DARKMAN
Written by
Joshua & Daniel Goldin, Sam & Ivan Raimi and Chuck Pfarrer
February 1989
INT. PIER BUILDING - DAY
BANG!!
A shock chord as we cut from black to a harshly toplit
CLOSE SHOT:
A man is talking into a cellular phone. He is a paunchy
but powerful looking black man, bald with a gray fringe.
His baldness makes his head look muscular; he is a tough
man whose life has been shaped by the violence of the docks.
His name is EDDIE BLACK.
In the distance a foghorn moans.
We are pulling back.
BLACK
Yeah. .'Cause he's an asshole. Tell
him no... Tell him no too... Him, tell
fuck you... Yeah... Uh huh...
The continuing pull back shows that we are inside a huge
empty pier building. Black is leaning against the roof of
his car, which is parked in the middle of the vast empty
space.
The room is lit by bare bulbs, its farthest reaches
falling into darkness.
BLACK
No, I'll be a few minutes here. Guy
comin' up, thinks he's gonna muscle me
outs my property... Does it matter?
Just another tough guy...Yeah, okay...
Another hard-looking man is approaching.
CONTINUED
2.
1 CONTINUED
MAN
They're drivin' up.
Black nods.
BLACK
Get their pieces. We got a surprise
for those fuckers.
2
2 EXT WHARF - DAY
We are tracking towards a chain link fence which is
swinging open to admit two midnight blue Lincoln
Continentals.
The cars stop in the foreground and eight men get out,
eerily backlit in the mist of the riverfront.
3
3 SLOW TRACKING - ROBERT G. DURANT
is a well-dressed and immaculately groomed man of forty.
4
4 SLOW TRACKING - RUDY GUZMAN
wears a powder blue, polyester leisure suit. His nose has
been broken several times from his years in the Mexican
boxing league. He was almost a contender.
5
5 SLOW TRACKING - SKIP NATICK
walks with a pronounced limp.
6
6 SLOW TRACKING - TRUMAYNE JOHNSON MC SAM
is a large black man with a quiet, studied cool.
7
7 SLOW TRACKING - RICK
is a wiry twenty-year old who looks about in short, jerky
motions. He huddles in behind the others. He is
stylishly dressed, with slicked back, black hair. His
protruding Adams apple bobs as he swallows.
3.
B SLOW TRACKING - SMILEY 8
wears a permanent psychotic smile.
9 SLOW TRACKING - PAULY 9
is middle-aged and balding. His spare tire hangs over the
edge of his suit pants. He subdues a belch. He raises a
bottle of Maalox and slugs down fifty cents worth. A ring
of white chalky fluid coats his lips.
10 SLOW TRACKING - CORKY CORCORAN 10
has a thatch of blond hair, he spits out tobacco juice
between his wide spaced front teeth.
11 They are approached by a group of fifteen dock workers, 11
Black's men, with massive shoulders and grain-sack bellies.
Looks like they just got off their shift and now they're
ready to kick some ass.
DOCK WORKER
Okay, against the car, ladies. You're
c gonna stand for a search.
12 The eight visitors assume the position, placing their 12
hands on the roof of their car. The dock workers pat them
down and haul off iron -- lots of it.
DOCK WORKER #2
Bunch a cuties.
DOCK WORKER #3
Put skirts on 'em, I'd marry one.
From the other Dock Workers, hearty male laughter. The
visitors bare up in silence.
13 INT PIER BUILDING -- NIGHT 13
As the visitors are led in, into the beams of the car
headlights, escorted by the dock workers. The Dock
Workers take up positions around Durant and his men.
4.
14
14 BLACK
stands waiting for them. He eyes Skip, the limper.
BLACK
Bum leg?
SKIP
No leg.
BLACK
(CONVERSATIONALLY)
I was engaged to a girl with a wooden
leg once.
Skip brightens.
SKIP
(INTERESTED)
Yeah? What happened?
BLACK
I hadda break it off.
15
15 The dock workers laugh. Black indulges his wens'
laughter, then cuts
BLACK
okay, let's cut the crap here.
Durant, I got just three things to say
to you. One
He holds up a chubby finger.
BLACK
I ain't selling my property.
He flashes a second finger.
BLACK
Two. Nobody muscles Eddie Black
Especially a bunch of fucks.
He flashes a third finger.
BLACK
PPY
Number three, if you guys is unha
with that, which I can already
is, then we can cutcha balls of f
if that'll be more satisfactory.
€¢
6.
19
19 CONTINUED
The last shot echoes away to leave silence -- except for
the arhythmic echoing scuffle of Skip's one shoe, as he
continues to hop in place for balance.
Smiley, after a watchful pause to make sure everyone is
dead, sticks out his left arm at waist level.
Skip grabs the arm for support, stops hopping, and there
is now...total silence.
ROBERT G. DURANT
the elegantly suited leader, takes out a cigar and a
gold-plated cigar trimmer. SNIP--he trims the and of
the cigar, and sticks it in his mouth.
As he walks towards the dumbly apprehensive Black:
DURANT
Now let's consider my points, one by
one...
GUZMAN
puts a full nelson on Black. Trumayne, grabs Black's
right hand and holds it out, fingers splayed, towards
Durant.
DURANT
One...
He slips one of Black's fingers into his cigar trimmer.
DURANT
.1 try not to let my anger get the
better of me.
SNIP! Black screams. As Durant goes for another finger:
DURANT
...Two: I don't always succeed.
SNIP! Black screams. Reaching for another finger:
DURANT
...Three: I've got seven more points.
7.
20
2 0 EXT WHARF - DAY - LONG SHOT
Looking down on the lonely waterfront building, we hear
Black's screams.
CUT TO:
21 -
21 INT WESTLAKE LAB - DAY - AN ENORMOUS EYE
Making jerky little movements this way and that.
EYE'S POV: AN ENORMOUS NOSE
We pull focus through the nose, then back to sharp focus
again. The nose fills the screen, every pore a cavern,
every blemish a mountain.
EYE
Blinking.
NOSE
The nostrils flare slightly.
EYE
Looking.
NOSE
Still. Suddenly it is hit by a flash of light as -- B-
DEEEE -- we hear the automatic wind of a camera and its
strobe recharging.
B-DEEEEE! B-DEEEE! We get rapid-fire left and right
nose profiles.
22
22 WIDER
We are in a lab. DR. PEYTON WESTLAKE, an earnest
scientist in his early thirties, is straightening up from
behind a futuristic looking, tripod-mounted camera. He front the camera and instantly
hits a button nt of ut.
thenfro eof o
THREE PRINTS
CONTINUED
S.
22 CONTINUED 22
The nose belongs to YAKITITO YANAGITA a Japanese graduate'
student wearing a lab smock and glasses with thick, coke
bottle lenses.
PEYTON
Now, if everything goes according to
plan, in a couple of months your nose
will be on the lips of every
American...
He is feeding the prints into the input slot of a
computer.
22P ON THE COMPUTER SCREEN: 22P
The nose is broken down into thousands of points. As each
point of the nose is removed from the screen, a number is
assigned.
23 PEYTON 23
PEYTON
We've finally got the Imager working
how we want it.
24 We pan to the Holographic Imaging Cylinder. The glass 24
cylinder, wired to the computer, glows to life.
24P A three dimensional holographic image of Yakatito's nose 24P
rotates within.
25 Peyton glances from the Imager to the computer. He types 25
on the computer keyboard.
PEYTON
Bio-press checks out okay...
He glances to...
26 THE BIO-PRESS 26
As it hums to life. It is a box containing linear rows of
densely packed pins. Tiny servo-motors beneath the pins
allow each pin to rise or fall individually, per computer
command. A smooth synthetic substance is being sprayed
evenly atop the surface of the pins. The sprays halts; the
wet substance glistens. The densely packed pins rise to
programmed heights, molding the solidifying synthetic
substance into an exact replica of Yakatito's nose.
9.
27
YAKITITO
27
No more bunching. Looks perfect.
PEYTON
I don't know about perfect, but it
looks like your nose. Down to the
millimole... No, the bio-press won't
be a problem. It's the synthetic
WOULD
skin's instability. If the
A SKINU
just hold up -- Y give me
victim and a photograph of his old
face -- he'll get more than a nose.
We're talking complete reconstruction
MAYBE EVEN
damaged skin tissue.
make him better looking. Hey, what's
the time?
YAKITITO
fumbles for the stopwatch that hangs around his neck.
YAKITITO
Ninety-eight minute and change.
PEYTON
Let's check in our friends.
PEYTON
moves to a microscope.
27P
27P MICROSCOPE P.O.V.
Cells swimming in an agar-protoplasm bath.
28
28 PEYTON
GLANCES TO:
29
29 A COMPUTER MONITOR
that is connected to the microscope.
(REVISED SCENE #'S 2-17-89)
10.
V28" THE COMPUTER SCREEN READS: V28
Amino acid content - 64.0%
Membrane potential - 120 millivolts
DNA content - 00.000047 millimoles
Collagen congeners - 22.8%
29 Peyton punches in some data, and... 29
V29. THE IMAGE ON THE COMPUTER SCREEN SPLITS. V29
on the left half, a rotating, three dimensional, computer
generated image of a protein molecule. Beneath it, the
WORD:
EPIDERMIS
On the right half of the screen, another image forms. It
is a second molecule. Beneath it, the words:
SYNTHETIC EPIDERMIS
STRUCTURAL MATCH
The molecules rotate in synchronization. A loud beeping
tone. Suddenly, the synthetic molecule begins to waver
and spin randomly.
30
30 PEYTON
Oh no...
31 VIEW THROUGH MICROSCOPE 31
The unstable cells fragment.
32 INT WESTLAKE LAB 32
Peyton shoves himself away from the microscope.
PEYTON
Fragmentation. Time?
Yakitito checks his stopwatch.
YAKITITO
Ninety-nine minute. Again.
CONTINUED
11.
32
32 CONTINUED
He stares dumbly at the stopwatch, frozen. He repeats,
SADLY:
YAKITITO
..Ninety-nine minute. Cells always
break up at a ninety-nine minute.
He punches away at a keyboard and takes the readout.
PEYTON
Electrolytes, temp and glucose
concentration. all normal.
YAKITITO
But still this ninety nine minute.
Yakitito makes a notation of the time on a lab sheet.
PEYTON
Pacing, thinking;
PEYTON
Why? What is destabilizing it?
Vivification process was cake. Tissue
rejection? We licked
that. We're close. We're smart guys.
So why can't we make these cells
stable? Hokay. Let's try a
ten percent alkalinity. Get those
suckers too drunk to fragment.
YAKITITO
posts the completed lab sheet on a wall covered with hundreds
of similar sheets.
YAKITITO
We already try ten.
He pokes at a section of lab sheets.
YAKITITO
And twenty. And twenty-two... We try
all phase of alkalinity.
He punches the wall. CONTINUED
12.
32
32 CONTINUED
YAKITITO
But still a ninety-nine minute! Three
month ago, ninety nine minute. Ten
month ago... ninety nine minute...
BAM BAM... Yakitito punches the wall again and again.
Peyton calmly taps a plastic dunking bird that slowly
bobs.
PEYTON
A word of advice, Yakitito. Don't get
emotionally involved. Watch.
Analyze. Remain object ---
BAM!
He is cut off as Yakitito punches the wall again and
again to punctuate his speech.
YAKITITO
Maybe I am lousy scientist.
MAYBEOI
listen to father, get
in Anaheim! Get drunk on Sake nightly,
forget I am failure!
PEYTON
Quick, Yakitito.
A basketball appears in Peyton's hands. He tosses it to
CAMERA.
YAKITITO
Catches the ball.
PEYTON
The most striking characteristic of
thermionic emission.
YAKITITO
Throws the ball away.
YAKITITO
KE
No, always you ask me question to ma
me calm down! I no want to calm down!
CONTINUED
32 CONTINUED(3)
PEYTON
catches the ball, dribbles and throws it back to Yakitito.
PEYTON
The answer, Yakitito.
YAXITITO
snags the ball angrily from the air.
YAKITITO
(FURIOUS)
It is most strongly depending on
temperature!
He throws it at Peyton, who grabs it, and pump-fakes
Yakitito, not letting him have the ball.
PEYTON
Go on!
Again he pump-fakes. Yakitito flinches.
YAKITITO
This means the temperature of the
emitter is not critical as long as it
is sufficiently high and as
long as pure metals with high
operating temperatures such as
tungsten or tantalum are used.
Peyton tosses him the ball. Yakitito catches it. Calm
now. He blinks.
YAKITITO
Amazing. It work every time.
CUT TO:
33
33 INT. HUNT CLUB LOBBY- DAY
LOUIS STRACK SR., a no-nonsense octogenarian, and his
son, LOUIS STRACK JR., a powerfully built, debonair fifty,
stride into the lobby. They are accompanied by a couple
of aides.
CONTINUED
14.
33
33 CONTINUED
JULIE HASTINGS, a young attractive woman who has
apparently been awaiting their arrival rises from a chair
and crosses the lobby to greet them. She is dressed in a
conservative business suit and carries a briefcase.
JULIE
Mr. Strack, my name is Julie Hastings.
I'm here from Pappas and Swain to
represent you in the Von Hoffenstein
negotiation.
STRACK JR.
How do you do? And please, call me
Louis. This is my father who--
Strack Sr. interrupts his son's introduction.
STRACK SR.
I don't want some fancy-ass woman to
do my negotiating. Where's Herb
Gorson?
JULIE
Gorson's tied up in litigation this
week. Don't worry--I've done my
homework.
STRACK SR.
scowls, ungraciously accepting her.
STRACK SR.
(TO JULIE)
I'll stop worrying when you get Von
Balibreaker's price down to sixty
million...
He turns and starts striding down the hallway, the
others following.
STRACK SR.
.If he goes that low, lock him up.
15.
34
34 INT HUNT CLUB PRIVATE DINING. ROOM - DAY
The Stracks and Julie are seated at a table next to a large
picture window that looks out on the bridle path. Jodhpured
equestrians gallop past in the distance.
Seated across from them are Baron Hugo Von Hoffenstein, a
bald, hook-nosed Austrian aristocrat with a patrician air
and cold beady eyes. He is accompanied by his attorney
Myron Katz.
Liveried waiters are just clearing the table and serving
coffee.
KATZ
We want to be reasonable here. We
said we were interested in selling the
pier frontage and we are interested in
selling. But frankly Mr. Von
.will not be robbed.
Seventy-five strikes us as a fair
price for this parcel. We're ready to
conclude a deal here and now at that
price.
PLEASANTLY:
JULIE
Then I guess we're only missing one
element here.
KATZ
What's that?
JULIE
An interested party.
Strack Jr. tries to suppress a smile.
Waiters bring in the wine and pour a tasting portion for
Von Hoffenstein, silent, coldly watchful.
He rolls the wine in his glass, eyes appraising Julie.
He takes a sip, cocks his head, nods.
Wine is poured around.
JULIE
.Mr. Katz, I've found that in the
real estate business, three factors
determine a property's worth. CONTINUED
-A
16.
34
34 CONTINUED
Katz leans forward, listening.
JULIE
...Location. Location. And...
location. Frankly, you have none of
the above. Your fair price is fair
for midtown commercial, not for
riverfront.
KATZ
It's worth more to your client, given
his plans for the area.
JULIE
if my client can spin straw into gold,
he'll still pay market price for
straw. As a matter of fact--
VON HOFFENSTEEN
--Business is business. Deals vill
come and go, but ze velt vill pause
for a beautiful voman...and a fine
wine.
JULIE
Our offer stands at forty-eight.
VON HOFFENSTIEN
Smiles a worldly smile.
VON HOFFINSTIEN
Let us toast a zale at ze price of
zixty millions.
Strack Sr. smiles. He starts to raise his glass,
preparing to toast.
CAMERA DIPS INCREDIBLY FAST
beneath the table to reveal Julie's high heel as it digs
into Strack Sr's toe to silence him.
JULIE
To Von Hoffenstein: CONTINUED
17.
34
34 CONTINUED(2)
JULIE
You're moving in the right direction,
but our offer stands firm. i believe
if anyone had
BE
offered you more than us, you'd
sharing this wine with them.
She sips the wine and then, frowning, turns to the wine
steward.
JULIE
.There's been a mistake. We ordered
a bottle of '67 Beaujolais Maison
Reme. Is that not correct?
STEWARD
Oui madame. '67 Beaujolais Maison
Reme. Is what I have serve.
Julie pleasantly but firmly corrects him.
JULIE
No. You have served us a 1981 or
1982. California Beaujolais.
YOU'RE
Pleasant, but hardly worth
charging...
Strack Sr., frowning, examines the wine. It's news to him.
STEWARD
Please, Madame! I serve the Reme!
IRRITATED:
STRACK SR.
Mine tastes okay.
KATZ
Ms. Hastings, please. The wine is
fine. You're way out of your league
here. I'm sure the wine steward--
VON HOFFENSTEIN
PEELS
FROM
plucks the CALIFORNIA
BACK THE
SAN MEDUSO 1982.
CONTINUED
18.
34
34 CONTINUED(3)
The wine steward whispers sharply in French to the
waiter, then turns back to the table.
STEWARD
Please forgive us. We bring the bel
Reme.at once. Gratis.
Julie addresses the baron.
JULIE
At any rate, our offer stands at
forty-eight...
As she rises:
JULIE
.And if we can't toast, we prefer
not to drink. These gentlemen and I
have other business to attend to, so
if you'll excuse us...
Strack Sr. rises, angrily. He turns to leave with her,
murmuring under his breath:
STRACK SR.
I told you to make this deal.
Von Hoffenstein calls after them his wine glass held
HIGH:
VON HOFFENSTEIN
Permit me, madame! Too fine a vine
not to use for a toast!
CUT TO:
35
35 EXT. HUNT CLUB LOBBY - DAY
As Julie and the Stracks are leaving, Julie. accidentally
brushes against the Steward and exchanges a few words.
Strack Jr. had been watching. He approaches the steward.
STRACK JR.
How much did she pay you?
CONTINUED
19.
35
35 CONTINUED
STEWARD
(OUTRAGED)
Monsieur, I don't know what you are
talking about!
STRACK JR.
For that little trick with the labels.
He takes the stewards fist in his and unfurls the
steward's fingers. Revealing--A HUNDRED DOLLAR BILL.
Strack Jr. turns to Julie's retreating figure and
smiles.
CUT TO:
36
36 INT WESTLAKE LAB - DAY - A GLASS BEAKER
filled with clear fluid. Above it is another beaker
filled with a brown crystalline substance. Above that is
an empty beaker.
WHOOOSH!
The fluid disappears from the bottom beaker and instantly
reconstitutes in the top beaker as a steaming brown
fluid.
37
37 A pre-measured amount flows down coiled tubing into a
coffee mug; a hand enters to add a dollop of half-and-
half...Peyton's hand... He raises the mug of coffee to his
lips.
He looks down into his microscope.
PEYTON
.Time, Yakitito.
YAKITITO
Ninety eight minute.
A light goes out, leaving the lab in darkness except for
the glow from the computer screen.
YAKITITO
.Is a bulb. I get a fresh.
CONTINUED
20.
37 CONTINUED
As he rummages in a drawer:
YAKITITO
So, did you ask her?
PEYTON
Tonight.
Out of habit, Peyton glances back to the microscope.
YAKITITO
This is unbelievable! You been saying
tonight for weeks and still you don't
ask her! Maybe I ask to marry you.
PEYTON
Your father would never approve of me.
Yakitito stares at him in puzzlement. Then:
YAKITITO
216, no, I ask he if gbg marry you. I
Peyton looks through the microscope;
38
38 MICROSCOPE POV
The cells still pulsate with life.
39
39 PEYTON
CRIES OUT;
PEYTON
Time, Yakitito!
YAKITITO
Huh?! One hundred minute!
Peyton grips at the table with excitement.
PEYTON
The cells are holding, Yakitito.
CONTINUED
CONTINUED'
22.
41
41 CONTINUED
PEYTON
(SMILING)
Okay, Yakitito, you made your
point...Yakitito--
Yakitito is out of control.
YAKITITO
Dr. Westlake punch the wall! Dr.
Westlake punch the wall!
PEYTON
(CONCERNED)
Quickly .The function of sinusoidal
currents in electrogenesis?
The basketball appears in Yakitito's hands.
YAKITITO
You Punch You answer the
quesiton.
flinches,
to c ch t winds back to toss u B e i ball pump -faked
to cat ch t he ball. t ever comes-- Yakitito
T N
CUT TO:
23.
42 INT. LIMOUSINE - DAY 42
Trolling through the city. In the back Strack Sr. and
Strack Jr., both reading financial papers. We hold on the
two men for a long time. Their utter stillness and silence
grows unsettling. Finally:
STRACK JR.
Gold Kugerands are looking attractive.
Another long pause.
