused and uncomfortable.
In this scene, the director and his team watch the interview with Joker on a monitor in the director's booth. They are shocked when Joker confesses to killing the Wall Street Three. The director instructs Camera Three to zoom in on Joker's face. Meanwhile, on the talk show set, Murray Franklin questions Joker about the murders. Sophie watches the interview on TV in her apartment. The main conflict in this scene is Joker's confession to the murders and the shock it causes. The emotional tone is tense and dramatic. The scene ends with Joker stating that there is no punchline and that it's not a joke.
In this scene, Joker is interviewed by Murray Franklin on his talk show set. Joker expresses his belief that he killed three young men because they were awful, criticizing society's lack of civility. Tension escalates between Joker and Murray, leading to Joker shooting Murray in the head. Chaos and panic erupt in the studio as blood splatters and the audience reacts with shock and fear.
In this scene, Sophie wakes up horrified by the Joker covered in blood and screaming on television. The news reports that Murray Franklin, a popular talk show host, was shot dead by the Joker on live television. Split screens show footage of the shooting, rioting, and looting, creating chaos. Sophie and GiGi are disturbed by the events. The scene ends with the constant presence of the Indian-head test pattern, symbolizing madness and chaos.
In this scene, Joker is handcuffed in the back of a squad car, finding the violence and madness in Gotham City hilarious. The police officers in the car are frustrated with him and blame him for the chaos. Suddenly, the squad car is hit by an ambulance, causing a violent crash. The car comes to a stop in the middle of the chaos, and it appears that Joker is dead. Two men in clown masks get out of the ambulance and reach into the back of the squad car to grab Joker's body.
In this scene, chaos erupts as a limousine on fire rolls through the street, while gangs of punks wearing clown masks cause havoc. A couple and their child seek refuge in an alley, but are pursued by a Joker-masked punk who tragically shoots and kills them. The Joker, covered in blood, stands on a crashed squad car, receiving applause from the crowd. Later, in Arkham State Hospital, the Joker laughs uncontrollably during an interview with a doctor, teasing her with an undisclosed joke. The scene concludes with the Joker dancing down a hospital hallway, setting the stage for his reign of madness.
Characters in the screenplay, and their arcs:
Character
Arc
Critique
Suggestions
Arthur
Arthur's character arc in the screenplay begins with his struggle with mental illness and societal challenges. He is initially a sympathetic protagonist, facing adversity with determination and maintaining his sense of humor. However, as the story progresses, Arthur descends into madness and violence, embracing his darker impulses. This transformation culminates in his transformation into the Joker, a symbol of chaos and rebellion. Throughout the arc, Arthur's emotional vulnerability and resilience are tested, leading to his ultimate transformation.
The character arc for Arthur is well-developed and showcases his journey from vulnerability to embracing his darker side. However, it would benefit from further exploration of his internal struggles and the factors that contribute to his descent into madness. Additionally, the arc could be strengthened by providing more clarity on the catalysts for his transformation and the impact of his actions on the world around him.
To improve the character arc, consider delving deeper into Arthur's backstory and the events that shaped his mental illness. This could provide a stronger foundation for his transformation and make his descent into madness more believable. Additionally, explore the consequences of Arthur's actions and the impact they have on the society he seeks to rebel against. This could add depth to his character and create a more compelling narrative. Finally, consider incorporating moments of self-reflection and introspection for Arthur, allowing the audience to better understand his internal struggles and motivations.
Penny
Penny's character arc in the screenplay starts with her nostalgic view of Thomas Wayne and her belief in his goodness. As the story progresses, her interactions with Arthur reveal her defensive and emotional nature, as well as her remorse for keeping the truth from him. Her character arc reaches a turning point when she confronts the truth about Arthur's adoption and her own mental illness, leading to a moment of vulnerability and acceptance. In the end, Penny's arc concludes with her haunted by her past relationship with Thomas Wayne and struggling to confront the truth.
The character arc for Penny is well-developed and explores her complex emotions and struggles. However, it could benefit from further exploration of her relationship with Arthur and how it evolves throughout the story. Additionally, more emphasis on Penny's growth and transformation could enhance the impact of her character arc.
To improve the character arc for Penny, consider adding scenes that delve deeper into her relationship with Arthur and how it changes over time. Show moments of connection and growth between them, as well as the challenges they face together. Additionally, focus on Penny's personal growth and transformation, highlighting her journey towards acceptance and self-discovery. This will provide a more satisfying resolution to her character arc and further engage the audience.
Murray Franklin
Murray Franklin's character arc in the screenplay begins with him underestimating Arthur's potential danger and dismissing him as a mere gimmick. However, as Arthur reveals his true identity and challenges societal norms, Murray becomes increasingly uncomfortable and fearful. This leads to a shift in his character as he realizes the gravity of the situation and the potential consequences of his actions. Murray's fear and vulnerability are exposed, contrasting with his initial confidence. Ultimately, Murray becomes a victim of the Joker's violent act, highlighting the consequences of his dismissive attitude towards Arthur.
The character arc for Murray Franklin is well-developed and effectively portrays his transformation from dismissive to fearful. However, it would benefit from further exploration of Murray's internal struggle and moral dilemma. Additionally, the screenplay could provide more opportunities for Murray to reflect on his role in perpetuating societal norms and the consequences of his actions. This would add depth to his character and enhance the impact of his ultimate fate.
To improve the character arc, consider incorporating scenes where Murray grapples with his own complicity in perpetuating societal norms and the potential harm caused by his dismissive attitude towards Arthur. This could be achieved through internal monologues, conversations with colleagues, or moments of introspection. Additionally, exploring Murray's personal motivations and vulnerabilities could further enhance his character development and make his ultimate fate more impactful.
Randall
Randall starts off as a supportive coworker to Arthur, providing him with guidance and humor. However, as the story progresses, Randall becomes more distant and self-serving. He distances himself from Arthur and denies any involvement in the gun incident, showcasing his opportunistic nature. This arc highlights the complexities of Randall's character and adds tension to the story.
The character arc for Randall is well-developed and adds depth to the story. However, it would benefit from further exploration of his motivations and internal conflicts. The transition from a supportive coworker to a self-serving individual could be more nuanced and gradual, allowing the audience to understand his choices and empathize with his struggles.
To improve the character arc for Randall, consider adding scenes or dialogue that delve into his personal struggles and motivations. Show moments of internal conflict where he grapples with his loyalty towards Arthur and his own self-interest. This will make his transition from a supportive friend to a self-serving individual more believable and compelling. Additionally, consider incorporating moments of redemption or growth for Randall towards the end of the screenplay, allowing him to reflect on his choices and potentially make amends with Arthur.
Gary
Gary starts off as a stoic and reserved clown who is often the target of jokes from Arthur and Randall. However, as the story progresses, he becomes more concerned about Arthur's well-being and takes on a more lighthearted and humorous personality to lighten the mood. He also becomes more observant and serves as a mediator between Arthur and Randall. Towards the end, Gary's timid and easily frightened nature is tested when he witnesses a violent outburst, causing him to become even more fearful and hesitant.
The character arc for Gary is well-developed and shows a clear progression from being a stoic and reserved clown to becoming more concerned and lighthearted. However, the arc could benefit from further exploration of Gary's submissive nature and how it affects his actions and relationships with other characters. Additionally, the arc could be strengthened by providing more opportunities for Gary to overcome his fears and grow as a character.
To improve the character arc for Gary, consider incorporating scenes where he actively confronts his submissive nature and stands up for himself against Arthur and Randall's jokes. This could lead to a stronger transformation in his personality and make his lighthearted and humorous side more impactful. Additionally, provide moments where Gary faces his fears head-on and takes courageous actions, showing his growth and development as a character. This will add depth to his arc and make it more satisfying for the audience.
Hoyt Vaughn
Hoyt Vaughn starts off as a gruff and unsympathetic boss who is frustrated with Arthur's behavior and fires him. However, as he witnesses Arthur's unique talent and sees the positive impact he has on the audience, Hoyt begins to appreciate him. He realizes that Arthur's laugh can be a valuable asset for Ha-Ha's Talent Booking and decides to give him another chance. Throughout the story, Hoyt's arc involves a shift from being solely focused on profit to recognizing the importance of nurturing and supporting talent.
The character arc for Hoyt Vaughn is well-developed and provides a clear progression from being unsympathetic to appreciating Arthur's talent. However, it would be beneficial to explore the reasons behind Hoyt's initial skepticism and gruff nature. Understanding his motivations and backstory could add depth to his character and make his transformation more impactful.
To improve the character arc for Hoyt Vaughn, consider adding a scene or dialogue that reveals his personal experiences or struggles in the entertainment industry. This could explain his prioritization of profit and his initial skepticism towards Arthur. Additionally, showing moments of vulnerability or reflection for Hoyt can further enhance his transformation and make it more believable. Finally, consider incorporating moments of mentorship or guidance from Hoyt towards Arthur, showcasing his growth as a supportive boss and mentor.
Thomas Wayne
Throughout the screenplay, Thomas Wayne's character arc evolves from a dismissive and arrogant figure to someone who realizes the consequences of his actions and the impact they have on others. As the story progresses, he begins to question his own beliefs and the societal structure he represents. This transformation is triggered by his encounters with Arthur, who challenges his worldview and forces him to confront the consequences of his dismissive attitude towards the less fortunate.
The character arc for Thomas Wayne is well-developed and provides a compelling journey for the character. However, it could benefit from further exploration of his internal struggles and the catalysts that lead to his transformation. Additionally, the screenplay could delve deeper into the emotional impact of his realization and the steps he takes to rectify his past actions.
To improve the character arc, consider adding scenes that delve into Thomas Wayne's personal life and relationships, allowing the audience to understand his motivations and internal conflicts. Explore his interactions with other characters who challenge his beliefs and provide different perspectives. Additionally, focus on the emotional journey of his transformation, highlighting the moments of self-reflection and growth. This will create a more nuanced and impactful character arc for Thomas Wayne.
Joker
The Joker's character arc in the screenplay begins with Arthur's transformation into the Joker, fully embracing his new persona with a dark and twisted sense of humor. As the story progresses, the Joker becomes more deeply disturbed and angry, driven by a desire for chaos and revenge. He seeks recognition and validation, leading him to unleash violence and madness upon the city. Ultimately, his arc culminates in finding beauty in the chaos he has created, reveling in the destruction and embracing his role as the embodiment of chaos and rebellion.
The character arc for the Joker in the screenplay is well-developed and effectively portrays his descent into madness and chaos. However, there could be more exploration of the Joker's motivations and backstory to provide a deeper understanding of his transformation. Additionally, the screenplay could benefit from more moments of vulnerability or internal conflict for the Joker, allowing the audience to empathize with his character on a deeper level.
To improve the character arc, consider incorporating flashbacks or moments of introspection that delve into the Joker's past and the events that shaped him. This could provide a clearer understanding of his motivations and add depth to his character. Additionally, exploring the Joker's vulnerabilities and internal conflicts could create a more complex and relatable portrayal, making his descent into madness even more impactful. Finally, consider incorporating moments of redemption or self-reflection for the Joker, allowing for a more nuanced exploration of his character and potentially challenging the audience's perception of him.
Theme
Theme Details
Themee Explanation
Mental Illness and Isolation
The screenplay explores the mental illness and isolation experienced by the protagonist, Arthur, as he navigates his difficult life. This theme is represented through Arthur's interactions with social workers, his struggles with medication, and his experiences of being beaten and ridiculed by others.
The theme of mental illness and isolation is a central aspect of the screenplay, as it delves into the psychological struggles and social alienation faced by Arthur.
During the conversation with the social worker, have Arthur express his feelings of isolation and the struggles he faces due to his mental illness. This will reinforce the theme of mental illness and isolation.
When Arthur is being attacked by the boys, show his face covered in bruises and cuts. This visual representation of his physical pain will emphasize the toll that mental illness and isolation can have on a person.
After the brutal beating, have Arthur wipe away his clown face paint to reveal his vulnerable and wounded expression. This action will highlight the contrast between his outward appearance and inner struggles, reinforcing the theme of mental illness and isolation.
Character Arc
Throughout the screenplay, show Arthur's gradual descent into madness and isolation. This can be achieved by gradually increasing his erratic behavior, delusions, and disconnect from reality.
Story Arc
Introduce a subplot that explores the societal neglect and mistreatment of individuals with mental illness. This can be done through news reports, conversations between characters, or interactions with mental health professionals. This will provide a broader context for the theme of mental illness and isolation.
Violence and Chaos in Society
The screenplay depicts a society plagued by violence and chaos, as seen through the riots, protests, and criminal activities that unfold throughout the story. This theme is represented through the subway killings, the escalating tensions between different social groups, and the overall breakdown of order in Gotham City.
The theme of violence and chaos in society serves as a backdrop to the narrative, highlighting the deteriorating state of the city and the impact it has on the characters.
Identity and Self-Discovery
The screenplay explores the theme of identity and self-discovery through Arthur's journey of transformation into the Joker. This theme is represented through Arthur's search for his true identity, his exploration of his past, and his eventual embrace of his alter ego.
The theme of identity and self-discovery is a significant aspect of the screenplay, as it delves into the psychological and emotional transformation of the protagonist.
Social Inequality and Class Divide
The screenplay touches on the theme of social inequality and the class divide in society. This theme is represented through the depiction of poverty, the struggles faced by the working class, and the contrasting lifestyles of the rich and the poor.
The theme of social inequality and class divide adds a socio-political dimension to the narrative, highlighting the disparities and tensions between different social groups.
Comedy and Tragedy
The screenplay explores the interplay between comedy and tragedy, as seen through Arthur's transformation from a failed comedian to the Joker. This theme is represented through Arthur's attempts at humor, his struggles with mental health, and the dark and ironic events that unfold in his life.
The theme of comedy and tragedy adds depth and complexity to the narrative, exploring the blurred lines between humor and despair.
The protagonist's internal goal in this scene is to feel better and not feel so bad anymore. This reflects their deeper need for relief from their pain and suffering.
External Goals
The protagonist's external goal in this scene is to ask the social worker to increase their medication. This reflects their immediate challenge of trying to alleviate their emotional pain.
Philosophical Conflict
The overarching philosophical conflict in the screenplay is the clash between chaos and order, as represented by the Joker's actions and the societal norms and expectations. This conflict challenges the protagonist's beliefs and values and raises questions about the nature of society and the role of individuals within it.
Character Development Contribution:
The protagonist's goals and the overarching philosophical conflict contribute to their development by forcing them to confront their fears, question their beliefs, and seek recognition, validation, and a sense of purpose. Through their journey, they undergo a transformation from a marginalized and invisible individual to a symbol of rebellion and chaos.
Narrative Structure Contribution:
The protagonist's goals and the philosophical conflict drive the narrative forward, creating tension and conflict that propel the story. They also provide a framework for the protagonist's arc and the events that unfold throughout the screenplay.
Thematic Depth Contribution:
The goals and philosophical conflict deepen the thematic exploration of the screenplay by delving into themes of identity, belonging, societal apathy, and the struggle for recognition and validation. They also raise questions about the nature of sanity, the impact of societal structures, and the blurred line between hero and villain.
Screenwriting Resources on Goals and Philosophical Conflict
How do you build philosophical conflict into your story? Where do you start? And how do you
develop it into your characters and their external actions. Today I’m going to break this all
down and make it fully clear in this episode.
By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story
3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and
Little Miss Sunshine as examples. 90 minutes
By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of
any novelist. But are your character's goals...mushy?
What's going on here? - Scenes are rated on many critreia. The goal isn't to try to maximize every number; \
It's to make you aware of what's happening in your scenes. You might have very good reasons to have character development but not advance the story, or have a scene without conflict. Obviously if your dialogue is really bad, you should probably look into that.
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
Powerful emotional impact
Compelling character development
Intense and impactful portrayal of the Joker's transformation
Effective portrayal of tension and brutality
Engaging plot and conflict
Scene Weaknesses
Possible excessive violence
Some elements may be too disturbing for some viewers
Lack of external conflict
Theme could be further developed
Minimal dialogue
Suggestions
Consider toning down the violence to make the content more accessible
Develop the themes more explicitly and in-depth throughout the script
Inject more dialogue to establish character motivations and enhance impact in key moments
Avoid relying on cliches in character development
Experiment with different approaches to external conflict to add more depth and complexity to the story
World Building
Physical environment: The physical environment in the screenplay includes run-down offices, cramped and run-down buildings, busy and bustling city streets, litter-covered streets, decaying apartment buildings, cluttered bedrooms, talk show sets, gritty urban environments, and chaotic city streets.
Culture: The cultural elements in the screenplay include the presence of clowns, the profession of being a party clown, magician, or male stripper, the habit of watching the local news on TV, the fascination with and fear of the Joker, the use of clown performances to entertain sick children, and the presence of a vibrant entertainment scene in Chinatown.
Society: The societal structures depicted in the screenplay include neglect and indifference towards individuals with mental health issues, a lack of care and support for people relying on social services, a stark divide between the rich and the less fortunate residents, a sense of anti-rich sentiment, and a society on the verge of exploding due to anger and resentment.
Technology: The technological aspects in the screenplay include the presence of taxis, TV cameras, spotlights, house lights, record players, phones, answering machines, Roman numeral clocks, movie screens, TV monitors, studio cameras, black cables, and sirens.
Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by creating a sense of tension, despair, hopelessness, isolation, danger, chaos, contrast, excitement, validation, connection, intimacy, familiarity, anticipation, nervousness, pursuit of dreams, fear, anger, resentment, confinement, vulnerability, fear, unpredictability, and moral ambiguity.
Narrative contribution: The world elements contribute to the narrative of the screenplay by creating a sense of atmosphere, emphasizing the difficult and tense times that the characters are facing, highlighting the protagonist's close relationship with his mother and their shared struggles, creating a lively and energetic environment, creating a sense of danger, isolation, and despair, reflecting the overall tone of the film, highlighting the societal and cultural tensions present in the city, and emphasizing the dangerous and unstable nature of Gotham City.
Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of social inequality, mental health, societal neglect and indifference, the impact of violence and chaos on society, the pursuit of dreams and validation, the power dynamics between individuals, the consequences of neglect and isolation, the struggle for identity and belonging, the effects of societal tensions and conflicts, the exploration of morality and moral ambiguity, the search for hope and connection in a troubled world, and the exploration of the human condition.
Voice Analysis
Summary:
The writer's voice is characterized by a unique blend of dark humor, raw emotion, and gritty realism, creating a captivating and immersive atmosphere that explores themes of mental illness, societal inequality, and the search for identity.
Voice Contribution
The writer's voice contributes to the script by creating a distinct and engaging mood, enhancing the depth of the themes, and providing a memorable and impactful narrative that resonates with the audience.
This scene is the best representation of the writer's voice because it showcases the blend of dark humor, raw emotion, and gritty realism, while also exploring themes of societal inequality and the search for identity.
Top Correlations and patterns found in the scenes:
Pattern
Explanation
Correlation between Emotional Impact and Overall Grade
There is a strong positive correlation between Emotional Impact and Overall Grade in this screenplay. Scenes with higher emotional impact tend to receive higher overall grades.
Correlation between Conflict and High Stakes
There is a strong positive correlation between Conflict and High Stakes in this screenplay. Scenes with higher levels of conflict also tend to have higher stakes.
Correlation between Tone and Concept
There is a correlation between the tone and concept of the scenes in this screenplay. Dark and intense tones are often associated with concepts such as brutality, violence, and unsettling themes.
Correlation between Character Changes and Emotional Impact
There is a correlation between character changes and emotional impact in this screenplay. Scenes with higher emotional impact often involve significant character changes.
Correlation between Dialogue and Plot
There is a correlation between dialogue and plot in this screenplay. Scenes with well-developed dialogue tend to contribute to the progression of the plot.
Writer's Craft Overall Analysis
The overall writing style of the screenplay effectively conveys the internal struggles and conflicts of the characters, creating a sense of tension and emotional depth. The dialogue is sharp and impactful, revealing the personalities and motivations of the characters. The narrative descriptions and scene directions provide vivid visuals and contribute to the overall atmosphere of the scenes. The writer demonstrates a strong command of storytelling techniques and engages the audience through their unique voice and style.
Key Improvement Areas
Character Development
The writer could further enhance their character development by exploring contrasting tones, conflicting beliefs, and philosophical debates between characters. This would add depth and complexity to the characters and their relationships, creating more engaging and dynamic scenes.
Plot Structure
The writer could benefit from refining their plot structure to ensure a clear and compelling narrative arc. This could be achieved by studying books like 'Save the Cat! Writes a Novel' by Jessica Brody, which provides insights and exercises for improving plot structure and character development.
Dialogue
While the dialogue is generally strong, the writer could further enhance their dialogue writing skills by exploring exercises that focus on creating tension, subtext, and conflicting beliefs between characters. This would help them develop a more diverse range of voices and deepen their understanding of character psychology.
