prosthetic leg. Jessie Lawrence Ferguson as Eddie Black, a rival crime boss, dispatched by Durant. Rafael H. Robledo as Rudy Guzman, a collaborator of Durant's, who seems to despise Durant, calling Durant a "son of a [bitch]". He is killed by Smiley when a shackled and gagged Guzman runs into him wearing a Westlake mask underneath a Smiley mask, tricking Smiley into shooting Guzman. Dan Bell as Sam "Smiley" Rogers, a henchman of Durant's who laughs like a hyena, he is the most ruthless of Durant's collaborators. He is killed after Darkman recreated the same drinking bird triggered gas explosion that mutilated Peyton. Arsenio "Sonny" Trinidad as Hung Fat, a Chinese Triad boss who owes Durant money. Bridget Hoffman as Computer Voice Additionally, Raimi's brother Ivan and director John Landis have cameos as hospital staff, while Jenny Agutter plays the doctor treating Westlake's burns. Neal McDonough, William Lustig, Scott Spiegel and Stuart Cornfeld portray dockworkers. Other appearances include Joel and Ethan Coen as the driver and passenger in an Oldsmobile, Professor Toru Tanaka and Nathan Jung as Hung Fat's Chinese Warriors, and Julius Harris as the Gravedigger. In the final scene of the film, Campbell portrays the disguised Darkman as he flees, credited as "Final Shemp". Production Development and origins The idea for Darkman developed from a short story Raimi had written about a man who could change his face. The story drew elements from The Phantom of the Opera, The Elephant Man, and The Shadow (Raimi had previously sought the film rights to The Shadow; when rejected, he decided to write his own superhero). Raimi was also inspired by the Universal horror films of the 1930s and 1940s because "they made me fear the hideous nature of the hero and at the same time drew me to him. I went back to that idea of the man who is noble and turns into a monster". He originally wrote a 30-page short story, titled "The Darkman", and then developed into a 40-page treatment. At this point, according to Raimi, "it became the story of a man who had lost his face and had to take on other faces, a man who battled criminals using this power". It also became more of a tragic love story in the tradition of The Hunchback of Notre Dame. In 1987, Raimi submitted the treatment to Universal Pictures which they liked, green-lighted a budget in