STRACK SR.
Are those the ones with the chocolate
centers?
Another pause.
STRACK JR.
(DRILY)
Gold currency, father, as you know.
And yet another pause.
STRACK SR.
Krugerrands. Sounds like a frog trying
to burp. Strack Industries will stick
with real estate. You remember that.
43 THE LIMO 43
suddenly glides into a rundown Texaco station.
44 INT LIMOUSINE - TEXACO STATION - DAY 44
STRACK SR.
What the hell!
DRIVER
We have a flat, sir. I'm sorry.
STRACK SR.
You should be. This'll come out of
your wages.
24.
45
45 EXT. LIMOUSINE
The driver gets out and stoops to examine the tire.
THE TIRE
is'NOT flat.
THE DRIVER
discretely removes a straight-razor from his coat pocket
and approaches the tire.
46
46 INT. LIMOUSINE
After a pause, Strack Sr. rises heavily to his feet.
STRACK SR.
Time I took a leak anyway. Damn
prostate. There's only one thing I
gotta do myself and I gotta do it
twenty times a day.
Strack Sr. exits the car.
47
47 EXT. LIMOUSINE
Strack Sr. bends to examine the tire.
THE TIRE
is now deflated.
STRACK SR.
ments room. CAMERA MOVES
RUN-DOWN
scowls, and heads ltoward Taaf him r eveal
QUICKLY AWAY AND
Coming toward him, about twenty feet away:
A WELL-DRESSED MAN WITH A NEWSPAPER
walking hurriedly, head bowed to the wind. CAMERA MOVES
BACK TO...
CONTINUED
25.
47 CONTINUED
STRACK SR.
who hobbles directly toward the man. CAMERA SWISHES in
front of Strack Sr. to again reveal.
THE MAN
Closer now. A one-quarter-view of the man's downturned face.
he looks up--revealing DURANT! A terrible malevolent
grin as he lifts his newspaper. We make out the muzzle of a
silencer. CAMERA SWISHES TO.
CLOSE SHOT OF STRACK SR.
A muffled POP as he jerks backward, clutching his chest.
HIGH ANGLE
The two men pass.
48 INT. LIMOUSINE 48
Strack Jr. glances out the window.
49 EXT LIMOUSINE - HIS POV 49
Strack Sr. crumbling to the ground atop a black cable.
A bell sounds continuously within the service station.
DING! DING! DING! DING!
STRACK JR.
Father?
STRACK JR.
races out of the car and rushes over to his father.
STRACK JR.
Father!
STRACK SR.
lies motionless on his stomach. Strack Jr. turns him over,
revealing that Strack Sr.'s chest is flooded in BLOOD.
CONTINUED
2-17-1989)
(Revised Scene Numbers
26.
49
49 CONTINUED
A SCREECHING SOUND
as a midnight blue Lincoln Continental races away from the
scene.
STRACK JR.
lifts his father. Emotion etched on every line of his
face, he cradles the old corpse in his arms, lifting him
off the black cable, and the ringing sound is finally
silenced.
CUT TO:
50
50 EXT. STREET WESTLAKE LAB - NIGHT
A cab pulls up in front of an industrial building. Julie
gets out and goes through the front door.
51
51 INT. WESTLAKE LAB BUILDING - NIGHT
DARKNESS
Julie ascending a flight of shadowy stairs. The steps
creak as she climbs them. We hear the eerie drip, drip,
dripping of a water pipe.
JULIE
is uneasy. She halts halfway up the stairs to listen. We
hear only the scurry of
cautiously.
THE LAB DOOR
Julie reaches the landing and knocks... causing the door to
open with a CREAK...
52
52 INT WESTLAKE LAB - NIGHT
...Julie moves tentatively through the lab, increasingly
frightened, sensing the presence of another person.
JULIE
Peyton?
CONTINUED '€¢
27.
52 CONTINUED 52
No answer. As she starts to back towards the door she
brushes against a table. Something rolls and SHATTERS on
the floor ...a test-tube.
A BEAM OF LIGHT
extends from one wall to the other. Reacting to the
shattered test-tube, Julie steps backward into the beam.
CLICK
a photic-sensor picks up the disturbance.
CRASH! CRASH! CRASH!
Corrugated steel coverings slide down the windows, blocking
out all light from the laboratory... There's a WHIRRING
SOUND AS:
SPEAKERS
extrude slowly from slots over the windows.
A VOICE
fills the room. It is a hollow Voice that echos about the
lab.
VOICE
Please be seated.
A spotlight SNAPS on, illuminating a chair behind her.
Numbly, she sits in it.
A SCREEN
tak l in of her. Tvoice
tak cati nal
essono heomonotonousltone ofoatnarrator ofhedu
films.
VOICE
ve. ow does it work? A Westlake
Yanigita presentation.
A smile spreads across Julie's face.
CONTINUED
28.
52 CONTINUED(2)
A slide is projected on the screen. It shows a sunset
over the ocean. Very corny, distorted music over this
shot.
VOICE
Love. Science is perplexed over this
great mystery.
Shot of Peyton and Yakitito in white lab coats, identical
looks of perplexity on their, faces.
Julie laughs.
VOICE
What are the causes of love? How do
we detect its presence? What are its
effects? These are some of the
questions we will investigate in this
lesson.
Again the sunset and distorted music.
VOICE
Part one. je origins 21 ve.
The sunset is replaced by split-screen photos of Peyton and
Julie, age twelve. Peyton peers into a test-tube through
glasses too big for his face. Julie assumes a mock-debonair
pose for the camera.
VOICE
These lovers first met on a seventh
grade field trip to the planetarium...
Shot of the night sky, rich with stars and galaxies.
VOICE
While the narrator discussed the
origins of the universe, Peyton held
Julie's hand.
Shot of a somewhat nerdy Peyton with his arm stiffly around
Julie.
CONTINUED
29.
52 CONTINUED(3)
JULIE
You were so slick.
VOICE
Our test-subjects were soon--to use
the jargon of teenagers--"going out.
" This "going out" period can be as
short as a single date, or as long as
a lifetime.
Montage of Peyton and Julie throughout the years.
VOICE
In the case of these two--a rare
phenomenon--it lasted twenty years.
JULIE
Although we broke up sixteen times.
Sunset and distorted music.
VOICE
TUA
Part two. Mating rumpled bed,
The sunset is replaced by a shot of Julie on a
working on legal briefs, a camera-faced shadow crossing the
image.
VOICE
Certain objects develop a special,
shared meaning to lovers. Here are
some objects significant to our test
subjects.
Shot of coffee-rings on a table.
VOICE
The coffee rings Peyton tends to
leave. They irritate Julie, and he
leaves them everywhere!
Quick shots. Coffee rings on a lab report. Coffee rings on
a book-shelf. Coffee rings on a wall and ceiling.
Julie laughs.
CONTINUED
30.
52 CONTINUED(4)
VOICE
Yet such minor irritations can
strangely become endearing to the
other mate.
JULIE
Not just yet they haven't.
The slide changes to a shot of a bottle covered in wax.
VOICE
The bottle of Dom Perignon Champagne
Julie gave Peyton for his twenty-first
birthday. Now it serves as a candle
holder.
QUIETLY;
JULIE
I never gave you that.
The champagne bottle is replaced by a shot of a record album
turning on a player. The music plays over the image. Haunting.
Romantic.
VOICE
Finally, the single Love in the ark
The song continues. Julie smiles, swept away by it.
VOICE
This song was playing when the two
first kissed.
A high school prom picture comes up on the screen.
Peyton in an awkwardly fitting tux and Julie, a
blossoming beauty. In the slide, they have been
caught kissing.
VOICE
Now let us leave our test-subjects.
The sunset again. ov in the Dark theme plays over it,. and
eventually fades away.
CONTINUED
31.
52 CONTINUED(5)
VOICE
Love. It's fundamental nature still
eludes modern Science. Yet
researchers across the globe continue
to study this ancient and powerful
phenomenon. Hoping one day, to unlock
love's mystery.
Credits come on. A Westlake/Yanagita Presentation. Etc. Peyton
The lights in the lab come on. Julie turns around.
steps out from behind the slide projector.
PEYTON
Pretty stupid, huh?
JULIE
I thought it was beautiful-
PEYTON
Yakitito helped. I just wanted you to
see it. It was just something I
wanted you to. . know.
JULIE
I know.
Peyton wraps his arms about her. Julie moves close and they
kiss.
DISSOLVE TO:
53
53 INT. WESTLAKE LAB - NIGHT
The test-tubes vibrate
WE PAN along racks of test-tubes-
like wind-chimes, fall still, then vibrate again... OUR PAN e.
FOLD-OUT
HALTS on Peyton an�EuRl et� y heircloveamaking�v
The test-tubes CLA h thm
to th DISSOLVE TO:
54
54 LATER THAT NIGHT
Peyton watches Julie as she sleeps, his shadow crossing her
beautiful face. He strokes her hair.
CUT TO:
32.
55 INT WESTLAKE LAB - MORNING 55
Sunshine streams through the sheers of the window onto
Julie's shoulder. She sits on the bed going over some papers,
her expression increasingly disturbed.
Julie punches a number into the phone.
JULIE
.Dale Gorson, please...
Peyton's hand enters with a mug of coffee, which he sets on
the papers in front of her.
JULIE
Peyton!
Julie takes the mug away; it has indeed left a brown circle
on the topmost memo.
Julie smiles at him. Then:
JULIE
Dale? Yes, Julie Hastings... yes, I
found some memos researching the Von
Hoffenstein deal that I don't think I
was supposed to find... From the late
Mr. Strack to a guy named Claude
Bellasarious. They're records of
payments to various people on the
zoning commission...
Peyton, behind her, massages her back.
JULIE
.They look like payoffs. Suspicious,
at the very least... Well, the way I'd
like to proceed is to talk to Strack's
son first... Give him the benefit of
the doubt. Under the circumstances,
it's the least I can do.
She hangs up. Peyton kisses her. She leans back into his
arms and closes her eyes blissfully. Reluctantly, she rises
and slips on her shoes. Peyton watches her admiring everything
about her. She gracefully lays her legal papers in her
briefcase and heads for the door. Half way out the door she
turns to Peyton.
CONTINUED
(Revised Scene is 2-17-89)
33.
55 CONTINUED
Bye. I'll call l you tonight. Maybe we
can get together.
She exits.
PEYTON
The sound of the closing door echos. He sits alone on the
ksd, looking about the empty apartment and lab beyond.
56 EXT. CITY STREET - MORNING 56
JULIE
In an impressive corporate power suit, briefcase in hand, walks
briskl y down the sunny sidewalk, stopping at the intersection to
sig nal a cab Suddenly, running up behind her..
57 PEYTON 57
Dressed in jeans and sweatshirt, hurries to catch up to her.
PEYTON
Julie, wait!
She is opening the cab door when she turns to him.
JULIE
What's the matter?
PEYTON
I've been thinking. Maybe we should
get married.
58 JULIE 58
Freezes half in and half out of the cab door. Panicked.
34.
58
58 CONTINUED
JULIE
Marriage--well, we could do that--of
course, there's our careers--I men,
I'm just starting to get things going
at the firm. And, you know, I kind
of like having my own
PLACE --
PEYTON
'We're practically living together now.
All marriage means is you answer the
phone in the and if
you to pretend
grandmother,
it's a wrong number. The poor woman's
beginning to think she has
alzheimer's.
JULIE
(FLUSTERED)
i--i can't talk about this now...
59
59 She starts to get into the cab when Peyton stops her.
PEYTON
Julie, I'm asking you to marry me.
60
60 THE CABBIE
leans out of the cab to Julie.
CABBIE
He got a ring?
JULIE
END A
Peyton, you didn't go ou anp d you?
lot of money on a ring, di
PEYTON
Ring? Oh, no, I don't have a ring.
61
61 THE CABBIE
motions for Julie. She leans close.
CABBIE
(WHISPERS)
He don't show much sense of
commitment.
35.
62 PEYTON 62
Bends down into frame and gives the Cabbie a look that
would stop a wristwatch.
63 THE CABBIE 63
responds by starting the meter running.
PEYTON
I mean, I just now finally
REALIZED ---
JULIE
I love you, Peyton...
She climbs into the cab, closes the door.
PEYTON
-Realized how much--
JULIE
(through the open
WINDOW)
but I guess I'm not ready.
64 Julie leans close to kiss him, but the cab pulls into 64
traffic.
65 VIEW THROUGH REAR WINDSHIELD 65
JULIE
Watches Peyton grow smaller as the cab moves off. Julie
looks longingly back at Peyton. Did she make the right
choice? She back once more for Peyton but he is only a
tiny dot in the distance.
s 2-17-89)
(REVISED SCENE
36.
66 OMIT 67
67 I/E THE CITY FROM STRACK'S OFFICE - DAY
From many, many stories up. We are pulling back.
STRACK'S VOICE
Yes, go ahead, put a buy on the
Kugerands... Thank you for your
sympathy, Franz. He was a great man.
And as long as Strack Industries
flourishes my father lives on.
The pull back shows Strack behind his power desk, talking nd Strack
into the phone.
waves the person on into his lush corporatecoffice
67
67 INT STRACK'S OFFICE - DAY
STRACK
.Very good. Thank you.
He hangs up.
STRACK
.Miss Hastings. Have a seat.
JULIE
Thank you for seeing me, Mr. Strack...
I'm --sorry about your father. I
heard last night.
STRACK
My father was a great man, and his
CAN GET
loss is felt by
you something? allfof?us.
(FAINT SMILE)
Maison Reme 1967?
JULIE
No thank you. Mr. Strack, I've been
going over some documents and I came
across something that puzzled me. It's
a memo from your office to a Mr.
Claude Bellasarious--it went out over
your father's signature. It detailed
CERTAIN PAYMENTS--
Strack has gotten up to pace.
CONTINUED
37.
67
67 CONTINUED
STRACK
Yes yes, I know the memo.
Julie continues, hesitantly:
JULIE
...It seems like the payments... were-
STRACK
They were pay-offs. To the zoning
commission. Bribes, to call a spade a
spade.
He gives her an appraising look.
STRACK
.Does that shock you?
JULIE
(QUIETLY)
No. In fact I'd surmised as much.
STRACK
But it disappoints you.
JULIE
Well it's hardly my place to--
STRACK
That's right, it's not your place.
Yet I value your good opinion.
JULIE
Surely you don't expect me to endorse
it.
STRACK
Course not. I'm sure my father never
intended for you to know about it.
I'm sorry if He's compromised
you in any way. But I am asking you
to understand. I'm not going to bore
you with that old speech about how we
all have to swim in the same
pond. But you know as well as I that
CONTINUED
38.
67 CONTINUED(2)
STRACK (CONT'D)
not so much as one mini-mall ever went
up in this city without some grease
being laid into the palms downtown.
You're not naive; you know
it's a cost of doing business.
Ordinarily you don't have to face it.
Well, I face it, and a lot worse,
into acynic--that's the easy way out,
and I'm tougher than that.
Strack gestures towards a table-top architectural model of
the Riverfront Development.
STRACK
Take a look at that model, Julie.
That was my father's dream. Now it's
my dream. Acres of riverfront
reclaimed from decay, thousands of
jobs created, a building block--a very
large building block--laid for the
future. Not such a bad dream, as
dreams go. And if the price of
realizing that dream is the occasional
distasteful chore, well...
(BEAT)
.the point is my father is well
beyond the reach of the law, but that
memo could embarrass Strack
enterprises.
JULIE
All right, you're point is well taken.
But the fact remains that I'm in
possession of evidence of the
commission of a crime. You can no
more ask me to destroy it than I could
ask you to destroy one of your
buildings.
STRACK
Let me suggest this. You excuse
yourself for a few minutes, go to the
ladies' room, leaving your briefcase
here. What happens to the memorandum
while it's in my custody is my
responsibility.
CONTINUED
39.
67 CONTINUED(3)
Julie smiles.
JULIE
I wish it were that simple. First of
all, I don't have the memo with me.
Even if I did--
STRACK
It isn't safe to have that document.
JULIE
Are you threatening me?
STRACK
moves closer, touching her arm.
STRACK
I'm trying to protect you. Does.
(He hesitates, pursing st her.)
his lips, wondering if he can tru
Does the name Robert Durant mean
anything to you?
JULIE
He's an underworld figure--
racketeering, drugs.
STRACK
A
And real-estate. Robert Durant is
competitor for the river-front and
knows about that document. He is a
criminal, Julie. And he will freelyat
resort to criminal methods to get
he wants.
There's a pause.
JULIE
AND
Well, you're very eloquent,
frankly I'm not certain what I should
do. You'll have to trust me for a day
or so to figure this out.
CONTINUED
40.
67 CONTINUED(4)
STRACK
Is that the most I can extract from
you?
FIRMLY:
JULIE
For now.
STRACK
I believe it is. Well then, my dear,
I'm in your hands.
CUT TO:
68
68 INT. HALLWAY OF STRACK'S OFFICE - DAY
Julie exits the office area and gets into an elevator.
69
69 INT. ELEVATOR STRACK'S BUILDING - DAY
JULIE AND TWO ELDER WOMEN
descend in the elevator. Music is piped in from overhead
speakers. it takes a moment before Julie realizes what she's
HEARING:
The song IM IR =E DARE
Haunting. Sad. As Julie listens, she becomes more and more
affected.
OLD WOMAN #1
And you know he never said one bad
word to that girl. He never done
wrong by her. She's sure sorry now.
He was a rare one.
OLD WOMAN #2
Well, you find someone who loves you,
like Jim loved her, you shouldn't give
'em up so easy.
CLOSE ON JULIE
The women's remarks are not lost.on her.
CUT TO:
41.
70 INT WESTLAKE LAB - DAY 70
Peyton stands over the projected microscope image on the
computer monitor.
PEYTON
Time?
YAIKITITO
Ninety-six minute.
A pause.
YAKITITO
So, did you ask her?
PEYTON
(EMBARRASSED)
Not yet, Yakitito, not yet. Time.
YAKITITO
This is unbelievable! Every day--
PEYTON
Time, Yakitito.
YAKITITO
It still ninety six minute! Sounds to
me that maybe you didn't ask her.
Maybe your afraid?
PEYTON
Look, I asked her. She said no, okay?
Well, she actually said "I don't
know".
Peyton stands and stretches. The telephone rings, Peyton
moves to answer it.
PEYTON
I'll get it.
71 EXT PAYPHONE - DAY -JULIE 71
is beaming as she stands at a pay phone waiting for Peyton
to answer.
CONTINUED
42.
?1 CONTINUED 71
JULIE
please be there Peyton.
72 INT. WESTLAKE LAB - DAY - PEYTON 72
reaches for the phone when.
A HAND
Juts out of the shadows and clutches at Peyton's wrist!
VOICE
Don't bother.
PEYTON
We hold on his shocked face as the phone rings and then
stops.
CLICK!
A light hits Peyton's face. He turns to look.
HIS POV
A TENSOR LIGHT
Pauly's chunky outline flashes on in the back of the lab.
is revealed. The middle-aged, balding man raisesHasboitleare
of Maalox to his lips. hearty gulp.
hiteafluid, coated with the chalky w
ANOTHER LIGHT
comes on revealing Trumayne.
ANOTHER LIGHT
Rudy Guzman.
ANOTHER LIGHT
reveals the entire gang; Corky Corcoran and a grinning Smiley
stand side by side. Near them, Skip. In the very back is
Rick, looking a little green around the gills.
(Revused Scene Is 2-17-89)
43.
72 CONTINUED
PEYTON
looks wildly about.
HIS POV
Panning from Skip to Rudy to Trumayne to--Pauly's fist,
being launched directly into the camera.
73
73 PEYTON
is knocked back across the lab table. Glassware and
equipment fly.
PAULY
pulls him up and slams him into the wall.
PEYTON
sags down, then hauls himself to his knees to behold:
GOLD CIGAR TRIMMER
SNIP!--trimming the end of a cigar, which is then
brought to the mouth of...
ROBERT G. DURANT
towering above.
DURANT
No foolish heroics, if you please. We
have come only for documentstell us
where to find the Bellasarious
memorandum and we shall disappear--
like a nightmare before the
breaking day.
PEYTON
(HOARSELY)
I don't know what you're talking
ABOUT--
44.
73 CONTINUED
BAM--BAM--Pauly has grabbed him by the hair and rams his
head into the wall twice.
74 DURANT 74
looking sadly down.
DURANT
The Bellasaurious memorandum if you
please...
PEYTON
I told you, I don't know what you're
talking about!
CRACKLE--Yakatito Yanagita is thrust into frame, his
mouth stretched wide under the plastic bag that covers
his head.
DURANT
.Should your houseboy's predicament
not jog your memory, you may bid him
Godspeed.
PEYTON
Stop it! Let him breathe!
DURANT
(DRILY)
You heard the doctor: Ventilate him.
