Y/ffimWTHBUTFUII

Written.
by,- > ,
Chris Columbus St* Carlo Carlei
,>
,- * /
V -"

Based on the^ Marvel Comics Character

s

* *

FIRST REVISED DRAFT

September 18, 1996
1492 Pictures
10201 W. Pico Blvd.
Bldg 86 - 2nd Floor
Los Angeles, CA 90035

BLACK
^
C

SOUNDS fade up: the low HISS of rubber tires on wet pavement...a passing
breeze... the DRIP DRIP DRIP of water... SHIMMERING LIQUID COLORS bloom
against the blackness... the electric aura of a rain-washed city at night...
coalescing into:
EXT.

NEW YORK CITY'STREET - HELL'S KITCHEN - PRESENT TIME

The West Side of Manhattan known as Hell's Kitchen. On the heels of a

rainstorm. Mammoth darkened buildings. Shadowy sidewalks. Steam rising
from the manhole covers and underground exhausts. Wide black streets.
Deserted, for now. Wooden signs heralding future construction projects.
A solitary figure crawls slowly in the shadows, carefully avoiding the light.
For an instant, his pale blue EYES catch the glow of a car's headlights.
There is not even the slightest reaction in his pupils. They are sightless,
condemned to the eternal night.
The CAMERA follows the figure and TRACKS on a long band of yellow police tape
cordoning off a newly-burned brownstone.
A distant ROCK 'N ROLL BEAT...
FADE TO:
EXT. NEW YORK CITY - HELL'S KITCHEN'- IBir

f"^

- AFTERNOON

SPRINGSTEEN'S "IT'S HARD TO BE A ^AINT IN THE CITY." A MATCHING SHOT

TRACKING WITH a GROUP of BOYS*&hrvtting down the same street, and we are
transported back to a late Summer day in 1973. The streets are lined with
tenements, taverns and 24-Wur diners. Families share the neighborhood with
whores, junkies and small time hoods. The Boys range in age from 12 to 15.
They affect the tough, hardened attitude that comes from spending all of
their waking hours on the streets. SUPER: "Manhattan. 1973. Late August."
Two stunning blue EYES, in which Hell's Kitchen and all its life seem to be
reflected for a brief moment. These are the eyes of MATT MURDOCK, a skinny
fifteen year-old redhead bringing up the rear. He's younger and slighter
than the others. He's trying to keep up, to be cool and tough, but there is
a certain complexity, a level of maturity and intelligence that the others
are lacking. Something in his eyes...
STARKEY, the hefty group bully, stops the others and turns suddenly on Matt.
Hey Murdock!

STARKEY
He's all yours...

The fat ass.

He nods across the street toward OFFICER LIPINSKI, an overweight policeman

who walks the Hell's Kitchen beat.
MATT
Officer Lipinski?

(***

STARKEY
(mimicking him)
Yeah. "Officer Lipinski."

Do it!

MATT
But...

' , .

STARKEY

What?
MATT
In broad daylight?

/H*S

STARKEY
You're a coward. Just like your old man...
MATT
Take that back!
STARKEY
Okay, okay. Don't get your panties in a bunch!
Bottom line, Murdock... you wanna hang with us, you
gotta have guts.
ON LIPINSKI: The nightstick dangling below his large love handles,
Lipinski's ears perk up. He scratches the back of his neck not noticing...
MATT, his face now covered by a black hood, who sneaks up behind him, reaches
out, and GRABS the stick...!
LIPINSKI
- .<* s

What t h e

The nightstick SNAPS FREE and Matt .DASHES down the street and around the
corner!
^ V.\ >
Punk!

LIPSN9KI
That' s c i ty^property!

Lipinski gives chase.

ON MATT:
back.

Running hard.

ON LIPINSKI:

Starkey and the boys laugh.

Holding tight to the stolen nightstick.

Getting tired.

He looks

Breathless.

ON MATT: Dashing into a BACK ALLEY, leaping over an unconscious WINO. He

heads toward a rusted, tall. CHAIN LINK FENCE, blocking his path. Matt jumps
with extraordinary agility almost the top of the fence and, crawling like a
cat, makes it onto the other side.
Lipinski, wheezing and staggering, arrives at the alley entrance.
EXT. SMALL ALLEYWAY - DAY
Matt jumps again, this time catching a lose chain dangling from a fire
escape. The boy flips up and alights on the first floor landing, PUSHES OPEN
a dirty window and climbs inside. Lipinski huffs up to the chain link fence.
No sign of the masked punk. He PUNCHES the gate in exhausted frustration.

>#"""%

LIPINSKI
Goddamn street trash!
EXT. BUILDING ROOFTOP - SUNSET
Matt JUMPS from another window BACK OUTSIDE, still clutching the nightstick
in his hand. CAMERA PULLS BACK. We are on top, of a big brownstone building.

It seems that nobody but Matt visits this place, and he has rr.ade it into his'
own private kingdom. There is a weathered punching bag and some dusty
gymnastic equipment.
f*

MATT'S HANDS tightly CLUTCH the metal pole of a HIGH BAR. He SWINGS forward,
releases and does a perfect double FLIP. He LANDS on his feet, in front
of. . .
A torn, yellowed POSTER, attached to a dusty locker door. It reads:
"BATTLIN" JACK MURDOCK, THE MAN WITHOUT FEAR VS. MANNY LIAZI. HEAVYWEIGHT
BOUT. OCT. 8, 1969. MADISON SQUARE GARDEN." The poster features a photo o:
Matt's Dad, JACK MURDOCK at the height of his career. John Garfield
handsome, Jack Murdock's image evokes integrity, fire and intense spirit.
Matt looks at the poster while he spins the combination lock, suddenly
realizing that the locker has already been opened.
MATT
Shit!
He places the nightstick inside and looks frantically to see if there is
anything missing. The locker is packed with old boxing gloves, a silk robe,
sweat suits, library books...
Matt's expression dims. Something is missing.
SLAMS the locker door -INT.

C^

APARTMENT - NIGHT

Guilt covers his face.

He

In the still, dark room, the epheme^a^. glow of a cigarette lights a

photograph somebody's holding up aho: squinting at through the smoke (A Young
Woman, too briefly seen) . . . T,he>smoker takes a sip from a bottle of cheap
whisky and leans back, closinJ^his eyes.
The apartment door creaks open, the sound rousing him.
JACK
Maggie...?
Matt enters.

Jack turns.
JACK
Matt.
MATT
Hi Dad.

Matt flips on the light switch. The apartment is an eclectic blend of handme-down furniture. Jack Murdock looks very different from the youthful
fighter on the boxing poster. Heavier, his black hair streaked with grey.
He hides the photograph in the side of the seat cushion, then stands up.
His eyes ablaze, he glares at Matt.

/^

JACK
I found this on the roof.
Jack thrusts a duffel bag at Matt. Strides toward him, then turns the bag
upside down, spilling the STOLEN CONTENTS onto the floor: several wallets, a
wristwatch, a woman's necklace...
Matt's jaw drops.

His expression suddenly apologetic...

MATT
Dad -j0**

My only son.

JACK
A common chief.

Jack WHIPS back his hand, SLAPPING Matt hard across the face. The force
sends the boy TO THE FLOOR. Jack points down at him, teeth clenched:
Get.- Outta.

JACK
My. Sight.

Jack whirls away in disgust. Tears fill Matt's eyes. He gets up, walks to
the window and climbs out onto the fire escape. Jack drops down on a
tattered ottoman, clutching his head in his hands.
EXT. ROOF - NIGHT - LATER
Matt attacks the PUNCHING BAG with incredible fury, his young arms punching
like metal pistons. He doesn't stop. Punching HARDER. And HARDER. Sweat
pouring. CAMERA MOVES CLOSER to Matt. There is fire in his eyes. A sense
of guilt and frustration in his expression. LATER. Matt is sitting on the
edge of the roof with his legs dangling over the side. Tears are streaming
from his eyes while he stares into the night.
Jack climbs out, much calmer. His eyes, too, are watery.
his son sitting in such a precarious position...
^

But when he sees

JACK . v ' '

{worried^
Matt, back up. I,don.'t like you sitting there.
MATT
It's okay, Dad. Height doesn't scare me.
JACK
But it scares me...
Jack slowly climbs down and sits beside Matt.
are the only witness to their conversation.

The bright lights of the city

JACK (CONT'D)
(apologeticallyi
I'm sorry I hit you.
MATT
Well... I was wrong, 2ad.

It was my fault.

JACK
Why'd you do it, Mate 1
MATT
To fit it in, I guess. To be one of the guys.
JACK
Those guys'11 be lucky to make it alive to their
eighteenth birthdays. And if they do, they'll be
celebrating behind bars. . .

Matt lowers his head, well aware thac his father is right. Jack looks at the*
city in front of them.
f*

JACK
Can you hear that?
MATT
What?
Jack's moves his finger through the air, pointing at the endless lights.
Matt's eyes follow its movement. Out of the CACOPHONY OF TRAFFIC, several
sounds can be distinguished: POLICE SIRENS - - a woman WEEPING -- two men
ARGUING --a man CRYING OUT in pain...
JACK
The cry of the city... There's no happiness. Only
grief. Injustice. Tragedy. And hopelessness. I
don't want you to be part of that, son. And your
mother wouldn't have either... We owe it to her,
Matt. You are here to make a difference... for the
good...
MATT
Me?
JACK
" '* '
That's right. One day you'll be out there to help
these people. To give tihem hope. . .

/mK

But... how?

MATTY;
V

JACK
You'll "find a way, son. Or perhaps destiny will make
the choice for you... (pause) You've gotta be
somebody special. Look where my fists have gotten me.
You've gotta be nothing like your old man.
Matt looks with compassion at his Dad.
MATT
Don't say that. I'm proud of you, Dad.
will be.

I always

JACK
Look. You and me...It's been kinda messed up lately.
MATT
Kinda.
JACK
And with high school starting next week... that can
be the start of a new life for you. For us.
^""^

Matt listens intently. Jack pauses for a moment, considering, then continues
with renewed confidence.

(
*
"
*

JACK
Got a deal for you. Start concentrating on your
school work. Promise me you'll stay away from the
streets and those scumbag friends... I'll get off the
bottle.
Matt looks straight at him-.
MATT
Sounds fair.
JACK
(grinning)
Shake? Jack extends his hand. Matt wraps his father
in a tight hug instead. Jack pats him on the back.
MATT
Hey Dad, you better get some sleep. You got a fight
tomorrow.
JACK
(derisive laugh)
Fight? Goddamn circus act!
EXT. ARENA. NIGHT.

-^
(

A COLORFUL AD: "THURSDAY, AUGUST 21, 1973. WORLD WRESTLING FEDERATION

PRESENTS: BATTLE OF THE DEVILS!.,- DAREDEVIL MURDOCK VS. SLAMMIN' SATAN
STROMBOLI!" The poster featured, tw^. wrestlers: Stromboli is dressed in a
bright orange Lucifer's costutoe, holding a pitchfork. Murdock is dressed in
a bright red and yellow horned' costume.
INT. WRESTLING ARENA - NIGHT
STANDING ROOM ONLY. A smoky, 500 seat arena. The seats are filled with
rowdy TEENS, small time HOODS and drunken OLD MEN. Daredevil Murdock,
dressed in red and yellow, holds Slammin' Satan Stromboli OVER HIS HEAD.
Murdock THROWS Stromboli onto the mat. The crowd CHEERS. Murdock takes a
RUNNING LEAP and LANDS on top of Stromboli with a HARD BODY SLAM. The crowd
ROARS.
INT. SACRED HEART CATHOLIC CHURCH - NIGHT
SILENCE. A large, beautifully ornate stone church, illuminated by countless
rows of burning candles. The church is deserted, save for one solitary
figure... Matt. He kneels at a side altar and starts praying to a statue of
the crucified Christ.
MATT
Forgive me Lord. I didn't know what I was doing.
The SILHOUETTE OF A NUN hovers at the rear of the church, standing in the
SHADOWS, as she listens to Matt's prayers.

f^

MATT
Please give me the strength to get it together...
And to make it up to my Dad. . . make him proud of me.
Matt makes the sign of the cross, opens the bag with the stolen items in
front of the altar and stands up. The NUN, who has been listening from the
shadows, appears and calls out.
,

NUN
Wait...
Matt turns. His expression melancholy. His eyes filled with a distant pair.
now looking back at the bag. He's too ashamed to explain. He just turns anc
walks away.
The Nun nods and goes to check the bag. She's still in the shadows but we
are able to catch a slight smile in her gentle face.
NUN
Thank you, my Lord. Thank you.
EXT. DOWNTOWN MANHATTAN - WRESTLING ARENA - NIGHT
The marquee lights -- advertising the Murdock fight -- BLINK OFF.
INT. WRESTLING ARENA - PROMOTER'S OFFICE - NIGHT
A seedy, cramped office. CATUZZI, the weasel-like, sweaty PROMOTER, sits at
his desk, counting the evening's receipts. The desk is covered with PILES OF
CASH. There is a KNOCK at the door.
Jack Murdock enters, dressed in street clothes. Catuzzi gives him a cigarstained smile.
' ,v '
CATUZZI ^ ">
Good job tonight, Murdoch Crowd ate it up.
Catuzzi tosses Jack an envelop^.' Jack counts the money inside.
JACK *
(surprised)
We had a deal. One-fifty.
CATUZZI
If the place sells out.
MATT
It was standing room only.
You're blind.

CATUZZI
There were four empty seats.

Catuzzi goes back to his counting, ignoring Jack.

JACK
Is that right?

c*

Jack suddenly launches himself across the desk, grabs Catuzzi by the
shirtfront and PUNCHES him hard, with a quick ONE-TWO combination. Then he
TOSSES him back into the chair. Catuzzi's eyes begin to SWELL, turning a
deep shade of blue.
JACK
Now who's blind?
Jack snatches his rightful fifty bucks from the table and turns to leave.
Catuzzi shouts through puffy, black and blue eyes. He opens a drawer and
grabs a gun.

Murdock.
^
V

CATUZZI
This the last thing you'll ever... awwww!

Jack turns around. The back door is open and the hand of Catuzzi, the one
that was holding the gun, is now buried in the massive fist of... WILSON
FISK. 562 pounds of solid muscle. Over SIX FEET TALL. His head SHAVED.
He wears a custom made white suit, a RED ROSE pinned to his lapel. Look
beyond Fisk's freakish exterior and you'll see a strong, almost handsome
face.
His blue eyes are deeply intelligent, with a glimmer of strength.
But they twinkle, too, with a hint of sadistic malice.
Standing near Fisk is Angelo Policano, a.k.a. The Fixer, a handsome, greyhaired man in an expensive suit, smoking a thick Cuban cigar.
FIXER
The guy's still got a heavyweight punch. You shoulda
pay some respect. (takes a look at the book on the
desk) Besides... It is one-fifty ya wrote down in the
books. I don't like no lies.
CATUZZI
(terrified)
I... I can explain...
JACK
It's okay Mister... I got mylponey.
But Fisk squeezes the hand even harder.* The pain is unbearable and fainting
is almost a relief for Catuzzi. . ^ J

Fixefy: J

C*

It's unfortunate-a^ champ like ya has to deal with

such scum, Mr. Murdock... Perhaps we can talk
business.
While Fisk removes the RED ROSE from his lapel and DROPS IT onto the bar
beside Catuzzi, the Fixer offers a big Cuban cigar to Jack.
FIXER
Take it, son. Starting how no such things will be
allowed... We gonna get ya in great shape!
Jack accepts the offer. Fisk and Policano exchange a look which is clearly
an omen for trouble.
EXT.

HELL'S KITCHEN STREET - NIGHT

In that same moment, Matt is walking back home, the church still in the
background. He sees Starkey and his buddies sitting on the stairway of a
building. He tries to ignore them.
Hey Murdock!
/flO-***-

Oh...

STARKEY
Where the hell ya goin'?

MATT
(a little embarrassed)
I, uh... Gotta go now.

Starkey gets up, so do the others. They follow* Matt.

STARKEY
Gotta go? You ask permission from the team before
you do that.. .
MATT
School... urn... school's starting next week.
do this'anymore, guys...

I can't

STARKEY
- (can't believe this)
School? What the hell is that...
The boys laugh, teasing him.
corner of the street.

Matt tries not to listen.

He steps to the

Across the street, the crossing sign flashes: DON'T WALK. An elderly BLIND
MAN is halfway across the intersection. Matt HEARS something. Swings his
gaze to:
A SPEEDING TRUCK. Roaring into the intersection. The truck BRAKES.
late. It shimmies out of control, SKIDDING sideways...

Too

The Blind Man freezes at the sound of the truck's SCREECHING TIRES.
MATT
No!

'

Everything happens in SLO-MO: Matt-DASHES into the intersection and LEAPS

toward the Blind Man, PUSHING h.inf-oub of the truck's path. The Blind Man
falls clear. But the truck is fishtailing toward Matt -Matt turns the skidding trailer SMACKS into him and sends Matt REELING
through the air... He CRASHES through a cluster of garbage cans...!
The truck's back wheels bang the curb and the truck TIPS -- !
Matt is sprawled, nearly unconscious, on the sidewalk.
The truck SLAMS onto its side and * YELLOW CONTAINER EJECTS from the rear of
the truck...
The CONTAINER CRASHES into a street lamp and BURSTS OPEN right in front of
Matt... he opens his eyes and sees.
MATT's POV: A shining, almost incandescent CYLINDER flying at him...
It gets bigger and bigger... and finally hits him right between the eyes!
BYSTANDERS pour toward Matt...

An ELDERLY WOMAN yells:

ELDERLY WCMAN
Somebody help him!
But, for the moment, nobody has the guts to venture near Matt...
Matt pulls the cylinder away from his eyes and his hands burn as if he has
touched something really hot. He looks toward the people for a moment, his
bright, wounded eyes blinking desperately. . .
MATT'S DISTORTED POV: Only BLACK SILHOUETTES are visible against a glowing
GREEN sky. Matt hears their VOICES:
,.,

STARKEY
Holy shit, Murdock...
BYSTANDER 1
We're gonna help ya...
BYSTANDER 2
Bravest-thing I ever saw...
Within seconds, everything SLOWLY FADES TO BLACK.
FADE IN ON:
INT. ROOSEVELT HOSPITAL - MATT'S ROOM - NIGHT
Matt lies asleep in a hospital bed. Heavy bandages cover his eyes. Jack
Murdock stands in the doorway with the DOCTOR. Jack's eyes are red.
DOCTOR
-- from what little we do know about that... stuff,
well...
JACK
I should feel lucky he's alive.
They meet each others' gaze.
tears. Choking up:

Straight... Tb.e Doctor nods.

.

Jack fights the

JACK ( - /..
I do, Doctor. 3; dbv ') ''
INT.

HOSPITAL ROOM - LATE NIGHT

The hospital is still and quiet. Lights off in the rooms. Jack sits in a
chair next to Matt's bed, his head slumped sideways, chin on his chest,
snoring softly. Matt squirms and shudders, his sleep restless, troubled.
A figure appears in the doorway. Steps into the room.
It's the mysterious Nun from the church. Her face is still hidden in the
shadows. After a moment, she walks to Matt, leans over and KISSES him
lightly on the forehead. Matt grows quiet, his breathing steady.
NUN
(gently)
Sleep, child.
She removes a golden-chained crucifix from around her neck. She slowly
places it in Matt's hand. Then she kisses him softly one last time.
FADE OUT
EXT. ROOSEVELT HOSPITAL - DAY
Establishing shot. A RAINY New York day.
INT. HOSPITAL ROOM - DAY
The SOUND OF THE RAIN EXTREMELY AMPLIFIED by Matt's perception. He now lies
on the bed, face toward the window. The bandages are gone and his eyes are
closed. His hands clutch the golden chain. Jack is pacing'the room.

Matt focuses on him and the SOUND OF THE RAIN dims...

MATT's POV: All he sees is darkness. Nonetheless, in this black velvet
universe that surrounds him, Matt can perceive Jack's movement.
j^ffjT^V

The SHAPE that corresponds to his father is, in fact, like a different tone
of black, pulsating and alive. Jack's heartbeat is easily detectable among
the thousands of different sounds coming from every part of the hospital.
Yes... this unique symphony of organic sounds, odors, and mass can be only
Jack's. Jack comes closer to check on his son.
MATT
It's okay Dad. I'm awake.
Jack speaks and his voice is that of a GIANT to Matt's ears.
JACK
How'd you know I was here?
Matt speaks tenderly to him without turning.
MATT
I could hear you a mile off.

Sit down Dad.

JACK
Matt, we have to talk. It;suabout the accident. You
were hit by something some" corporation was driving
through town. They won't>sayif it was radioactive
or not. Hell, they^woh't even talk to me. You were
lucky to survive, sbn^(,,But your eyes... they...
jk

-.

MA*JT*' '
I know I'm blindV*Dad.
CAMERA DOLLIES IN TO Matt's face...
MATT (cont'd)
I heard the doctor... and I've never heard of a
hospital without lights.
JACK
(tears in his eyes)
You're taking this rather well...
MATT
Dad, don't get sad on me now.. I don't know why
but... I'm not scared. I mean... I'll never be
able to see again, but I don't really miss... the
light. This dark is kinda... friendly. You see, I
think I've gained something from the accident...
JACK
(sadly)
You're gonna be all right, you're a brave kid...

I****

MATT
No Dad, I'm serious... I don't know if it was that
stuff... or the shock itself.. . but it's like my
brain has been rewired. I've lost my sight, but I
can hear ten times better. I can smell scents, I can
feel things normal people could never feel...

'c

Matt listening...to' the SOUND of the softly falling RAIN... wheels on WET
PAVEMENT... horns HONKING... Matt turns his head, ever so slightly, and the
CAMERA TRAVELS OUT the window... We HEAR a MAN'S VOICE discussing finances
on the phone. Then we catch a GLIMPSE of the MAN on the telephone in the
window of a brightly lit office across the street.
CAMERA BOOMS DOWN...SWOOPS DOWN the sidewalk...
MATT
It's amazing the things I can do... With a small turn
of the head and a little concentration I can isolate
a single voice in a crowd...
The SOUNDS of rain, traffic, and pedestrians FALL AWAY... The CAMERA TAKES A
TURN THROUGH the front window of an upscale restaurant... A DINNERTIME DIN...
A couple is having a discussion...
MATT
Or two voices.
BACK ON MATT:
amusement.
'

.. ",v y.
...

At the window.(^Lirktening.
V * "' \ '*

Lips curled in satisfied

M#TT
I'm like a super radio, and I can tunein to any
station. But I have to concentrate in order to keep
the sounds from coming all at once. That would drive
me crazy... I have to focus, to isolate each one...
JACK
I... I don't get it son...
MATT
Yes you do, Dad... You're a little scared.
tell that from your heartbeat.

I can

Jack looks at him, even more concerned, and starts nodding his head...
JACK
Whatever it is son, you're gonna keep this between
us... You understand. Matt?
Matt turns to him.

Smiles softly.

Nods.

MATT
Yeah, Dad. I think we need to figure this out before
we tell anybody...
JACK
I think the more you know the more you'll wanna keep
this a secret, son.
He gives Matt a kiss on the forehead.
back to the window.

Matt pats him on the hand and turns

* , .

Jack heads out the door, passing NURSE REILLY on the way.
nods. She's a robust, kindly woman.

They exchance

'

MATT
Good afternoon, Nurse Reilly.
NURSE REILLY
(Surprised)
How did you know it was me?
MATT
Who else has those sexy footsteps?
INT. HOSPITAL - DAY
A cane in his right hand, Matt pliantly allows his father to steer him down
the hallway. Matt SENSES where he is going, but uses his cane frequently,
acting "completely" blind.
MATT
(whispering to Jack)
It's like I have a kind of built-in radar. A strange
tingling sensation when I approach something solid,
showing me where to turn. In a way, I can still
"see"...
<- ">

Jack doesn't notice he's about to WALK \rit;o.an empty, PARKED WHEELCHAIR.
MATT
Look out for that

^l

Jack BANGS into the wheelchairV

JACK
OW!
MATT
Wheelchair.
JACK
(amazed)
How do you do that?
MATT
(smiling)
I was just explaining it to you. . .
INT. ELEVATOR - DAY
Matt and Jack enter a crowded elevator.

The doors slide CLOSED.

MATT'S POV: Darkness. Dynamic. Alive.

/""v
^

Matt HEARS the HEARTBEATS of all the people in the elevator, an unfocused
PERCUSSION RACKET. Their BREATHING sounds like a bunch of giant bellows...
Their CONVERSATIONS, whispered in reality, sound to Matt as if BLASTED full
volume through a THX system. A loud "BING" and Matt perceives the black,
abstract shapes that are the elevator doors OPEN.

WOMAN'S VOICE (O.S.)

(a loud echoing voice)
May I help you?
[

14

Matt turns toward the sound.

MATT's POV: A shapeless face glowing BLACK ON BLACK.
NORMAL POV: The WOMAN asks again...
WOMAN
May I help you?
Her voice perfectly normal now.
JACK
No, thank you. He does quite nicely the way he is.
And they walk away, through the revolving door, and into...
EXT. HOSPITAL PARK - DAY
A BURST of Summer sunlight on the other side of the door. CAMERA follows
father and son as they walk in the park toward the hot SUNLIGHT.

/*N
'

MATT
'* * "'
If you ask me exactly hqw ft works Dad, I can't
explain it. Somehow^vi/reach out and touch
everything around kie air** at once. I feel the
pressure of objects* and that feeling becomes
movement. I have^o get used to it but I think it's
a pretty cool way to get around.
JACK
With one hand God takes away, and with the other he
gives back. You've been given an amazing gift, son.
And you've gotten it for a reason. You've gotta make
good use of it.
As :hey sit on a bench the SCREEN goes nuclear white...
INT. MURDOCK'S APARTMENT - NIGHT
Jack is sitting in front of the TV
of books.

Matt is studying, surrounded by dozens

MATT
(to Jack)
Great thing is, I don't need to read in Braille. My
sense of touch is so strong I can read simply by
feeling the contour of the ink on the paper.
Jack nods, smiling. Matt opens another book. His fingers scan the title
page.
/#*v

MATT
"Paradise Lost." You told me this was Mom's
favorite...

JACK
Yeah.
(

(changing subject)
I've just been thinkin' maybe I'd start fighting
again.
MATT
Really?
JACK
Ali came back. Joe Louis came back. Why not Jack
Murdock?
Matt nods, sensing the confidence and strength that's been missing in his Dad
for so many years.
A BOXING MONTAGE.
Jack Murdock comes back with a vengeance! We see QUICK CUTS of various
FIGHTS. He wins them all, while a supportive Matt is in the audience for
every one, cheering his Dad on.
The final fight. A brutal battle. A bloodied Jack throws a HARD RIGHT,
KNOCKING his opponent to the mat. Out cold. -Jack is declared the winner.
Matt leaps to his feet CHEERING.
x
INT. CLASSROOM - DAY

\J

.teaAS:aMh notes. The teacher smiles at

Science class. Matt concentrates^^tAMhg
him...
\ V
Another class: same .thing. Matt answers correctly and the teacher happily
nods.
Another image SUPERIMPOSES on the scene: MATT'S REPORT CARD. An "A" beside
every subject.
EXT. ROOF - DAY
On the roof. Matt is doing his gymnastic workout. Jack is watching over him.
The boy is FASTER. Stronger. Way more agile. His new enhanced senses
compensate for his loss of sight, giving him formidable coordination.
His athletic skills are now almost beyond human capability. Matt hangs in
mid-air and just hovers there longer than anybody else, almost teasing the
force of gravity.
MATT
How am I doing?
JACK
Amazing.. Better than ever, son. You have complete
control now.
MATT
In the world I'm in... complete control is the only
chance I have to defeat fear. And without fear... I
am free.
Matt does a TRIPLE BACK FLIP and lands on top of a balance beam. He flips
into the air...

-b

INT. SCHOOL GYMNASIUM - DAY

/i""*"

...And lands a YOUNG MAN in his twenties with a smooth dismount off the
parallel bars. Matt's tall, lean and muscular, his body sheathed in blueand-white gymnastic tights. The gym is a desert, wide and clean. Bright
blue mats stretching from wall to wall, sunlight streaming in through high,
tall windows. Matt sprints across the floor... He hits the vault with both
hands and LAUNCHES into the air, end over end in a turning arc...
INT. NEW YORK UNIVERSITY CAMPUS - REGISTRAR'S OFFICE - DAY
Orientation day. Countless STUDENTS wait in line, eager to sign up for thei:
Fall classes. Matt enters tapping his cane. Another incoming freshman is
standing there clutching his course list. Looking a little overwhelmed.
His name is FOGGY NELSON. He's a pudgy, curly-haired youth, dressed in a
colored bow tie, Ralph Lauren sweater, slacks and loafers. He's working on a
giant-sized pretzel while holding another one in a half open paper bag.
He
notices Matt getting his bearings and steps up to him. (Speaking just a
little loud, naturally.)

Hi.

FOGGY
(his mouth full)
Foggy Nelson. Can I lend a hand?

Matt smiles slightly and offers his right hand to shake.

MATT
' -x
Thanks. That's okay... M&bfc Hurclock.
say "Froggy" Nelson?
\J

Hi.

