Batman Forever
Written by Alan Rogers
June 13, 2004

01. Main Titles and Fanfare (1:50): 00:00-1:09: The Warner Bros. Logo appears and then the credits are run. Goldenthal’s Batman theme makes its appearance and initially it presents itself as an undulating melody before the first grand statement of this new Batman theme by the brass. At ~1:05 "Batman Forever" appears and we hear Goldenthal’s trademark high horn trills. 1:09-1:20: Segues to an image of Batman and there are several close-ups of Batman and some of his personal gadgets as he puts them on with clanging metallic percussive sound effects and slamming percussive hits. 1:20-end of cue: Batman enters the Bat Cave and climbs a few steps. As he is doing this we see the Batmobile rising from below floor level and the cue ends as we see Batman posing beside his car.

15. Chase Blanc (1:23): 00:00-end of cue: Dr. Chase Meridian and Commissioner Gordon see Batman sliding from a high vantage point to where they are standing. They are outside a building. The building is a bank and Harvey Two-Face is inside holding hostages. The cue underscores the initial meeting between Chase and Batman – and is accompanied by an effective string and ominous brass underscore. They exchange a battle of words as each shows the other their knowledge with regard to criminal profiling, etc. They agree on the fate of the hostages inside. Batman disappears to the surprise of Chase.

02. Perpetuum Mobile (0:55): 00:00-end of cue: Batman emerges from an elevator inside the bank -- the lift has just been riddled with bullets by Two-Face's cronies. The track itself underscores the fight between Batman and the villians and we hear the “Gotham City Boogie” theme. It’s almost a lampoon of over-the-top villian scoring. Batman emerges victorious.

03. The Perils of Gotham (3:01): 00:00-00:40: A huge bank vault and Batman are dangling from the bottom of a helicopter that is travelling above Gotham. Goldenthal uses a repeating piano motif and soaring brass figures to give an expansive, soaring feel. Two-Face is in the chopper. At one point the helicopter flies through an advertising hording and there is a massive explosion. The helicopter emerges out the other side. 00:40-1:00: We see that Batman is no longer on the end of the chain dangling below the helicopter -- Two-Face relishes the (apparent) demise of Batman and we hear a secondary theme associated with Two-Face. 1:00-1:19: We then see Batman on the windscreen of the helicopter; Two-Face shoots at him through the window but kills the pilot. 1:19-1:52: Batman attempts to enter the helicopter but he is kicked back outside by Two-Face. As Batman tries to regain his balance and to re-enter the helicopter Two-Face sees them approach the Statue of Liberty. Two-Face locks the steering column of the helicopter on a collision course with the statue. He then gets ready to leave the helicopter just as Batman enters the cockpit of the helicopter. 1:52-2:09: Two-Face jumps out of the chopper and Batman sees the approaching danger. We see the blades of the helicopter strike the statue and it begins to crash. 2:09-2:26: We see Batman dive into the water as the chopper explodes above him and drops to the water. We hear here typical Goldenthal pitch-bending brass associated with the peril of Batman. 2:26-2:42: We then see a silhouette of Batman underwater as he rises to the surface and he sees the damage to the statue. At this point there is a playing of the Batman theme and fanfare as Batman survives this attempt to silence him. 2:42-end of cue: We segue to a sweeping view of Gotham City as we "fly" over the city. We approach the Wayne Enterprises building. During this sequence a voice-over (a newscast) comments that Two-Face is still at large and in another item there is a comment of Wayne Enterprises helping their employees.

06. Nygma Variations (An Ode to Science) (6:02): 00:00-00:59: An impulsive, low brass and string ostinato reflects the determined presence of Bruce Wayne and his group as the enter the research facility and the introduction of the beginnings of the E. Nygma character. The fluttering piano suggests instability in Jim Carrey’s character. Bruce Wayne and several of his assistants leave an elevator and enter a large laboratory. They walk the whole length of the room. Edward Nygma sees them approach and he gathers himself for a meeting. When Nygma approaches Wayne he is ushered away but he does manage to introduce himself to Bruce Wayne (theremin underscore is introduced as Nygma manages to get Bruce Wayne isolated to begin to make his pitch – theremin invokes the ideas of 1950’s mad scientist & associated with the mind-control aspects of Nygma?) and they then have a short discussion. The rest of the cue is heard elsewhere.

