Batman - Whatever Happened To Baby Doll - Part 1

Batman: Whatever Happened To Baby Doll?

Part 1: “It’s The Pictures That Got Small”

By Daniel Kalban

Based on Characters belonging to DC Comics

Story and Script ©2014 Daniel Kalban

dkalban.deviantart.com

Page 1

Panel 1

The exterior of the Barrymore Theater in Gotham. It is ablaze with lights on its marquee, proclaiming The Band Wagon, starring Tod Baker! A stream of theater goers are heading out of it. It is a monument to Art Deco, and is a lavish theater. In the background, Gotham rises all around the theater district, a dark contrast to the immediate area. Cars rush pass on the road, newsstands are selling to those seeking late night snacks, etc.

Panel 2

Close up on the marquee mentioned above.

Panel 3

The marquee goes dark.

SFX: ZZZZ

Panel 4

TOD BAKER, the show’s star, waves good night to a STAGEHAND as he leaves through the stage door that opens up onto an alleyway. He is an older gentleman, think Fred Astaire in build, and quite dapper.

STAGEHAND: Night, Mr. Baker! See you tomorrow night!

TOD BAKER: See you then! Good job on the lighting tonight!

STAGEHAND: Thank you!

Panel 5

Baker walks down the alleyway

Panel 6

He turns when he hears crying.

BABY DOLL: WAAAA!

Page 2

Panel 1

He, and we, see a little girl, with blond hair shaped like Shirley Temple’s, wearing a pink dress and Mary Janes with white stockings, and is clutching a doll. Her back is to us, she is crying.

TOD BAKER: Little girl, are you lost? You shouldn’t be out alone at this time at night. Where are your parents?

BABY DOLL: My…*sniff* Daddy…I can’t find him anywhere. We went to see a show and now I can’t find him.

Panel 2

Tod puts a comforting hand on the girl’s shoulder

TOD BAKER: I’ll take you to the police station and we can call your house. Is that okay?

BABY DOLL: *sniff* My daddy never said to go with strangers.

TOD BAKER: Then stay here, I’ll get a policeman to take you home.

BABY DOLL: Thanks, Mister…

TOD BAKER: Baker, Tod Baker.

Panel 3

He goes into his pocket as the girl, her face in shadow, sniffles.

BABY DOLL: Like the actor on that old show?

TOD BAKER: Which one?

BABY DOLL: Love That Baby. My daddy and mommy and brother and sister love it.

TOD BAKER: Yes, I was the father on that.

BABY DOLL: Whatever happened to Baby?

TOD BAKER: I don’t know.

Panel 4

Tod takes out a tissue

TOD BAKER: Let’s get you cleaned up…

Panel 5

Close up! His eyes go wide!

TOD BAKER: YOU!

Panel 6

A dart is embedded in his chest.

SFX: THWAP!

Page 3

Panel 1

Inset: We see him slump to the ground

SFX: thud!

BABY DOLL: *off panel* Hello Daddy—

Panel 2

Huge panel! Baby Doll’s face is still in shadow, but we see that her doll was the dart-gun, a bit of smoke emanates from its eye. Baby Doll stands over the still form of Tod Baker. Two shadowy figures, one a slim woman, the other a muscular man, approach behind her. The whole scene seems to be lit by the lone lamp, designed in Victorian wall sconce fashion, above them (Title and credits go here)

BABY DOLL: --I found you. I didn’t mean to hurt you. Let’s go home….

Page 4

Panel 1

It’s the next night, close up on the poster for The Band Wagon at the theater. A sticker has been stuck across it: “Cancelled Until Further Notice”.

Caption: The Following Night

HARVEY BULLOCK: *off panel* Geez, and I almost bought tickets to this thing.

Panel 2

HARVEY BULLOCK and RENEE MONTOYA are investigating the alleyway, which has been closed off by police tape and by officers. This hasn’t stopped people from rubbernecking and taking pictures.

RENEE MONTOYA: Didn’t peg you as the musical type, Harvey.

HARVEY BULLOCK: I like the old MGM musicals, so sue me.

RENEE MONTOYA: *singing* Sue me, sue me, shoot bullets through me….

HARVEY BULLOCK: Speaking of bullets, I don’t see any, or any bullet holes.

Panel 3

The shadow of the BATMAN can be seen on the wall above them.

RENEE MONTOYA: And there was no signs of struggle at his apartment. It wasn’t even slept in last night. The director got worried because Mr. Baker always was extra early to rehearsal.

HARVEY BULLOCK: It’s not even 24 hours, Renee; plus actors are flakey. Still, this guy seems to have taken his job seriously, and was getting some good reviews.

