Joshua & Daniel Goldin, Sam & Ivan Raimi and Chuck Pfarrer
INT. PIER BUILDING - DAY
A shock chord as we cut from black to a harshly toplit
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.
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
The room is lit by bare bulbs, its farthest reaches
falling into darkness.
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.
They're drivin' up.
Get their pieces. We got a surprise
for those fuckers.
2 EXT WHARF - DAY
We are tracking towards a chain link fence which is
swinging open to admit two midnight blue Lincoln
The cars stop in the foreground and eight men get out,
eerily backlit in the mist of the riverfront.
3 SLOW TRACKING - ROBERT G. DURANT
is a well-dressed and immaculately groomed man of forty.
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 SLOW TRACKING - SKIP NATICK
walks with a pronounced limp.
6 SLOW TRACKING - TRUMAYNE JOHNSON MC SAM
is a large black man with a quiet, studied cool.
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.
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.
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.
stands waiting for them. He eyes Skip, the limper.
I was engaged to a girl with a wooden
Yeah? What happened?
I hadda break it off.
15 The dock workers laugh. Black indulges his wens'
laughter, then cuts
okay, let's cut the crap here.
Durant, I got just three things to say
to you. One
He holds up a chubby finger.
I ain't selling my property.
He flashes a second finger.
Two. Nobody muscles Eddie Black
Especially a bunch of fucks.
He flashes a third finger.
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.
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:
Now let's consider my points, one by
puts a full nelson on Black. Trumayne, grabs Black's
right hand and holds it out, fingers splayed, towards
He slips one of Black's fingers into his cigar trimmer.
.1 try not to let my anger get the
better of me.
SNIP! Black screams. As Durant goes for another finger:
...Two: I don't always succeed.
SNIP! Black screams. Reaching for another finger:
...Three: I've got seven more points.
2 0 EXT WHARF - DAY - LONG SHOT
Looking down on the lonely waterfront building, we hear
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.
The nostrils flare slightly.
Still. Suddenly it is hit by a flash of light as -- B-
DEEEE -- we hear the automatic wind of a camera and its
B-DEEEEE! B-DEEEE! We get rapid-fire left and right
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
22 CONTINUED 22
The nose belongs to YAKITITO YANAGITA a Japanese graduate'
student wearing a lab smock and glasses with thick, coke
Now, if everything goes according to
plan, in a couple of months your nose
will be on the lips of every
He is feeding the prints into the input slot of a
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
23 PEYTON 23
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
25 Peyton glances from the Imager to the computer. He types 25
on the computer keyboard.
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.
No more bunching. Looks perfect.
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
skin's instability. If the
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
damaged skin tissue.
make him better looking. Hey, what's
fumbles for the stopwatch that hangs around his neck.
Ninety-eight minute and change.
Let's check in our friends.
moves to a microscope.
27P MICROSCOPE P.O.V.
Cells swimming in an agar-protoplasm bath.
29 A COMPUTER MONITOR
that is connected to the microscope.
(REVISED SCENE #'S 2-17-89)
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
On the right half of the screen, another image forms. It
is a second molecule. Beneath it, the words:
The molecules rotate in synchronization. A loud beeping
tone. Suddenly, the synthetic molecule begins to waver
and spin randomly.
31 VIEW THROUGH MICROSCOPE 31
The unstable cells fragment.
32 INT WESTLAKE LAB 32
Peyton shoves himself away from the microscope.
Yakitito checks his stopwatch.
Ninety-nine minute. Again.
He stares dumbly at the stopwatch, frozen. He repeats,
..Ninety-nine minute. Cells always
break up at a ninety-nine minute.
He punches away at a keyboard and takes the readout.
Electrolytes, temp and glucose
concentration. all normal.
But still this ninety nine minute.
Yakitito makes a notation of the time on a lab sheet.
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.
posts the completed lab sheet on a wall covered with hundreds
of similar sheets.
We already try ten.
He pokes at a section of lab sheets.
And twenty. And twenty-two... We try
all phase of alkalinity.
He punches the wall. CONTINUED
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
A word of advice, Yakitito. Don't get
emotionally involved. Watch.
Analyze. Remain object ---
He is cut off as Yakitito punches the wall again and
again to punctuate his speech.
Maybe I am lousy scientist.
listen to father, get
in Anaheim! Get drunk on Sake nightly,
forget I am failure!
A basketball appears in Peyton's hands. He tosses it to
Catches the ball.
The most striking characteristic of
Throws the ball away.
No, always you ask me question to ma
me calm down! I no want to calm down!
catches the ball, dribbles and throws it back to Yakitito.
The answer, Yakitito.
snags the ball angrily from the air.
It is most strongly depending on
He throws it at Peyton, who grabs it, and pump-fakes
Yakitito, not letting him have the ball.
Again he pump-fakes. Yakitito flinches.
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.
Amazing. It work every time.
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
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.
Mr. Strack, my name is Julie Hastings.
I'm here from Pappas and Swain to
represent you in the Von Hoffenstein
How do you do? And please, call me
Louis. This is my father who--
Strack Sr. interrupts his son's introduction.
I don't want some fancy-ass woman to
do my negotiating. Where's Herb
Gorson's tied up in litigation this
week. Don't worry--I've done my
scowls, ungraciously accepting her.
I'll stop worrying when you get Von
Balibreaker's price down to sixty
He turns and starts striding down the hallway, the
.If he goes that low, lock him up.
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
Liveried waiters are just clearing the table and serving
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
Then I guess we're only missing one
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.
.Mr. Katz, I've found that in the
real estate business, three factors
determine a property's worth. CONTINUED
Katz leans forward, listening.
...Location. Location. And...
location. Frankly, you have none of
the above. Your fair price is fair
for midtown commercial, not for
It's worth more to your client, given
his plans for the area.
if my client can spin straw into gold,
he'll still pay market price for
straw. As a matter of fact--
--Business is business. Deals vill
come and go, but ze velt vill pause
for a beautiful voman...and a fine
Our offer stands at forty-eight.
Smiles a worldly smile.
Let us toast a zale at ze price of
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.
To Von Hoffenstein: CONTINUED
You're moving in the right direction,
but our offer stands firm. i believe
if anyone had
offered you more than us, you'd
sharing this wine with them.
She sips the wine and then, frowning, turns to the wine
.There's been a mistake. We ordered
a bottle of '67 Beaujolais Maison
Reme. Is that not correct?
Oui madame. '67 Beaujolais Maison
Reme. Is what I have serve.
Julie pleasantly but firmly corrects him.
No. You have served us a 1981 or
1982. California Beaujolais.
Pleasant, but hardly worth
Strack Sr., frowning, examines the wine. It's news to him.
Please, Madame! I serve the Reme!
Mine tastes okay.
Ms. Hastings, please. The wine is
fine. You're way out of your league
here. I'm sure the wine steward--
plucks the CALIFORNIA
SAN MEDUSO 1982.
The wine steward whispers sharply in French to the
waiter, then turns back to the table.
Please forgive us. We bring the bel
Reme.at once. Gratis.
Julie addresses the baron.
At any rate, our offer stands at
As she rises:
.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:
I told you to make this deal.
Von Hoffenstein calls after them his wine glass held
Permit me, madame! Too fine a vine
not to use for a toast!
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.
How much did she pay you?
Monsieur, I don't know what you are
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
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.
The fluid disappears from the bottom beaker and instantly
reconstitutes in the top beaker as a steaming brown
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
He looks down into his microscope.
Ninety eight minute.
A light goes out, leaving the lab in darkness except for
the glow from the computer screen.
.Is a bulb. I get a fresh.
As he rummages in a drawer:
So, did you ask her?
Out of habit, Peyton glances back to the microscope.
This is unbelievable! You been saying
tonight for weeks and still you don't
ask her! Maybe I ask to marry you.
Your father would never approve of me.
Yakitito stares at him in puzzlement. Then:
216, no, I ask he if gbg marry you. I
Peyton looks through the microscope;
38 MICROSCOPE POV
The cells still pulsate with life.
Huh?! One hundred minute!
Peyton grips at the table with excitement.
The cells are holding, Yakitito.
Okay, Yakitito, you made your
Yakitito is out of control.
Dr. Westlake punch the wall! Dr.
Westlake punch the wall!