Rick steps forward, unholstering a gun. Pointing it at
the spot where Yakatito's mouth gapes under the plastic.
PEYTON
surges forward but a vicious backhand blow from Pauly
sends him back to the floor.
He raises his face just as--BAM--an orange flash plays
on Peyton's horrified features. THUNK! Yakatito drops
into frame in front of him.
CONTINUED
2-17-89)
(Revised scene is
45.
74 CONTINUED
RICK
With a trembling hand he holsters the gun. He withdraws
a bottle of pills from his jacket. He shakes out two and
swallows them dry.
TRUMAYNE
emerges from the bedroom.
TRUMAYNE
Bingo!
He waves the coffee-stained document that he has found.
DURANT
Fine...
.75
75 TRUMAYNE AND PAULY
grab Peyton and ram him into the two electrodes that lead
to a reservoir of blue fluid.
PEYTON
s connects and is electrified. Unable to lot go, he
shrieks a s his body
S75
S75 CLOSE SHOT PEYTON'S HANDS - STOP MOTION ANIMATION
His skin peels away from the bone under the intense
electrical charge. OMIT 76
76 OMIT 77
77 Peyton opens his mouth, but no sounds come out.
78
78 RICK'S FACE
Twitches in horror.
79
79 PEYTON- STUNT DOUBLE - COMPRESSED AIR RIG
He screams as his hands burst into flame. The electrodes
that he clutches SNAP and fall into the reservoir of
blue fluid which instantly CRACKLES-
V
(Revised Scene #s 2-17-89)
46.
8o FLASHES of white current light up Smiley's beaming face. 80
81 PEYTON . 81
collapses to the floor, atop his flaming hands,
smothering them.
82 DURANT 82
calmly puts out his cigar and opens the valve on a green
tank labeled: OXYGEN. Then another: ACETYLENE. He
places his electronic lighter under the beak of the
drinking bird. Like an oil rig, the bird's beak bobs
closer and closer to the switch on the lighter.
PEYTON
pulls himself to his knees, cradling the smoking claws
that were his hands. Durant lifts him to his feet.
DURANT
Please, Remain calm. Let's keep this
orderly. Resistance now would only
prompt acts of pointless cruelty.
Durant gestures with a quick movement with his head.
GUZMAN AND PAULY
grab firmly ahold of Peyton's legs. They rush him
forward and dunk his head into the electrified bath
of blue fluid.
83 INSIDE THE BATH PEYTON 83
face upside-down, eyes bulging. Underwater electrical
sparks course past him. SCREAM bubbles erupt from his
mouth.
83A PEYTON - PUPPET HEAD 83A
The charged blue fluid eats into his skin.
CONTINUED
s 2-17-89)
(REVISED SCENE
47.
83B
83B SMILEY
grins with delight.
83C
83C PEYTON AND THE ELECTRIFIED BATH
The SCREAM subsides as the electricity short circuits and
shuts down. Peyton's limp body falls out of frame.
83D
83D DURANT
surveys the wrecked lab, then hands Trumayne his cigar
trimmer. Softly:
DURANT
Bring the Asian's fingers.
(aloud; to his
MEN)
.Gentlemen?
DURANT AND THUGS
exit.
84
84 PEYTON
lies immobile.
THE OPEN GAS VALVES
HISS, filling the room with the explosive mix of oxygen
and acetylene.
THE DRINKING BIRD'S
beak inches closer to the ignition button on the lighter.
PEYTON
stirs slightly, his breath a twisted WHEEZE. Slowly, he
comes to his knees. Head and hands trailing smoke, he
crawls toward the bobbing bird and lighter.
(Revised Scene Is 2-17-89)
48.
85 EXT WESTLAKE LAB/APARTMENT BUILDING - TWILIGHT 85
A Midnight blue 1989 Continental pulls away. A cab pulls
up. Julie emerges from the cab and fishes in her purse
for the fare. The headlights of the limo sweep over her
and away.
86 PEYTON 86-
drags himself past the bay windows to within a foot of
the bobbing bird. The HISSING of the gas is loud.
86A
86A THE BEAK OF THE DRINKING BIRD
dips closer to the electronic lighter's ignition
button...
86B
86B PEYTON
crawls to the base of the table which holds the bobbing
bird and lighter.
86C
86C PEYTON'S CHARRED AND SMOKING HAND
fumbles for the lighter.
86D
86D EXTREME CLOSE SHOT - BIRD BEAK
Closer... closer... contact. The lighter CLICKS.
SILENCE.
86E
86E CLOSE SHOT - SLOW MOTION 400 frames a second.
A tiny spark is born. It grows.
SILENCE.
CONTINUED
(Revised Scene s 2-17-89)
49.
86'
86F CONTINUED
EXTREME CLOSE SHOT - PEYTON'S PUPIL
widens in fear, then contracts, responding to a bright
silent flash.
37
87 SILENCE - LAB WALL
One thousand lab sheets ignite.
BE
88 THE HIDDEN SLIDE PROJECTOR
is triggered. On the screen flash the slides from the
Peyton/Yakitito presentation... images of Peyton and
Julie...The split-screen picture of the two lovers
melts as the screen
BURSTS INTO FLAMES
89
89 SILENCE - SLOW MOTION - PEYTON
directly between us and the blast. An intense blue
light fades up, brilliantly backlighting Peyton. His
stark shadow burns into us.
90
90 SILENCE - SAM-O-CAM RIG - PEYTON
As he is thrust off of his feet, and rocketed through the
wall.
91
91 SILENCE - EXT. PEYTON'S BUILDING - MINIATURE - NIGHT
Intense blue light flashes out of the windows and up the
chimney into the sky.
91A
91A Peyton's rag doll body spins end over end, upward
towards the stars.
Silently.
91B
91B It takes a moment for the SOUND of the explosion to
catch up with the blast--
KAAABOOOOMMMM!!! Noise that makes the earth shake.
(Revised Scene #s 2-17-89)
50.
92 EXT. STREET - NIGHT- JULIE 92
is knocked to the sidewalk by the shock wave. A flaming
chair and large bricks rain down around her.
93 THE SKY - PEYTON DUMMY - NIGHT 93-
Peyton's flaming body plummets toward the earth like a
comet. _
94 EXT. RIVER - PEYTON STUNT DOUBLE - NIGHT 94
Peyton splashes to the fire-lit water.
95 EXT - RIVER - CLOSER ON PEYTON - NIGHT 95
He floats like a dead man, flaming debris from the
building SPLASHING down around him. With a GROAN, he
sinks beneath the murky water.
B96 JULIE B 96
Julie pulls herself to her feet. She stands in utter
shock in a downpour of forks, knives and spoons. Before
her.
P96
P96 - PEYTON'S BUILDING BURNS
lke a hay stack. Offscreen sirens WAIL.
B 97 WIDER SHOT - JULIE - BLUE SCREEN B97
She stands in shock as.
P97 PEYTON'S BUILDING BURNS P97
98
98 BITS OF CHARRED PAPER - MINIATURE - SLOW MOTION
float-past her and the burning building beyond.
P99
THE BURNING BACKGROUND FADES AWAY.
Night turns to day as tombstones appear on either side
of her. The falling bits of paper change to falling
leaves.
(Revised Scene s's 2-17-89) 51.
99A FALLING BITS OF PAPER (Super against black) SLOW MOTION 99A
Change to falling leaves.
B99.. JULIE - BLUE SCREEN B99
She remains in the exact same position. Her business
suit becomes a black suit of mourning.
100 EXT. GRAVEYARD - CLOSE SHOT - JULIE - DAY 100
Her expression of shock has not changed. In front or
her, A MARKER. It reads: "PEYTON WESTLAKE". CAMERA PULLS
BACK TO REVEAL.
101 A LIMOUSINE DRIVER 101
leans against his limousine, looking bored. He turns
to the Gravedigger, an older man, dressed in soiled work
overalls who props himself up on his shovel.
LIMO DRIVER
Didn't see you workin' out there.
GRAVEDIGGER
Never found the guy's body, just an
ear. Don't take long to bury that.
Now sometimes when this happens
folks'].]. be lookin' for a discount.
But see, it ain't the diggin' that
your payin' for, It's the real estate.
They watch as...
102 JULIE 102
buttons her coat and straightens herself, attempting to
gain resolve. She will put this behind her. She walks
toward the limousine but is suddenly hammered by grief.
Her gait wavers. Racked by sobbing, she falls.
Tears stream from her eyes as she clutches at the grass.
103 A PRIEST 103
helps her to her feet.
52.
104 JULIE 104
raises her tear soaked face and we see the extent of her
suffering.
105 EXT. GRAVEYARD - LONG-SHOT - DAY 105
The tiny figure of the Priest as he places a consoling
arm around her.
They walk off to the waiting car.
SLOW FADE OUT:
106 FADE IN: INT HOSPITAL BURN UNIT- DAY 106
BLUE
The undifferentiated blue resolves itself, as a ripplin
blue fluid, resembling the acid bath in Peyton's lab. A
form emerges from it's depths; a completely bandaged head
breaks the surface of the fluid.
107 WIDER 107
A patient is lifted from a hydro tank, the complex water
vessel in which burn patients are treated. He lies
perfectly still, hands and face swathed in gauze; A 20th-
century mummy. Tubes and wires.poke from his body.
We hear the steady beeping of a cardiogram.
108 MASKED BURN NURSES 108
carefully strap the mummy onto a hydraulically powered,
multi-axied burn platform. Behind him are other
bandaged patients, some rotating on burn platforms,
some still submerged in their hydro-tanks.
53.
109
109 THE RESIDENT PHYSICIAN AND FOUR INTERNS
saunter over to the hydraulic bed where nurses adjust
the patient's I.V. tubing.
RESIDENT
Here we have a 25-30 year-old-male, no
I.D., no medical history. Fished the
guy out of the river with burns
covering over forty percent of his
body. His hands and.face were the
most severe.
110
110 A BURN NURSE
pushes a button. Motors grinding, the hydraulic platform
rotates, slowly spinning the mummified man. For a brief
moment he is upside down.
RESIDENT
Ten years ago, pain from the burns
would have been intolerable. The guy
would have spent the rest of his
screaming. Now we use the Rangeveritz
technique; quite simply, we sever his
spino-thalamic nerve...
111
111 ZIIIP! He extends a telescoping steel pointer and to n's bandaged ear.
indicates a spot just above Pey
RESIDENT
.Here. Which, as you know,
transmits neural-impulses of pain and
vibratory sense to the brain.
112,
112 ZIIIP! He collapses the pointer and returns it to his
pocket.
113
113 THE HYDRAULIC BURN PLATFORM
continues its slow rotation with the mummified patient
now turned sideways.
RESIDENT
No longer receiving impulses of pain,
you stick him with a pin...
54.
114
He jabs a sterilized needle deep into the bandaged knee. 114
Interns gasp. The resident leaves the pin in the knee
for dramatic effect.
RESIDENT
.and he can't even feel it.
With a sharp practiced motion, he plucks out the pin.
115
PATIENT'S BANDAGED FACE
115
His eyes still closed. No response.
RESIDENT
Of course, there are serious emotional
side effects to this operation. When
the body ceases to feel, when so much
sensory input is lost, the patient
becomes alienated. The mind, cut off
from its regular diet of input, has a
never-satisfied thirst; alienation
gives rise to loneliness, anger;
uncontrolled rage is not uncommon.
And the rage problem is exacerbated by
the chemical effect of severing the
nerve. Now, surges of adrenaline flow
unchecked through body and brain--
giving him the strength of dozen men.
Hence the leather restraints.
The resident turns and heads for the door. The interns
follow behind like ducklings.
116 I
THE PATIENT'S BANDAGED FACE
116
But as it rotates into frame and clangs to a halt.
Between the bandages, the eyes pop open, blue and
fiercely lucid. It's Peyton. He has heard everything.
117 INT. HOSPITAL CORRIDOR
117
The resident speaks over his shoulder to the interns as
they walk.
CONTINUED
55.
117 CONTINUED 117
RESIDENT
Naturally, we give him every chance of
recovery.
He waves his hands about in futile circles letting the
interns know that this is the party line.
RESIDENT
.Remain optimistic... inspire
confidence... Talk to him about
rehabilitation potential...
Personally? I give him a nine on the
buzzard scale.
118 THE LOUDSPEAKERS 118
emit a loud warning tone.
PUBLIC ADDRESS
Code Blue, Burn Unit. All doctors
report. Code Blue, Burn Unit.
119 THE RESIDENT AND INTERNS 119
freeze for a half-moment, turn and race back the way they
came.
120 INTO HOSPITAL CORRIDOR #2 - TRACKING WITH TWO ORDERLIES 120
AND THEIR "CRASH CART"
as they race pell mell down the hallway, rubbing
conductive jelly between the defibrilator paddles.
121 INTO BURN UNIT - A HOSPITAL CURTAIN 121
is opened violently by a nurse. Her jaw drops in
disbelief. Doctors and technicians rush into the room
and freeze.
122 THE RESIDENT 122
is the last to arrive. He can't see above the heads of
the technicians and interns.
CONTINUED
(Revised Scene Numbers 2-17-89)
56.
122 CONTINUED
RESIDENT
Alright, move. I'm in charge here!
Lemme through!
He pushes his way to the front of the crowd and blinks
stupidly at the camera.
123 PEYTON'S HYDRAULIC PLATFORM. 123
Loose bandages, torn leather restraints, and tangled
E.K.G. wires dangle aimlessly in the wind; a bright
flash of lightning illuminates the empty hydraulic bed.
I
124 THE RESIDENT'S HAIR 124
is suddenly blown back by a gust of wind. Confused, he
looks up from the bed and out the open window.
B124 THROUGH THE OPEN WINDOW B124
Dark storm clouds billow over the city. Thunder crashes.
125
125 OMIT
126 EXT. ALLEY ENTRANCE/EMPTY STREET - DUSK 126
Thunder rumbles and it begins to rain. A delirious
Peyton, now wearing a ratty black overcoat, staggers and
falls into an oily mud puddle.
127 CLOSE SHOT PEYTON 127
He slowly raises his bandaged face from the mud.
Desperate eyes peer out from a slit in the muddied
bandages. He forces himself to stand and move onward.
He stops in his tracks.
128 HIS POV ACROSS THE STREET - JULIE'S BROWNSTONE APARTMENT 128
Julie steps from the stylish foyer and opens her umbrella.
PEYTON'S EYES
growing misty. He staggers across the street after her.
57.
129
129 JULIE
terrified at the sight of...
130
130 A HIDEOUS HAND
clutching at her shoulder. Scarred tendons and hand
bones poke from unraveling bandages. They grip tighter
seeking help. Repulsed, Julie spins to see.
131
131 DARK FIGURE/PEYTON
A vague, unrecognizable shape in the shadows. From it
comes the awful sound of an inhuman voice, an
unintelligible guttural rasp:
DARK FIGURE/PEYTON
Juuuuulieeeeee. Heeeeeeeelp
meeeeeee...
132
132 JULIE
A gasp caught in her throat, backs away...
133
133 PEYTON
removes his offending
recoils, from her behind his back.
horror-hand andtuck eitlshamefully
S
PEYTON
(ALMOST
INTELLIGIBLE
RASP)
It's meeeeeee.
134
3.34 JULIE
moves quickly away, her hand protecting her throat.
Her fear is mixed with pity as she turns away from this
monstrous man.
CONTINUED
58.
134
134 CONTINUED
PEYTON
(AN INTELLIGIBLE
RASP)
It's me.
But she is too far away to hear.
135
135 HIGH SHOT FROM TWENTY STORIES ABOVE THE CITY STREET
In the downpour, the two tiny figures below turn and warm
move quickly from
of the browns t , °theaotherrto thetshadowshof the alleys
CUT TO:
136
136 EXT. CITY STREET - NIGHT
A bandaged Peyton emerges from a cloud of fog in the
worsening rain.
137
137 A LAUGHING COUPLE
rush from a posh restaurant, past Peyton, and into a
waiting taxi.
138
138 EXT STREET - TITAN CRANE - WIND FANS - PEYTON'S LONELY
EYES
despair. pull
t follow them. He s overcome looks like the last
d distance that Peyton
to such a great t
man on Earth.
CUT TO:
139
139 EXT. ALLEY - WIND FANS - NIGHT
Rain pounds the surface of the alley, hurricane hard.
Gutterspouts gush torrents of water. Aeflattttenedf wind,
cardboard box is whisked away by a
revealing...
(Revised Scene Numbers 2-17-89)
59.
140 PEYTON 140
who has been huddling beneath it. A lost man. He coughs
and stares blankly at...
141 A SEWER DRAIN 141
inches from his face. Rain water spins round and round
in a whirlpool. A scrap of newspaper is swept into the
current.
142 PEYTON 142
stares at it.
143 CLOSER ON SPINNING NEWSPAPER 143
It bears a picture of his own face.
144 PEYTON'S BANDAGED EYES 144
widen.
145 CLOSER ON NEWSPAPER 145
It snags on a stick, revealing the picture's headline:
SCIENTIST DIES IN ACCIDENTAL BLAST/Body still missing.
146 EXT . ALLEY - LONG SHOT- PEYTON 146
lying in the alley, staring at the whirlpool. It rains.
CUT TO:
147 INT WESTLAKE LAB/APARTMENT - DAY 147
The charred door falls toward us, and into the ashes of
Peyton's lab/apartment.
B147 I/E WESTLAKE LAB/WALL HOLE - DAY B147
Outside lab.
60.
148
148 PEYTON
stands in the doorway wearing the black tattered
overcoat and bandages. He gapes at the wreckage of
his former world.
149
149 YAKATITO'S COKE-BOTTLE EYEGLASSES
twisted from the heat.
150
150 PEYTON
Picks up an overturned end table and sets it right.
'Re, has started to pick up an overturned chair when the
futility of it hits him.
151
151 HIS BANDAGED FINGERS
relax, letting the charred chair fall back into the ashes.
152
152 PEYTON
i rorr reflects his
moves to a scorched andb�heenm his face a nd and
gauze from to the
bandaged face. He pulls
peers at his reflection. We are not privy
but it horrifies him. He shakes in a choked sob.
We move down to the ashes to reveal...
A PHOTOGRAPH OF PEYTON AND JULIE
and ful -but
In the photo,
J is lbli teredaand scarched.i
PEYTON'S FACE 153
S S
153 PEYTON
grabs the, picture. In a fire ravaged voice;
PEYTON
When I'm W
Do you still love me, now W can no u
just some repulsive thing yo
longer recognize? When I sicken YOU.
When you run.
A GLINT catches his eye. He turns.
#s 2-17-89)
(REVISED 5ZENE
61.
154
154 DURANT'S GOLD LIGHTER
etal fingers clutch
Twisted and scorched.
the lighter and it ey to his on'seskel
155
155 PEYTON'S EYES
lose their dull, wounded appearance. Anger builds. hin
Adrenaline surges. An emotion awakens from deep wit
the prititive portion of his brain, his "rage spot".
RAGE!
He shakes as it floods him.
156
156 A VEIN
stands out on his forehead, swelling with blood, heaving ad.
to the frantic pace of his heart... He clutches his he
157
157 CRACK!
Gigantic radiating fissures appear in the walls... the
ceiling... the floor... everywhere Peyton looks. He turns
to us suddenly. THE CAMERA ROCKETS IN to his dark pupil.
Within the blackness, we perceive--
157A
157A THE CAMERA ROCKETS IN -
to his dark pupil. Within the blackness, we perceive -
158
158 THE OPTIC NERVE - MINIATURE - COMPUTER CONTROL RIG
OUR VIEW moves deeper along the nerve till we come to o the
Arterial Plexus. We follow the pulsating arteries
they wind back, through the darker corridors of his
brain,to the blood brain barrier.
159
159 ELECTRICAL NERVE IMPULSES
bombard the barrier, flashing upon this receiving
I wall of the brain.
ZAP!
FLASH!
FLASH!
(Revised Sore s 2-17-89)
62.
160 The Twxze images bend back upon one another in startling 160
succession. We catch glimpses of
160A volcano erupting, 160A
160E mathematical formulas, 160B
160C Julie as lover/goddess/whore: 160C
160D Explosinus of brick and flame. 160D
160E Operating room surgeons above us, cutting-- Durant as chief 160E
surgeon„ a cigar sticking out through a ho le cut in his mask...
160F The leering heads of the Durant gang poke throughlaughingk 160F
fissures in the wall... elongated nec s...
insanely.
160G Camera racing in towards Peyton's bandaged face six times,Peyton 160G
same move, superfast
ranting and raving, shaking rhis a fist r at r the a heavens with
Biblical wrath.
But we can't hear him. We pull back from his pupil
to reveal...
161 PEYTON 161
sitting, in the ashes on the floor of his lab/apartment.
There are no fissures in the walls or ceiling. Peyton is
framed by the bay window.