RENEE MONTOYA: It’s like he disappeared into thin air.

BATMAN: *off panel* Not thin air.

Panel 4

Bullock and Montoya stare as the Batman seems to appear out of the shadows.

BATMAN: This is a kidnapping.

BULLOCK: And how do you know that, Pointy Ears?

Panel 5

Batman holds up the dart

BATMAN: I found this in the back corner of the alleyway, it was tossed aside or possibly fell off while he was being moved.

Panel 6

Batman places it in his belt

RENEE MONTOYA: We need to bring it in as evidence.

BATMAN: I’ll send it when I’m done examining it.

RENEE MONTOYA: You can’t do that!

HARVEY BULLOCK: Renee, this is an argument you WON’T win this time.

Page 5

Panel 1

Bullock and Montoya stare at the crowd, which is now filled with murmurs

HARVEY BULLOCK: Great, kidnapped celebrity. This is going to turn into a circus.

RENEE MONTOYA: Cue the quickly made interviews…..

Panel 2

Establishing shot of The Batcave. We stare down into the various levels of the Cave, with all its props, vehicles, and wonderful toys. ALFRED PENNYWORTH stands by Batman as he works in the crime lab. We see DAMIAN WAYNE, aka ROBIN, doing gymnastics training in another corner of the cave.

ALFRED PENNYWORTH: Kidnapped?

BATMAN: Yes.

ALFRED PENNYWORTH: Has there been a ransom note? Demands?

BATMAN: Not yet.

ALFRED PENNYWORTH: Seems rather…odd for a kidnapping. The man does have family.

Panel 3

Close up as Batman slides the dart, in a tray, into a machine for analysis.

BATMAN: Computer, analyze for DNA and possible content in the dart.

Panel 4

Batman turns back to Alfred.

ALFRED PENNYWORTH: Maybe it was another actor trying to get him out of the way, an understudy perhaps.

BATMAN: I wasn’t aware theater was so cut throat.

ALFRED PENNYWORTH: Sometimes backstage politics were more interesting than what was on stage.

Panel 5

Damian approaches, toweling off

DAMIAN WAYNE: Well it has to be more interesting than this insipid “True Gotham Story” Vicki Vale is broadcasting tonight.

ALFRED PENNYWORTH: Your favorite zombie drama being co-opted by a fluff piece?

DAMIAN WAYNE: >TT<

ALFRED PENNYWORTH: What is it about?

DAMIAN WAYNE: Some insipid sitcom about a baby back when Father was in Bat diapers. Do you have anything for me to eat?

ALFRED PENNYWORTH: I can warm up the plate I set aside for you from dinner.

Page 6

Panel 1

Batman turns back to the lab as Alfred walks away to get the food.

COMPUTER: ANALYSIS COMPLETE

Panel 2

He uncowls, revealing the handsome visage of BRUCE WAYNE.

BRUCE WAYNE: Start with DNA.

Panel 3

Damian approaches his father.

COMPUTER: DNA. One sample. Match. Tod Baker.

DAMIAN WAYNE: The victim’s blood is on the dart? I could have told you that, Father.

BRUCE WAYNE: It’s called “making sure”, Damian. Anything of interest in the dart?

COMPUTER: ANALYZING….

Panel 4

Damian carefully puts the dart back into an evidence bag.

BRUCE WAYNE: Make sure Bullock or Montoya gets that along with our report.

DAMIAN WAYNE: I know. I know. I didn’t forget just because I was dead for a few months…..

Panel 5

The computer lights up with information about the dart and the chemical in it.

COMPUTER: Analysis complete. Traces of Propofol inside dart, otherwise, dart is of a common variety found in sporting goods stores for hunting.

BRUCE WAYNE: Propofol…that’s a painkiller and sedative.

DAMIAN WAYNE: And it’s regulated.

Panel 6

Batman heads off, putting his cowl back on

BATMAN: Start a search into who in Gotham would have a supply on hand, and cross reference with those who might have a grudge with Baker.

DAMIAN WAYNE: And where are you going?

BATMAN: Back on patrol.

Page 7

Panel 1

Inset: The Batmobile ROARS out of the Batcave.

Panel 2

Full page panel: We cut to the exterior of a massive compound. Part the mansion from Sunset Boulevard, part Neverland Ranch, and part film studio; this is the home of Mary Dahl, former TV star.

VICKI VALE: *narrating* If you are just tuning in, I am joined tonight in this retrospective on Love That Baby by the show’s elusive star.