Did you

Foggy takes Matt's proffered haAd\ii*h his left hand and places it in his own
right. He eagerly shakes ijfc. _y*"nJdoing this, of course, he has dropped the
pretzel. Matt quickly grabs\^t in mid air and gives it back to Foggy.
FOGGY
Foggy.
Francis, actually, Foggy*s a nickname.
you imagine going through life with the name
"Francis"?
Matt shakes his head, smiling, bemused.

Can

Then Foggy finally realizes...

FOGGY
Hey, the pretzel... how did you do that?
MATT
That... Oh just luck, I think.
(changing the subject)
So have you decided on a major?
They proceed, together through the crowded hall.
No. No.
Maybe...

FOGGY
Not yet. I dunno.
Finance?

Foggy continuing to eat.

Dad's a banker.

MATT
Mm-hm.
FOGGY
My uncle's a doctor.

So maybe Pre,-Med.

17

MATT
Okay.
FOGGY
My cousin's a writer!
you?

/$&*s.

Maybe journalism.

A serious look descends over Matt's face.

Law.

How about

He has no doubt:

MATT
Pre-Law.

Foggy sucks in his lips, nodding thoughtfully.

He lifts his eyebrows:

FOGGY
(brightly)
That sounds good! I've heard they have great chicks
over there...
Matt LAUGHS.
EXT.

HELL'S KITCHEN STREET - EVENING

Jack Murdock jogs in a grey sweat suit in the darkening twilight.

TRACKING ALONGSIDE him...

CAMERA

A BLACK LIMOUSINE slides INTO FRAME. Pacing J^ck\ The rear window on his
side HUMS down. The wide face of Wilson Fisji appears.

FISK

C\C*

Mr. Policano would J.ikejj-to1 talk to you.

Jack and the limo slow to a stop\ The back door opens and Fisk climbs out.
The tail of the car rises on its Shocks with a groan of relief.
Jack climbs in and Fisk shuts the door behind him.
rolls out. Fisk walks alongside it.
INT.

The limousine slowly

LIMOUSINE - NIGHT

A cloud of smoke quickly dissipates, revealing the Fixer smoking his usual
cigar and rolling another one in his fingertips.
Jack.

FIXER
Is this a bad time?

Jack and the Fixer face each other. The Fixer proffers a cigar, a cognac...
Jack declines both, looking at him neutrally.
FIXER
Of course not. You're in training.
JACK
That's right.

0i^-^\

FIXER
This is the fight of your life.
proud.
Thanks.

JACK
Sanchez is strong.

I know ya'll make us

But I, can beat him.

FIXER
I don't want ya to beat him.
JACK
What?
FIXER
You're gonna take a dive, Jack.
Jack is rigid.
JACK
That's not gonna happen.
A ferocious glint appears in the Fixer's eye.
FIXER
Oh, yes, Jack. It is. Lemme tell ya sometin'... Ya
really think ya earned all those "cnockouts. . . on
your own? I made ya ol' man. And tomorrow night,
it's pay back time.
The whole world collapses on Jack's shoulders.

The Fixer relaxes.

FIXER
__ -\
Don't look so shocked! Foif~Christ's sake, Jack...
they call me the Fixer*.-^ WhVU'd ya think? I like to
tinker with broken tpastjfers?
(to the driveif]
Stop the car. \
W

Jack is stunned.
EXT.

Devastated.

He gets out of the car shaking his head.

HELL'S KITCHEN STREET - NIGHT

Jack looks imploringly at the Fixer while Fisk stares at him impassively.
Please.

JACK
Don't make me do it.

FIXER
It'll make you rich! You and that blind boy of yours
can move out to the Island. Life will be good.
You'll never have to work again.
(pause)
All ya have to do is lose.
Jack looks down.

Stares at the floor.

Finally:

JACK
And what if I don't?
FISK
(ice cold)
I think you know the answer to that one.
f

Jack looks into Fisk's blue eyes for just a moment, turns and walks off,
shoulders hunched, head low. Fisk watches him go.

EXT.

yff"""""N

MADISON SQUARE GARDEN - NIGHT

-"

Late August. The Garden sign reads: "HEAVYWEIGHT TITLE BOUT. JACK MURDOCv
VS. SUGAR CANE SANCHEZ. SOLD OUT." The place is swarming with FANS and "
REPORTERS.
Matt and Foggy pass through the turnstiles into the Garden.
SMASH CUT TO:
SUGAR CANE SANCHEZ, taking a PUNCH. CAMERA PULLS BACK. We are inside the
BOXING RING. It is ROUND FOUR of the match. .Both fighters are drenched in
sweat, bloodied, exchanging FIERCE BLOWS.
Matt and Foggy in the SECOND ROW.
Matt over the sound of the crowd:

Foggy, excited, yells a play-by-play to

FOGGY
Your Dad's killing
him.
And a right...

Oooh.

He just threw a left.

Matt smiles to himself. He can follow the fight perfectly, hear every
footstep, every punch, the sound of fists whipping through the air...
Suddenly, the CAMERA DOLLIES to Matt's face.
MATT's POV: His radar sense is filled by a mas>siye shadow passing by.
Awestruck by its size. His perception almest blacked out.

BACK TO THE SCENE: It's Wilson FiskS Two goons follow him. The guy is so
big it takes a while for him to\ge,t through the rows. He makes a better door
than a window.
^
FOGGY
Hey, c'mon guys. We're missing the best part!
Fisk turns around. His eyes steel cold on Foggy, scaring the heck out of
him.
ON MATT: Smelling the very distinctive fragrance coming from...
The ROSE on Fisk's lapel.
One of the two goons steps forward to leach Foggy a lesson.
MATT
Is everything okay Foggy-'
Fisk, seeing the blind young guy, 3trps his man.
FISK
(sarcastic)
Take it easy, Jo. They ;ust wanna see the match.
The goons laugh, then they move on
Jesus!

r^

FOGGY
He could have made meatballs out of me...
MATT

Who?

I don't know.

FOGGY
He looks like a Sumo wrestler...

An old man, who has just witnessed the scene, shakes his head.
OLD MAN
(whispering)
You were lucky, young man. Wilson Fisk usually
doesn't give up so easily.
FOGGY
Wilson Fisk?
OLD MAN
Guy's a Hell's Kitchen legend. /Eats ten chickens
for breakfast. Ten more for lunch. Another ten for
dinner.
FOGGY
What about his midnight snack?
OLD MAN
I wouldn't be so funny.
MATT
Hitman?

'

..

He's a hitman.
>" A "'
VJ

OLD VA^M V'"

They say Wilson/^i^'s killed more guys than cancer.
Never once used a^weapon. No guns. No knives. Only
his bare hands.
But he's never spent a night in
jail. Nobody ever saw him. He's too smart...
*

INT.

MADISON SQUARE GARDEN - NIGHT

Fisk has joined the Fixer and together they watch the fight.
The Fixer
tries to remain calm, but his face is tense. Concerned, Fisk whispers to
him.
FISK
What's goin' on? He was supposed to take a dive in
round three.
FIXER
He's showing off for his kid. He'll go down. . .
Round Four ENDS. Jack returns to his side of the ring. The BOXING
ATTENDANT, one of the Fixer's goons, gives Jack a drink of water. He
WHISPERS to Jack.
ATTENDANT
What're you waitin' for? Just give him an opening
and fall down. Think about that boy of yours.
(****

Jack snaps, grabbing the Attendant by the throat.

JACK
Guess what, scumbag?
thinking about.

That's exactly what I'm

- ,

Jack pushes the Attendant away, stands and walks to the center of the ring 2 1
Jack turns, FOCUSES on Matt in the audience.
The BELL RINGS. The fighters meet. Jack ATTACKS. He POUNDS Sanchez with an
intense ferocity. He fights with every last ounce of his heart and soul.
The crowd is on its.feet.

Matt and Foggy are SCREAMING.

The Fixer stays in his seat.

Eyes smoldering.

With a final right, Murdock CONNECTS with Sanchez's jaw.

limp. He HITS the mat. Face down. Out cold.

Sanchez's body goes

The crowd falls SILENT. Waiting. Matt and Foggy are breathless. The Fixer
closes his eyes, rubs his temples. Fisk smiles. The Ref completes the
count:
REFEREE
...Nine. Ten.
The Referee grabs Jack's arm, raises it in the air.
REFEREE
'
The winner
and
new
Heavyweight
.Champion...Jack
Murdock1.
\ \. \-

CAMERA CIRCLES the victorious Jacfc_Mu>dock. The crowd goes WILD. Matt and
Foggy hug, cheering. Jack gives.;the Fixer a contemptuous smile and calls
out:
-s,
j$&f\

Hey, Fixer?

JACK
Which wild punch do ya think did it?

Matt, applauding wildly, pauses for a moment. Did he hear right... "Fixer"?
He lets it pass and doubles his applause...
Seething, the Fixer walks out of the arena, followed by Fisk and the other
goons.
Matt blinks tears from his eyes...
EXT.

OLD HOMESTEAD RESTAURANT - LATER - NIGHT

A steak house located in the MEAT MARKET DISTRICT. A taxi cab pulls up.
Jack gets out, dressed in street clothes. He walks toward the door. Fisk
steps out of the shadows into his path.
FISK
Congratulations, Champ.
Slade and Gillian, two of The Fixer's goons, stand behind him with guns in
their hands. They smile.
INT.
\

OLD HOMESTEAD - NIGHT

The restaurant is a dimly-lit, oak-paneled joint. Matt and Foggy are seated
in a red leather booth in the rear. VERY LOUD MUSIC blares out of the
speakers. Foggy is trying to flirt with a cute waitress.
Matt, a glimmer of concern on his face, taps Fbggy on the arm:

MATT
(loud, over the music)
Hey Foggy, what time is it?
I

"

EXT. MANHATTAN MEAT MARKET - BACK ALLEY - NIGHT

The streets are dark and deserted. A black limousine trolls through the
darkness, passing beneath a raising metal door...
INT.

VALENTI WAREHOUSE - NIGHT

The warehouse is dark and filled with row upon row of hanging beef carcasses.
Fisk steps out of the car. Slade and Gillian force Jack out and lead him
through the hanging meat toward...
The Fixer, standing there, his Cuban cigar, as always, in his mouth. He
glares at Jack.
Wilson.

FIXER
Show this man how to lose.

Fisk nods to Slade and Gillian. They haul Jack up. His feet dangle. Fisk
walks up to him. Smiles in his face. *. A ^
\ '

(^

FISK
t K' ) '
I'd like to shake tihe^ha&d of a Heavyweight Champion.
/* 1V *
Fisk takes Jack's right hand apd SQUEEZES. HARD. Tightening mightily.
Jack's hand CRUNCHES. Jack SCREAMS...
MOVING IN TIGHT ON MATT, going taut, his ears pricking up.

Foggy notices:

FOGGY
What?
MATT
Shhhl

Matt focuses and the MUSIC fades lower into the background. All his senses
are humming, now. He stands abruptly in front of a wide-eyed Foggy!
MATT
MY DAD!!!
He dashes out of the restaurant, leaving a surprised Foggy behind.
INT.

VALENTI WAREHOUSE - NIGHT

Jack CRIES in agony.

him without mercy.

Fisk releases Jack's pulverized hand and begins to 3EAT

EXT. MEAT MARKET BACKSTREETS - NIGHT

(

Matt jogging down the street. Senses tuned.

his face:
MATT
C'mon, Dad...where are you?

Listening.

A desperate look on

CAMERA PANNING the deserted streets and buildings. Matt whispers to himself:

MATT

Where where where...?

Then he HEARS: the sound of Fisk's punches.
He SPRINTS across Tenth Avenue...
INT.

Bouncing off the alley walls

VALENTI WAREHOUSE - NIGHT

Fisk ruthlessly POUNDS away.

ON MATT: Running hard down the street.
INT. VALENTI WAREHOUSE - NIGHT
Fisk PUMMELS away at Jack. A mad look in his eyes. His teeth clenched.
Sweat bubbling on his forehead. Jack's eyes roll up.
FIXER
Stop.
Fisk steps back, breathing hard. Fixer steps up next to him, stubs out his
cigar on Jack's forehead, then pulls out a revolver.
FIXER
x .
Never leave a man who hatres-you'with this much
passion. . . alive. A \)
/tfflfev

EXT. MEAT MARKET - BACKSTREET5!*;- NIGHT

Matt RACES down the maze-like alleys of the Meat Market. He pauses at an
intersection. Matt listens carefully. We hear what Matt hears.
His father's HEARTBEAT.
MATT
(hopeful)
He's still alive.
He focuses on a building. Two blocks away.
over to himself:

He RUNS.

MATT
Dad...Dad...Daddy
INT. VALENTI WAREHOUSE - NIGHT
Fixer points the gun down at Jack's face and COCKS it.
EXT. MEAT MARKET ALLEYWAY - NIGHT
Matt HEARS the click of the gun's hammer being cocked.
MATT
NO. . .
>flflR^v

INT. VALENTI WAREHOUSE - NIGHT

Jack closes his eyes and whispers to himself.

Whispering over and

/^j~M\

JACK
I love you, Matt.
EXT. ALLEYWAY - NIGHT

"-"*

Matt HEARS his father's last declaration of love -- and then a GUNSHOT. He
SCREAMS:
MATT
DAAAAAAD!!!
TEARS fill his eyes...
INT.

VALENTI WAREHOUSE - NIGHT

Jack Murdock lies dying on the floor of the warehouse. Fisk stands over him
for a moment as the others head for the door. His expression is impassive.
He plucks the small red rose from his lapel. He is about to drop it then...
he changes his mind. He looks at the Cuban cigar still on Jack's lap and
smiles. Finally, he turns to go.
EXT. VALENTI WAREHOUSE - NIGHT
Fisk exits the warehouse and crosses to the waiting limo.
out of the car. He looks up the street. Toward...

He pauses halfway

A RUNNING BOY. Matt flying this way. ^ His footfalls ECHOING off the
warehouse bricks.
.. *A
MATT
'x ,
Dad!
^
\

Fisk climbs into the car. \ ./A ^

\LSK
His boy...
FIXER
(smiling)
I like that.
Fisk pulls the door shut and the limo glides off...
Matt runs up. The limo steers fast around the corner and off into the
distance. Breathless, Matt turns to the OPEN METAL DOOR. He still hears
something. Inside. The slow faint BEATING OF JACK'S HEART. Matt RUNS
ins ide.
INT. VALENTI WAREHOUSE - NIGHT
Matt darts among the hanging meat to the fallen body of his father. He
kneels and tenderly holds Jack's bloodied head to his chest.
MATT
(crying)
It's okay Dad... I'm here now... I'm here with you...

f"""-*

The SOUNDTRACK FILLS WITH the sound of Jack's heartbeat. Getting SLOWER.
And SLOWER. The heartbeat STOPS. There is SILENCE. Then a fragrance leads
Matt's fingers to the cigar in Jack's lap. He takes it up.

*"

MATT
(resolved)
I'll find you.
WIDE OVERHEAD SHOT: Matt cradling his father's body in the corner of the
warehouse. The hanging meat carcasses throw an army of shadows across the
floor. Matt looses a WAIL of inconsolable grief.

FADE TO BLACK.
EXT. ROOFTOP - NIGHT
Matt walks to the locker.

He opens it and removes a DUFFEL BAG.

He draws from the bag Jack's yellow and red WRESTLING COSTUME.
MATT
Your ghost. Dad. This'11 get 'em.
EXT./INT. O'HARA'S BILLIARD PARLOR - NIGHT
An old, smoky Hell's Kitchen POOL HALL. CAMERA moves through a window and
tracks on a long, narrow tavern with a series of faded, tattered pool tables.
Pools of light illuminate each table. The place is empty, save for SLADE and
GILLIAN playing pool with TWO OTHER GOONS.
A VOICE speaks to them out of the darkness at the back of the room:
MATT -XO.SSjJ '
Time's up, guys ^\ g
/1M*\

Slade and Gillian turnfiow<d*the voice.. .

SLADE
What the hell...?
Matt emerges from the shadows into the glow of a light hanging over the rear
table. He's wearing his father's costume.
Damn!

GILLIAN
Jack Murdock...?

Matt holds his WALKING CANE in one hand. He playfully tosses an eight ball
in his free hand. He swings the cane sideways at the light and SHATTERS the
bulb, once again shrouding himself in darkness.
The two other Goons fade back and slip out the front door. Gillian gapes.
Slade tightens his grip on the cue stick like a club. Smiles thinly, as he
checks for his gun.
SLADE
Let's go, long Johns.
Matt LAUGHS. It is a loud, frightening laugh that ECHOES through the pool
hall. Slade moves cautiously through the darkness toward the back of the
club. Gun ready. He reaches for a wall switch... FLICKS it up.
/&**.

A fluorescent light BUZZES ON and Slade turns to

A CUE BALL ROCKETING STRAIGHT INTO THE LENS (Slade's face) with a-WHACK!!

EXT.
S$v&\

^6

O'HARA'S BILLIARDS - NIGHT

Slade is THROWN through the building's FRONT WINDOW.

Slade's body HITS the pavement. Gillian is next...

Glass SHATTERS.

MATT
You thought you could kill me!
GILLIAN
(scared to death)
I-I didn't... It was the Fixer...
This doesn't prevent him from FLYING through the billiard club's front door.
The force BLOWS the door off its hinges. Gillian TUMBLES several feet,
landing beside Slade.
EXT.

SIDE STREET - NIGHT

The Fixer's limo rounding the corner from a side street.

CLOSE ON MATT
Ears pricking at the sound of the CAR'S ENGINE. Nose smelling something he
was looking for... He walks into the middle of the road.
INT.
/***>

LIMOUSINE

The Fixer, cigar in his mouth and a platinum blond bombshell at his side, is
pouring champagne into a glass.
jttt^vfs hanging open, his forehead wrinkled.
Up front, the Limo Driver's ^ettyvfs
LSJO DRIVER
Uhhhh...Sir?
POV THROUGH WINDSHIELD
Matt standing stock still in the center of the road.
spectre.

A yellow and red

The Fixer leans forward, baring his teeth:

FIXER
What the hell!? Run him down!

RUN HIM DOWN!!

The Driver blinks a few times and then hits the gas...!
the imperturbable figure...
EXT.

The car ROARS toward

WEST SIDE STREET

Matt plants his hands on the front of the speeding car and VAULTS UP AND OVEF
it... !
INT.

LIMOUSINE

The Blonde looks up, her lipsticked mouth forming an "O".

Matt lands behind the limo.
facing front.

The Limo Driver staring back.

> ..

Only the Fixer

FIXER
LOOK OUT FOR THE -- !<
Too late -- CRAAAAASSSHHHH...!!!!
EXT.

SUBWAY STOP - NIGHT

The limo has careened into a subway entrance.

railing, hissing steam.
INT.

Its crushed front upended on a

LIMOUSINE

The Driver out cold up front. The Blonde is still young but no longer
blonde, her wig shorn from her head.
The spectre speaks in a deep, resonant VOICE:
MATT
Fixer.
The Fixer shakes his head.
No.
EXT.

Bloody.

Shaken.

He croaks to himself:

FIXER
Impossible.

SUBWAY ENTRANCE - NIGHT

''*"

. -v.

' ^

The Fixer scrambles out offehja/ruinedlimousine. A TRAIN is audible, ROARING

into the station below, ^he-^wler runs frantically into to the SUBWAY
ENTRANCE and dashes doWfe tlhe stairs.

Matt takes a DEEP BREATH and smiles to himself.

MATT
Follow the scent.
He RUNS into the subway station in HOT PURSUIT.
INT. SUBWAY STATION - NIGHT
The Fixer runs onto the subway platform, trying to catch a train. TOO LATE.
The train doors close and the train speeds out of the station. The Fixer is
left behind. Alone on the platform. MATT'S HAND. He TEARS OUT a section of
POWER CABLES.
The LIGHTS GO OUT. The station is lit only by the STROBING LIGHTS of the
speeding EXPRESS TRAIN on the opposite track. The Fixer stops. Frightened.
He sees something. In the distance. Walking toward him.
MATT. Sheathed in red and yellow. His muscular body lit by the electric
FLASHES of strobing light. The terrifying figure approaches.
The Fixer's eyes WIDEN.

Shaking his head.

Trying to cling to reality.

FIXER
Murdock...?!
The Figure walks toward the Fixer.

As he gets*closer, we HEAR what he HEARS:

the Fixer's HEARTBEAT. It SKIPS a beat.

AIMS his revolver and SHOOTS.

Trembling with fear, the Fixer

"

Faster than lightning, Matt DEFLECTS the bullet with his CANE.
The Fixer FIRES ANOTHER SHOT. Again Matt DEFLECTS the bullet.
You.

FIXER
Ain't.

Human.

The Fixer tries to shoot again, but

heartbeat. It SKIPS another beat.
He CLUTCHES his chest. We hear the
falls to the platform. Eyes open.
the Fixer's dead body.
Matt hears something behind him.
DRAWN and are RUNNING this way.

his hand is shaking. We HEAR his

Then FLUTTERS. The Fixer DROPS the gun.
Fixer's heart STOP BEATING. The Fixer
Mouth gasping for air. Matt stands over

Turns. TWO TRANSIT COPS have their GUNS

Matt focuses on the sound of an EXPRESS TRAIN approaching on the OPPOSITE

TRACK. He LEAPS from the platform and RUNS across the tracks. The Cops
gape. One points his gun:
You!

COP
Stop right there!

Matt STOPS. Inches from the speeding traifc.^He JUMPS up. GRABS HOLD of the
moving train and is BORNE INTO the darkness* of the subway tunnel. . .!
^

The Cops stare after him in amaz(*meirL

INT.

FIXER'S APARTMENT - JX^O^'*

Rain and wind beat against the front windows of the late Fixer's brownstone
apartment. The big stone fireplace is ablaze, flames dancing across the
polished wooden floor. The front door opens. Wind gusts through the house.
The door closes. Wilson Fisk steps into view in the entryway. A butler
arrives to take his coat.
BUTLER
What a pleasure to see you, Mr. Fisk. Mr. Policano
is not here yet, can I get you something to drink?
FISK
He won't be back. He's dead. And I'm taking over.
BUTLER
(without a blink)
Certainly, sir. As you wish, sir.
EXT. BROWNSTONE ROOF - NIGHT

f***

Exhausted, Matt sits at his usual spot on the edge of the roof. He is
dressed in street clothes. His father's red and yellow costume is crumpled
in his lap and he's holding the yellow poster in his hands. While his
fingers caress the faded face of Jack Murdock, Matt listens to the SOUNDS OF
THE CITY. They come much louder now. And Matt is much better able to isolate
and distinguish every one of them...

MATT
I can feel it, Dad. No happiness. No justice. Only
grief. Tragedy. And hopelessness.
(

*
"
"
"
* MATT's POV: In the DARKNESS we hear what Matt hears... POLICE SIRENS, a child
WEEPING, a couple arguing, somebody yelling...
BACK TO SCENE: Matt picks up his father's costume and clutches it to his
chest. It's an almost sacred moment and the bright 'lights of the City
flutter in the background like the million candles of the holiest of the
ceremonies.
MATT
Destiny has made the choice for me. Dad.
CLOSE-UP: MATT'S STAINLESS STEEL WALKING CANE.
Matt's hands ENTER FRAME and attach a small METAL HINGE to the cane's middle
section.
DISSOLVE TO:
MATT pushes a SMALL BUTTON at the base of the cane. The cane's curved top
immediately STRAIGHTENS. He presses the button again. The cane RETURNS to
its curved position. Matt smiles.
INT. MATT'S ROOM - NIGHT

N
(

.x ' ') ""

Matt is rapidly HAND-SEWING a sec^ion^pf DEEP RED FABRIC. Using his father's
as a prototype, he creates a st^angeJrT' more durable costume. We can't see it
very clearly in the dark atmoscheffe, but we catch a glimpse of a yellow
double D...
s.
SMASH CUT TO:
MANHATTAN FROM THE SKY - AERIAL SHOT - NIGHT
We fly above the gold-lit skyscrapers of Manhattan and come closer and closer
to the brightly lit CHRYSLER BUILDING. Perched on top of it is a solitary
figure... DAREDEVIL! He is dressed in the new, dark red suit. The costume
fits Matt's perfect, muscular body like a glove. The letters "D.D." are
emblazoned on his powerful chest. A mask, adorned with two small red horns,
hides the upper part of Matt's face. The new incarnation is both majestic
and foreboding.
Daredevil pauses. His hyper-sensitive hearing LISTENING to the sounds of the
city. A SCREAM pierces the night air. Daredevil POINTS the cane toward the
ROOFTOP of an OPPOSITE BUILDING, several stories below. He smiles.
DAREDEVIL
(quietly)
Somebody down there needs me ...

f*^

Daredevil's fingers HIT A BUTTON on the cane. The cane SPLITS IN TWO: The
bottom part becomes a powerful billy-club that DD puts promptly into his
thigh case. The other section, the curved one, a masterpiece of dynamic
engineering, has an internal mechanism capable of ejecting, through its head,
a METAL WIRE. Daredevil pushes the button again and the hook of the cane
SHOOTS across the street and LATCHES perfectly onto a FLAG POLE on the
adjacent building. He holds tightly to the cane, LEAPS OFF the Chrysler
rooftop and SWINGS FORWARD.

Daredevil FLIES PAST CAMERA, through the air.

SOUNDTRACK MUSIC SCARS...

A street warrior is born.

SPLIT SCREEN SEQUENCE. (MONTAGE OF VARIOUS SCENES)

MUSIC. YEARS GO BY in seconds. We quickly follow the respective careers of
Matt/Daredevil and Fisk/Kingpin in a ROCKY III kind of split-screen montage.
We see them growing' and achieving their goals on opposite sides of the law.
Matt seeking justice as a lawyer during the day and fighting the crime at
night as Daredevil. Fisk becoming more and more powerful as the Kingpin of
the N.Y.C. crime scene and as a very wealthy industrialist on the legitimate
side.

fl&V\

Daredevil flying through a window

Fisk smiling. Images of drugs being
and putting a thief out of
manufactured, packaged, distributed,
sold on the street. A bank robbery.
commission. Matt and Foggy
graduating from Law School. "Who is Shooting between cops and mobsters.
Daredevil?" asks the headline of the Fisk counting piles of money.
Newspaper headlines showing Fisk's
local paper. Daredevil beats up
evolution from small businessman to
three drug dealers and leaves them
industrialist. Inauguration of Fisk
for the cops. TV News... DD
Industries. A trigger being pulled.
portrayed as a hero. Matt in a
The scared expression of a man. A
courtroom defending a Puerto Rican
man: smart, passionate, impeccable. bullet flying in slo-mo. News: the
death\of a mobster. Fisk smiling
Matt and Foggy surrounded by piles
pq&xkS Fisk buying an expensive
of books at the Law Library. DD
pa^nfing. Fisk collecting art.
flipping through the NYC night.
People cheer him. Matt walking ;~\ Frantic negotiations on Wall Street.
alone in the street. DD acceptimte a/ Fisk's stock skyrocketing. Fisk
flower from a little girl. Thev7*) smiling again. Fisk smashing his
grave of Jack Murdock; Matt <mitVSvone fist on a table.
red and one yellow rose on itS^
Camera pulls back from Fisk's fist on the table and expands to fill the
entire screen.
INT.

FISK'S OFFICE - M.O.S.

DAY (FULL SCREEN)

A convocation of CRIME BOSSES presided over by Fisk. His other huge hand
rests atop the crown of a large alabaster cane.
FISK
(very angry)
How dare they raise the fee for every ounce we sell
in their territory? I'll send them to hell for this.
Everybody nods. Everybody but DON BORGESE, a grumpy old-fashioned godfather,
a leftover from what once was Little Italy. He strongly disagrees. Fisk
looks at him impassively.
DON BORGESE
(intensely)
This is not the way to do business, Fisk. We don't
need a gang war now. Besides... This goddamn
crack... I don't really want to sell it to the kids
on the streets.
FISK
You are of course very upset, Don Borgese. Let me
alleviate your tension. We are all friends here.

He gets up, goes around the table and starts to massage the neck of the old
mafioso with a gentle, delicate touch. Don Borgese relaxes, spoiled. Then,
without a blink, Fisk breaks his collar bone, snapping it like a toothpick'.
The other mobsters watch in horror.
FISK
(matter of factly)
Now, let's talk business. They deserve to be
punished. On the other hand I really like their
territory. I have just the right guy to kill two
birds with one stone...
SMASH CUT TO:
EXT.