Suggestions
Type
Suggestion
Rationale
Book
Save the Cat! Writes a Novel by Jessica Brody
This book provides valuable insights and exercises for developing compelling characters, improving plot structure, and enhancing dialogue writing skills. It covers key areas of improvement identified in the screenplay analysis.
Video
Screenwriting Masterclass with Aaron Sorkin
This video course by renowned screenwriter Aaron Sorkin offers valuable lessons and techniques for improving dialogue, storytelling, and character development. It can help the writer further refine their screenwriting skills and develop a stronger voice.
Exercise
Write a scene with conflicting philosophical beliefs between charactersPractice In SceneProv
This exercise can help the writer explore and develop their ability to create philosophical conflicts and engaging dialogue. It aligns with the key improvement area of character development and adds depth to the scenes.
This exercise can help the writer further explore the balance between drama and dark comedy in their writing. It aligns with the key improvement area of character development and adds complexity to the scenes.
Exercise
Write a scene with a different character facing a similar challengePractice In SceneProv
This exercise can help the writer explore different perspectives and approaches to similar situations. It aligns with the key improvement area of character development and adds variety to the scenes.
Additional Notes:
Overall, the writer demonstrates a strong command of storytelling techniques and effectively conveys the emotional journeys of the characters. With further development in character development, plot structure, and dialogue writing, the writer has the potential to create even more compelling and engaging screenplays.
Here are different Tropes found in the screenplay
Trope
Trope Details
Trope Explanation
Laughing Mad
Arthur laughs uncontrollably in various situations, causing discomfort to himself and others.
The Laughing Mad trope is when a character laughs uncontrollably, often in response to a traumatic or stressful situation. This can be used to show the character's descent into madness or their inability to cope with their emotions. An example of this trope can be seen in the character of the Joker in the movie 'The Dark Knight' when he laughs maniacally throughout the film.
Manic Pixie Dream Girl
Sophie is portrayed as a quirky and free-spirited woman who brings joy and inspiration to Arthur's life.
The Manic Pixie Dream Girl trope is when a female character is portrayed as a whimsical and eccentric individual who exists solely to inspire and bring happiness to the male protagonist. This trope often reduces the female character to a one-dimensional stereotype and diminishes her agency. An example of this trope can be seen in the character of Sam in the movie '500 Days of Summer'.
Tragic Villain
Arthur's descent into madness and his transformation into the Joker can be seen as a tragic journey.
The Tragic Villain trope is when a villainous character is portrayed in a sympathetic light, often due to their tragic backstory or circumstances. This trope humanizes the villain and elicits empathy from the audience. An example of this trope can be seen in the character of Darth Vader in the 'Star Wars' franchise.
Criminal Mind Games
Joker manipulates and plays mind games with those around him, causing chaos and confusion.
The Criminal Mind Games trope is when a character uses psychological manipulation and deception to achieve their goals. This trope often involves intricate plans and strategies to outsmart their opponents. An example of this trope can be seen in the character of Hannibal Lecter in the movie 'The Silence of the Lambs'.
Rags to Riches
Arthur starts off as a struggling and marginalized individual but eventually rises to become the infamous Joker.
The Rags to Riches trope is when a character starts off in a lowly or disadvantaged position but eventually achieves great success or wealth. This trope often involves a transformation or journey that leads to the character's rise in status. An example of this trope can be seen in the character of Jay Gatsby in the novel 'The Great Gatsby'.
Vigilante Justice
Joker takes matters into his own hands and seeks revenge on those he believes have wronged him.
The Vigilante Justice trope is when a character takes the law into their own hands and seeks retribution for perceived injustices. This trope often involves the character bypassing the legal system and resorting to violence or other extreme measures. An example of this trope can be seen in the character of Batman in various adaptations.
Unreliable Narrator
The audience sees the events of the screenplay through Arthur's perspective, which may not always be accurate or reliable.
The Unreliable Narrator trope is when the narrator or protagonist of a story presents information or events in a way that is intentionally misleading or distorted. This trope often creates suspense and uncertainty for the audience. An example of this trope can be seen in the movie 'Fight Club'.
Anti-Hero
Joker is portrayed as an anti-hero, challenging societal norms and fighting against the established order.
The Anti-Hero trope is when a protagonist possesses qualities or engages in actions that are traditionally associated with villains or morally ambiguous characters. This trope often challenges conventional notions of heroism and explores complex moral dilemmas. An example of this trope can be seen in the character of Tony Soprano in the TV series 'The Sopranos'.
Social Commentary
The screenplay explores themes of class inequality, mental health, and societal unrest.
The Social Commentary trope is when a work of fiction uses its narrative or characters to comment on or critique real-world social issues or phenomena. This trope often aims to provoke thought and spark conversations about important topics. An example of this trope can be seen in the movie 'Get Out'.
Character Transformation
Arthur undergoes a significant transformation throughout the screenplay, both physically and mentally.
The Character Transformation trope is when a character undergoes a profound change in their beliefs, values, or personality over the course of a story. This trope often involves a character's growth or development as they face challenges and overcome obstacles. An example of this trope can be seen in the character of Ebenezer Scrooge in the novel 'A Christmas Carol'.
Joker: GOOD NIGHT AND ALWAYS REMEMBER,-- THAT'S LIFE!
Some Loglines to consider:
A mentally ill loner, driven to the brink of madness by societal neglect and abuse, transforms into a murderous villain who becomes the symbol of a growing anti-establishment movement.
In a grimy, dystopian Gotham City, a disenfranchised, mentally ill man's quest for attention and acceptance leads him down a dark path of violence and revenge against the wealthy elite.
Bullied, neglected, and driven to the edge of sanity, a troubled man's transformation into the Joker becomes a chilling reflection of society's failure to support its most vulnerable citizens.
A dark psychological drama that explores the origins of the iconic Joker, as a marginalized, mentally ill man's search for purpose and belonging leads him to commit a shocking act of violence that ignites a citywide uprising.
In a city on the brink of collapse, a mentally ill loner's tragic journey from societal outcast to murderous villain becomes a scathing commentary on the systemic issues plaguing modern urban America.
Help & FAQ
Frequently Asked Questions
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View Analysis
View Script
1 -
Laughter and Tension in the Department of Health - Overall Grade:
8.0
INT. DEPT. OF HEALTH, OFFICE - MORNING
CLOSE ON ARTHUR (30's), tears in his eyes from laughing so
hard. He's trying to get it under control. His greasy, black
hair hanging down over his forehead. He's wearing an old,
faded green cardigan sweater, a threadbare gray scarf, thin
from years of use, hangs loosely around his neck.
He's sitting across from an overworked SOCIAL WORKER (50's),
African American. Her office is cramped and run-down in a
cramped and run-down building. Stacks of folders piled high
in front of her.
She just sits behind her desk, waiting for his laughing fit
to end, she's been through this before. Finally it subsides.
Arthur takes a deep breath, pauses to see if it's over.
Beat.
ARTHUR
--is it just me, or is it getting
crazier out there?
Despite the laughter, there's real pain in his eyes.
Something broken in him. Looks like he hasn't slept in days.
SOCIAL WORKER
It's certainly tense. People are
upset, they're struggling. Looking
for work. The garbage strike seems
like it's been going on forever.
These are tough times.
(then)
How 'bout you. Have you been
keeping up with your journal?
ARTHUR
Everyday.
SOCIAL WORKER
Great. Did you bring it with you?
Beat.
2.
ARTHUR
(dodging the subject)
I'm sorry. Did I bring what?
SOCIAL WORKER
(impatient; she doesn't
have time for this)
Arthur, last time I asked you to
bring your journal with you. For
these appointments. Do you have it?
ARTHUR
Yes ma'am.
Beat.
SOCIAL WORKER
Can I see it?
He reluctantly reaches into the pocket of his jacket hanging
on the chair behind him. Pulls out a weathered notebook.
Slides it across to her--
ARTHUR
I've been using it as a journal,
but also a joke diary. Funny
thoughts or, or observations-- Did
I tell you I'm pursuing a career in
stand-up comedy?
She's half-listening as she flips through his journal.
SOCIAL WORKER
No. You didn't.
ARTHUR
I think I did.
She doesn't respond, keeps flipping through his journal--
PAGES AND PAGES OF NOTES, neat, angry-looking handwriting.
Also, cut out photos from hardcore pornographic magazines and
some crude handmade drawings.
A flash of anger crosses Arthur's face--
ARTHUR
I didn't realize you wanted to read
it.
The social worker gives him a look, then reads something in
the pages that gives her pause--
3.
SOCIAL WORKER
(reading out loud)
"I just hope my death makes more
cents than my life."
She looks up at Arthur. He just stares back. Lets it hang out
there for a beat.
Then he laughs a little, even though he doesn't think it's
funny--
ARTHUR
Yeah. I mean, that's just--
SOCIAL WORKER
Does my reading it upset you?
He leans in.
ARTHUR
No. I just,-- some of it's
personal. You know?
SOCIAL WORKER
I understand. I just want to make
sure you're keeping up with it.
She slides his journal back to him. He holds it in his lap.
SOCIAL WORKER
How does it feel to have to come
here? Does it help having someone
to talk to?
ARTHUR
I think I felt better when I was
locked up, in the hospital.
SOCIAL WORKER
And have you thought more about why
you were “locked up?"
ARTHUR
Well I suppose I was mentally ill.
SOCIAL WORKER
How’s that?
ARTHUR
Well my mother thought I was
mentally ill, so she had me
committed.
4.
SOCIAL WORKER
Did you feel mentally ill?
ARTHUR
They’ve been saying that since I
was little. So who knows.
Long pause.
ARTHUR
I was wondering if you could ask
the doctor to increase my
medication.
The social worker ruffles through some papers--
SOCIAL WORKER
Arthur, you’re on seven different
medications. Surely they must be
doing something.
Beat.
ARTHUR
I just don’t want to feel so bad
anymore.
And we HEAR "TEMPTATION RAG" playing on a broken down piano--
Genres:
Drama Tone:
Tense, Angry, Sad, Humorous
Ratings
View Analysis
View Script
2 -
Humiliation in Gotham Square - Overall Grade:
8.0
EXT. GOTHAM SQUARE, MIDTOWN - AFTERNOON - DAYS LATER
CLOSE ON ARTHUR, NOW DRESSED UP AS A CLOWN, painted white
face... Wide red smile outlined in black around his mouth...
Bulbous red nose... Bald cap with two patches of frizzy green
hair sticking out over the ears, little bowler hat... Too-
tight buttoned jacket... Baggy pants and oversized colored
shoes. This is his job.
PULLING OUT, we see he's holding a sign in front of Kenny's
Music Shop that reads, "EVERYTHING MUST GO!" A banner above
the store reads, "GOING OUT OF BUSINESS!" Behind him, an OLD
MAN plays an old piano on the busy street, garbage bags piled
everywhere.
Arthur's doing a little Charlie Chaplin like performance to
the music, twirling the sign, bringing attention to the sale.
He's pretty good, feeling the music in his bones, light on
his feet. Still most people walk right past, ignoring him.
ARTHUR SEES A GROUP OF BOYS pointing at him from down the
street, laughing at him... One of the boys throws an empty
Coke can at Arthur as they get close... Arthur holds up the
sign like a shield, Coke can bouncing off it--
5.
The boys walk up on Arthur... He tries ignoring them, keeps
dancing to the old ragtime, holding up the sign as they
surround him... One of the kids knocks the sign out of
Arthur's hands--
The other kids crack up. Arthur bends over to pick up his
sign and... Kicks it... Attempts to pick it up again and...
Kicks it again... It's a bit.
Arthur bends over a third time to pick up the sign and...
One of the boys kicks him right in the ass--
Arthur falls face first onto the sidewalk. Oddly, the old man
playing the piano picks up the pace of the music--
The kids crack up. One of the boys grabs Arthur's sign and
takes off running across the street--
The other kids follow, weaving through traffic--
Arthur gets up and gives chase. He needs his sign back.
He almost gets hit by a taxi, spinning out of the way just in
time-- Spinning right into another taxi that stops just short
of hitting him.
Arthur keeps running through traffic. People stare. A clown
barreling down the street has got to be a joke--
The five boys are booking it down the busy street laughing
and whooping it up. At the last second they take a sharp
right turn down an alley--
Arthur almost overshoots the corner, slip-sliding in his
oversized shoes--
He rights himself and heads down after them--
Sees them running up ahead--
WHAP! Out of nowhere Arthur gets hit in the face!
He falls to the ground.
One of the kids was hiding behind a dumpster and hit Arthur
with the "EVERYTHING MUST GO!" sign, splintering it in two--
The other kids turn back and walk up to Arthur down on the
ground.
6.
Arthur reaches out, still trying to save the sign--
THE KIDS START KICKING AND BEATING THE SHIT out of Arthur.
It's brutal and vicious. Nobody on the street stops to help.
CLOSE ON ARTHUR'S CLOWN FACE, down on the ground. Sweat
running down his face, smearing his make-up. Doesn't even
look like he's in pain. He just takes the beating. Arthur's
good at taking a beating.
That stupid smile painted on his face.
TITLE:
JOKER
INT. CITY BUS (MOVING) - HEADING UPTOWN - LATE AFTERNOON
Arthur sitting in the back of a crowded bus, looking out the
window at the city passing him by... his make-up's washed
off, still see some white grease-paint smudged on the sides
of his face.
He feels somebody staring, turns to see a sad-eyed THREE-YEAR-
OLD BOY, face puffy from crying, sitting on his knees looking
back at him. His mother's facing forward, but even from
behind you can tell she's angry.
Arthur doesn't know where to look, feeling self-conscious and
small. He gets back into "character" smiling like a clown and
covers his face with his hands-- Starts playing the peek-a-
boo game with him.
The boy stares back at him for a moment then giggles--
WOMAN ON BUS
(turns back to Arthur;
already annoyed)
Can you please stop bothering my
kid?
ARTHUR
I wasn't bothering him, I was--
WOMAN ON BUS
(interrupts)
Just stop.
AND SUDDENLY ARTHUR STARTS TO LAUGH. LOUD. He covers his
mouth trying to hide it-- Shakes his head, laughter pausing
for a moment, but then it comes on stronger. His eyes are
sad. It actually looks like the laughter causes him pain.
7.
People on the bus are staring. The little boy looks like he's
going to cry again.
WOMAN ON BUS
You think that's funny?
Arthur shakes his head no, but he can't stop laughing. He
reaches in his pocket and pulls out a small card. Hands it to
the woman.
CLOSE ON THE CARD, it reads: "Forgive my laughter. I have a
condition (more on back)"
She turns the card over and there is a bunch of information
in small writing--
"It's a medical condition causing sudden, frequent, uncontrollable laughter that
doesn’t match how you feel. It can happen in people with a brain injury or certain
neurological conditions."
She doesn't read it (but if you freeze frame the movie you
could). She just shakes her head annoyed and throws the card
on the ground.
Arthur laughs harder. Tears running down his face.
Not wanting to attract any more attention to himself, he
covers his mouth with his threadbare scarf, trying to muffle
the laughter--
Genres:
Drama, Comedy Tone:
Tense, Dark, Brutal, Vicious, Sad, Annoyed
Ratings
View Analysis
View Script
4 -
Arthur's Desolate Journey Home - Overall Grade:
9.0
EXT. THE BRONX, STREET - SUNSET
The bus pulls away, sun almost gone.
Arthur heads slowly limping down the litter-covered streets.
Garbage is piled along the sidewalks, the air thick with smog
creates a haze over everything.
The streets are crowded with the poor, the elderly and
disenfranchised. Women with children in busted strollers.
Homeless people sleeping on subway grates. Stray dogs. His is
one of the few white faces.
Arthur makes his way into a run-down drug store, behind him
two drunks fight on the corner, beating the shit out of each
other. Arthur, and nobody else for that matter, pays them any
attention.
No one here gives a shit.
8.
EXT. SIDE ALLEY, TENEMENTS - EARLY DUSK
Arthur cuts through a garbage filled alley behind decaying
apartment buildings. Holding a small white (prescription) bag
in his hand. Tenants overhead leaning out their windows,
smoking out their windows, laughing, arguing over loud music.
A BUNCH OF YOUNG KIDS HANGING OUT ON A FIRE-ESCAPE, yell down
at Arthur giving him shit in Spanish.
EXT. STEEP STAIRWAY, TENEMENTS - DUSK
Arthur turns from the street, looking up at a long, steep
concrete stairway that seems to go up forever, cutting
between two tenement buildings, graffiti tags sprayed all
over the brick walls. He starts the long climb up, step-after-
step-after-step-after-step...
INT. APARTMENT BUILDING, LOBBY - DUSK
A shabby lobby in a building that was once probably pretty
nice, but now it's a dump.
Arthur checks his mailbox. He's still holding the small white
bag in his hand.
The mailbox is empty.
INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS
Arthur steps onto the small, graffiti covered elevator,
flickering fluorescent lights.
INT. MOM'S APARTMENT, FRONT DOOR - EVENING
Old apartment, worn carpet. Nothing's new inside but it's
fairly neat and well-kept.
PENNY (OS)
(shattering the moment)
Happy?! Did you check the mail
before you came up?
ARTHUR
Yes, Ma. Nothing. No letter.
His mother, PENNY FLECK (60's), comes in all made up. She
walks over and gives him a kiss on the cheek. He covers the
pain from his beating the best he can-- His mother doesn't
seem to notice anyway.
9.
PENNY
You sure you looked? Sometimes I
don't know where your head is.
ARTHUR
Yes I'm sure. And my head's right
here. Go lie down, I’m gonna make
you some dinner, okay?
QUICK CUTS:
ARTHUR TEARS OPEN THE PRESCRIPTION BAG... A FLURRY OF PILL
BOTTLES TUMBLE OUT ONTO THE COUNTER.
SEE HIS NAME, "ARTHUR FLECK" ON THE ORANGE PILL BOTTLES,
TEMAZEPAM... PERPHENAZINE... AHENELZINE... AMITRIPTYLINE...
BENZEDRINE... DIAZEPAM... MEPROBAMATE...
TAKES OUT ONE PILL FROM EACH THE TEMAZEPAM AND MEPROBAMATE
BOTTLES.
Genres:
Drama Tone:
Tense, Dark, Brutal, Unsettling
Ratings
View Analysis
View Script
5 -
A Mother's Disappointment - Overall Grade:
9.0
INT. MOM'S BEDROOM, APARTMENT - NIGHT
Arthur sets the food down in front of his mother lying in
bed. The TV's on, playing the local news.
PENNY
He must not be getting my letters.
Arthur sits down on a small chair in front of an old vanity,
table covered with his mother's make-up.
ARTHUR
It's Thomas Wayne, Mom. He's a busy
man.
PENNY
Please. I worked for that family
for years. He always had a smile
for me. Least he could do is write
back.
ARTHUR
Ma, eat. You need to eat.
PENNY
You need to eat. Look how skinny
you are.
Before Arthur can say anything, his mother points to the news
on the TV--
10.
PENNY
All day long it's more bad news.
That's all there is.
ARTHUR
Maybe you shouldn't watch so much
television.
PENNY
Thomas Wayne is our only hope.
He'll make a great mayor. Everybody
says so.
ARTHUR
(playful)
Everybody who? Who do you talk to?
PENNY
Well everybody on the news.
(beat)
He's the only one who can save this
city. He owes it to us.
Arthur smiles for his mother as he cuts up some more of her
food.
PENNY
(she pats the bed)
Come sit. It’s starting.
Arthur gets into bed with her, their nightly ritual. Stay on
his face as he watches the opening to their favorite show--
BARRY O'DONNELL (OS ON TV)
From NCB Studios in Gotham City,
it's "Live with Murray Franklin!"
Tonight, Murray welcomes, Sandra
Winger, comedian Skip Byron and the
piano stylings of Yeldon & Chantel!
ANGLE ON TELEVISION, intro to "LIVE WITH MURRAY FRANKLIN!"
playing--
BARRY O'DONNELL (ON TV)
Joining Murray as always, Ellis
Drane and his Jazz Orchestra. And
me, I'm "that guy" Barry O'Donnell.
And now, without further ado--
Murraaaaay Franklin!
11.
Genres:
Drama Tone:
Tense, Dark, Playful
Ratings
View Analysis
View Script
6 -
Murray Franklin Defends Arthur - Overall Grade:
9.0
INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS
SPOTLIGHT ON SHIMMERING MULTICOLORED CURTAINS PARTING, AND
OUT DANCES MURRAY FRANKLIN (late 60's) doing an old soft shoe
to the jazzy tune Ellis Drane is playing him out to. Audience
cheering and applauding loudly for him. Murray takes a little
bow, and does one or two more steps to the music...
ANGLE ON ARTHUR, clapping in the middle of the crowd. He's
dressed "richer" (it's Arthur's fantasy version of himself).
Everybody around him is enthusiastically applauding Murray.