Page 8

Panel 1

Vicki is sitting on a basket chair, surrounded by ferns and various bric-a-brac. The room she is in is very large. Opposite her on another chair, though unseen for now, is MARY DAHL. Mary’s chair is flanked by MARION, her lawyer/bodyguard, and MAX, her butler, their backs are to us. For design notes, Marion is basically the same as the equivalent character, Mariam, from the episode “Baby Doll” from B:TAS, whereas Max is based upon Max Von Meyerling (Erich Von Stroheim) from Sunset Boulevard. Next to Vicki is a cameraman, who moves around during this sequence to get the best angles.

VICKI VALE: This exclusive interview is her first in over a decade. I am pleased to welcome back to this program—

Panel 2

We see MARY DAHL herself, she should have traces of her Baby Doll persona, but here presents herself more as a grown up, with a fancy gown cut to suit her condition. Her hair is also pinned up. She is attempting to give off an air of sophistication, and has a feel akin to Norma Desmond in the fact that you can tell she’s not alright upstairs.

MARY DAHL: Thank you, Vicki.

VICKI VALE: *off panel* Since the show ended, you have tried your hand at various dramatic roles, with…varying degrees of success. You haven’t performed in a decade, care to explain why?

Panel 3

Mary frowns

MARY DAHL: Unfortunately, people tend to rely on critics, and not observation, to judge quality. As I had been written off as box office poison, I thought it would be best to retire for a time.

Panel 4

She tears up, rather artfully as if it was planned.

MARY DAHL: I was also being typecast as a freak, or a midget, or a child. I was diagnosed with systemic hypoplasia at birth, and that has left me with the physical appearance of a five year old. I wanted to branch out my roles. But with that disastrous production of “The Scottish Play”…I knew I needed time off.

Page 9

Panel 1

Max passes Mary a tissue

MARY DAHL: Thank you, Max.

VICKI VALE: And of course, you heard about what happened to Tod Baker by now….

Panel 2

Mary nods

MARY DAHL: Of course. Poor Tod, he was a perfect gentleman, treated me like I was his own daughter on camera and off. I feel so sorry for his children and his wife…his wife….

MARION: Vanessa.

MARY DAHL: Vanessa! Thank you, Marion.

Panel 3

Mary makes a heartfelt plea

MARY DAHL: And to the kidnappers, I say this; bring him home to his wonderful children! Do not harm him, return him safely to their arms.

Panel 4

Marion and Max are wiping away tears from this speech. Vicki presses on

VICKI VALE: And are you planning a comeback, Mary?

MARY DAHL: If I make my return, and I prefer that term to “comeback”, you will be the first to know, Ms. Vale.

VICKI VALE: Ladies and gentlemen, Mary Dahl. I’m Vicki Vale, back to you in the studio.

Panel 5

Later, we see Max drive Vicki and her cameraman away in a golf cart as rain starts to fall. Mary is waving good bye. Marion is by her side.

Panel 6

Mary, still waving, turns to Marion

MARY DAHL: Time to take a visit to Time Out Corner!

Page 10

Panel 1

Mary and Marion drive through the decaying back lot in another golf cart.

Panel 2

They enter a building marked “SECURITY”

Panel 3

A door opens, its light shining on Tod Baker, who looks the worst for wear. Baby Doll’s shadow is in the light.

TOD BAKER: Huh!

BABY DOLL: *off panel* Hi, daddy!

TOD BAKER: Mary, what’s going….

Panel 4

Close up on the Mary Janes

BABY DOLL: *off panel* Silly Daddy, that’s not my name.

TOD BAKER: *off panel* Oh, you got to be kidding me….

Panel 5

Close up on the doll

BABY DOLL: You and the rest of my family abandoned me, and you took up the spotlight and saved none of it for me!

Panel 6

Close up on Baby Doll’s manic eyes

BABY DOLL: You’ve been a bad daddy!

Page 11

Panel 1

Splash panel of Baby Doll aka Mary Dahl in her costume. In one hand she holds her doll-gun, in the other a nasty looking syringe with even nastier green liquid.

BABY DOLL: That’s why you’re in the time out corner! Time for your medicine!

Page 12

Panel 1

Batman is driving in the Batmobile. His comm goes PING!

BATMAN: What is it?

Panel 2

Damian is looking up information on the computer while eating his dinner. Alfred stands nearby with the tray.

DAMIAN WAYNE: Okay, so propofol is so highly controlled that very few doctors have access to it here in Gotham.

BATMAN: *on comm* Have you found a connection between the drug and Baker?

DAMIAN WAYNE: Not an exact one, but remember that murdered TV producer from a couple months ago?