LOWER EAST SIDE - NIGHT

DISCO MUSIC BLASTING. The SANDWORM, an infamous disco nightclub on Eldridge

Street. It's hard to distinguish casual hangovers from the pushers and
junkies near its door. Despite the atmosphere of decadence and corruption,
everybody seems to be having fun.
A figure dressed in a strange camouflage and black kevlar outfit, partially
hidden by a black raincoat, comes out from behind the corner and walks toward
the entrance. He wears white gloves and hi-tech sunglasses. A white holster
with a Glock semiautomatic pistol is strapped to his thigh. Juan Del Toro,
a.k.a. BULLSEYE, is the ultimate killer .for hire. He approaches the gorillasized bouncer at the door.
BULLSEYE
How's it going?
it

,<-. ^ X

BOUN($g^ &
(scanning V-m)J
Not bad...
\
BULLSEYE
You sure?
The bouncer becomes defensive but is already too late. He barely registers a
gleam of silver flashing in the hand of the weirdo in front of him. A sai, a
razor-sharp dagger with pointed guards, flies and pierces his throat,
punching a hole through the back of his neck. The.big guy falls, dead.
People around scream in panic. Another bouncer comes out from inside, aiming
a gun at Bullseye. He doesn't have time to pull the trigger: four shuriken,
Japanese throwing stars, are already embedded in his chest. Bullseye pulls
out of his belt a metal sphere with a digital read-out. He pushes a small
button and the timer starts to flash: five seconds... four... three...
Bullseye throws the grenade inside and...
KA-BOOOOOMM!!! The EXPLOSION is huge.
FIRE. SMOKE. DEBRIS. SCREAMS. CRIES. The SANDWORM is obliterated, as are
many of the people who were inside.
Atft^+y

Bullseye walks away from the apocalyptic scene, glancing back with a sick
smile as the fire moves quickly up the APARTMENT BUILDING.
LATER.
The loud lament of SIRENS. The building is engulfed in flames. The ladder
on a hook-and-ladder truck GRINDING. The mechanism jams.

High above, the top of the ladder jerks spasmodically, FIFTEEN FEET from an
OPEN WINDOW in which a YOUNG MOTHER stands SCREAMING and clutching her 3
YEAR-OLD. Smoke and flames well furiously in the dark room behind her.
(

A FIRE FIGHTER stands precariously at the top of the ladder, his arms
outstretched. FLAMES THUNDER and glass SHATTERS all around her. The Fire
Fighter beckons to her with both hands. She leans forward. Holding her
child out. He is too far away...
She strains to pass her baby into his arms. Leaning further... Further...
She loses her footing! Starts to topple forward...! She throws her baby
toward the Fire Fighter...! He catches the child safely in his arms. The
Mother falls out the window... The Fire Fighter watches helplessly. A HOOKAND-WIRE CONTRAPTION suddenly hooks the ladder behind him!
DAREDEVIL SWINGS toward the falling Woman. Her eyes tightly closed and her
mouth open in a SCREAM... Daredevil catches her in one arm and swings around
the ladder...
Spinning around it. Round and round. Down toward the ground. He rests her
gently on the pavement and disappears into the mists of smoke and fire hose
spray.
She finally opens her eyes. Looks with disbelief at the ground beneath her
feet. Sees the look on a gaping FIRE FIGHTER'S face. Follows it to...a DIM
RED BLUR disappearing into the nightC\ - "'
. *

The first Fire Fighter places th*i\hild in her arms.

sobs with relief...
. \J\ (
/
"
'
EXT. BUILDING ROOF - NIGHT \ f

She clutches it and

'

Daredevil is now on the roof of a nearby building watching the crime scene.
More police cars arrive. The firemen continue to pump water onto the fire.
DAREDEVIL
(whispering to himself)
If I know your style, you're still around watching
your masterpiece. Let me hear you.
He relaxes and clears his mind of any thought.
to.. .

He opens his radar sense

A WAVE of sounds roaring up from the street, strong and clear.

We see and go bevond the closer sources: Sirens, firemen, cops. Farther away
the screeching wheels of a car - a bus horn - the persistent percussion
rhythm of a rap song coming from a boom box - and many, many others
sounds...
BACK to Daredevil who concentrates even more.
from a thousand separate sources.

Softer sounds murmur to him

Quick montage of other sound sources: A TV speaker - a boiler - an alarm

clock - a little child crying - a cat meowing...
/^N

BACK to Daredevil: He strains. Still softer sounds whisper faintly. He

sifts through them carefully. Isolating each one... The plink-plink of a
drop of water - The flap-flap of a loose window screen moved by the wind and
finally... A heartbeat. Singular. QUICK. EXCITED. UNIQUE.

DAREDEVIL smiles.
Bridge.
/flJJKX

He points his cane toward the source... The Manhattan

DAREDEVIL
There you are.
EXT. MANHATTAN BRIDGE TOWER - NIGHT
SILENCE. Only the low whistle of the WIND. CAMERA CRANES through the
beautiful golden necklace which is the suspension system of the bridge and
finds... Bullseye. He's sitting like a vulture on top of one of the bridge
towers. Shining cars swarm by like quick ants below him. Manhattan and the
still burning fire he caused are right in front of him. He smiles, admiring
his work, then he HEARS something. He TURNS just in t i m e
He is STRUCK
full-on by DAREDEVIL'S two-legged kick. He is HURLED against the cabled
webbing of the bridge.
DAREDEVIL
End of the line, buddy.
Bullseye manages to hang on.

He shakes his head, grinning.

BULLSEYE
You think you scare me, red turd?
Bullseye hurls something toward Daredevil and he must dive to avoid five
deadly shuriken! Daredevil charges him again... But Bullseye is fast and
jumps to the side. DD misses and free*-faJQ.s^toward the ground. Cars and
trucks below coming closer and closer.<.\ *
>.

'\

Then a button is pushed in mid-aj,^ ?$Rd again Daredevil's cane saves the day,
hooking firmly on the webbing dfi the bridge. DD can breathe for only a
second before Bullseye grabs\a"loose brick from the TOWER WALL and jumps
toward his enemy. This time'fie scores, hitting DD right in the face.
BULLSEYE
This will mash your pretty face, Mama's boy.
But Daredevil's fist is strong enough to pulverize the brick.
DAREDEVIL
Let's settle this right now... weaponless...
man...

man to

BULLSEYE
Sure...why not?
DD moves quickly, dealing Bullseye a breath-stealing blow to the gut and
readying for a second one. But the killer is fast. He sidesteps DD's punch
and hammers his forearm across the side of DD's skull, simultaneously
bringing a knee up into his solar plexus. Daredevil goes down, winded.
BULLSEYE
I always knew you were nothing but headlines.
And so saying, Bullseye tosses a hand grenade at him. DD promptly rolls away!
The grenade explodes...

EXT. MANHATTAN - NIGHT

The explosion on the Manhattan Bridge as seen from far away.
EXT. MANHATTAN BRIDGE DRIVEWAY - NIGHT
Police cars swarm to the spot of the n
new explosion. Trucks with TV station
logo
>go arrive. Reporters jump out. TV cameras. Microphones. The usual MEDIP
MEDI
CIRCUS. Everybody's attention is now focused on Daredevil and Bullseye stii:
fighting across a suspension cable up above.
EXT. MANHATTAN BRIDGE - NIGHT
Daredevil pulls a metal fragment from a wound on his arm caused by the
explosion. Bullseye smiles.
BULLSEYE
I'm better than you. Stronger.
to send you to hell!

I don't need a bomb

They crash again. It's a violent and spectacular fight, with the two
dangerously clinging to the web of cables while they punch and kick each
other mercilessly. Then, hanging only by- their legs from the suspension
wires like two trapezists, they grab each other's necks and start to squeeze.
It's ruthless. Both of them open their mouths for oxygen. Bullseye is the
first to succumb. He passes out^lets go and falls.
(\ /

(** BULLSEYE free-falling. His 'body) spins and collides twice with the bridge's
cables. Plummeting to theysfereet. below, right in the path of an eighteenwheeler. There is nothing Ifehat can prevent Bullseye from becoming ground
beef. Nothing except...
DAREDEVIL! He swings from his wired cane and catches Bullseye just an
instant before the truck splats both of them like mosquitoes.
The TV CAMERAS capture the incredible moment. Murmurs of astonishment among
the crowd.
TV SCREEN.
CNN NEWS. MONTAGE OF DIFFERENT IMAGES: The burning building. Firemen.
Cops. Bullseye free-falling. DD saving him. The unconscious Bullseye
carefully laid on a stretcher and wheeled into an ambulance. DD shooting the
wire from his cane and swinging quickly away from the scene. . .

-^
r

SPEAKER
Is Manhattan burning? Tonight, a building on the
Lower East Side burned to the ground. Daredevil, the
masked hero, was able to capture the suspect
arsonist, Juan Del Toro, also known as Bullseye,
after a battle on top of the Manhattan Bridge. First
in our coverage of these events, we go to live
interview with attorney and social activist Matt
Murdock, who will represent the fire victims'
families...

EXT. MANHATTAN BRIDGE DRIVEWAY - NIGHT

Matt stands on the roadway, surrounded by reporters.
1ST REPORTER
Mr. Murdock, do you think last night's fire is linked
to the seven other arsons set off around Manhattan in
the last few months?
MATT
I have no doubts about it.
1ST REPORTER
And we've finally put our hands on the arsonist...
MATT
For all we know, he may be just the trigger-man...
What's really important is finding out if there is
anybody behind him... And if that is the case, who he
is and why...
2ND REPORTER
Do you believe the explosion could've been part of a
gang war between drug dealers?
MATT
- )\ ^
So it may seem... But why burn the whole building?
Maybe somebody wants,-uis^to believe it's just a shootout between drug de^epre*'.. Maybe there' s another
agenda...
*\ ^' '
3RD REPORTER
Why do you think he did it? Why did Daredevil save
Bullseye?
MATT
What are you saying?
3RD REPORTER
Innocent people have died in those fires. There are
those who expect Daredevil to do justice right here,
on the spot.
MATT
People like Bullseye would rule the world... were it
not for a structure of laws created by society to
keep such men in check. The moment one man takes
another man's life in his own hands, he is working to
destroy that structure. If Bullseye is a menace to
society, society must make him pay the price. Not
you. Not me. And not Daredevil. I'm sure everybody
hates what Bullseye does... what he is. But we are
not God...
/iTuWs,

4TH REPORTER
What if he goes free and kills again?
Matt shakes his head, uncertain.

Finally...

MATT
Then, hopefully. Daredevil will be there to face the
consequences.

CAMERA PULLS BACK from the TV SCREEN and finds Fisk sitting on a couch,
sipping a giant margarita. His expression is still, indecipherable. His
huge face SLOWLY CROSS FADES TO...
INT. COURTROOM - DAY
The Third District Court in Manhattan. Matt is sitting in the back row of
the courtroom. He is listening to DISTRICT ATTORNEY DIANE ALBRIGHT, a
no-nonsense, dark-haired woman in a cream colored jacket and skirt, who
is giving her opening statement in the criminal trial of The People vs.
Bullseye.
Bullseye is on trial for arson and murder.
Bullseye sits ominously in a strange hi-tech constriction chair that
makes him look like a futuristic version of Hannibal Lecter. His HEAD is
SHAVED. Next to him sits OSWALD MORRIS, his greasy, fat attorney.
DIANE
Ladies and Gentlemen, the defense will tell you that
there is no evidence the defendant put the bomb
inside "The Sandworm". And that his recognized
"anti-social" behavior doesn't necessarily make him a
mass murderer...
_
<--v

>

As Diane continues, the Jury listens^attienstively.

The families of the
LStens-at
victims wipe their tears.
DIANE V
But you know this'Jis not true, because Bullseye has
been blazing a trail of pain and death through this
country for a long time. Why? Simple... because of
the money. And, more importantly, for the pure
pleasure of killing.
Bullseye grins, almost proud of what he's hearing.
DIANE
This man, Bullseye, is not "anti-social". He is
evil. He is a killer for pleasure and for money.
He's the garbage we must remove from mainstream
society. But before we lock him up and throw away
the key, we want to make sure he gives up the name of
who's really responsible for this blood bath... (to
Bullseye) Tell us who paid you to do this, Mr. Del
Toro...
BULLSEYE
(grinning)
I didn't do it. I didn't like the stupid music they
play, that's all. But I wouldn't burn the whole damn
place for that...
C^

DISSOLVE TO:
Another moment in the trial. It's now Morris" turn...

JQ

MORRIS
Where is the proof, ladies and gentlemen? Where is
the evidence? Do you see it? I don't see it...
Because the truth is that there is no evidence my
client started the fire. Daredevil, the so-called Man
Without Fear spotted him more than a mile away from
the accident and attacked him for no reason. For all
we know Daredevil could have very well provoked this
tragedy himself. Not Mr. Del Toro...
Matt, sitting again in the back row of the courtroom, shakes his head in
disgust.
Diane cannot take it...
DIANE
Objection Your Honor! Mr. Del Toro is on trial here.
Not Daredevil...
MORRIS
I am not accusing anybody. I am just saying there is
absolutely no evidence my client planted that bomb.
Even Daredevil has already admitted he never actually
saw him do it.
JUDGE
Overruled.

'\

''. A

/***

Your Honor!

DIANE
' (\ / * *

JUDfeB
Mrs. Albright, please.
(to Morris)
Continue.
DISSOLVE TO:
ONE MONTH LATER.
Matt is seated in the same spot. The courtroom AUDIENCE has changed. The
jury Foreman reads the verdict from a paper he is holding.
FOREMAN
In the matter of The People vs. Juan Del Toro, we,
the Jury, find the defendant not guilty on all counts
of arson and murder.
JUDGE
All charges against the defendant are dropped. He is
to be released from custody without further delay.
Case dismissed.
The Judge raps his gavel. Two Baliffs release Bullseye from the constrictior
chair. People back up, afraid. Bullseye stands and high-fives his lawyer.
Tension mounts while the jury leaves the courtroom among the boos of the
audience.

33

INT. COURTHOUSE - DUSK

Outside the courtroom, in the crowded hall. Matt approaches Diane Albright
while the MEDIA surround Bullseye and Morris.
MATT
Diane?
DIANE
Yeah.
She is disappointed, not to mention depressed.
MATT
Hi. I just wanted to say that you were great.
DIANE
You mean they fried him? Where was I?
Matt smiles ruefully. Morris approaches them.
Diane, who refuses to shake it.

First he offers his hand to

MORRIS
No hard feelings, counselor?
Cameras FLASH at Diane's refusal.

_ 7\ .
v * ^ ^
V
IE r>
DIANE
A
0
Soft as diamonds. l(pW At y o u ' l l excuse me.

Diane walks away. Morris the!\ moves to shake Matt's hand. Matt doesn't move.
More cameras FLASH.
S
MATT
You absent for the lecture on Justice in law school,
Morris?
MORRIS
You know what they say about Justice, don't you
counselor?
Morris points to the statue above them, over the courtroom entrance.
Justice. Scales in her hand. BLINDFOLD over her eyes.
MATT
(to himself)
Don't I know it... Justice is blind.
Morris laughs as he walks away. Matt goes in the opposite direction and using
the cane sparingly, he enters an empty elevator. WE SEE the doors CLOSE.
EXT. COURTHOUSE ROOF - DUSK
>WPV

The doors open as the elevator reaches the roof. Matt has put on the red
suit. Daredevil comes out of the elevator, runs to the edge of the roof and
jumps off, free-falling through the air...

INT.

39

LIMOUSINE - DUSK

LOW ON Bullseye in the rear seat with Morris.

the rear windshield.

Streetlights scrolling past in

A RED FIGURE fleetingly glimpsed atop a street lamp...

ON DAREDEVIL: Perched atop the overhanging light. Watching the limo below
sail smoothly past. Headlights splash the dark pavement. Furrowing through
the darkening city...
INT. LIMOUSINE - NIGHT
The limo slows down at an intersection. Stops.
roof. Bullseye and Morris look up, surprised.

There is a THUD! on the

Suddenly the window near Bullseye CRASHES and Daredevil, reaching inside,
unlocks the door and opens it! The driver, scared to death, opens his door
and runs away.
DAREDEVIL
(sarcastic)
Congratulations, Juan.
Bullseye looks at him nonchalantly.
BULLSEYE
.
You were wrong, you friggin' moron.
planted that bomb.
/*

Santa Claus

Morris is really pissed.

V. \ v-"
M&RIWS J
How dare you thi~e*aten us?! This car is private
property... I'm warning you!
DAREDEVIL
I dare what I want, you scumbag. (to Bullseye) Now
let's get this straight, 3ullseye. I could've let
that truck splat your moldy brain all over the
bridge. I won't make the same mistake again.
MORRIS
Are you threatening my client?
DAREDEVIL
cont'd)
You even breathe wrong. Ill be there to make sure
Justice is served. Fight there. On the spot. Pass
it on to the bastard who's paying you. The offer's
valid for both.

Daredevil leaves.

Bullseye grins

BULLSEYE
He's so melodramatic. Don't you just love him?
MORRIS
I'll love him more when he's six feet under.

EXT. BUILDING ROOF - NIGHT

*"

Matt has put on his civilian clothes, folding the costume into his bag-.
Suddenly, his head cocks slightly. Staying very still. Senses tuned.
STENS. A LOUD and FAST heartbeat. He looks upward. Way up high, A FIGURE
s standing on the edge of the North Tower rooftop.
MATT
A suicide.
He doesn't have time to change back into Daredevil, so Matt just grabs his
cane and points it toward the North Tower. The cane SHOOTS UPWARD, CATCHING
a ledge, several stories above. Matt shoots up out of view...
EXT. WORLD TRADE CENTER - NORTH TOWER - ROOFTOP - NIGHT
A beautiful young woman stands on the rooftop edge. Her long, coal-black
hair blown by the autumn wind. She is a classic beauty, with dark, brown
eyes. Strong cheekbones. Full, red lips. Skin like silk. Body like a
rock. She is dressed in white sweats and Nikes. A ruby red scarf is wrapped
around her neck.
ON MATT: He hurriedly CLIMBS toward the top of the North TOWER.
over the edge and onto...

Leaps up

THE ROOFTOP
>. s

The girl stands at the opposite end, her back to him. She STEPS OFF the
roof...! Matt freezes.
ON THE GIRL^v ^WALKING INTO SPACE away from the edge
f the building.. .her feet treadingCge^ly on a THICK WHITE TIGHTROPE. 110
ories from the street below. A She.-.extends her arms.
Slowly WALKS toward the middle or the rope with the grace and balance of a
ballet dancer. Her expression is cool. Very cool.
ON MATT: Moving across the shadowy rooftop in amazement.
edge. Listening. Smelling.

He reaches the

MATT
(ecstatic)
That fragrance...
He reaches down and touches the rope.
The girl stops. Standing between the twin towers of the World Trade Center.
She gracefully RAISES her leg. BALANCING ON ONE FOOT. She does a slow,
perfect pirouette.
Matt listens from the shadows. Perplexed.
The girl suddenly SLIPS. And FALLS. Matt is about to REACT. But she's FAST
-- she SHOOTS up her right hand and GRABS the rope, losing her scarf in the
process. Her body DANGLES in midair. Then, like an expert gymnast, The girl
SWINGS
her legs up and catches her feet on the rope, rising easily to her
c
ull height.
A THE SCARF: Transported by the wind and snatched out of the air by...
MATT... holding the scarf up to his nose... enraptured.
MATT
This is some girl.
' '

She pauses, sensing something. She looks back the way she came and SEES a "*""
MAN'S SILHOUETTE on the rooftop edge. A slow, mischievous smile appears on
her face. She turns and begins to RUN ACROSS the rope toward the South
TOWER. Matt smiles slyly.
/?&~?~V

MATT
I have to meet her.
Matt steps onto the rope and SPRINTS ACROSS after her.
WIDE SHOT
TWO SILHOUETTED FIGURES dashing across a tightrope between the World Trade
TOWERS.
The girl LEAPS onto the SOUTH TOWER'S ROOFTOP. She turns back and stares in
disbelief at the Man running across the rope toward her! She rushes to an
open doorway, grabs a fancy black handbag from the roof and dashes through
the door into the building.
Matt lands on the rooftop and runs after her.
INT. WORLD TRADE TOWER - ELEVATOR BANK
The girl darts into an elevator. Hits a button.

The elevator doors CLOSE.

Matt runs to the closed elevator doors. He places his fingers between the
crack of the doors and PULLS HARD -- YANKINQ- the doors open. He leans into
the OPEN SHAFT.
~\
/$~B?\

INT. ELEVATOR SHAFT - NIGHT

MATT'S POV:
bottom.

V)

The elevator is severa}Wtories below, SPEEDING toward the

'"^ * \

Matt extends his cane. Hooking a gear above him. He jumps into the shaft,
simultaneously releasing the cane's wire mechanism, SMOOTHLY and SWIFTLY
descending toward the roof of the car.
INT.

ELEVATOR CAR - NIGHT

The girl whips off the sweat suit and slips out of her Nikes, stuffing them
both into the handbag. The floors numbers on the display change quickly.- 4241-40-39... The elevator DINGS. Her hand CLIPS the bag shut. The doors
SLIDE open...
The girl emerges a goddess. Wrapped in a elegant BEADED BLACK GOWN, her
beautiful legs enhanced by the high-heeled shoes, she steps out into the
elegant midst of a BLACK TIE AND DESIGNER GOWN CHARITY BALL.
INT.

ELEVATOR SHAFT - NIGHT

Matt drops down onto the top of the elevator car. With a hydraulic WHINE,
the car begins to drop again . He steps off the car onto the lip of the
closed elevator doors. Clinging there as the elevator rapidly descends...
Matt peers through the narrow space in the doors. FOCUSING in on the lavish
{**> party...
INT. WORLD TRADE CENTER - NATCHIOS FOUNDATION OFFICES - NIGHT
A large banner hangs over a LARGE ATRIUM: "HAPPY BIRTHDAY ELEKTRA."

PARTYGOERS in luxurious evening wear crowd the room. A CHAMBER ORCHESTRA

sets up to one side. The girl approaches a handsome, middle-aged Greek" Mar.
with thick grey hair and a mustache. He opens his arms wide to her, his
voice booming:
/""**>
NIKOS
Elektra! Where has my beautiful daughter been
keeping, herself?
ELEKTRA
Needed some fresh air.
She turns back toward the elevator.
INT.

Looking devilishly toward us...

ELEVATOR SHAFT - NIGHT

Matt pressed to the doors

Enchanted.

The skirling cables jangle behind him.

MATT
(breathlessly)
Elektra.
The ELEVATOR CAR LOOMS HUGELY UP under him like a whale rising out of the
darkness! Startled, he makes a last-second LEAP onto the top of the car...!
Matt is shaken. Catching his breath, he stands there atop the elevator car,
one hand on the cable, swiftly rising along .with his heart.
Then Matt
starts SENSING something. His radar HUMMING*. OVERLOADED...

--"% -A *>
FISK'S VOICE fQ,Js:)
May I wish one hundred^of these days to my favorite
little princess? \ ^ i\ ( /

\ v:

Matt turns in the direction olV^the SOUND.

black mass stomping through the darkness.
INT.

His radar sense perceives a large

NATCHIOS FOUNDATION - NIGHT

A large BALD MAN wearing an oversized white tux and supporting his bulk on ar
ALABASTER CANE, approaches Elektra and Nikos: It's WILSON FISK... "The
KINGPIN." He bends and delicately kisses the back of Elektra's hand.
My dear.

FISK
So beautiful.

Fisk's behavior is most unusual.

close friend of the family.

As always.

He is extremely nice and seems to be a

ON MATT: He tries to focus on their conversation among the hundreds of

voices...
Fisk takes a small box from his coat and offers it to Elektra.
FISK
Please accept this small gift on this happy day.
Elektra looks at Nikos. He nods, it's okay to accept it.
^and unfolds the wrapping. Opens it.

She reaches for it

ELEKTRA
(a hint of sarcasm)
It's lovely, Mr. Fisk. You have suoh great taste...

It's a heavy, kitsch golden necklace with jumbo pearls. Nikos nods "is
thanks.

"*"

NIKOS
Thank you very much, Wilson.
FISK
If I may, Nikos, ask you a minute of your time.
Nikos, looking a bit concerned, nods yes.
FISK
(to Elektra)
Excuse us, my dear.
At that moment, Matt emerges from the makeshift kitchen. He surveys the roon
and finally perceives Nikos going upstairs, followed by Fisk's enormous
figure.
INT. NATCHIOS FOUNDATION - HALLWAY - NIGHT
Nikos and Fisk walk through a long, dimly-lit hallway.
They enter a dark room...

Nikos opens a door.

INT. NATCHIOS FOUNDATION - STAIRS - NIGHT

ft|mj a glass of champagne, but he
declines. He remains focused descitevthe chaos of VOICES and MUSIC.
INT. PRIVATE OFFICE - NIGHT
Nikos sits at the desk in hY^ private office. He's leafing through the pages
inside a file folder. In tne glow of a small lamp, his face appears pale.
Fisk stands calmly across from him smoking a cigarette through a long holder.
FISK
Perhaps you'll think the timing cruel, in light of
the occasion. But often I find it's best to deal
with matters such as these when it is foremost in
one's mind just exactly how much one has to lose.
NIKOS
I had no involvement with this. The Natchios
Foundation is wholly non-profit. Dedicated to good
works. Your contributions were all earmarked for
charitable causes.
FISK
And yet somehow they've ended up in your private bank
account. The paper trail is quite clear.
Nikos lowers the papers, eyeing Fisk with suspicion.
NIKOS
Only you could come up with something this twisted.
C*

FISK
Nikos, Nikos... how long have we been friends? No
one need ever see these but you and me. All I
require is your cooperation. . .
> . ,

Fisk calmly fingers the rose in his lapel.

INT. HALLWAY - NIGHT
Matt appears at the end of-the hallway.

LISTENING...

INT. PRIVATE OFFICE.- NIGHT

Fisk is tolerantly listening to a very angry Nikos:
NIKOS
There won't be any cooperation!
FISK
I'm gonna say this one more time, Nikos. Either you
allow me to use your consulate and your diplomatic
channels as a safe route for my import-export
activities, and become a partner in the growth of
Fisk Industries or part of another expanding
institution: the prison system.
Nikos is glaring at Fisk. Thrusts a blunt finger at Fisk's chest:
NIKOS
Don't threaten me. Your mistake", Mister Fisk, is
that you have maybe for the first time in your life
come across someone/ who cares less for the appearance
of honor than ita substance.
/

FIVK* '
Whatever that tangle of verbiage is supposed to mean,
I take it your answer is no.
NIKOS
It is not merely "no." It is get out of my life and
never let your shadow cross my path again. I will
have nothing to do with you or your dirty business!

Fisk nods, considering. Lower lip jutting.

FISK
I'm asking myself if there is any way I can change
your mind. Perhaps reminding you what I've done for
Elektra. Without me she wouldn't be here to
celebrate her birthday with you. She probably
wouldn't even be celebrating a birthday.
NIKOS
How long are you gonna hold this over my head?
Haven't you been compensated enough for what you've
done?
FISK
She's priceless, Nikos. An eternity wouldn't be
enough to pay me back. And I think you know that.
Nikos begins to shake his head in disgust.
NIKOS
So kill me now. Because I won't be your puppet
anymore.
'

Fisk reaches into his coat...

"^

FISK
(smiling)
Not a bad idea. Sure, people will ask: "Why would a
man...on such a special day... his daughter's
birthday... retreat to his private office..."
Fisk begins to DRAW HIS HAND from his coat. Nikos stares.
FISK
"...and put a gun to his -- "
The door BANGS OPEN and Matt "blunders" into the room. "Feeling" for
orientation with one hand. Tapping his cane with the other!
He slows.

"Sensing" their presence.

MATT
I'm sorry...? Hello?
(too loud)
Is this the John?

Is somebody there?

FISK
We are having a business discussion, young man. So,
if you'll please just give u) a^moment...
NIKOS ,->

(to Fisk)
f^

C\V*

Actually Mr. FisXvW^g leaving.

(to MattfV W
Let me show you ;J*ow to get there...
Matt turning on Fisk suddenly. Nailing him with his "gaze".
MATT
Kingpin.
Fisk smiles thinly.

Pleased.
FISK

You know me.

MATT
Yes.
FISK
And you are...?
Murdock.
Fisk eyeballs him.
of amusement...
T

MATT
Matt Murdock.

Fondling that rose again. Contemplating.

FISK
No. Murdock, huh? Of the Nelson and Murdock law
firm...?
(grinning)
You've done well for yourself Mr. Murdock,
considering your handicap. Congratulations.

With a smirk

After a moment, Fisk removes his empty hand from his coat.

^
f

To Nikos:

FISK
We'll finish this later, Nikos, you and I.
(to Matt, grinning)
And I'm also sure we're gonna bump into each other
again one of these days, Mr. Murdock.
MATT
Count on it, Kingpin.

Perhaps in court?

ON FISK: His wide beefy face an impassive mask.

room, to Nikos' great relief.

Finally, he leaves the

NIKOS
(to Matt)
Shall we rejoin the celebration?
INT. WORLD TRADE CENTER - HALLWAY - NIGHT
Nikos takes Matt's arm and leads him down to the ballroom.
NIKOS
I am glad we met, Mr. Murdock. This was great
timing. Are you a friend of Elektrdv's?

MATT
No.

?\*) *>

(embarrassed)
-"* ***
Ehm. Actually we'vef^hevar met.

>^kos smiles, still warmly gratefty. Y >

NIKOS
Well, it will be my great pleasure to introduce the
two of you. But please, say nothing of this to her.
I beg of you. This is her night. Let's not let
MATT
No. No, let's not.
INT. NATCHIOS FOUNDATION ATRIUM - NIGHT
Nikos introduces Elektra to Matt. She is stunningly beautiful.
NIKOS
I'd like you to meet Mr. Matt Murdock, my dear. He's
a valiant and brave attorney.
MATT
Happy birthday, Miss Elektra.
She smiles curiously at this strange newcomer casually dressed among the
tuxedo-filled room.
ELEKTRA
Thank you.
(*"K

NIKOS
Now if you would excuse me...