MURRAY FRANKLIN
(looking into the crowd)
Thank you. Glad you're here. We've
got a great looking audience
tonight.
Murray motions for everybody to quiet down, nodding his head
in appreciation of their applause--
MURRAY FRANKLIN
Wow. Thank you.
He glances up at Arthur, who is clapping wildly, squints his
eyes a bit to make him out---
MURRAY FRANKLIN
Thank you.
(beat; smiling)
Who's that there? Hey Bobby, can
you raise the lights for me?
The house lights come up. Murray takes a few steps downstage
and points straight up at Arthur--
MURRAY FRANKLIN
You there, will you stand up?
What's your name?
Arthur looks around at the people around him, and realizes
Murray's talking to him. Murray picked him out of the crowd--
Arthur gets up to his feet. He talks more here, and with more
confidence, looks more at ease than we've seen him.
ARTHUR
Hi Murray. Arthur. My name is
Arthur.
MURRAY FRANKLIN
There's something special about you
Arthur, I can tell. Where you from?
12.
ARTHUR
I live right here in the city. With
my mother.
The audience starts to giggle and laugh at him.
Murray holds up his hand, stopping them from laughing, coming
to Arthur's defense--
MURRAY FRANKLIN
Hold on. There's nothing funny
about that. I lived with my mother
before I made it. It was just me
and her. I'm that kid whose father
went out for a pack of cigarettes
and never came back.
Audience "awwwws" for Murray, we can hear how much empathy
they have for him.
Arthur looks around at the crowd surrounding him.
ARTHUR
I know what that's like, Murray.
I've been the man of the house for
as long as I can remember. I take
good care of my mother.
The audience starts to applaud Arthur.
MURRAY FRANKLIN
All that sacrifice. She must love
you very much.
ARTHUR
She does. She always tells me to
smile and put on a happy face. She
says that I was put here to spread
joy and laughter.
MURRAY FRANKLIN
What? Hold on. Can you say that
again?
ARTHUR
(beaming with pride)
My mother told me I had a purpose,
to bring laughter and joy to the
world.
Murray Franklin nods in approval, and claps his hands loudly
along with the rest of his audience, cheering for Arthur--
13.
MURRAY FRANKLIN
Wow. I like that. I like that a
lot.
7 -
Arthur's Dream Talk Show Moment - Overall Grade:
9.0
INT. MOM'S BEDROOM, APARTMENT - CONTINUOUS
Arthur looks over at his mother lying next to him, her eyes
glued to the TV, hears the studio audience applauding, blue
light flickering over her face--
CUT TO:
INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS
ANGLE ON ARTHUR, listening to the audience applauding him,
their applause getting louder and louder. He makes himself
smile as wide as he can to show them he's happy.
Sees Murray Franklin waving for him to come down out of the
crowd... First Arthur shakes his head no thanks... Sees BARRY
O'DONNELL (60's), Murray's announcer, also waving him down...
And Arthur finally relents and makes his way to the stage...
joining Murray under the lights.
MURRAY TAKES ARTHUR'S HAND, RAISES IT ABOVE THEIR HEADS AND
LEADS HIM IN TAKING A DEEP BOW... The audience goes crazy.
Murray leans in and whispers something to Arthur, who laughs.
MURRAY FRANKLIN
(turns, looks into TV
camera)
Okay, we got a big show tonight,
stay tuned. We'll be right back.
Ellis Drane and his Jazz Orchestra plays them to the
commercial break... house lights go back down... cameras
start moving to their next position... Murray puts an arm
around Arthur, a private moment between them.
MURRAY FRANKLIN
That was great, Arthur, thanks. I
loved hearing what you had to say.
Made my day.
ARTHUR
Thanks, Murray. You know I grew up
without a dad too. He left right
after I was born. I don't know what
I ever did to him,--
14.
Murray pulls Arthur in closer, lowers his voice--
MURRAY FRANKLIN
Fuck him. Guy like that doesn't
deserve you, Arthur. You see all
this, the lights, the show, the,
the love of the audience, I'd give
it all up in a heartbeat to have a
son like you.
Arthur looks at Murray Franklin, tears in his eyes and Murray
looks back at him and gives him a hug.
CUT TO:
Genres:
Drama Tone:
Tense, Dark, Hopeful
Ratings
View Analysis
View Script
8 -
Clowning Around with Danger - Overall Grade:
9.0
INT. HA-HA'S TALENT BOOKING, LOCKER ROOM - DAY
The cramped locker room of a small talent booking agency.
This is where Arthur works. They "rent out" talent for
parties and events. Clowns, magicians, male strippers.
Arthur takes off his shirt in front of his open locker,
grimacing in pain as he moves. His body's bruised from the
beating he took chasing after his sign.
RANDALL (OS)
You okay?
He turns. A fellow party clown, RANDALL (mid 50's), big bear
of a know-it-all, is opening his own locker putting his dry-
cleaned clown suit inside.
RANDALL
I heard about the beat down you
took. Fucking savages.
ARTHUR
It was just a bunch of kids. I
should have left it alone.
Randall searches through his messy locker, going through all
the bags inside--
RANDALL
No, they'll take everything from
you if you do that, all the crazy
shit out there, they're animals,--
ARTHUR
(nods)
My mother says that people nowadays
lack empathy.
15.
RANDALL
What's empathy?
ARTHUR
It means like "feeling for other
people."
RANDALL
Like sympathy?
ARTHUR
Kind of. But different.
Randall comes over, hands Arthur a brown paper bag-- Arthur
looks inside, sees a GUN, a .38 SNUB-NOSED REVOLVER.
Arthur looks back up at Randall, confused--
RANDALL
Take it. You gotta protect yourself
out there. Or you're gonna get
fucked.
As Arthur stares at the gun--
ARTHUR
(whispering)
Randall, I'm not supposed to have a
gun.
RANDALL
Don't sweat it, Art. No one has to
know. And you can pay me back some
other time. You know you're my boy.
That lands with Arthur, he smiles to himself. Stuffs the
brown paper bag into his locker and continues getting
dressed.
Randall leans over and nudges Arthur, motioning to another
clown, GARY (30's), a dwarf, coming into the locker room from
their boss's office--
GARY
Arthur,-- Hoyt wants to see you in
his office.
Before Arthur can ask why, Randall interrupts him--
RANDALL
Hey Gary, you know what I've always
wondered?
16.
GARY
(he knows what's coming)
What?
RANDALL
Do you people call it miniature
golf or is it just golf to you?
Randall cracks up at his own dumb joke-- Gary just stares at
him, this is apparently their thing. Arthur's not sure if he
should laugh or not--
Arthur still half-dressed, walks into the cramped office.
His boss, HOYT VAUGHN (60's) sits behind a metal desk. The
office is a complete mess, newspapers and files litter the
desk. A giant ashtray filled with cigarette butts. A calendar
of booking hangs on the wall. A scribbled, jumbled mess.
ARTHUR
Hey Hoyt. Gary said you wanted to
see me?
HOYT
(without even looking up)
How's the comedy career? Are you a
famous stand-up yet?
ARTHUR
Not quite. Haven't even performed
yet. Just been working my material.
This business is all about fine-
tuning.
Now Hoyt looks up. Takes a drag from his cigarette.
HOYT
Right.
Arthur goes to sit down--
HOYT
Don't sit. This will be quick.
Arthur stops in his tracks.
HOYT
Look, I like you, Arthur. A lot of
the guys here, they think you're a
freak. But I like you. I don't even
know why I like you.
(MORE)
17.
HOYT (CONT’D)
I mean, you don't say much.
(beat)
It's probably that stupid laugh. It
gets me every time. Kills me.
Unsure how to respond, Arthur just nods.
HOYT
But I got another complaint. And
it's starting to piss me off.
Arthur takes a deep breath, and just smiles.
HOYT
Kenny's Music. The guy said you
disappeared. Never even returned
his sign.
ARTHUR
No. I got jumped. Didn't you hear?
HOYT
For a sign? Bullshit. It makes no
sense, just give him his sign back.
He's going out of business for
god's--
ARTHUR
(interrupting)
Why would I keep his sign?
HOYT
(snaps)
How the fuck do I know, why does
anybody do anything? Listen, if you
don't return the sign I gotta take
it outta your paycheck, you clear?
ARTHUR JUST LOOKS BACK AT HOYT AND KEEPS SMILING, like it
hurts his face.
CUT TO:
Genres:
Drama Tone:
Tense, Dark, Brutal, Uncomfortable, Hopeful
Ratings
View Analysis
View Script
10 -
Frustration in the Bronx - Overall Grade:
9.0
EXT. BACK ALLEY, OUTSIDE HA-HA'S - DAY
WE'RE AT THE FAR END OF AN ALLEY, about halfway down, catch a
glimpse of Arthur still half-dressed on the other side of a
dumpster. From this vantage, all we can see is him furiously
KICKING and STOMPING on something... or somebody.
We don't hear anything. And we can't make out what it is that
he's so violently beating down.
18.
It could be a cat... a cardboard box... a homeless person...
We don't know.
Arthur just continues unleashing his rage--
INT. CITY BUS (MOVING) - HEADING UPTOWN - LATE DAY
Arthur at the end of his work day, sitting in his spot toward
the back of the bus.
Across the aisle from him, he's innocently watching a young
couple, playfully teasing each other.
EXT. STREETS, THE BRONX - SUNSET
Arthur heading back home down the litter-covered streets like
he does every night. Garbage still piled along the sidewalks,
some burning in trash cans, air still thick with smog.
He's carrying the paper bag that Randall gave him.
EXT. SIDE ALLEY, TENEMENTS - EARLY DUSK
Arthur cuts through the alley, a couple of the young kids are
smoking on the fire-escape.
EXT. STEEP STAIRWAY, TENEMENTS - DUSK
Arthur trudging up the endless staircase, step-after-step-
after-step-after--
INT. LOBBY, APARTMENT BUILDING - DUSK
Arthur checks his mailbox. Empty.
INT. ELEVATOR, APARTMENT BUILDING - DUSK
Arthur is on the elevator, as the door closes, he hears--
SOPHIE (OS)
Wait!!
He puts his foot out with some panache to stop the closing
door-- He's a romantic at heart. Ding.
19.
And SOPHIE (late 20's), African-American, looking harried,
tired eyes, steps onto the elevator with her 5-YEAR-OLD
DAUGHTER who's holding onto a doll, talking to her mother
about what she wants for her birthday.
Arthur moves to the back of the elevator--
Sophie nods thanks. The doors wheeze shut, pausing for a
moment before they close--
Arthur holds his breath, hoping he doesn't start to laugh.
Elevator rises, halting at first. Floors dinging.
Suddenly the elevator shudders hard, making a loud groaning
sound. Flickering lights cut off, then come back on.
SOPHIE
(shaking her head; to
Arthur)
This building is just so awful,
isn’t it?
Arthur nods yes... he doesn't know what to say. The little
girl just keeps babbling about what she wants for her
birthday.
Sophie can't take it any more, looks over at Arthur and mimes
blowing her head off with her finger--
Arthur's eyes go wide.
The doors open. They all step off.
Sophie grabs her daughter's hand and walks down the hall in
the opposite direction of Arthur.
He just stands there for a beat. Heart beating fast.
ARTHUR
(calls out after her)
Hey--
She turns around.
And Arthur mimes blowing his head off with his finger--
Sophie doesn't know what to say, just forces a strained smile
back at him.
Genres:
Drama, Comedy Tone:
Dark, Tense, Humorous
Ratings
View Analysis
View Script
11 -
A Heavy Conversation and a Confrontation - Overall Grade:
8.0
INT. MOM'S APARTMENT, BATHROOM - NIGHT
ARTHUR'S GIVING HIS MOM A BATH, being careful with her as he
shampoos her hair.
20.
He fills an empty plastic container with some bath water.
ARTHUR
Look up.
PENNY
Maybe the mailman's throwing them
away.
She tilts her head back and he rinses her hair with the water
from the container...
ARTHUR
Mom, why are these letters so
important to you? What do you think
he's gonna do?
PENNY
He's gonna help us.
ARTHUR
Help us how?
PENNY
Get us out of here, take me away
from this place and these-- these
people.
ARTHUR
You worked for him over 30 years
ago. What makes you think he would
help us?
Penny looks at him with conviction, water dripping down her
face, into her eyes. She wipes it away with her hands--
PENNY
Because Thomas Wayne is a good man.
If he knew how I was living, if he
saw this place, it would make him
sick. I can't explain it to you any
better than that.
Arthur nods. Annoyed, but not worth the argument.
ARTHUR
I don't want you worrying about
money. Everyone's been telling me
they think my stand-up is ready for
the big clubs. It's just a matter
of time before I get a break.
21.
PENNY
Happy, what makes you think you
could do that?
ARTHUR
What do you mean?
PENNY
I mean, don't you have to be funny
to be a comedian?
Beat.
INT. MOM'S BEDROOM, APARTMENT - LATE NIGHT
Penny is out cold in her bedroom, a half-eaten plate of food
is next to her on the bed.
INT. LIVING ROOM, MOM'S APARTMENT - CONTINUOUS
Arthur sits on the couch. The 1937 version of "Shall We
Dance" is playing on the TV. He holds the .38 SNUB-NOSED
REVOLVER Randall gave him in his hand. He's never held a gun
before, looks uncomfortable with it, the weight of it in his
hand...
He stares at it for a moment, then points it at the black &
white movie playing on TV, hand trembling a bit... Points it
at the chair his mother sits on... Points it at his head.
BLAMMMMMMM!
He jumps up off the couch. What the fuck!? He looks around in
a panic. His hands shaking.
He shot a hole in the wall.
PENNY (OS)
(awoken by the shot)
HAPPY!? What was that? Are you
okay?
ARTHUR
What?!
He quickly turns up the TV volume, A GROUP OF MEN WORKING ON
A SHIP SINGING "SLAP THAT BASS" TO FRED ASTAIRE--
PENNY (OS)
THAT NOISE! DID YOU HEAR THAT
NOISE?
22.
ASTAIRE NOW SINGING AND DANCING FOR THE OTHER MEN, Arthur
shouts back to his mother as he shoves the gun under the
couch cushions--
ARTHUR
I'M WATCHING AN OLD WAR MOVIE.
PENNY (OS)
TURN IT DOWN!
He heads for his mother's bedroom.
INT. MOM'S BEDROOM, DOORWAY - CONTINUOUS
Arthur looks in on his mom in her dark bedroom, can make out
the outline of her body sitting up.
PENNY
It's so loud.
ARTHUR
I know. The Americans are really
giving it to the Japs.
He walks over to Penny in the darkness. Kisses her on the
forehead.
ARTHUR
(softly)
I'm sorry. I'll turn it down.
INT. KITCHEN, MOM'S APARTMENT - LATE NIGHT
Arthur is writing in his journal. He speaks softly to himself
as he writes...
ARTHUR
Why didn't Randall tell me the gun
was loaded? I could have killed
someone.
(beat)
I could have killed myself.
CLOSE ON THE LAST LINE, he crosses out "could"...
Writes... "should"
ARTHUR
(still to himself)
I should have killed myself.
CLOSE ON ARTHUR as he crosses out something again...
23.
ARTHUR
(louder to himself)
I should kill myself.
Beat.
EXT. STEEP STAIRWAY, TENEMENTS - MORNING
SOPHIE AND GIGI MAKING THEIR WAY down the steep stairs, on
their way to school. Sophie is dressed more conservatively
than when we've previously seen her.
REVEAL, Arthur watching them from the top of the stairway,
keeping his distance. He starts after them--
EXT. PUBLIC SCHOOL - MORNING
Sophie drops GiGi off at school. Arthur's watching them from
a distance.
EXT. ELEVATED SUBWAY PLATFORM - MORNING
Sophie waits on the platform. Lights a cigarette.
We see Arthur, hidden behind a steel support beam-- watching
her from a distance.
EXT. STREET, FINANCIAL DISTRICT - MORNING
Towering buildings crowd the sky. White collar, white
businessmen in suits. Still lots of trash, but it's piled
high, neatly in black bags along the sidewalk.
Arthur's hanging across the street from Gotham First National
Bank as Sophie enters the building. He's just standing there
watching, trying to get the nerve to go inside.
Beat.
INT. GOTHAM COMEDY CLUB, CHINATOWN - NIGHT
Arthur sitting in the middle of a dark, crowded comedy club.
People on dates. Groups of friends. All here to watch the
stand-up. He sits at a small table by himself, watching the
act on stage.
The comic on stage is killing it. The whole room is laughing
and applauding. Everyone except Arthur. He's watching.
Studying. Diligently jotting down notes in his notebook.
24.
EXT. GOTHAM COMEDY CLUB, STREET - CHINATOWN - NIGHT
People are piling out of the club, onto the narrow street,
jumble of lit-up signs, most glowing yellow or red. Arthur
walks out alone, carrying his notebook. He sees a FLYER taped
to the entrance of the club.
CLOSE ON THE FLYER, "Open mic night. Thursdays. 7pm."
He rips the flyer off the wall.
INT. KITCHEN, MOM'S APARTMENT - LATE NIGHT
Arthur is writing in his journal. His mom is dead asleep. He
opens his worn notebook. Flips to a page titled "Jokes" and
starts writing--
CLOSE ON WORDS, as he slowly writes: "The worst part about
having a mental illness is..."
ANGLE ON ARTHUR, pausing, thinking it over for a moment. Then
he laughs to himself when he comes up with something.
CLOSE ON WORDS, coming faster now, "...that people expect you
to behave as if you don't."
He hears knocking on the front door--
INT. FRONT DOOR, MOM'S APARTMENT - CONTINUOUS
Arthur opening the door--
Sees Sophie standing there with attitude, leaning up against
the door frame.
SOPHIE
Were you following me today?
ARTHUR
Yeah.
SOPHIE
I thought that was you. I was
hoping you'd come in and rob the
place.
Beat.
ARTHUR
(leans in, quietly)
I have a gun. I could come by
tomorrow.
25.
SOPHIE
(laughing)
You're so funny, Arthur.
ARTHUR
You know, I do stand-up comedy. You
should maybe come see a show
sometime.
SOPHIE
I could do that.
ARTHUR
Yeah?
SOPHIE
You'll let me know when?
ARTHUR
Yeah.
And she just turns and walks away toward her apartment--
Genres:
Drama Tone:
Tense, Sad, Dark, Hopeful
Ratings
View Analysis
View Script
12 -
From Sad Clown to Performer: Arthur's Transformation - Overall Grade:
9.0
INT. HA-HA'S TALENT BOOKING, LOCKER ROOM - DAY
Arthur is putting on his make-up, using the small mirror in
his locker. Behind him a couple other clowns are eating their
lunch at a small table, not paying Arthur any attention.
Arthur pauses half-finished, and stares at himself for a
beat. Hooks the corners of his mouth down with his index
fingers, turning his mouth into the "tragedy mask" frown--
And then he pulls his fingers up, pulling them up wider and
wider, stretching his smile into a grotesque parody of the
"comedy mask," trying to make himself look happy, pulling his
mouth so wide tears come to his eyes--
PRE-LAP SCRATCHY OLD-TIME FOLK RECORDING OF "If You're Happy
and You Know It"--
"OLD TIME" VOICE (RECORD)
(singing, strumming
guitar)
--if you're happy and you know it
and you really want to show it, if
you're happy and you know it clap
your hands.
26.
INT. GOTHAM GENERAL HOSPITAL - CHILDREN'S WARD - LATE DAY
Arthur lip-syncing and strumming an air guitar along to the
song (like a Dennis Potter musical), for a ward full of sick
children. He's wearing an oversized white lab coat over his
clown costume. A few nurses and doctors watch as well, song
blaring from a small record player--
ARTHUR
(lip-syncing)
If you're happy and you know it,
stomp your feet.
Arthur stomps his feet to the song... All the kids stomping
along with the recording...
ARTHUR
(lip-syncing)
If you're happy and you know it,
stomp your feet.
(stomp, stomp)
If you're happy and you know it and
you really want to show it, if
you're happy and you know it stomp
your feet.
And Arthur stomps harder, trying to make the kids laugh and--
HIS .38 SNUB-NOSED REVOLVER slips out from the bottom of his
pants, sliding across the floor--
ARTHUR STOPS SINGING, EVERYBODY LOOKS AT THE GUN as it
clatters to a stop on the floor. "If You're Happy and You
Know It" still playing on the record player...
13 -
Arthur's Downfall: From Fired Clown to Fugitive - Overall Grade:
9.0
EXT. PHONE BOOTH, GOTHAM GENERAL HOSPITAL - DUSK
Arthur's in a cramped graffiti-covered phone booth on a busy
street corner outside Gotham General, trash piled high. He's
in his street clothes, clown-face still painted on, green wig
still on his head.
ARTHUR
(into phone)
Hoyt, let me explain.
HOYT (OVER PHONE)
Oh, this'll be good. Please tell me
why you brought a gun into a kid's
hospital?