B161 The city lights behind him. during the B161
psychic rage bur s p st arkle , nignu fallen
PEYTON'S BANDAGED HAND
closes over the lighter.
His mouth twists from it's pained grimace, past the
neutral position, forming a tiny smile. His eyes gleam
wickedly. A foghorn moans from the river.
The Darkman is born.
162 BLACKOUT - INT GRAND BALLROOM - NIGHT 162
The blackness turns out to innards
trombone--we are pulling ba ck be trem dslofta reveal
that we are at a party.
(ReVisect Scene s 2-i7=89 )'°
63.
162 CONTIIZTED 162
The band plays, many couples dance, others chat around
the bar. The bandleader wraps up the song. Polite
applause.
CONTINUED PULL BACK
reveals the beaming face of GOVERNOR BRYANT a red-faced
man in his late forties. He sits at the head of a
crowded table.
ON THE TABLE
a huge cake, elaborately constructed in the sleek shape
of a sleek, modern skyline. The same as the model on
Strack's desk.
THE GOVERNOR
cuts one of the skyscrapers neatly in half with the
knife.
LOUD APPLAUSE
The Governor passes the piece to LOUIS STRACK JR. who
sits at his side.
GOVERNOR
(TO STRACK)
As usual, Louis, you get the first
piece of the action.
LAUGHTER...Strack takes a bite from the building's top floors.
GOVERNOR
Louis, I want to take this
opportunity to express my gratitude,
my extreme gratitude--
STRACK
(to the crowd)
He's talking about my campaign
CONTRIBUTION--
LOUD LAUGHTER. The Governor waves it away.
GOVERNOR
I'm talking about the Riverside
development program. Louis, you've
breathed new life into a neighborhood
long ago lost to the democrats.
64.
163
163 INT. WOMAN'S POWDER ROOM
The band is faintly heard. Julie stands before the mirror
and practices a convincing smile. Beside her, a young
woman pouts to the mirror as she applies lipstick. The
woman exits through the tiled archway. Her shadow meets
that of a man's. Julie watches the happy shadows embrace,
kiss and move off. She stands immobilized, overcome.
164
164 GRAND BALLROOM - THE STAIRS --NIGHT- LONG SHOT
A beautiful woman floats down a set of marble stairs.
165
165 HEADS TURN.
It's...
166
166 JULIE
wearing a tight fitting, formal black dress. She
forces a smile. She looks unhappy, but she looks good.
She sits at a bar a little away from the party area.
JULIE
Vodka and lime, please. A double.
A business man, flushed with drink, observes her.
He moves to the seat beside her.
BUSINESSMAN
Drowning your sorrows, eh?
JULIE
Just giving them something to swim
around in.
She drinks the vodka quickly. She sighs.
BUSINESSMAN
Why don' ya tell all your troubles to
old Jimbo?
JULIE
Please remove your hand.
The businessman has his hand on her thigh; it crawls
upward. CONTINUED
65.
166 CONTINUED 166
ANOTHER HAND
clamps firmly down on his shoulder and spins him around.
BUSINESSMAN
(ANGRY)
Hey, what the--
LOUIS STRACK, JR.
stands before him. Distinguished and dapper, looking `
better than ever. He gives his famous grin. It's worth
a million dollars.
STRACK
Ferguson, you've had too much to
drink.
BUSINESSMAN
Right away, Mr. Strack.
Chastened, he beats a hasty retreat. Strack turns
to Julie.
JULIE
Thanks for getting rid of that guy.
STRACK
Thank you for coming. I'm glad you're
here.
He takes her by the arm and starts to lead her across the
crowded floor.
STRACK
I haven't wanted to bother you during
your period of grief, but I have to
know whether you've come to a decision
regarding the Belasarius Memorandum.
CONTINUED
66.
166 CONTSRUD(2)
JULIE
The decision's been made for both of
us. The papers were destroyed in the
fire. I want to forget all about that--
STRACK
(THINKS)
The fire-- the whole thing. . I'm
quite disturbed by it. I can't help
but wonder.
JULIE
What?
STRACK
Do you remember when I mentioned a
certain competitor of mine, Robert G.
Durant?
JULIE
No. No. I've considered it. but the
police ruled out arson. It burned
hot. A gas fire. There was an
acetylene leak -- the tiniest spark
COULD HAVE--
She breaks off, getting choked up. Strack's manner is
sympathetic and solemn.
STRACK
Believe me, I am no stranger to the
frustration and anguish that comes
from the loss of a loved one.
He forces himself to rally his spirits.
STRACK
My dear, there's no cure for grief
EXCEPT TIME--
He takes-her by the hand.
STRACK
...But there is something that eases
the symptoms. It's called...
He sweeps her out onto the dance floor.
STRACK
.Dancing!
67.
167
167 ON THE DANCE FLOOR
JULIE
finally smiles.
STRACK
UR
Julie, I was quite impressed with yo
performance in the von Hoffenstein
negotiations. Outstanding. I believe
in instinct. I like yours. I want
you to think about something. No need
to decide now. But I'd like staff.
you as a member of my permanent
That's very flattering, my
BUT SWAIN--
commitments to Pappas
STRACK
I've already spoken to Ed Pappas.
JULIE
(HOTLY)
You had no right--
STRACK
Don't be childish, I had every right.
He doesn't want to lose you--said
he'll fight tooth and nail to keep you
at the firm. Good! I like a good
scrap! If it's not worth fighting for
it's not worth having. Just consider
that I won't be outbid. Think about
T
it. I know you, Hastings.Yoyou're why
ready for something g-
we understand each other?
(takes her arm)
Because we both worked for it. We
both sweated for it.
He increases his grip and lowers his voice, taking her
into his confidence.
STRACK
E
We both know what it's like to bethe o
the bottom. Well now I'm o ridt ut.
top, and I m offering you
CONTINUED
68.
167 CONTINUED
JULIE
resents being gripped and lectured to and yet... she
senses in Strack, a power and magnetism that holds her.
JULIE
I'll consider it...
Strack smiles. As he sweeps her around, her eye catches
something. Her face tightens.
JULIE
Mr. Strack, I don't want to alarm you,
but who is that man, speaking with the
Governor?
STRACK
turns to look.
STRACK
(SEETHING)
What's bg doing here?
SWISH PAN from Strack's frozen expression... through a
blur of dancers to:
ROBERT DURANT
chatting with the governor. He catches Strack's eye.
STRACK
Holds eye contact for a moment.
STRACK
That, my dear, is Robert Durant.
DURANT
smiles.
CUT TO:
(Revised Scene Numbers 2-17-89)
69.
168 EXT RICK'S APARTMENT 168
Rick's car pulls in. He climbs out and walks toward the
front door of his building. The sound of a foot on gravel.
He glances behind him.
169 RICK'S CAR 169
in the shadowy lot. Nothing else.
170 RICK 170
turns his head swiftly to a passing shadow.
171 EMPTY STREET 171
Wind gusts dead leaves across the pavement.
172 RICK 172
shudders. Shaking off his nerves. He fishes about in
his breast pocket and removes a bottle of prescription
pills.
RICK
I gotta take it easy.
He pops two into his mouth, and swallows them dry.He
enters the apartment building.
173 INT. RICK'S APARTMENT -- BEDROOM -- LATER 173
Rick lies asleep. The TV is on in the background, playing
LOUD STATIC. CAMERA SLOWLY PANS TO...
5174
S174 WOODEN BLINDS
The wind gusts, causing the shutters to clatter.
70.
175
175 A CRACKLE OF ELECTRICITY
as the TV snaps 'off.
176
176 RICK
jerks awake. The place is suddenly totally dark.
RICK
(NERVES FRYING)
Who's there?
He gets up, looks around.
A small and evil laugh reverberatesvin the aguelydhumanssit'st
chills Rick to the core. Guttural,
the fire-ravaged laugh of the Darkman.
Rick calls to the shadows;
RICK
(HYSTERICAL)
What do you want?
DARKMAN
OU
We're gonna play a little game. It's tell
called show and tell. First, y
me everything.
177
177 FROM THE BLACKNESS
Something charred and twisted emerges. It's Darforn's n the
burnt skeletal claw. A hideous sight, see
first time. A deranged digit da tends to stroke Rick's
face, then retracts into the
DARKMAN
Uh huh. Then I show you... how to
scream.
A terrifying pause. Then:
Rick SCREAMS as his legs fall out from under him. CAMERA
PANS DOWN TO REVEAL:
71.
178 A SKELETAL CLAW 178
dragging a kicking, screaming Rick under the bed.
179
179 UNDER THE BED - HORIZONTAL VIEW OF BANDAGED DARXMAN
nose to nose with Rick. Darkman peels the bandages from
his mouth to reveal a gaping maw of burnt, crooked teeth.
DAR MAN
(FIRE-RAVAGED
VOICE)
You always knew there was something
like me under the bed.
CUT TO:
180 INT. RICK'S APARTMENT - LATER 180
A CORNER OF RICK'S ROOM - PARTIALLY DEMOLISHED
A badly beaten Rick hurls through frame and slams
into the corner.
181
181 DARKMAN'S SKELETAL FISTS
smash into the wall like flying pile drivers around
RICK'S HEAD:
SMASH!
SMASH!
SMASH!
SMASH!
Plaster cracks and flies. Rick's bleeding face twitches
in fear, on sanity's edge.
RICK
(WHIMPERING)
But I gave you the names. Where they
lived... I told you everything.
Darkman's eyes leer at us.
72.
182 CONTINUED
DARKMAN
(SYMPATHETICALLY)
I know you did...
The eyes come close. Closer.
DARKMAN
(with dark joy)
.but let's pretend you didn't.
His skeletal claw clamps down over the camera lens-
BLACKNESS.
CUT TO:
182
182 EXT. NIGHT - ROW OF STONE GARGOYLES
perched high atop a building. The bandaged Darkman is
also there, flanked by the stone creatures. He is
ringing his hands together in angst.
Fire ravaged voice:
DARINAN
I've been bad.
He looks to the moody sky. Inky clouds drift past
overhead.
183
183 INT. JULIE'S APARTMENT - BEDROOM - NIGHT
The light of a street-lamp dimly illuminates Julie,
asleep in bed. She sighs in her sleep and gently her dream.
turns away from some disquieting presence in
Or is it in the room? We hear the click of a lock, wind
rushes in... then stillness.
A DEFORMED SHADOW
crawls along the wall, dropping down over Julie's form.
CONTINUED
13.
183 CONTINUED
THE DAR1N A few
swathed in bandages, staring.
stands over the bed, y la over the age' But
chords- from Love in the Dark p
distorted now, ominous.
DARKNAN
reaches out and delicately touches Julie's hair with a
skeletal claw--a twisted reprise of the earlierher sscene. in
instinctively hand.
Julie shivers and
Darkaâ–ºan quickly y
R
a long time. We move in on
Darkm,an stands motionless for
his face. The bandages below his eyes are moist. The
Darkman brushes at the tear-stained bandages with the
back of his gnarled hand.
DARIOMAN
(A WHISPER)
Julie...
Julie continues to sleep.
DARK 4AN
I need you.
He glances down to...
CLOSE SHOT - PHOTO OF PEYTON AND JULIE
He tries to brush away the burn-matter obring his
face in the photograph. He closes his eyes Then
QUIETLY;
PEYTON
my face back. Even
I've got to have
if it's only for ninety-nine minutes.
JULIE
suddenly sits up from a dream and cries;
JULIE
Peyton...'
CONTINUED
74.
183
183 CONTINUED
HER POV
The curtains flutter in the wind. She is alone.
CUT TO:
184
184 EXT. CITY STREET - MORNING
DAR MAN'S POV - OVER A SHOPPING CART
People give him a wide berth on the sidewalk as they
pass by.
A MOTHER
Protectively pulls her child back, away from the cart.
We turn off, into.
AN ALLEYWAY
as it twists, and grows narrow.
TRACKING WITH THE SHOPPING CART
As it winds through the alley. It's filled with charred
electronics salvaged from the wreckage of Peyton's lab;
beakers, tubing, computer parts, walkman tape recorder,
the holographic cylinder and bio-press. The shopping
cart bangs to a halt against a CONDEMNED sign upon a
steel door.
A BOLT CUTTER
is raised from the cart.
SNIP.
75.
185
185 INT WAREHOUSE
BLACKNESS
&wylight,
BRIHT
The steel door slides open, dletting eserted iwa rehouse
revealing the interior
THE DARKMAN
appears silhouetted in the doorway. He pushes the
sh e p cart into the warehouse and disappears into
s into a shaft of light. CAMERA past
th t he darkness. darkness. He steps ra tt y
up his old an.
to andaged f
dangling gauze,
He surveys the cavernous interior.
A SPOTTED CAT
down stroke it. The cat
meows at his feet. He off with reaches shtoe
scratches him and runs
LONG SHOT - DARIN
looks about the place, satisfied.
DARKMAN
(in a fire-
RAVAGED VOICE)
Home.
CUT TO:
DEEP IN THE GROUND
A flash-light clicks on revealing an elaborate system
of high voltage cylinders...
DARKMAN
carefully connects one nd ofnanrinsulated cord to the
metal base of one of the Y
CONTINUED
76.
185
185 CONTINUED
DARIMAN' S BANDAGED HAND
Throws a switch.
A SINGLE BULB
flickers on in the far rear of the warehouse casting the
Darkman's face half in light, half shadow.
With his skeletal claw, he strokes his bandaged chin.
DART AN
All I need is one, clear, picture.
He moves to a salvaged photograph album.
AS HE FLIPS THROUGH THE PAGES
we see that most of the photographs are bubbled with
charcoal. The few that aren't show Peyton's face only by
partially--one cut off by someone's shoulder, another e
the frame of the picture... The last picture eyes Juli er
on his shoulder laughing--coveripg Peyt
hands.
PEYTON
throws the album against the wall. He turns back to the
original burned photo.
DARXMAN
This'll have to do.
DISSOLVE TO:
186
186 TNT. WAREHOUSE - NIGHT
OUR VIEW moves across a slummy version of Dr. Peyton
Westlake's lab--reassembled by Darkman.
DAR MW
slides the charred photo of himself through the input
slot of a computer.
2-17-89)
(Revised Some is
77.
V187
V187 ON THE SCREEN
appears a line drawing of the photograph. As Peyton
punches in information:
OMIT 188
IS$ OMIT
P189 DARKMN LAB H189.
H189 A HOLOGRAPH OF PEYTON'S FACE
materializes in a slightly scorched glass cylinder,
revolving in sync to the image on the computer screen.
The face is partially charred, malformed--like the
photograph, except in three dimensions.
V190
V190 DARXMAN
taps in data that appears on the computer screen:
Extrapolate left lower quadrant "C" to lower
quadrant "D." Extrapolate quadrant "F" to
quadrant "E." Ignore light variables.
8.7 millimoles.
Scale: 1.38 millimoles
Etc.
The computer HUMS AND BEEPS... The screen blanks and the
following information appears.
Reconstitution will take 71 hours and 57
minutes.
P191
P191 OUR VIEW curves up to:
H191
H191 THE HOLOGRAPH
Before our very eyes, it changes slightly--growing
imperceptibly more detailed, sharper.
DISSOLVE TO:
192
192 DARKMAN
Preparing a batch of liquid skin. He peers down into
the microscope. One hand holding something just off
frame. Darkaman lifts his head and sniffs at a wisp of
smoke. CAMERA PANS WITH HIS
CONTINUED
2-17-89)
(Revised scene numbers
78.
192
192 CONTINUED
GLANCE TO...
His OUTSTRETCHED HAND
boney fingers poke through the bandages as he gently skin over the flame of a
swirls a test t He to no tice is hand
has l f ailed
B Bunsen unsen burner.
is burning.
DARKMAN
and studie s the
pulls his handaY ois the lack o o ormal rmal
S HIS
smoldering digits. n
HE ETLY;
sensation. Qui
DARKMAN
My hands.. They took my hands.
He sits on the lab stool studying his charred palms in
the dark. P193
P193 DARKMAN LAB H 193
H 193 HOLOGRAM
In the time that has passed, the image of Peyton's face
is growing more
194
194 THE COMPUTER SCREEN BESIDE IT READS;
Reconstruction will take 61 hours and
11 minutes.
CAMERA PANS TO.
195
195 DARKMAN
sitting on the lab stool in the exact same position, in
still studying his gnarled knuckles. Sunlight pours quickly
the lab from a small ceiling window. He turns bles up from his
A
and faces the cat. A small, soundh.u
ravaged larynx; A deep,
CUT TO:
(Revised Scene numbers 2-17-89)
79.
196
196 EXT. ONASSIS CONEY ISLAND RESTAURANT- DAY
COMPRESSED SHOT
through window of restaurant. The extreme telephoto
shows us Pauly eating a chili dog at a booth. He's
looking for somebody.
SKIP and GUZMAN
enter the restaurant and take the seats across from him.
Guzman slides a briefcase under the table to Pauly. Pauly
downs the butt end of the chili dog and washes it down with
a Maalox chaser. He takes the briefcase and exits.
CLICK--freezes all three as they exit in black and white.
197 REVERSE - EXT ALLEY - DAY 197
DARKMAN
disguised as a bagman, in an alley across the street
from the restaurant, peering through a camera.
HIS POV
197A
197A Skip and Guzman going in one direction, Pauly in another.
CLICK--freezes the moment.
197B
197E CLICK--Pauly moving away, carrying the briefcase.
CLICK--he looks to his right, and
CLICK--to his left.
197C
197C CLOSE-UP: PAULY'S HAND swinging slightly as it carries
the briefcase. The final CLICK of the shutter is heard
ON THE
MATCHING CUT TO:
198
198 PAULY'S HAND
Well back to reveal it is now a photograph soaking in a
shallow tray of developing fluid.
CONTINUED
2-17-89)
(Revised Scene Numbers
80.
198
198 CONTINUED
THE CAT
t a as
enters frame, atop a lab table. Camera tracks Si ac
ne. On an other e
it passes between rows of photographs of Pauly'
hands which hang dripping from a clothesli
clothes-line are pictures of all the other gang members,
taken at different places and times.
€¢
The cat leaps straight through. P198
P198 DARKMAN LAB
H198
H198 THE TURNING HOLOGRAPH OF PEYTON'S HEAD --
the features more defined now, more recognizable--
199
199 THE CAT
lands on another lab table, where it suddenly halts and
arches it's spotted back as a bandaged. hand sets down an
opened can of tuna. The cat moves to the tuna but looks
up fearfully.
200
200 THE BANDAGED RAND
moves. close to pet the cat.
201
201 THE CAT
scratches at the hand and spits. The hand withdraws.
The cat eats the tuna warily.
202
202 COMPUTER INPUT SLOT
Front and side-view photos of Pauly's hand are sucked
into a second charred and patched-up computer.
V203
V203 ON COMPUTER SCREEN
's hand is being filled in with
A line drawing of Pauly
contours and subtle shading.
(Revised SceTe Is 2-17-89)
81.
P204
P204 DARK MN LAB
H204
H204 WITHIN THE SLIGHTLY SCORCHED GLASS CYLINDER
A hologram of Pauly's hand flickers to life, turning in
sync with the one on the computer screen.
205
205 THE SALVAGED BIO-PRESS
Synthetic skin is sprayed onto the surface of the press.
The pins in the press rise to computer-determined
heights, molding the hardening synthetic skin.
206
206 DARKMAN'S BANDAGED HANDS
enter frame; he unwraps the bandages.
207
207 USED HAND BANDAGES
form a pile atop the lab table.
208
208 A FORCEPS
removes what looks like a wet, flesh colored surgical
glove from the Bio-Press.
209
209 The nasty bone digits of Darkman's hand snake into the
glove.
210
210 DARKMAN
smooths the wrinkled synthetic skin and holds up his
"new" hand. It is a flawless imitation of Pauly's.
He raises it to his eyes. They-shine fiercely.
211
211 DARKMAN' S "NEW" HAND
begins unraveling the bandages that cover his head.
212
212 THE CAT
is looking up from a defensive crouch. Back arched, it
starts to back away.
82.
213
213 COMPUTER KEYBOARD
E
a nd one king
One "Pauly tthe"ke board.siT edsoundeofnbonewst
together r a h ving. ri
y and unner
plastic. is strange
214
214 ON COMPUTER MONITOR
A line drawing of Pauly's face appears. It turns into:
215
215 A MATCHING CLOSE SHOT---THE REAL PAULY
in his bed sleeping. A shadow passes over him.
216
23.6 A GLOVED HAND
ANADS
ief over hi
presses a chlorofrmedOhgn�Theh alarm clocksRlNGSh
nose. Be struggles. The
Pauly sinks into a deep chloroform from hisdface�
gloved hand removes the
The only sound is the TICKING of the clock.