ALFRED PENNYWORTH: I wish you wouldn’t talk with your mouth full….

Panel 3

Close up on Batman’s narrowed eyes

BATMAN: Yes, Marty Giffen.

DAMIAN WAYNE: *on comm* Well, turns out he was killed by an overdose of propofol, Michael Jackson-style.  This is where it gets even more weird.

Panel 4

Damian passes his plate to Alfred

DAMIAN WAYNE: Take this won’t you, Pennyworth?

BATMAN: *on comm* Robin?

DAMIAN WAYNE: Oh right. The producer’s doctor was prescribing him propofol, but had several large cases of the drug stolen just before that.

BATMAN: *on comm* And the connection between the producer and Baker is?

Panel 5

Batman is driving

DAMIAN WAYNE: *on comm* He produced Love That Baby.

BATMAN: Hmmm…

ALFRED PENNYWORTH: *on comm* Sir?

BATMAN: Alfred, you might be right about backstage politics.

Panel 6

The Batmobile makes a U-turn

BATMAN: *in car* And all the former cast members are in Gotham in various plays.

ALFRED PENNYWORTH: *on comm* How do you--?

BATMAN: *in car* After I left the Batcave, I remembered what you said. So I decided to see what the other cast members were doing. I’m going to check on them. Robin, look into the show, see if you can figure out what is going on. Batman out.

Page 13

Panel 1

Alfred goes upstairs

DAMIAN WAYNE: And where are you going, Pennyworth?

ALFRED PENNYWORTH: To get the DVDs. You are in for a few days of VERY bad television.

Panel 2

We cut to outside the Gotham Palace Theater, advertising Sunset Boulevard, starring TAMMY VANCE.

TAMMY VANCE: *from inside* EEEEEEEEEEE!

Panel 3

Tammy Vance is an elegant older woman. She is dressed in a bathrobe. Tod Baker stalks toward her, dressed in a costume reminiscent of a 1950s sitcom dad.

TAMMY VANCE: Tod…what happened to you?

TOD BAKER: Hehehehehehehe….

Panel 4

We see Tod has been Jokerized. He has a manic grin.

TOD BAKER: Come, Mother, let’s have a kiss.

TAMMY VANCE: Tod, that was over a decade ago. We aren’t on that horrible show anymore.

BABY DOLL: Awww, c’mon, give Daddy a kiss, Mommy!

Panel 5

Tammy’s eyes go wide as Baby Doll approaches, with Marion and Max behind her, dressed in black clothing and balaclavas.

TAMMY VANCE: Mary?

BABY DOLL: No, silly! Baby! And you’ve been a bad mommy! Time for a time out!

Panel 6

Close up as Max and Marion pounce on Tammy.

Page 14

Panel 1

The group walks out into the alley. Max has a screaming Tammy over his shoulder, Marion is accompanying Baby Doll, and Tod, cackling, brings up the rear.

TAMMY VANCE: Mary, you insane b--!

BABY DOLL: LANGUAGE! I’m going to have to wash your mouth with soap! Also, we need to talk about how you slept with Giffen to get me fired!

TAMMY VANCE: That was your own doing, you—

MARION: Shut up, you!

TOD BAKER: hehehehehehe

Panel 2

The shadow of the Bat passes over them

BABY DOLL: Uh oh, we have a big bully.

TAMMY VANCE: *to Max* Oy, do you EVER get tired of her act?

Panel 3

Batman leaps down and lands in front of them, Baby Doll hides behind Marion

BATMAN: Let her go!

MARION: Take her! “Daddy” and I can take care of the rodent!

Panel 4

Max and Baby Doll run as Marion and Tod attack.

TOD BAKER: hehehehehehe

BATMAN: *narrating* Baker’s been dosed with Joker Toxin, strange that his captors did that AND brought him along.

Panel 5

Batman dodges Baker’s punch.

Panel 6

He’s kicked by Marion

Panel 7

Batman flips Marion.

Page 15

Panel 1

Batman puts Marion into a hold.

BATMAN: Who are you working for?

Panel 2

Close up on Marion’s hand, she has a knife

MARION: Like I would tell you that.

Panel 3

Marion stabs Batman in the side

Panel 4

Tod tackles Batman, cackling as he does so.

Panel 5

Batman dodges a punch—

Panel 6

--and another—

Panel 7

--He blocks a third

Page 16

Panel 1

He kicks Baker off of him, sending him into the wall

TOD BAKER: HEHEHEHE—OOF!