27.
ARTHUR
(into phone)
It was, it was a prop gun. It's
part of my act now.
HOYT (OVER PHONE)
Bullshit. What kinda clown carries
a fucking gun? Besides, Randall
told me you tried to buy a .38 off
him last week.
Arthur's taken aback that Randall would do that to him.
ARTHUR
(into phone)
Randall told you that?
HOYT (OVER PHONE)
He was with me when the call came
in. You're a fuck up, Arthur. And a
liar. You're fired.
ARTHUR
(into phone)
Hoyt, please I love this job--
HOYT (OVER PHONE)
Say it, Arthur.
(beat)
Let me hear you say it.
ARTHUR
(into phone)
Say what?
HOYT (OVER PHONE)
I'm a fuck up and I'm fired.
ARTHUR
(into phone; low)
--I'm a fuck up and I'm fired.
HOYT (OVER PHONE)
Louder.
ARTHUR
(into phone; louder)
I'm a fuck up and I'm fired.
The line goes dead.
28.
INT. SUBWAY (MOVING) - NIGHT
ARTHUR SITTING ON THE SUBWAY CONTEMPLATING WHAT JUST WENT
DOWN, face still painted, his clown gear in a shopping bag on
the seat next to him, green wig on his lap.
Subway car near empty. Arthur's sitting across from a lonely-
looking MIDDLE-AGED WOMAN, there's also a YOUNG WOMAN (late
20's) reading a book at the far end.
Arthur glances at the Middle-Aged Woman, maybe trying to make
a connection, but the woman doesn't even notice him as the
train comes to a stop, her head's somewhere else--
The woman gets off the train, and THREE WALL STREET GUYS get
on. They're loud and obnoxious, clearly drunk. One of them is
eating some french fries out of a greasy McDonald's bag. He
flops down on the bench across from the young woman, and
checks her out. The other two guys start getting into it with
each other--
WALL STREET #1
--I'm telling you, she wanted my
number. We should have just stayed.
The train starts moving again...
WALL STREET #2
You're dreaming, man. She wasn't
interested-- at all.
WALL STREET #1
Are you nuts? Did you see how close
we were dancing!? She was in love,
bro.
He starts dancing a bit with himself, mimicking what he
remembers. Wall Street #2 takes a swig from the brown bag he
is carrying.
WALL STREET #2
She couldn't wait to get away from
you.
Arthur's watching them closely, impressed by their confidence
and easy-going camaraderie.
WALL STREET #1
(to the third guy)
Ryan, am I crazy? Tell him what you
saw.
29.
But the third Wall Street guy isn't paying his friends any
attention. He has his eyes set on the young woman sitting
across from him, reading her book.
WALL STREET #3
(to the girl)
Hey. You want some french fries?
He holds out his McDonald's bag and shakes it to get her
attention. The other two share a look. Arthur watches from
his seat.
WALL STREET #3
Hello? I'm talking to you. You want
some fries?
She looks up and shakes her head, polite smile.
YOUNG WOMAN
No thank you.
The other two guys crack up at this apparent blow-off. The
third Wall Street guy shakes his head, embarrassed, and
starts softly flinging fries at the young woman.
WALL STREET #3
You sure? They're really good.
She just buries her face deeper in her book--
WALL STREET #2
Don't ignore him. He's being nice
to you.
One of the french fries lands in her hair. She looks down
toward Arthur, looking to see if he's going to do something
or say something--
Arthur just sits there nervous. Not sure what to do, or even
if he wants to do anything at all.
AND HE JUST BURSTS OUT LAUGHING. He covers his mouth with his
wig as they continue to harass the woman.
They all look over-- What the fuck is this clown laughing at?
WALL STREET #1
Something funny, asshole?
With their attention diverted, the young woman rushes out
through the door between subway cars, glancing back at Arthur
before she goes--
30.
WALL STREET #3
(shouts after her)
BITCH!
He laughs even harder through his green wig. The Wall Street
guys turn to him sitting by himself at the end of the car--
Arthur sees them staring. Looks down at the ground, hand
still covering his mouth, face turning red. Subway swaying,
lights flickering on and off.
Beat.
One of the guys heads down the car toward Arthur, starts
singing "Send in the Clowns" as he approaches--
WALL STREET #1
(singing)
Isn't it rich?
Are we a pair?
Me here, at last on the ground
You in mid-air
Send in the clowns.
The others crack up and follow after him. The guy plops down
next to Arthur, puts his arm around his shoulder as he sings--
ARTHUR
(shakes his head, stifling
the laughter)
Please. Don't.
WALL STREET #1
(continues singing to him)
Isn't it bliss?
Don't you approve?
One who keeps tearing around,
One who can't move.
Arthur starts to get up-- The lead guy pulls him back down.
WALL STREET #1
Where are the clowns?
There ought to be clowns.
As he finishes the song, Arthur's laughing fit is coming to
an end. One of the other guys sits down on the other side of
him. He's now sandwiched in between them--
WALL STREET #2
So tell us, buddy. What's so
fucking funny?
31.
ARTHUR
Nothing. I have a condition--
Arthur reaches into his shopping bag to get one of his
"Forgive my laughter" cards, the third guy sees him reaching
and tries to grab the bag from him---
Arthur pulls on it--
ARTHUR
No. It's just my stuff. I don't
have anything.
The guy rips the bag from his hand--
WALL STREET #3
I'll tell you what you have,
asshole.
Arthur gets up from between them to go grab his bag back. The
two guys are cracking up.
WALL STREET #3
You want it back? Here--
Arthur reaches out to grab the bag--
And the guy tosses it over his head to one of his friends.
Keeping it away from Arthur.
Three guys in suits tossing a shopping bag around, playing
'monkey in the middle' with a clown AND WE HEAR the drum roll
opening to BOBBY SHORT singing "Send in the Clowns" Live at
the Café Carlyle.
Arthur keeps trying to catch his bag until suddenly--
WHAP! Out of nowhere one of the guys punches him hard in the
face.
Arthur goes down as if in slow motion. Blood coming from his
nose. He tries to get up, but his feet slip from under him
and he falls back down--
WALL STREET #1
Stay down you freak.
And the third Wall Street guy starts kicking him--
The others join in. Surrounding Arthur on the ground, kicking
him deliberately, sadistically, and the music swells--
BLAM!
32.
Wall Street #1 falls back dead. Blood splattering on the
subway wall behind him--
And we HEAR Bobby Short sing out, picking up from where the
Wall Street Guy left off--
BOBBY SHORT (SINGING)
Just when I'd stopped opening doors
Finally knowin' the one that I
wanted was yours
BLAM! BLAM! Wall Street #2 goes down--
Revealing Arthur on the ground, opening his eyes to see what
he did, blood dripping from his nose, smoking gun in hand--
BOBBY SHORT (SINGING)
Making my entrance again with my
usual flair
Sure of my lines
No one is there
The third guy takes off running for the doors that separate
the cars.
Arthur starts after him, but then stops... turns back to grab
his bag and his wig, his hands shaking from the adrenaline.
The train is coming to a stop.
BOBBY SHORT (SINGING)
Don't you love farce?
My fault I fear...
Arthur grabs the green wig from between the two dead bodies,
blood everywhere, and stuffs it into his shopping bag--
The subway doors wheeze open and Arthur steps halfway off the
train, waiting to see if the third Wall Street guy gets off
in the car ahead of him. Arthur sees him run off--
14 -
Arthur's Transformation and Rejection - Overall Grade:
9.0
EXT. SUBWAY PLATFORM - CONTINUOUS
The platform is empty, the Wall Street guy is running toward
the stairs--
Arthur follows, blood still dripping from his nose--
Behind them, the train pulls away--
33.
BOBBY SHORT (SINGING)
I thought that you'd want what I
want.
Sorry, my dear.
The guy makes his way to the stairs, unaware that Arthur is
behind him--
BLAM!
The third guy falls, tumbling down the stairs. Arthur walks
over to the body and empties the chamber-- BLAM! BLAM!
BOBBY SHORT (SINGING)
But where are the clowns?
Quick, send in the clowns
Don't bother they're here.
BLAM! He's got nothing left.
EXT. ROBINSON PARK SUBWAY STATION - NIGHT
Arthur hauls ass up the stairs, rushing out of the station,
the song still playing--
EXT. STREET, ROBINSON PARK - NIGHT
Bounding past bags of garbage, he leaps over a pile, taking a
turn into a run-down needle park, the lights of garbage fires
flickering in the darkness.
INT. PUBLIC BATHROOM, ROBINSON PARK - NIGHT
Arthur bursts into the small bathroom, out of breath.
Overwhelmed, vibrating with emotions. He leans his forehead
against the door, sweat dripping down his face, and catches
his breath.
Arthur feels all those emotions running through his body, can
feel them all. He sticks his right foot out and starts to
slowly turn, his right arm rising slowly above his head as
his right foot leads, turning like something is awakening
inside of him--
Sweat dripping down his face, "Send in the Clowns" finally
comes to an end. He starts washing the blood and clown make-
up off his sweaty face.
Looks up at his smudged reflection in the dirty mirror, water
dripping, white grease paint running off his face--
34.
Beat.
INT. APARTMENT BUILDING, HALLWAY - NIGHT
ARTHUR FLOATING OUT OF THE ELEVATOR AND DOWN THE HALLWAY AS
IF IN A DREAM, coming up on Sophie's door and knocking--
She opens the door and sees Arthur standing there--
And before Sophie can say anything Arthur leans and kisses
her and--
Sophie kisses him back and pulls him inside her apartment,
closing the door behind them--
Arthur walks into the locker room, sees Randall half-dressed
for work, sitting with Gary, TWO OTHER CLOWNS AND A HANDSOME
"CHIPPENDALES" DANCER around the small table, shooting the
shit, drinking coffee.
They nod hello at Arthur or give him a perfunctory wave, most
of his co-workers think he's a freak.
GARY
Hey Art, I heard what happened--
I'm sorry man.
RANDALL
Yeah, Hoyt did you wrong, buddy.
Doesn't seem fair.
Arthur looks hard at Randall for a moment, just slowly nods,
and continues on to his locker.
He starts to clean it out, stuffing all of his clown gear
into an old brown paper shopping bag. Hears them talking
about him behind his back, about why he got fired, laughing
at him--
HA-HA CLOWN #1 (OS)
Did you really bring a gun to the
kid's hospital, Artie? What the
fuck would you do that for?
Arthur doesn't answer them, just continues emptying his
locker, a bag of balloons, a magic wand, some trick flowers--
35.
CHIPPENDALES
No, I heard he pulled it out and
waved it around like a cowboy.
His co-workers crack up. Arthur answers the guy without
looking back--
ARTHUR
It was a prop gun. And I didn't
pull it out, it fell out.
CHIPPENDALES
So is that part of your new act? If
your dancing doesn't do the trick,
you just gonna shoot yourself?
More laughter.
HA-HA CLOWN #2
I thought your clown was a lover,
Artie, not a fighter,--
Arthur turns and looks at all of them, nods at Randall--
ARTHUR
Why don't you ask Randall about it?
It was his gun.
RANDALL
What? Stop talking outta your ass,
Art!
(to the guys)
I think all his stupid laughing
musta scrambled his brain or
something.
The guys laugh and keep jawing. Arthur doesn't say anything.
Just finishes packing up his bag and closes his locker door--
15 -
Confrontation in the Stairway - Overall Grade:
9.0
INT. STAIRWAY, HA-HA'S TALENT BOOKING - MORNING
Arthur walks down the stairs, brown shopping bag under his
arm.
Behind him, Randall follows him into the stairway--
RANDALL
Hey, Art, hold up,--
Arthur stops, turns around.
36.
RANDALL
What the hell was that about? Why
would you say that?
ARTHUR
What?
RANDALL
(lowers his voice)
That it was my idea about the gun.
That subway shit's no joke, you
know, they got sketches of clowns
on the front of every newspaper,--
ARTHUR
I don't know what you're talking
about, Randall.
RANDALL
(looks at him)
Right. Okay. I just want to make
sure you got your head on straight.
Arthur just looks back at him and smiles.
ARTHUR
My heads right here.
Randall nods, maybe it's sinking in with Arthur.
RANDALL
Good. I don't even know if you did
it but there's no need to draw any
attention to yourself, y'know? Or
we're both fucked.
ARTHUR
What are you worried about,
Randall? You didn't kill three
assholes on the subway, did you?
RANDALL
Of course I didn't.
ARTHUR
(continuing)
You didn't shoot one point blank in
the head. The other one twice in
the chest, before chasing the third
one down and shooting him three
times in the back, right?
Arthur puts his fingers forming a gun to Randall's head,
stares straight at him--
37.
ARTHUR
(singing)
Isn't it rich?
Are we a pair?
Then turns and heads down the stairs, keeps singing "Send in
the Clowns"--
ARTHUR
Me here at last on the ground,
You in mid-air.
Send in the clowns.
Where are the clowns?
Don't bother, they're here.
CLOSE ON A COUPLE OF PILLS BOTTLES, THEY'RE NEARLY EMPTY NOW.
PENNY (OS)
Happy, look Thomas Wayne is on TV.
ARTHUR
Yes, mother.
Arthur swallows a few of the pills...
PENNY (OS)
They're interviewing him about
those horrible murders on the
subway.
He glances at the TV playing in the living room through the
open wall--
ARTHUR
Why are they talking to him?
INT. MOM'S LIVING ROOM, APARTMENT - CONTINUOUS
Penny shushes him, she's sitting in her chair, watching one
of those "Good Morning, Gotham" shows.
PENNY
He looks like he gained weight.
THOMAS WAYNE (ON TV)
All three of them worked at Wayne
Investments. They were good,
decent, educated.
38.
A small smirk registers on Arthur's face when photos of the
THREE WALL STREET GUYS come up on the screen.
THOMAS WAYNE (ON TV)
And while I didn't know them
personally, like all Wayne
employees, they were family.
Arthur's mom sits up in her chair--
PENNY
You hear that! I told you. We're
family.
ANGLE ON TELEVISION, footage of GRAFFITI around the city.
"KILL THE RICH" spray painted on a storefront. "F*CK WALL
STREET" written on a subway wall. "RESIST" scrawled across a
billboard.
"GOOD MORNING" HOST (ON TV)
There now seems to be a groundswell
of anti-rich sentiment in the city.
It's almost as if our less
fortunate residents have taken the
side of the killer.
THOMAS WAYNE (ON TV)
Yes and it's a shame. It's one of
the reasons I'm considering a run
for mayor. Gotham has lost its way.
"GOOD MORNING" HOST (ON TV)
Are you announcing your candidacy?
THOMAS WAYNE (ON TV)
(smiles)
No comment.
We hear Penny gasp, excited.
"GOOD MORNING" HOST (ON TV)
What about the eyewitness report of
the suspect being a man in clown
make-up or a clown mask?
A smile starts to creep across Arthur's face--
The camera zooms in closer to Thomas Wayne on the screen--
THOMAS WAYNE (ON TV)
It makes total sense to me. What
kind of coward would do something
that cold-blooded? Someone who
hides behind a mask.
(MORE)
39.
THOMAS WAYNE (ON TV) (CONT'D)
Someone who's envious of those more
fortunate than themselves, yet too
scared to show their own face.
(to camera)
And until those kind of people
change for the better, those of us
who've made a good life for
ourselves will always look at those
who haven't as nothing but clowns.
Arthur sits across from the same Social Worker from the
opening scene. Same depressing office. He takes a drag from
his cigarette--
ARTHUR
--I heard this song on the radio
the other day. This guy was singing
that his name was Carnival.
(sings)
"Rise and fall, spin and call, and
my name is Carnival."
SOCIAL WORKER
Arthur--
ARTHUR
Which is crazy because that's my
clown name at work. And until a
little while ago it was like nobody
ever saw me. Even I didn't know if
I really existed.
SOCIAL WORKER
Arthur, I have some bad news for
you.
ARTHUR
You don't listen, do you? I don't
think you ever really hear me. You
just ask the same questions every
week. "How's your job?" "Are you
having any negative thoughts?"
(beat)
All I have are negative thoughts.
But you don't listen anyway. I
said, "for my whole life I didn't
know if I even really existed." But
I do. And people are starting to
notice--
40.
SOCIAL WORKER
They've cut our funding. We're
closing down our offices next week.
He looks around, just noticing some MOVING BOXES stacked
against the wall.
SOCIAL WORKER
The city's cut funding across the
board. Social services is part of
that. This is the last time we'll
be meeting.
Arthur nods, not hating the idea.
ARTHUR
Okay.
SOCIAL WORKER
They don't give a shit about people
like you, Arthur. And, they really
don't really give a shit about
people like me either.
Arthur sits there for a moment. And then it dawns on him--
ARTHUR
How am I supposed to get my
medication now? Who do I talk to?
ARTHUR'S POV, slowly walking down the hall-- as if in slow
motion-- toward a set of stairs leading up to the back of the
stage, spotlight bleeding through the curtain, other wannabe
comics looking at him as he passes--
CLOSE ON ARTHUR, he's changed his hair, it's slicked back
some, not quite as smooth as the Wall Street Guys, sweat
beading on his forehead--
He climbs up the stairs-- always climbing uphill-- and waits
at the edge of the curtain, pulls his worn joke-notebook out
of his back pocket. Glancing into the room he sees it's a
pretty good crowd. Sees Sophie taking a seat in the back.
Wheeling back into the stairway, he catches his breath in the
shadows--
41.
He hears the EMCEE from the stage.
EMCEE (OS)
This next comic describes himself
as a lifelong Gotham resident who
from a young age was always told
that "his purpose in life was to
bring laughter and joy into this
cold, dark world." Ummm. Okay.
He hears the crowd laugh.
EMCEE (OS)
Please help me welcome Arthur
Fleck!
There is a smattering of applause.
INT. STAGE, COMEDY CLUB - CONTINUOUS
ARTHUR STEPPING ON STAGE, out under the spotlight, lifts the
microphone in front of his mouth, the light so bright he
can't see faces in the dark audience, his hand trembling
holding onto his worn notebook--
He takes a deep breath, looks out at the dark crowd, and
opens his mouth.
AND STARTS TO LAUGH. His eyes go wide. God no, not now. A
terrified look comes to his face under the laughter. He just
keeps laughing. The crowd is just staring back at him.
Finally he composes himself--
ARTHUR
(trying to stop himself
from laughing)
-- good evening, hello.
(deep breath; trying to
stop laughing)
Good to be here.
(keeps cracking up)
I, I hated school as a kid. But my
mother would always say,--
(bad imitation of his mom,
still laughing)
"You should enjoy it. One day
you'll have to work for a living."
(laughs)
"No I won't, Ma. I'm gonna be a
comedian!"
42.
Arthur keeps cracking up. Hard to hear anything or anybody
else. He goes through his notebook trying to find another
joke--
ARTHUR
(reading verbatim)
It's funny, I was thinking the
other day,-- Why are rich people so
confused by the poor people?
(silently counting to
three)
Because they don't make any sense!
CLOSE ON ARTHUR, looking out into the audience, sees Sophie
sitting in the back laughing--
Arthur and Sophie walking out of the club after the show.
They walk past a newsstand-- a wall of Chinese language
newspapers mixed with local papers and tabloids, screaming
headlines about the three Wall Street Guys gunned down on the
train.
Arthur stops and stares at the headlines--
CLOSE ON HEADLINES, "Subway Vigilante"... "Yuppie Slaughter"
"Killer Clown On The Loose?"...
SOPHIE (OS)
(re: the headlines)
You believe that shit?
(beat)
I'll bet you five bucks those rich
assholes deserved it.
He turns to her.
ARTHUR
You think?
SOPHIE
Look at their faces. Those smug
smiles. I've seen that look. Fuck
them.
Sophie flicks her cigarette away and starts walking.
43.
SOPHIE
The guy who did it is a hero. Three
less pricks in Gotham City. Woo-
hoo! Only a million more to go.
Arthur watches her walk for a beat. She looks great, even in
front of the mounds of garbage bags that line the sidewalk.
A CAB rolls past. In the backseat, someone wearing a CLOWN
MASK stares back at Arthur. Holding his look for a moment.
INT. DONUT SHOP, BOOTH - NIGHT
A run-down donut shop.
Through the window we see Arthur and Sophie sitting across
from each other in a molded plastic booth. Bathed in ugly
fluorescent light, a few other patrons scattered about.
We don't hear what they're saying, but they look happy-- and
Sophie is laughing. Hard.
Arthur stares at her, this may be the best night of his
entire life.
INT. MOM'S APARTMENT, LIVING ROOM - NIGHT
Arthur opening the door to his mother's apartment, holding a
box of donuts in his hand, sees the flickering blue light of
the TV on in the living room, hears the end of "LIVE WITH
MURRAY FRANKLIN!" He locks the locks, drawing the security
chain high on the door.
