Plot in a nutshell: As Batman closes in on the last crime families that have riddled Gotham like a cancer, they desperately reach out to a psychopath daubed in makeup, who calls himself The Joker…
First sequel I’ve read, but a stand-alone epic and masterpiece in its own right, it’s one of those scripts that demands to be read. So how did it do?
Well, for a sequel, it barely references its predecessor. There’s a mild note by The Scarecrow (at the start of the script) about meeting Batman before, but other than that, this is a brand-new story in the world that has already been created previously (Batman Begins) by the Nolans. It takes a pretty faithful stand with Frank Miller’s version of Batman, and to be fair, the relationship between Batman and Gordon is on a par with the comic books.
But the magic of this script is what it does with The Joker. This is an utterly iconic comic book character and easily arguable as one of the greatest villains of all time. There have been lots of different incarnations in scripts previously, but the real success here is taking the character, giving him a purpose (of sorts), some amazing dialogue and then the rest comes down entirely to the actor portraying the role and how they wish to adapt to it. So it is both brilliantly written and openly adaptable. Which for an actor is an absolute dream. Hands down, Heath Ledger did an amazing job in the film. But he was definitely helped by this stunning dialogue.
This is where the script works so well though. All of the characters in this, similar to Quentin Tarantino‘s writing in PULP FICTION, give these characters things to talk about while they are doing their jobs. Their speech helps move the story forward and is definitely part of the story, but it’s also how they interact with each other. How the stories grow and come forth in the dialogue. This is the true strength of this script that elevates it from the usual superhero based scripts that have graced our ears.
I have to admit that at times, during the car chase sequences, things got a bit confusing. Action jumping from a garbage truck to a van, then to another truck, then a security van, then the Batmobile, then back to a truck…certainly took a couple of reads to try and see the action flow. The same could be said for some of the fight sequences, which seemed to be missing more detail. But these are minor niggles as the spirit of the script and the story flowed so perfectly through this, it almost transcended the need. Don’t get me wrong, there was certainly plenty of description in places. But I think some of the car and action fight sequences just needed a bit more clarity to who was throwing a punch and how, or a fancier name for what vehicle was where.
But hey, that’s me. 
So, what did I learn from THE DARK KNIGHT?
1) There are some excellent smaller stories going on in this script that really need looking at (to help as an example for writers to build their worlds). The lawyer, Reese, who wants to expose Batman‘s identity, is a small part of the film, but it adds a lovely tier to Batman‘s character, who he is and what he represents to the city. It also shows what the people of the city are prepared to do in order to protect someone who has become misguided. So an excellent example of how to balance smaller characters within a bigger plot to help further the overall story arc.
2) This is one of those scripts that should be read and reread. The intricate plot movements, The Jokers “plan” as it plays out. Batman and Gordon’s planning to counteract The Jokers plan. Dents plan. Rachel wildly trying to keep them all together whilst Dent and Bruce Wayne try to protect her. There are so many strands here and it’s a great example of what can be achieved if you plan your plot out in advance before you start writing. So just absorb the plotting on show and get a feel for how many layers there are.
3) The marvellous conclusion with every important plot strand being tied up as Batman flees into the night (now public enemy number one), is something majestic. That satisfying feeling you get when a story ends so perfectly. The script makes sure that all the characters lives continue the way the story has set them up to. Some finish there, others go on with challenges apropos to those lives that have been built up through the story. But it is once again something to be read and studied. To just understand the feeling you should get when it is absolutely right. To see how to combine strands into one coherent finish.
I am a beyond-massive fan of Batman, so reading this was always going to be a treat and an adventure. This is also considered to be the best Batman script ever written. I have to admit that, while at some point a better one will be written (so looking forward to reading The Batman), this will always stand apart as a five star classic. Love it.
Link to the script;
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