Quickly .The function of sinusoidal
currents in electrogenesis?
The basketball appears in Yakitito's hands.
You Punch You answer the
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
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:
Gold Kugerands are looking attractive.
Another long pause.
Are those the ones with the chocolate
Gold currency, father, as you know.
And yet another pause.
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
What the hell!
We have a flat, sir. I'm sorry.
You should be. This'll come out of
45 EXT. LIMOUSINE
The driver gets out and stoops to examine the tire.
discretely removes a straight-razor from his coat pocket
and approaches the tire.
46 INT. LIMOUSINE
After a pause, Strack Sr. rises heavily to his feet.
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 EXT. LIMOUSINE
Strack Sr. bends to examine the tire.
is now deflated.
ments room. CAMERA MOVES
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
who hobbles directly toward the man. CAMERA SWISHES in
front of Strack Sr. to again reveal.
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.
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!
races out of the car and rushes over to his father.
lies motionless on his stomach. Strack Jr. turns him over,
revealing that Strack Sr.'s chest is flooded in BLOOD.
(Revised Scene Numbers
A SCREECHING SOUND
as a midnight blue Lincoln Continental races away from the
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
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 INT. WESTLAKE LAB BUILDING - NIGHT
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.
is uneasy. She halts halfway up the stairs to listen. We
hear only the scurry of
THE LAB DOOR
Julie reaches the landing and knocks... causing the door to
open with a CREAK...
52 INT WESTLAKE LAB - NIGHT
...Julie moves tentatively through the lab, increasingly
frightened, sensing the presence of another person.
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.
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
extrude slowly from slots over the windows.
fills the room. It is a hollow Voice that echos about the
Please be seated.
A spotlight SNAPS on, illuminating a chair behind her.
Numbly, she sits in it.
tak l in of her. Tvoice
tak cati nal
essono heomonotonousltone ofoatnarrator ofhedu
ve. ow does it work? A Westlake
A smile spreads across Julie's face.
A slide is projected on the screen. It shows a sunset
over the ocean. Very corny, distorted music over this
Love. Science is perplexed over this
Shot of Peyton and Yakitito in white lab coats, identical
looks of perplexity on their, faces.
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
Again the sunset and distorted music.
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.
These lovers first met on a seventh
grade field trip to the planetarium...
Shot of the night sky, rich with stars and galaxies.
While the narrator discussed the
origins of the universe, Peyton held
Shot of a somewhat nerdy Peyton with his arm stiffly around
You were so slick.
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
Montage of Peyton and Julie throughout the years.
In the case of these two--a rare
phenomenon--it lasted twenty years.
Although we broke up sixteen times.
Sunset and distorted music.
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
Certain objects develop a special,
shared meaning to lovers. Here are
some objects significant to our test
Shot of coffee-rings on a table.
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.
Yet such minor irritations can
strangely become endearing to the
Not just yet they haven't.
The slide changes to a shot of a bottle covered in wax.
The bottle of Dom Perignon Champagne
Julie gave Peyton for his twenty-first
birthday. Now it serves as a candle
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.
Finally, the single Love in the ark
The song continues. Julie smiles, swept away by it.
This song was playing when the two
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
Now let us leave our test-subjects.
The sunset again. ov in the Dark theme plays over it,. and
eventually fades away.
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
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.
Pretty stupid, huh?
I thought it was beautiful-
Yakitito helped. I just wanted you to
see it. It was just something I
wanted you to. . know.
Peyton wraps his arms about her. Julie moves close and they
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.
HALTS on Peyton anï¿½EuRl etï¿½ y heircloveamakingï¿½v
The test-tubes CLA h thm
to th DISSOLVE TO:
54 LATER THAT NIGHT
Peyton watches Julie as she sleeps, his shadow crossing her
beautiful face. He strokes her hair.
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.
.Dale Gorson, please...
Peyton's hand enters with a mug of coffee, which he sets on
the papers in front of her.
Julie takes the mug away; it has indeed left a brown circle
on the topmost memo.
Julie smiles at him. Then:
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
Peyton, behind her, massages her back.
.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.
(Revised Scene is 2-17-89)
Bye. I'll call l you tonight. Maybe we
can get together.
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
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.
She is opening the cab door when she turns to him.
What's the matter?
I've been thinking. Maybe we should
58 JULIE 58
Freezes half in and half out of the cab door. Panicked.
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
'We're practically living together now.
All marriage means is you answer the
phone in the and if
you to pretend
it's a wrong number. The poor woman's
beginning to think she has
i--i can't talk about this now...
59 She starts to get into the cab when Peyton stops her.
Julie, I'm asking you to marry me.
60 THE CABBIE
leans out of the cab to Julie.
He got a ring?
Peyton, you didn't go ou anp d you?
lot of money on a ring, di
Ring? Oh, no, I don't have a ring.
61 THE CABBIE
motions for Julie. She leans close.
He don't show much sense of
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.
I mean, I just now finally
I love you, Peyton...
She climbs into the cab, closes the door.
-Realized how much--
(through the open
but I guess I'm not ready.
64 Julie leans close to kiss him, but the cab pulls into 64
65 VIEW THROUGH REAR WINDSHIELD 65
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.
66 OMIT 67
67 I/E THE CITY FROM STRACK'S OFFICE - DAY
From many, many stories up. We are pulling back.
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 INT STRACK'S OFFICE - DAY
.Very good. Thank you.
He hangs up.
.Miss Hastings. Have a seat.
Thank you for seeing me, Mr. Strack...
I'm --sorry about your father. I
heard last night.
My father was a great man, and his
loss is felt by
you something? allfof?us.
Maison Reme 1967?
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
Strack has gotten up to pace.
Yes yes, I know the memo.
Julie continues, hesitantly:
...It seems like the payments... were-
They were pay-offs. To the zoning
commission. Bribes, to call a spade a
He gives her an appraising look.
.Does that shock you?
No. In fact I'd surmised as much.
But it disappoints you.
Well it's hardly my place to--
That's right, it's not your place.
Yet I value your good opinion.
Surely you don't expect me to endorse
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
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.
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...
.the point is my father is well
beyond the reach of the law, but that
memo could embarrass Strack
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
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
I wish it were that simple. First of
all, I don't have the memo with me.
Even if I did--
It isn't safe to have that document.
Are you threatening me?
moves closer, touching her arm.
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?
He's an underworld figure--
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
There's a pause.
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.
Is that the most I can extract from
I believe it is. Well then, my dear,
I'm in your hands.
68 INT. HALLWAY OF STRACK'S OFFICE - DAY
Julie exits the office area and gets into an elevator.
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
The song IM IR =E DARE
Haunting. Sad. As Julie listens, she becomes more and more
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.
70 INT WESTLAKE LAB - DAY 70
Peyton stands over the projected microscope image on the
So, did you ask her?
Not yet, Yakitito, not yet. Time.
This is unbelievable! Every day--
It still ninety six minute! Sounds to
me that maybe you didn't ask her.
Maybe your afraid?
Look, I asked her. She said no, okay?
Well, she actually said "I don't
Peyton stands and stretches. The telephone rings, Peyton
moves to answer it.
I'll get it.
71 EXT PAYPHONE - DAY -JULIE 71
is beaming as she stands at a pay phone waiting for Peyton
?1 CONTINUED 71
please be there Peyton.
72 INT. WESTLAKE LAB - DAY - PEYTON 72
reaches for the phone when.
Juts out of the shadows and clutches at Peyton's wrist!
We hold on his shocked face as the phone rings and then
A light hits Peyton's face. He turns to look.
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
comes on revealing Trumayne.
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)
looks wildly about.
Panning from Skip to Rudy to Trumayne to--Pauly's fist,
being launched directly into the camera.
is knocked back across the lab table. Glassware and
pulls him up and slams him into the wall.
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
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
I don't know what you're talking
BAM--BAM--Pauly has grabbed him by the hair and rams his
head into the wall twice.
74 DURANT 74
looking sadly down.
The Bellasaurious memorandum if you
I told you, I don't know what you're
CRACKLE--Yakatito Yanagita is thrust into frame, his
mouth stretched wide under the plastic bag that covers
.Should your houseboy's predicament
not jog your memory, you may bid him
Stop it! Let him breathe!
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.
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.