Nikos leaves them. Matt smiles at her.

' '

46

MATT
I know it's not much, but I didn't have time to
shop...

"*

He pulls out of his pocket the red silk scarf and holds it out to her. she
takes it from him with a small, curious smile.
ELEKTRA
Was that really you up there?
MATT
(nodding)
Yep.
ELEKTRA
(perplexed)
Wait. So you're really not blind.
MATT
As a bat...
(changing subject)
What's so special about a midnight walk between the
World Trade Towers?
ELEKTRA
<
Well, it's one of the safer-places' in town.
MATT
x' "}
You work for Ringling (adpfcrhers?
"

ELEKTRA*" '
(mildly aghasO
Work? No. I'm a student. At Columbia. They
offered me a gymnastics scholarship, but my father
wouldn't hear of it. He insisted
on paying.
MATT
(sardonically)
Mm-hm. How exciting.
ELEKTRA
(smiling sexily)
No really, I'm always searching for more demanding
workouts.
MATT
Uh-huh.
ELEKTRA
More exciting ways to push myself to the edge.
MATT
I see.
(brightly)
Maybe I can help.
ELEKTRA
I don't think so.

MATT
I'm a bit of a gymnast myself.
show you a few things.

**
I might be able to

ELEKTRA
("indulgently")
Oh, really!
Such as...?
MATT
The edge. And beyond.
Matt punctuates this with a quick, perfect BACK FLIP landing smartly or.
his feet. It was too fast to be really noticed by the partygoers.
Matt straightens his glasses and smiles out from under them.
Very intrigued. He extends his hand. She takes it.

Elektra smiles.

MATT
Deal?
Matt's fingertips LIGHTLY TOUCH Elektra's wrist.
ELEKTRA
Maybe, maybe not.

-\

ON MATT smiling happily as he leaves. Totally smitten.

MATT
,
(to himselfL \\*
Distinct elevationVnfher pulse rate.

INT.

She likes me.

FISK INDUSTRIES - PENTHOUSE - NIGHT

The lavish office of Wilson Fisk, The Kingpin. He stands in the corner
looking out on the city. Stewing. RONALD POPE, his lawyer, is hovering at
his elbow. Fisk turns to him.
FISK
Matt Murdock.
POPE
Who?
Matt Murdock.

FISK
He's a lawyer.

POPE
Never heard of him.
FISK
He's not of your grand stature. He represents the
plaintiffs in several recent fire "accidents." He's
also very committed to the cause of the indigents in
Hell's Kitchen... who pay him in chickens.
POPE
(grinning)
A crusader...

FISK
(serious)
Someone we could do without. I want a list of
everything in his life: what he owns, who he knows,

,3

where he goes .
EXT. STOREFRONT BUILDING - HELL'S KITCHEN - DAY
A metal gate pulled aside from a storefront window. "Nelson and Murdock,
Attorneys at Law"" is emblazoned on the glass in a gold-leaf arc.
INT. LAW OFFICE - MORNING
A chicken, actually a rooster, alive and well, runs flapping all around the
office. KAREN PAGE, the cute, blonde secretary shared by Matt and Foggy, is
trying to capture the bird. She has a great body and wears a short skirt, so
Foggy is enjoying the show. Matt, in the meantime, is listening to their
client, the PUERTO RICAN MAN, seen earlier, who looks gratefully at them.
PUERTO RICAN MAN
Mr. Murdock, Mr. Nelson... I can't thank you enough.
Foggy eyes him uncertainly.

Nods .
/* A *s

/^RS^

FOGGY
v -y;
You're welcome.
,-N
^
^
PUER^lnpCN
MAN
You've given me;\acmy life. Now that I am out of
jail, I will finds<i good job, and soon I can -MATT
I understand. As I said -- you can take your time
paying. For now thank you for the chicken. . .
Foggy rolls his eyes heavenward. Matt and the Puerto Rican Man shake hands
The Puerto Rican Man walks out of the office.
FOGGY
When's the beatification''
MATT
The what?
FOGGY
For us. In Rome. For all our charity work.
does sainthood kick in"*
MATT
What are we going to do?
house?

f^

When

Foreclose on the guy's

FOGGY
He's got a house? I live in a crummy studio
apartment!

/flfflf?N

FOGGY (CONT'D)
(pointing at him)
You want to work out your Catholic guilt, do it in
confession, not in the office. How are we going to
make a living if half of our clients are being
evicted for non-payment of rent? "Non-payment"?
Sound familiar?
MATT
That's not the real reason.
Karen continues to chase the chicken.
himself in. Softening:

Foggy draws a girding breath.

Reign;

FOGGY
All I'm saying is, let's take an occasional case for
money. So maybe we can buy a new pair of shoes, have
a fancy lunch every now and then. Like real lawyers.
MATT
Those are Hollywood lawyers, Foggy... Anyway I'll
make you a deal. We'll diversify. I'll uphold the
righteous torch of selfless virtue while you wallow
in the murky shark pool of big money sleaze.
FOGGY

~v'\

C\*: <*

(smiling)
Works for me.

\J

Karen finally captures the birwWfctf struggles to hold it.

rings and she goes to ansverytj:. The chicken flees.

The telephone

KAREN
(frantic)
"Murdock and Nelson."
Foggy's mouth tightens.

He leans toward her.

Sotto voce:

FOGGY

It's "Nelson and Murdock."

Karen nods distractedly at him.

To Matt:

KAREN
(disappointed)
It's for you. Matt. Miss Elektra...
MATT
I'll take her in my office, thanks.
Matt goes into his office and closes the door.
it. . .

Foggy just can't believe

FOGGY
(dreamy)
Elektra? Sounds like an exotic dancer...
From her expression we see that Karen doesn't even want to think about it.

FOGGY
Were does he find these girls, for Godsake?
z^INT. MATT'S OFFICE - DAY
Hearing his own heart beat like a drum from the emotion, Matt picks up the
phone.
MATT
Hi... (pause) .... Sure... When?...

Now?...

Okay...

INT. ELEKTRA'S GYM - DAY

CLOSE-UP: A TURNTABLE.
romantic SONG begins...

A hand places a NEEDLE on a record. A sexy,

Matt and Elektra begin a dazzling gymnastic WORKOUT. A breathtaking

expression of movement. Their perfect bodies moving together -- JUMPING,
LEAPING, FLIPPING -- in perfect sync.
INT. RESTAURANT - NIGHT
A charming Italian restaurant. Matt and Elektra sit at a small table. The
waiter walks up. Elektra orders, speaking perfect ITALIAN.
ELEKTRA
\
(to the waiter)
^ '\ \
Carpaccio di branzino con carcabf-g e pesce-spada
alia griglia.
,-> VJ

,4

MATT
The same for me. 'V m,fr%
(to Elektra) *
Amazing. Do you speak any other languages?
ELEKTRA
(in each language)
Russian. Japanese. Spanish. French and Portuguese.
Besides English, Greek and Italian. What about you?
MATT
Well, with a little help, I can do a great Brooklyn
accent.
She smiles. A beautiful smile.
MATT
So you were born in Greece and grew up in Japan? You
never talk about your childhood...
Her face goes white.
no answer.

She looks at him but her mind is elsewhere. There is

MATT

Elektra?
\"

She comes back. Focuses. Analyzing his question now for the first time.
ELEKTRA
(very serious)
I don't like to talk about that.

'' *

MATT
(off balance)
I'm sorry.
Suddenly she smiles.

Her tension completely gone.

She plays curious.

ELEKTRA
So... what about your blindness?
MATT
What about it?
ELEKTRA
C'mon. How do you manage to do what you do? Never
saw a blind guy doing things like...
MATT
(interrupting her)
Like this?
Matt moves closer.

He's about to kiss her.

ELEKTRA
(turning away)
So you don't want to take me seriousLfc, Mr. Murdock.

okay

' rvy v

---

Emitting a playful giggle Elektra stands ,aod RWJS out of the restaurant.
Matt stands, drops some cash on the table,/and dashes after her...
EXT. CENTRAL PARK WEST - NIGHT

V.
>

It is mid-December. Christmas decorations line the street. The city is

blanketed in heavy SNOW. Elektra crosses the street and disappears into the
darkness of Central Park. Matt runs outside and pauses, listening.
FOOTFALLS. Across the street. In the park.
Matt dashes across the street, weaving through traffic...
INT. CENTRAL PARK - NIGHT
Elektra RACES through the dark, deserted, snowy park.
begins to unbutton her blouse. . .

As she runs, she

ON MATT: Several feet behind her. He slows, sensing something at his feet.
GRABS it up without stopping: Elektra"s DISCARDED BLOUSE.
CAMERA FOLLOWS A TRAIL of Elektra's discarded clothing:
of crumpled JEANS. SOCKS. A BRA.

A SNEAKER.

A pair

Matt picking up each piece as he goes, following the trail of clothing deeper
into the heart of Central park. A PAIR OF PANTIES hanging on a tree branch.
Matt plucks the panties from the branch and stands there, alone in the middle
of the park. It is oddly QUIET here.
The sounds of the city MUFFLED. Matt
is surrounded by snow covered rocks and trees. A quaint, underground TUNNEL
lies ahead of him. He calls out.
MATT
Elektra?

No answer.

He calls again.
MATT
Where are you?

Again, no answer. Matt CLOSES his eyes. He CONCENTRATES. We HEAR what he

does: The sound of.Elektra's BREATHING and HEARTBEAT. SOFT.
DISTANT.

Matt steps forward, following the sound...

Her breathing grows LOUDER.

toward a tunnel.

Her heartbeat STRONGER.

Elektra stands silhouetted inside the tunnel.

backlit by a distant street lamp.
Matt moves toward her.
is HEAVY. EXCITED.

FASTER.

Matt moves

Her NAKED body beautifully

Elektra's heart beats HARDER.

FASTER.

Her breathinc

Matt stops directly in front of Elektra. Inches from her naked body.
reaches out. Pulls her toward him. Whispers:

He

MATT
Found you.
Elektra presses warmly against him.
ELEKTRA
How do you do that?

Impressed.. \ Curious:
. \
<"\ A ,

MATT \ '
I follow my heart. *
Elektra smiles. Touched.

They share a passionate KISS...

WIDE SHOT -- THE TUNNEL

The silhouettes of Matt and Elektra inside the tunnel. Moving together.
The romantic lights of the New York skyline SPARKLE in the background.
Suddenly Matt's radar sense detects something and a loud metallic sound
breaks the enchantment.
SMASH CUT TO:
The .steely blade of a knife shining in the dark and projecting its reflection
on the two lovers. Coming out of nowhere, three thugs approach. The biggest
one, a bull-sized punk who seems to be the leader, is whirling a big chain in
front of him.
PUNK 1
You gotta be cold baby.
heat...
^
I

Yeahh.

We'll show you some real

PUNK 2
And it's gonna hurt.

PUNK 3
Real men always hurt.

ELEKTRA"s attitude is surprisingly cool.

(**

I like that.
about it.

ELEKTRA
Show me, please.

""*
And don't be nice

MATT
(surprised)
Elektra please let me take care of...
But before Matt can do anything, Elektra has already finished. With
incredible speed she grabs the chain from the stocky brute and uses it to
turn his wrist to pulp.
PUNK 1
Awwww!
Then she smashes his head against the wall of the tunnel.
cold before he hits the ground.

The punk is out

On MATT: He doesn't see the action but can clearly perceive.... the speed
and martial arts skills displayed by Elektra while she attacks the other two
and puts them out of commission in less than a blink. Badly beaten, the
three thugs lay on the ground, unconscious.
ELEKTRA
^K V
They're gonna keep each othei
iOteirm.
Matt is speechless. Then almost caa?e|fL not to piss her off
^

MATT r N ; '

(smiling)
V,
Hmn. . . a dark side.^
She doesn't answer.

Only smiles.

INT. MATT'S TOWNHOUSE - HALLWAY - MORNING

Sunday morning. Foggy in jogging clothes walks down the hallway, holding an
open box filled with Danish pastries. He KNOCKS on the door. No answer.
FOGGY
(calling inside)
C'mon Matt! We're gonna miss the best chicks in
Central Park...
Matt calls from within:
MATT (o.s.)
Just a second, Foggy!
Foggy sighs and sits on the floor next to the door. A few moments pass.
Elektra exits the room. Her clothing is rumpled, her face flushed, her hair
a wild mess. Without glancing at him:
/!"*

ELEKTRA
Have a good workout, Foggy.
He's speechless. Elektra walks off down the hallway. Marveling at her
superlative butt. Foggy finds the courage to talk* to her.

03

FOGGY
Uh uhm... do I know you?
ELEKTRA
(without turning)
Elektra-'s the name.
FOGGY
Enchanted to meet you, Elektra.
Foggy smiles to himself and enters the apartment.
INT. MATT'S APARTMENT - MORNING
Foggy walks inside, shocked by what he sees. The room looks like a
hurricane hit it. The curtains are ripped from the walls.
Furniture is overturned.

A mirror hangs crookedly on the wall.~-

Matt lies naked and exhausted under a crumpled blanket. A satisfied smile
on his face. He gives Foggy a conciliatory look.
There is a LOUD CREAK.
from a startled Foggy.

The broken ceiling lamp CRASHES to the floor, inches

FOGGY
\\ ; ^
You don't really need ur\ j og"M?oday.
Matt smiles. Then curious
MATT*''
So... what do you think?
FOGGY
What do I think?! About her? From one to ten.
I'd say fifteen!
MATT
I'd give five years of my life to see her -just
for a few seconds...
FOGGY
(dreamy)
She'd be worth it...Elektra...where is she from?
MATT
She's the daughter of tr.e Greek Consul General...
FOGGY
No kidding... way to go Matt!
(pause - rethinking it)
Hey... is she Nikos Natchios' daughter?
^swMatt pauses, concerned by Foggy's change of expression...
MATT
Yes...why?

FOGGY
You know what happened to her... Don't you?
(***

MATT

(off guard)
No. . .
FOGGY
It was a pretty famous story among the jet-set...
I don't recall exactly when, but I remember reading
that the teenage daughter of the Greek Ambassador
in Japan was kidnapped some years ago. I think she
was held hostage for quite a while...
Matt is really surprised.
MATT
She never mentioned anything about this...
FOGGY
Things like that can screw you up pretty badly. I'm
glad she's fine now...
Matt doesn't answer. He just nods. His mind already somewhere else.
v
INT. GUGGENHEIM MUSEUM - DAY

Vj

^ A strange structure in a snowy mountvaAaAl&iJdscape. It's"like a monastery, but

( .ts otherworldly quality makes it-^ibfJblately unique, CAMERA PULLS BACK and
reveals it is a painting hanging or^.a wall of the Guggenheim Museum. Matt's
fingers caress the painting, absorbing every detail. Elektra is standing
behind him, her expression dreamy, almost transfixed.
MATT
You're right. It feels beautiful... Who's
the painter?
ELEKTRA
My mother. That's her favorite subject.
MATT
(pretending he doesn't know)
What is it?
ELEKTRA
Her mantra. Or her idea of the edge.

I guess.

MATT
(smiling)
Meaning?

/>*-.

ELEKTRA
She used to tell me bedtime stories about a beautiful
place to imagine being when things go wrong. You
know...Shangri-La kinda things. Hidden valleys.
Himalayas. Tibet. That's what the painting's about...

MATT
Is it a real place?
ELEKTRA
In her mind, real places and dreams were the same
thing.

"

MATT
Was she a buddist?
ELEKTRA
She was crazy. Or at least that's what the doctors
used to tell my father.
MATT
I am sorry.
ELEKTRA
Don't be. She found her peace.
EXT. HILLY ROAD - UPSTATE NEW YORK - DAY
AERIAL SHOT. A black Ferrari Testarossa flying down a mountain road.
A
INT. FERRARI - DAY

f.~

\j

Elektra is driving and she ^mi\s**^l?^Matt seated beside her. The windows are
-down and a cold wind blows tl^ccmgh their hair. They don't care...
EXT. NATCHIOS MANSION - UPSTATE NEW YORK - NIGHT
A HEAVY SNOW falls on the opulent estate of Nikos Natchios, situated amidst
the lush mountains of upstate New York. The mansion rests on 300 acres,
including guest cottages, ski slopes, a lake and a heliport.
INT. NATCHIOS MANSION - NIGHT
A huge dining room, spectacularly decorated with beautiful paintings and
countless WHITE CANDLES. Matt, Elektra and Nikos sit together at a large
table, enjoying gourmet food and sipping champagne.
MATT
I never imagined a Consul could afford such a
beautiful place, Mr. Natchios.
NATCHIOS
The former king of Greece is my first cousin, Matt.
Let's say that my family has never lacked any
attention to the finer details of life...
Matt nods.
^

Nikos looks at him, more seriously now.

NIKOS
Why do you ask? Are you one of those liberals who
think rich people are lesser people?

MATT
No sir. Quite frankly I have so much to worry about
with the poor that my first duty is to make sure they
are not considered lesser people...
Nikos smiles approvingly.
NIKOS
You're quite an interesting young man. Matt. I
really admire your social commitment. I'm glad our
paths have crossed.
Nikos make a toast with his glass of champagne.
NIKOS
To our principles and ideals. May we always be
faithful to them...
Elektra cheers with her father. And so does Matt, though he notices a
shadow of uneasiness in Nikos' expression.
AN INFRARED IMAGE
A BUZZ. Special INFRARED DIGITAL BINOCULARS FOCUS ON and start to SCAN the..
Natchios mansion from behind the perimeter fence... It FRAMES Nikos going
upstairs... Matt and Elektra coming outside onto the terrace...
Then PANS to the control booth...
(^

C\"*^ "">

INT. NATCHIOS MANSION - CONTROL w f 5 (NORMAL IMAGE) - NIGHT

BEN and TERRY two sharply oVelpaed and discretely armed Security Men -watch, on a series of monitors,Vthe mansion and its surroundings.
INSERT on one monitor: A car approaches the road near the main gate then
speeds up, just passing by.
The expression of the two guards is relaxed.

Everything seems to be fine.

EXT. NATCHIOS MANSION - TERRACE - NIGHT

MUSIC: A GREEK SONG. Matt stands at the edge of the terrace. Snowflakes dust
his black jacket. He tries to follow the movement of Elektra, who is
seductively dancing around him. They're surrounded by snow-covered
mountains, beautifully lit by the bright winter moon. It's a great moment.
Then she stops dancing and nuzzles close to him, smiling.
ELEKTRA
He really likes you. Usually he's so cautious.
MATT
(implying "how many?")
Usually...?
ELEKTRA
Don't be silly. I'm his only daughter and he's very
old-fashioned. In our country a father... he wants
his daughter to be with a man that, he knows can take
care of her.

59
MATT
(hurt)
I can take care of you.
ELEKTRA
(smiling)
I can take care of myself.
Matt nods, glancing at all the opulence around them.
MATT
(sadly)
I have no doubt about that.
ELEKTRA
(caressing his face)
Hey... What's wrong? This should be such a happy
night and...
Matt takes her in his arms.

Speaks softly into her ear:

MATT
I'm sorry. It was very nice of you to invite me
here... This place, it's beautiful... But I guess
it's also a bit overwhelming for somebody like me...
you know? Coming from where- Irtjo.. . I feel like I'm
out of my element... <thej^(^nWibering)
Hey, I forgot something! V V J
He pulls out of his pocket a litOebox and gives it to Elektra.
it, curious like a little cJuip* J

She opens

INSERT: A beautiful golden rfng with a shining ruby mounted on it.

Her eyes shine with joy.
ELEKTRA
(cheering up)
Oh Matt... it's beautiful!
MATT
(apologizing)
I had it in my pocket all evening and I guess I was
so nervous...
She looks at him. Holding him close.
ELEKTRA
(interrupting him)
Shhhh. I know just what you need.
MATT
Oh?
^

ELEKTRA
(seductively)
Yes. Come on. Let's go work off some of that
tension.
''

SMASH CUT TO:

EXT. MOUNTAINSIDE - NIGHT - LATER

Matt and Elektra, outfitted in ski wear, share a wild. MOONLIGHT SKI RUN
down the steep mountain slope. Elektra leads, moving at an amazing clip.
/"** WHIPPING in and around the trees and rocks in her path. For appearance, Matt
is tied to her by a long cord, but he doesn't really need it. In fact, he
FOLLOWS her precisely. Monitoring her every move and DUPLICATING it...
Elektra speeds toward the edge of a CLIFF... SAILS over the edge into the
air...
Matt SHOOTS after her... Both of them FLIPPING over and over in the air,
landing upright and SOARING down the mountainside.
Elektra and Matt SCHUSS to a stop at the bottom of the mountain. Right in
front of a storybook LOG CABIN. The cabin is tucked among a stand of dense
trees. Matt and Elektra pop out of their skis.
ELEKTRA
I'll never understand how you do that.
She takes Matt's hand, opens the cabin door and leads him inside...
INT. CONTROL BOOTH - NIGHT
Only Terry is in the booth now and he is easing. He doesn't notice that...
ANGLE ON THE MONITOR: The limo is back, ^ M l i n g the perimeter of the
mansion.
^
\J
f^EXT. ROAD - NIGHT

\v J

The limo slides out from a turV and slows down as its headlights
illuminate...
Bullseye! He puts down the infrared binoculars and let us admire his very
cool new costume. Hi-tech black kevlar suit with white gloves, boots, belt,
and gun holster. Three wide circles around his neck are also stark white. A
big bullseye adorns his chest. His menacing aspect multiplied. He pulls a
tight black hood with a mask to hide his face over his head.
The limo stops at his side and the rear window HUMS down. Wilson Fisk's
face appears. Apparently he doesn't like what he sees...
FISK
(pointing at the costume)
Is that really necessary. Mr. Del Toro?
Bullseye grins.
BULLSEYE
It's my face that is all over the place... This mask
will give me a little privacy.
^
(

FISK
(sarcastic)
If you are so concerned about your identity, perhaps
you shouldn't go around with a bullseye painted on
your chest, Mr. Del Toro. Besides... I must point out
that Halloween is long gone, now. ' *

<**

BULLSEYE
You're right. But I just happen to like this... I
think it's much cooler than the stupid suit of that
red moron. Besides... I'm here to carry out your
orders. Not to take fashion lessons from you,
Kingpin.

61

FISK
(cold)
Fisk, Mr. Del Toro. The name's Fisk.
BULLSEYE
Whatever... We're ready now... Mr. Fisk.
Fisk nods. Bullseye jumps backward and ROLLING acrobatically he goes hiding
behind a bush. The car pulls away...
IN THE CAR: FISK exhales softly.
FISK
(to himself)
God save us from masked clowns.
He pulls the red rose from his lapel. Sniffs it. Tosses it out the window.
Blandly to Jones, who is at the wheel: A.
Call out the bully boys A \ *
Jones grins and unfolds a celljff^ajf jphone
/jQN THE RED ROSE: Discarded^riVihe
JDu 1 -driveway.

The limo already far away. . .

CLOSE-UP: A ROARING FIRE - LATER THAT EVENING

CAMERA PANS from the fireplace to Matt and Elektra, lying naked in each
other's arms beneath a heavy wool blanket. Contentment on their faces. A
moment of pure peace and serenity... Elektra looks at the ruby and sighs.
ELEKTRA
So you really love me...
MATT
I love you more than anything I ever loved in my
life, Elektra.
Elektra's eyebrow raises.
ELEKTRA
But...?
MATT
There is no but.
You sure?

ELEKTRA
Because sometimes I sense one.

MATT
Well... sometimes... I feel like there is a void
between us.
' '

ELEKTRA
A void?
f**^

MATT
It's your past, Elektra.
ELEKTRA
What do you mean?
MATT
I've heard what happened to you... The kidnapping
I mean ...and...
ELEKTRA
(dryly)
And?
MATT
I just want...to let you know that you can trust
me... It's okay to talk about it if you feel like it.
ELEKTRA
What do you want to talk about? You want to talk
about not being able to see the light of the day for
months...
MATT
(forcing a smile) A.
You know, I am an expej^QtoVthat field...
ELEKTJUV >)
Or how about noy-heAring anything from the outside
world ,if not ^A^jiVws, delivered with a laugh, that
your mother jwe^( completely nuts and her heart
couldn't takeV,he pain of your absence any longer and
that she died with your name on her lips?
MATT
(bewildered)
I am sorry. .. I didn't know...
ELEKTRA
I was weak. I should have been prepared to
avoid that...
MATT
You can't feel guilty for being kidnapped.
You were just a young girl.
ELEKTRA
Well... now you know why I developed pretty strong
feelings about scumbags assaulting defenseless
women...
MATT
And all the right tools to express those feelings.
I'm glad I was on the right side of the line that
night in Central Park.
ELEKTRA
Were you now?
(smiling)
Yes, you were...

And she kisses him.

EXT. NATCHIOS MANSION - NIGHT
Utter quiet. Everybody is asleep. The inside of the mansion is dark. Warm
floodlights illuminate the exterior. The snowfall has stopped. There is
absolute stillness. . Then we hear a distant SPUTTERING ROAR...
INT.

LOG CABIN - NIGHT

The fire only a warm pulsing ember now. Elektra asleep under the cover,
still. Matt is awake and raises his gaze for a moment at the sound of a
HELICOPTER passing overhead. His brow furrows. His hand goes instinctively
to his duffel bag...
INT. CONTROL BOOTH - NIGHT
Terry finally realizes something's wrong out there.
On the MONITORS: CARS coming toward the gate.
He grabs his gun but is too late... A sai pierces his heart and he goes down
without a gasp!
EXT. OUTSIDE NATCHIOS MANSION - NIGHT ("\p\ ^*
THREE GAS GUZZLERS ROAR through b\>penmg gate, skidding and fishtailing.
EXT.

LAKESIDE ROAD - NIGHT

V^"

The limo is parked near the lake.

Fisk watches the mansion...

FISK
On cat's feet, the stealthy band creeps silently
toward its prey.
EXT.

NATCHIOS MANSION - NIGHT

Ben, the other Security Man, is descending the front steps of the mansion,
gun in hand.
A Charger ROARS by SPITTING automatic weapon fire: BRRRRAAPPP!!! Ben's body
ARCS through the air...
INT. MANSION - SECOND FLOOR - MASTER BEDROOM - NIGHT
Nikos is awakened by the gunfire.
the sight of the firefight below.

He runs to the window.

His face pales at

NIKOS
My God...
He dashes out of the room.
INT. LOG CABIN - NIGHT
Elektra stirs. Her eyes flutter open. Uncertain of what awakened her. She
reaches for Matt. He's gone.

EXT. MOUNTAIN - NIGHT

DAREDEVIL running across the snow, toward the mansion almost two miles away.
- EXT. NATCHIOS MANSION - NIGHT
/S*SeV

The cars stop in the driveway.

open. Hoods jump out...

TWO STREET HOODS in each one. Doors fly

TWO MORE BODYGUARDS run outside, GUNS already ABLAZE. The Hoods return FIRE.
The Bodyguards FIRE on the fly and dive for cover. Bullets POCK the walls
and SHATTER the front windows.
EXT. MOUNTAIN TOP - NIGHT
Elektra arrives at the top of the mountain. The mansion still far away.
Elektra freezes at the sound of gunfire echoing through the night.
ELEKTRA
Father!
INT. NATCHIOS MANSION - SECOND FLOOR HALLWAY - NIGHT
Nikos, pa jama-clad, runs into the hallway. A maid comes out of her room,
crying. Nikos spots her.
A
NIKOS
Go back inside and lock^the"1
The woman does so and Nikos opensHf Mfarge wooden ARMOIRE stacked with rows of
" HUNTING RIFLES. He hurriedl<\glrabs a rifle. Muttering angrily:
Damn Fisk.
I...

NIKOS
I'll never forgive myself for the day

Nikos LOADS the weapon and descends the steps toward the first floor.
EXT. MOUNTAIN - NIGHT
Daredevil still racing toward the mansion. GUNFIRE ECHOES across the
landscape.
INT. NATCHIOS MANSION

- NIGHT

Nikos bolts a door on the first floor and enters the Grand Ballroom. The
deserted room looks suddenly hostile to him, its huge space filled with dark
shadows. Nikos shivers. The huge window at the head of the hall BURSTS
open. Wind blows snow into the ballroom and Bullseye strides in with two
hoods! The Hoods fan out surrounding the beleaguered man. Bullseye faces
Nikos. A smoking M-16 at his side. Nikos stands valiantly, rifle at the
ready. Bullseye exhales. Down to business.
C

J^

<r*^

BULLSEYE
(Impatiently)
I have orders to spare the others, so if you come
quietly, your daughter and the rest of your staff
won't be harmed.
' ' *

NIKOS
(uncertainly)
... Is this true?
r^

BULLSEYE
This is not a street fight. We are not madmen.

Give

me the rifle...
Nikos lowers the rifle.

BULLSEYE smiles.

EXT. NATCHIOS MANSION - NIGHT

Daredevil finally arrives at the bullet-scarred mansion. Smoke fills the
air. Bodies litter the ground.
ON DAREDEVIL: Heading for the house. Hearing something. Stopping.
A FIGURE appears suddenly in front of him. Daredevil focuses.
DAREDEVIL'S POV: In the darkness the ominous familiar shape of Bullseye and
his distinctive heartbeat.
DAREDEVIL
YOU.