We PULL BACK to reveal that we are:
217
217 INT. PAULY'S BEDROOM - DAWN
The bandaged figure of the Darkman stands over an
unconscious Pauly.
218
218 DARKMAN
IT WITH
THE
removes a suitcase shut�t.From hiskratty b lack
Pauly's clothes, latches
€¢
overcoat, he removes.
219
219 TWO FIRST CLASS AIRLINE TICKETS
He places them atop the suitcase.
220
220 INT. PAULY'S BATHROOM - DAY
R- HE
FACE
The mummified Darkman isreflected
carefully unwraps the than it
is 's , the complexion a
sh sould be . PTheyskin aulittle �tighter
little better.
83.
221
2 21 DARXMANIPAULY
pulls the stop-watch from his pocket and starts it.
222
222 DIGITAL STOP-WATCH
It TICKS off the seconds.
223
223 DARKMANJPAULY
HE
s t e k c o P to watch a handfulrof Pauly'ss
the medicine cabinet
cologne.
CUT TO:
224
- DAY -
224 INT. ONASSIS CONEY ISLAND RESTAURANT
Darkman/Pauly sits alone at the booth. He checks the
artificial skin on his hand, then glances to his stop-
watch.
225
225 DIGITAL STOP-WATCH
It reads: 35 minutes. He pockets the watch as:
226
226 SKIP AND GUZMAN
enter. They take seats across from him. Skip seems
angry.
SKIP is.
Durant wants to know where Rick
He's really hot about it--really hot.
Don't ask me why--the old man really
likes Rick. You know
where Rick is?
He is looking at Darkman/Pauly.
CONTINUED
84.
1
226 CONTINUED
DARKMAN/PAULY
shrugs an exaggerated "haw-would-I-know?" Guzman is too
angry to notice.
GUZMAN
Durant piss me off. How de hell
should we know where Rick is? What
are we, de baby-sitter?
He places the briefcase on the floor and is about to
slide it across, but hesitates. He eyes Darkman/Pauly
suspiciously.
GUZMAN
You okay, Pauly? You looking funny.
DARXMAN/PAULY
shrugs, reaches into his pocket, pulls out a bottle of
Maalox, and takes a slug.
Guzman slides the briefcase across the floor to
Darkman/Pauly.
Darkman/Pauly, without saying a word, takes the briefcase
and exits.
SKIP
What's with him?
CUT TO:
227
227 INT. PAULY'S BEDROOM - DAY PAULY? DARXMAN/PAULY?
blinks several times, stares quizzically around him,
looking confused. PAULY'S POV--His own bedroom, blurry,
spinning slightly. As the room starts to settle:
228
228 CRASH!
The door is kicked off its hinges revealing GUZMAN.
85.
229
229 PAULY
is sitting up in bed. AlthoughPhhets just hwaking s c
is dressed in a suit and tie. lothes,
then looks quizzically up at Guzman.
GUZMAN
lifts Pauly from the bed and shoves him into a chair.
Pauly looks up to see:
DURANT
glaring down at him.
DURANT
Pauly... we've been very concerned
about. You.
Pauly doesn't have a clue. But the display of muscle
isn't lost on him. He clutches at his sore head and
MOANS:
PAULY
Hey, Mr. Durant...
(GLANCES AT
CLOCK) -
y, I guess
I musts overslept. I'm sorr
I missed the pick-up, huh?
DURANT
Where is the money, Pauly?
PAULY
(desperate) p.
What money? I didn't make the pick-u
Durant crosses to the suitcase and picks up one of the
airline tickets. His smile is strained.
CONTINUED
86.
229 CONTINUED
DURANT
Rio... And first class. How
delightful.
(picks up other
TICKET)
n A , and one for Rick. Well, this
explains his disappearance.
Durant glances to Guzman who opens Pauly's PACKED SUITCASE.
PAULY
Hey, I don't know nothing about
that... I--
DURANT
Where is the money, Pauly?
PAULY
What money?! I swear to God, Mr.
Durant, I didn't make the pick-uP! I
been right here sleepin'... Jesus, I
swear to God!!
230
230 DURANT
tucks the tickets into Pauly's jacket.
DURANT
Well, Pauly, I wouldn't want you to
miss your flight.
213
231 EXT. HIGH RISE - DAY
PAULY - STUNT DOUBLE
CRASH!!!
Pauly CRASHES through the window on the 23rd floor.
232
232 EXT. HIGH RISE - DAY
PAULY DUMMY
His body twists in the air, hurtling toward the ground.
(Revised scene numbers 2-17-89)
87
B233 CLOSE ON PAULY - BLUE SCREEN 8233
Falling, trying to find the air to shriek as.
P234
P234 THE SKYSCRAPER
blurs past.
235 PAULY'S P.O.V 235
the sidewalk rushes up at us with increasing velocity...
236 EXT. STREET - DAY 236
Pauly's body hits the sidewalk with a THUD. His dead
eyes stare out at us, bewildered.
237 A SHOCKED WOMAN 237
looks up from Pauly's dead face to a nearby park-bench.
238
238 SHOCKED WOMAN'S P.O.V.
PANNING from dead Pauly to living Pauly/Darkman, who sits
and watches calmly.
239
239 THE WOMAN
SHRIEKS and SHRIEKS. She has to be. restrained by the
crowd.
240
240 PAULY/DARKMAN
Turns away from the crowd of gavkers gathering around
the body. His eyes widen in alarm. His synthetic cheek
is melting where the bright sunlight hits it. A bubbling
skin blister cracks open and smokes. His hand covers the
blister. He pulls the stopwatch from his pocket.
241
241 THE STOPWATCH
It reads: 98 minutes
88.
{
242
242 PAULY/DARM
still clutching. the briefcase of cash, jogs into the
cool dark of an alley. A thin wisp of smoke trails behind to the darkness.
him as-he disappears in
CUT TO:
243
243 INT. JULIE'S APT.
Julie is shrugging off her coat to reveal a stunning
evening dress. She heads across the room toward a
rolling bar.
JULIE
I want to thank you for a lovely
evening, Louis. It's been a long time
since I've been able to really enjoy
myself--to forget... Can I offer you a
drink?
We pan the room to reveal Strack, just inside the front
door.
STRACK
Thank you, whiskey neat.
He takes off his coat.
STRACK
...Would it be all right if I used
your telephone?
JULIE
It's on the etagere...
Strack has already found it and is dialing.
STRACK
DID
Franz... Louis Strack here what
gold close at in Zurich?
play ...for fifty-
Insai ou nd Kru
nd Krug rrandsawhe the market
th ousa e n
orning.
opens in the m
Strack. hangs up the phone and turns towards Julie.
CONTINUED
89.
243 CONTIRU
STRACK
E haven't felt this alive since the
days of the Silver Puts and
t o remember Calls.
'Course you're too you
AN OVER-THE-
that. I guess I'm jus
hill financier trying to recapture a
few moments from his glory days.
Julie hands Strack a drink.
JULIE
Don't be childish, Louis, it's
unbecoming to fish for compliments.
Strack laughs good-naturedly.
STRACK
like that ine. You
away fanything.
don't eleame get
He sighs and sits down on the sofa, sips his drink and
T
looks across at Julie.
STRACK
NK
You know, as much as I'd like to thi
differently, i suppose I'm not above
the occasional childish bid for
attention.
Juliesmiles.
JULIE
Like anyone else.
STRACK
Like anyone else indeed. in all
respects. It's difficult, somettiimess,
being in a position of power--people
defer to you, people tell you what short , ,
they think you want o
ur humanity... •
they rob you of y
you'll accuse me of pleading for
sympathy again.
JULIE
No, I understand...
CONTINUED
243 CONTINUED(2)
STRACK
turns away, setting his drink on a coaster. He
notices Peyton's gift.
THE MUSIC BOX
He opens the top. The LOVE IN THE DARK THEME plays.
JULIE AND STRACK
listen. Julie is affected by it. She sets down the drink.
JULIE
..Were you ever married, Louis?
STRACK
Yes. Once upon a time. Married and
in love -- deeply, deeply in love...
JULIE
I
What happened?
STRACK
I lost her...
JULIE
I'm sorry.
Strack strains to conceal the bitterness of his grief.
STRACK
Private aircraft. over the Smokeys.
Painless. Quick. utterly pointless.
You can fight a disease. Another man?
You can fight that too. But this...
Quietly,_within himself:
CONTINUED
(Revised Scene #s 2-17-89)
91.
243 CONTMOUE D (3 )
STRACK
...I don't like things I can't fight.
Their eyes meet, both united by loss.
JULIE
It must have been a terrible time. I
wondered how you understood. About
me. You've been very patient. And
very kind.
Strack smiles warmly. He takes her hand.
STRACK
God help us when there's no more room
in this world for a little kindness...
244
244 PULL BACK
Through the window of Julie's apartment as Strack draws
Julie into an embrace, to reveal:
244A
244A THE DAREMAN
Hidden in the shadowy bushes. His face is flooded with
pain.
DISSOLVE TO:
S245
S245 INT. DARKMAN'S WAREHOUSE
SKELETAL FINGERS
impatiently TAP!-TAP!-TAPl upon the lab table.
CUT TO:
246
246 AN EYE
It fills the screen. The pupil a black abyss. The
capillaries red rivers.
CUTTO: -
2-17-89)
(Revised Scene Is
92.
R
247
247 SYNTHETIC SKIN MOLECULES
enlarged a million times, configured in an agar
protoplasm bath.
CUT TO:
248
248 THE EYE
floating, the pupil darting nervously about.
DARXM (VO)
(FIRE-RAVAGED
voice) le .rema-
Okay... okay... remain stab
249
249 SYNTHETIC SKIN MOLECULES
fragment.
250
250 DIGITAL STOPWATCH
T
It reads: 99 minutes.
S251
5251 SKELETAL FINGERS
al.
halt in mid tap. CAMERA PULLS BACK to reve
252
252 DARFMAN
frozen, above the microscope.
253
253 THE CAT
MEOWS in fear.
5254
5254 DARKMAN
CLU TCH
SHOUTS
looks at his carbonized claws in disgust. They
at his bandaged skull. He stands suddenly and
to the empty warehouse:
(Revised Scene #s 2-17-89)
93.
6.3
DABBXAN
S255
I'VE BEEN ROBBED! THOSE BASTARDS
TOOK... everything.
256
256 THE C=
arches its back in fear.
DABXMAN
(ANGUISH)
.she couldn't even bear to look at
me . . .
S257
S257 DARKMM
spins sharply to the cat, the vein on his temple
pulsates.
DARKMAN
.WHAT AM I, SOME KIND OF CIRCUS
FREAK!?
I 46
258 THE CAT
bounds away with a cry, seeking shelter behind a
crate.
S259
S259 DARKMAN
calls after it;
DAR114M
Is that it?! Maybe I should be
wearing some funny little hat!
He does an angry jig for the cat.
DARKMAN
Pay five bucks. SEE THE DANCING
FREAK!
260
260 THE CAT
pokes its head out to watch.
(Revised scene nuders 2-17-89) 94.
261
261 DARKMAI
rips a water pipe from the wall with a terrible The
wrenching. sound., Water gushes out. is an
shatters crates with the pipe and
again, but halts as he sees his reflection in the
growing puddle.
S262 -
S262 DARIQ'iAN•S REFLECTION
in the puddle. It is the image of a madman. S263
S263 DARKMAN
staggers to a post, his-bandaged face caught half in
light and shadow--a man at war with inner demons.
He slams his head against the post.
DARKMAN
I'VE GOT--
BAM!
DARMAN
--TO GET--
BAM!
DABXMAN
--CONTROL!
BAM!
He takes in a deep breath and concentrates on his.
264
264 HAND
He forces it to.unclench.
DARIQ(AN
I got to keep a lid on it.
The pipe falls.
95.
S2L,
$265 DARKMAN
moves to a cooler light.
DAR MAN
(QUIET)
Control the rage. Analyze. Wait.
Think objectively. I'm a scientist.
I'm a scientist.
He stares at.
266
266 THE HUNDREDS OF LAB SHEETS
the piles of discarded petri dishes.
S267
S267 DARKMAN
With less conviction:
DARKMAN
.I'm... a scientist.
SUDDENLY:
BEEP, BEEP, BEEP...
Darkman turns. CAMERA SWISHES; At the and of the lab:
268
268 THE COMPUTER SCREEN
flashes a message--RECONSTITUTION COMPLETE. At the
SAME TIME:
P269
P269 DARIMM LAB
H269
H269 THE HOLOGRAM
of Peyton's head ceases to revolve. Every element of
Peyton's face is exactly as we remember it. He smiles
charmingly at Darkman.
(Revised Scene is 2-17-89)
96.
P2 7 0 DARKMAN LAB P2r
H270 DAR 'IAN 11270
moves toward his old self, staring in wonder. Love JII
th Dark theme comes on the sound track as we:
DISSOLVE TO:
271 EXT. CEMETERY - DAY - WIDE SHOT OF JULIE 272
walking along a quiet path. THE MUSIC continues...Julie
stops. She stares misty-eyed at...
272 PEYTON'S MARKER 272
Julie reaches down and places a wreath of flowers on it.
Her eyes tear.
VOICE (O.S.)
Julie.
She spins to face this intruder into her quiet grief.
273 HER POV 273
Peyton--his face restored,' the Peyton she knew --
smiling warmly at her.
274 JULIE 274
Staring. She takes a step towards him. She stops,
immobilized. Her jaw drops. Her eyes roll up into her
head and she faints.
QUICK FADE TO BLACK.
275 QUICK FADE IN; PEYTON 275
is gently slapping the side of Julie's face. Gradually
Julie regains consciousness.
JULIE
(THICKLY)
Peyton... Peyton...
CONTINUED
97.
275 CONTINUED
PEYTON
Julie...
JULIE
Is it really...?
PEYTON
I--I'm sorry... I didn't know how to
tell you...
JULIE
I thought you were dead...
PEYTON
DEAD
I was in a burn ward -- wa s burned. a ae-
to the world. I
Bad.
JULIE
You look the same. You look fine.
PEYTON
I am the same. I an fine. I...
276
27 6 OMIT
"277
277 He glances at his watch.
He grows intense. The Darkman stares through his blue
eyes.
I PEYTON
NEEDED
NEEDED TO
e the Z same w with
know if things could i
B
us.
JULIE
Of course they can. But I don't
understand. Where ---
PEYTON
e please, rythi I tell You
justl need little
VE RYTH'
time.
278
278 PEYTON'S EYES
widen in alarm. He turns one side of his face sharply
away from Julie.
98.
279
279 HIS SYNTHETIC CHEEK
is melting where the bright sunlight has burned through r
the dapple of graveyard trees. A bubbling skin bliste
cracks open and smokes. His hand covers it.
JULIE
Sold me, Peyton. Hold me and never
let me go. I've been so unhappy and I
want you to hold me forever.
280
280 PEYTON
is lurching to his feet.
PEYTON
Sweetheart. . I'm sorry.
281
281 JULIE
is stunned, bewildered.
JULIE
Peyton...
282
282 HER P.O.V. - LOW ANGLE - PEYTON
is already hotfooting it away across the Graveyard, one g
hand clamped to his face, plunging on towards the soothin
darkness of the woods.
CUT TO:
283
283 INT. A BEDROOM
The lights are romantically dim.
CONTINUED
99.
283
283 CONTINUID
PEYTON AID JULIE
move into each others' arms.
JULIE
Peyton, it's like you were never gone.
I'm happy again, and it's like the
time in between never happened.
PEYTON
It never happened. It was a bad
dream.
They kiss passionately. ve in the Dark theme comes on.
OUR VIEW
circles the lovers... as we pass around Julie over to
Peyton -- who is no longer Peyton, but transformed into:
THE DARKMAN
his horrible scarred face pressed against Julie's.
.then lets out an
Julie's eyes open. She reels back.
EAR-PIERCING SCREAM OF PRIMAL TERROR.
CUT TO:
284
284 THE DARKMAN
bolting up from sleep, sweating though his facial
bandages. The vein in his temple throbbing, eyes livid
as a beast's.
CUT TO:
285
285 INT. DURANT'S HOUSE
Professional hands busily performing the process of
.Durant, cradling a
taxidermy. CAMERA PANS UP TO.
telephone to his shoulder, talking as he works.
DURANT (O.S.)
(GRUFF)
It's Durant. Robert G. Durant.
CONTINUED
285
285 CONTIN
He grasps a offscreen object with the tweezers andit
removes it from the formaldehyde solution. He pats
dry with a white cloth.
DURANT (O.S.)
Get Rudy on the phone. Uh huh.
Rudy ... Listen. Just shut up and
listen. You get a little gift from
Chinatown, today? No? Well that
coney that Pauly took is really
stingin' my ass... Uh huh. No. We
do it my way. You Tell Hung Fat that
I'm coming by tomorrow to make the
pick-up personally. Either he coughs
green or he becomes part of my
collection.
DURANT'S HANDS
He places the object in a box, lined with red velvet.
He takes a long, admiring look.
We get only a glimpse.
A COLLECTION OF SIXTEEN FINGERS
and arranged in neat littl e rows
professionally preserved box -
h He closes the cover
S Someestill wi
T
286
286 EXT. DURANT'S HOME - NIGHT
A shadowy form lurks by a telephone pole by the front of
the house.
PHONE JUNCTURE BOX
An electronic bug attached to one of the terminals gives
off a flashing red light. A wire from the bug leads to...
A CHARRED WALKMAN TAPE-RECORDER
Its microcassette spins. Filtered through it we hear
Durant's phone conversation continue.
CONTINUED
101.
286
286 CONTINUED
DURANT'S VOICE (OS)
it would be a nice addition.
GUZMAN'S VOICE
Jew want me to be at your
place ... around 8:30?
DURANT'S VOICE
That would be just fine for me.
We are tracking off the cassette up a long cord that leads
to a pair of headsets worn by Darkman. His eyes glisten
through the slits of his bandages.
A set of hands enter frame and crack him viciously across
the head. He sprawls backward, caught off guard.
A SWITCH BLADE
is shoved against his bandaged throat.
MUGGER 1 (O.S.)
Hey shithead, give up the radio. And
the money.
Like lightening, a skeletal claw lashes out.
THE BONY PINCER
SNAPS closed upon Mugger 2's wrist. The pincer twists
sharply and we hear the awful CRACK of the mugger's wrist
shattering.
DARKMAN'S EYES
gleam like a shark as it bites.
MUGGER #1
SCREAMS, dropping the switchblade to the pavement.
CONTINUED
102.
286 CONTINUED(2)
DARKMAN
turns to Mugger #2, as he pulls down the bandages from
around his mouth, revealing: a terrible maw of black
and crooked teeth, attached to a lipless jawbone. It
jerks... and words come out:
DARIQRMAN
(FIRE-RAVAGED
VOICE)
Run for your life.
THE MUGGERS
flee in fear.
DARE 4AN
contorts his face into a ghastly interpretation of a
smile, and slips back into the shadows.
CUT TO:
€¢287
287 EXT. OUTDOOR CAFE - DAY - PEYTON AND JULIE
sit at a table drinking coffee and sharing a slice of
pie.
JULIE
But why do you have to stay at this
burn center? You can stay at my place
now.
288
288 JULIE'S HAND
0 .
closes around Peyton's--real skin on synthetic skin.
PEYTON
(QUICKLY)
No! No, it's best, for now, till all
the kinks have been smoothed out ---
CONTINUED
103.
288 CONTINUED
JULIE
-(PUZZLED)
-- kinks.
Peyton glances at his watch. 97 minutes.
JULIE
Peyton, I still don't understand. Why
didn't you come back to see me before
now?
PEYTON
Well... it's like I told you. The
burns left some scars and... I was
ashamed. Afraid. I was afraid that
you wouldn't want me anymore.
JULIE
Of course I still want you.
PEYTON
But...what if I was...burned. So
horribly burned, that you couldn't
stand to look at me. Couldn't stand
to have me touch you. What then?
JULIE
Well...if that were the case... I
don't know. But why even ask me that?
The point is: You're fine. Your
back. Just like always.
She smiles. Peyton is filled with the warmth of being
accepted and wanted once again.
VIBRANTLY;
PEYTON
Yeah. I am back, aren't I? Just like
always.
289 INT. WAREHOUSE - NIGHT 289
We pan past the lab table, cluttered with empty pizza
boxes and a tangled mass of used bandages.
CONTINUED
104.
289 CONTINUED
From offscreen we hear Durant's recorded voice:
DURANT'S VOICE
That would be just fine for me.
THE CAT
sleeps.
We hear the garbled chatter of the audio tape being
rewound.
We are panning past the Walkman, which is wired to
the computer. The tape stops, then, as programmed,
plays again.
DURANT'S VOICE
That would be just fine for me.
We pan past the back of the Darkman's head. The -
bandages have been removed. Although his face is not
visible, the singed hairless back of his skull is.