08. Descent (1:02): 00:00-end of cue: Wayne makes his way from his office to the Bat Cave. The cue begins as the door to his office is closed and he moves round to sit in his chair that is behind his desk accompanied by a driving, purposeful percussion motif with pitch-bending horns – very similar to a motif he uses in Interview With A Vampire. A trap door opens in the floor and the chair drops him through the hole in the floor and he begins to travel down a slide (~00:11) music accelerates with the accompaniment of a significant amount of synth. As he travels we see that he reaches speeds in excess of 200 mph. As he travels he call Alfred, his butler, to arrange things for his arrival. After his extended ride, he emerges out into the Bat Cave (~00:31) and we hear the driving motif – he has a purpose and he means to carry it out!. Then we see the Batmobile driving through the city accompanied by a grand statement of the Batman theme. The camera then pans up and we see the Bat Signal. We then see the signal lamp and the cue ends as we see Batman arriving at the base of the Bat Signal.

04. Chase Noir (1:45): 00:00-end of cue: This cue features at the start a muted trumpet that adds a bit of a sleazy feel to the situation. Chase emerges from behind the Bat Signal and she is seductively dressed. She tells him that Two-Face does have a weakness -- this is just an excuse to get Batman there. He tells her that the Bat Signal is not a beeper and at this point she admits that her interests are also personal. The rest of the cue underscores Chase trying to seduce Batman. Piano plays a sort of Dr. Meridian theme (a seductive tango) that has its roots in Batman’s main theme – and seductive low strings add to the seductiveness. The cue ends as Commissioner Gordon appears on the roof in response to the Bat Signal.

06. Nygma Variations (An Ode to Science) (6:02): 00:59-~4:11: This portion may undescore the use of Nygma's mind control machine on his supervisor, Fred Stickley. Portions of the cue are heard when Stickley sees a fishing memory that is fixed on by the machine. As this is going on we see Nygma acquiring the thoughts and as a by-product his intelligence increases markedly -- he begins to acquire the persona of The Riddler. This is a portion of the cue that gets zanier and zanier with slapstick rhythms and saxophones and Carrey prepares Stickley for the machine. There an almost mickey-mouse “staccato” playing of saxophone and strings as the madcap playing continues. There’s the introduction of weird tempo synthesisers all adding to the mounting disorientation and tomfoolery displayed on-screen. There are almost classical, serene moments with a weird synth undercurrent representing Stickley’s hallucinations due to the machine.

12. Under the Top (5:42): 00:00-00:06: The initial fanfare is heard as we see for the first time the big top of a circus. 00:06-1:04: A short time later this segment underscores a troupe of trapeze artists performing their routine -- we see that Dick Grayson is one of the members. The beating drum in this portion of the cue is a source for drums in the circus. We see that Wayne and Chase are in the audience. We see slow-motion shots of Grayson performing change-overs as part of his routine (~00:53) – there’s almost lush/graceful string playing representing the soaring shots of the circus performers. 1:04-1:42: Wayne asks Chase out -- rock-climbing -- but she declines (there’s quieter string playing underscoring this exchange), saying that she has met someone else. She goes on to describe his (Batman's) characteristics (~1:20) (Batman’s theme is played by solo trumpet) until there is an announcement that Grayson will attempt a particularly difficult sequence -- and without a net. At this point we see the ringmaster being kidnapped by some of Two-Face's cronies. 1:42-2:03: We see the sequence being completed by Grayson – there’s a low rumble on timpani followed by an almost haunting quasi-religious wordless choir motif accompanying this circus trick. 2:03-2:12: The troupe receives applause from the audience – accompanied by grand repeating brass statements echoing the grand achievements; it’s certainly over-the-top – for show. The remainder of the cue does not appear here. Immediately segues to...