Bullseye is surprised as well and moves toward him, keeping the M-16 hidden/'
behind his back.

QOjV

/*v

BULLSEYE r\
The ubiquitous Darede^J.i' You want the old guy?!
(points at the lakei\Jie/staking a well earned
vacation...
\^

Quicker than a flash, Bullseye opens fire with the M-16.

Daredevil DIVES quickly behind the trees. A car explodes, a tree starts to
burn. Everything around Daredevil becomes hell. Finally, he is hit by the
blast of another explosion and hurled into a bush. When the smoke and dust
settle, Daredevil stands, still alive and well. But there is no trace of
Bullseye.
EXT./INT.

LIMOUSINE - JUST BEFORE TAWN

The goons' cars pull quickly away, leaving the limo alone on the lake view
road. Fisk is talking to Bullseye through a walkie-talkie.
FISK
Very well Mr. Del Toro.
information.

Thank you for the

Fisk turns off the walkie-talkie and motions to the driver to drive away.
He looks intensely out of the window, into the night, and remembers...
FLASH-BACK: In the wrestling ring. Jack Murdock, dressed in the red and
yellow costume. He comes toward the CAMERA. The D on his chest getting
closer and closer.. .fading over the image of Matt running to save his father.
L..JK TO SCENE: Fisk has an amazed expression on his face.
Nikos sitting handcuffed in front of him.

He looks up at

FISK
Murdock is your guest.- And Daredevil shows up just
when you need the cavalry. What a coincidence. Of
course. The boxer's son. How could I have been so
naive...

66

NIKOS
(overcoming his own amazement)
He will punish.you either way. You'll pay for all
your sins.
FISK
I am afraid we don't have time for this.
(to the driver)
Turn there.
Fisk points onto the lake.
JONES
Yes sir.
Jones shrugs and turns the big car through the frosted brush and down onto
the frozen lake.
ON THE LAKE

*-v\

The dark car ROARS across the w h y ^ sfyjimering surface...

/** INSIDE THE CAR

iV

Fisk opens a briefcase and pets some documents on Nikos' lap.

FISK
Now, dear friend. If you really care about your
daughter's future you better sign here. I've got
your Consul's seal ready for this...
Nikos spits in his face.
NIKOS
Go to hell!
FISK
(wiping off his face)
Fine. Then... I really don't have anything to say to
you, my friend. I'll miss... those days.
Fisk smashes his huge fist against Nikos's face. He does it again. And
again. And again.
ON DAREDEVIL: A RED BLUR...RUSHING through the wintry woods... Trees
looming and SWOOPING past...feet barely touching the ground...
/"""~V

INT. LIMOUSINE - POV THROUGH WINDSHIELD - JUST BEFORE DAWN

The wind billowing SNOW against the glass. The sky lightening. A DARK MASS
emerging out of the blinding haze up ahead: a waiting BLACK HELICOPTER.
Rotors turning languidly...
ON THE HELICOPTER
' ' "

Bullseye outside, scanning the area. The PILOT inside. The rotors beqin to
pick up speed. The limo slides to a stop next to the chopper.
/$""">*

INT.

LIMOUSINE - JUST BEFORE DAWN

Fisk opens his door. Nikos' body is lying bloodied and motionless on the
rear seat.
EXT.

HELICOPTER - JUST BEFORE DAWN

Fisk climbs out of the car and takes a REMOTE CONTROL DEVICE from his pocket
Points it at the car and squeezes. The door locks KLUNK shut throughout the
car. Then Fisk uses it to lower the passenger window. The rotors reallv
ROARING now.
*
FISK
(smiling)
About your daughter, Nikos. If you can still hear
me... whadda ya think about me for a son-in-law?
He thumbs the remote and the window HUMS up. Fisk climbs up into the
chopper, followed by Jones... Bullseye activates a HAND GRENADE with a fastmoving digital readout and rolls it under the car.
INT.

HELICOPTER - DAWN

The P i l o t frowns t h i n l y as Fisk s e t t l e s _ i n \fcft}e Jback compartment and the

copter l i s t s noticeably to one side.
INT-

LIMOUSINE - DAWN

Nikos' eyes flutter.

EXT.

3*
^

He is still*alive.

FROZEN LAKE - DAWN

BULLSEYE jumps inside and the chopper HEAVES heavily up into the air... A
MUFFLED BLAST lifts the limo off the ground, ice SPLITTING beneath it. The
car drops back down and SLIPS through the cracks into the frothing water...
The chopper ROARS upward...
ON THE LIMOUSINE
Tipping and slipping down through the broken ice. From the rear window,
Nikos staring desperately upward...
NIKOS'S POV: DAREDEVIL HANGING ONTO THE BELLY OF THE HELICOPTER. . . !
Rising rapidly up into the morning sky...
The icy lake water CLOSES RAPIDLY OVER the rear window.
silent cry for help...

Nikos SCREAMS a

ON DAREDEVIL: Hanging by one hand from the landing strut. With the other
hand, he fires the cane-hook up...INTO THE SWIRLING HELICOPTER BLADES!
The wire WINDING in the rotors HAULS Daredevil up like a shot!
INT.

HELICOPTER

A RED BLUR SHOOTS up past the window -- startling everybody within!

EXT.
/$"~>\

63

HELICOPTER

Daredevil releases the top section of the cane and rolls onto the roof...!
The rsmaining half cane SPLINTERS in the rotors.
INT.

HELICOPTER

Jones UNLOADS his automatic into the ceiling!

EXT.

HELICOPTER

BULLET HOLES STITCH the roof an inch from Daredevil and PING and SPARK off
the rotor blades!
INT.

HELICOPTER

The copter SHIMMIES. The Pilot gritting his teeth and seizing tightly on the
controls.
PILOT
WHOA!! Shit!
Bullseye SLAPS Jones in the chest with the back of his hand -BULLSEYE

r \ \

STOP!
Bullseye pulls his pistol and H^LS/open the side door
ON DAREDEVIL: ROLLING off eberroof...! He drops and grabs onto the upper
lip of the doorway and SWINGS* through with both feet
INT. HELICOPTER
KICKING BULLSEYE in the face!
Jones FIRES on the moving blur -- Daredevil dives back outside the helicopter
-- Jones's bullets RIDDLING the Pilot!
The copter tips and spins lazily... down toward the lake... Fisk getting
really mad now:
FISK
You idiot! We're going to crash'.
Bullseye doesn't care. He takes out a big jagged-edged knife, secures
himself to a safety belt and jumps outside.
BULLSEYE
I'm gonna make ice cubes out of him.
INT. HELICOPTER

- NIGHT

Fisk hauls himself out of his seat. He shakes his head, really pissed.
EXT. HELICOPTER - NIGHT
Outside BULLSEYE and Daredevil are now engaged in vicious HAND-TO-HAND
combat.

DAREDEVIL
I won't let you get away with this... not this time.
(
*
"
"
"
*
'

69

BULLSEYE
(points down the lake)
Sorry amigo. You're gonna go scuba diving with the
penguins... just like the old guy!

Daredevil looks down and realizes that Nikos is not aboard the helicopter.
INT. HELICOPTER

- NIGHT

Jones standing in the open doorway, trying to draw a bead. Fisk goes to the
pilot's seat and pushes both the dead pilot and Jones out the door!
EXT. HELICOPTER

- NIGHT

Jones falls with a desperate cry together with the pilot's body. Daredevil
turns in surprise and this gives Bullseye the chance to kick him hard.
Jones and the pilot SMACK into the frozen lake, like bugs on a windshield.
Daredevil is about to lose his grasp but he manages to grab a hand grenade
off Bullseye*s belt. He ACTIVATES it, but Bullseye kicks him again. The
grenade slips from Daredevil's hands, fall^noTSdown. Daredevil lets go of
his grasp and he starts falling as well.(!"0-A **
Bullseye crawls back inside the conte^.
V V^"*l ^ ^

.JPN

ON DAREDEVIL: FALLING...

D r o p p j i n ^ f a s t toward t h e l a k e .

Looking down...

sing? round mechanism spinning in mid-air.

DAREDEVIL'S POV: A dark, buzzing,
It's the digital HAND GRENADE. Dropping through the air, just out of his
reach -- ! The icy surface rushing up.
ON DAREDEVIL: Reaching for the grenade... SNATCHING it out of the air. Only
SECONDS LEFT on the digital read-out. Daredevil rolls and flings the
grenade like a fast-ball down toward...
THE LAKE! The grenade rocketing down and BOUNCING sharply off the ice. . .
and EXPLODING!!!!!!!!!!
ON DAREDEVIL: The EXPLOSION BLOOMING below him. Water and ice SPEWING
upward. Daredevil drops down and is CONSUMED by the billowing cloud of
water and smoke...!
UNDERWATER
Daredevil PLUNGES into the churning water through the jagged gap blown in
the ice. Bullets WHIZ through the water after him.
The helicopter descends overhead... visible through the shimmering,
undulating water.
JP ABOVE
The water in the narrow gap churned by the rotor wash. The helicopter
hovering low. MACHINE GUN FIRE SPRAYS from it. ' "

70

ON THE HELICOPTER

Bullseye in the doorway. Eyeing the lake surface. Periodically FIRING off
a volley of bullets. Glaring downward really pissed.. Fisk piloting the
chopper now.
FISK
(impatient)
Did you get him?
BULLSEYE
(rude)
How should I know?

Did I
fancy
don't
wrong

FISK
(losing his temper)
hear right? With all your equipment, your
costume, all the money you cost me... And you
even know if you got him?! Something is very
here, my friend...

BULLSEYE
I'm not your friend, Kingpin. I'm just your
employee. Don't forget that...
FISK
~ \
Well... maybe it's time to cprtwp^that mistake.
BULLSEYE r\
^
Fine... I'm sick and tQbeQs*of you! I ain't your
errand boy J
. \V '

V
UNDERWATER
PEERING UP at the hovering chopper. 3ullets WHIZZING through the water at
us. CAMERA DRIFTING AWAY from the closing gap... deeper into the dark
water.
ON DAREDEVIL: Searching for a way out. The thick ice surface an
impenetrable roof over this head. A vein-like crack stretches across the
ice. Daredevil pulls the half remaining section of his cane from his thighmounted case, making into a billy club and working it into the seam. He
hauls mightily on it, prying the ice open by bare inches...
Then he jams
the club up into the crack, pushing it and widening the opening. He's almost
done when... his senses detect something. He looks down SCANNING...
Headlight beams shine dully through the dark water. The limousine comes
into view on the murky lake floor. And there, in that soundproof underwater
dimension, a heartbeat comes to Daredevil.
Daredevil pushes the extremities of the crack even stronger ...six
inches...eight...ten inches...a foot! Finally, he shoots up through it...!
EXT.

ABOVE THE ICE - MORNING

->aredevil BURSTS through the opening. Drawing in a HUGE BREATH of fresh air.
He slumps across the ice next to the narrow crack, catching his breath. He
lifts his head at a distant WHIRRING SOUND.

Daredevil slips through the opening and back down into the water!
EXT.

UNDERWATER

(** Daredevil swims down toward the lake floor... Up above, the club holding the
ice apart ever so slightly BENDS...
EXT.

LIMOUSINE - UNDERWATER - MORNING

Daredevil KICKS the driver's side window, SMASHING it.

INT.

He reaches inside..,

LIMOUSINE - UNDERWATER

Nikos's body lolls lifelessly in the back.

Water pours into the car.

ON DAREDEVIL
Hauling Nikos's limp form out of the car.
ON THE BILLY CLUB: The ice CRACKING back together...squeezing the club...
ON DAREDEVIL: Kicking quickly upward, dragging Nikos's body with one hand...
Nearing the pried-open crack overhead. The billy club bends, SQUEAKING -the ice planes jerk toward each other!
Daredevil redoubles his kicks!

crack.
EXT.

He shovg^Vfikos U P through the narrowing

rv"n ***

LAKE SURFACE - MORNING. V-

&
> n ^ the
th> ice.
Nikos's body sliding up ontx^

Daredevil's head and shoulders emerge

from the water...

The BILLY CLUB BUCKLES with a SCREEEE
Daredevil grips the edge of the ice and hauls himself upward.. .
The BILLY CLUB SNAPS!
Daredevil rolls up out of the crack and the ice CRASHES together!
He lies there on his back, soaked and PANTING.
to the limp body of NIKOS.
ON ELEKTRA:

Stretched across the ice next

She is running breathlessly toward them.

Daddy...!

ELEKTRA
Oh, Daddy...!!!

NOOO...!

Nikos is barely alive. She kneels down and presses her tear-soaked cheek to
his face, weeping. Daredevil hovering. All too familiar with this scene...
Nikos's eyes focus.

Past her.

On Daredevil.

He manages to speak:

NIKOS
Matt...
Elektra, astonished, turns to Daredevil. A long intense pause, then finally
Daredevil pulls off the cowl, revealing his true 'identity.

''l

ELEKTRA
You...
MATT
Yes.
ELEKTRA
(bitter)
And I was the one you said shouldn't have secrets...
MATT
I. .. I am sorry...
Nikos weakly lifts a hand to the back of her head. Pats it.
fixed on Daredevil. The life slipping rapidly from them.

His eyes still

Daredevil nods. Nikos's hand falls down. He's dead.

Elektra gently
closes his eyes, then she turns slowly back to look at Matt.
Her eyes
colder than the ice under their feet...
ELEKTRA
Who did this?
Daredevil pulls off the cowl.

>

MATT
'.. )
It was Bullseye.. nd...

f.

Her expression distant, harish, 'dark.

' V *' ELEKTRA
Bullseye. You... saved...his life.
Standing now, enraged, grief-stricken:
ELEKTRA
Why didn't you KILL him when you had the chance?!
You could have SENT HIM TO HELL!! Why didn't you?!!!
Matt shakes his head. Doesn't know what to say.
her closed fist. Again and again...
ELEKTRA
And now he's dead he's dead.

She POUNDS his chest with

My father's

dead...1.

MATT
Elektra... I'll find them. His death won't be in
vain...
ELEKTRA
Bullseye's mine! I'll kill him with my own hands!

{**-

MATT
(trying to explain)
Bullseye is only the arm. Fisk's the mind. I
couldn't hear his heartbeat over the rotors but I
know he was there. This is his signature.

ELEKTRA
(whipping her head around)
Stop it! Wilson Fisk is a friendl
(

MATT
(frustrated)
What?! Didn't your father tell you? Was he so
involved in Fisk's dirty business he didn't have the
guts to tell you about his partner's true nature?
Elektra cannot believe this.

She explodes, slapping Matt across the face.

ELEKTRA
What the HELL are you saying? I've known him a lot
longer than I've known you...which is hardly at
all...I'm beginning to think. Go away, now. GO
AWAY!!!
He PULLS the mask down over his head. Resolved. Walks toward the Mansion.
She glares after him in hatred and disbelief.
ELEKTRA
I hate you! ! Do you hear njfc?'' I hate you Matt
Murdock!
\
FADE TO BLACK.
S -LATER
-LATI
EXT. CEMETERY - DAY - A FEW DA^S

A COFFIN is lowered into a gfcave in a large, snow covered cemetery.

An old orthodox priest is praying in Greek while Elektra stands at the
gravesite along with several FRIENDS and FAMILY MEMBERS. She is dressed in
black, her eyes red from crying. Wilson Fisk stands beside her.
Matt stands off in a deserted section of the graveyard.
Fisk spots him and leans toward the weeping Elektra, wrapping his huge arm
around her shoulder and WHISPERING in her ear. He pulls her tightly to his
side.
CAMERA DOLLIES to Matt's face.

His expression hard.. Bitter.

THE FUNERAL ENDS. The mourners move from the gravesite toward their
respective cars. Elektra is escorted by Fisk. Matt takes a few steps toward
them. He CALLS OUT:
MATT
Elektra.
Elektra turns. Intense PAIN covers her face. Fisk's eyes narrow to slits.
Elektra excuses herself and walks to Matt. Her face is a cold, emotionless
mask.

XK

ELEKTRA
You're not welcome here.
MATT
But he is.
Matt glances at Fisk. Elektra defends Fisk passionately.

ELEKTRA
You don't get it. Do you? Mr. Fisk saved my life!
I'd never have seen my father again if it weren't for
him. He stood by us and he's always been there when
I needed him!
MATT
(frustrated)
I can't believe this. Elektra, please listen to
me... You'd still have your father if it weren't for
Fisk. Let mg help you.
ELEKTRA
You could have. And if you had -- when you had the
chance -- we wouldn't be here now.
She averts her eyes to the ground, overcome with grief again... Matt is
devastated.
I'm sorry.

MATT
I... am so sorry.

ELEKTRA
(resolute)
I'm going away.

.
.-. A /
* <

MATT C'\ C'

(shocked! V.
Where?
\

ELEKTRA
I d o n ' t k n o w . . . Away.

Fisk is coming this way.

MATT
I love you, Elektra. And you still love me.
you do.

I know

ELEKTRA
I have to go.
Grabbing her by the wrist:
MATT
Tell me. Answer me, please.
love me?

Elektra. Do you still

She stares at him. Her eyes locked on his.

ELEKTRA
It doesn't matter. The edge, you remember? That's
the only thing that could give me peace now.
Fisk strides up and wrests Matt's hand from Elektra's.
f^

FISK
You've upset her enough.
(to Elektra)
Let's go, my dear.

' ' '

Elektra nods.

Draws back.

Tears streaming down her face. To Matt:

ELEKTRA
Good-bye.
She hands him back the ring with the ruby, turns and walks off to Fisk's
limo. Matt yanks his hand from Fisk's. Grits his teeth at him. Nods at
the limo.
MATT
New car?
Fisk smirks back at it. Nodding.
Yes.

FISK
The old one sank in value.

He grins, enjoying himself.

Matt narrows his gaze.

MATT
Wait till spring -Oh, please.

FISK
Like that car is registered to me...

He grins, enjoying himself.

Matt narrows'his gaze.

MATtuA" \ '"'

I'm gonna get }(ouW' You and your compadre Bullseye...

^"t""fis

FISK
Oh, c'mon! Aren't we even now? Go on with your
life. Stay out of mine. And hers. And we'll all
lead long, happy lives.
MATT
(dead serious)
You won't. If anything happens to her, I'll kill
you. That's a promise.
FISK
Oh really? With what"* Ycur cane?
Fisk smiles, then turns and walks off. Matt stares helplessly after him.
Lost. Defeated.
Elektra glances one final time toward Matt through the window as the
limousine rolls away.
Tears fall from beneath Matt's dark glasses.
INT.

LIMOUSINE - DAY

Elektra in the back seat of the moving car, sipping water from a glass.
Fisk at her side. She's wearing tinted lenses, her head tipped tiredly back
against the leather seat.
Fisk is sitting slightly forward, as if mulling something over in his head.
He finally looks at her.

Elektra.
moment.

FISK
If I may.

Interrupt your thoughts, for a

She lifts her head, opens her eyes, blinks and nods. He shifts his bulk to
(*** turn toward her.
FISK
I'd like to.... make you an offer... a request...
that you give what I am about to say some serious
thought...
Elektra sits up. A tad wary.
FISK
I know recent events have likely all but swept aside
any thoughts you've had about starting a new life...
The life I know your father wanted you to have. I
would like to suggest that this possibility... is
still within your grasp. Together... with me...
Elektra can't believe this.

So wiped out and now...this.

Shaking her head:

ELEKTRA
Please. Mr. Fisk. I...I.can"t even think about that
right now.
* >

s&

FISK(_
But I think you Vnajsd." I know I am not.
physically, petlrtiajpHs, the kind of man you probably
imagined for a Husband, but...
Her mouth open in di'sbelief.
FISK (Cont'd)
You must think about your future.
ELEKTRA
(sighing)
I know you mean well -FISK
I would be a faithful and devoted husband. You are a
woman who is accustomed to the finer things in life
and...
(intensely)
I could give you the world.
He takes a RING BOX from his pocket. Opens it. Holds it out to her. It
contains a ring featuring a MAMMOTH DIAMOND. She averts her gaze from it.
Softly:
ELEKTRA
Please... I'm sorry, please scop.
FISK
All you need give me in return...is a chance. In
time, you may, dare I say, learn to love me...?
She puts her hands over her ears.

ELEKTRA
I asked you to STOPi
He immediately withdraws the box. CLAPS it shut with his thumb. Nodding.
/*N He speaks in a low and menacing voice:
FISK
Or be taught to do so.
His face masking his anger and humiliation, Fisk looks into the rear-view
mirror of the limo. He meets the Asian eyes of the DRIVER and signals him
with a small nod. Then Fisk pours Evian water into Elektra"s glass, she
takes another sip.
ELEKTRA
I'm sorry. It's not you. It's... frankly... I
don't think I'm capable of falling in love. I'm not
sure I'll ever be.
Fisk knows what that means.
FISK
I see. I understand.

~N
r-

"'

ELEKTRA \ J '
(slow, almost* muddled)
I'm sorry, Mr. ^ s ) ^ / I really am --

/yrtrsic
No, no, please>e . . Call me Wilson.
Elektra blinking.

She feels dizzy.

ELEKTRA
What... what did... you... do?
FISK
Nothing. Actually I have a surprise for you... I
thought you might need some comfort from an old
friend at such a tragic moment.
(points at the driver)
You remember Sugimoto, your sensei...
The driver turns around. He is a lean, dark intense-looking JAPANESE MAN
whose expression betrays no emotion. He is KEN SUGIMOTO, and he has played a
big role in Elektra's life. Now Elektra really feels lost.
She looks at
the glass, realizing she's been drugged. She tries to reach Fisk and slap
him, but her hand is too heavy. It's late, too late to do anything. The
glass falls to the floor. Elektra closes her eyes, losing consciousness.
Fisk looks at her. His beefy hand caressing her face.
FISK
Sleep well now, my love. Hard days will come.
Finally, a slight smile appears on Sugimoto's face.
C^IT.

NEW YORK CITY STREET - DAY

Black thick clouds obscure the sky. The limo accelerates and quickly
whooshes by. Heading right toward the foreboding* dark horizon.

78

INT. JOSIE'S CAFE - DAY

Matt walks in the typical Breakfast Cafe that has been there forever.
Foggy
sits in a red vinyl booth, working on a jumbo omelette. Matt goes to sit
across from him.
MATT
(hopeless)
She said... she's going away...
FOGGY
She probably needs to be alone for a while, Matt.
MATT
(tormented)
She said Fisk saved her life, Foggy. There must be
something she never told me. Something that strongly
ties her to Fisk. And makes it hard for her to be
objective about him...
FOGGY
I think I have finally an idea of what that could
be. . .
MATT
What do you mean?

>. V
\ \

F0GG1
ttrcfe s .. .. Surely he has connections
F i s k has many copradtTS'.
i n Japan. . . /^ ^t
Foggy pushes away his now empty plate and opens a big folder on the
table, full of magazine and newspaper articles. Mostly in Greek and
Japanese.
FOGGY (CONT'D)
Elektra was sixteen when she was kidnapped in a
public park in Tokyo. Police found evidence it was a
Yakuza job, the Japanese mafia...
MATT
What evidence?
FOGGY looks at the pictures of Elektra as a little girl and as a teenager on
the magazines.
FOGGY
The bodyguard was instantly killed by a shuriken
dipped in curare. A ninja weapon. Yakuza use ninja
assassins only for very important missions. Plus...
no ransom was ever asked from the family...
MATT
(curious)
Why would they kidnap her, if not for the money?
/^*N

FOGGY
Well... The Yakuza often act for pure revenge... But
maybe in this case they just wanted to intimidate her
father. Here comes the tricky part. The girl is
gone for more than a year, okay? Nobody seems to
have a clue. Her mother dies of grief... Then, tada...! By some miracle, Elektra comes back. It's
unclear how and why she was given back to her father,
but this Greek article here mentions the name of
Wilson Fisk as the mediator between the Natchios
family and the kidnappers...

79

Matt is pale. He doesn't want to believe this, but he knows it's true.
MATT
So... maybe this was Fisk's set up from the
beginning...
FOGGY
Well, of course...but Mr. Natchios never suspected
it. In fact, he moved to the States and became
Fisk's friendly partner in several activities. Only
recently did he return to the Diplomatic Corps.
MATT
*> >
I can't believe this."y\ )
INT. MATT'S APARTMENT - NIGHV V^
(

JMatt near the phone. Thinkjng. Finding finally the courage to dial a number.
everal rings. Somebody answers.
VOICE
Hello?
MATT
Is this the Natchios house?
VOICE
Yes. Who is calling?
MATT
I am a friend of Miss Elektra... I'd like...
VOICE
(interrupting him)
I am sorry Miss Elektra has left the country. She
does not wish to be contacted.
MATT
I understand...
CLICK.. . the connection is terminated. Matt hangs up, then puts his head
face down against the pillow, for a long moment. When he looks up, there is
resolution on his face. He reaches under the bed for his duffel bag and
*^kes out the folded Daredevil suit. He walks slowly to the fireplace,
Aring with his blind eyes at the costume in his hands.
CLOSE-UP: The DD logo on the costume.

' . .

MATT
You brought me nothing but pain.
to correct a big mistake.

sa

And loss. It's time

/*-*> He throws the costume onto the fire. Flames envelop it. The OVERLY LOUD SOUND
of the burning echoes in Matt's ears.
FADE OUT.
EXT. UPPER WEST SIDE - DAY

(ONE YEAR LATER)

The face of Wilson Fisk towers over Matt, appearing on dozens of gigantic
neo-expressionist posters. "Vote FISK for Mayor" is written on them.
The
Kingpin looks like a fat Citizen Kane. Thank God Matt can't see them, but
that doesn't mean he's not aware. He knows the nightmare is real.
Physical
and tangible. Moving his cane in front of him, Matt walks slowly toward a
building. His head is lowered. He doesn't just look blind, he also looks
like he's deeply wounded inside.
INT.

DIANE ALBRIGHT CAMPAIGN HEADQUARTERS - NIGHT

A bustling campaign office.

ALBRIGHT FOR THE FUTURE."

The same POSTER

taped to every wall: "VOTE
.- <v S

VOLUNTEERS answer phones, copy fliers, staple campaign signs...

All these chaotic sounds and wpkcps are dancing Matt's ears. He's patiently
waiting near the door to thre main office. The door finally opens.
(*
Matt?

DIJUJE
Thank you for coming...

Matt turns toward the voice.

INT. DIANE ALBRIGHT'S OFFICE - DAY
Diane Albright is now seated on a couch. Matt sits across from her, sipping
coffee. They are already in mid-conversation.
DIANE
As a former D.A., I know what I'm up against.
Formally, they are still investigating Fisk... But
it's a book, it seems, that will never be closed.
MATT
Not unless somebody like you can make a difference...
I accepted your invitation because you seem pretty
sincere in your dedication to defeating Fisk...
DIANE
Dedication may not be enough, in this case. I need
facts... like the privileged information you use to
fight his shadow companies in court. Now... What
exactly do you know about him that could, perhaps,
level the playing field?

MATT
I know many things. First I ever heard of him was
when he was strangling people with his bare hands for
fifty bucks each. Even somebody for free. And now
he has almost completely eradicated any memory of his
former life. As you know he's sponsoring extravagant
charity balls. Becoming the toast of New York
Society'. . .

DISSOLVE TO:
INT.

FISK INDUSTRIES - PENTHOUSE - SUNSET

As the dialogue between Matt and Diane continues in voice over, we see what
Matt means. Fisk in his headquarters. He is dressed in a mammoth black
tuxedo and walks among the buildings of Hell's Kitchen like a giant.
He
brushes the TOP OF A BUILDING with his cuff. Polishing it. He walks between
LARGE MODEL BUILDINGS. Strolling through a MAMMOTH REPLICA.of the WEST SIDE
that fills the center of his spectacular office on the top floor of the FISK
INDUSTRIES building.
MATT (O.S.)
Let me explain how it works..^ Fisk's wealthy friends
are giving millions to his charities, if you can call
ransom, bribe or donation (wiifcr^ Si gun at your temple
charitable contribution. '%n)& :if a dime of all that
ever went to a needyintiividual, I'd be struck by
lightning. It's a Xg}fc*9ay from Hell's Kitchen, but
Fisk has plans. *^-s going to bring something back
to the communityV Cobrists...
WEALTHY GUESTS in black tie and designer gowns are filling the ornately
decorated courtyard .enjoying champagne and gourmet food. A STRING QUARTET
begins to PLAY SOFTLY. Fisk walks among the realistic structures like a
morose giant. The Empire State Building stands nearly as tall as he does.
Model bridges span the running water that encircles the courtyard. It's a
breathtaking creation.
INT. DIANE ALBRIGHT'S OFFICE
BACK TO SCENE. Diane listens, very interested.

Matt continues.

MATT
But first, he had to take something out: the people
who live there. So he began driving out the
residents. Illegally and otherwise. By whatever
means necessary. Arsons, first. There have been
fifteen major fires in Hell's Kitchen in the past
eighteen months...
EXT. HELL'S KITCHEN - NIGHT
Devastating images of old buildings ablaze. Fire everywhere. Flames
devouring cars on the streets and furiously pouring into CAMERA.
DISSOLVE TO:

f
*

INT.