It is not a pretty sight.
R
The Darkman swabs a thick white paste, silvidine burn
ointment, upon his skeletal fingers.
DURANT'S VOICE
That would be just fine for me.
The Darkman switches off the desk lamp and removes a
mask from a black lightproof bag. He examines it,
returns the mask to the bag, then slips it into his
coat.
The camera arcs around to see the bottom half of his
skeletal face.
DURANT'S VOICE
That would be...
CLICK--the Darkman stops the tape mid-sentence and his
own hideously charred mandible finishes it:
DARKMAN
..just fine for me.
CONTINUED
�cw. f
(Revised Scene is 2-17-89)
105.
289 CONTINUED(2)
The impression is good, though slightly thick. The
Darkman strokes his jawbone thoughtfully.
CUT TO:
P290 BLACK-AND-WHITE VIEW THROUGH ROTATING SECURITY CAMERA P290
We are looking at a convenience store from the high
angle of a video camera. The harshly lit store has
aisles of cheese whiz, twinkies, shampoos and various
other things not found in nature.
290 A digital readout at the bottom of the screen blinks: 290
7:36 A.M.
291 ENTERS FRAME 291
Her sets them on the counte before the lone erk.
R
CLERK
Wanna bag for that?
DURANT
That would be just fine for me.
292 The clerk bags the pizzas as Durant pulls out a 292
revolver from his suit coat. The clerk takes a Fearful
step back.
CLERK
Hey-hey, take it easy, buddy!
DURANT
Name ain't buddy. It's Durant.
He waits for the video security camera to pan to him
and stop. He cheats in toward the lens for a good
clear close-up that fills the screen..
.Robert G. Durant
293 INT DURANT'S HOUSE 293
CLOSE SHOT--DURANT
Matching the previous shot except that it is in color.
He is speaking to someone just off camera.
CONTINUED
106.
293 CONTINUED
DURANT
Yeah, I'.m Robert G. Durant...
The camera is pulling back to reveal that he is
TWO
standing in the open doorway of his home, facing
cops. He glances at his watch.
DURANT
..But I'm in a hurry. Got a meeting
at nine.
COP #1
(SMILING)
You're gonna be late.
As Cop 2 slaps a pair of cuffs onDurant.
CUT TO:
294
294 INT. MIDNIGHT BLUE CONTINENTAL - DAY
Trumayne is driving. We pan from him to Rudy to...
A GOLD CIGAR TRIMMER
Snipping a cigar. We follow it up to the mouth of Robert
G. Durant. His temple pulsates faintly.
295
295 EXT CHINESE RESTAURANT - DAY
A large sign above the entrance reads: "THE MANDARIN".
The Continental pulls up to the curb. Trumayne waits
in the car as Guzman and Darkman/Durant step out into
the bright morning sunshine.
DARMAN/DURANT
hesitates, calculating the intensity of the sunlight. He
sneaks a glance at his watch.
CLOSE ON WATCH
It reads; 90 minutes.
CONTINUED
(Revised Scene Is 2-17-89)
107.
295 CONTINUA
THE DAR1 AN
follows•L'uzman into the restaurant.
CUT TO:
296
296 EXT. POLICE STATION
The real Durant moves angrily down the steps. His
mouthpiece, Marvin Katz, accompanies him.
KATZ
.had it all on film. I almost
didn't get 'em to post bail.
DURANT
Just keep 'em out of my hair.
KATZ
Hey where you going?
REAL DURANT
THE DRIVER:
Jumps into a waiting taxi cab and bellows at
DURANT
The Mandarin! Fast!
The cab PEELS out.
CUT TO:
297
297 INT. MANDARIN RESTAURANT - DAY
HUNG FAT, dressed in a finely tailored white linen
suit and smoking a long brown cigarette, smiles in
greeting.
HUNG PAT
Wahbuht! So good of you to favor me
with your venerated presence! Please
honor me by seating yourself in my
shabby chair!
Darkman/Durant remains impassively standing.
CONTINUED
108.
297 CONTINUED
HUNG PAT
. or do me the greater honor of
remaining on your feet!
DURANT/ DARIQIAN
The money.
HUNG FAT
The money! Yes! Wahbuht! How I
tremble with shame. How I hide my
face.
He elaborately does so with his hands.
GUZMAN
Studies Durant/Darkman with uncertainty. After
another beat of uncomfortable silence, he decides to
begin for his boss.
GUZMAN
We no here for de bullshit, we here to
pick up de money and thas what we do.
F
THE DARIAN
glances up at the harsh fluorescent light. He runs a.
hand across the artificial flesh'of his face, checking
for signs of decomposition. He sneaks a look to his...
WATCH
93 minutes.
HUNG FAT
How I regret having to burden you with
my miserable difficulties! I have no
money!
The Darkman's eyes shift. He was not expecting this.
Hung Fat is waiting for an explosion. There is none.
Sensing an advantage, he presses on.
CONTINUED
109.
297 CONTINUED(2)
HUNG FAT
.The white powder no longer flows in
iis former volume. All a members of
TONG LANGUISH
in poverty...
GUZMAN
Studies the Darkman hard. How can he tolerate this?
HUNG FAT
And of all your unworthy servants,
Hung Fat is the most destitute...
As if in response to some silent signal, four enormous
and muscular Chinese men enter and stand, arms
crossed, in a threatening posture.
Even Hung Fat's own minable slaves
sometimes ignore his wishes, and
attack those people whom Hung Fat
cherishes most deeply! Wahbuht, they
know nothing of our golden friendship!
GUZMAN
is looking from Hung Fat to Durant/Darkman; what's
wrong? Why doesn't he do something?
HUNG FAT
So until that shining day -- may it
soon come! -- when I shall once again
be able to honor you with bounty, I
bid you goodbye! Good bye, Wahbuht!
He is shaking his hand, pressing his advantage,
invading his physical space and making mockery of him!
HUNG FAT
.. Wahbuht, goodbye!
RUDY
can't believe his eyes.
CONTINUED
110.
297 CONTINUED(3)
THE DARXMAN
letting Hung Fat pump his hand like an idiot. Hung Fat
drops his hand. It dangles lamely at his side. The
Darkman walks over to a bamboo chair and slumps.
closes his eyes and sighs. He removes a cigar from
his breast pocket.
With his eyes closed:
DARX24AN
You will bring me the five million
dollars by the time I finish this
cigar.
HUNG FAT
BUT WAHBUHT--
SNIP'. Hung Fat flinches at what he sees.
The camera pans to the sound.
the cigar to a third of its
The Darkman has just snippe
d and puffs.
former size. He lights
HUNG FAT
His mocking smile disappears as he sees...
EXTREME CLOSE SHOT--THE CIGAR'S GLOWING TIP
It fills the bottom of the frame. Above, filling the top
half of the frame:
The Darkman's evil eyes, through the rippling heat of
the cigar. Their intensity pierces the shroud of smoke
and burns holes into Hung Fat's soul.
HUNG FAT
dumbly nods. Without a trace of an accent:
HUNG FAT
.Okay, Bob, you win.
298
298 EXT. STET
Durant fps from his taxi, stalled in morning traffic.
He pushew his way roughly through the crowd, toward
Hung Fat's Mandarin Cuisine at the end of the block.
CUT TO:
299
299 INT. MANTARIN CUISINE
DURANT/D XNAN'S CIGAR
is extinguished in an ashtray as a briefcase is set down
alongside it. Placed there by
A BURLY VHINESE WARRIOR
who takes a step back, alongside Hung Fat.
DURANT/ DARKMAN
grabs the case. As he exits the office with Guzman he
sneaks a look at:
THE DIGITAL STOPWATCH
it reads: 97 minutes. Click. 98 minutes.
DUR.ANT/DART AN and GUZMAN
head for the revolving doors.
300
300 DURANT/ DARKMAN' S FACE
A tiny skin blister has bubbled up on his light-sensitive
facial mask. His hand comes up to smooth it out.
301
301
BODY GUARD (O.S.)
HEY YOU!
DURANT/DARKMAN
spins, caught. CONTINUED
112.
301 CONTINUE
A BURLY CHINESE BODY-GUARD
approaches quickly, pointing at Durant/Darkman's face.
BODY GUARD
HOLD IT!
He reaches into a pocket, pulls out...
...Durant's monogrammed lighter, which he hands to
Durant/Darkman.
BODY GUARD
Your lighter.
CUT TO:
302
302 EXT MANDARIN RESTAURANT - REAL DURANT
as he runs up to Trumayne and Smiley who are waiting in
the Continetal.
REAL DURANT
where is he?!
TRUMAYNE
Where's who?!
REAL DURANT
Guzman.
TRUMAYNE
I thought he was with you!
REAL DURANT
sprints for the restaurant.
.CUT TO:
303
303 INT MANDARIN RESTAURANT - DURANT/DARKMAN
clutching the briefcase as he follows Guzman through
the revolving doors. Guzman exits onto the street.
But as Durant/Darkman revolves through the door, he
slams suddenly to a halt.
In the next chamber of the revolving door he sees...
CONTINUED
113.
303 CONTINUED
REAL DURWT
whose disbelieving face moves closer to get a better
look.
THE TWO DURANTS
dressed identically, stare at each other through the
glass in eerie confrontation.
GUZMAN
stands upon the sidewalk, gaping in
wonder.
GUZMAN
Dios Mio! Aye que papa!
DURANT/ DARXMAN
shoves the door forward, dislodging the stunned Real
Durant. He rotates past Guzman and points to the Real
Durant, revolving behind him.
DURANT/ DARFMAN
SHOOT HIM!!!
GUZMAN
draws his gun and waits, sweating.
REAL DURANT
T O
spins past the incredulous him
to the Durant
shoot him. Real Durant points
REAL DURANT
SHOOT HIM!!!
The revolving doors whirl faster. Round he goes.
GUZMAN
nods, recalibrates his orders and stands ready to fire.
CONTINUED
114.
303 CONTINUED(2)
DURANT/DARKMAN
spins past him.
DURANT/ DARKMAN
SHOOT HIM!!!
GUZMAN
doesn't know who to plug.
304 MOTION CONTROL RIG - DURANT 304
leaps out onto the street.
A SECOND DURANT
leaps out onto the street.
They face each other. Who's who? It's impossible to
tell. Only the briefcase of cash distinguishes one from
the other.
THE TWO DURANTS
go directly for each other's throats. The briefcase
falls to the ground. They call to Guzman.
REAL DURANT
DON'T JUST STAND THERE...
Real Durant's face is spun out of frame and replaced with
Durant/Darkman's exact replica.
DURANT/DARKMAN
.DO SOMETHING!!
GUZMAN
waves his gun back and forth, from one Durant to the
other.
CONTINUED
(Revised Scene #s 2-17-89)
115.
304 CONTINUED
DURANT
slams Durant's face against the brick wall of the
restaurant. One Durant falls to the pavement, clutching
his head, groggy.
GUZMAN
raises an uncertain gun to the standing Durant.
B3 04
B304 STANDING DURANT
backhands Guzman viciously across the face--CRACK!
STANDING DURANT
Son of a bitch set me up with the cops
and you practically hand him the cash!
GUZMAN
watches warily as Standing Durant picks up the briefcase.
STANDING DURANT
(FURIOUS WITH
What the hell you lookin'at?! SHOOT
THE BASTARD! !
P3 04
P304 GUZMAN
retrains his gun on the fallen Durant who covers his
face. But before he fires, he gives a final glance to
Standing Durant.
305
305 STANDING DURANT
The sunward side of his face is bubbling and blistering,
revealing glimpses of a skull beneath.
116.
306 306
STANDING DURANT/DARKMAN
What are you, deaf?!
He notes a wisp of smoke and knows the jig is up. He
slams the briefcase into Guzman's face -- THWACK! --
knocking him to the ground.
The Darkman sprints down the sidewalk through the crowd.
REAL DURANT
climbs to his feet, holding his bleeding head. He
backhands Guzman across the face--CRACK! He grabs
Guzman's gun and runs after his alter-ego.
GUZMAN
woozily pulls a snub nosed .45 from his ankle holster and
gamely follows.
DURANT/DARXMAN
races down the street, leaving a thin trail of yellow
smoke. He halts at a busy intersection. Cars speed past.
No way to cross. He turns to the sound of gunshots.
BLAMMITY-BLAM!
REAL DURANT
gun in hand, and closing fast. A cart filed with crates
is wheeled directly in his path. Real Durant gracefully
leaps atop the crates, and never letting up his rain of
fire, springs from them.
While in free-fall, he ejects the spent cartridge and
snaps in a fresh clip. He lands . firing!
BLAMMITY-BAM!
BLAMMITY-BAM!
BLAMMITY-BAM!
117.
307
307 THE COIN OPERATED NEWSSTAND
WE
in a shower
NEXT
hear the frightened
scatter.
308
308 DARKMAN'S FACE
is in the process of cellular fragmentation. His mask
emits tiny jets of blue flame. He runs for a subway
entrance.
309
309 DURANT AND GUZMAN
They are gun-
follow after the th em fire e at nce.
toting T umayne. DAlll three of o
R
BLAMMITY-BAM!
BLAMMITY-BAM!
BLAMMITY-BAM!
310
310 INT. SUBWAY - STAIRS TO THE TRAIN PLATFORM
Darkman takes a bullet in the arm. Although he can't
H feel it, the knocks
away bloody.
his wound He touches
CLOSE SHOT - DARKMAN/DURANT
His smoking face reveals no pain, only puzzlement. He
vaults over the turnstile and races down the platform.
311
311 INT. SUBWAY - STAIRS TO THE TRAIN PLATFORM
DURANT, RUDY, AND TRUMAYNE
note the blood as they reload.
DURANT
Got you.
CONTINUED
118.
311 CONTIB' ED
They ju p the turnstile with guns drawn and look about
for the Darkman. Commuters scatter.
Durant spots something lying on the platform. He
picks It up.
THE TH33NG
is slims and translucent. Durant holds it to the light.
It's the mask of his own face. It smolders and melts.
He f1Ligs it away.
312
312 THE MELTING FACIAL MASK
sticks to the tiled wall of the subway next to Guzman
and Trumayne. Durant's nose and cheeks melt together into
a sickening goo.
313
313 GUZMAN AND TRUMAYNE
step back, sickened.
GUZMAN
(NAUSEATED)
Me cago en Dios, I can no believe dis
shit.
DURANT
notes drops of blood which lead off the platform and down
into the dark subway tunnel.
RUDY
We ain't going in dere are we?!
Durant pulls a tiny penlight from his pocket and leaps
from the platform onto the track bed.
314
314 INT. SUBWAY TUNNEL
Dark, dank, spooky. Durant carries the penlight.
Guzman and Trumayne follow reluctantly.
CONTINUED
119.
314 CONTINUED I
GUZMAN
(WHINING)
Goddamn it man... We follow some
pendejo without a face... into a
goddamn hole in de ground...
DURANT
holds up his hand commanding silence as-they come to an
intersection of subway tunnels. Both lead into darkness.
They listen, but all is quiet. They speak in hushed
tones.
TRUMAYNE
Now what?
DURANT
You go that way. We'll take this one.
TRUMAYNE
doesn't look too thrilled by the prospect of being
alone in the tunnels.
TRUMAYNE
Alone?
DURANT
No. Take a fucking squad of marines
with you!
DURANT
tosses him the penlight. Hard. Casually he lights a
cigar and continues forward.
TRUMAYNE
watches Durant and Guzman disappear down the tunnel.
The sound of their footsteps recedes. Trumayne's
breathing is shallow. He loosens his necktie and
unbuttons his collar. He takes a breath.
CONTINUED
120.
314 CONTINUED(2)
TRUMAYNE
Okay.
315
315 He advances silently through the tunnel...
TA-CKANG! CLANG!
Trumayne flinches. He points the penlight in the
direction of the clanging sound.
HIS POV
IT
An empty wine bottle at his feet is illuminated.
rolls to a stop against the tunnel wall.
He listens.
Silence.
TRUMAYNE
Gettin' jumpy. Like Rick.
A faint cough comes from the blackness ahead.
TRUMAYNE
raises the penlight.
THE FEEBLE LIGHT BEAM
cannot pierce he darkness. Trumayne bends down and
picks up the bottle, keeping his fearful eyes on the
darkness ahead.
The cough again.
TRUMAYNE
heaves the bottle at the sound.
316
316 SLOW MOTION - WINE BOTTLE
as it tumbles end over end into the darkness.
121.
317
317 TRUM1
waitsr the crash, ready to fire at anything that
moves.. -
HIS
Black. No sound.
TRUMAYNE
still waiting, nerves on edge. Where's the crash?!
HIS POY
The oppressive dark.
TRUMAYNE
shudders Something in the darkness has swallowed the
bottle. He begins to back out of the tunnel the way he
came.
He freezes in the center of a tunnel intersection at the
sound of FOOTSTEPS. Crunching on gravel; Approaching.
He fingers the gun's trigger.
Empty tunnels on all sides.
The FOOTSTEPS quicken.
TRUMAYNE
Mr. Durant?!
Panicked, Trumayne shines his light in front of him.
Empty tunnel.
The FOOTSTEPS come faster, closer.
TRUMAYNE
Guzman?!
He jerks his penlight to the tunnel behind him. Nothing.
CONTINUED
(Revised Scene s 2-17-89)
122.
317
317 CONTINUE-
To his right... nothing.
To his left... nothing.
He's trying to see all the tunnels at once. He spins
desperately, firing into each of them.
GUN BARREL
spits flame--BLAM!
A TUNNEL
is illuminated by the brilliant flash of the gun. Empty.
The light fades.
GUN BARREL
spins and fires -- BOOM!
TRUMAYNE'S EYES
are lit up. Crazed with fear. The illumination
fades.
GUN BARREL
spins and spits sparks--BEAM!
ANOTHER TUNNEL
illuminated--empty. The light fades.
GUN BARREL
BLAM!
P318
P318 TUNNEL (Melting)
B318
B318 THE DARKMAN. . ILLUMINATED. . UNMASKED!
The split-second flash has caught him pouncing in mid-air.
CONTINUED
(Revised Scene . 2-17-89)
123.
..,: B318 CONTIN D
For the first time, we see the complete nightmare. Only
the uppw right quarter of Peyton's face remains intact.
Perfect., Handsome. But as for the rest...
The 3i,a is a hairless skull, covered with random bits of
scaranf char. Without the benefit of gums or lips, the
entire 3ength of his teeth are exposed down to the root,
connec g crookedly to the jaw bone. One ear remains
intact, the other a burnt hole. Only the rudimentary
cartile forms the nose. But it is the wild eyeballs
protruig obscenely from the bone of their sockets, that
tell tba,story. There, lies madness; a dark river of evil
rage.
CUT TO:
319
319 DURANT AND GUZMAN
They hear Trumayne's throaty SCREAM, then silence. They
run toird the sound. When they arrive, they see only
the penlight laying upon the track bed. It's dull glow
shines upon the wet walls of the tunnels. Nearby they
find the gun and one of Trumayne's shoes.
GUZMAN'S EYES
look like saucers.
DURANT
even looks a little scared.
GUZMAN
Oh shit, man. What did he do, man...
eat him?
From the tunnel ahead, FOOTSTEPS approach. The two men
squint, attempting to pierce the blackness.
GUZMAN
Trumayne?!
The FOOTSTEPS grow louder. Closer.
GUZMAN
.Hey, amigo, dat chew?!
From the darkness, a figure emerges and runs at them.
CONTINUED
124.
319 CONTINUED
DURANT AND GUZMAN
raise their rods and blast:
BLAMMITY-BLAM!
BLAMMITY-BLAM!
The dark figure, lurches and collapses upon the ties.
A shaft of light reveals it to be...
TRUMAYNE
gagged, with his hands tied behind his back, a wild look
of terror in his dead eyes.
DURANT AND GUZMAN
gape stupidly at the body before them. They glance
fearfully to one another through the fog of gunsmoke.
DURANT
looks about, gets control, loads a fresh clip into his
gun with an echoing SNAP.
GUZMAN
waves his arms in surrender.
GUZMAN
Good Bye. Das it. I'm outta here...
Durant grabs him.
DURANT
Where the hell are you going?
GUZMAN
pulls free.
CONTINUED
(Revised scene waters 2-17-89)
127.
322 CONTINUED
WOOOOOOODOOOOOOOOOOOOOI!1!!11
Durant looks wildly over his shoulder as he runs for his
life.
323
323 THE TRAILF
Two thousand tons of unforgiving steel is barreling down
upon his. One hundred feet away and closing...Thirty feet
Ten...
324
324 THE FRONT WHEELS OF THE TRAIN
ROAR atop the track. Durant's feet slower moving, enter
view just ahead.
B325
B325 TRACKING WITH DARKMAN'S BONEY JAW
Lit by the flying blue sparks it emits an evil laugh.