TURNS TO CATCH A GLIMPSE OF HIS MOTHER PASSED OUT in the
living room.
Arthur sets the box of donuts down and puts his face up
against his mom's nose, to see if she's breathing or if she's
dead--
ON THE TELEVISION Murray does his signature sign off, the one
he's been doing for years--
MURRAY FRANKLIN (ON TV)
(looking into camera)
Good night! And always remember,--
That's life.
He gently shakes her awake. Sweeping her up out of the chair
as he hears Ellis Drane and his Jazz Orchestra close the show
with an upbeat instrumental version of Frank Sinatra's
"That's Life"...
44.
MOM
(half-asleep)
Happy, I wrote a new letter.
ARTHUR
(grabs her hand)
C'mon, Ma, dance with me a little.
Arthur pulls his mother in close and starts dancing with her
to the music, the only light coming from the television...
MOM
For Thomas Wayne. It's important.
She looks at him and smiles, dances with him a little...
"That's Life" still playing from TV...
MOM
You smell like cologne.
ARTHUR
Cause I just had a big date.
MOM
(laughing)
I'm going to bed. Just don't forget
to mail it.
She breaks away and walks toward her bedroom.
Arthur can't help but smile to himself as he takes off his
jacket and throws it on the chair. He continues to slow dance
with himself for a moment-- He notices the envelope on the
table, addressed to Thomas Wayne.
He stares at it for a beat. Cranes his neck toward his
mother's bedroom, listening if she's still awake. And then--
Quietly rips it open, starts to read the letter:
CLOSE ON WORDS, "Dearest Thomas, I don't know where else to
turn..."
"We need your help..."
"Your son and I need help"
Stops reading, stays on--
"Your son"
He glances up at his mother's room, then back down at the
words, "Your son"
45.
ARTHUR STANDING IN THE MIDDLE OF THE LIVING ROOM staring at
those two words like he's too afraid to move, lit up by the
flickering blue light--
ARTHUR'S SITTING IN A CHAIR in his mother's room watching her
sleep. He has clearly been up all night. Still wearing the
same clothes.
He's holding her letter in his hand as the sun is just
starting to rise outside the windows, light just beginning to
crack the gloom.
Arthur impatiently sits there for another moment waiting for
his mother to wake up, then suddenly--
SHRIEKS OUT AT THE TOP OF HIS LUNGS like a teapot, kicking
his back on the chair like an excited toddler--
Penny wakes with a start, looking around half asleep and
confused--
PENNY
--what, what time is it?
He doesn't answer.
PENNY
What happened? Did you hurt
yourself again?
Arthur holds her letter up in his hand.
ARTHUR
What is this? How come you never
told me?
PENNY
Is, is that my letter? Is that my
personal letter, Happy?
(angry)
You have no right opening my mail.
Who do you think you are?!
ARTHUR
(raising his voice;
excited)
Apparently I'm Thomas Wayne's son!
How could you keep that from me?
46.
Penny slowly getting up out of bed.
PENNY
Stop yelling at me, you're gonna
kill me, give me a heart attack!
She goes into the bathroom.
ARTHUR
(shouts after her)
I'm not yelling! I'm just, excited.
How can any of this be real!?
PENNY (OS)
(shouts back from behind
the door)
I'm not talking to you until you
calm down.
Arthur paces for a minute, now goes to the bathroom door.
Talks to his mother from the behind the closed door.
ARTHUR
(lowers his voice; trying
to sound calm)
Okay. How's this, Mom? Better? Will
you please talk to me?
Arthur leans in closer to the door. Leaning against it with
just his head--
ARTHUR
Please.
PENNY (OS)
He's an extraordinary man, Arthur.
A powerful man. We had a
connection. I was so beautiful
then. We were in love.
Arthur just leans there, listening. He closes his eyes, it's
all too much.
PENNY (OS)
He said it was best that we not be
together, because of appearances.
You know, not all love stories have
happy endings.
(hear her crying now)
(MORE)
47.
PENNY (OS) (CONT'D)
And, I could never tell anyone
because, well, I signed some
papers, and besides you can imagine
what people would say about Thomas
and me, and, and what they would
say about you.
ARTHUR
(eyes still closed, head
leaning against the door)
What? What would they say, Ma?
PENNY (OS)
That I was a whore, and Thomas
Wayne was a fornicator, and that
you're a little, unwanted bastard.
AND THE BATHROOM DOOR SUDDENLY SWINGS OPEN, and Arthur falls
face first into the bathroom--
Just missing his mother, crashing down onto the floor--
21 -
Arthur Confronts Alfred at Wayne Manor - Overall Grade:
9.0
INT. METRO TRAIN (MOVING) - COUNTRYSIDE, OUTSIDE GOTHAM -
AFTERNOON
PUSHING PAST ROWS AND ROWS OF WHITE BUSINESSMEN, many of them
reading one of Gotham's two tabloids. On the cover of one, a
detailed sketch of Arthur's clown face, headlined, "KILLER
CLOWN STILL ON THE LOOSE!"... The other cover screams, "KILL
THE RICH -- A NEW MOVEMENT?"...
WE PUSH PAST A "KILLER CLOWN" SKETCH, settle in on Arthur
reading the tabloid.
REVERSE ANGLE BEHIND ARTHUR, see the headline "Thomas Wayne
Announces Run -- Response to Troubled Times", over campaign-
style photograph of Thomas Wayne waving to a crowd standing
next to his wife, MARTHA (50's), a well-preserved former
model, and a glimpse of their son, BRUCE WAYNE (10), hiding
behind his father. Only catch half of his face looking
straight into camera, eyes wide, scared by the crowd.
SUB-HEADLINE READS, "Protest Planned at Wayne Hall Gala."
Arthur stares at the family photo.
CLOSE ON WAYNE FAMILY PHOTO, Arthur's fingers ripping it out
of the paper--
48.
EXT. WAYNE MANOR, FRONT LAWN - SUNSET
Arthur walks down a small hill alongside an intimidating
brick wall, surrounding the estate like a prison. From this
angle he's able to peer over the wall, catching a glimpse of
an innocent looking TEN-YEAR-OLD BOY tracking him from behind
the trees, hiding as he follows.
Arthur comes to the front. A giant, wrought iron gate. We see
a long driveway that leads to the big house, surrounded by
beautiful trees and plush, green grounds.
Arthur stops.
He sees the boy approach, but not get too close.
Arthur reaches into his pocket and pulls out a magic wand--
He holds it up for the boy to see.
The boy steps up to get a closer look.
Arthur looks over the wand, pretending like he's trying to
figure out what it does. He waves the wand over the front
gate lock to "try and see" if it will open-- It doesn't.
The little boy tentatively walks toward the fence, face like
an angel.
Arthur waits until he gets closer and then reaches his hand
through the fence and hands the kid his magic wand so he can
try and figure out what it does--
The boy takes the wand and it goes limp in his hand before he
can wave it-- He looks at it, confused. He hands it back to
Arthur.
Arthur straightens the wand back out, and reaches in through
the fence again so the kid can give it another try.
And again the wand droops in the boy's hand. Disappointed, he
gives it back to Arthur--
Arthur examines the wand as if its "broken", stiffens it one
last time, crouches down lower, and...
Ta-da! A bouquet of flowers bursts out the end of the wand--
Arthur hands the boy the wand bouquet of flowers--
The little boy takes the flowers. Keeps staring at Arthur,
not sure what to do or say. Not smiling.
Arthur looks back at him for a moment.
49.
THEN REACHES BOTH HANDS THROUGH THE GATE and firmly takes the
little boy's face in his hands--
Uses his thumbs to hook the corners of the boy's mouth and
pulls them up into a smile, into a "comedy mask"--
The boy is okay with it, puts his hands on top of Arthur's
hands. They look at each other for a beat.
ALFRED (OS)
(shouting)
Bruce!
Arthur lets go. The boy is now smiling on his own--
ALFRED (OS)
Bruce! What are you doing? Get away
from that man.
Little Bruce stops smiling, steps back from the gate.
Arthur looks up and sees a tired-looking, ALFRED PENNYWORTH
(50's) bounding toward them.
Arthur stands back up.
ALFRED
(still shouting)
What are you doing? Who are you?
Bruce runs behind Alfred, hiding behind his legs.
ARTHUR
I'm here to see Mr. Wayne--
ALFRED
(interrupting)
You shouldn't be talking to his
son. Why did you give him those
flowers?
Alfred takes the flower-wand away from the kid--
ARTHUR
I, I was just trying to make him
smile.
He hands it back to Arthur.
ALFRED
Well it's not funny. Do I need to
call the police?
50.
ARTHUR
No, please. My mother's name is
Penny Fleck. She used to work here,
years ago. Can you tell Mr. Wayne
that I need to see him?
ALFRED
(color drains from his
face; beat)
You're her son?
ARTHUR
Did you know her?
Alfred doesn't say anything.
Arthur puts his face right up against the bars, whispers so
the boy can't hear him--
ARTHUR
I know about the two of them. My
mother told me everything.
ALFRED
There's nothing to know. There is
no "them". Your mother was, was
delusional. She was a sick woman.
ARTHUR
No. No, just let me speak to Mr.
Wayne.
Now Alfred leans in closer to Arthur, almost looks like he
feels some pity for him--
ALFRED
Please just go, before you make a
fool of yourself.
Beat.
ARTHUR
(blurts out)
Thomas Wayne is my father--
Alfred looks at Arthur, and can't help but crack up laughing
at him.
AND ARTHUR REACHES HIS HANDS THROUGH THE BARS AGAIN AND GRABS
HIM. Pulls Alfred in close, trying to choke him, still
holding the wand of flowers in one hand--
AS HE CHOKES ALFRED, Arthur sees little Bruce, wide-eyed in
the shadows, looking out at him in horror.
51.
Arthur stops.
Lets go of Alfred... Takes off running back down the street
away from Wayne Manor, magic wand in hand.
22 -
A Chaotic Night in the Bronx - Overall Grade:
9.0
EXT. THE BRONX, STREETS - NIGHT
ARTHUR'S BACK IN HIS PART OF TOWN, garbage everywhere here.
The neighborhood at night is alive. Loud kids on the street
corners... A drunk seemingly fights no one... Sirens
wailing...
As Arthur approaches his building, he sees AN AMBULANCE
PARKED in front. Lights flashing. Hit with a sense of dread,
he runs toward the building--
EXT. STREET, APARTMENT BUILDING - NIGHT
A SMALL CROWD OF GAWKERS have gathered around watching the
drama unfold. Shouting and laughing, loud dance music blaring
out an open window, feels like an impromptu block party.
ARTHUR RUNS UP, SEES TWO PARAMEDICS wheeling his unconscious
mother down the front steps on a stretcher.
FROM ABOVE, Arthur pushing through the crowd, rushes to his
mother's side--
ARTHUR
(following as they wheel
her, leaning over
stretcher)
Mom? Mom, what happened?
PARAMEDIC #1
Sir. Please step back.
ARTHUR
What happened to her?
PARAMEDIC #1
Who are you?
ARTHUR
I'm her son.
PARAMEDIC #1
Oh, great. You can probably help us
out inside. We don't know what
happened yet.
52.
Arthur follows them as they load Penny into the ambulance.
INT. CITY AMBULANCE, BACK (PARKED) - MINUTES LATER
Arthur watches as the two paramedics work on his mother,
descending on her like vampires, shouting instructions to
each other while checking her vitals (pulse, pupils),
shouting questions at him as they begin to intubate her--
PARAMEDIC #1
Does your mother take any
medications?
Arthur doesn't answer, just watches in horror.
PARAMEDIC #1
Sir. Is your mother on any
medications?!
ARTHUR
No.
PARAMEDIC #2
When was the last time you spoke to
her?
ARTHUR
I don't know.
The ambulance starts to pull away.
PARAMEDIC #2
Does she have any medical history?
Arthur doesn't answer.
EXT. CITY HOSPITAL, EMERGENCY ROOM - NIGHT
Arthur sitting on a bench waiting outside the bustling
emergency room of a massive city hospital. He watches the
sick and dying being rushed through the glass doors. Opening
and closing. This happens in the background throughout the
scene.
The two detectives walk up to Arthur, interrupting him
watching the doors. Gotham police detectives, GARRITY (50's),
grey hair, and BURKE (30's), his partner.
DET. GARRITY
Mr. Fleck, sorry to bother you, I’m
Detective Garrity, this is my
partner Detective Burke.
53.
Arthur looks up at them. Doesn't say anything.
DET. GARRITY
We had a few questions for you, but
you weren’t home. So we spoke to
your mother.
ARTHUR
What did you say to her? Did you do
this?
DET. GARRITY
What? No. We just asked her some
questions and she started getting
hysterical-- hyperventilating,
trouble speaking-- then she
collapsed. Hit her head pretty
hard.
ARTHUR
Yeah, the doctor said she had a
stroke.
Beat.
DET. GARRITY
Sorry to hear about that. But like
I said, we still have some
questions for you. They're about
the subway killings that happened
last week. You've heard about them,
right?
ARTHUR
Yeah. It's horrible.
DET. GARRITY
(reading over his notes)
Right. So we spoke to your boss at,
uhh, Ha-Ha's. He said you were
fired that day-- fired for bringing
a gun into the children's hospital.
ARTHUR
It was a prop. It's part of my act.
I'm a party clown.
DET. BURKE
All right. So why were you fired?
ARTHUR
They said I wasn’t funny enough.
Can you imagine that?
(he stands)
(MORE)
54.
ARTHUR (CONT’D)
Now, if you don't mind, I need to
go take care of my mother.
The detectives share another look.
Detective Burke steps close to him, holds up the card that
Arthur handed him--
DET. BURKE
Your boss also gave us one of your
cards. This condition of yours, the
laughing, is it real or some sort
of a clown thing?
ARTHUR
A clown thing?
DET. BURKE
Yeah, I mean-- is it part of your
act?
ARTHUR
What do you think?
And Arthur walks away-- heads for the sliding glass doors.
Only the motion detector doesn’t engage--
INT. HOSPITAL ROOM (SHARED), CITY HOSPITAL - NIGHT
PENNY LIES IN BED UNCONSCIOUS, HOOKED UP TO MACHINES.
Arthur sits bedside, distraught. Sophie is next to him...
rubbing his back.
SOPHIE
She's gonna be okay.
He just nods. Lost in thought. After a beat...
SOPHIE
I'm going to get some coffee? You
want one?
He nods again. As Sophie walks out, we HEAR MURRAY FRANKLIN
from the TV set bolted high up on the wall.
55.
MURRAY FRANKLIN (ON TV)
So I told my youngest son, Billy,
you know, the new one, the 'not so
bright' one,--
CLOSE ON TV, Murray is in the middle of doing his monologue.
MURRAY FRANKLIN (ON TV)
(laughter)
I told him that the garbage strike
is still going on. And he says, and
I'm not kidding, Billy says, "So
where are we gonna get all our
garbage from?"
Murray Franklin cracks up at his own joke. Studio audience
laughs.
Arthur glances over at his mother, laughing over the sounds
of her labored breath.
He looks back up at the television.
MURRAY FRANKLIN (ON TV)
And finally, in a world where
everyone thinks they could do my
job, we got this videotape from the
Gotham Comedy Club. Here's a guy
who thinks if you just keep
laughing, it'll somehow make you
funny. Check out this joker.
EXTREME CLOSE ON TV, GRAINY VIDEO OF ARTHUR'S STAND-UP
PERFORMANCE. Arthur on stage smiling behind the microphone,
under the harsh spotlight.
Arthur watching himself on TV, his jaw drops--
ARTHUR (ON TV)
(trying to stop himself
from laughing)
-- good evening, hello.
(deep breath; trying to
stop laughing)
Good to be here.
(keeps cracking up)
I, I hated school as a kid. But my
mother would always say,--
(bad imitation of his mom,
still laughing)
"You should enjoy it. One day
you'll have to work for a living."
(laughs)
(MORE)
56.
ARTHUR (ON TV) (CONT'D)
"No I won't, Ma. I'm gonna be a
comedian!"
Back to Murray Franklin shaking his head, trying not to
laugh.
MURRAY FRANKLIN (ON TV)
You should have listened to your
mother.
The studio audience erupts into laughter.
ANGLE ON ARTHUR, watching Murray Franklin make fun of him on
TV. He gets up and starts walking toward the TV set as if in
a trance. Unsure if this is really happening.
MURRAY FRANKLIN (ON TV)
One more, Bobby. Let's see one
more. I love this guy.
Another moment of Arthur at the comedy club plays--
ARTHUR (ON TV)
It's funny, when I was a little boy
and told people I wanted to be a
comedian, everyone laughed at me.
(opens his arms like a big
shot)
Well no one is laughing now.
Dead silence. Nobody is laughing. Not even him.
CUT BACK CLOSE ON MURRAY FRANKLIN, just shaking his head.
MURRAY FRANKLIN (ON TV)
You can say that again, pal!
Murray cracks up and the studio audience laughs along with
him. Shot of Barry O'Donnell laughing too.
CLOSE ON ARTHUR, looking up at the television, hearing them
all laughing at him.
24 -
Arthur Reacts to News of Protest - Overall Grade:
9.0
INT. MOM'S APARTMENT, BEDROOM - NIGHT
FROM ABOVE, looking down on Arthur hunched over, lying on his
side in his mother's bed, his left arm below frame-- hard to
tell if he's in pain or beating off.
He reaches out his right arm to where his mother slept, the
TV's blue light flickering, 11:00 News turned up--
57.
NEWS ANCHOR (ON TV)
The anger and resentment that's
been building in the city for weeks
seems close to exploding.
Protesters, many dressed as clowns,
took to the streets today in one of
several planned demonstrations
taking on the city's elite.
Including a massive rally outside
tomorrow night's benefit at Wayne
Hall.
CLOSE ON ARTHUR, quickly turning and sitting up in bed when
he hears what's on the television--
ANGLE ON TELEVISION, a crowd of protesters, a few wearing
Arthur's clown mask are being interviewed.
"CLOWN" PROTESTER #1 (ON TV)
It’s gonna show ‘em that they can’t
ignore us. Our voices need to be
heard. We’re not--
"CLOWN" PROTESTER #2 (ON TV)
(interrupts; screaming
into camera)
[Beep] the rich, [beep] the
politicians, [beep] the whites,
[beep] the blacks, [beep] Thomas
Wayne, [beep] the whole system.
That's what this is [beeping]
about!
ANGLE ON ARTHUR, moving down to the edge of the bed, gun on
the nightstand behind him, leaning forward closer toward the
flickering screen to make sure he's seeing what he's seeing--
Thomas Wayne now being interviewed on the plaza in front of
Wayne Tower-- "...had no comment on the upcoming rally."
THOMAS WAYNE (ON TV)
Well what I will say is, there's
something wrong with those people.
I'm here to help them. I want to
lift them out of poverty, help make
their lives better. That's why I'm
running. They may not realize it,
but I'm their only hope.
INT. WAYNE HALL, THEATER - CENTER FOR PERFORMING ARTS - DUSK
ANGLE ON MOVIE SCREEN PLAYING "MODERN TIMES", FACE OF A ROMAN
NUMERAL CLOCK FILLS THE FRAME, and up fades the forward...
"Modern Times". A story
of industry, of individual
enterprise -- humanity
crusading in the pursuit
of happiness.
And as the screen fades to black, we pull out to reveal the
Gotham Philharmonic playing Chaplin's silent movie score in
front of a black-tie high society crowd... Behind them, on
screen, glimpse the opening shot of a crowded herd of sheep,
a lone black sheep caught in the middle, dissolving into a
mass of crowded workers rushing out of a subway station.
EXT. CENTER FOR PERFORMING ARTS, WAYNE HALL - DUSK
ARTHUR ALL ALONE HEADING TOWARD AN ANGRY MOB in front of the
Center for Performing Arts. Night falling. Storm clouds
gathering.
ANGLE ON THE CROWD OF PROTESTERS SCREAMING AND SHOUTING IN
FRONT OF WAYNE HALL, behind steel barricades. Many wearing
Arthur's "clown face" mask... A few wave homemade signs,
"CLOWN FOR MAYOR"... "KILL THE RICH"... "MR. WAYNE, AM I A
CLOWN?"
A LINE OF POLICEMEN AND SECURITY GUARDS stand between the
crowd and the lit-up white marble building.
Arthur pauses and watches the crowd for a moment.
EXT. WAYNE HALL, FRONT ENTRANCE - DUSK
A FIGHT BREAKS OUT between a "clown" masked protester and two
cops. The crowd goes crazy, pushing through the barricades
toward the building. Distant thunder rumbling. The police and
Wayne Hall Security fight to keep them out--
Amidst all the chaos, we glimpse Arthur slipping into the
building unnoticed--
INT. LOBBY, WAYNE HALL - NIGHT
Arthur walks through the massive multi-level lobby. It's
completely empty since the performance has already begun and
whatever security was available is outside helping the police
deal with the protesters.