32

FISK INDUSTRIES - PENTHOUSE - SUNSET

Flickering red NEON FLAMES flashing behind the words "HELL'S KITCHEN." They
are featured on a garishly lit metal archway Fisk is gazing at. It is the
/*. plan for a new "portal" to the old neighborhood of Hell's Kitchen.
Transformed into a Ghiradelli Square/Universal City Walk-like SHOPPING AND
DINING AREA.
MATT (O.S.) CONT'D
And now the neighborhood is growing empty. Lifeless.
Cordoned off. Each abandoned building he has
destroyed by fire and then buys for a song.
Fisk stands back listening as an avid DESIGNER gives a GROUP of fancilydressed INVESTORS a tour of the display.
DESIGNER
We take the onus off the name. And the place.
Replace it with something warm and fun! Erase the
past! Associate "Hell's Kitchen" not with crime, or
squalor, or desperation and whatever people used to
think of, but with hot times on the old town tonight!
INT. DIANE ALBRIGHT'S OFFICE.

BACK TO SCENE. Matt continues passionately.

MATT Oy/y'
(/"IWN

And if a contractor outbids him for a big job, that

contractor is st*daenly forced to deal with a family
emergency: his daughter, say, forced off the road by
an unknown driver, barely clinging to life. If he's
lucky. Either his spirit is broken and he's unable
to carry on... or he gets the message permanently.
At the end of the day, the job is Fisk's.
She shakes her head, disgusted
DIANE
So... do you think there's a chance we can prove he
is behind those arsons?
Matt sits there for a moment. Then...
MATT
Bullseye has disappeared. Without him it will be
difficult to link Fisk to the fires. But I'm doing
my best... I really want to help these people hold
onto their homes.... their lives. It's the least I
can do.
DIANE
Why is he after you?

^
{

MATT
I'm a thorn in his side.
DIANE
Something personal?

'-

83

MATT
That's secondary. I've wanted the end of the Wilson
Fisks of the world since I was a child.
(^

DIANE
(smiling)
Nobody understands that better than I... Well, we
can try to bring him down. Try like our lives depend
on it. In the meantime, this meeting ne'ver
happened...
The CAMERA cranes up from Matt and Diane shaking hands... It moves over the
chandelier hanging from the ceiling and finds...A tiny MICROPHONE hooked to
the base. Diane's office is wired. Somebody has been listening all...
EXT. ALBRIGHT HEADQUARTERS - NIGHT
POV through the viewfinder of a 35MM CAMERA: (CLICK-CLICK-CLICK...) PHOTOS
snapped of Matt as he shakes Diane's hand... (CLICK-CLICK-CLICK...) and
walks away from her office...
FADE OUT.
INT. STOREFRONT OFFICES - DAY

.- A.

v \

,-

Matt enters the office. Karen .and Foggy wait for him, staring at an official
document. Their faces are palfeJ ,Matt gives them a puzzled look, sensing
their tension.
vj\^
f

What is it?

KAREN
A notice. From the IRS.
FOGGY
You're being audited.
frozen.

Your bank accounts have been

MATT
What?
FOGGY
It gets worse.
MATT
Worse?
FOGGY
Just got off the phone with the D.A. 's office.
MATT
Yeah?
FOGGY
They're charging you with paying a witness to perjure
himself in court.
Matt lowers his head. CRUMPLING
the newspaper in his hands.

MATT
I can't believe this.

34

The doorbell RINGS. KAREN goes to the door, opens it. A U.S. MARSHAL
stands shivering in the cold.
MARSHAL
Matthew Michael Murdock?
MATT
...Over here.
The Marshal enters, takes Matt's hand and thrusts a paper into it.
MARSHALL
Thank you, sir. You are officially subpoenaed.
The Marshal leaves. Karen and Foggy look down at the envelope.
Trying to sound light:
KAREN
This is so ridiculous.
faces.
INT. - PRECINCT STATION - DAY

Karen nods.

It's gonna blow up in their

V \

*\

QUICK MONTAGE. Handcuffed, Matfe. ST.TS on a bench in a holding area. He

wears a jail jumpsuit. He i jphooographed and fingerprinted. Finally, the
sliding door of a cell is slaved:, leaving him inside.
EXT. NEWSSTAND - DAY
On the front page of the Daily Bugle: "MATT MURDOCK ARRESTED. JURY
TAMPERING, BRIBERY, SOLICITATION OF PERJURY, MISCONDUCT. CONTINUING GRAND
JURY INVESTIGATION."
INT. PARLATORY - DAY
Foggy and Matt, in a situation barely imaginable few days ago.
FOGGY
They'd like to throw it out.
have several witnesses.

But they can't.

They

MATT
Who?
FOGGY
They won't give me names, Matt. But they say you
were spotted bribing a juror in a case three years
ago... They've got more than one person who saw you
give him the green.
MATT
Three years ago?... Why would they come up with such
a lie?

FOGGY
I presume the answer to that question has many zeroes
written on it. . .

85

INT. COURTROOM - SEVERAL DAYS LATER - DAY

Matt sits at the defense table. PROSECUTOR COOPER and his assistant sit on
the opposite side. Foggy is giving the JURY, a passionate SUMMATION. But
Matt doesn't hear it. His mind doesn't want to connect with anything in that
courtroom. He is spacing out, focusing on:
A FLY buzzing at the top of the room.
Foggy concludes his summation. Matt finally tunes in, first catching only
Foggy's HEARTBEAT, hard and fast. Then his words as well...
FOGGY
to which the ONLY verdict can be INNOCENT, INNOCENT
and INNOCENT.
Foggy walks back to his seat. Matt whispers to him:
MATT
You're going to have a heart attack one day, Foggy,
during one of your stunning summations.

FOGGY
*
(smiling)
. *
That'll be the day jjbhe^jury acquits my client for
sure.
\-. "' }

'v '
JU COOPER'S ASSISTANT: h e moves h i s b r i e f c a s e i n t h e d i r e c t i o n of Matt and
Foggy.

INSERT: We notice that a micro camera is hidden in the briefcase.

ON MATT AND FOGGY as WE PULL BACK THROUGH THE SCREEN OF A JUMBO TV AND WE
ARE IN:
INT. - KINGPIN'S PRIVATE GYM - DAY
Through to the hidden camera, the proceedings AS THEY HAPPEN are transmitted
to Kingpin's headquarters. Fisk is about to start a SUMO WRESTLING match
with a giant Japanese champion. They salute each other and throw a fistful
of rice in the air. Then they clash like two colliding mountains.
The Japanese man is even bigger than Fisk. But that doesn't matter. Fisk
is meaner. He lifts his four hundred pound rival and hurls him outside the
circular ring. Without breaking a sweat, Fisk looks at Foggy on the TV
screen.
KINGPIN
Your eye for legal detail and imaginative use of
precedent deserves better than a lost cause, Mr.
Nelson. I could really benefit from your talents.
On the contrary you, Mr. Murdock, are now a ghost of
a man...
\,.. MATT now: He looks truly miserable as Cooper begins.
COOPER
Guilty, ladies and gentlemen''

36
The camera is on MATT'S FACE, helpless:
/**

MATT
(whispering)
No...I'm not....
On KINGPIN. He smiles happily while his eyes move to a picture of Daredevil
on the front page of a news magazine.
Yes!
INT. COURTROOM -

KINGPIN
Yes, you are. Both of you. Guilty as sin!
DAY

Matt and Foggy stand before the grave-looking JUDGE.

somberly:

The Judge speaks

JUDGE
Mr. Murdock. Due to your immaculate record and to
your permanent physical impediments, this Court has
decided not to criminally prosecute you...

- y .
FOGGY

'
" >

Thank God.

^O
JUDGE
CAVHowever, it is my^diifty to forward your case to the
American Bar Association. With my recommendation
that you will be officially disbarred and
subsequently forbidden to practice law in the State
of New York. You are a disgrace to we who believe in
Justice, Mr. Murdock.
The Assistant packs up his files, satisfied. The Judge stands to walk to his
chambers. Matt calls out to him:
MATT
How much?
JUDGE
Pardon?
MATT
Your price. How much did you get paid for your soul?
The Assistant looks over curiously. He slowly zips shut his brief case...
The Judge points at Matt, trembling in rage.
JUDGE
Out. Get out of my courtroom!
both with contempt...

Before I charge you

DISSOLVE TO:

87

INT. AMERICAN BAR ASSOCIATION BUILDING - DAY

Wind sweeping dead leaves. A solitary figure sits on a bench. It's Matt
He's waiting for Foggy who now exits the building and walks slowly toward
him. Matt focuses on Foggy's quick heartbeat and he understands before his
partner even begins to talk. His heart tells it all.
MATT
Bad news...
FOGGY
(heartbroken)
Yeah. They did it Matt. They disbarred you.
(handling a document to Matt) I feel awful... Just
awful... IRS, no dough, perjurous solicitation, and
on top of all that, this! I should've...
MATT
(interrupting him)
You were brilliant, Foggy. As usual.
I wasn't.

FOGGY (angry)
I just kept you oixt of jail...

MATT
_ "O '
That's a lot... I haven't done much to deserve this
kind of friendship.^}^

<r
i

Foggy tries to smile but he is sobbing now. Matt hears him. They hug.
EXT. NYC - EAST SIDE - NIGHT
Matt is in front of his townhouse, on the opposite side of the street. He
searches for the keys in his pockets and starts to cross...
WE HEAR a RUMBLING and then:
AN EXPLOSION. Matt is caught by the blast and is hurled against a car.
SHAPES and SQUIGGLES of DEBRIS shower all around.
SCREAMS. CAR ALARMS. Matt gets up and realizes he's limping as he moves
forward. He reaches down and his pulls a sharp splinter from his thigh.
Blood pouring down over his leg.
MATT's POV: BLACK FINGERS OF FLAME from the explosion site as WE MOVE with
him into the WRECKAGE.
NORMAL POV: Matt is standing in the wreckage, flames all around him.
CAMERA LINGERS ON some pieces of old furniture resting on the sidewalk near
to the stoop... several soaked cardboard boxes...drenched coats and slacks
flung haphazardly on hangers...a scrunched, rain-ruined boxing poster, just
a few letters visible: "ack Murdock".
or a moment we focus on Matt's beleaguered belongings...
He holds a blackened Daredevil billy-club in his hands. To himself:

MATT
(finally realizing)
You knew. And you played cat and mouse with me, you
bastard. It was a nice piece of work...But you made
a mistake, Kingpin. You put your signature on it.

83

SOUNDS of SIRENS in the distance. Matt limps away.

EXT.

SUBWAY ENTRANCE - DAY

Matt disappears down the subway stairs...

EXT. FISK BUILDING - DAY
CAMERA CRANING FROM a turning NEON GLOBE atop a tall pedestal DOWN TO Matt
standing at the base of it looking up. MOVING CLOSE ON him. A slightly
sardonic smile on his face.
MATT
Home.
He stands in front of the gargantuan high rise while the fading sun glares
off its sleek, metallic surface. On top of it a giant blue neon sign reads:
FISK INDUSTRIES.
^>
P

~s

v ' v

INT. - FISK BUILDING - DAY

*)
Matt enters the incredibly(XOPWJLENT LOBBY and walks into an elevator.
/*** He presses the penthouse button. The express elevator shoots silently up.
He gets out and goes to the RECEPTIONIST, a tough looking woman in her
fifties.
MATT
The Kingpin, please.
Matt looks like a bum, with his clothes dirty and ragged. She scans him up
and down...
RECEPTIONIST
And you are?
MATT
Matt Murdock.
She smiles.
RECEPTIONIST
Oh... Mr. Murdock. Mr. Fisk has been expecting you.
She presses a button on the desk and TWO MASSIVE doors noiselessly OPEN
behind her.
INT. FISK'S OFFICE - DAY
Matt enters and the doors whoosh shut behind him. Across the great EXPANSE
of Kingpin's office, the Tinker-Toy city is visible through a wall-sized
window.
i, .

There is a buzz and a sliding

iwy door
N^^^J. opens,
u ^ i u , revealing
tcvcaiiity a giant
gianc exercise roon\
room, 89
furnished with all kinds of
f hi-tech gym equipment and filled with aa
THICKENING CLOUD of steam.
/"** Matt turns and goes inside. . .
INT.

WEIGHT ROOM - NIGHT

FISK, his enormous, sweaty body wrapped in an oversized towel, sits calmly,
smoking a cigarette. A thin CLOUD OF STEAM permeates the wood-paneled room.
There is a steadily rising HISS. . .
Fisk dabs at his forehead with the corner of his towel.
Matt stands across the room behind him. Fisk coolly draws on his cigarette.
He knows Matt's there but he doesn't turn around.
MATT
It's the blind kid.
Kingpin laughs nonchalantly.
t.-K

KINGPIN

y,

Oh, The Man Without Fear. \ \

He turns slowly to face Matt.

t \

KINGPIN^ )

{s
u

You look like a iqarW*", Murdock.

MATT
From your mouth... I'll take that as a compliment.

Matt SNAPS his CANE and it morphs, faster-than-the-eye-can-catch, into the

solid BILLY CLUB. Fisk gets up and starts to move closer.
KINGPIN
Isn't that funny? I was there the night. Jack Murdock
died...
Matt startles.
MATT
What are you saying?
KINGPIN
I felt the fury and desperation behind that blind boy
running to save his father. I have even asked to
myself several times where I could have seen that
stupid red suit before... But I never thought about
Jack Murdock... I never made the connection. Things
are inexplicable to us when they are so close. I
made you, young man. That's why you're here.

/([Cv

Did.

MATT
(fury growing in his eyes)
You. Kill. My. Father?

KINGPIN
I didn't... for what it's worth. Not that it
mightn't have come to that. He was so dumb and
tenacious. It took a bullet from the Fixer. I
myself would have left him a cripple. Living
testimony to the fruits of betrayal. And you to
change.his diapers, spoon-feed him meals, push his
wheelchair ...instead of dedicating your life to
avenging his murder!

9Q

MATT doesn't comment verbally this time. HE IS A BLUR OF MOTION. Fasterthan-is-possible he is across the room, and with ALL HIS STRENGTH, he
BLUDGEONS Kingpin in the FACE with the CLUB.
MATT
Leave my father alone. . .
Blood flows from a SLIGHT CUT on Kingpin's brow.
KINGPIN
How dramatic... Why can't you accept it, Murdock?
Your crusade is over. You're:gonna sink into
oblivion...
\ ,
v
MATT
.<
No can do. I'm not lieSe for'me. I'm here for all
the countless peopl4 wHose lives you've crushed.

VS$$*r,

Matt STRIKES him. And AGAIN\flGAlN, AGAIN, AGAIN, AGAIN.

But Kingpin doesn't seem to notice. He smiles wryly.
KINGPIN
We don't have all night.
MATT
I agree.
The two men launch

themselves at each other.

They CRASH together.

It's a BRUTAL BATTLE. Countless vicious BLOWS are exchanged. Fisk is

STRONGER. But Matt, although wounded by the explosion, is FASTER. His
gymnastic abilities and keen radar sense enable him to DUCK and DODGE many o:
Fisk's mightier punches.
Frustrated, Fisk RIPS a metal WEIGHT BENCH from the floor. He raises the
bench over his head and THROWS it at Matt, who DIVES to his right. The bench
SAILS inches past him and SHATTERS a floor-to-ceiling mirror.
Fisk grabs up a 200 LB. BARBELL. Comes at Matt SWINGING it like a baseball
bat. The barbell STRIKES Matt's ribs with a CRUNCH. He FALLS to his knees.
Breathless. In pain.
Fisk raises the barbell over his head to finish him off. He brings it down
FAST Matt does a quick BACK FLIP and the barbell CRASHES to the floor in
front of him.
/@>y

Matt leaps to his feet and Fisk comes ROARING toward him. Matt executes a
DOUBLE FLIP into the air and comes down on top of Fisk, wrapping his legs
TIGHTLY around Fisk's throat. Fisk tries to BREAK FREE.
Matt squeezes his thighs around Fisk's neck in 'a*powerful HEADLOCK.

91
Fisk's face goes WHITE. He CAN'T BREATHE. But then, with superhuman force,
Fisk FLIPS Matt forward. The force sends Matt FLYING through the air.
Matt rolls uncontrollably across the floor and crashes against a weight
(*^ machine, which collapses over him. Matt shakes his head, disoriented. Tries
to free himself. He can't get up.
Tugging his sash tighter, Fisk walks toward Matt, easy prey now.
Matt squirms.

Finally he struggles free of the weight.

But Fisk is already charging him!

He STRIKES Matt to the floor.

Stands...

How can such a huge man move so FAST?

Matt WHIRLS the club once more, but in that moment, he feels a jab in his
arm...
CLOSE ON: A SHURIKEN buried in his arm.
MATT turns and his jaw drops.
in the black background. . .

BLOOD oozing out.

HIS "POV": a tall slender silhouette shines

It's ELEKTRA! Beautiful but almost unrecognizable. It's the darkest version
of her: heavy black make-up around her eyes, ruffled hair, cruel smile...
KINGPIN
fv;l
You remember our mutual f^i)nd, Miss Elektra
Natchios?

Kingpin takes advantage of MafctTs"(astonishment and GRABS his hand, WRENCHING

the club from it. It clattersWtcross the room.
Matt swings his other fist, but Kingpin GRASPS it in his giant hand and
SQUEEZES.
Matt drops to his KNEES in PAIN.

Elektra smiles, satisfied.

KINGPIN
Come on, please scream. (pause) No?
been such an aesthetic touch.

It would have

He rears back and PUNCHES MATT, PUNCHES, 400-POUND-PUNCHES, PUNCHES...

Matt FADES with each BLOW.
PUNCHES, PUNCHES, PUNCHES.
CRUMPLES TO THE FLOOR.

At last... Matt dwindles, and unconscious,

INT. - UNDERGROUND MANHATTAN - NIGHT

CAMERA CRANES DOWN quickly from a steamy street through the underground
levels of the city. Passing pipes, cables, wires, stones, tunnels, holes,
sections of different kinds of soil. IT STOPS at the level of N.Y.C.'s water
drainage system.
y^nnifev_

A cyclopic tunnel with mammoth pipes extending endlessly in every direction.

Two of the Kingpin's goons, wearing miner's hard hats, are carrying Matt's
unconscious and tied up body.
'

92

yfSifrls

They stop near a squared junction point that connects four giant pipes.
MIKE, a muscular black guy, pulls a lever and opens a lid in the structure,
TONIO
Hey Mike, Kingpin said we was supposed to shoot him
and then throw him in.
MIKE
What's your problem, man?

He's already dead.

They shove Matt's body through the opening into the water.
TONIO
He's still breathin'...
Not for long.
in that shit.

MIKE
He's gonna die chokin' and squirmin'

Matt's body is almost entirely in the water, now.

TONIO
^"\
(pulling a gun) f~v-A ^
I' m not gonna take any '^JJarfces...
Tonio comes closer, points th*?vrop, ready to shoot. Suddenly, Matt comes to
life! And a double kick cafccnfep the goon right in the chin. Matt disappears
underwater! Tonio shakesvhia*head
then empties the entire clip in the
sg\na
reservoir. Bullets HIT they heavy metal structure. SPARKS. SMOKE.
TONIO
(pissed)
I told you! I told you!
MIKE
Shaddup Tonio! Just close the damn lid and forget
him. He's history.
They go away.

CAMERA moves closer to one of the giant pipes.

THE SCREEN GOES BLACK.

INT. PIPE - DARK

A TIMELESS BLACKNESS.
in a floatation tank.
finding some oxygen in
AMPLIFIED. He relaxes

Matt's body floats in the still water as if suspended

His mouth and nose emerge above the level of the water
a small air sack. Matt hears his own BREATHING
and smiles, imagining he's somewhere else...

ON THE ROOFTOP of his old building. We follow the scene CROSS CUTTING
several times between reality and Matt's imagination.
It's very DARK on the rooftop. Except for a simple CONE OF LIGHT which seems
to come from the sky and illuminate a decrepit PUNCHING BAG...
INSIDE THE PIPE: Matt talks to the darkness...

'J

MATT
(smiling)
Dad?

(
"
"
* ON THE ROOFTOP: Matt is very weak but manages to stand in front of the bag.
INSIDE THE PIPE: Out of nowhere a familiar voice answers ...
JACK (O.S.)
Matt?
MATT
I'm glad you're here.

I miss you so much.

JACK (O.S.)
Let me comfort you, son. And remind you who you
are...
ON THE ROOFTOP: He starts to PUNCH the bag, lightly at first, until he gets
his RHYTHM.
MATT
I think I know who I am, Dad.. .
BACK INSIDE THE PIPE.

"X V
f V

JACK
(O.S.K)
Sometimes you don't. -Sometimes you forget about your
blessing. . .
0\v^
MAOT V>

(sad)

,-

>

My life has gone to Hell, Dad...

ON THE ROOFTOP: Matt PUNCHES harder. HARDER, until his fists are a BLUR.
JACK (O.S.)
(angry)
Don't say that! Remember what I taught you? Your
possessions have gone to Hell, your titles have gone
to Hell. Any man would be a fool to think he could
break my son by taking these things away. They are
worthless.
BACK INSIDE THE PIPE.
JACK (O.S. - Cont'd)
I promised your Mom you wouldn't turn out like me -just a guy who punches people. That's why I kept on
you to study so much, to make something of yourself.
A distant dim light paints concentric circles on the internal surface of the
pipe. The circles tremble in sync with the floating of the water.
MATT
Where is she, Dad?

You never talked about Mom.

JACK (O.S.)
She's still there, son. She's watching over you.

The circles of light are brighter.

94

We hear a RUMBLING far away.

ON THE ROOFTOP: Matt PUNCHES a HOLE in the bag.

Sand pouring out like snow.

JACK (O.S. - Cont'd)

Remember, Matt. You're my son. You're a fighter
YOU ARE THE MAN WITHOUT FEAR. No Kingpin, no Heaven
or Hell, can take that away. C'mon son, let's get
out of here.
BACK INSIDE THE PIPE.
I love you.

MATT
(no answer) Dad?

Can you hear me?

The circles are vibrating now. The RUMBLE is very close.

wave of water materializes and sweeps Matt's body away!

Suddenly, a TIDAL

It's an AMAZING TRIP. It's real, with Matt shot like a living bullet inside
the endless barrel of a cannon. And it's also metaphysical, with the
concentric circles morphing into a unique shining path that could easily be e
tunnel in the afterlife. The light at the end of the pipe gets closer and
closer and... Finally Matt is ejected outside
through a big round hole!
And. . .
f\>A y
EXT. HUDSON RIVER - NIGHT
Matt flies out of the pipe and.rarp.s 20 feet down, into the river.
struggles, but manages to fjieeVftimself. He reaches the shore.

He

GHT
EXT. HUDSON RIVER DOCK - NIGH
Matt emerges from the river like a ghost. Soaking wet. Limping. Wounded.
Spotted by several homeless bums vegetating on the dock. One of them...
HOMELESS
Spare some change, boss?
EXT.

NEW YORK CITY STREET - HELL' S KITCHEN - NIGHT

SHIMMERING LIQUID COLORS bloom against the blackness... the electric aura of
a rain-washed city at night... coalescing into:
A Hell's Kitchen street. On the heels of a rainstorm. Mammoth darkened
buildings. Shadowy sidewalks. Wide black streets. Deserted, now. Wooden
signs heralding future construction projects.
A solitary figure crawls slowly in the shadows, carefully avoiding the light
For an instant his pale blue EYES are caught by the glow of a car's
headlights. The CAMERA follows him and TRACKS on a long band of yellow
police tape cordoning off a newly-burned brownstone.
It's Matt. He staggers.
something to hold on to.
escape through as a kid.

His residual strength gone. He tries to grab

He faints, exhausted, in the alley he used to
His sightless eyes turned to the sky...

/$"SV

DISSOLVE TO:
A MENTAL IMAGE: A RAINBOW. WE ENTER INSIDE IT. COLORS.
Flashing quickly on the screen like sneaky mirages.

All of them.

Then, melting harmonically together and finally resolving into a beautiful 95

stained glass window.
INT. - ST. MALACHI'S SACRESTY - DAY
CAMERA PULLS BACK from the window and settles on Matt laying on a bed.
BLOOD is seeping through his bandages as he SLEEPS.
Matt slowly awakens. A moment later, the dark silhouette of a WOMAN enters
the room. She places something just inside the door. A bundle wrapped in
brown paper and tied with a piece of twine.
WOMAN
You're awake.
She approaches the bed. STEPS into the light. A NUN. We recognize her fron
years ago. She's a few years older, but the gentle kindness and warmth still
cover her face. The Nun leans forward, kisses Matt and strokes his forehead.
He remembers the scent, the soft, tender touch.
MATT
You.
,-,-> NUN
Don't speak. You need comfort. Peace.
/ill""be all ric
now. Everything will"*be
right,

I'm here

MATIV\.

How long have lAbeien here?

NUN
(warm smile)
Not long enough. Rest now, my son.
Matt nods, knowing a few moments of serenity.
INT.

He's asleep in seconds.

FOGGY'S APARTMENT - NIGHT

Foggy leans back exhausted on his black leather couch.

coffee table in front of him. The TV is tuned to QNN.

A drink on the glass

NEWSCASTER
Another bloody underworld killing in the apparent
turf war that has erupted between New York's criminal
clans... Victor Huang, the reputed head of
Chinatown's largest gang, was brutally stabbed as he
walked to a meeting en Mott Street. A figure dressed
in red was reportedly seen fleeing the scene.
The speaker segues into another NEWS REPORT:
on the stump. Crowds cheering.

C^

Footage of a voluble Kingpin

SPEAKER
And now let' s take a look at the latest in the race
for N.Y.C. Mayor. Wilson Fisk appears to be the
definitive favorite...
The phone RINGS. Foggy turns down the volume and takes his time picking it
up.
*

9e
FOGGY
Hello?
MATT
Foggy... It's me... Matt
FOGGY
(astonished)
MATT!!!
INT. - ST. MALACHI'S SACRESTY - DAY
FOGGY's expression is beyond disbelief.
shaking his head.

He's sitting near Matt's bed,

FOGGY
You were Daredevil?! I can't believe it!
you were such a nerd!

I thought

MATT
Sorry I kept you in the dark all these years...
\

FOGGY

7X

Sorry?
You should be asb'ajnefd!
I'm
your partner,
-
-x. i
--- " -

'
id^l]
your best friend ancUall you have to say is sorry?
MATTQV
You know I d i d i y o p r o t e c t you. . .

/s^

FCGGY
Maybe. , Hey. . . t h a t ' s why you always g o t a l l t h e
chicks...
You h a v e some s o r t of X - r a y v i s i o n t h a t
lets you...
NUN
(coming i n )
Ahem!

FOGGY
(shyly)
Oh... sorry. I was just kidding...
(serious, to Matt)
So it was Fisk that did this to you?
Matt nods.

FOGGY's mouth is tight now, his jaw set, bitter.

FOGGY
Well... you're in good company.
to win.this election.

That's his strategy

He opens his briefcase and lifts out a bunch of newspaper articles. Matt
reaches for them. Foggy shrugs. Hands them over.
f9^

INSERT -- CU OF NEW YORK POST and DAILY NEWS HEADLINES -- all displaying
grisly photos of GANGLAND MURDERS. Matt leafs through them. Scanning them
with his finger tips.

^v
v

FOGGY
He's knocking off not only his enemies but his old
compatriots as well. The D.A.'s office has been
closing in on the old crime bosses. Shutting them
down. Presumably one of them might be dumb enough to
make a deal for himself by turning in the Kingpin.
Trouble is, Fisk keeps getting there first.
MATT
It seems I've missed an awful lot of crap this past
month...
FOGGY
A month in a coma.

It'd be good for my diet...

MATT
Any arsons?
FOGGY
No... there's nothing left to burn, I guess. And
according to the D.A. the fact Fisk's buying the
leftovers is not enough to link him to the arsons.
Do you think the D.A.'s in Fisk's pocket?
Matt thinks for a moment.

Shrugs. ^Noncommittal.

MATT
\j ~
He' s got big pocltejts. Lord knows who he' s got in
there.

\v/
3Y
Who else knSws you're alive?
MATT
Nobody. And it should stay that way.
Albright doing?

How's Diane

FOGGY
She's very persistent. But Fisk has too much money
to blow. And too many friends. Her one-on-one
debate with Fisk is in two weeks. I'm worried about
her. She should be more careful... but she insists
on volunteering for the Thanksgiving Parade to
sponsor the Homeless Fund...
MATT
I like that woman...
FOGGY
(smiling)
Too old for me...
Matt scans the articles with his fingers... He reads aloud from one...
MATT
"Most accounts of the gangland killings mentioned a
mysterious fast-moving figure dressed in red."
Matt brushes his fingers across another headline: "DAREDEVIL: IS HE BACK
WITH A VENGEANCE?"
' ' '

93

FOGGY
Are you thinking who I'm thinking?
MATT
I hope not, Foggy. I really do. Anyway Foggy, I need
your help to bring a legend back from the dead.

FOGGY
Sure... old habits die hard.
INT. - ST. MALACHI'S SACRESTY - NIGHT
MONTAGE OF DIFFERENT SCENES: Foggy comes in carrying two big packages.
smiles. They open the packages, finding what they need.