(Revised scene is
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.
emerges from the bedroom.
He waves the coffee-stained document that he has found.
75 TRUMAYNE AND PAULY
grab Peyton and ram him into the two electrodes that lead
to a reservoir of blue fluid.
s connects and is electrified. Unable to lot go, he
shrieks a s his body
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 RICK'S FACE
Twitches in horror.
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-
(Revised Scene #s 2-17-89)
8o FLASHES of white current light up Smiley's beaming face. 80
81 PEYTON . 81
collapses to the floor, atop his flaming hands,
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.
pulls himself to his knees, cradling the smoking claws
that were his hands. Durant lifts him to his feet.
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
83A PEYTON - PUPPET HEAD 83A
The charged blue fluid eats into his skin.
grins with delight.
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.
surveys the wrecked lab, then hands Trumayne his cigar
Bring the Asian's fingers.
(aloud; to his
DURANT AND THUGS
THE OPEN GAS VALVES
HISS, filling the room with the explosive mix of oxygen
THE DRINKING BIRD'S
beak inches closer to the ignition button on the lighter.
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)
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
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 THE BEAK OF THE DRINKING BIRD
dips closer to the electronic lighter's ignition
crawls to the base of the table which holds the bobbing
bird and lighter.
86C PEYTON'S CHARRED AND SMOKING HAND
fumbles for the lighter.
86D EXTREME CLOSE SHOT - BIRD BEAK
Closer... closer... contact. The lighter CLICKS.
86E CLOSE SHOT - SLOW MOTION 400 frames a second.
A tiny spark is born. It grows.
(Revised Scene s 2-17-89)
EXTREME CLOSE SHOT - PEYTON'S PUPIL
widens in fear, then contracts, responding to a bright
87 SILENCE - LAB WALL
One thousand lab sheets ignite.
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 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 SILENCE - SAM-O-CAM RIG - PEYTON
As he is thrust off of his feet, and rocketed through the
91 SILENCE - EXT. PEYTON'S BUILDING - MINIATURE - NIGHT
Intense blue light flashes out of the windows and up the
chimney into the sky.
91A Peyton's rag doll body spins end over end, upward
towards the stars.
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)
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
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
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 BITS OF CHARRED PAPER - MINIATURE - SLOW MOTION
float-past her and the burning building beyond.
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
(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.
Didn't see you workin' out there.
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.
104 JULIE 104
raises her tear soaked face and we see the extent of her
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
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.
109 THE RESIDENT PHYSICIAN AND FOUR INTERNS
saunter over to the hydraulic bed where nurses adjust
the patient's I.V. tubing.
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
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.
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
111 ZIIIP! He extends a telescoping steel pointer and to n's bandaged ear.
indicates a spot just above Pey
.Here. Which, as you know,
transmits neural-impulses of pain and
vibratory sense to the brain.
112 ZIIIP! He collapses the pointer and returns it to his
113 THE HYDRAULIC BURN PLATFORM
continues its slow rotation with the mummified patient
now turned sideways.
No longer receiving impulses of pain,
you stick him with a pin...
He jabs a sterilized needle deep into the bandaged knee. 114
Interns gasp. The resident leaves the pin in the knee
for dramatic effect.
.and he can't even feel it.
With a sharp practiced motion, he plucks out the pin.
PATIENT'S BANDAGED FACE
His eyes still closed. No response.
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.
THE PATIENT'S BANDAGED FACE
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
The resident speaks over his shoulder to the interns as
117 CONTINUED 117
Naturally, we give him every chance of
He waves his hands about in futile circles letting the
interns know that this is the party line.
.Remain optimistic... inspire
confidence... Talk to him about
Personally? I give him a nine on the
118 THE LOUDSPEAKERS 118
emit a loud warning tone.
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
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
122 THE RESIDENT 122
is the last to arrive. He can't see above the heads of
the technicians and interns.
(Revised Scene Numbers 2-17-89)
Alright, move. I'm in charge here!
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.
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.
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.
growing misty. He staggers across the street after her.
terrified at the sight of...
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 DARK FIGURE/PEYTON
A vague, unrecognizable shape in the shadows. From it
comes the awful sound of an inhuman voice, an
unintelligible guttural rasp:
A gasp caught in her throat, backs away...
removes his offending
recoils, from her behind his back.
horror-hand andtuck eitlshamefully
moves quickly away, her hand protecting her throat.
Her fear is mixed with pity as she turns away from this
But she is too far away to hear.
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 , Â°theaotherrto thetshadowshof the alleys
136 EXT. CITY STREET - NIGHT
A bandaged Peyton emerges from a cloud of fog in the
137 A LAUGHING COUPLE
rush from a posh restaurant, past Peyton, and into a
138 EXT STREET - TITAN CRANE - WIND FANS - PEYTON'S LONELY
t follow them. He s overcome looks like the last
d distance that Peyton
to such a great t
man on Earth.
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
(Revised Scene Numbers 2-17-89)
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
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
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.
147 INT WESTLAKE LAB/APARTMENT - DAY 147
The charred door falls toward us, and into the ashes of
B147 I/E WESTLAKE LAB/WALL HOLE - DAY B147
stands in the doorway wearing the black tattered
overcoat and bandages. He gapes at the wreckage of
his former world.
149 YAKATITO'S COKE-BOTTLE EYEGLASSES
twisted from the heat.
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 HIS BANDAGED FINGERS
relax, letting the charred chair fall back into the ashes.
i rorr reflects his
moves to a scorched andbï¿½heenm 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
grabs the, picture. In a fire ravaged voice;
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.
154 DURANT'S GOLD LIGHTER
etal fingers clutch
Twisted and scorched.
the lighter and it ey to his on'seskel
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".
He shakes as it floods him.
156 A VEIN
stands out on his forehead, swelling with blood, heaving ad.
to the frantic pace of his heart... He clutches his he
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 THE CAMERA ROCKETS IN -
to his dark pupil. Within the blackness, we perceive -
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 ELECTRICAL NERVE IMPULSES
bombard the barrier, flashing upon this receiving
I wall of the brain.
(Revised Sore s 2-17-89)
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
surgeonâ€ž 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...
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
But we can't hear him. We pull back from his pupil
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 )'Â°
162 CONTIIZTED 162
The band plays, many couples dance, others chat around
the bar. The bandleader wraps up the song. Polite
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
ON THE TABLE
a huge cake, elaborately constructed in the sleek shape
of a sleek, modern skyline. The same as the model on
cuts one of the skyscrapers neatly in half with the
The Governor passes the piece to LOUIS STRACK JR. who
sits at his side.
As usual, Louis, you get the first
piece of the action.
LAUGHTER...Strack takes a bite from the building's top floors.
Louis, I want to take this
opportunity to express my gratitude,
my extreme gratitude--
(to the crowd)
He's talking about my campaign
LOUD LAUGHTER. The Governor waves it away.
I'm talking about the Riverside
development program. Louis, you've
breathed new life into a neighborhood
long ago lost to the democrats.
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 GRAND BALLROOM - THE STAIRS --NIGHT- LONG SHOT
A beautiful woman floats down a set of marble stairs.
165 HEADS TURN.
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.
Vodka and lime, please. A double.
A business man, flushed with drink, observes her.
He moves to the seat beside her.
Drowning your sorrows, eh?
Just giving them something to swim
She drinks the vodka quickly. She sighs.
Why don' ya tell all your troubles to
Please remove your hand.
The businessman has his hand on her thigh; it crawls
166 CONTINUED 166
clamps firmly down on his shoulder and spins him around.
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.
Ferguson, you've had too much to
Right away, Mr. Strack.
Chastened, he beats a hasty retreat. Strack turns
Thanks for getting rid of that guy.
Thank you for coming. I'm glad you're
He takes her by the arm and starts to lead her across the
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.
The decision's been made for both of
us. The papers were destroyed in the
fire. I want to forget all about that--
The fire-- the whole thing. . I'm
quite disturbed by it. I can't help
Do you remember when I mentioned a
certain competitor of mine, Robert G.
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
She breaks off, getting choked up. Strack's manner is
sympathetic and solemn.
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.
My dear, there's no cure for grief
He takes-her by the hand.
...But there is something that eases
the symptoms. It's called...
He sweeps her out onto the dance floor.