59.
He looks up in awe at the crystal chandeliers... He's never
seen anything this opulent in his entire life.
He starts up the grand staircase to the second floor--
26 -
Confrontation in Wayne Hall - Overall Grade:
9.0
INT. SECOND LEVEL, BALCONY - WAYNE HALL - NIGHT
ARTHUR MAKING HIS WAY THROUGH THE SHADOWS ALONG THE BACK WALL
OF THE BALCONY, a birds-eye-view, looking around for Thomas
Wayne in the sold-out black-tie audience--
He catches bits of the silent movie projected down on stage
behind the orchestra, the Tramp working in a factory.
He continues moving along the back wall looking for Thomas
Wayne, sees him sitting in a box seat on the side of the
theater with his wife.
Arthur watches him in the darkness, waiting--
JUMP CUT:
INT. BALCONY, SECOND LEVEL - LATER
PROJECTED ON SCREEN, the Tramp roller skating blindfolded on
a date with the Gamin (Paulette Goddard) in a department
store. Arthur's still standing against the back wall in the
shadows, laughing along with the rest of the audience
watching the Tramp skates blindfolded, skirting along the
edge of a balcony with no rail, orchestra playing the bouncy
score.
Arthur's really enjoying the movie, almost forgetting for a
moment why he's there, when he glances over to Thomas Wayne's
box and sees him leaving, being led by his BODYGUARD--
Arthur's eyes go wide and he quickly turns to go, behind him
on screen, the Tramp is rescued by the girl before he falls
off the edge, orchestra swelling--
INT. SECOND LEVEL - WAYNE HALL - CONTINUOUS
Arthur catches a glimpse of Thomas Wayne heading into the
men's room, his bodyguard waiting by the door, still hear the
orchestra playing the score---
Arthur glances around the lobby, sees a lobby broom and
upright dustpan tucked in the corner--
60.
INT. HALLWAY, MEN'S ROOM - WAYNE HALL - SECONDS LATER
Arthur's sweeping up the hallway with his head down, hear the
orchestra playing the melancholy "Smile" from the film's
score. He sweeps along to the music like Emmett Kelly's
famous act... Sweeping around the bodyguard's feet...
Annoyed, he moves a bit away from the bathroom door... And
doesn't give Arthur a second look as he heads inside...
INT. MEN'S ROOM, WAYNE HALL - CONTINUOUS
Arthur sweeps his way into the cavernous, black & white tiled
bathroom, ornate gold fixtures. It's empty save for Thomas
Wayne peeing at the far end of a long line of urinals.
Arthur takes a deep breath, and walks down the line of
urinals right up next to Thomas Wayne--
He stands there for a beat while Thomas urinates, lobby broom
and upright dustpan in hand--
THOMAS WAYNE
(glances over; annoyed)
Can I help you, pal?
ARTHUR
What? Yeah. No I, I--
THOMAS WAYNE
(interrupting)
You need to get in here or
something?
Thomas Wayne finishes and zips his fly back up. Arthur is not
sure what to say to him, just says--
ARTHUR
Dad. It's me.
Beat.
But Thomas Wayne doesn't hear him, he was flushing the
urinal. He walks toward the sink.
THOMAS WAYNE
Excuse me?
Arthur follows after him.
ARTHUR
My name is Arthur. I'm Penny's son.
(beat)
I, I know everything.
(MORE)
61.
ARTHUR (CONT’D)
And I don't want anything from you.
Well... maybe a hug.
And Arthur smiles, it's all very emotional for him. Thomas
looks over at him like he's fucking crazy.
THOMAS WAYNE
Jesus. You're the guy who came by
my house yesterday.
Arthur nods, relieved he finally broke through.
ARTHUR
Yes. But they wouldn't let me in,
wouldn't let me see you. So I came
here. I have so many questions.
Thomas Wayne just laughs to himself and turns on the gold
faucets at one of the sinks.
THOMAS WAYNE
Look pal, I'm not your father.
What's wrong with you?
ARTHUR
How do you know?
Thomas Wayne just keeps washing his hands, doesn't even look
over at Arthur.
THOMAS WAYNE
Cause you were adopted. And I never
slept with your mother. What do you
want from me, money?
ARTHUR
No. What? I wasn't adopted.
Thomas starts drying his hands.
THOMAS WAYNE
She never told you? Your mother
adopted you after she worked for
us. She was arrested when you were
four years old and committed to
Arkham State Hospital. She's
batshit crazy.
Arthur starts to smile, feels a laugh coming on.
ARTHUR
No. No, I don't believe that.
62.
Thomas finishes drying his hands. Turns to Arthur, his tone
way more serious now.
THOMAS WAYNE
I don't really give a shit what you
believe.
(steps in closer)
But if you ever come to my house
again, if you ever talk to my son
again, if I ever even hear about
you again, I'll--
AND ARTHUR CRACKS UP LAUGHING, interrupting his threat.
Laughing right in his face--
THOMAS WAYNE
Are you laughing at me?
Arthur's laughing so hard he can't answer.
THOMAS SHOVES ARTHUR HARD UP AGAINST THE TILED WALL, gripping
his neck with one hand. Arthur just cracks up louder, he
drops the dustpan and broom--
THOMAS WAYNE
(shouting)
You think this is funny?
Thomas Wayne's bodyguards bang open the door, rushing into
the bathroom when they hear the shouting--
They stop when they see Thomas has Arthur jacked up against
the wall.
ARTHUR
(tries shaking his head
no; still laughing and
choking)
No, no I have a con--
THOMAS WAYNE
(interrupting; raising his
voice)
Is this a fucking joke to you?
AND THOMAS WAYNE PUNCHES ARTHUR STRAIGHT IN THE FACE with his
free hand, blood spraying from his nose--
27 -
Arthur's Excitement and Frustration - Overall Grade:
9.0
INT. BEDROOM, MOM'S APARTMENT - MORNING
Sunshine peeking through bedroom windows. Arthur's eyes are
open, he's been awake all night, he still hasn't slept.
63.
Phone starts ringing in the kitchen, he lets the machine pick
it up--
SHOW BOOKER (ON MACHINE)
This message is for Arthur Fleck.
My name is Shirley Woods, I work on
the Murray Franklin show.
Arthur gets up quickly and heads for the kitchen as the woman
continues to leave a message--
INT. KITCHEN, MOM'S APARTMENT - CONTINUOUS
Arthur walks in, listening to the woman on the machine--
SHOW BOOKER (ON MACHINE)
I don't know if you're aware, but
Murray played a clip of your stand-
up on the show recently and we've
gotten an amazing--
Arthur picks up the phone--
ARTHUR
(into phone; skeptical)
Who is this?
SHOW BOOKER (OVER PHONE)
Hi, this is Shirley Woods from
Murray Franklin Live. Is this
Arthur?
ARTHUR
(into phone)
Yes.
SHOW BOOKER (OVER PHONE)
Hi Arthur. Well, as I was saying--
we've gotten a lot of calls about
your clip, amazing responses. And,
Murray asked if I would reach out
to see if you would come on as his
guest. Can we set up a day?
PUSH IN ON ARTHUR'S FACE, as it sinks in.
ARTHUR
(into phone)
Murray wants me to come on the
show?
64.
SHOW BOOKER (OVER PHONE)
Yes. Isn't that great? He'd love to
talk to you, maybe do some of your
act. Does that sound good to you?
As the PUSH IN ON ARTHUR finishes.
CUT TO:
EXT. ARKHAM STATE HOSPITAL - MORNING
A GRAY, BEHEMOTH STATE HOSPITAL looming over the city block.
Metal screens cover steel-framed windows. Arthur crosses the
street toward the building, eyes weary, he hasn't slept in
days.
INT. ARKHAM STATE, HALLWAY - MORNING
ARTHUR WALKS DOWN A LONG HALLWAY, PASSING TWO GOTHAM CITY
COPS AND A PARAMEDIC rolling a naked sunburned man screaming
his head off, handcuffed to a stretcher underneath a white
sheet. Sounds bouncing off the walls, up and down the halls,
working other patients into fits, screaming back.
INT. DOCUMENTS & RECORDS OFFICE - BASEMENT HALLWAY, ARKHAM
STATE HOSPITAL - MORNING
Arthur stands at a service window that looks into the cramped
records office, a metal grate covers most of the window.
Harsh fluorescent lights flicker above. He glances at the
hallway behind him, sees two orderlies walking a dead-eyed
patient back to his ward, hears distant echoing screams.
He's interrupted by a CLERK (40's), ID clipped to his shirt,
who's lugging an old heavy file storage box. He drops the box
down on a counter beneath the window.
CLERK
Sorry for the wait. All our records
that are 10 years or older are
stored in the basement. You're
talking over 30 years ago,-- I had
to do some serious digging.
Arthur nods thanks. The clerk looks at Arthur for a moment,
like he's trying to place him--
CLERK
And, like I said, if it's in here,
I'm still gonna need a release from
her. Have we met before?
65.
Arthur shakes his head no.
The clerk opens the file box. Starts digging though it.
Arthur watches the orderlies locking the doors behind them,
still hears the screams.
ARTHUR
Can I ask you a question? How does
someone wind up in here? Have all
the people committed crimes?
CLERK
(going through the files)
Some have. Some are just crazy and
pose a danger to themselves or
others. Some just got nowhere else
to go.
Beat.
ARTHUR
(nods; looks down)
Yeah, I know how that is. Sometimes
I don't know what to do, y'know, I
don't think I can take any more of
this.
The clerk is half listening as he scans the paper work.
CLERK
Yeah, I can't take much more of
this shit either. Now they talking
about more layoffs, man, we're
understaffed as it is. I don't know
what I'm gonna do.
Arthur looks up at the guy, thinking he's made a connection.
ARTHUR
Last time I ended up taking it out
on some,-- people. Bad shit. I
thought it would bother me but, it
really hasn't.
The clerk finally looks back at him--
CLERK
What's that?
ARTHUR
It's just so hard to try and be
happy all the time, y'know, when
everything's going to shit all
around you.
66.
CLERK
(taken aback; beat)
Listen, I'm just an administrative
assistant, like a clerk. I file
paperwork. I don't really know what
to tell you, but maybe you should
see someone-- they have programs,
like city services.
ARTHUR
(backtracking)
Yeah. They cut those. Anyway, I was
just talking to talk.
The clerk just stares at Arthur--
CLERK
(realizing)
Wait, I know where I've seen you,--
You were on Murray Franklin the
other night, weren't you?
ARTHUR
(beat)
No. I don't know what you're
talking about.
CLERK
(shrugs, goes back to
looking through the
files)
Sorry, Murray just killed some poor
guy on TV,--
The clerk shakes his head to himself, finally finds what he
was looking for.
CLERK
(surprised)
Here it is,-- Fleck. Penny Fleck.
He pulls out an old file, bulging with yellowing records.
Moves the box to the floor and sits down on his stool behind
the window.
ARTHUR
(saying it out loud for
himself to hear)
So she was a patient here.
The guy opens the file. Yellowing pages of her records--
67.
CLERK
(nods, skim-reading)
Uh-huh. Diagnosed by Dr. Benjamin
Stoner... The patient suffers from
delusional psychosis and
narcissistic personality
disorder... Found guilty of
endangering the welfare of a child--
The clerk stops reading out loud, eyes going wide as he skims
further ahead. Arthur just looks at the guy, waiting to see
what he's gonna say.
ARTHUR
What?
CLERK
You said she's your mother?
Arthur just nods.
CLERK
(closes the file)
I'm sorry, I can't. Like I said, I
can't release this without the
proper forms. I could get in
trouble.
(closes the file; beat)
Besides, it's pretty bad.
CLOSE ON ARTHUR, he shakes his head and smiles to himself.
ARTHUR
I can handle bad.
The clerk puts the file down on the counter--
CLERK
Yeah, sorry. If you want these
records you have to get your mom to
sign a patient disclosure form. I
can have someone mail you one.
Arthur just stands there, thinking it all over for a moment.
Then reaches in under the metal cage and snatches the file--
The clerk grabs it as well.
They play tug-of-war with the file, it's awkward and goes on
way too long. Out-of-nowhere Arthur slams his own head
violently against the metal grate, surprising the guy,
allowing him to pull the file away--
68.
Arthur takes off running down the hall with it. The clerk
watches for a beat, but does nothing.
Arthur running down the hallway, files in his hands. Frantic.
Unaware he is not being chased. Turns a corner and runs down
another long hallway--
Gets to a stairwell door and runs in.
INT. STAIRWELL, ARKHAM STATE HOSPITAL - CONTINUOUS
Bounding up the steps. He stops at a landing above. Looks
down, sees no one is chasing after him, just hears the
echoing screams and shouts of other patients--
ANGLE ON ARTHUR, catching his breath. He opens the file,
flipping through the records, finds the page the clerk was
reading. As he reads it over for himself, he HEARS his mother
being interviewed for her psychiatric assessment, over 30
years ago.
YOUNG PENNY (VO)
He's not adopted-- he's Thomas
Wayne's son. I worked for him, I
told you, I cleaned his house.
CUT TO:
INT. EMERGENCY INTERVIEW ROOM, ARKHAM STATE HOSPITAL - DAY
A younger PENNY FLECK (mid 20's) is sitting across the table
from DR. BENJAMIN STONER (50's), in a dreary small interview
room, windows covered with security screens. Penny takes a
drag off a cigarette, her face is beaten to shit, nose
battered, lip busted up.
Dr. Stoner is going over Penny's thick file, the same file
Arthur's holding in his hands.
DR. STONER
We went over this, Penny. You
adopted him. We have all the
paperwork right here.
YOUNG PENNY
He had that all made up, so it
stayed our secret.
69.
Dr. Stoner doesn't believe her, keeps going through the file,
pulls out black & white forensic photographs of three-year-
old Arthur's body--
DR. STONER
You also stood by as one of your
boyfriends repeatedly abused your
adopted son. And battered you.
Penny exhales smoke.
YOUNG PENNY
He didn't do anything to me. Or to
my boy. Can I go now, I don't trust
hospitals.
Dr. Stoner lays out the photographs in front of Penny--
Penny keeps smoking her cigarette, glances down at the
photos, we catch glimpses of various bruises on parts of
Arthur's body... A filthy crib... A rope tied to the
radiator...
CUT BACK TO:
Arthur looking over the same black & white photographs, still
HEARS his mother--
YOUNG PENNY (VO)
I never heard him crying. Not once.
He's always been such a happy
little boy.
DR. STONER (VO)
Penny, your son was found tied to a
radiator in your filthy apartment,
malnourished, with multiple bruises
across his body and severe trauma
to his head.
Arthur looks up from the file when he hears/reads this, turns
and looks at Penny's reaction-- HE'S NOW IN THE INTERVIEW
ROOM WITH THEM, living what he's reading on the page.
He sees his mother lean forward in her chair, glaring at Dr.
Stoner--
YOUNG PENNY
That's not true. My apartment
wasn't filthy. I keep a clean
house.
Arthur just stares at his mother.
70.
Dr. Stoner looks at Penny, not sure how to respond to that.
DR. STONER
(beat)
And what do you have to say about
your son?
ANGLE ON PENNY, thinking it over, taking a drag off her
cigarette.
YOUNG PENNY
I'm just glad I got to know him.
Arthur just keeps staring at her as she exhales--
ARTHUR BACK IN THE STAIRWELL LOOKS UP FROM THE FILE, looks
like maybe there's cigarette smoke drifting in front of his
face--
29 -
A Tense Encounter and a Revelation - Overall Grade:
9.0
EXT. THE BRONX, STEEP STAIRWAY - NIGHT
IT'S POURING RAIN.
Arthur walks up the long, steep concrete stairway up toward
his building--
INT. APARTMENT BUILDING, ELEVATOR - NIGHT
Soaking wet he enters the elevator and hits the button for
his floor. Sensing something, he turns around and "sees"
Sophie.
She mimes blowing her head off with her finger--
INT. HALLWAY, APARTMENT BUILDING - CONTINUOUS
Soaking wet, clothes clinging to his body, Arthur exits the
elevator and walks toward Sophie's door. He turns the
doorknob. It's unlocked.
He pushes open the door and heads inside--
INT. SOPHIE'S APARTMENT, LIVING ROOM - CONTINUOUS
Arthur walks into Sophie's apartment, looking around.
He sits down on the couch--
Sophie comes out of her daughter’s bedroom, jumps a little on
spotting Arthur--
71.
SOPHIE
Oh my god! What are you doing in
here?
Arthur just keeps staring straight ahead.
SOPHIE
(beat)
You’re in the wrong apartment.
He turns around finally--
SOPHIE
Your name's Arthur, right? You live
down the hall.
He nods.
SOPHIE
I really need you to leave. My
little girl's sleeping in the other
room. Please.
Arthur just stares at her--
ARTHUR
I had a bad day.
Beat.
SOPHIE
Can I call someone. Is your mother
at home?
PUSH IN ON ARTHUR, looking at her-- he raises his fingers to
his head, mimicking a gun.
CUT TO:
INT. HALLWAY, APARTMENT BUILDING - NIGHT
Arthur walking down the hallway toward his mother's
apartment.
INT. MOM'S APARTMENT, LIVING ROOM - NIGHT
Arthur sits alone on the couch, laughing. The TV is on but
he's not watching it.
He just continues to laugh, rolling onto his side from the
joke that his life seems to be.
72.
INT. CITY HOSPITAL, HOSPITAL ROOM (SHARED) - MORNING
ANGLE ON ARTHUR, leaning forward in a chair, sitting close to
his mother in her hospital bed, hear the hum of the machines,
the wheezing of the other patient in the room. He's holding
onto her hand-- Blue curtain pulled around them.
ANGLE ON PENNY, looking back at him holding her hand, still
somewhat out of it.
After a moment, Arthur smiles to himself--
ARTHUR
Hey Ma, what's my real name? Where
did I come from?
Penny looks at him confused. Arthur keeps holding her hand in
his--
ARTHUR
You remember how you used to tell
me that God gave me this laugh for
a reason? That, that I had a
purpose. Laughter and joy, that
whole thing,--
She looks away, she knows what he's talking about.
ARTHUR
HA! It wasn't God, it was you. Or,
or one of your boyfriends,-- Do you
even know what my real name is? Do
you know who I really am?
She looks away. Her whole body is shaking, overwhelmed with
emotion.
ARTHUR
C'mon, Ma, who am I?
She looks back him, struggles to speak--
PENNY
H-h-happ--
ARTHUR
(interrupting; snaps)
Happy?! I'm not happy. I haven’t
been happy for one minute of my
entire fucking life.
He lets go of her hand, getting up fast from the chair like a
vampire--
73.
ARTHUR
But you know what's funny? You know
what really makes me laugh?
He reaches behind her, grabs one of her pillows as he leans
down closer, face-to-face with her, smiling wide--
ARTHUR
I used to think my life was nothing
but a tragedy, but now, now I
realize it's all just a fucking
comedy.
30 -
Arthur's Dark Reflection - Overall Grade:
9.0
INT. BLUE CURTAIN, HOSPITAL ROOM (SHARED) - CONTINUOUS
Other side of the blue divider curtain. We see Arthur's feet
shifting a little.
SLOWLY WE PULL OUT, backing out of the room. Leaving behind
whatever Arthur's doing to his mother on the other side of
the curtain.
INT. MOM'S APARTMENT, LIVING ROOM - NIGHT
ARTHUR'S STUDYING A VHS TAPE OF "MURRAY FRANKLIN LIVE!", he
jots down notes in his worn notebook... Watches as A MOVIE
STAR GUEST come out... how he crosses the stage... how he
greets Murray... how he waves to the audience.... how he sits
down... if he cross his legs or not... studying how to be at
ease, how to be a person like other people.
Arthur gets up, adjusting the waist of his pants... Walks
across the living room like he's on the show, smiling, waving
to the "audience"... He mimes shaking Murray's hand... Mimes
unbuttoning his jacket and sits down, legs uncrossed. He
smiles and pulls out his worn notebook from his pocket--
ARTHUR
You wanna hear a joke, Murray?
He "waits" for Murray to answer. Then Arthur nods okay and
opens his notebook--
ARTHUR
(reading)
Okay. Knock-knock.
He "waits" for Murray to answer. Arthur nods okay and crosses
his legs--
74.
ARTHUR
(re-reading)
Okay. Knock-knock.
Arthur awkwardly pulls the .38 snub-nosed revolver from the
waist of his pants and puts it to his head and pulls the
trigger--
Click.
ARTHUR
(too himself)
Should I cross or uncross 'em...
Both feel completely unnatural.
Arthur gets up off the couch, shoving the gun back in his
pants and walks back across the living room. Does it again...
Waves to the "audience"... Mimes shaking Murray's hand...
Mimes unbuttoning his coat and sits down... Legs uncrossed.
ARTHUR
Thanks for having me on, Murray. I
can't tell you how much this means
to me, it's been a life long dream.