Tunnel walls zip past in the background.
326
326 PULLING DURANT
He runs, the train gigantic behind him. Durant's face is
stretched in panic. The cigar is still in his mouth,
between clenched teeth. He fixes on something ahead.
327
327 HIS POV - A SECTION OF RAISED SUBWAY TRACK
in the middle of the track, a shallow depression.
328
328 DURANT'S FEET
running only a shoe's length ahead of the sparking wheel.
329
329 PULLING DURANT
as he desperately leaps for the depression in the tracks.
He appears to go down right under the train.
128.
330
330 UNDER THE TRACK - DURANT
hugging the shallow depression. Is he low enough? The
underside of the train comes roaring over us.
VR00000000MI
The train begins its long roar past. We hear an AGONIZED
SCREAM that is either the train or Durant -- or some
ungodly combination.
THE TUNNEL WALL
is illuminated with a flash of light.
WHITE.
BLACK.
WHITE.
from the light pouring out the passing train windows.
TRAIN WHEELS
throw blue sparks into the darkness.
LOW ANGLE
The long subway train rolls into the distance. It's
rumble fades.
Quiet. Durant's cigar smoulders on the tracks.
331
331 DURANT HIMSELF
rises quietly into frame. His suit is still clean. He
appears remarkably unscathed. He runs a hand through his
hair, turns and walks slowly along the tracks. That's
when we see his back: the train has raked off the fabric
of his suit and pants, exposing bare back and buttocks.
Somehow maintaining his dignity, Durant picks up the
smouldering cigar from the tracks. He takes a puff
and moves off.
CUT TO:
129.
332
332 INT. WAREHOUSE
Darkman sits with the phone faintly ringing against his
ear. Something frantic about him, the vein in his fore-
head, faintly beating. While he waits for the other
party to answer, he cuts into the painless wound on his
arm with a surgical instrument, digging for something
. Finally Julie's voice comes on:
DARKMAN
JULIE
We cut from Darkman's ravaged monster-face to:
333
333 JULIE
beautiful as ever.
JULIE
-- Peyton! Where have you been? Why
haven't you called?
334
334 Back to the monster face:
DARKMAN
(INTENSE)
Can I--can I see you?
CLINK! The bullet is dislodged from the wound and drops
on the table.
CUT TO:
335
335 PEOPLE SCREAMING
Various close shots of screaming patrons on the Tilt-A
A-Whirl, their faces hideously distorted by wind,
centrifugal force, and their mouths stretched wide to
scream.
MERRY-GO-ROUND HORSES
Various close shots of leering horses bobbing up and
down.
We are at a carnival.
CONTINUED
130.
335 CONTINUED
PEYTON
laughing, his face restored, walking down the midway, one
arm draped over Julie's shoulder. She laughs with him.
Peyton glances at his watch.
JULIE
Put away that watch or I'll think you
don't like me anymore. Oh, Peyton,
let's spend the whole day together --
the whole week!
A beat.
PEYTON
I've got to tell you, Julie... I've
got to tell you something about --
about me -- how I've changed.
Julie turns.
PEYTON
In the fire -- I -- I
A voice offscreen rises above the general noise:
VOICE (OS)
See the mutant man, half man, half
beast! Witness this prodigy of
science with your own eyes!
Peyton whirls around.
PEYTON'S POV - A SIDESHOW BARKER
soliciting pedestrians to a side-show.
JULIE
What?
PEYTON
(QUICKLY;
NERVOUS)
Never mind.
JULIE
What's going on, Peyton? What are you
keeping from me?
CONTINUED
131.
335 CONT (2)
Peyton Ares at Julie. He can't bring himself to tell
her.
PEYTON
(SUDDENLY
IMPULSIVE)
C'mon, I'm going to win you the
biggest' fuzziest pinkiest animal doll
on that rack. Something you'll-be
truly embarrassed to own... and then
I've got to run.
They have stopped in front of a booth where softballs get
tossed at bottle pyramids. Peyton lays down a dollar and
is handed three balls.
JULIE
Why do you always have to run?
Peyton looks at the pyramid, avoiding her look. He
throws the first ball; misses. -
PEYTON
I. have my treatment... I'm not a
hundred percent cured yet--but I soon
will be.
He throws the second ball; misses.
JULIE
Can I take you back to the burn
center?
Peyton's vein begins to throb faintly.
PEYTON
No! No, please. I don't want you to
see me there. I don't want you to
think of me as...an invalid or... some
kind of f--ff-fff--FREAK!
On that word he throws the last ball with great force.
The pyramid explodes.
Peyton, breathing heavily, takes a moment to collect
himself, then says quietly to the booth attendant:
CONTINUED
132.
335 CONTINUED(3)
PEYTON
...The pink elephant, please.
The bored attendant, a cigarette dangling from his
lower lip, shakes his head.
ATTENDANT
Sorry buddy. It don't count if you
ain't standing behind that line.
PEYTON
I was behind the line.
ATTENDANT
Not hardly.
336
336 PEYTON'S VEIN
pulses.
337
337
PEYTON
I was standing right here. Next to my
girlfriend. Now. The pink elephant,
.if you please!
ATTENDANT
Na way.
Julie tugs at his sleeve.
JULIE
Peyton, it doesn't matter.
Peyton is fighting to contain his rage. in clipped
words, between gasps for breath:
PEYTON
It matters. I won a pink elephant.
For my girlfriend.
JULIE
Peyton... It's okay...
ATTENDANT
Get lost, buddy.
133.
338
338 BRIEF CUTS
People screaming on the Tilt-A-Whirl. Merry-Go-Round
horses bobbing up and down. Calliope music gets louder
and louder.
339
339 PEYTONN
Shaking under the pressure of contained rage, his vein
bulging, throbbing. Under his-breath:
340
340
PEYTON
The elephant... Quickly!
The attendant unwisely pushes two fingers into Peyton's
chest.
We rocket into a close shot of the offending digits.
From of fscreen, we hear the attendant's voice:
ATTENDANT
You heard me, weirdo. Get lost!
341
341 CRACK!
The counter dissolves into a million fissures, as do the
stuffed animals on the shelves above.
342
342 PEYTON'S FACE
Twitching violently, vein swollen to bursting. The camera
races into an eyeball to find:
343
343 PEOPLE SCREAMING
344
344 HORSES BOBBING
345
345 CLOWN LAUGHING, DOING A JIG IN A FUNNY HAT
346
346 ROCKET BACK OUT TO:
PEYTON
Screaming. A skin blister bubbles on his cheek.
134.
347
347 ATTENDANT'S TWO FINGERS
Against Peyton's chest. Peyton grabs them and--CRACK-
breaks them.
348
348 WIDER
The attendant screams. Peyton screams with him.
Julie screams as well.
349
349 Peyton reaches for the attendant, lifts him into
the air, hurls him into another pyramid, which
collapses.
350
350 FUZZY PINK ELEPHANT
is yanked violently from the shelf.
351
351 PEYTON
shoves it at Julie.
In a voice hoarse with rage:
PEYTON
Take it!
135.
352
352 Another skin blister opens.
JULIE
Peyton! No!
PEYTON
'Take it!
353
353 His face is starting to send off wisps of smoke.
JULIE
Please!
PEYTON
TAKE THE FUCKING ELEPHANT!!
354
354 She is looking at him, frozen in horror.
355
355 His face is erupting into boils, which simmer and pop,
giving off bursts of smoke.
356
356 Peyton stares at her. Rage ebbs. His eyes become
haunted. Hoarsely:
PEYTON
Forgive me!
He runs off, the fuzzy pink elephant still clasped,
forgotten, beneath one arm.
357
357 Julie runs after him.
JULIE
Peyton!
358
358 EXT. STREET
DARXMAN
disappears around a corner, trailing thin wisps Of
smoke.
136.
359 EXT. WAREHOUSE - ALLEY 359
Darkman rushes down the darkened alley, unlocks the
warehouse door and rushes inside. CAMERA PANS TO:
360 JULIE 360
who has seen it all from the shadows.
361 INT. WAREHOUSE 361
There's A HORRIBLE RIPPING NOISE. Darkman is
destroying something, flailing his arms...
.CREAK.
362 DARKMAN'S EYES 362
roll toward the noise. He steps back into the shadows.
363 INT. WAREHOUSE 363
Julie slips through a warehouse window. She is
confronted by rack upon rack of clothing, shoes, body
padding, and wigs. The place looks like the wardrobe
room of a major studio.
JULIE
Peyton?!
364 No answer. She cautiously advances. Her eyes fall 364
upon something that makes her gasp.
365 THE PINK ELEPHANT 365
ripped to shreds, it's white stuffing all over the
place.
366 He moves forward towards a darkened corner of 366
the lab.
CONTINUED
137.
366
366 CONTINUED
JULIE
(SWALLOWING HER
FEAR)
Peyton?! I need to talk to you.
She halts at a site in front of her.
JULIE
Dear God.
3 67
367 THE DARKMAN'S LAB
Beams of light cut through the darkness to reveal it;
The charred holographic imagers, computers, and the
rebuilt bio-press all sit atop large wooden crates.
W HICH 368
368 Beyond, two lab tables, made chains. oldoors, them hang
suspended from the ceiling by
tubes, and beakers of liquid skin. In the place of i
the bge 66'aF rdpMustangcserveseas
salvaged bucketeseathofean o
the lab chair.
369
369 THE SPOTTED CAT
eats from a discarded pizza box.
Despite it's eerie nature, the layout and feel of the
lab is hauntingly familiar.
370
370 JULIE
backs away frightened, right into.
THE LIMP AND WRINKLED HEAD OF PEYTON
hanging from a hook.
371
371 JULIE
her hand trembles as she lifts the eyeless face into
frame. She forces herself to examine it closely. Her the
revulsion gives way to pity. She brings it into
beam of light.
138.
(Revised scene ambers 2-17-89)
5372
S372 JULIE'S HAND HOLDS THE MASK -
Accomparaed by the sound of BUZZING FLIES and
SIZZLING Skin blisters boil furiously. She drops it
A SCREAM
373
373 She steadies herself against the computer table
There are tears in her eyes. Trembling, she turns to
face the darkness.
374
374 DARKMAN
Presses bimself into the shadows.
JULIE
Peyton. .?
375
375 DARKMAN
turns his head sharply. Only the upper right corner
of his face falls into the light. The handsome,
undamaged portion.
JULIE
Why didn't you tell me? If you loved
me, why didn't you tell me?
376
376 DARKMAN
shamed, to be both coward and monster, clutches his
bony hand to his skull.
JULIE
You had no right--
377
377 Tears stream down Julie's face but she is too upset
to brush them away. She moves forward.
JULIE
coward!
139.
378
378 She angrily shoves the computer off the table. It
crashes to the ground, sparking.
JULIE
Do you think it was the face I cared
about?! Is that how little you think
of me?! Why didn't you come to me?
379
379 DARKMAN
He is shaken by a silent sob. More of his face falls
into light, illuminating leathery neck muscles and
hideous bone.
380
380 Julie looks about the dark and desolate warehouse.
The sight of the bandages. The liquid skin. The
charred Peyton/Julie photograph. Her face softens.
She feels the Darkman's pain.
QUIETLY;
JULIE
I would have helped you.
She stares into the shadows a long time without
speaking.
JULIE
Don't you know I love you, Peyton?
And no matter what--no matter what
you've become I'll always love you?
381
381 CLOSE ON DARKMAN
his eyes expressing a ray of hope he didn't think
possible until now. O.S. We hear the sound of
RETREATING FOOTSTEPS.
DAR KHAN
(too quietly to
HEAR)
Julie...
(then louder; in
Julie.
)11
140.
382
382 But Juba is gone.
CUT TO:
383 '
383 INT. EACK'S APARTMENT - DAY
Strack„ naked except for a monogrammed bath towel
wrapd around his thickening midriff, walks across
the plush bedroom of his penthouse apartment. A
Mahler symphony plays in the background.
He bends to hoist a huge inlaid mahogany chest that
rests on a marble stand, 'then, grunting under the
strain of the load, he staggers back across the room
to the king-sized bed.
With a mighty heave he tips the contents of the chest
out onto the bed. A torrent of golden ICrugerands.
They wash over the bed, so many that some spill over
the sides and clatter to the floor.
Strack pauses for a beat, staring down at the booty,
then reaches down to the towel and lets it drop to the
floor.
Like a swan he dives.
He rolls, luxuriating in the feel of gold against
flesh, laughter bubbling from his lips.
Gold coins stick to his flushed, sweating flesh, then
slough off, leaving their imprint.
Strack makes swimming motions with his arms, laving
himself with the golden coins--
A knock at the door.
Strack freezes.
STRACK
Huhh??:!
VOICE
Julie Hasting's to see you, Mr.
Strack.
CONTINUE D
141.
383 CONTINU
Strack43 eyes dart nervously to the door.
STRACK
(HOARSELY)
lb...
(he clears his
THROAT)
Very well...
He stands. A coin or two falls from his dimpled ass
as he reaches down for his pants.
384
384 INT. STRACK'S LUXURIOUS STUDY- DAY
Strack enters, tying his tie.
STRACK
Julie, how sweet of you to come before
our appointed hour... but I expected--
you in something a little more formal.
Didn't Ruth inform you that we have
tickets to Der Fliedermause tonight?
JULIE
I can't go, Louis. We have to talk.
STRACK
Excellent! I love to talk. Brandy?
JULIE
Thank you, no.
STRACK
I'll have one;_
As he walks to a bar and pours himself a drink.
STRACK
...Fair warning--it's Napoleon, and
it's quite good--
JULIE
Louis, I can't see you anymore.
STRACK
Darling, settle down. Don't be rash.
As you say, let's talk.
CONTINUED
142.
384 CONTINUED
JULIE
You know about Peyton, the man I was
SEEING--
STRACK
OF COURSE--
JULIE
Louis, he's alive. He's back. He was
burned, horribly, horribly burned--I
don't understand what happened but I
know he needs my help.
Strack is visibly taken aback. He sets the brandy
down.
STRACK
.Your news has a bittersweet
flavor... Of course I'm very happy for
you. If there's anything I can do--
the finest medical care can be at your
disposal--burn therapy, recon-
structive surgery. How badly was
he... mutilated?
Julie has broken down. She sits down on Strack's
sofa, her body wracked with sobs.
STRACK
... Where is he, Julie?
JULIE
He's living in an abandoned warehouse.
He's alone... he needs me.
The phone RINGS. Strack crosses to the desk and picks
it up.
STRACK
Not now!... Who?... All right, I'll
take it in the other room.
He looks up at Julie.
CONTINUED
I
143.
384 CONTINUED(2)
STRACK
I won't be a moment.
He walks into an adjoining room. He picks up the
phone.
STRACK
Yes, Franz... And the closing
price?...
JULIE
She reaches for a tissue. Next to it is.
HER POV
Strack's briefcase sitting on top of his desk.
JULIE
Wipes a tear from her eyes. She moves closer.
STRACK (OS)
I feel sufficiently diversified...
Franz, it is immaterial to me what the
market is doing. I want you to buy...
JULIE'S POV
A sheaf of papers stick up above the mouth of the
briefcase.
CLOSE ON THE PAPERS
A dark coffee stain.
BACK TO JULIE
As she pulls the papers from the briefcase.
CONTINUED
144.
384 CONTINUED(3)
STRACK (OS)
Yes, you did hear me correctly. I
want you to buy. Ten thousand
Krugerands. Fresh ones!
CLOSE ON THE PAPERS
MEMO: FROM THE DESK OF LOUIS STRACK SR.
TO: CLAUDE BELASARIOUS
STRACK'S VOICE
Yes. The Belasarious memorandum.
JULIE
whirls to face him. He stands looking down over her
shoulder.
STRACK
.I'm sorry you had to find that,
dear. Our relationship didn't need
this further strain.
JULIE
The fire... it wasn't an accident, it
was you.
STRACK
Not me personally. I have an employee
who does certain things for me,
unofficially, off the books. Robert
doesn't like to pay taxes.
JULIE
(QUIET)
And now you'll kill me.
Strack_ spreads his arms.
STRACK
Hardly. You have nothing on me, my
dear, and you'd find the extremely
expensive police department quite
unsympathetic.
(A beat).
Julie. Consider the big picture.
CONTINUED
146.
387 CONTINUED
STRACK
I suppose this is goodbye then.
Julie stares hatefully at him for a beat, then hurries
out the door.
388
388 Strack moves quickly to the briefcase. He taps
his fingers idly on the coffee-stained document. Then
he hits a button on his desk-top intercom.
STRACK
Send Robert in.
Strack strolls over to the window and stares out at
his rising city. OS the door clicks open.
ROBERT G. DURANT
enters the room.
I STRACK
Robert! I have good news and bad.
DURANT
Custom dictates that you render the
bad news first.
STRACK
You recall the little difficulty with
my father and how you resolved it. We
have a similar situation with Miss
Hastings. It seems Miss Hastings has
uncovered some unflattering
information about us.
DURANT
No problem at all. And the good news?
STRACK
Your wife died. I'm joking, of
course. No, the good news is that I
know who's behind our little troubles
of late. When you retrieved my
memorandum, you failed to excise the
good doctor.
CONTINUED
147,
388 CONTINUED
DURANT
Westlake? He's dead. I saw to it
myself.
STRACK
He's alive. I don't like loose ends,
Robert. Finish it.
DURANT
Okay. Where is he?
Strack smiles.
STRACK
I believe we have a guide.
CUT TO:
389 EXT. WAREHOUSE- DAY 389
A cab stops across the street from the warehouse and
Julie emerges.
TRACKING WITH JULIE
as she crosses the street. The street is silent,
desolate... Suddenly from out of nowhere,
A MIDNIGHT BLUE CONTINENTAL - UNDERCRANKED
races toward her, about to run her over--
THE CONTINENTAL - UNDERCRANKED
SCREECHES to a stop, only inches from her.
CONTINUED
148.
389
389 CONTINUED
JULIE
turns to run.
ANOTHER LINCOLN CONTINENTAL
SCREECHES to a halt behind her, sandwiching her in.
She tries to make a break for the warehouse.
JULIE
Peyton!!
Guzman races out of one continental, Smiley out the other.
390
390 INT. WAREHOUSE
Darkman rushes to a window just in time to see Julie
hustled into one of the Continental's. The car ROARS
off.
DARXMAN
JULIE!
He races toward the door.
MACHINE GUN FIRE
shatters the three windows and doors of the warehouse.
Darkman climbs a steel rung ladder and heads for the
roof.
391
391 EXT. WAREHOUSE ROOF
The bandaged Darkman climbs up onto the roof from the
service ladder.
BUDDA-BUDDA-BUDDA!!
The rooftop is riddled by bullets.
CONTINUED
149.
391
391 CONTINUED
A HELICOPTER
rises suddenly into frame, over the edge of Peres a
roof. leaning , o
undin h h
machine gun , p
g t e roof with gunfire.
392
392 INT. HELICOPTER
hovering over the roof of the warehouse. Durant, Skip
and Corky inside.
DURANT
Peg 'em!
393
393 EXT. ROOF
Darkman rushes to the service ladder and climbs
quickly down into the warehouse.
394
394 INT. WAREHOUSE
A DOOR
is kicked open as Smiley and Guzman enter, guns ps
blazing, shooting the lab to hell. The gunfire sto
and the lab is quiet.
Guzman speaks quietly into a walkee-talkee.
GUZMAN
we're in.
DURANT' S ., VOICE
(from the walkee-
TALKEE)
He just went down from the roof.
GUZMAN
Glances above to the darkened rafters ofathence one to
warehouse. Then, signals for Smiley
way. He will go another.
They split up.
150.
395 GUZMAN'S P.O.V. 395
The place is eerily still; we hear only an occasional
computer beep.
396 GUZMAN STARTS: 396
GUZMAN
...Holy San Juan de fuckeen
Capistrano!
397 A DOZEN HUMAN FACES 397
hang on parallel clothes lines. Durant, Pauly, Skip,
and Smiley. In the shadows, their eyeless heads are
wrinkled and grotesquely life-like.
398 Guzman moves through the gallery of faces. A breeze 398
through the open window makes the clothes-line SQUEAK
as the faces bob and nod to him.
399 He stops suddenly. His body shudders at the sight of... 399
400 A FACE 400
his own. Hanging on a hook.
401 GUZMAN 401
panics, backs into a rack of clothing, knocking it
over. . he races past the wigs, the faces...running for
his life...
402 TWO SKELETAL HANDS 402
emerge from the darkness and latch around his throat!
Guzman is yanked backward into the blackness without
so much as a peep.
151.
403
403 SMILEY
moves through the dimly lit lab area. Gun out,
checking every crevice.
404
404 Footsteps. Coming closer through the darkness.
URANT'S VOICE D
(from the walkee-
TALKEE)
Come in, Smiley, come in! Come--
CLICK.