Matt

Matt is hand-sewing big pieces of blue and red fabric together.

Matt works now on two brand new billy clubs, connecting them together with a
metal wire. Matt cuts a section of a thin kevlar flack jacket with a laser
scalpel and, using an air-brush, he sprays the section red. Then he welds
some metal plates to the fabric.
_ ' '>

Matt is hand-painting a double D on the fgJS&idy He puts everything together

and smiles. DD walks into the light of ^Vtiin-glassed window. The nun .
looks silently at him with a proud smile.wfhe new costume, red, blue and
silver, is far more edgy. Armored.wiahout being heavy. Unbelievably
beautiful. Daredevil looks more nb\a>and majestic than ever. And he is
finally ready for a comeback. . y*
/m*

**

SMASH CUT TO:

THE NEW DAREDEVIL

FLYING through the night sky, SWINGING from building to building.
EXT. FIFTH AVENUE - MACY'S THANKSGIVING DAY PARADE - DAY
The Thanksgiving Day Parade! Cartoon floats, MARCHING BANDS and hordes of
SPECTATORS.
DIANE is in the parade, seated at the top of a FLOAT, celebrating The
Homeless Fund Organization. She waves to the crowd, flanked by her
supporters. A gigantic SPIDER-MAN BALLOON hovers directly behind Diane.
CAMERA PANS UPWARD... to the 5th Avenue rooftops.
ON DAREDEVIL: Moving across the rooftops. Leaping from building to building.
Following Diane's progress in the parade. Daredevil pauses suddenly.
Unnerved. Sensing something.
ELEKTRA! She is poised on the back of the SPIDER-MAN BALLOON. Clinging
tightly to the float. She crawls carefully upward. Moving toward the back
of Spider-Man's head. She stops.
ELEKTRA'S POV: Diane's float is directly below.
Elektra's hand moves to her belt.

A clear shot.

She REMOVES a SAI...

AREDEVIL hears the soft SHHHWIK of the knife being withdrawn echo among the
rooftops.

*9

DAREDEVIL
Sharp metal. A knife.
He focuses on where the sound came from...
ELEKTRA's eyes are locked on DIANE.
Daredevil CRIES OUT:

She draws back the Sai. Ready to T^OW

DAREDEVIL
No!
Elektra slows in mid-throw -- the SAI FLYING HIGH, inches over Diane's head.
A FLOAT WALKER collapses -- the Sai embedded in her thigh.
Daredevil LEAPS OFF the building and LANDS ON TOP of Elektra. The wounded
walker's MOORING LINE WHIPS up and the BALLOON TIPS. Daredevil and Elektra
TUMBLE down the balloon and roll off the back...!
They each grab a separate MOORING LINE and SLIDE rapidly down toward the
ground. Elektra shoots a foot out at Daredevil and KICKS him loose from the
rope. He plummets to the ground...
Daredevil hits the ground hard and she slides smoothly to the street.
Elektra turns and deftly KICKS him in he.head. He rolls...
\

She runs swiftly into CENTRAL PARK-.'vN '

Daredevil climbs unsteadily to bis/feet. Shaken. Confused.

C$^

DARE^fVIL
(stunnedrVy^
Elektra...!
'

Daredevil plunges after her into the park...

EXT. CENTRAL PARK - DAY
DAREDEVIL races after her. Hot on her trail.
ELEKTRA glances over her shoulder. Sees him coming after her. Whips a Sai
from her belt and flings
it
He HEARS the dagger WHOOSHING through the air and ducks it... It CLATTERS on
the walkway behind him. He redoubles his efforts. Fighting to close the gai
but she's fast. Too fast. Then...
She stops suddenly. Turns. Whipping another Sai from her belt. She places
her feet, facing him, SNAPS her arm forward and the knife WHIPS toward
him...!
Daredevil SNATCHES it out of the air! She whirls and bolts.
HORSE pulling a CARRIAGE through the park.

/Z$&\

Spooking a

Daredevil races after her. Sai in hand. He runs up to the horse and
carriage. SLASHES the reins. Cutting the horse free and leaping astride it
The CARRIAGE DRIVER and his TOURIST PASSENGERS gape in amazement. The
Driver's too stunned to protest. Daredevil spurs the horse and it GALLOPS
off down the path...

Elektra looks back on the fly. Sees the horse and Daredevil rapidly gaining0
She veers down off the path...
Daredevil steers the horse after her through the woods. The animal
-*s\ galloping valiantly.
Elektra races down a steep slope.
familiar tunnel.

Into the heart of the park.

Toward a

Daredevil gaining. Almost on her heels. She plunges into the tunnel...
The horse ducks its head...Daredevil senses the low headroom just in time and

rolls

back, off the

horse...!

INT. CENTRAL PARK - TUNNEL - DAY

He lands on both feet still moving and tackles Elektra to the ground. The
horse gallops off through the ECHOING tunnel and out into the park...
Daredevil tries to reason with her:
DAREDEVIL
Elektra. Wait
She interrupts with a SWIFT FIST to Daredevil's jaw. They begin to FIGHT./Two former lovers, punching and kicking lik>? bitter enemies.
;
Daredevil manages to overpower her..-yie straddles her. Pins her arms to the
ground. They're both breathless.(f*Tejir faces inches away from each other.
Overcome with emotion, DaredemJrfrees one hand and pulls down the mask.
>

Elektra.

DAREDEVIL
It's me. Matt.

ELEKTRA
(confused)
Matt?
DAREDEVIL
(still pinning her down)
I know what you're doing! Fisk did this to you.
It's not your fault. I can help
you...
ELEKTRA
(softens)
Really?
DAREDEVIL
Yes.
Her expression suddenly changes. She looks at Daredevil with open,
accepting eyes.
ELEKTRA
_

It is you...
His head is spinning, flooded with the intense feelings from his past. He
releases his grip on Elektra. Gazes lovingly into her eyes.

1CI
DAREDEVIL
I've missed you so much.
CLOSE-UP: Elektra's hand, slowly, carefully moving down to her belt, she
removes a SAI while Matt's fingers touch the skin of her other arm. His jaw
drops: her arm is like a road map with many small holes. One for every drug
injection.
DAREDEVIL
What...?

ELEKTRA
I've missed you, too.
Her HEARTBEAT LOUD in his ears: SKIPPING A BEAT.
backwards !

He blinks.

Shoves

DAREDEVIL
You're ly -- !
He dives at the last second and he's cut short by the Sai which PIERCES his
chest! Elektra casually yanks the dagger free, standing.
Then she kicks Daredevil savagely, turns and runs off into the park.
Daredevil gets up, shaking his head, one hand examining the hole in his
costume, the other reaching out after ELek'tra. He calls out:
Elektra. . .

DAREDEVIL V ) :'
")

\V. 3

FADE OUT:

("""NT. DIANE ALBRIGHT'S OFFICER NIGHT

The curtains flutter- in the breeze. Diane Albright, seated in a green vinyl
chair in the corner of the office, is leafing through pages in a folder.
Sensing something, she lifts her eyes suddenly to...
DAREDEVIL at the window!
breath, reassured...
Oh my God.

She screams, scared to death.

Then catches her

DIANE
You scared the Hell out of me!

DAREDEVIL
Hell... I've heard about that place...
She places the folder in her bag, standing.

Approaches him.

Grateful.

DIANE
I don't know how to thank you for what you've done.
How are you feeling?
DAREDEVIL
It's just a scratch. The new costume saved my life.
DIANE
Was it Bullseye?
DAREDEVIL
I don't know... She was dressed in --

A pause.
f*

DIANE
She?
He meets her gaze. Steadily:
DAREDEVIL
He. Whatever. Was wearing red. Anyway. . . I want
you to.be aware that they'll try again. Soon.

She looks off into the middle-distance for a while.

DIANE
I know that...
DAREDEVIL
And you know that even if it was his idea, Fisk
doesn't have any intention of going one-on-one with
you next Friday...
DIANE
What should I do? Get beamed into outer space for a
week?
DAREDEVIL -v''-.
Don't make any public a6peurarfces until Friday.
Follow my instructions 3 Q you'll make it there to
face him. . .
/~\)
^DT^E^
And unless itsVa complete circus, maybe I can dazzle
'em with my unassailable logic and force everybody to
finally see Fisk for what he really is. Before they
machine gun me of course...

_
{

'

DAREDEVIL
You won't be alone. I'll be there to watch over you.
He extends his hand.

She smiles and shakes it.

DIANE

It's a deal.
INT.

FISK INDUSTRIES - LIVING QUARTERS - DRESSING ROOM - NIGHT

Fisk stands in a conservative suit coat and button-down shirt. A VALET fixe:
his tie. Fisk examines himself in a tall mirror that optically narrows his
image. ELEKTRA and KEN SUGIMOTO stand behind him in attendance. TONIO, th<
goon who shot Matt in the water drainage tunnel, is sitting on a chair,
looking very nervous. Fisk talks to him:
FISK
Tonio... did you guys handle the Murdock matter
exactly according to my instructions?
/SSN

TONIO
Huh... yeah Boss. He's dead.
FISK
I didn't ask that.
HiUL. In the Head?"

For sure...

I asked: "Did. You. Shoot.

.

1C3
Tonio is sweating.

Absolutely terrified.

TONIO
It was Mike, Boss! He said Murdock was gonna drown
anyway.
But I shot him, Boss! I wanted to do what
you said and I shot at him several times. And then
we locked him inside! No chance he could have
survived...

f^

Fisk towers over Tonio like a human volcano ready to explode. The goon is
scared to death. Then Fisk puts his thumbs on Tonio's face and starts to
massage him. The goon catches his breath, relieved.
FISK
(very calm)
He was hopeless, Tonio. And a man without hopes is a
man without fear... That's why I told you to blow his
brains out.
Now Fisk starts to squeeze. His big fat thumbs slowly smashing the goon's
face and skull. Tonio's CRIES are inhuman. As is his pain. Elektra turns
away while Sugimoto stares at the scene betraying no emotion. It's finished.
And Fisk cleans the blood from his hands^using a silk towel.

FISK

/N

{xn
v

'

(to Tonio's bp*y) '

You were lucky, T^jbjL<fy The other one will be burned
alive. Very slowly)
(to Eleter>
So my dear... w6u don't know if it was him?

Elektra doesn't answer. An assistant strides up holding a stack of

photographs in front of Fisk. Fisk cocks an eye at them.
CLOSE ON THE PICTURES: Telephoto shots of DAREDEVIL leaving Diane's office.
FISK
Thank you.
Fisk takes the photos. Turns and crosses to Elektra. Holds them in her
face. Her eyes shift precisely to focus on the photographs.
FISK
Ring any bells? Wedding bells?
Elektra staring blankly at the pictures. She shakes her head in denial.
Fisk lowers the photos and hands them back to the assistant. She turns.
Away from him. Stares out a window. Out over the city. Fisk speaks softly:
Sugimoto?

FISK
I think our Elektra needs a pick me up.

Sugimoto nods and pulls something out of a small leather case. He walks
toward Elektra. A HYPODERMIC NEEDLE secreted casually behind his back.. .
steps up to her and drives the needle into her upper arm.
t..j plunger. Pulls the needle free.

Softly squeezes

Elektra turns to him for a moment with a gasp." Fixes her gaze on the needle.

104
Confused. Then the blank look fills her face again like liquid in a pitcher.
She detaches from the room. Stands there. Rigid. Bolt upright. Staring
impassively through the bright glass of the window.
Her mind FILLS with a flood of memories. WE SEE what ELEKTRA SEES: SPLIT
SECOND IMAGES from her past. Her life unfolding quickly before her eyes.
NINJAS kidnapping her as a teenager. Her life stolen. A humid, dark cell.
A secluded Japanese mansion. Sugimoto hypnotizing Elektra. Her education
switching toward ancient disciplines. Her mastery of every martial art:
kendo, aikido, kung-fu, tai-chi...
She is bald and dressed in black for a strange blessing ceremony. Sugimoto
is the priest. Then, night time, Sugimoto waking her up and taking her away.
An airplane. A long trip. Fisk waiting for her at the airport. Nikos
crying at the joy of hugging his daughter again.
Nikos hugging Fisk with
gratitude. Nikos dying. Matt's face. Daredevil pulling off his cowl.
Then everything becomes TOO FAST.
TOO ABSTRACT. It means nothing to Elektra.
closes her eyes.

It only CONFUSES her. Elektra

CROSS FADE TO:

LATER: Fisk walks up behind Elektra, nov& sitting on a rocking chair. He has
a dripping bottle of Champagne and two^/fcuted glasses in one hand. With the
other hand he softly caresses her nec*A ^''
'FISK
What is it, my de1

'V-EKTRA
(

Just that...sart feeling again. It's gone now.

Fisk puts his arm around Elektra. Tears glisten surprisingly in her eyes.
ELEKTRA
Usually I don't want to know. But sometimes,
suddenly, I'm seized by this desire to know...the
past. My life... Before I met you. I'm sorry...
FISK
(soothingly)
No. No. The answer will come. In time. We'll find
it. Together. Whatever it takes.
Elektra turns to face him. Smiles warmly. He draws her gently to him and
KISS her. Then holding her head against his chest he strokes her hair...
ELEKTRA
I don't know where I'd be...if it weren't for you.
Fisk looks at himself into the mirror. There is a hint of wistfulness in
his face.
EXT. ROOFTOP - NIGHT
Spring at the ominous, highly-secure, darkened building of Wilson Fisk,
D.' ;devil stands on the rooftop of the opposite skyscraper. A very nervous
Foggy is sitting beside him, scared quite a bit by the height.

FOGGY
Jeez... I guess I'm not cut for this super-hero
stuff...
DAREDEVIL
Shhh... Let me. hear.
DD focuses on Fisk's building and hundreds of heterogeneous sounds flow into
his mind from each window... Electronic sounds... Water sounds...Organic
sounds... And among these, DD's inner-sonar starts to select
heartbeats...Dozens of them... Finally there is only one: a gentle, highpitched one.
DAREDEVIL
I found her. (points a finger) The second window from
the right, below the penthouse.
FOGGY
(amazed)
So you really have X-rays...
DAREDEVIL
C'mon, Foggy. Now it's your turn. This is something
a blind guy could never do...
FOGGY
A y
Okay... I'm ready. I just hoi>e the picture Karen took
is good enough...
,
Foggy takes, out of a vinyl cas,eu a powerful slide-projector and turns it
on.. .
\
EXT. FISK BUILDING - NIGHT
A light beam projected into the night... Sliding over the surface of Fisk's
building and settling on a particular window...
INT. ELEKTRA'S ROOM - NIGHT
CAMERA follows the beam, penetrating the window, crawling over the walls,
then stopping right in front of Elektra's bed. Her face is magically lit by
the reflected luminescence of the pro:ection. She slowly opens her eyes and
startles at what she sees...
The beautiful, enigmatic snowy landscape of her mother's painting projected
right there in her room! She relaxes, lost for a few seconds in the beauty
of the exotic place. The projection ends. The magic is gone and Elektra
snaps back to reality. She moves to the window but there's nothing for her
to see. Nevertheless, she continues to stare into the darkness, a strange
resolve in her expression.
INT. ELEKTRA'S ROOM - NIGHT (LATER!
Sugimoto opens the door to check on Elektra as usual. But this time she is
not in her bed and she's nowhere to be seen.
Angry and frustrated, the Japanese man goes to the open window. He looks
down, one hundred stories below. Nothing.
SMASH CUT TO:

106

EXT. MANHATTAN - NIGHT (AERIAL SHOT)

A black Ferrari racing down a deserted Madison Avenue and turning left on
89th.
INT. FERRARI - NIGHT

It's Elektra. Her hair blown by the wind. Speed relaxing her lips in a
satisfied smile. She turns right on 5th Avenue, slows down and parks on the
side of the street opposite the Guggenheim Museum. She steps out of the car
and crosses the street.
EXT. GUGGENHEIM MUSEUM - NIGHT
Bypassing the super-sophisticated electronic security systems, Elektra
sneaks inside the perimeter. Using a rope, she crawls up the structure.
Finally, she enters the museum from the roof.
INT. FISK PENTHOUSE - NIGHT
An extremely irate Fisk hits Sugimoto with a powerful backhanded slap
sending him crashing into an expensive glass sculpture.
A

FISK

,v3T>

You idiot! That's youi idea of constant vigilance over

her.
^
^^
Sugimoto stands up and wipes thWfcreod from his lips with the back of his
hand. He says nothing. Fisk^sAssistant, breathless, comes in.
ASSISTANT
Thank God, sir. She took the Ferrari.
Fisk sighs, almost relieved.

Sugimoto betrays a skeptical expression.

FISK
(to Sugimoto)
That car has a homing beacon. You'll be
able to track her down. C'mon Sugimoto... Bring her
back home... dead or alive.
INT. GUGGENHEIM MUSEUM - NIGHT
The lights are off except for the tiny spots that illuminate the paintings.
Moving fast and agilely, like a cat, ELEKTRA descends from the top floor,
looking carefully at all the artwork. She stops in front of her mother's
painting. Stares at it for a long moment. Then realizes there is something
attached to it. Elektra walks to the painting, reaches up and removes a
photo.
ELEKTRA'S POV: It's a PHOTO of Matt and Elektra smiling for the camera, in
better, more carefree days.
EXT. GUGGENHEIM MUSEUM - NIGHT
^gimoto jumps out of his car and looks at the Ferrari with a satisfied
. .die, then runs toward the museum's front doors. A security guard gets in
his way and the killer instantly slashes him down with his katana, a samurai
sword.
*

i:~

INT. GUGGENHEIM MUSEUM - NIGHT

Elektra stares at the photo of her younger self together with her former
love. Her emotions, if any, unreadable. Then...
* noise comes out of the speakers. A SONG begins to PLAY. Elektra looks up.
It's the song she used to dance to with Matt. The beautiful music FILLS the
museum and seems to strike a chord within Elektra. She stands frozen.
IMAGES FLASHING rapidly and randomly through her head: RUSHING down the SKI
SLOPE... RUNNING across the high-wire.. .For a brief moment: Matt kissing
her.. .
MATT (O.S.)
There's a reason you took me to that tunnel!
She turns and sees... Matt! He's walking slowly toward her.
MATT
Remember.
ON ELEKTRA: Her eyes cold.

She throws the photo away and pulls out a sai.

ON SUGIMOTO: Hearing the song. Looking up from the first floor. Realizing,
perhaps, what's going on. He exhales throj^h his teeth and a mean, cold light
appears in his eyes. He raises his xa tara "<and starts to run up toward the {.
upper floor. Yelling.. .
OsT)
SUGIMOTO
\J
(loud)
Elektra! FOCUS!

ojl'

a k t r a d o e s n ' t r e a c t . She A t t a r s a t MATT for a long moment. Then she snaps

out of it. Raises the Sai. FiJ^s
FiV her aim on MATT. Snaps back her arm and -MATT
Elektra... Listen to me!
The Sai flies wild and...POPS a painting! She misses the target on purpose.
MATT
They've done this to you.
wearing
off.

Whatever it is, it's

Elektra looks torn and confused. Another Sai already raised. The MUSIC
still PLAYING...
MATT
Please, Elektra. My darling, please.. .
ON SUGIMOTO: RUNNING up the round ramp. His sword raised.
ON MATT AND ELEKTRA: He's very close to her now.
MATT
Fisk killed your father. And hs. was behind your
kidnapping. You lost everything to him.
stares at him. Hesitating.
MATT
I always loved you.

For just a moment.

- .

ON SUGIMOTO: He's quickly approaching. His POV: Elektra, a sai raised, her
back turned to him. Matt is almost in front of her.
The MUSIC suddenly ENDS.
'

The needle lifts off the record.

SLOW-MOTION: The silence loaded. Sugimoto's feet running... His katana

ready to strike... His mouth open emitting a samurai cry... Then Elektra's
grip tightens on the Sai and -She turns around and JAMS it into SUGIMOTO's heart! The Japanese man goes
down, stricken and dies with an incredulous look stamped on his face...
Elektra turns to Matt. A tear crawls down the side of her face. Complex
emotions rippling over her. MATT takes her hand. She looks at him.
MATT
You remember.
No...

ELEKTRA
But I believe.

Suddenly the ring of a cellular phone startles them.

dead Sugimoto's belt.
k\
Elektra looks at it, hesitating.
Answering.
Yes.

(^

It's hooked to the

She ra^shete
fshite ?down and picks up the phone. *'
V3
'

ELEKTRA (\ {y
\v. 3

FISK iy.o.)
Elektra...?
No answer.
FISK (V.O. Cont'd)
Elektra...is it you? Where is the sensei?
ELEKTRA
He's dead.
INTERCUT: FISK AND ELEKTRA.

Fisk pauses. Uncertain.

FISK
Are you okay?
ELEKTRA
I know the truth.
Nothing from him. Finally:
ELEKTRA (Cont'd)
You didn't save my life. You stole it.
ON FISK: He sits there for a long moment. Nods to himself and hangs up.
Distant. Regretful. He takes a breath, then to his assistant:
(

FISK
They have her. . .

INT. CORRIDOR - DAY

--"

Fisk walks through a dimly lit corridor. His expression is calm but
determined.
He stops in front of a door and pushes a button. Fisk waits,
looking right up into the lens of a security camera. The heavy, armored door
pens with a buzz.
INT. BULLSEYE'S LOFT - DAY
Wagner's Parsifal
plays in the background. Fisk enters the dark loft. It
looks like a cross between an Army museum and a decorator's drug-induced
nightmare. Weapons of all kinds are everywhere: on the walls, hanging from
the ceiling, displayed with a sick sort of order on the floor. A giant
portrait of Hitler towers over a black leather sofa. In one corner, a
decapitated mannequin with a Daredevil costume is pierced St. Sebastianelike by a bunch of arrows. Most people would be horrified by such a place.
But not Fisk. He actually smiles at a picture of himself framed in a
bullseye with many darts protruding from the center.
FISK
I like that, Mr. Del Toro... Are you around?
afraid I don't have much time today.

I'm

f\

Fisk is standing still in the middle ofr*tte> room. Behind him, hanging
upside down, coiled like a snake, Bulfltfe^e slowly descends from the ceilingr?
BULLSEYE")
(whispering) Q y ^
Don' t move. . .
\0
Fisk eyes turn to a crawlmglpiack spot on his shoulder.
riSK's POV: A big black Tarantula is staring back at him...
Fisk doesn't look so impressed.
FISK
Take away your pet, Mr. Del Toro. If you don't want
to see it scrambled all over the walls...
Bullseye's hand reaches quickly for the spider and pulls, it away, depositing
it gently on a hanging bazooka.
The Tarantula crawls safely inside the gun's barrel.
BULLSEYE
(grinning)
It's nice to see you again Kingpin. It's been a long
time...
FISK
I need you. Right now. You name the price.
BULLSEYE
(shaking his head)
You can't pay me if you're dead.
j0!fi\

FISK
(cold)
You can't get paid if you're dead.

BULLSEYE
(smiling)
If I remember correctly, you fired me and replaced me
with that nasty girl. What's wrong? She's not
satisfying
you anymore? 'Cause I think I am busy
now...
FISK
As I said I don't have time for this.
thousand. Half now... half after.

One hundred

BULLSEYE
Three hundred grand...
Fisk exhales, impatient.
BULLSEYE (Cont'd)
And your apologies...
A very tense pause.
FISK
I never apologize, Mr. Del Toro. .MBut I'll give you
five hundred thousand instead. "\ V

Cv

Bullseye smiles, satisfied.

>w"
BULLSEYE Q \ ^
I can live with that.\v,It's never about the cash:.,
it's strictly for the* pleasure...
s
DISSOLVE TO:
EXT. JAVITS CONVENTION CENTER - NIGHT

Spinning SEARCHLIGHTS crawl through the sky overhead. A brightly lit

marquee reading "WILSON FISK vs. DIANE ALBRIGHT in the Battle for Mayor!"
FISK's limo comes to a stop in front of the golden cage of steel and glass
that is the Javits Convention Center. Fisk climbs out and looks around,
nervous. Then, realizing, that appearance is everything in politics, he
lifts his hands to the crowd. They answer with a ROAR...
A small pastry TRUCK approaches and stops right across the street. FOGGY
gets out and DIANE with him. Dressed in blue, disguised as delivery people,
they cross the street and enter through a service door.
INT. JAVITS CONVENTION CENTER - NIGHT
A CHURNING MASS of PARTISAN SPECTATORS. It is the circus Diane predicted.
Balloons and banners and confetti and streamers. People wave "FISK" and a
few "ALBRIGHT" signs.
Fisk and Diane, who's now in more formal clothes, are standing at podiums on
opposite ends of the stage.
-they're fielding questions from lines of PEOPLE arranged behind two
I .icrophones in the middle of the auditorium. Fisk has the crowd in the palm
of his hand:

FISK
...There are even rumormongers suggesting that I have
an interest in this development. Well I do. Yes. I
have the same interest we ail do -- in seeing this
city reborn! Into a place where we won't live in
fear of walking down our own streets! Of being
preyed upon by thugs and murderers in our own homes!
Now who could possibly object to that?!

iil

The CROWD CHEERS WILDLY. CAMERA TRAVELS UPWARD... TO the upper levels of
the open-interior structure.. . Lights from below bursting through the spaces
between the metallic web. Girders. Catwalks.
A walkway all the way around the squared perimeter.
FISK (Cont'd)
Yet... that doesn't mean that I've paid somebody to
burn the whole city to just buy the dust!
O.S.: The CROWD laughs at what seems to be a joke.
ON BULLSEYE. He is here! Kneeling in the darkest spot of a catwalk.
Wearing his high-tech costume. Loading a SAi into a CROSS-BOW RIFLE.
He shoves the Sai handle-first into the beApeU.*with a RATCHETING sound. The
Sai LOCKS into place. He carefully shoulN^rs' the rifle. Sights through a f
powerful SCOPE.
O

HIS POV THROUGH THE SCOPE: SCANNINGjT)16 v a s C crowd.

But finding instead...
^ \rl

Looking for Murdock...

><&SOGGY. Changed into casual clothes. Glancing around. Scanning the crowd
( rvously. Then looking up... Right into the SCOPE. SPOTTING BULLSEYE!
BULLSEYE knows that Foggy knows. He steadies the CROSS-HAIRS on the peagreen coat. Fingering the trigger. The three points of the Sai glinting...
He FIRES it!
THE LAUNCHED SAI rocketing through the air...
THE SAI'S POV racing toward its target. Foggy's EYES opening wide in
anticipation of its imminent impact...
The sai stops just a few inches from Foggy... Caught in mid-air by the hand
of Elektra who stands at his side! Her eyes flashing upward to the upper
levels of the structure.
Foggy sighs in relief. It happened so fast that nobody seems to have
noticed. Foggy looks for Elektra but... She's gone.
Up above, BULLSEYE glares down and curses. Then he hears from below -MATT'S ECHOING VOICE:
MATT (O.S.)
Mister Fisk...? Are you going to do to this city...
3ullseye's eyes flash downward. Frantically searching and loading ANOTHER
f""T into the gun at the same time. . .

112
ON THE OPPOSITE MICROPHONE
MATT MURDOCK is standing at the microphone at the head of the other line.
He is dressed in a suit coat and tie.
MATT
...what you did to me?
The DIN in the auditorium quiets. Fisk rolls his eyes and shrugs resignedly:
"No. Not this again."
MATT
A few months ago Wilson Fisk tried to kill me. And
the only thing unusual about that is...he didn't
succeed!
FISK
This guy is crazy... We are not in a courtroom
Murdock! And I am not on trial here!
He makes a "Let's can this guy" gesture withftishead.
in on Matt but DIANE SHOUTS in protest. .. ^ C k V

SECURITY GUYS move

Q-

DIANE
>^
Pleaaseee!!! Let him SQealf! ' Matt Murdock is an
honorable man! I want wVIlear what he has to say!
And the crowd seems to want the'Same now. The SECURITY MEN back off.
{**

MATT
There would be many more of us up here...telling you
the truth about this man...but they're all dead.
Would you reward him for silencing them so completely
that their voices can never be heard? Let me speak
for them! You've listened to Mr. Fisk...
ON KINGPIN: He looks up everywhere, asking himself where the hell is
Bullseye and why is he taking so long to shoot Murdock.
MATT (O.S.- Cont'd)
Heard him deny and dismiss the days when he was
breaking bones and destroying families for a living.
Let me tell you the names of the people he killed...
Of the lives he ruined. Because they can't.
ON BULLSEYE: He now has MATT right in the center of his scope. His finger
ready on the trigger. But he doesn't pull it. He listens to Matt's
passionate speech and smiles...
BULLSEYE
(to himself)
Go ahead Murdock... I like to see the fat ass in such
deep shit.

BACK ON MATT.

I****

MATT(Cont'd)
Because he was good at. what he did. He beat my
father to death. He annihilated my existence...
destroyed my career... I was this close to the end.
But because there was still a spark of life in
there... I came back. To tell you... to warn you...
You know in your hearts the man he is. Don't let him
do to you...to this city...what he almost did to me.

li3

Stunned silence. Confused WHISPERS. Angry SHOUTS. Eyes searching out Fisk
for a response. Seeing on his face an off-putting sight: clenched, angry
hatred.
Fisk, even now, wrestling to gain control of it. Forcing a smile
onto his face. Shaking his head disappointedly at the "outlandishness".. .
But he loses the battle. And this comes out:
FISK
Will somebody please kill this punk...?
to do it with my own bare hands ?! !