Okay I have a joke for you,-- Knock-
knock.
Arthur pulls the gun less awkwardly from his pants now, and
points it at his head-- CLICK.
31 -
A Shocking Act of Violence - Overall Grade:
9.0
INT. MOM'S APARTMENT, BATHROOM - NEXT AFTERNOON
ARTHUR'S LEANING OVER THE BATHROOM SINK, water running. He's
wearing rust colored pants and a white "beater" T-shirt.
"Rock n' Roll (Part 1)" blaring from a transistor radio.
Arthur lifts his head. He's dyed his hair green like his old
clown wig-- but he's missed spots. Some of his hair is still
its original color, sticking out all helter-skelter.
He does a quick spin to the music, gyrating his hips to the
thumping beat--
CUT TO:
INT. MOM'S BEDROOM, APARTMENT - AFTERNOON
Arthur applying his mom's lipstick, outlining his large clown
smile, sitting at her vanity in front of the three-way
mirror. White grease-paint covering his face.
75.
He glances at a mask hanging off the corner of the mirror.
He's trying to copy how it looks. A copy of a copy of
himself.
He hears someone knocking on the front door--
Arthur opens a small drawer, rummaging around looking for
something. Finds some old rusty scissors and pockets them.
Before he closes the drawer, he notices some old photographs
of his mother. Sees one that makes him stop. He pulls it out--
ANGLE ON BLACK & WHITE PHOTOGRAPH OF A YOUNG PENNY, laughing
at something or someone out of frame. She looks so young and
beautiful and happy. Flipping over the photo, sees a
handwritten note on the back, "Love your smile-- TW"
ANGLE ON ARTHUR, staring at the note on the back as he hears
LOUDER BANGING on the door. He glances up at his three
reflections in the mirrors--
INT. FRONT DOOR, MOM'S APARTMENT - AFTERNOON
Arthur unlocks the locks, keeping the security chain latched,
and cracks open the door,-- Sees Randall. Looks down, and
sees Gary next to him. Undoes the chain and opens the door
for them--
Randall and Gary get a look at Arthur's face, his dyed green
hair still wet, streaking white grease-paint smeared over his
face, red lips half done--
GARY
(re: his look)
Hey Arthur, how's it going?
ARTHUR
Oh hey guys. Come on in.
GARY
You get a new gig?
ARTHUR
No.
Arthur shakes his head no, steps aside so they can come in,
palming the scissors in his hand--
RANDALL
You must be goin' down to that
rally at City Hall, right? I hear
it's gonna be nuts.
76.
ARTHUR
Is that today?
Randall looks at him and laughs--
RANDALL
Yeah. What's with the make-up then?
Arthur shuts the door behind them. Locks the chain-lock.
ARTHUR
My mom died. I'm celebrating.
Randall and Gary share a look... that's weird.
RANDALL
(nodding)
Right, we heard. That's why we came
by, figured you could use some
cheering up.
Arthur stares at Randall.
ARTHUR
(beat)
That's sweet. But no, I feel good.
I stopped taking my medication. I
feel a lot better now.
RANDALL
Oh, okay. Well, good for you.
(beat)
Listen, I don't know if you heard,
but the cops have been coming
around the shop-- talking to all
the guys about those subway
murders. And um--
GARY
(interrupting)
They didn't talk to me.
RANDALL
(annoyed)
That's because the suspect was a
regular-sized person. If it was a
fucking midget you'd be in jail
right now.
(back to Arthur, sincere)
Anyway, Hoyt said they talked to
you and now they're looking for me,
and, and I just wanna know what you
said.
(MORE)
77.
RANDALL (CONT’D)
Make sure our stories line up,
bein' that you're my boy and all.
ARTHUR
Yeah, that's important. Yeah, that
makes a lot of sense. Thank you,
Randall. Thank you so much--
AND ARTHUR STABS THE SCISSORS AS DEEP AS HE CAN into
Randall's neck. Blood spurts. Randall screams. Gary stumbles
back in shock--
GARY
(screaming)
What the fuck what the fuck WHAT
THE FUCK--
Arthur pulls them out and jams them into Randall's eye before
he can react. The sound is sickening. Gary's screaming in the
background--
Randall blindly fights back, screaming in pain, flailing his
arms, his own blood blinding him--
Arthur grabs Randall by the head -- all of his pent up rage
and frustration pouring out of him -- AND SLAMS HIS HEAD
AGAINST THE WALL.
AGAIN. And AGAIN. And AGAIN.
Arthur lets go of Randall's head and Randall drops to the
ground. Arthur leans back against the wall, out of breath,
kind of slides down the wall to the floor--
Sees Gary huddled in the corner, trembling with fear--
ARTHUR
(catching his breath)
Do you watch the Murray Franklin
show? I'm gonna be on tonight.
Gary doesn't answer. Doesn't move--
ARTHUR
It's okay, Gary. You can go.
Gary backs away toward the door. Arthur sits there for a
moment, breathing heavy, wipes Randall's blood off his face--
GARY (OS)
Hey, Art?
Arthur turns, sees Gary at the front door. He points up high
to the chain-lock. He can't reach it.
78.
Arthur just shakes his head to himself and gets up to unlock
the door.
He walks past Gary who's still trembling almost too afraid to
look up at him. Arthur leans over him and undoes the chain,
opens the door. Gary takes off, Arthur closing the door
behind him--
ANGLE ON ARTHUR, leaning his back against the wall. Takes out
a cigarette, lights it with his left hand and smokes.
32 -
The Joker's Transformation and Escape - Overall Grade:
9.0
INT. MOM'S BEDROOM, APARTMENT - LATE AFTERNOON
(Over the following, we don't see Arthur's face. We don't
reveal his finished "look" just yet.)
CLOSE PICKING UP HIS NOTEBOOK, fanning through the pages--
INT. LIVING ROOM, MOM'S APARTMENT - LATE AFTERNOON
CLOSE ON TAKING RANDALL'S WALLET OUT OF HIS BLOOD SOAKED
PANTS, pulling out all the cash.
INT. KITCHEN, MOM'S APARTMENT - LATE AFTERNOON
ARTHUR'S POV FINISHING WRITING A NOTE, "...on Murray Franklin
Tonight -- Pleese Watch!"
CLOSE ON STUFFING THE NOTE AND ALL OF RANDALL'S MONEY into an
envelope--
TURNING ENVELOPE OVER, WRITING "SOFI" on the front.
INT. HALLWAY, APARTMENT BUILDING - LATE AFTERNOON
FOLLOWING BEHIND ARTHUR, walking down the hallway as if in
slow motion, heading for Sophie's apartment. His dyed green
hair now slicked back.
He's wearing an ill-fitting rust colored suit.
STILL FROM BEHIND, he lays the envelope in front of Sophie's
door, then pulls something else out of his pocket -- his body
obscuring what it is -- puts it down by her door and leaves.
79.
As he walks away down the hallway, we see what else Arthur
left behind--
HIS MAGIC WAND OF FLOWERS, at Sophie's door.
Hold.
INT. ELEVATOR, HALLWAY - LATE AFTERNOON
FROM BEHIND ARTHUR STEPPING ONTO THE ELEVATOR, TURNING TO
FACE US AS THE DOOR STARTS TO CLOSE, FINALLY REVEALING HIS
LOOK--
Green hair slicked back like one of the Wall Street assholes
he killed... White grease paint smeared over his face... red
nose painted on... blue peaks over and under his eyes... his
mother's red lipstick crudely outlining his smiling mouth...
Under the harsh flickering fluorescent lights, he looks like
an insane version of his mask.
Ding. And as the door closes on his new face, again we HEAR
the banging opening of Gary Glitter's "Rock n' Roll" but this
time it's "Part 2", the instrumental version--
EXT. STEEP STAIRWAY, TENEMENTS - LATE AFTERNOON
ARTHUR, NOW "JOKER" DANCING HIS WAY DOWN THE LONG STAIRCASE,
doing his own Bill "Bojangles" Robinson stair dance...
Skipping and twirling down fours steps, dancing and singing
along to the music in his head (and on the soundtrack)...
...Hopping back three...
...Shuffling on a step for a beat or two or three...
Sun setting in the sky.
DET. BURKE (OS)
(shouting)
Hey Arthur, we need to talk!
Joker looks back up the staircase rising above him and sees
Garrity and Burke all the way up at the top of the steps.
He dances up a few steps toward the cops..
...Pauses on the edge of a step...
...Teetering on the edge...
Then turns and dances as fast as he can back down the steps
and takes off running down the street--
80.
Way up behind him, Burke and Garrity start down the steep
staircase after him--
Joker running like his hair is on fire past guys hanging out
on the sidewalk, glances behind to see if the two cops are
chasing after him--
Doesn't see them yet, looks back forward and--
RUNS RIGHT INTO THE BACK of a black guy walking down the
street, almost running him over--
THE BLACK GUY TURNS AROUND, HE'S WEARING WHITE FACE "JOKER"
MAKE-UP.
JOKER TURNS SLOWING DOWN WALKING BACKWARD, staring at the
black guy's clown face, but before he can say or do anything,
sees Burke and Garrity turning onto the sidewalk from the
stairs--
Joker takes off across the street, Burke and Garrity chase
after him, "Rock 'n' Roll (Part 2)" still playing--
EXT. SIDE ALLEY, TENEMENTS - CONTINUOUS
Joker cuts through the garbage filled alley, the usual gang
of kids hanging out on their fire-escape--
Garrity and Burke run into the alley, the kids on the fire
escape start throwing whatever shit they can find at them,
hurling insults in Spanish at the cops--
EXT. SIDE ALLEY, JEROME AVE - CONTINUOUS
Joker darts out from the alley onto the busy avenue, the
elevated train entrance down across the way on the next
corners. Joker runs across the street without looking--
RUNNING RIGHT IN FRONT OF AN ONCOMING YELLOW CAB--
BAM!
The cab hits him and Joker goes crashing into the windshield.
Bounces up and over the car. Landing hard on the pavement--
Joker pops back up from getting hit. He's in pain. But not
dead.
81.
Burke has drawn his service revolver as he runs out of the
alley with Garrity--
Joker takes off running, limping down the street toward the
entrance for the elevated train, passing a few other people
dressed as clowns, some in "Joker" masks, others painted up
to look like the "Joker" mask...
EXT. ELEVATED TRAIN STATION, STEPS - CONTINUOUS
Joker hustling up the stairs, dripping sweat, his white
grease-paint running down his face, starts to slow down as he
mixes in with the crowd of clowns. He gets to the top of the
stairs, sees the waiting Jerome Ave/Downtown Express Train,
looks back and catches a glimpse of Garrity and Burke at the
bottom--
EXT. PLATFORM, ELEVATED TRAIN STATION - CONTINUOUS
Joker makes his way down the crowded platform, passengers
starting to file on the train. It's packed with protesters
heading to the rally at City Hall. Many carrying signs, most
of them look like Joker, or are dressed as clowns. Joker fits
in with all of them. "Rock 'n' Roll (Part 2)" ends.
Joker looks through the crowd of clowns and sees the two cops
getting to the top of the stairs, looking up and down the
platform for him. Pulling out their badges on chains from
around their necks. Identifying themselves as cops.
Joker's willing the doors to close. But they don't.
The two detectives run onto the train just as the doors are
finally closing--
Joker moves through the loud train pushing through the rowdy
protesters-- Into the next car, all of them packed.
AS THE TRAIN GOES UNDERGROUND, the lights flicker on and off--
car GOING BLACK FOR A FEW SECONDS as the train turns and dips
and speeds down the tracks.
Joker glances back at Burke and Garrity pulling out their
badges on chains around their necks. Smith & Wesson service
revolvers by their sides. Shouting at the crowd, identifying
themselves as cops.
Joker hears some on the train shouting back in anger at the
police, keeps moving...
82.
past clown-faced protesters carrying signs, "RESIST"... "AM I
A CLOWN?"... "SAVE A CITY, KILL A YUPPIE"...
The two cops push through the car, scanning all the "clown"
faces... So many look like Joker. They just shove protesters
out of the way, shouting at them all the while. A few more
voices rising up in protest--
Joker feels Burke and Garrity behind him getting closer. In
the flickering light sees a DRUNK GUY (20's) wearing a
'Joker' mask and pulls it right off his face--
The drunk guy turns ready to fight.
He throws a punch at Joker, and Joker steps out of the way--
The guy pummels someone else--
A FIGHT BREAKS OUT, spilling down the car.
Joker slips the clown mask over his clown face--
AND JUST STANDS THERE IN THE MIDDLE OF THE CHAOS, at home
with the mayhem all around him--
Garrity and Burke spot Joker's rust colored suit in the
middle of the unruly mob--
Burke pulls his gun--
DET. BURKE
(shouting)
EVERYBODY DOWN, GOTHAM PD!
The crowd doesn't drop to the ground. They just keep fighting
with each other--
Burke sees Joker just standing there. Keeps yelling for the
crowd to get down, get down, but they don't listen to him--
He starts shoving protesters down, out of the way-- and
AND THEN THE MOB TURNS ON HIM AND GARRITY, starts closing in
around them--
Garrity and Burke are pointing their guns at the crowd,
yelling panicked for them to back off, back off, and one
idiot reaches for Garrity's gun--
Bang.
Burke fires into the crowd, as the train pulls into the
station--
83.
A protester falls dead. The other clowns on the train go
crazy, turning on the cops.
As the subway doors open, the violence spills out onto the
platform, catch a glimpse of Joker walking away from the
chaos. Taking off the mask and dropping it at his side as he
heads up the stairs, disappearing into the crowd.
Genres:
Drama, Thriller Tone:
Intense, Chaotic, Violent, Dark
Ratings
View Analysis
View Script
34 -
Tense Discussions in an Empty Hallway - Overall Grade:
9.0
EXT. NCB STUDIOS, FRANKLIN THEATER - MIDTOWN - DUSK
WIDE SHOT, excited line of ticket holders waiting to get into
"Live with Murray Franklin!" The poster marquee box near the
door reads: "TONIGHT'S GUESTS. Lance Reynolds. Dr. Sally
Friedman. And Special Guest."
INT. STUDIO 4B, STAGE - FRANKLIN THEATER - NIGHT
WIDE SHOT, set for "LIVE WITH MURRAY FRANKLIN!" is dark...
but we can still make out his desk... the guest couch...
Ellis Drane's band stand... huge multicolored curtain. Three
TV monitors hang from the ceiling, facing the audience seats.
Three studio cameras on the floor, black cables strewn
everywhere.
INT. HALLWAY, FRANKLIN THEATER - NIGHT
WIDE SHOT, empty hallway.
Then Murray Franklin turns the corner, walking fast toward
the drab dressing rooms with his producer, GENE UFLAND
(50's), who's holding the show's rundown rolled up in his
hand. Murray looks a little more frayed around the edges than
he did in Arthur's fantasy.
GENE UFLAND
--You gotta see this nut for
yourself, Murray. I don't think we
can put him on. With all the shit
that's going on out there.
MURRAY FRANKLIN
(in a sour mood; annoyed)
Jesus, Gene, I don't have time for
this. Cindy's been breaking my
balls all day.
GENE UFLAND
She's still mad at you about that
thing?
84.
MURRAY FRANKLIN
Four marriages, you'd think I'da
fuckin' learned something.
(then)
What do I gotta see? I already know
he's a nut. That's why we're
putting him on, it's a goof.
A young BLONDE INTERN walks by in the opposite direction. She
nervously smiles to them and keeps walking. Both men turn and
check out her ass. Murray winks at Gene.
GENE UFLAND
(just shakes his head, and
smiles)
I'm telling you, you gotta see him,
Murray. I think it's too risky, the
show's too big. It's worth too much
to blow it on this,-- this freak.
35 -
Joker Meets Murray Franklin - Overall Grade:
9.0
INT. DRESSING ROOM, FRANKLIN THEATER - CONTINUOUS
Joker's sitting on a small couch in the cramped dressing
room, watching the local news on a TV that's mounted up on
the wall, live shots from the subway station where Burke shot
the protestor, footage of the City Hall rally, clashes with
police.
He's cleaned himself up as best he could... white grease-
paint smeared more evenly over his face, green dyed hair
slicked back in place. Red lips redone.
Murray and his producer Gene open the dressing room door
without knocking--
Joker gets up off the couch and goes to shake Murray's hand.
Murray pauses when he sees Joker's face.
JOKER
(shakes Murray's hand;
effusive)
Murray,--
GENE UFLAND
It's Mr. Franklin, buddy.
MURRAY FRANKLIN
Oh shut up, Gene. Who gives a shit.
85.
JOKER
Thanks, Murray. I feel like I know
you,-- I've been watching you
forever. My mother never missed a
show.
Murray nods not listening, he's heard this before.
MURRAY FRANKLIN
So what's with the face? Are you
part of the protests?
JOKER
No, I don't believe in any of that.
I don't believe in anything. I just
thought it would be good for my
act.
GENE UFLAND
(upset)
Your act? Did you hear what
happened on the subway? Some clown
got killed.
Joker looks like he's about to bust out laughing. All of that
news is playing out on the TV behind him. He takes a deep
breath. Swallows the laugh.
Beat.
JOKER
No. I hadn't heard.
GENE UFLAND
(turns to Murray)
-- the audience is gonna go crazy
if you put him on. It was okay
maybe for a bit, but not a whole
segment.
Murray thinks about it for a beat.
MURRAY FRANKLIN
No. I think it works. We're gonna
go with it.
Gene rubs his temples, he doesn't like this, but Murray is
the boss.
JOKER
Thank you, Murray.
86.
MURRAY FRANKLIN
(flashes his bemused
smile; condescending)
Couple rules though,-- No cursing,
no off-color material, we do a
clean show, okay? You'll be on
after Dr. Sally. Someone will come
and get you. Good?
Joker nods good. Smiles back at Murray.
Murray and Gene turn to go, exchanging smirks with each other
as they walk out, making light of Joker who we see behind
them still standing there.
JOKER
Hey Murray,-- one small thing? When
you bring me out, can you introduce
me as “Joker”?
Murray and Gene look back at him
GENE UFLAND
What? You don’t want to use your
real name?
JOKER
Honestly, I don't even know what my
real name is.
Joker smiles, the guys can't tell if he's kidding or not.
JOKER
Besides, that's what you called me
on the show, Murray. A joker.
Remember?
MURRAY FRANKLIN
(to Gene; trying not to
crack up)
Did I?
GENE UFLAND
I have no idea.
MURRAY FRANKLIN
(turns back to Joker)
Well, if you say so, kid. Joker it
is.
Murray starts to laugh at Joker as he closes the dressing
room door, shutting it right in his face.
INT. BACKSTAGE, BEHIND CURTAIN - STUDIO 4B - NIGHT
JOKER'S BACKSTAGE AT THE EDGE OF THE CURTAIN, trying to watch
the show through a slim gap. Behind him there's a monitor on
a cart playing the live feed.
He moves the curtain aside to get a better look-- Glimpses
Murray laughing, finishing up talking to noted sex therapist
DR. SALLY FRIEDMAN (60's), sitting next to Barry O'Donnell.
MURRAY FRANKLIN
-- I'll try it, but I'm not sure my
wife will let me do it. Maybe my
next wife.
The audience laughs.
MURRAY FRANKLIN
(laughs; to Dr. Sally)
Will you stick around? You gotta
see our next guest for yourself.
I'm pretty sure he could use a
doctor.
DR. SALLY FRIEDMAN
Oh. Does he have sexual problems?
MURRAY FRANKLIN
He looks like he's got a lot of
problems.
Another big laugh.
MURRAY FRANKLIN
(turns, looks into camera)
Alright folks, don't go anywhere.
We'll be right back.
APPLAUSE SIGN LIGHTS UP. Everyone claps. Joker keeps watching
Murray through the slim gap at the end of the curtain. Hears
the FLOOR MANAGER shout, "And we're out. Back in three."
Joker adjusts the gun in the waist of his pants. Takes a deep
breath.
INT. DIRECTOR'S BOOTH, STUDIO 4B - NIGHT
Perched one story above the studio. There's a long console
where the DIRECTOR sits in front of a gooseneck microphone,
looking over a double-bank of monitors.
88.
Sitting next to him are the ASSOCIATE DIRECTOR who times the
show, and the TECHNICAL DIRECTOR who operates the board. The
monitor showing the live feed is playing a commercial.
ASSOCIATE DIRECTOR
Back in 30 seconds.
DIRECTOR
Okay, cue the clip. We'll come to
it straight out of break.
ASSOCIATE DIRECTOR
Five... Four... Three...
DIRECTOR
Roll clip. Put up the show graphic.
ON THE SHOW MONITOR, video of Joker's original stand-up
performance comes up with the show's graphic in the lower
right of the screen.
INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS
ON THE SET, Murray watches the clip on the monitor above his
desk, can't help but laugh. Sees the FLOOR MANAGER counting
him down silently with her fingers... Three... Two... points
to Camera One.