167 ON THE DANCE FLOOR
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
commitments to Pappas
I've already spoken to Ed Pappas.
You had no right--
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
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.
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
resents being gripped and lectured to and yet... she
senses in Strack, a power and magnetism that holds her.
I'll consider it...
Strack smiles. As he sweeps her around, her eye catches
something. Her face tightens.
Mr. Strack, I don't want to alarm you,
but who is that man, speaking with the
turns to look.
What's bg doing here?
SWISH PAN from Strack's frozen expression... through a
blur of dancers to:
chatting with the governor. He catches Strack's eye.
Holds eye contact for a moment.
That, my dear, is Robert Durant.
(Revised Scene Numbers 2-17-89)
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
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...
S174 WOODEN BLINDS
The wind gusts, causing the shutters to clatter.
175 A CRACKLE OF ELECTRICITY
as the TV snaps 'off.
jerks awake. The place is suddenly totally dark.
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;
What do you want?
We're gonna play a little game. It's tell
called show and tell. First, y
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
Uh huh. Then I show you... how to
A terrifying pause. Then:
Rick SCREAMS as his legs fall out from under him. CAMERA
PANS DOWN TO REVEAL:
178 A SKELETAL CLAW 178
dragging a kicking, screaming Rick under the bed.
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.
You always knew there was something
like me under the bed.
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 DARKMAN'S SKELETAL FISTS
smash into the wall like flying pile drivers around
Plaster cracks and flies. Rick's bleeding face twitches
in fear, on sanity's edge.
But I gave you the names. Where they
lived... I told you everything.
Darkman's eyes leer at us.
I know you did...
The eyes come close. Closer.
(with dark joy)
.but let's pretend you didn't.
His skeletal claw clamps down over the camera lens-
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:
I've been bad.
He looks to the moody sky. Inky clouds drift past
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.
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.
reaches out and delicately touches Julie's hair with a
skeletal claw--a twisted reprise of the earlierher sscene. in
Julie shivers and
Darkaâ–ºan quickly y
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.
Julie continues to sleep.
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
my face back. Even
I've got to have
if it's only for ninety-nine minutes.
suddenly sits up from a dream and cries;
The curtains flutter in the wind. She is alone.
184 EXT. CITY STREET - MORNING
DAR MAN'S POV - OVER A SHOPPING CART
People give him a wide berth on the sidewalk as they
Protectively pulls her child back, away from the cart.
We turn off, into.
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
A BOLT CUTTER
is raised from the cart.
185 INT WAREHOUSE
The steel door slides open, dletting eserted iwa rehouse
revealing the interior
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
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.
(in a fire-
DEEP IN THE GROUND
A flash-light clicks on revealing an elaborate system
of high voltage cylinders...
carefully connects one nd ofnanrinsulated cord to the
metal base of one of the Y
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.
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
throws the album against the wall. He turns back to the
original burned photo.
This'll have to do.
186 TNT. WAREHOUSE - NIGHT
OUR VIEW moves across a slummy version of Dr. Peyton
Westlake's lab--reassembled by Darkman.
slides the charred photo of himself through the input
slot of a computer.
(Revised Some is
V187 ON THE SCREEN
appears a line drawing of the photograph. As Peyton
punches in information:
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.
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.
Scale: 1.38 millimoles
The computer HUMS AND BEEPS... The screen blanks and the
following information appears.
Reconstitution will take 71 hours and 57
P191 OUR VIEW curves up to:
H191 THE HOLOGRAPH
Before our very eyes, it changes slightly--growing
imperceptibly more detailed, sharper.
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
(Revised scene numbers
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.
and studie s the
pulls his handaY ois the lack o o ormal rmal
smoldering digits. n
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 THE COMPUTER SCREEN BESIDE IT READS;
Reconstruction will take 61 hours and
CAMERA PANS TO.
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
and faces the cat. A small, soundh.u
ravaged larynx; A deep,
(Revised Scene numbers 2-17-89)
196 EXT. ONASSIS CONEY ISLAND RESTAURANT- DAY
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
disguised as a bagman, in an alley across the street
from the restaurant, peering through a camera.
197A Skip and Guzman going in one direction, Pauly in another.
CLICK--freezes the moment.
197E CLICK--Pauly moving away, carrying the briefcase.
CLICK--he looks to his right, and
CLICK--to his left.
197C CLOSE-UP: PAULY'S HAND swinging slightly as it carries
the briefcase. The final CLICK of the shutter is heard
MATCHING CUT TO:
198 PAULY'S HAND
Well back to reveal it is now a photograph soaking in a
shallow tray of developing fluid.
(Revised Scene Numbers
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 THE TURNING HOLOGRAPH OF PEYTON'S HEAD --
the features more defined now, more recognizable--
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
200 THE BANDAGED RAND
moves. close to pet the cat.
201 THE CAT
scratches at the hand and spits. The hand withdraws.
The cat eats the tuna warily.
202 COMPUTER INPUT SLOT
Front and side-view photos of Pauly's hand are sucked
into a second charred and patched-up computer.
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)
P204 DARK MN LAB
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 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 DARKMAN'S BANDAGED HANDS
enter frame; he unwraps the bandages.
207 USED HAND BANDAGES
form a pile atop the lab table.
208 A FORCEPS
removes what looks like a wet, flesh colored surgical
glove from the Bio-Press.
209 The nasty bone digits of Darkman's hand snake into the
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 DARKMAN' S "NEW" HAND
begins unraveling the bandages that cover his head.
212 THE CAT
is looking up from a defensive crouch. Back arched, it
starts to back away.
213 COMPUTER KEYBOARD
a nd one king
One "Pauly tthe"ke board.siT edsoundeofnbonewst
together r a h ving. ri
y and unner
plastic. is strange
214 ON COMPUTER MONITOR
A line drawing of Pauly's face appears. It turns into:
215 A MATCHING CLOSE SHOT---THE REAL PAULY
in his bed sleeping. A shadow passes over him.
23.6 A GLOVED HAND
ief over hi
presses a chlorofrmedOhgnï¿½Theh alarm clocksRlNGSh
nose. Be struggles. The
Pauly sinks into a deep chloroform from hisdfaceï¿½
gloved hand removes the
The only sound is the TICKING of the clock.
We PULL BACK to reveal that we are:
217 INT. PAULY'S BEDROOM - DAWN
The bandaged figure of the Darkman stands over an
removes a suitcase shutï¿½t.From hiskratty b lack
Pauly's clothes, latches
overcoat, he removes.
219 TWO FIRST CLASS AIRLINE TICKETS
He places them atop the suitcase.
220 INT. PAULY'S BATHROOM - DAY
The mummified Darkman isreflected
carefully unwraps the than it
is 's , the complexion a
sh sould be . PTheyskin aulittle ï¿½tighter
2 21 DARXMANIPAULY
pulls the stop-watch from his pocket and starts it.
222 DIGITAL STOP-WATCH
It TICKS off the seconds.
s t e k c o P to watch a handfulrof Pauly'ss
the medicine cabinet
- 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-
225 DIGITAL STOP-WATCH
It reads: 35 minutes. He pockets the watch as:
226 SKIP AND GUZMAN
enter. They take seats across from him. Skip seems
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.
shrugs an exaggerated "haw-would-I-know?" Guzman is too
angry to notice.
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
You okay, Pauly? You looking funny.
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, without saying a word, takes the briefcase
What's with him?
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:
The door is kicked off its hinges revealing GUZMAN.
is sitting up in bed. AlthoughPhhets just hwaking s c
is dressed in a suit and tie. lothes,
then looks quizzically up at Guzman.
lifts Pauly from the bed and shoves him into a chair.
Pauly looks up to see:
glaring down at him.
Pauly... we've been very concerned
Pauly doesn't have a clue. But the display of muscle
isn't lost on him. He clutches at his sore head and
Hey, Mr. Durant...
y, I guess
I musts overslept. I'm sorr
I missed the pick-up, huh?
Where is the money, Pauly?
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.
Rio... And first class. How
(picks up other
n A , and one for Rick. Well, this
explains his disappearance.
Durant glances to Guzman who opens Pauly's PACKED SUITCASE.
Hey, I don't know nothing about
Where is the money, 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!!
tucks the tickets into Pauly's jacket.