14. Two-Face Three Step (2:20): 00:00-00:14: Two-Face invites the audience at the circus to participate in the chaos about to unfold. All of the audience is aghast – a bold statement of the Two-Face theme here – almost jaunty, perhaps signifying his madness and enjoyment? Nygma sees this unfold on the television and is very pleased. The rest of the cue does not appear here.

16. Spank Me! Overture (2:46): 00:00-00:36: In the big top, as a large bomb is raised to the roof of the tent, Wayne stands in the audience and tries to shout to Two-Face that he is Batman -- it is clear that no-one hears him. We see Wayne leave to try to do something. There’s ominous & perilous music – almost a “hazard fanfare”. We then see the troupe talk amongst themselves, deciding that they can do something to help. Both Wayne and the troupe begin to do battle with Two-Face's cronies. 00:36-1:38: Some of the troupe climb up into the roofspace to try to get to the bomb. They climb along wires high above the ground. There’s plenty of the Riddler’s music from “Nygma Variations.” 1:38-2:23: A short time later the music underscores Wayne battling with some more of Two-Face's cronies. We see Two-Face toss a coin. Two Face’s theme gets a grand statement as he appears to have the upper hand. As a result of the toss Two-Face grabs a gun and shoots at the wires being used by members of the troupe. We see the wires snap and all the men begin to fall (~2:15). The rest of the cue is not used at this point. 2:23-end of cue: not used.

12. Under the Top (5:42): 4:24-end of cue: We see Grayson climbing up into the roof, unaware of the other things that have been going on. He manages to retrieve the large bomb. We see Two-Face making his escape through a trapdoor in the circus ring. We then again see the troupe falling to their death (~4:42) – dramatic descending motif. Wayne watches on. We segue to Grayson as he gets the bomb onto the roof of the tent. The bomb rolls off the tent and into the river, where it explodes harmlessly. We then see the bodies of the fallen troupe, then the shape of Grayson peering down from the roof at the scene below. We then see a look of realisation on his face of what has happened -- his father has been killed. Everything goes very quiet and sombre with the cue ending with a hint of a mournful solo violin. The cue ends as we see several people gathering around the fallen men.

09. The Pull of Regret (2:50): 00:00-1:52: Wayne has just told Dick Grayson that killing Two-Face will make any pain he feels now much worse and not better. The cue begins as we see Wayne in a large room. We focus in on his face as he looks at some old black and white photos of his parents (~00:20) – mournful string playing as we hear as well as see Wayne’s inner pain. There is a transition indicated by ominous synth playing. We then see Wayne remembering his parents' death. He remembers the aftermath; of the prayers, of passing the coffins. We see him as a child moving to a journal. The synth underscores all of this and there are some long-drawn out notes hinting almost at the emotional feelings underpinning what we see. We see the pages of the journal blowing in a wind. We see him look at the book. The rest of the cue is not used here.

05. Fledermausmarschmusik (1:15): 00:30-end of cue: This is basically a cue that is based upon a rousing rendition of the Batman theme with a pulsing ostinato for strings. Batman is in the Batmobile out on a job. He looks behind him in his mirrors and he sees that he is being followed (~00:41). He accelerates away (accompanied by a flurry of muted trumpets). We see someone with a pram begin to cross the road ahead of the Batmobile. Batman sees this and then Two-Face reveals himself as the person pushing the pram (1:05). The cue ends as Two-Face readies to fire a rocket at Batman.

11. Gotham City Boogie (2:02): 00:00-1:16: As Two-Face's rocket destroys, not the Batmobile but, a vehicle driven by one of his cronies, other trucks arrive. Batman drives past Two-Face. He is furious. What follows is a chase sequence through the streets of Gotham City. The chase goes down a series of alleys and we see that one of the alleys ends in a dead-end. Batman readies the Batmobile to avoid this obstacle. There’s frantic string playing as we hear many motifs replayed form “Perpetuum Mobile”. There’s Two-Face’s theme stated over and over again(?) 1:16-end of cue: Batman hooks a grappling hook around a statue high above the alley. Batman’s theme plays as we see that Batman is now taking control of the situation. The Batmobile mounts the wall and Batman escapes by driving up the wall. All the following cars crash into the dead-end. There’s wacky piano playing and ear-splitting blasts from high pitched brass. Gaps in the music for the on-screen crashes and explosions to occur. Two-Face's car stops short of the pile-up. The cue ends with Two-Face getting out of his car and looking up at Batman's escape.