Or do I have

VIDEO INSERT: The angry expression of FISK as captured by dozens of videocameras .

The Crowd collectively GASPS.

Shocked..^X S

ON BULLSEYE: He grins, enjoying eve

every mohlent of it

At/

BULLSEYB-H
(to himself' "v;
What a riot! Okay^uirdock,
s?lS^ur
you got your time, now...
^HULLSEYE'S POV: Cross-hairs FIXED ON MATT. But he's being SWAMPED now.
( HESS. ONLOOKERS. SECURITY. Awash with NEWS CAMERA SPOTLIGHTS.

By

ON ELEKTRA crawling through the metallic spider web of the upper levels.
ON BULLSEYE: Exhaling. Lowering the gun for a moment. A crazy light in his
expression. Then resolved. He pulls out what looks like a giant tommygun. . . But it's not. Bullseye loads the weapon with sphere-shaped bullets!
They are smaller but identical in shape to the bomb we have seen him using
before. Bullseye lifts the scope of the weapon to his eye.
HIS POV THROUGH THE SCOPE: MOVING OFF Matt who disappears. .. SWEEPING across
the crowd. . .TO THE STAGE. . .FIXING ON the head of Diane Albright.
BULLSEYE (V.O.)
Good for you, lady. You win the battle, but you lose
the war.
ON ELEKTRA: HEARING that. She finally sees him and snaps into ACTION
launching a sai...
.">N BULLSEYE's FINGER: About to pull the trigger...
THE SAI cutting through the air...
.">N BULLSEYE: HE FIRES, but his hand is PIERCED by the SAI in the same split
s^^ond!
^OV OF THE SPHERE: Flying toward DIANE ALBRIGHT. Its trajectory slightly
altered.
' *

114
The SPHERE veers over DIANE'S head and bullseyes
into a massive Fisk poster!
There is an INFERNO! The sphere EXPLODES spreading flames everywhere! Its
devastating power mitigated only by the hangings and decorations on the
stage.
' FISK looks at the giant poster of himself reduced quickly to dust, together
with his dreams.
FISK
Nooo!
DIANE can't believe what's happening.
stage, running toward FOGGY.

She looks around, then leaves the

BELOW: There is chaos. FOGGY looks up for Elektra while the crowd flees for
the exits. FIRE is getting closer. FOGGY holds DIANE by the arm. Her hair
has fallen out of its tight chignon.
FOGGY
You know. You look much younger with your hair down.
- '\

They leave the stage together.

vA *~*
ABOVE: BULLSEYE stands, gritting his. tee*A. The weapon in his hand. The s&i
buried in his wrist. Despite the B^/jl, he starts to pull it out.

ELEKTI^(O.S.)
Bullseye. ..
'X^
He turns. Freezes.
i-uEKTRA stands at the end of the catwalk. A fearsome look on her face. A
SAI in each hand.
BULLSEYE finishes pulling out the sai, without a blink.
BELOW: The place has been completely evacuated.
On stage, FISK coughs in the smoke. A voice:

FIRE spreading everywhere.

DAREDEVIL(O.S.)
It's over Kingpin. It's all over.
Fisk turns and sees his nemesis. Coming out of the smoke, tall flames
dancing in the background, a nightmare, a vision out of a Bosh painting:
DAREDEVIL!
ABOVE: ELEKTRA's eyes bore into BULLSEYE. Gleaming darkly.
ELEKTRA
You helped him kill my father. Now let me tell you
what's going to happen. You're going to feel a
little jab..

3ULLSEYE starts backing off. Eyes wide. He points the weapon at her -- she
;urns her wrist and flips a knife!
?l Sai cuts BULLSEYE down. He clatters to the cat-walk -- But his weapons
3LAZE...!

ELEKTRA turns to flee. The SPHERE misses her by less than an inch and
EXPLODES right behind her. She is blown off the catwalk...
CRAAACK!!! -- a giant section of shell and glass ERUPTS out of the
structure and plummets downward, trailing dust and plaster...
BELOW: DAREDEVIL is facing KINGPIN, but the huge section falls right in
between them! DD dives, just in time to avoid the impact! Fragments fly all
around... More FLAMES and SMOKE... DD gets up... But there is no trace of
KINGPIN... He's gone.
ABOVE: ELEKTRA's bleeding and hanging by both hands from a metal brace.
Dangling hundreds of feet in the air. The last Sai falling down... down...
down... and CLANGING on the burning floor far below.
DAREDEVIL turns toward the sound... then looks up.
Elektra hold

DAREDEVIL
on...!

DAREDEVIL tosses out the cable of his club hooking a grasp up above. Then
he jumps out of the burning stage, bringing his legs together to gather
speed and spinning at the end of the wir^NyFocusing on ELEKTRA through the
CHAOS of the SWIRLING FLAMES. He's f>fQ\ fVet below her. And few feet wide
of her.
\\ '
He swings through the FIRE in a w^rejenirtg arc. . .
ELEKTRA's grip is weakening. \H^**f wings wider... swooping closer and closer
to where she will fall... ! *V V^C
ELEKTRA
Matt... I'm sorry...I...can't...
Her fingers begin to slip...
ON DAREDEVIL: He kicks swinging wider now and reaching the farthest
point away from her calls out:
DAREDEVIL
NOW!
ELEKTRA lets go of the brace and drops...
DAREDEVIL swinging back around now. . .
ELEKTRA falling onto the FIRE and. .
DAREDEVIL at the apex of his swing CATCHING her in his arms!
ELEKTRA tightly. Swinging through the burning space.

He clutches

Round and round looking for a way out... Until he makes one himself!
KICKING and SMASHING a wall of glass and BURSTING outside!
^ T . STREET - NIGHT
l

lands on the street and places her gently on the floor.

ELEKTRA (V.O.)

'

ELEKTRA (V.O.)
(whispering)
Matt...
He pulls the mask off his head. She gazes deeply into his eyes. Tears
welling in her eyes.

' lo

ELEKTRA
Oh, Matt...
She touches his cheek.

Tenderly. Sadly.
DAREDEVIL

I love you.
ELEKTRA
I lost...so much. He took...he took you from me...he
took it all...
MATT
It's not over. We still have time.
ELEKTRA
I... remember...
She trails off, overcome. Lost. He tri^s to keep it together.
MATT
What my love?

~^* ^
XJ

She manages a small dreamy s m i Q L ^

/**

SLEMA
... Our.dance, yur last dance. We never finished
it.

She leans her head against him and he holds her tight. The starry firmament
turning dizzily overhead. There is an ECHO of "What Are You Doing New
Year's Eve?" on the SOUNDTRACK...
ELEKTRA
I think... I' m finally going to see what it's like
being there... you know... the edge. And beyond...
They hold each other swooning in space. Matt HEARS Elektra's heart BEAT with
the MUSIC. And then we don't hear the music and her heart is not beating at
all. She's gone...
DAREDEVIL
Oh God!
DD can't accept it! He cries then he starts CPR -- PUMPING her heart -- and
giving her mouth to mouth respiration. He doesn't surrender...
DAREDEVIL
Please don't die! Please!
'hen,, weak, almost imperceptible, a beat. He pumps more oxygen into her
u i then he holds her tightly, tears in his eyes. Her head slipping
oosely to the side but he can feel she's still alive.

DAREDEVIL
Oh God, please. Please...
(

1I7

KA-BOOCM!!!! There is another EXPLOSION! And then ANOTHER! And ANOTHERSHATTERING THE NIGHT AIR, LIGHTING UP THE BLACK SKY. It's A CHAIN REACTION
OF DESTRUCTION all around DD and ELEKTRA!
TWISTERS OF FLAME SWEEP THROUGH THE STREETS.
DD flattens ELEKTRA to the pavement to keep her from being sucked into the
MAELSTROM.
DAREDEVIL'S POV: MONSTROUS WINGS OF BLACK FLAME FLAP THROUGH AN INSANE
UNIVERSE. AN EXPLOSION OF BLACK. ANOTHER...
THE EXPLOSIONS ARE MOVING DOWN THE STREET TOWARD THEM! Suddenly, THEY STOP.
And out of the INFERNO comes a dark figure... It's BULLSEYE! Wounded and
bleeding but still lethal.
BULLSEYE
Isn't it crazy? All my talents wasted on these
silly...fireworks. I really hate that arrogant fatass!
DAREDEVIL leaves Elektra and jumps into the air. He double-spins, gathering
speed and in a flash he's on Bullseye, KNOCKING him down!
*
BULLSEYE ROLLS on the ground.
shuriken
at DD.

He's qutfwtAr 0N HIS FEET and throws four

\j '

DD jumps again, avoiding them-

\A\S

BULLSEYE pulls out another SBWpRE and sets up 25 SECONDS on the digital
display. Holding the bomb irrone hand, he raises a gun with the other. ..
ON DAREDEVIL: Still, studying the situation.
The timing device TICKS OFF DIGITAL SECONDS: 23...22...
ON BULLSEYE: He pulls the trigger...
ON DAREDEVIL: As the GUN FIRES, he WHIPS the CLUB across his BODY. The
BULLET WHINES off the CLUB and DEFLECTS HARMLESSLY away. . .
BULLSEYE
(astonished)
Nobody can do that. How did you do that? Even
I...can't do that.
He lowers the gun, more and more child-like and AMAZED.
ON THE DISPLAY: 15 . . . 14 . . .
BULLSEYE
Are you a damn real devil, by any chance? Why you
don't just let me send you back to hell? It won't
hurt, I promise...
DAREDEVIL doesn't answer. He perceives a movement behind Bullseye.

ON ELEKTRA: GETTING UP and slowly limping toward Bullseye from behind.

118

BULLSEYE
I hope you're a football fan... 'cause I wanna show
you something really special... 4th and 1... tie game
... do I run or do I kick?.. I kick... I score...
You're dead.
He looks at the display.

It shows: 5...4...

BULLSEYE
(grinning)
No overtime.
Bullseye throws the gun away and grabs the SPHERE with both hands, then he
arcs his body ready to kick it like a football...
ELEKTRA is right behind him now

3. . .2 ...

ON DAREDEVIL: Shakes his head to Elektra.

DAREDEVIL
NOOOOO...
Bullseye's leg moving forward.

A
Hisfo^ Sbout to kick the SPHERE...

ifeYE tt
ELEKTRA FLIES AND KICKS aiJLlflBYE
IN THE SAME SPLIT SECOND! Bullseye leaps
forward, falling right o n V o p of the bomb. He freezes realizing...
IT IS TOO LATE:...0.

KA-BOOOOOM!!!!

The EXPLOSION DISINTEGRATES BULLSEYE! It's so huge that all the HYDRANTS
around explode together in sync! GEYSERS ERUPT into the burning night...
FIGHTING THE FIRE... CUTTING ITS PATH... AND SLOWLY EXTINGUISHING IT!
DAREDEVIL gets up fifty feet away, shaken but intact. He runs in the steamy
rain to the explosion spot and frantically TEARS through the WRECKAGE,
looking for Elektra...
BUT ELEKTRA IS NOT THERE... AND SHE'S NOWHERE TO BE SEEN.
FOGGY (O.S.)
Matt...
DD turns.

FOGGY approaches him.

FIREMEN, COPS behind him.

FOGGY
Where's Elektra?
DAREDEVIL shakes his head, devastated.
DAREDEVIL
I don't know... I have a strange feeling...
FOGGY
We'll find her, if she's still around.
DD nods, a perplexed expression on his face.

Then he comes back to reality.

U 9

DAREDEVIL
Fisk.
FOGGY
I guess he wasn't cut out for politics. They saw him
heading for his headquarters...
DD stands straight,' his face is a stone mask.
Foggy watches him run away.
INT.

PENTHOUSE OFFICE - NIGHT

Kingpin stands at the window, watching the smoke from the Hell's Kitchen's
fire few blocks away. His office is darkened and utterly quiet.
He fishes two things from his desk: a small REMOTE-CONTROL BOX and a
HANDGUN. He slips the gun into his pocket. He ACTIVATES the Hell's Kitchen
MODEL with the remote. Lights flash on. Smoke trails from factory chimneys.
MUSIC plays from a little TOY BAND in a TINY BISTRO.
He smiles at it all with satisfaction.
DAREDEVIL drops INTO VIEW outside the window. Swinging at the thick glass.
He BANGS into it with both feet. Bounees\off. Swings into it again.
*
BANG! Fisk lifts an eyebrow.

\J

FISjQk(S

Who's that tap-lite-lapping at my chamber door?

/""'ASH! -- Daredevil flies through the window in a rain of SHATTERING glass
.d lands with both feet on the floor . He reels the cane in. Stands there.
Eyes burning.
DAREDEVIL
It's the blind kid.
Fisk circles the model toward him. Caresses the top of the "Hell's Kitchen"
portal with his hand.
FISK
Why would anybody want to stop something so grand as
this? Can you tell me that?
DAREDEVIL
It's you who needs to be stopped.
FISK
Oh, but I won't be. You see? There are too many
people out there who think like I do. You are in a
minority, my friend. You are a dying breed.

f0^

DAREDEVIL
There are far more than you could ever know, Fisk.
Good, decent, honest, hard-working men and women.
But they've been frightened. Into inaction. Into
silence. By people like you. Because they have too
much to lose. Families. Futures. Loved ones.
Lives.

. .

122
Daredevil slams his fist on the edge of the model, causing the structures to
vibrate and lights to flicker.
DAREDEVIL (cont'd)
And the belief that good shall prevail and the meek
will inherit the earth and every good boy deserves
favor and virtue is its own reward and what goes
around comes around... Well, I guess even I still
believe that one. And here it comes. Cause I, like
you, am free. I am unburdened. Of those things.
Those beliefs. You took them away from me. And now

^
(

you must deal with

it'.

Fisk works the remote. Speaks close into it and his VOICE EMANATES
life-like from somewhere to Daredevil's right:
FISK
(from hidden speakers)
That was very pretty.
DD hesitates. Thrown off. Fisk circles him. Turns a dial and speaks into
the remote again. This time his VOICE EMANATES from the left:
FISK
A
Now you listen.
'^\ -y
He taps a few keys and DD comes to/-* complete halt. Grimacing.

/
T

FISK\ S*S

Ultrasounds. AAenW5 they something?

/fli"3K

^ A

...i hear nothing. But tiny waves shiver atop the water in a tall clear glass
on Fisk's desk. DD tightens up, cringing and raising his hands toward his
ears...
FISK
I'm sorry, is that too loud?
Waves ripple across the surface of the aquarium set into the office wall.
The fish dart around madly.
Daredevil steels himself. Straightens. Gritting his teeth. Focusing.

..

His fat lips puckered, Fisk is about to peck another key.

FISK
As you can hear... I have many options.
Suddenly MARCHING MUSIC BLASTS from every direction. The aquarium glass
SHATTERS and fish and water gush out. . .
Fisk circles Daredevil. Manipulating the remote. Adding layers of
realistic SOUNDS: WHISTLES, BELLS, a GUNSHOT -Daredevil jerks and whirls out of the "path" of the nonexistent bullet,
^no^ther GUNSHOT comes from another direction. . .Daredevil ducks it.
^"isk smiles, enjoying it. He speaks into the remote so that his VOICE never
romes from any one place:
'

^m*

FISK
Do you like my sound system? I had it custom made
with you in mind. A good investment, no? Now that
you're back from the dead... (beat) And I'm glad you
are. Because you owe me.

121

Daredevil rallies himself to yell back at Fisk over the pain and confusion:
DAREDEVIL
No! You owe them! All of them! My father...
Nikos... They all died... Because of you. Nobody
else.
Fisk sighs, stepping to one side. He puts on a strange pair of goggles, then
pushes another button on the remote.
FISK
No more debates.
Dozens of slender light projectors come down from the ceiling, each of them
inundating the room with a different color light. RED. WHITE. GREEN. YELLOW.
BLUE, etc. Every tone and sub-tone of the spectrum is projected into the
room, which has become like the interior, if that was possible, of a rainbow
formed by dozens and dozens of colors. DD spands still, completely
disoriented.
vx'\
/
DAREDEVIL POV: Violent waves of different shades of black, swirl crazily all
around. Confusing his radar-senseOCompletely blacking out his perception.
Now DD is really blind.
A Oi (s
(*^FISK POV THROUGH THE GOGGLES?\Acalm black and white vision of Daredevil
motionless and harmless in thermiddle of the room.
FISK
How many things there are to learn about.
Did you know each color has its own temperature?
Fisk takes a gun from his pocket and points it at him. DD turns slowly
around.
Trying to hear his heartbeat... He does, for just a second...
CLOSE ON FISK'S GUN (SLOW MOTION): The hammer RATCHETING back as the trigger
is pulled...then SLAMMING home:
ON DAREDEVIL: Head turning minutely toward the beat and these sounds -BOOOM! ! ! --He dives backwards and the shot glances off his upper arm and
spins him around...! The walking cane flips through the air.
DD hits the floor. Comes up on one knee. His senses searching madly in
every direction. The MUSIC and SOUNDS still BLASTING. The crazy 3-D RAINBOW
still sweeping the room. DD rises to his feet. Fighting through the din. He
scans...
Fisk THUMBS back the hammer.
( 3 D dives as Fisk FIRES...! The shot going wide. DD rolling into the Hell's
Kitchen model. Coming up and bracing himself with one hand against a model
high rise. DD's brow furrowing. His hand curiously caressing the model...

Fisk turns the cocked gun on him. Fed up. Striding toward him. DD suddenly2
BLURS OUT OF VIEW. Fisk's SHOT BLOWS A HOLE in the tiny billboard.
Fisk wades into the model. Red-faced. Determined. Turning the gun this way
and that. DD FLASHES PAST behind him. Fisk turns FIRING -- POW! POW!
^.POW! Shooting up the town. Glass BREAKING and lights POPPING.
DD steps up onto a church and FLIPS through the air...! Fisk FIRES - - the
bullet LOPPING OFF the church spire!
DD lands next to him and fires a spinning
out of his hand...!

kick

at Fisk!

The gun is knocked

The gun skitters across the floor and comes to a stop near the edge of the
wide open broken window.
You forget.

DAREDEVIL
I know this part of town.

Fisk fires a punch at him and Daredevil ducks -- Fisk's massive fist
CRASHING into the side of an office building. Sparks FLY and neon FLASHES.
Fisk lets out a BELLOW. Daredevil smashes head-first into his mid-section
and the two men CRASH through the model like King Kong versus Godzilla.
Stores and buildings collapse in their path.
It is a titanic battle of brute force vs^/agility. They crash back and {
forth. SPARKS spray and FLAME erupts{fcraaugrhout the display. A building "
EXPLODES behind Daredevil. He turns, Nejjartled. Fisk catches DD high with a
vicious PUNCH across the face and^rViredevil goes flying.
Fisk crawls from the model.* f^ls himself to his feet and tramps across the
("**\ter of the "Hudson River "\nci re ling the display. Beaten up. Breathing
iiard. He plucks up Daredevils cane.
DD rises to his feet in the middle of the devastated city which glows madly
with endless combinations of colors. Smoky flames blaze infernally across
the ruined landscape. Disoriented by the chaos of colors, heat and noise, DD
has lost Fisk.
Fisk turns the cane over in his hands.
FISK
How does this work? I'm referring to your cane, by
the way. With all your tricks, I sometimes
forget...that you're just a blind man.
DD steps tentatively to the edge of the display. Behind the sputtering
"Hell's Kitchen" archway.
Fisk eyes the cane curiously. Points it at Daredevil. Thumbs the button.
The cane-top shoots spinning through the air!
The handle glances hard off Daredevil's head and he buckles. The hook
clatters somewhere back among the model buildings.
FISK
Fancy.
r[ reaches down to the fallen pistol at his feet. The wind through the
broken window buffets him.

The flames from the model suddenly ignite the SPRINKLER SYSTEM. Water
SHOWERS down from the ceiling. The fires throughout the model SIZZLE and
HISS. Dark smoke curls up. The spray RAINS down. Pounds the shining floor.
Fisk turns his face up to the water as he rises up with the gun. He is
impervious. DD is motionless. Inert. Beaten down. Lost.
The water washes the blood from the gash in his head.
FIIIIIIIISK!!

DAREDEVIL
You can't kill me. Anymore.

Fisk smiles at that. Points the gun at his beaten quarry. An easy shot.
Water courses down Fisk's fat, gleaming face. Over his shiny smiling lips.
Spattering the SMALL ROSE pinned to his breast. . .
DD lifts his head slightly in the downpour. A spark in his eyes. HOMING IN
ON something...
His nostrils DILATING...
CLOSE ON FISK's ROSE. In the rainfall, the petals of the small rose ever so
slightly begin to BLOOM!
FLASHBACK: Matt placing two roses on his father's grave...
A
ON DAREDEVIL: He has a TARGET, now. He BwarVup suddenly and swings his
forearm swiftly at the "Hell's Kitche^Oa^cnway KNOCKING it from its
f
moorings! It flies across the floor. \gfccidding over the slick wet surface*
straight toward Fisk...!
t path he staggers back it
He's too big and slow to move \fct%f
wit'of iits
SWEEPS his feet out from und\r him and soars out the open window behind him!
(

isk hits the ground on his belly and slides over the edge after it -- his
eyes white and wide. One hand gripping the cane as he DROPS OUT OF SIGHT...
Behind DD the unseen cane-hook GRAPPLES one of the models and the cane's wire
goes taut at his feet, THRUMMING.
DD walks the length of the tight wire. Drops pattering the floor. Follows
it to the edge over which it disappears. It slides back and forth against
the edge with a grating SCREECHING, pulled by some great shifting weight...
Daredevil steps to the edge. The wind buffets him.
Fisk hangs there, clinging desperately with his sweating hand to the cane,
dangling a hundred stories over the city.
FISK
Please...
He looks imploringly up at Daredevil.
Please. . .help

FISK
me. . .

His grip slipping. Sliding down a few inches. Eyes rolling wildly.
FISK
^PS

Please goddamn it'. I

Help me!

DD lowers himself to one knee. Unhurriedly. He reaches down toward Fisk.

Hope glimmering in the big man's gaze.
' '

124

DAREDEVIL
I'll show you how it works.

f^

Daredevil's hand closes on the cane. Slips down to the button. Fisk's brow
furrowing suspiciously. Daredevil's hand pauses there. Fisk starts to shake
his head.
FISK
No! Just pull me up\
DD pauses for a second.
now, desperate:

His finger poised over the button. Fisk pleading,

FISK
Listen to me!! You don't want revenge! Daredevil?!
An executioner?! No! No... You want
justice.
DD pauses for another second. Then -DAREDEVIL
Right, I should forgive you.

Shouldn't I?

DD leans down toward Fisk with a look on his face we've never seen before.
Fierce. Savage. Cruel. We really thinkAhe's gonna kill Fisk...
But he stretches his arm instead andfeoarjtsto help Fisk up. ..
This is the moment FISK was wa~Uftp
iG$-> f or. ,.

SLO-MOTION: FISK RAISES THsVpUN that he was still holding with his other
hand!
^BS DD PRESSES the button.
FISK pulls the trigger in the same moment.
ON THE DISPLAY: The curved grappling handle hooked on the model suddenly
straightens
and FLIES out of the display. It WHIPS across the penthouse
floor...!
THE BULLET FLYING INSIDE THE BARREL,..
Fisk's mouth opens in horror as he DROPS away...
THE BULLET FLIES OUT OF THE BARREL, but the hand holding the gun is in a
different position now, a few inches lower...
THE BULLET MISSES DAREDEVIL by a few millimeters!!!
ON FISK: Eyes and mouth wide... PLUMMETING toward the city streets
SCREAMING...
END OF SLO-MOTION. The SCREAM trailing off in the SOUND of the wind. DD
rises up against the night sky in the open window. There is resolution in
his voice...
DAREDEVIL
Justice is blind.
The wind sends ripples across the flooded floor. The SOUNDS, the COLORS and
the SPRINKLER SYSTEM cease. CAMERA PANS TO Daredevil's shadow cast over the
dark ruined "Hell's Kitchen" display.
' . .

12 ^

And then the shadow MOVES OFF and we -DISSOLVE TO:

EXT. HELL'S KITCHEN - NIGHT

AERIAL SHOT. Hell's Kitchen streets are slowly healing from the ravages of
the fire. People are back on the streets. Kids are playing again. Life
seems to thrive right where death and annihilation once were. DAREDEVIL
BURSTS INTO FRAME SWINGING through the streets.
He stops at the rooftop of SACRED HEART CHURCH...
CUT TO:
EXT. HIMALAYAN MOUNTAINS - DAY
CAMERA PULLS BACK from two MOON BOOTS and FOLLOWS a SOLITARY FIGURE running
on the snowy HIMALAYAN landscape. She's dressed in a blue mountain climbing
suit...
CUT TO:
INT. SACRED HEART CHURCH - NIGHT / EXT. HIMALAYAS - DAY (CROSS CUTTING)
A CANDLE being lit. CAMERA PULLS BACK and reveals the NUN, the one we've
seen many times before. She is kneel^ng,and praying in the deserted church-*
The church doors OPEN. Daredevil ^*JQ?k fpto the doorway. The Nun turns, f
She stands. Staring at him...
\.\ J
HIMALAYAS. An GRAPPLING HO0*Cfe<^is successfully to its grasp. The person
in blue looks up at the MAdttSTJC MOUNTAIN whose crest, miles above, is
/-^hidden by a bank of clouak.\;
CHURCH ANTEROOM. A small dark room of the cathedral. MATT is seated on a
small chair. He's dressed in street clothes now. The armored suit draped
across a kneeling bench. The Nun is seated across from him.
MATT
Why do I always come here when I feel lost?
NUN
No one is all alone in this world.
HIMALAYAS. The wind blows and the snow dances crazily around the blue
lonely figure who is smaller than an ant compared to the huge mass of the
mountain. Yet, the ant is persistent. And hammering piton after piton into
the cracks of the mountain she slowly makes her way up, scaling a wall that
cannot be scaled...
CHURCH ANTEROOM.
Matt lowers his gaze.
MATT
She left me. She went away.
The nun smiles, enigmatic.
NUN
Nothing goes away forever...

MATT

126

Your name is Maggie.

NUN
Yes.

/SPN

. HIMALAYAS. The ASCENT is almost metaphysical. The solitary figure leaves

the world and tries to conquer her place in Heaven. It's an intense,
determined process of purification. Nothing can stop her. Not the frosted
wind. Not the severe law of the eternal glaciers. She struggles against all
odds. But she continues to climb up...
CHURCH ANTEROOM. Maggie gently puts an old sport robe on Matt's lap. Matt
nods. Looks down and raises a sleeve to his nose. Sniffing softly.
MATT
This... smells so familiar...
His FINGERS start scanning the fabric now. Slowly. Finding something. A
name embroidered on it: "Battling Jack Murdock". Matt's fingers delicately
trace the needlework as if it were a face. Then:
MATT
^ A
After all these years. />JuA'sVstill in here. Isn't
he?
\ ) '
She nods. A tear coming dowGKeg^face. Matt stands and takes her gently by
the forearm. Fingers tcuKrhpjg'her wrist. Gradually we HEAR the RHYTHM of
the blood beating throughVjer veins.
(
*

MATT
Tell me please. Are you my mother?
MAGGIE
No...

The rhythm SKIPPING.

HIMALAYAS. A foot falls from the piton and the figure almost loses her
grasp. Snow and ice falling down onto the white abyss. She HANGS ON. And
finally, emphatically, she RAISES herself on top of the. crest...
CHURCH ANTEROOM. Matt releases her hands. A slow smile spreading on his
face. It makes her uncomfortable. Gingerly holding the robe.
MATT
It's a sin, you know.
MAGGIE
...What?
MATT
A sin. To tell a lie. In the house of God.
(a beat)
Dad used to say that.
t he looks down. After a moment, she nods.

127
MAGGIE
I know.
'

.er eyes fill with tears. He comes to her. They EMBRACE.

With one last brief look into his eyes, she retreats into the depths of the
church. He stands there as she fades into the darkness...
HIMALAYAS. CAMERA CRANES UP from the figure revealing a beautiful temple in
the middle of a HIDDEN VALLEY. Clouds surround it, giving it an otherworldly
quality. The solitary figure gazes at it and finally pulls back her hood.
Is ELEKTRA. More beautiful than ever. A sense of peace and calm in her
eyes. She smiles at the landscape portrayed in her mother's painting..
Enjoying every second, absorbing every detail of the miracle of nature in
front of her. Then she starts to walk toward the temple. Disappearing into
the mist. Her final destination. Beyond the EDGE...
DISSOLVE TO:
EXT. SACRED HEART CHURCH - NIGHT
MATT. Somehow he can feel it. Thanks to the magical empathy of LOVE he
seems to be almost aware of her destiny. He stands there, on the steps of ^
the church. Head up. Listening to the /sounds of traffic and people.
|
Feeling the breeze. Smelling the chi"Qkc?, the wind coming from far and away.
The very special fragrance of the nj(9wr) ALIVE.

/f?y