Well, Pauly, I wouldn't want you to
miss your flight.
231 EXT. HIGH RISE - DAY
PAULY - STUNT DOUBLE
Pauly CRASHES through the window on the 23rd floor.
232 EXT. HIGH RISE - DAY
His body twists in the air, hurtling toward the ground.
(Revised scene numbers 2-17-89)
B233 CLOSE ON PAULY - BLUE SCREEN 8233
Falling, trying to find the air to shriek as.
P234 THE SKYSCRAPER
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 SHOCKED WOMAN'S P.O.V.
PANNING from dead Pauly to living Pauly/Darkman, who sits
and watches calmly.
239 THE WOMAN
SHRIEKS and SHRIEKS. She has to be. restrained by the
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 THE STOPWATCH
It reads: 98 minutes
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
243 INT. JULIE'S APT.
Julie is shrugging off her coat to reveal a stunning
evening dress. She heads across the room toward a
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
We pan the room to reveal Strack, just inside the front
Thank you, whiskey neat.
He takes off his coat.
...Would it be all right if I used
It's on the etagere...
Strack has already found it and is dialing.
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
opens in the m
Strack. hangs up the phone and turns towards Julie.
E haven't felt this alive since the
days of the Silver Puts and
t o remember Calls.
'Course you're too you
that. I guess I'm jus
hill financier trying to recapture a
few moments from his glory days.
Julie hands Strack a drink.
Don't be childish, Louis, it's
unbecoming to fish for compliments.
Strack laughs good-naturedly.
like that ine. You
don't eleame get
He sighs and sits down on the sofa, sips his drink and
looks across at Julie.
You know, as much as I'd like to thi
differently, i suppose I'm not above
the occasional childish bid for
Like anyone else.
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... â€¢
they rob you of y
you'll accuse me of pleading for
No, I understand...
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.
..Were you ever married, Louis?
Yes. Once upon a time. Married and
in love -- deeply, deeply in love...
I lost her...
Strack strains to conceal the bitterness of his grief.
Private aircraft. over the Smokeys.
Painless. Quick. utterly pointless.
You can fight a disease. Another man?
You can fight that too. But this...
(Revised Scene #s 2-17-89)
243 CONTMOUE D (3 )
...I don't like things I can't fight.
Their eyes meet, both united by loss.
It must have been a terrible time. I
wondered how you understood. About
me. You've been very patient. And
Strack smiles warmly. He takes her hand.
God help us when there's no more room
in this world for a little kindness...
244 PULL BACK
Through the window of Julie's apartment as Strack draws
Julie into an embrace, to reveal:
244A THE DAREMAN
Hidden in the shadowy bushes. His face is flooded with
S245 INT. DARKMAN'S WAREHOUSE
impatiently TAP!-TAP!-TAPl upon the lab table.
246 AN EYE
It fills the screen. The pupil a black abyss. The
capillaries red rivers.
(Revised Scene Is
247 SYNTHETIC SKIN MOLECULES
enlarged a million times, configured in an agar
248 THE EYE
floating, the pupil darting nervously about.
voice) le .rema-
Okay... okay... remain stab
249 SYNTHETIC SKIN MOLECULES
250 DIGITAL STOPWATCH
It reads: 99 minutes.
5251 SKELETAL FINGERS
halt in mid tap. CAMERA PULLS BACK to reve
frozen, above the microscope.
253 THE CAT
MEOWS in fear.
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)
I'VE BEEN ROBBED! THOSE BASTARDS
256 THE C=
arches its back in fear.
.she couldn't even bear to look at
me . . .
spins sharply to the cat, the vein on his temple
.WHAT AM I, SOME KIND OF CIRCUS
258 THE CAT
bounds away with a cry, seeking shelter behind a
calls after it;
Is that it?! Maybe I should be
wearing some funny little hat!
He does an angry jig for the cat.
Pay five bucks. SEE THE DANCING
260 THE CAT
pokes its head out to watch.
(Revised scene nuders 2-17-89) 94.
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
S262 DARIQ'iANâ€¢S REFLECTION
in the puddle. It is the image of a madman. S263
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.
He takes in a deep breath and concentrates on his.
He forces it to.unclench.
I got to keep a lid on it.
The pipe falls.
moves to a cooler light.
Control the rage. Analyze. Wait.
Think objectively. I'm a scientist.
I'm a scientist.
He stares at.
266 THE HUNDREDS OF LAB SHEETS
the piles of discarded petri dishes.
With less conviction:
.I'm... a scientist.
BEEP, BEEP, BEEP...
Darkman turns. CAMERA SWISHES; At the and of the lab:
268 THE COMPUTER SCREEN
flashes a message--RECONSTITUTION COMPLETE. At the
P269 DARIMM LAB
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)
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:
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.
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.
Is it really...?
I--I'm sorry... I didn't know how to
I thought you were dead...
I was in a burn ward -- wa s burned. a ae-
to the world. I
You look the same. You look fine.
I am the same. I an fine. I...
27 6 OMIT
277 He glances at his watch.
He grows intense. The Darkman stares through his blue
e the Z same w with
know if things could i
Of course they can. But I don't
understand. Where ---
e please, rythi I tell You
justl need little
278 PEYTON'S EYES
widen in alarm. He turns one side of his face sharply
away from Julie.
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.
Sold me, Peyton. Hold me and never
let me go. I've been so unhappy and I
want you to hold me forever.
is lurching to his feet.
Sweetheart. . I'm sorry.
is stunned, bewildered.
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.
283 INT. A BEDROOM
The lights are romantically dim.
PEYTON AID JULIE
move into each others' arms.
Peyton, it's like you were never gone.
I'm happy again, and it's like the
time in between never happened.
It never happened. It was a bad
They kiss passionately. ve in the Dark theme comes on.
circles the lovers... as we pass around Julie over to
Peyton -- who is no longer Peyton, but transformed into:
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.
284 THE DARKMAN
bolting up from sleep, sweating though his facial
bandages. The vein in his temple throbbing, eyes livid
as a beast's.
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.
It's Durant. Robert G. Durant.
He grasps a offscreen object with the tweezers andit
removes it from the formaldehyde solution. He pats
dry with a white cloth.
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
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
286 EXT. DURANT'S HOME - NIGHT
A shadowy form lurks by a telephone pole by the front of
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.
DURANT'S VOICE (OS)
it would be a nice addition.
Jew want me to be at your
place ... around 8:30?
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
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
gleam like a shark as it bites.
SCREAMS, dropping the switchblade to the pavement.
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:
Run for your life.
flee in fear.
contorts his face into a ghastly interpretation of a
smile, and slips back into the shadows.
287 EXT. OUTDOOR CAFE - DAY - PEYTON AND JULIE
sit at a table drinking coffee and sharing a slice of
But why do you have to stay at this
burn center? You can stay at my place
288 JULIE'S HAND
closes around Peyton's--real skin on synthetic skin.
No! No, it's best, for now, till all
the kinks have been smoothed out ---
Peyton glances at his watch. 97 minutes.
Peyton, I still don't understand. Why
didn't you come back to see me before
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.
Of course I still want you.
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?
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.
Yeah. I am back, aren't I? Just like
289 INT. WAREHOUSE - NIGHT 289
We pan past the lab table, cluttered with empty pizza
boxes and a tangled mass of used bandages.
From offscreen we hear Durant's recorded voice:
That would be just fine for me.
We hear the garbled chatter of the audio tape being
We are panning past the Walkman, which is wired to
the computer. The tape stops, then, as programmed,
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.
The Darkman swabs a thick white paste, silvidine burn
ointment, upon his skeletal fingers.
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
The camera arcs around to see the bottom half of his
That would be...
CLICK--the Darkman stops the tape mid-sentence and his
own hideously charred mandible finishes it:
..just fine for me.
(Revised Scene is 2-17-89)
The impression is good, though slightly thick. The
Darkman strokes his jawbone thoughtfully.
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
291 ENTERS FRAME 291
Her sets them on the counte before the lone erk.
Wanna bag for that?
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
Hey-hey, take it easy, buddy!
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
Matching the previous shot except that it is in color.
He is speaking to someone just off camera.
Yeah, I'.m Robert G. Durant...
The camera is pulling back to reveal that he is
standing in the open doorway of his home, facing
cops. He glances at his watch.