14. Two-Face Three Step (2:20): The cue underscores Two-Face back at his hideout. He is frustrated that Batman is not dead. Two women, Sugar and Spice, who cater to both sides of his personality, attend to him as he rants and raves. Each woman lights a cigarette for him. They offer him food -- one, we see, is a very refined meal and the other (underscored by anvil hits – there is a waltz version of Two-Face’s theme as there is an almost slapstick-style scene) is like a medieval banquet. Not all of the cue is used. Additional underscore accompanies The Riddler's appearance and assessment of Two-Face's hideout and his two girls – things get a bit more zany as The Riddler appears on the scene.

06. Nygma Variations (An Ode to Science) (6:02): 5:05-end of cue: We see a living room with a family watching the television. They have a NygmaBox and we see their minds linked with the NygmaBox. We then see the "mind waves" leaving the building, joining with other waves and we see them moving through Gotham City and out to sea. We see some huge building where the signals are received, channelled and fed into The Riddler's mind. We see him sitting, absorbing the waves. The zaniness of this cue takes on a grand feel with brass hits, there’s the theremin motif throwing in the “mad scientist” ideas that almost becomes operatic, almost human soprano. And it’s all backed by a grand organ as we see Nygma becoming all-powerful. The theremin actually melds to a human voice, almost completing the grand operatic drama!

13. Mr. E's Dance Card (Rhumba, Foxtrot, Waltz and Tango) (3:21): In this cue Goldenthal takes all of the themes and transforms them into a variety of musical styles. 00:00-00:28: Wayne, Chase and Grayson arrive by car at a large function marking the launch of Nygma's new machine – a grand statement as the glitz of an opening night is portrayed. 00:28-1:17: We see a band playing and then see Nygma being interviewed by several reporters. One of the reporters sees Bruce Wayne (00:50). The reporters go and surround Wayne and ask him about rumours of a take-over by Nygma's company. 1:17-2:04: Not used at this point. 2:04-end of cue: Nygma and Chase are dancing - tango. As they dance, Wayne goes off to see how Nygma's new machine works. One of Nygma's molls comes over to Wayne and shows him how to turn it off. When it is off Wayne wanders into the machine to get a better look. Outside, the moll has another key to the machine and switches it on again – actually some dramatic underscore from sustained low brass.

11. Gotham City Boogie (2:02): 00:00-1:30: Two-Face breaks into the party and chaos ensues -- he and his men begin to shoot the place up. Frenetic string playing as confusion rules. There’s brass blasts throughout as Two-Face’s theme plays out. In all this Wayne tries to escape. Two-Face tells Nygma that he is tired of waiting for Batman to show up using Nygma's methods. Meanwhile, Wayne is saved from the activated machine and exits via a back door. He slides down a fire escape ladder (~1:15) – and we hear a statement of the Batman theme – to Alfred who is waiting in the alley with the car. The rest of the cue is not used here.