BATMAN: *narrating* I need to get him to a hospital. But first—

Panel 2

He sees Marion running away

BATMAN: *narrating* --I have to get rid of the greater threat.

Panel 3

He throws a bat rope

Panel 4

It wraps around Marion’s legs

Panel 5

She trips

Page 17

Panel 1

Batman stalks towards her as she struggles to get out.

Panel 2

Baby Doll sees this as she stands in the back part of a van. Max is tying up Tammy.

BABY DOLL: MARION!

MAX: We don’t have time to rescue her!

BABY DOLL: If she is captured, my fun is over! My audience will be gone! My family will be gone.

Panel 3

She glares at Max

BABY DOLL: Give me Mister Happy!

Panel 4

Batman picks up Marion

BATMAN: What is your boss’s plan?

Panel 5

Baby Doll aims at Batman with a doll

BATMAN: Why is she kidnapping these victims? Who is she?

Panel 6

Marion grins

MARION: I’m not a common Gotham thug, Batman.

Panel 7

A small barrel extends from the doll’s eye

MARION: *off panel* I protect my client’s confidentiality.

Page 18

Panel 1

BANG! Splash image of Baby Doll shooting Batman in the head.

Panel 2

Marion hops to the van

Panel 3

The van drives off, leaving Batman and Baker unconscious.

Page 19

Panel 1

Darkness.

ROBIN: *somewhere in the void* Batman? Batman?! FATHER!

Panel 2

Batman’s POV: Alfred and Robin stand over him

ALFRED PENNYWORTH: Easy now, Master Bruce.

ROBIN: Good thing I was in the neighborhood on patrol—

ALFRED PENNYWORTH: --against your orders of course, Master Bruce—

ROBIN: --And found you. Sent that actor to the hospital.

Panel 3

Bruce Wayne is nursing a bandage on his head, he rubs his temples

BRUCE WAYNE: The bullet…

ALFRED PENNYWORTH: Your cowl’s armor blocked it, sir. Barely broke the skin. Still, you will have a major headache.

Panel 4

Alfred passes Bruce a painkiller and some water. Robin is looking at the bullet.

ROBIN: It’s very small caliber, maybe custom. Can’t even think of a gun small enough to fire this.

BRUCE WAYNE: Let me see it.

Panel 5

Bruce holds it in his hand. Even if it wasn’t crushed, it would be tiny.

BRUCE  WAYNE: *narrating* It’s so small. It’s like something I would have used in a BB gun when I was a kid.

Panel 6

His hand becomes a fist

BRUCE WAYNE: *narrating* I have to stop these kidnappings. And if the person responsible dosed Baker with Joker toxin, who knows what else they would do to their other victims.

Page 20

Panel 1

Tammy knocks on a heavy door in the “Time Out Area”

TAMMY VANCE: LET ME GO YOU INSANE MIDGET FREAK! LET ME OUT!

Panel 2

The exterior of the room, in the old security area. The area in front of the “Time Out Area” is decayed, with broken furniture, peeling paint, etc.

TAMMY VANCE: LET ME OUT!

Panel 3

Max is injecting Mary with something.

MARY DAHL: It’s been a busy day, Max.

MAX: I know.

MARY DAHL: We’ll have to get Tod back.

MAX: Marion is working on it.

Panel 4

Max puts the syringe down on a tray, next to it is a bottle marked Propofol

MAX: Now sleep, my darling girl.

Panel 3

Mary cozies up with her doll on her giant bed as Max leaves.

Panel 4

As Max exits the room, Marion approaches him. One of her legs has a bandage on it.

MARION: What were you doing in there?

MAX: Helping her sleep. Is the prisoner secure.

MARION: Yes, “Mommy” is secure. Now, why were you in there?

MAX: I am her—

Panel 5

Marion points her finger in Max’s face

MARION: --Her butler, her chauffer, and her muscle. Nothing more. Don’t you forget it! Now—

Page 21

Panel 1

Tod Baker rests in the hospital, hooked up to machines.

MARION: *narrating* We got work to do.

Panel 2

Marion and Max enter his room through the window

Panel 3

They take the unconscious Tod out the window.

Panel 4

A nurse enters

NURSE: Alright, Mister Baker, let’s see how you—

Panel 5

The nurse gasps

NURSE: Oh no!

Panel 6

The nurse runs out the room, as we see the empty bed has a note on it that reads “My daughter took me home.”

NURSE: SECURITY! SECURITY!

Page 22

Full page panel of Mary sleeping, holding her doll.

MARY DAHL: Momma…I’m a pretty girl, Momma…I’m the greatest star.

CAPTION: TO BE CONTINUED