..But I'm in a hurry. Got a meeting
You're gonna be late.
As Cop 2 slaps a pair of cuffs onDurant.
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 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.
hesitates, calculating the intensity of the sunlight. He
sneaks a glance at his watch.
CLOSE ON WATCH
It reads; 90 minutes.
(Revised Scene Is 2-17-89)
THE DAR1 AN
followsâ€¢L'uzman into the restaurant.
296 EXT. POLICE STATION
The real Durant moves angrily down the steps. His
mouthpiece, Marvin Katz, accompanies him.
.had it all on film. I almost
didn't get 'em to post bail.
Just keep 'em out of my hair.
Hey where you going?
Jumps into a waiting taxi cab and bellows at
The Mandarin! Fast!
The cab PEELS out.
297 INT. MANDARIN RESTAURANT - DAY
HUNG FAT, dressed in a finely tailored white linen
suit and smoking a long brown cigarette, smiles in
Wahbuht! So good of you to favor me
with your venerated presence! Please
honor me by seating yourself in my
Darkman/Durant remains impassively standing.
. or do me the greater honor of
remaining on your feet!
The money! Yes! Wahbuht! How I
tremble with shame. How I hide my
He elaborately does so with his hands.
Studies Durant/Darkman with uncertainty. After
another beat of uncomfortable silence, he decides to
begin for his boss.
We no here for de bullshit, we here to
pick up de money and thas what we do.
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...
How I regret having to burden you with
my miserable difficulties! I have no
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.
.The white powder no longer flows in
iis former volume. All a members of
Studies the Darkman hard. How can he tolerate this?
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!
is looking from Hung Fat to Durant/Darkman; what's
wrong? Why doesn't he do something?
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!
.. Wahbuht, goodbye!
can't believe his eyes.
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:
You will bring me the five million
dollars by the time I finish this
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
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.
dumbly nods. Without a trace of an accent:
.Okay, Bob, you win.
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.
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.
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 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.
BODY GUARD (O.S.)
spins, caught. CONTINUED
A BURLY CHINESE BODY-GUARD
approaches quickly, pointing at Durant/Darkman's face.
He reaches into a pocket, pulls out...
...Durant's monogrammed lighter, which he hands to
302 EXT MANDARIN RESTAURANT - REAL DURANT
as he runs up to Trumayne and Smiley who are waiting in
where is he?!
I thought he was with you!
sprints for the restaurant.
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...
whose disbelieving face moves closer to get a better
THE TWO DURANTS
dressed identically, stare at each other through the
glass in eerie confrontation.
stands upon the sidewalk, gaping in
Dios Mio! Aye que papa!
shoves the door forward, dislodging the stunned Real
Durant. He rotates past Guzman and points to the Real
Durant, revolving behind him.
draws his gun and waits, sweating.
spins past the incredulous him
to the Durant
shoot him. Real Durant points
The revolving doors whirl faster. Round he goes.
nods, recalibrates his orders and stands ready to fire.
spins past him.
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 TWO DURANTS
go directly for each other's throats. The briefcase
falls to the ground. They call to Guzman.
DON'T JUST STAND THERE...
Real Durant's face is spun out of frame and replaced with
Durant/Darkman's exact replica.
waves his gun back and forth, from one Durant to the
(Revised Scene #s 2-17-89)
slams Durant's face against the brick wall of the
restaurant. One Durant falls to the pavement, clutching
his head, groggy.
raises an uncertain gun to the standing Durant.
B304 STANDING DURANT
backhands Guzman viciously across the face--CRACK!
Son of a bitch set me up with the cops
and you practically hand him the cash!
watches warily as Standing Durant picks up the briefcase.
What the hell you lookin'at?! SHOOT
THE BASTARD! !
retrains his gun on the fallen Durant who covers his
face. But before he fires, he gives a final glance to
305 STANDING DURANT
The sunward side of his face is bubbling and blistering,
revealing glimpses of a skull beneath.
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.
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.
woozily pulls a snub nosed .45 from his ankle holster and
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.
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!
307 THE COIN OPERATED NEWSSTAND
in a shower
hear the frightened
308 DARKMAN'S FACE
is in the process of cellular fragmentation. His mask
emits tiny jets of blue flame. He runs for a subway
309 DURANT AND GUZMAN
They are gun-
follow after the th em fire e at nce.
toting T umayne. DAlll three of o
310 INT. SUBWAY - STAIRS TO THE TRAIN PLATFORM
Darkman takes a bullet in the arm. Although he can't
H feel it, the knocks
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 INT. SUBWAY - STAIRS TO THE TRAIN PLATFORM
DURANT, RUDY, AND TRUMAYNE
note the blood as they reload.
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.
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 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 GUZMAN AND TRUMAYNE
step back, sickened.
Me cago en Dios, I can no believe dis
notes drops of blood which lead off the platform and down
into the dark subway tunnel.
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 INT. SUBWAY TUNNEL
Dark, dank, spooky. Durant carries the penlight.
Guzman and Trumayne follow reluctantly.
314 CONTINUED I
Goddamn it man... We follow some
pendejo without a face... into a
goddamn hole in de ground...
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
You go that way. We'll take this one.
doesn't look too thrilled by the prospect of being
alone in the tunnels.
No. Take a fucking squad of marines
tosses him the penlight. Hard. Casually he lights a
cigar and continues forward.
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.
315 He advances silently through the tunnel...
Trumayne flinches. He points the penlight in the
direction of the clanging sound.
An empty wine bottle at his feet is illuminated.
rolls to a stop against the tunnel wall.
Gettin' jumpy. Like Rick.
A faint cough comes from the blackness ahead.
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
The cough again.
heaves the bottle at the sound.
316 SLOW MOTION - WINE BOTTLE
as it tumbles end over end into the darkness.
waitsr the crash, ready to fire at anything that
Black. No sound.
still waiting, nerves on edge. Where's the crash?!
The oppressive dark.
shudders Something in the darkness has swallowed the
bottle. He begins to back out of the tunnel the way he
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.
Panicked, Trumayne shines his light in front of him.
The FOOTSTEPS come faster, closer.
He jerks his penlight to the tunnel behind him. Nothing.
(Revised Scene s 2-17-89)
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.
is illuminated by the brilliant flash of the gun. Empty.
The light fades.
spins and fires -- BOOM!
are lit up. Crazed with fear. The illumination
spins and spits sparks--BEAM!
illuminated--empty. The light fades.
P318 TUNNEL (Melting)
B318 THE DARKMAN. . ILLUMINATED. . UNMASKED!
The split-second flash has caught him pouncing in mid-air.
(Revised Scene . 2-17-89)
..,: 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
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.
look like saucers.
even looks a little scared.
Oh shit, man. What did he do, man...
From the tunnel ahead, FOOTSTEPS approach. The two men
squint, attempting to pierce the blackness.
The FOOTSTEPS grow louder. Closer.
.Hey, amigo, dat chew?!
From the darkness, a figure emerges and runs at them.
DURANT AND GUZMAN
raise their rods and blast:
The dark figure, lurches and collapses upon the ties.
A shaft of light reveals it to be...
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.
looks about, gets control, loads a fresh clip into his
gun with an echoing SNAP.
waves his arms in surrender.
Good Bye. Das it. I'm outta here...
Durant grabs him.
Where the hell are you going?
(Revised scene waters 2-17-89)
Durant looks wildly over his shoulder as he runs for his
323 THE TRAILF
Two thousand tons of unforgiving steel is barreling down
upon his. One hundred feet away and closing...Thirty feet
324 THE FRONT WHEELS OF THE TRAIN
ROAR atop the track. Durant's feet slower moving, enter
view just ahead.
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 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 HIS POV - A SECTION OF RAISED SUBWAY TRACK
in the middle of the track, a shallow depression.
328 DURANT'S FEET
running only a shoe's length ahead of the sparking wheel.
329 PULLING DURANT
as he desperately leaps for the depression in the tracks.
He appears to go down right under the train.
330 UNDER THE TRACK - DURANT
hugging the shallow depression. Is he low enough? The
underside of the train comes roaring over us.
The train begins its long roar past. We hear an AGONIZED
SCREAM that is either the train or Durant -- or some
THE TUNNEL WALL
is illuminated with a flash of light.
from the light pouring out the passing train windows.
throw blue sparks into the darkness.