MURRAY FRANKLIN
(looking into camera)
O-kay, you may have seen that clip
of our next guest when we first
played it a couple weeks ago. Now
before he comes out, I just want to
say that we're all heartbroken at
what's going on in the city
tonight. But, this is how he wanted
to come out, and honestly I think
we could all use a good laugh. So,
please welcome-- Joker.
BEHIND THE SHIMMERING MULTICOLORED CURTAIN, Joker gathers
himself, ready for his moment. Doesn't hear his introduction
or see a STAGEHAND pull open the curtain for him to go out--
ON SET, THE CURTAIN'S OPEN, Ellis Drane and his Jazz
Orchestra are playing Joker on. He doesn't come out. Murray
looks over to the empty space in the curtain.
The audience laughs.
BEHIND THE CURTAIN, Joker sees the stagehand motioning for
him to go out on stage.
89.
Joker starts out, pausing when he takes a step into the
bright lights. The stagehand doesn't see him stop, and drops
the curtain back on Joker before the audience can really see
his face--
Tangling Joker up in the curtain.
The audience keeps laughing thinking it's part of his act.
The band keeps playing him on. Joker untangles himself from
the curtain and the audience gets a good look at him.
Some continue laughing. A few boo. Most don't know what to
make of him.
Joker walks across the stage, forgetting to wave like he
practiced. He trips over the riser surrounding the set when
he goes to shake Murray's hand. Almost falls on him.
Murray tries not to crack up. The audience laughs. Thinks
it's part of Joker's act.
Joker reaches out to hug Dr. Sally as she goes in for a
handshake. Another awkward moment. More laughs.
Barry O'Donnell stands there with his hands up, as if to say
"what about me?"
Joker ignores him and just sits down next to Murray. Crosses
and uncrosses his legs. Can't get comfortable. Murray shakes
his head.
MURRAY FRANKLIN
So, ahhh, thanks for coming on the
show. But I gotta tell ya, with
what happened at City Hall today,
I'm sure many of our viewers here,
and at home, might find this look
of yours in poor taste.
Joker's not listening to Murray. He's mesmerized by all the
lights shining on him... all the eyes on him... he doesn't
answer Murray.
Nervous laughter from the audience.
MURRAY FRANKLIN
(tries again)
So... can you tell us why you're
dressed like this? A lot of
protesters are going with this
look, right? City seems to be full
of clowns these days.
A long uncomfortable beat.
90.
JOKER
(glances at the studio
audience; awkward)
Yeah. Isn't it great?
Genres:
Drama, Thriller Tone:
Tense, Unsettling, Dark
Ratings
View Analysis
View Script
37 -
Joker's Dark Joke - Overall Grade:
9.0
INT. DIRECTOR'S BOOTH, STUDIO 4B - CONTINUOUS
Dead silence in the booth, everybody's just staring at the
monitors.
TECHNICAL DIRECTOR
(looks to the director)
This guy's got nothing.
DIRECTOR
(hits the producer's talk
button; into the mic)
Gene, what the hell? You wanna kill
this?
INT. TALK SHOW SET, STAGE - CONTINUOUS
Murray glances over at his producer Gene Ufland, who's
sitting off-camera on a director's chair by a monitor. Gene
shrugs at him.
MURRAY FRANKLIN
(smiles; trying to save
the interview)
So when we talked earlier, you
mentioned that you aren't
political. That this look isn't a
political statement.
JOKER
That's right. I'm not political,
Murray. I'm just trying to make
people laugh.
MURRAY FRANKLIN
(beat; smiles)
How's that goin' for ya?
The studio audience laughs at Joker. Joker doesn't answer
Murray, just smiles to himself.
MURRAY FRANKLIN
(trying not to laugh)
Have you been working on any new
material? Do you want to tell us a
joke now?
91.
The audience claps, egging Joker on to tell a joke.
Joker reaches into his jacket pocket and--
Pulls out his worn notebook. Looks through it, sees Bruce
Wayne's photo, pauses for a moment then turns the page. Finds
the joke--
JOKER
(reading)
Okay. Here's one. Knock-knock.
MURRAY FRANKLIN
And you had to look that up?
Studio audience laughs.
JOKER
(nods; reads it again)
I want to get it right. Knock
knock.
Murray makes a face like, "Okay, I’ll go along with this."
MURRAY FRANKLIN
Who’s there?
Joker looks up from his notebook-- Sees the audience looking
back at him, waiting for the punchline.
Decides to finish the joke--
JOKER
It's the police, ma'am. Your son
has been hit by a drunk driver.
He's dead.
A few in the audience groan. A couple even laugh.
Ellis Drane plays "wha-wha-wha-whuuuuh" on his trumpet from
the band stand. Barry O'Donnell clears his throat.
DR. SALLY FRIEDMAN
Ahhhh! No, no,-- You can not joke
about that.
MURRAY FRANKLIN
(shakes his head;
irritated)
Yeah, that's not funny, that's not
the kind of humor we do on this
show.
92.
Murray glances over at Gene in the wings. He gives him the
"wrap it up" sign.
JOKER
(just keeps going, on a
roll)
Sorry. It's been a rough few weeks,
Murray. Ever since I killed those
three Wall Street guys.
Beat.
Studio audience can't tell if he's joking or not. Murray
can't either.
MURRAY FRANKLIN
(looks at him confused)
Okay. I'm waiting for the
punchline.
DIRECTOR
Did he just confess to killing the
Wall Street Three?
TECHNICAL DIRECTOR
(horrified)
Yeah. I think he did.
ASSOCIATE DIRECTOR
(turns to the director,
nods)
He definitely did.
DIRECTOR
Jesus Christ.
(hits the camera talk
button, into mic)
Camera Three, get in close.
ANGLE ON MONITOR, Camera Three slowly zooming in close on
Joker's face.
93.
INT. TALK SHOW SET, STAGE - CONTINUOUS
Gene Ufland motions for Murray to kill the interview. Murray
shakes his head to himself. This is a big "get," it could be
great television.
MURRAY FRANKLIN
(turns back to Joker; with
gravitas)
You're serious, aren't you? You're
telling us you killed those three
young men on the subway. Why should
we believe you?
JOKER
(shrugs)
I got nothing left to lose, Murray.
Nothing can hurt me anymore. This
is my fate, my life is nothing but
a comedy.
INT. SOPHIE'S APARTMENT, LIVING ROOM - CONTINUOUS
Sophie's sitting on her couch watching this interview play
out on TV. GiGi's asleep next to her. The open envelope and
the money are lying on the coffee table. No sign of the
flowers anywhere.
MURRAY FRANKLIN (ON TV)
Let me get this straight, you think
killing those guys is funny?
JOKER (ON TV)
Comedy is sub, subjective, isn't
that what they say? All of you, the
system that knows so much, you
decide what's right or wrong.
What's real or what's made up. The
same way you decide what's funny or
not.
Sophie edges forward on the couch, can almost see a hint of
agreement on her face.
39 -
Joker's Confrontation on Murray Franklin's Show - Overall Grade:
9.0
INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS
Back on set, we can tell by the way Murray's now interviewing
Joker, talking to him slower, more thoughtfully, that he
thinks this is gonna get him an Emmy... Maybe even a Peabody.
94.
MURRAY FRANKLIN
(beat)
Okay, I think I understand. You did
it to start a movement, to become a
symbol.
JOKER
C'mon, Murray, do I look like the
kind of clown who could start a
movement? I killed those guys
because they were awful.
Everybody's awful these days. It's
enough to make anyone crazy.
MURRAY FRANKLIN
So that's it, huh, you're crazy.
That's your defense for killing
three young men? Because they were
mean to you?
JOKER
No. They couldn't carry a tune to
save their lives.
Some audible groans from the audience.
JOKER
Why is everyone so upset about
these guys? Because Thomas Wayne
went and cried about them on TV?
MURRAY FRANKLIN
You have a problem with Thomas
Wayne, too?
JOKER
Yeah. I do. Everything comes so
easy for him.
MURRAY FRANKLIN
And what's wrong with that?
JOKER
Have you seen what it's like out
there, Murray? Do you ever actually
leave this studio? Everybody just
yells and screams at each other.
Nobody's civil anymore. Nobody
thinks what it's like to be the
other guy. You think men like
Thomas Wayne ever think what it's
like to be a guy like me? To be
anybody but themselves.
(MORE)
95.
JOKER (CONT’D)
(shaking his head, voice
rising)
They don't. They think we'll all
just sit there and take it like
good little boys. That we won't go
wild. Well, this is for all of you
out there.
Joker "howls at the moon." It's fucking weird.
MURRAY FRANKLIN
So much self-pity, Arthur. You
sound like you're making excuses
for killing three young men. Not
everybody's awful.
JOKER
You're awful, Murray.
There is no more laughter. The audience is watching this
exchange with full attention.
MURRAY FRANKLIN
Me? How am I awful?
JOKER
Playing my video, inviting me on
the show,-- You just wanted to make
fun of me. You're just like the
rest of them, Murray. Everything
comes too easy for you.
MURRAY FRANKLIN
(on the spot; defensive)
You don't know the first thing
about me, pal. Look what happened
because of what you did, what it
led to. There are riots out there.
Two policemen are in critical
condition, someone was killed
today.
JOKER
How about another joke, Murray?
MURRAY FRANKLIN JOKER
No, I think we've had enough What do you get when you
of your jokes-- cross a mentally-ill loner
with a system that abandons
him and treats him like
trash?
96.
JOKER
(pulling the gun)
I'll tell you what you get. You get
what you fucking deserve,--
And as Murray Franklin turns, JOKER SHOOTS THE SIDE OF
MURRAY'S HEAD OFF--
Blood splatters all over the back of the set. Some spraying
in Joker's face. AUDIENCE SCREAMS! Dr. Sally dives for the
floor. Barry O'Donnell reaches over her to try and save
Murray--
40 -
The Shocking Murder of Murray Franklin - Overall Grade:
9.0
INT. SOPHIE'S APARTMENT, LIVING ROOM - CONTINUOUS
Sophie screams and jumps to her feet horrified! Waking up
GiGi who starts to cry when she sees what's on television--
ANGLE ON TELEVISION, Joker gets up and walks right up to the
camera. Blood sprayed over his white painted face. Hear the
studio audience still screaming, bedlam all around him.
JOKER (ON TV)
(looks straight into
camera; screams Murray's
signature sign off)
GOOD NIGHT AND ALWAYS REMEMBER,--
THAT'S LIFE!
And as Joker waves goodbye to the home audience, a black &
white "INDIAN-HEAD TEST PATTERN" playing HERB ALPERT's
"Spanish Flea" cuts off the show--
"PLEASE STAND BY"
CUT TO:
INDIAN-HEAD TEST PATTERN IN THE MIDDLE/BOTTOM HALF OF THE
SCREEN... A NEWS BULLETIN SPLIT INTO THE RIGHT/BOTTOM HALF...
REST OF THE FRAME BLACK...
A solemn WGC ANCHORMAN (50's) sits behind the news desk. We
still hear "Spanish Flea" playing...
WGC ANCHORMAN
Good evening. Breaking news,--
Popular TV talk show host, Murray
Franklin, was shot dead tonight on
the live telecast of his program by
one of his guests.
97.
THE SCREEN SPLITS AGAIN, MIDDLE OF ANOTHER NEWS BROADCAST
LEFT/BOTTOM HALF...
Middle of a clip of Joker shooting Murray Franklin on the
show, screaming into the camera, then getting tackled down to
the ground, hear an IBN ANCHORWOMAN (40's) talking over the
video.
IBN ANCHORWOMAN (VO) WGC ANCHORMAN
-- the man, who was (continuing)
introduced by Franklin as Warning, the following video
"Joker", is currently under is graphic and may be
arrest. disturbing to some of you.
THREE MORE SPLIT SCREENS APPEAR ACROSS THE TOP OF THE BLACK
FRAME ONE RIGHT AFTER ANOTHER, LEFT/TOP A REPORTER IN FRONT
OF A CROWD AT THE NCB STUDIOS... MIDDLE/TOP RAW FOOTAGE OF
THE RIOTING AND LOOTING... AND RIGHT/TOP AN ANC NEWS REPORTER
ON THE STREET...
NCB NEWS REPORTER ANC NEWS REPORTER
Just minutes ago, police led (shouting; breathless)
the suspect handcuffed out of Looting and rioting have
the studio. When asked why he intensified here after the
did it, he just laughed and Franklin shooting. More
said he didn't understand the people pouring into the
question. streets, many wearing clown
masks. And as you see, Gotham
is burning.
Right/bottom split screen they show the shooting from
multiple angles, slowed-down... Left/bottom they cut to the
IBN Anchorwoman sitting behind the desk... In the middle, the
"Indian-Head Test Pattern" keeps playing...
IBN ANCHORWOMAN WGC ANCHORMAN (VO)
(continuing) (continuing)
The man said he meant no After he was arrested, he
harm. Again, Murray Franklin told police officials, that
dead tonight, killed live on he meant nothing by it, that
the set of his own show. it was merely just a
punchline to a joke.
ALL SIX SPLIT-SCREENS PLAYING AT ONCE, "Spanish Flea" on a
loop, a cacophony of noise, competing video of Joker shooting
Murray interspersed with footage of rioting and fires,
"Indian-Head Test Pattern" the only constant. It's enough to
drive anybody crazy--
INT. GOTHAM SQUAD CAR (MOVING), GOTHAM STREETS - NIGHT
DEAD SILENCE. JOKER GAZING OUT THE WINDOW, at all the
violence and madness in the city. We only see it in the
reflection of the glass... the fires burning... the mob
crowding the streets. Joker's handcuffed in the back of the
squad car moving slowly through the rioting, sirens wailing,
red lights flashing, blood still splattered on his face.
AND HE STARTS TO LAUGH. It's not his affliction, he just
finds it all so hilarious.
POLICE OFFICER #1 (OS)
Stop laughing, you freak. This
isn't funny.
AND JOKER JUST LAUGHS HARDER--
POLICE OFFICER #2
(glancing at Joker in the
back seat)
Yeah, the whole fucking city's on
fire cause of what you did.
JOKER STOPS LAUGHING AND LEANS FORWARD, FACE PRESSED AGAINST
THE GRATE--
JOKER
I know. Isn't it beautiful.
AND BEFORE THE OFFICERS CAN ANSWER THE SQUAD CAR GETS HIT BY
A SCREAMING AMBULANCE SPEEDING LIGHTS FLASHING DOWN A CROSS
STREET--
VIOLENTLY CRASHING INTO JOKER'S SIDE, Joker flying like a rag
doll crashing against the opposite door, glass spraying--
BOTH COPS BANGING AGAINST THE DASHBOARD AND DOORS, bones
breaking, screaming in pain and terror--
THE SQUAD CAR GETS PUSHED INTO ONCOMING TRAFFIC, A yellow cab
headed straight for it, swerves right to avoid, clipping the
front end of the squad car and flipping onto its side.
THE SQUAD CAR COMES TO A STOP in the middle of all the chaos,
ambulance lights still flashing, fires burning--
Nobody inside the wreckage moves. Glass and twisted metal
everywhere. Through the broken window looks like TWO MEN IN
CLOWN MASKS getting out of the ambulance--
ANGLE ON JOKER, head slumped to the side, face and mouth cut
up and bleeding, blood smearing his dyed green hair.
99.
He looks dead. And we HEAR the soft and familiar opening to
FERRANTE & TEICHER's piano version of "Send in the Clowns"...
SUDDENLY HANDS REACH INTO THE BACK OF THE SQUAD CAR, hands
grabbing Joker's body, pulling him out--
42 -
Chaos and Carnage: The Joker's Reign Begins - Overall Grade:
9.0
EXT. MOVIE THEATER, STREET - UPTOWN - NIGHT
A LIMOUSINE ON FIRE SLOWLY ROLLS THROUGH FRAME as if in slow-
motion, we pan with it to--
A WELL-HEELED CROWD LETTING OUT OF A MOVIE THEATER, coming
upon the car on fire, realizing the violence has reached
here, the nice part of town... Gangs of punks wearing clown
masks running past, breaking car windows, sirens wailing...
Catch a glimpse of the lit up marquee listing the films
playing, "Blow Out" and "Zorro the Gay Blade". Hear "Send in
the Clowns" still playing...
FROM BEHIND SEE A SILHOUETTED COUPLE AND THEIR KID hurry down
the dark side of the street, ducking into an alley to avoid
the chaos--
Catch a glimpse of a punk in a "Joker" mask following after
them pulling a gun--
EXT. ALLEY, MOVIE THEATER - CONTINUOUS
FROM BEHIND, FAMILY IN THE SHADOWS see the guy's eyes go wide
behind the mask, pointing his gun, music swelling--
PUNK
(shouting)
Hey Wayne! You get what you fucking
deserve.
And the punk shoots the man. Reaches out and grabs something
off the woman's neck before he shoots her as well. Both fall
to the ground dead. Revealing their young son standing behind
them--
CLOSE ON EIGHT-YEAR-OLD BRUCE WAYNE, closing his eyes as
blood sprays across his face. He opens his eyes and looks up
scared at the man in the "Joker" mask who killed his parents,
Thomas and Martha Wayne.
CUT BACK TO:
100.
EXT. SQUAD CAR (CRASHED), STREET - NIGHT
FROM ABOVE, JOKER LAID OUT ON THE HOOD, arms spread, his
hands uncuffed, a crowd has started to form around the
wreckage, checking out his broken body--
ANGLE ON JOKER, A CROOKED SMILE PLASTERED ON HIS FACE,
laughing, coughing up blood. The crowd steps back in
surprise. Joker stumbles to his feet, standing up on the hood
of the car--
Looks out at the city burning all around him... the crowd at
his feet stunned that's he's alive... And over it all, Joker
HEARS A STUDIO AUDIENCE APPLAUDING...
He raises a hands above his head, does a little dance move
and the CROWD GOES CRAZY--
CLOSE ON JOKER, tears in his eyes from all the pain and
suffering, still he keeps smiling as he wipes his bloody hand
from one cheek across his mouth to his other cheek, smearing
a wide blood-soaked smile across his face so they can all see
how fucking happy he is--
He is the Joker.
CUT TO BLACK.
A long beat.
HEAR LAUGHTER.
The sound of a man totally cracking up.
FADE IN:
INT. ARKHAM STATE HOSPITAL, INTERVIEW ROOM - MORNING
CLOSE ON JOKER, tears in his eyes from laughing so hard.
Still smiling. His head's been shaved, he's wearing white
institutional clothes. He looks medicated or maybe even
lobotomized.
He's sitting across from an overworked HOSPITAL DOCTOR
(50's), African American woman. Somehow it's the exact same
room Joker imagined his mother was in some 30 years ago. The
room and the doctor also look vaguely similar to the social
worker and her office in the opening scene.
The doctor just sits there, waiting for him to stop laughing.
A weathered notebook is on the table in front of him.
Finally, Joker stops himself.
101.
HOSPITAL DOCTOR
What's so funny?
He takes a deep breath, his eyes are glazed over. His voice
is scratchy, like he doesn't use it much. But the smile never
leaves his crooked lips.
JOKER
--just thinking of this joke.
HOSPITAL DOCTOR
Do you want to tell it to me?
Beat.
JOKER
You wouldn't get it.
The doctor writes something down in her notes.
HOSPITAL DOCTOR
How are you feeling?
JOKER
Good. Everything's good now.
HOSPITAL DOCTOR
Have you been keeping up with your
journal?
Joker slowly nods.
HOSPITAL DOCTOR
Great. Have you been writing about
what happened? About your episode?
JOKER
How I remember it.
HOSPITAL DOCTOR
(re: the journal)
May I see?
Joker slides his journal across to her. She picks it up and
flips through the pages--
ANGLE ON JOURNAL, blank page after blank page, there's
nothing inside of it.
The doctor looks up at him confused.
Beat.
102.
ANGLE ON JOKER, his smile creeping wider across his face. And
we HEAR the groovy organ opening to FRANK SINATRA's anthem
"That's Life"...
Beat.
INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING
From behind, see Joker shuffling down the long hallway past
all the other mental patients. Sinatra starts singing...
And Joker does a slide step to the music like he can hear it
too... into a skip... and another slide step into a spin...
Dancing down the hallway into the sunset...
Highly Recommend
Explanation: The Joker screenplay is a gripping, character-driven psychological thriller that delves deep into the origins and transformation of its titular protagonist. Through a masterful blend of realism and fantasy, the screenplay explores the social, psychological, and sociopolitical factors that contribute to Joker's radicalization, culminating in his chilling on-stage confession and the tragic consequences that follow. The screenplay's strengths lie in its nuanced character development, impactful pivotal scenes, and thought-provoking sociopolitical commentary. While some minor areas for improvement have been identified, the overall screenplay is highly recommended for its compelling storytelling and cinematic potential.