405
THE FOOTSTEPS
405 Smiley turns off the walkee-talkee.
i m.
are almost atop him. He takes a
406
406 SMILEY'S P.O.V. - A SECOND SMILEY
racing out of the darkness at him.
407
407 SMILEY
is hip to the Darkman's game. He smiles. The gun
belches flame at the masked figure.
BLAMMITY-BEAM!
BLAMMITY-BLAM!
BLAMMITY-BLAM!
408
408 THE MASKED SMILEY
crumples to the floor. The bottom portion off fece
Smiley mask is wrinkled, exposing a portion
beneath.
409
409 SMILEY
peEjz back the mask with the barrel of his gun
revealing. . GUZMAN!!
152.
410
410 SMILEY
loses his smile. A third Smiley stands slowly into
frame behind the spooked Smiley.
SMILEY #3/DAPYMAN
Good shootin'.
411
411 SMILEY
TRIPLICATE AND
looks from the dead Smiley to his
short as the
SHRIEKS! But it's mercifully cut
Darkman is upon him.
412
412 INT. HELICOPTER
Durant yells into the walkee-talkee with increasing
urgency.
DURANT
Guzman, come in! Smiley! Guzman!
What the fuck is going on down there?!
A burst of STATIC. Then:
DARKMAN' S VOICE
I am.
Durant drops the walkee-talkee as if it were something
hot.
DURANT
(FURIOUS; TO
PILOT)
Take her down!
CONTINUED
(Revised Scene #s 2-17-89)
153.
412 CONTINUED
The pilot lowers the throttle stick and
412A
412A the chopper swoops down.
413
413 A WHIRL CF PEBBLES
as the helicopter descends on the roof of the
warehouse.
DURANT
I want that son of a bitch eliminated!
And I don't want his fingers, I want
his fucking head!
SKIP AND CORKY
run out onto the roof, assault rifles in hand.
414
414 INT. WAREHOUSE
Skip and Corky burst inside, freezing into combat
crouches.
They advance slowly across the room... not a sound in
the darkness except their footsteps and the occasional
beep of a computer... the air is tense with danger.
SUDDENLY:
CRASH! CRASH! CRASH!
Skip and Corky whirl around as iron shutters slam down
over the windows and doors, sealing the lab into an
airtight prison.
OPEN GAS VALVES
HISS, filling the room with the explosive mix of
oxygen and acetylene.
415
415 INT. HELICOPTER
Static on the walkee-talkee, then:
CONTINUED
(Revised Scerm#s 2-17-89)
154.
415 CONTIWM
DARKMAN'S VOICE
(EVIL RASP)
You're next.
DURANT
Where are you?!
Pilot.and Durant look toward the entrance of the
warehouse. The door is closed. Suddenly...
TO
WHOMPI--a bandaged hand slams into Durant's chest
grab bim and start hauling him towards the door.
The Darkman is dragging him out towards the roof.
PILOT
WHAT THE FUCK IS THAT?!
Durant mashes the Darkman's arm with the door:
DURANT
TAKE HER UP!
416
416 The helicopter starts rising.
DARKMAN
is yanked from his feet.
THE HELICOPTER
climbs, lifting the Darkman clear of the rooftop.
CUT TO:
417
417 INT. WAREHOUSE
Skip and corky stand frozen. A small sound. They turn:
H417
H417 THE PLASTIC BIRD
it bobs up. and down. The same toy that destroyed
Peyton's lab. Durant's lighter lies on a platform just
under the beak of the drinking bird. It bobs closer
and closer to the switch on the lighter, about to make
contact.
(Revised Scene Ms 2-17-89)
155.
417A SKIP 417A
dives for it, snatching it...
.the hand clenches empty air. The bird is a
transparent holograph. Skip turns in horror.
HIS POV--nearby is the
real bird, bobbing in'synch with the holograph.
EXTREME CLOSE SHOT - THE REAL BIRD'S BEAK
dips closer to the electronic lighter's ignition
button.
Closer... closer...
CUT TO:
418 THE DARKMAN 418
gropes desperately at the floor of the helicopter
for a handhold. His fingertips barely touch a rope
ladder.
419 DURANT 419
slides open the steel door and kicks viciously at his
face, knocking him overboard.
420 THE HELICOPTER 420
rising straight up as the Darkman tumbles backwards in
free fall, back towards the roof.
- 421 DARKMAN 421
His overcoat flapping as he somersaults down, he
throws out one arm and...
(Revised Scene #s 2-17-89)
156.
B422 CLOSE SHOT - BLUE SCREEN - DARKMANIS HAND B422
...catches the last rung of the rope ladder that
trails from the copter. It SNAPS taut as--
P422 BACKGROUND PLATE FOR PREVIOUS SCENE P422
EXT. SKY - PANNING DOWN.
P423 MINIATURE - EXT WAREHOUSE - P423
--KA-BOOM!! The roof below him blows.
B424 BLUE SCREEN B424
The arm is by
the snap of
425 INT. HELICOPTER 425
The force of the explosion ROCKS the helicopter. The
pilot loses control and the helicopter spins wildly in
rapid 360s like the speeded up arms of a clock.
B426 DARKMAN B426
is barely able to hold onto the ladder. Below him,
P426 the tiny city is a spinning blur of metal and asphalt and P426
glass.
427 PILOT 427
He pulls the stick. Gradually the helicopter rights itself.
DURANT
SHAKE HIM!
428 THE HELICOPTER 428
banks sharply through the concrete canyons--a deadly
game of crack the whip.
157.
429
429 SMASH!
THE DEAN
is hurled through the window of an office on the 70th
floor of a skyscraper.
430
430 INT. OFFICE
The Darkman, still holding the rope, finds himself on
solid ground.
A BOARD MEETING
The executives stare in shock at the Darkman standing
on their table.
DARKMAN'S POV
The faces of the executives whirling in a circle like
numbers on a roulette wheel.
' 431
431 Suddenly, the faces start to recede... SMASH!... The
Darkman is yanked back out the window, breaking the
remaining glass.
432
432 ON THE STREET BELOW
pedestrians scurry from the rain of falling glass.
Camera swishes up to reveal...
433
433 THE HELICOPTER
as it roars away from the skyscraper at an insane angle,
the pilot having finally managed to regain some control.
DURANT
Dip him!
158.
434
434 THE HELICOPTER
angles sharply toward a busy freeway.
435
435 DARKMAN
is dipped into oncoming traffic. He barely clears the
roof of a Cadillac by swinging his legs above it.
436
436 THE HELICOPTER
swoops lower.
THE DARICMAN' S LEGS
dangle six feet above the ground, whizzing over the
asphalt at 100 miles per hour. The legs part as they
pass over a motorcycle, then close again.
437
437 THE HELICOPTER
swoops lower, slamming the Darkman to the pavement. He
drags for a moment, a pack of motorcycles WHIZZING past
his head. Like a marionette, he's jerked back up right
in front of an oncoming 1973 Delta 88 Oldsmobile. He is
grazed by the car's hood. His body bounces off the
windshield.
438
438 DARMAN
is lifted straight into the path of a fast-moving truck.
Truck HONKS furiously. Darkman strains his legs.
CLOSE-UP: TRACKING over the truck's aluminum roof.
CLANGITY CLANGITY CLANG
THE DARXMAN'S FEET
run 80 miles an hour along the roof of the truck.
Darkman manages to loop the bottom rung of the rope
ladder to a steel hook on the truck's cab.
(Revised Sc 9g 2-17-89)
159.
439
439 HELIER
Looking forward over Durant's and pilot's shoulders.
The:pa3at has the stick. We are rushing directly
town an overpass.
DURANT
UP! PULL UP!
440
440 TRUCK ADOF
The ladder snaps taut against the hook.
HE LI C(STER
We are about to be obliterated.
441
441 Pilot is yanking on the collective; the chopper whines.
PILOT
SHE WON'T GO!!
P441
P441 THE OVERPASS
rushing up.
P442
P442 TRUCK ROOF
Wind whipping at his coat, looking up at the doomed
helicopter, the Darkman bellows in triumph.
B442
B442 Wind whipping at his coat looking up at the doomed
helicopter, the Darkman bellows his triumph.
P443
P443 OVERPASS
taking up the entire screen.
--impact--KABOOM!
P444
P444 TUNNEL
B444
B444 Darkman, LAUGHING on the truck, races through the
darkness,
444A
444A flaming debris from the helicopter cascading
over the mouth of the tunnel.
CDT TO:
160.
445
445 INT. STRACK'S OFFICE - NIGHT
Strack sits behind his power desk, talking into the
phone..
STRACK
We've consolidated the waterfront,
Governor ...Yes, I'm aware there's been
some unpleasantness but that's over
now. Yes, I'm sure. You sound a little
nervous, Bryant. Have a brandy, watch
a cop show.
The door opens. A security officer appears.
SECURITY OFFICER
Robert Durant, sir.
STRACK
(PLEASED)
Send him in.
(TO PHONE)
Goodbye, Governor. Everything's taken
care of.
He hangs up. We hear the door open and close. Strack's
smile vanishes.
ROBERT DURANT
enters. He looks awful--face scorched and bruised,
severe limp.
STRACK
You look like hell, Robert.
DURANT
The son of a bitch malfunctioned my
helicopter.
STRACK
And Westlake?
CONTINUED
(Revised scene numbers 2-17-89)
161.
445 CONTINUE
DURANT
'f ie man's a cockroach. You think you
;tall him, and he pops up someplace
, Ise.
A beat.
STRACK
g expect he'll pop up here soon.
(PRESSES INTERCOM)
if Westlake calls, kindly refer him to
Strack Towers.
(TO DURANT)
Come, Robert, let us kill the girl.
CUT TO:
B446
B446 INT. A CONSTRUCTION ELEVATOR - NIGHT
RATTLING up the steel skeleton of a skyscraper,
P44
P446 stars all around us.
STRACK
I'm glad you survived, Robert. I'd
hate to see your kids deprived of a
role-model.
DURANT
They do look up to me.
The elevator grinds to a halt and the two emerge. The
lights of the city tremble over the water. A glitter
and breadth to the landscape, an urban grandeur.
STRACK
Kids need an example, Robert. When I
was a young man my father made me work
high steel. That's how he started out,
and in his view what was good enough
for him was good enough for me...
CONTINUED
(Revised Scenes 2-17-89)
162.
P446 CONTIKUED
Strack gestures broadly with one arm.
STRACK
...It was just me and the Indians, no
one else crazy enough to run around up
here, against the wind, four-fifty an
hour. Sure I resented it, but now--
call me crazy--sometimes I miss it, it
sharpens your wits. Life on the edge.
Five inches wide. Two hundred fifty
feet down. High steel...
He turns to face Durant. There's a gun in his hand.
STRACK
You don't have any kids, Robert.
DURANT
What are you talking about?
STRACK
Or should I say, Doctor Westlake?
DUR ANT
I'm Durant! Robert G. Durant!
STRACK
Then I'm going to make a mistake.
There's a long beat. The vein begins to pulse on
Durant's temple. His eyes grow predatory, evil.
DURANT/ DARMAN
(RASPS)
Where's the girl?
Strack hops nimbly out onto a narrow girder. He smiles
back over his shoulder.
STRACK
You want to see the girl? Follow me,
I'll take you to her...
Durant/Darkman follows, taking the first few tentative
steps.
CONTINUED
(Revised Scene Is Z-37-89)
163.
P446 CONTINU3?D(2)
STRACK
...I must say, Dr. Westlake, you've
certainly worked some mischief.
Pretty much wiped out the security arm
of Strack Industries. That's okay.
I'm a good sport...
He leaps from beam to beam, Durant/Darkman following
cautiously behind.
STRACK
...And I can handle my own problems.
I do whatever I have to do. In fact,
that's how I got my first properties.
My wife--late wife--held certain
deeds... I sent her on a plane trip
over the Smokies and well, let's just
say ;landed on My feet...
(SHRUGS)
.as for my father, well, he was old,
I spared him a few miserable years...
Yes, we all have dreams, Dr. Westlake,
but we don't all have what it takes to
realize those dreams.
DURANT/DARKMAN
All I have are nightmares.
A beat.
STRACK
Then share my dream. After all, you
and I are pretty much the same. We
should be working together. Both smart
fellows. Similar styles. Same taste in
women. I could use a man like you.
DURANT/DART AN
(RASPS)
Go to hell.
STRACK
Eventually, eventually...
He proceeds nimbly along the beam.
CONTINUED
(Revised Scene #s2-17-89)
164.
P446 CONTINUED(3)
STRACK
I guess you just don't have what it
takes. I gather you run around wearing
other people's faces now, since yours
is so... loathsome.
He shrugs.
STRACK
.See I could never do that. The
world has to
take me as I am. And all this tit-for-
tat stuff you've been up to. Silly.
Living in the past. ; only destroy to
build something better, whereas You..•
ah, here we are.
447
447 Julie stands out on the end of a projecting girder, at
the furthest extremity of the growing building. Wind
whips at her hair and dress; she clings pathetically
to an upright.
DURANT/DARKMAN
Julie!
Strack laughs.
STRACK
Bring on the strings! Young lovers!
In peril! Separated by ruthless
forces, larger than they!--What a
banal tale. In it, I suppose I play
the villain. But wait, Julie--which
of us is the monster here?!
With this he reaches over to Durant and--SQUISHHHRIPPP!!
-- tears his face off, tossing it over the edge..
448
448 The face spins down, whooshing end over end, the wind
flapping it this way and that. On the way down it slaps
against the occasional girder, momentarily flattening
out into the recognizable face of Durant, and then peels
away again. It spins downward towards a forest of
reinforcing bars that form a pungi pit of steel spikes
in the open foundation below. Finally it lands--splat--
pierced through the eye by one of the rusty re-bars.
165.
449
449 JULIE
gazes at Darkman's ghastly visage for the first time,
overcome by horror and repulsion. Darkman's vein pulses
like csa y..
Strack"s tone is almost admiring:
STR.ACK
You truly are one ugly son of a bitch.
BLAM!
Strack shoots Darkman in the shoulder, hurling him off
the bean. The Darkman tumbles, limbs flailing, bellowing
with rage.
THE WORLD
Spinning upside down--stars, abyss, stars, abyss--
GIRDER
As Darkman's fingertips clamp onto the upper lip of an
I-beam... barely hanging on, vein pulsing.
ON THE UPPER GIRDER
Strack looks down, wind whipping his hair. HIS POV--
nothing. Darkman has been swallowed up by the night.
Pocketing his gun, Strack proceeds toward Julie.
JULIE
recoils as Strack stops in front of her. He touches her
hair.
STRACK
(WITH REMORSE)
First my wife, then my father, and now
YOU--
He places his hands on her shoulders, preparing to push
her off the girder. With intensity:
CONTINUED
166.
449 CONTINUEN
STRACK
-It is the tragedy of my life that I
always have to kill the ones I love.
As he's about to push her:
A VOICE BEHIND HIM
IDuis !
Strack turns around.
450
4 5 0 STRACK St.
stands behind him, glaring angrily.
STRACK JR.
Father?
STRACK SR.
(HORRIBLE RASP)
I should've snuffed you out at birth!
With that Strack Sr. rips off his own face, exposing
the enraged visage of Darkman... Strack reaches for
his gun.
451
451 BAM!
Darkman mashes his face and the gun flies out of his
hand into the darkness below.
STRACK AND DARXMAN
OF
battle it out on the narrow girder, hundreds of feet
sure death on either side of them.
BAM! BAM! BAM!
Savage punches send Strack reeling--BAM!--he falls onto
the girder... nearby are a bunch of tools... Strack
crawls toward them.
CONTINUED
167.
451 CONTI1rn D 451
A RIVET GUN
only a few inches from his grasp.
DARIOM
swoops onto Strack, pummelling him.
STRACR'S HAND
inching painfully toward the rivet gun.
DARKMAN
pummelling, lost in the act of his final revenge. He
steps back to give a final blow...
.and slips on some loose rivets, flailing for balance.
STRACK
lunges. CLANG! Darkman slams into a vertical bar.
ZMMMMMM! Z !
452
452 The rivet gun shoots a bolt through Darkman's wrist,
then the other wrist--pinning him to the I-beam...
Strack takes a step backward, exhausted.
453
453 STRACK
STRACK
Now you get to watch your girl-friend
die.
He moves toward a terrified Julie.
DARXMAN
SHRIEKS and reality melts around him as he tastes the
hot soup of rage.
454 CRACK!
Gigantic fissures appear on all the girders... we spin
into Darkman's eyeball to find--
455 THE ULTIMATE RAGE MONTAGE 455
Nightmarish flashes of laughing faces jeering into the
camera; Julie and Strack kissing, naked.
456 Strack's face bobs, attached now to the body of the 456
dunking bird, his nose nearing the ignition of a huge
lighter. As contact is made the lighter explodes in a
shower of gold Krugerands.
457 The gold coins fall away to reveal Peyton's unscathed 457
head, bobbing on a freakish and deformed doll's body.
Atop a circus platform, he does an angry jig. He wears
a funny little hat.
458 Peyton's face liquefies and flows off his head to reveal- 458
the face of the Darkman.
459 A drop of liquid Peyton falls upon... A cube of ice. It 459
bursts into flames.
460 The camera races back from Darkman's eye.. his vein 460
pulsing madly.
461 DARXMAN'S RIVETED HAND 461
insensitive to pain, he pulls, every sinew concentrated
on the task. GGGGGGGG ! A horrible grating
sounds as the first rivet rips through steel... One hand
is freed. GGGGGGG ! .The other is freed.
462 STRACK 462
with his back to him, doesn't have a chance to turn as:
CONTINUED
169.
462 CONTINUED
DARKMAN
pounces.
He lifts him full into the air. Strack's legs and arms
flail impotently.
DARKMAN
ARRRRRRRGGGGGGG !
Darkman hurls him up, up into the air.
463 Strack rises helpless, flailing his limbs... then begins 463
to fall, yards away from the girder.
464 He spins, end over end, to--PPHHHHFFFTHHMP!--be impaled 464
on the rebars many floors below, next to Durant's face.
CUT TO:
465 INT. CONSTRUCTION ELEVATOR 465
HUMMING at the cut. Darkman and Julie are inside.
Darkman remains turned from Julie, facing the shadows.
Gently, Julie touches his shoulder to draw him toward
her.
JULIE
Peyton, I can help.
DARKMAN
No one can help.
JULIE
I don't care how you look, Peyton! I.
love you. The burns don't matter.
There's a long pause. Then Darkman turns the twisted
remains of. his face toward her. Julie sees them in
close-up.
CLAMP! The elevator jars to a halt on street level.
CONTINUED
170.
465 CONTINUED
DARKMAN
Take my hand.
Julie stares at the charred skeletal fingers. She
overcomes her repulsion and puts her hand in his.
DARKMAN
It disgusts you.
JULIE
No.
Darkman stares at her a long time, anguished, torn.
FINALLY:
DARKMAN
This hand... it used to caress you.
Now it can only tear, rip away at
things.
JULIE
(ANXIOUS;
PERSUASIVE)
But you'll perfect the skin. You'll
get rid of the scars.
DARKMAN
It's not just the scars. I've changed-
He grips his skull.
DARKMAN
--inside.
He pulls the elevator open.
DARKMAN
(BEAT)
I can live with it now, but I don't
think anyone else can.
JULIE
(tears in her
EYES)
I want it back. The two of us--the way
it was...
Darkman's voice breaks:
CONTINUED
171.
465 CONTINUED(2)
DARKMAN
What we had--our life together--it
belonged in the light of day.
He disappears into the darkness.
JULIE
Peyton!
Darkman's voice floats back as he stalks away:
DARKMAN
Peyton is gone...
466 He heads into the shadows. At the edge of the darkness 466
he pulls a mask from his coat and disappears behind a
construction trailer. A pedestrian reappears on the other
side.
Julie knows it's!Darkman. She chases after him but he
slips into the pedestrian traffic.
The camera hurries down the street with Julie as she
desperately searches for him, turning people around,
staring at their faces... It begins to snow.
JULIE
Peyton!
She rushes from pedestrian to pedestrian, staring into
alien faces in search of the man she loves.
AS WE ROLL END CREDITS
The camera pulls back into the crowd of pedestrians,
any one of who could be Darkman... We continue to pull
back, down avenues and side-streets, byways, courtyards,
wherever the crowd spills, into an alley... As a street-
person shuffles into view:
467 A MUSCULAR HAND 467
snaps open a switch-blade. A second set of arms grabs
the street person and spins him around, revealing--
172.
467 CONTINUED
THE CHARRED SKULL OF DARKMAN
Wild, half-mad eyes gleam wickedly from boney sockets.
Mandibles yank back and, through a lipless smile, he
RASPS:
DARKMAN
RUN FOR YOUR LIFE::
CUT TO BLACK
|