The long subway train rolls into the distance. It's
Quiet. Durant's cigar smoulders on the tracks.
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.
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:
We cut from Darkman's ravaged monster-face to:
beautiful as ever.
-- Peyton! Where have you been? Why
haven't you called?
334 Back to the monster face:
Can I--can I see you?
CLINK! The bullet is dislodged from the wound and drops
on the table.
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
Various close shots of leering horses bobbing up and
We are at a carnival.
laughing, his face restored, walking down the midway, one
arm draped over Julie's shoulder. She laughs with him.
Peyton glances at his watch.
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!
I've got to tell you, Julie... I've
got to tell you something about --
about me -- how I've changed.
In the fire -- I -- I
A voice offscreen rises above the general noise:
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.
What's going on, Peyton? What are you
keeping from me?
335 CONT (2)
Peyton Ares at Julie. He can't bring himself to tell
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.
Why do you always have to run?
Peyton looks at the pyramid, avoiding her look. He
throws the first ball; misses. -
I. have my treatment... I'm not a
hundred percent cured yet--but I soon
He throws the second ball; misses.
Can I take you back to the burn
Peyton's vein begins to throb faintly.
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:
...The pink elephant, please.
The bored attendant, a cigarette dangling from his
lower lip, shakes his head.
Sorry buddy. It don't count if you
ain't standing behind that line.
I was behind the line.
336 PEYTON'S VEIN
I was standing right here. Next to my
girlfriend. Now. The pink elephant,
.if you please!
Julie tugs at his sleeve.
Peyton, it doesn't matter.
Peyton is fighting to contain his rage. in clipped
words, between gasps for breath:
It matters. I won a pink elephant.
For my girlfriend.
Peyton... It's okay...
Get lost, buddy.
338 BRIEF CUTS
People screaming on the Tilt-A-Whirl. Merry-Go-Round
horses bobbing up and down. Calliope music gets louder
Shaking under the pressure of contained rage, his vein
bulging, throbbing. Under his-breath:
The elephant... Quickly!
The attendant unwisely pushes two fingers into Peyton's
We rocket into a close shot of the offending digits.
From of fscreen, we hear the attendant's voice:
You heard me, weirdo. Get lost!
The counter dissolves into a million fissures, as do the
stuffed animals on the shelves above.
342 PEYTON'S FACE
Twitching violently, vein swollen to bursting. The camera
races into an eyeball to find:
343 PEOPLE SCREAMING
344 HORSES BOBBING
345 CLOWN LAUGHING, DOING A JIG IN A FUNNY HAT
346 ROCKET BACK OUT TO:
Screaming. A skin blister bubbles on his cheek.
347 ATTENDANT'S TWO FINGERS
Against Peyton's chest. Peyton grabs them and--CRACK-
The attendant screams. Peyton screams with him.
Julie screams as well.
349 Peyton reaches for the attendant, lifts him into
the air, hurls him into another pyramid, which
350 FUZZY PINK ELEPHANT
is yanked violently from the shelf.
shoves it at Julie.
In a voice hoarse with rage:
352 Another skin blister opens.
353 His face is starting to send off wisps of smoke.
TAKE THE FUCKING ELEPHANT!!
354 She is looking at him, frozen in horror.
355 His face is erupting into boils, which simmer and pop,
giving off bursts of smoke.
356 Peyton stares at her. Rage ebbs. His eyes become
He runs off, the fuzzy pink elephant still clasped,
forgotten, beneath one arm.
357 Julie runs after him.
358 EXT. STREET
disappears around a corner, trailing thin wisps Of
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...
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.
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
366 He moves forward towards a darkened corner of 366
Peyton?! I need to talk to you.
She halts at a site in front of her.
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 THE SPOTTED CAT
eats from a discarded pizza box.
Despite it's eerie nature, the layout and feel of the
lab is hauntingly familiar.
backs away frightened, right into.
THE LIMP AND WRINKLED HEAD OF PEYTON
hanging from a hook.
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.
(Revised scene ambers 2-17-89)
S372 JULIE'S HAND HOLDS THE MASK -
Accomparaed by the sound of BUZZING FLIES and
SIZZLING Skin blisters boil furiously. She drops it
373 She steadies herself against the computer table
There are tears in her eyes. Trembling, she turns to
face the darkness.
Presses bimself into the shadows.
turns his head sharply. Only the upper right corner
of his face falls into the light. The handsome,
Why didn't you tell me? If you loved
me, why didn't you tell me?
shamed, to be both coward and monster, clutches his
bony hand to his skull.
You had no right--
377 Tears stream down Julie's face but she is too upset
to brush them away. She moves forward.
378 She angrily shoves the computer off the table. It
crashes to the ground, sparking.
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?
He is shaken by a silent sob. More of his face falls
into light, illuminating leathery neck muscles and
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.
I would have helped you.
She stares into the shadows a long time without
Don't you know I love you, Peyton?
And no matter what--no matter what
you've become I'll always love you?
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
(too quietly to
(then louder; in
382 But Juba is gone.
383 INT. EACK'S APARTMENT - DAY
Strackâ€ž 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
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.
Julie Hasting's to see you, Mr.
Strack43 eyes dart nervously to the door.
(he clears his
He stands. A coin or two falls from his dimpled ass
as he reaches down for his pants.
384 INT. STRACK'S LUXURIOUS STUDY- DAY
Strack enters, tying his tie.
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?
I can't go, Louis. We have to talk.
Excellent! I love to talk. Brandy?
Thank you, no.
I'll have one;_
As he walks to a bar and pours himself a drink.
...Fair warning--it's Napoleon, and
it's quite good--
Louis, I can't see you anymore.
Darling, settle down. Don't be rash.
As you say, let's talk.
You know about Peyton, the man I was
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
.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
Julie has broken down. She sits down on Strack's
sofa, her body wracked with sobs.
... Where is he, Julie?
He's living in an abandoned warehouse.
He's alone... he needs me.
The phone RINGS. Strack crosses to the desk and picks
Not now!... Who?... All right, I'll
take it in the other room.
He looks up at Julie.
I won't be a moment.
He walks into an adjoining room. He picks up the
Yes, Franz... And the closing
She reaches for a tissue. Next to it is.
Strack's briefcase sitting on top of his desk.
Wipes a tear from her eyes. She moves closer.
I feel sufficiently diversified...
Franz, it is immaterial to me what the
market is doing. I want you to buy...
A sheaf of papers stick up above the mouth of the
CLOSE ON THE PAPERS
A dark coffee stain.
BACK TO JULIE
As she pulls the papers from the briefcase.
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
Yes. The Belasarious memorandum.
whirls to face him. He stands looking down over her
.I'm sorry you had to find that,
dear. Our relationship didn't need
this further strain.
The fire... it wasn't an accident, it
Not me personally. I have an employee
who does certain things for me,
unofficially, off the books. Robert
doesn't like to pay taxes.
And now you'll kill me.
Strack_ spreads his arms.
Hardly. You have nothing on me, my
dear, and you'd find the extremely
expensive police department quite
Julie. Consider the big picture.
I suppose this is goodbye then.
Julie stares hatefully at him for a beat, then hurries
out the door.
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.
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.
Robert! I have good news and bad.
Custom dictates that you render the
bad news first.
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.
No problem at all. And the good news?
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
Westlake? He's dead. I saw to it
He's alive. I don't like loose ends,
Robert. Finish it.
Okay. Where is he?
I believe we have a guide.
389 EXT. WAREHOUSE- DAY 389
A cab stops across the street from the warehouse and
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.
turns to run.
ANOTHER LINCOLN CONTINENTAL
SCREECHES to a halt behind her, sandwiching her in.
She tries to make a break for the warehouse.
Guzman races out of one continental, Smiley out the other.
390 INT. WAREHOUSE
Darkman rushes to a window just in time to see Julie
hustled into one of the Continental's. The car ROARS
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
391 EXT. WAREHOUSE ROOF
The bandaged Darkman climbs up onto the roof from the
The rooftop is riddled by bullets.
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 INT. HELICOPTER
hovering over the roof of the warehouse. Durant, Skip
and Corky inside.