07. Victory (2:37): This cue follows Batman as he follows Two-Face into a trap. 00:00-00:22: Two-Face and his cronies leave the part and climb some scaffolding across the street. And there’s a grand statement of Two-Face’s theme, almost proudly played, confident & striding. We see Batman following them. Two-Face then disappears from view below the surface of the scaffolding. 00:22-00:43: Batman pursues Two-Face with his own rendition of the Batman theme playing confidently, stridently, flying from a great height and straight down into the hole Two-Face just disappeared into -- but it is a trap (accompanied by a descending motif and the playing of a sort of jeopardy sort of statement) . Batman is held in a tube and is deposited underground. Gas is then pumped into the space that he has been deposited into. 00:43-1:04: Two-face then sets off an explosion that sweeps over Batman -- but he protects himself with his cloak. 1:04-1:18: Two-Face and his cronies celebrate as they think that they have (again) killed Batman (a cacophony of brass bursts and a frenzied “madness” with anvil hits). 1:18-end of cue: Batman emerges from the flames to a bold fanfare as Batman rises from the flames!. He then is under attack from Two-Face again, this time from grenades. Two-Face shouts "why don't you just die!" Then the scaffolding falls on top of Batman and he falls to the ground accompanied to a dramatic passage again suggesting a finality to Batman. Sand and gravel also cover him as the villains make good their escape. At ~2:06, a hand reaches down into the sand and gravel and slowly Batman is lifted out of the pile. The music transforms to a triumphant crescendo; a sort of climax as Batman is resurrected once more. We see that it is Robin suspended above the sand who is pulling Batman free.

10. Mouth to Mouth Nocturne (2:14): 00:00-00:20: We see Chase asleep in her bed. Something awakens her and she looks to the window. 00:20-end of cue: Batman suddenly appears outside her window and on her balcony. We hear an achingly beautiful string theme, full of longing and desire – almost melodramatic and it underscores the coming together of Chase and Batman. It gradually reaches a climax as they kiss. She goes to him and they kiss. But she realises that she wants someone else (~1:17) – we hear a slow statement of the Batman theme as she says this; almost a statement that who she wants IS Batman - and she says that she hopes he understands. He says that he does and as he turns away to leave we see him smile -- things have gone just as he hoped they would (~2:01).

09. The Pull of Regret (2:50): 00:20-2:40: The fall of a rose to the floor triggers another memory for Wayne. The same music that originally was heard when we saw Wayne remembering his childhood and the death of his parents is played – tracked from earlier. It evokes the same feelings as before. He tells Chase and the next thing he realises, he is in one of the dreams. He is watching a ceremony next to the coffins of his parents. We hear Wayne talking of his father's journal and we see him go to it and look at it. We next see him running outside with it. Then he falls through the roof of a cave and he lands heavily on the cave floor (~1:55). Everything becomes dissonant – there’s unknown danger, confusion. He sees something flying towards him and he is initially scared. We see Wayne (~2:24) as he relates the fact that he knew that this moment would change his life forever. There’s the familiar Goldenthalian pitchbending brass playing that builds finally to the revealing of the flying bat and then we hear a slow, grand statement of a motif associated with the Batman theme. We see the bat as he talks of his resolve to become what Batman is -- he will have his revenge. 2:40-end of cue: We are back with Wayne and Chase as the cue ends. Delicate harp playing signifies we are back with Wayne and Chase.

16. Spank Me! Overture (2:46): 00:00-00:37: We see Two-Face's cronies in Bruce Wayne's house and they rush Wayne and Chase. Wayne and Chase try to escape. Meanwhile, The Riddler has found the Bat Cave and he is activating various machines as he explores -- we see the Batmobile appear (~00:22). There’s a grand statement of a sort of “peril theme.” This peril theme is played with blaring brass when we see the Batmobile. 00:37-00:51: Wayne and Chase continue to elude the villains – to the tune of frenetic “panic theme” – whilst Two-Face is sat tossing a coin trying to decide on a course of action. 00:51-1:02: In the Bat Cave, The Riddler is winding up a bomb and he tosses it -- it explodes. We hear the zany Riddler theme (with everything that the Riddler does) and the music pauses slightly for the explosion. 1:02-1:18: The Riddler then cavorts to another part of the Bat Cave and tosses another bomb -- it explodes. 1:18-1:31: We see Chase fight off some cronies and then it is back to The Riddler tossing bombs. We see Two-Face still tossing his coin -- we see it always coming up heads. 1:31-1:37: A short time later this portion of the music is not used but is exchanged for a piece that reflects the baseball reference on-screen. 1:37-end of cue: We see Wayne and Chase battling on and The Riddler continuing his carnage in the Bat Cave. He drops a bomb into the Batmobile (~1:47) and he runs off. He watches as the car explodes (~1:58). We immediately segue to Wayne and Chase at the top of some stairs trying to hold off the advancing cronies – as Two-Face’s grand statement of his theme takes over. Elsewhere, Two-Face's coin finally comes up tails. He leaps up, takes his gun and shoots at Wayne. The bullet grazes his head (~2:23) with the additional drama of Goldenthal’s blaring brass. Bruce then falls the length of the stairs and a horrified Chase looks on as she is captured. Two-Face runs over to Wayne and aims his gun at Wayne's head – there’s an almost tap-dance playing from drums as Two-Face eagerly dances over the downed Wayne, readying to shoot him. He readies to shoot but The Riddler stops him -- saying that he should not kill him.