393 EXT. ROOF
Darkman rushes to the service ladder and climbs
quickly down into the warehouse.
394 INT. WAREHOUSE
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.
DURANT' S ., VOICE
(from the walkee-
He just went down from the roof.
Glances above to the darkened rafters ofathence one to
warehouse. Then, signals for Smiley
way. He will go another.
They split up.
395 GUZMAN'S P.O.V. 395
The place is eerily still; we hear only an occasional
396 GUZMAN STARTS: 396
...Holy San Juan de fuckeen
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
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.
moves through the dimly lit lab area. Gun out,
checking every crevice.
404 Footsteps. Coming closer through the darkness.
URANT'S VOICE D
(from the walkee-
Come in, Smiley, come in! Come--
405 Smiley turns off the walkee-talkee.
are almost atop him. He takes a
406 SMILEY'S P.O.V. - A SECOND SMILEY
racing out of the darkness at him.
is hip to the Darkman's game. He smiles. The gun
belches flame at the masked figure.
408 THE MASKED SMILEY
crumples to the floor. The bottom portion off fece
Smiley mask is wrinkled, exposing a portion
peEjz back the mask with the barrel of his gun
revealing. . GUZMAN!!
loses his smile. A third Smiley stands slowly into
frame behind the spooked Smiley.
looks from the dead Smiley to his
short as the
SHRIEKS! But it's mercifully cut
Darkman is upon him.
412 INT. HELICOPTER
Durant yells into the walkee-talkee with increasing
Guzman, come in! Smiley! Guzman!
What the fuck is going on down there?!
A burst of STATIC. Then:
DARKMAN' S VOICE
Durant drops the walkee-talkee as if it were something
Take her down!
(Revised Scene #s 2-17-89)
The pilot lowers the throttle stick and
412A the chopper swoops down.
413 A WHIRL CF PEBBLES
as the helicopter descends on the roof of the
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 INT. WAREHOUSE
Skip and Corky burst inside, freezing into combat
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.
CRASH! CRASH! CRASH!
Skip and Corky whirl around as iron shutters slam down
over the windows and doors, sealing the lab into an
OPEN GAS VALVES
HISS, filling the room with the explosive mix of
oxygen and acetylene.
415 INT. HELICOPTER
Static on the walkee-talkee, then:
(Revised Scerm#s 2-17-89)
Where are you?!
Pilot.and Durant look toward the entrance of the
warehouse. The door is closed. Suddenly...
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.
WHAT THE FUCK IS THAT?!
Durant mashes the Darkman's arm with the door:
TAKE HER UP!
416 The helicopter starts rising.
is yanked from his feet.
climbs, lifting the Darkman clear of the rooftop.
417 INT. WAREHOUSE
Skip and corky stand frozen. A small sound. They turn:
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
(Revised Scene Ms 2-17-89)
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
418 THE DARKMAN 418
gropes desperately at the floor of the helicopter
for a handhold. His fingertips barely touch a rope
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)
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
427 PILOT 427
He pulls the stick. Gradually the helicopter rights itself.
428 THE HELICOPTER 428
banks sharply through the concrete canyons--a deadly
game of crack the whip.
is hurled through the window of an office on the 70th
floor of a skyscraper.
430 INT. OFFICE
The Darkman, still holding the rope, finds himself on
A BOARD MEETING
The executives stare in shock at the Darkman standing
on their table.
The faces of the executives whirling in a circle like
numbers on a roulette wheel.
431 Suddenly, the faces start to recede... SMASH!... The
Darkman is yanked back out the window, breaking the
432 ON THE STREET BELOW
pedestrians scurry from the rain of falling glass.
Camera swishes up to reveal...
433 THE HELICOPTER
as it roars away from the skyscraper at an insane angle,
the pilot having finally managed to regain some control.
434 THE HELICOPTER
angles sharply toward a busy freeway.
is dipped into oncoming traffic. He barely clears the
roof of a Cadillac by swinging his legs above it.
436 THE HELICOPTER
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 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
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)
Looking forward over Durant's and pilot's shoulders.
The:pa3at has the stick. We are rushing directly
town an overpass.
UP! PULL UP!
440 TRUCK ADOF
The ladder snaps taut against the hook.
HE LI C(STER
We are about to be obliterated.
441 Pilot is yanking on the collective; the chopper whines.
SHE WON'T GO!!
P441 THE OVERPASS
P442 TRUCK ROOF
Wind whipping at his coat, looking up at the doomed
helicopter, the Darkman bellows in triumph.
B442 Wind whipping at his coat looking up at the doomed
helicopter, the Darkman bellows his triumph.
taking up the entire screen.
B444 Darkman, LAUGHING on the truck, races through the
444A flaming debris from the helicopter cascading
over the mouth of the tunnel.
445 INT. STRACK'S OFFICE - NIGHT
Strack sits behind his power desk, talking into the
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.
Robert Durant, sir.
Send him in.
Goodbye, Governor. Everything's taken
He hangs up. We hear the door open and close. Strack's
enters. He looks awful--face scorched and bruised,
You look like hell, Robert.
The son of a bitch malfunctioned my
(Revised scene numbers 2-17-89)
'f ie man's a cockroach. You think you
;tall him, and he pops up someplace
g expect he'll pop up here soon.
if Westlake calls, kindly refer him to
Come, Robert, let us kill the girl.
B446 INT. A CONSTRUCTION ELEVATOR - NIGHT
RATTLING up the steel skeleton of a skyscraper,
P446 stars all around us.
I'm glad you survived, Robert. I'd
hate to see your kids deprived of a
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.
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...
(Revised Scenes 2-17-89)
Strack gestures broadly with one arm.
...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.
You don't have any kids, Robert.
What are you talking about?
Or should I say, Doctor Westlake?
I'm Durant! Robert G. Durant!
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.
Where's the girl?
Strack hops nimbly out onto a narrow girder. He smiles
back over his shoulder.
You want to see the girl? Follow me,
I'll take you to her...
Durant/Darkman follows, taking the first few tentative
(Revised Scene Is Z-37-89)
...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
...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...
.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.
All I have are nightmares.
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.
Go to hell.
He proceeds nimbly along the beam.
(Revised Scene #s2-17-89)
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.
.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..â€¢
ah, here we are.
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.
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 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.
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:
You truly are one ugly son of a bitch.
Strack shoots Darkman in the shoulder, hurling him off
the bean. The Darkman tumbles, limbs flailing, bellowing
Spinning upside down--stars, abyss, stars, abyss--
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.
recoils as Strack stops in front of her. He touches her
First my wife, then my father, and now
He places his hands on her shoulders, preparing to push
her off the girder. With intensity:
-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
Strack turns around.
4 5 0 STRACK St.
stands behind him, glaring angrily.
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
Darkman mashes his face and the gun flies out of his
hand into the darkness below.
STRACK AND DARXMAN
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.
451 CONTI1rn D 451
A RIVET GUN
only a few inches from his grasp.
swoops onto Strack, pummelling him.
inching painfully toward the rivet gun.
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.
lunges. CLANG! Darkman slams into a vertical bar.
ZMMMMMM! Z !
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.
Now you get to watch your girl-friend
He moves toward a terrified Julie.
SHRIEKS and reality melts around him as he tastes the
hot soup of rage.
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
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:
He lifts him full into the air. Strack's legs and arms
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.
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
Peyton, I can help.
No one can help.
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
CLAMP! The elevator jars to a halt on street level.
Take my hand.
Julie stares at the charred skeletal fingers. She
overcomes her repulsion and puts her hand in his.
It disgusts you.
Darkman stares at her a long time, anguished, torn.
This hand... it used to caress you.
Now it can only tear, rip away at
But you'll perfect the skin. You'll
get rid of the scars.
It's not just the scars. I've changed-
He grips his skull.
He pulls the elevator open.
I can live with it now, but I don't
think anyone else can.
(tears in her
I want it back. The two of us--the way
Darkman's voice breaks:
What we had--our life together--it
belonged in the light of day.
He disappears into the darkness.
Darkman's voice floats back as he stalks away:
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
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.
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--
THE CHARRED SKULL OF DARKMAN
Wild, half-mad eyes gleam wickedly from boney sockets.
Mandibles yank back and, through a lipless smile, he
RUN FOR YOUR LIFE::
CUT TO BLACK