17. Holy Rusted Metal (1:51): 1:16-end of cue: Commissioner Gordon is resigned to Batman not responding to his signal so he says to shut the light down. The cue underscores Gordon hearing something – there’s a very low rendition of the Batman theme. He is then more hopeful and halts the shutdown. The Batwing suddenly emerges through the signal (~1:39) – signalled by a huge crescendo. Gordon waves at Batman and he gives Gordon the thumbs-up.

17. Holy Rusted Metal (1:51): 00:00-1:17: The precise timings for this cue are unclear. However, this cue underscores Batman and Robin reaching the island on which Nygma's supermachine is housed. They realise that it is not an island but is made of metal. Various portions of the island begin to fall and other portions of it rise -- a particularly large piece projects upwards. Batman and Robin are separated. Batman signals to Robin, then Batman heads over to a ladder and he enters the inside of the island. The door locks behind him and it is clearly a trap. The music is fragmented to mirror the disintegration of the island but also to convey Batman & Robin’s triumph of getting across the landscape to the hideout.

06. Nygma Variations (An Ode to Science) (6:02): 5:05-end of cue: Batman destroys The Riddler's "mind collector" machine in a series of explosions. This results in The Riddler's mind being warped. However, he is able to press a button that will release both Robin and Chase from their prison above a great drop... all the drama associated with this music when we had revealed the terrible use of the Nygma box, draining the brain power from everyone, all those devices are used again here; tracked from the earlier scene.

18. Batterdammerung (1:21): 00:00-end of cue: Robin and Chase are released and fall through the floor, heading for spikes and rocks below. Batman jumps down after them – accompanied by a heroic playing of the Batman theme. He fires a hook for support and manages to attach Chase. Then he goes after Robin. Batman reaches Robin just in time and grabs him (~00:38) – to a large cymbal crash and organ. They slow but is the slowing fast enough – if course it is; they stop just short of the rocks (~00:58). They escape and the cue ends as they are taking off their restraints – with a huge blaze of orchestral glory.

17. Holy Rusted Metal (1:51): 00:00-00:27: Two-Face now holds a gun to them all -- he is going to kill them all. However, Batman reminds him to toss his coin. Two-Face thanks him for reminding him and we see Batman carefully removing something from his utility belt. Two-Face tosses the coin. 00:27-1:20: At that moment Batman tosses a whole lot of coins to confuse Two-Face – underscored by a cacophony of low brass and shrill woodwind; adding to the confusion. As he tries to grab for his coin he loses his balance and falls to his death. Robin looks on as we see Two-Face's hand catch a coin just as it disappears below the surface of the water at the bottom. We segue to the ruined remains of The Riddler's machine and we see Batman climbing up to the machine. We see a man - Riddler/Nygma - asking why he was unable to kill Batman. 1:20-end of cue: Batman tells The Riddler – we hear Batman’s theme playing slowly, as though it were a stern parent explaining something patiently to a small child…there is also the constant theremin(?) playing under this - that he is Batman not because he has to be but because he chooses to be – grand fanfare.

04. Chase Noir (1:45): 00:24-00:34: Chase leaves the asylum to tell Wayne that his secret is safe and that Nygma is mad. This short portion of the cue ends as Wayne gives Chase back a dream doll that was once hers.

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